Author: FairyPoweredProductions

THE ALEXANDRA BIRMINGHAM PRESENTS STAGE EXPERIENCE 2022

LONG-AWAITED STAGE EXPERIENCE RETURNS FOR IT’S 17^TH YEAR!

OVER 60 YOUNG TALENTED INDIVIDUALS FROM THE MIDLANDS PARTICIPATE IN THE ALEXANDRA BIRMINGHAM’S ANNUAL ‘STAGE EXPERIENCE’ PRODUCTION

FOUR PERFORMANCES AT BIRMINGHAM’S ALEXANDRA

FROM THURSDAY 25 – SATURDAY 27 AUGUST

The Alexandra, Birmingham is delighted to announce the return of Stage Experience 2022 featuring the full-scale production of smash-hit musical Fame. Based on the 1980 phenomenal pop culture film, the story follows the final class of New York City’s celebrated High School for the Performing Arts through their struggles, fears and triumph as they navigate the worlds of music, drama and dance.

The Alexandra’s annual Stage Experience is open to anyone aged 9 – 24 who is interested in developing performing arts skills or a career behind the scenes in lighting, sound, stage management and wardrobe. The Alexandra, Birmingham is delighted to welcome back Director and Choreographer of Stage Experience, Pollyann Tanner, who holds a wealth of theatrical experience, including the launch of her own musical company, Empire Theatre Production.

During August, over 60 young talented performers and 10 young technicians from the Midlands will be intensively rehearsing, memorizing lines and practicing lyrics to a score of unforgettable songs including Out Here On My Own, These Are My Children, Let’s Play A Love Scene and of course the famous theme song Fame.

Playing the lead role of Iris Kelly is Jasmine Gill from Birmingham, a returning Stage Experience participant, who said;

“The skills and opportunities that we will gain from Stage Experience will help us in every aspect of life, not just in performing arts. To have the confidence to get up on stage, have a named role and be part of a show that is put together in just two weeks takes dedication, commitment and so much effort and I believe these are qualities that you can apply to any area of your life. Stage Experience has also allowed me to make friends for life. I started Stage Experience in my early teens and I am still friends with everyone I started with!”

William Dodd also returns to Stage Experience. William is from Cannock in the West Midlands and is playing the role of Mr. Sheinkopf and he agreed;

“The skills and opportunities that we will gain from Stage Experience will help us to make new friends, experience the ‘family’ atmosphere again and help us to be more experienced performers.  This is really important to me because I want a career in musical theatre.”

Theatre Manager and Stage Experience producer, Becky Peers, commented on why this is such a rewarding experience

“Stage Experience is a highlight of the year for us at The Alexandra because it is completely different from our touring productions during the rest of the year. The young people who make up our performers and technical participants work really hard and always end up with something amazing to show for it. Many of our alumnis, both performers and technical participants, have gone on to work professionally in the theatre industry and have been hugely successful”.

The theatre industry is acknowledged as a hard career to break into and the Stage Experience programme is an invaluable opportunity to kick-start a performing or technical theatre career. Previous Stage Experience stars include Liam Doyle who has since toured across the UK for Mamma Mia, Hairspray, Heathers and Wicked, and Sam Buttery and Grace Wylde who both toured earlier this year to The Alexandra in The Lion, the Witch and the Wardobe. Additionally, since his technical placement for Stage Experience, Harry Preece is now a senior technician for The Alexandra, Birmingham.

See the stars of the future light up the sky like a flame this summer! Tickets are available for the local community to support the Midlands-based stars of tomorrow in FAME at atgtickets.com/Birmingham.

OMNIBUS THEATRE ANNOUNCE WORLD PREMIÈRE REVIVAL OF

FIJI

AT EDINBURGH FESTIVAL FRINGE

Omnibus Theatre today announce the world première revival of Fiji, co-written by Eddie Loodmer-Elliott, Pedro Leandro and Evan Lordan, which originally ran at Omnibus Theatre to critical acclaim. Fiji will run at the Pleasance Upstairs at the Pleasance Courtyard,8 – 29 August at 1.55pm. There will be a preview at Omnibus Theatre on 2 August. In this complete re-working of the production, Evan Lordan directs Sam Henderson (Sam)and Eddie Loodmer-Elliott (Nick).

PLEASANCE UPSTAIRS AT THE PLEASANCE COURTYARD

Clay Party, Conflicted Theatre, Omnibus Theatre and Cacimbado Productions and present

FIJI
by Eddie Loodmer-Elliott, Pedro Leandro and Evan Lordan

Directed by Evan Lordan; Cast: Sam Henderson and Eddie Loodmer-Elliott

8 – 29 August 2022, 1.55pm

Inspired by shocking real-life events, Fiji is a captivating rom com that blends true crimewith First Dates to deliver a delectable two-hander as hilarious and warm as it is fascinatingly twisted.

Nick is cooking for Sam at his place and, if all goes to plan, this will be their first and last meeting. So what exactly is on the menu? Well, they say the best way to a man’s heart is through his stomach…

This is the biting brainchild of Pleasance Futures Company and “modern masterpiece” makers Clay Party and the “vividly stark” Conflicted Theatre. Co-produced by London’s award-winning Omnibus Theatre, this is a story about a deliciously unfathomable relationship – one you may have only ever heard about on the news.

Sam Henderson plays Sam. He is an actor, musician and full time creative. Since graduating from Bristol Old Vic Theatre School he has performed at Sheffield Crucible, Southwark Playhouse and Bristol Old Vic. His television credits include work with ITV, BBC, Channel 4 and Britbox.

