Holes Review

Royal and Derngate Theatre, Northampton – until 1 February 2020

Reviewed by Megan Raynor

4****

Holes, the story of Stanley Yelnats (the fourth) and his adventures at Camp Green Lake, holds a special place in my heart having studied it fondly at school and having grown up watching the film (2003). I was intrigued how Louis Sachar’s 1998 novel, set in the deep deserts of Texas, would be translated onto stage but I was not disappointed by this family friendly, charming piece with a lot of soul.

The story follows Stanley (James Backway), a young lad swamped in bad luck, bad luck that sees him sent to a juvenile corrections facility. It is far from the fun-filled camp that Stanley had in mind, the only activity on offer being to dig hole after hole after hole. It soon becomes clear that there is more to the digging than ‘building character’, there is history that needs to be unearthed. Adam Penford’s production seamlessly runs the two stories of Stanley’s past and present, discovering how Stanley’s ‘bad luck’ may have in fact provided him with the perfect opportunity to walk the footsteps of his ‘no-good-dirty-rotten-pig-stealing great-great-grandfather’ and undo an ancient curse on his family. The parallel storylines relied heavily on multi-rolling, Matthew Romain and Elizabeth Twells should be commended for their almost constant character changes which they did with distinction.

Stanley quickly befriends a group of lads at the camp, each going proudly by their nicknames – X-Ray (Harold Addo), Magnet (Joelle Brabban), Armpit (Henry Mettle) and Zero (Leona Allen), who he creates a particularly special bond with. Allen’s Zero was wonderfully dimensional; unpeeling the layers of a frustrated, misunderstood young man who you can’t help but fall for. The dynamic between the boys is a joy to watch, albeit their banter and their brawls. The soundtrack, featuring Bruno Mars and Michael Jackson, compliments the camp life brilliantly with playful physical sequences.

Puppetry is utilised brilliantly in the piece. Simple but skilfully operated, puppets portrayed the array of critters found in the deserts – including the famous yellow spotted lizards. Much of the set used was simple, incorporating a variety of charming tools for story telling – the wooden ‘sandpit’ boxes worked well as the holes and complimented the wooden backdrop creating the vast horizon of the desert. The production felt fresh while still following closely visually and narratively to the film, it carried with it the same 90s charm. It is a heart-warming production that does not do injustice to the unique story telling of Louis Sachar.

Holes will continue its run onto Nottingham Playhouse, Coventry Belgrade Theatre, Newcastle Theatre Royal, Theatre Royal Plymouth, Liverpool Playhouse, High Wycombe Swan, Norwich Theatre Royal, Wolverhampton Grand Theatre and Canterbury Marlowe Theatre.

Cast for Life of Pi in the West End announced today – Hiran Abeysekera to play central role of Pi

CAST ANNOUNCED AS

     THE SPELLBINDING SHOW PREPARES

     TO TRANSFORM WYNDHAM’S THEATRE

Hiran Abeysekera to lead the company

with his acclaimed performance as Pi

Unprecedented reconfiguration of the theatre to bring

Yann Martel’s Man Booker Prize-winning novel thrillingly to life on stage

Full casting has been announced for Life of Pi, the celebrated Sheffield Theatres production which will transfer to London this summer. Life of Pi – Lolita Chakrabarti’s dazzling adaptation of Yann Martel’s extraordinary, award-winning book – was awarded a string of five-star reviews when it opened in Sheffield last year.

Hiran Abeysekera,whose performance in the lead role won him universal critical acclaim, will return as Pi. 

Life of Pi will transfer to the Wyndham’s Theatre where, for the first time ever, the historic theatre will be transformed to fully accommodate the magnificent elements of the production that left audiences mesmerised. Performances will begin on Sunday 28 June. The production is directed by Max Webster.

For all information, please see www.lifeofpionstage.com

The full company includes: Mina Anwar (Everybody’s Talking About Jamie, Apollo theatre and Sheffield Crucible), Sagar Arya (Casualty), Alex Chang (Golden Shield, Soho Theatre and Yellow Earth Theatre), Fred Davis (Ocean at the end of the Lane, National Theatre), Tom Espiner (Berberian Sound Studio, Donmar Warehouse), Kirsten Foster (Much Ado About Nothing, New English Shakespeare Company and Dubai Opera House), Daisy Franks (The Gruesome Twosome, The Place), Raj Ghatak (The Kite Runner, Best Actor Winner, UK Tour), Nuwan Hugh Perera (Side Show, Southwark Playhouse), Romina Hytten (The Lorax, The Old Vic and The Royal Alexander Theatre, Toronto), Sarah Kameela Impey (Much Ado About Nothing, Northern Broadsides), Tom Larkin (Bury the Dead, Finborough Theatre), David K.S. Tse (Chimerica, Almeida & Harold Pinter Theatre), Syreeta Kumar (Equus, English Touring Theatre), Deeivya Meir (Warlords & Tyrants, Rada Festival and Fireraisers), Habib Nasib Nader (Downtown Paradise, Welsh Fargo Theatre Company) and Scarlet Wilderink (Treasure IslandStephen Joseph Theatre).

After a cargo ship sinks in the middle of the vast Pacific Ocean, there are five survivors stranded on a single lifeboat – a hyena, a zebra, an orangutan, a sixteen year-old boy and a 450-pound Royal Bengal tiger. Time is against them, nature is harsh, who will survive?

