Author: FairyPoweredProductions

‘Don’t Stop Me Now’ becomes rallying cry as London theatres thank audiences with special New Year Sale offer

• Nearly 60 shows at £10, £20, £30, £40 and £50 (no booking fees) at officiallondontheatre.com/new-year-sale
• ‘Don’t Stop Me Now’ film premiering on YouTube at 5pm today captures excitement of seeing a show: www.youtube.com/watch?v=EodcHJxZq50

Theatre is nothing without its audiences. As a thank you to those who have already come back – and an invitation to those who have not yet returned – London’s world-famous West End has come together to make it easier than ever to see a show at the start of 2022. Official London Theatre’s biggest ever New Year Sale offers tickets to nearly 60 shows at £10, £20, £30, £40 and £50 (no booking fees) for performances throughout January and February.

To celebrate the occasion, we have enlisted the support of legendary rock band Queen, whose song ‘Don’t Stop Me Now’ encapsulates the pure joy and escapism of live theatre. It is the perfect soundtrack for a promotional film released today, paying tribute to the shows taking part in the New Year Sale, and the incredible enthusiasm and loyalty of theatre audiences.

Just as theatre is a shared experience, we are asking people to continue to support our industry by sharing this film and treating themselves to see a show with the New Year Sale. There is truly something for everyone, from long-running favourites like Wicked, The Play That Goes Wrong, Matilda The Musical and Mamma Mia! to new hits including Back To The Future – The Musical, Disney’s Frozen and Life Of Pi.

The New Year Sale campaign has benefited from collaboration on an unprecedented scale with partners across politics, business, leisure, transport and the arts – including the Mayor of London, Westminster City Council, London’s Business Improvement Districts, tourism agencies and rail companies – all recognising the vital role theatre plays in bringing people back into the capital. Partnerships with an array of restaurants and hotels through OfficialLondonTheatre.com give audiences the opportunity to make the most of their trip.

As part of this historic collective effort, Renowned photographer Rankin has captured the talent and resilience of London’s theatre workforce with a ground-breaking free portrait exhibition, Performance by Rankin. These images can be spotted on railway platforms, in shop fronts and have even been featured on the famous Piccadilly Lights. As the perfect addition to a London theatre visit, audiences can find out more about the people behind the shows at the FUJIFILM House of Photography in Covent Garden, where the exhibition has just been extended until 13 March.

Julian Bird, Chief Executive of the Society of London Theatre, said:

‘We are hugely grateful to all our audiences for their ongoing support. We all need the escapism that theatre brings, so what better way to start 2022 than with the magic of world-class live entertainment? 

‘It is a true reflection of theatre’s importance that so many partners and organisations – from the Mayor of London’s Let’s Do London campaign to legendary photographer Rankin – have pulled together to help celebrate theatre and the New Year Sale. As we enter 2022, we want to make it easier than ever to see a show. Please keep supporting shows to help keep curtains raised across our city and beyond – in the words of Queen, don’t stop us now!’

Last Chance to Get Tickets for The National Lottery’s Big Night of Musicals as Further Performances Confirmed  

Additional best-selling West End musicals announced to perform at the National Lottery’s Big Night of Musicals event in Manchester, including Tina – The Tina Turner Musical, & Juliet, Waitress The Musical and Get Up Stand Up! The Bob Marley Musical. These shows join previously announced favourites such as FROZEN the Musical and Dear Evan Hansen.  

After the first batch of tickets sold out in just 15 minutes, theatre lovers will have a final chance to grab tickets for the 24 January 2022 event as 3,000 

 more tickets are made available here from 9am on 7 January 2022. 

The musical spectacular will be aired on BBC One on Saturday 29 January 2022. 

The National Lottery has announced that best-selling musicals Tina – The Tina Turner Musical, & Juliet, Waitress and Get Up Stand Up! The Bob Marley Musical have been added to the already stellar list of West End shows performing at The National Lottery’s Big Night of Musicals on 24 January 2022. 

The one-of-a-kind night of musicals spectacular at Manchester’s AO Arena, which will air on BBC One on Saturday 29 January 2022, will capture the magic of theatre and also shine a light on the difference it makes within communities. Thanks to National Lottery players, over 2,000 theatres across the country have been supported through the Covid crisis, with a total of £228M of funding going to the arts.   

Following an extremely successful launch announcement last month, when the initial batch of tickets sold out in just 15 minutes, The National Lottery will now be releasing 3,000 additional tickets for National Lottery players to watch the show in person and see first-hand the biggest shows from the world of theatre. 

