Category: Uncategorized

Yvonne Arnaud – until 17 July 2021

Reviewed by Heather Chalkley

5*****

Stephen Mallatratt’s adaptation of this classic book, successfully delivers all the spine tingling drama created by author Susan Hill. The Woman in Black is cult reading and as a result the audience is filled with people of all generations, including a lot of young people.

Robert Goodale’s (Old Kipps) development of his character leads you smoothly into transitions, punctuated with humour. The drama and trepidation Antony Eden (The Actor) delivers is a master class in wordsmithery. The interplay of characters is a delight, creating a play within a play. Both Goodale and Eden create moments of suspense with not much more than a wicker trunk and a couple of chairs. None of which has meaning without the dramatic, shadowy appearance of The Woman in Black herself.

The sound and lighting play a vital part in the illusion of a creepy old grand house on the end of a desolate causeway. The creative team strike a great balance between theatrical and believable.

Although a well told story, this does not prevent the director Robert Herford from scaring the bejeebers out of the audience. A chilling tale well executed.

Theatres gear up for reopening following 19 July Roadmap announcement

Following today’s official Government confirmation that remaining Covid restrictions will be lifted from 19 July in England, we look forward to being able to welcome full audiences back into our theatres. 

Fiona Allan, President of UK Theatre, said:

‘We are relieved to hear that theatres in England can open from 19 July. This will hopefully be a turning point on the road to recovery and longer-term financial viability for our world-leading sector. We recognise that for theatres in Scotland, Wales and Northern Ireland their date for full reopening is still some way off, however – and that this frustrating lack of consistency makes planning UK-wide tours extremely difficult.’

As throughout the pandemic, the safety and confidence of our audiences and staff remains paramount. Theatres will continue to use our industry-wide See it Safely protocols, which have been updated and reissued following the changes in Government guidance for live events. The majority of Covid safety measures will remain, including a strong recommendation of the use of face coverings, as advised by the Government.

Julian Bird, Chief Executive of SOLT and UK Theatre, said:

‘The thousands of people who have already come back to the theatre since 17 May have been overwhelmingly positive about their experience and how safe and comfortable they felt. As we increase capacity, we want to ensure that this positive audience sentiment remains. For this reason, we hope audience members show respect for fellow theatregoers and staff by continuing to wear face coverings when coming into our venues and moving around them.’

The following measures will remain from 19 July:

• Enhanced cleaning
• Hand sanitiser stations
• Wearing of face coverings strongly encouraged, especially while moving around inside the venue
• Modified routes around the building to avoid overcrowding
• Recommendation that theatregoers bring minimal possessions
• Contactless ticketing, possible staggered arrival times and security checks
• Restricted Stage Door activities post-show
• ‘Book with Confidence, Exchange with Ease’ pledge allowing exchanges up to 24 hours ahead of a performance if a ticket holder cannot attend due to Covid

The following measures will cease from 19 July:

• Socially distanced auditorium seating (although some productions may continue to offer some or all of their performances as socially distanced over the summer)
• Restrictions on booking party size and limitations to households or bubbles
• Compulsory temperature checks before entering the venue (although some venues may still require these – information will be available on individual venue websites)
• Compulsory check-in via the NHS app before entering the venue

Having received the go-ahead to fully reopen, theatre producers are committed to staging top quality live entertainment and creating thousands of jobs.

Eleanor Lloyd, President of SOLT, said:

‘Producers want to get our industry back on its feet, creating employment and entertaining audiences across the country – but we are doing so under debilitating self-isolation rules and still without the protection of cancellation insurance. This is not a sustainable situation, especially as the safety net of the Culture Recovery Fund continues to leave many productions ineligible for support.’

The theatre industry still needs Government assurance and support on the following issues in order to be able to sustain the reopening and rebuild successfully.

