Month: July 2018

NEW ADVENTURES ANNOUNCES

GROUND-BREAKING COLLABORATION

WITH JULIE’S BICYCLE

 

“SWAN LAKE” WILL BE THE FIRST

CREATIVE GREEN CERTIFIED TOUR

 

IN RECOGNITION, NEW ADVENTURES HAS BEEN AWARDED THE CREATIVE GREEN PIONEER AWARD

New Adventures is delighted to announce a ground-breaking collaboration with Julie’s Bicycle to pilot a new Creative Green certification for the touring sector.

Julie’s Bicycle is a charity that supports the creative community to act on climate change and environmental sustainability. Through their Creative Green certification, Julie’s Bicycle recognises and celebrates environmental best practice within the cultural sector.  New Adventures has been working with Julie’s Bicycle over the past 18 months to develop policies and seek to embed good practice around environmental sustainability. New Adventures’ UK tour of Matthew Bourne’s “SWAN LAKE”, beginning in September 2018, will be the first Creative Green Certified Tour. 

 

As part of this commitment New Adventures is launching a new strand called GREEN ADVENTURES to champion this work, take steps to challenge standard behaviours and think creatively about green initiatives.  Throughout the UK tour of “SWAN LAKE” New Adventures will be seeking to reduce its direct environmental impacts and will also use the opportunity to advocate to audiences and touring venues.  In particular, New Adventures will be working closely with Sadler’s Wells and Norwich Theatre Royal who are already leaders in this area.

Matthew Bourne said: “New Adventures is thrilled to be the first touring company to be working in partnership with Julie’s Bicycle on a Creative Green Touring certification. As one of the UK’s busiest touring dance companies, we visit theatres across the world and travel to very picturesque settings. I believe that it’s important to conserve the natural beauty around us and it is something that we’re very passionate about. We hope that our Green Adventure with Julie’s Bicycle will help us to spread the word to our wonderful presenting venues and audiences around the globe about how to lead more sustainable lifestyles, so that generations to come can continue to enjoy all that our planet has to offer.”

 

In recognition of this collaboration, last night (Monday 9 July), New Adventures was awarded the Creative Green Pioneer Award in the second annual Creative Green Awards which celebrates the many outstanding organisations taking action on climate and the environment.

Matthew Bourne said about the Award: “New Adventures is delighted to be awarded the Creative Green Pioneer award in recognition of our work with Julie’s Bicycle over the past 18 months. We are now very excited to see what we can achieve in the future, particularly on our UK tour of SWAN LAKE.”

Paule Constable, Lighting Designer, added: “As a New Adventures Associate Artist I am proud to be one of their green champions as they become the first UK touring company to receive Creative Green Touring certification, and as the inaugural recipient of the Green Pioneer Award. I try to be as environmentally aware as possible from cycling to recycling but I’m equally passionate about trying to make my working life environmentally responsible. I look forward to working closely with New Adventures during the tour of SWAN LAKE to advocate for and encourage sustainability.”

Alison Tickell, Founder and CEO of Julie’s Bicycle said: “Touring creative work to audiences around the world has a considerable environmental impact. At the 2018 Creative Green Awards we recognise New Adventures for its pioneering work to examine touring impacts and work in partnership with cultural venues to reduce those impacts and engage with their audiences. As the first touring company to do Creative Green touring we hope others will join in this climate action.”

Bristol Hippodrome – until 14th July

Review by Nicky Wyatt

4****

Michel Jackson love him or loath him was the undoubted King of Pop. This show is a fast moving glittering testimony to the man, his music, his dance moves .

From the minute the curtain raises you can see shoulders moving, feet tapping and more than a few shimmy’s going on, in fact it’s incredibly hard not to get up and dance from the off!

Be prepared to be transported back to the early days of The Jacksons. This incredible cast take you on a musical June box journey of all the music and moves you grew up with. From ABC, Blame it on the Boogie through to Man in the Mirror, Beat it, Billie Jean and of course Thriller and Bad. The show covers a mix of 30 songs.

