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Tales from the Golden Age:
Eighteen award winning monologues performed at The White Bear Theatre in September and October 2020, at The Canal Café Theatre in December 2020, at The Hen & Chickens Theatre in June and July 2021, at The White Bear Theatre in July and in September 2021, at the Brighton Fringe Festival in May 2022 and most recently at The White Bear Theatre in June and July 2022.
Sixteen filmed monologues are available on YouTube, Facebook & Utreon (eight of which were part of the Living Record Festival in February 2022).
Seven of the monologues have been published as audio recordings and are available on Google Play and other platforms.
Love in the time of Corona
Joint winner in its category at The Vesuvius International Film Festival in February 2021
Jake only wants one thing from women. He uses dating apps to hook up with a different woman every night and he definitely doesn't do relationships. When the lock-down brings an abrupt halt to his hedonistic lifestyle he finds himself in the unusual situation of striking up a platonic friendship with Lauren. Over the course of their Zoom conversations, Lauren begins to challenge Jake's priorities and values.
Written and Directed by Ian Dixon Potter
Performed by Ivan Comisso at The Hen & Chickens Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
A filmed version of Love in the Time of Corona is available on YouTube
(Filmed by Ivan Comisso and edited by Howard White).
REVIEWS:
A timely and relevant production. Comisso puts in an engaging performance.
In a timespan of a few months, Jake has become a different person.
★★★★ London Theatre 1
"Comisso is very much “up close and personal” at all times. His natural exuberant gestures add to his personality as he performs. Once past the sleaziness of his mind, Jake’s evolution in the actor’s hands becomes compelling, and leaves the audience hoping things work out as the boy engages the mind of a more mature male" "It's very much down to the performance that the work feels fresh, and the second half in which a new perspective is introduced assists greatly the balance of originality which would make an audience watch. Worth engaging with, as it has plenty to say about the joy of a deeper one-to-one relationship in economical capsule form"
★★★★ Theatre Monkey
"Ivan Comisso plays him with a ready smile and a certainty about his own behaviour which gradually gives way to a more nuanced hesitancy and in the space of half an hour manages to take him from repellent childish misogynist to budding considerate adult – that Lauren must be really something. This is another pair of monologues which are skilfully written and delivered"
John Chapman '2nd From Bottom' Online Theatre Reviews
A Strange Romance
Can you fall in love with someone if you don't know their gender? Peter is about to find out when he falls for the sexually ambiguous ‘Blue’.
Their relationship poses a challenge to Peter’s identity, forcing him to face some difficult questions: To what extent are we all encouraged to conform to narrow culturally defined stereotypes, to label and to pigeon-hole ourselves? Are these labels a form of straight jacket, by adapting to them do we compromise our true nature and can we defy the ultimate label of gender?
Casting caution to the wind, Peter’s passion for Blue provokes prejudice and hostility from friends and family in a tale of sexual liberation and shattered taboos.
Written and Directed by Ian Dixon Potter
Performed by Razvan Suiogan at The Hen & Chickens Theatre & by Tom Everatt at The White Bear Theatre and at The Canal Café Theatre.
Original music composed and performed by Neil Thompson
Adapted from 'Boy Stroke Girl' by Ian Dixon Potter
A filmed version of 'A Strange Romance' is available on YouTube (performed by Thomas Everatt and filmed and edited by Howard White).
REVIEWS:
“A remarkably purposeful piece of Ian Dixon Potter's writing.”
“Theatre at its best is about creating a space to explore an idea. Among a fairly impressive vintage car collection, this play raises the bonnet to examine the engines of relationships from many contrasting angles.”
“an outside perspective allowing both contrast and commentary without distracting from the central character’s own dissection of his feelings.”
“Everatt is very much led by the dialogue. Howard White’s videography provides the cutaways and angles needed to bring pace to a necessarily slow exploration and final revelation. In fact, the ending is cuter than that”
“Unlike live theatre audiences being pushed at the moment into involuntary bubbles, this is a self-created one containing many fluid colours. To be allowed a glimpse inside is a rare and intriguing new experience worth seeking.”
★★★★★ Theatre Monkey
"Everatt is absolutely compelling in the role”
“A Strange Romance poses a simple question – if one is fortunate enough to fall in love with another human being, does it matter how the other define themselves in terms of gender? - Dixon Potter provides exactly the right answer to his own question.”
“Everatt persuades us that knowing or not knowing is missing the point about love.”
“A fiercely intelligent script” “Thomas Everatt’s faultless performance.”
★★★★ London Theatre 1
"Tales from the Golden Age, a series of monologues, has been one of the treats of the summer".
“Ian Dixon Potter’s series of monologues continues with this winning love story between a Cis man and a trans person"
“possibly Dixon Potter’s most ambitious tale so far”
“Despite the complex politics behind trans issues, Dixon Potter’s writing is plain, and never becomes didactic. With moments of gentle humour the story is unexpected, and across its 40-minute running time, it’s never quite clear where it’s headed.”