• Provision of a Government-backed theatre insurance scheme to mitigate financial risks around future Covid-related show postponements and cancellations
• An alternative to automatic self-isolation for casts and crew after contact with a positive Covid case, allowing workers to test themselves out of isolation rather than potentially shutting down an entire production
• Clarity and efficiency around distribution of the remaining Culture Recovery Fund money, and recognition of the difficulties – particularly for commercial theatre businesses – in accessing support 

Following the government’s confirmation that Step 4 of lockdown easing will go ahead in England on Monday 19^th July, Theatres Trust director Jon Morgan has commented:

Today’s confirmation that Step 4 of the reopening roadmap will go ahead on 19 July is welcome news for theatres in England, who will no longer face capacity caps and social distancing requirements. This will enable theatres to welcome back full audiences, producing shows that are financially viable and to provide more work for the sector’s precious freelance workforce.

We know that theatres will do everything in their power to continue to ensure they provide a safe environment for their audiences.

While it is good news for England, theatres in Scotland, Wales and Northern Ireland are still subject to tighter restrictions. A consistent approach is important both for the sake of struggling theatres in those nations and the impact on the viability of UK-wide tours, which are a vital part of the theatre landscape.

Belgrade Theatre announces further details of its Autumn / Winter 2021 Season

The Belgrade Theatre is delighted announce its full Autumn / Winter 2021 Season, running from Weds 1 September through to Sat 5 March 2022, with an eclectic programme of drama, music and entertainment.

As part of the venue’s work for Coventry UK City of Culture 2021, highlights include the world premiere of This Little Relic by Karla Marie Sweet, a metaplay about producing Ira Aldridge’s The Black Doctor, directed by one of the Belgrade’s three Co-Artistic Directors for 2021, Justine Themen, as part of the BBC’s Contains Strong Language Festival; the world premiere of Kerbs in association with Graeae Theatre Company; and the world premiere of SeaView, a unique digital project in partnership with Strictly Arts based on an original idea by Corey Campbell, one of the Belgrade’s other Co-Artistic Directors for 2021.

The Belgrade’s Autumn Season is completed by a variety of previously announced shows including Dirty Dancing, The Play That Goes Wrong, A Christmas Carol starring Harry Potter and Game of Thrones actor David Bradley, and the brand-new musical The Ruff Tuff Cream Puff Estate Agency, co-produced with Cardboard Citizens for Coventry UK City of Culture 2021.

The Autumn season launches at the Belgrade with a series of one night music acts. The musical theatre concert show Masters of the House takes to the Main Stage on Fri 3 Sept, followed by the Dolly Parton and Kenny Rogers tribute act Islands in the Stream on Weds 8 Sept.

From Thurs 28 Aug – Sun 26 Sept, the Belgrade plays host to a variety of events as part of BBC’s Contains Strong Language – the biggest poetry and performance festival of new writing. Featured in this line up is This Little Relic by Karla Marie Sweet, a metaplay about producing Ira Aldridge’s The Black Doctor. Directed by the Belgrade’s own Co-Artistic Director for 2021, Justine Themen, This Little Relic will perform to a live audience on Fri 24 Sept and will be broadcast on BBC Radio 3 at a later date. All events in Contains Strong Language are free to attend.

This Little Relic then continues to run in the Belgrade’s B2 auditorium from Weds 29 Sept – Sat 2 Oct.

Start your engines… The Drag Ball comes to Coventry on Tues 21 Sept, starring the Queens of RuPaul’s Drag Race UK Season 2. Winner Lawrence Chaney is joined by fan favourites Veronica Green, Joe Black, Tia Kofi, Sister Sister, Astinna Mandella, and RuPaul’s Drag Race Season 13 star Elliott with 2 Ts.

Live music events continue with RUSH, a celebration of Reggae music and the Windrush generation, on Sat 25 Sept, An Evening Withotut Kate Bush on Fri 15 Oct, Fascinating Aida – starring Dillie Keane, Adèle Anderson and Liza Pulman – on Fri 29 Oct and 80s Mania on Sat 30 Oct.

The Why? Event takes place on Fri 8 Oct, an exploration of why people stay in domestic abuse relationships. Delivered in a creative and unique way using dramatisations, spoken word and dance, it features special guest speakers Janika Cartwright and Naomi Donald.

Mandala Theatre Company in association with Oxford Playhouse present Though This Be Madness from Weds 20 – Fri 22 Oct. The new play written by Avaes Mohammad and directed by Yasmin Sidhwa unravels what is happening to young people in relation to education, exclusion, gang grooming and too often, a pipeline to prison.

