Interview: Catherine Lamb, Bunny

“I first saw Bunny when I was 18 and I found it hugely inspiring; it’s a very funny and thought provoking show. I would urge anyone to come and see it, but especially young people who perhaps don’t normally feel that theatre is really for them.”

Catherine Lamb is the founder of Fabricate Theatre, a new theatre company dedicated to creating exciting and relevant work that speaks to young people. Later this month she’ll be reprising her role as teenager Katie in Jack Thorne’s one-woman play Bunny, which transfers to the Tristan Bates Theatre for a limited run from 15th-27th January.

Photo credit: Brandon Bishop

Bunny is the story of one young girl growing up in Luton struggling to find her place in a world lacking intimacy and connection,” says Catherine. “It examines what happens when cultures collide and you find yourself in unknown territory. It is a fast, funny and ruthless look into what it is to be growing up today.

“Jack Thorne has recently been named one of theatre’s most influential people, so this is a fantastic opportunity to see one of his early pieces. The writing is outstanding. It’s just over an hour in length and is a brave and bold piece of work which doesn’t shy away from anything. The show explores many heavy topics such as racism, sexual awakening, clashing cultures and the class and education system. The audience sees all these things through the eyes of an 18-year-old girl growing up in Luton.”

The coming-of-age drama was first performed in Edinburgh in 2010, where it won a Fringe First award. “I was drawn to the play because of how much it related to me,” says Catherine. “I recognised myself and my friends in Katie as well as all the other characters. It was a piece of theatre made for and about my generation, and I found that to be not only very exciting but also quite rare.”

Catherine believes it’s her character’s imperfections that make her interesting: “I like how flawed she is. There’s a lot of ugliness in her character, but you can still empathise with her. Her confusion is something that really resonated with me. There are massive contradictions in her character, she is painfully self aware and yet utterly oblivious at the same time.

“I love playing someone who I know other young women and girls will see themselves in; I find that very exciting. Katie is witty, bold and outrageous yet extremely vulnerable. This makes her wonderfully complex and a real challenge to play.”

Catherine founded Fabricate Theatre in January 2017, motivated by a desire to make and produce her own work. “I wanted to become part of the conversation,” she explains. “I asked a good friend, Sophia Nicholson, to come on board to help with the producing and communications, and the two of us now run the company together. Our aim is to get Fabricate known for creating work that speaks to young people. We’re dedicated to creating and producing fast-paced, exciting productions that reflect and examine our young people.”

Bunny is the company’s first production, which enjoyed a successful first run last year at the White Bear Theatre. “It’s fantastic to get another go at staging the show,” says Catherine. “We had such a short rehearsal process first time around so it is lovely to be able to go back and perfect things. It’s also interesting to re-stage it to suit a new space. We are so proud of this production, so it’s lovely to have all that hard work recognised.”

Book now for Bunny at the Tristan Bates Theatre from 15th-27th January.

Review: Harry Potter and the Cursed Child at Palace Theatre

It’s not been an easy few weeks. Ever since I was lucky enough to be at a preview performance of Harry Potter and the Cursed Child, friends have been asking questions – some blatant, others a bit more subtle – to try and find out what happens.

Unfortunately for them, I was handed a yellow #KeeptheSecrets badge on my way out of the Palace Theatre. And this is something I take extremely seriously, so my lips have remained firmly sealed – and this review will be no exception. No spoilers here, I’m afraid.


But here’s what I can say about the eighth Harry Potter story: it’s awesome. Created by the dream team of J.K. Rowling, playwright Jack Thorne and director John Tiffany, Cursed Child is funny, sad, scary, dramatic, magical and jaw-dropping, with all the suspense and excitement of a new story, but also the comforting familiarity of stepping back into a world we thought we’d seen the last of. This means that while it stands independently as a new chapter, if you’re not up to speed on the events of the books, I’d recommend doing a bit of research before you go – if only so you can join in the universal audience reactions to certain events. (There’s something pretty special about hearing 1,400 people gasp in perfect unison.)

The production also boasts a fabulous cast, led by Jamie Parker, Paul Thornley and Noma Dumezweni, who are spot on as Harry, Ron and Hermione. The trio are just as we remember them – Hermione the high achiever, Harry the unwilling legend, and Ron… who’s just Ron, and still my favourite – but now grappling with grown-up problems and emotions. Meanwhile the children are, naturally, having adventures of their own (well it is Hogwarts, after all), and Sam Clemmett and Anthony Boyle step effortlessly into the new roles of Harry’s son Albus and Draco Malfoy’s son Scorpius, two characters living in the shadow of their fathers’ past. While some cast members may have more lines than others, though, this show is very much a team effort, with many actors doubling or even tripling up on parts (several of them instantly recognisable from the books and movies), and not one of them disappoints.

Oh right, and there’s magic. Any fears that the magic might have been a bit lame without the benefit of CGI were laid to rest within minutes, and the main question anyone was asking by the interval of Part One was “But… but how?!” Things happen on that stage that literally can’t be explained by Muggles like me – so I won’t even try.


Perhaps what’s most impressive about Cursed Child is that in many ways, despite the big cast and the amazing effects, it doesn’t feel like a huge-scale production. Some scenes are actually incredibly simple, encouraging us to use our imaginations to flesh them out – and even for those of us sitting way up in the gods, there’s a certain intimacy about the play that shows director John Tiffany really understands how attached his audience are to the characters and story. At the risk of sounding cheesy, it’s almost like everyone in the theatre is part of a big family, all there to catch up with mutual friends. The show is an experience that begins the moment we step inside and receive a warm welcome (and later, welcome back) from the staff, and the theatre itself even feels a bit like Hogwarts, with its twisty stone staircases and slightly creepy sculptures. I’m actually not surprised everybody kept the secrets during the show’s previews – by the time you leave and receive your badge, you’re well and truly a member of the club.

Now that the script’s been published, no doubt spoilers will start to leak out, but my advice, if you’re planning to see the show, is to avoid them. Don’t read the script; don’t ask questions. Just wait until you can experience Cursed Child in all its spectacular brilliance… and thank me later.

Can’t see the map on iPhone? Try turning your phone to landscape and that should sort it. I don’t know why but I’m working on it… 😉