Revival by Juice Cui and Santi Lowe is the closing performance, scheduled in the detailed programme for 21:09 with a duration of 5 minutes.

On 26–27 September, As We Lay Dying brings immersive art and theatre to London’s Hoxton Hall. Across three exhibition rooms and one main auditorium, sound, moving image, bodies and materials connect close encounters with shared watching and listening.

Meet fourteen artists, curators and creative and production team members behind As We Lay Dying. Explore practices spanning sound, photography, costume, digital art and music, alongside lighting, technical work and production coordination.

Plan the two days with room locations, the detailed theatre-day running order and clear distinctions between published information, editorial suggestions and details still to confirm.

Seventeen answers covering dates, booking, language, captions, access, sensory information, recording and VR participation, with unresolved details clearly identified.

Still finding its shape as a work-in-progress, Momma’s Got a Brand New Toy Kitchen channels Bex Turner’s childhood memories, neurodivergent and autistic experience, and surreal comic voice through a highly physical stand-up performance. Her energy, personality and openness are clear, but a small audience, uneven interactive material and a bare-bones production leave the show feeling underdeveloped. The material is there; what it now needs is a clearer structure and stronger directorial and technical support.

Beginning with a cup of tea placed directly in the audience’s hands, The Sediments of Who We Are turns tasting, scent, waiting and movement into part of the performance itself. Through five performers’ personal relationships with tea, the production explores memory, migration, home and cultural identity as things continually steeped and blended over time, making its ideas tangible through the audience’s own sensory experience.

An investigative documentary performance centred on the death of Dabai, a captive beluga whale, How Do You Bury A Whale? uses testimony, sound, movement, video, archival material and audience participation to examine the relationship between spectatorship and captivity, returning an easily forgotten life to public memory while leaving room for its methods of investigation and verification to be developed more fully.

A one-hour Camden Fringe musical that turns a simple and predictable custody-battle story into an energetic piece of theatre through distinctly British comedy, a 1980s-pop-inspired score and a strong nine-person ensemble, while leaving room for Donna and Rick’s relationship to be developed further in a longer version.

Adapted from the 2014 film, the stage musical Pride revisits the real alliance between LGSM activists and striking miners during the 1984 miners’ strike. Flynn Ng reflects on the production’s emotional power, its transition from screen to stage, and the lingering question of whether the solidarity it celebrates belongs only to the past.

Written and performed by Nicole Abraham and directed by Toby Clarke, Punch Me Then places the audience inside English teacher Lila’s classroom, where a lesson confronting misogyny gradually collides with trauma she has tried to suppress. Abraham moves vividly between teacher and pupils, while the decision to seat audience members as part of the class blurs the boundary between performer, participant and observer, asking how much responsibility education can realistically carry for wider social change.

Written and directed by Diego Beares and performed by Alba Campayo, Los años maravillosos: Archive, Image and Collapse returns to a real 1971 archive in which a young Uruguayan model speaks about the future she imagined for herself. Language, image and body repeat, fracture and collapse as the work moves between Montevideo and London under the shadow of Diana Spencer, exploring memory, identity and the futures that never arrived. Campayo’s poetic physical performance gives this archival encounter a vivid temporary body in the present.