Call For Nominations: 50/50 Applause Awards for Theatres

Call for Nominations: 2017 ICWP 50/50 Applause Award for Theatre Gender Parity Around the Globe

(The World) – Theatre industry, media and academic research in the last decade have uncovered and reported on the sometimes shocking levels of bias against female playwrights. Many professional theatres have committed to take action and demonstrate gender equity in their programming.

The International Centre for Women Playwrights (ICWP) is proud to sponsor the sixth annual 50/50 Applause Award, celebrating theatres which achieved gender parity among their produced playwrights within the past theatre season. The nomination window for the 2016-2017 theatrical season is open!

Co-chair of the 50/50 Applause Awards committee, Patricia L. Morin, said “ We want to applaud theatres that are showing works by women at least half the time. Theatres like the HERE Art Centre New York, the Factory Space in Sydney, Australia and the Prairie Theatre Exchange in Manitoba, Canada have met our 50/50 criteria three years in a row. We want to see more theatres following their example.”

This year’s nomination form will go live June 5th, 2017 on the ICWP website, where you will also find links to videos, press releases, and news. Anyone may nominate eligible theatres.

The eligibility criteria have changed from previous years. Here are highlights of the new qualifying criteria:

– Have at least three productions in their season

– Have plays by both female and male dramatists in their season

– At least 50% of the plays produced between July 1, 2016 and June 30, 2017 are the work of female playwrights

– At least 50% of the total number of performances during that window are the work of female playwrights

– Theatres may not have the development of works by women as their main mission statement

The guidelines are available at Please contact us if you need translation assistance.

Along with artistic directors and theatre employees, the public is encouraged to nominate any theatre which meets the criteria for the award. Please share this information with your theatre friends around the world! Recipients of the 2016/17 award will be announced in September 2017.

For more about the awards history and previous recipients, go to


Established in 1989, The International Centre for Women Playwrights promotes and supports women playwrights. We aim to help achieve a fair representation of the female imagination on the world’s stages. ICWP provides a place for peer support, knowledge-sharing, and play publication. It is our goal to see more gender equity in professional theatres and for women playwrights to sustain careers as dramatists. When female dramatists are no longer discriminated against, we will no longer need to exist. We work for that day!







The first images of the cast in costume have today been released for new West End musical THE WIND IN THE WILLOWS, featuring Rufus Hound as the amazing Mr Toad, Simon Lipkin as Ratty,Craig Mather as Mole, Neil McDermott as Chief Weasel, with Denise Welch as Mrs Otter and Gary Wilmot as Badger. Previews begin at the London Palladium on Friday 16 June, with opening night on Thursday 29 June.

The full company will include Chris Aukett, Rosanna Bates, Joel Baylis, Jenna Boyd, Abigail Brodie, Jorell Coiffic-Kamall, Nicole Deon, Emilie du Leslay, Joshua Gannon, James Gant, Evan James, Michael Larcombe, Bethany Linsdell, Ryan Pidgen, Adam Vaughan, Georgie Westall and Natalie Woods. Rehearsal images of the cast are also available today.

Based on Kenneth Grahame’s treasured novel which has captivated generations of readers for over a century, THE WIND IN THE WILLOWS has been adapted for the stage with a book by Academy Award-winning screenwriter and Downton Abbey creator Julian Fellowes and Olivier Award-winning composer and lyricist duo George Stiles and Anthony Drewe.

This riotous comedy follows the impulsive Mr Toad whose insatiable need for speed lands him in serious trouble. With his beloved home under threat from the notorious Chief Weasel and his gang of sinister Wild Wooders, Toad must attempt a daring escape leading to a series of misadventures and a heroic battle to recapture Toad Hall.

Featuring eye-poppingly beautiful design, exuberant choreography and a gloriously British score, The Wind in the Willows brings an explosion of anarchy, humour and heart to the world-famous London Palladium.

Tickets are available from £15, with reduced price preview performances. Kids go free subject to availability, terms and conditions apply. No additional booking fees or charges are applied to tickets booked via The original cast recording is now available to pre-order here.

