REASONS YOU SHOULD(N'T) LOVE ME
The Women’s Prize for Playwriting, Paines Plough, 45North and Kiln Theatre present
REASONS YOU SHOULD(N’T) LOVE ME
written and performed by Amy Trigg
This page is for tickets to the live performance at Kiln Theatre. Click here for tickets to the Encore Screenings.
For a long time I didn’t know how it’d work.
Or what I’d be able to feel.
People would ask me if I could have sex and I’d feign shock and act wildly offended whilst secretly wanting to grab them by the shoulders and be like “I don’t know, Janet!”
Juno was born with spina bifida and is now clumsily navigating her twenties amidst street healers, love, loneliness – and the feeling of being an unfinished project.
Winner of The Women’s Prize for Playwriting 2020, Amy Trigg’s remarkable debut play Reasons You Should(n’t) Love Me is a hilarious, heart-warming tale about how shit our wonderful lives can be.
Age Guidance 14+
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Captioned Performance, 7 June – 7.30pm
Post Show Discussion, 8 June – 7.30pm
Audio Described Performance, 10 June – 7.30pm
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85 minutes with no interval
‘A performance of mesmerising intensity.’
‘Trigg is terrific.’
‘Bravura one-woman show is a knock-out.’
‘A tour de force performance.’
‘A hilarious, honest and heartwarming play which demands an audience.’
‘wonderfully heartfelt and beautifully delivered’
WRITTEN AND PERFORMED BY
Trained: Mountview Academy of Theatre Arts.
Theatre credits include: The Taming of the Shrew and Measure for Measure (RSC), Sadler’s Wells Takeover Weekend (River Stage at The National Theatre), The Joy of Dance (Lyric Hammersmith), Fusion (Sadler’s Wells), The Sonnet Walks (Shakespeare’s Globe), Shakespeare within the Abbey (Shakespeare’s Globe at Westminster Abbey), Goth Weekend (Stephen Joseph Theatre/Live Theatre), A Brief History of Plays (Stephen Joseph Theatre), Tommy (New Wolsey/Ramps on the Moon), The Glass Menagerie (Nottingham Playhouse) and Philip Pullman’s Grimm Tales (Digital Piece – Unicorn Theatre).
Television credits include: Feel Good (Netflix), Unprecedented: Going Forward (20th Century Films/BBC), Doctors (BBC), Stella (Tidy Productions Limited).
Film credits include: Mamma Mia! Here We Go Again. Short: Pas de Deux.
Charlotte Bennett is Joint Artistic Director of Paines Plough.
Previously she was Associate Director at Soho Theatre where she led the new writing department, developing artists and commissions and programming the upstairs studio. For Paines Plough she has directed Run Sister Run by Chloë Moss. For Soho Theatre she has directed Whitewash by Gabriel Bisset-Smith, Happy Hour by Jack Rooke and led playwriting competition the Verity Bargate Award.
Prior to this she was Artistic Director of Forward Theatre Project; an artists’ collective she founded. For Forward Theatre Project she directed new plays, inspired by working with different communities around the UK, which toured nationally at venues including National Theatre, York Theatre Royal, Northern Stage, Derby Theatre, Live Theatre and The Lowry. As a freelance director she has worked extensively for Open Clasp Theatre Company, creating new plays inspired by marginalised women. She also held the role of Producer for theatre company
RashDash where she toured experimental new theatre around the UK.
Jean Chan studied at the Royal Welsh College of Music and Drama, graduating in 2008 with a BA Hons Degree in Theatre Design. She went on to work as a resident designer, part of the Royal Shakespeare Company’s Trainee Design Programme 2008-2009. In 2009 she won the Linbury Prize for Stage Design.
Designs include: A Midsummer Night’s Dream (Shakespeare’s Globe Theatre, London); Dick Whittington, Jack and the Beanstalk (Lyric Hammersmith); The Hired Man, Much Ado about Nothing (Queen’s Theatre, Hornchurch); Working (Southwark Playhouse); Plastic (Theatre Royal Bath); Ticking (Trafalgar Studios, London); The Witches, James and the Giant Peach, The BFG (Dundee Rep); Jumpy, Hedda Gabler (The Royal Lyceum, Edinburgh); The Season Ticket (Pilot Theatre and Northern Stage); Cyrano De Bergerac (The Royal & Derngate and Northern Stage); Mother Courage, Bordergames, Tonypandemonium (National Theatre Wales); This Land (Pentabus Theatre and Salisbury Playhouse); The Husbands, For Once, Mayfair (Kali Theatre and Pentabus Theatre); The Hairy Ape, The Irish Giant, The Seagull (Southwark Playhouse); Hamlet Young People’s Shakespeare (Royal Shakespeare Company); The Garbage King (The Unicorn Theatre).
