Reece Lyons in Overflow. Image by Sharron Wallace
The international online premiere of Travis Alabanza’s critically acclaimed Overflow, performed at the Bush Theatre.
From internationally acclaimed writer and one of the UK’s most prominent trans voices, Travis Alabanza (Burgerz), Overflow is a hilarious and devastating tour of women’s bathrooms, who is allowed in and who is kept out.
HOW DOES IT WORK?
Overflow – Online is streaming worldwide, so you can watch it from anywhere. The performance will begin promptly at 2pm or 8pm GMT and will only be available to watch for the duration of the stream.
Each online performance is a filmed live show that will be streamed to audiences. It can be watched on your web browser, via Google Chromecast, or on Apple TV, Android TV or Amazon Fire TV. Find out more.
Please note that subtitling (English – UK) is only available on our captioned performance on Wed 20 Jan at 8pm.
Looking for content warnings and pre-show information?
Overflow – Online pre-show information
Annie-Lunnette Deakin-Foster is a contemporary dance theatre choreographer, maker, teacher and movement director, and was a founding member of award-winning company, C-12 Dance Theatre. Theatre Credits include:
The Bee in Me (Unicorn Theatre), You Stupid Darkness (Southwark Playhouse), The Last Noel (Old Fire Station), Pavilion (Theatr Clwyd), Chiaroscuro (Bush Theatre), On The Other Hand We’re Happy, Dexter & Winters Detective Agency (ROUNDABOUT), Aesop’s Fables (Unicorn Theatre), Grimm Tales Phillip Pullmans Collection (Unicorn Theatre), Jericho’s Rose (The Hope & Anchor), POP MUSIC (national tour), The Court Must Have a Queen (Hampton Court Palace), These Bridges (National Theatre Connections, Bush Theatre), The Little Match Girl and Other Happier Tales (Shakespeare’s Globe, National tour), The Dark Room (Theatre 503).
Theatre includes: When the Crows Visit (Kiln Theatre), Princess and the Hustler (Bristol Old Vic/tour), Black Men Walking (Scottish tour),The Trick (Bush Theatre/tour), Again (West End), An Adventure (Bush Theatre), Abigail’s Party (Hull Truck), Black Men Walking (Royal Exchange/ tour), Handbagged (West End/Tricycle Theatre), Fences (West End/Theatre Royal Bath), A Raisin in the Sun (Sheffield Crucible/tour), Ticking (West End), Play Mas (Orange Tree), Chasing Rainbows and Female Parts (both at Hoxton Hall), The Invisible Hand, Ben Hur, A Wolf in Snakeskin Shoes, The House That Will Not Stand, The Colby Sisters and One Monkey Don’t Stop No Show all at the Tricycle Theatre.
Films include: Samuel’s Trousers, Bruce, Gypsy’s Kiss, The Knot, High Tide, What We Did On Our Holiday (children), Common People, Tezz, Final Prayer, Love/Loss, Zero Sum, 10by10. Television includes: Outnumbered (children) Just Around the Corner (children), Dickensian (children), Inside the Mind of Leonardo.
Crystal’s theatre credits include Snow Queen (New Wolsey Theatre), Overflow (Bush Theatre), The High Table (Bush Theatre), Cinderella (New Wolsey – Art Deport), We Anchor in Hope (Bunker Theatre), As You Like It (Queen Theatre Hornchurch), End of History (The Royal Court), Inside Bitch (Clean Break), Snow White And Seven Dwarfs (Regent Theatre), Mysterious Gentleman (Courtyard Theatre), Treasure Island, Mr Tod, Richard The Third (Red Rose Chain- The Avenue), Fallen in Love (Red Rose Chain – The Tower of London), The Tempest, A Midsummer Night’s Dream, The Comedy Of Errors, (Red Rose Chain – Theatre in the Forest), Betty Blue Eyes (Mercury Theatre), Zatopek (Second Movement), Commencing (Joined At the Hip – Etcetera Theatre), A Face In A Jar (Inside Job Theatre Projects), Buried Child (Ovation Theatre Limited), Gambling (Elanor Lloyd in association with Soho Theatre), A View From A Bridge (Mercury Theatre).
Debbie Hannan directs for stage and screen. They trained at the Royal Conservatoire of Scotland and as Trainee Director at the Royal Court.
