• Review For Us
    • In London or across the UK
    • at Edinburgh Fringe
  • List Your Show
  • Advertising
  • Musicals
  • Plays
  • Ballet & Dance
  • Previews
  • First Look
Theatre Weekly
  • Home
  • News
    • West End
    • Off-West End
    • Regional & Tours
  • Reviews
  • Interviews
  • Digital Theatre
  • Tickets
    • Discounts
    • Musicals
    • Plays
    • Opera
    • Dance
    • Concerts
  • Contact Us
    • Join us as a Reviewer
No Result
View All Result
Theatre Weekly
  • Home
  • News
    • West End
    • Off-West End
    • Regional & Tours
  • Reviews
  • Interviews
  • Digital Theatre
  • Tickets
    • Discounts
    • Musicals
    • Plays
    • Opera
    • Dance
    • Concerts
  • Contact Us
    • Join us as a Reviewer
No Result
View All Result
Theatre Weekly
No Result
View All Result

Edinburgh Preview: Catafalque at Summerhall (Tech Cube)

Catafalque, photo by Andy Catlin
Catafalque, photo by Andy Catlin

Summerhall (Tech Cube)

Thursday 1st – Sunday 11th August 2024

Book Tickets

12:25

16+ (strong language/swearing; themes of grief, loss, death, and sexual abuse)

You mightalso like

Sam Cochrane image supplied by the company

Interview: Sam Cochrane on Scouts! The Musical’s Tour and A Jaffa Cake Musical’s Return to Edinburgh

Pianes Plough Season image supplied by publicist

Paines Plough Announces Consumed and Ordinary Decent Criminal for Edinburgh Festival Fringe and UK Tour

From acclaimed producers Scissor Kick comes the world premiere of Catafalque, a one-woman eulogy through the lens of a civil celebrant asking, how do we grieve the ungrievable? A show about love, loss and secrets, Catafalque is directly inspired by writer Amy Conway’s own experiences, and directed by Beth Morton, with Olivia Millar-Ross on as associate director.

Catafalque follows Fern, a civil celebrant, who is confronted with the challenge of eulogising someone who has done the unthinkable. How do you speak of death when no one wants to look? A grieving mother asks Fern to eulogise her son, and remember him for the love he brought her, despite his horrific acts in life. This moving and absorbing eulogising play is a fascinating examination of love, grief, and how we process loss and life.

Writer Amy Conway trained as a civil celebrant during the pandemic and wrote and delivered eulogies. Catafalque draws on her experiences meeting grieving families, and questioning where we should draw the line professionally and personally when telling the story of someone else’s life.

       

Amy Conway comments, Being commissioned is a big deal for any playwright. I’m getting to write what I feel passionate about – I feel pretty lucky! And I’ve chosen the cheeriest of settings and protagonists: a celebrant conducting a funeral ceremony! During lockdown I trained as a funeral celebrant and delivered ceremonies across Glasgow, and it is through this privileged working experience that I’m starting to reflect on our cultural and social practices surrounding death. The play won’t be a dirge, I can guarantee that!

ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
ADVERTISEMENT
Twitter Facebook Youtube Instagram

At Theatre Weekly we give theatre a new audience. You'll find our theatre news, theatre reviews and theatre interviews are written from an audience point of view. Our great value London theatre tickets will get you the best deal for your theatre tickets.
Theatre Weekly, 124 City Road, London EC1V 2NX
  • Join Our Community
  • Privacy Policy
  • Cookie Policy
  • Terms and Conditions
  • Contact Us
  • Advertising

Recent News

Sam Cochrane image supplied by the company

Interview: Sam Cochrane on Scouts! The Musical’s Tour and A Jaffa Cake Musical’s Return to Edinburgh

Thick and Tight Photo by Rocio Chacon

Interview: Daniel Hay-Gordon & El Perry on Natural Behaviour at Battersea Arts Centre

© 2022 Theatre Weekly

No Result
View All Result
  • Home
  • Tickets
  • Digital Theatre
  • News
    • News
    • West End
    • Off West End
    • Regional & Tours
    • Digital
  • Interviews
  • Reviews
  • Contact Us
    • Join us as a Reviewer

© 2022 Theatre Weekly