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The Debut Festival, presented annually by East15's third-year BA Acting and Contemporary Theatre students, is a celebration of new writing and emerging talent. All plays are written, performed, and directed by the students, who spend their second year crafting their scripts and their third year bringing them to life.
This unique festival not only showcases the creativity and hard work of the students but also offers invaluable insights into the practical realities of theatre- making. In addition, the students host a fundraiser to help them with potential London transfers.
Here are 4 of our favourites from the Festival....
Grafters
Grafters, written by James Goodall and directed by Stanley McElligott, is a gritty, naturalistic drama. Set in a worn-out flat in Kirkdale, Liverpool, the play unfolds within a single, uninviting room—plain white walls, a shabby couch, and dingy furniture that reinforces the bleakness of its environment.
The story begins with Johno (Daniel Cuckow) watching the news, where a tragic
report details the murder of a five-year-old child caught in the crossfire of a gunfight. The intruder, aiming to kill the gang leader, inadvertently shoots the innocent child as he gets in the way, setting the tone for the play. The action takes a violent turn when P (James Goodall) bursts into the flat, turning off the lights and assaulting Johno in a frantic search for a box containing £3,000. This sets the stage for a tense, claustrophobic drama about three ‘housemates’ all ‘grafting’(selling drugs) together—Johno, P, and the younger Dezzo (Dominic Bryant)—all involved in a dangerous and complicated drug deal.
Over the course of the play, revelations unfold about their true selves, with each character exposing layers of deception and vulnerability. “A slick, straight-to-the-point script that feels real and lived-in.”
Grafters follows the classical Aristotelian unities—unity of action, time, and place—intensifying the drama by keeping it contained within a single location and a compressed timeframe. This structure builds tension masterfully, allowing for deep character exploration. The writing is sharp and precise, with a veracity that feels both researched and raw. Goodall’s script is an exploration of masculinity, loyalty, and the brutal realities of the drug trade.
“A brutal, unflinching look at violence and survival” McElligott’s direction is equally effective, guiding the tension and pacing of the piece with expert
precision. He manipulates the audience’s emotions effortlessly, drawing us into the claustrophobic space and the spiralling conflict. The performances are equally gripping—Cuckow’s Johno is a vicious, witty character who keeps the tension alive, while Goodall’s portrayal of P reveals a man torn between toughness and vulnerability, leaving a lasting emotional impact.
Bryant’s Dezzo is the most vulnerable of the three, embodying the naivety and obedience of youth caught in a dangerous world. “A stunning trio of performances that will leave you on the edge of your seat.” With its thrilling revelations and expertly crafted drama, Grafters is a stand-out piece that proves just how powerful theatre can be. A must-see for its raw intensity and emotional depth, this play is a true triumph in both writing and performance.
★★★★.5
Are You There Moriarty?
Are You There Moriarty?, written by Samantha Begeman and directed by Matty Rudd, is a sharp and sinister dark comedy that revels in its opulence and cruelty. Set in an extravagant restaurant bathed in red and black, the stage itself is a reflection of the world it inhabits—decadent, high-class, and brimming with secrets. What begins as an evening of idle games among the privileged elite
soon spirals into a macabre unravelling of relationships, power plays, and murder. “A sharp and sinister dark comedy that revels in its opulence and cruelty”
The play follows two affluent and insufferably snobby couples: Johnny and Katie (Lou Bristow-Bell and Samantha Begeman) and Maeva and Michal (Nina-Lou Bricard and Dominic Bryant) whose dynamic is disrupted by an intern, Chris (Stanley McElligott), the clear outsider. To them, he’s a plaything, a puppet to be manipulated for their amusement. Lily, Johnny’s unhinged sister (Abigail Sinclair), becomes the chaotic force that drives the action, orchestrating the titular game Are You There Moriarty? and exposing the rot beneath their polished exteriors. As the night progresses, alliances fracture, long-buried resentments surface, and the group’s cruelty escalates to absurd and violent extremes.
“A darkly twisted high-society thriller” The writing is razor-sharp, dripping with biting class commentary. The presence of the silent restaurant staff—always onstage, quietly bearing witness to the group’s slow implosion—is a
particularly compelling touch. The pianist, ignored even during the murders, serves as an eerie symbol of the way the ultra-wealthy exist in their own bubble, oblivious to the world around them. However, while the play offers a scathing critique of the rich, a deeper perspective from the servants/front-of-house characters would have added another dimension that would enrich the
storytelling. “Dripping with biting class commentary”
Sinclair’s performance as Lily is a standout, balancing manic energy with a tragic edge, while McElligott delivers a nuanced portrayal of the intern, caught between intrigue and self-preservation. Rudd’s direction is creative, and the tension is masterfully paced; however, the play stumbles slightly when murder enters the picture. The deaths, though shocking, lack believability—especially
as they come in high quantity and rapid succession. A different approach could have used this to the play’s advantage, such as creating an over-the-top, Grand Guignol bloodbath. Alternatively, the killings could have been pared down to a single, more chilling and deliberate act. Johnny’s turn to murder, in particular, feels underdeveloped and could have been foreshadowed more effectively.
“The tension is masterfully paced” That said, Are You There Moriarty? is a gripping and stylish thriller that never loses its audience. With intelligent dialogue, a sinister atmosphere, and performances that electrify, it’s an engrossing ride—flawed, but undeniably thrilling.
★★★★
Honourable mentions :
Madame, You Have a Guest by Felicia Kaspar
Directed by Dominic Bryant
A darkly comedic exploration of chaos, control, and the fine line between sanity and delusion. Madame, the country’s most sought-after psychic, is once again overbooked—juggling desperate clients, a crumbling financial system, and the relentless trials of motherhood. Balancing a wide range of genres, the concept is unique and intriguing, delivered with high quality, moving performances.
A Stable Home – A Broad Interpretation of True Events by Bud Potter
Directed by Nia Brooks
A humorous and haunting tale of love, loss, and the brutal realities of rural life. Yearning for simplicity, Joan leaves London for the idyllic English countryside, only to find her dreams slipping through her fingers. As she struggles to hold onto love and stability, the harsh truth of farm life sets in. This gripping drama explores the fine line between hope and survival in a world that refuses to be tamed.
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