Month: May 2018

JAMES GRAHAM’S SKETCHING

One City. Infinite Stories. 

In the Victorian surroundings of Wilton’s Music Hall, Charles Dickens’ London is reimagined for the 21^st century

Wilton’s Music Hall

Wednesday 26 September – Sunday 28 October

Oliver Award-winning playwright James Graham and director Thomas Hescott are seeking new and undiscovered writers to collaborate on a uniquely multi-authored play this autumn.

James Graham’s SKETCHING will be staged at Wilton’s Music Hall from Wednesday 26 September – Saturday 27 October, with a press night on Tuesday 2 October.

Taking inspiration from Sketches by Boz, Charles Dickens’ first novel which chronicled all walks of Victorian London Life, Graham and Hescott want to hear from emerging talents – particularly those currently underrepresented in the industry – with exciting and innovative story and character ideas. Successful applicants will receive £1,000 for their story, as well as expenses to attend a masterclass week with professional artists and writers.

James Graham said, “We’re all aware of the growing deficit of opportunities for emerging artists from working class, regional backgrounds. We know there are far too few writers finding stages who are women or people of colour, a mix of nationalities and faiths. We’re looking for a team of writers to contribute strands, to help us work together to interweave them, and collaborate on generating more, together.”

Thomas Hescott said, “You don’t have to have read or seen any Charles Dickens. What you may know, though, is that he wrote BIG STORIES. Life and death. Heroes and villains. High stakes, wants and needs. Who are the modern day pickpockets, money-lenders, street-sellers and Christmas Ghosts? You don’t have to know the entire plot yet. We just want an exciting ‘proposition’.”

The deadline for submissions is 1 JUNE 2018 with further information here www.sketchingtheplay.com

Sketches by Boz (1836) was Charles Dickens’ first novel (published under the pen-name ‘Boz’). The book is a richly varied collection of observations and fantasies about London and the people who inhabited it in the 19^th Century, in honest and visionary descriptions of everyday life and people

James Graham has enjoyed huge critical success as a playwright and writer for TV and film. Following a sold out run at Chichester Festival Theatre, his most recent play, QUIZ, a provocative new play about Charles Ingram, the man convicted of cheating on Who Wants To Be A Millionaire, is now running at the West End’s Noël Coward Theatre. In 2017, his play Ink opened to critical acclaim at the Almeida and transferred to the West End in September 2017, where it played in the theatre next door to another of his plays Labour of Love – creating theatre history.

Director Thomas Hescott has previously collaborated with James Graham on Tory Boyzin the West End. He is the co-author of Outings, which toured nationally. He co-wrote and directed The Act for Ovalhouse, which subsequently transferred to the West End. His production of Wolves at the Window transferred from the Arcola Theatre, to 59E59, Off Broadway, and he was named on the BBC’s Hot List of New Talent. He is Executive Director of Stage Directors UK.

Further details and casting to be announced.

Tickets for James Graham’s SKETCHING go on general sale at10am on Friday 17 May, and can be purchased atwww.wiltons.org.uk

• FROM PROPS MASTERS TO PRODUCERS, THEATRE PROFESSIONALS GET BEHIND CAMPAIGN

• OVER A THIRD OF THE WAY TO GOAL OF 1000 AMBASSADORS, WITH DRIVE TO SIGN UP MORE FROM ACROSS THE INDUSTRY

• FURTHER DETAILS OF 11 JULY CAMPAIGN LAUNCH REVEALED

• PARTNERSHIP WITH DIGITAL THEATRE+ TO CREATE EIGHT FILMS FOR SCHOOLS SHOWING THE WORLD ‘BEHIND THE CURTAIN’

Nearly 400 people have already committed to being part of Inspiring the Future of Theatre, which launched on 19 April. The ground-breaking initiative, a partnership between Society of London Theatre (SOLT), UK Theatre and Inspiring the Future (part of the charity Education and Employers), aims to recruit 1000 ambassadors in the first year.

