Month: April 2018

David Lan announced as Special Award winner

Former Artistic Director of the Young Vic, director and playwright David Lan will be presented with the Special Award at the Olivier Awards 2018 with Mastercard ceremony on Sunday 8 April at London’s Royal Albert Hall. The award will be presented in recognition of his outstanding contribution in leading the Young Vic since 2000, his work within the local community around the theatre, and his commitment to internationalism and diversity.

Lan stepped down as Artistic Director of The Young Vic earlier this year after leading the Young Vic for almost two decades.  Over the course of his tenure, the Young Vic’s reputation has grown to become one of the most admired theatres in the world. It is known for its extensive and fully integrated outreach program, its engagement with young theatre artists, especially directors and well as playing to an audience acknowledged to be the most diverse in the UK. David wrote the architectural brief for the 2004/6 re-development of the theatre, and led the entire project including a 24 show, 32 city walkabout season.

He has produced the work of some of the most influential theatre makers of our time including Peter Brook, Ivo Van Hove, Benedict Andrews, Susan Stroman, Stephen Daldry and Katie Mitchell and has championed innovative ways of co-producing across the UK and internationally. Lan also is responsible for establishing The Young Vic’s Genesis Directors Program many of whose past members now lead theatres all over the UK. Many Young Vic productions have gone on to great success in the West End and on Broadway (the Olivier Award Winning Yerma opening this March at the Park Avenue Armory, New York), and in other theatres around the world.

In addition, he founded the What Next? Alliance of arts organisations which now has ‘Chapters’ throughout the UK.

The Young Vic has won eleven Olivier Awards under Lan’s tenure including Outstanding Achievement In An Affiliate Theatre in 2004 for his “audacious season” and artistic direction.

Past recipients of the Special Award include Kenneth Branagh, Stephen Sondheim, Judi Dench and Ian McKellen.

Widely recognised as the most prestigious stage honours, this year’s Olivier Awards return to the Royal Albert Hall and will be hosted by Catherine Tate.

Mastercard continues its partnership with Society of London Theatre and its headline sponsorship of the Olivier Awards, bringing cardholders with a passion for theatre closer to the genre they love.

York Theatre Royal – until Saturday 7th April 2018. Reviewed by Michelle Richardson

4****

The Soldiers’ Arts Academy and Amanda Faber present, Soldier On, written and directed by Jonathan Lewis, now playing in the Studio at York Theatre Royal before moving to Oxford. With a mixture of ex-servicemen and professional actors, it explores PTSD, how it can affect veterans and their families and how they can deal with issues.

The story follows Harry (David Solomon) with the help of Len (Thomas Craig), a retired Sergeant Major, attempting to put on a play with ex-servicemen and family members, in order to provide them with an outlet to deal with their problems. A stream of would be thespians turn up for the auditions not knowing really what they are signing up for, all they seem to be after is some form of release from everyday life. This bunch are made up of wives, widows, mothers as well as veterans, some want to be there and some have been coerced.

Every character gets to tell their story, the soldier blown up, to the officer with MS, the Asperger sufferer who is just trying to escape for a few hours, the housewife and mother having to bring up her children whist her husband is away on tour, who returns troubled, and subsequently has to deal with domestic violence. The ones that appear to have it all together, really don’t it is all just a façade, a front to hide their inner turmoil. It became unclear who were the “real” actors and who were the veterans, as they were all really committed to their roles.

It was not all doom and gloom, even though there was conflict and darkness, we got to see the camaraderie, the healing, before coming together in order to deliver their performance for their show. There’s humour, a bit of Coldplay and Taylor Swift thrown in and there is even the threat of James Blunt making an appearance!

There were 16 actors, all deserving a mention, on stage at various times the night I went to see it and in such a small space it should not work but it did. They certainly commanded the stage the whole time, never a dull moment, with such realness behind it all. A thought provoking show that thoroughly deserved the standing ovation it received!

Many soldiers leave the army with stress and trauma related problems, and many more cope exceedingly well. Unfortunately there is no magic formula for identifying who could be at risk. Everyone is different and uses their own coping mechanism in order to function and get through life and it can be hard to empathise with something you cannot see. PTSD is a real problem and hopefully through drama and workshops that Sports Arts Academy are setting up, some of those that are affected can be helped to gain confidence and reconnect with society.

