All The Rage turns the Epstein files into one of London theatre’s most politically charged productions of the year

London theatre has rarely seen a response project assembled at this scale or speed.

All The Rage, opening at Theatre Deli this June, brings together more than 70 female-identifying and non-binary playwrights, directors and artists for a large scale theatrical response to the release of the Epstein files and the wider systems of power, silence and misogyny surrounding them.

Conceived by acclaimed playwright Rebecca Lenkiewicz, the production transforms an empty office floor inside Theatre Deli’s Leadenhall Street building into a fragmented, immersive environment spread across 15 separate spaces. The setting itself is central to the production’s political and visual language. Situated inside a former insurance building in the heart of London’s financial district, the work deliberately places themes of institutional power, money and complicity inside a space historically associated with male dominated corporate structures.

Rather than functioning as a conventional play, All The Rage unfolds as a site responsive theatrical event moving between installation, performance art, live writing and immersive theatre. Audiences will move through rooms shaped by anger, resistance, trauma and collective reflection before gathering together for a final unified act that brings the project’s many voices into a single theatrical moment.

The scale of the creative collaboration alone makes the production notable within contemporary British theatre. Contributors include some of the country’s most respected playwrights and writers including Lucy Kirkwood, Timberlake Wertenbaker, Selina Thompson, Phoebe Eclair-Powell and Gurpreet Kaur Bhatti among many others.

What separates All The Rage from traditional issue based theatre is the way it treats collective authorship as part of the statement itself. The production does not present a singular narrative voice. Instead, it mirrors the fragmentation, contradiction and emotional volatility surrounding conversations about gendered violence, institutional failure and media framing.

Lenkiewicz has described the project as emerging from frustration not only at the crimes themselves, but also at how public discourse surrounding the Epstein case frequently focused on wealth, celebrity and powerful men rather than the girls and young women at the centre of the abuse.

That tension appears embedded throughout the production’s creative approach. The choice to stage the work inside a stripped back office environment creates a deliberately uncomfortable collision between performance, power and corporate space. The result is expected to sit somewhere between immersive installation, protest piece and theatrical intervention.

The production also reflects a broader shift currently taking place across London theatre, where immersive formats and politically responsive works are increasingly moving outside traditional stage structures and into found spaces, temporary venues and multidisciplinary environments.

At a time when much mainstream theatre remains commercially cautious, All The Rage positions itself as something far more confrontational. Not simply a play, but a collective artistic act of resistance.

You an get your tickets here