National treasure Su Pollard to tour the UK in Harpy UK TOUR: March – May 2020
Following a successful run at the Edinburgh Fringe Festival in 2018, personality and national treasure Su Pollard (Hi-De-Hi! and You Rang M’Lord?, BBC) returns to reprise her role in Harpy by award-winning playwright Philip Meeks (Kiss Me Honey, Honey!; Murder, Margaret and Me), as part of an extensive UK tour this Spring.
Best known for her star-turn as Peggy in the BAFTA award-winning sitcom Hi-de-Hi!, the muchloved Su Pollard has had a career in showbusiness spanning four decades. She returns to the stage as Birdie in Harpy, a play originally commissioned for her, now under new direction by Abigail Anderson (Pride and Prejudice, UK and South Korean tour; Macbeth and Much Ado About Nothing, Merely Theatre).
A tour-de-force performance from Pollard, Harpy is a heart wrenching exploration of one woman’s struggles with mental health and loneliness, manifesting itself through extreme hoarding. At heart it’s a bittersweet dramatic comedy, which showcases a grittier side to the Su Pollard of the eighties, and also asks us to look beyond our prejudices against those who appear to disrupt the norm.
The neighbours call Birdie a harridan and a harpy even though most of them have never even met her. They see her obsessive hoarding as detrimental to the value of their own homes. For Birdie, saving what others regard as the junk from her own life allows her to make sense of the world around her; her possessions are memories of a time past. Shunned by conventional society, she regards it as her duty to salvage these tiny histories that without her would be entirely forgotten.
Harpy is inspired by the retro cinematic sub-genre of Grand Dame Guignol – or ‘hag horror’ – wherein fading stars battled to survive by playing mad, potentially dangerous women or bewildered creatures in peril. Beneath their acting veneer were brave and brilliant women and Meeks is fascinated by their survival instincts. This idea of struggling and fighting for what we believe in comes to the fore in Harpy which seeks to explore mental health, questioning what madness really is.
Su comments, I am thrilled to be able to bring Harpy to a wider audience across the UK, having first performed it at the Edinburgh Festival in 2018. I hope the new audiences enjoy themselves as much as I’m enjoying revisiting this complex character. Philip Meeks’ writing is both funny and poignant, and many people have remarked at how relatable the content is, openly tackling issues of mental health.
Su Pollard gives the performance of her life, an unmissable tour-de-force of comedy and drama brought together in a fantastically constructed piece of theatre. (★★★★★ Theatre Weekly, Edinburgh Fringe 2018)
WILTSHIRE CREATIVE UNVEILS SPRING SUMMER SEASON AT SALISBURY ARTS CENTRE
· NEW: Exhibitions on Screen showcasing art by Lucian Freud and Frida Kahlo
· NEW: Launch of Salisbury Arts Centre Gin Club
· Dance is centre stage with James Wilton Dance and Levantes Dance Theatre
· Comedy from Living Spit and stand-up comedians Joz Norris and Flo & Joan
· A one-man Bon Jovi musical that is almost entirely imagined
· New musical show highlights Florence Nightingale’s Salisbury links
Tickets on general sale: 10am Friday 17 January 2020
A packed spring summer season at Salisbury Arts Centre includes new Exhibitions on Screen and dance performances alongside an almost entirely imagined Bon Jovi musical and the launch of the Arts Centre’s Gin Club.
New for 2020 are Exhibitions on Screen including cinematic immersions into exhibitions by the modern master Lucian Freud and by global icon Frida Kahlo. Lucian Freud: A Self Portrait will be streamed from the Royal Academy of Arts in London on 23 January revealing the painter’s life and work through a unique exhibition of his self-portraits. Frida Kahlo’s Exhibition on Screen follows in July.
Salisbury Arts Centre will host a solo exhibition of work by Cornwall-based artist Nicola Bealing to coincide with a production of Lorca’s Blood Wedding at Salisbury Playhouse, in which Nicola responds to the original Lorca play. The British Museum recently acquired eight of Nicola’s works for its permanent collection. Three Acts and Seven Scenes runs at Salisbury Arts Centre from 27 January until 28 March.
Dance takes centre stage at Salisbury Arts Centre as James Wilton Dance presents The Storm, a whirlwind of athleticism that combines break-dancing, martial arts and contact work performed by seven dancers to a soundtrack of electro-rock (21 March), and Levantes Dance Theatre presents awe-inspiring dance, theatre and circus to tell the story of 1970s one hit wonders Sandy & Bruno (23 April).