Eddie Loodmer-Elliott plays Nick. He is the founder of Clay Party, and his writing credits include Outside (Pleasance Theatre). As an actor, his theatre credits include The Inheritance (Young Vic/Noel Coward Theatre), The Funeral Director (UK tour), Mothercare (Southwark Playhouse), All Quiet On The Western Front (Soho Theatre) and Buoy (Bloomsbury Theatre). His television and film credits include work with Channel 4 and Immanuel (currently in development).

Pedro Leandro’s writing credits include We Were Having a Perfectly Nice Time (Omnibus Theatre/Pleasance) and Dogsitting (Golden Goose Theatre). As an actor, his theatre credits include A View from the Bride (York Theatre Royal/Royal and Derngate) and Fiji (Omnibus Theatre). His television credits include Domina and The Liberator;and for film, Wonder Woman 1984.

Evan Lordan directs. He is the Artistic Director of Conflicted Theatre Company creating new work at spaces such as disused warehouses, office buildings, elevators and private dining clubs. As an Associate Director, his work includes Touching the Void (Duke of York’s Theatre).

Running time: 55 minutes

Age guidance: 14+, this show contains references to sexual violence.

LISTINGS

FIJI

LONDON

Omnibus Theatre

Tuesday 2 August, 7pm

www.omnibus-clapham.org/fiji-edinburgh-preview/

Tickets: £9 / £7

Box Office: www.omnibus-clapham.org / 0207 498 4699

EDINBURGH

Pleasance Upstairs at the Pleasance Courtyard

60 Pleasance, Edinburgh, Scotland, EH8 9TJ

8 – 29 August 2022, 1.55pm

www.pleasance.co.uk/event/fiji#overview

Tickets: £10 – £13

Box Office: www.pleasance.co.uk/ / 020 7609 1800 / [email protected]

FULL CASTING ANNOUNCED FOR OSCAR WILDE’S

THE IMPORTANCE OF BEING EARNEST

DIRECTED BY DENZEL WESTLEY-SANDERSON

ETT (English Touring Theatre), Leeds Playhouse and Rose Theatre today announce the cast for Oscar Wilde’s The Importance of Being Earnestdirected by Denzel Westley-Sanderson. The cast includes Phoebe Campbell (Cecily), Valentine Hanson (Merriman/Lane), Joanne Henry (Miss Prism), Daniel Jacob (Lady Bracknell), Adele James (Gwendolen), Abiola Owokoniran (Algernon Moncrieff), Anita Reynolds (Dr. Chasuble) and Justice Ritchie (John Worthing). The production opens at Leeds Playhouse on 8 September, with previews from 5 September, and runs until 17 September, before touring to Cambridge Arts Theatre, New Wolsey Theatre, Northern Stage and Liverpool Playhouse before culminating at Rose Theatre on 12 November. 

An ETT, Leeds Playhouse and Rose Theatre Production

THE IMPORTANCE OF BEING EARNEST
by Oscar Wilde
Supported by a grant from the Royal Theatrical Support Trust

Cast: Phoebe Campbell, Valentine Hanson, Joanne Henry, Daniel Jacob, Adele James, Abiola Owokoniran, Anita Reynolds and Justice Ritchie

Directed by Denzel Westley-Sanderson; Designed by Lily Arnold; Lighting Design by Zoe Spurr; Sound Design by Beth Duke; Movement Direction by Tinovimbanashe Sibanda; Assistant Direction from Becca Chadder; Dramaturg Phillippe Cato; Casting Director Bryony Jarvis Taylor

5 September – 12 November 2022

Oscar Wilde’s genius humour meets contemporary culture in a theatrical rollercoaster packed with shade, wit and plenty of gags. 

2021 RTST Sir Peter Hall Director Award-winner, Denzel Westley-Sanderson breathes fresh new life into Wilde’s sharpest and wittiest comedy: The Importance of Being Earnest.  

This is a classic satire, vibrantly retold about dysfunctional families, class, gender and sexuality.

Phoebe Campbell plays Cecily. Their television credits include House of The Dragon. The Importance of Being Earnest is their professional theatre debut. 

Valentine Hanson plays Merriman/Lane. For theatre, his work includes The Emperor’s New Clothes (Small Truth Theatre), Orpheus Descending (Theatr Clwyd), Orpheus Descending (Menier Chocolate Factory), We Anchor In Hope (The Bunker/ W14 Productions), Handfast (Nutshell Theatre), The Sisterhood (Belgrade Theatre), Hector (Eden Court/Mull Theatre), Cuming And Going (Boom at the Bush Theatre), Stopsearch (Catford Broadway Theatre), For One Night Only/Footprints In The Sand, Letting Go/Footprints In The Sand (Pursued By A Bear), Festen (Lyric Hammersmith Theatre), G.I. Burns (Forest Forge Theatre Company), The Tempest (Orange Tree Theatre), Cat on a Hot Tin Roof (Bill Kenwright Limited), Come With Me (Roundabout/Nottingham Playhouse), After The End Of The World (Red Ladder Theatre Company), Positive Mental Attitude (Theatre Centre), The Adventures of Huckleberry Finn (Classic Theatre) and Racine’s Andromache (Grassy Knoll). For television, his work includes The Friday Night Project and Casualty; and for film, London Voodoo and Crucifixion Island.

