Revenge and Migration: January Theatre Premieres

Revenge and Migration: January Theatre Premieres

The holidays are over, and Easter seems far away as we trudge through slush, cold, and the expected snowstorms. Yet the golden lights of theatres beckon so invitingly from their posters that you can’t help but step inside, even spending money on tickets. Here’s our selection of the most intriguing drama performances in January.

The Little Foxes

Young Vic
66 The Cut, SE1 8LZ

Revenge and Migration: January Theatre Premieres | London Cult.
Young Vic / «The Little Foxes»

This classic 20th-century play, written by Lillian Hellman in 1939, tells the story of a woman fighting for freedom, prosperity, and independence in a world where fathers considered only their sons as legal heirs. The title refers to a quote from the Song of Songs: “Take us the foxes, the little foxes, that spoil the vines: for our vines have tender grapes.”

Directed by Olivier Award-winner Lyndsey Turner, the production boasts a stellar creative team. Tickets for the shows at Young Vic are nearly sold out. Notably, the play’s popularity echoes the success of its original New York production, which ran for 150 performances on Broadway.

In a sleepy Alabama town, Regina Hubbard Giddens wants to seize control of the family business for herself. Blackmail, threats, extortion, theft—revenge is never clean. The tragedy of a family and a strong, ruthless woman, embittered and vengeful, reaches an almost classical intensity. BAFTA-winning actress Anne-Marie Duff plays the lead role. Known for her performances in War and Peace, Doctor Zhivago, and Vassa Zheleznova, Duff describes herself as a hopeless romantic, making her a perfect fit for the role of Regina.

The Merchant of Venice 1936

Trafalgar Theatre
14 Whitehall, SW1A 2DY

Revenge and Migration: January Theatre Premieres | London Cult.
SeatPlan / «The Merchant of Venice 1936»

This is the second iteration of a modern adaptation of Shakespeare’s play, created by director Brigid Larmour and actress Tracy-Ann Oberman, who stars as Shylock. The focus has shifted dramatically, retaining only the skeleton of the original plot, while filling it with entirely new content.

Set not in Venice but in 1930s London, the play unfolds just before the infamous Cable Street pogrom attempt—and ends with it.

This is a sharp socio-political statement, infused with the pain and indignation of Oberman, who participated in London’s 2023 march against antisemitism.

From the very first scene, the performance is difficult to watch. Antonio (Joseph Millson) leaves Shylock and a covered table, slowly raising his hand in a Nazi salute. With each scene, swastikas increasingly fill the stage. The clash between Antonio and Shylock, the weddings, the caskets, the suitors—everything feels trivial compared to the maniacal gaze of Oswald Mosley, staring at the audience from a propaganda poster plastered on the wall.

The finale is the most striking part—a scene not found in Shakespeare’s play. It is so pure, so desperate, and it makes it clear that no one but a woman could have portrayed this Shylock.

The Lonely Londoners

Kiln Theatre
269 Kilburn High Road, NW6 7JR

Revenge and Migration: January Theatre Premieres | London Cult.
London Theatre / «The Lonely Londoners»

This play is based on the iconic novel by Trinidadian author Sam Selvon, published in 1956. It was the first—and remains the most significant—work dedicated to the experiences of Caribbean immigrants in London.

Moses Aloetta serves as a kind of Virgil for newly arrived immigrants (his name, Moses, is no coincidence!). Dozens of characters pass through him—optimists and pessimists, schemers and hustlers, dreamers, friends, poets, and realists. Poverty and loneliness coexist with humor and hope as the characters maintain a zest for life despite the often-hostile new environment.

In this production, director Ebenezer Bamgboye centers the story on Henry Oliver, a recent immigrant from Trinidad with only the bare essentials in his meager luggage. Seeking advice from Moses, Henry discovers Moses’s own disillusionment with city life. The play captures the hopes, dreams, and realities of the Windrush generation, their struggles to adapt, their longing for home, and their quest to create a new one.

Selvon’s novel is rich in atmosphere, and the production team has masterfully translated its delicate texture onto the stage without losing its essence.

Elektra

Duke of York’s Theatre
104 St Martin’s Lane, WC2N 4BG

Revenge and Migration: January Theatre Premieres | London Cult.
LOVE Theatre / Elektra

American actress Brie Larson, an Oscar-winning star of the dramatic film Room, makes her West End debut in a new production of Elektra at the Duke of York’s Theatre.

Directed by Daniel Fish, known for his innovative approach to theatre, this Elektra introduces a fresh perspective. Poet Anne Carson provides a new translation of the Greek classic, offering depth and nuance to this tragedy.

In her London debut, Larson plays a woman consumed by grief and a thirst for revenge after her father’s murder. Themes of family duty, justice, and unbridled rage take center stage. Joining Larson on stage are Marième Diouf, Greg Hicks, and Patrick Vaill.

A notable detail: Larson underwent a dramatic transformation for the role, cutting her hair into a pixie style and dyeing it jet black.

Santi & Naz

Soho Theatre Walthamstow
186 Hoe Street, E17 4QH

Revenge and Migration: January Theatre Premieres | London Cult.
The Thelmas / «Santi & Naz»

This new play by the female-led theatre company The Thelmas explores social, political, and cultural themes with freshness and surprise. Directed by Madelaine Moore, Santi & Naz tells the story of two best friends—a Sikh girl, Santi, and a Muslim girl, Naz—living a vibrant, carefree life.

They read books, swim in the lake, laugh, and spy on the local heartthrob. But their happiness is shattered by circumstances that seek to tear them apart. As families and communities are divided, and their religions become tools for separation, Naz is betrothed to a tailor while longing for Santi.

Set against the backdrop of the Partition of India, which displaced over 10 million people and claimed more than a million lives, the play sheds light on a rarely discussed part of British history. It is not just a commentary on postcolonial legacy but a tender exploration of friendship, coming of age, and self-discovery.

This production is a voice of support for anyone who has ever felt powerless in the face of world events.

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