Pocklington Arts Centre. Reviewed by Michelle Richardson

4****

After a successful tour in 2016, Manchester production company Box of Tricks, are touring again with Chip Shop Chips, performing in small local venues from community centres to village halls to libraries, not just your usual theatre settings.

Pocklington Arts Centre is only a couple of doors down from where I work, and a few hundred metres from where I live, so it was great to be given the opportunity to see this show. It was staged in their studio to a sold out audience. Pocklington is a small market town in East Yorkshire, about 15 miles away from York and has this fantastic small venue, with a big reputation that hosts some big names from music, to comedy, to theatre and is well supported by the local community and perfect for this show.

Eric (Jack Moran) after 40 years, has returned from a beach bar overseas to run the family business after the death of his father. It is relaunch night at Booth and Son’s Fish & Chip Shop, with the help of his assistant Lee (Mark Newsome) and the kitchen staff (who we never get to see) what could go wrong?

We the audience are the customers and whilst the fish and chip supper is being served (yes proper fish and chips from the local chippy, in this case Stuart’s), two latecomers turn up, grandmother Christine (Julie Edwards) and granddaughter Jasmine (Jessica Forrest) and despite all the tables being full Eric insists on finding space. What soon becomes clear is that there is history between the four of them. Eric and Christine were first loves, over 40 years ago, and Lee and Jasmine knew each other (sort of) from school.

What transpires is a break down of personas, to find that person underneath and a love story, of sorts. Christine, recently widowed, is not all-together as she wants us to believe, full of slap and a bottle of vodka, to give her courage in order to capture that feeling of excitement again. Jasmine just doesn’t want to be there and hides behind her confident, “Mean Girl” exterior, before we realise that she isn’t as heartless and slutty as she is trying to be. Lee is that boy that is always uncomfortable around people, the awkward one that you feel sorry for, that is never going to achieve anything, but he has his reasons for being like he is. Eric, does he really want to be there, why did he come back? He is dealing with his own demons and past, and refuses to acknowledge Christine, at first, as well as trying to cope with running his business.

All four actors were engaging to watch, in the confined “stage” but I thought Newsome was outstanding. Lee’s journey from hand wringing, awkward to the more confident young man who can get the girl, was so believable and endearing.

We had Northern “Sole”, a quiz, which got quite competitive, fishy stories from the audience, and there was even hat making competition, our effort was named chapeau de poisson (fish hat) which did get a small cheer, though didn’t win.

This is a show like no other, full of puns, humour, emotion, quizzes, crafting and all with the added bonus of fish and chips thrown in. A perfect night out!

Bristol Hippodrome  – until 7th April 2018. Reviewed by Nicky Wyatt

5*****

Beautiful – The Carole King Musical is, a feel good history music lesson, probably the best jukebox musical out there. It follows the life and career of Carole King, her husband Gerry Goffin, and friends Cynthia Weil and Barry Mann. Beautiful features music which defined the latter half of the twentieth century. Carole King started songwriting as a teenager and wrote hits with her husband such as One Fine Day, Will You Still Love Me Tomorrow, and Natural Woman. The musical also focuses on the duo’s competitive friendship with Cynthia and Barry as to who can write the next number 1.

The show starts with 16-year-old Carole getting her big break with It Might as Well Rain Until September, leading to her teaming up with Goffin, their marriage, and sometimes rocky relationship. How they get swept along from teenagers to young married parents, juggling that home / work life balance which so many people can relate to. What I loved about this show is that there is quite a quick humour along with some great one liners. Which all lead perfectly into each musical number. Bronté Barbé is brilliant as Carole, portraying her as a teenager through to her adult life. She really grows as a performer throughout the show, from the young girly teen to her development as a woman and an artist. When she accepts her marriage has ultimately failed, you are swept up in the moment and feel as if you are experiencing it with her. Her reprise of One Fine Day was very moving – bringing a tear or too around the audience. Gerry Goffin was played by Kane Oliver Barry at the performance I saw, his portrayal of Goffin’s mental health journey is touching, you can understand why he behaved as he did, too young to cope with responsibility of a family while pursuing a dream of career, having it all and yet searching for more. Cynthia Weil is played by the fabulous Amy Ellen Richardson who alongside Matthew Gonsalves as Barry Mann are a comical pair. Gonsalves portrays Mann’s hypochondriac tendencies hysterically and lands every witty one liner perfectly.