Sing-a-Long-a also makes a welcome return to Coventry with family favourites Grease and The Greatest Showman on Sat 23 Oct. Come along in fancy dress and sing your heart out to the iconic songs of these beloved films.

On Thurs 28 Oct, Voices of Legends brings the glitz, glamour and music of Bollywood to Coventry for one night only, starring award-winning singer and entertainer, Navin Kundra.

The Unremarkable Death of Marilyn Monroe arrives in Coventry on Weds 3 Nov. Written and directed by Elton Townend Jones and performed by Lizzie Wort, the life of the immoral Marilyn Monroe is unravelled. Be taken back through the memories of her closest relationships, leading us in real time to the very moment of her death.

Award-winning HIV+ theatre-maker Nathaniel Hall (It’s a Sin) and Dibby Theatre present First Time on Sat 6 Nov. The hit autobiographical show explores what it’s like growing up HIV positive in a negative world.

On Weds 10 Nov, the Belgrade hosts the world premiere of SeaView, their digital project for Coventry UK City of Culture 2021 in partnership with Strictly Arts Theatre Company. The ground-breaking family drama with a supernatural element follows two sides of one family, as they struggle to escape the often brutal reality of their lives. SeaView is based on an original idea by Corey Campbell, one of the Belgrade’s Co-Artistic Directors for 2021. The first three episodes of the six-part series will be screened at the Belgrade every day from Thurs 11 – Sat 13 Nov.

Following their annual pantomime (this year it’s Beauty and the Beast – oh, yes it is!), 2022 kicks off with a series of one night music and drama events. The Circus of Horrors returns with a new show celebrating their 25^th anniversary on Thurs 20 Jan, followed by Roy Orbison and the Traveling Wilburys Experience on Fri 21 Jan and The Magic of Motown on Sat 22 Jan.

On Thurs 27 Jan, Here’s What She Said To Me takes to their B2 stage for one night only. Written by Oladipo Agboluaje from an idea conceived by Moji Elufowoju, the story of what it is to be a daughter and a mother is a kaleidoscope of music, ritual, poetry and movement.

Come What May, a tribute to Moulin Rouge and a fantastic range of other movie musicals plays on the Main Stage on Thurs 27 Jan, followed by Whitney – Queen of the Night on Fri 29 Jan and You Win Again, a musical celebration of the Bee Gees on Sat 29 Jan.

Agatha Christie’s classic crime novel And Then There Were None arrives on the Belgrade’s Main Stage from Mon 7 – Sat 12 Feb. Directed by Lucy Bailey, the story follows ten stranger who are lured to a solitary mansion off the coast of Devon. When a storm cuts them off from the mainland, the true reason for their presence on the island becomes horribly clear.

From Weds 9 – Sat 12 Feb, queer playwright Tom Wright brings the premiere of his hard-hitting and hilarious new play, I Ain’t Dumb, to his hometown of Coventry. A tough inner-city school, proud of its inclusivity, suddenly explodes in a rapidly escalating culture war.

A brand-new stage adaptation of Dan Brown’s best-selling novel The Da Vinci Code arrives at the Belgrade from Tues 22 – Sat 26 Feb. Adapted by Rachel Wagstaff and Duncan Abel and directed by Luke Sheppard, experience the international phenomenon live on stage for the very first time.

The Belgrade has teamed up with Graeae Theatre Company to present the world premiere of Kerbs as part of Coventry UK City of Culture 2021. From Sat 26 Feb – Sat 5 March, Michael Southan’s play tells the story of Lucy and David, whose much-needed holiday is plagued by problems including broken toilets, patronising staff and Lucy’s constantly interfering mum.

From Mon 28 Feb – Sat 5 March, multi-award winning Mischief Theatre return once more to the Belgrade with Groan Ups. Follow an unruly classroom of six year olds on their journey through anarchic high school teenagers to the challenges of adulthood.

With a My Belgrade Subscription package, audiences can save 15% when you book for 3 or 4 shows and a massive 25% when you book 5 or more participating shows. All shows in their Autumn Season apart from Beauty and the Beast are included in the My Belgrade Subscription package.