Produced by Jamie Hendry, MJE Productions and Josh Gilinski, in association with Theatre Royal Plymouth, THE WIND IN THE WILLOWS is directed by Rachel Kavanaugh with choreography by Aletta Collins, set and costume design by Peter McKintosh, lighting design byHoward Harrison, sound design by Gareth Owen, wig and makeup design by Linda McKnight, orchestrations by Chris Jahnke and David Shrubsole and musical supervision by Simon Lee.


The London Palladium
Argyll Street, London W1F 7TF

First Preview: Friday 16 June 2017
Opening Performance: Thursday 29 June 2017
Booking Until: Saturday 9 September 2017

Performance schedule:
Monday at 7pm
Tuesday – Saturday at 7:30pm

Tuesday & Saturday at 2:30pm


Tickets from: £15 *NO BOOKING FEES*


Kids Go Free:                            Subject to availability, valid all performances 16 June – 8 September. Band A, B and D only. 1 Free Kids ticket (16 and under) with every full priceAdult ticket and up to 2 additional Kids (16 and under) at half price. Excludes tickets already purchased.


Book online:
Book by phone: 0844 874 0665

Groups: 0844 412 4650
Facebook/Twitter/Instagram: WillowsMusical

Rehearsal Images – The Quentin Dentin Show, Tristan Bates Theatre

Tristan Bates Theatre,

1a Tower Street, London WC2H 9NP

Monday 19th June – Saturday 29th July 2017

Following a highly successful run at Above The Arts, the cult hit rock musical, The Quentin Dentin Show is back. This is The Rocky Horror Picture Show for the new Millennium.

Join the charismatic Quentin Dentin on his mission to make humanity happy. In order to demonstrate his musical therapies on his domestically unsatisfied test subjects Nat and Keith, Quentin Dentin finds his way into their world through the household radio – now a teleport for his sensational signing. Are you ready for him? If not, prepare for an appointment with the Brain Machine…

The Quentin Dentin Show has developed a cult following on its journey from London to the Edinburgh Fringe and back, on a trajectory from humble beginnings to a fully blown Off WestEnd rock musical.

With a brilliant original soundtrack, live rock band and dazzling choreography, The Quentin Dentin Show is guaranteed to make you happy or kill you trying.

★ ★ ★ ★ ★ This rock musical is a winner (The Upcoming).

New Director, Adam Lenson comments, I saw The Quentin Dentin Show in its previous production upstairs at the Arts Theatre and was struck by what an original, exuberant and powerful new rock musical it was. I’m thrilled to be able to work with the team to take this revised and enhanced version of the show to its new destination.

The Quentin Dentin Show is a satire on the extremes to which we’ll go to get ahead. Quentin Dentin is on a quest to find personal fulfilment, fuelled by ambition and narcissism. The show combines the song and dance of musical theatre with the really big questions.

Lazarus Theatre hits The Camden Fringe with Marlowe’s gay epic… EDWARD II



Lazarus Theatre’s Season of Legacy continues with the return to The Camden Fringe and The Tristan Bates Theatre for Marlowe’s gay epic Edward II.

Edward II

Christopher Marlowe

The King is dead. His son, Edward II, is crowned King. His first act: to call home from banishment his lover, Gaveston.

Why would you love him who the world hates so? Because he loves me more than all the world.”

Marlowe’s homoerotic epic comes to the stage in this all-new, all-male ensemble production. Marking 50 years since the decriminalisation of homosexuality in England and Wales, this production investigates, celebrates and explores identity and sexuality.

Edward II sees our return to The Tristan Bates Theatre and The Camden Fringe after our smash hit productions of ‘Tis Pity She’s a Whore, Coriolanus and Tamburlaine.

Please note this production contains full male nudity and scenes of a sexual and violent nature.

Press on previous Shakespeare productions:

★★★★ “Marlowe’s irresistible cocktail of power, political intrigue… Captures the energy and epic scope of Marlowe’s game-changing play”

Female Arts on Tamburlaine

★★★★ “An excellent ensemble… Quite breathtaking… Wonderfully inventive”

Fringe Review on Dido Queen of Carthage

★★★★★ “This remains a visionary company who have once again brought us a stunning and thoughtful adaptation. Not to be missed.”

