The West End hit production of TINA – THE TINA TURNER MUSICAL is currently booking at the Aldwych Theatre to 18 December 2022
This musical reveals a comeback story like no other, of a woman who dared to defy the bounds of racism, sexism and ageism to become the global Queen of Rock n’ Roll. TINA – THE TINA TURNER MUSICAL is a celebration of resilience and an inspiration of triumph over adversity.
Sharing the role of Tina are Aisha Jawando and Chanel Haynes with Jammy Kasongo as Ike and Madeline Appiah as Tina’s mother Zelma, Joe Evans as Record Producer Phil Spector and Lyricist Terry Britten, Irene Myrtle Forrester as Tina’s Grandmother GG, Alice Bailey Johnson as Ike and Tina’s manager Rhonda Graam, Rhianne-Louise McCaulsky as Tina’s sister Alline Bullock, Matt Mills as Tina’s father Richard Bullock, Posi Morakinyo as Tina’s first love Raymond Hill, Garmon Rhys as Tina’s Manager Roger Davies and Joseph Richardson as record company Marketing Manager Erwin Bach.
Ensemble members are Lori Barker and Daniella Bowen,Chris Grahamson who plays Carpenter, Paul Mukembo who plays Tina’s son Craig and Alex Okoampa who plays Tina’s son Ronnie, the Ikettes are played by Samara Casteallo, Mia Musak and Anu Ogunmefun and swings Derek Aidoo, Joshua Da Costa, Livvy Evans, Raquel Jones, DeeArna McLean,Michael Thomas, Saran Webb and Samuel J Weir.
The children’s cast from 26 January 2022 comprises Maiya Eastmond, eleven years old from Lewisham, Zian Desole, twelve years old from Newham and Maya Parks, ten years old from Bromley, who share the role of Young Anna Mae; Chenai Broadbent, ten years old from West Sussex, Amor Querico, eleven years old from Surrey and Tia Roche, eleven years old from Bedfordshire, share the role of Young Alline; Spencer Salami, eight years old from Lambeth, Jhobe Duncan, nine years old from Waltham Forest and Elias Agbodan George, ten years old from Havering share the role of Young Craig.
The critically acclaimed production of TINA – THE TINA TURNER MUSICAL which is based on the life of legendary artist Tina Turner and produced in association with Tina Turner herself, received its world premiere in April 2018 in London and subsequently broke all Box Office records at the Aldwych Theatre. The New York, German, Madrid and Utrecht productions have all now opened.
Having originally played Tina’s sister Alline Bullock, Aisha Jawando, who has been with the company since its world premiere in Spring 2018, and Chanel Haynes share the title role. JammyKasongo, who also was a member of original company and then played the roles of Richard and Raymond, has stepped up to play the role of Ike.
Aisha Jawando’s London theatre credits include the title role in Cinderella at the Hackney Empire, The Life at Southwark Playhouse, Martha Reeves in the original London cast of Motown The Musical at the Shaftesbury Theatre, Beautiful – The Carole King Musical at the Aldwych Theatre, The Book of Mormon at the Prince of Wales Theatre, Fela at the National Theatre, The Lion King at the Lyceum Theatre and Soul Sister at the Savoy Theatre.
Chanel Haynes, who made her London stage debut performing as Tina, was discovered by Quincy Jones while she was still a teenager and went on to become an original member and lead singer of the New Orleans-based group Trin-i-tee 5:7 selling over 2.5 million albums worldwide and earning two Grammy nominations. At the 2008 Grammy Awards, she was part of the line-up with her band Trin-i-tee 5:7, which also included performances from Tina Turner, Beyoncé and Aretha Franklin. She made her musical theatre debut in 2014 at the Zach Theatre in Austin, Texas, where, in 2018, she won the B. Iden Payne Award for Best Leading Actress in a Musical for her role as Billie Holiday in Lady Day at Emerson’s Bar and Grill.
Jammy Kasongo’sother theatre credits include Grand Hotel at the Southwark Playhouse, Beautiful – The Carole King Musical at the Aldwych Theatre and Hair at The Vaults.
Directed by Phyllida Lloyd and written by Katori Hall with Frank Ketelaar and Kees Prins, TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations by Ethan Popp.
TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.
A CAST OF 120 PEOPLE FROM ACROSS THE COUNTRY TO TAKE PART IN RSC’S HENRY VI: REBELLION
Full casting announced for RSC productions of Henry VI: Rebellion and Wars of the Roses.
