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22 February – 17 March

Trust

Box office: 020 7229 0706

Press night
  • Monday 26 February 2018

Caption night
  • Performance and post-show talk is captioned
    suited for those who are deaf/hard-of-hearing
    or use English as a second language
    
    Tuesday 6 March 2018

Young People's night
  • £7.50 tickets for Under 26's
    Friday 9 March 2018

So there’s a couple. Let’s call them Lea and Stefan. Maybe they’ve settled down. Maybe they’ve even got a mortgage.

Trouble is, one of them has betrayed the other. Repeatedly.

First it was just small things - a fiver was borrowed and not paid back. But then the car was given away to an expensive lover. And when their flat was sold to 7 different buyers, they both really knew the trust was gone.

Meanwhile, a voice on the radio sings you need more, you need more, you need more.

Jude Christian's production is a funny and irreverent exploration of broken relationships, the tyranny of capitalism and the level of denial you must have to survive systems you can no longer trust.


Running time: 1 hour 40 minutes, no interval
 

“like watching a huge art installation explode into life”

The Stage

“an extraordinary mix of the political, the personal and the pantomimic”

The Guardian

“Christian experiments with this theatrical space in breathtaking ways”

Ought to be Clowns

“there’s a euphoria to its ambivalent survey of humanity's nonsense.”

Time Out



 
22 February – 17 March 2018
“like watching a huge art installation explode into life”
The Stage

“an extraordinary mix of the political, the personal and the pantomimic”
The Guardian

“Christian experiments with this theatrical space in breathtaking ways”
Ought to be Clowns

“there’s a euphoria to its ambivalent survey of humanity's nonsense.”
Time Out

“laced with surreality”
WhatsOnStage

“dreamlike”
Evening Standard

@PeterHobday: #Trust @gatetheatre is 52% mad, 48% bonkers and you should 100% go see it.

@JackParryJ: Saw Trust @gatetheatre last week and it's bat shit crazy kinds of wonderful! Great performances from @piadelaborde @theactorsdiary and Jude Christian, who also directed it. Check it out!

@afielden: Inspiring to see #Trust at @gatetheatre last night. Scattered, brainy, fun, open hearted.

@ileanacillario: I am still not sure what I saw last night.. but I had a great time! Coming back for a second round soon #trust @gatetheatre @theactorsdiary

@smartgiles: I loved #Trust @gatetheatre directed with heart & verve and wit by Jude Christian. It's batshit and clever and bruising. Capitalism will never love you back.

@B_Kulvichit: maaaan Trust @gatetheatre is proper good. At its best woozy and seductive and head-spinningly hard to keep up with. Jude Christian’s the Real Deal™

@guymeirionjones: #Trust @gatetheatre is a great chaotic expression of how capitalism is sandpaper to intimacy. 
 
The Gate Theatre's work is made possible by public funding from Arts Council England. 

Trust is part of the Jerwood Designers Programme, supported by the Jerwood Charitable Foundation.




Supported by the Goethe-Institut London

Kaajel Patel +

Design Assistant

James Nash +

Assistant Director

Josh Pharo +

Lighting Designer

Ben and Max Ringham +

Composers & Sound Designers

Ed Borgnis +

Production Manager

Anna Sheard +

Stage Manager - Props

Ellie Williams +

Stage Manager - Book

Maja Zade +

Translator

Kaajel studied Fine Art Painting at Wimbledon College of Art at the University of the Arts London. She makes experiential art performance work. Previous credits include: Katzenmusik at the Royal Court Theatre.
James Nash is a director and writer, and has recently graduated from the University of Kent. Trust is his professional directing debut. His other directing credits include A Number and The Cherry Orchard for T24 Drama Society, and As You Like It for Canterbury Shakespeare Festival.
Joshua works as a Lighting and Projection Designer across theatre, dance, opera, music, film & art installation. He was nominated for Knight of Illumination Award 2017 for his work on Removal Men

