Cast announced for the UK premiere of award-winning Cuzco at Theatre503 this January

Daisy Hale and Kate O’Connor in association with Theatre503 present
Written by Víctor Sánchez Rodríguez and translated by William Gregory
Theatre503, 503 Battersea Park Road, London SW11 3BW
Wednesday 23rd January – Saturday 16th February 2019, 7.30pm

Marking the first time in seven years that Theatre503 have programmed a play in translation, 2019 will kick off with the English-language premiere of the multi-award winning Cuzco which explores intimacy in a globalised world. A revelation about the clash of colonial histories and commercialised contemporary tourism, Cuzco is written by Víctor Sánchez Rodríguez, winner of the Best New Playwright Premio Max, Spain’s foremost theatre awards. It has been translated in collaboration with William Gregory who has worked on productions for international projects at the Royal Court Theatre and The Gate.

Set along the Inca Trail, Cuzco is a sharp contemporary portrait of a Spanish couple increasingly lost to one another. In a bid to save their relationship, they travel to South America to find escape and reinvigoration in Cuzco, the conquistador stronghold, Inca city of the puma and tourist paradise. Their tragic love story unravels as they journey towards Macchu Picchu haunted by their own desires and the ghosts of Spain’s colonial past.

Kate O’Connor (Frozen Light; Researcher, Minefield; JMK Finalist) directs the UK premiere from one of Spain’s most acclaimed young playwrights. The two-hander stars Gareth Kieran Jones (Jubilee, Royal Exchange and Lyric Hammersmith; Pony Boy Curtis, The Yard Theatre; The Sea Plays, Old Vic Tunnels) and Dilek Rose (Twist, UK tour; The 24 Hour Plays, The Old Vic; Contractions, Trafalgar Studios).

A play about nationality, colonialism and language, the translation of Cuzco was born out of a meeting between playwright and translator in Madrid in 2016, and their close collaboration ever since. William Gregory’s translation retains the poetry, passion and playfulness of the Spanish original while opening up new resonances for English-speaking audiences. He will continue to play a central role in rehearsals, providing insights for the actors and director from his research and translation process, helping to deepen their understanding to create a profound and compelling cross-cultural experience for audiences in London.

Víctor Sánchez Rodríguez comments, When you travel, you often see yourself reflected in the country you visit. I wanted to talk about relationships, about the idea of Spain when you’re in a place like Cuzco. About all of these things, because it’s from a distance that we can best speak about ourselves. I’m engaging with the present and with how society, politics and the economy affect our sense of self and our most intimate relationships

Kate O’Connor adds, We’re so proud to be bringing Cuzco to a UK audience for the first time with the English-language premiere at Theatre503. Víctor is a writer with a unique and incisive vision of our generation; through this strange and compelling story of heartbreak he is asking questions about what it means to live in today’s globalised world, and whether we can ever truly connect with one another under these conditions. At the core of this project is the work of our translator whose collaboration with writer, creative team and new writing powerhouse Theatre503 will turn this production into an opportunity for cultural exchange, something that couldn’t be more crucial at this moment in the UK.

This production emerged from the work of Out of the Wings collective, based at King’s College London. Cuzco is supported by Acción Cultural Española, Arts Council National Lottery Project Grants, Cervantes Institute and Ibérica restaurants.





·        Roy Budd’s score to Rupert Julian’s 1925 silent film version of The Phantom at the Opera for one-night only at the Barbican 18 March 2019

·        Only the second ever performance of one of the late all-time great British musicians, Roy Budd’s finest work

·        All the funds raised from the production will go to helping rid the world of polio

In the summer of 1993 renowned composer and jazz pianist Roy Budd’s score for Rupert Julian’s classic 1920s silent film The Phantom of the Opera was to set be performed in London. Then he had a brain haemorrhage.Nearly a quarter of a century later his widow, Sylvia, fulfilled his dream and Budd’s masterpiece score to the 1925 Phantom of the Opera was performed at the London Coliseum on 08 October 2017, featuring the 77-piece orchestra. The performance received a resoundingly positive response from critics and audience alike.

Today the producers are delighted to announce that another one-off performance of Roy Budd’s masterpiece will be performed at the Barbican on 18 March 2019 – the very same venue it was originally meant to be screened at 25 years ago. It will once again be performed by the magnificent Docklands Sinfonia orchestra and led by Conductor Spencer Down. Since its formation, the orchestra has enjoyed incredible success with performances at Buckingham Palace for the Queen and with world-renowned classical artists such as Alison Balsom, Leonard Elschenbroich and Elin Manahan-Thomas.