25 professional actors, including nine recent drama school graduates to perform alongside 95 members of the Royal Shakespeare Community in Henry VI: Rebellion including: 74 adults from Blackpool, Bradford, Canterbury, Cornwall, Norwich and Nottingham, and 21 young performers aged 13-17 from the RSC’s Next Generation Act young acting company
Mark Quartley and RSC Associate Artist, Mariah Gale return as Henry VI and Margaret in both Henry VI: Rebellion and Wars of the Roses.
RSC ringfences nine roles for drama graduatesin 2020 and 2021 following an intensive programme of text and fight workshops, attended by over 100 graduates.
Casting is announced for the Royal Shakespeare Company’s (RSC) forthcoming productions of Henry VI: Rebellion and Wars of the Roses running in the Royal Shakespeare Theatre, Stratford-upon-Avon between Friday 1 April and Saturday 4 June 2022.
This epic journey through The Wars of the Roses tells the vivid and enthralling story of the brutal struggle for the English crown.
As part of the RSC’s commitment to be a theatre company for everyone, Henry VI: Rebellion will include a cast of 120 people, including professional actors, adults from community groups from six English towns and cities, and members of the RSC’s young acting company.
Following their previous collaboration on the King & Country cycle of plays, and having most recently worked together to co-direct the Henry VI Part One: Open Rehearsal Project, directors Gregory Doran and Owen Horsley reunite to continue their journey through the final two parts of the Henry VI trilogy. Henry VI: Rebellion is directed by both Greg and Owen, and Wars of the Roses directed by Owen.
HENRY VI: REBELLION,1 April-28 May 2022 Directed by Gregory Doran and Owen Horsley
Henry VI: Rebellion, a fresh new take on Henry VI: Part Two, hurtles through one of the most turbulent periods in English history, asking the question: can the people ever really decide their own future?
This play has the most characters of any Shakespeare play, and this production will feature, in total, a cast of 120 people. 25 professional actors (who will also appear in Wars of the Roses), including nine recent drama school graduates, will be joined by 95 members of the Royal Shakespeare Community gathered from across England: 74 adults from Blackpool, Bradford, Canterbury, Cornwall, Norwich and Nottingham who are part of the RSC’s Shakespeare Nation community participation programme, and 21 young performers aged 13-17 from the RSC’s Next Generation Act young acting company.
At each performance one of the six regional Shakespeare Nation groups and one of three Next Generation Act groups will perform alongside the professional acting company.
Owen Horsley, director, said: “Out of the 37 plays in the canon Henry VI Part Two – or as we are calling it, Henry VI: Rebellion – has more characters than any other play. There are 85 characters on the cast list, which may explain why these plays are rarely done. One of the reasons for this wide array of characters is a series of scenes that Shakespeare writes concerning the people of England, who in various ways interact with the royal family.
“This gave us an idea! For many years the RSC has built incredible relationships across the UK with partner theatres through Shakespeare Nation and our youth programme, Next Generation Act. After 18 months of developing these links online this production seemed the perfect opportunity to be ambitious. So, for the people of England, we have cast the people of England. This is an extremely exciting project as it allows this history play, written over 400 years ago, to respond directly to the state of the nation – and at points put over 50 people on the RSC stage.
“Another drive that is very close to the heart of the RSC is the training of young actors as they enter the industry. Over the last two years recent graduates have suffered immensely with classes and productions being taken online and/or they have entered an industry on pause. For these productions we met with over 100 graduates from across the country to deliver workshops and fight training, and from this have cast nine graduates into our company of 26 for Henry VI: Rebellion and Wars of the Roses.”
Mark Quartley and Mariah Gale return to the RSC
Following their appearance in the Henry VI Part One Open Rehearsal Project, Mark Quartley and RSC Associate Artist, Mariah Gale will return to play, respectively, Henry VI and Margaret in both Henry VI: Rebellion and Wars of the Roses.
Mark playedAriel in the RSC’s live motion-capture production of The Tempest in 2016, Other RSC credits include Maydays, Measure for Measure and Written on the Heart.
Mariahlast appeared at the RSC playing Wendy in the 2015 production of Wendy and Peter Pan.Other RSC credits include Morte D’Arthur, The Comedy of Errors, As You Like It, Love’s Labour’s Lost, Hamlet, A Midsummer Night’s Dream, Julius Caesar and The Tempest.