Tickets are on sale to Gold and above Members from Mon 12 July. Tickets will be on sale to Bronze and Silver Members from Mon 19 July, and on general sale from Mon 26 July. Become a My Belgrade Member today from as little as £30 to get priority access to all of these shows

ACCLAIMED STAGE PRODUCTION IS MADE INTO A FILM

Two leading UK theatre companies have come together to produce a film based on their critically acclaimed stage production.

Yorkshire’s Mind the Gap and Ipswich-based Gecko Theatre created ‘A Little Space’ in 2019; it opened in November and toured to 10 venues before Covid-19 halted theatre throughout the country.

“Streaming has come into its own throughout the pandemic and that’s been hugely beneficial for everyone,” says Co-Creator Charli Ward from Mind the Gap.

“But this is much more than streaming a theatre production into homes and venues – what we have done is made a piece of theatre into a film and the result is wonderful hybrid of both.”

Set in an apartment block, ‘A Little Space’ follows the lives of five people and explores what happens when they connect and disconnect from each other, whether through choice or through isolation.

Drawing on the performers’ own experiences, it is a powerful piece of physical theatre, which uses movement, imagery, sound, and lighting to portray the needs, desires, and fears of the characters.

The two theatre companies worked with award-winning Newcastle-based Meerkat Films to bring the piece to the screen and promise that audiences can expect ‘a mash up of theatre and film’.

“In a theatre the audience’s eyes see everything at the same time it’s up to us to control that with lighting and staging; film gives us the opportunity to get down to the details of the stories, the details of the characters, and to pick out very minute touches,” explains Co-creator Rich Rusk from Gecko Theatre.

“If you see the film and the stage production you will have a very different experience; it’s definitely not like a Hollywood movie on location – it’s all in one place so exists very theatrically but with a cinematic edge.”

The opportunity to create the film came in June 2020 when it was commissioned by The Space, a digital agency that help promote engagement across the arts and cultural sector.

“We’re very grateful to The Space for their support,” Charli concludes. “To blend the two artforms has been a fascinating and new experience and a great opportunity for our artists and creatives alike.”

A Little Space premieres on You Tube and Facebook on Saturday 17^th July at 5pm

It is free to watch.

THE ALEXANDRA IS BACK

20 JULY 2021

THE ALEXANDRA IS BACK

20 JULY 2021

FEATURING A SEASON OF SPARKLING THEATRE

TO CELEBRATE ITS 120TH BIRTHDAY

• The Alexandra has today announced it will reopen on 20 July – welcoming back audiences for the first time since March last year.

• The reopening also falls in the iconic venue’s 120th Birthday year

• Packed programme of shows on offer at full capacity

After being closed for 491 days, The Alexandra is thrilled to be reopening its doors on Tuesday 20 July 2021. Audiences will be welcomed back with a dazzling reopening season, which also celebrates the 120th birthday of the iconic Birmingham venue.

The pandemic resulted in the longest closure in the much-loved theatre’s history – dwarfing the mere 22 days the venue closed during World War Two – but, after huge amounts of behind the scenes work, the lights are being switched on and the curtains raised.

Sixteen months on from theatres across the country being forced to close their doors overnight – and following more than a year of Government-enforced delays – The Alexandra has once again proven its resilience and enabled theatre-lovers to return as normal at the earliest opportunity.

Cheryl Taylor, Acting General Manager of The Alexandra, said today: “I am beyond excited that we are finally reopening our doors to our wonderful customers, casts and crews.

The pandemic hit us in ways we could never have imagined, but we stayed strong and resilient. Our unwavering faith and loyalty to our industry and our city has not been shaken – only strengthened – through these difficult months.

With a star-studded programme of sensational shows, I’m also delighted by the return of our price promise tickets alongside our new Local Heroes ticket scheme – our way of saying thank you to some truly remarkable people.

The Alexandra has been at the heart of our community for 120 years. This has been our longest period of closure but now we’re back again, stronger than ever and ready to lift the curtain on another 120 years of world class live entertainment.”

