Productions ( 2010 - )

 Origins of Love: A Shakespearean Cabaret

A theatrical cabaret conceived by Random Acts' Stateside Artistic Director, Khnemu Menu-Ra, the original revue wove a narrative thread assembled from the works of Shakespeare and musical selections that ranges from Stephen Sondheim to Trent Reznor to the Lebanese-British singer-songwriter Mika, Origins of Love proved a resonant exploration of the many variants of what society defines as love, from the wrenching to the staid, the frivolous to the mournful.

An official selection of The St. Louis Fringe Festival, Origins of Love saw Menu-Ra's revisiting the cabaret form more than a decade following Trunk Songs - one of Rand Acts Theatre's two inaugural pieces - to wide acclaim and the intention of expanding upon and restaging the production in Chicago in the coming year.

NARRATIVE: A Play by Adam Brummitt

'What is it…? NARRATIVE offers audiences a theatrical experience without presumption, preconception, definition, or, indeed, expectation. Doesn't it…? It is unproven, its audience unproven, the darkness from which it emerges unproven, an unproven darkness. It is all unproven, it is you…unproven.

In a postdramatic style harkening to the works of Handke, Crimp, and Crouch, NARRATIVE pronounces all, and all unproven. More might be offered in the ways of the particulars of plot, character, and so forth…were that to have any application to this piece.

Stephen Fechter's The Woodsman

Steven Fechter's The Woodsman: The portrait of the life of a once brilliant craftsman, formerly convicted criminal, Walter, finds himself released from jail having served a sentence of twelve years. With few prospects and plagued by doubts of his ability to reform, Walter endures solitude, alienation, and contempt while desperately seeking his own redemption.

Adapted into the multi-award-winning 2004 film featuring Kevin Bacon and Mos Def, Fechter's play examines the various levels of prejudice to which we subject, and tolerance we allow those condemned and rehabilitated in the eyes of the law, and our insistence on keeping them condemned in our own.

REVIEW by Bellinda Dylan: 'Eloquent and Considered'; Devon Life
REVIEW: 'Unpleasant subject bravely dramatised...'; Remote Goat
PREVIEW: 'Controversial Play is a First'; The Express & Echo

The Gog/Magog Project by Jason Lindner

More than eight years ago, performance artist Alexander Gog contractually agreed as a form of social protest to be caged for a period of one year. During the intervening year, due to the death of those with whom the project began, The Gog/Magog Project continues with its performer having remained detained surviving exclusively on Banana Flavored 'Moon Pies'. The Gog/Magog Project has long been a source of controversy, many arguing that the artist should be released despite his seemingly voluntary imprisonment. It has caused a stir in its constant international touring.

Brought to The UK for its national premiere, The Gog/Magog Project continues to prove an alternative theatre experience that cannot (or rather, perhaps should not) be duplicated.

REVIEW by Jenna Richards: 'A Bizarrely Brilliant Show'; PHONIC FM
REVIEW by Arthur Duncan: 'Adam Brummitt deserves a 5 star accolade...'; Remote Goat

This Go 'Round by Adam Brummitt

No less aware of you than you of them, Adam Brummitt's This Go 'Round introduces to its audience the characters of Look and Listen; provided scarce more than a pool of light, the two grapple with the consciousness conferred to them by their author. Though more unnerving than the knowledge of their being characters of play, embodied by actors, constantly under the surveillance of 'the others' is their knowledge of their inevitable finale as lights fade and audience applauds.

In the modernist tradition of Beckett, Pirandello, and Stoppard, drama is given a collisional dimension of its own. As examination of the ambiguous divide between perceived reality and assumed fiction, Random Acts Theatre presents the first play in the forthcoming Void Cycle.

Closer by Patrick Marber

With the success of it's autumnal production of Jean-Paul Sartre's 'Huis Clos (No Exit)' this November past, Random Acts Theatre Company returns to The Barnfield Theatre with Patrick Marber's 'CLOSER'.

Unabashedly challenging the sanctity of such notions as romance, fidelity and love itself, the play serves as another cogent and provocative production of Random Acts Theatre in their tradition of exposing the bare realities so often under rug swept. Set amidst the maddening traffic and congestion of life in London Central, 'Closer' offers a portrait of four lives intertwined on the auspice of love and all the illusion that lie therein.

Examining the inherent hypocrisies akin to contemporary concepts of love made romance, romance made obsession, and obsession made misery, the play serves as an unflinching reflection on the folly and incompatibility of love when human hearts enter the equation.

REVIEW by Damian Furniss: 'Random Acts did it justice...'; PHONIC FM

Huis Clos (No Exit) by Jean-Paul Sartre

Jean-Paul Sartre’s Huis Clos (No Exit):  The author, philosopher, and playwright’s theatrical ode to to existentialism sees an imbroglio of three characters all fated knowingly to spend eternity together in the austere quarters of a stark drawing room.

In their time with the audience, the characters will devise any tactic to serve their purpose in a psychological struggle for power under hopeless circumstance. Sartre’s classic meditation on the specific hells one imposes on ones self and those imposed by others will be presented as an exploration of the depths to which a life can be reduced under the most dire of circumstances.

Under the direction of Adam Brummitt, the characters of Garcin, Estelle, and Inez will find no comfort and no escape behind closed doors.

Death etc by Harold Pinter

Death etc. reveals Pinter's passions with poignant and powerful writings about war in our time.

From chilling psychological portraits of those who commit atrocities in the name of a higher power, essays on the state-sponsored terrorism of present-day regimes, to solemn hymns commemorating the faceless masses that perish unrecognized.

Winner of the 2005 Nobel Prize for literature.