Costume designs include: Knight’s Tale (Toho Theatre, Japan); The Grinning Man (Trafalgar Studios and Bristol Old Vic); Aladdin (Lyric Hammersmith); Lionboy (Complicite).
Associate designs include: Les Liaisons Dangereuses (Theatre Cocoon, Japan); The James Plays (National Theatre Scotland and Great Britain); Lionboy (Complicite); Five Guys Named Moe (Underbelly and Theatre Royal Stratford East); Monsters (Arcola Theatre).
Guy Hoare is an associate artist at Wilton’s Music Hall.
For Kiln: Wife
Theatre includes: Sea Wall/A Life (Broadway); Julie, The Deep Blue Sea, Here We Go, Strange Interlude (National Theatre); Jesus Hopped The A Train, Wings, A Doll’s House, World Factory, Far Away (Young Vic); One For Sorrow, NSFW, In Basildon (Royal Court); Roots, Serenading Louie, Be Near Me (Donmar Warehouse); Little Revolution, A Delicate Balance, Waste (Almeida); Clarence Darrow (The Old Vic); The Father, Othello (West End); Peter Pan (National Theatre of Scotland); Sleeping Beauty (Citizens Theatre); Cock (Chichester Festival Theatre); Macbeth, As You Like It (West Yorkshire Playhouse); West Side Story, Grease (Curve); Assassins (Crucible, Sheffield), A Christmas Carol (Birmingham Repertory Theatre); Kes (Liverpool Playhouse); Going Dark (Sound & Fury).
Designs for dance include: Arthur Pita’s The Metamorphosis (Royal Opera House/Joyce Theatre, New York | Southbank Award for Dance) and Mark Bruce’s Dracula (Wilton’s Music Hall | Southbank Award for Dance), and various pieces worldwide for – amongst others – Rafael Bonachela, Christopher Bruce, Dan Daw, Shobana Jeyasingh, Akram Khan and Alexander Whitley. He also designed international tours of Mischief for Theatre Rites and several cross-artform works for Gandini Juggling.
Opera includes: The Firework-Maker’s Daughter (Royal Opera House); Jakob Lenz (ENO); American Lulu (Bregenz Festival); King Priam (Olivier Award for Outstan
For Kiln: Snowflake, The Kilburn Passion, Arabian Nights.
Theatre includes: Open Mic (English Touring Theatre & Soho Theatre); Women of Troy (LAMDA); The Living Newspaper: Edition 2, seven methods of killing kylie jenner (Royal Court); Misty (West End); Going Through, Hir, Islands (Bush Theatre); Rockpool (Audio) (Inspector Sands & Trigger); We’re Stuck! (One Tenth Human); The Astro Science Challenge: Live! (Unlimited Theatre); Rockets & Blue Lights, Mountains (Royal Exchange); Autoreverse, Boat (Battersea Arts Centre); Everything, Brainstorm (National Theatre) (Company Three); The Memory of Water (Nottingham Playhouse); The Remains of the Day (Out of Joint/Royal & Derngate, Northampton); Thick As Thieves (Clean Break); The Wizard of Oz (Pitlochry Festival); All of Me (China Plate); Double Vision (Wales Millennium Centre); The Caretaker (Bristol Old Vic); The Lounge (Soho/Summer Hall, Edinburgh); How I Hacked My Way Into Space (Unlimited/UK tour); Years of Sunlight (Theatre503); The Bear/The Proposal, Flashes (Young Vic); Sleepless (Analogue/Staatstheater Mainz, Germany); The Christians (Traverse); I Call My Brothers, The Iphigenia Quartet, Unbroken (Gate); Thebes Land, Ant Street, Brimstone & Treacle, Knives In Hens (Arcola); You Have Been Upgraded (Unlimited/Science Museum); Seochon Odyssey (HiSeoul Festival, Korea); Mass Observation (Almeida.)
Dance includes: Patrias, Quimeras (Sadlers Wells/Paco Peña Flamenco Company).
Television/online includes: Have Your Circumstances Changed?, Brainstorm, The Astro Science Challenge. Radio includes: Rockets & Blue Lights (Reduced Listening Company); The Meet Cute, Twelve Years, Duchamps Urinal (BBC).
Installation includes: Have Your Circumstances Changed?, Yes These Eyes Are The Windows (ArtAngel).
HANA PASCAL KEEGAN
Hana Pascal Keegan is a director, dramaturg and writer. She trained at Graeae Theatre (UK), Young Vic Directors Programme (UK), National Theatre Institute (USA), College Of The Atlantic (USA). She’s most recently been investigating virtual, augmented and mixed reality storytelling with Donmar Warehouse and NT Immersive Storytelling Studio.
Theatre includes: All Of Us (National Theatre); Macbeth (Chichester Festival Theatre); Jellyfish (National Theatre, Bush Theatre); All My Sons (The Old Vic); Open Mic (Soho Theatre, English Touring Theatre); Crips Without Constraints (Graeae).
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