Month: May 2022

ADDITIONAL PRODUCTION IMAGES RELEASED FOR RODGERS & HAMMERSTEIN’S OKLAHOMA!

The Bard SummerScape production of 

Rodgers & Hammerstein’s  

Oklahoma!  

In association with Eva Price, Sonia Friedman Productions and Michael Harrison  

Music by Richard Rodgers 

Book and Lyrics by Oscar Hammerstein II  

Based on the play Green Grow the Lilacs by Lynn Riggs  

Original Choreography by Agnes de Mille  

Directed by Daniel Fish and Jordan Fein 

27 April – 25 June 2022  

The Young Vic today releases a second selection of production images for the UK premiere of Rodgers & Hammerstein’s Oklahoma! Daniel Fish’s striking revival of the classic musical which originally premiered at the Richard B. Fisher Center in 2015 ahead of its New York premiere at St. Ann’s Warehouse in 2018. 

This is Oklahoma! as you’ve never seen it before, re-orchestrated and reimagined for the 21st century. Winner of the Tony Award for Best Revival of a Musical, Daniel Fish’s bold interpretation transfers to the Young Vic, direct from an acclaimed run on Broadway and a U.S. tour. Oklahoma! tells a story of a community banding together against an outsider, and the frontier life that shaped America. Seventy-five years after Rodgers and Hammerstein reinvented the American musical, this visionary production is funny and sexy, provocative and probing, without changing a word of the text.  

Arthur Darvill plays Curly McLain, with James Davis as Will Parker, Stavros Demetraki as Ali Hakim, Anoushka Lucas as Laurey Williams, Olivier Award nominee Liza Sadovy as Aunt Eller, Patrick Vaill as Jud Fry and Marisha Wallace as Ado Annie. The cast is complete with Raphael Bushay as Mike, Greg Hicks as Andrew Carnes, Rebekah Hinds as Gertie Cummings, Ashley Samuels as Cord Elam, and Marie Mence as the lead dancer. 

Rodgers and Hammerstein’s Oklahoma! is Co-Directed by Daniel Fish and Jordan Fein, with Orchestrations, Arrangements  by Daniel Kluger and Co-Music Supervision by Daniel Kluger and Nathan Koci, Choreography by John Heginbotham, Co-Set Design by Laura Jellinek and Grace Laubacher, Costume Design by Terese Wadden, Lighting Design by Scott Zielinski, Sound Design by Drew Levy, Projection Design by Joshua Thorson, Musical Director Tom Brady and Casting by Jacob Sparrow, with Associate Choreographer Shelby Williams, Assistant Director Nimmo Ismail, Associate Costume Designer Rachel Townsend, Associate Lighting Designer Fiffi Thorsteinsson, Associate Musical Director Huw Evans, Dialect Coach Sam Lilja and Orchestral Manager David Gallagher.  

Socially Distanced performances: 24, 25 May 7.30pm, 25 May, 2.30pm, and 9, 10 June, 7.30pm  

Audio Described performance: 24 May, 7.30pm 

Captioned performance: 9 June, 7.30pm 

Relaxed performance: 10 June, 7.30pm 

This production of Rodgers & Hammerstein’s Oklahoma! was originally developed, produced and premiered at the Richard B. Fisher Center for the Performing Arts at Bard College in July 2015. It was subsequently developed and produced by St Ann’s Warehouse and Eva Price at the Joseph S. and Dianna H. Steinberg Theatre, Brooklyn in 2018. 

New Alexandra Theatre, Birmingham – until 7th May 2022

Reviewed by Emma Millward 

4****

A new play based on the classic ‘Whodunnit’ board game (first devised in Birmingham) and the Paramount Pictures movie ‘Clue’ has quite a legacy to live up to. From the moment the audience enters the auditorium, they are greeted with the familiar sight of the ‘Hall’ and the doors leading off to the other famous room from the game.

The show starts with the introduction of Yvette the Maid (Laura Kirman) and Wadsworth the Butler (Jean-Luke Worrell). With Yvette’s faltering French/Cockney accent and Wadsworth’s eccentric but instantly amusing mannerisms, they set the scene for the silliness and madcap behaviour we can expect throughout the show. 

One by one, we are introduced to the main players in the ‘game’, who are all being blackmailed by the mysterious Mr Boddy for their various indiscretions. Daniel Casey (of Midsomer Murders fame) as Professor Plum and Michelle Collins as the alluring Miss Scarlett are perfectly cast. Although a little part of me was secretly hoping there might be an Eastenders ‘duff duff’ moment at some point, as a sly nod to Michelle Collins. But that was probably just wishful thinking on my part.

