Salisbury Playhouse – until Sunday 13th January 2019
Reviewed by Leanne Caplis
5*****(and more)
Wiltshire Creative brings to the stage the timeless love story that is Beauty and the Beast.
The pantomime links to the iconic fairy tale classic but writer, Andrew Pollard’s adaption is that of three love stories; Amorette (Liberty Buckland) is imprisoned by the Beast (Joseph Black). Will love blossom and the beast turn back into a Prince before the final rose petal falls? Souffle (Nerine Skinner) is Amorette’s chavtastic sister who, apparently knowing all there is about men, is still to find true love. Will her encounters with Cupid (Alex Wadham) help him lose his Cupid wings and both find their happily ever after? The final story is that of Dame Betty Bon Bon (Richard Ede) and Monsieur Marzipan. Will Betty’s sweetie delights entice the sugar making Marzipan into her arms? All will be revealed….
Upon entering the house the bright, colourful and glitter-tastic stage immediately stands out and this excellence is maintained throughout. The use of lighting, sounds and special effects are magnificent and all the costumes are marvellous, especially those of Betty Bon Bon. More associated with a West End production, the creative and production teams deserve a special mention.
The first half of the show was outstanding; the acting, singing, humour (both adult and child appropriate) audience participation and up to date links with modern day were spot on! The clever use of well-known songs and TV programmes saw the audience being able to relate well to the developing storyline. It’s not every day you see a cream pie fight using Ramsey’s Kitchen Nightmare sketches or the Baby Shark song used in a pantomime, but it worked remarkably well.
I thought the show, at almost three hours with the interval, was slightly too long. The first half went in a flash however there were moments of the second half that could have been shortened. I’d have liked to see more of the Beast but these were very small negatives that I found difficult to pin-point.
Although unable to pick one stand out star for this show, the two worthy of mention are Dame Betty Bon Bon and Souffle. The Dame was hilarious and had the audience eating out of the palm of her hand and Souffle’s acting was impeccable with her dabbing, hash tagging and flossing all adding to her performance.
For those who think pantomime is just for kids – I challenge you to think again! I smiled from start to finish, found myself shouting out ‘Hello Betty Bon Bon’, ‘he’s behind you’ and singing along to the Christmas songs in the interval.
This show is a delight, a first-class production that will put you firmly in the Christmas mood from the very first moment. Do you want to miss this show?…….. “oooooooooooooo noooooo you don’t!”
Following the recent announcement that Joseph and the Amazing Technicolor Dreamcoat will be making a return to London’s West End in the New Year, last night I decided to try and rekindle my love for the musical which first ignited my passion for all things theatre, with local Sheffield based Southey Musical Theatre Company performing the show at the city centres Montgomery Theatre until 9th December.
Back in 1991, as a ten year old I worshipped my Jason Donovan posters and watched television clips of his performance as the leading role, wishing I could have been one of the children in the chorus just to see him up close! It wasn’t until the “Any Dream Will Do” television competition in 2007 to find an unknown performer the role for a return to the West End that I first got to see a professional production of the musical. By this point I had seen several amateur productions and always thoroughly enjoyed them, however the 2007 production for me felt embarrassingly cheesy – to the point I wanted my theatre seat to swallow me up and could not wait for it to be over. I really lost interest in it as a musical so was obviously feeling somewhat anxious last night……
However once I had taken my seat and the band started playing a medley of the songs I soon filled with excitement, taking in the stage in front of me. A single bed with a technicolored duvet cover on and a teddy bear on and a dress makers dummy proudly displaying the intricate splendour that is Joseph’s coat, and after the band had got the audience raring for the story to start (because who doesn’t know every lyric to every song in the musical – I’ve had these memorised for over three decades myself after all!), the Narrator enters the stage with a young boy in pyjamas, and begins (in song, of course!) to tell him the story of a boy named Joseph, and encourage him to “think it, want it, dream it” as she continues to tell the story of a boy “who’s dreams came true”. The story is based on the story of Joseph, as told in the Bible in the book of Genesis. Born the son of Jacob – Joseph is one of twelve sons, (“Jacob and Sons”) but when he is gifted a luxurious coat featuring every colour of the rainbow and more, his brothers become jealous, especially when the coat helps Joseph visualise and share his dreams coming true with his brothers, so much so that they attempt fratricide to get rid of him, however the brothers have a sudden change of plan when they spot the opportunity to sell him as a slave to some passing Ishmaelite’s (“Poor, Poor Joseph”) (Ishmaelite’s are the descendants of Ishmael, the elder son of Abraham and the descendants of the twelve sons and princes of Ishmael FYI.)