The free* tickets, which will be available here on a first-come, first-served basis from 9am on Friday, 7 January 2022, will offer audience members the unique opportunity to see performances from West End and touring musicals all under one roof and on one night.  

The latest musicals join previously confirmed performances from FROZEN the Musical, Dear Evan Hansen, Disney’s The Lion King, Back to the Future, The Drifters Girl, Andrew Lloyd Webber’s School of Rock, Bat Out Of Hell, Dreamgirls and Beauty and the Beast, which will feature in a unique Disney medley.  

Greater Manchester-born actor and comedian, Jason Manford who will be hosting the event, said, “It’s fantastic to see such a positive response after the first ticket release. It’s been a very difficult 20 months for the theatre industry and I hope that as many National Lottery players as possible will be able to join this National Lottery musical spectacular. The event promises to be a brilliant show full of celebration, featuring some of the best musicals on right now.” 

To ensure a safe and successful evening, The National Lottery together with the AO Arena, will be putting a number of important measures in place to reassure and protect everyone at the venue. To access the AO Arena on the day, adult audience members will need to show an NHS COVID Pass as proof of vaccination or proof of a negative PCR or lateral flow test. Masks will be mandatory for anyone over the age of 11. These measures are implemented in accordance with the current advice and guidance from the UK and Local Government and will be continually reviewed. 

For further details and to get tickets, National Lottery players should go to: www.bignightofmusicals.com 

The Alexandra, Birmingham – until 15 January 2022

Reviewed by Ely King

3.5***

Whether aware or not, everyone has heard a song by the incomparable Meat Loaf or Jim Steinman. With legacies as vast as theirs, it’s no surprise that the musical packed of their greatest hits has a cult following.

Bat Out of Hell, titled after the legendary album by Meat Loaf and Steinman, is a gritty story of a star-crossed Rock ‘n’ Roll romance.

The musical follows the lives of The Lost and their rivalry with tycoon Falco and how it comes to a head when Falco’s own daughter, Raven, falls for the head of The Lost, Strat.

Raven and Strat are portrayed perfectly by Martha Kirby and Glenn Adamson respectively, showing the struggles of their wild tumultuous relationship. Kirby gives Raven the perfect doe-eyed naivete expected for a sheltered teen but is quick to ensure Raven is still shown as a strong woman who can stand up for herself. Opposing her, Adamson has the swagger and charisma you need to pull off a character like Strat as well as he does.

Jukebox musicals always have a heavy burden to uphold the expectations of their source material, but Bat Out of Hell has to battle with living up to some of the biggest songs of a generation and, miraculously, they pull it off.

The undeniable stars of this show, have to be Rob Fowler and Sharon Sexton as Falco and Sloane, their chemistry is off the charts, they’re a true dynamic duo. It’s obvious why these two were chosen to not only originate the rolls but then also to reprise them further down the line. They are a joy to watch with their limitless talent and development of an unexpected sex appeal to their characters.

James Chisholm, Joelle Moses and Killian Thomas Lefevre as Jagwire, Zahara and Tink all deserve a special mention too. Each actor brings something special to their character, with Chisholm’s and Moses’ push-and-pull style relationship taking centre stage at different points throughout the show. Lefevre as Tink is an excellent casting choice by casting director Anne Vosser as he has that boyish charm down to a T, playing the dejected best friend and misunderstood child that has the audience falling in love from the first scene he’s in.

Aside from the actors themselves, the set and costuming are immense. Set and costume Designer Jon Bausor transformed The Alexandra stage into a grimy underground lair that became the home of The Lost. With the addition of a semi-transparent screen, the audience could peak inside the Falco household to see scenes unfold without the need for doing a full set change. It’s clever ideas and techniques like that which make this musical come to life. The costuming has the perfect punk, rock ‘n’ roll edge to it, whilst still being practical for performers and easy to transition between as the story develops. The costume choices give the poised and perfect appearance of the Falco family and then perfect juxtaposition to the rebels in ripped mismatched outfits and black-heavy colour scheme. It would not be surprising if the inspiration behind this was outfits seen at Meat Loaf’s own concerts.

The only issue with the set is the surprisingly minimal use of the bike, especially with it being on every main advertisement. When it is used, it moves at a snail pace, losing the ‘danger’ aspect that the actors are trying to infer. Understandably, there are issues with health and safety, but the bike scenes just fell flat.

Throughout the show, the audience were doused in glitter, streamers and multiple different kinds of confetti – a dream for anyone who scrapbooks their theatre events – though it did seem like a bit of overkill. Especially with most of it being plastic…

The more superior effects were done by the lighting team, who’s use of spotlights, strobe lighting and even disco lighting brought the story to life in a way that couldn’t be done otherwise.