The fully assembled guests then sit down for dinner and chaos ensues. This is when the clever staging of the rooms suddenly becomes apparent. Not only do the doors open, but the whole walls around them are pulled back by Wadsworth, so we can follow the cast into each adjoining room. The Cast all move props around to create the backdrop for each particular space too. It was a surprising but very clever way to keep the story moving along.

The storytelling is fast-paced, at times a little manic, but always hilarious. The tension between the main characters builds as the body count rises at Boddy Manor. The hysteria and slapstick grows along with it. Certain cast members end up being repeatedly knocked over by opening doors and thrown punches. 

Special mention has to be given to Jean-Luke Worrell as Wadsworth. Having to follow in the footsteps of the amazing Tim Curry in this role is no easy feat, but he more than achieves it. His facial expressions and body movements are slick, slapstick and your eyes are definitely drawn to him. His recap of the entire play in just a few minutes towards the end of the show really is a sight to behold. I will never hear the name ‘Larry’ in the same way again!

Whodunnit? Well, that would be telling! You will just have to go and see the show while it is still in Birmingham until the 7th May. 

The Royal & Derngate, Northampton – until 7th May 2022

Reviewed by Ely King

3***

One family, one hundred million records, everyone has heard of the Osmonds one way or another.

Whether you know the name from Jimmy, The Donny and Marie show, or The Osmonds group themselves, the family are worldwide superstars in their own right.

Written by Jay Osmond, this new musical follows the family from the quartet of young boys up to their legendary 2007 reunion. This includes all from the addition of young Donny, introduction to Jimmy and through to the Donny and Marie show before the catastrophic bankruptcy crisis.

In the performance, there were a few different understudies onstage, all of which were amazing in their roles.

For this performance the roles of The Osmonds were:

Alan: Young – Charlie Stripp / Adult – Alex Cardall

Merrill: Young – Joey Unitt / Adult – Ryan Anderson

Jay: Young – Charlie Tumbridge / Adult – Alex Lodge

Wayne: Young – Thomas Ryan / Adult – Danny Natrass

Donny: Young – Nicholas Teixeira / Adult – Tristan Whincup

Jimmy: Young – Harrison Skinner / Adult – Sam Routley

Throughout the entirity of the show, Alex Lodge is easily the shining star in this production as Jay Osmond. Whilst it’s expected he be at the forefront, as the show is written by Jay, he positively gives his all from beginning to end.

Even during flashback scenes where Lodge stands at the back, he can be seen mimings and mimicking the moves the youngsters are doing, as if he is genuinely reliving those memories himself, it’s those little details that make his portrayal so successful.

Whilst all of the American accents were iffy at times, Alex seemed to take it in his stride – though you could definitely tell he has time as ‘Elder Price’ by his tone.

Vocally, another standout was Ryan Anderson as Merrill. His vocal range is astounding.

From the rough gravelly tone to the incredible high notes, he took every single opportunity to show off his phenomenal talent. Anderson’s solo track ‘Traffic In My Mind’ featured some haunting notes and was a genuinely captivating performance.

He and Lodge were the backbone of the entire production.

Though the other siblings weren’t shining stars, that doesn’t mean they were inherently bad, they just didn’t have the same charisma as the other duo. Tristan Whincup and Danny Natrass certainly had their odd moment to shine, it’s a shame they weren’t given more of an opportunity to do so.

The scripting definitely favours Jay and villainises Merrill and Alan, for sure.

Not to be forgotten, their kid sister Marie, played by Georgia Lennon, had some good moments in the show also, but for the most part she was just awkwardly dancing behind the brothers, and when she was up front it seemed as if she over-acted to make up for lack of time in the spotlight.

As a whole, the brothers were the main focus in the costuming department, every single scene they were in they were dressed impeccably, it’s just a shame that level of care and detail wasn’t maintained throug the rest of the cast like they deserved.

Saving the best till last, the young Osmonds are absolutely adorable, and incredibly talented. Young Donny Osmond is a cheeky lil chap and a true star. If the six kids are all so talented already, they are going to go very far in the industry and I can’t wait to see where they end up.

Whilst the show wasn’t a hit for me, that shouldn’t deter fans of The Osmonds. You will probably understand a lot more of the hints and sly digs than a non-Osmond fanatic like myself.

Hull New Theatre – until 7th May 2022

Reviewed by Catherine McWilliams

5*****

The Cher Show is the best show you will see this year, to put it simply – WOW! Broadway arrived at Hull New Theatre last night. If 6 stars were available, this would be the show that I gave them for. I was not alone in my views either, at the end of the performance the audience were on their feet and the roar of approval was the loudest I can remember at Hull New Theatre.