The Alexandra will open with Strictly favourites Anton & Giovanni on 20 July, starting a series of one-night performances, including sold-out Frank Skinner (22 – 23 July) and Jane McDonald (14 August). Drama is calling as The Cat and the Canary pays a visit from 3 – 7 August before must-see, sensational musicals take to the stage throughout the remainder of the year.

Among these are Birmingham premieres Heathers and Bedknobs & Broomsticks, as well as Everybody’s Talking About Jamie – the cast of which were at The Alexandra and set to go on stage when the first national lockdown was imposed.

Also set to wow audiences are returning favourites; The Rocky Horror Show, Grease, Dirty Dancing and 9 to 5 The Musical. The festive season sees the Jersey Boys work their way back to the city and there’s a bumper season of one night only performances.

To celebrate its 120th year and the vital part the theatre plays in the heart of Birmingham culture, The Alexandra has announced that it will be giving away 120 prizes across its social channels throughout the remainder of the year.

The latest government advice means it will now be possible to reopen the theatre at full capacity. As a ‘See It Safely’ approved venue, audiences can feel reassured knowing The Alexandra is Covid-secure and will always follow the latest government advice. Some of the safety measures put in place include e-ticketing, enhanced cleaning and sanitising stations. Visitors can also book with complete confidence knowing that, if there are any further suspensions, tickets will remain fully valid for further exchanges or refunds.

For a full calendar of shows and events, please visit ATGTICKETS.COM/Birmingham

Rowntree Park, York – until 17 July 2021

Reviewed by Sal E Marino

5*****

It’s not often I go to a production and during the applause announce – “I’m coming to see this again!” but that’s exactly what happened when I saw The Park Keeper, a play performed in Rowntree Park, York.  My bubble guests agreed (who ranged from 75 to 13 years) and my young daughter, who is currently learning about the horrors of World War One said – “It really brought the fear of the men alive to me mum, I get it now!”.  We all ‘got it’ and that was down to the absolutely outstanding and one hundred percent authentic portrayal of the character ‘Parky Bell’ (played by the fabulous Sean McKenzie) and the exceptional writing of Mike Kenny.  Brought to us by Park Bench theatre, The Park Keeper  is performed in the beautiful park grounds, where you will receive a most warm and covid-friendly welcome by the theatre staff.  On arrival, you are provided with headphones and a device which allows you really clear access to the music and sound effects of the play that can be sometimes missed at outdoor performances.   

Brilliantly directed by Matt Aston, the story of The Park Keeper is inspired by a real-life character known to the residents of York as ‘Parky Bell’.  Parky Bell took this post when Messrs Rowntree & Co gifted Rowntree Park to the City of York as a memorial to the cocoa works staff who fell and suffered during the First World War.  As he practises his retirement speech, we learn that it was through working in this park – a most beautiful flourishing and lush green space –  that Bell could find some sort of solace (if that is at all possible) after his emotionally debilitating battlefield experiences.   Before post traumatic stress disorder was recognised, men like Bell had to adopt the English ‘stiff upper lip’ and just get on with it but as we now know (and our beloved park keeper reveals) that’s just not possible.

A day on and I can’t stop thinking about ‘Parky Bell’ and what he’d endured as a young man during WW1.  We’ve all seen Hollywood pictures and felt moved and affected by war on film but The Park Keeper – that doesn’t have the big budget movie style grandiose – brings home the catastrophic and overwhelming experience of warfare more than anything I’ve ever seen before!  As said above, ‘authentic’ is a word I’d use to describe this performance but that’s not enough because it’s very deep.  On the surface of it, Parky Bell doesn’t appear deep or complex at all but when he’s reliving the devastations of what the war has cost him: losing his best pal, being right in the-eye-of the storm of the bloodshed, surviving and then being sent right back into it – we clearly see the impact this has had on him.  He’s been living with this hell and agony inside, privately, for all these years.  He never talked to anyone about what happened because he didn’t see the point as how can those, ‘’who haven’t been through it’, understand?   You have to go ‘deep’ with issues such as this and Mckenzie does it, geniously.    Parky Bell ponders – ‘You’d have thought we’d have learnt’ (referring to  the cruelties of war) but sadly not – as he later reveals the traumatising reality that his son was later lost in WW2.  What’s even more impressive is that even though Sean Mckenzie addresses these topics through Bell with such an emotional and profound intensity, he also breaks things up with typical Yorkshire humour and uses phrases / sayings common to our parents and grandparents.   It makes you smile.  

