* indicates required

26 February – 21 March

A co-production between Paul Jellis and the Gate Theatre, in association with the National Theatre Studio: The JP Morgan Award for Emerging Directors production.

The Rise and Shine of Comrade Fiasco

Book Tickets

Box office: 020 7229 0706

Key dates

£10 Gatecrasher dates
  • Thu 26 Feb, 7.30pm 
    Fri 27 Feb, 7.30pm
    Sat 28 Feb, 7.30pm
    Tue 3 Mar, 7.30pm 
    Sat 7 Mar, 3pm 
    Sat 14 Mar, 3pm 
    Wed 18 Mar, 3pm 
    Sat 21 Mar, 3pm 

Press night
  • Mon 2 Mar, 7pm  

Captioned Performance
  • Thu 12 Mar, 7.30pm

By Andrew Whaley

Directed by Elayce Ismail, winner of the JP Morgan Award for Emerging Directors

Fiasco! Freedom Fighter. Fiction, fake or fact. Comrade Fiasco. The man who came out of a cave, seven years after the fact of independence, the memories of war still clinging to his skull like spoils.
Zimbabwe, 1986. Chidhina, Febi and Jungle are being held in prison after a brawl. A mysterious figure, Fiasco, appears in their cell claiming to be a freedom fighter who has spent many years hiding in a mountain cave, unaware Zimbabwe is finally free from British colonial rule.

As the cellmates attempt to piece together Fiasco’s confused experience of the war and journey through his extraordinary story, they must discover if he’s really who he claims to be and confront their own memories of the struggle to ask: what is the true value of liberation?

The Rise and Shine of Comrade Fiasco is a co-production between Paul Jellis and the Gate Theatre, in association with the National Theatre Studio: The JP Morgan Award for Emerging Directors production.

The Rise and Shine of Comrade Fiasco is supported by the Jerwood Young Designers Programme.

Part of the Freedom Burning season. 
Buy both shows, The Rise and Shine of Comrade Fiasco and Eclipsed for only £30.






Book Tickets

Mon - Sat 7.30pm 
Sat 3pm 

The Rise and Shine of Comrade Fiasco is supported by the JP Morgan Award for Emerging Directors.  It is also part of the Jerwood Young Designers Programme, supported by the Jerwood Charitable Foundation.

The Gate's work is made possible by public funding from Arts Council England.

Special thanks to Jon and NoraLee Sedmak.

We are deeply grateful for the faith in our work shown by our funders.



Anna Lewis +

Associate Designer

Sophie Moniram +

Assistant Director

Pete Maxey +

Technical Assistant

Emma Hayward +

Set Builder

Duncan Morris +

Scenic Artist

Rachel Rieley +

Stage Manager

Michael Ager +

Production Manager

Hazel Holder +

Voice & Dialect

Charlotte Sutton +

Casting Director

Richard Hammarton +

Sound Designer

Lee Curran +

Lighting Designer

Elayce Ismail +

Director - Chorus

Theatre credits include: War Horse (National Theatre/West End), Joe Guy (New Wolsey/Soho Theatre), Don Juan in Soho (Donmar Warehouse), The Exonerated (Riverside Studios/Dublin Festival).
Television credits include: Doctors, MI High, Doctor Who, Roger Roger III (BBC), Hacks, Outnumbered (Hat Trick), Strike Back 2 (Left Bank Pictures), Victoria Wood Christmas Special (Phil McIntyre Television), The Bill, Casualty (TalkBack Thames), Dubplate TV (Channel 4), The Hidden City (Hallmark).
Film credits include: Flyboys (Electric Ent.), Animal (Animal Productions), Sahara (Sahara Productions), Welcome Home (Wega Film), Love, Actually (Richard Curtis)
Joan Iyiola returns to the Gate to play Prudence and recent theatre credits include They Drink It In The Congo (Almeida), Omeros (Shakespeare’s Globe), Eclipsed and The Rise and Shine of Comrade Fiasco (Gate Theatre), Season in The Congo (Young Vic), The White Devil, Arden of Faversham, The Roaring Girl, The Orphan of Zhao, Boris Godunov and A Life of Galileo (RSC).