The Cher Show charts the early years and career of Cher and with a book written by Rick Elice, it takes a rather novel approach to the story. There is not one Cher but three fabulous Chers, each one telling her story at a different stage in her career. I loved this concept as the three Chers interacted with one another, offering advice (with the wisdom of age!), bickering and singing together. The music was also used very cleverly, with songs not being in chronological order of release, parts of songs being sung or reprised, and songs being sung at a slightly different tempo.

Millie O’Connell plays Babe, the very young Cherilyn Sarkisian who is bullied for being different but discovers a love of singing. She plays her with just the right amount of naivety and gaucheness, capturing the early Cher’s gawkiness and shyness beautifully. Her performance of “I Got You Babe” with Sonny (Lucas Rush) was absolutely spot on. Her singing voice is fabulous, whether she was singing solo or singing with the other Chers.

Danielle Steers takes over the story as Lady when Cher has divorced Sonny and is beginning to take control of her life. She was absolutely outstanding and has the most incredible voice, this is a part that could have been written especially for her.

Debbie Kurup brings us up to date as Star, and her success as an actor, despite her dyslexia, her illness and yet again her reinvention as a singer. She plays the part with the older Cher’s self-belief and confidence together with a despair as she watches her younger self. She has a fabulous voice and this was another outstanding performance.

Whilst the Chers are the stars of the show, the entire cast are outstanding. Lucas Rush was wonderful in their role as Sonny and Tori Scott plays Georgia, Cher’s mother, perfectly. Jake Mitchell was fabulous as Cher’s dress designer Bob Mackie. Special mention must go to Sam Ferriday who very convincingly took on four very different roles Greg Allman, Rob Camilletti, Phil Spector and John Southall.

The entourage were superb and Oti Mabuse’s choreography added to the fabulousness of the show. Gabriella Slade’s costumes were wonderful, glitzy and glamorous and Tom Roger’s set design was deceptively simple but very effective.

Cher’s story is one of not giving up and of picking yourself up and starting again, and of hard work. A story of becoming her own person, a lesson for us all and it was very apt that “Believe” was not used as a blockbuster song but was sung between the Chers as encouragement to keep going.

When I arrived at the theatre last night, I have to admit that I was not excited by the thought of this show as I am not really a Cher fan. Now I am prepared to shout it from the rooftops that this is an utterly fabulous show that you miss at your peril. It is just beginning it’s UK tour so you really have no excuse – get yourself a ticket to the best show this year.

FULL CASTING ANNOUNCED FOR

BLEAK EXPECTATIONS

OPENING AT THE WATERMILL

FRIDAY 27 MAY – SATURDAY 2 JULY

BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

Full casting and creative team have been announced for the world premiere of BLEAK EXPECTATIONS, a new stage adaptation of the award-winning hit BBC Radio 4 comedy written by Mark Evans and directed by Caroline Leslie (whose previous Watermill credits include Trial by Laughter, The Wipers Times, A Bunch of Amateurs, Thoroughly Modern Millie and Radio Times). Bleak Expectations will open at the Watermill from Friday 27 May and play until Saturday 2 July, in association with Anthology Theatre Productions and David Wolstencroft (creator of BBC One Drama Spooks).

Bleak Expectations is the story that Charles Dickens might have written after drinking too much gin. And, crucially, had lived for another 152 years. Two-time winner of the Best Radio Sitcom award and winner of a Sony Award, Bleak Expectations has captivated audiences and critics alike since its 2007 radio debut.

Hold on tight for a chaotic caper through Dickensian London with young Pip Bin: tragic half orphan, hopeless romantic and would-be-hero.

Follow Pip’s remarkable adventures with sisters Pippa and Poppy and best friend Harry Biscuit as they attempt to escape the scheming clutches of Mr Gently Benevolent, defeat the irrepressible Hardthrasher siblings and avert imminent disaster at every turn. Will evil be vanquished by virtue?

Can love triumph over hate? Well, can it? Immerse yourself in this joyfully anarchic comedy featuring hideous boarding schools, dastardly plans, devilish disguises, pulse-quickening romances, heart-rending death scenes, and definitely a happy ending.

