Category: Uncategorized

LOUISE DEARMAN

TO PERFORM

HER BIGGEST SOLO CONCERT TO DATE

AT CADOGAN HALL

ON SUNDAY 31 MAY 2020

Darren Bell for Club 11 London is delighted to announce West End star Louise Dearman will perform in concert at Cadogan Hall on Sunday 31 May at 6.30pm, her biggest solo concert to date.

Louise is best known for playing the roles of Glinda and Elphaba in the West End production of Wicked. She is the only actress to have played both starring roles in any production of Wicked full time. Some of Louise’s other theatre roles include Eva Perón in Evita, Sarah Brown and Miss Adelaide in Guys and Dolls (UK tour), Daisy Hilton in the UK premiere of Sideshow (Southwark Playhouse), Narrator in Joseph and the Amazing Technicolor Dreamcoat (UK Tour), Jan in Grease (Victoria Palace Theatre and UK Tour), Mimi in Guys and Dolls (Piccadilly Theatre), Debbie in Debbie Does Dallas (Edinburgh Festival), Soloist in Judy (UK Tour) and Mrs D in the world premiere of The Waterbabies (Leicester Curve).

Louise is a regular performer for the BBC Proms having played Lois Lane in Kiss Me Kate, Hildy in On The Town and as a soloist in Gershwin in Hollywood, Cole Porter in Hollywood and The Warner Brothers Story all with the John Wilson Orchestra. Last year, Louise was invited to open The Festival of Remembrance in the presence of the Royal Family which was broadcast live on BBC One. She is a regular guest on BBC Radio 2’s Friday Night is Music Night and sang the National Anthem at the Capital One Cup Final (Wembley Stadium). Louise has guested with Josh Groban, Michael Ball, Scott Alan, Ramin Karimloo and Lee Mead on UK and international tour but this will be her first solo concert. Josh Groban describes Louise as “not only a versatile performer but a powerhouse vocalist!”

Louise’s first solo album You And I was released in 2005 and was followed by Here Comes the Sun (Big Hand Recordings – 2012), It’s Time (Silva Screen – 2013), Bond and Beyond (EP – 2014) and For You, For Me (Big Hand Recordings 2018) as well as recordings with composer Richard Kagan, Marti Pellow, Kimberley Walsh, Scott Alan, Shayne Ward, Steve Balsamo.

Louise released a book with Mark Evans titled Secrets of Stage Success in Spring 2015, published by Nick Hern Books where they answered questions submitted by the public on a wide range of theatrical topics.

Louise Dearman in concert is produced by Club 11 London with musical direction by Freddie Tapner and supported by the London Musical Theatre Orchestra.

LISTINGS INFORMATION

Louise Dearman in Concert

Sunday 31 May, 6.30pm

Cadogan Hall

5 Sloane Terrace

London

SW1X 9DQ

Box Office: 020 7730 4500

Ticket Prices: From £24.50

www.cadoganhall.com

FOLLOWING A RECORD BREAKING ON SALE

THE PRODUCERS OF

ANNOUNCE THAT THE SHOW

WILL PLAY AN EXTRA WEEK

AT LONDON’S EVENTIM APOLLO

PERFORMANCES NOW START ON 21 JULY 2020

TICKETS GO ON SALE FOR THE EXTRA WEEK

AT 10.00AM ON 7 FEBRUARY 2020

Following a record breaking on sale, where SISTER ACT became one of London’s fastest selling musicals, the producers of the show are delighted to announce that the musical will now open a week earlier. Performances now start on Tuesday 21 July 2020. The show runs until Sunday 30 August 2020. Tickets for the extra week go on sale at 10.00am on 7 February 2020.

This strictly limited run stars the previously announced Whoopi Goldberg, who will reprise her role as Deloris Van Cartier for the first time on stage and Jennifer Saunders as Mother Superior who celebrates her musical theatre stage debut.

Producer Jamie Wilson said today: ‘We are beyond thrilled with the record-breaking success of Sister Act at London’s Eventim Apollo. We were aware that not everyone has been able to purchase tickets, so I’m delighted that now we can offer audiences an additional week of performances to see Whoopi and Jennifer in their first ever appearance on stage together. It has been so exciting to work alongside Whoopi, Alan Menken, Douglas Carter Beane and Glenn Slater on bringing this newly adapted production to the stage for today’s audiences. We can’t wait for the UK to see it’’.

