As Christmas approaches, it is vital that we ensure our theatres continue to be safe environments to visit and work in.
In light of the latest UK Government advice, we ask theatregoers to play their part in taking responsibility for their own and others’ safety by wearing face coverings throughout our buildings unless exempt (or whilst actively eating and drinking). We also ask that audiences respect our Front of House staff, who are working tirelessly to ensure that theatres are a welcoming place for all.
At such a crucial time of year for the long-term health and financial security of our sector, theatres need to be able to remain open to full houses over the festive period.
Rigorous testing regimes and backstage protocols continue to be in place for theatre staff and performers, to allow the show to go on and to preserve the livelihood of our workforce after such a challenging two years.
The See it Safely mark, developed by SOLT & UK Theatre and displayed by venues across the UK, gives audiences confidence that a theatre is operating in accordance with the latest Government guidelines.
See it Safely measures include enhanced cleaning, contactless ticketing and security checks, face coverings and the ability to exchange tickets if unable to attend due to Covid. In line with the Health Secretary’s latest recommendations, audience members are also encouraged to take a rapid lateral flow test before attending a performance.
Without Government legislation it is extremely difficult to enforce the mandatory wearing of face coverings across the theatre industry – individual venues will make their own decisions regarding face coverings as a condition of entry (as is their right), and will ask their audiences to respect this.
BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044
Artistic Director, Paul Hart, today announces full casting for the world premiere of SPIKE, a new comedy by Ian Hislop and Nick Newman. The title role will be played by Olivier Award-winning actor John Dagleish, with Stephen Fry voicing the BBC Announcer at The Watermill from Thursday 27 January – Saturday 5 March.
“I’m not acting crazy. I’m the genuine article.”
It’s the booming fifties, and Britain is in the clutches of Goon mania as men, women and children across the country scramble to get their ear to a wireless for another instalment of The Goon Show. While Harry Secombe and Peter Sellers get down to the serious business of becoming overnight celebrities, fellow Goon and chief writer Spike finds himself pushing the boundaries of comedy, and testing the patience of the BBC.
Flanked by his fellow Goons and bolstered by the efforts of irrepressible sound assistant Janet, Spike takes a flourishing nosedive off the cliffs of respectability, and mashes up his haunted past to create the comedy of the future.
Will Spike’s dogged obsession with finding the funny elevate The Goons to soaring new heights, or will the whole thing come crashing down with the stroke of a potato peeler?
Olivier Award-winning actor John Dagleish (Sunny Afternoon, Lark Rise to Candleford, A Christmas Carol) has been cast as ‘Spike Milligan’. TV comedienne Margaret Cabourn-Smith (Motherland, Miranda, Buffering) will star as ‘Janet’ with Stephen Fry voicing the ‘BBC Announcer’. They will be joined by George Kemp (recently seen in Bridgerton, and soon to star in Amazon’s Call My Agent) as ‘Peter Sellers’, Jeremy Lloyd (The Comedy About a Bank Robbery, Trial by Laughter) as ‘Harry Secombe’, James Mack (The Watermill’s TheHound of the Baskervilles, The Rivals, Macbeth and Journey’s End) as ‘Denis Main-Wilson / Peter Eton’, Ellie Morris (The Play That Goes Wrong, Mischief Movie Night, The Comedy About A Bank Robbery for Mischief Theatre company) playing ‘June’ and Robert Mountford (The Habit of Art, The Haunting of Alice Bowles for Original Theatre Company, House and Garden for The Watermill) as ‘BBC Executive’.
SPIKE will be directed by Watermill Artistic Director Paul Hart, with design by Katie Lias, lighting design by Rory Beaton. The Composer is Tayo Akinbode with sound design by Tom Marshall, Ruth Sullivan is the Foley Sound Consultant. Anjali Mehra is Movement Director and Robert Kirby is the Associate Director. The stage management team consists of Alice Barber as DSM, with Natalie Toney and Natalia Kheldouni as ASMs.
Ian Hislop and Nick Newman said, “Writing Spike gave us the opportunity to celebrate the genius of the founding father of modern comedy, explore what inspired him and steal all his jokes”.
Paul Hart Artistic Director at The Watermill said, “It’s been great to work with Ian and Nick on this homage to one of the most iconic voices in modern comedy. The play will commemorate twenty years since his death (he’s still ill then??) and will be equally good fun to those who know the Goons and to audiences who are new to Spike’s distinctive brand of humour. And how we all need a laugh at the moment!”