Theatre industry professionals from artistic directors, costume cutters and lighting designers to producers and props masters – many working in the UK’s top theatre and performing arts venues – have signed up to visit UK schools, introducing children to a diverse range of theatrical jobs.

Some notable ambassadors so far include James Graham, playwright; Prema Mehta, freelance lighting designer; Sharon D. Clarke, actor and singer; Laurence Miller, Commercial Director of Nimax Theatres; Kate Pakenham, Executive Producer at Donmar Warehouse; Caroline Dyott, Producer at Sheffield Theatres; Sita McIntosh, Chief Executive of What’s On Stage; Jess Glaisher, Senior Lighting Technician at The Young Vic; Gary Lloyd, director and choreographer; Kenny Wax, producer and SOLT President; Livia Nagy, Sound and Video Technician at the National Theatre; Susie McKenna, Associate Director of Hackney Empire; Tarek Iskander, Interim Director of Theatre at Arts Council England; and Michèle Taylor, Director for Change at Ramps on the Moon.

Prema Mehta, freelance lighting designer and an Inspiring the Future of Theatre Ambassador, said:

‘It is so important that young people from all backgrounds are aware of the rich variety of theatre jobs available, and are able to make informed, ambitious decisions when it comes to choosing a career path. As an Inspiring the Future Ambassador I am excited to visit a school in my area to inspire pupils about lighting design, and introduce them to the technical, creative and collaborative elements that make my design job so rewarding.’

Michèle Taylor, Director for Change at Ramps on the Moon and an Inspiring the Future of Theatre Ambassador, said:

‘When I was at school I had no idea that a career path like mine was possible for a disabled person, but I was fortunate enough to have a few adults who believed in my abilities. The theatre industry needs all sorts of highly-trained professionals from different backgrounds and with different life experiences, so it’s a joy to inspire the next generation to pursue careers in all elements of the theatre.’

The campaign launches officially on 11 July, with an event at Northstead Community Primary School in Scarborough. Over 150 year 6 pupils from Northstead and other surrounding schools will come together in a day of activities, led by ambassadors from the nearby Stephen Joseph Theatre. Similar events will be held across the UK, focusing on areas prioritised for social mobility and cultural development, with more information to be announced in due course.

A social media campaign on 11 July centred on the hashtag #InspiringFutureTheatre will encourage ambassadors, schools and theatres around the country to celebrate their involvement, and promote the careers, education and outreach work already taking place.

Theatre industry professionals are encouraged to sign up to the ambassador scheme via the Inspiring the Future website, no matter their career level and type – and to add their voices to the #InspiringFutureTheatre social media campaign on 11 July.

As SOLT and UK Theatre’s recent Workforce Review indicated, if we are to build a sustainable, resilient and globally competitive workforce for the future it must represent our diverse population. We are actively seeking ambassadors from all backgrounds to help us realise this.

Theatres and arts organisations are also able to register their interest in getting involved and working with their local schools, via the website.

Also announced today, SOLT and UK Theatre are partnering with Digital Theatre+ to create a unique eight-part education resource, My West End. This series of short online films dives into the world behind the curtain, shining a spotlight the on the extremely dedicated and often unseen backstage practitioners working at the heart of each theatre in the UK.

My West End wants young people to know that they could be the next generation of technical, production and venue teams – regardless of economic or geographic constraints. These films will be a key part of the resources provided to the Inspiring the Future of Theatre Ambassadors.

Each of the eight films will be 30 minutes long and available free for a month on Official London Theatre and UK Theatre websites. After that, highlights from the films will remain free to all young people, and the full-length films will sit on the Digital Theatre Plus website.