SISTER ACT has direction by Bill Buckhurst, choreography by Alistair David, Set Design by Morgan Large, Lighting Design by Tim Mitchell, Sound Design by Tom Marshall and Musical Supervision by Stephen Brooker. Casting is by Stuart Burt.

SISTER ACT features original music by Tony® and 8-time Oscar® winner Alan Menken(Disney’s Aladdin, Enchanted), lyrics by Glenn Slater, book by Bill and Cheri Steinkellner with additional book material by Douglas Carter Beane. SISTER ACT is produced by Jamie Wilson and Whoopi Goldberg. Tom Leonardis, Head of Whoopi’s production company, is also on the producing team. On Thursday matinee the roles of Deloris Van Cartier will be played by Brenda Edwards.

Based on the iconic movie, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent!  Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. 

Cambridge Arts Theatre, Cambridge until 1 February 2020

Reviewed by Steph Lott

4****

I have always loved Shakespeare from when I studied it at school (many moons ago!) right through until recent years. I go and see at least one production during the open air Shakespeare festival that is held every year in Cambridge in various colleges. I have a deeply-held affection for his plays whether it’s an RSC production in Stratford on Avon or an amateur production in a local village hall.

Shakespeare is tricky! The language is so rich and evocative, but dense, complex and belongs of course in another era. I have seen so many productions where the lines are repeated but it doesn’t feel as if the actors are really speaking them. It was definitely not the case here.

This production is the first that I have seen by the illustrious Marlowe Society. They state on their website that they have “an interest in drama that stretches beyond ordinary realism towards the challenging and imaginative.” and that they want to introduce “a professional dimension to student theatre at Cambridge” I note that actors such as Sir Peter Hall, Sir Trevor Nunn, Sir Ian McKellen, Derek Jacobi, Stephen Fry, Emma Thompson, Rebecca Hall, Hugh Laurie, Rachel Weisz, Sam Mendes and Tom Hiddleston are all alumni of the Society.

Othello, written so long ago, has themes that remain so relevant for today. It’s a play that speaks so vividly of issues of racism, and violence against women. It’s a supreme depiction of the destructive power of jealousy.

The play exuded a tense menace from the very start, using a very simple set and modern dress. The soundtrack again was not complex but served to help create an atmosphere of claustrophobic foreboding. This simplicity allowed the actors’ words and expressions to occupy the audience’s full attention without distraction. There were several truly excellent performances here by a very gifted cast.

Bilal Hasna’s Iago was a sociopathic rendition of a man filled with resentment and rage at being overlooked for promotion by an outsider. He invites the audience to collude with him in plotting the downfall of a man who is both a leader and in love. What is so disturbing about the portrayal of Iago is that he makes the manipulation seem entirely reasonable and logical in the circumstances. It’s a truly stunning performance.

Christopher Dean’s handling of Othello’s downfall is equally masterful – the transition from a man enjoying success despite not belonging, to falling in love, through suspicion to jealousy to mad rage carries the audience all the way along with his performance. At the end he is terrifying in his towering madness.

The tragically touching scene between Desdemona (Georgia Vyvyan) and Emilia (Anna Wright) has remained with me since last night. They dance entwined as Emilia helps Desdemona get ready for bed but it is as if they already know that Desdemona is doomed – that Othello’s raging jealous madness must surely end Desdemona’s life.

Last night I was bowled over by this production. It was hard to remember that this wasn’t a production that was delivered by professional actors. I hope to see these members of the Marlowe Society follow in the footsteps of those famous alumni I mentioned at the start.

StoryHouse, Chester – until Saturday 1 February 2020

Reviewed by Julie Noller

4****

Saint Petersburg Classic Ballet has pirouetted into StoryHouse this drab January twirling us into February. I took my seat in the auditorium not in any way shape or form as a ballet expert but someone who enjoys the whole theatre experience.