As Parky opens up further he recalls his wife saying, ‘you’ve changed’ and he agrees.  Things that don’t get talked about fester and then Bell questions whether his inability ‘to talk’ is responsible for his son’s death.  Was his son, with whom he found so different in nature to himself (and who ‘wasn’t a fighter’) ‘trying to prove something to me’?  The regret and soul searching Parky Bell explores regarding the difficult relationship between the two of them, no doubt due to his changed and emotionally defensive personality,  is most moving to watch and you really feel the still-raw sadness, guilt and anger he holds.

The Park Keeper makes you question the meaning of life, the values of society and of ‘those in charge’ who make all the important decisions.   These ‘important decisions’ can: shape, influence or determine one’s fate or fortune depending upon your social class and morals.  We learn that the Rowntree family (who were ‘one of them’) most certainly did do-their-bit for the war effort and tragically lost a son.  The gift of the park to the city, in the memory of their employees lost to the war, showed their sound ethics that Parky believes was true to their Quaker background.  As with all brilliant plays, The Park Keeper questions the concepts of ‘hope’ and ‘faith’ in those who run and morally guide the country during his life-time (up to 1942) and it makes you question things today. 

As the play comes to a close we are brought back to Parky Bell’s task at hand, which is to write his retirement speech and the love and respect now felt for this man overflows.  Everything about this play is perfect – from the first-class writing, spectacular delivery of the script by Sean Mckenzie to the astounding beauty of the setting – the park itself.  It makes you think, feel and then think some more and that’s really quite something!

Jack Studio Theatre – until 17 July 2021

4****

Reviewed by Claire Roderick

Joel Horwood’s intriguing play about a day in an ordinary English village is the first inhouse production from the Jack Studio Theatre after reopening. And the team has not lost their magic touch.

Brigid Lohrey and Grace Cookey-Gam play all the villagers expertly and engagingly – an aging farmer with a daughter who has no interest in taking on the land, a useless but kind-hearted village policeman, an overbearing village councillor, a loner living in the woods, a vicar and his teacher wife, and the local children who are burdened by family reputation. After an introduction to the characters and locations the episodic story begins.

When Bea Lewis, living alone on her farm, and terrified of developing dementia like her own mother, is adamant that she’s seen a wolf rumours and panic begin to build around the village. The usual uncertainties and fear of each character become increasingly amplified until Harry, the village policeman calls a muster in the village hall. Unfortunately, his great plan is to lock themselves in and see what happens.

The characters are all basic stereotypes and are even named and grouped in their stories alphabetically, emphasising the difference between recognisable civilisation and wildness. Their reactions and who they blame for the presence of the wolves could be applied to any event that threatens a community and shines a light on the less evolved aspects of human nature. The play loops around to explain some of the sounds that are heard around the village, and this structure evokes memories of listening to stories around a campfire. Kate Bannister’s intuitive direction, Karl Swinyard’s set, Philip Matejtshuk’s sound and Robbie Butler’s lighting and video work wonders to create a mystical atmosphere that captures the ever changing beauty and threat of nature.

MEI Theatrical presents

SARAH & DUCK’S BIG TOP BIRTHDAY

The BAFTA-winning CBeebies series

comes to London for 4 performances only

At Leicester Square Theatre

on Tuesday 17 and Wednesday 18 August

The enchanting world of CBeebies’ hit animated series Sarah & Duck comes to London this Summer! Featuring a host of wonderful characters from the BAFTA Award-winning TV show, Sarah & Duck’s Big Top Birthday will play 4 performances only at Leicester Square Theatre on Tuesday 17 and Wednesday 18 August.

Told through a fantastic blend of inventive puppetry, charming storytelling and toe-tapping music, Sarah & Duck’s Big Top Birthday will take families on a magical theatrical adventure featuring all the familiar voices from the CBeebies series.