#InspiringFutureTheatre / @UK_Theatre / @SOLTNews / uktheatre.org / solt.co.uk /

#InspiringTheFuture / @InspiringTF / @Edu_Employers / educationandemployers.org / inspiringthefuture.org

Edinburgh Festival Fringe 2018

The King’s Head Theatre presents

Hamilton (Lewis)

August 1st-7th, 9th-14th, 16th-21st, 23rd-26th

21:30 (1 hr)

Assembly George Square Studios (Venue 17)

£15/13 (standard), £14/12 (concessions), £10 (previews) https://www.assemblyfestival.com/whats-on/hamilton-lewis

Hamilton (Lewis) is the epic story of a self-starter, who worked a lot harder, by being a lot faster. Born and raised in Stevenage, this is the musical story of the most successful British F1 driver in the history of the sport. Blending hip-hop, jazz, blues, rap, R&B and Broadway, discover the petrol-fuelled thrills and spills of the life of Hamilton (Lewis) then, as told by Hamilton (Lewis) now. A brand new musical parody guaranteed to have you in hysterics all the way to the finish line. Not in any way endorsed by Lin-Manuel Miranda… or Hamilton… (Lewis)… or the Pussycat Dolls. From the Olivier award nominated producers… but not the winners of 11 Tony Awards!

★★★★★ “Sperring’s direction is so slick and witty” (The Daily Telegraph on The Toxic Avenger)

Hamilton (Lewis) is directed by Benji Sperring, director of smash hit musicals The Toxic Avenger (Southwark Playhouse, Edinburgh Fringe 2017 and West End) and Shock Treatment (King’s Head Theatre) with musical direction by David Eaton of The Mikado, King Tut: A Pyramid Panto (King’s Head Theatre) and written by Fiona English, writer of 1127 (Cambridge Junction, Greenbelt) and This is Happening (Greenbelt).

“the King’s Head Theatre has a well-known reputation for producing innovative and unique shows” (Broadway World)

The King’s Head Theatre was established in 1970 and is one of London’s leading fringe venues. Passionate about championing ethically produced fringe theatre, we are known for our challenging work and support of young artists. This year we are proud to be associated with four productions at the Edinburgh Festival Fringe: Hamilton (Lewis), (sorry), Trainspotting (in association with Seabright Productions) and Free & Proud (in association with Em-Lou Productions). We are committed to fighting prejudice through the work we stage, the artists and staff we work with and by producing work for minority audience groups. We believe in fair pay for all on the fringe and create accessible routes for early career artists to stage their work; work we are passionate about.

TOM WELLS’ DRIP MAKES ITS EDINBURGH FESTIVAL FRINGE DEBUT AHEAD OF UK AUTUMN TOUR

Script Club & Boundless Theatre present

DRIP

Words by Tom Wells

Music by Matthew Robins

Director: Jane Fallowfield; Designer: Russ Henry

Lighting Designer: Adam Foley; Sound Designer: Matthew Robins

Following its world première last year as part of the Hull UK City of Culture, Tom Wells’ Drip, co-produced by Script Club and Boundless Theatre, makes its Edinburgh Festival Fringe debut before embarking on a UK Autumn tour including a London run. Jane Fallowfield directs Andrew Finnigan who reprises his role as Liam. Opening at Paines Plough’s Roundabout @ Summerhall, 20 – 26 August 2018 with further tour dates to be announced shortly.

A one man musical comedy about a 15-year old boy who signs up to Hull’s first ever synchronised swimming team, though he can’t swim. It tells a story of getting the hang of being a queer teenager in Hull and feeling proud of yourself and your city.

The original production was supported by Hull City Council and Hull UK City of Culture.

Tom Wells is a playwright, his theatre credits include Me, As A Penguin (Arcola/UK tour), The Kitchen Sink – which won the Critics Circle Award for Most Promising Playwright and the George Devine Award (Bush Theatre), Jumpers For Goalposts (Watford Palace Theatre/UK tour), Cosmic (Hull Truck Theatre), Folk and Broken Biscuits (UK tour). He has also written Ben & Lump (Channel 4) and Jonesy (BBC Radio 4). He is currently under commission to the Royal Court Theatre and National Theatre. 