Based on one of the best-loved works of fiction – winner of the Man Booker Prize, selling over fifteen million copies worldwide – Life of Pi is a breath-taking new theatrical adaptation of an epic journey of endurance and hope.

Award winning writer Yann Martel’s works include The Facts Behind the Helsinki Roccamatios (1993), Self (1996), We Ate the Children Last (2004), Beatrice and Virgil (2010) – a New York Times Bestseller and a Financial Times Best Book, 101 Letters to a Prime Minister (2012) – a collection of letters to the prime minister of Canada; and The High Mountains of Portugal (2016).  

Lolita Chakrabarti is an award-winning actress and playwright. Her writing credits include; Red Velvet which opened at the Tricycle Theatre in London in 2012 before returning there in 2014, transferring to New York and the West End.  Red Velvet was nominated for nine major awards including two Olivier Awards. Lolita won the Evening Standard Theatre Award for Most Promising Playwright, The Critics Circle Award for Most Promising Playwright and the AWA Award for Arts and Culture.

Max Webster was the inaugural Baylis Director at the Old Vic and is now an Associate Director at the theatre where his work includes Fanny and AlexanderCover My Tracks and Dr. Seuss’s The Lorax. Selected other stage work includes the forthcoming The Merry Widow (ENO), The Jungle Book (Northampton/Fiery Angel UK tour), The Winter’s Tale (Lyceum, Edinburgh), and King Lear (Royal and Derngate, Northampton/UK tour).

The extraordinary animals are brought to life by Puppet & Movement Director Finn Caldwell, who began his career in the original company of the National Theatre’s international phenomenon War Horse. He is the Artistic Director of his own company Gyre & Gimble, for whom work includes: co-director/puppet designer of The Four Seasons: A Reimagining (Shakespeare’s Globe), The Hartlepool Monkey (UK tour) and The Elephantom (National Theatre & West End). His other work includes: director of puppetry/movement for Angels in America (National Theatre & Broadway), The Light Princess (National Theatre), War Horse (West End & Internationally) and Groundhog Day (Old Vic & Broadway).

Life of Pi is produced by Simon Friend in association with Playing Field and Robert Bartner.

HAMPSTEAD THEATRE ANNOUNCES A SEASON OF HAMPSTEAD CLASSICS FOR SPRING/SUMMER 2020, CELEBRATING 60 YEARS OF ORIGINAL THEATRE

HAMPSTEAD THEATRE ANNOUNCES A SEASON OF HAMPSTEAD CLASSICS FOR SPRING/SUMMER 2020, CELEBRATING 60 YEARS OF ORIGINAL THEATRE

·         HAMPSTEAD THEATRE PRESENTS ITS SPRING/SUMMER 2020 PROGRAMME– HAMPSTEAD CLASSICS, CELEBRATING 60 YEARS OF ORIGINAL THEATRE

·         FOUR BOLD PLAYS FROM THE NEW WRITING THEATRE’S ECLECTIC ARCHIVE WILL BE STAGED BY A VARIETY OF DISTINCTIVE BRITISH DIRECTORS

·         THE PLAYS, WHICH ALL PREMIERED AT HAMPSTEAD THEATRE, WILL BE PERFORMED IN CHRONOLOGICAL ORDER AND STAGED IN THE THRUST, TO CELEBRATE THE THEATRE’S 60TH ANNIVERSARY

·         HAMPSTEAD CLASSICS WILL OPEN WITH HAROLD PINTER’S ICONIC THE DUMB WAITER DIRECTED BY ALICE HAMILTON, DIRECTOR OF RECENT HAMPSTEAD HITS, EVERY DAY I MAKE GREATNESS HAPPEN AND PARADISE

·         TENNESSEE WILLIAMS’ INNOVATIVE AND PARTLY AUTOBIOGRAPHICAL WORK, THE TWO CHARACTER PLAY WILL FOLLOW, DIRECTED BY SAM YATES, WHO MAKES A HIGHLY ANTICIPATED RETURN TO HAMPSTEAD THEATRE FOLLOWING HIS CRITICALLY-ACCLAIMED PRODUCTION OF THE PHLEBOTOMIST

·         ALFRED FAGON’S REMARKABLE TRIBUTE TO THE COOL CULTURE OF LONDON’S 1970S KING’S ROAD, THE DEATH OF A BLACK MAN WILL BE DIRECTED BY DAWN WALTON, FOUNDER AND FORMER ARTISTIC DIRECTOR OF ECLIPSE THEATRE COMPANY

·         MARSHA NORMAN’S GROUND-BREAKING PLAY ‘NIGHT, MOTHER WILL CLOSE HAMPSTEAD CLASSICS WITH ARTISTIC DIRECTOR, ROXANA SILBERT, DIRECTING THIS PULITZER PRIZE WINNING PLAY

·         HAMPSTEAD DOWNSTAIRS, THE THEATRE’S STUDIO SPACE,WILL CONTINUE TO SUPPORT NEW VOICES AS HANNAH KHALIL MAKES HER HAMPSTEAD DEBUT WITH THE WORLD PREMIERE OF SLEEPWALKING, DIRECTED BY AUDREY SHEFFIELD