Joanne Henry plays Miss Prism. For theatre, her work includes The Curious Incident of the Dog in the Night-Time (National Theatre/UK & Ireland Tour), Jane Eyre (Chapterhouse Theatre/UK & Ireland Tour), Lost For Words (Outside Edge/UK Tour), Love Moved Him to Die (Jasperian Theatre Company/UK Tour), The King and I (Newtown Abbey and Aberystwyth Rep), Sweet Charity (The Crucible, Sheffield), Raoul (New & Abused Theatre Company), Westside Story (West End & UK Tour), Oklahoma! (Grange Park Opera) and Joseph & The Amazing Technicolour Dreamcoat (The Really Useful Group). For television, her work includes Bridgerton, Vera, Pennyworth, The Salisbury Poisonings, Trigonometry and Roadkill; and for film, Wonder Woman, Last Christmas and Dogwood.

Daniel Jacob plays Lady Bracknell. Daniel has gained international recognition as his Drag Queen alter ego Vinegar Strokes, for which he has appeared on RuPaul’s Drag Race UK, Eastenders, Dinner With My Ex and Drag Karaoke Club. For theatre, his work includes Death Drop (West End & UK Tour), The Pirates of Treasure Island (Stag Theatre), Begæret Mysterier (Royal Danish Theatre), Eurobeat (Turbine Theatre), Everybody’s Talking About Jamie (Apollo Theatre), Testosterone (Edinburgh Festival Fringe), Charming Dick (Royal Vauxhall Tavern), The Macbeths (Pleasance Theatre), Angelina Ballerina (UK Tour), Aladdin (Hazlitt Theatre), Bugsy Malone (Secret Cinema), Ragtime The Musical (Landor Theatre), Elegies for Angels, Punks & Raging Queens (Theatro Technis) and Joseph and the Amazing Technicolor Dreamcoat (UK Tour & Dubai).

Adele James plays Gwendolen. For theatre, her work includes Much Ado About Nothing (The New English Shakespeare Company), The Picture of Dorian Gray (UK Tour), Nine Night (Trafalgar Studios), #Hashtag Lightie (Arcola), Stopcock (Southwark Playhouse), Meatman (Theatre503), In The Pink (Courtyard Theatre) and Expectations (Theatre N16). For television, her work includes African Queens, Casualty, Doctors and Red Light; and for film, Acceptable Damage.

Abiola Owokoniran plays Algernon Moncrieff. The Importance of Being Earnest is Abiola’s professional debut.

Anita Reynolds plays Dr. Chasuble. For theatre, her work includesA Monster Calls (Old Vic- UK/US Tour), Bartholomew Fair, The Merry Wives Of Windsor (Shakespeare’s Globe), ear for eye (Royal Court), Absolute Hell (National), hang (The Other Room), The Lion the Witch & the Wardrobe, Arabian Nights, Horrible Histories, Romeo & Juliet, Measure for Measure (Sherman), Speechless (Shared Experience), The Move (Made in Wales), Carers (Turning Point), Cinderella (Unicorn), Forbidden Fruit (Nottingham Playhouse), Wishful Thinking (Hijinx), Dealing with Feelings (London Bubble), How High is Up, Mirror Mirror (Theatre Centre). For television, her work includes The Birth Of Daniel F Harris, In My Skin, Relik, Keeping Faith, Casualty, Stella, Holby City, Gwaith Cartef, Talking to the Dead, Being Human, Caerdydd, Belonging, Dau Dy A Ni, Nice Day for a Welsh Wedding, Doctors, The Story of Tracy Beaker, Bay College, Nuts and Bolts, Pobol Y Cwm, The Bench and The Hull Project; and for film, I Used To Be Famous, Telling Tales, Sweet 16, Rain and Paradise Grove. 

Justice Ritchie plays John Worthing. For theatre, his work includes Human Nurture (Theatre Centre) and Dear Elizabeth (Gate Theatre). 

Denzel Westley-Sanderson is a theatre director and workshop facilitator. He trained at Mountview Academy of Theatre Arts, has been part of the Resident Directors’ pool at the Almeida Theatre, and was previously director of the CTC Dance Company. His theatre credits include directing Identity (Edinburgh Festival Fringe), which won the award for ‘Exciting New Work’ at the Edinburgh Festival Fringe, co-director on Jesus Christ Superstar – The Concert (Regent’s Park Open Air Theatre), and associate director on Dick Whittington and Small Island (National Theatre). Denzel has also worked with the Participation team at the Donmar Warehouse on several schools’ project across London.

The Importance of Being Earnest is supported by a grant from the Royal Theatrical Support Trust (RTST).

THE RTST SIR PETER HALL DIRECTOR AWARD
Now in its sixth year, the RTST Sir Peter Hall Director Award – which honours the memory of RTST co-founder, Sir Peter Hall – is made to an up-and-coming director demonstrating exceptional directing skills in a rigorous competitive process. The scheme promotes the RTST’s charitable objectives by supporting up-and-coming theatre practitioners and British regional theatres. It is also intended to appeal to a wide range of candidates and to play a part in promoting diversity in the theatre, onstage, offstage and among audiences.