The professional cast for Henry VI: Rebellion includes: Oliver Alvin-Wilson (York), Lucy Benjamin (Eleanor, Duchess of Gloucester), Richard Cant (Gloucester/Lord Saye), Daniel J Carver (Clifford/Horner), Angelina Chudi (Hume), Paola Dionisotti (Winchester/Humphrey), Felixe Forde (Bevis), Mariah Gale (Margaret), Ashley D Gayle (Smith), Conor Glean (Dick), Ben Hall (Suffolk), Jack Humphrey (Clerk), Nicholas Karimi (Warwick), Al Maxwell (Bolingbroke/ Holland), Georgia-Mae Myers (Margaret Jourdain), Peter Moreton (Salisbury), Sophia Papadopoulos (Suffolk’s Messenger), Mark Quartley (Henry VI), Aaron Sidwell (Jack Cade), Yasmin Taheri (Neighbour), John Tate (Captain/Stafford), Ibraheem Toure (Whitmore), Emma Tracey (Spirit), Daniel Ward (Buckingham) and Benjamin Westerby (Somerset).
Recent drama school graduates make their RSC debut
Henry VI: Rebellion and Wars of the Roses will feature nine actors who graduated from drama school in 2020 or 2021. The RSC is passionate about encouraging new acting talent to engage with classical work and the Company, and often casts graduating actors in its productions. However the RSC recognised that those leaving in 2020 and 2021 were working in a period like no other, with the pandemic creating particular difficulties for them both during their training and by entering a deeply wounded industry.
Consequently the RSC decided to ringfence nine of the 26 roles in these productions for new graduates. Following the RSC’s casting team’s continual engagement with the work of these students throughout the last two years, over 165 graduates were invited to a series of text and fight workshops. A smaller group then attended one to one auditions, and the nine graduates from 2020/2021 who make their RSC debuts are:
Felixe Forde (Royal Conservatoire of Scotland, 2020), Jack Humphrey (National Youth Theatre 2021), Al Maxwell (Bristol Old Vic Theatre School, 2020), Georgia-Mae Myers (Royal Central School of Speech and Drama 2021), Sophia Papadopoulos (LAMDA, 2021), John Tate (Royal Welsh College of Music and Drama 2020), Ibraheem Toure (East 15, 2021), Emma Tracey (Royal Central School of Speech and Drama, 2020) and Benjamin Westerby (RADA, 2021).
Adults and young people join the Rebellion
74 adults from Blackpool, Bradford, Canterbury, Cornwall, Norwich and Nottingham, will appear alongside the professional cast in Henry VI: Rebellion. They are part of Shakespeare Nation, a community participation programme run by the RSC and its partner theatres, aimed at engaging with people who have little or no experience of Shakespeare, either as a theatre-goer or performer.
Through their involvement in Shakespeare Nation and Henry VI: Rebellion, the hope is that they will develop a passion and enthusiasm for theatre and Shakespeare, and build their confidence and self-esteem. Some of the groups also include local Shakespeare Champions, who will work with the other participants to achieve these aims.
They will play the roles of working people who take part in the rebellion led by the character of Jack Cade against Henry VI, and townsfolk in a scene where Henry VI is out hunting.
Initially they will rehearse in their local theatres – The Grand Theatre Blackpool, The Alhambra Theatre Bradford, The Marlowe Theatre Canterbury, Hall for Cornwall Truro, Norwich Theatre and Theatre Royal & Royal Concert Hall Nottingham – before taking to the Royal Shakespeare Theatre stage from April, with each group appearing in around 4 performances. A list of participants is below.
They will be joined by 21 young people, split into three groups, from the RSC’s young acting company, Next Generation Act. Aged between 13-17 they are drawn from the RSC’s nationwide network of 222 Associate Schools, all with a talent for acting but from backgrounds that might restrict their chances of getting into the profession.
These young actors will play tradespeople and apprentices bringing their complaints to the King and court. They will also take part in the previously mentioned rebellion scene, led by Jack Cade.
The young people come from Barrow-in-Furness, Birmingham, Blackpool, Bradford, Canterbury, County Durham, Hull, Launceston (Cornwall), London, Middlesbrough, Northampton, Nottingham, Stoke-on-Trent and York.
The three groups will take part in different performances during the production’s run. A list of the young people taking part is below.
WARS OF THE ROSES, 11 April to 4 June 2022 Directed by Owen Horsley
Inspired by Henry VI Part Three, director Owen Horsley will present the dramatic conclusion to Shakespeare’s three-part Henry VI saga, Wars of the Roses.
In this thrilling climax to The Wars of the Roses, the tussle for the English crown escalates to the battlefield and the families of Lancaster and York drench their brutal conflict in sweat and blood. As power is shunted back and forth, there is deceit, betrayal and murder at every turn. The scene is set for the final chapter as we get our first glimpse of the villainous Duke of Gloucester – soon to become Richard III.