As Beautiful is a jukebox musical, it is important to include and portray King’s music effectively, and since King’s music narrates her life, it is done in chronological order. In places this can turn into a “we need to write a song, we’ve written it, now lets perform it” stint, but that’s what tells the story so well. Every song is relevant and this show is performed with such emotion and sincerity to King’s musical legacy. Of course the music is performed not only by King, Goffin, Weil, and Mann, but also by artists that she wrote for such as The Drifters with their shiny suits and The Shirelles with their soft moves . We are treated to fantastic choreography from Suzanne Thomas which is slick and representative of the era. I absolutely loved this musical and think it is an absolute hit. It is a show where you can sit back, relax, and be entertained whilst listening to some fabulous music, guaranteed to send you home with a smile and a spring in your step.

Hull New Theatre – until 7th April 2018. Reviewed by Catherine McWilliams

5*****

Riveting, emotional, intense, thought provoking and powerful, The Kite Runner is quite simply stunning.

Matthew Spangler’s clever adaption of the novel by Khaled Hosseini soars and dips taking us high and oh so low. The story is told, in a series of flashbacks, by Amir (Raj Ghatak) and revolves around his friendship with Hassan (Jo Ben Ayed) in the Kabul of the early 1970’s. This is not the Kabul we know today but a place of calm and tranquility, where Amir is leading a privileged life and is aware of his superiority as a Pashtun. The boys’ friendship is by its very nature unequal and this leads ultimately to betrayal and loss of innocence whilst Hassan remains unstintingly loyal to Amir. Amir’s relationship with his Father Baba (Gary Pillai) is also difficult as he wants a son who will be a real man, not one who reads and writes poetry.

The stage set is sparse but very clever, with the lighting taking us to dark places and the curve to the stage enabling the boys to whoop and play. Jonathan Girling’s clever use of music throughout enhances the mood, never being intrusive, adding to suspense; at times it gave me goose bumps. A special mention should go to Hanif Khan the tabla player, who was on stage throughout the production, and was superb.

Raj Ghatak as Amir was outstanding and held the entire piece together, being on stage throughout. He effortlessly became a child again playing and chasing and would then switch back to being an American adult in a second. His emotions were so clear to see and his use of body language often provided the narrative and the heartbreak.

Jo Ben Ayed’s Hassan was beautiful in its portrayal of innocence and unswerving loyalty. Again his body language was used to stunning effect and it was easy to see who had the upper hand in his relationship with Amir.

Gary Pillai as Baba aged before us as he left his life in Afghanistan and had to endure life as a refugee in San Fransico. His pride however was on show all the way through.

This is a production that will leave you on the edge of your seat, at times you will hold your breath and if you are like me it will make you cry. It does not shy away from the reality of the brutality of life in Afgahnistan. There is of course a particularly evil character Aseef (Soroosh Lavasini), who is a sociopath according to Amir. It is safe to say the Soroosh Lavasini’s Aseef really was the stuff of nightmares, initially making you feel he was just a bit of a bully and then sinking to brutality. His laugh will stay with me for a long time.

At the interval there was absolute silence until the lights went up and the chatter around me as I left the theatre was of how good this production is. Go and see it, you might feel drained at the end of it but you will have had one of the best nights out at the theatre.

The Lowry, Salford – until Saturday 7th April 2018.  Reviewed by Julie Noller

5***** 

Birdsong the story of love and lives between three generations of the same family, before and during the First World War and beyond to the 1970’s was written by Sebastian Faulks, in his words no thought was given to adapting this 503 page epic into the wonderful and extremely breathtaking saga that moved many to silently cry. Thanks to Rachel Wagstaff first reading Birdsong on her journey to school, her dramatisation is the simple retelling of life at war, how lives become intertwined, how war in it’s darkest, loneliest hours brings people together. Relationships are not just conducted face to face but she examines those relationships conducted via letter, chats with a higher being, the inhumanity of the wails and sobs of boys who were just yesterday probably playing marbles and now were facing the prospect of death in the name of King and Country. This is the fourth and final tour of Birdsong to coincide with the centenary of the Armistice in 1918. I am sure that final performance will be just as moving in every way as the one tonight.