Though the storyline covers important topics like unwarranted police brutality, unrequited love and being vastly underestimated, it was incredibly hard to follow at times. The addition of a LED screen onstage just confused the situation further, making the audience struggle with what to watch or where to look, there was too much going on.

Even with the plot confusion, anyone who loves Meat Loaf will enjoy this show.

The storyline may fall short, but the cast and creative teams make up for it, after all, two out of three aint bad.

David Pugh, Theatre Royal Bath Productions and Birmingham Repertory Theatre 

Present

THE PLAY WHAT I WROTE

Written by Sean Foley, Hamish McColl and Eddie Braben

Directed by Sean Foley

Original Production directed by Kenneth Branagh

• FOLLOWING A TRIUMPHANT RUN AT BIRMINGHAM REP, THIS TWENTIETH ANNIVERSARY REVIVAL OF THE PLAY WHAT I WROTE WILL TOUR VENUES FROM 12 JANUARY
  
   
• VISITING BATH, SHREWSBURY, SALFORD, CHICHESTER, MALVERN, CAMBRIDGE AND SHEFFIELD
  
   
• FEATURING SPECIAL SURPRISE GUEST STARS THE SHOW BRINGS A RAY OF SUNSHINE WHEREVER IT GOES
  
   

Producer David Pugh along with Theatre Royal Bath Productions Bath and Birmingham Repertory Theatre, are delighted to announce that following a spectacular Christmas season at The Rep, The Play What I Wrote will tour to venues throughout England from 12 January. Starring DENNIS HERDMAN, MITESH SONI, and THOM TUCK, this new production is directed by double Olivier Award winner Sean Foley.

The production opened to 5 star critical acclaim at The Rep and audiences have been rolling in the aisles as this comedy masterpiece has brought its own special brand of hilarity to the stage. Once again, surprise special guest stars have been making their appearances in the show with Hollywood superstar Tom Hiddleston joining the company on the opening night.

Audiences in Bath, Shrewsbury, Salford, Chichester, Malvern, Cambridge and Sheffield can expect a night of comic bliss. 

Thom has written a play, an epic set in the French Revolution called ‘A Tight Squeeze for the Scarlet Pimple’. Dennis on the other hand, wants to continue with their double act. He believes that if they perform a tribute to Morecambe and Wise, Hamish’s confidence will be restored and the double act will go on. But first Dennis needs to persuade a guest star to appear in the play what Thom wrote…

With a mystery guest star at every performance, this “recklessly, tear-inducingly funny show” (The Guardian) is “a loving celebration of comic genius which is itself touched with comic genius” (Daily Telegraph). 

Previous mystery guest stars have included Ralph Fiennes, Ewan McGregor, Joanna Lumley, Daniel Radcliffe, Kylie Minogue, Nigel Havers, Denise Welch, Sir Ian McKellen, Dawn French and Sting.Who will you see when you see The Play What I Wrote?

LISTINGS

Bath Theatre Royal

12-22 January

https://www.theatreroyal.org.uk/

Shrewsbury Theatre Severn

24-29 January

https://www.theatresevern.co.uk/

The Lowry, Salford

31 January – 5 February

https://thelowry.com/

Chichester Festival Theatre

8-12 February

https://www.cft.org.uk/

Malvern Festival Theatre

14-19 February

https://www.malvern-theatres.co.uk/

Cambridge Arts Theatre

21-26 February

https://www.cambridgeartstheatre.com/

Sheffield Lyceum

28 February – 5 March

https://www.sheffieldtheatres.co.uk/

LONDON CLASSIC THEATRE ANNOUNCE

UK TOUR AND FULL CAST OF

BERNARD SLADE’S SAME TIME, NEXT YEAR

London Classic Theatre today announce a new UK tour of Bernard Slade’s Same Time, Next Year. Michael Cabot directs Kieran Buckeridge (George) and Sarah Kempton (Doris) in one of the world’s most widely staged plays, originally produced on Broadway in 1975.

The production opens at Malvern Theatres on 26 January, before touring to Winchester, Mold, Bury St Edmunds, Ilfracombe, Bracknell, Derby, Poole and Eastbourne, concluding at New Vic, Newcastle-under-Lyme on 16 April 2022.

Artistic Director Michael Cabot said today “We’re delighted to be starting rehearsals for this wonderful play. Same Time, Next Year is a charming, nostalgic romantic comedy from the 1970s, with a witty, engaging script. It’s our first new show in two years, so it’s been fantastic to be back in design and costume meetings as part of our pre-production. One of the big challenges of this play is the timeframe, which runs from 1951 to 1975, and convincingly showing the ever-changing fashions and styles as the years go by. Designer Bek Palmer has been ingenious in bringing these very different decades to life.”