Comedy at Salisbury Arts Centre comes from Living Spit’s Swan Lake which promises to be the funniest micro-ballet ever (24-25 January) as well as stand-up comedians
Tom Stade (7 February), Joz Norris (22 February), Jen Brister (12 March) and Flo & Joan (5 March), recently seen at the Royal Variety Performance. Regular Barnstormers comedy nights continue from 31 January.
Music at Salisbury Arts Centre includes one of the world’s most innovative percussion ensembles, Ensemble Bash (15 February) using the music of West Africa as an influence. Paul O’Donnell presents an almost entirely imagined Bon Jovi musical (28 March) – use your imagination to conjure the cast, orchestra, scenery and dramatic key changes!
The Buster Keaton Picture Show sees acclaimed instrumental group Haiku Salut perform an original live score to Keaton’s 1926 comedy The General (3 April). Singer songwriter Louise Jordan brings her show Florence to the Arts Centre, shining a light on the Lady of the Lamp and her Salisbury connections in the 200th year of her birth (1 May).
July sees the first Gin Club at Salisbury Arts Centre with four gins, tonics and garnishes to sample while learning about their ingredients.
There is a full programme of films throughout the season including Wednesday matinees and Wednesday evening screenings of classics and family favourites plus regular live screenings.
Salisbury Arts Centre continues its busy programme of workshops from pottery to stand-up comedy and art classes.
Salisbury Arts Centre is open six days a week. For the full programme, visit www.wiltshirecreative.co.uk.
The King and I, which recently landed at Wales Millennium Centre, is a dramatic piece of classical theatre that would excite those who are a fan of this style of show and/or are fans of the original film. This production tried to stick as close to the original movie as possible, which was made almost seventy years ago, and I understand this was a different time but there were some very uncomfortable to watch scenes for a modern audience.
Like the film, the musical follows the life of Anna Leonowens the teacher on her travels to Siam. While there she experiences extreme culture shock and runs into somewhat of a conflict with the King that leads to many hilarious but also striking scenes. This is a musical that depicts what its like travelling and teaching abroad (as it demonstrates concepts such as the language barrier and culture clashes) which many people do not think about which is a very clever inclusion. What was also extremely clever was the fact that the concepts there were discussed earlier in the show reappear throughout which helps keep the audience engaged and allows them to follow the narrative easier. Despite this there were a few points in the story itself I have issues with. Like I have said earlier I completely understand that this movie/musical was developed many, many, many years ago but some of the scenes were difficult to watch. The whole show revolves around the ideas of patriarchal societies, multiple female lovers for the men and how women are only meant to be looked at. There is one particular scene in which a female character only says “oh no” and “what are we going to do now?” which have become female stereotypes and tropes that we, as a twenty-first-century audience, are not familiar with watching. On top of this was also a rule in place that no one’s head could be higher than the King (the King explicitly stated this) however constantly people towered over him and stood up while he was sat which completely contradict this rule he laid out. This again was very off-putting and distracting for the audience.
A highlight of this production occurred during the opening scenes. The show opened with a magnificent boat sailing across the stage which beautiful but also very clever how this piece of the set was utilised. The boat ‘sailed’ with elegance across the stage and the whole atmosphere of the stage was so perfect, the only thing that let this otherwise stunning scene was the staging of dialogue. The majority of the talking in this scene happened between actors while they were facing upstage meaning the audience could not see their facial reactions or see the words leaving their mouth which to me is half the fun of watching a show. The staging after this was somewhat disappointing for scenes such as the inside of the palace. This was simply a stone wall with moving bannister which moved way too much and was very distracting throughout. This is a show that keeps the focus on drama but stripping back on over-the-top staging, dance numbers, pyrotechnics etc which helped to showcase the performance of each person as, for the audience, there were very few distractions.
The highlight performance of this show had to be Jose Llana who played the King of Siam. He was hilariously funny and embodied everything this character needed to be. There has never been a character that at the beginning of the play I disliked (due to his arrogance and mistreatment of other characters) but at the end of the production, he had all my sympathy and affection. This is the mark of an extremely talented performer as he can manipulate the audiences feeling to whatever the actor wants. He is very professional and had the audience laughing throughout. I do wish that this character was given more songs to perform as when he did, his voice was beautiful to listen to.
Another excellent performance was by Cezarah Bonner who played the Kings first wife who delivered this role with a heightened sense of status and regality which worked excellently with this role. She also managed to balance the softer and more relatable side of the character with ease. A standout moment for this character was the song ‘Something Wonderful’ which was performed excellently and showcased the talent and vocal ability of Cezarah.