Rose Basista (Eleanor Rising – BBC Audio Drama, Tom’s Midnight Garden – Theatre by the Lake) will play ‘Pippa Bin’, Colm Gleeson (This Be The Verse – Hen & Chickens Theatre, The Wife of Michael Cleary Songbook – Royal Court Liverpool) will play ‘Thomas Bin / Bakewell Havertwitch / Broadly Fecund’, J.J. Henry (Rapunzel – The Theatre Chipping Norton, Mother Courage and her Children – Blackeyed Theatre) will play ‘Harry Biscuit / Mr Parsimonious’, Dom Hodson (Beautiful: The Carole King Musical – Aldwych, West End, War Horse – New London, West End) will play ‘Pip Bin’. Simon Kane (The Busker’s Opera ­-Park Theatre, The Hound of the Baskervilles – Bolton Octagon) will play ‘Gently Benevolent’, Alicia McKenzie (Small Island – National Theatre, The Crucible – Pitlochry Festival) will play ‘Agnes Bin / Flora Dies-Early’, Nicholas Murchie (Trial by Laughter ­– The Watermill & Tour, A Chaste Maid in Cheapside – Almeida & Tour)) will play ‘Sir Philip Bin’, Caitlin Scott (2021 graduate, professional debut)will play ‘Poppy Bin / Ripely Fecund’ and Dan Tetsell (Brian in BBC2’s Lab Rats, Marion in BBC3’s Mongrels) will play ‘The Hardthrashers’.

Directed by Caroline Leslie with design by Kate Lias, BLEAK EXPECTATIONS is a stage adaptation of the hit BBC Radio 4 comedy written by Mark Evans with lighting by Andrew Exeter, sound by Yvonne Gilbert, assistant direction and fight direction by Joseph Reed, movement direction by Heriberto Montalban and composition by Tom Pigott-Smith. The Stage Management team consists of Natalia Kheldouni (DSM), Alastair Day (ASM), Alice Reddick (ASM Placement) with audio description by Charles Wiltshire.

Twitter: @BleakExpPlay

Instagram: @bleakexpectationsplay

Facebook: @BleakExpectationsPlay

The Watermill continues to follow measures to control the risk of Covid-19 and to ensure the safety and confidence of its audience members, staff, actors and creative teams. The wearing of face coverings continues to be requested in the auditorium. Enhanced cleaning procedures and an efficient ventilation system supplying conditioned and filtered fresh air also remain in place.

To help audience members to book with confidence, The Watermill are operating 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.

DIGITAL THEATRE PARTNERS WITH ORIGINAL THEATRE FOR LIVE INTERACTIVE EVENT

“THE HOUND OF THE BASKERVILLES – A DIGITAL THEATRE EXPERIENCE”

7^th May 2022 from 7.15pm

www.digitaltheatre.com/the-hound-of-the-baskervilles

Digital Theatre is delighted to announce a one off interactive live event with a streaming of Original Theatre’s critically acclaimed comedy ‘The Hound of the Baskervilles’, combined with live studio interactive hosting by BBC Radio 4 comedian Pippa Evans and guests.

Original Theatre’s hit show was co-produced with The Octagon Theatre, Bolton and was recorded at Belgrade Theatre Coventry in February of this year and sees Sir Arthur Conan Doyle’s most celebrated adventure brilliantly farcically overhauled in Lotte Wakeham’s acclaimed production, directed on tour by Tim Jackson.

World-renowned detective Sherlock Holmes and his colleague Dr Watson are asked to unravel the mystery surrounding the untimely death of Sir Charles Baskerville. With rumours of a cursed giant hound loose on the loose moors, they must act fast in order to save the Baskerville family’s last remaining heir. This ingenious adaptation combines an exhilarating collision of farce, theatrical invention and wonderfully comic performances to offer a brand-new twist on the greatest detective story of all time.

In an innovative new approach – combining live streaming with pre-filmed content, the Digital Theatre version of the show will feature unique wraparound content with pre-show and interval entertainment in the form of hi-jinx with Mischief Theatre actor Niall Ransome (who plays Dr Watson in the production), a riotous “Baskerville Bingo” and a post-show Q&A – all with live interactive hosting by Showstoppers’ Olivier Award-winning comedian Pippa Evans. 

The show stars Jake Ferretti (The Kitchen, The Curious Incident of the Dog in the Night Time, The Understudy) as Sherlock Holmes , Serena Manteghi (Welcome To Iran, To Build a Rocket, Mrs Wilson) as Sir Henry and Niall Ransome (Mischief Movie Night, The Comedy About A Bank Robbery, Fcuk’d) as Dr. Watson.

No strangers to impressive digital streaming, Original Theatre have been called “truly the connoisseurs of virtual theatre” by WhatsOnStage and were recent winners at the Critics’ Circle Theatre Awards. The Wall Street Journal called ‘The Habit of Art’ “One of the most impressive theatre webcasts” and The Telegraph called ‘Birdsong Online’ “the best online play of lockdown”.