The Watermill remains committed to the safety of audiences, actors and staff and has a series of measures in place to help control the risk of Covid-19. Audiences are asked to wear face coverings and observe distancing where possible. Enhanced cleaning procedures, including regular fogging of the auditorium, and an efficient ventilation system supplying conditioned and filtered fresh air also remain in place.
To help audiences to book with confidence, The Watermill operates a flexible booking policy. In the event that their booking is affected by Covid-19, audience members will be offered a ticket exchange, account credit or refund.
BRING IT ON THE MUSICAL stars musical theatre and TV star Amber Davies as ‘Campbell’ and four-time Olympic medallist Louis Smith as ‘Cameron’. The show opens at the Southbank Centre’s Queen Elizabeth Hall, London on Wednesday 8 December 2021, following performances at Peterborough New Theatre and ahead of a UK tour in 2022.
Inspired by the 2000 film of the same name, BRING IT ON THE MUSICAL features an original score by the multi award winning creator of “Hamilton”, Lin-Manuel Miranda and Pulitzer Prize winning Tom Kitt, composer of “Next To Normal”. The book is written by the Tony Award winning writer of “Avenue Q”, Jeff Whitty and the lyrics are by both Lin-Manuel Miranda and writer of the stage adaptation of “High Fidelity”, Amanda Green.
BRING IT ON THE MUSICAL is directed by Guy Unsworth (he/him) and choreographed by Fabian Aloise (he/him), with set design by Libby Watson (she/her), costume design by Susan Kulkarni (she/her), lighting design by Matt Daw, sound design by Ross Portway, music supervision by Mark Crossland (he/him), musical direction by Sarah Burrell (she/her)and the dialect coach is Aundrea Fudge. Casting is by Sarah-Jane Price and the casting consultants from the transgender theatre community are Tigger Blaize (he/him)and Harrison Knights (he/him).
BRING IT ON THE MUSICAL takes audiences on a high-flying, energy-fuelled journey which tackles friendship, jealousy, betrayal and forgiveness – wrapped up in explosive choreography and tricks.
Cheer-royalty and newly crowned Squad Captain, Campbell, should be embarking on her most cheertastic senior year at Truman High School. When she’s forced to move to the neighbouring hard-knock Jackson High, Campbell fears her life is over. But an unlikely friendship catapults Campbell back into contention with a powerhouse squad and the fire to achieve the impossible.
BRING IT ON THE MUSICAL is produced by Selladoor Worldwide, has a libretto by Jeff Whitty, a score by Tom Kitt and Lin-Manuel Miranda lyrics by Amanda Green and Lin-Manuel Miranda. BRING IT ON THE MUSICAL is inspired by the motion picture Bring It On written by Jessica Bendinger. Performed by arrangement with Music Theatre International (Europe) Limited.
BOLD PLAYS, CLASSIC DRAMA AND A SORT OF MUSICAL REVEALED FOR 2022
For the first time the Royal Exchange Theatre reveals a programme of work that spans 12 months. An inspiring mix of bold contemporary plays, new writing and cast-iron classics, this programme is a celebration of the unique experience of making theatre and watching live stories unfold in a space as distinctive as the Royal Exchange’s in-the-round theatre. Embracing the energy and power of award-winning, established and new-generation theatre artists, Joint Artistic Directors Roy Alexander Weise and Bryony Shanahan have shaped a year of theatre that journeys through domestic settings to science fiction and cult-classics, culminating in a brand-new sort of musical from Maxine Peake, Seiriol Davies and Sarah Frankcom. Full of joy, sharp wit and inventive thinking this programme galvanises us all to dream big, share stories and have fun.
Royal Exchange Joint Artistic Director Bryony Shanahan opens the programme with a brand-new production of Stef Smith’s NORA: A DOLLS HOUSE, a searing adaptation of Henrik Ibsen’s 1879 A DOLL’S HOUSE. Three distinct and remarkable Noras illuminate this cleverly distilled play by one of the UKs most exciting contemporary playwrights. Together these women shape, change and define the future for themselves and for all those who come after. Spanning 100 years of women’s liberation from voting rights to contraception and modern-day life this is a muscular domestic thriller that packs a punch – a battle cry, a roar, a ripple of hope. Award-winning Stef Smith (ENOUGH, HUMAN ANIMALS) makes her Exchange debut with this deftly beautiful play originally seen at the Citizens Theatre in 2019. Following her uplifting production of BLOODY ELLE – A GIG MUSICAL that reopened the theatre, Bryony Shanahan delivers her vision of this gripping story of female empowerment. NORA: A DOLLS HOUSE runs from 4 Mar – 2 Apr 2022.