“Tom Everatt is eager and bright-eyed in his storytelling” “at the end of the monologue that we glimpse other layers to Peter’s character.”
“Dixon Potter plans to take five of these Tales of the Golden Age to the White Bear Theatre this autumn, and we can only hope that A Strange Romance is one of them.”
★★★★ The Reviews Hub
“Both Tom Everatt and Beata Taczalska have the measure of their characters and give committed and spirited performances ably directed by the writer himself.”
“an interesting experiment in wringing value from the monologue form”
“the two plays go right to the heart of the whole of the ongoing gender debate where the terminology surrounding identity seems to grow by the day"
John Chapman '2nd From Bottom' Online Theatre Reviews
Denial
Neville believes he has good reason to take a relaxed approach to social distancing. After all, his extensive online investigations have revealed the hidden reality behind the so-called pandemic. But will Neville's selfless actions present a real danger to the elderly residents at the sinister Mountview Towers?
In a post-truth landscape of fake news, misinformation and conspiracy theory, 'Denial' explores the dramatic consequence of one lonely man's attempt to make sense of a complex and frightening world.
Written & directed by Ian Dixon Potter
Performed by Neil Summerville at The Hen & Chickens Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
A filmed version of Denial (filmed by Neil Summerville and edited by Howard White) was banned by YouTube because their algorithms 'assumed' that the monologue supports 'Covid denial'.
REVEWS:
“YouTube bans videos by conspiracy theorists. This explains why writer and director Ian Dixon Potter had to send out downloads of this to reviewers rather than use his regular channel on that platform. Neil Summerville is on finest character form as Neville, fully-paid-up member of the 'Tin Hat' brigade.”
“Dixon Potter’s topical script is a very entertaining half hour topical sketch which will resonate with much of its audience and provide a useful sociological record of the time. With a deeply studied fun performance at its heart, and a few clever visuals, this is one worth watching online and should transfer well to the live stage once the subject is history.”
★★★★★ (four and a half Stars) Theatre Monkey
“A terrific piece of short theatre”
“Authenticity is a regular triumph for Golden Age Theatre, captured once more in the minimalist nature of detail. Its framing as an almost pirate video accentuates the feeling of a grotty secret, something we shouldn’t be seeing but can’t help watching. More worrying and exceptionally clever is the relatability to Neville in choice moments”
★★★★ The Reviews Hub
“When Neville develops a cough you think you know where this tale is headed but, in a neat twist, it is actually something far worse. Ian Dixon Potter’s script has gathered together the various half baked notions and twisted truths of the anti-lockdown/mask/vax brigade and put them into the mouth of Neil Summerville’s camply malevolent monster who chillingly thinks that HE is the voice of reason. It’s an insidiously powerful performance from the actor which finds all the laughs but is ultimately horrifying.
The direction of this half hour play was very well executed (also Ian Dixon Potter) and I loved the attention to detail. Neville’s little library contains popular fiction by Dan Brown, John Grisham and Michael Crichton, his spectacles are held together with sticky tape, and we are left in no doubt as to what we are supposed to think when he drinks from a mug with the slogan “Mad As A Hatter”. It’s a little gem of a piece; I’ve only just come across production company Golden Age Theatre and they have several other filmed performances which I’m certainly going to delve into spurred on by the quality I saw here."
John Chapman '2nd From Bottom' Online Theatre Reviews
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The Beast
A monumental ego and a self seeking ruthlessness have propelled Grossman to the top of his profession. An 'alpha male' in every sense, Grossman surrounds himself with flatterers and sycophants who fear and loathe him.
Knowing his reputation for preying on young female employees, Caroline keeps her distance but an opportunity to advance her career propels her into Grossman's lascivious clutches.
Written and Directed by Ian Dixon Potter
Performed by Melanie Thompson at The hen & Chickens Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
A filmed version of The Beast can be seen on YouTube (filmed by Ian Dixon Potter and edited by Howard White).
REVIEWS:
“Melanie Thompson's easy articulacy is engaging” “Fertile ground for debate in a way similar to Mamet’s “Oleanna” – where the lines and boundaries of morality are a valid subject for heated argument” “To say more would spoil the interest in this piece. Writing and acting are strong, and it is a worthwhile 28 minutes”
★★★★★ (four and a half Stars) Theatre Monkey
“One might not agree with Caroline’s course of action, but this is a thoughtful and compelling production. ” “An interesting take on what it is to climb the career ladder whilst making compromises along the way to achieve one’s ambitions” “Caroline’s engaging nature certainly helps keep the viewer interested"
★★★★ London Theatre 1
“Clearly a comment on the whole #MeToo movement of recent years, this is a tightly scripted and thought provoking piece where the actions and morality of both key characters are called into question. When a tragedy ensues the audience is left wondering to whom the title may refer." "This monologue series seems to be shaping up nicely and is certainly unafraid to tackle some of the big subjects of the day as evidenced here, in yesterday’s pair about gender politics and in the piece Denial about Covid conspiracy theorists.”