With a stage full of sparkle and amazing talent it’s a job to know where to look at times as there is so much going on.

The leads on the stage that not only narrate this musical extravaganza also have amazing voices. We all know that there is only one MJ but this clever diverse crew showcase his styles and sounds brilliantly.

Britt Quentin has an incredible voice and legs that just don’t keep still, such a charismatic performer. He worked incredibly well with Shaquille Maurice Hemmans who has quite a cheeky look at times again with an amazing voice. The voice of Rory Taylor is one to be enjoyed. The ladies hit all the notes too Adriana Louise and Ina a Seidon were both so slick with their songs and dances.

In a show like this the ensemble play a huge part and this crew were exceptional. Fast complex dance routines that appeared to he flawless. Quick costume changes for everyone of them which they all coped with. There are three dancers that I felt had huge stage presence and deserve a mention Lee Pratt and Gustave Die both caught our attention, they brought an extra something to the stage. Finally the dancer that try as I might I can’t find a name for, maybe the intrigue is intentional, from row P he could have been MJ and was outstanding.

If you’re in the Bristol are this week, treat yourself to a ticket you really can’t Beat It!

ARCOLA THEATRE AND FORWARD ARENA

PRESENT VIRGINIA WOOLF’S MRS DALLOWAY

IN A NEW ADAPTATION BY HAL COASE

Arcola Theatre and Forward Arena present

Virginia Woolf’s

Mrs Dalloway

A new adaptation by Hal Coase

Director: Thomas Bailey; Designer: Emma D’Arcy

Arcola Theatre

25 September – 20 October 2018

Arcola Theatre and Forward Arena today announce Virginia Woolf’s Mrs Dalloway, a new adaptation by Hal Coase. Directed by Thomas Bailey, co-Artistic Director of Forward Arena, the production opens at Arcola Theatre on 1 October, with previews from 25 September and runs until 20 October.

On a single day in London, 1923, Clarissa Dalloway prepares to throw a party for her high-society friends.

On the same day, in the same city, First World War veteran Septimus Warren Smith seeks help from the ruling class that Clarissa entertains.

Forward Arena present a fast-paced, dynamic staging of Hal Coase’s bold new version of Mrs Dalloway renewing the collaboration between the company and Hal Coase following their previous production of Callisto: a queer epic at Edinburgh Festival Fringe and Arcola Theatre.

Co-Artistic Director of Forward Arena, Thomas Bailey said today, “We couldn’t be happier to be working with Hal Coase again, this time on his brilliant version of Mrs Dalloway – and in a co-production with Arcola Theatre, which is fast becoming the home of contemporary adaptations. Our production will be a faithful adaptation that celebrates Virginia Woolf’s genius, finding new ways of telling stories just as Woolf did nearly 100 years ago.”

 

Hal Coase adapts. His playwrighting credits include Callisto: a queer epic which was presented at Edinburgh Festival Fringe and Arcola Theatre in a previous collaboration with Forward Arena. His other work has been performed at Camden People’s Theatre, Pleasance Theatre, Ashmolean and North Wall Arts Centre.

Co-Artistic Director of Forward Arena Thomas Bailey directs. For the company, his credits include The Games We Played (Theatre503) and Callisto: a queer epic (Edinburgh Festival Fringe/Arcola Theatre) and Rehearsing for Planet B (North Wall Arts Centre). He was awarded the Bryan Forbes Directing Bursary in 2017.

               

ABOUT FORWARD ARENA

Forward Arena make theatre that is culturally and politically awake, without ever forgetting theatre’s responsibility to be an impressive and stimulating feast of liveness. The company was formed in 2016 by co-Artistic Directors Emma D’Arcy and Thomas Bailey, and Executive Director Ellie Keel.