London Classic Theatre present

SAME TIME, NEXT YEAR

Written by Bernard Slade 

Directed by Michael Cabot;Set & Costume Design by Bek Palmer; Lighting Design by Matthew Green

UK Tour

26 January – 16 April 2022

Doris and George meet in 1951, a chance encounter in a Californian hotel that leads to a passionate one-night stand. Both are married to other people, but, soon aware that this might be the start of something, they promise to meet 12 months later. So begins a romantic love affair that lasts 25 years.

The play charts their lives through the ups and downs of parenthood, career highs and lows as well as the shifting fashions and morals of the passing decades.

Bernard Slade paints a bittersweet, nostalgic and funny portrait of two likeable protagonists who find themselves in the most unusual of long-term relationships.

Bernard Slade was a Canadian playwright and screenwriter.  As a playwright, his credits include Tribute, Romantic Comedy, Special Occasions and An Act of the Imagination.  As a screenwriter, his credits include created The Flying Nun, The Partridge Family, Love on a Rooftop, Bridget Loves Bernie and The Girl with Something Extra.

Kieran Buckeridge plays George.  His previous credits for London Classic Theatre include Private Lives.  Other theatre credits include Swallows and Amazons (York Theatre Royal), The Prince and the Pauper, Wind in the Willows (New Vic Theatre), Up Down Man, Can’t Buy Me Love, Mother Goose, Sleeping Beauty (Salisbury Playhouse), The Secret Adversary, Pinafore Swing (Watermill Theatre), Elektra, The Rivals, The History Boys, Our Country’s Good, The Recruiting Officer, The Deep Blue Sea, Loot, The Woman in Black, The Good Companions, All My Sons (Theatre by the Lake), Two, Merlin (Dukes, Lancaster), Blithe Spirit, A Midsummer Night’s Dream, Moonlight and Magnolias, The Mikado (Stephen Joseph Theatre), David Copperfield, Travels with my Aunt, Return to the Forbidden Planet, Dick Barton (Oldham Coliseum), and Hamlet (Nuffield Southampton Theatres).  For television, his credits include Traitors, Moving On and for film, Darkest Hour.

Sarah Kempton plays Doris. Her theatre credits include Sense and Sensibility, Bold Girls (York Theatre Royal), Amy’s View (Theatre Royal Windsor), Breaking the Code (English Theatre Frankfurt), Beau Jest (Vienna’s English Theatre), A Day in the Death of Joe Egg (Greenwich Theatre), Poultry (Arcola Theatre), Woman in the Wall (Theatre503), Alcestis (Iris Theatre) and Macbeth (Young Shakespeare Company).  Her television credits include Miranda, Not Going Out, Vines and The Intern.

Michael Cabot directs and is the founder and Artistic Director of London Classic Theatre. He has directed all forty-two LCT productions since their touring debut in 2000, including Absurd Person Singular, No Man’s Land, My Mother Said I Never Should, Private Lives, Hysteria, The Birthday Party, Waiting for Godot, Absent Friends, Entertaining Mr Sloane and Equus.  His freelance work as director includes three recent collaborations with award-winning playwright Henry Naylor, The Collector (Arcola Theatre/UK tour), Angel and Borders (Edinburgh Festival Fringe).

SAME TIME, NEXT YEAR

LISTINGS

Malvern Theatres

26 – 29 January

Box Office: www.malvern-theatres.co.uk/ 01684 892277

Theatre Royal Winchester

2 – 5 February

Box Office: www.theatreroyalwinchester.co.uk/ 01962 840440

Theatr Clwyd

8 – 12 February

Box Office: www.theatrclwyd.com/ 01352 344101

Theatre Royal, Bury St Edmunds

15 – 19 February                   

Box Office: www.theatreroyal.org/ 01284 769505

The Landmark, Ilfracombe

22 – 23 February

Box Office: www.landmark-ilfracombe.com/ 01271 316523

South Hill Park, Bracknell

25 – 26 February

Box Office: www.southhillpark.org.uk / 01344 484123

Derby Theatre

8 – 12 March

Box Office: www.derbytheatre.co.uk / 01332 593939

Lighthouse, Poole

25 – 26 March

Box Office: www.lighthousepoole.co.uk/ 01202 280000

Devonshire Park Theatre, Eastbourne

5 – 9 April

Box Office: www.eastbournetheatres.co.uk/venue/devonshire-park-theatre / 01323 412000

New Vic, Newcastle-under-Lyme

12 – 16 April

Box Office: www.newvictheatre.org.uk/ 01782 717962

Darlington Hippodrome – until Saturday 8 January 2021

5*****

I don’t think it’s a secret that I love the Rocky Horror Show and I have seen it many times.  But my visit to see it in Darlington was very different, in that we had a very polite and well behaved audience!