The Phantom of the Opera represents the apex of the career of a man who not only bought the last surviving 35mm negative of the film he adored since the age of 11, but who made his debut at the Coliseum aged 6 and went on to compose the score of the seminal 1971 gangster movie Get Carter, starring Michael Caine. The music budget was a mere £450, but Budd, along with a bassist and a percussionist, recorded a spine-tingling harpsichord motif which is now iconic. Among more than 50 other films scored by Budd were Paper TigerThe Sea WolvesWho Dares Wins and the 1971 version of Kidnapped

Adapted from Gaston Leroux’s gothic novel, Rupert Julian’s The Phantom of the Opera tells the twisted tale of a mysterious recluse (Lon Chaney) who tutors a soprano at Paris’s Palais Garnier opera house while hiding a nocturnal penchant for chandelier-related slaughter. The film has been digitised and very subtle colour added throughout, with one critic noting last year that the restored film is a work of art.

As for the music, to call last year’s rendition a triumph is an understatement. Budd’s score was played with perfect timing and huge energy, intensifying the audience’s connection to a film which remains as unsettling and emotive as ever. This is a truly unique and original spectacle that is not to be missed.

Producer Nick Hocart says; “I am excited to work with Spencer Down and Dockland Sinfonia again, and to be presenting Roy’s work in the Barbican where it was due to premiere 25 years ago is history in the making.”

All the proceeds from the production will be going to the Rotary Club Foundation UK; specifically, the Purple for Polio initiative. Furthermore, for every pound raised, the Gates Foundation will donate a further two pounds, whilst producers Sylvia Budd and Nick Hocart are waiving production fees and donating their time for this event.

Eve Conway, Vice-Chairman of Rotary International’s End Polio Now: Countdown to History Campaign Committee, says: “We are on the brink of making history by eradicating only the second human disease ever after smallpox. There have been just 27 cases of wild poliovirus worldwide this year in two countries: 19 in Afghanistan and eight in Pakistan. This compares to a thousand cases of polio a day in 125 countries when Rotary started our campaign to rid the world of polio in 1985. With our partners in the Global Polio Eradication Initiative, we have reduced cases by 99.99 per cent. We need to finish the job and end polio now and forever and this means continuing to raise awareness and funds for immunisation campaigns in at-risk areas, as well as routine immunisation. That is why the proceeds from this event are so vital to help make sure we achieve a polio-free world”.

Roy Budd’s Phantom of the Opera is sponsored by Wine Bourse, Ignition Law and Sylwia Romaniuk Couture whose support to the event will enable maximum funds to be generated for the charity”.

“Forget Lloyd Webber: Roy Budd’s original Phantom of the Opera music is finally unmasked

The Daily Telegraph


General On-Sale

Barbican, Silk Street, London, EC2Y 8DS

Dates: 18 March 2019

Time: 7.30pm

Prices from £29-39.00 plus booking fees

 £10 Young Barbican (no booking fees)

Ticket Link

The Lion King Review

Lyceum Theatre, London.

Reviewed by Keiley Archer.


Running for an astonishing 19 years, The Lion King has been enchanting audiences of all ages at the Lyceum Theatre in London. The show follows the well-known story of young Simba and his journey to taking his place as King of the Jungle. The current cast includes Nick Afoa as Simba, Shaun Escoffery as Mufasa and George Asprey as Scar.

The theatrical adaptation combines the original, well-loved classics by Elton John and Tim Rice, like ‘Circle of Life’ and ‘Can You Feel the Love Tonight’, as well as incorporating in newer songs. A particular favourite of mine is ‘They Live in You’, which is performed by Mufasa to teach Simba about his ancestors who are watching over him.

The staging is cleverly used to recreate the iconic moments recognisable by fans of The Lion King film, such as Rafiki lifting baby Simba over Pride Rock and Mufasa’s projection in the stars telling Simba to “remember who you are”. It achieves this through the use of colourful puppetry, silhouettes, clever staging and opulent costumes working collaboratively to recreate the vast African landscape. This mix of techniques will mesmerise all members of the audience; younger viewers will be enthralled by the colours, Disney fans can enjoy the cleverly recreated iconography and regular theatre goers will be fascinated by the stunning production onstage.