Theatre is as they say 9/10ths interpretation and ballet is certainly no exception to the rule. It’s an art, expressive dance and in my very humble opinion should be and indeed can be viewed so by the very different members of the audience. I noted surprisingly for such a classic ballet that the packed auditorium was mainly the older generation perhaps teachers or long time ballet fans; infact the whispers I heard throughout discussing moves suggested this was correct. There were those who hummed along to the Hungarian Sinfonietta Orchestra as they were swiftly guided by conductor Gunters Bernats after all Swan Lake is Pyotr Tchaikovsky’s masterpiece and despite it’s initial failure in 1876 continues to be one of the most popular ballets of all time.

There can not be many ballets out there who can claim to have been parodied by many well loved comedians or infact can claim to be a leading influence on many well loved films (take Shrek for starters). I would advise any perhaps looking at ticking off a bucket list that Swan Lake is quite long with 2 intervals (or 3 acts) not to be like John sat behind us who had to leave before the end in order to catch a bus, it would be sad not to see the ballet through to finale and do not let it’s 120 minutes (not including intervals) put you off for they are breathtaking moments.

Swan Lake is essentially a classic love story; Prince seeks a wife, no beauty across the countries sparks his interest until a cursed humble beauty crosses his path. Basically love and good conquers evil. The cheers and the boos at the final curtain down suggested somewhat of a pantomime however were well deserved Yassaui Mergaliyev was cheeky and fun as the Jester. Evgeniy Silakov was menacing as Von Rothbart looming large on stage as a contrast to the white swans in his black dark shadowy outfit. He has cursed Odette to live her life as a swan, beautifully and elegantly danced by Alina Volobueva she outshone all those who graced the stage with her. Alina of course portrays Odille in a darker black costume that is equally as striking as her all white ensemble. Siegfried (Vadim Lolenko) our Prince comes to life as he dance with Odette as he powerfully leaps and holds her aloft, finally breaking her curse. Marina Medvetskaya has expertly directed Swan Lake building the dances in wonderful contrast to the haunting music. Each signature dance was showcased the audience given time to show their appreciation, classic dances were given a ballet twist showing just how talented and versatile these dancers truly are. StoryHouse is a smaller theatre and they utilised every inch of the stage, leaping from corner to corner in just 2 very long strides. Spins and twirls that had you smiling with sheer enjoyment.

Swan Lake is quietly powerful compared to other ballets, but what it does showcase is technique, skill and style. A must for ballet students looking to perhaps improving technique; many a move has been copied and attempted (unfortunately not by me for I lack both style and finesse) The music is a must for connoisseurs of a fine score, take the time to enjoy the haunting well known melodies of Tchaikovsky. Finally for those who enjoy a love story it is enchanting in it’s grace.

INITIAL CASTING ANNOUNCED FOR THE

TENTH ANNIVERSARY REVIVAL OF BRUCE NORRIS’ AWARD-WINNING CLYBOURNE PARK

Alex Turner Productions and Trish Wadley Productions

in association with Park Theatre present

THE 10TH ANNIVERSARY REVIVAL OF 
CLYBOURNE PARK
By Bruce Norris

Director: Oliver Kaderbhai; Set and Costume Designer: James Turner

Lighting Designer: Zia Bergin-Holly; Sound Designer: Will Tonna; Casting Director: Lucy Casson

25 March – 2 May

Alex Turner Productions and Trish Wadley Productions, in association with Park Theatre, today announce initial casting for the 10^th anniversary revival of Bruce Norris’ seminal play Clybourne Park. Oliver Kaderbhai directs a cast including Michael Fox (Jim / Tom), Imogen Stubbs (Bev / Kathy) and Eric Underwood (Albert / Kevin). The production opens on 30 March, with previews from 25 March, and runs until 2 May.

A timely 10^th anniversary production of this razor-sharp satire about the politics of race and real estate, winner of both the Tony and Olivier Award for Best Play and the Pulitzer Prize for author Bruce Norris.

In 1959, Russ and Bev are moving to the suburbs after the tragic death of their son and have sold their house to the neighbourhood’s first black family. 

Decades later, the roles are reversed when a young white couple buys the lot in what is now a predominantly black neighbourhood, signalling a new wave of gentrification. In both instances, a community showdown takes place – are the same issues festering beneath the floorboards fifty years on?