I particularly loved how the Director (Adam Walker) had put his own stamp on this production – from little details that make this production memorable (for all the right reasons) from the Narrator taking a “selfie” on a mobile phone with the Jacob and his children at the end of “Jacob and Sons”, the 70s disco twist to Act One finale “Go, Go, Go, Jospeh” – proving that it wasn’t just Joseph and his coat that were “ahead of their time” but the biblical story had a “futuristic” 70s vibe to it! (A homage to the decade when Andrew Lloyd Webber and Tim Rice first wrote the musical) but what really knocked my socks off in this production was the choreography (Amber Parry) – particularly the wives cartwheeling effortlessly across the stage. The young choir provided perfect harmonies and accompaniment throughout and I loved the fact that they were placed to one side of the stage throughout the story, sat on a technicolored row of seats. I would have liked to have seen the youngsters in the choir be given the opportunity to engage more on stage – particularly at the end for the Joseph Megamix – surely there’s some talented dancers amongst them that could give the wives a run for their money by performing some somersaults and cartwheels etc?
Vocally Lee McCusker was utterly flawless in the title role as Joseph, and visually it was clear to see why the many wives and Potiphar’s wife flocked round him like they did! Lee engaged well with the young children in the choir (“Any Dream Will Do”) and equally both McCusker and Robert Curr (Jacob) gave a heartwarming performance as Father and favourite son; their reunion at the end of story.
Heather Reynolds was everything you’d expect from the Narrator character – engaged well with the children, the audience and Joseph and his brothers, had an instantly likeable feel to her (the same instant likability as characters such as Miss Honey in Matilda for example), however vocally at times it was clear Reynolds was struggling with the vocally demanding role and her voice lacked the maturity usually found within this character. At times lines were sung slightly off key and her voice had a nervous wobble to it, and where hard to reach notes were needed, such as when Joseph is thrown down a well during his brothers disposing of him, instead of singing the notes needed, a scream was added instead – using a snake coming out of the well to scare her into the scream. It wasn’t always that noticeable and there were times I found her vocals to be soothing and somewhat hypnotic, as if I was being sung a bed time story, but where other lead characters delivered a flawless and continuous high level of accuracy and competence, I sadly did not always get this from Heather. It may indeed have been a case of first night jitters, but when some of the “wives” delivered flawlessly sung vocal lines with far more mature and competent voices, I felt somewhat deflated over this particular role compared to the others. Whilst Reynolds clearly shows great potential, this is a highly demanding role which barely allows the performer to draw a breath and I felt that on this occasion more vocal training was needed which in turn brings with it added confidence.
Another knock out performer of the night was Jon Warburton – (the best thing since sliced bread in my opinion!) as Pharaoh – another reason why I loved Adam Walker’s direction on this production – yes we KNOW Pharaoh was a King but what I have despised in previous productions of this show is how they base the character on Elvis “The King” Presley – grrr – number one – I cannot stand Elvis – there – I said it! And number two – I don’t feel it’s relevance in a biblical story. Thank goodness Adam had seen sense and chosen not to go down this route in his portrayal of the character (performed by Warburton). Vocally he sounded like a King and was a huge hit with the ladies (myself included!), his hip thrusting attracting the attention of the wives and the audience members alike. Just a shame he wasn’t on stage for the entire night…!
There was no cringeworthy cheesy feel to this production; it felt fresh and new, as if I was experiencing the songs for the first time. It reminded me of why I loved the musical so much the first time I heard it and rather than wanting to crawl under my seat with how the last (professional) production made me feel, instead I was tapping my toes along the entire time and joining in when encouraged to do so at the end by the cast. Overall a joyful and colourful performance, restoring my faith in this classic family-friendly musical. I just hope the next West End run is as pleasurable to watch as this….maybe their Director needs to buy a return ticket to Sheffield to see how Joseph should be done!