In conclusion, the King and I was a beautifully performed production that harks back to the theatre of yesteryear. This is a show for people who enjoy a more classical side of theatre and/or are fans of the original movie. It is a show for a more mature audience due to the nature of the show and the issues it deals with. Also, they were scenes in the show that were throwbacks to the film, and you could see the divide of people who have seen the original film and those who have not by the vigour of their reaction. A more contemporary and modern viewer it will be at times hard to watch. But despite all this, it was still a beautiful and stunning performance to watch with every member of the cast working extremely hard with the level of skill and performance of every person clearly on show. I would rate this performance as 3 out of 5 stars!
The Alexandra, Birmingham – until Saturday 11 January 2020, then Nationwide
Reviewed by Joanne Hodge
5*****
Let me start by saying that I’m scared of the dark. Terrified. So much so, that as I and my companion walked up to theatre, and noticed the flickering signs – intentional, or something more sinister? – they asked if it was a good idea to go on!
My fear, I think, stems from the fact that I was allowed to watch age-inappropriate horror movies as a child. I still watch them now – slightly like self torture.
Ghost Stories, written – from seemingly twisted imaginations – by Jeremy Dyson and Andy Nyman, begins it’s first nationwide tour at The Alexandra, some ten years after it’s creation. It’s previous success led to a film adaptation of the script with a somewhat stellar cast, so expectations were high. I wasn’t disappointed.
The show is a total immersive experience, even the theatre foyer and bar were adorned with crime scene tap, eerie lighting and random chalked numbers littered around the walls and mirrors. You didn’t know why, but it already set your senses on edge.
It’s advised the show is not suitable for those under the age of 15, and I would add to that that if you’re of a nervous disposition, STAY AWAY! The anxiety and anticipation is heightened but the fact that warnings are given that latecomers need not bother to enter, and that if leaving the auditorium – even for an emergency toilet trip (I thought I might need several after many squeaky bum moments!) – you will not be allowed to re-enter.
The story revolves a narrative from Professor of Parapsychology, Phillip Goodman, played by Joshua Higgott. He takes us through a roller coaster of emotions as he guides us through three ‘ghost stories’, involving night-watchman Tony (Paul Hawkyard), teenager testing the boundaries Simon (Gus Gordon) and city-slicker Mike (the brilliant Richard Sutton), with all three adding some much needed moments of humour and light.
I can’t really say much else about the plot – those attending are asked not to, so as not to spoilt experience for those yet to se the show. What I will say however, is that if you enjoy the twist of an M. Night Shyamalan film, you’ll LOVE this.
Those eighties horror films of my youth were all brought back to me with some genuinely shocking and blood-curling moments. The experience shakes all of your senses, pushing you both toward the edge of your seat and back in toward the person next to you – whether you know them or not – as scenes change from set to set, dark to light and back again.
Design (Jon Bauser), lighting (James Farncombe) and sound (Nick Manning) have to be blamed for making these such a terrifying experience – and I say that in absolute awe of their work. Scott Penrose’s special effects also deserve mention in creating a show where you become part of the ensemble.
I thoroughly enjoyed Ghost Stories – even if it made driving at home late at night somewhat spookier. Should you see it? I’d say go and have a look if you think you’re brave enough!
The Phil Willmott Company’s Essential Classics Season 2020, celebrating the 75th anniversary of V.E. Day, opens with a stirring adaptation of Tom Brown’s School Days. Set 100 years after the original novel, Thomas Hughes’ story doesn’t need much tweaking, as the traditions and unwritten rules of public schoolboys don’t evolve quickly.
Reuben Speed’s deceptively simple set captures the stuffy atmosphere of boarding school dorms and offices, and the cast’s glorious renditions of hymns and well-chosen early 20th century songs evokes a nostalgic glow and memories of school assemblies.
With most of the staff fighting in the war, Rugby’s masters are the men medically unfit to fight, or the walking wounded. The radical Dr Arnold has arrived as the new headmaster and his ideas don’t sit well with some of the staff, especially the raptor-like Grimstead (Toby Wynn-Davies). James Horne is stern and steely, but with a definite twinkle in his eye as Arnold, determined that the mistakes of the last war will never be repeated and on a mission to ensure that the boys leave the school morally fit to be leaders.
