• Intro
    • Company History
    • Mission and Artistic Policy
    • People
    • Vacancies
    • PAST PRODUCTIONS
    • Hannah and Hannah
    • Club Asylum
    • Crime and Punishment in Dalston
    • Fathers and Eggs & The Wild Girl
    • Young Europe
    • Sweetpeter
    • Theatre Cafe
    • Virgins
    • RISK
    • Theatre Cafe Europe
    • Truckstop
    • Theatre Cafe Sweden
    • CURRENT PRODUCTIONS
    • Theatre Cafe Festival 2008
    • This Child
    • PAST PROJECTS
    • Asylum Seeker Narratives
    • Gap Theatre Project
    • Project R
    • Swedish Readings
    • Young Angels Theatremakers
    • Young Angels - new writing for children
    • Young Angels - Directors, Designers and Writers
    • Young Directors Programme
    • CURRENT PROJECTS
    • Young Angels Theatremakers 2008
    • Gap Kennet
    • Gap Teacher Training
    • Press Hannah & Hanna
    • Press Young Europe
    • Press Virgins
    • Press Club Asylum
    • Press RISK
    • Press Truckstop
    • Press Crime & Punishment in Dalston
    • Map and Directions
 VIRGINS

“John Retallack's latest Company of Angels show is a fine little piece of modern British family drama. […] Its subject touches the lives of millions, and is desperately under-explored in British theatre. […] it's unusual to see it handled with the level of quiet eloquence, emotional sophistication, and sharp, down-to-earth realism achieved by Retallack's fine script.”
The Scotsman

“This is a show that never shirks from telling uncomfortable truths.”
The Guardian

“The piece traverses smoothly between monologues, dialogues and Fleur Darkin’s dance based movement, which express emotions where words aren’t enough. In the hands of four extremely competent actors and movers this is an unpretentious, surprisingly accurate, gem of a show.”
The List

"John Retallack's Virgins works wonderfully precisely because it is so simple; an immensely likeable piece of writing that anyone with fond – or perhaps not so fond – memories of the riddles of middle-class family life can connect with. The darker core is teased out with intermittent phases of dance. Never particularly spectacular, the jerky, dissonant movements do at least suggest the anguish of growing up and the frustration of not being able to fully break free – and one section provides the crux of the play; surprisingly, since the language here is so spot on too."
Metro