Michael Fox plays Jim / Tom. For theatre his credits include All in a Row, A Lie of the Mind (Southwark Playhouse), An Enemy of the People (Chichester Festival Theatre), As You Like It (Transport Theatre), Leaves of Glass (Alma Tavern) and Edmund Kean (Watford Palace Theatre). For television his credits include Bombing Auschwitz, Endeavour, Downton Abbey, Marvellous, The Ark, New Worlds; and for film, Downton Abbey, Dunkirk and Good People. 

Imogen Stubbs plays Bev / Kathy. Her extensive theatre experience includes productions at the RSC, National Theatre, The Old Vic, Donmar Warehouse and various West End productions. Recent stage credits include Honour (Park Theatre), The Be All and End All (York Theatre Royal), Things I Know To Be True (Frantic Assembly), Communicating Doors (Menier Chocolate Factory), Elephants (Hampstead Theatre), Alecky Blythe’s Little Revolution (Almeida Theatre) and Strangers On A Train (Gielgud). For the Royal Shakespeare Company, she appeared in Othello, Two Noble Kinsmen, The Rover and Richard II. Additional stage credits include Gertrude in Hamlet (The Old Vic), Orpheus Descending, Private Lives (Royal Exchange), Salt, Root and Roe (Donmar at the Trafalgar) and A Marvellous Year For Plums (Chichester Festival Theatre). Her television work includes Parents, Collusion, Big Kids, Blind Ambition and Anna Lee; and for film, Jack & Sarah, Twelfth Night, True Colours, Deadline, A Summer Story and Sense and Sensibility.

Eric Underwood plays Albert / Kevin. He was a soloist with the Royal Ballet, where he created many roles including in Wayne McGregor’s Chroma, Infra and Raven Girl and in Christopher Wheeldon’s DGV, as well as the Caterpillar in Wheeldon’s Alice’s Adventures in Wonderland. He has worked for the BBC across radio and television presenting shows including Can Hip Hop Save Ballet (BBC R4) and Inside Out – Ballet Boys (BBC One). For film, his work includes Cats.

Bruce Norris is an American actor and playwright who lives in New York. He is the author of Clybourne Park, which premiered at Playwrights Horizons in New York, in 2010, before transferring to the Royal Court Theatre and the West End. A playful response to Lorraine Hansberry’s seminal drama, A Raisin in the Sun, Clybourne Park is the only play to date to have received the Pulitzer Prize for Drama and the Tony, Olivier and Evening Standard Awards for Best Play. His other plays include The Infidel (2000), Purple Heart (2002), We all Went Down to Amsterdam (2003), The Unmentionables (2006), A Parallelogram (2010) and Downstate (2018) which were all first produced by Steppenwolf Theatre Company in Chicago; The Pain and the Itch (Playwrights Horizons, Steppenwolf, 2004, Royal Court Theatre, 2007; winner of Chicago’s Jefferson Joseph Award for Best New Work); The Low Road (Royal Court Theatre, 2013), Domesticated (Lincoln Center, 2013), and The Qualms (Playwrights Horizons, 2014). He is the recipient of the Steinberg Playwright Award (2009) and the Whiting Foundation Prize for Drama (2006). As an actor he can be seen in the films A Civil Action, The Sixth Sense and All Good Things.

Oliver Kaderbhai is an actor, director, producer and founding Artistic Director of DELIRIUM. His experience in the UK spans Fringe to the West End working with actors such as Andrew Scott, Kate Fleetwood, James Norton and Orlando Bloom, and he has created six productions with DELIRIUM which have sold out venues across the UK. Director credits include Striking 12 (Union Theatre), Songs of Abdulkarim (59 Productions), Peter Pan (Co-Director, Chichester Festival Theatre), One Minute (The Vaults), The Provok’d Wife (Go People), From Where I’m Standing (Pegasus Theatre), Oranges on the Brain (Pegasus Theatre), Go To Your God Like A Soldier (Old Vic Tunnels) and Your Nation Loves You (Old Vic Tunnels). Movement Director credits include Killer Joe (Trafalgar Studios), The Dazzle (Found 111), BUG (Found 111), Almost Maine (Park Theatre), Phenomena (The Albany), Dhow Under The Sun (KSF/META, UAE); and Assistant or Associate Director credits include Jesus Christ Superstar, Running Wild (Regent’s Park Open Air Theatre) and Guys and Dolls (Playmakers Rep, USA).  