Previous credits at the Gate include: The Iphigenia Quartet, In the Night Time (Before the Sun Rises), Medea, I’d Rather Goya Robbed Me of My Sleep Than Some Other Arsehole, No Place Like Home

Recent credits include: La Tragédie De Carmen (Royal Opera House, Wilton’s Music Hall); Frau Welt (Hackney Showroom); Cosminc Scallies (Royal Exchange & Graeae); How I Hacked My Way Into Space (UnLimited Theatre, Tour); Bullish (Milk Presents); The Shape of Pain (China Plate Theatre; Fringe First Winner); Burning Doors (Belarus Free Theatre); Bodies (Royal Court); Nest (Brighton & Take Off Festivals); How My Light is Spent (Royal Exchange); The Bear & The Proposal (Young Vic); Scarlett (Hampstead and Theatr Clywd); Years of Sunlight (Theatre 503); The Twits (Curve Theatre, Leicester); Removal Men (The Yard Theatre, Knight of Illumination Nomination); Broken Biscuits (Paines Plough); The Future (Company Three); Contractions (Sheffield Crucible); Julie (Northern Stage); We’re Stuck! (China Plate); Giving (Hampstead);  The Rolling Stone (Orange Tree Theatre); The Glass Menagerie (Nuffield Theatre, as Video Designer); The Merchant of Venice, Wuthering Heights, Consensual (Ambassadors Theatre); The Crocodile (Manchester International Festival); One Arms (Southwark Playhouse); The Trial Parallel, A Streetcar Named Desire Parallel (Young Vic); Amadis De Gaulle (Bloomsbury Theatre); Beckett Season (Old Red Lion); The Deluge (UK Tour, Lila Dance); Usagi Yojimbo (Southwark Playhouse); Pioneer (UK Tour, Curious Directive); Thumbelina (UK Tour, Dancing Brick).

More info at: www.joshuapharo.com

Brothers Ben and Max Ringham have worked together in music for over 15 years. Initially as Narcosis producing Drum and Bass and Breakbeat for seminal dance label React, then as two thirds of avant-pop band Superthriller with whom they have released four albums, toured extensively in the UK and Europe, played to large festival crowds and supported Beck on the European leg of his Guerro tour.

In 2001 they became associate artists with the Shunt collective, collaborating on large scale site specific shows such as Dance Bear Dance (2002), Tropicana (2004) and Amato Saltone (2006). The last two of these were supported by the National Theatre and this led to an invitation from Nicholas Hytner to score Henry IV (2005) in the Olivier theatre.

To date Max and Ben have produced scores and sound designs for in excess of 40 major productions and have worked extensively in the West End, the National Theatre and RSC. They continue to be associate artists with Shunt and have collaborated on dance pieces with The Place and Sadlers Wells.

Ed is a Production Manager working in the UK and Worldwide. 
 
Recent projects include Impossible (a world tour for Jamie Hendry Productions); Mozart vs. Machine (Mahogany); Austentatious(West End for Underbelly); Cathy (Cardboard Citizens); Disco Pigs (Tara Finney Productions); Black and Gold, a Google Christmas Party at the Roundhouse; a series of Star Wars launch events for HP, and The Grand Journey, a European tour for Bombay Sapphire. 
 
Ed has worked for the Sound departments of the RSC, Royal Ballet, Regents Park Open Air, The Globe, Tricycle and various concert venues. He also dabbles in video design and provides broadcast engineering support for the BBC. 
 
Ed has a Postgraduate Engineering degree from University of Warwick and grew up in London and Norfolk.
Trained at the Royal Welsh College of Music and Drama.

Previous credits at the Gate include: I Call My Brothers, Assata Taught Me, Twilight: Los Angeles, 1992.

Stage Manager credits include: #Hashtag Lightie, Thebes Land (Arcola Theatre); Pixel Dust/Wondr (Metta Theatre);  Upper Cut (W14 Productions, Southwark Playhouse); Sweet Charity (NYMT, Leicester Curve);  Danny the Champion of the World (London Contemporary Theatre, UK Tour); Lizzie Siddal (Peter Huntley Productions, Arcola Theatre).