Most recently the company presented Callisto: a queer epic by Hal Coase which premièred at Pleasance Dome for the full Edinburgh Festival Fringe run in August 2016, transferring to Arcola Theatre in October 2016 before returning for a full run at the venue the following December. Previous Forward Arena shows include The Games We Played by Michelle Sewell at Theatre503 and Children and Animals by Florence Read at The North Wall Arts Centre, Oxford before a month run at Edinburgh Festival Fringe.

http://forwardarena.com/home

Twitter:                @ForwardArena

Facebook:           ForwardArena

ABOUT ARCOLA THEATRE

Arcola Theatre is one of London’s leading off-West End theatres. Locally engaged and internationally minded, Arcola stages a diverse programme of plays, operas and musicals. World-class productions from major artists appear alongside cutting-edge work from the most exciting emerging companies. Arcola delivers one of London’s most extensive community engagement programmes, creating over 11,000 opportunities every year. By providing research and development space to diverse artists, Arcola champions theatre that’s more engaging and representative. Its pioneering environmental initiatives are internationally renowned, and aim to make Arcola the world’s first carbon-neutral theatre.

Twitter:                                @arcolatheatre

Facebook:           arcolatheatre

Mrs Dalloway Listings

Arcola Theatre

24 Ashwin Street, Dalston, London E8 3DL

Box Office: 020 7503 1646

www.arcolatheatre.com

25 September – 20 October 2018

 

Tickets: £15 – £22 (Concessions available)

Totally Thames 2018 Programme Announced
Saturday 1 – Sunday 30 September 2018
Rivers of the World: Wednesday 5 September, 6pm
gallery@oxo, Oxo Tower Wharf, Bargehouse Street, London SE1 9PH
The World’s Oldest Boat Race: Monday 10 September, 7pm
Guildhall Art Gallery, Guildhall Yard, Aldermanbury EC2V 5AE

Totally Thames’ fantastic annual season of over 100 events celebrating the River Thames is back for the month of September

This year’s programme will look at the river as an inspiration and source of creativity connecting London to other cities around the world. It will also celebrate the heritage of our river and illuminate the long-standing traditions and unique stories the river holds. Totally Thames will give Londoners and visitors the opportunity to take part in a programme of arts, culture, heritage and
active events including foreshore archaeological walks, a poetry boat party and live music under the river in Tower Bridge’s Bascule Chambers!

Rivers of the World
gallery@oxo, Oxo Tower Wharf, Barge House Street, London SE1 9PH
Wed 29 Aug – Sun 9 Sep
Boathouse Creative Studios, Malthouse, 62-76 Abbey Road, Barking IG11 7BT
Wed 19 – Sat 29 Sep

Rivers of the World is a Thames Festival Trust project in partnership with the British Council which has worked with 30,000 12-14 year olds in 30 countries around the world to inspire young people to learn about rivers through art and creativity

This exhibition of river-inspired artwork has been created by young people from around the world working in collaboration with professional artists to explore and express what rivers mean to communities today. This year’s exhibition will feature work from Barking & Dagenham, Exeter, Worcester in the UK as well as Kenya, Malawi and Palestine

The World’s Oldest Boat Race
Guildhall Yard, Aldermanbury EC2V 7HH
Thu 6 – Sun 23 September

The Race for Doggett’s Coat and Badge is the world’s oldest continually competed sporting event started in 1715. This incredible rowing race is competed in every year by apprentice river workers on the Thames. This year, Totally Thames will delve into this tradition passed down through generations of Thames watermen, hosting the race itself on Tuesday 4 September, and exploring its rich heritage in a series of outdoor exhibitions

Using recorded oral histories, photographic portraits by Hydar Dewachi, and 100 years of archive material made publicly accessible for the first time, The World’s Oldest Boat Race brings to life this hidden history at the heart of London. It encompasses stories of family pride and family rivalry, and the passion that kept Doggett’s race alive through two World Wars, a schism between ‘gentlemen amateur’ and ‘professional’ rowers, the decline of the docks and a fast-changing capital

Mother Danube: Mon 24 – Sat 29 Sep
The R.A.P. Party: Wed 12 Sep, 7.30pm
In Conversation with Ben Aaronovitch: Mon 3 Sep, 6pm
Various Locations

Throughout September, literary events inspired by the river will explore its social, cultural and historic role as a source of inspiration for writers.