John Chapman '2nd From Bottom' Online Theatre Reviews
Call Back
After a botched attempt to repair a damaged smartphone, Danny has accidentally discovered a means of sending a message backwards in time. How is his serendipitous discovery linked to a series of freak storms and a mysterious epidemic which are devastating a small English town?
Written and Directed by Ian Dixon Potter
Performed by Diljohn Singh at The Hen & Chickens Theatre and at The White Bear Theatre and by Ramzi DeHani at the Canal Café Theatre.
Original music composed and performed by Neil Thompson
A filmed version of Call back is available on YouTube (performed and filmed by Thomas Everatt and edited by Howard White).
REVIEWS:
“Everatt works on a higher energy level than most actors, delivering an incongruous story with complete credibility and even more enthusiasm. It is a real pity television is a closed world and the new Doctor Who won’t be a newcomer, because this is a fresh Matt Smith who can deliver complex ideas with effortless simplicity"
“Less complicated than it sounds, and neatly tied off by explanations in the final scene" "This is a neat Philip K Dick style effort with an excellent central performance.
★★★★ Theatre Monkey
There’s a lot of detail in Call Back, which goes at quite a brisk pace. It may be a mindboggling story, but it’s also a very amusing one, with an excellent punchline at the very end. The direct engagement with the audience in both monologues ('Call Back' & 'Iago') helps to maintain interest, and overall, this was a brief but thought-provoking evening.
★★★★ London Theatre1
"Thomas Everatt brings infectious energy to the role of Danny particularly in the opening minutes where is bursting to tell us about his experience. His everyman quality is endearing and the fact that the character tries to do some good with his newfound device rather than use it for nefarious purposes puts us firmly on his side. Well, at least until the end when he makes a rather more morally dubious choice – even if it is a neat twist." "Short but sharp"
John Chapman '2nd From Bottom' Online Theatre Reviews
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Trivial Dispute
Two worlds collide when self made millionaire Trevor, owner of the third largest chain of tanning boutiques in East Surrey, committed Tory and card carrying Brexiteer, suddenly finds himself at odds with a retired academic, the cosmopolitan and liberal minded Ewan. Although at first a trivial dispute, Trevor resorts to unusual tactics and matters start to escalate...
Written and Directed by Ian Dixon Potter
Performed by Neil Summerville at The Hen & Chickens Theatre, at The Canal Café Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
A filmed version of Trivial Dispute is available on YouTube (filmed by Ian Dixon Potter and Edited by Howard White).
REVIEWS:
“It’s a difficult task to keep the attention of an audience, even with a likeable character, but to tell a story through the eyes of a protagonist whom we find arrogant and repulsive is a true skill. A skill which relies heavily on the director and the actor to find a rhythm which pushes you away before clawing you back in as the stakes stack higher and higher.”
“Summerville gives an excellent portrayal of the self-obsessed Trevor. Giving his character some bite at the right moments, Summerville manages to make Trevor not entirely pleasant, but frustratingly interesting. Dixon Potter challenges the viewer to sit back and listen to Trevor’s testimony without interrupting. The conflict is as much between Trevor and Ewan, as it is between Trevor and the audience.”
“Trivial Dispute is a play that lingers with you. I spent a long time turning the characters of Trevor and Ewan over and over in my mind. Their differences should not lead to such a heated conflict, but in Dixon Potter’s world, their differences aren’t exactly trivial.”
★★★★ A Younger Theatre
"Dixon Potter draws out the everyday experience of this community and the ways in which small issues become quickly magnified into personal crusades"
"Trivial Dispute is a working class story about groups who feel left behind, where ideas of patriotism, nationalism, class and wealth contend, filtered through the day-to-day experiences of the people they affect the most. As frustrating as Trevor is – certainly to the metropolitan liberal elite he despises – he is never a caricature and always a product of his age, status, geography and experiences, while Dixon Potter doesn’t make the unseen Ewan any less appealing"
"As Trevor, actor Neil Summerville gives a compellingly off-kilter performance of a man whose reputation is as prized as his classic car collection."
"The monologue neatly captures the voice of a generation of people who feel disenfranchised from the global pace and who are powerfully entrenched in their own worlds. We may not like what they have to say but as Dixon Potter creates a snowball effect within the drama it is clear how easily the individual and the state can lose control."
★★★★ The Reviews Hub
“Some excellent observations are made about social media etiquette and how words on a screen may not be taken with the sort of tongue-in-cheek manner that would be more discernible in spoken conversation. A startling reminder, too, that one should never take oneself too seriously, even in a global pandemic.”
“Patience is rewarded for those of us who feel we have had our fill (and then some) of discussions about the consequences of That Referendum in 2016.”
“one little lie is covered up by another one, and another, and so on, until it becomes increasingly difficult to maintain an entire network of untruths. Eventually, of course, it all starts to unravel, albeit in a very British and understated way,”
“I wouldn’t have guessed the plot’s ending from a mile off.”