THE IMPORTANCE OF BEING EARNEST

Listings

Website ett.org.uk | Email [email protected]

Twitter @weareETT | Facebook/Instagram EnglishTouringTheatre | YouTube ETT

Leeds Playhouse

5 – 17 September

Box Office: 0113 213 7700 / www.leedsplayhouse.org.uk             

Cambridge Arts

20 – 24 September

Box Office: 01223 503333 / www.cambridgeartstheatre.com

New Wolsey

27 – 1 October                 

Box Office: 01473 295900 / www.wolseytheatre.co.uk

Northern Stage

4 – 8 October    

Box Office: 0191 230 5151 / www.northernstage.co.uk    

Liverpool Playhouse

11 – 15 October              

Box Office: 0151 709 4776 / www.everymanplayhouse.com

Rose Theatre

1 – 12 November

Box Office: 020 8174 0090 / www.rosetheatre.org  

Teenage Cancer Trust &

Moulin Rouge! The Musical to host a

Special Gala Event in London

• Charity Gala Performance of the acclaimed West End musical, with all profits in aid of the Music-Industry-backed Teenage Cancer Trust.
• Taking place on Thursday 29 September, the event will raise vital funds for the UK’s only charity dedicated to making sure cancer doesn’t stop young people living their lives. 
• For further information, see https://www.moulinrougemusical.co.uk/gala/

On Thursday 29 September, Teenage Cancer Trust and Moulin Rouge! The Musical will play host to an exclusive event in London. A Special Gala Performance of the celebrated West End musical will raise money to fund the charity’s specialist nurses, youth support teams and hospital units that help teens and young adults get through cancer treatment. 

The Gala will be a glamorous, star-studded evening at the theatre in aid of Teenage Cancer Trust.  With the glitzy Rouge carpet, the Piccadilly Theatre will be decked out in spectacular fashion hosting VIPs, donors and special celebrity guests for a one-night-only celebration.

An occasion full of stardust, The Gala promises to be a night to remember.

For an even more extravagant experience bookers are invited to select their tickets from a variety of special package types and to revel in the additional pre and post show celebrations whilst enhancing the level of funds raised for Teenage Cancer Trust.

Roger Daltrey CBE, Teenage Cancer Trust Honorary Patron and The Who’s frontman, said:

“Like all charities the last two years have been really tough, especially for Teenage Cancer Trust and the young people we support. However, it goes without saying that the unconditional support myself and the charity have received from the music and entertainment industry throughout this time has been unwavering and I cannot thank them enough for that.

Teenage Cancer Trust relies completely on public donations and with music and entertainment fundraisers such as our flagship week of Teenage Cancer Gigs at the Royal Albert Hall, the charity is able to continue to support young people living with cancer. It is so wonderful to see another entertainment event supporting the charity. And what a brilliant collaboration Moulin Rouge! The Musical and Teenage Cancer Trust make – especially as the musical includes 75 of the greatest pop songs of all time. This very special performance really won’t be one to miss.”

Carmen Pavlovic, Producer of Moulin Rouge! The Musical, said: 

“We are honoured to collaborate with the Teenage Cancer Trust, one of the most vital charities in the UK. Moulin Rouge! the Musical is where dreams come true, independence of spirit is prized, and a spectacularly diverse range of identities are celebrated.

“Teenage Cancer Trust’s heritage with popular music, and Moulin Rouge’s showcasing of 120 years of iconic songs create a partnership of kindred spirits and ideals. We are excited to dream up this very special evening together.” 

Paul McKenzie, Director of Fundraising at Teenage Cancer Trust, said:

“We are so thankful to the team at The Moulin Rouge! for supporting Teenage Cancer Trust with this very special performance. Cancer doesn’t just devastate a young person’s health, it threatens to take away everything they care about – their identity, their independence and their dreams.  

Our incredible nurses and support teams do all they can to stop that happening, and make sure that cancer doesn’t stop young people living their lives.

But all of their work is entirely dependent on fundraised income, so events like this truly are lifesaving.”

Eventim Apollo – until 28th August 2022

Reviewed by Emily Cliff

4****

Incredibly anticipated by the theatre community and postponed due to covid, Sister Act has certainly made the long wait worth it.

From the costumes to the staging, everything from when the curtain rose was pure joy in this production of Sister Act. Much like the beloved blockbuster, the theatre adaptation was meant to star Whoopi Goldberg. However, due to scheduling conflicts, she was unable to reprise her role. This left big shoes to fill, but Beverly Knight certainly filled them. Supported by Jenifer Saunders (Mother Superior), Keala Settle (Sister Mary Patrick) and Lizzie Bea (Sister Mary Robert) this all star cast left audiences beaming from ear to ear.

In regards to the story, there’s not much difference between the film and the musical, the stage show is set in 1977 Philadelphia. Dripping with disco and soul, the songs were charming, uplifting and added to the feelgood atmosphere of the show. A notable song was Take Me To Heaven, which was by far one of the best numbers in the show. Unfortunately, the songs in act two weren’t quite on the same level of energy as the final two numbers of act one, and it felt repetitive throughout act two, neither adding nor taking away from the story.

That being said, the costumes and the staging certainly lifted this production in many ways. While not much can be done with a simple nun costume, the finale saw brightly coloured sequin robes which added to the delightfulness of the production.

This show had all of the ingredients to be great but it just fell short. The characters were played brilliantly, and the comedic value was there however some of the songs and events in the show felt a little bit like time fillers. Despite its downfalls the show is a joy to watch and will put a smile on anyone’s face when they go and see it. Beverly Knight was a superb Delores and Jenifer Saunders was a fantastic Mother Superior. The show would have benefited from more upbeat songs and more ensemble involvement, because who doesn’t like groovy nuns? Overall this show, despite its shortcomings, was a joy and a feelgood classic that should be added to your London theatre watch list.

DONMAR WAREHOUSE ANNOUNCES FOUR NEW MEMBERS ON THE BOARD OF TRUSTEES

Donmar Warehouse Chair Adam Kenwright today announces four new members joining the Board of Trustees. Professor Hannah Thompson, Jonathan Kanagasooriam, Neil Blair and Sarah Carson joinAdam Kenwright, Antonia Romeo, Gerard Lemos CMG, Jonathan Smith, June Sarpong OBE, Lucian Msamati, Susan Boster, Tessa Ross CBE, Tiina Lee and William Eccleshare on the Donmar’s Board.