The stage is simply lit to reflect the dark, dank trenches, yet above us as just in life of the times the image of crosses, barbed wire and reality never leaves our eye line. War hangs over us and consumes our every breath. The love story between Isabelle and Sebastian is not the main focus of this adaption just merely another relationship to be explored, including the relationship Sebastian has with himself. It strikes me that we see parallels with life in Britain during the early twentieth century on the stage. There’s the life upstairs with the officers and life downstairs with the tunnellers, however what begins as an us and them situation slowly becomes a we as respect and even love develops.

Tim Treloar returns to the role of Jack Firebrace for which he was rightly nominated for a Best Actor Award in 2013 Manchester Theatre Awards. He leads his life with dignity and respect never faultering from the job he knows will probably in all honesty never see him return home. Yet he never loses his way he holds on to hope of one day playing football with his young son John. The saddness he feels on reading of the death of John, you feel within the audience to be surrounded by men yet feel so alone. It’s heartbreaking. Tom Kay as Stephen Wraysford brings to life a character lost to himself, not feeling he belongs and living life as one man but not for his men. It is being saved by Jack leader of the tunnellers and the ensuing relationship, you can’t quite call it friendship that makes us warm to Stephen. He is a disjointed figure torn between those gypsy roots and honouring a Guardian who paid for him to attend the so called posh schools, this is the difference between Jack and Stephen. That near death experience is where this drama moves pace, we switch between pre-war France to war torn France. Stephen so young and innocent yet so blindly without thought of consequence lusts after and begins an affair with young married Isabelle Azaire. Isabelle is played boldly by Madeleine Knight she is a strong yet weak woman, you wonder did she ever love Stephen or was it escapism she craved? It was a simple time where everyone knew their place before time and boundaries became blurred.

There are moments throughout where the audience appears stilled, my breath slows and I feel lost myself. Drawn into a world long ago lost, retold to those of us too young and as is all too familiar no living relative to sit and listen too, this is an important story to share. The saddness and the bleakness if only for two hours needs to be felt by all. Alfie Browne-Sykes has the ultimate breath taking moment, the men all know, we the audience know and finally he admits he is only fifteen. Barely old enough to be out of the house alone yet expected to be a man in the fields of Flanders. You want to reach out to him, hold him, hush him. Maybe that’s because I am a Mother. No one answers his cries because they are trying to compose themselves. Just before the whistle blows, you question why someone so young would shoot themselves. I cried. For the lost lives and tortoured souls. The haunting melodies of musician James Findlay are simple but stunning, and bring another dimension to an already incredibly moving period drama. Liz Garland as Jeanne Fourmentier, Isabelles sister, helps Stephen finally find himself and peace as she makes him stop and simply listen and it strikes me that throughout this horrible war and before and after all the change; Change to the landscape in some instances irreversibly, changes in people, lost and scared. The one thing that remains is the birds will always return to sing their song. Birdsong should come with a full mascara warning and indeed a packet of tissues to dab away those tears. But cry you must because this story of love and lives deserves to be told and enjoyed.

DISNEY’S ALADDIN ANNOUNCES ITS SECOND AUTISM-FRIENDLY PERFORMANCE AT LONDON’S PRINCE EDWARD THEATRE

Disney’s hit musical Aladdin is pleased to announce that its second dedicated Autism-Friendly Performance will take place at 1.30pm on Tuesday 28 August 2018. It follows the success of previous such performances which are designed to make the show more accessible for those affected by autism. The Lion King’s upcoming Autism-Friendly Performance on 3 June 2018 has now sold out.

Disney Theatrical Productions will work closely with The National Autistic Society, the UK’s leading charity for autistic people and their families, to deliver the performance.

Autism is a lifelong developmental disability that affects how people perceive the world and interact with others. There are around 700,000 autistic people in the UK. Although everyone on the autism spectrum is different, people may be under or oversensitive to sounds, touch, tastes, smells, light or colours, which can make everyday life extremely challenging. They can also find social situations and unexpected changes a challenge, which can sometimes lead to extreme levels of anxiety.