Television credits include New Blood
Kurt graduated from Guildhall in 2011. He won the Spotlight Prize in 2010 and was nominated for the Ian Charleson Award, for the best classical stage performance by an actor under 30.
Theatre Credits Include: Richard III (The Belasco Theatre), Twelfth Night (The Belasco Theatre), Season in the Congo (Young Vic Theatre), Berenice (Donmar Warehouse), Henry V (Shakespeare’s Globe), Earthquakes in London (Headlong), King Lear and The Frontline (Both Shakespeare’s Globe).
Upcoming Film Credits: Pan and Beasts of No Nation.
Film Credits Include: Kill Your Friends and Skyfall.
Theatre Credits Include: Banksy: The Room in the Elephant (Tobacco Factory), You Know Who You Are (Talawa Theatre), Banksy: The Room in the Elephant (Edinburgh and Tour), Blue Remembered Hills (Chichester Festival), Sucker Punch (Royal Court), Family Man (Stratford East), Top Dog Under Dog (Sheffield Crucible), The Memory of Water (Watford Palace Theatre), Generations of the Dead in the Abyss of Coney Island Madness (Contact Theatre), Ticker Tape And V Signs (7:84 Theatre Co), Welcome Home Jacko (BTC New York), Moby Dick (Royal Exchange Manchester), God’s Second in Command (Royal Court), Alterations (Stratford East), Club Mix (Riverside Studios) and Black Poppies (National Studio).
Television Credits Include: The Interceptor, Doctors, Common Ground, Crime Stories, Hustle, Casualty, Kerrching, Little Britain, Holby City, Eastenders, Family Affairs, The Bill, Absolutely Fabulous, Born to Run, Glam Metal Detectives, Shall I Be Mother, Murphy’s Mob, Lenny Henry Show, Honeymoon, Just Like Mohicans, Club Mix, Radical Chambers, I Love Keith Allen, Making Out, Crying Game, Wail of the Banshee, Space Virgins From Planet Sex Queen of the Wild and The Detectives.
Upcoming Film Credits: In the Heart of the Sea
Film Credits Include: Cockneys Vs Zombies, Til Death Do Us Part, Wit, The Imitators, Driven, Memoirs of a Survivor, Fords on Water, Absolute Beginners, Playing Away, Cresta Run and White Mischief.
Since graduating from the University of Oxford, Anna has worked as a set and costume designer on a wide range of projects both in theatre and film. Most recently she has designed Rosencrantz and Guildenstern are Dead (Oxford Playhouse); East End Boys and West End Girls (Arcola Theatre and tour), and Three Writers Walk in a Forest (Theatre 503). She has also worked as a designer at the Park Theatre, the Finborough Theatre, the Buxton Opera House, the Greenwich Theatre and Vault Festival.

For the past year Anna has been working on a variety of projects at the National Theatre, based primarily in the Costume Department, including costume supervising the annual Fast Forward Gala.

She is a member of the costume team for Secret Cinema and has worked on nine productions for them including, Back to the Future; the British premiere of The Grand Budapest Hotel and Star Wars: The Empire Strikes Back.

Anna is a Jerwood Young Designer and has previously worked with Rosanna as her assistant on The Rise and Shine of Comrade Fiasco at the Gate Theatre, Notting Hill.

Upcoming work includes Life According to Saki which will also be showing at the Edinburgh Festival.
Sophie Moniram is a graduate from Mountview Academy’s Theatre Directing MA. Directing credits include The Five Stages of Waiting by Caro Dixey, (Tristan Bates Theatre in association with Greenwich Theatre), F**king Outside the Box by Jessica Burgess, (The Vaults), Indian Summer by Lucy Maurice, (White Bear Theatre), Creditors by August Strindberg in a version by David Greig, (The Cockpit Theatre), The Star- Spangled Girl by Neil Simon, (Karamel Club), Purgatorio by Ariel Dorfman, (Karamel Club), Breaking 30’s Halloween Cabaret, musical director: Collin Sell, (Worlds End Studios) and Brahman/i by Aditi Brennan Kapil, co-director, (RADA: John Gielgud Theatre).