Adam Kenwright said today, “After an extensive recruitment process, the Board and I are delighted to be welcoming Professor Hannah Thompson, Jonathan Kanagasooriam, Neil Blair and Sarah Carson to the Donmar’s Board of Trustees. Collectively they bring a wealth of knowledge and experience and have a shared enthusiasm for taking the vision and ambitions of the Donmar forward. I look forward to working alongside them.”

Michael Longhurst, Artistic Director and Henny Finch, Executive Director added “We are thrilled to be joined by our new trustees and are grateful for the expertise and energy they collectively bring to the Donmar”.

Professor Hannah Thompson: “I’m pleased to bring my love of live theatre and my expertise in equality, diversity, and inclusion. As a partially blind theatre goer, I understand what a difference creative and world-leading access provision makes. I’m excited to be part of a forward-looking team who understand the benefits of making theatre accessible to everyone.”

Jonathan Kanagasooriam: “I’m honoured and excited to join the Donmar’s Board. It’s an organisation that represents the very best of live performance, creativity, and art in the UK. I can’t wait to start working with Adam and other trustees in supporting Henny, Michael, and the wider Donmar team in their continued mission to bring people together through the power of world-class theatre.”

Neil Blair: “I am delighted to be joining the Board as I have long been an admirer of the Donmar. I look forward to working with my fellow trustees and the inspirational team, headed up by Michael Longhurst and Henny Finch, to continue to tell stories, engage audiences and deliver the Donmar’s mission.”

Sarah Carson: “I’m very excited to be joining the Board of the Donmar Warehouse as a champion for youth voice and participation. The Discover programme is a powerful platform for young people to tell new stories, challenge ideas and provoke debate. It’s an impressive team, and I’m really looking forward to supporting this work.”

Professor Hannah Thompson is a specialist in nineteenth- and twentieth-century French literature and the visual arts, translation studies, critical disability studies and audio description. She is Professor of French and Critical Disability Studies at Royal Holloway, University of London and studied at Newnham College, Cambridge where she earned her PhD in French Literature. She is a partially blind academic and activist. Her research asks what the representation of various protected characteristics (including gender, sexuality, and disability) tell us about (French) culture. Since the publication of her third book, Reviewing Blindness in French Fiction (1789-2013) (Palgrave, 2017) her internationally renowned research focus on the intersections between Critical Disability Studies and French Studies.  Hannah is currently working on creative audio description in museums, art galleries and theatres and her notion of ‘blindness gain’: she was Production Consultant for the Donmar’s installation Blindness and also worked with them during her AHRC EDI Fellowship ‘Inclusive Description for Equality and Access’.

Jonathan Kanagasooriam is Head of Content Strategy for BBC Sounds. He previously worked in a range of organisations across the creative industries including BBC Studios, fashion publisher Dazed Media and in-house agency, Dazed Media Studios, McCann London and Wunderman Thompson (formerly JWT London). He is also a trustee of The Whitechapel Gallery and Hofesh Shechter Company.

Neil Blair is Founding Partner of The Blair Partnership and Chairman of Pottermore. The Blair Partnership, represents and brand manages writers, entertainers and artists from around the world including high profile names such as Marina Abramovic, J.K. Rowling, Sir Trevor Phillips and YolanDa Brown. Prior to this, Neil was Head of Business Affairs, Europe, for Warner Bros. working on productions such as Band of Brothers and Eyes Wide Shut. In 2014, Neil was an Executive Producer for the BBC adaptation of The Casual Vacancy and more recently has been Executive Producer for the BBC series adaptation of Robert Galbraith’s Cormoran Strike Mysteries, and for the Warner Bros. film adaptations of J.K. Rowling’s Fantastic Beasts and Where to Find Them. Neil also continues to represent J.K. Rowling’s Producer interest on Harry Potter and the Cursed Child. He recently completed his tenure as Chairman of J.K. Rowling’s children’s charity, Lumos and is involved as a trustee or ambassador in a number of other charitable causes including The Atlas Foundation, GIFT, Stand With Us UK, United Hatzalah, JW3, The Abraham Initiatives and the Donmar Warehouse.

Sarah Carson has spent several years in the charity sector working on campaigns and youth-centred initiatives to raise young people’s voices. She is currently the Head of Campaigns at UNICEF UK, advocating for children’s rights here and around the world, and prior to this was the Head of Youth, Movements and Campaigns at global organisation Plan International. Sarah has a Masters in Political Theory from the London School of Economics. She also qualified as an Art Psychotherapist at Goldsmiths, and has volunteered with young offenders at Holloway women’s prison, and now with survivors of violence at the Women and Girls Network.

DONMAR WAREHOUSE

LISTINGS

41 Earlham Street, Seven Dials, London WC2H 9LX

Box Office: www.donmarwarehouse.com / 020 3282 3808       .

Cast and creative team announced for Rambert Dance
Peaky Blinders: The Redemption of Thomas Shelby

• Narration by Birmingham-born writer and poet Benjamin Zephaniah
• Featuring new track by Laura Mvula
• Author Simon Sinek joins the team as Executive Producer, working with Choreographer and Director Benoit Swan Pouffer and Peaky Blinders’ creator Steven Knight

Rambert today announces the cast and creative team for Peaky Blinders: The Redemption of Thomas Shelby, a dance theatre show written and adapted for the stage by Peaky Blinders’ creator Steven Knight and choreographed and directed by Rambert’s Artistic Director Benoit Swan Pouffer, inspired by the TV series produced and owned by Caryn Mandabach Productions. The show will have its world premiere at co-producing partner venue Birmingham Hippodrome on 27 September, followed by a London premiere at Troubadour Wembley Park on 12 October before embarking on a UK tour in 2023.