Now “The Hound of the Baskervilles – A Digital Theatre Experience” will be broadcast on 7^th May 2022 from 7.15pm.

The event will then also be available On-Demand on Digital Theatre’s Events platform for two weeks.

www.digitaltheatre.com/the-hound-of-the-baskervilles

Mayflower Theatre Southampton – until 7th May 2022

Reviewed by Emma Barnes, Sally Lumley and Lorna Hancock

4****

If you are looking for an upbeat, energetic feel good show Footloose at the Mayflower doesn’t disappoint. Kick off your Sunday shoes and prepare to be entertained. The musical is based on the true story of a God-fearing American town in Oklahoma that had banned public dancing. The Footloose story begins when Ren McCormack,  a school boy from Chicago, moves to Bomont with his mother after his father abandons them.  With the help of the Reverend’s daughter Ren convinces the town to allow the teenagers to dance,  and inadvertently assists the towns people to heal some old wounds.

The story line is true to the 1984 film with Joshua Hawkins skilfully filling Kevin Bacon’s dancing shoes in the role of Ren McCormack. His cheeky boy charm and boundless energy captured the feeling of being a rebellious teenager with a point to prove.

Jake Quickenden was characterful and charming as Willard Hewitt, firstly bringing coyness that turned into charisma as the character developed.  The bromance between Willard and Ren was fun, natural and very enjoyable to watch.   The highlight though has got to be the all too brief showcase in Kylie-esque golden hot pants.

Lucy Munden makes her professional debut as the Reverend’s daughter Ariel Moore, and delivered a stand out performance that was vocally and visually on point,  authentic and captured just the right amount of teenage turmoil combined with girl power.  The Bonnie Tyler hit ‘Holding Out for a Hero’ led by Lucy was without a doubt the show stopping number of the night , bringing back memories of some of the 80’s best power ballads.  

Well done to Ben Barrow for covering Darren Day’s usual role of Rev. Shaw Moore.

A particular high point is the end of the first act, with the whole cast joining a brilliantly choreographed PE sequence including skipping, slow motion boxing and take your breath away dance moves, leaving me exhausted in my chair.  

The multi-talented cast in this show, don’t just sing, dance and act – they also play instruments on stage throughout. This helps brings the music to the forefront, and adds an extra dynamic to the performance.

By the end of the show every member of the audience was up and dancing, a great night out that we highly recommend.

NEW DIORAMA THEATRE & UNDERBELLY ANNOUNCE RECIPIENTS OF 2022 UNTAPPED AWARDS

The four winners of New Diorama and Underbelly’s 2022 Untapped Award, supported by Methuen Drama, can today (Wed 4 May) be revealed. All four productions will be playing at Underbelly Cowgate as part of Edinburgh Fringe 04 – 28 August.

The recipients of the award are:

Blanket Ban: Chalk Line Theatre blend physical, verbatim and multimedia theatre with cabaret-style direct address and to tell the harrowing story of Malta’s total ban on abortion based on the testimonies of those affected.

Propelled by three years of interviews with anonymous contributors and their own lived experience, actors and activists Marta and Davinia interrogate Malta’s restrictions on the freedom of women.

Big Belly, Underbelly Cowgate, 17:00

Caligari: Off West End Award-winning Chewboy Productions present a stylish new adaptation of cult classic German expressionist horror film ‘The Cabinet of Dr. Caligari’ with five actor-musicians telling the story from the point of view of the victims.

Embracing the long shadows and broad brushstrokes of German expressionism, Caligari exposes parallels between post-war Weimar Germany and the UK today; an ever-widening class divide, the subconscious invitation for a tyrant to seize power, and an unwillingness to rebel against deranged authority. 

Big Belly, Underbelly Cowgate, 18:30

Good Grief: Ugly Bucket’s outrageous techno-clown-funeral uses real-life testimonies about death and mourning to create a hilarious and moving gut-punch of a physical performance.

Multi award-winning physical comedy company Ugly Bucket process the death of a friend the only way they know how: a kinetic maelstrom of outrageous clowning and personal testimony, with a thumping techno soundtrack.

Iron Belly, Underbelly Cowgate, 15:40

This is not a show about Hong Kong: Max Percy + Friends’ visually stunning dance-theatre spectacle is not about Hong Kong, its people, democracy, or human rights.

And it most certainly is not about the effects of censorship brought by the National Security Bill, nor is it about the loss of freedom in the Special Administrative Region. This is just a show about that deep, sinking, helpless feeling that we can’t quite put into words.