Winner of the 2017 Bruntwood Prize Judges’ Award Tim Foley’s ELECTRIC ROSARY is a funny and moving exploration of faith and humanity. The Sisters of St Grace are dwindling in numbers, divine inspiration is at an all-time low and a council-funded robot-nun has just been invited to join their convent. Set in a time where nuns are scarce and robots are commonplace, this new play explores how artificial intelligence influences what we choose to believe in. Directed by Jaz Woodcock-Stewart (CIVILISATION, GULLIVER’S TRAVELS) ELECTRIC ROSARY sees the world of prayers and hymns collide with that of glitching and binary. Sharply funny, Tim Foley’s (ASTRONAUTS OF HARTLEPOOL) acutely observed play places questions of faith, spirituality and humanity alongside technological advancement and a robotic future. 2017 Prize judge Russell T Davies said…. “I love this play, it’s a such radical mix of ancient and modern, old traditions colliding with brand new technology. And for a piece which could sound experimental – it’s got a robot nun! – the writing is actually tender, honest and insightful. It’s a beautiful examination of faith, no matter what you believe in.” ELECTRIC ROSARY can be seen in from 23 Apr – 14 May2022.
HAIR, WIGS AND WAKE-UP: A commitment to care for afro & multitextured hair, is the latest digital project from the Royal Exchange Theatre. Following consultations with performers the Exchange reschooled their thought process on how best to serve multi-textured hair types. The result is a brand-new series of short educational films created by the Exchange’s Wigs, Hair and Make-up Lead Joanna Shepstone and Consultant Hair Stylist and Co-creator Gege Uboma of The Afro Curly Hair Coach. These two exceptional hair professionals have joined forces, sharing knowledge, skills and a passion for excellent hair care to create eight films designed to contribute to and enhance the knowledge of theatrical wigs & hair care for performers with afro and multi-textured hair. These films will be free to access via the Exchange’s website and social platforms from April 2022.
A portrait of celebrated actor Ira Aldridge was the very first art work purchased by Manchester Art Gallery in 1827. Now, in 2022, Royal Exchange Joint Artistic Director Roy Alexander Weise brings his extraordinary story to the Manchester stage in a brand-new production of Lolita Chakrabarti’s (HYMN, LIFE OF PI) award-winning RED VELVET. This powerful play explores the far-reaching social repercussions of Aldridge’s infamous performance, a seminal moment in theatrical and social history. As riots took place in the streets of London over the Abolition of Slavery, a young and revolutionary African American actor – Ira Aldridge – stepped into Covent Garden to fill the shoes of London’s greatest actor Edmund Kean. Ira’s Othello was radical, his craft was progressive and his movements were shockingly ‘real’ – it was unlike anything London had ever seen. But when he passionately grabs his Desdemona it’s not just his radical technique that his fellow actors and London critics choose to seize upon. Following his critically acclaimed production of THE MOUNATINTOP, Roy Alexander Weise brings a new intimacy to this stunning play, celebrating Ira’s incredible life and extraordinary contribution to theatre. RED VELVET runs from 27 May – 25 Jun 2022.
THE DEN IN CHEETHAM HILL – Mirroring the spaceship like theatre found in the city centre THE DEN is the Royal Exchange’s sustainable mobile theatre which will be ‘popping-up’ in Cheetham Hill this July. Programmed by the Cheetham Hill Ambassadors in partnership with the Royal Exchange this beautiful wooden and canvas theatre will be home to a multitude of projects from community plays to workshops, readings, family events and so much more. The Den forms an integral part of the LOCAL EXCHANGE programme which is supported by The Oglesby Charitable Trust and the Esmée Fairbairn Foundation.