★★★★ London Theatre 1
“For those who find Alan Bennett’s “Talking Heads” a little twee, Ian Dixon Potter has come up with an up-to-the-minute antidote” “Increasingly edgy as his tale unfolds, he holds out attention for the entire 40 minutes. The writing is equally consistent. The tone changes around the mid-point as we shift from everyday life into something considerably more personal and toxic”
“Worth a look as a lively diversion and bookmarking the channel for future episodes.”
★★★★ Theatre Monkey
“Dixon Potter has written a biting but never bitter parody of the conservative, flag-waving, Brexit supporter threatened by anything different to him” “The Croydon borders setting is very convincing” “Summerville is excellent, elicting a certain amount of sympathy for Trevor, whose complaints of being looked down upon ring true despite his beleaguered outlook. His confession careers comically and inevitably towards disaster, like a Midsummer Murders plot gone wrong, a cleverly, lightly written combination of tragedy and farce.”
Tom Bolton
“Appalling but fascinating” “another horribly enjoyable performance from Summerville who, it’s beginning to seem, revels in presenting us with compellingly repulsive people who think they can excuse themselves via confession but who condemn themselves out of their own mouths at every turn. He makes Trevor into a fully believable character with little vocal tics and gestural nuances which quickly give us the measure of the man but somehow like the Ancient Mariner he compels us to listen to his tale. The piece is another confession with a neat twist as to the identity of the confessional figure.” “Well worth catching up on and feature an actor with a great deal of skill.”
John Chapman (2nd from bottom thetare reviews).
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Marlowe's Ghost
William Shakespeare, now retired and living in Stratford-upon-Avon is haunted by the ghost of a fellow playwright, assassinated nearly a quarter century before.
Marlowe's Ghost provides an answer to two great mysteries; the reason why Shakespeare aged forty seven, retired at the height of his powers and also why he shunned the recognition due to him, even during his prolific years, to the extent that there are many who question the authorship of his plays.
“Two things motivate men above all else, the desire for immortality and the desire for revenge. In my work I satiated both desires but the latter was far stronger.”
William Shakespeare, Stratford-upon-Avon 1615
Written and Directed by Ian Dixon Potter
Adapted from 'The Dead Shepherd' by Robert Pope & Ian Dixon Potter
Performed by Mark Shaer at The Hen & Chickens Theatre, at The Canal Café Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
Costume Cloud Downey.
A filmed version of Marlowe's Ghost is available on YouTube (filmed and edited by Howard White).
REVIEWS:
“Marlowe’s Ghost is an enjoyable and relaxedly educational monologue.”
“Dixon Potter is a very capable writer and here demonstrates considerable skill in the way that he presents a great deal of material in a very accessible manner.”
“Shaer makes an entertaining guide through some of the darker aspects of the theatre world in the late sixteenth century.”
“production values are surprisingly high”
“The Golden Age Theatre Company is new to me but, on the strength of this and other productions that are also available on YouTube, it is certainly one to watch, especially when the veil is finally lifted and we see the return of theatre proper.”
★★★★ London Theatre 1
“Mark Shaer’s performance is compelling. Indeed, deserving of the attention of casting directors looking for a well-modulated speech-pattern and steadiness over the course of a lengthy scene requiring animation in ways not disturbing an overall effect of stillness.”
“Howard White keeps the videography in sympathy, altering the angle only occasionally to relieve monotony. Neil Thompson serves up appropriately period music to do likewise.”
Dixon Potter manages to mix the few known facts with reasonable conjecture and a little dramatic licence to season”
“A neat piece for those wishing to learn a little more about Shakespeare’s often overshadowed contemporaries.”
★★★★ Theatre Monkey
“Mark Shaer holds Shakespeare in high regard, with an intrinsically powerful stance, an enviable clarity and expression in this monologue.”
“As engaging as it is educational, Potter’s writing staves off a stale vibe, instead, capitalising on the bard’s life which was as dramatic as his onstage creations. Thankfully refusing to bury the past, Marlowe’s Ghost shines a light into the bleaker corners of the late sixteenth century, not solely diving into the history of the bard but the fundamental nature of script-writing, of theatre’s history.”
“With a delicate sense of humour, Shaer’s recitation of the monologue is a powerhouse in control. Never allowing emotion to overflow, it takes considerable nerve and robust skill to deliver a speech laden with historical facts (all with a side serving of dramatic liberty of course), and Shaer excels. Exuberant prowess in his conviction of the script, clarity, and diction, he has fun with it, savouring every inch of the role.”
“Love, life, faith, art – death. Everything is dissected and composed with an astute sense of writing in Marlowe’s Ghost, which transcends history and steps out into the contemporary era as an engaging monologue which draws on an immense pool of mystery and wit. Carried by a strong performance from Shaer, this adaptation of Potter and Robert Pope’s The Dead Shepherd makes for a compelling and accessible piece.”
★★★★ (Three and a half stars) The Reviews Hub
Transhuman
Given the chance, would you choose to be immortal? To expand your mind beyond the boundaries of human experience?