“THE PRINCE OF EGYPT” CONFIRMS

 CHILDREN’S CASTING

YOUNG PERFORMERS LEO BABET, JONAH COLLIER, TAYLOR JENKINS,

MIA LAKHA, IMAN PABANI AND HANNAH SELK JOIN HUGE COMPANY OF 42

PERFORMANCES BEGIN NEXT WEDNESDAY (5 FEBRUARY 2020)

EXTRA 2.30PM SHOWS ADDED: 14 APRIL, 11 AUGUST AND 25 AUGUST 2020

THE PRINCE OF EGYPT,the new musical with music and lyrics by Stephen Schwartz (Wicked, Godspell), a book by Philip LaZebnik (Mulan, Pocahontas) and based on the celebrated DreamWorks Animation film, is pleased to announce its children’s casting with the roles of Young Miriam, Leah and Young Hebrew Girl being shared by Mia Lakha, Iman Pabani and Hannah Selk and the roles of Young Aaron, Young Egyptian Boy and Young Midian Boy being shared by Leo Babet, Jonah Collier and Taylor Jenkins.

The young performers join the previously announced Luke Brady (Moses), Liam Tamne (Ramses), Christine Allado (Tzipporah), Alexia Khadime (Miriam), Joe Dixon (Seti), Debbie Kurup (Queen Tuya), Gary Wilmot (Jethro), Mercedesz Csampai (Yocheved), Adam Pearce (Hotep), Tanisha Spring (Nefertari), Silas Wyatt-Barke (Aaron), Simbi Akande, Casey Al-Shaqsy, Joe Atkinson, Danny Becker, Felipe Bejarano, Pàje Campbell, Adam Filipe, Soophia Foroughi, Natalie Green, Jack Harrison-Cooper, Rachael Ireson, Kalene Jeans, Christian Alexander Knight, Jessica Lee, Oliver Lidert, Jay Marsh, Scott Maurice, Carly Miles, Sam Oladeinde, Alice Readie, Christopher Short, Ricardo Walker, Danny Williams, Niko Wirachman and Sasha Woodward to complete the huge company of 42.

Performances of THE PRINCE OF EGYPT begin next Wednesday (5 February 2020) at London’s Dominion Theatre, with an official West End premiere on Tuesday 25 February 2020, for a limited 32-week engagement. EXTRA SHOWS have been added on Tuesday 14 April, Tuesday 11 August and Tuesday 25 August 2020, all at 2.30pm. Tickets are available now via www.ThePrinceofEgyptMusical.com

Journey through the wonders of Ancient Egypt as two young men, raised together as brothers in a kingdom of privilege, find themselves suddenly divided by a secret past. One must rule as Pharaoh, the other must rise up and free his true people; both face a destiny that will change history forever.

THE PRINCE OF EGYPT has music and lyrics by Stephen Schwartz and a book by Philip LaZebnik and features 10 brand new songs written by Stephen Schwartz, together with 5 of his acclaimed songs from the DreamWorks Animation film (Deliver Us, All I Ever Wanted, Through Heaven’s Eyes, The Plagues, and the Academy Award®-winning When You Believe, which was a global hit for Whitney Houston and Mariah Carey as well as a UK and Ireland chart-topping winner’s single for The X-Factor).

THE PRINCE OF EGYPT is directed by Scott Schwartz with choreography by Sean Cheesman;set designs by Kevin Depinet; costume designs by Ann Hould-Ward; lighting design by Mike Billings; sound design by Gareth Owen; projection designs by Jon Driscoll; illusions by Chris Fisher; wigs, hair and makeup design by Campbell Young Associates; orchestrations by August Eriksmoen; musical supervision and arrangements by Dominick Amendum; musical direction by Dave Rose, casting by Jim Arnold CDG and children’s casting by Verity Naughton CDG.

The London premiere productionis produced by DreamWorks Theatricals (a division of Universal Theatrical Group), Michael McCabe and Neil Laidlaw together with  John Gore, Tom Smedes and Peter Stern, Ramin Sabi, The Araca Group, James L. Nederlander and Michael Park.

Developmental productions of THE PRINCE OF EGYPT were presented at TheatreWorks Silicon Valley (winner of the 2019 Regional Theatre Tony Award®) and Fredericia Teater Denmark.