She has directed new writing for companies including Writer’s Avenue at Soho Theatre, Heavy Weather at Park Theatre, Writer’s Bloc at Charring Cross Theatre and for Rapid Write Response at Theatre 503. She is currently directing a bilingual production of The Lark by Jean Anouilh including translation by Christopher Fry, (The Cockpit Theatre and The Rose Playhouse). 
Michael is a Freelance Theatre Production Manager. He previously worked at the Young Vic Theatre as Technician and Production Manager for the Taking Part Department (2007 – 2013), where he production managed numerous projects with Young People, Schools, Local Community and Young Directors in the Clare and Maria Theatres.

Previous productions at The Gate: The Edge of Our Bodies; The Rise and Shine of Comrade Fiasco.

Recent productions include: Man (Young Vic); Flat Stanley (Engine House); Who Do We Think We Are? (Visible Ensemble); The Saints and The Best Christmas Present in the World (Nuffield Playing Field, Southampton); In Lambeth (Spell Bound Productions); Debris (Open Works); The Cutting of the Cloth, London Wall and What The Women Did (Two's Company Productions); Tutto Bene Mama, The Last Yankee and Ignis (The Print Room); Donny's Brain, Godchild, Fault Lines, The Blackest Black and In The Vale of Health (Hampstead Theatre); Early Days (Of a Better Nation) (for Coney at Battersea Arts Centre, Warwick Arts Centre & Frascati Theater Amstersam). 
Hazel completed her MA in Voice at Royal Central School of Speech & Drama.
As a performer her theatre includes: Here We Go, As You Like It (choir), Medea and Death and the King’s Horseman at The National; Here All Night and Zero for Clod Ensemble; The Bakkhai at The Almeida; The Tempest at the RSC; Journey to Freedom for Marginal Voices; Dart’s Love at Tete-aTete Opera Festival; Cave of Wonders and Tamba Tamba for Tiata Fahodzi; White Suit, Dalston Songs (also ROH) and Songs of Exile (also ROH) for Helen Chadwick Song Theatre; The Bacchae at the Royal Exchange, Manchester; Six Characters in Search of an Author for Headlong; The Bacchae for National Theatre of Scotland and the Lincoln Center, Broadway; Fingerprint (ROH2), Critical Mass and Lip for The Shout; Myths and Hymns at the Finborough; Captain Oates’ Left Sock for the Royal Court 50th Anniversary; Mercy Fine for Clean Break; The Lion and the Jewel and Trojan Women – Women of Owu for Collective Artistes; The Sleeping Beauty for the Young Vic, the Barbican and on Broadway; Mourning Song for Black Mime; Maskarade for Talawa; and Carmen Jones and Ain’t Misbehavin’ in the West End.
TV: includes EastEnders, Judge John Deed, Doctors, The Cambridge Spies and The Bill. Films: The Followed. Radio: Something Understood, Death and the King’s Horseman, The Ern & Vern Show, Roots, Solomon Child and Telephone in the Deep Freeze.
Hazel is lead vocalist with jazz band The Rag’n’Bone Club and also a member of a cappella group The Helen Chadwick Group.

As a Voice, Accent & Dialect Coach:
Barber Shop Chronicles, Angels in America, Les Blancs and Ma Rainey’s Black Bottom for the National; Guys & Dolls for Talawa Theatre Company & The Royal Exchange; Caroline, or Change for Chichester Festival Theatre; The Mountaintop and The Emperor for The Young Vic; Half Breed and Girls for Talawa Theatre Company & Soho Theatre; Grimly Handsome, Bodies, Pigs & Dogs and Father Comes Home from the Wars for the Royal Court; Cuttin’ It for Young Vic and The Royal Court; Soul for Royal & Derngate and Hackney Empire; The Rolling Stone for The Orange Tree Theatre and The Royal Exchange Theatre; F*ck The Polar Bears for The Bush; Misanthropes for Old Vic New Voices Festival; Eclipsed and The Rise & Shine of Comrade Fiasco for The Gate; The Initiate for Paines Plough; Hatch, Soap Box and Lie With Me for Talawa Young Peoples Theatre; HAMBA and The Epic Adventure of Nhamo for Tiata Fahodzi.  Guildhall School of Music & Drama, RADA, ALRA, Arts Ed, Royal Central School of Speech & Drama; NT Education Dept.
Dialect work for TV: In The Long Run; Poldark; No Offence; Broken; Dr Pepper.
Hazel was Resident Director for the premier London production of Dreamgirls 2016-2017
Hazel volunteers with Marginal Voices, a charity that helps trafficked women dramatise their experiences.
Richard Hammarton is a freelance sound designer. His previous Gate Theatre credits include The Rise and Shine of Comrade Fiasco.