Credits include: Pah-La (Royal Court Theatre), The Unexpected Expert (Headlong, BBC), Little Miss Burden (The Bunker), Cuckoo, The Session (Soho Theatre), The Panopticon (National Theatre of Scotland), The Ugly One (Tron Theatre), Girl Meets Boy (National Theatre of Scotland and The Yard), Shielders (Traverse Theatre), Pandora (Etch, Pleasance), Things of Dry Hours (Young Vic), My Mum’s A Twat (Showroom), Notes from the Underground (Citizens Theatre, Glasgow), Latir (Compañia Nacional de Teatro, Mexico and Royal Court).
As Associate, credits include: Constellations (Donmar), Our Ladies of Perpetual Succour (National Theatre of Scotland), A Pacifist’s Guide to the War on Cancer (Bryony Kimmings and Complicité), Little on the Inside (Clean Break).
Francis Botu is a classical guitarist and sound designer based in London and has recently worked on Cherry (The Vaults), This Is Black (Bunker Theatre) and The Clinic/Chaos (Southwark Playhouse). He trained in composition at Trinity College of Music.
Max Johns trained in theatre design at Bristol Old Vic Theatre School and was the recipient of a BBC Performing Arts Fellowship in 2015. Prior to this he worked for a number of years as a designer in Germany. His most recent UK productions include The Climbers (Theatre by the Lake), The Strange Undoing of Prudencia Hart (Manchester Royal Exchange), Once Upon a Time in Nazi Occupied Tunisia (Almeida), King John (RSC), The Panopticon (National Theatre Scotland), Overflow, Strange Fruit and Rust (Bush Theatre), Heartbreakin’ (WLB Esslingen, Germany), Buggy Baby (Yard), Yellowman (Young Vic), The Half God of Rainfall (Kiln/Birmingham Rep/Fuel), Urinetown (Central School of Speech and Drama), Wendy and Peter Pan (Royal Lyceum Edinburgh), Kes and Random (Leeds Playhouse), Utility and Twelfth Night (Orange Tree), Fidelio (London Philharmonic Orchestra), Enron and Our Town (the Egg), Birthmarked, Life Raft, Medusa, The Light Burns Blue and Under a Cardboard Sea (Bristol Old Vic), and Hamlet and All’s Well That Ends Well (Shakespeare at the Tobacco Factory). Upcoming productions include Sound of the Underground (Royal Court).
Rike Berg graduated from the Bauhaus University Weimar in Germany, and has worked on various theatre productions in Sweden and the UK. Her most recent credits as Company Stage Manager / Deputy Stage Manager / Assistant Stage Manager include: The Woman in Black (Gothenburg English Studio Theatre and Sweden Tour), Belongings (GEST), Upper Cut, Working – The Musical (Southwark Playhouse), Lines (The Yard Theatre), Sense of an Ending, Clickbait, Four Play, We Wait In Joyful Hope, The Monkey, Years of Sunlight, Burning Bridges (Theatre503), Fury (Soho Theatre), These Trees Are Made of Blood (Arcola Theatre), Contractions (Deafinitely Theatre), Isabeau (Opera Holland Park), Misty, Nine Night (Trafalgar Studios), Strange Fruit and The Arrival (Bush Theatre). Since moving to London Rike has also worked for the Royal Court Theatre, Royal Albert Hall, Pleasance London, Complicité, Breach Theatre, the Gate Theatre, Scene & Heard, the NYT and the Young Vic.
Travis Alabanza is an award-winning theatre maker, writer, and performer. A previous member of the Royal Court Young Writers group and Barbican young poets, their recent show Burgerz, which explored the intersections of transness and harassment, toured internationally to Sao Paolo, Southbank Centre, Bristol Old Vic, Smock Alley Dublin, HAU Berlin and Edinburgh Festival Fringe where it won the Total Theatre award. Other work includes My White Best Friend (Royal Court online), Skype d8 (Bush Theatre online) and In Tandem (Paines Plough online).
Alabanza has performed their solo work in a range of venues, galleries, and mediums including clubs such as the Royal Vauxhall Tavern, Latitude Festival, the V&A museum and universities and colleges including Oxford, Harvard and Bristol. In 2016/17, Travis was the youngest recipient of the Tate Gallery Workshop residency. Travis has written for Metro, Vice, Gal-Dem, The Independent, Dazed, Gay Times and more.
In 2018/19, Alabanza was listed on the Dazed100 – 100 people defining culture, awarded a Gay Times Honours award for their work in the LGBT+ community, and listed in the Evening Standard 25 Influential people under 25. Recently in The Times Style Bernadine Evaristo picked Alabanza as a ‘trailblazer of the future’ to watch.