Unfortunately for new boy Tom Brown, this new ideal hasn’t affected the way in which Flashman and his cronies treat the younger boys, and Tom’s good-heartedness and refusal to comply with the bullies’ demands make him a prime target. Hudson Brown is delightful as Tom, wide-eyed and boisterously enthusiastic, and his 4th year pals are a real hoot when they are onstage together. Alex McKeon’s odious Flashman seems to be always lurking, watching for signs of weakness before he sets his cronies upon his victim with sneering viciousness. When Tom finally hits back, it’s hard not to jump up and cheer.
The violence is mostly offstage or happening behind a jostling group of boys, but this enhances the impact of such random cruelty, and Dr Arnold’s canings are wince inducingly convincing.
The theme of the school moulding boys into morally upright, fair and honest leaders with eternal bonds of friendship does elicit a few groans from the audience in today’s political climate, but the stiff upper lip goodness of the young boys is infectious, and there is lots of light comedy (mostly from Ursula Mohan’s hilarious salt-of-the-earth servant Sally) before we see the young men eventually leave school to fly, and probably die, together in the Battle of Britain. Phil Willmott has given this classic new life – a charming and dynamic start to the season.
GRAND OPERA HOUSE, YORK AND CITY OF YORK COUNCIL PARTNER TO OFFER STUDENTS
£5* TICKETS FOR ‘ONCE’
Grand Opera House York and City of York Council are offering anyone aged 26 and under £5 tickets to see the acclaimed Broadway and West End production of ONCE.
Based on the critically acclaimed and much-loved film, Once tells the uplifting yet yearning story of two lost souls – a Dublin street busker and a Czech musician – who unexpectedly fall in love. Following their relationship across five short days, big changes happen to both of them in little ways. Celebrated for its original score including the Academy Award-winning song Falling Slowly, Once is a spell-binding and uplifting story of hopes and dreams.
Once embarks on its first major UK tour after acclaimed runs on Broadway and in the West End, and having won awards across the world including the Academy Award for Best Original Song, a Grammy for Best Musical Theatre Album, eight Tony Awards and an Olivier Award for Outstanding Achievement in Music.
To book go to: https://www.atgtickets.com/sho…/once/grand-opera-house-york/ Code: ONCE5
Show runs Tuesday 21 January to Sunday 26 January 2020
Multi award-winning theatre company Mischief Theatre is returning to Storyhouse in Chester this January with new show, Peter Pan Goes Wrong.
Mischief Theatre have already wowed Storyhouse audiences twice before with smash-hit shows, The Play That Goes Wrong and The Comedy About A Bank Robbery. And now the team are delighted play the Chester venue for a third time with yet another top show.
Peter Pan Goes Wrong comes to Storyhouse from Tuesday 21 January to Sunday 26 January 2020 for eight performances, including three matinees. Tickets are on sale.
The touring cast for Peter Pan Goes Wrong are Romayne Andrews (Dennis), Tom Babbage (Max), Georgia Bradley (Lucy), Connor Crawford (Chris), Katy Daghorn (Sandra), Phoebe Ellabani (Annie), Ciaran Kellgren (Jonathan), Ethan Moorhouse (Trevor), Oliver Senton (Robert), and Patrick Warner (Francis), with understudies Eboni Dixon, Christian James, Soroosh Lavasani and Ava Pickett.
Co-written by Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry Shields, Peter Pan Goes Wrongis a highly physical comedy packed with finely tuned farce and Buster Keaton-inspired slapstick, delivered with split-second timing and ambitious daring. The play sees the ‘Cornley Polytechnic Drama Society’ back on stage battling technical hitches, flying mishaps, and cast disputes as they attempt to present JM Barrie’s much-loved tale. But will they ever make it to Neverland?
Nominated for an Olivier Award for ‘Best New Comedy’ in 2016, Peter Pan Goes Wrong has enjoyed two West End seasons, a tour of Australia and New Zealand, and a UK tour. A one-hour version of the show was broadcast on primetime BBC One in December 2016, starring David Suchet as the guest narrator and was watched by an audience of over six million worldwide.
Peter Pan Goes Wrong is directed by Adam Meggido, with set designs by Simon Scullion, costumes by Roberto Surace, lighting by Matt Haskins, sound by Ella Wahlstrom, co-composed by Richard Baker and Rob Falconer, associate director Fred Gray.
Peter Pan Goes Wrong is produced by Kenny Wax Ltd and Stage Presence Ltd. A donation from every ticket sold is given to Great Ormond Street Hospital.
Mischief Theatre was founded in 2008 by a group of graduates of The London Academy of Music and Dramatic Art (LAMDA), and began as an improvised comedy group. Mischief Theatre performs across the UK and internationally with improvised and original scripted work.