The cast includes: Oliver Alvin-Wilson (York), Lucy Benjamin (2nd Keeper/ Tutor), Richard Cant (Lieutenant/ King Lewis), Daniel J Carver (Clifford), Angelina Chudi (Lady Bona), Paola Dionisotti (Exeter), Felixe Forde (Richmond) Mariah Gale (Margaret), Ashley D Gayle (Edward), Conor Glean (Young Clifford), Ben Hall (George Clarence), Arthur Hughes (Richard, Duke of Gloucester), Jack Humphrey (Rivers), Nicholas Karimi (Warwick), Al Maxwell (Vernon), Peter Moreton (Salisbury/Father), Georgia-Mae Myers (French Messenger), Sophia Papadopoulos (Prince Edward), Mark Quartley (Henry VI), Aaron Sidwell (The Son), Yasmin Taheri (Elizabeth), John Tate (Hastings), Ibraheem Toure (Mob Leader), Emma Tracey (Rutland), Daniel Ward (Buckingham) and Benjamin Westerby (Somerset).
Henry VI: Rebellion and Wars of the Roseswill feature Set Design by Stephen Brimson Lewis. He will be joined by Costume Designer Hannah Clark. Lighting Designis by Simon Spencer, RSC Associate Artist Paul Englishby returns to compose the music, with Sound Design by Steven Atkinson. Movementby Emily Jane Boyle, with fights by Rachel Bown-Williams & Ruth Cooper-Brown.
SHAKESPEARE NATION PARTICIPANTS PERFORMING IN HENRY VI: REBELLION
BLACKPOOL working with The Grand Theatre, Blackpool
Philip Avenell, Stephen Coughlan, Liz Curran, Stephen Foster, Seamus Graeme, Beccy Hands, Ross Hewitt, Mickey Horrocks, Roger Lloyd Jones, Wendy Stevenson, Martyn Woodcock and Jeananne Young
BRADFORD working with The Alhambra Theatre, Bradford
Rachel Brewin, Angela Buffham-Wheeler, Bradley Cook-Pattison, Kelly Harris, Ben Hopwood, Georgina Jovanovic, Elizabeth Lancaster, Ron Norman, Anthony Priestley, Diana Reed, Qaraman Saidzada and Corin Ward
CANTERBURY working with The Marlowe Theatre, Canterbury
Philip Baston, Debbie Christie, Caroline Clark,Sasha Douglas, Graeme Forbes, Matilda Jovanovic, Mary Onions,Wayne Rhodes,Chrissy Swain,Sarah Thurstan, Harrison Todd andLynne Wright
CORNWALL working with Hall for Cornwall
Darcey Ball, Kate Barden, Simon Bennett, Adam Bowkett, Lily Burton, Tori Cannell, Lucie Dowling, Jonathan Groves, Guy Hanson, Emily Harrison, Kate Maciver-Redwood and Rosie Maciver-Redwood
Richard Jarmy Photography – @richardjarmy
NORWICH working with Norwich Theatre
Saint Ananda, Ed Cairns, Georgia Dimopoulou, David Fung, Etta Geras, Olli Gillo, Gina Irving, Mark Markham, Julian Newton, Aamer Raza, Helen Simpson, Katie Smith, Helen Wells and Jaime Willimott
NOTTINGHAM working with Theatre Royal and Royal Concert Hall Nottingham
Neil Brocklehurst, Julieanne Ford, Gavin Gordon, Anne Jennings, Yasmin Khan, Sally Maddison, Kathryn McAuley, John Merchant, Paul Robinson, Penny Shields, Diana Sule and Becky Valentine
NEXT GENERATION ACT PARTICIPANTS PERFORMING IN HENRY VI: REBELLION
Aaliya (15, Birmingham), Bailey (13, Blackpool), Callum (16, Stoke on Trent), Dee (17, Launceston, Cornwall), Emerode (14, Bradford), Harli (16, Nottingham), Olly (16, Launceston, Cornwall), Oscar (15, Birmingham),
Adam (14, Bradford), Lily (14, York), Jerminah (17, County Durham), Kay (17 Hull), Kingston (13, Barrow-in-Furness), Paige (16, Middlesbrough), Scout (17, Bradford)
THE PLAY THAT GOES WRONG IS BACK ON TOUR! CRASHING INTO THEATRES NATIONWIDE FROM 20 APRIL 2022
The Play That Goes Wrong, the Olivier Award-winning box office hit that continues to entertain audiences on a global scale, will return to its touring roots and embark on its fifth UK tour this spring. The production will open at Theatre Royal Bath on 20 April before visiting Mold, Southend, Leicester, Birmingham, Liverpool, Manchester, Newcastle, Plymouth, Bristol, Sheffield, Hull, Milton Keynes and Dartford, with further dates to be announced.
