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    • CURRENT PRODUCTIONS
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    • PAST PRODUCTIONS
    • Truant
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    • Sense
    • Invasion!
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    • Theatre Cafe Festival 2008
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    • Fathers and Eggs & The Wild Girl
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    • CURRENT PROJECTS
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    • PAST PROJECTS
    • Gap Theatre Project - Cosmos
    • Young Angels - New European Writing
    • Choreography for Children Award
    • Young Angels Theatremakers 2009
    • Gap Theatre Project: Talk to Me, Talk to You
    • Young Angels - New Writing: Children in Wartime
    • The Birds Stopped Singing
    • Norwegian Play Readings
    • Young Angels Theatremakers 2008
    • Gap Theatre Project: You are here (Where)
    • Gap Teacher Training
    • Young Angels - new writing for children
    • Young Angels Theatremakers 2007
    • Gap Theatre Project: 25 Farewells
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    • Gap Theatre Project: You Zoo
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    • Gap Theatre Project: Story Museum
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 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