Ultimately, The Lion King is an experience not to be missed and is one that is sure to have you planning your next trip the second you leave the theatre.

Shrek the Musical Review

Mayflower Theatre, Southampton – until 8 December 2018 

Reviewed By Jo and Harry Gordon


Shrek the film is a firm family favourite in the Gordon household so we were looking forward to seeing the Green Hero doing his thing on the big stage. Shrek premiered on Broadway back in 2008 and has been delighting audiences ever since.

Now Shrek has turned the grand old age of seven his parents turn him out to find his way in the big wide world, finding the perfect swamp for an Ogre, Shrek settles down to his new life. One day it becomes over run by an eclectic mix of fairytale folk who have been sent to find him by Lord Farquaad, the vertically challenged leader of Dulcoc. Farquaad sends Shrek off into yonder to find and rescue the woman he wishes to marry to enable him to become the King of Dulcoc. Armed with a suit of armour, a sword and an over excitable Donkey at his side, will Shrek complete the quest and save the day?

The production has everything a young (and old) audience enjoy. Show tunes, dance numbers, jokes that have many levels, romance and of course the much loved and favoured fart scenes – much to the delight of the younger crowd. The four main characters bounce off each other incredibly well which makes it nice and easy to watch.

Steffan Hari has the character of Shrek nailed down perfectly, he gives him a large presence as is fit for an ogre but shows his more vulnerable side and is a less angry Shrek than you see in the film. At times I did struggle to understand the odd line said in Shrek’s infamous accent but soon fell into the rhythm. Shrek’s crazy sidekick, Donkey, is played by Marcus Ayton who is full of the energy and  comic timing needed to carry the character off and adds his own dimension to the hooved comic we all love. Princess Fiona needs to have a strong heart yet show a softer, insecure side brought on by her hidden secret, Laura Main has  achieved this and then flew with it! Playing Fiona with a kooky edge really adds another dimension to the character. My personal favourite was Lord Farquaad  played by Samuel Holmes. Dry humoured and full of short guy rage he had me chuckling the most. Every time he entered the stage with his hilarious little legs I laughed longer and louder than those around me, maybe I feel where he’s coming from being vertically challenged myself! On a whole, the whole ensembles singing voices can not be faulted and it all ends with a rousing, audience participating I’m A Believer to round off an entertaining production.

A fantastic family show showing us diversity isn’t a bad thing and love conquers all above everything else……and I think we are all needed to be reminded of that from time to time.

Ballet Black Review

York Theatre Royal – 27th November 2018.

Reviewed by Michelle Richardson


The Ballet Black company was started 17 years ago in order to give opportunities to black and Asian dancers. On a very very wet Tuesday evening I got to see the seven members of their company perform two vastly different pieces of work at York Theatre Royal, The Suit and A Dream Within a Midsummer Night’s Dream.

The Suit, directed and choreographed by Cathy Marston, finds a husband, Philemon, discovering his wife, Matilda, is having an affair after finding her in bed with another man. The lover flees, but leaves his suit behind. The suit then manifests itself into becoming the third person in their marriage, as the husband becomes more and more bitter and resentful. Needless to say, things do not end well. Sayaka Ichikawa was engaging as Matilda, portraying such sensual intimacy with both her husband and lover, and then shock and panic as her secret is discovered.

What followed after the interval was a lot more light hearted, Arthur Pita’s A Dream Within a Midsummers Night’s Dream. I must admit that I have now seen a few takes on that Shakespeare play and they are a bit of a favourite for me. I love the total craziness and this was no exception, I’m relieved to say.

As the curtain rises the ballet opens as a traditional ballet scene, tutus and all, then Puck makes an appearance and with a sprinkle of fairy dust, madness ensues. Boundaries are pushed as Puck concocts differing liaisons, straight, gay and lesbian, Oberon going off with Lysander and Helena with Hermia, not forgetting Titania and Bottom. Helena is seen snorting a line of fairy dust, oh, and I must mention Salvador Dali, he makes an unexpected appearance. Isabela Coracy as Puck was outstanding. She looked like a very colourful, leprechaun boy scout. This is a bold, chaotic, puckishly take on Shakespeare. I was certainly seduced by it, loved it. Obviously this was my favourite piece, but that is a matter of opinion, would be boring if we all liked the same things.

Two completely different performances by the seven dancers, was a treat to watch, with accomplished dance pieces and beautiful movement.

