• Casting announced for new production co-directed by Phelim McDermott and Lee Simpson

• Production will play at Bristol Old Vic as part of Mayfest in addition to previously announced dates at Northern Stage and West Yorkshire Playhouse

• Opening Skinner’s Box is a landmark production in the year that marks Improbable’s 20th anniversary year

• Based on the fascinating psychology book by Lauren Slater 

Storyknowing Festival and Symposium at York Theatre Royal

Two-day event exploring storytelling with young people showcases new models of collaboration between theatres and universities

Cath Heinemeyer, Storyknowing coordinator, leads a storytelling workshop at York Theatre Royal

 

After a £6m redevelopment project lasting over a year, York Theatre Royal will host an innovative ‘Storyknowing’ Festival and Symposium as part of its reopening weekend on 22–23 April 2016. The project will explore the relationship between storytelling and adolescence, and will feature contributions by researchers from York St John University and other institutions, as well as storytellers, theatre practitioners and young people.

The interdisciplinary project has been organised by the International Centre for Arts and Narrative (ICAN), a practice-based research collaboration between the theatre and York St John University. ‘Storyknowing’ aims to showcase new and productive ways in which theatres and research institutions can work together to develop participative arts practice.

The symposium, the first of its kind at the theatre and University, will benefit from the input of professionals and young people from a wide variety of backgrounds, ranging from researchers in theatre, education and psychology to mental health professionals, teachers, arts practitioners and young people.

Storyknowing will feature presentations and performances which demonstrate how telling and listening to stories can make a difference to young people’s lives. Two Friday morning panels, ‘Storytelling In and Out of Education’ and ‘Storytelling for Resistance and Resilience’, will be followed by an evening of storytelling performances by and for young people, including a story told through Indian dance and a retelling of the classical myth Dido and Aeneas, set amid the current refugee crisis.

Keynote performances by acclaimed storytellers Roger Hill and Jo Blake Cave will also feature, as well as workshops exploring the use of stories in schools, in mental health settings, or with profoundly disabled young people.

The Storyknowing project is coordinated by ICAN PhD student Cath Heinemeyer, whose research into storytelling with adolescents is funded by a collaborative doctoral award from the Arts and Humanities Research Council. Cath said:

“Storyknowing is about bringing together the best research and storytelling practice with young people – but it is also going to be an innovative research activity in itself. To generate new perspectives on how young people use story, we need a dialogue which includes the expertise of researchers, teachers, arts practitioners, mental health professionals and teenagers themselves. And that dialogue cannot just be conducted through research talks – performance and practice workshops will allow us to find out ‘what story knows’ about this interface.”

The ICAN partnership was established in 2012 to investigate the role of narrative across art forms in community settings. The Centre is jointly run by Matthew Reason, Professor of Theatre and Performance at York St John University, and Juliet Forster, Associate Director at York Theatre Royal. It has worked with almost 1,000 workshop participants of all ages and backgrounds since its launch.

Juliet Forster said:

“York Theatre Royal’s mission is ‘to cultivate the potential of the community through the creative arts’ and this goes to the heart of what ICAN and Storyknowing are about. We know that young people are facing unprecedented challenges – in a competitive educational world, and increasingly in the area of mental health – and we want to support all those working with them to harness the power of narrative and the arts.”

Matthew Reason said:

“Storyknowing is that quality of understanding we have while within a narrative, when we intuitively ‘get’ what is at stake in terms of relationships or consequences or emotions. Yet the moment we exit the story and try and say what it is we know, we are oddly lost for words.

 

“We are interested in developing storytelling as a participatory practice – one that really embraces the notion that we are all storytellers – through working with groups and individuals from across the community. It is a space where a theatre and a university operate within their wider community and context, making art together, asking questions together, telling stories together.”

 

The Storyknowing Festival and Symposium runs all day on Friday 22 and Saturday 23 April, with events taking place at York Theatre Royal and York St John University. Parallel workshops for young people let teachers bring interested students, at a minimal contribution to cost, to provide them with a vivid and creative experience of the research environment.

Civic Theatre, Darlington – 15 March 2016

Touring Consortium Theatre Company mark their 20th anniversary with a revival of John Steinbeck’s searing tale of migrant farm workers in America’s Great Depression. As we found out later the first show TCTC ever brought to Darlington was Of Mice and Men, so it was a nice circle that this was the last show for them to bring before the theatre closes for refurbishment.  