Guillaume Quéau and Prince Lyons will alternate the role of Thomas Shelby, with Naya Lovell and Seren Williams alternating the role of Grace, and the production will feature the permanent Rambert dance company on stage. Birmingham-born writer and poet Benjamin Zephaniah who played street preacher Jeremiah Jesu in the TV series, will provide pre-recorded narration for the production.

On his role as the narrator Benjamin Zephaniah said “I remember growing up in Birmingham and hearing about the Peaky Blinders, and I remember hearing about the great Rambert. I could never have imagined me, Peaky Blinders, and Rambert coming together. This gig was made for me. Rambert is taking the Peaky Blinders to another level. When these two come together audiences will witness one of the most imaginative collaborations of all time. I’m so proud to be a part of this. We are making dance history, and we’re still keeping it gangster.”

Peaky Blinders: The Redemption of Thomas Shelby will feature live musicians led by Musical Director Yaron Engler and a score written by Roman GianArthur and Nate Wonder as well as a new track by Laura Mvula. GianArthur and Wonder worked with music consultant D.J. Walde to create the soundtrack for the production which will feature iconic songs from the television series. 

Author Simon Sinek and Robin Saunders have also boarded the Peaky Blinders: The Redemption of Thomas Shelby as Executive Producers, alongside a creative team which includes Moi Tran (set design), Richard Gellar (costume design) and Natasha Chivers (lighting design), with dramaturgy by Kaite O’Reilly. Also working with the cast is acting director Kim Pearce, illusions director Filipe J. Carvalho, fight director Adrian Palmer, props supervisor Lily Mollgaard, and intimacy director Yarit Dor, with sound design by Moshik Kop.

Simon Sinek, Executive Producer of the show, said “There are many great dancers, but there are very few great dance companies. Rambert is a great dance company. It is their ability to face new challenges head-on that inspires me so much. And Peaky Blinders: The Redemption of Thomas Shelby is the latest challenge that pushes the company and the boundaries of the medium. It is an honor to support them on their journey.”

Through dance theatre Peaky Blinders: The Redemption of Thomas Shelby picks up the story of the Peaky Blinders at the end of World War One, following Tommy Shelby and Grace Burgess through their passionate love affair.  While Tommy is building his empire, Grace is operating as an undercover agent for Special Branch on a mission to get close to the heart of Tommy’s gang.   As the story unfolds, many hearts are broken. 

Dazzling, athletic dance and stunning dramatisation with an iconic eclectic Peaky soundtrack from live on-stage musicians.

Tommy and the Peaky Blinders fought together at Flanders and the show opens in the trenches. Bound by this experience, a very personal story unfolds as the Shelby family navigate the decisions that determine their fate and Tommy is intoxicated by the mysterious Grace.

Peaky Blinders: The Redemption of Thomas Shelby will perform at Birmingham Hippodrome on 27 September, running until 2 October, followed by a London Premiere at Troubadour Wembley Park Theatre before embarking on a UK tour in 2023.

The 2023 UK tour will visit Norwich Theatre Royal (17-21 January), Alhambra Theatre, Bradford (25-28 January), Hull New Theatre (31 January-4 February), Mayflower Theatre, Southampton (7-11 February), Royal and Derngate, Northampton (21-25 February), Festival Theatre Edinburgh (28 February-4 March), The Lowry, Salford (14-18 March), Wales Millennium Centre, Cardiff (21-25 March) and Theatre Royal Plymouth (28 March-1 April).

The show will return by popular demand to Birmingham Hippodrome from 23-27 May.

Peaky Blinders: The Redemption of Thomas Shelby, is a Rambert production in association with Birmingham Hippodrome, co-produced with The Lowry, Executive Producers Rambert, Robin Saunders and Simon Sinek, inspired by the television series Peaky Blinders created by Steven Knight in association with official brand owners and series producer Caryn Mandabach Productions. Peaky Blinders TM © Caryn Mandabach Productions 2022. Licensed by Caryn Mandabach Productions.Rambert is supported by Arts Council England.

Tickets are on sale at www.birminghamhippodrome.com

Alhambra, Bradford – until 30th July 2022

Reviewed By Katie Goldsbrough

5*****

Waitress is currently on its first UK tour after a successful run in the West End, telling the story of Jenna Hunterson (Chelsea Halfpenny), a Waitress working at ‘Joe’s Diner’. In an abusive relationship, Jenna suddenly finds out she’s pregnant and begins looking for a way out. She starts an affair with Dr. Pomatter, her gynaecologist (David Hunter), and begins to see what life could be like without husband Earl (Tamlyn Henderson). 

Jenna builds a friendship with the owner of the diner, Joe (Michael Starke) and he suggests she enters a pie making contest as a way to make some money and hers are the best pies he’s tasted. With a £20,000 prize this could be her chance to start a new life. Helped and supported along the way by fellow waitresses Becky (Wendy Mae Brown), who is struggling as a carer for her husband and Dawn (Evelyn Hoskins), who has never had a boyfriend. Waitress is funny, emotional and heartfelt. It’s a great example of women standing up for themselves and making themselves happy. The love and support the female characters have for one another is evident throughout.