Mother Danube will see a week of free performance at various unique and riverside locations, with storyteller Sally Pomme Clayton and musician Emma Clare, will take a magical journey across Europe evoking the River Danube.

Inua Ellams brings an exhilarating, vibrant, live literature event in The R.A.P Party aboard the beautiful Dixie Queen to sail down the Thames. Featuring a stellar line-up of spoken word artists performing poems inspired by hip hop culture whilst a DJ plays a kaleidoscope of tracks for a laid back, poetry-infused nostalgic boat party.

There will also be a unique opportunity to hear from London born and bred writer Ben Aaronovitch who wrote the hugely successful, Sunday Times best-selling urban fantasy crime fiction series Rivers of London

Bascule Chamber Concerts
South Bascule Chamber, Tower Bridge, Tower Bridge Road, London SE1 2UP
Thurs 20 – Sun 23 Sep, various times

Composer and curator Iain Chambers returns to fill the atmospheric subterranean Victorian space in Tower Bridge with a brand-new programme of works, including commissioned spoken word performances and an immersive sound walk exploring London’s greatest hidden space. The concerts will feature music, vocal and poetry works from the Marian Consort, Tabla player Kuljit Bhamra and storyteller Rae Levine.

The Mayor of London, Sadiq Khan, comments Totally Thames is a fantastic celebration of London’s historic 42-mile River Thames. It brings together Londoners young and old, with a range of over 100 artistic, participatory and community activities and events across the city – whether you’re in Richmond, Southwark, Greenwich or Barking and Dagenham. From the World’s Oldest Boat Race to the Rivers of the World programme, there is something for everyone and I encourage everyone – whether you’re a Londoner or one of our many visitors – to come along and enjoy one of London’s most spectacular cultural celebrations.

Joyce Wilson, London Area Director, Arts Council England, says I am pleased we are able to support Totally Thames again this year. This is a festival that brings together local communities, boroughs, businesses and tourists, and in doing so it gives a multitude of audiences the chance to not only see, but experience, the river through the eyes and imagination of leading artists. The 2018 programme
looks stronger than ever, and I am thrilled it will be connecting young people from across the London boroughs, with those across the world.

Director of Corporate Affairs at PLA, Alistair Gale, comments We’re really excited to see such a diverse programme of activities in the first year of our increased support for Totally Thames. Our goal, as part of the Thames Vision, is to see as many people connect with the river as possible. This year’s programme is set to inspire interest in the Thames for the first time – or re-spark a glowing ember of historic interest – whether celebrating the rivers of the world, enjoying the spectacle of the Doggetts race or taking in the pop up literary events inspired by the river

Grand Opera House York – until 14th July 2018

Reviewed by Catherine McWilliams

3***

The Classic Thriller Theatre Company’s production of The Case of The Frightened Lady took us back to the 1930’s at the Grand Opera House. This is a play by Edgar Wallace and this 1930’s setting is rather uncomfortable to watch at times with a modern eye. The play revolves around Marks Priory, the family home of the Lebanons, this is no Downton but a house where the class system is in full swing and Lady Lebanon (Deborah Grant) really does not care about anything or anyone other than family.

We are introduced to the characters as a fancy dress party is being held to celebrate the restoration of Charles II, a family tradition. It is clear from the start that things are not quite right in this household, but there is nothing that you can quite put your finger on. This is a classic whodunit, so a murder occurs fairly quickly though I have to say I was surprised as to who was murdered. Chief Superintendent Tanner (Gray O’Brien) and Detective Sergeant Totti (Oliver Phelps) are brought in to investigate, to the displeasure of all, and are thrown red herrings, misdirections and downright lies! I will admit to getting it completely wrong but of course once faced with the solution it is all too obvious.

The action all takes place in the hall of Marks Priory with the characters telling us what has happened elsewhere. This works well and the hall is a beautiful traditional room. The dresses are stunning and wonderfully evoke the 1930s.