·         RUBY THOMAS, A SELECTED CHANNEL 4 PLAYWRIGHTS’ SCHEME 2019 WINNER, WILL JOIN THE THEATRE TO COMPLETE HER ONE-YEAR PLAYWRIGHT-IN-RESIDENCE ATTACHMENT AFTER THE RECENT SUCCESS OF HER DEBUT PLAY EITHER AT HAMPSTEAD DOWNSTAIRS

·         THE MONO BOX AND CREATIVE MULTILINGUALISM WILL CONTINUE TO WORK WITH HAMPSTEAD THEATRE AS ITS ASSOCIATE COMPANIES

·         PUBLIC BOOKING OPEN FROM WEDNESDAY 5 FEBRUARY AT 10.30AM

Hampstead Theatre, announces Hampstead Classics, its spring/summer programme, to mark its 60th anniversary and celebrate its ambitious history as a new writing theatre.  Featuring four bold plays from the theatre’s eclectic archive, the productions will be performed in chronological order and staged in the thrust, by a variety of distinctive British directors.

Roxana Silbert, Artistic Director of Hampstead Theatre, said “Selecting only four plays from Hampstead Theatre’s massive backlist of world premieres was a real challenge and it really hit home just what a powerhouse this modest theatre is.  The range, diversity and singularity of the voices is extraordinary, as is how often they bring untold stories into the light.

Hampstead has always supported established writers and launched new ones by creating a space for artists to experiment and be heard.  May the next sixty years continue this wonderful tradition.”

Nobel Prize-winning writer Harold Pinter’s timeless black comedy The Dumb Waiter will open Hampstead Classics,running from 19 March until 18 April.  Originally presented in Hampstead Theatre’s first ever season, The Dumb Waiter was directed by its founder and Artistic Director, James Roose Evans, and received its UK premiere in January 1960.  Alice Hamilton will direct this classic play, often referred to as “Pinter distilled”, after her recent success at the theatre with Every Day I Make Greatness Happen and Paradise.

One of the foremost playwrights of the 20th century, Tennessee Williams’ innovativeand partly autobiographical work, The Two Character Play, will run from 24 April until 23 May.  Also originally directed by James Roose Evans, the play received its world premiere at Hampstead in 1967 and Williams openly declared it, “My most beautiful play since Streetcar, the very heart of my life”.  Sam Yates will direct, making a highly anticipated return to Hampstead Theatre following his critically acclaimed production of The Phlebotomist.

Alfred Fagon’s remarkable tribute to the culture of London’s King’s Road in the 1970’s, The Death of a Black Man, will run from 28 May until 27 June.  Fagon was one of the first British black writers to have his work produced in the UK; he was a boxing champion, a welder, an actor, poet, and playwright who died at the early age of 49 (1986).  The Alfred Fagon Awardwas set up after his sudden death to support British black playwrights and honour his name.  The original production of The Death of a Black Man was directed by Roland Rees in 1975.  Founder and former Artistic Director of Eclipse Theatre Company, Dawn Walton, will direct this complex, rarely produced play by one of Britain’s leading black, working class, immigrant voices from the 20th century.

Legendary American writer Marsha Norman’s ground-breaking play ‘night, Mother will close Hampstead Classics,running from 2 July until 1 August.  The original Hampstead production was directed by its then Artistic Director, Michael Attenborough, giving the play its European premiere in 1985.  This deceptively simple and moving play had already won the Pulitzer Prize for Drama (1983), the Susan Smith Blackburn Award (1982-83) and earned four Tony Award nominations.  After her widespread acclaim, Norman stated, “Now we can write plays and not have people put them in a little box labelled ‘women’s theatre’… it’s a time of great exploration of secret worlds, of worlds that have been kept very quiet.”  Hampstead Theatre’s Artistic Director, Roxana Silbert, will direct this new production.

Hampstead Downstairs, the theatre’s studio space,will continue to support new voices as Hannah Khalil makes her Hampstead debut with the world premiere of Sleepwalking which runs from 26 March until 2 May.  This dark thriller will be directed by Audrey Sheffield, who makes her Hampstead Theatre directorial debut.

Ruby Thomas joins Hampstead to complete her one-year playwright-in-residence attachment, as a Channel 4 Playwrights’ Scheme 2019 winner, which celebrates and supports emerging British writing talent.  She will have the opportunity to meet a variety of theatre practitioners, read scripts as part of Hampstead’s programming team and provide a voice for the writer in the running of the building.  Ruby had recent success with her first play Either, which had its world premiere at Hampstead Theatre.

The Mono Box and Creative Multilingualism will continue to work in-house at Hampstead Theatre as Associate Companies. 

After a successful first season working in collaboration, The Mono Box will continue their Speech Share Live events, public recordings of their podcast where actors discuss their careers and perform a favourite monologue.  Previous guests have included Sir Derek Jacobi, Denise Gough, Joseph Marcell, Sir Simon Russell Beale, Gina McKee, Prasanna Puwanarajah and Jenna Russell.  Guests for 2020 will be announced in due course along with other projects.

Creative Multilingualism and Hampstead Theatre are collaborating on the Multilingual Performance Project (MPP) an initiative todeliver a multilingual youth theatre for young people (aged 13-17) throughout the spring term, culminating in a sharing at Hampstead Theatre. 

Using devising techniques, the group will create a piece of performance which incorporates all of their languages and relates to a work within the Hampstead’s season as well as responding to issues important to them.  Sessions will take place every Wednesday after school from mid-January to mid-March.