View from the Gods on Tamburlaine

Lazarus is an award-winning Theatre Company, re-imagining and revitalising classic text for a contemporary audience.

Artistic Director’s Note

We are thrilled to be returning to The Camden Fringe and to The Tristan Bates Theatre with the most remarkable gay play from the classical canon, Marlowe’s Edward II. Our 2017 season has legacy as its focus, and in the year that marks the 50th anniversary of the decriminalisation of homosexuality in England and Wales and after a year of incredible political events, what better way to explore the legacy of gay representation on stage and queer theatre than Marlowe’s own investigation of homosexuality, nation and leadership. Edward II seems more pertinent than ever.”

Ricky Dukes, Artistic Director.


Dates 22nd August – 9th September 2017, Monday – Saturday at 7.30pm

Venue The Tristan Bates Theatre

Tickets £17.50, £15.00 (Concessions) £10 (Previews 22nd and 23rd August)

To Book

Cast; Shall be announced shortly.


Written by Christopher Marlowe

Adapted and Directed by Ricky Dukes

Social Media:

Follow us on Twitter @Lazarustheatre

Join us on Facebook LazarusTheatreCompany

#Marlowe #EdwardII


Will Young and Louise Redknapp to launch new Cabaret Tour






Internationally renowned singer/songwriter, Will Young, reprises his Olivier Award-nominated performance as the enigmatic Emcee alongside musician and presenter Louise Redknapp, who makes her stage debut as Sally Bowles in Rufus Norris’ multi-award winning production of CABARET.

Cabaret will embark on a UK tour this autumn, opening at the New Wimbledon Theatre on Thursday 21st September 2017 and playing theatres in Blackpool, Cardiff, Leeds, Milton Keynes, Salford, Edinburgh, Bromley and Brighton.

Ever since winning the inaugural series of Pop Idol in 2001, WILL YOUNG has been one of the UK’s most popular and successful music artists. He holds the record for the fastest selling debut single in British chart history, and has enjoyed a phenomenal career in music with 4 number 1 albums, as well as acting alongside Dame Judi Dench in the film Mrs Henderson Presents. Will made his West End debut in Cabaret and will be reprising his award winning performance.

LOUISE REDKNAPP rose to fame as a member of the girl group Eternal. She left the band to carve out a successful solo career achieving an impressive twelve Top 20 singles, including the hits Naked and Stuck in the Middle and selling over 5 million records with 5 albums. Since then she has rarely left our television screens and most recently wowed the nation with her dancing skills finishing ‘runner up’ in the 2016 series of BBC1’s Strictly Come Dancing.

CABARET features show-stopping choreography, dazzling costumes and some of the most iconic songs in musical theatre including ‘Money Makes The World Go Round’, ‘Two Ladies’ ‘Maybe This Time’ and of course ‘Cabaret’. The production turns Weimar Berlin of 1931 into a sassy, sizzling haven of decadence, and at its dark heart is the legendary and notorious Emcee, who performs nightly at the infamous Kit Kat Klub.

Since its Broadway premiere in 1966 and the famous movie version with Liza Minnelli and Oscar winner Joel Grey, CABARET has won a staggering number of stage and screen awards including 8 Oscar’s, 7 BAFTA’s and 13 Tony’s. Norris’ production has enjoyed two smash hit West End runs and has picked up 2 Olivier Awards.

Rufus Norris is Director of the National Theatre and a multi-award winning theatre and opera director. For the National Theatre, he has directed The Threepenny Opera,, Everyman, Behind the Beautiful Forevers, The Amen Corner, Table, London Road (Critics Circle Award), Death and the King’s Horseman, Market Boy. Other theatre includes Vernon God Little (Young Vic), Les Liasons Dangerouses (Broadway – five Tony Award nominations), Festen (West End and Broadway) The Country Girl (Apollo) and Afore Night Came at the Young Vic (Evening Standard Award). Film credits include London Road and Broken.

