King Troll ✭✭✭/The Crocodile ✭✭✭✭- Weston Studio

Two acts of being devoured unfold across the Weston Studio, each wearing a different theatrical skin yet driven by the same appetite. In Sonali Bhattacharyya’s King Troll and Tom Basden’s The Crocodile, the individual steps into a system and is slowly, or spectacularly, consumed. One grinds in fluorescent half-light, the other sparkles with absurdity, but both land in the same place: identity stretched, edited, reshaped until what remains feels part-human, part-construction, something processed for someone else’s purposes. In King Troll, Bhattacharyya roots us firmly in the bureaucratic churn of the asylum system, where Sashi moves through interviews, waiting rooms, and temporary housing that never quite settles into the idea of home. Language becomes a performance, shaped to fit expectation, and Nikita Nia Johal captures that tension with striking clarity, her Sashi grounded in a quiet, unshowy decency that makes every small compromise feel costly. You watch her measure each…

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