Hampstead Theatre is marking its 60th anniversary throughout the course of its 2019/2020 season, starting from its birthday on 24 September 2019, through to the end of the summer season 2020.  Celebratory events have already taken place to mark the occasion including a special fundraising event to raise funds for the Under 30s £10 ticket scheme, and the refurbishment and expansion of Hampstead’s Main Stage auditorium.

Roxana Silbert will make her directing debut at Hampstead Theatre with Al Blyth’s new play The Haystack, which runs from 31 January 2020 until 7 March 2020.

Casting for Hampstead Classics will be announced in due course.

LOUISE DEARMAN TO PERFORM HER BIGGEST SOLO CONCERT TO DATE AT CADOGAN HALL

LOUISE DEARMAN

TO PERFORM

HER BIGGEST SOLO CONCERT TO DATE

AT CADOGAN HALL

ON SUNDAY 31 MAY 2020

Darren Bell for Club 11 London is delighted to announce West End star Louise Dearman will perform in concert at Cadogan Hall on Sunday 31 May at 6.30pm, her biggest solo concert to date.

Louise is best known for playing the roles of Glinda and Elphaba in the West End production of Wicked. She is the only actress to have played both starring roles in any production of Wicked full time. Some of Louise’s other theatre roles include Eva Perón in Evita, Sarah Brown and Miss Adelaide in Guys and Dolls (UK tour), Daisy Hilton in the UK premiere of Sideshow (Southwark Playhouse), Narrator in Joseph and the Amazing Technicolor Dreamcoat (UK Tour), Jan in Grease (Victoria Palace Theatre and UK Tour), Mimi in Guys and Dolls (Piccadilly Theatre), Debbie in Debbie Does Dallas (Edinburgh Festival), Soloist in Judy (UK Tour) and Mrs D in the world premiere of The Waterbabies (Leicester Curve).

Louise is a regular performer for the BBC Proms having played Lois Lane in Kiss Me Kate, Hildy in On The Town and as a soloist in Gershwin in HollywoodCole Porter in Hollywood and The Warner Brothers Story all with the John Wilson Orchestra. Last year, Louise was invited to open The Festival of Remembrance in the presence of the Royal Family which was broadcast live on BBC One. She is a regular guest on BBC Radio 2’s Friday Night is Music Night and sang the National Anthem at the Capital One Cup Final (Wembley Stadium). Louise has guested with Josh Groban, Michael Ball, Scott Alan, Ramin Karimloo and Lee Mead on UK and international tour but this will be her first solo concert. Josh Groban describes Louise as “not only a versatile performer but a powerhouse vocalist!”

Louise’s first solo album You And I was released in 2005 and was followed by Here Comes the Sun (Big Hand Recordings – 2012), It’s Time (Silva Screen – 2013), Bond and Beyond (EP – 2014) and For You, For Me (Big Hand Recordings 2018) as well as recordings with composer Richard Kagan, Marti Pellow, Kimberley Walsh, Scott Alan, Shayne Ward, Steve Balsamo.

Louise released a book with Mark Evans titled Secrets of Stage Success in Spring 2015, published by Nick Hern Books where they answered questions submitted by the public on a wide range of theatrical topics.

Louise Dearman in concert is produced by Club 11 London with musical direction by Freddie Tapner and supported by the London Musical Theatre Orchestra.

LISTINGS INFORMATION

Louise Dearman in Concert

Sunday 31 May, 6.30pm

Cadogan Hall

5 Sloane Terrace

London

SW1X 9DQ

Box Office: 020 7730 4500

Ticket Prices: From £24.50

www.cadoganhall.com

Extra Week Added to SISTER ACT at London’s Eventim Apollo with Whoopi Goldberg and Jennifer Saunders

FOLLOWING A RECORD BREAKING ON SALE

THE PRODUCERS OF

ANNOUNCE THAT THE SHOW

WILL PLAY AN EXTRA WEEK

AT LONDON’S EVENTIM APOLLO

PERFORMANCES NOW START ON 21 JULY 2020

TICKETS GO ON SALE FOR THE EXTRA WEEK

AT 10.00AM ON 7 FEBRUARY 2020

Following a record breaking on sale, where SISTER ACT became one of London’s fastest selling musicals, the producers of the show are delighted to announce that the musical will now open a week earlier. Performances now start on Tuesday 21 July 2020. The show runs until Sunday 30 August 2020. Tickets for the extra week go on sale at 10.00am on 7 February 2020.

This strictly limited run stars the previously announced Whoopi Goldberg, who will reprise her role as Deloris Van Cartier for the first time on stage and Jennifer Saunders as Mother Superior who celebrates her musical theatre stage debut.

Producer Jamie Wilson said today: ‘We are beyond thrilled with the record-breaking success of Sister Act at London’s Eventim Apollo. We were aware that not everyone has been able to purchase tickets, so I’m delighted that now we can offer audiences an additional week of performances to see Whoopi and Jennifer in their first ever appearance on stage together. It has been so exciting to work alongside Whoopi, Alan Menken, Douglas Carter Beane and Glenn Slater on bringing this newly adapted production to the stage for today’s audiences. We can’t wait for the UK to see it’’.

SISTER ACT has direction by Bill Buckhurst, choreography by Alistair David, Set Design by Morgan Large, Lighting Design by Tim Mitchell, Sound Design by Tom Marshall and Musical Supervision by Stephen Brooker. Casting is by Stuart Burt.