Deborah Grant gives a cracking performance as the odious Lady Lebanon, obsessed with her family history and determined to marry off her son so an heir can be produced. She really was an unlikable character and I can’t have been the only person in the audience seething at her attitudes and comments! Denis Lill played Dr Amersham beautifully, making him a particularly odious character too.

Ben Nealon made her son Lord Lebanon a bit of a buffon, but played his part to perfection. Gray O’Brien was a convincing Chief Superintendent Tanner as he struggled to unpick the crime and the lies he was being told and he was ably supported by Oliver Phelps as Detective Sergeant Totti. Simon Desborough and Callum Coates glided silently, adding a nice touch of mystery as Gilder and Brook.

It was good to stretch the grey matter whilst at the theatre, trying to work out whodunit. If you are a fan of TV crime programmes why not have a change and go and see this play and support live theatre.

Shakespeare’s Rose Theatre York – until Saturday 1st September 2018.

Reviewed by Michelle Richardson

3 1/2***

Richard III is the fourth, and last, of the plays being shown at Shakespeare’s Rose Theatre in York, directed by Lindsay Posner.

From the offset and the cast dancing along to Come on Eileen, I wasn’t to sure what to expect. After reading the programme and seeing drawings of the costumes, I knew it was going to be a modern take on Richard III. Apart from the clothing styles and the odd product placement of coffee cups, it was not that evident and not really explored, no more dancing along to modern, if you can call 80’s music modern.

Dyfan Dwyfor is very engaging as a young tyrannical Richard. He plays Richard with a lot of cheeky, boyish charm whilst managing to seduce the audience along the way. He had the audience laughing at his mannerisms and wicked wry smiles. Your eyes are drawn to him when he appears on stage, seeing him getting rid of all around him in his quest for power. With his hump, limp (he wears a leg brace to emphasize it’s malformity) and useless arm, he manages to flit around the stage with ease. It must be hard on his body, being distorted for the duration of the performance, I can feel my joints seizing up now just thinking about it.

The whole cast delivered strong performances throughout, but what had the biggest impact for me was the execution scene, ISIS style, of three prisoners. Each shot to the back of their hooded heads, whilst wearing orange jumpsuits, had me jumping in my seat and, though uncomfortable, was fully relatable in today’s climate.

The costumes, designed by Sue Willmington, especially the uniforms, both every day and ceremonial, were superb. And as for the costumes changes, all credit to the actors and behind the scenes for some incredibly quick changes.

I realise that I am a true amateur at this and this is Shakespeare, the greatest English writer in history, but I did find that at times it was a bit tedious There was just too much dialogue, which I occasionally found hard to follow, I had the same issue with Romeo and Juliet. Billed at a whooping 3 hours 45 minutes duration, I’m glad to say that it was cut down to just over 3 hours 15 minutes, which is roughly the same running time as Romeo and Juliet. I still feel that it could have been condensed even further to make it more audience friendly. That is just my personal preference and I know many will disagree. Both shows also have the same cast, a tremendous achievement when they are swapping and changing all through the summer, sometimes even playing both shows on the same day. Proves what a versatile bunch of actors that have been cast for all four shows.

The whole experience is one not to be missed. From the Shakespearean village to the wonderful painted ceiling over the stage, you must try and get to see a show, if not two, three or all four.

The Lowry, Salford – until Saturday 14th July 2018

Reviewed by Julie Noller

4****

Agatha Christie the Queen of crime fiction with such well developed characters such as the lovable Miss Jane Marple and Hercule Poirot, both adored with many millions around the world tuning into watch the many TV and film adaptions that have been developed over the decades. I, as I am sure many in the audience watching Love from a Stranger, have read her books. She had an uncanny eye for people, the depth of her characters personalities makes them totally and utterly believable. Agatha Christie’s name alone would sell any play to me, you expect suspense, drama, mystery and intrigue all mixed together with clever plots and perhaps a dash of murder. Love from a Stranger was first written in 1924 as a short story before being adapted by Frank Vosper in 1936 with a little help from Agatha Christie herself. It was billed as a brilliant terror play a tag line that could stand even today.