Seussical The Musical Review

Southwark Playhouse – until 29th December

Reviewed by Claire Roderick


The colour and chaos of Dr Seuss’s imagination comes bursting onto the stage at Southwark Playhouse this Christmas in the fun-filled family musical Seussical. The Cat in the Hat acts as compere and mischief maker as two of Seuss’s gentler stories, Horton Hears a Who! and Horton Hatches the Egg, take centre stage.

When Horton the elephant hears a voice from a tiny speck of dust, he places it on a clover, vowing to protect the tiny creature and its home. The speck of dust is actually a tiny planet, populated by the Whos. The Mayor of Whoville’s child, JoJo, is always in trouble for thinking and dreaming too much (encouraged by the Cat), but in her loneliness she forms a friendship with Horton, the giant voice in the sky. The other animals in the Jungle of Nool ridicule and abuse Horton when they find out what he is doing, but Horton refuses to leave the clover and tries to convince them of the Whos’ existence. Horton’s kindness and loyalty are then taken advantage of by Mayzie La Bird, who convinces him to sit on her egg for a little while but then swans off to live the high life in Palm Springs. Watching all of this is Miss Gertrude McFuzz – in love with the oblivious Horton, she seeks medical help to improve her tiny tail feather so that the elephant will finally notice her.

The plot is simple and moralistic, with Horton repeatedly reminding the audience that “A person’s a person, no matter how small” and never breaking his promise to care for the egg and the Whos, despite all the hardships and suffering he encounters. Yes, it’s all saccharine sweet and simplistic, but not every musical needs to be hard-hitting and cutting edge. The music explores different genres but is jolly and generic rather than spectacular. Regardless, this show is ideal for all generations, with the youngest delighting in the colour, movement and slapstick, older children accessing the message of the story without being patronised, and the adults enjoying the ride alongside them.

Director James Tobias keeps the pace frenetic on the glorious multicoloured set straight out of Seuss’s books. The ensemble is fantastic, full of energy and excelling in Chris Whittaker’s camp choreography – the leather jacketed monkeys West Side story pastiche is a real hoot. There are no animal masks, just subtle costume effects – a gold bumbag is the kangaroo’s pouch, and a simple understated necktie is Horton’s trunk.

Anna Barnes does a fine job imbuing JoJo with childish innocence that isn’t too sickly, while Ngozi Ugoh as the Sour Kangaroo lets rip with some mighty powerful vocals. Katie Payne almost steals the show as Mayzie with her showgirl numbers and Amy Perry and Scott Paige are beautifully matched as Gertrude and Horton. Paige is the calm eye of the Seussical storm – his stillness and presence anchor the show, and his facial expressions sell the story more than any words ever could. Marc Pickering is simply brilliant as the Cat in the Hat, acrobatic, mischievous and anarchic – mugging to the audience and orchestrating events onstage – but always guiding young JoJo to use her imagination and become more than she thinks possible. That’s the sort of guardian angel every child wishes for.

With an important message delivered in a dynamic and zany production, Seussical is a perfect festive frolic for families of all shapes and sizes.

Caroline Flack to Star As Roxie Hart in CHICAGO at the Phoenix Theatre



FROM 10 DECEMBER 2018 – 5 JANUARY 2019

Caroline Flack will star as Roxie Hart in CHICAGO from 10 December 2018 until the end of the show’s run at the Phoenix Theatre on 5 January 2019.

Caroline joins YouTube sensation and star of RuPaul’s Drag Race Todrick Hall as Billy Flynn, Josefina Gabrielle as Velma Kelly, Mazz Murray as Mama Morton and Paul Rider as Amos Hart.

Sarah Soetaert plays the role of Roxie Hart until 8 December.

Caroline Flack is the presenter of the BAFTA award-winning Love Island. Her other presenting credits include The X Factor, The Xtra Factor and I’m A Celebrity Get Me Out Of Here Now! She made her stage debut as Irene Roth in the national tour of Crazy For You playing to rave reviews and sell out business. Caroline won the 2014 series of BBC1’s Strictly Come Dancing and will return for this year’s Christmas special on Christmas Day.

Caroline said today “I’ve been imagining playing Roxie since I was a teenager. To have now landed the role in the West End is a dream come true. I hope I do everyone proud and don’t fall off the ladder!”