Awarded the 2014 WhatsOnStage Award for Best New Comedy, the 2015 Olivier Award for Best New Comedy and a Tony Award for the Broadway transfer, The Play That Goes Wrong is now booking into its ninth year in the West End and continues to delight audiences around the world. The show’s success is a testament to the hard work and determination of a group of drama school graduates who became friends, set up a company under the name ‘Mischief’ and created an extraordinary body of work. The Play That Goes Wrong shows no signs of slowing down since its first performance at a London fringe venue with only four paying customers. Since then, it has played to an audience of over two million and now has productions in over 30 countries.
The play features the (fictional) Cornley Drama Society who are putting on a 1920s murder mystery, but as the title suggests, everything that can go wrong… does! As the accident prone thesps battle against all the odds to reach their final curtain call, hilarious results ensue!
Mischief’s other West End successes include Magic Goes Wrong, Groan Ups, Peter Pan Goes Wrong, Mischief Movie Night and A Comedy About A Bank Robbery.Magic Goes Wrong and Groan Ups are also currently touring the UK. The second series of their award-winning television comedy, The Goes Wrong Show, launched on BBC One in September 2021. The five-part series was broadcast weekly and is currently available on BBC iPlayer. The company is owned and controlled by its original members and is led by a creative group and its directors Henry Lewis and Jonathan Sayer.
The Play That Goes Wrong is co-written by Mischief company members Henry Lewis, Jonathan Sayer and Henry Shields. The tour is directed by Sean Turner, originally directed by Mark Bell, with set designs by Nigel Hook, costumes by Roberto Surace, lighting by Ric Mountjoy and sound design by Andy Johnson. Casting for the 2022 UK tour is yet to be announced. The Play That Goes Wrong is produced by Kenny Wax Ltd and Stage Presence Ltd.
Royal Concert Hall Nottingham – until Wednesday 26 January 2022
Reviewed by Amarjeet Singh
5*****
Sat in the beautiful Concert Hall Nottingham, we knew we were in for a treat. The room was alive with the hum of people excitedly taking their seats and the enchanting sounds of the orchestra warming up, We were set to watch The Russian State Ballet of Siberia accompanied by the Russian State Ballet Orchestra who were bringing us the beauty of Prokofiev’s Cinderella.
Larger than life, conductor Anatoliy Chepurnoy, encouraged the audience to clap and cheer as the ballet began, setting the tone, letting us know that this interpretation of the well-known fairy tale would be a bit different, upbeat and have elements of humour. We were not disappointed.
The choreography, by Sergei Bobrov, along with the sumptuous costumes and digital screen scenery was a feast for the eyes. Staying true to traditional ballet, it also added elements of contemporary dance, movement and flow to bring it up to date and make the production relatable to all ages. There was not a moment when my eyes were not pulled in all directions, trying to take it all in, accompanied by the stirring and moving music.
The Prince and Cinderella, Natalia Bobrova and Georgii Bolsunovskii had us mesmerised with seamless sequences, solos and duets, they didn’t seem to break a sweat. Effortless, skilful and stunning, they kept us enthralled. The Stepmum and Stepsisters, played by Maksim Ikonostasov, Yaroslava Bolsunovskaya and Anastasiia Osokina brought oodles of humour which balanced perfectly with the romance of the lovers.
However, and quite unusually, it was the ensemble who stole the show for me, in particular the Timekeepers, who, dressed in red and black, warn us of the impending time constraints which are integral to the story. Waving hand movements, exaggerated stompy steps and bringing an air of panic, accompanied by pounding percussion, they are a joy to behold.
Cinderella was simply gorgeous. The Russian State Ballet of Siberia and The Russian State Ballet Orchestra know how to bring the house down. I would urge you to go see this and allow yourself to become immersed in this flawless fairy tale
Belgrade Theatre presents the world premiere of Fighting Irish this spring
As Coventry UK City of Culture 2021 enters its final four months, the Belgrade Theatre is thrilled to be producing the world premiere of Fighting Irish. The new drama based on a true story from Coventry writer Jamie McGough runs in B2 from Sat 2 – Sat 16 April.
Co-Directed by the Belgrade’s Creative Director, Corey Campbell, and former Artistic Director, Hamish Glen – who stepped down in December 2021 following an 18-year tenure – Fighting Irish will see the flexible B2 auditorium presented in-the-round for the first time ever.
Set in Dublin in 1979, Fighting Irish follows Jarlath McGough, Coventry’s newest light-heavyweight champion, as he returns to Ireland to defend his title. Prejudice, corrupt officials and warring factions in Ireland mean that Jarlath faces more than one fearsome challenger to his crown. The remarkable fight for identity pushes the McGough family unity to the brink.
