Pops

Theatre (new writing, drama)

Add to favourites
  • Assembly Roxy - Downstairs
  • 18:35
  • Aug 25
  • 1 hour
  • Suitability: 12+ (Guideline)
  • Country: United Kingdom - England
  • Group: Jake Orr Productions, HighTide and Live Theatre
  • Warnings and additional info: Age Category: 12 and above (12+)(Strong Language/Swearing)
  • Babes in arms policy: Babies do not require a ticket
  • Policy applies to: Children under 18 months

Description

They're trying. Despite everything. They're really trying, to honestly connect, forgive the unforgivable and love fiercely through a hopeless situation. Award-winning writer Charlotte Josephine's new play Pops follows a father and daughter caught in a vicious cycle of addiction

Please note that while all media gallery content is provided by verified members of the event, the Edinburgh Festival Fringe Society does not review or approve this content before it is posted. Reports of inappropriate content or copyright infringement can be directed to [email protected].

General venue access

  • Accessible entry: There are 15 steps en-route to this space.
  • Wheelchair access type: Not fully wheelchair accessible

  • Stairs: 11- 20
    Number of stairs is provided as guidance and is not in addition to any wheelchair access type (lift/ramp etc) stated above.

Each venue can contain several space with different accessibly information. Visit the venue page for full venue accessibility info


How and when to make an access booking

Our access tickets service is available to anyone who:

  • Would like to book specific accessibility services, e.g. a hearing loop, audio description headsets, captioning units, seating in relation to the location of the BSL interpreter
  • Requires extra assistance when at a venue
  • Has specific seating requirements
  • Is a wheelchair user
  • Requires a complimentary personal assistant ticket to attend a performance

There are no audience reviews for this show.


Participants - for further details on our audience and published review policies, including how to add or opt out of reviews, please click here.

Ed Fringe Review (4/5 stars) 86 days ago

The sheer depth and power of the acting might just make you cry...

Read the full review

The Scotsman (3/5 stars) 89 days ago

On a minimal set that hints at a comfortless living room, Dad is watching telly. ...

Read the full review

Broadway Baby (4/5 stars) 91 days ago

Pops is a complex contemplation of intergenerational addiction, featuring a father and daughter trapped in co-dependence. Charlotte Josephine has written this play which lays bare the ugly, fragile and chaotic nature of human connection and addiction, as our protagonists struggle to relate to each other. The scene opens with Nigel...

Read the full review

Miro Magazine (4/5 stars) 91 days ago

Pops both depicts addiction and is itself addictive. In the hands of Melville and Barrett it’s an unnerving portrayal of how easy it can be to slip back into old habits. And like Josephine’s writing, Pops stays rolling around the psyche long after the effect is felt.

Read the full review

The Stage [paywall] (4/5 stars) 97 days ago

Charlotte Josephine’s new play, Pops, hits you like a train. It’s a poleaxing, two-handed depiction of a dysfunctional father-daughter relationship, driven by a taut emotional logic and featuring two brilliant, bruising performances from Sophie Melville and Nigel Barrett. Josephine doesn’t give you a lot to go on. Throughout the hour,...

Read the full review

FringeReview 97 days ago

Dad, says his desperate daughter, is a beached whale as she carves pieces out of him with her vicious tongue. You can see where she is coming from. He looks harmless enough, too timid to venture out, letting the world come to him through daytime TV, obsessed with the comforting...

Read the full review

An Organised Mess 99 days ago

Directed by Ali Pidsley, the two characters create more than a poor relationship between father and daughter. This is beyond the stereotypical arguments and silences. This takes in the physicality of the inner hurt caused in a breakdown of relationship.

There is beauty in the techniques evoked to demonstrate the passing of time. Some are the moments which define each day, others are those which create the bond. That time is spent, real time, in the act of making a cup of tea reflect the focus on building a relationship. The acts which bond us and the mundanity which in accepting can break us. The underpinning soundscape by Kieran Lucas add successfully to this ambience, never comfortable and at times, over-powering.

Read the full review

Exeunt 100 days ago

Every day, Nigel Barratt’s character in ‘Pops’ watches Come Dine with Me. ‘I love this.’ ‘It’s everyday’ ‘I like it!’ And suddenly, they’re not talking about the telly anymore. Charlotte Josephine’s play depicts an alcoholic father and daughter reuniting. She is getting clean and needs somewhere to stay. She promises...

Read the full review

Fest (3/5 stars) 103 days ago

Charlotte Josephine’s challenging new play is all about the faltering connection between a failing father (Nigel Barrett) and his semi-estranged daughter (Sophie Melville). It’s an elliptical piece that seems to exist in a closely neighbouring parallel universe. Everything is recognisable—shared telly time, tea and biscuits, conversations about job interviews—but the...

Read the full review

Whats On Stage (4/5 stars) 108 days ago

Dealing with addiction is no simple thing, so it's entirely apt that Charlotte Josephine's new piece plays with form, language and time to represent it. There's no linear structure to Pops, which progresses in cycles. Beginnings, endings, middles all get jumbled up together. It artfully represents what is a constant...

Read the full review


Participants - for further details on our audience and published review policies, including how to add or opt out of reviews, please click here.

Please login to add a review


Participants - for further details on our audience and published review policies, including how to add or opt out of reviews, please click here.