A milestone in cinematic achievement, DreamWorks’ The Prince of Egypt captivated audiences across the world and celebrated its 20^th anniversary in 2018. Hailed as “one of the greatest animated films of all time” (Evening Standard) and “a stunning film” (The Guardian), it remains one of the most beloved and acclaimed animated feature films of all time.

Official website: www.ThePrinceofEgyptMusical.com

Twitter, Facebook, Instagram, YouTube: @PrinceOfEgyptUK

DEBORAH WARNER ANNOUNCED AS NEW ARTISTIC DIRECTOR OF THE USTINOV STUDIO AT THEATRE ROYAL BATH

Theatre Royal Bath is delighted to announce the appointment of internationally acclaimed and multi-award-winning theatre and opera director Deborah Warner as the new Artistic Director of the Ustinov Studio. Her inaugural season will be Autumn 2020 with full details and programming to be announced in due course.

Deborah Warner said: “I am delighted to be joining the team in Bath and very excited to be working on a small and intimate scale once more. The Ustinov Studio has become a major force in British theatre and I look forward to the opportunity to present challenging and questioning theatre in all its many forms as we enter this new decade.”

Danny Moar, Director of Theatre Royal Bath, said “This is a fabulous appointment for the Theatre Royal Bath and a testament to the role the Ustinov Studio plays locally, nationally and internationally. Deborah’s extraordinary track record speaks for itself and we very much look forward to working with her in the years ahead.”

Deborah Warner founded The Kick Theatre Company in 1980 at the age of 21 and has since gone on to work with leading companies and talent worldwide, holding prestigious positions including Resident Director of the Royal Shakespeare Company, Associate Director of the National Theatre, and Associate Director of the Barbican. Her many notable productions include Titus Andronicus with Brian Cox at the RSC, for which she earned an Olivier and Evening Standard Award, as well as many titles from her long-standing creative partnership with actress Fiona Shaw which spans over 30 years. Starting with Electra at the RSC in 1988 their list of productions together include Hedda Gabler as seen in the West End, which received the Evening Standard Award for Best Production and Direction, Medea which also received  the Evening Standard Award for Best Direction and was nominated for three Tony awards, the ground breaking Richard II at the NT with Shaw in the title role, and the world premiere of The Testament of Mary on Broadway and at the Barbican, as well as  their staging of T.S. Eliot’s The Waste Land which toured the world and re-discovered Wilton’s Music Hall. Other NT titles include The Good Person of Sichuan, Mother Courage and Her Children and Happy Days. She directed Bruno Ganz in Coriolan at the Salzburg Festival as well as Der Stürm. More recently her production of King Lear at the Old Vic marked Glenda Jackson’s return to the stage. 

She has worked extensively in Paris with performances at Bouffes du Nord, MC93 Bobigny, l’Odéon, Chaillot, Châtelet, Opéra Comique and Théâtre des Champs Elysées. She was awarded the Chevalier de l’Ordre des Arts et des Lettres by the French Government in 1992, L’Officier des Arts et des Lettres in 2000 and Commander des Arts et des Lettres in 2013.

She continues to work regularly for the leading opera houses of the world. Conductors she has previously worked with include Sir Simon Rattle, Sir Colin Davies, Edward Gardner, Bill Christie and Daniel Barenboim. Her opera productions include Wozzeck and La Voix Humaine for Opera North; The Turn of the Screw which won the South Bank and Evening Standard Award, Billy Budd for the Royal Opera House, Don Giovanni and Fidelio for the Glyndebourne Festival, Rape of Lucrece for Bavarian State Opera; St. John Passion, Diary of One Who Disappeared, Death in Venice, Messiah, Eugene Onegin and the world premiere of Between Worlds for English National Opera. In Austria she has staged Dido and Aeneas and Traviata, both in Vienna for the Wiener Festwochen. Her production of Fidelio opened the 2014/2015 season at La Scala. Her future productions include productions for the Teatro Real Madrid, where she staged her Billy Budd, named Best Production in the 2018 International Opera Awards.

In addition, Deborah has made a number of devised installation works, most notably the St. Pancras Project and The Angel Project for L.I.F.T. and the Lincoln Center Festival NYC, as well as Peace Camp for the London 2012 Cultural Olympics. Her film work includes: The Waste Land and The Last September – an adaptation by John Banville of Elizabeth Bowen’s novel.