Overall, Waitress is a feel-good comedy musical, with the darker domestic abuse well-handled and supportive. 

The cast are superb, the chemistry between Jenna and Doctor Pomatter is clear and you find yourself routing for them despite them both being married. With music and lyrics by Grammy Award winner Sara Bareilles you’ll find lots of catchy songs including ‘Opening Up‘ and ‘She Used to be Mine‘ and with the band on the stage, they become part of the story leading to fantastic music from start to finish.

A simply wonderful production that will leave you craving a slice of pie! 

Sheffield Lyceum – until Saturday 30 July 2022

Reviewed by Lottie Davis-Browne

3***

I came, I saw….I totally wanted to rock…but….

It’s hard to believe that it’s as back long ago as 2003 that Richard Linklater’s totally kick ass movie of the same name hit the big screens. Back then I had no idea of who Jack Black was – despite his band Tenacious D being on the scene long before School of Rock premiered, his band isn’t my style of music so I’d never stumbled across him before but before we’d even met the films Summer and the rest of Horace Green’s privileged kids, I was hooked on Black as a performer.

Flash forward to 2016 and after a successful stint on Broadway the stage musical adaptation finally arrived in Londons’ West End. I’ll be totally honest and say I had absolutely zero desire to see it at this point. I have a bit of a “thing” against seeing shows that are predominantly a large cast of children. I am glad to discover this is not just myself who has this “thing” – several of my regular theatre going friends all say the same thing. Yes it’s great to see such talented young performers on stage who could later go on to be the next Elphaba in Wicked or the next Hamilton in the West End – but it’s just how stage schools mould these young performers and how songs often appear “shouty” and reactions to things overly exaggerated – not to mention if they’re also tasked with maintaining an American accent meaning words can often become difficult to understand. The amount of times I’ve had to suffer Matilda’s “When I Grow Up” and “Revolting Children” at West End Live the many years I resided in London and this was an annual event for me. It was enough to make me say I categorically do NOT wish to endure watching the musical in full. The same goes for School of Rock when I’ve seen snippets of the live show in person.

But something in me changed suddenly and I had the overwhelming urge to get to see School of Rock on tour. So the fact it was coming to my now hometown of Sheffield, I was as giddy as a kid in a candy store.

For those who haven’t seen the movie, the story is centred around ageing wannabe rockstar Dewy Finn, once part of a band “No Vacancy” but kicked out for no longer being deemed as credible amongst the in crowd. Dewy is a a jobless slob, living with old ex band mate and High School best friend Ned Schneebly and Ned’s girlfriend Patty. Struggling to pay his rent and being hounded by Patty to pay up or leave, Dewy takes a gamble when answering a call from the prestigious Prep School Horace Green. The call was for Ned, a qualified teacher who is currently working as a substitute teacher. When Dewy hears that the salary is just over $2,000 a week, he has a lightbulb moment and comes back to the call claiming to be Ned. What could possibly go wrong?!

When Dewy (acting as Mr Schneebly) hears the classes incredible musical talents (granted it’s all classical music), he has a new found enthusiasm for the role and gets the brainwave that he can compete in an upcoming Battle of The Bands competition.

Watching Jake Sharp as Dewy is like watching Jack Black in the role. I didn’t think anyone could play the role as well as Black does, but Sharp has proven otherwise. He goes from being a useless slob to someone who you suddenly see in a different light and have total respect for. Sure so Dewy totally lies about being qualified to teach and goes totally off the curriculum agenda to focus on music, however what he does teach the kids is how to love themselves for who they really are. Shy Tomika, the new student at Horace Green, adopted by a same sex couple, arrives and doesn’t speak to fellow classmates until Dewy literally helps her find her voice – and what an outstanding voice it is indeed – Tia Isacc (the young actors are a three different groups of children who share roles with two or three others, each doing so many different dates to allow ample time off in-between to rest) – tonight’s Tomika – gave a tear jerking rendition of “Amazing Grace”. Tia certainly is a triple threat young upcoming actress in the making. Not only has she a voice worthy of any solo song, she’s also a convincing actress and totally kick ass dancer.

Whilst Summer (tonight played by Evie Marner), doesn’t take to the sudden lack of routine and discipline usually the norm at Horace Green with Dewy’s (Mr Schneebly) arrival but when given the chance to shine as Band Manager, she takes to the role like a duck to water and when the band risk missing out of the competition, she stays loyal to her band mates and ensures their performance still goes ahead. Zack (Hanley Webb) has a strict father who has little time for Zack, and therefore Zack bottles his feeling up inside but when given the chance to shine on guitar, he shows he’s actually a real musical prodigy and ends up writing the bands anthem “Teacher’s Pet”.

Billy (Wilf Cooper) is a flamboyant boy with a real love of style (he hides his copy of Vogue behind another magazine so his Dad doesn’t judge or mock him). Wilf has the campness of Billy’s character mastered to perfection and he’s an utter joy to watch.

As the pre-recorded message from Andrew Lloyd Webber at the start of the show reminding the audience, that yes, the children in the band DO play their instruments live in the show – I’m so glad this was included so they can get the recognition they truly deserve. These kids certainly give the adult cast members a lesson in “Stick(ing) It To The Man”.

A real highlight for me in this ALW musical has to be Becky Lock”s outstanding operatic vocals – with “Where Did The Rock Go?” being the most stand out performance of the night for me. I’ve had the honour of seeing Lock in several roles including Veronica in “Heathers” (West End) – another film to stage musical adaptation – which I absolutely loved – to Kate in “Kiss Me, Kate” (Sheffield’s Crucible) – a musical I didn’t enjoy other than Lock’s vocals.