SISTER ACT features original music by Tony® and 8-time Oscar® winner Alan Menken(Disney’s Aladdin, Enchanted), lyrics by Glenn Slater, book by Bill and Cheri Steinkellner with additional book material by Douglas Carter Beane. SISTER ACT is produced by Jamie Wilson and Whoopi Goldberg. Tom Leonardis, Head of Whoopi’s production company, is also on the producing team. On Thursday matinee the roles of Deloris Van Cartier will be played by Brenda Edwards.

Based on the iconic movie, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent!  Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. 

Othello Review

Cambridge Arts Theatre, Cambridge until 1 February 2020

Reviewed by Steph Lott

4****

I have always loved Shakespeare from when I studied it at school (many moons ago!) right through until recent years. I go and see at least one production during the open air Shakespeare festival that is held every year in Cambridge in various colleges. I have a deeply-held affection for his plays whether it’s an RSC production in Stratford on Avon or an amateur production in a local village hall.

Shakespeare is tricky! The language is so rich and evocative, but dense, complex and belongs of course in another era. I have seen so many productions where the lines are repeated but it doesn’t feel as if the actors are really speaking them. It was definitely not the case here.

This production is the first that I have seen by the illustrious Marlowe Society. They state on their website that they have “an interest in drama that stretches beyond ordinary realism towards the challenging and imaginative.” and that they want to introduce “a professional dimension to student theatre at Cambridge” I note that actors such as Sir Peter Hall, Sir Trevor Nunn, Sir Ian McKellen, Derek Jacobi, Stephen Fry, Emma Thompson, Rebecca Hall, Hugh Laurie, Rachel Weisz, Sam Mendes and Tom Hiddleston are all alumni of the Society.

Othello, written so long ago, has themes that remain so relevant for today. It’s a play that speaks so vividly of issues of racism, and violence against women. It’s a supreme depiction of the destructive power of jealousy.

The play exuded a tense menace from the very start, using a very simple set and modern dress. The soundtrack again was not complex but served to help create an atmosphere of claustrophobic foreboding. This simplicity allowed the actors’ words and expressions to occupy the audience’s full attention without distraction. There were several truly excellent performances here by a very gifted cast.

Bilal Hasna’s Iago was a sociopathic rendition of a man filled with resentment and rage at being overlooked for promotion by an outsider. He invites the audience to collude with him in plotting the downfall of a man who is both a leader and in love. What is so disturbing about the portrayal of Iago is that he makes the manipulation seem entirely reasonable and logical in the circumstances. It’s a truly stunning performance.

Christopher Dean’s handling of Othello’s downfall is equally masterful – the transition from a man enjoying success despite not belonging, to falling in love, through suspicion to jealousy to mad rage carries the audience all the way along with his performance. At the end he is terrifying in his towering madness.

The tragically touching scene between Desdemona (Georgia Vyvyan) and Emilia (Anna Wright) has remained with me since last night. They dance entwined as Emilia helps Desdemona get ready for bed but it is as if they already know that Desdemona is doomed – that Othello’s raging jealous madness must surely end Desdemona’s life.

Last night I was bowled over by this production. It was hard to remember that this wasn’t a production that was delivered by professional actors. I hope to see these members of the Marlowe Society follow in the footsteps of those famous alumni I mentioned at the start.

Swan Lake Review

StoryHouse, Chester – until Saturday 1 February 2020

Reviewed by Julie Noller

4****

Saint Petersburg Classic Ballet has pirouetted into StoryHouse this drab January twirling us into February. I took my seat in the auditorium not in any way shape or form as a ballet expert but someone who enjoys the whole theatre experience.

Theatre is as they say 9/10ths interpretation and ballet is certainly no exception to the rule. It’s an art, expressive dance and in my very humble opinion should be and indeed can be viewed so by the very different members of the audience. I noted surprisingly for such a classic ballet that the packed auditorium was mainly the older generation perhaps teachers or long time ballet fans; infact the whispers I heard throughout discussing moves suggested this was correct. There were those who hummed along to the Hungarian Sinfonietta Orchestra as they were swiftly guided by conductor Gunters Bernats after all Swan Lake is Pyotr Tchaikovsky’s masterpiece and despite it’s initial failure in 1876 continues to be one of the most popular ballets of all time.

There can not be many ballets out there who can claim to have been parodied by many well loved comedians or infact can claim to be a leading influence on many well loved films (take Shrek for starters). I would advise any perhaps looking at ticking off a bucket list that Swan Lake is quite long with 2 intervals (or 3 acts) not to be like John sat behind us who had to leave before the end in order to catch a bus, it would be sad not to see the ballet through to finale and do not let it’s 120 minutes (not including intervals) put you off for they are breathtaking moments.