Choreography is by the Olivier Award-winning Javier De Frutos. In 1990, he formed The Javier De Frutos Dance Company. His work includes The Hypochondriac Bird and Affliction of Loneliness. Recently he joined forces with Sadler’s Wells and The Pet Shop Boys to create a brand new dance work based on Hans Christian Andersen’s story, The Most Incredible Thing.

Cabaret will play at the New Theatre Wimbledon, Blackpool Opera House, Cardiff New Theatre, Leeds Grand Theatre, Milton Keynes Theatre, The Lowry in Salford, Edinburgh Playhouse, Churchill Theatre Bromley and Brighton Theatre Royal.


Thursday 21 – 30 September Box Office: 0844 871 7646

New Wimbledon Theatre Website: ATGTICKETS.COM/Wimbledon

Tuesday 3 – 7 October Box Office: 0844 856 1111

Blackpool Opera House Website:

Tuesday 17 – 21 October Box Office: (029) 2087 8889

Cardiff New Theatre Website:

Tuesday 24 – 28 October Box Office: 0844 848 2700

Leeds Grand Theatre Website:

Tuesday 31 October – 4 November Box Office: 0844 871 7652

Milton Keynes Theatre Website: ATGTICKETS.COM/MiltonKeynes

Tuesday 7 – 11 November Box Office: 0843 208 6000 Salford, The Lowry Website:

Tuesday 14 – 18 November Box Office: 0844 871 3014

Edinburgh Playhouse Website: ATGTICKETS.COM/Edinburgh

Tuesday 21 – 25 November Box Office: 01322 220000

Churchill Theatre Bromley Website:

Tuesday 5 – 9 December Box Office: 0844 871 7650

Brighton Theatre Royal Website: ATGTICKETS.COM/Brighton

Further dates to be confirmed

Bring On The Bollywood

Phizzical in association with Belgrade Theatre Coventry and Vivacity Key Theatre, Peterborough, present


11 – 15 July, York Theatre Royal

Created by Samir Bhamra, the master of authentic Bollywood inspired work, Bring On The Bollywood is a brand new Bollywood dance-theatre extravaganza. Bringing a festival of colour and Bollywood magic in a major new nationwide tour, Bring On The Bollywood brings audiences new and old together for this delightfully romantic riot of Anglo-Indian exuberance.

Having lived in London for 14 years, Dr Katrina Pawar is summoned to her ancestral home, the shabby and un-chic Lakshman Villa, for her younger brother’s wedding. Sensing an opportunity to finally make a match for their last unmarried child during the festivities, Katrina’s parents search for a potential suitor for their quick-witted and resolute daughter.

As the good-looking Bollywood film director Amit arrives at Lakshman Villa, along with his newly eligible British personal assistant Ronny, Katrina must navigate the true course of love between East and West.

Inspired by classic Indian cinema, Bring On The Bollywood also revels in the shared dramatic heritage between the UK and India, as well as contemporary British Asian influences.

Samir Bhamra says: “Bollywood is widely perceived to be a low-brow art-form that requires no skill. Not only is it – in my experience – the hardest art form to crack, but it shares more than people realise with the classical Western arts. Bollywood would not exist if it were not for Shakespeare being presented in British India, and soon adapted into local languages for the wider communities. Both traditions teach us valuable lessons about people and life, and that’s why they continue to connect so well.

Bring On the Bollywood is directed by Artistic Director of Phizzical, Samir Bhamra, a multi-disciplinary artist and producer. In addition to his role as creative director of the London Asian Film Festival, Samir delivered three large scale performances during the London 2012 Olympic and Paralympic Games. He developed his skills at the National Theatre and was seconded to the Royal Shakespeare Company working the World Shakespeare Festival. He is a controversial judge on Just Bollywood, the UK’s leading inter-University dance competition since its inception three years ago.


Listings information

Bring On The Bollywood

11 – 15 July, York Theatre Royal

Evening 7.30pm

Matinee Thu 2pm and Sat 2.30pm

Tickets £28 – £14

Box office 01904 623568


Ordinary Days Review

London Theatre Workshop 29 May – 17 June.  Reviewed by Claire Roderick

Streetlights, People!’s production of Ordinary Days is a triumph of minimalism, proving that you don’t need huge sets and effects to stage a quality show. Adam Gwon’s wonderfully conversational songs and a hugely talented cast make this a memorable production, with Jen Coles nifty direction managing to create the feel of a bustling metropolis with only 4 actors.