Overall School of Rock is the perfect way to rock your way into the summer holidays – one that school aged audience members will absolutely love – but for the grown ups? For me it’s a musical I’m glad I’ve seen and can tick off my list, but It didn’t rock my socks off so to speak. It just felt like a certain je ne sais quoi missing to it. Other than the songs from the movie version and Lock’s stand out solo performance, the music wasn’t particularly memorable and I kept waiting for an outstanding moment to happen which never came.

At Sheffield’s Lyceum until 30th July, it’s one to see with pre High School kids as I feel it will appeal to that age group the most.

Cast announced for unfinished Schiller masterpiece
directed by Tim Supple at bold new London Theatre
Dmitry: Thursday 29
th September – Saturday 5th November 2022

Marylebone Theatre has announced the cast for their realisation of an unfinished, visionary work by Friedrich Schiller. Dmitry (based on the peerless dramatist’s incomplete play Demetrius), will launch the bold new venue’s inaugural season and will star The Crown’s Tom Byrne (The Crown, Netflix; Twelfth Night, RSC; Black Mirror, Netflix) in the title role.

Alongside him, Poppy Miller (Harry Potter and the Cursed Child, Palace Theatre) will also lead as Dmitry’s mother, Tsarina Maria; Globe Associate Artist James Garnon (As You Like It, Shakespeare’s Globe; The American Clock, Old Vic; Hamlet, Shakespeare’s Globe) will take on the role of Cardinal Odowalsky with rising star Aurora Dawson-Hunte (The Mirror and the Light, RSC; Queens, Almeida Theatre) as Marina. Joining this dynamic cast will be Piotr Baumann (Coronation Street, ITV; Eastenders, BBC) as Korela and Mark Hadfield (Pinocchio, National Theatre; Richard III, Almeida Theatre) as Prince Mnishek.

Schiller’s prescient play, unfinished at the time of his death, offers a revelatory perspective on the current crisis on Europe’s eastern borders making Peter Oswald’s (resident playwright at Shakespeare’s Globe under Mark Rylance) endeavour to pick up the baton timelier than ever. This world premiere will be directed by the world-renowned former Artistic Director of the Young Vic Tim Supple, (National Theatre; Royal Shakespeare Company; Donmar Warehouse), who returns to the London theatre scene after 15 years of international work to bring this urgently relevant piece to life.

The cast is completed by: Ammar Haj Ahmad (The Jungle, Young Vic; Love, National Theatre), Daniel Hawksford (Troilus and Cressida, RSC; Macbeth, Shakespeare’s Globe), Oleg Mirochnikov (The Crown, Netflix; The Flash, Warner Brothers), Daniel York Loh (Dr Semmelweis, Bristol Old Vic; Pah-La, Royal Court Theatre), Lev Levermore (Richard III, Almeida Theatre; Boy, Almeida Theatre), Jonathan Oliver (Macbeth, Shakespeare’s Globe; War and Peace, National Theatre), Clifford Samuel (The Windrush Chronicles, BBC; A Guide for the Homesick, Trafalgar Studios) and Phoebe Strickland (Good Day, Silvertongue Theatre Company; Women of Troy, Drama Centre London).

In 1605 in Moscow, ruthless tsar Boris Gudonov, former chief of Ivan the Terrible’s secret police, rules through fear and oppression. In Poland, a formidable young opponent – Dmitry – appears claiming to be the missing son of Ivan the Terrible and the rightful tsar of Russia. The Polish army, fuelled by the fear of the Russian threat, takes up Dmitry’s cause to march on the Kremlin to capture the throne. This poetic drama cuts to the heart of 21st century politics through a rich imagining of Eastern Europe and Russia’s shared history.

Marylebone Theatre, originally known as Steiner Hall, has recently been beautifully refurbished. A short walk from Baker Street, the theatre will produce its own work as well as receive incoming companies. The theatre intends to carve out a special place on the London cultural scene as a beautiful and grand but intimate setting. Patrons of Marylebone Theatre include Academy Award-winning actor Sir Mark Rylance, director of the English National Opera Martyn Brabbins, and the esteemed cross-bench peer Baroness Usha Prasher.

Artistic Director of Marylebone Theatre Alexander Gifford comments, I am delighted that our launch production has attracted such an excellent cast. It includes both rising stars and
established names. As a venue, we are daring to open with a big, classical production and it is thrilling that it will be carried by such a brilliant and experienced group. I am particularly pleased that our actors come from a very broad range of cultures and racial backgrounds. Dmitry is an epic play in verse with extraordinary dramatic intensity. I am confident that our cast will imbue it with the power and passion it deserves.

Dmitry Director Tim Supple says, Our first rate creative team is now joined by a tremendous cast that draws on the riches of London’s uniquely skilled and diverse acting community. There can be no greater pleasure for a director than opening a new theatre with a play that speaks directly to a major concern of our time and that does so with the combined potency of the German master Schiller and our leading contemporary verse dramatist, Peter Oswald.

The remainder of the launch season will include a rich programme of music and spoken word events. Mark Shanahan’s A Sherlock Carol will find its perfect home at Marylebone Theatre, just round the corner from the iconic 221B Baker Street site, following a successful off-Broadway run where this Christmas classic meets crime thriller was the New York Times Critic’s Pick in 2021. The theatre’s musical offering will include concerts by Stile Antico, Jess Gillam, while a stirring solo rendition of T.S. Eliot’s The Waste Land by the acclaimed Ben Okri will mark the 100th anniversary of the canonical modernist poet.