Fanastic direction by Lucy Bailey really brings the set alive it’s the attention to the small details that have you questioning during the interval, what is happening, what is to come. Music begins to fill the auditorium before curtain up. Slowly at first you catch a faint buzz that made me think I had tinnitus. Growing louder and louder before I heard a clock ticking and realised it was playing it’s part in building the suspense, rather like the opening credits of a television show. Each time you hear that music during the performance your heart would beat just a little bit faster. I loved the use of strip lights to highlight the change in circumstances and time, how the set itself all moved across the stage in a stroke of genius that stops your eye becoming too accustomed to it’s surroundings and seeking out potential clues. I believed I saw and detected a few clues yet I’m equally convinced if I watched again there would be many things I missed. The action takes place between the two acts, firstly in a flat in Bayswater, London and then in a cottage in West Sussex. It is 1958 and important to remember this is a time before internet warnings and homes rarely had television broadcasting news articles with photographs. Honesty was prevalent to be British we were nice, a stiff upper lip was still the done thing, emotion was a female trait and something to be sneered at.

We begin with Mavis Wilson (Alice Haig) packing up her flat with help or should that be hindrance from Aunty Lou ‘Louise Garrard’ (Nicola Sanderson). Mavis down to earth, working for her living, steady and dependable. You sense she doesn’t suffer fools gladly but this is 1958 and in her do you sense a little jealousy? Her friend and flatmate is about to get married after a long engagement and separation. Would she swap places, happily settle down to a life of wedded bliss? Aunty Lou is a fabulously comic character although I’m not entirely sure she was firstly written that way. Has she developed in my eyes as I’ve got older and can see how rich a character she is, I almost can see David Walliams watching this play and upon leaving basing one of his comedy personas on Aunty Lou. Helen Bradbury plays Cecily Harrington betrothed to Michael who has been working in The Sudan for three years. She is having cold feet as many brides to be have had. But there.s a desperation about her having won £50, 000 in a sweepstake she shared with Mavis. She is in turn jealous of Mavis and her three months escape to go on an adventure holiday. How she longs to have excitement and Michael she fears just may be too steady and reliable to give her that excitement. This is where timing is key and split second decisions alter her life.

Mavis upon hearing her frustrations decides to leave Cecily alone to welcome home Michael. Mavis herself is angered and showing lack of compassion for her friend neglects to inform her of the stranger coming to view the flat with a mind to renting it for three months. That stranger arrives in the form of floppy blonde haired, free spirited, fun loving American Bruce Lovell (Sam Frenchum) he immediately raises your heckles in the audience, you sense danger is lurking. He takes Cecilys photograph without her knowing, sniffs at her negligee. The he slowly reels her in. It isn’t a hard task shes bored, he has a sense of adventure that appeals to her. As quickly as he appears her life is unravelling. Michael Lawrence (Justin Avoth) firstly appears like a drippy English man, boring suit and slicked hair, even his moustache looks pathetic. You want to cheer Cecily for dumping him and heading away on adventure.

The cottage in Sussex is an expensive place to hire Bruce and Cecily immediately married and how Cecily has changed she is no longer the strong independent woman who craved adventure but happily and meekly mild wife, so in love or lust with Bruce eagerly pleasing him and agreeing to his every whim. Bruce is clever you sense that his words are long practised, the isolation of the cottage is deliberate although you hope not. Ethel (Molly Logan) is another great example of how Christie could bring characters alive with humour, a very loud and clumsy maid, quite as you see Miss Marple training in her stories. Gardener Hodgson (Gareth Williams) who tells it as it is, salt of the earth. An innocent slip of the tongue has everything unravelling, the truth will out. Small villages may be remote but nothing is missed by the eyes of a sharp friend who knows when something is wrong. Dr Gribble (Crispin Redman) shares a love of murders and reads the same magazines as Bruce, he senses Cecily is in danger and attempts to warn her.