This is a show about finding the beauty in everyday things, staged on a nearly bare set, with just a stylised New York skyline to give a sense of place. The 4 characters are all struggling to find their place in the big city. Warren (Neil Cameron – with an unbelievably assured and loveable performance on his professional debut) is a struggling artist whose major contribution to the art scene is cat sitting, but he has a glorious world view, finding joy and beauty in the simplest things. He finds a book containing the thesis notes of grad student Deb (Nora Perone) and arranges to meet her to return it. Deb is stuck in a rut with her research, and is full of vague ambition and stress. Her initial disdain develops into a sweet friendship – who could resist the lovely Warren for long? The perfect gay bestie.

Meanwhile Jason (Alistair Frederick) is moving in with his girlfriend Claire (Kirby Hughes), and she’s not really happy about it. The audience are kept in the dark about her reasons for this unwillingness to let go of the past and commit to a new relationship until the penultimate song “I’ll Be Here”, and oh boy, is it a tearjerker. Have your tissues ready for that one.

That’s about it, really. Simple, but very, very effective, and affecting. The cast keep you gripped, and are all pitch perfect. Kirby Hughes is simply magnificent as Claire, with true emotion in her voice. I promise you, she’ll break your heart. Alistair Frederick is fantastic as Jason, with his strong, smooth voice a lovely match for Hughes. Their argument duet “Fine” is a standout moment. Neil Cameron is the gentle heart of the piece, with a delightful stage presence and excellent voice, while Nora Perone is his perfect foil as the acerbic and exasperated Deb – showing her comedy chops to great effect.

Ordinary Days is a delightful, optimistic take on life, chockablock with great songs, characters and performances. Just what London needs right now, a perfect pick-me-up that will fill your heart with joy. A hidden gem – go and see it while you can.

Stand By Me Review

Edinburgh Playhouse – 2nd June 2017.  Reviewed by Linda McLaughlan 

For one night only at Edinburgh Playhouse I enjoyed the production of Stand By Me – A Celebration of Ben E King and The Drifters. The evening got off to a great start with the audience clapping and singing along from the very first song – Stand By Me.

Act 1

The show begins with the band , group and dancers together on stage as Gospel Choir singers which highlights for me the background talent of everyone. Michael Williams a member of the Drifters from 2005 to 2016 is forefront to telling the story of the Drifters from its origins through the use of songs, video clips and radio extracts’. As the story unfolds of the struggles of black segregation in the 1950’s, the fight for recognition in civil rights and the band leaving venues through back doors and the overwhelming threat of conscription into the army which impacted the line up of the group. Songs throughout the story had the audience singing and clapping included hits such as ‘Ruby Ruby’ ‘Up on The Roof.’ ‘On Broadway,’ ‘Sweet for My Sweet’ are just a few that were enjoyed.

The heartfelt tragedy from the death of Rudy Lewis 1964 was dedicated by the song “Dream the Impossible Dream’ as the background shows a clip of segregation of the time but the words are apt to say what one man can achieve in his life. The falsetto is incredible, a perfect end to Act 1.

Act 2

The bands story continues in the 1960s after the death of Rudy Lewis with Johnny Moore joining the bands line up. The bands success goes on with “Under the Boardwalk” again with the audience joining in clapping and singing along The Drifters arrive in the UK in 65/66 and we look at historical events of the time as well as popular music being heard in Vietnam like The Beatles, Beachboy’s.

The death of George Treadwell brings a beautiful rendition of “I’ll never love this way again” which is well received by the audience.Into the 70s and the Drifters are dropped by their record label Atlantic which results in the group relocating to UK and signing with Bell Records. The Drifters are requested to appear on the Royal Variety Performance at this the audience are sent into overdrive with hit after hit of songs which were on Top of the Pops over the 70s and 80s an appearance at the London Palladium in 1987 with the Song ‘There goes my first love” is followed by another change in the Drifters Line up. This leads on to the induction into the Rock & Roll Hall Of Fame and being invited to The White House to Sing for The President Of The United States.