Swan Lake is essentially a classic love story; Prince seeks a wife, no beauty across the countries sparks his interest until a cursed humble beauty crosses his path. Basically love and good conquers evil. The cheers and the boos at the final curtain down suggested somewhat of a pantomime however were well deserved Yassaui Mergaliyev was cheeky and fun as the Jester. Evgeniy Silakov was menacing as Von Rothbart looming large on stage as a contrast to the white swans in his black dark shadowy outfit. He has cursed Odette to live her life as a swan, beautifully and elegantly danced by Alina Volobueva she outshone all those who graced the stage with her. Alina of course portrays Odille in a darker black costume that is equally as striking as her all white ensemble. Siegfried (Vadim Lolenko) our Prince comes to life as he dance with Odette as he powerfully leaps and holds her aloft, finally breaking her curse. Marina Medvetskaya has expertly directed Swan Lake building the dances in wonderful contrast to the haunting music. Each signature dance was showcased the audience given time to show their appreciation, classic dances were given a ballet twist showing just how talented and versatile these dancers truly are. StoryHouse is a smaller theatre and they utilised every inch of the stage, leaping from corner to corner in just 2 very long strides. Spins and twirls that had you smiling with sheer enjoyment.

Swan Lake is quietly powerful compared to other ballets, but what it does showcase is technique, skill and style. A must for ballet students looking to perhaps improving technique; many a move has been copied and attempted (unfortunately not by me for I lack both style and finesse) The music is a must for connoisseurs of a fine score, take the time to enjoy the haunting well known melodies of Tchaikovsky. Finally for those who enjoy a love story it is enchanting in it’s grace.

INITIAL CASTING ANNOUNCED FOR THE TENTH ANNIVERSARY REVIVAL OF BRUCE NORRIS’ AWARD-WINNING CLYBOURNE PARK

INITIAL CASTING ANNOUNCED FOR THE

TENTH ANNIVERSARY REVIVAL OF BRUCE NORRIS’ AWARD-WINNING CLYBOURNE PARK

Alex Turner Productions and Trish Wadley Productions

in association with Park Theatre present

THE 10TH ANNIVERSARY REVIVAL OF 
CLYBOURNE PARK
By Bruce Norris

Director: Oliver Kaderbhai; Set and Costume Designer: James Turner

Lighting Designer: Zia Bergin-Holly; Sound Designer: Will Tonna; Casting Director: Lucy Casson

25 March – 2 May

Alex Turner Productions and Trish Wadley Productions, in association with Park Theatre, today announce initial casting for the 10th anniversary revival of Bruce Norris’ seminal play Clybourne ParkOliver Kaderbhai directs a cast including Michael Fox (Jim / Tom), Imogen Stubbs (Bev / Kathy) and Eric Underwood (Albert / Kevin). The production opens on 30 March, with previews from 25 March, and runs until 2 May.


A timely 10th anniversary production of this razor-sharp satire about the politics of race and real estate, winner of both the Tony and Olivier Award for Best Play and the Pulitzer Prize for author Bruce Norris.

In 1959, Russ and Bev are moving to the suburbs after the tragic death of their son and have sold their house to the neighbourhood’s first black family. 

Decades later, the roles are reversed when a young white couple buys the lot in what is now a predominantly black neighbourhood, signalling a new wave of gentrification. In both instances, a community showdown takes place – are the same issues festering beneath the floorboards fifty years on?

Michael Fox plays Jim / Tom. For theatre his credits include All in a Row, A Lie of the Mind (Southwark Playhouse), An Enemy of the People (Chichester Festival Theatre), As You Like It (Transport Theatre), Leaves of Glass (Alma Tavern) and Edmund Kean (Watford Palace Theatre). For television his credits include Bombing AuschwitzEndeavour, Downton Abbey, Marvellous, The Ark, New Worlds; and for film, Downton Abbey, Dunkirk and Good People. 

Imogen Stubbs plays Bev / Kathy. Her extensive theatre experience includes productions at the RSC, National Theatre, The Old Vic, Donmar Warehouse and various West End productions. Recent stage credits include Honour (Park Theatre), The Be All and End All (York Theatre Royal), Things I Know To Be True (Frantic Assembly), Communicating Doors (Menier Chocolate Factory), Elephants (Hampstead Theatre), Alecky Blythe’s Little Revolution (Almeida Theatre) and Strangers On A Train (Gielgud). For the Royal Shakespeare Company, she appeared in Othello, Two Noble Kinsmen, The Rover and Richard II. Additional stage credits include Gertrude in Hamlet (The Old Vic), Orpheus DescendingPrivate Lives (Royal Exchange), Salt, Root and Roe (Donmar at the Trafalgar) and A Marvellous Year For Plums (Chichester Festival Theatre). Her television work includes Parents, Collusion, Big Kids, Blind Ambition and Anna Lee; and for film, Jack & Sarah, Twelfth NightTrue ColoursDeadlineA Summer Story and Sense and Sensibility.

Eric Underwood plays Albert / Kevin. He was a soloist with the Royal Ballet, where he created many roles including in Wayne McGregor’s Chroma, Infra and Raven Girl and in Christopher Wheeldon’s DGV, as well as the Caterpillar in Wheeldon’s Alice’s Adventures in Wonderland. He has worked for the BBC across radio and television presenting shows including Can Hip Hop Save Ballet (BBC R4) and Inside Out – Ballet Boys (BBC One). For film, his work includes Cats.