Playing until Saturday 9th December, tickets are selling fast so be quick to secure your tickets – the perfect feel good factor to start the festive season off with a bang.
Deafinitely Theatre today announces the Spring and Summer 2019 acting workshops for their theatre training course for deaf artists, The Hub. The workshops include Visual Vernacular, Comedy, Movement and Stage Combat and aim to equip participants for mainstream arts employment through structured, accessible and professional theatre training.
Launched in September 2018, The Hub is a year-long programme, which has been developed and expanded from a previous pilot scheme. Alongside acting The Hub offers participants playwriting workshops, which aim to develop and explore writing for live performance and Industry Insight workshops which focusses on areas of theatre practise, including stage management and theatre design. The Hub also provides a mentorship scheme lasting 12 months for two mentees. Each mentee will receive a bursary and have a brief to design and complete a set task with ongoing support from their mentor. Throughout the course of the year, the Hub will facilitate four networking events where Hub participants can present their ideas and share their CVs with industry professionals. Interpreter and caption support is offered across the whole programme.
In addition to The Hub, Deafinitely Theatre continues its long-term commitment to supporting deaf artists across the industry, inviting participants to apply for paid internships and acting roles with the company.
Visual Vernacular
Wednesdays, 27 February – 20 March 2019
This session, run by actor and director AdamBassett, focusses on theatrical art as a form of physical expression. Participants will learn how stories can be told through body movements, iconic signs, gestures and facial expressions. Visual-manual language employs cinematic techniques in a four-dimensional environment: cuts, angles, and zooms, etc. These devices are commonly and richly used in storytelling and poetry. Just as imagery is used in poetry and novels, visual-manual language takes the opportunity of manipulating imagery in four-dimensional space and time.
Comedy
Wednesdays, 1 May – 15 May 2019
The workshop will look at comedy and what makes us laugh, it will be run by deaf actor and director, Caroline Parker who specialises in physical comedy and comedy without words.
Movement
Wednesdays, 22 May – 12 June 2019
Through a mixture of improvisation and play this workshop focuses on the expansion of both physical awareness and awareness of the body in space. This will grant the actor choice with their movement so that their body can easily, with truth, fulfil each character played through the ability to work in different performances styles.
The workshop will be run by AngelaGasparetto a freelance movement director, director and teacher at the Royal Academy of Dramatic Art
Stage Combat
Wednesdays, 19 June – 26 June 2019
During this course participants will learn the principles of stage fighting – the reactions and carefully choreographed moment that portrays spontaneous fight scenes on stage and screen.
The workshop will be run by Philip d’Orléans a Master Teacher with the British Academy of Stage and Screen Combat and stage combat teacher at RADA.
Participants can book via the Hub Acting pages on the Deafinitely Theatre website. www.deafinitelytheatre.co.uk
THEATRE COMPANY USES NEW INTERVIEW PROCESSES TO EMPLOY LEARNING DISABLED CREATIVES
Bradford-based Mind the Gap is one of Europe’s largest learning disability theatre companies. They are currently celebrating 30 years of championing learning disability arts and this year launchedStaging Change, a new project that focuses on getting people with learning disabilities employed in the arts.
Working with five partner venues, including Leeds Playhouse and Square Chapel Arts Centre in Halifax, Staging Change looks at creating opportunities, the challenges of accessibility, representation and the curation of work.
As part of the project, Mind the Gap has employed four interns, each with a learning disability, to work on a new outdoor project for 2019 ‘ZARA’.
The roles of the interns are Assistant Producer, Assistant Director, Researcher and Creative Engagement Facilitator.
Deborah Dickinson, Associate Producer at Mind the Gap, explains:
“Mind the Gap has always created work with learning disabled artists – not just for them; it’s where we differ from many others. We strive to ensure it is their voice that is heard and their stories that are told, so having people with learning disabilities on the production team is hugely important to this new project.”
While Mind the Gap has previously provided paid supported employment for performers, this is the first time the company has employed learning disabled workers in wider roles.
“Ensuring that people with learning disabilities can work without risk of losing longer term benefits that are essential to their welfare and financial security is complex,” continues Deborah.
“Each intern has a specially tailored package based on their individual circumstances and needs.”