The multi award-winning Kander & Ebb musical CHICAGO, winner of six Tony Awards, two Olivier Awards and a Grammy, returned to London’s West End on Monday 26 March 2018, with a press night on Wednesday 11 April at the Phoenix Theatre in London.


CHICAGO originally ran in London for 15 years, making it the West End’s longest running revival.  It first opened at the Adelphi Theatre on 18 November 1997 to rave reviews and immediately became a sell-out hit.  CHICAGO won the 1998 Laurence Olivier Award for ‘Outstanding Musical Production’ as well as the 1998 Critics Circle Drama Award for ‘Best Musical’.  CHICAGO transferred from the Adelphi Theatre to the Cambridge Theatre in April 2006, where it ran for five years until 27 August 2011.  The show then opened at the Garrick Theatre on 7 November 2011, where it ran until 1 September 2012.

Since it opened in New York in 1996, CHICAGO has played in 36 countries worldwide, and been performed in English, Dutch, German, Swedish, Spanish, Portuguese, Russian, Italian, French, Danish, Japanese and Korean.  It has grossed over $1.5 billion worldwide and has played over 32,500 performances worldwide, with an estimated 31 million people around the world having seen CHICAGO.  CHICAGO continues to play on Broadway, where it celebrated its 21st birthday last year, and around the world in multiple languages.  It is the world’s longest running American musical.

CHICAGO, which is based on the play by Maurine Dallas Watkins, has a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb.  The 1996 Broadway revival of CHICAGO was choreographed by Ann Reinking in the style of Bob Fosse, directed by Walter Bobbie, and produced by Barry and Fran Weissler.


Phoenix Theatre

110 Charing Cross Road

London WC2H 0JP

Box Office: 0844 871 7629 /

Ticket Prices: From £20.00

Performances: Monday-Saturday 7.30pm, Wednesday & Saturday 2.30pm

Booking Period:  Booking Until 5 January 2019

Running Time:  2 hours, 25 minutes (with interval)


Twitter: @ChicagoOnStage

Christmas 2018/19 Performance Schedule


Monday 24 December                        NO PERFORMANCE

Tuesday 25 December                        NO PERFORMANCE

Wednesday 26 December                  7.30pm

Thursday 27 December                       2.30pm and 7.30pm

Friday 28 December                            2.30pm and 7.30pm

Saturday 29 December                       2.30pm and 7.30pm

Monday 3December                        2.30pm

Tuesday 1 January 2019                      7.30pm

Wednesday 2 January                        2.30pm and 7.30pm

Thursday 3 January                              2.30pm and 7.30pm

Friday 4 January                                  7.30pm

Saturday 5 January                             2.30pm and 7.30pm

English National Ballet Swan Lake Review

Bristol Hippodrome – until 1st December 2018

Reviewed  by Nicky Wyatt


The curtain goes up to lead you straight into a forest with a lake. The set of this ballet is just stunning, it felt as if you could actually walk through forest just beautiful. In the forest we are greeted by the Princess Odette (Erina Takahashi) dancing, unbeknown to her she is being watched from the forest edge by Rothbart( Junor Souza). Robert is half man half bird a wicked sorcerer who soon kidnaps the Princess and turns her into a swan. She now is trapped under his spell . What a fabulous opening scene.

As the story unfolds the stage is full of the most amazing dancers who tell this ballet story so beautifully. In the palace it’s all hands on deck for the birthday celebrations of Prince Siegfried (Francesco Gabriele Frola) . A huge party is planned for him and during the party his mother the Queen tells him he is required to choose a wife. She gives him the gift of a crossbow as a gift and
leaves him to it. He goes off to the lake armed with his crossbow planning to get some shooting practice in. Arriving at the lake he is greeted by a flock of beautiful swans flying overhead and sets out to hunt them. Of course he is not alone at the lake, the evil Rothbart is watching him. Eventually the Prince spies Odette Swan Queen as she dances he is entranced. Before long the sorcerer reappears and both Odette and the Prince flee he is desperate to find her. In a bid to confuse him Rothbart summons all the other girls he has captured and turned into swans to come to the lake. The lake is an amass of the most beautiful swans. Eventually the Prince returns to the lake and finds Odette amongst the swan maidens here he declares his live for her and promises himself to her
forever. Of course that dastardly sorcerer is nearby, he swoops in and steals her away leaving the Prince alone and heartbroken.