What would it feel like to upload your consciousness to the cloud? Would you yearn for interaction with the physical world?
Transhuman explores issues of mortality, identity and personality - challenging our notions of what it means to be human.
Written and Directed by Ian Dixon Potter
Performed by Thomasin Lockwood at The White Bear Theatre and at The Hen & Chickens Theatre.
Original music composed and performed by Neil Thompson
A filmed version of Transhuman is available to view on YouTube (filmed by Ian Dixon Potter and edited by Howard White). An abridged version was performed by Nicolle Smartt.
REVIEWS
“What it means to be human becomes the focus of Dixon Potter’s story as the lead character is pushed to further extremes in her pursuit of continued existence.”
“In keeping with Dixon Potter’s other work, this references a notion of British protectionism and its consequences for those with few financial options. The commercialisation of death and its effects on the living are chillingly represented and as Transhuman plays out, the true transition comes from the seemingly harmless longing for immortality becoming a practical monstrousness in its stead.”
“Thomasin Lockwood convincingly suggests all of these facets as her character’s experience evolves and warps as the audience is given greater knowledge of the circumstances of the transition and the digital afterlife. Lockwood introduces a reticence later in the performance, almost an undercurrent of guilt that competes with an overriding determination to carry on living in the fullest sense.”
“Transhuman develops a rather nasty bite. There are notes of regret, resentment even bitterness about her physical absence that lead the story to some much darker places." "an intriguing twist"
★★★★ The Reviews Hub
“Transhuman is particularly strong at evoking this desperation to keep living, whatever the cost.”
“Dixon Potter manages to personalise with greater intimacy than usual the potential benefits and restrictions such possibilities may bring. As a short work intended for the stage, this crams in considerably more ideas than the initial scenario suggests.”
“Lockwood provides a study in stillness and concentration even as her tale builds.”
“Her character holds our attention for the entire recording. Dixon Potter avoids in the main science-fiction cliché, presenting rationally some likely unfeasible ideas in a manner making the story convincing.”
“This is the fundamental question: can human existence be reduced to bytes, and what might the effect be? The answer is an interesting half hour.”
★★★★ Theatre Monkey
“Thomasin Lockwood gives an exceptionally well controlled performance that has hints of the outcome from the start but allows enough room for the viewer to do some work too in solving the puzzle” “short but sharp”
John Chapman '2nd From Bottom' Online Theatre Reviews
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The New Normal
The year is 2024. A dark cloud hangs over a broken and vastly impoverished nation, its influence and standing in the world severely diminished. What remains of the United Kingdom is isolated from its neighbours, the union with Scotland has collapsed and war had broken out across the heavily fortified Irish border. Society is riven with division and conflict creating an atmosphere of enmity and distrust. One half of the population despises and derides the other half. The authority of the populist government has been fatally undermined by their inept and short-sighted handling of both the coronavirus pandemic and the nation's chaotic and destructive departure from the European Union. Against this background and against all the odds, Dorothy has finally found a new carer.
Written and Directed by Ian Dixon Potter
Performed by Kate Carthy at The Hen & Chickens Theatre, at The Canal Café Theatre and at The White Bear Theatre.
News bulletins read by Robin Lustig
Original music composed and performed by Neil Thompson
Adapted from 'Little England' by Ian Dixon Potter
A filmed version of The New Normal is available to view on YouTube (filmed by Ian Dixon Potter and Edited by Howard White).
REVIEWS:
“Kate Carthy’s performance as Dorothy is brilliantly disarming because it’s delivered in a dark and dour working class conversational style which lulls you into a false sense of familiarity“
“Stoke resident Dorothy whose conservative (small and big C) views on the subject are a fascinating hour of in-talk about what really goes on behind closed doors in Middle England"
“There’s a warning to be heeded if The New Normal is also prescient about Brexit divisions in England actually worsening a few years from now.”
★★★★ What's Hot London
“Carthy’s portrayal of the character is so highly convincing.”
“Dark humour consistently permeates the show.”
“The concluding remarks are a fine and intriguing twist, and a viable solution for the trio, though probably not one Dorothy had previously envisaged.”
“This monologue is thought-provoking and absorbing.”
★★★★ London Theatre1
“There’s a horribly enjoyable performance in this monologue from Kate Carthy as Dorothy. With her flat vowels, sneering tone and wan looking countenance, it’s not too long before the character is firmly established as yet another in Dixon Potter’s long line of English malcontents.”
“Dixon Potter’s gallery of characters parade their prejudices and often morally dubious opinions before us. He’s been particularly adept at capturing the “little Englander” mentality which he clearly sees as leading to Brexit and which has been exacerbated by the sort of exceptionalism in which an island nation seems almost obliged to luxuriate.”
“This is another pair of monologues which are skilfully written and delivered. they both contribute to the to the main thrust of this series about people who confess their unrecognised inadequacies to us through their thoughts, speech and actions; as the Bible has it “Out of thine own mouth will I judge thee”.