To ensure the application and interview processes were fully accessible, Mind the Gap worked in partnership with external consultant Vicky Ackroyd from Totally Inclusive People, a company that offers consultation, interactive disability awareness and equality training around Yorkshire.
“We have learned so much throughout this process – even with our 30 years of experience we accept that we are not always perfect; for example, we can use a lot of theatre jargon that is confusing to anyone outside the industry, and for people with learning disabilities it can be off-putting, meaning they can’t get past the first stage.”
Paul Wilshaw was successful in securing the role of Assistant Producer:
“I have worked in theatre for 20 years as an artist, facilitator and producer. I’ve been lucky enough to secure funding and grants to be able to make work, but it’s not easy for people with learning disabilities. The work Mind the Gap do challenges this and I’m delighted to be working with the team on this exciting project, and hopefully more in the future.”
Mind the Gap is now collaborating with six venues around the country to help them work with learning disabled artists, audiences, and creatives.
“As a direct result of working with us, Leeds Playhouse has adapted its audition process for learning disabled artists,” says Deborah.
“And we are delighted that one of our own resident artists had a successful audition has secured a role in their production of ‘Be My Baby’ next year.”
Jordan Freud is the Assistant Director on ZARA, he is an emerging director-dramaturg and an aspiring Artistic Director.
“Since my diagnosis with Asperger’s Syndrome aged eight my dream has been to tell stories that shouldn’t, or wouldn’t, otherwise be told – to break taboos,” he explains.
“I’m excited by ‘ZARA’ as it tells the story of learning disabled parenthood; I’m particularly looking forward to assisting in the devising process with writers and actors to develop our innovative mix of film with live, outdoors performance.”
ZARA will incorporate live streaming, live performance from a cast of hundreds, large-scale puppeteering and a giant ‘baby’. A huge-impact piece of outdoor theatre that has been five years in the making it is bringing together an international team of directors, choreographers, producers, designers, technicians, puppeteers, musicians and actors.
Deborah concludes: “We want to see people with learning disabilities represented in decision-making roles backstage and on stage. We want people with learning disabilities to know that they too can apply for the jobs that interest them and we are working with venues up and down the country to achieve these objectives. We are staging the change.”
Staging Change is a new leadership programme, made possible through Mind the Gap’s Arts Council England NPO funding and Esmee Fairbairn Foundation, based around dynamic three-way partnerships between Mind the Gap, arts venues and learning disabled artists. Staging Change aims to increase the visibility of learning disabled artists in the wider arts sector and offer skills development and advocacy opportunities for learning disabled people.
To find out more about Staging Change and Mind the Gap’s work visit
Leeds City Varieties Music Hall- until 13 January 2019
Reviewed by Sally Richmond
5*****
Cinderella – The Rock ‘n’ Roll Panto is a high-spirited, fun-packed family show that could not fail to break even the meanest of baddies into spontaneous belly laughs.
Leeds City Varieties’ famous pantomime presents Cinderella over this Christmas and New Year season and as always, it’s first class because: it’s performed by multi-talented musicians and actors, filled with a slap-stick hilarious comedy, has amazing rock ‘n’ rolls numbers played by a live band, audience participation moments that leave the kids wanting more (the boulder battle returns!) and a happy ending of course!
The Leeds City Varieties Music Hall is a beautiful Grade II* listed music hall and has a special place in the hearts of the people from Leeds and West Yorkshire, making it the perfect venue for a traditional, family pantomime to be performed.
This year’s fantastic cast of lovable characters are: Cinders aka Princess Stella from Harrogate (Grace Lancaster), Prince Charming (Alex Wingfield), Dandini – Leed’s very own rock star (Tom Connor), an evil, gold-digging step-mother (Katia Sartini), an old fool Baron Hardup (Dyfrig Morris), Scott Haining and Matthew James Hinchliffe’s ugly sisters, Hernia and Verruca De Zees, a young fool Buttons (Kenny Davies), the Fairy Godmother (Rachel Nottingham) and the quirky Messenger (Leo Elso).
Cinderella – The Rock ‘n’ Roll Panto has all the wonderful elements of a traditional pantomime but with the added extras of having an amazing ensemble of actor-musicians, who perform classic hit songs faultlessly, live on stage. As always this Leeds panto is all about the classic tunes (20 in total – musically directed by Greg Palmer), which are smartly woven into the traditional Cinderella fairytale story and include: The Weather Girls’ It’s Raining Men, Dusty’s Downtown, The Black Eyed Peas’ I Gotta Feeling to mention but a few.