The debut play from Coventry writer Jamie McGough, FightingIrish tells the true story of McGough’s own family, inspired by his family’s retellings of the historic events.
Writer Jamie McGough said: “I was lucky to have the story of Fighting Irish in my family and I wanted to pay tribute to them while contributing to Coventry’s City of Culture programme. I’m very grateful that the Belgrade have seen the potential in my story – I think we’re making something people can be very excited by.”
Co-Director Corey Campbell said: “I’m very excited to be working on Fighting Irish with Jamie, a local writer with a bright future ahead of him. My personal mission is to put local stories on stage and create a dynamic space for those stories and the local community. I’m also excited to learn what I can from Hamish in our handover show. He’s got a lot of experience and welcomed me into this organisation almost five years ago. I’m very grateful, very passionate about the work and very excited to make it happen.”
Co-Director Hamish Glen said: “I’m very excited about my last production for the Belgrade, and having always believed that theatres are local places, I’m delighted to be part of Fighting Irish. Throughout my time at the Theatre, I’ve been looking for a local piece of work to engage with the Irish community in the city.
“It will be a real pleasure to work with Corey. The show cries out for a strong, expressive, physical production – all the hallmarks of Corey‘s work. I am proud to be contributing to the Belgrade’s City of Culture programme with a new, local play by a first-time writer, telling an extraordinary true story.”
Based on the book by Julia Donaldson and Axel Scheffler
Cast announced and new images released
Ahead of premiere at Rose Theatre, Kingston in February 2022
and Spring/Summer UK Tour
Zog and his crew are flying back to the stage with a brand-new adventure next month! Based on the bestselling sequel by Julia Donaldson and Axel Scheffler, Zog and the Flying Doctors will premiere at Rose Theatre, Kingston from Thursday 10 to Saturday 19 February 2022 prior to a Spring/Summer UK Tour.
The cast will feature Ben Raymond as Zog, Alex Bloomer as Sir Gadabout, Lois Glenister as Pearl, Sarah Freer as Mermaid/Lion, Danny Hendrix as King/Unicorn, Annie Rose Chapman as Understudy (Rose Theatre and Tour) and Lauson Kenyon as Understudy (Rose Theatre).
Zog, super keen dragon turned air-ambulance, still lands with a crash-bang-thump. With his Flying Doctor crew, Princess Pearl and Sir Gadabout, they tend to a sunburnt mermaid, a unicorn with one too many horns and a lion with the flu. But Pearl’s uncle, the King, has other ideas about whether princesses should be doctors, and she’s soon locked up in the castle in a crown and a silly frilly dress! With a bit of help from her friends, will Pearl prove princesses can be doctors too?
Zog and the Flying Doctors is brought to the stage by Freckle Productions and Rose Theatre. Freckle Productions are pioneers in imaginative storytelling for children and the team behind hits including Stick Man. Rose Theatre is the largest producing theatre in South West London and has established itself as one of the most exciting theatres in the UK.
Zog and the Flying Doctors follows their smash-hit adaptation of Zog and reunites adaptor and director Emma Kilbey with composer and lyricist Joe Stilgoe for this truly modern take on the much-loved story.
Zog is one of the best-loved creations of Julia Donaldson and Axel Scheffler, the UK’s number one picture book pair behind many modern classics including The Gruffalo which has been published in over 100 languages. Together their books have sold over 75 million copies.
First published in 2016, Zog and the Flying Doctors is the smash-hit sequel to Zog. On Christmas Day 2020, Magic Light Pictures premiered an animated film of Zog and the Flying Doctors on BBC One featuring an all-star cast including Sir Lenny Henry and Rob Brydon. Highly acclaimed, it was watched by 4.5 million and many more streamed.
Zog and the Flying Doctors is adapted and directed by Emma Kilbey with songs by Joe Stilgoe, designs by Lucy Bradridge, choreography by Tom Jackson Greaves and lighting design by Aaron J Dootson.
Age suitability: Most suitable for 3+ but all ages welcome Running Time: Approximately 1 hour with no interval
The Alexandra, Birmingham – until 29th January 2022
Reviewed by Joanne Hodge
5* * * * *
“Murder, greed, corruption, exploitation, adultery and treachery … all those things we hold near and dear to our hearts.” And so begins Chicago, a tale of life in 1920’s USA where prohibition had been introduced, and as a result, a criminal underworld had developed in the Illinois city, with mobsters having the public’s guardians in their pockets. I guess you can see why audiences in 2022 can relate!