THE GLASS MENAGERIE is Tennessee Williams’ poetic and bruising portrayal of a family on the brink of change. Award-winning director Atri Banerjee (HARM) returns to the Exchange following his acclaimed production of HOBSON’S CHOICE. Tennessee Williams’ semi-autobiographical memory play pulls apart the complex dynamics of an oppressive family life, and shows how unpredictable, painful and volatile memory can be. Tom remembers; he recalls his mother Amanda, his sister Laura and the overwhelming responsibility of family ties that bind you for life. But memory is fragile and the clarity of truth and recollection is clouded over time. This intimate classic is given a fresh perspective by director Atri Banerjee and runs in the theatre from 2 Sep – 8 Oct 2022.
Enchanting and brutal, chilling and beautiful Jack Thorne’s (HIS DARK MATERIALS, HARRY POTTER AND THE CURSED CHILD) adaptation of John Ajvide Lindqvist cult novel LET THE RIGHT ONE IN finds a new home on the unique stage of the Royal Exchange Theatre. In a world where adults are failing them, two teenage outsiders are drawn to each other. One a bullied, isolated teenage boy, the other a feral, lonely and dangerous vampire. And so begins a chilling and unlikely friendship. Separated by centuries and rejected by society they find salvation in each other. This unforgettable vampire story has gained cult status across the world, it is a sharp and reflective coming-of-age story that asks its audience to recognise and value the humanity in us all. LET THE RIGHT ONE IN is directed by Royal Exchange Joint Artistic Director Bryony Shanahan and runs from 22 Oct – 19 Nov 2022.
THE BRUNTWOOD PRIZE FOR PLAYWRITING, created in partnership with Bruntwood and The Oglesby Charitable Trust, is back. Submissions will open in January 2022 before closing on 6th June. Established writers and those who may never have written a play are encouraged to submit through an anonymous judging process, meaning each entry is judged on its own merit. Those looking to try their hand at playwriting ahead of submissions opening can find a wealth of free resources on the writeaplay website, including hugely popular online workshops from some of the industry’s top professionals. Further details – including the 2022 prize categories and the announcement of the judging panel – will be released in January.
BETTY! A SORT OF MUSICAL is brand-new, written by and starring Maxine Peake and Seiriol Davies and directed by former Royal Exchange Artistic Director Sarah Frankcom. In a small village hall, The Dewsbury Players (Yorkshire’s most passionate, dedicated and inventive amateur-dramatics society), have come together to celebrate their most eminent local hero, Dewsbury-born Betty Boothroyd, the first female Speaker of the House. Meredith, her daughter Angela, four equally devoted women (and Calvin), are ready to create the most awesome musical Yorkshire has ever seen! Emboldened by their heroine’s indefatigable tenacity, this amateur group prove themselves to be extraordinary women on and off stage. The award-winning writer, performer and composer Seiriol Davies (HOW TO WIN AGAINST HISTORY) joins forces with the brilliant creative partnership of Maxine Peake and Sarah Frankcom (THE SKRIKER, HAPPY DAYS, THE LAST TESTAMENT OF LILLIAN BILOCCA, THE NICO PROJECT) who have developed some of Manchester’s most original theatre productions. At a time when everything seems so polarised, BETTY is a celebration of the human spirit, a joyful and uplifting reflection of the gumption, bravery and strength it takes to speak out. For the Dewsbury Players it is a tribute to the unexpected rewards that can come from thinking outside of the dispatch box. BETTY! A SORT OF MUSICAL runs from 3 December 2022 – 14 January 2023.
The Royal Exchange Theatre’s DISRVPT programme – a series of special events curated by Joint Artistic Directors Bryony Shanahan and Roy Alexander Weise that seek to disrupt the equilibrium of the Exchange’s Great Hall – will continue throughout the year including another event sponsored by WarnerMedia in Autumn 2022.
The Exchange’s resident award-winning companies – the Young Company and Elders Company – will continue to make, shape and develop work across the year to be seen in the theatre, in the Den and across Greater Manchester. THE DREAM PROJECT, currently under development, will form an integral part of Elders programme next year. This exciting new project led by award-wining theatre artist Cheryl Martin, is for older African and African Caribbean Diaspora people from Greater Manchester who want to tell their story. Following on from the success of the Young Company’s show THE SURVIVORS GUIDE TO LIVING director, and Young Company alumni, Anna Berenzten returns to direct an epic summer production.