In 2019 she was appointed The Cameron Mackintosh Visiting Professor of Contemporary Theatre at Oxford University.

She was created CBE in the 2006 Queens 80th Birthday Honours. 

THE JAMIE LLOYD COMPANY LAUNCHES

JAMIE LLOYD COMPANY: EMERGE

A NEW DEVELOPMENT PROGRAMME OFFERING A FIRST STEP INTO THE INDUSTRY

The Jamie Lloyd Company and Ambassador Theatre Group (ATG) today launches Jamie Lloyd Company: Emerge, a talent development programme to break down barriers for those seeking creative roles and offer a first step into the industry.

The scheme offers a director, writer and sound artist with no formal training the opportunity to gain paid industry mentorship during the company’s season at the Playhouse Theatre, in association with British Airways. The successful applicants will be mentored by Jamie Lloyd (Director), Anya Reiss (Playwright) and George Dennis (Sound Designer), have the opportunity to shadow the creation of their upcoming work and collaborate to present a response piece as a pre-show performance.

This programme is part of The Jamie Lloyd Company’s continued commitment to making theatre accessible with the season also offering workshops, Q&As, uncovered learning days, teacher resources and bespoke engagement opportunities as well as 15,000 free tickets for those with limited access to the arts and 15,000 £15 tickets for under 30s, key workers and those receiving job seeker’s allowance and other government benefits, supported by British Airways.

Jamie Lloyd said today, “Theatre is for everyone and should be made as open and inclusive as possible. The Playhouse Season welcomes those who have not felt permission to occupy theatre spaces before. Jamie Lloyd Company: Emerge will offer an opportunity for new voices to be heard.”

Adam Speers, Executive Producer at ATG added, “ATG and our Creative Learning and Community Partnerships team are committed to nurturing the future of the creative industry. Emerge aims to find three new practitioners who will create their own response to the company’s work on the Playhouse stage. We’re looking forward to welcoming them and supporting their work.“

Applications are open now and close on Thursday 13 February 2020 at 9am. The programme will run from Monday 24 February – Wednesday 1 July 2020. To apply, please complete the application form here. Applicants should not have received any formal training or be under commission by any theatre or theatre company.

The season, directed by Jamie Lloyd, opened last year with the critically acclaimed production of Edmond Rostand’s Cyrano de Bergerac, freely adapted by Martin Crimp, with James McAvoy – which runs until 29 February; followed by Emilia Clarke in Anya Reiss’ adaptation of Anton Chekhov’s The Seagull, opening 18 March, with previews from 11 March and runs until 30 May. Henrik Ibsen’s A Doll’s House, in a version by Frank McGuinnesswith Jessica Chastain completes the season, opening on 18 June, with previews from 10 June and running until 5 September 2020.

thejamielloydcompany.com

Twitter: @JamieLloydCo

Instagram: @jamielloydco

New Victoria Theatre, Woking – until 1 February 2020

Reviewed by Becky Doyle

4****

Wow. What a brilliantly intense hour and a half. I really wasn’t certain what this show was going to be like and whether it would really be for me… but from the moment that Joshua Higgot (Professor Goodman) came on the stage to teach us about varying ghost encounters I, and the rest of the audience was hooked.

The three differing stories were diverse and kept you engaged, although you knew there were going to be shocks, jumps and screams each time the intensity increased, and the jumps got louder. Each story believable in its own right, led you into a false sense on story telling.

The stage and the formatting basic but effective and nothing more was needed. Some of the props left a little detail to be desired however, with or without detail it still created the fear and dramatics that were intended and so little matter was it that some of the props such as the doll in the first story were basic to say the least.

All characters (Gus Gordon, Paul Hawkyard and Richard Sutton) performed their parts brilliantly and again each created and added to the sense of storytelling. It wasn’t until the end that you realised exactly who and what they were, and bravo to the all involved that the big reveal was something that never crossed my mind throughout the performance. There was no interval in the performance which I think was well suited as it gave no time to think or discuss the possible outcomes or “what ifs”.

Overall this performance was one that had me on the edge of my seat and one that I would highly recommend; if you think you’re brave enough!

ME BABBIES, ME BAIRNS! BERWICK IS BACK!