Considering this is one of the longest running musicals in history, it is timeless. John Lee Beatty’s simplistic set is dramatically changed by just the repositioning of a chair, with the mood heightened by Ken Billington’s use of lighting. Alongside the almost uniformly classically black costumes, we find a story woven with scandal, sensuality and a sequin or two.
Our protagonist, the fame-hungry femme-fatale Roxie Hart [Faye Brooks] shoots her lover, Fred Caseley [Joel Benjamin] and as result of a failed attempt at getting her affable husband Amos [played with perfect humility and hilarity by Joel Montague] to take the blame, she ends up in the Cook County Jail under the watchful eye of Matron ‘Mama’ Morton [Sinitta Malone].
Roxie immediately jars with another of her murderess cellmates, Velma Kelly [Djalenga Scott], whose thunder she has stolen both with the attention of the Chicago press, and the charming, yet ruthless lawyer, Billy Flynn [Darren Day].
Those unfamiliar with Chicago may at first be confused with what is reality, and what is fantasy, but it really doesn’t matter. Every lyric and line carries the story to its conclusion, with the added bonus of the orchestra being part of the set throughout. Even interacting with the cast to make a formidable ensemble.
Ann Reinking’s adaptation of Bob Fosse’s original choreography is outstanding. If only people appreciated how hard a cast have to work in order to move seamlessly together with such small, iconic motions! It really is astounding.
I have to say for me, despite some of the more well-known names on stage, the outstanding contributor was without a doubt Djalenga Scott’s Velma. She’s got it all, the voice, the body, the face … and all that jazz!
A Bit Lit launched their new events and courses with this wonderful webinar about early modern theatre. Hosted by Andy Kesson and Jimmy Tucker, there was a very well-balanced mixture of academic research, performance and chat about life in 1600 – with, of course, Shakespeare himself (Ralph Bogard) turning up to compere.
The organisers ensured that the event was accessible, with BSL interpretation, onscreen captions and audio description available. The academics presenting did so with a welcoming and friendly atmosphere that meant viewers were more than willing to contribute to the online chat.
A charming and slightly batty opening section where Simon Russell Beale and Emma Smith imagined themselves on a theatre date in 1600 – Simon’s reaction to Emma wondering whether missing the first 10 minutes of the play would be that bad is priceless! – sets the tone for the event. Sarah Dustagheer, B.K. Adams and Elizabeth Tavares then discuss the impact of the acting companies setting up permanent playhouses on the area, the differences having a permanent base made to the companies themselves, and what sort of people would have attended the theatres. These brief but engaging talks are fantastic taster sessions to inspire and interest future learning.
Vox pops with Mark Hadfield, Katy Stephens and Michelle Tiwo giving authentic accounts from neighbours of misbehaving actors, continental visitors and god-fearing Londoners convinced that the theatre was the work of the devil are a delight, alongside a very dramatic Shakespearean weather forecast from Bea Webster (thunder is bad) and a weird and wonderful traffic report from Emma Frankland – the M25 isn’t really that bad, at least there aren’t bears!
Callan Davies and Heather Knight explored the Curtain playhouse virtually, with Heather explaining how her archaeological findings changed the way we viewed early modern theatres. Holly Dugan took us on a smell tour of early modern London – to make it immersive, a list of objects to have at hand is supplied – and the associations we have with various smells in modern times and 1600 was explored in a thought-provoking but thoroughly enjoyable way.
Audience votes decided how we got to the curtain and where to sit before director Stephen Purcell asked us to choose what sort of play the actors would improvise, along with the protagonist and title. The world premiere of the early modern tragicomedy “A Parliament of Bees” starring Small Ability was then screened, with further suggestions from the audience being adopted as the plot unfolded. Monica Gaga, Francesca Reid and Lisa Ronaghan delivered a political comedy (there was obviously wine and nibbles in the council meetings), with a ghost, unrequited love, murder, witches, bees and even some dodgy rhyming couplets that was ridiculous fun and a joyful way to end the stimulating event.
As an introduction to future events, A Day Out at Shakespeare’s Theatre is a brilliant beginning. The inclusivity, friendliness, enthusiasm and love for early modern theatre shines through and would encourage anyone to sign up for new courses and events.