Nancy Shakerley, Education and Outreach Manager for Disney Theatrical Group, said: “We are delighted to announce our second Autism-Friendly Performance at Aladdin in what will be the show’s third year in the West End. Taking place in the school holidays we hope that this will be a more accessible and relaxed performance for people with autism, as well as their family and friends. We continue to work closely with our partners, the National Autistic Society. This performance is becoming one of the highlights of our year!”

Chris Pike, Autism Access Specialist at the National Autistic Society, said: “We were delighted to be offered the opportunity to work with Disney Theatrical Productions and the Prince Edward Theatre on this hugely successful show.

“There are around 700,000 autistic people in the UK, and many struggle to cope with unfamiliar places and everyday sights and sounds which others are able to filter out, such as artificial lighting, background music or traffic noise. 

“Autistic people and their families tell us that they would love to visit the theatre, but because of sensory issues and anxiety in unfamiliar surroundings, they are prevented from doing so. Aladdin’s production team have taken great care in adapting the show, including having a ‘visual story’ online which can help autistic people prepare for their visit in advance.  This means that for some of the audience on 28 August, this will be the very first time that they are able to experience the thrill of a live performance.” 

These dedicated Autism-Friendly Performances of Aladdin include modifications to the booking process, performance and the theatre environment, including:

• The theatre’s foyer includes designated quiet and activity areas; staffed by experts in autism throughout the performance should anyone need to leave their seats.
• Slight adjustments are made to the performance itself, including the reduction of jarring sounds or strobe lighting that face the audience.
• The cast of Aladdin along with Prince Edward Theatre box office and front of house staff have been given training to understand the needs of an audience made up of adults and children who are autistic.
• A specific website has been set up for this performance, linking to a dedicated booking page. The website includes a downloadable ‘visual story’ to help people with autism understand the process of a visit to the theatre, thus aiding their comprehension of the experience and reducing anxiety by explaining each step from arriving in the foyer to the final curtain call.

Audience members can find out more information and purchase tickets at  www.aladdinthemusical/autismfriendly. Tickets are sold at a specially reduced rate and can be selected on a virtual map of the auditorium.

Aladdin features the timeless songs from the 1992 animated film as well as new music written by Tony®, Olivier© and eight-time Academy Award® winner Alan Menken (Beauty and the Beast, Newsies, Little Shop Of Horrors). With lyrics from Olivier Award and two-time Oscar® winner Howard Ashman (Beauty and the Beast, The Little Mermaid), three-time Tony and Olivier Award, three-time Oscar winner Tim Rice (Evita, Aida), and four-time Tony Award nominee Chad Beguelin (The Wedding Singer), and a book by Beguelin, Aladdin is directed and choreographed by Tony and Olivier Award winner Casey Nicholaw (The Book of Mormon).

Now in its fifth record-breaking year on Broadway at the New Amsterdam Theatre, Aladdin’s global presence has grown to six productions on four continents, seen by  more than 7.2 million people to date. The show opened at Tokyo’s Dentsu Shiki Theatre Umi in May 2015, had its European premiere in December 2015 at the Stage Theatre Neue Flora, Hamburg, began performances in August 2016 in Australia and launched its North American tour in Chicago in April 2017.

LISTINGS

Disney’s Aladdin – an Autism-Friendly Performance

Tuesday 28 August at 1.30pm
Tickets on sale
www.aladdinthemusical.co.uk/autismfriendly/

Prince Edward Theatre
28 Old Compton St
London W1D 4HS

Box Office number: 0844 482 5152
www.aladdinthemusical.co.uk

Facebook: Aladdin London
Twitter: @AladdinLondon
Instagram: @AladdinLondon
#AladdinLondon

ON THE 74TH ANNIVERSARY OF D-DAY

INTENSE WORLD WAR II THRILLER

PRESSURE

WRITTEN BY AND STARRING THE OLIVIER AWARD WINNING ACTOR

DAVID HAIG

WILL TRANSFER TO THE AMBASSADORS THEATRE

FOR A LIMITED SEASON FROM 6 JUNE – 1 SEPTEMBER 2018

IT’S THE EVE OF D-DAY 1944 AND 350,000 LIVES DEPEND ON ONE OF THE MOST IMPORTANT WEATHER FORECASTS OF ALL TIME.