As Sound Designer his credits include: Low Level Panic (Orange Tree), Luv (Park Theatre), Orca, Tomcat (Papatango), Girls (HighTide), Burning Doors (Belarus Free Theatre), Much Ado About Nothing, Jumpy (Theatr Clwyd), Linda (Royal Court), Crushed Shells and Mud (Southwark Playhouse), The Crucible (Manchester Royal Exchange), Sunspots (Hampstead Theatre), Deposit (Hampstead Theatre), Grimm Tales 2 (Bargehouse, Oxo Tower Wharf), Beached (Marlowe Theatre/Soho Theatre), Ghost from a Perfect Place (Arcola Theatre), The Crucible (Old Vic), Dealer’s Choice (Royal and Derngate), Kingston 14 (Theatre Royal Stratford East) and A Number (Nuffield Theatre/Young Vic).
For The Gate: Unbroken
Other theatre includes: Constellations (New York/West End/Royal Court- Olivier nomination ‘Best Lighting Designer’); Hamlet, Much Ado About Nothing, Blindsided (Royal Exchange Manchester); Love’s Sacrifice, Arden of Faversham (Royal Shakespeare Company); Mametz (NT Wales); Protest Song (National Theatre, Shed); A Number (Nuffield); The Jungle Book (West Yorkshire Playhouse); Regeneration and Dancing at Lughnasa (Northampton); The Sacred Flame (ETT/Rose Kingston) and Clytemnestra (Sherman Cymru).
Dance credits include Sun, Political Mother, The Art of Not Looking Back, In Your Rooms, Uprising for Hofesh Shechter, and work with Rambert, Alexander Whitley, Liz Roche, James Cousins, Rafael Bonachela,  Jonzi D, and Candoco.

Opera credits include Nabucco (Opera National de Lorraine) and Ottone, Life On The Moon (English Touring Opera).
Rosanna Vize is a freelance theatre designer. She graduated from Bristol Old Vic Theatre School in 2013 when she became one of 12 finalists for the Linbury Prize of Stage Design.

She has previously worked for the Gate Theatre on The Rise and Shine of Comrade fiasco in 2015, the design for which was nominated for an off west end award for best set design.

Other work includes: Infinite Lives by Chris Goode, Coastal Defences, Banksy: the Room in the Elephant by Tom Wainwright(Tobacco Factory Theatre). The Tinder Box, Joan of the Stockyards, A Thousand Seasons Passed, Talon, The Last days of Mankind, Dark Land Lighthouse (Bristol Old Vic). Measure for Measure, Black Sheep (Oxford School of Drama). Edward Gants Amazing Feats of Loneliness by Anthony Neilson, The Wicked Lady by Bryony Lavery (Bristol Old Vic theatre School). A Midsummer Nights Dream (Garsington Opera & RSC). Noye’s Fludde (Kneehigh Theatre). Don Giovanni (Hampstead Garden Opera. The Picture of John Gray (The Old Red Lion). Howard Barker Double Bill (Arcola Theatre).

Current work includes  FUP (Kneehigh Theatre), Girls (Soho Theatre, Talawa theatre & Hightide), After October (Finborough Theatre.)