Matthew Robins composes the music following his previous collaboration with Tom Wells on Broken Biscuits in 2016. His writing and performing credits include Flyboy is alone again this Christmas and Lullaby (Barbican). As a designer and puppet maker his credits include Something Very Far Away (Unicorn Theatre), A Most Peculiar Wintry Thing (The Ark, Dublin) and Laila (Watford Palace Theatre). He also recently directed and designed an adaption of Ted Hughes’ The Iron Man (Unicorn Theatre). A collection of Matthew’s animations, songs and mechanical puppet installations is on permanent display at the Science Museum in London in the Information Age gallery.

Andrew Finnigan plays Liam. His previous credits include The Fifteen Streets (The Customs House, South Shields), Scrapbook (Live Theatre, Newcastle), Broken Biscuits (Live Theatre/Paines Plough/UK tour).

Jane Fallowfield directs. Her credits include Germ Free Adolescent, Bird (Derby Theatre), Fingertips (Clean Break), Cosmic, Spacewang (Hull Truck), The Only Way is Chelsea’s (York Theatre Royal/Soho Theatre) and Lagan (Ovalhouse). She is the Literary Associate at Talawa Theatre Company. Previously, Jane was Director on Attachment at Clean Break, Director on Attachment at Birmingham Rep (John Fernald Award) and Senior Reader at Paines Plough.  She is a mentor for Graeae Theatre Company and she has been on the script panel for the George Devine Award panel, BBC Writersroom and Channel 4 Screenwriting Course.   

DRIP 

Listings

Paines Plough’s Roundabout @ Summerhall

20 – 26 August 2018

Box Office: 0131 560 1580 www.summerhall.co.uk

How many hits do you know by Foreigner? Oh yes! ‘I Want to Know What Love is’….and….ummmm, errr….?

A Wales Millennium Centre and Wiltshire Creative Production
THE MIRROR CRACK’D
by Agatha Christie
adapted for the stage
by Rachel Wagstaff

Direction by Melly Still
Set Design by Richard Kent
Costume Design by Dinah Collin
Lighting Design by Malcolm Rippeth
Music & Sound Design by Jon Nicholls

• AGATHA CHRISTIE’S THE MIRROR CRACK’D TO BE ADAPTED FOR THE STAGE FOR THE FIRST TIME EVER IN THE UK
• THE WALES MILLENNIUM CENTRE AND WILTSHIRE CREATIVE EUROPEAN PREMIERE PRODUCTION WILL TOUR FROM FEBRUARY 2019

Wales Millennium Centre and Wiltshire Creative are thrilled to announce the first ever UK stage adaptation of Agatha Christie’s much-loved Miss Marple thriller The Mirror Crack’d from Side to Side. The Mirror Crack’d will be a European Premiere, opening at Salisbury Playhouse on 15 February before touring to Dublin, Cambridge and Cardiff. The Mirror Crack’d will have an Opening Night on 25 February.

The iconic Marple mystery from the world’s best-selling author of all time will be adapted for the stage by Rachel Wagstaff (Flowers for Mrs Harris, Birdsong) and directed by Melly Still (Coram Boy, My Brilliant Friend).  Casting is still to be announced.

Times are changing. Girls are wearing trousers and Hollywood has come to a sleepy English village in the shape of a beautiful film star. Miss Marple is left to feel that the world has no need of her now until a mysterious death calls into question the past of all those present.  Everyone’s version of events is different.  Can Miss Marple unravel the tangle of lies?

Graeme Farrow, Artistic Director, Wales Millennium Centre said: “We are hugely excited to bring a dynamic, thoroughly modern Marple to the stage and to work again with Rachel Wagstaff and Melly Still. This is also our first collaboration with Wiltshire Creative. Co-producing across nations and regions is extremely important in order to create new work today. We hope that The Mirror Crack’d will provide Agatha Christie fans with a new twist and attract new audiences to her work”.