Everyone including the audience, gives it their all, and this high paced show races along, powered by Baron Hardup’s and Rubella De Zees funny, ill fated romance and the grotesque, ugly sisters side-splitting shtick. Cinderella and Prince charming are beautifully played and their tender love story has heart-warming moments. Poor old unlucky- in -love Buttons interacts with the audience as well as belting out popular songs that are note perfect.
By the closing number, the whole audience were on their feet dancing, clapping and signing their hearts out to what was a brilliant all-round panto. This pantomime has the maximum feel-good factor and is perfect to get one, even Scrooge, in a Christmassy or New Year party mood. You get a double for your money at the Leeds legendary Rock ‘n’ Roll panto – as you get to see a pop rock show and a pantomime all in one! A total treat, not to be missed!
TRACIE BENNETT STARRING IN FIRST UK REVIVAL OF MAME
& A NEW MUSICAL IN TIME FOR THE FESTIVE SEASON
Katy Lipson of Aria Entertainment and Joseph Houston and William Whelton of Hope Mill Theatre, Manchester are delighted to announce Hope Aria Productions’ 2019 Season. The Season will open on 2 March with the UK premiere of a new version of the Stephen Schwartz musical RAGS. From 27 September, Tracie Bennett will star in the title role in Jerry Herman’s much loved musical MAME, and the season will be completed by a new musical, THE ASTONISHING TIMES OF TIMOTHY CRATCHIT, from 22 November.
RAGS is a heart-warming and powerful musical with book by Joseph Stein (Fiddler on the Roof), lyrics by Stephen Schwartz (Wicked) and music by Charles Strouse (Annie), which tells the story of Russian immigrant Rebecca, who, with her son David, travels to America in search of a better life. Rebecca must decide what matters more to her – staying true to her roots or adopting a new cultural identity in an attempt to ‘fit in’. This will be the UK premiere of this new version of the musical and will be directed by Bronagh Lagan (Little Women, Putting It Together, Promises Promises). RAGS is presented by arrangement with MTI Europe and is produced in association with Matthew Hopton of Knockhardy Productions.
Stephen Schwartz said, “I’m delighted that Katy Lipson and Hope Mill Theatre will be presenting our newly revised version of Rags in its first production. The show feels more timely than it ever has been, and my co-authors and I are enthusiastic about all the improvements we have made and excited to be sharing the show with the Manchester audience.”
MAME, a classic 1960’s musical, with book by Jerome Lawrence and Robert E. Lee and music and lyrics by Jerry Herman, has not been seen in the UK since the original West End production in 1969 starring Ginger Rogers. Set in New York City and spanning the Great Depression and World War II, the musical focuses on eccentric bohemian Mame Dennis, played in this new revival by two-time Olivier Award winner, six-time Olivier Award nominee and Tony Award nominee, Tracie Bennett (Follies, Mrs Henderson Presents, End Of The Rainbow, La Cage Aux Folles, Hairspray, Les Misérables, High Society,She Loves Me in London’s West End, and, on television, Making Out, Joking Apart, Next of Kin, Coronation Street, Scott & Bailey and a regular role in the new ITV drama The Bay).
The madcap life of Mame Dennis and her intellectual, arty clique is disrupted when her deceased brother’s 10 year-old son Patrick is entrusted to her care. Rather than bow to convention, Mame introduces the boy to her free-wheeling lifestyle, instilling in him her favourite credo, “Life is a banquet, and most poor sons-of-bitches are starving to death.” Mame loses her fortune in the Wall Street Crash of 1929 and tries her hand at a number of jobs with comically disastrous results, but perseveres with good humour and an irrepressible sense of style, before marrying the Southern aristocrat and plantation owner, Beuregard Jackson Pickett Burnside. Director Nick Winston (Director and Choreographer of The Royal Variety Performance at The London Palladium, hosted by Miranda Hart (ITV); Choreographer for Sondheim at 80 starring Judi Dench at The Royal Albert Hall (BBC);Shakespeare Live! From the RSC, which received a BAFTA nomination for Live Entertainment (BBC);Waiting For Godot at The Lincoln Centre, New York) will steer the audience through the unusual and rollercoaster life of Mame and her friends and family. MAME is presented by arrangement with Tams Witmark.