Happily Cecily reconciles with both Mavis and Michael who we see dressed casually not as the stuffy Englishman but how wrong we were, he may be safe and dependable but excitement can itself be boring if its everyday, we need to breathe sometimes. His only crime was loving Cecily and being unable to communicate that love to her. I don’t want to give the ending away but feel it’s fair to say you may inhale a little too loudly, you may gasp as the audience around me did. I wasn’t expecting a hint of raunchy behaviour from an Agatha Christie play but it highlights perfectly how easily we stray from the path we think we chose.

I did expect twist and turns perhaps subplots, yet I had no idea where they may come from. I believe that’s the best way to watch Love from a Stranger. Enjoy the action from well developed characters who are as diverse as stereotyping can be. The only thing you can be certain of before curtain up is that Agatha Christie knew her characters not only as two dimensional on paper but inside and out, three dimensional living and breathing. I think it’s fair to say that we all need the love of good friends.

SURVIVAL KIT – A THEATRICAL GUIDE TO SURVIVAL IN THE 21^STCENTURY

Paul’s got 20 years’ worth of ‘NOW That’s What I Call Music’ albums; Lorraine can’t live without her phone; Callum has a water pistol and a whoopee cushion; Zara has a stack of programmes from her favourite musicals that she’s very attached to.

This is Survival Kit – a new piece by Artists and Students from Mind the Gap Academy that debuts at The Studio, Bradford Theatres on Thursday 19 July.

Survival Kit asks questions about what we need to survive, and what we can’t live without.

Each of the 10 actors has a box containing their chosen must-have items – the essentials of life that enable them to function properly; family, friendship, shelter, acceptance and chocolate.

Actor Paul Bates says, “I have been on a journey with the Survival Kit process. Devising together using our own life stories and what Survival is to us, means the piece is really personal to me. It makes you laugh and feel sad and really makes you think what is important to you.”

Survival Kit has been devised by Academy Director Charli Ward, based on ideas contributed by the performers, and is choreographed by Karen Bartholomew.

Director Charli Ward says, ‘It has been fantastic devising Survival Kit. The actors have contributed some brilliant answers to the question ‘what can’t you live without?’ – ‘living close to my family’, ‘taking that first sip of coffee in the morning to get me through the day’ and seeing people smile.’ We have all begun to appreciate even the small things that get us through life!’

Mind the Gap, one of Europe’s leading learning disability theatre companies, has been developing the skills of the Artists and Students in the show through the Academy, which offers a range of programmes and accredited courses.

Survival Kit is at The Studio Theatre, Bradford (adjacent to The Alhambra) on Thursday 19^thJuly at 7.30pm

 

Book online at bradford-theatres.co.uk or call 01274 432000

 

For more information on Mind the Gap visit mind-the-gap.org.uk or email Deborah Dickinson[email protected]

Joshua McTaggart is to step down as Artistic
Director of The Bunker Theatre

Joshua McTaggart will step down as Artistic Director of The Bunker Theatre in September. David Ralf will continue to lead the London off West End theatre in his new role as Executive Director alongside a new Artistic Director, who will be appointed this summer. Applications for the role of Artistic Director are open today (Wednesday 11th July).

McTaggart has been appointed as Artistic Director and CEO of the Chelsea Theatre, in West London, and from September will oversee a major capital redevelopment project.

The Bunker has also announced a musical theatre development initiative with Trafalgar Entertainment Group. The initiative will support, amongst other projects, a new musical based on Glasgow’s Ice Cream Wars of the 1980s, which is to be developed and directed by McTaggart, continuing his creative relationship with The Bunker.

McTaggart comments, In just over two years, our team has taken this abandoned underground car park and transformed it into a thriving hub of creativity and performance. I am immensely proud of everything we have achieved, and I have had the true privilege of working and collaborating with some of the most generous and talented artists our country has to offer. I cannot wait to hand over this building to another creative mind to lead it on the next steps of its journey. I will certainly be taking along the lessons and the triumphs from my time at The Bunker to the Chelsea Theatre.