Gareth Machin, Artistic Director, Wiltshire Creative said: Gareth Machin, Artistic Director, Wiltshire Creative said: “We are delighted to be working with Wales Millennium Centre for the first time and will be excited to see Rachel’s brilliant adaptation bringing the legendary Miss Marple to a new audience here in Salisbury and beyond. We are very proud to be co-producing this major project as part of our inaugural season.”

Rachel Wagstaff wrote the book for multi-award-winning musical, Flowers for Mrs Harris, returning to Chichester Festival Theatre in September, directed by Daniel Evans. Her critically acclaimed adaptation of Birdsong (West End) is now on its fourth UK tour. Rachel wrote the book for new musical Only the Brave, which was produced at the Wales Millennium Centre in 2016. Most recently, Rachel co-wrote, with Duncan Abel, a stage version of Paula Hawkins’s The Girl on the Train.

Melly Still has worked as a director, choreographer, designer and adaptor for many companies including the National Theatre, Glyndebourne Festival Opera, the Royal Shakespeare Company, Bristol Old Vic, Hampstead Theatre, The Manchester Royal Exchange and the Young Vic. She has been nominated for Olivier and Tony awards (best director and best design). Her work has travelled throughout the UK, Europe, Scandinavia, the Far East, US and Broadway. Melly recently directedTiger Bay the Musical at Wales Millennium Centre and Cape Town Opera. Other recent credits include: My Brilliant Friend (Rose Theatre); Cymbeline (Royal Shakespeare Company) and The Cunning Little Vixen (Glyndebourne Opera Festival).

Wales Millennium Centre is a landmark arts venue and a cultural destination, which presents touring talent from across the globe as well as creating its own productions. It has created a portfolio of productions over the last decade which provide an insight into what the future might hold for the Centre, producing work from operas, play and musicals, to a major new festival, presenting work all over the world, from New York and London to Dubai, as well as across the UK.  Recent productions and co-productions have included: Man to Man by Manfred Karge in a new version translated by Alexandra Wood; Only the Brave, a co-production with Soho Theatre, Daniel Sparrow Productions and Birdsong Productions; Mandela Trilogy, a UK and Ireland tour of this operatic tribute to one of the world’s most iconic figures and La Voix Humaine, an immersive chamber opera by Francis Poulenc, original lyrics from the play by Jean Cocteau.  2016 saw Wales Millennium Centre produce its first festival, The Festival of Voice – celebrating just that. The 10-day event featured over 100 performances across the city, immersing Cardiff in the incredible talents of singers and performers from across the globe. In 2017 the centre produced and premiered Tiger Bay the Musical, a major new musical set in Cardiff’s Butetown at the dawn of the 20th century.

Wiltshire Creative is a new pan-arts organisation that brings together the energy and ambition of Salisbury Arts Centre, Salisbury International Arts Festival and Salisbury Playhouse. It is an ambitious and innovative joint arts offer that secures a bright future for audiences, artists and participants.

LISTINGS

THE MIRROR CRACK’D
by Agatha Christie
adapted for the stage
by Rachel Wagstaff

First performance: 15 February 2019
Final performance: 6 April 2019
Opening Night: 25 February

15 February – 9 March 2019
Salisbury Playhouse
Tickets on sale from 5 June
01722 320 333
www.wiltshirecreative.co.uk

12 March – 16 March 2019
Gaiety Theatre, Dublin
Tickets on sale soon
0818 719388
www.gaietytheatre.ie

19– 23 March 2019
Cambridge Arts Theatre
Tickets on sale soon
01223 503333
www.cambridgeartstheatre.com

26 March – 6 April 2019
New Theatre, Cardiff
Tickets on sale from 6 July
029 2087 8889
www.newtheatrecardiff.co.uk

New Theatre Investment Fund Launched by Producer Mark Goucher

• Cheltenham Everyman Theatre Chief Executive Mark Goucher announces new investment fund
• The Cheltenham Theatre Investment Fund will make investments in commercial touring and West End plays and musicals

Mark Goucher, Chief Executive of the Cheltenham Everyman Theatre and owner of Mark Goucher Productions Ltd, has today announced the launch of a new theatrical investment fund. Spearheaded by Mark, and some present and past board members of the Cheltenham Everyman Theatre, the Cheltenham Theatre Investment Fund will be an important new player in the world of theatrical investors. Following a very successful first raise the fund is now operational and will continue to accept investment to top up to its half a million-pound target. The fund intends to take investment in commercial touring productions of plays and musicals and also in new West End productions.