Artistic Directors Bryony Shanahan and Roy Alexander Weise said …
“What we love about this programme of work is that it’s hard to stick it in a box. We wanted to shape a year that really did have something for everyone, to create as many opportunities as possible for audiences across Greater Manchester to come and experience incredible plays. These productions are a celebration of how expansive and universal theatre can be, how joy and laughter sit right next to gut-wrenching emotion – and the fact that we all get to share this rollercoaster of a journey together can never be underestimated again after the last 18months.
We are thrilled to bring a brilliant team of artists together to work on huge, time-honoured stories like Ibsen’s THE DOLLS HOUSE and Tennessee Williams’ THE GLASS MENAGERIE and to see what fresh perspectives contemporary artists – Stef Smith, Atri Banerjee, the two of us – can find for today in these epic plays. At the Exchange we have always championed new writing so we cannot wait to bring Tim Foley’s Bruntwood play about robots and nuns to the stage, along with a truly original new sort-of musical inspired by Betty Boothroyd, from Maxine, Seiriol and Sarah.
This programme is about everyone finding something for themselves, it smashes together the old and the new so that we make something fresh that is reflective and relevant to our world today. It is an opportunity for us all to share stories, perspectives and just experience something incredibly special, together. What we all need is a little entertainment, and we hope that the next 12 months at the Exchange will bring just that.”
Bristol Hippodrome are delighted to announce Craig Revel Horwood will star in next year’s pantomime Cinderella which will run from 2 to 31 December 2022.
Craig has become a household name having appeared as a Judge on all 19 series of the hit BBC One entertainment show Strictly Come Dancing. He has also appeared in many West End musicals including Miss Saigon and Crazy For You. After many years, he returned to the West End starring as Miss Hannigan in Annie, which also successfully toured around the UK twice. As well as musicals Craig has wowed audiences in many pantomimes over the years and has worked as a director and choreographer on many productions.
Before Cinderella, Craig can be seen touring the UK in his new one man show All Balls and Glitter.
Packed with all of the traditional pantomime ingredients audiences expect, Cinderella features laugh out loud comedy, stunning scenery, beautiful costumes and plenty of boos and hisses. Join Cinders as she goes from rags to riches, outwits her very wicked sisters and meets her dashing Prince Charming. You shall go to the ball next Christmas with the spectacular family pantomime Cinderella. The clock is ticking, so book your tickets now!
Ben Phillips, The Bristol Hippodromes Theatre Director says ” I am thrilled that the classic and well-loved tale, Cinderella will be our 2022 pantomime. I am confident there will be something for everyone to enjoy and our audiences will be delighted and dazzled next year by this festive treat.”
Tickets for this year’s magical pantomime Snow White and the Seven Dwarfs starring Lesley Joseph, Rob Rinder and Andy Ford are selling fast. Book your tickets now from www.atgtickets.com/shows/cinderella/bristol-hippodrome/
ETT (English Touring Theatre) today announces that Peter Holland joins the company as Producer, having most recently worked as the producer at Frantic Assembly. He takes up the role from January 2022. He joins the organisation alongside Richard Twyman, Artistic Director & Sophie Scull, Executive Producer.
Peter Holland said, “I am delighted to be joining Richard Twyman, Sophie Scull and the team at ETT. Touring theatre is the lifeblood to venues across the UK and I’m excited to be working with a company who work and partner with so many organisations across the country and internationally to commission and produce empowering and quality work. I’ve long admired ETT’s variety of productions within their programme and I look forward to getting started in the New Year.”
Richard Twyman, Artistic Director, and Sophie Scull, Executive Producer of ETT also commented, “Peter brings to the role of Producer a wealth of knowledge of the touring sector and a commitment to equality and inclusion, principles that sit at the centre of ETT’s work. As we continue to expand the work we make and the audiences we make it for, Peter’s talent and experience will be invaluable and we look forward to welcoming him to the team.”
Peter Holland is currently the producer at internationally renowned physical theatre company Frantic Assembly where recent credits include Anna Jordan’s The Unreturning and their 25th Anniversary commission of Sally Abbott’s I Think We Are Alone co-directed by Kathy Burke and Scott Graham. During a furlough period with Frantic Assembly he developed a new gig musical with writer/performer Lauryn Redding and co-commissioned Bloody Elle – a gig musical which subsequently reopened the Royal Exchange Theatre, Manchester in May – with his own company Rebel Productions. Prior to Frantic Assembly he worked as Producer for the Lyric Hammersmith under the artistic leadership of Sean Holmes, and before this as the General Manager of commercial touring company, Birmingham Stage Company.