John Chapman '2nd From Bottom' Online Theatre Reviews
Infantophobia
Carla, one of that rare breed of women, who harbours a powerful aversion for children, is hoping to save her old friend Roger from being drawn into the clutches of Sue, a woman who desperately wants to 'start a family' (as she puts it).
For most of his adult life Roger was equally unenthusiastic about the prospect of fatherhood but has he now changed his mind? Carla meets Sue at a dinner party held by Ann, herself prematurely aged by the rigours of parenthood and struggling to control her unruly and malevolent children whilst being constantly reminded by Carla of the glittering career she was forced to give up.
The battle lines are drawn.
Written and Directed by Ian Dixon Potter
Performed by Julia Faulkner at The Hen & Chickens Theatre and at The Canal Café Theatre.
Original music composed and performed by Neil Thompson
A filmed version of Infantophobia is available to view on YouTube (filmed by Ian Dixon Potter and edited by Howard White).
REVIEW:
"Carla neither wants children herself nor can tolerate the children of others. Invited to a dinner party where her old university friends either possess or crave them, her views are unpopular to say the least. Ian Dixon Potter is back in Alan Bennett territory with the writing here"
"Faulkner provides an economical, sometimes bitter delivery. A difficult subject to discuss without losing audience sympathy."
★★★★ Theatre Monkey
IAGO
In the wake of the 'Black Lives Matter' campaign, people from formerly under-represented groups have been elevated into positions of power and responsibility. Most of us accept that for too long, able bodied white men have had an unfair advantage but not everyone agrees with positive discrimination. Iago, an experienced soldier passed over for promotion in favour of Cassius, plots to wreak dreadful revenge on his commanding officer Colonel Othello.
Written and Directed by Ian Dixon Potter
Performed by Neil Summerville at The Hen & Chickens Theatre, at The Canal Café Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
Inspired by Othello by William Shakespeare
A filmed version of Iago is available to view on YouTube (filmed and edited by Howard White).
REVIEWS:
There is, strangely, something nearly admirable about the dedication and zeal into which he puts its plotting and scheming. Summerville’s portrayal is so successful at painting a portrait of a man so totally devoid of civility towards fellow humans. The direct engagement with the audience in both monologues ('Iago & 'Call Back') helps to maintain interest, and overall, this was a brief but thought-provoking evening.
★★★★ London Theatre1
“The character is presented as a calculating malcontent who is more openly villainous than the other characters I have seen Summerville play but carried out with the same level of conviction” “a clever reworking for today’s scenario” “a confident retelling”
John Chapman. 2nd from bottom theatre reviews.
Confession
Set amidst the culture wars which beset our society, a serious miscarriage of justice plays out against a background of institutional racism. But can this racism, (along with homophobia, transphobia and sexism) be adequately described as 'institutional'? Or are our institutions simply made up of ordinary people with ordinary socially conservative attitudes?
Written and Directed by Ian Dixon Potter
Performed by Neil Summerville at The Hen & Chickens Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
A filmed version of Confession is available on YouTube (filmed by Neil Summerville and edited by Howard White).
REVIEWS:
“Confession feels authentic and credible. The big advantage is that the whole thing is wrapped up in a single short act. Pleasing as you will want to know how it ends even as you are appalled by the direction the investigation is going. Summerville holds the camera as well as he holds his drink, and you should resist jumping scenes as this all makes sense in the end. A short play that works equally well online or live.”
★★★★ Theatre Monkey
“Confession could not have been more timely” “It’s a quite horrifying tale” “Summerville is in top form here creating another monster hiding beneath a cloak of respectability” “Dunderdale is a loathsome and even quite dangerous individual; Summerville’s skill is in making him someone so watchable even as we are repulsed” “a series of short scenes each with more disturbing revelations than the last. The thing is that somehow it all seems so believable.”
John Chapman. 2nd from bottom theatre reviews.
Solitaire
There's a notion that it's desperately sad when your halcyon days come to an end. When you go into decline and you gradually lose everyone you ever cared for and all the things which brought you happiness. But at least Arnold had all this at one point in his life. It doesn't matter when. It doesn't matter that it eventually comes to an end. Nothing lasts forever.
Written and Directed by Ian Dixon Potter
Performed by David Vale at The Hen & Chickens Theatre and at The White Bear Theatre.
A filmed version of Solitaire is available on YouTube (filmed by David Vale and edited by Howard White).
REVIEW:
“This will probably prove incredibly divisive”
"Footprints in the sand, someone following with a brush sweeping them away" is how Arnold sums up his life. Yet he speaks and records for his generation and even those several decades younger who are if anything angry that their personal nostalgia is no longer deemed valid despite offering much. A little piece of British sociology, an immaculate delivery by an actor who finds the pain, pathos and truth in every line, and a story idea and script which says it with clarity and records a truth for posterity.”