Dudley Sutton may be the “star” in this emotionally devastating revival of John Steinbeck’s “Of Mice and Men.” But the other star of the show is Director Roxanna Silbert, who in conjuction with Birmingham Rep,  turns in an impeccably mounted production without a single blemish. The ensemble acting is flawless. The design work is breathtaking. And Steinbeck’s Depression-based views on the human connections that are our only hope of survival in desperate times are just as relevant — even imperative — for living through our own cruel times

The relationship between migrant ranch workers Lennie (Kristian Phillips) and George (William Rodell) is the bruised heart of Steinbeck’s vivid portrait-in-miniature of a parched 1930s California, where money has drained away and kindness is a luxury. It’s a fragile constant in a world where dreams are as easily crushed as the mice Lennie accidentally kills with clumsy affection.  The intensity of the drama and its focus on human relationships is perfect for stage, inspiring powerful performances all round. As a story which is embedded in the American conscious there is also a peculiar authenticity about the production, a feeling that nothing has been held back. It is a sort of anthropological case study in the origin of American culture as it functions today.

There’s no way to overpraise this ensemble who bring Steinbeck’s characters to life. They’re a motley crew, one and all, and most are truly memorable. Sutton is heart-wrenching as Candy, the pathetic old ranch hand who can read his fate on the bunkhouse walls, as well as Neil McKinven’s burly Carlson, the bunkhouse bully who intimidates Candy into letting him shoot his old dog. And Jonah Russell’s Slim, the sober peacemaker, along with Ben Stott’s sadistic Curley, who does everything a man can to destroy that peace. Not to mention Dave Fishley’s blazingly intelligent Crooks, the black guy the white guys won’t allow inside the bunkhouse.

Every last one of these men on this farm is given human dignity as well as character dimension by members of this extraordinary company. Which is more than the real-life models for these men got back in Steinbeck’s day.

As the never named Curley’s wife, Saoirse-Monica Jackson lights up the stage with every appearance, displaying the nuance and complexity necessary to make the character more than just the catalyst for the play’s tragic ending. Jackson and Phillips play off each other very well in a key scene when Curley’s wife shows the troubled man some kindness right before her sad end.

This is a truly stunning production, the staging is magnificent.  Every aspect of the show’s design is first-rate, including Liz Ashcroft’s set designs, which help root the play in time; Simon Bond’s eloquent lighting; and Nick Powell’s understated sound design.

This was a book that I read for my O Levels far too many years ago for me to mention, but a tale that as stood the test of time and is still on the syllabus today.  The theatre was filled with students who were reading this as set text and hopefully seeing this production will give them even more of an insight into this remarkable story.

In Darlington until Saturday 19 March and on tour around the UK

Grand Opera House, York – 14th to 19th March.  Reviewed by Marcus Richardson

The 39 Steps a great British classic, a farcical-comedy came to the Grand Opera House York on the 14th March 2016.

With the cast compiled of only four actors; Richard Ede who played the dashing Richard Hannay, Olivia Green as the main delicate Pamela, whist also taking a good spy and a oppressed scots-woman.  But, where the true talent of multi-roling takes place, is between Andrew Hodges and Rob Witcomb taking on more roles than I can count.

The witty style of comedy that all us Brit’s live for, was shown in many a scene, but the scene that shone like a flashlight is the hotel scene where Witcomb played an eccentric landlady where he is switching between characters in a matter of seconds. Along with his counterpart Hodges they gained a great roar of laughter for the whole audience.

The staging was minimalistic which added to the farcical elements, with Ede climbing through a window (photo frame). The scene changes were quick and effective and at times the use of props to create a funny moment such as a lamppost was used very well with the dynamic duo bring a streetlight every time our daring hero opened the blind of a window. The play was full of Hitchcock related jokes with the shower scene being implied and mention of vertigo, these were very cheesy and did make a few audience members laugh. However some Hitchcock jokes did last just a tad bit too long.

I would encourage anyone looking for a good laugh; with exciting chases, a melodramatic love connection and a ton of humour thrown in to see the wonder that is The 39 Steps.

LAZARUS THEATRE COMPANY

Lazarus’ Season of Rebellion;

 Season of Rebellion continues with a brand new adaptation of Euripides’ sexual and liberating, The Bacchae.

 Lazarus returns to The Tristan Bates as part of The Camden Fringe for John Ford’s daring and revolutionary, Tis Pity She’s a Whore.

The Bacchae

After Euripides

Lazarus’ season of Rebellion and Revolution continues with Euripides’ final play The Bacchae in a new production Directed by Gavin Harrington-Odedra and sees us transform The Blue Elephant Theatre into the stadium of Dionysus.

A wanderer returns, driving the people of the city into a ferocious and liberating sexual frenzy. His actions excite, his message thrills, but his mission is revenge.

Euripides’ hedonistic and uncompromising final play comes to the stage in an all-new, devised, ensemble production. Through the use of spoken word, movement and music, this electrifying new production examines belief, sexuality and liberation.