THE ASTONISHING TIMES OF TIMOTHY CRATCHIT is a new musical with book by Allan Knee (the writer of Hope Aria’s 2017 hit musical, Little Women), and music and lyrics by newcomer Andre Catrini. It tells the tale of a young man who sets out to find his place in an expanding and volatile world. Inspired by the characters of Charles Dickens’s A Christmas Carol, the story follows the plight of young Tim from the home of his benefactor, Ebenezer Scrooge, to the theatrical madness of the great comic, Giuseppe Grimaldi. The new musical will be directed by Jonathan O’Boyle (Hair, This House,Pippin, Rain Man, Aspects of Love) and produced in association with Jana Robbins, Craig Haffner and Sherry Wright.
Katy Lipson said, “We are extremely excited to enter our third year as a producing venue with three incredible musicals, which we hope will cement us as a leading regional theatre in the UK landscape. It’s a huge honour to present the newly developed RAGS, working hand in hand with Stephen Schwartz, as well as welcoming back the works of Allan Knee to the Hope Mill and to have Tracie Bennett performing in our venue is a huge privilege.”
Hope Aria Productions was created in 2016, when Joseph Houston and William Whelton of Hope Mill Theatre joined forces with Katy Lipson of Aria Entertainment to spearhead the venue as a home for new musicals, musical premieres and musical revivals. Katy is now Producing Artistic Director for all in-house musicals. Hope Aria productions since 2016 include Parade, Hair, the European premiere ofYank!, Pippin, the European premiere of Little Women, the world premiere of Toyboy Diaries, Spring Awakening, Andrew Lloyd Webber’s Aspects of Love, new British chamber musical The Return of the Soldier, and Stephen Sondheim’s Putting It Together. London transfers include Yank! at Charing Cross Theatre, Pippin at Southwark Playhouse and Hair at The Vaults, which won the WhatsOnStage Award for Best Off West End Production. 2019 will see a major UK Tour of Hair and the London transfer ofAspects of Love to Southwark Playhouse. In 2018, Hope Mill Theatre won The Stage Award for Fringe Theatre of the Year.
Royal & Derngate announces Ibsen’s Ghostsin a new version by Mike Poulton as part ofMade in Northampton 2019 season
World premiere of Mike Poulton’s new adaptation ofIbsen’s masterpiece Ghosts to open in Northampton in April
Directed by Lucy Bailey and starring Penny Downie and Pierro Niel-Mee
Other forthcoming Made in Northampton productions include premieres of Our Lady of Kibeho, The Remains of the Day and Two Trains Running, alongside Richard III
Artistic Director of Northampton’s Royal & Derngate, James Dacre today announced that the venue will stage the world premiere of a brand new version by Mike Poulton of Henrik Ibsen’s masterpieceGhosts in April 2019, directed by Lucy Bailey, starring Penny Downie and Pierro Niel-Mee.
With Tony nominations for Fortune’s Fool and adaptations of Wolf Hall and Bring Up The Bodies, Mike Poulton’s acclaimed plays also include Imperium for the Royal Shakespeare Company and A Tale of Two Cities for Royal & Derngate. At the Northampton venue, Lucy Bailey previously directed Gaslightand Love from a Stranger (nominated for the UK Theatre Best Touring Production Award in 2018). Her Olivier Award-nominated production of Agatha Christie’s Witness for the Prosecution is still going strong at London County Hall over a year after first opening.
A shattering story of the consequences of secrets and lies, Ibsen’s Ghosts is a damning comment on the morality and hypocrisy of 19th century life and this searing new version asks if much has changed since it was written over 100 years ago.
Constrained for years by societal expectations, widow Helen Alving is determined to escape the ghosts of her past but when her son Osvald returns home it is clear that some legacies are impossible to avoid. With secrets kept and lies told, the ghosts of her husband’s actions demand bigger sacrifices now than ever before.
Helen will be played by Penny Downie, whose extensive stage and television credits include Hamletin the West End and ITV’s Downton Abbey. Taking the role of Osvald is Pierro Niel-Mee, whose credits include Shakespeare in Love (UK tour) and Imperium, Wolf Hall and Bring Up The Bodies(Royal Shakespeare Company).