Rosanna has also worked regularly as an assistant to Anna Fleischle and was the resident assistant designer for the RSC between Sep 2014-Sep2015.
Paul Jellis is a producer who mostly works in new writing. He is Executive Producer for the award-winning and internationally acclaimed new writing company nabokov, recently producing SYMPHONY by Ella Hickson, Nick Payne and Tom Wells at Edinburgh Fringe, Birmingham Rep and Soho Theatre, INCOGNITO by Nick Payne at HighTide Festival, Live Theatre and The Bush, and the New York transfer of BLINK by Phil Porter with Soho Theatre. nabokov are an associate company of Watford Palace Theatre and Soho Theatre, and have produced work all over the UK and on 3 continents.
Paul is also a founder of the interactive, site specific and immersive theatre company Bad Physics and has produced all of their work to date. Bad Physics have made work with a wide variety of theatres, institutions, venues and companies including Manchester Royal Exchange, Mercury Theatre Colchester, Latitude Festival, Southwark Playhouse, HighTide Festival, BAC, Royal Horticultural Society, Clerkenwell Design Week, Ray Ban and Courvoisier.
Paul also works widely in a freelance capacity, most recently producing the UK Première of BEACHED by Melissa Bubnic with the Marlowe Theatre, which transferred to Soho Theatre, and is returning to The Gate following his production of the UK Première of GRUESOME PLAYGROUND INJURIES by Rajiv Joseph in 2013.

Elayce Ismail was awarded the JP Morgan Award for Emerging Directors 2014/2015, under which she was Resident Director at the National Theatre Studio and directed Andrew Whaley’s The Rise and Shine of Comrade Fiasco at the Gate Theatre. She was co-founder/Artistic Director of Offstage Theatre from 2005 – 2009 and trained at LISPA.
Direction includes: The Iphigenia Quartet, The Rise and Shine of Comrade Fiasco (Gate Theatre); Schools Theatre Production, Simpatico (Young Vic); The Lost Ring (NT/Deutsches Theater Berlin); Treasure Island: Making a Scene, Alfred Fagon Award: GIRLS, Black Plays Series readings (NT); Struggle (Talawa Firsts, London & Bristol Somali Festivals); Bed & Breakfast (Brighton Fringe Festival & tour).
Associate/assistant direction: The Virtues of Things (Royal Opera House); The Sound of Yellow, A Season in the Congo (Young Vic); Coming Home (Arcola Theatre).
Puppetry: Dr Korczak’s Example (Unicorn Theatre); Fast Burn (Kneehigh/NYT).
Performance: The Magic Flute (Complicite/ENO); Ring-a-Ding-Ding (Oily Cart); In A Pickle, (Oily Cart/RSC).

Elayce will be directing Chorus for The Iphigenia Quartet

Andrew Whaley was in the forefront of post-independent Zimbabwean dramatists, with plays like The Nyoka Tree, Platform 5, and Fiasco, as well as multi-media performances like Human Tales, Meteoric Trails, and screenplays: Yellow Card, More Time, Everyone’s Child. After moving to South Africa in 2001 he developed radio and television drama all over Africa including the hugely popular Swahili series, Siri ya Mtungi, and co-produced an African football documentary, Black Stars: An African Odyssey for Channel 4, UK. The BBC broadcast his plays, Great Escape and Banished: Mugabe of Zimbabwe. He directed There Is No Canaan On Earth for BBC Spice Taxi. He wrote a book on South African pop diva, Brenda Fassie, and co-authored The Vuvuzela Revolution: Anatomy of South Africa’s 2010 World Cup.

Fiasco was first performed in Harare in March 1990. The play won an Edinburgh Festival Fringe First that year. It was published by Anvil Books, and then Methuen in its first anthology of contemporary African theatre.

26 February – 21 March

A co-production between Paul Jellis and the Gate Theatre, in association with the National Theatre Studio: The JP Morgan Award for Emerging Directors production.

The Rise and Shine of Comrade Fiasco

Book Tickets

Box office: 020 7229 0706

Key dates

£10 Gatecrasher dates
  • Thu 26 Feb, 7.30pm 
    Fri 27 Feb, 7.30pm
    Sat 28 Feb, 7.30pm
    Tue 3 Mar, 7.30pm 
    Sat 7 Mar, 3pm 
    Sat 14 Mar, 3pm 
    Wed 18 Mar, 3pm 
    Sat 21 Mar, 3pm 

Press night
  • Mon 2 Mar, 7pm  

Captioned Performance
  • Thu 12 Mar, 7.30pm