Bruce Norris is an American actor and playwright who lives in New York. He is the author of Clybourne Park, which premiered at Playwrights Horizons in New York, in 2010, before transferring to the Royal Court Theatre and the West End. A playful response to Lorraine Hansberry’s seminal drama, A Raisin in the SunClybourne Park is the only play to date to have received the Pulitzer Prize for Drama and the Tony, Olivier and Evening Standard Awards for Best Play. His other plays include The Infidel (2000), Purple Heart (2002), We all Went Down to Amsterdam (2003), The Unmentionables (2006), A Parallelogram (2010) and Downstate (2018) which were all first produced by Steppenwolf Theatre Company in Chicago; The Pain and the Itch (Playwrights Horizons, Steppenwolf, 2004, Royal Court Theatre, 2007; winner of Chicago’s Jefferson Joseph Award for Best New Work); The Low Road (Royal Court Theatre, 2013), Domesticated (Lincoln Center, 2013), and The Qualms (Playwrights Horizons, 2014). He is the recipient of the Steinberg Playwright Award (2009) and the Whiting Foundation Prize for Drama (2006). As an actor he can be seen in the films A Civil Action, The Sixth Sense and All Good Things.

Oliver Kaderbhai is an actor, director, producer and founding Artistic Director of DELIRIUM. His experience in the UK spans Fringe to the West End working with actors such as Andrew Scott, Kate Fleetwood, James Norton and Orlando Bloom, and he has created six productions with DELIRIUM which have sold out venues across the UK. Director credits include Striking 12 (Union Theatre), Songs of Abdulkarim (59 Productions), Peter Pan (Co-Director, Chichester Festival Theatre), One Minute (The Vaults), The Provok’d Wife (Go People), From Where I’m Standing (Pegasus Theatre), Oranges on the Brain (Pegasus Theatre), Go To Your God Like A Soldier (Old Vic Tunnels) and Your Nation Loves You (Old Vic Tunnels). Movement Director credits include Killer Joe (Trafalgar Studios), The Dazzle (Found 111), BUG (Found 111), Almost Maine (Park Theatre), Phenomena (The Albany), Dhow Under The Sun (KSF/META, UAE); and Assistant or Associate Director credits include Jesus Christ SuperstarRunning Wild (Regent’s Park Open Air Theatre) and Guys and Dolls (Playmakers Rep, USA).  

Childrens Cast Announced for THE PRINCE OF EGYPT

“THE PRINCE OF EGYPT” CONFIRMS

 CHILDREN’S CASTING

YOUNG PERFORMERS LEO BABET, JONAH COLLIER, TAYLOR JENKINS,

MIA LAKHA, IMAN PABANI AND HANNAH SELK JOIN HUGE COMPANY OF 42

PERFORMANCES BEGIN NEXT WEDNESDAY (5 FEBRUARY 2020)

EXTRA 2.30PM SHOWS ADDED: 14 APRIL, 11 AUGUST AND 25 AUGUST 2020

THE PRINCE OF EGYPT,the new musical with music and lyrics by Stephen Schwartz (Wicked, Godspell), a book by Philip LaZebnik (MulanPocahontas) and based on the celebrated DreamWorks Animation film, is pleased to announce its children’s casting with the roles of Young MiriamLeah and Young Hebrew Girl being shared by Mia LakhaIman Pabani and Hannah Selk and the roles of Young AaronYoung Egyptian Boy and Young Midian Boy being shared by Leo BabetJonah Collier and Taylor Jenkins.

The young performers join the previously announced Luke Brady (Moses), Liam Tamne (Ramses), Christine Allado (Tzipporah), Alexia Khadime (Miriam), Joe Dixon (Seti), Debbie Kurup (Queen Tuya), Gary Wilmot (Jethro), Mercedesz Csampai (Yocheved), Adam Pearce (Hotep), Tanisha Spring (Nefertari), Silas Wyatt-Barke (Aaron), Simbi AkandeCasey Al-ShaqsyJoe AtkinsonDanny Becker, Felipe BejaranoPàje CampbellAdam FilipeSoophia ForoughiNatalie GreenJack Harrison-CooperRachael IresonKalene JeansChristian Alexander KnightJessica LeeOliver LidertJay MarshScott MauriceCarly MilesSam OladeindeAlice ReadieChristopher ShortRicardo WalkerDanny WilliamsNiko Wirachman and Sasha Woodward to complete the huge company of 42.

Performances of THE PRINCE OF EGYPT begin next Wednesday (5 February 2020) at London’s Dominion Theatre, with an official West End premiere on Tuesday 25 February 2020, for a limited 32-week engagement. EXTRA SHOWS have been added on Tuesday 14 April, Tuesday 11 August and Tuesday 25 August 2020, all at 2.30pm. Tickets are available now via www.ThePrinceofEgyptMusical.com

Journey through the wonders of Ancient Egypt as two young men, raised together as brothers in a kingdom of privilege, find themselves suddenly divided by a secret past. One must rule as Pharaoh, the other must rise up and free his true people; both face a destiny that will change history forever.

THE PRINCE OF EGYPT has music and lyrics by Stephen Schwartz and a book by Philip LaZebnik and features 10 brand new songs written by Stephen Schwartz, together with 5 of his acclaimed songs from the DreamWorks Animation film (Deliver UsAll I Ever WantedThrough Heaven’s Eyes, The Plagues, and the Academy Award®-winning When You Believe, which was a global hit for Whitney Houston and Mariah Carey as well as a UK and Ireland chart-topping winner’s single for The X-Factor).

THE PRINCE OF EGYPT is directed by Scott Schwartz with choreography by Sean Cheesman;set designs by Kevin Depinet; costume designs by Ann Hould-Ward; lighting design by Mike Billings; sound design by Gareth Owen; projection designs by Jon Driscoll; illusions by Chris Fisher; wigs, hair and makeup design by Campbell Young Associates; orchestrations by August Eriksmoen; musical supervision and arrangements by Dominick Amendum; musical direction by Dave Rose, casting by Jim Arnold CDG and children’s casting by Verity Naughton CDG.