Big Belly, Underbelly Cowgate, 14:00

David Byrne, Artistic Director of New Diorama Theatre said:

“After two years away, we had a record number of applicants for the 2022 Untapped Award. Competition was fierce, and our national selection panel did an expert job of helping us shortlist from the wealth of strong applications.

The final four shows are as varied and diverse as the Fringe itself – with some of the UK’s best new companies tackling big topics from democracy to reproductive rights, authoritarianism to death itself. It’s going to be a truly legendary year for the award. See you there.”

Ed Bartlam and Charlie Wood, Directors of Underbelly said:

“Underbelly is delighted to once again be supporting the Untapped award alongside New Diorama and Methuen Drama. New work plays such a crucial part in the Fringe landscape, we can’t wait to showcase these four challenging, intriguing and bold pieces at this year’s festival.”

About The Untapped Award

The Untapped Award entitles each recipient company to:

Ø  A £5,000 cash grant provided by Underbelly and New Diorama

Ø  A prime venue and time slot at Underbelly for this year’s Edinburgh Fringe

Ø  An enhanced deal from Underbelly, excluding venue deposits

Ø  Free rehearsal space at NDT Broadgate

Ø  Paid for Marketing and PR support, featuring design by acclaimed graphic artist Guy J Sanders

Ø  The option to have their production published by Methuen Drama including a separate commission fee

Ø  Fully-funded captioned performances at the Festival and support for other more accessible performance formats

Ø  Support, guidance and advice from a team with extensive experience of the Edinburgh Festivals

The Untapped Award is aimed at early-mid career companies looking to take outstanding, highly original work to the Edinburgh Festival Fringe and has been run by Underbelly and New Diorama Theatre since 2018.

Previous winners include:

Breach Theatre’s Fringe First and Stage Award-winning historical drama about artist Artemisia Gentileschi, It’s True It’s True It’s True, which went on to tour nationally and internationally, was performed at the Barbican and was filmed for broadcast by the BBC.

Nouveau Riche’s Stage Award-winning Queens of Sheba which toured extensively and went on to enjoy four sold-out runs at Soho Theatre. The company’s latest show For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy has just extended its critically acclaimed run at the Royal Court Theatre.

Other winners include ThisEgg’s dressed which won a Fringe First award and went on to tour nationally, and BurntLemon’s Tokyo Rose, which after touring extensively enjoyed a successful run at the Southwark Playhouse.

TROUPE ANNOUNCES THE WORLD PREMIÈRE

OF A NEW ADAPTATION OF

CHRISTOPHER ISHERWOOD’S A SINGLE MAN

AT PARK THEATRE

Troupe today announces the world première of a new adaptation of Christopher Isherwood’s A Single Man by Simon Reade. Directed by Philip Wilson, the production opens in Park200 at Park Theatre on 21 October, with previews from 19 October, and runs until 26 November.

Troupe

in association with Park Theatre presents

the world première of a new adaptation of

A SINGLE MAN

Based on the Book by Christopher Isherwood

Adapted by Simon Reade

19 October – 26 November 2022

Park Theatre (Park200)

Directed by Philip Wilson; Designed by Caitlin Abbott;

Sound Design and Original Compositionby Beth Duke

“I make myself remember. I am afraid of forgetting. I will have to forget if I want to go on living”.

California, 1962. College professor George is grieving the death of his long-term partner Jim. As a middle-aged gay Englishman living in the Los Angeles suburbs, he is an outsider in every way. Haunted by his past and unable to move forward, we follow him on one very ordinary day. But for George, this is going to be a day like no other…

A Single Man features in the Guardian’s 100 Best Novels Written in English, where it is described as “a work of compressed brilliance”. Known to many through Tom Ford’s film, Christopher Isherwood’s masterpiece is now given a wry and compassionate retelling in Simon Reade’s new adaptation for the stage.

Powerful and sexy, A Single Man is a darkly amusing study of grief, love and loneliness from the celebrated writer of Goodbye to Berlin, the inspiration for Cabaret. 

Christopher Isherwood (1904-1986) was among the most celebrated writers of his generation. He left Cambridge without graduating, worked as a tutor and a secretary, briefly studied medicine and then published his first novels, All the Conspirators and The Memorial. Between 1929 and 1939, he lived mainly abroad, including four years in Berlin, which inspired his novels Mr. Norris Changes Trains and Goodbye to Berlin, on which the musical Cabaret is based.  He also wrote four plays and a travel book with the poet W. H. Auden. In 1939, Isherwood moved to America, where he settled in Hollywood, became a Hindu and wrote for the film studios. He took US citizenship in 1946. In America, he wrote five more novels, including Prater Violet, Down There on a Visit and A Single Man, and kept prodigious diaries. He collaborated with his spiritual teacher Swami Prabhavananda on a translation of the Bhagavad Gita and produced another travel book and a biography of the Indian mystic Ramakrishna. In the late 1960s, he turned to autobiography; in Kathleen and Frank, Christopher and His Kind and My Guru and His Disciple, Isherwood openly articulated the gay identity he had only implied in his fiction. Amongst his last work is October, one month of his diary with drawings by his partner from 1953 onward, American painter Don Bachardy.