Back at the palace the birthday celebrations are in full swing. Amongst the guests are 6 ladies to be presented to the Prince. None of them will do as his heart belongs to Odette and he has promised to marry her. With a fanfare sorcerer Rothbart arrives with his daughter Odili ( (Erina Takahashi) she is however in disguise as Odette! The price believing it is hearts desire he sees in front of him falls for it. Not seeing the real Odette hiding in the wings. She witnesses this display and Rothbart takes delight in telling the Prince of his mistake.

Prince Siegfried finds her at the lake and begs her forgiveness, she concedes. Only for Rothbart to appear he fights with the Prince. A heartbroken Odette throws herself in the lake followed by the heartbroken Prince where they are united in everlasting love.

The fabulous orchestra that lead this production are just that totally fabulous I feel I need to single out the Harpist I’m afraid I couldn’t find her name but her playing was melodic . A totally mesmerising ballet that deserved every moment of its applause.

New cast joins Witness for the Prosecution in its second year at London’s County Hall

Eleanor Lloyd Productions and Rebecca Stafford Productions present
Witness for the Prosecution
By Agatha Christie

  • First look at Emma Rigby and Jasper Britton in costume in the new cast ofWitness for the Prosecution
  • Now in its second year, the production welcomes new cast members including Emma Rigby as Romaine Vole, Daniel Solbe as the accused Leonard Vole, Jasper Britton as Sir Wilfrid Robarts, William Chubb as Mr Myers QC, Christopher Ravenscroft as Mr Justice Wainwright and Ewan Stewart as Mr Mayhew.

Eleanor Lloyd Productions and Rebecca Stafford Productions today release the first images featuring the new cast of Witness for the Prosecution by Agatha Christie, now in its second year in the spectacular Chamber space inside London’s County Hall. The new company’s first performance was on Tuesday 20 November and brand new production photography can be downloaded here.

Emma Rigby (Once Upon A Time in Wonderland, Hollyoaks) plays Romaine Vole, Daniel Solbeplays the accused Leonard Vole, Jasper Britton (Pack of Lies, The Libertine) plays Sir Wilfrid Robarts, William Chubb (Othello, This House) plays Mr Myers QC, Christopher Ravenscroft(High Society, The Ruth Rendell Mysteries) plays Mr Justice Wainwright and Ewan Stewart(Titanic, Let The Right One In) plays Mr Mayhew. The new company also includes Richard BanksChloé BooyensJoanna BrookesMiriam CooperLiam Lau Fernandez, Phoebe MarshallHugh OsborneSimon RobertsLeo Turner and Jamie Zubairi.

Director Lucy Bailey (Switzerland, Love From A Stranger, The Graduate) thrillingly places the audience in the thick of the action, with some even watching from the jury box, as this gripping tale of justice, passion and betrayal unfolds around them.

Leonard Vole is accused of murdering a widow to inherit her wealth. The stakes are high. Will Leonard survive the shocking witness testimony? Will he be able to convince the jury of his innocence and escape the hangman’s noose?

Witness for the Prosecution is now booking until 1 September 2019.  The production is designed by William Dudley, with lighting by Chris Davey and sound design by Mic Pool.


Eleanor Lloyd Productions and Rebecca Stafford Productions present
Witness for the Prosecution
By Agatha Christie
Directed by Lucy Bailey
Designed by William Dudley
Lighting Design by Chris Davey
Sound Design by Mic Pool

London’s County Hall
The Chamber, County Hall, Belvedere Road, London, SE1 7PB
Currently Booking until 1 September 2019
Box Office: 0844 815 7141



Tuesday to Saturday, 7.30pm and matinees on Thursday and Saturday at 2.30pm and Sunday at 3pm

See website for the following performances:

17 December 2018 – 6 January 2019
18 – 24 February 2019
15 – 23 April 2019


Tickets from £10
No booking fees if booked via the official website

Our exclusive VIP Jury Ticket will place you in the heart of the courtroom action. Jurors will receive a complimentary programme and 2 complimentary drinks (soft drink, beer or house wine) to be redeemed pre-show or at the interval.

A KILLER CHRISTMAS PRESENT – Gift packages now available. See website for details.

To celebrate a killer first year, Witness for the Prosecution is offering a new range of gift packages, just in time for Christmas.

You simply select which of the three packages you would like to send as a gift, and the date you’d like us to confirm the gift to your recipient, and we’ll send an email that allows them to choose a performance date and time that suits them.