The London premiere productionis produced by DreamWorks Theatricals (a division of Universal Theatrical Group), Michael McCabe and Neil Laidlaw together with  John Gore, Tom Smedes and Peter Stern, Ramin SabiThe Araca Group, James L. Nederlander and Michael Park.

Developmental productions of THE PRINCE OF EGYPT were presented at TheatreWorks Silicon Valley (winner of the 2019 Regional Theatre Tony Award®) and Fredericia Teater Denmark.

A milestone in cinematic achievement, DreamWorks’ The Prince of Egypt captivated audiences across the world and celebrated its 20th anniversary in 2018. Hailed as “one of the greatest animated films of all time” (Evening Standard) and “a stunning film” (The Guardian), it remains one of the most beloved and acclaimed animated feature films of all time.

Official websitewww.ThePrinceofEgyptMusical.com

Twitter, Facebook, Instagram, YouTube: @PrinceOfEgyptUK

Deborah Warner announced as new Artistic Director of the Ustinov Studio at Theatre Royal Bath

DEBORAH WARNER ANNOUNCED AS NEW ARTISTIC DIRECTOR OF THE USTINOV STUDIO AT THEATRE ROYAL BATH

Theatre Royal Bath is delighted to announce the appointment of internationally acclaimed and multi-award-winning theatre and opera director Deborah Warner as the new Artistic Director of the Ustinov Studio. Her inaugural season will be Autumn 2020 with full details and programming to be announced in due course.

Deborah Warner said: “I am delighted to be joining the team in Bath and very excited to be working on a small and intimate scale once more. The Ustinov Studio has become a major force in British theatre and I look forward to the opportunity to present challenging and questioning theatre in all its many forms as we enter this new decade.”

Danny Moar, Director of Theatre Royal Bath, said “This is a fabulous appointment for the Theatre Royal Bath and a testament to the role the Ustinov Studio plays locally, nationally and internationally. Deborah’s extraordinary track record speaks for itself and we very much look forward to working with her in the years ahead.”

Deborah Warner founded The Kick Theatre Company in 1980 at the age of 21 and has since gone on to work with leading companies and talent worldwide, holding prestigious positions including Resident Director of the Royal Shakespeare Company, Associate Director of the National Theatre, and Associate Director of the Barbican. Her many notable productions include Titus Andronicus with Brian Cox at the RSC, for which she earned an Olivier and Evening Standard Award, as well as many titles from her long-standing creative partnership with actress Fiona Shaw which spans over 30 years. Starting with Electra at the RSC in 1988 their list of productions together include Hedda Gabler as seen in the West Endwhich received the Evening Standard Award for Best Production and Direction, Medea which also received  the Evening Standard Award for Best Direction and was nominated for three Tony awards, the ground breaking Richard II at the NT with Shaw in the title role, and the world premiere of The Testament of Mary on Broadway and at the Barbican, as well as  their staging of T.S. Eliot’s The Waste Land which toured the world and re-discovered Wilton’s Music Hall. Other NT titles include The Good Person of SichuanMother Courage and Her Children and Happy Days. She directed Bruno Ganz in Coriolan at the Salzburg Festival as well as Der Stürm. More recently her production of King Lear at the Old Vic marked Glenda Jackson’s return to the stage. 

She has worked extensively in Paris with performances at Bouffes du Nord, MC93 Bobigny, l’Odéon, Chaillot, Châtelet, Opéra Comique and Théâtre des Champs Elysées. She was awarded the Chevalier de l’Ordre des Arts et des Lettres by the French Government in 1992, L’Officier des Arts et des Lettres in 2000 and Commander des Arts et des Lettres in 2013.

She continues to work regularly for the leading opera houses of the world. Conductors she has previously worked with include Sir Simon Rattle, Sir Colin Davies, Edward Gardner, Bill Christie and Daniel Barenboim. Her opera productions include Wozzeck and La Voix Humaine for Opera North; The Turn of the Screw which won the South Bank and Evening Standard Award, Billy Budd for the Royal Opera House, Don Giovanni and Fidelio for the Glyndebourne Festival, Rape of Lucrece for Bavarian State Opera; St. John PassionDiary of One Who DisappearedDeath in VeniceMessiahEugene Onegin and the world premiere of Between Worlds for English National Opera. In Austria she has staged Dido and Aeneas and Traviata, both in Vienna for the Wiener Festwochen. Her production of Fidelio opened the 2014/2015 season at La Scala. Her future productions include productions for the Teatro Real Madrid, where she staged her Billy Budd, named Best Production in the 2018 International Opera Awards.

In addition, Deborah has made a number of devised installation works, most notably the St. Pancras Project and The Angel Project for L.I.F.T. and the Lincoln Center Festival NYC, as well as Peace Camp for the London 2012 Cultural Olympics. Her film work includes: The Waste Land and The Last September – an adaptation by John Banville of Elizabeth Bowen’s novel.

In 2019 she was appointed The Cameron Mackintosh Visiting Professor of Contemporary Theatre at Oxford University.

She was created CBE in the 2006 Queens 80th Birthday Honours.