The Bacchae plays from the 19th April through to 7th May at The Blue Elephant Theatre, Tuesday – Saturday at 8pm.

Tis Pity She’s a Whore

John Ford

Continuing our season of Rebellion and Revolution, one of the most provocative and daring plays of the period, John Ford’s shocking and taboo, Tis Pity She’s a Whore. Returning to The Tristan Bates Theatre and running as part of The Camden Fringe, Tis Pity is Directed by Lazarus Artistic Director Ricky Dukes.

Ferocious, murderous and bloody. Love will not conquer all. Love will destroy all.

John Ford’s Jacobian masterpiece follows two young lovers, Anabella and Giovani, caught in the grip of sexual adventure and discovery. But their love is damned and their sex is a sin; they are Brother and Sister. When the siblings’ love is discovered – their world is changed forever.

Tis Pity She’s a Whore plays from the 23rd August through to 10th September at The Tristan Bates Theatre, Monday – Saturday at 8pm.

“This is a fantastic re-interpretation of a classic. Venice in all its dark splendour unfolds before you; the cast deliver outstanding performances… Magnificent work… Do not

miss this production” ★★★★

Everything Theatre on The Merchant of Venice

 

The Great American Trailer Park Musical – The Hit off Broadway show finally receives its LONDON PREMIERE!

 

There’s a new tenant at Armadillo Acres – and she’s wreaking havoc all over Florida’s most exclusive trailer park. When Pippi, the stripper on the run, arrives and comes between the Dr. Phil-loving agoraphobic Jeannie and her tollbooth-collector husband Norbert. – the storms begin to brew!

 

The Great American Trailer Park Musical with music and lyrics by David Nehls and book by Betsy Kelso, is a musical comic fable exploring the relationships between the tenants at the exclusive Armadillo Acres Trailer Park in Florida.

 

 “A delicious new musical. The joint is jammed and jumping with raucous laughter. It’s like The Honeymooners meets The Best Little Whorehouse in Urinetown.” — NY Post

 

“Joyful and unashamedly vulgar, Betsy Kelso’s comic fable about women in a Florida trailer park and their no-account men is more fun than a chair-throwing episode of Jerry Springer set to music.” — The New Yorker.

 

The show premiered at the first annual New York Music Theatre Festival in 2004 and transferred to The Dodger Stages off-Broadway in 2005, it has since played throughout the USA, Australia and Europe. This will be its British cast Premiere.

 

Following the recent success of Garry Lake’s production of Jest End at Waterloo East Theatre, the collaboration is set to continue by presenting the British Cast Premiere of the hit off Broadway show The Great American Trailer Park Musical, by David Nehls and Betsy Kelso.

 

Presented by Garry Lake & Waterloo East Theatre by arrangement with JOSEF WEINBERGER LIMITED.

 

Cast: TBC

 

Director – Richard Fitch (Urinetown – Assasins – Funny Girl)
Choreographer – Rebecca Howell – (American Psycho – Funny Girl)
Musical Director – James Taylor – (Sound of Music Live)

 

 

Listings Information:

 

11^th May to 5^th June 2016 – Press Night May 17^th at 7.30pm

Tues to Sat at 7.30pm. Sun at 4pm (No Monday performances)

Running time approx 110 mins with an Interval

Tickets: £20 / £18(Cons) Previews: May 11^th to 15^th All tickets £15

No Booking Fees (All seating is unreserved) Age16+

Waterloo East Theatre Brad Street London SE1 8TN

Book Online www.waterlooeast.co.uk  Box Office 0207 928 0060

OUT OF THIS WORLD

Music and Lyrics by Cole Porter
Book by Dwight Taylor and Reginald Lawrence

 

LISTINGS INFORMATION

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Opera and Shakespeare hit the big screen this April as Empire Cinemas announces its Empire Extra line up, including:

Madama Butterfly – MET Opera

Giselle (Live) – Royal Opera House

Shakespeare Live

Empire Cinemas’ Empire Extra programme uniquely allowed viewers to experience world class performances and productions without the theatre price tag. Diverse in all it has to offer, each month Empire Extra screens a range of opera, music, ballet and theatre; all in high definition. This experience enables audiences to witness the performance as it is live, all from their comfy cinema seat.  April is no exception as Empire Extra showcases a stunning selection of screenings making spring all that more spectacular.

In addition to the Royal Shakespeare Company’s Shakespeare Live, April sees a number of high profile operas coming to the big screen from the MET Opera and the Royal Opera House.