The fund, governed by a board of business leaders from the Gloucestershire area and led by Mark Goucher, will receive and review investment applications.

Mark Goucher said: “When I became Chief Executive of the Cheltenham Everyman Theatre I wanted to broaden the involvement of the business community in the theatre. While the fund is not administered by the theatre, 10% of the profits will be channelled back into the educational and community work that this very important local theatre fulfils. As a commercial producer of 25 years, I would like to think I will be able to find great new theatrical investment opportunities which will be of benefit to both investors in the fund and the theatre that I am very proud to be running”

For further information on either joining the fund as an investor or applying for money from the fund, please contact [email protected]

TALL STORIES CELEBRATES ITS 21st BIRTHDAY WITH

A WORLD PREMIERE AT THE EDINBURGH FESTIVAL FRINGE,

PRODUCTIONS IN THE U.S., AUSTRALIA AND AROUND THE UK,

PLUS A CHRISTMAS SEASON IN LONDON’S WEST END

Olivier award nominated and renowned theatre company Tall Stories celebrates its 21st birthday in 2018 with a stellar year of productions including a brand new show for grown-ups. The 1997 Edinburgh Fringe saw the premiere of the company’s first show, ‘The Happy Prince and Other Stories’, adapted from Oscar Wilde’s fairy tales. 21 years later, the company returns to the Edinburgh Fringe with two distinctive Wilde adaptations: the world premiere of ‘THE CANTERVILLE GHOST’ (definitely not suitable for under 12s) and the Edinburgh premiere of ‘WILDE CREATURES’ (for ages 5 and over) – straight from London’s West End.

Since joint artistic directors Olivia Jacobs and Toby Mitchell founded the company in 1997, they have co-created and staged 30 productions, in 5 languages, in 15 countries, over 6 continents – with performances at the Sydney Opera House, on Broadway and in London’s West End. The company’s most noted and popular productions include ‘THE GRUFFALO’, ‘ROOM ON THE BROOM’ and ‘THE SNOW DRAGON’.

Tall Stories is working on eight shows over their anniversary year; details are below.

THE CANTERVILLE GHOST (not suitable for under 12s)

Edinburgh Fringe: 1st-25th August

Warwick Arts Centre: 18th-30th December

Tall Stories is thrilled to be bringing Oscar Wilde’s spooky tale ‘THE CANTERVILLE GHOST’ to the stage in this World Premiere production. A company of four vaudeville performers tell the story of the Otis Family and their move into the haunted Canterville Hall. This spine tingling production will premiere at the Edinburgh Fringe this summer and is aimed at grown-ups – in an extension of Tall Stories’ more usual work for family audiences.

WILDE CREATURES (ages 5 to 105)

Sydney Opera House: 7th-21st July

Edinburgh Fringe: 1st-25th August

Warwick Arts Centre: 28^th Nov-30^th Dec

Direct from Sydney Opera House and London’s West End, Tall Stories is delighted to be bringing ‘WILDE CREATURES’ back to the stage for its Edinburgh premiere. A group of storytelling musicians bring Oscar Wilde’s classic fairy tales to life. These hauntingly beautiful tales are told with original live music and a generous dash of comedy.