King’s Theatre, Edinburgh – until Sunday 16th January2022
Reviewed by Ellen Searle
5*****
We all know the story of Sleeping Beauty, the question was, what would the ultra talented Edinburgh King’s pantomime team do with it for the 2021 pantomime? And the answer is, once again, provide stonkingly good entertainment of the highest order.
Grant Stott and Alan Stewart are the familiar faces behind the annual extravaganza of festive silliness and mayhem, and what they and the team present would lift the spirits of the grounchiest Christmas grinch – laughs galore, double entendres, uplifting pop tunes, full cast dance routines, festive sparkle, dramatic stunts and props, and a host of fabulous costumes that would leave the Strictly stars in their finest looking like a wet Sunday afternoon by comparison.
As has become the tradition, Allan Stewart is our naughty pantomime dame, this time playing Queen Aunty May, with as much warmth as cheek. As we have come to expect, Grant Stott takes on the role of the baddie with gusto, camping it up to the max as the queen’s evil twin sister Carabosse. With the sad loss earlier this year of the third part of the trio, ‘King Andy’ Gray, Jordan Young plays Muddles, the court jester and true love of Beauty. They are huge shoes to fill, but he does so with superb energy and expertise. For the many in the audience who have so enjoyed Andy Gray’s panto performances over the year, the appearance of Andy Gray’s daughter, Clare Gray as Carabosse’s daughter, Princess Narcissa, is a real pleasure. Her looks and mannerisms echo those of her father, and he would surely be proud to see her substantial comedic talents entertaining many of those same theatre goers that he did. Sia Dauda and Nicola Meehan impress as Beauty and the Good Fairy respectively, showcasing first class vocal talents.
The stars are supported by a great ensemble of dancers, marvellous writing by Alan McHugh as well as Allan Stewart and Grant Stott, and bewitching set design, lighting and effects, all under the guiding hand of director Ed Curtis.
Panto at the King’s is more than a theatre show. It is an annual festive get together of Edinburgh families, a joyful celebration of the more down to earth culture of the city, from its football teams to its less salubrious neighbourhoods. It is excellent theatre, consummately professional, but not lofty. Rather it is about ‘we’, a shared experience of time and place, with in jokes, knowing looks and gestures from the stage, and the fourth wall well and truly broken. What makes the whole thing work so very well is the outstanding comic timing and very special chemistry of the main stars, which fills the entire theatre and is truly a delight to be part of.
If you think you don’t like panto, think again – and get a ticket, now!
BRIDGERTON STAR PHOEBE DYNEVOR AND STEPHEN FRY NARRATE
SLEEPING BEAUTY, EXCLUSIVELY ON AUDIBLE
Tale accompanied by a London Symphony Orchestra soundtrack
2nd December 2021, London. Audible, a world-wide leader in spoken-word entertainment, has today launched its reimagining of family favourite Sleeping Beauty, performed by Bridgerton star Phoebe Dynevor and actor, broadcaster and author Stephen Fry.
Dynevor and Fry are joined on the audio drama by Adam Hugill (1917, The Watch), Rochenda Sandall (Line of Duty, Small Axe) and a full voice cast, with musical accompaniment from the London Symphony Orchestra.
Released exclusively on Audible, Marty Ross’ adaptation of the beloved fairy tale introduces listeners to King Lothar (Fry) who, lacking an heir, brings home a baby girl called Aurora (Dynevor) to raise as his own. Aurora grows up to be a beautiful, free-spirited young woman but danger lies ahead as her mother (Sandall) takes revenge on the king by casting a terrible curse on the princess. As the kingdom is plunged into an enchanted slumber, woodcutter’s son Peter must set out on a perilous quest to rescue his true love Aurora and break the curse.
Phoebe Dynevor said: “As an actor, you are so used to working on every element of a character, from their characteristics, their movements, traits, expressions. Having just your voice to convey every motion for the listener was a brilliant learning experience, a welcomed challenge and I thoroughly enjoyed working with the team on this project – especially having grown up with the story of Sleeping Beauty.”