Simon Reade’s work for theatre includes Private Peaceful (Garrick Theatre, Nottingham Playhouse, Hamburg Kammerspiele, 59E59 Theaters and TBG Theater, New York City and UK tour), David Copperfield (Barn Theatre, Cirencester), An Elephant in the Garden (Poonamallee Productions), A Pure Woman (Dorchester Arts), Sherlock Holmes: The Final Curtain, A Room With a View, Moon Tiger (Theatre Royal Bath and UK tours), Bliss/Mutluluk (Arcola Theatre), Pride and Prejudice (Sheffield Theatres, Open Air Theatre, Regent’s Park, Guthrie Theater, Minneapolis, Theatre Royal Bath and UK tour), Twist of Gold (Polka Theatre), Strindberg’s Apartment (New Diorama Theatre), Toro! Toro! (Salisbury Playhouse), Midnight’s Children (Royal Shakespeare Company and Theater Trier), The Scarecrow and His Servant (Southwark Playhouse), Not the End of the World, The Mozart Question, Aladdin and the Enchanted Lamp, The Owl Who Was Afraid of the Dark (Bristol Old Vic), Alice’s Adventures in Wonderland (TMA Award, Bristol Old Vic and Polka Theatre), Epitaph for the Official Secrets Act (Royal Shakespeare Company), and Tales from Ovid (Royal Shakespeare Company and The Young Vic). Film and television includes Journey’s End, Private Peaceful and What You Will. Books include Dear Mr. Shakespeare: Letters to a Jobbing Playwright and Cheek by Jowl. He was previously Literary Manager at the Gate Theatre and the Royal Shakespeare Company, Artistic Director at Bristol Old Vic, Producer at Theatre Royal Bath Productions and Filter Theatre and Development Producer at BBC Television, Tiger Aspect Productions and Stolen Picture.

Director Philip Wilson’s work in theatre includesStarcrossed (Wilton’s Music Hall), The Boy with the Bee Jar (Hope Theatre), Perfect Nonsense,After the Dance (Theatre by the Lake), The Star, The Norman Conquests, Noises Off, Doctor Faustus, The Astonished Heart, Still Life (Liverpool Playhouse), As You Like It (Storyhouse, Chester), Beacons (Park Theatre), his own adaptations of Philip Pullman’s Grimm Tales (Oxo Tower Bargehouse and Shoreditch Town Hall), The Three Lions (St. James Theatre and UK tour), How Many Miles to Babylon? (Lyric Theatre, Belfast), Toro! Toro! (UK tour), Twist of Gold(Polka Theatre),Sixty-Six Books (Bush Theatre and Westminster Abbey), The Importance of Being Earnest, Travesties (Birmingham Rep), If Love Were All, In Praise of Love (Minerva Theatre, Chichester), The Found Man (Traverse Theatre, Edinburgh), Un Uomo Trovato (Teatro della Limonaia, Florence), Ain’t Misbehavin’ (Sheffield Theatres) and Breaking The Code (Northampton Theatre Royal). He was Artistic Director of Salisbury Playhouse from 2007-2011 where he directed The Game of Love and Chance, The Constant Wife, The Picture, Private Lives, Arsenic and Old Lace, The Winslow Boy, his own adaptation of J. L. Carr’s A Month in the Country, What the Butler Saw, People at Sea, Alphabetical Order and Corpse!; and directed and designed Blackbird, Faith Healer and Toro! Toro! – TMA Award nomination.