Deputy Stage Manager credits include: House/Amongst the Reeds (Clean Break, Yard Theatre); The Buskers Opera (Park Theatre); Lotty’s War (Yvonne Arnaud, UK Tour); An Incident at the Border (Finborough Theatre/Trafalgar Studios 2).

Assistant Stage Manager credits include: The Importance of Being Earnest (Royal Opera House, Barbican Theatre); Alice’s Adventures in Wonderland (Opera Holland Park); Dancing at Lughnasa (Theatre by the Lake); Spamalot (ATG, Playhouse Theatre); Farragut North (Southwark Playhouse). 
Trained at LAMDA

Stage Manager credits include: Margherita (Wexford Festival Opera); Carlos Acosta’s Classical Farewell (The Royal Albert Hall); Lela & Co. (Royal Court Theatre); Cubania (The Royal Opera House); Inala (UK tour).

Company Stage Manager credits include: The Dark Mirror (The Lincoln Center, National Theatre of Taichung, The Barbican); The Firework Maker’s Daughter (The Royal Opera House); The Virtues of Things (The Royal Opera House).

Deputy Stage Manager credits include: The Corridor and The Cure (Holland Festival / Aldeburgh); The Cunning Little Vixen (Garsington Opera); La Bohéme (Royal Albert Hall); How the Whale Became (Royal Opera House); Lionboy (Complicite UK and international tour); Carmen (Royal Albert Hall).
Half French, half Mexican, Pia Laborde Noguez graduated from RADA in 2012. Credits include: In the Beginning was the End (DreamThinkSpeak); 5 days in March and Current Location (Fellswoop Theatre); The Seagull (Célébration 43); Boat (Pigdog productions); The Tempest (Norfolk and Norwich Theatre Festival); Los Paisajes (Linterna Films); The House of Bernarda Alba (Cervantes Theatre). 
This is Zephryn's first appearance at the Gate.
 
Previous theatre credits include:  The Tempest (Stafford Shakespeare Festival); Result (Pleasance Theatre); Rachel (Finborough Theatre); The Man in the Green Jacket (Jermyn Street Theatre); The Jungle Book (The Birmingham Stage Company); Sirens of Titan (London Bubble Theatre); The Island (Union Theatre); The Unfortunate Love of the British Empire (Sketchbook); The Tempest (Oval House); Romeo and Juliet (Oval House); The Crucible (Talawa).
 
Television credits include: Doctors (BBC); Urban Myths: When Cary Grant Introduced Timothy Leary to LSD (Sky Arts); Brothers with No Game; The Hour (Kudos, BBC).
 
Short film credits include: White (The Frame 25); Run It Off (BFI and Creative England).
 
Film credits include: Magical Thinking (DessyMak Productions); Dirty Money (Insight Films).
 
Zephryn also won the Screen Nation Favourite Actor award and was nominated for ‘Best Actor’ at the BIFF Awards and the Break-a-Leg Awards.

Trained in architecture, Bethany is a performance designer working across dance, theatre and installation, with particular interest in site-specific and devised performance. Her starting point is always to explore how space communicates through time in performance. She see design as a form of activism; she is interested in exploring what can be achieved politically and socially by the collective live experience of performance.

2017

All We Ever Wanted Was Everything, Middle Child, Paines Plough Roundabout, August 2017, Cosmic Scallies, by Jackie Hagan, Graeae + Royal Exchange, Summerhall, August 2017, We Were Told There Was Dancing, Royal Exchange Young Company, August 2017, Party Skills for the End of the World, Nigel Barrett and Louise Mari, Manchester International Festival, June 2017, All We Ever Wanted Was Everything, Middle Child, Welly, Hull, June 2017, Dark Corners, Polar Bear, Battersea Arts Centre, April 2017, A Studio Season: Three devised adaptations, Royal Central School of Speech and Drama in association with Complicite