★★★★ Theatre Monkey
"Vale holds our interest, moving through a kaleidoscopic shift of Arnold’s ideas, opinions and memories. While Brexit is never explicitly mentioned, Dixon Potter cleverly weaves it into the narrative. Even though Arnold is a recognisable type, Dixon Potter avoids many of the clichés"
"Vale’s performance as Arnold is exemplary – he gives us a fascinating and moving study of isolation. Dixon Potter invites us to listen, with a script that never feels in a hurry to cast judgement. This monologue, deceptively simple in its structure, feels polished and complete. This is not only a record of an individual, and the views his generation represent. It’s a point in history that is in transit, and we start to share Arnold’s concern – not just in the values that are starting to vanish – but how they will be replaced." "Dixon Potter is careful not to draw the lines too sharply"
★★★★ (Three and a half stars) The Reviews Hub
“Arnold’s railing against the world is certainly gentler than Carla’s in the previous piece but no less forceful for that. It would have been so easy for David Vale to have gone for a Victor Meldrewalike approach; instead, there’s a sense of softly spoken, genuine bewilderment which comes across. And in this instance Dixon Potter takes the script in an interesting direction particularly in the last few minutes.”
“It’s always a shame when something you have been enjoying comes to an end. Golden Age Theatre’s Tales From The Golden Age project has been a bit of a mainstay over the last couple of months”
“The eighteen monologues get Golden Age Theatre through two lockdowns and which, in between, were mounted live on stage, has seen this company really making its mark. I’m still not quite sure how I missed them at the time they were first released but I’m glad to have made their acquaintance more latterly.
John Chapman 2nd from bottom online theatre reviews
DNA
Imogen isn't who she thought she was. After being surprised by the results of a DNA ancestry test, she embarks on a life changing voyage of discovery. She doesn't know where this will lead but one thing's for sure, she has something to celebrate. It turns out she's not British!
Written and Directed by Ian Dixon Potter
Performed by Melanie Thompson at The Hen & Chickens Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
A filmed version of DNA is available on YouTube (filmed by Melanie Thompson and edited by Howard White).
REVIEWS:
When her girlfriend buys her a genealogy DNA testing kit, Imogen is surprised to find that she is 49% Scandinavian, rather than the entirely British she supposed. This delights the pro-EU Politics and History doctorate student so much that she embarks on further research to find out just where here genes come from, a quick journey played out over 27 minutes in multiple short scenes by Ian Dixon Potter. Very much a study of a single person perhaps typical of her generation and political leaning,
The play certainly gives one viewpoint consistently. An engaging short film insight into modern family relations and the wider experiences of the younger generation in the current world.
★★★★ Theatre Monkey
“A handy encapsulation of the views of one side of the debate and the character’s search for her own truth mirrors that which society is still going through” “This monologue series seems to be shaping up nicely and is certainly unafraid to tackle some of the big subjects of the day as evidenced here, in yesterday’s pair about gender politics and in the piece Denial about Covid conspiracy theorists.”
John Chapman. 2nd from bottom theatre reviews.
Inside Blue
Blue identifies as neither male nor female, believing masculinity and femininity to be mere social constructs.
The ultimate nonconformist, Blue refuses to be pigeon-holed and categorised, resisting even the labels of nationality, religion, ideology and sexual orientation. But what happens when Blue falls for the relatively conventional Peter?
Written & directed by Ian Dixon Potter
Performed by Beata Taczalska at The Hen & Chickens Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
A filmed version of Inside Blue is available on YouTube (filmed and edited by Howard White).
REVIEWS:
“As well-written as the companion piece, (A Strange Romance) and equally brilliantly acted”
“Last time, we heard Peter’s perspective. This time, we hear Blue’s version of events, and it is equally compelling”
“Beata Taczalska’s characterisation is disarmingly direct and it is obvious why Peter would find Blue completely fascinating”
“Blue’s background as a child rejecting the hurtful tribalism many of us remember only too well and admitting those rebellious teenage years are fascinating. There’s also the interesting knowledge that the seduction was equal”
★★★★★ Theatre Monkey
“Both Tom Everatt and Beata Taczalska have the measure of their characters and give committed and spirited performances ably directed by the writer himself.”
“an interesting experiment in wringing value from the monologue form”
“the two plays go right to the heart of the whole of the ongoing gender debate where the terminology surrounding identity seems to grow by the day"
John Chapman '2nd From Bottom' Online Theatre Reviews
Singularity
A reckless scientist persuades a computer hacker to hijack the internet in an attempt to create the first truly conscious artificial intelligence.
She uses the 'Turing Test' to assess her creation but who is really being tested? Who will gain the upper hand? The future of humanity hangs in the balance.