ROOM ON THE BROOM (ages 3+)

Lyric Theatre, West End: 23rd Nov-13th Jan

UK Tour 2019

The Olivier award nominated ‘ROOM ON THE BROOM’ returns to London for the festive season! After success in London’s West End four years ago, the production (based on the classic picture book by Julia Donaldson and Axel Scheffler) is back in London for a limited run before flying off on a UK tour in Spring 2019.  This musical adaptation tells the story of the Witch and her cat who are travelling on their broomstick when they pick up some hitch-hikers – a friendly dog, a beautiful green bird and a crazy frog.

THE SNAIL AND THE WHALE (ages 4+)

UK & Ireland Tour: 30th May – 9th December 2018

This production returns for a UK & Ireland tour marking the 15^th anniversary of the best-selling book by Julia Donaldson and Axel Scheffler, which tells the story of a tiny snail who longs to sail the world. Told through the eyes of an adventurous young girl, who’d love to go round the world with her seafaring father, this adaptation is inspired by the work of Storybook Soldiers, who help British military personnel serving abroad to record bedtime story CDs for their children back home.

THE GRUFFALO’S CHILD (ages 3+)

UK & Ireland Tour: 30th May – 6th January 2019

Australian Tour (Australian cast): 15th October- 28th January 2019

This adaptation of Julia Donaldson and Axel Scheffler’s award-winning sequel to The Gruffalo is bought to the stage in a musical adventure. One wild and windy night the Gruffalo’s Child ignores her father’s warnings about the Big Bad Mouse and tiptoes out into the deep dark wood. She follows snowy tracks and encounters mysterious creatures – but the Big Bad Mouse doesn’t really exist… does he?

EMILY BROWN AND THE THING (ages 3+)

Birmingham Hippodrome (Patrick Centre): 17^th Dec-6^th Jan

Broadway, USA and Canada tour: 23rd Jan-19^th May 2019

The highly acclaimed production returns for a festive season in Birmingham before a run in Broadway’s New Victory Theatre and a USA tour in 2019. This is an imaginative adaptation of the much-loved book by the award-winning duo Cressida Cowell (author of How to Train Your Dragon) and Neal Layton. Following a sell-out run at the Edinburgh Fringe in 2014, the show has toured the UK, Hong Kong and Australia (including Sydney Opera House). The story is told with original music, puppetry, physical storytelling and lots of comedy.  

THE SNOW DRAGON (ages 3+)

Sydney Opera House: 3th-12th October

After touring the UK and across the globe since 2005, ‘THE SNOW DRAGON’ (based on an original concept by the company) will be opening in Sydney this autumn. The production tells the story of Billy the Goat and the annual visit of the legendary Snow Dragon, filled with music, fun and laughter.

THE GRUFFALO (ages 3+)

Stratford Circus, London: 27th November- 30th December 2018

International and UK tour from January 2019

The now classic magical, musical adaptation of the picture book by Julia Donaldson and Axel Scheffler. Searching for hazelnuts, Mouse meets the cunning Fox, the eccentric old Owl and the fun-loving Snake. Will the story of the terrifying Gruffalo save Mouse from ending up as dinner for these hungry woodland creatures? After all, there’s no such thing as a Gruffalo – is there? Songs, laughs and scary fun for children aged 3 and up and their grown-ups, in the much-loved show that’s toured the UK and the world!

West Yorkshire Playhouse, Leeds – until 9th June 2018

Reviewed By Dawn Smallwood

5*****

This highly anticipated production The Girl on the Train has begun its world premiere at the West Yorkshire Playhouse. Based on Paula Hawkins’ bestselling novel and Rachel Wagstaff and Duncan Abel’s adaptation the story comes to life on stage. It is about Rachel Watson (Jill Halfpenny) who dreams of life that is very different to hers and seeks escapism through the train’s windows on her daily commute. From the windows she secretly focuses on the couple, Megan and Scott Hipwell (Florence Hall and Theo Ogundipe), who appear to have this perfect enviable relationship until one day Megan abruptly disappears.