The show finishes with “Come on Over” with every man, woman and child on their feet singing, clapping and dancing to a rapturous end to a fantastic production that has shown the history of one of Rock & Rolls premier groups who deserve all the accolades bestowed on them

I would recommend everyone takes the opportunity and spend the evening watching this fantastic production which takes you back to the time of Rock N Roll and no matter what generation you belong to, this is a feel good show for everyone

The Pulverised Review

York Theatre Royal – until Saturday 10th June.  Reviewed by Michelle Richardson

Following an explosive premier at the National Theatre of Strasbourg, where it won the prestigious Grand Prix de la Littérature, The Pulversied arrives in the UK with a new English translation. A production by Arcola Theatre, Changing Face and York Theatre Royal, supported by Arts Council England, The Romanian Cultural Institute and the Institut Français.

“Stop the rat race. Stop time. Stop the money. Stop the anxiety. Stop everything that has made human beings so bitter.”

As we enter the Studio the stage is set, 4 inert bodies on the floor, appearing to be on a bed of rubble. A broken desk, a cracked wall, and all bits of rubble and technology floating. Suddenly we hear electronic music and all four actors rise up, convulsing to the beat.

We get to meet the four characters. A jet-setting executive, Richard Corgan, relying on Skype for contact with his wife and child, a Senegalese call centre manager, Solomon Israel, attempting to instil French values onto his workers, an engineer, Kate Miles, struggling with motherhood whilst trying to gain promotion and finally a Shanghai factory worker, Rebecca Boey, who is trapped doing repetitive, mundane work to very strict guidelines.

Each character took it in turns standing up, going through their daily lives before a change of music and as if they were robots and had been switched off, they would twitch and crumple to the floor, only for another to twitch, stand up and resume their story from where they had left off. It was all very mechanical and if they were machines.

The actors delivered strong performances and couldn’t be faulted but I found the story quite lacking. In reality there was no story, just small snippets into the lives of 4 people going about their dreary day to day lives, there was no progression, no ending, just drudgery. I honestly thought that the way the show was evolving we were going to treated to an end of the world scenario with everything breaking down and coming to an end, but alas this was not the case, though I wish it had been. This show had been translated from French, perhaps it has lost something in the translation? I certainly found it too much of a slog.


Contactless Review

The Hen & Chickens Theatre – 30 May to 3 June.  Reviewed by Claire Roderick

The London Underground, hell on earth to Londoners, and a wonder to tourists, has always been fertile ground for stories of loneliness, awkwardness and silliness. Tom Hartwell’s Contactless has all those things in glorious abundance. Hopefully Contactless will get a well-deserved longer run in the future – a true audience pleaser, full of recognisable situations.

The main narrative threads focus around three women – an ASLEF negotiator (Hannah Jay) who has to deal with Boris’s useless minions during strike negotiations; a station announcer (Jeryl Burgess) whose husband was the original “Mind The Gap” voice, and is struggling to adapt to modernisation at her station; and the Mancunian actress (Rosie Edwards) who gets the gig to be the new voice of the underground.

Sketches about life on the underground break up the storylines, riffing on priority seat etiquette, rush hour crushes, taking business calls and some fantastic station announcements. Stanton Cambridge’s meltdown when nobody will stand clear of the doors is just brilliant, the night train sketch is simple but inspired, and Adam Elliot proves that TfL’s “comedy” announcer shtick is much more entertaining when you’re sitting with a drink in your hand, rather than standing crushed between five sweaty businessmen on the platform.

Tom Hartwell’s writing is slick and funny, at its best in moments of excruciating awkwardness, and director Phil Croft keeps the rhythm of the play brisk. There are lots of laugh out loud moments, and some spectacular comedy gurning from Adam Elliot and Will Hartley, but Jeryl Burgess’s storyline is the beating heart of the play, making it more than a series of silly sketches and shaping it into a thoroughly British love letter to the tube.