Written and Directed by Ian Dixon Potter
Performed by Nicholle Smartt at The Hen & Chickens Theatre
Original music composed and performed by Neil Thompson
Voice of C-BAC created by Howard White
Adapted from 'The Test' by Ian Dixon Potter. Simgularity is yet to be reviewed but this is what reviewers said about 'The Test':
"Thought-provoking, clever and extremely relevant, Dixon Potter’s play takes artificial intelligence to another level"
"An interesting introspection as to what human beings have become in the 21st century" "Extremely relevant and mind-opening, which is why I believe more people should see it" "Definitely makes one think. Is our freedom really ours? Are we really in charge of our destiny?" "Contradictions are definitely Dixon Potter’s forte and the debates raised are meaningful and necessary"
(Lucrezia Pollice for Carnstheatrepassion)
"It’s just on the edges of possibility, and that’s what makes Dixon Potter’s concept so engaging" "This is a show where scientific discovery clashes with philosophical ethics" "There is something addictive about the purity of Mother"
"Dixon Potter rationalises away political and economic systems of existence, religion and even morality – all are man-made constructs designed ultimately to subjugate and control, the betterment of individuals rather than the evolutionary imperative of the species as a whole"
"Thought-provoking" "The Test unpicks incredibly complicated topics – free will and consciousness – without ever feeling stuck in scientific reasoning"
"Dixon Potter writes a narrative that asks questions from its audience and could easily expand into a longer production"
(Daniel Perks for Culture By Night)
"An easily absorbed but enlightening discussion on the seemingly unlimited potential of artificial intelligence: Dora representing the Utopian vision and The Professor the conservative voice of reason"
"Tense exchanges between Dora and The Professor keep it relevant"
"This fluid and powerful script" "You’re left wanting more"
(Eddie Saint - Jean for WhatshotLondon)
"Once again Ian Dixon Potter leaves me pondering after leaving the theatre"
"A truly engaging production"
"The performers tonight told the story brilliantly"
"It definitely succeeds - and leaves the audience reflecting"
(Katie Rose for Rosereview)
I, Richard
History is always written by the victor. After Henry Tudor defeated Richard III at the battle of Bosworth, Tudor historians created the elaborate fiction of a deformed usurper who schemed and murdered his way onto the English throne. But who was the real Richard III?
Drawing on contemporary sources, unsullied by Tudor propaganda,
‘I, Richard’ recounts the true events which propelled Richard onto the throne of England and two years later, led to his downfall.
This is a tale of murder, betrayal, rebellion, revenge and political intrigue, starting with the drowning of the Duke of Clarence in a butt of Malmsey and ending on the eve of the Battle of Bosworth.
A century after Richard’s death a celebrated play was written, based on the testimony of his greatest enemy, Cardinal John Morton. Over four centuries later, Richard himself finally sets the record straight.
Written & directed by Ian Dixon Potter
Performed by Ivan Comisso at The Hen & Chickens Theatre and at The White Bear Theatre.
Music composed and performed by Neil Thompson
Video editing and sound by Howard White
I,Richard is based on 'Good King Richard' by Ian Dixon Potter. Here are two reviews of Good King Richard:
"A quality new drama" "a marvellous feat of directing" "…freeing a historical character from the trappings of famous fiction and confronting the audience with an alternate version. And in this, they succeed marvellously" "...confront and challenge the audience’s expectations of ‘King Richard’ and lay bare the bias of history, which was done with taste, a skilful script and impressive acting" "As far as Golden Age Theatre Company’s dedication to creating theatre which explores ‘big ideas’ this certainly hits the nail on the head"
★★★★ Theatre Bubble)
"The truth has never been so compelling" "a sense of the epic… the human truth behind the monstrous fiction" "Ian Dixon-Potter’s script does justice to the likely truth behind the Tudor propaganda" "a genuine & credible alternative to Olivier’s infamous hunchback."
★★★★ Mind The Blog
The Triumph of Evil
In the closing months of the second world war the Nazis were determined to exterminate all remaining prisoners in their infamous concentration camps. They were planning to destroy all evidence of their atrocities before the allied armies reached the camps.
In a race against time, Swedish aristocrat, Count Bernadotte has to 'deal with the devil' when he enters into negotiation with SS leader Heinrich Himmler in a last minute attempt to liberate thousands of prisoners and take them to safety in Sweden. His experience demonstrates the truth of the old adage that the only thing necessary for evil to triumph is that good men do nothing.
Written and Directed by Ian Dixon Potter
Performed by Neil Summerville at The Hen & Chickens Theatre, at The Canal Café Theatre and at The White Bear Theatre.
Original music composed and performed by Neil Thompson
A filmed version of The Triumph of Evil is available to view on YouTube (filmed by Ian Dixon Potter and edited by Howard White).
REVIEWS:
Summerville manages to create a sympathetic Bernadotte, quietly blustering like Churchill, and presents his views with clarity.
The Reviews Hub
"Thought-provoking monologues that raise important questions about human nature. Will stay with me for some time." (The Triumph of Evil and Transhuman at The Hen & Chickens Theatre)
Central Tickets
A work that highlights a few moments of forgotten history, with the positive of 30,000 rescued by Bernadotte’s actions (though he admits his failure when set against the overall numbers murdered). For this reason alone, there is sound reason for the piece to exist and command your attention for 50 minutes.
★★★★ (3 ½ stars) Theatre Monkey