APRIL

MET Opera – Madama Butterfly

Released 2^nd April 2016

Ticket Link: http://bit.ly/1lEfTLM

Anthony Minghella’s incredible production has enthralled audiences since it first premiered in 2006. This romantic love story stars Kristine Opolais alongside Roberto Alagna and depicts a tale of heart break. The performance is 198 minutes and is split into two sets with Hei-Kyung Hong and Massimo Giordano starring in the latter.

Royal Opera House – Giselle (Live)

Released 6^th April 2016

Ticket Link: http://bit.ly/1Sf3IlK

Giselle epitomises romantic ballet at its very best, the story of a love affair which begins in the real world and transcends beyond the grave. This role is famed for being notoriously difficult for ballerinas to portray as Giselle adopts two roles within the one performance.

Peter Wright’s production seamlessly masters the dual aspect of the performance which makes for impeccable viewing.

MET Opera – Roberto Devereux

Released 16^th April 2016

Ticket Link: http://bit.ly/1Mxk44L

Witness the talented Soprano Sondra Radvanovsky take on the challenge of singing all three of Donizetti’s Tudor queens in the course of a single season. This performance showcases the story of Queen Elizabeth I who is forced to sentence her lover Roberto Devereux to death.  This critically acclaimed performance is celebrated for its immensely aspiring directorial triumph.

Shakespeare Live!

Released 23^rd April 2016

Ticket Link: http://bit.ly/1UN5hI8

From the Royal Shakespeare Company, this exceptional two hour event is a celebration marking the 400^thanniversary of William Shakespeare’s death. The event can be enjoyed at Empire Extra cinemas despite originally being screened live from Shakespeare’s birthplace in Stratford-upon-Avon. The star studded show celebrates Shakespeare’s works and is a must see for theatre and literature enthusiasts alike.

Royal Opera House – Lucia Di Lammermoor (Live)

Released 25^th April 2016

Ticket Link: http://bit.ly/1L221H0

Sung entirely in Italian, Lucia Di Lammermoor is a story rooted in rivalry. This opera tells the tale of two families embroiled in a bitter feud back in 17^th century Scotland. Romantic undertones make for a beautiful performance as the story sees two young lovers endure very unfortunate consequences.

This performance is famed for providing some of the opera world’s most moving and riveting scenes- which make it truly unmissable viewing.

MET Opera – Elektra

Released 30^th April 2016

Ticket Link: http://bit.ly/216DCBT

This story depicts a daughter’s quest for revenge after the unlawful killing of her father. This opera performance stages two incredibly heroic female roles, which take form in the characters of Strauss and Wagner. This performance is rooted in rich history making it one of opera’s most infamous classics.

 

Jon Nutton, Marketing Director of Empire Cinemas, said: “The Empire Extra programme allows our viewers to immerse themselves in culture, as it provides them with the unique opportunity to experience some of the world’s most celebrated performance events. Engaging and thoroughly enjoyable, Empire Extra offers the perfect entertainment for everyone this spring”.

 

For further ticketing information visit www.EmpireCinemas.co.uk or call 08714 714 714.

Woody Sez – The Life & Music of Woody Guthrie

Grand Opera House York

Friday 13 May at 7:30pm

BEST MUSICAL NOMINATION – London Evening Standard.

 

“Terrific” – The Guardian

Following its critical success in London’s WEST END, the hit musical Woody Sez heads out on a full UK tour. Woody Sez captures the heart and spirit of America’s original folk hero Woody Guthrie, who paved the way for Bob Dylan, Bruce Springsteen and more. Woody Sez is a soul stirring musical event performed by four amazingly talented actor-musicians performing over 25 of his classic songs (on over 20 live acoustic instruments!). It’s a joyous, toe-tapping and heartfelt musical portrait that uses Woody’s words and songs to transport the audience through his fascinating and sometimes tragic life.

“A Must See” – The List

WOODY SEZ is a joyous, toe-tapping, and moving theatrical concert event that uses Woody’s words, and over twenty-five of Woody’s songs to transport the audience through the fascinating, beautiful, and sometimes tragic life of Woody Guthrie. Performed by a talented group of four versatile actor/musicians who not only play 15 instruments ranging from guitar and fiddle to jaw harp and dulcimer, but they also bring to life the many people who are the fabric of Woody Guthrie’s amazing story. The combination of the cast’s infectious enjoyment, Woody’s incredible journey, and a stirring mix of moving ballads and energetic foot-stompers make this a must see. Woody Guthrie gave voice to the beauty and struggles of the common man and WOODY SEZ gives the same to the spirit of the man himself.

“Resonates…Profound” – The Times  “A Haunting Powerful Show’ – New York Times

“Go Bask In It” – Telegraph

Tickets from £12.50 from box office on 0844 8713024 or book online at www.atgtickets.com/york