Troupe’s latest production was The Sweet Science of Bruising by Joy Wilkinson at Southwark Playhouse, which transferred to Wilton’s Music Hall, and was nominated for an Off West End Award for Best New Play. Other recent work includes Rasheeda Speaking by Joel Drake Johnson at Trafalgar Studios, which starred Tanya Moodie, Elizabeth Berrington, Sheila Reid and Bo Poraj and was nominated for five Off West End Awards, including Best Production. Other productions at Southwark Playhouse include the centenary year revival of Dear Brutus by J. M. Barrie and The Cardinal by James Shirley, which starred Stephen Boxer and Natalie Simpson for which she won the Ian Charleson Award. It was supported by an inaugural MGCfutures Bursary Award. Troupe’s previous rediscoveries at the Finborough Theatre – Rodney Ackland’s After October, Robert Bolt’s Flowering Cherry and R. C. Sherriff’s The White Carnation, which transferred to Jermyn Street Theatre – have been nominated for a total of five Off West End Awards.

www.troupetheatre.co.uk

PARK THEATRE

Park Theatre presents exceptional theatre in the heart of Finsbury Park, boasting two world-class performance spaces: Park200 for predominantly larger scale productions by established talent, and Park90, a flexible studio space, for emerging artists. In nine years, it has enjoyed eight West End transfers (including Daytona starring Maureen Lipman, The Boys in the Band starring Mark Gatiss, Pressure starring David Haig and The Life I Lead starring Miles Jupp), two National Theatre transfers, twenty-five national tours, six Olivier Award nominations, has won multiple OffWestEnd Offie Awards and won a Theatre of the Year award from The Stage. Park Theatre are grateful to all those who have donated to the Park Life fund, supporting the venue through the pandemic.

A Single Man

Listings

Park Theatre, Park 200

Clifton Terrace, Finsbury Park, London N4 3JP

Nearest Tube:Finsbury Park

Wednesday 19 October – Saturday 26 November 2022

Monday to Saturdays at 7.30pm
Thursday and Saturday matinees at 3pm
Audio described Sat 12 Nov 3pm, touch tour 2pm

Box Office: 020 7870 6876*

www.parktheatre.co.uk
*Telephone booking fee:10% per ticket, capped at £2.50

Twitter:

@Troupe_Theatre

@ParkTheatre

#ASingleMan

Instagram:

@troupetheatrecompany

@parktheatrelondon

#asingleman

Facebook:

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Ticket Prices

Previews (19 and 20 October): £18.50

Mon & Tue: £27.50, £22.50, £19.50

Wed, Thu, Sat mat: £29.50, £25, £22.50

Fri & Sat: £32.50, £29.50, £24.50

Concessions available – for further information, please see the website

York Grand Opera House – until Saturday 7th May 2022

Review by Zoe Giles

3***

This Stage production is directed by Loveday Ingram, written by James Dearden and based on the classic paramount film starring Glenn Close alongside Michael Douglas.

The main trio this time are played by Oliver Farnworth of Coronation Street fame and Hollyoaks who takes on the roll of Dan – father, husband and cheat, Susie Amy plays Alex the temptress or is she just vulnerable and lonely? Her work includes Footballers Wives and Hollyoaks. Finally Louise Redknapp originally from the band Eternal this time plays Dan’s wife Beth the homemaker and betrayed woman.

Act one starts with Dan, played by Oliver Farnworth, talking to the audience (something he does throughout the production on several occasions) about how his life has changed since meeting Alex the temptress and how she has set out to destroy him.

The set is basic but extremely clever as it is in part see through so can be used to set a different scene at the same time so for example when they are supposed to be talking to
each other in different buildings – this see through set works extremely well, it also uses visual displays throughout the production to help us identify where we are i.e., trees to
show we are in the park, company names to show we are at work etc. I thought this was a clever and imaginative set design and again only basic props were used but somehow
worked well.

The love scenes were cleverly portrayed, and other than a fleeting glimpse of Oliver’s very peachy bottom we do not see any nudity and nor did we need to we all got the idea of what
was meant to be happening or had happened.

Unfortunately, Dan’s wife Beth played by Louise Redknapp could not always be heard – I’m not sure if this was down to the sound department or her not being able to throw her voice as it were to fill the theatre.

I admire both Susie Amy playing Alex and Oliver Farnworth playing Dan as they both had such long scripts to learn but to be honest on several occasions, I felt the sections were too
long and it became a bit boring in parts.

Several scenes could have and should have carried much more emotion – the famous bunny boiling scene especially could have been re-in acted with much more tension and
build up. Even Beth’s (Louise Redknapps) scream when finding the pot bubbling away was so pathetic and underwhelming.

They moved the production forward from the book and film in terms of time to include mobile phones and mentions to social media etc. which were obviously not readily available back when the film was made. I felt another good change would have been to set it in London as the American accent was somewhat unbelievable and very often unrealistic,
setting the production in London may well have helped?

The whole production for me personally was lacking that special something, the love scenes, fight scenes everything was just lacking that polished, finished, je ne Sais quoi, I left
feeling somewhat disappointed and deflated. I had hoped for more passion, more drama, more something.