by Zahid Fayyaz
This is a brand new play, co-commissioned by the Bush Theatre and Clean Break Theatre Company. Clean Break was formed in 1979, and focuses on given women, who have experienced the justice and prison systems, opportunities to work and tell their stories through theatre and performance. This particular story focuses on the release of Aleena from prison, and how this release impacts her daughter Leila, who was been living with Noor, her grandmother during Aleena’s imprisonment. There is a clash of philosophies between the traditional Noor and the freer-spirited and highly strung Aleena, with family secrets threatening to come to a head.
by Laura Kressly
As part of Clean Break’s 40th anniversary celebrations, this outdoor, in-person production showcases some of the work the company created over the past year. The collection of short monologues created by Clean Break members and associate artists all share stories of loss, isolation and loneliness, which are further contextualised by lived experiences of incarceration. The character-driven pieces are remarkable examples of human resilience in the face of systemic oppression and a criminal justice system that is punitive and cruel.
by Maeve Campbell
Angel Cruz has shot a man in the ass. He says he didn’t kill the religious cult leader, who
had apparently brainwashed his best friend Joey, but this man is now dead. This is where
we start Jesus Hopped the ‘A’ Train. What follows is a compelling exploration of guilt,
goodness and godliness as Angel, incarcerated in New York’s infamous Rikers Island,
confronts his emphatic public defender, a sadistic prison guard and a charismatic, born-
again Christian serial killer.
by Laura Kressly
There’s so much humanity in the seedy underbellies of cities that’s easily sneered at by the white middle classes. Yet sex workers and drug dealers, corrupt cops and pterodactyls in Che Walker’s LA prevent the city from becoming a sterile, corporate hell occupied solely by the rich.