THE LEGENDARY BERWICK KALER STARS IN DICK TURPIN RIDES

AGAIN AT GRAND OPERA HOUSE FOR CHRISTMAS 2020

Grand Opera House are delighted to announce York legend Berwick Kaler will be bulk buying Wagon Wheels, dusting off his frocks and making his much-anticipated, triumphant return to pantomime to star in Dick Turpin Rides Again this Christmas!

The star of pantomime in York for 40 years, Berwick’s critically acclaimed performance as dame has solidified his reputation as a true York institution having delighted generations of festive theatregoers every year, winning rave reviews from critics and audiences taking him to their hearts. Dick Turpin Rides Again marks his first pantomime at the Grand Opera House.

Having made his York pantomime debut as Ugly Sister in Cinderella in 1977, Berwick has performed, written and directed panto in the city ever since, calling out his iconic catchphrase ‘me babbies, me bairns’ and met with adoration from local audiences at every performance. A star of the stage since he left his native Sunderland as a teenager, Berwick has been a mainstay in theatre ever since, appearing in London’s West End and regionally, making television appearances in iconic comedies such as The New Statesman and Auf Wiedersehen, Pet and even featuring in the Hollywood blockbuster A Knight’s Tale. In 2012 he was featured in Michael Grade’s acclaimed documentary A History of the Pantomime Dame, which was aired on BBC Four.

Dick Turpin Rides Again also reunites Berwick with his band of pantomime regulars, including omedy side-kick Martin Barrass, the villainous David Leonard, Yorkshire’s longest-serving Principal Girl Suzy Cooper and favourite funny man AJ Powell. Berwick will also write and direct the production.  This year’s Grand Opera House pantomime will be produced by Qdos Entertainment

for the very first time, the world’s biggest pantomime producer, and the Olivier Award winning team behind pantomimes across England, Northern Ireland, Scotland and Wales, and at the world famous London Palladium each Christmas. Dick Turpin Rides Again will feature Qdos Entertainment’s hallmark of high-quality production values and special effects, whilst staying faithful to Berwick’s renowned approach to the genre and to local York audiences.

Speaking on the partnership, Qdos Entertainment’s Managing Director Michael Harrison said: “We are absolutely delighted to be embarking on an all-new pantomime partnership with our colleagues at the Ambassador Theatre Group, Grand Opera House and, of course, Berwick and the gang. Berwick is an undeniable master in the world of pantomime, with his own inimitable style and approach and we are delighted to be working closely with him and the cast to bring back the magic for which they are best-known.”

Qdos Entertainment Chairman, Scarborough based Nick Thomas MBE, added, “I am thrilled to welcome Berwick, a true Yorkshire theatre legend, to the Qdos Family. Qdos Entertainment has had a long association with Yorkshire, it is my home county, and with our production and wardrobe teams based in Scarborough and Beverley, forming this new relationship with Berwick and the Grand Opera House is especially exciting”.

Speaking on his casting Berwick Kaler said: “Qdos Entertainment have come to the rescue of the most lauded pantomime in the country having found us a new home at the Grand Opera House in our beloved City of York. To make this a success we need you – the most articulate and loyal audience in the entire country. We can go forth with a management that believes we have enhanced the reputation of a local pantomime that has caught the imagination of young and old, from all walks of life.”

Grand Opera House York’s Theatre Director, Rachel Crocombe-Lane,adds: ‘Qdos brings both world-class expertise and also a Yorkshire heart, being based in Scarborough; the perfect combination together with this talented cast. As a venue team, Pantomime is our favourite time of year because of the friendship with the company and also the joy and devotion of our audience. We are proud of these new partnerships, excited for the future of our Pantomime and will be ready altogether to really blow your Christmas socks off!’

Dick Turpin Rides Again will play at Grand Opera House from Saturday 12 December until Sunday 10 January 2021, with tickets going on sale for ATG Theatre Card holders from Tuesday 11 February, and on sale generally from Friday 14 February. Berwick Kaler will be making a personal appearance at the theatre Box Office as it goes on sale at 10am on the 14 February, and will sell the first tickets to the show.

Grand Opera House York

Saturday 12 December until Sunday 10 January 2021

Box Office: 08441 8713024

Online Booking: www.atgtickets.com/york