Current productions include The Play That Goes Wrong which is now booking into its fifth year in the West End at the Duchess Theatre, and also touring the United States and playing Off Broadway, following a two-year run on Broadway and two sold out UK tours. The Comedy About A Bank Robbery is now in its third year in the West End at the Criterion Theatre, and last year enjoyed a nine-month UK tour. Their ‘Mischief Season’, a year-long West End residency at the Vaudeville Theatre premiering three new comedies opened with Groan Ups in September and was followed by Magic Goes Wrong in December. The third production has yet to be revealed.
Mischief is also set to launch a brand new six-part television series for BBC One, The Goes Wrong Show, written and starring the original founding Mischief Theatre members. Mischief Theatre is led by Artistic Director Henry Lewis and Company Director Jonathan Sayer.
Tickets for Peter Pan Goes Wrong are on sale now priced from £19.50. Each ticket is subject to a £1.50 booking fee.
Storyhouse has a dynamic pricing policy on the majority of shows, ensuring the earlier you book your tickets, guarantees the best seats at the lowest price.
TANGRAM THEATRE AND PLEASANCE ANNOUNCE DOUBLE BILL DIRECTED BY
DANIEL GOLDMAN
Tangram Theatre and Pleasance today announce a double bill of UK premières directed by Daniel Goldman in his first return to the London stage since the critically acclaimed Thebes Land (2017 Off West End Award for Best Production).
Goldman renews his collaboration with Thebes Land writer Sergio Blanco for The Rage of Narcissus, which opens on 21 February, with previews from 18 February, and runs until 8 March. This is followed by Aaron Posner’s critically acclaimed Stupid F*cking Bird, which opens on 24 Aprilwith previews from 21 April, and runs until 17 May.
This season will also feature a new ticketing initiative for Pleasance that offers a number of £10 tickets for Under 30s and £5 tickets for Under 25s for each performance, excluding previews.
Daniel Goldman today said “It’s really exciting to be teaming up with Pleasance to bring these two brilliant plays to London. I’ve been talking with Sergio and Aaron for over three years now to make these shows happen and both plays have been hugely successful all over the world so it feels very special to be at the helm of their London and UK premieres. I can’t wait to share them. I think audiences are in for a real treat.”
Daniel Goldman is an award-winning director, translator, playwright and producer. Directing credits include Thebes Land (Arcola Theatre – winner of the 2018 Off West End Award – Best Production), You’re not like the Other Girls Chrissy (co-directed with Omar Elerian, Bush Theatre), Wanawake Wa Heri Wa Windsa (Shakespeare’s Globe Theatre and international tour), Oedipus at Colonus (The Cambridge Greek Play), Frankenstein (Inside Out Theatre, Beijing), and Songs of Friendship with James Rowland (Three Weeks Editors Award). He has been the artistic director of Tangram Theatre Company since 2006 and was the artistic director of CASA Latin American Theatre Festival from 2007 until 2019.
Tangram Theatre and Pleasance present the UK première of
THE RAGE OF NARCISSUS
Written by Sergio Blanco
Translated and directed by Daniel Goldman
Set Designer: Natalie Johnson; Lighting Designer: Richard Williamson
18 February – 8 March
When Sergio arrives in Ljubljana to give a lecture on Narcissus, the first thing he does after checking in to his hotel room is to get on an app and look for someone to have sex with. A few hours later, once Igor has come and gone, Sergio spots a dark brown stain on the floor. Looking closer, he sees that it’s a blood stain. And looking around, he discovers more and more blood stains all over the room.
As he begins to investigate, he gets drawn deeper and deeper into a dark murky world of desire, infatuation and murder.
Perfect material for the new play he’s trying to write – if he can get out of Ljubljana alive.
Described by Sergio himself as the dark side of Thebes Land, The Rage of Narcissus is a fascinating and disturbing journey into the labyrinth of the self and the darkness within us all.
Sergio Blanco is a Franco-Uruguayan playwright and director. His work – which has been translated, published and performed throughout the world – has been awarded the National Playwriting Award of Uruguay, the Playwriting Award of the Municipality of Montevideo, the Prize of the National Fund Theatre, the Florencio Award for Best Playwright, the International Casa de las Americas Prize, an Off West End Award, and The Theatre Award for the Best Text in Greece. His other works include ’45, Slaughter, Opus Sextum,Kassandra, El Salto de Darwin, Tebas Land (Thebes Land), El Bramido de Düsseldorf and his most recent play Cuando pases sobre mi tumba.