Audible’s Sleeping Beauty has been created in collaboration with the London Symphony Orchestra, with their musical performance, inspired by Tchaikovsky’s classic ballet score, creating a unique listening experience for all the family to enjoy over the festive season.
Kathryn McDowell CBE DL, Managing Director London Symphony Orchestra said: “The LSO is delighted to have been a part of this wonderful project, recorded at LSO St Luke’s in August of this year. One of Tchaikovsky’s much-loved ballet masterpieces, and one of the great fairy-tales, narrated by Stephen Fry and Phoebe Dynevor. What a perfect seasonal treat.”
Sleeping Beauty joins a host of family classics on Audible performed by world class talent, including: A Christmas Carol by Charles Dickens, narrated by Hugh Grant; Little Women by Louisa May Alcott, narrated by Laura Dern; Alice’s Adventures in Wonderland by Lewis Carroll, narrated by Jodie Comer; The Wind in The Willows by Kenneth Grahame, narrated by Cush Jumbo, Harriet Walter, Aimee Lou Wood and Jennifer Saunders; and Peter Pan by JM Barrie, narrated by Rupert Everett and a full cast.
Sleeping Beauty is available exclusively on Audible now. It will be available free for Audible Plus members, or free to download with Audible’s 30-day trial: www.audible.co.uk
Any show that starts with an announcement about phones not being invented yet is sure to be a good one. Set in 1989, Heathers tells of high school drama with love, friendships and murder thrown in for good measure.
Based on the film of the same name, the musical follows Veronica (Ailsa Davidson) as she goes from a nobody to a somebody thanks to getting the Heathers (Emma Kingston, Inez Budd and Teleri Hughes) out of trouble with teacher Ms Fleming (Vicki Lee Taylor). The Heathers take Veronica under their wing and invite her to parties, however she has to earn her stay by forging notes in her classmates handwriting to embarrass others. After befriending the mysterious JD (Freddie King), Veronica’s life goes from bad to worse when she accidentally kills Heather Chandler and football players Kurt and Ram. Realising that JD is part of the problem, not the solution, Veronica ends the relationship and after JD sacrifices himself to save Veronica, she ends the feud between different groups at the school and remains friends with the two remaining Heathers, as well as making up with Martha (Lizzie Bea) who she helped the Heathers to bully.
With catchy songs throughout, the musical caters to its audience well and will have people singing along. The costumes are era appropriate and the Heathers signature colours of red, green and yellow are shown in their outfits, along with Veronicas signature blue outfit and JDs trench coat. The sets are basic but work, with scenes set in the high school, various characters’ bedrooms and the local convenience store all used to their full potential.
Even if you haven’t seen the film, this musical is well worth a visit for anyone looking for a good night out and will guarantee you have plenty of laughs along the way.
ROSE THEATRE ANNOUNCES NEWLY CREATED YOUNG PEOPLE’S BOARD
Rose Theatre’s Artistic Director, Christopher Haydon, is delighted to announce the theatre’s first ever Young People’s Board during his inaugural season.
The Rose is committed to ensuring that young people from all backgrounds have the opportunity to engage with the theatre industry, inform the development of the venue and benefit from experiencing live performance. As such, the theatre wants to welcome an exceptional group of young people aged 18 to 25 to work with the Rose and guide it towards a more inclusive vision.
Becoming a member of the Rose’s Young People’s Board will provide an opportunity for young people to understand how a theatre is run; it is a hands-on educational and learning opportunity that can affect positive change within the venue. Beyond the educational opportunity, as the Young People’s Board will also have influence over the creative programming of the theatre. The Board will be overseen by the Peter Hall Emerging Artists Fellow, Layla Madanat. The Rose is looking to appoint six members and applications must be submitted to [email protected] by midnight on Wednesday 8 December 2021. For more information and the full role specification, please visit the Rose website here – https://www.rosetheatre.org/about-us/careers
Lucy Morrell, Director of Learning & Participation at the Rose said:
“Young people are at the very beating heart of the Rose and each year we put members of our renowned Youth Theatre at the forefront of our critically acclaimed Christmas productions. It is an honour to work with young members of the community every day as Director of Learning & Participation and I’m thrilled that the Rose has taken steps to create a platform for young people to voice their opinions. Our Young People’s Board is an opportunity for anyone aged 18-25 to have real say in shaping the future of the Rose.”