A recording of A Day Out at Shakespeare’s Theatre is available for £15 by contacting [email protected]
Casting announced for Agatha, a new production fusing original music, spoken word and personal experience The Pleasance, Carpenters Mews, North Road, London N7 9EF Tuesday 1st – Saturday 5th March 2022
Casting has been announced for Agatha, a bold new production based on real life events that combines spoken word, original music and dialogue to bring personal experience to the stage. West End theatre, film and TV star Olivia Carruthers (Life, BBC; Life After George, Duchess Theatre; Four Weddings and a Funeral, MGM TV) will play Agatha alongside Suzanna Hamilton (Nineteen Eighty-Four, Virgin Films; EastEnders, BBC; The Strike, BBC) as Rose, and awardwinning writer and actor Gemma Barnett (Goggles, ThisEgg; A Hundred Words for Snow, Trafalgar Studios; Dr Korczak’s Example, Leeds Playhouse) as Jo. Agatha will be directed by Martha Geelan (The Shark is Broken, Ambassadors Theatre; Fiddler on the Roof, The Playhouse Theatre; Indecent, Menier Chocolate Factory). Originally programmed as part of VAULT Festival 2022, where Gemma Barnett was part of the inaugural Vault Five, Agatha has been rehomed to Pleasance Downstairs this Spring.
Jo has a decision to make. Stuck in the car, she needs someone to tell her what to do; what she wants; why she’s here. Agatha is dead and living her dream life running a blues bar in the afterlife. Set across three generations of women in the same family, this moving production portrays the spikiness of mother-daughter relationships and the most intense love that can be intertwined amongst the thorns.
Based on real life events, Agatha tells an intergenerational story of women battling lost dreams, coping mechanisms and each other. Writer and performer Gemma Barnett draws on her own family relationships with incredible honesty to present this production.
First written as spoken poetry, Agatha developed for the stage as Barnett reflected on the awkwardness and discomfort surrounding women’s desires, dreams and truths. This was further driven by heated debates on abortion laws in America, seeing protesters at BPAS clinics harrass women and the death of a Polish woman from sepsis 22 weeks into pregnancy. Following research with the charity Alliance for Choice, this production pulls together different issues, including the continued misogyny in medicine, with Gemma’s own family memories.
Agatha is not a show that debates the ethics of abortion. It is a nuanced representation of what happens to three generations of women when one has been denied the choice. Composer Katy Hustwick (This Beautiful Future, Jermyn St Theatre; HOLE, Jermyn St Theatre) cleverly fuses music with spoken word and dialogue to underscore the beat of Agatha, while Lucy Adams (Ordinary Miracle, National Youth Theatre; dressed., ThisEgg; Art Heist, Underbelly/New Diorama) also brings her talents as Lighting Designer
Director Martha Geelan comments, What strikes me most about this extraordinary piece that Gemma has written, is how deeply it speaks to the complexities of female identity. The trauma, love and expectation that women pass down through generations – it shapes who we are and what we feel we are supposed to want. How do we know how we are making the right decisions? Who do we base our choices on? How do we learn to be the best versions of ourselves?
Agatha is a resonating reflection of familial relationships and the impact of inherited trauma, bitterness, pride and awe.
Bethany Cooper Productions today announces its inaugural production is the world première of Katie Redford’s debut play Tapped, in a co-production with Theatre503. Directed by Piers Black, the production opens at Theatre503 on 12 April, with previews from 5 April, and runs until 23 April 2022.
Katie Redford, said today, “The first short play I ever wrote was on at Theatre503, so to have my debut professional play there is really exciting. Tapped is a play about eating too many Club biscuits, never getting round to fixing the shower and reminiscing about the days of SMTV Live. But fundamentally, it’s also about feeling stuck and fiercely longing for human connection. Even if we do share different opinions on which is the best Club biscuit. (The green one. Always the green one.)”
Bethany Cooper Productions and Theatre503 present
The world première of
TAPPED
By Katie Redford
Directed by Piers Black
Theatre503
5 – 23 April 2022
Ever wanted more from life? These three have.
Tapped is a heart-warming comedy that explores the importance of acceptance, fulfilment and (lack of) hope. In Stapleford, Nottingham, aka Stabbo, we meet Gavi, Jen and Dawn at an amateur self-help group who all share one commonality; they’re desperate for escapism.
A play about fears, hopes, having big dreams in small places and how the idea of change is far easier said than done.
Katie Redford is a writer and performer. She’s a BAFTA Rocliffe TV Comedy Winner and was also part of the BBC Comedy Writersroom. Her short film Ghosted starring Alison Steadman, which she co-wrote, produced and performed in, was supported by BFI Network in association with Film Hub Midlands. Her debut drama Yellow Lips recently aired on BBC Radio 4, which she also plays the lead in. As an actor her television credits include Alma’s Not Normal, Still Open All Hours and Mount Pleasant.
Piers Black is a director, writer and dramaturg. He is Artistic Director of Ransack Theatre, was previously Resident Director at the Almeida Theatre, and trained on the National Theatre Directors’ Course where he went on to be a Staff Director.
Supported by Arts Council England, The Gane Trust and Unity Theatre Trust.