Tangram Theatre and Pleasance present the UK première of
STUPID F*CKING BIRD
Written by Aaron Posner
Directed by Daniel Goldman
21 April – 17 May
Forget the seagull. It’s just another stupid f*cking bird.
Con, angry young man and unpublished playwright, is writing a play for his girlfriend Nina. Nina, meanwhile is falling for the renowned author Doyle Trigorin, who happens to be dating Emma, an ex-hollywood star… and Con’s mother. Masha, the family cook, is in love with Con. Dev, Con’s best friend, is in love with Masha. No one is in love with Dev. And Sorn, Emma’s brother and Con’s uncle is very, very lonely.
Oh and of course, there’s a far too easily accessible gun in the house.
In this award winning, irreverent, moving and wonderfully f*cked up adaptation of Chekhov’s The Seagull, US playwright Aaron Posner delves deep to show just how funny and disappointing love, art, and growing up can be— especially when you’re searching for meaning in a ridiculous world that just doesn’t really seem to care.
Aaron Posner is a US playwright and director. He has written and adapted over 20 plays, including Life Sucks, a new family musical called The Gift of Nothing, adaptations of Chaim Potok’s The Chosen and My Name is Asher Lev, Who Am I This Time?(And Other Conundrums of Love), based on short stories by Kurt Vonnegut. He is a founder and former Artistic Director of Philadelphia’s Arden Theatre and has directed at major regional theatres from coast to coast including the Folger Theatre and Milwaukee Rep (he is an Artistic Associate at both), Actor’s Theatre of Louisville, The Alliance, The American Repertory Theatre, Arizona Theatre Company, California Shakespeare Theatre, and Seattle Rep.
Stupid F*cking Bird is supported by Arts Council England and Cockayne Foundation
CASTING ANNOUNCED FOR THE WORLD PREMIERE OF CHLOË MOSS’ RUN SISTER RUN, A CO-PRODUCTION FROM PAINES PLOUGH, SHEFFIELD THEATRES AND SOHO THEATRE
Casting has today been announced for a new play by award-winning playwright Chloë Moss. RUN SISTER RUN, a co-production between Paines Plough, Sheffield Theatres and Soho Theatre, explores the lives of two sisters and the different directions life takes them in as they desperately hold onto their unbreakable bond.
The production is directed by Paines Plough co-Artistic Director Charlotte Bennett and the cast includes: Lucy Ellinson; Helena Lymbery; Lucas Button; Silas Carson. The show will open at Sheffield Theatres on 27 February with a Press Night on 4 March before transferring to Soho Theatre from 25 March with a Press Night on 27 March. The production runs until 2 May. ‘You can’t pick your family but if you could I’d still pick you’
Connie and Ursula are sisters, connected by the same beginning but heading in different directions. Spanning four decades up to the present day, nurture competes with nature as the pair navigate their unbreakable bond. From award-winning playwright Chloë Moss, this story of family, love and dependence asks who gets it right?
Lucy Ellinson’s theatre credits include: MACBETH (Royal Exchange Theatre); TOP GIRLS (National Theatre); JUBILEE (Lyric Hammersmith/Royal Exchange Theatre); KINGDOM COME, A MIDSUMMER NIGHT’S DREAM: PLAY FOR THE NATION (RSC); THE RESISTABLE RISE OF ARTURO UI (Donmar Warehouse); GROUNDED, THE CHRISTIANS, TROJAN WOMEN, TENET (The Gate); WORLD FACTORY (Metis Arts/Young Vic/New Wolsey); MAD MAN (Chris Goode/Theatre Royal Plymouth); Television includes: BRITANNIA; NEW TRICKS.
Helena Lymbery’s theatre credits includes: MR GUM AND THE DANCING BEAR; TREASURE ISLAND; THIS HOUSE; THE CAT IN THE HAT; …SOME TRACE OF HER; WOMEN OF TROY; ATTEMPTS ON HER LIFE; IPHIGENIA AT AULIS; HIS DARK MATERIALS; WICKED YAAR; HENRY V (National Theatre); DEAR ELIZABETH (Gate Theatre); QUEEN MARGARET (Royal Exchange Theatre); PITY; ROUGH CUTS: GOD BLESS THE CHILD; THE LAWS OF WAR (Royal Court); THE WOLVES ARE COMING FOR YOU (Pentabus); HARRY POTTER AND THE CURSED CHILD (West End); WE WANT YOU TO WATCH (RashDash/National Theatre); THE SECRET AGENT (Young Vic/Theatre O); AFTER DIDO (Young Vic/ENO); SLEEPING BEAUTY (Young Vic); COASTING (Bristol Old Vic). Television includes: DOCTOR FOSTER, FATHER BROWN, OLIVER TWIST, ALASTAIR MCGOWAN’S BIG IMPRESSION, THE INSPECTOR LYNLEY MYSTERIES, THE BILL, NIETTA’S FARM, ORANGES AND LEMONS. Film includes: LONDON ROAD.