Ghosts can be seen at Royal & Derngate from Friday 19 April till Saturday 11 May, with a national press night on Wednesday 24 April. #GhostsThePlay
Made in Northampton
James Dacre, Artistic Director, said: “This season we will premiere work by Tony, Nobel, Pulitzer and Olivier prize-winning writers that will transport our audiences from 1880s Norway to 1980s Rwanda and pre-war Oxfordshire to post-war Pittsburgh. At a time where our worldview is proving to be increasingly divided, these powerful, humane stories all explore the corrosive power of prejudice and the complex nature of belief.”
Ghosts joins a Made in Northampton season that continues in January with the UK premiere of Olivier Award winner Katori Hall’s spectacular play Our Lady of Kibeho. The play tells the astonishing true story of three Rwandan schoolgirls and the haunting events that forever changed their school, their community and their country. Directed by James Dacre, with stirring live music by Orlando Gough, the play features a large professional cast, including Michelle Asante, Ery Nzaramba and Gabrielle Brooks, supplemented by Royal & Derngate’s Community Ensemble. #OurLadyThePlay
2017 Nobel Prize winner Kazuo Ishiguro’s masterpiece The Remains of the Day will be breathtakingly re-imagined for the stage, in an adaptation by one of Britain’s most exciting young playwrights, Barney Norris (Critics’ Circle Award for Most Promising Playwright), directed byChristopher Haydon (The Caretaker). This story of memory, regret and undeclared love receives its world premiere at Royal & Derngate in February before touring nationwide in a co-production with Out of Joint. #RemainsTour19
In May, Tom Mothersdale stars as the iconic villain in a revelatory new production of Shakespeare’s famous East Midlands tale Richard III, a co-production by Headlong, Alexandra Palace and Bristol Old Vic with Oxford Playhouse. This frighteningly relevant tale of deceit, manipulation and violence is brought to life by director John Haidar (Headlong Associate Artist). #RichardIII2019
In September, Royal & Derngate stages Two Trains Running, American playwright August Wilson’s vivid portrait of everyday lives in the shadow of a defining moment in American history. Set in Pittsburgh, 1969, the play sees the regulars of Memphis Lee’s restaurant struggling to cope with the turbulence of a world that is changing rapidly around them. When Two Trains Running premiered on Broadway in 1992, it won Tony, Drama Desk and Lucille Lortel awards and was shortlisted for the Pulitzer Prize for Drama. Directed by the 2018 winner of the RTST Sir Peter Hall Director Award,Nancy Medina this co-production with English Touring Theatre will tour the UK after opening at Northampton. #TwoTrains2019
Further Made in Northampton 2019 productions will be announced next year.
Made in Northampton is sponsored locally by Michael Jones Jeweller.
For more information about any of these productions, visit www.royalandderngate.co.uk. Shows can be booked online or by calling Box Office on 01604 624811.
SIX the musical returns to The Lowry for Christmas 2019. SIX Tues 3rd Dec 2019 – Sun 5th Jan 2020 Tickets onsale today (Fri 7 December 2018)
SIX the musical will return to The Lowry next year for a five week Christmas run. Tickets go onsale today (Friday 7 December 2018).
Henry VIII six wives of have taken The Lowry by storm this Christmas and will return in 2019 to retell their stories in ‘SIX,’ a 75minute celebration of 21st century sisterly sass-itude.
From Tudor queens to pop princesses, ‘SIX’ is a 75 minute celebration of sisterly sass-itude remixing 500 years of her-storical heartbreak
‘SIX’ is currently at The Lowry until Sun 16 December 2018 and has already earned a clutch of 5-star reviews.
Powered by an all-female band and with songs including ‘Ex-Wives,’ ‘Haus of Holbein’ and ‘Don’t Lose Ur Head,’ this high-octane pop concert musical by Toby Marlow and Lucy Moss is widely tipped to be one of the most exciting new West End shows of 2018.
Directed by Lucy Moss & Jamie Armitage. Choreographer Carrie-Anne Ingrouille. Set Design: Emma Bailey. Costume Design: Gabriella Slade. Lighting Design: Tim Deiling. Sound Design: Paul Gatehouse. Musical Supervisor: Joe Beighton. Orchestrations Tom Curran.