Ralf says, Over the last two years, Joshua’s vision and energy as Artistic Director have led the building through its opening, three world-premiere in-house productions, two editions of our signature Bunker Without Borders festival, our first Breaking Out programme for emerging companies, and the hugely fruitful relationships with our two Resident Companies, Damsel Productions and Pint-Sized. He has inspired hundreds of artists to make something new, modern and exciting in our unique space. The Bunker wishes him the very best with all his future endeavours, and I am thrilled to lead this young and energetic off West End venue into its third year.

The application process for a new Artistic Director for The Bunker closes on Friday August 3rd at midnight. To encourage applications from as many backgrounds and abilities as possible, applications can be made in a number of forms, including video submissions, voice recordings or emails. Applicants can apply via The Bunker’s website, https://www.bunkertheatre.com/getinvolved/work-with-us.

The Bunker
Housed in a former underground parking garage, The Bunker is a unique 110-seater deep beneath the pavements of Southwark Street. An eclectic mix of seating surrounds a large, square thrust stage on three sides, and a craft beer bar stays open long after performances while audiences mingle with artists in the auditorium.

With ambitious, emerging artists at the centre of its work, The Bunker’s programming has included the world premieres of award-winning sell-out Skin A Cat by Isley Lynn, Devil With The Blue Dress by Kevin Armento, ABIGAIL by Fiona Doyle, Eyes Closed, Ears Covered by Alex Gwyther, 31 Hours by Kieran Knowles, an experimental new adaptation of La Ronde, and Cardboard Citizen’s 25th Anniversary epic nine-play cycle Home Truths.

The Bunker is the current home of resident companies Pint-Sized Plays and Damsel Productions who as well as Grotty by Izzy Tennyson produced their festival Damsel Develops at The Bunker, London’s first all-female director-led festival of work-in-progress.

The Bunker was founded by Joshua McTaggart and Joel Fisher, who were aged 25 and 24 at the time. Two-thirds of The Bunker’s audience are under 35 and 10 tickets for under 30s are available for just £10 at every performance.

Producers, Kane D. Ricca and Sarah Ivory are delighted to announce a Gala Performance to celebrate the final day of the London Tap Dance Intensive (LTDI), taking place at London Cabaret Club on Sunday 29 July. The event, hosted by star of stage and screen, Adam Garcia, will have performances from cast members of 42nd Street, STOMP, Hamilton, Tap Dogs and Motown, alongside the tap festival’s faculty of world-class professional tap dancers. Further special guest appearances to be announced.

 

The LTDI 2018 Gala Performance will also feature exclusive performances from three brand-new pieces of tap dance theatre: Old Kent Road’s ‘OSCiLLATE’, Lee Payne’s ‘TapSymphony’ and the premiere of Jack Evans’s highly anticipated ‘Feet Keep Me Flyin’’.

 

Kane D.Ricca said “Growing up watching videos of Sammy Davis Jr. performing on the strip, I’ve always wanted to produce an evening of entertainment with that same flare. The fact that I can do that as part of a tap dance festival, bang in the heart of Central London… That’s what dreams are made of.”

 

Adam Garcia said “I don’t think there is ever a time when you can watch a cabaret gala evening, with some of the best tap dancers in the world. It’s a complete rarity and I am excited to be a part of it. It’s going to be phenomenal.”

 

The Gala Performance will donate 50% of its proceeds to #HeadsTogether, a mental health initiative spearheaded by The Duke and Duchess of Cambridge and Prince Harry. The initiative combines a campaign to tackle stigma and change the conversation on mental health, with fundraising for a series of innovative new mental health services. For more information, please visit www.headstogether.org.uk.

 

London Tap Dance Intensive is a three-day festival of classes, workshops, events and performances taking place from 27 – 29 July 2018, in the heart of Central London, uniting the global tap dance community.

 

Website – www.ltdi.uk

Twitter – @londontapdance

 

LISTINGS INFORMATION

Sunday 29 July

7.30pm – 11.30pm

 

London Cabaret Club

Victoria House

Bloomsbury Square

Holborn

London WC1B 4DA

 

Ticket Prices From: £27.54