Lucas Button’s stage credits include WAR HORSE (UK Tour & National Theatre), THE BUTTERFLY LION (Chichester Festival Theatre), KES (Leeds Playhouse), ALAN, WE THINK YOU SHOULD GET A DOG (New Diorama Theatre), THE WINTERS TALE (English National Opera), PINOCCHIO and A TENDER THING (The Dukes Theatre), THE LOST PALACE (Fuel Theatre and Uninvited Guests) His short film credits include BILLY AND JAKE (Andrew Jonathan Smith).
Silas Carson’s recent theatre credits include: THE CAPTIVE QUEEN (Shakespeare’s Globe); OCCUPATIONAL HAZARD; DRAWING THE LINE (Hampstead Theatre); HALF LIFE (Theatre Royal Bath); A MIDSUMMER NIGHT’S DREAM (Royal & Derngate Northampton); THE PROPHET (Gate Theatre); THE COMEDY OF ERRORS (National Theatre); RUINED; MACBETH (Almeida Theatre); ARABIAN NIGHTS (RSC) MUCH ADO ABOUT NOTHING (Regent’s Park Open Air Theatre). Recent film credits include: THE CORRUPTED; POSTCARDS FROM LONDON; MISS YOU ALREADY. Recent television includes: THE ACCIDENT; SICK OF IT; SILENT WITNESS; TRUST; EASTENDERS; UNFORGOTTEN; INDIAN SUMMERS; THE CASUAL VACANCY; THE ‘C’ WORD; GLUE.
Chloë Moss is an accomplished playwright and screenwriter. Her celebrated play THIS WIDE NIGHT (Clean Break, Soho Theatre, 2008) won the prestigious Susan Smith Blackburn prize and was subsequently produced off-Broadway, starring Edie Falco. She has written numerous other plays including THE GATEKEEPER (Royal Exchange Theatre, 2012), FATAL LIGHT (for Clean Break at Soho Theatre, 2010 and 2011), CATCH (Royal Court Theatre, 2006), and HOW LOVE IS SPELT (Bush Theatre, 2004, and New York’s Summer Play Festival, 2005). She has also written extensively for television, including SIX WIVES (BBC One) and DICKENSIAN (Red Planet Pictures), and written episodes for NEW TRICKS (BBC One), THE SMOKE (Kudos), and PRISONER’S WIVES and THE SECRET DIARY OF A CALL GIRL (Tiger Aspect). She has also written CARE, a single drama for Warp Films and Sky Arts, and an original series SWITCH, co-written with Tim Price, for Touchpaper / ITV2.
Charlotte Bennett directs. She is Joint Artistic Director of Paines Plough. Previously she was Associate Director at Soho Theatre where she led the new writing department, developing artists and commissions and programming the upstairs studio. For Soho she has directed WHITEWASH by Gabriel Bisset-Smith, HAPPY HOUR by Jack Rooke, curated a six-month off-site arts festival in Waltham Forest and led playwriting competition the Verity Bargate Award. Prior to this she was Artistic Director of Forward Theatre Project; an artists’ collective she founded. For Forward Theatre Project she made and directed new plays which toured nationally inspired by working in partnership with different communities around the UK and at venues including National Theatre, York Theatre Royal, Northern Stage, Derby Theatre, Live Theatre and The Lowry. As a freelance director she has worked extensively for Open Clasp Theatre Company, creating new plays inspired by marginalised women in the North-East. She also held the role of Creative Producer for theatre company RashDash where she toured experimental new theatre around the UK.
Set and Costume design by Rosie Elnile, Lighting design is by Zoe Spurr, Composition and Sound Design by Arun Ghosh, Casting by Nadine Rennie CDG and dramaturgy by Sarah Dickenson.