Sarah & Duck’s Big Top Birthday sees Sarah and Duck joined by all their favourite friends including The Ribbon Sisters, The Shallots, Flamingo and Umbrella, as they plan a circus-themed birthday party for Scarf Lady in their garden. But when the weather turns windy and the big top is blown away, will Sarah and Duck be able to save the day?

Following the gentle adventures of a wide-eyed, 7-year-old girl and her feathered best friend, Sarah & Duck has been a huge hit since its debut in 2013, winning a BAFTA for ‘Best Pre-School Animation’ in 2014 and regularly appearing in CBeebies’ Top Ten programmes for viewers aged 4-15. Now on its 120^th episode, it is shown in over 100 counties around the world.

Sarah & Duck’s Big Top Birthday is written by Polka Theatre’s artistic director Peter Glanville and Sarah & Duck co-creator Sarah Gomes Harris. It is directed by Roman Stefanski with set and puppet design by Laura McEwen. It is presented by MEI Theatrical in association with Polka Theatre. Sarah & Duck is a Karrot Entertainment production for CBeebies UK and BBC Studios.

Sarah & Duck’s Big Top Birthday is also on tour this Summer. For full dates visit www.sarahandduck.com.

Recommended for children aged 3-6.

‘If you can’t travel to exciting parts of the globe this summer, don’t despair – we are here to bring the world to you!’ 

A York Theatre Royal production

Around the World in 80 Days

Visiting all four corners of York between 6 & 28 August

Director and Adapter Juliet Forster

Designer Sara Perks

Movement director Asha Jennings-Grant

Composer and Sound designer Ed Gray

Lighting and Sound Mike Redley

Assistant director Sam Bond

York Theatre Royal is going global. Following the success of its Travelling Pantomime which visited 16 venues in the city at Christmas, the theatre is on the move again with its spectacular family summer show.

A new circus-themed adaptation of the Jules Verne classic Around the World in 80 Days will visit all four corners of York between 6 and 21 August, playing at four outdoor venues and finishing the tour on stage at York Theatre Royal 

The adaptation is by the theatre’s Creative Director Juliet Forster, who directed the Travelling Pantomime and Love Bites, the love letter to live performance that re-opened the theatre after Covid restrictions eased on May 17. 

Juliet said: “As one of the characters in the play says: ‘If you can’t travel to exciting parts of the globe this summer, don’t despair – we are here to bring the world to you!’ That is the spirit of this production really. 

“Many of us are feeling disappointed that there are still a lot of restrictions around travelling this summer, so this show is the perfect opportunity for some armchair tourism – or rather, picnic blanket tourism.

“Jules Verne’s story is a lot of fun as the characters race against time to complete a full circuit of the earth, and in this version, fact and fiction also go head to head as real-life investigative journalist Nellie Bly, puts in an appearance. It’s going to be a joyful, very energetic, very silly and highly acrobatic re-telling of the story, delivering the kind of experience that live theatre does best.”

The show will be staged outdoors on school playing fields at Carr Junior School (6-8 Aug), Copmanthorpe Primary School (10-12 Aug) Archbishop Holgate’s School (14-16 Aug) and Joseph Rowntree School (18-21 Aug), and then end the tour indoors at York Theatre Royal (25-28 Aug).

Around the World in 80 Days is designed by Sara Perks, whose previous work at York includes Everything Is Possible: The York Suffragettes and Brideshead Revisited.

The cast includes Emilio Iannucci, previously seen at the Theatre Royal in Book of Dragons and Hello and Goodbye. He plays the Ringmaster and Phileas Fogg. Other cast members are Ali Azhar (The Clown/Passepartout), Ulrika Krishnamurti (The Trick Rider/Aouda), Eddie Mann (The Knife Thrower/Detective Fox) and Dora Rubinstein (The Acrobat/Nellie Bly).

Chief Executive Tom Bird said: “Following the success of our hugely popular family summer shows, including Swallows and Amazons and The Wind In The Willows, we are excited to be going outdoors and to all four corners of York again with Around The World In 80 Days. This madcap adventure, full of fun and frivolity is just what we need right now – enjoy!”