2016

Removal Men, Yard Theatre, Dark Corners, Polar Bear, BAC, Seen and Not Heard, Complicite Creative Learning, Southbank Centre, Desire Paths, Third Angel, Sheffield Crucible Fun Palaces, TANJA, SBC Theatre, FADoubleGOT, Jamal Gerald, Assisted Suicide: The Musical, Southbank Centre, The Factory, Royal Exchange Young Company, THE FUTURE, Company 3, Yard Theatre, 10,000 Smarties, Josh Azouz, Old Fire Station, Oxford, FUSE, Sheffield Crucible Studio, Late Night Love, Eggs Collective, Live Art Dining, Live Art Bistro, Race Cards, Selina Thompson, Correspondence, Old Red Lion Theatre, Dancing Bear, West Yorkshire Playhouse + Contact Theatre, A Local Boy, Invertigo, Partus, Third Angel, Sheffield Crucible Studio.

2015

Trois Ruptures, Chelsea Theatre, The NEST, Z-Arts, Bubble Schmeisis, Camden People's Theatre, The Win Bin, Old Red Lion Theatre, My Eyes Went Dark, Finborough Theatre, The Unfair, Theatre in the Mill, The Winter's Tale, Orange Tree Theatre, Dancing Bear, Live Art Bistro, WINK, by Pheobe Eclair-Powell, Theatre 503, There, There, Stranger, John Ross Dance, Sadlers Wells + The Place, in association with MOKO Dance.

2014

All I Want, Jackson's Lane, Wilding, Kew Gardens, Disnatured, Shakespeare in Shoreditch, RIFT / New Diorama, The Immortal Hour, Tarquin Productions, Finborough Theatre, Impossible Lecture, Beacons Festival, 17, Finborough Theatre, Canterbury Tales, Impulse Collective, New Diorama, Spokesong, Finborough Theatre, It Burns It All Clean, Selina Thompson, West Yorkshire Playhouse.

Jude Christian is a director, writer & performer. She is an Associate Artist at the Gate Theatre and the Lyric Hammersmith. She previously directed I’d Rather Goya Robbed Me of My Sleep Than Some Other Arsehole for the Gate in 2014.

Her directing credits also include My Mum's a Twat, Bodies, Lela & Co. (Royal Court Theatre); Parliament Square (Royal Exchange Theatre; Bush Theatre); Jack and the Beanstalk (Lyric Hammersmith); Split/Mixed (Maliza Productions).
As an Associate Director her work includes The Darkest Corners (Transform); Aladdin, Shopping and Fucking (Lyric Hammersmith), and Carmen Disruption (Almeida Theatre).
 

Maja Zade is a dramaturg at the Schaubühne Berlin, where she has worked with directors such as Thomas Ostermeier, Ivo van Hove, Luk Perceval, Benedict Andrews and Marius von Mayenburg. Her translations into German include works by Lars von Trier, Arnold Wesker and Caryl Churchill, and she has translated into English works by Marius von Mayenburg, Roland Schimmelpfennig, Lars Norén and Falk Richter.
Falk Richter is one of the most important German playwrights and directors of his generation. His plays have been translated into more than 25 languages and are produced all over the world. His plays include For the Disconnected Child, Rausch (written with Anouk van Dijk), Play Loud, My Secret Garden (written with Stanislas Nordey), Damaged Youth, State of Emergency, The Disturbance, Seven Seconds (In God We Trust), God Is A DJ. Apart from writing and directing his own plays, Richter has directed Shakespeare, Chekov, Schiller, Brecht, contemporary writers including Caryl Churchill, Harold Pinter, Martin Crimp, Sarah Kane and operas by Tchaikovsky, Strauss and Weber.

22 February – 17 March

Trust

Box office: 020 7229 0706

Press night
  • Monday 26 February 2018

Caption night
  • Performance and post-show talk is captioned
    suited for those who are deaf/hard-of-hearing
    or use English as a second language
    
    Tuesday 6 March 2018

Young People's night
  • £7.50 tickets for Under 26's
    Friday 9 March 2018