• At CPT we are committed to ensuring the best possible experience for all artists, audience members and other visitors to our space. We welcome customers and artists with disabilities and are pleased to assist you in your visit. 

    If you have any questions or enquiries, please do get in touch by phone at 020 7419 4841 or email at foh@cptheatre.co.uk.

  • View Cart icon
  • Daniel Nicholas presents


    Tue 9 November, 9pm
    Tickets £12/10 (conc.)
    In near future, a millionaire inventor launches his superhuman AI. And you’re invited.

    Content Notice
    Content NoticeAudience members will need a working smart device and the Difference Engine will give the option for full subtitles throughout.


    Fresh from a debut run at the Pleasance, Edinburgh Fringe 2021.

    In the not too distant future, millionaire and inventor (think Elon Musk with a further attitude problem) ‘Hugh’ from Hu-Bris industries is launching the first superhuman artificial intelligence at a press conference. And you’re invited. ‘Eugene’ is a show about what happens when we give technology the power over us, with an anthropomorphic power point. Think The Terminator does a Ted Talk with Steve Jobs.

    A comedy theatre show that comes with integrated captioning via The Difference Engine, delivering part of the story through your smart device and meaning that every performance is deaf friendly.

    Supported by Arts Council England and received the Pleasance National Partnerships Award for Yorkshire 2020/21.

    With support from Arts Council England Attenborough Arts Centre, In Good Company, Barnsley Civic, Theatre in the Mill and Sunglow’s The HUB, with dramaturgy support from Fringe First award winner Dick Bonham, Uncanny Theatre’s Natalie Bellingham, LaPelle’s Factory’s Ollie Smith, award-winning comedian Tom Taylor and Deaf actress/practitioner Emily Howlett.




    "An enjoyable way to spend an hour…delightfully monstrous"
    Bouquets & Brickbats
    "Ahead of its time"
    A Theatrey Blog

    “British theatre would be completely stymied without tiny, under-resourced venues such as CPT, which are a critical part of the theatre ecology.”

    Lyn Gardner Stagedoor