St. Ann’s Warehouse
in association with KPPL Productions presents
The National Theatre Production of

By Gillian Slovo
Co-directed by Phyllida Lloyd & Anthony Simpson-Pike

APR 13–MAY 12, 2024



American Express On Sale | Dec 11
Public On Sale | Dec 14


“It was my safest place… it was home.”

The extraordinarily resilient Grenfell community in London protected and cared for one another before, during, and after a deadly fire many of them foresaw. Crafted from verbatim interviews and public inquiries, the survivors’ haunting recollections, heroic acts, and unspeakable loss amplify a fierce campaign for justice and reform.

“A masterpiece of forensic fury”

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““Deeply moving…electrifying, edge-of-the-seat gripping…the more people that see it – the more space it takes up – the better.”

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“For a moment, the evening became more than theater. It became a call for change.“

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3 hours with one intermission.


Suitable for ages 12+

This production does not include images or depictions of smoke or fire. The production does contain adult themes and describes the experiences of the night of the Grenfell Tower fire, which some people may find upsetting.


Grenfell: In the Words of Survivors Context and History

On June 14, 2017, a 24-story housing development in North Kensington, London caught fire. 72 residents of Grenfell Tower died in the tragedy.

Prior to the tragedy, a refurbishment of Grenfell Tower took place including installing a cladding system to the outside walls. Many of the materials used in the system were highly combustible.


How have survivors and bereaved families been involved in making the play?

This is a verbatim play made directly from the words of survivors and bereaved of the Grenfell tragedy. Over the course of several years, playwright Gillian Slovo interviewed people about the impact of the tragedy.

Throughout the development of the play, the National Theatre consulted with a wide range of organizations based in North Kensington, including community and youth groups, cultural organizations and educational institutions. The National Theatre established an advisory group, made up of survivors, bereaved, and community leaders who continue to consult on the production and wider project. St. Ann’s Warehouse has been in conversation with contributors around bringing their story to New York.


Will St. Ann’s Warehouse and/or the National Theatre be making a profit from this play?

Neither St. Ann’s Warehouse nor the National Theatre will be making any profit from this work. We believe this is an important story of international significance that deserves to be told on an international stage.

St. Ann’s Warehouse, a 501c3 not-for-profit organization, and the National Theatre, a UK-based registered charity, are investing in both the production of this play and the community programs developed in partnership with local schools and organizations.


What audience support is in place for audience members affected by the play?

Audience support is paramount to this project.

St. Ann’s will provide a quiet space and an open-door policy where audience members will be free to go in and out of the theater as needed. Digital screens will be provided for those who would like to continue watching the play in the lobby of the theater.



Made possible by support from the National Theatre, National Endowment for the Arts, Jerome L. Greene Foundation, Downtown Brooklyn Partnership and the DUMBO BID, Areté Foundation, Miranda Curtis, Dominique Bravo & Eric Sloan, Carol Sellars, Sally Whitehill and Mark Gordon, Con Edison