Or if you prefer to present in person, we’ll send you one of our limited-edition Witness for the Prosecution gift boxes, with ticket voucher and information about the show – so you can give your friends and family their day in court.

JURY PACKAGE £210 – Become a member of the Jury, and be prepared to be “sworn to secrecy” as the trial begins. Package includes 2 VIP Jury tickets, programme and drinks before the show and during the interval.

JUDGE PACKAGE £175 – Take your seats in our Premium area, right at the heart of the action. Package includes 2 Premium seat tickets, programme and drinks before the show.

COURTROOM PACKAGE £150 – Watch the trial play out before you as Leonard Vole fights to convince the jury – and you – of his innocence. Package includes 2 Band A tickets, programme and drinks before the show.

Twitter: @WitnessPlayLDN
Instagram: @witnessplayldn
Facebook: /WitnessPlayLDN

World premiere of SparkPlug by David Judge | UK Tour | February – April 2019

Box of Tricks presents
SparkPlug by David Judge
UK Tour: 13th February – 13th April 2019
Press night: 14th February 2019, HOME Manchester
He’s got two Dads, my lad. One’s black. That makes him black. I suppose.

Manchester, 1983. Dave loves Rod Stewart, Joanne and his Ford Capri. He’s all set for a new start. Only Joanne’s about to have someone else’s baby. Is Dave ready to become a Dad even though he’s not the father?

A punchy and poetic exploration of family, race, identity and love, SparkPlug is the story of a white man who becomes the adoptive father, mother and best friend of a mixed-race child, David. This lyrical and energetic monologue from Manchester-based dual heritage writer David Judge examines what family means today.

Inspired by autobiographical events and exploring the playwright’s background as an actor and spoken word artist, SparkPlug is unflinching in its portrayal of real situations as it explores racism, violence and masculinity – some of the most pressing issues currently being discussed. Offering a non-judgmental space in which to start a conversation, SparkPlug seeks to give people the chance to talk openly about these themes.

Writer David Judge comments, As a ‘man of colour’ my voice as a writer has become a valued weapon, loaded and aimed at those without. As a ‘man of colour’ I sometimes feel pressured to speak for a community I know nothing of and feel I am being recruited to hate those without, the ‘white man’. This fight both inside and outside of myself makes me question where my loyalties lie. Who am I loyal to? And who to me? The answers are straight forward; my biological Father, my ‘Black’ left me before I was born; my biological Mother, my ‘Blood’ left me when I was seven years old; the only person who stuck by me, from boy to man, who grew and shaped me into the man I am today was a white man. A white man with love and hate tattooed on his knuckles, with a ginger perm, with a Ford Capri, with Rod Stewart constantly on the stereo. So out of my loyalty to him, I have used my voice to write a play about the man who made me one. My Father. I hope it’s enjoyed.

SparkPlug was a finalist for the Alfred Fagon Award for Best New Play 2017. It is produced by Box of Tricks, a Manchester-based theatre company that champions the next generation of playwrights, producing top quality new plays on local and national stages. Their previous two productions Narvik (Best New Play at UK Theatre Awards 2017) and Plastic Figurines enjoyed sellout audiences and critical acclaim in 2016-17.

Tour Dates
Wed 13th – Sat 23rd Feb HOME, Manchester

Tues 26th Feb – 2nd Mar Unity Theatre, Liverpool

Thurs 7th – Fri 8th Mar Theatre Severn, Shrewsbury

Sat 9th Mar Cheltenham Everyman Studio

Mon 11th – Tues 12th Mar Harrogate Theatre Studio

Thurs 14th – Sat 16th Mar Live Theatre, Newcastle

Tues 19th – Wed 20th Mar York Theatre Royal

Thurs 21st – Fri 22nd Mar Hull Truck

Tues 26th – Wed 27th Mar Theatr Clwyd, Wales

Thurs 28th Mar Crewe Lyceum Studio

Fri 289h Mar Spring Arts Centre, Havant

Fri 30th Mar The Lighthouse, Poole

Wed 1st April Marlowe Studio, Canterbury

Thurs 2nd April Old Town Hall, Hemel Hempstead

Fri 3rd April The North Wall Arts Centre, Oxford

Sat 4th April Square Chapel, Halifax

Fri 5th & Mon 7th April The Met, Bury

Tues 8th – Wed 9th April Stephen Joseph Theatre, Scarborough

Thurs 10th – Sat 13th April The Birmingham Repertory Theatre, Birmingham