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Sunday 11 March 201816.00 to Tuesday 13 March 201819.30

UCL Drama Society’s New Writing Festival is comprised of 4 original short plays by UCL students.

Keep Scrolling by Phoebe Garthwaite

Picture a world not too far off from 2018. A world where there are more words typed on a qwerty keyboard than said out loud.
Human interaction is on the verge of shattering under the weight of our collective addiction to mobile phones.
“Keep Scrolling” is set in the present and future. It’s a play where your mobile phone is the protagonist. It explores what could become of us if our dependence on phones left us unable to function without them.
The piece is focused around 4 characters and explores the effects of their scrolling, calling and messaging on their emotions.

Soapbox by Ella Fidler

Soapbox is a collection of monologues that serve the intention of forcing people to think about the things that they are trying to forget, and to think about them now. Communicated through physical theatre, heightened stylised movement and a complex interplay of lighting and music, Soapbox intends to pull apart audience member’s self-image of morality and force them to put it back together again through actioning something they believe in.

The B in the Room by Joey Jepps

Dana feels different. Elliot thinks there’s something wrong with him. Dana wants to find out the truth. Elliot is scared of what he might find. Dana just wants to find others like her. Elliot feels so alone. Amy and Mitchell seem to have figured it all out… so why haven’t Dana and Elliot? No one ever said being a teenager was going to be easy, but when you’re something that society struggles to understand, and often overlooks, it makes it hard for you to find and accept yourself. In this two person play, Dana and Elliot go on parallel journeys of self-discovery to grasp a more profound understanding of themselves. 

The Empty Chair by Polly Creed

Is a response and an investigation into the #MeToo movement, focussing around a discussion between 4 actors in the aftermath of an awards ceremony, where it becomes evident that they are all connected through the abusive behaviour of the producer of their film. The piece navigates naturalistic acting and highly stylised and abstract movement, soundscaping and chorus work, incorporating spoken word, hybridised forms of musical expression, lighting and set design to present a commentary on the politics of the personal, and to insert this discussion into the setting of theatre. The play is drawn from real interviews and discussions with students in London.