 

Based on the remarkable true story of two warring Allied meteorologists tasked with predicting the weather conditions for the D-Day landings, David Haig’s critically acclaimed play Pressure will transfer to the West Ends’ Ambassador’s Theatre for a limited season from 6 June to 1 September 2018. The transfer follows a celebrated run at Chichester Festival Theatre (5 stars from the; Daily Telegraph, Observer & Evening Standard), a national tour (in association with Cambridge Arts Theatre and Touring Consortium Company) and a sold out run at the Park Theatre.

 

David Haig reprises his role as Group Captain James Stagg, alongside Malcolm Sinclair as General Eisenhower and Laura Rogers as Kay Summersby, with further casting to be announced in due course.

 

David Haig said ““I am absolutely thrilled that Pressure is transferring to the West End on 6 June. What sublime timing that my play about the weather forecaster for D-Day, will open on the 74th anniversary of the D-Day invasions. The play has been profoundly fulfilling to write and perform. It’s about one of the great unsung heroes of the 20th century and I’m so proud that his story will now be available to a West End audience. I couldn’t be more excited.”

 

Pressure is directed by John Dove, with design by Colin Richmond, lighting by Tim Mitchell, sound by Philip Pinsky, video by Andrzej Goulding and casting by Lisa Makin.

 

72 hours prior to the D Day landings, Scottish meteorologist, Group Captain James Stagg, advises General Eisenhower on the weather conditions likely to prevail when 350,000 troops are to be sent across the Channel in Operation Overlord. With Stagg predicting severe storms and Irving P. Krick – Hollywood’s meteorological movie consultant – predicting beautiful weather, the future of Britain, Europe and the United States rests on one single forecast.

 

Pressure was originally commissioned by the Royal Lyceum Theatre Edinburgh as a co-production with Chichester Festival Theatre. The production premiered at the Royal Lyceum Theatre Edinburgh in 2014, followed by a run at Chichester Festival Theatre.

 

David Haig is a five-time nominee and Olivier Award-winning actor best known for his roles in the film Four Weddings and a Funeral, TV series The Thin Blue Line and stage production of The Madness of King George III (Tour and West End). He is also an award-winning playwright. He wrote and starred alongside Daniel Radcliffe in My Boy Jack – which was made into a TV drama for ITV in 2007.

 

Malcolm Sinclair will reprise his role as General Eisenhower. Sinclair has performed extensively in leading roles with theatre companies such as the National Theatre and the RSC. He has performed widely, both in Britain and internationally. In 2001 he won the Clarence Derwent Award for his role as Gavin Ryng-Maine in the National Theatre’s production of House/Garden and was also nominated for an Olivier Award for best supporting actor for his performance as Major Miles Flack in Privates on Parade.

 

Laura Rogers will reprise the role of Kay Summersby. Her theatre credits include: An Ideal Husband,Masterpieces (Royal Court), Blue Remembered Hills (Chichester Festival Theatre), The Comedy of Errors (USA Tour and Shakespeare’s Globe), The 39 Steps (West End), Hay Fever (Chichester Festival Theatre), Macbeth, A Midsummer Night’s Dream, The Taming of the Shrew and Richard III(Shakespeare’s Globe) and Bad Girls – The Musical (Garrick Theatre and West Yorkshire Playhouse). Her television credits include: EastEnders, New Tricks, Dates, Twelfth Night, Doctor Who and Bad Girls.

 

Pressure at the Ambassadors Theatre is produced by Jonathan Church Productions, Jenny King & Oliver Mackwood Ltd

LISTINGS

PRESSURE

AMBASSADORS THEATRE

6 JUNE – 1 SEPTEMBER 2018

 

*TICKETS ON SALE FROM 9AM WEDNESDAY 4^TH APRIL*

  

Performances:           

Monday – Saturday at 7.30pm

Thursday & Saturday at 3.00pm                

 

Ticket Prices: £15 to £55 (not including premiums)

 

Address: Ambassadors Theatre, West St, London WC2H 9ND

 

Box Office: 020 7395 5405

 

Website: www.pressureplay.co.uk

           

Facebook: @pressuretheplay

 

Twitter: @pressuretheplay

 

Instagram: @pressuretheplay