THE OLIVIER AWARD-WINNING “BEST NEW MUSICAL” ENTERS ITS SECOND YEAR IN THE WEST END AND WELCOMES NEW CAST MEMBERS FROM 10 FEBRUARY
New cast members join the West End company of Come From Away from 10 February 2020
Front row l-r: Stuart Hickey, Mark Dugdale (Kevin T/Garth and others), Tarinn Callender (Bob and others)
Back row l-r: Ricardo Castro, Micha Richardson, Matthew Whennell-Clark, Alice Fearn (Beverley/Annette and others), Kate Graham (Diane and others), James Doherty (Claude and others), Sorelle Marsh, Alasdair Harvey (Nick/Doug and others)
Photographer credit: Craig Sugden
As the Olivier Award-winning “Best New Musical” Come From Away enters its second year in the West End, it welcomes new cast members from Monday 10 February 2020. This joyous musical tells the remarkable true story of 7,000 stranded air passengers during the wake of 9/11, and the small town in Newfoundland that welcomed them. Cultures clashed, and nerves ran high, but as uneasiness turned into trust, music soared into the night and gratitude grew into enduring friendships.
On 11 September 2001 the world stopped. On 12 September, their stories moved us all.
The multi award-winning musical continues sold-out, record-breaking engagements on Broadway, in Canada, in Australia and on a 60-city North American Tour. It has recently been announced that a tour of China will commence in Shanghai from May 2020, and a feature film adaptation is in the works.
The new cast of Come From Away in the West End will include Tarinn Callender (Bob and others), James Doherty (Claude and others), Alice Fearn (Beverley/Annette and others) Kate Graham (Diane and others), and Alasdair Harvey (Nick/Doug and others), with Ricardo Castro, Stuart Hickey, Sorelle Marsh, Micha Richardson and Matthew Whennell-Clark.
They join Jenna Boyd (Beulah and others), Mary Doherty (Bonnie and others), Mark Dugdale (taking over the roles of Kevin T/Garth and others), Jonathan Andrew Hume (Kevin J/Ali and others), Harry Morrison (Oz and others), Emma Salvo (Janice and others), Cat Simmons (Hannah and others) and Chiara Baronti, Alexander McMorran and Jennifer Tierney.
Under the Musical Direction of Alan Berry (Keyboard/Accordion/Harmonium), the band includes Matt Bashford (Whistles/Irish Flute/Uilleann Pipes), Aoife Ní Bhriain (Fiddle), Oli Briant (Electric, Acoustic and Nylon Guitars), Ray Fean (Bodhrán/Percussion), Joey Grant (Electric Bass/Acoustic Bass), Justin Quinn (Acoustic Guitar/Mandolins/Bazouki) and Ian Whitehead (Drums/Percussion).
Come From Away features a book, music and lyrics by Irene Sankoff and David Hein and is directed by Christopher Ashley, with musical staging by Kelly Devine, music supervision and arrangements by Ian Eisendrath, scenic design by Beowulf Boritt, costume design by Toni-Leslie James, lighting design by Howell Binkley, sound design by Gareth Owen, hair design by David Brian Brown, orchestrations by August Eriksmoen, and casting by Pippa Ailion CDG and Natalie Gallacher CDG.
In addition to winning 4 Olivier Awards (London) including “Best New Musical”, Come From Away has scooped multiple awards all across North America: the Tony Award for “Best Direction of a Musical”, 5 Outer Critics Circle Awards (NYC) including “Outstanding New Broadway Musical”, 3 Drama Desk Awards (NYC) including “Outstanding Musical”, 4 Helen Hayes Awards (Washington DC) including “Outstanding Production of a Musical”, 4 Los Angeles Drama Critics’ Circle Awards, 4 Gypsy Rose Lee Awards (Seattle) including “Excellence in Production of a Musical”, 6 San Diego Critics Circle Awards including “Outstanding New Musical”, 3 Toronto Theatre Critics Awards including “Best New Musical”, 3 Dora Awards (Toronto) including “Outstanding New Musical/Opera” and “Outstanding Production”, and the 2017 Jon Kaplan Audience Choice Award (Toronto).
Come From Away was originally co-produced in 2015 by La Jolla Playhouse and Seattle Repertory Theatre, and presented in 2016 by Ford’s Theatre in Washington DC and Mirvish Productions at the Royal Alexandra Theatre in Toronto, Canada, all in partnership with Junkyard Dog Productions. Come From Away (NAMT Festival 2013) was originally developed at the Canadian Music Theatre Project, Michael Rubinoff Producer, Sheridan College in Oakville, Ontario, Canada, and was further developed at Goodspeed Musicals’ Festival of New Artists, in East Haddam CT. The Canada Council for the Arts, the Ontario Arts Council and the 5th Avenue Theatre in Seattle WA also provided development support.
Come From Away is produced in the UK by Junkyard Dog Productions and Smith & Brant Theatricals. The European premiere of Come From Away was co-produced with the Abbey Theatre, Ireland’s National Theatre.