‘SIX’ is a co-production between Kenny Wax and Global Musicals. George Stiles Executive Producer.
Casting for Christmas 2019 to be confirmed.
Listings Information SIX the musical Dates: Tues 3rd Dec 2019 – Sun 5th Jan 2020 Times: Sun – 5pm & 8pm. Mon 23 Dec – 5pm. Tue 3, 10 & 17 Dec – 8pm. Tue 31 Dec – 2pm & 5pm. Wed 4, 11 & 18 Dec – 8pm. Thu 5, 12 & 19 Dec – 6pm & 8.30pm. Thu 26 Dec & 2 Jan – 5pm & 8pm. Fri – 8pm. Sat – 5pm & 8pm. Tickets: £23.50 – £39.50 Website
A LONDON SEASON OF 3 PLAYS BY RICHARD FOREMAN TO CELEBRATE THE 50THANNIVERSARY OF THE ONTOLOGICAL-HYSTERIC THEATER
Patrick Kennedy Phenomenological Theatre today announces FOREMAN AT FIFTY, a yearlong project at the New Wimbledon Theatre celebrating American avant garde theatre pioneer Richard Foreman’s 50thanniversary as a theatre maker.
The three plays Pain(t) (1974), Lava (1989) and Zomboid! (2006) cover unique periods in Foreman’s idiosyncratic career as he developed his complex, cerebral and deeply beautiful work on stage. New Wimbledon Theatre’s Time and Leisure Studio (previously New Wimbledon Studio) will become home to these works in March, July and December. Each production will be accompanied by a specially curated exhibition displaying Foreman’s notebooks, designs and production photography.
Critically acclaimed avant garde auteur Patrick Kennedy said, “I’m delighted to bring three extraordinary and enigmatic works to the UK for the first time. Since 2014 my company has introduced Foreman to the UK theatre scene for the first time allowing audiences to experience his remarkable and celebrated genius. It’s particularly rewarding to have Richard Foreman’s personal approval for this season and I look forward to bringing the works to life in what has become our unofficial home at the New Wimbledon Theatre.”
Richard Foreman has been leading the theatrical avant-garde in the USA and throughout the world since 1968, when he founded the Ontological-Hysteric Theater in New York City. He has written, directed and designed more than fifty of his own plays both in NYC and abroad. He has received numerous OBIE awards, a Lifetime Achievement in the Theater Award from the National Endowment for the Arts and a MacArthur ‘Genius’ Fellowship amongst other notable citations. His new collection of plays PLAYS FOR THE PUBLIC will be published in January.
Tickets will be priced at £15 full price with a £12.50 concession available as well as a season ticket allowing audiences to see all shows for £40.
SOMNIUM: A Dancer’s Dream, the explosive dance show starring World Latin Showdance Champions and Strictly professionals Neil and Katya Jones comes to Sadler’s Wells in London for a limited season from 20 – 22 June 2019.
Directed and choreographed by Neil Jones, SOMNIUM: A Dancer’s Dream tells the story of a boy from Britain and a girl from Russia who met, fell in love and overcame the odds to become dance stars. Starring real life couple Neil and Katya Jones and a company of dancers, the show features vivid storytelling and sensational Latin and ballroom choreography to produce a dance show like no other. It also depicts a complicated modern love story, exploring how the path of love doesn’t always run smoothly. SOMNIUM was originally created for Lichfield Festival and has been re-worked for this London run.
Born on a British Army camp in Germany, Neil is a creative and innovative choreographer as well as dancer. Katya was born in St Petersburg, Russia and started dancing at the age of 6. In 2008 she formed a partnership with Neil and they went on to marry in 2013 before becoming World Champions.
Neil and Katya said “We are really excited to announce that we will be performing our show SOMNIUM: A Dancer’s Dream at Sadler’s Wells in June 2019. We all know that life and love is not perfect and as much we would like to say our journey together has been, you will be able to see first hand the real struggles of our life together on the road to becoming World Champions”S
Sadler’s Wells
Listings Information
Rosebery Avenue
London
EC1R 4TN
Thursday 20 – Saturday 22 June at 7.30pm, Saturday matinee at 2pm.