With a stunning simplistic staging, stripped to the bare minimum, Rachel (Halfpenny) is suddenly involved with the investigation as both a witness and suspect assisting G.I. Gaskill (Colin Tierney). The suspense and intrigue gets bigger with incredible flash projections of a moving train, in between scenes, which enables Rachel to remember more about what happened on the day that Megan (Hall) disappeared and eventually faces the shocking truth.

Lily Arnold’s staging works well with the story and the characters are portrayed excellently by Halfpenny, Hall, Ogundpipe, Tierney, Adam Best, Jonas Khan and Sarah Ovens. Joe Murphy’s direction ensures the story focuses more on the characters than on the chronology of events. Lizzie Powell’s lighting, Isobel Waller-Bridge’s soundscapes and Andrzej Goulding’s video projections complement the production and enhances the suspense and intrigue expected in a psychological thriller.

Many can relate to the strong emotive and psychological themes in the play today and there are those who have shared a similar journey to Rachel (Halfpenny) with experiences of being in an abusive relationship and in receipt of manipulative and controlling behaviour from their partners. Such behaviour results in the devastating consequences, as evident with the alcohol dependency, and the struggle to rebuild one’s life through disempowerment, belittlement and a lack of confidence. The play draws hope however when one can rediscover their power and use this for the greater good in oneself and in society. It is psychologically poignant but refreshingly hopeful for one door to be closed and another one to be opened. Rachel makes such a personal statement at the end that she was the girl on the train but now it’s a women being on one.

First class acting from all the cast and especially Halfpenny who gives a very strong performance portraying Rachel Watson who is laden with emotions from her abusive relationship but has a fighting spirit, from being vulnerable to turning detective, in pursuing what exactly happened to Megan (Hall) that day.

The play grips the audience with suspense and definitely captures their attention from beginning to end. The Girl on the Train plans to tour nationally after its run at the West Yorkshire Playhouse and no doubt the production will be very well received as well as this current run. An unmissable production and a big credit to everyone involved.

Union Theatre – until 23 May

Reviewed by Claire Roderick

3***

London, 2011, and the people of Britain are excited – not because of the upcoming Olympics (which everybody knows will be a complete shambles) – but because the identity of the secret prince is about to be revealed. Living in anonymity since the death of his mother in a freak pedicure accident, Prince Bertie has grown up, attended catering college, and fallen in love with staunch Republican Chelsea – a mixed-race pub landlord’s daughter from Barking. Maz Evans’ book mixes Pygmalion and Spitting Image in a brash and often corny story of love, politics and inbreeding. Newly elected Centrist Prime Minister finds himself at the mercy of ambitious and power-hungry Princess Victoria and a referendum is called on who should take the throne after Queen Mary dies. Victoria plots to split the happy couple to ensure her triumph.

The royal stereotypes are all familiar, with the queen a foul-mouthed bigot who hates her useless dithering heir, and the pub characters are also nothing new. Some of the jokes are older than Queen Victoria, and fall flat, but there are some inspired moments, with Evans’ lyrics providing some huge laughs. The running gags begin to wear thin as the show goes along, but some judicious pruning should iron out the wrinkles. The musical numbers are decent, but not memorable, but are sung brilliantly by the talented cast accompanied by a pub piano.

The cast do wonders with their characters – Tori Allen-Martin delivers a five-star performance as usual, making Chelsea loveable and believable, with amazing vocals. Christian James is sweet and charming as bumbling Bertie, with a fantastic voice that works wonderfully with Allen-Martin’s. Emily Jane Kerr goes maniacally OTT as manipulative Victoria. Andrea Miller excels as Chelsea’s sex-mad sexagenarian grandmother, all legs and leopard print, and as malevolent Queen Mary, while Christopher Lyne is hysterical as useless Prince Richard and ensures Chelsea’s dad Brian is the true heart of the piece. Prince Plockey also does impressive work as the Prime Minister and Uncle Vernon.

H.R. Haitch isn’t exactly biting satire, but it is good fun, and the cast elevate the show to a bright and breezy treat.