Audience participation is a huge thing with Rocky Horror and there were a few people dressed up, but for once these were in the minority and more conservatively dressed amongst us was the norm.  There were some “helpful” heckles to move the story along, but these were from lone voices and not full chants and they didn’t get all the audience chants, the cast could be seen expecting an aside and moving on after getting nothing

Philip Franks was, however, a very competent Narrator and managed to move on the proceedings even when faced with a quiet audience.  His ad libs were hilarious, even causing the cast to corpse.  He really shines in his role and, for me, is one of the best Narrators I’ve seen.

Whilst previous leads have played Frank as sophisticated and mysterious, Stephen Webb gave a fresh, vibrant and brilliantly scandalous performance as Frank ‘n’ Furter, with spot on comic timing.  Excitable like a child in a sweet shop, his vocals – especially in his final solo piece – were outstanding and he seemed to love the audience as much as they loved him, interacting well.

Brad and Janet are played by Reece Budin and Hayley Flaherty, both have excellent voices and portray young and naive with perfect charm.  Almost stealing the show, Joe Allen gave us his superb version of Eddie/Dr Scott. A fabulous rendition of both Hot Patootie and Eddie’s Teddy and high kicking in a wheelchair showed what a star he is

Filling the shoes of Richard O’Brien is Kristian Lavercombe, a near perfect version of Riff Raff.  His mannerisms, acting and comic timing show why he has played the role more times than his creator.

There isn’t a weak link in this show at all, performers, musicians and outstanding production make this one of the best versions of Rocky Horror to tour in a long time.It’s a fan favourite, full of innuendo, an adult pantomime, camper than Christmas, and a guaranteed standing ovation when the audience finally rises as one to do an encore of the Time Warp.

STEPHEN UNWIN DIRECTS THE WORLD PREMIÈRE OF

TIM WALKER’S NEW PLAY BLOODY DIFFICULT WOMEN

AT RIVERSIDE STUDIOS

Wind of Change, in association with Cahoots Theatre Company, today announce the world première of Tim Walker’s Bloody Difficult Women, charting the events behind the court case Gina Miller brought against Theresa May in 2016 and what has ensued. Stephen Unwin’s production opens at Riverside Studios on 1 March at 7.30pm, with previews from 24 February, and runs until 26 March.

Tim Walker said today: “There are a lot of people who do not want this play to be staged, and, in all honesty, I couldn’t give a damn. I’m determined to see it go on, no matter what, as it is about so much more than a courtroom showdown between two determined women. It explains how we’ve got ourselves into this bloody awful mess. It is a play that is not so much angry, as incandescent with rage.”

Wind of Change

in association with Cahoots Theatre Company

presents

The world première of

BLOODY DIFFICULT WOMEN

By Tim Walker

Director: Stephen Unwin; Designer: Nicky Shaw; Lighting Designer: David Howe

Sound Designer: John Leonard

24 February – 26 March

“If standing up for what you believe to be right is being ‘bloody difficult’, then so be it”

Theresa May

Tim Walker’s brand-new drama sees the tumultuous political events of recent years played out in a power struggle between two determined women.

His intensely human account of the court case Mrs Miller brought against Mrs May makes for revealing and often very funny theatre, but ultimately it’s a tragedy, where there are no winners, only losers.

Walker brings the story bang up to date in a dramatic finale which says so much about the deep divisions we still have in our country.

Tim Walker is an author, broadcaster and British Press Award-winning journalist. He had a unique insight into the cases Gina Miller brought against the governments of Theresa May and Boris Johnson as he advised her on media strategy on both occasions. He has worked in staff positions on The Observer, the Daily Mail and The Sunday Telegraph, where he was the theatre critic. More recently, he has written columns for the Daily Mirror and The New European. He stood briefly as the Lib Dem parliamentary candidate in Canterbury in the last election. Star Turns, his latest book, was published in September.

Stephen Unwin directs. Unwin founded the English Touring Theatre in 1993. For the company, he directed more than 30 productions of classical and new plays, including award-winning productions of Hamlet with Alan Cumming, Hedda Gabler, Henry IV Parts One and Two with Timothy and Samuel West, King Lear with Timothy West, The Seagull with Cheryl Campbell and Ghosts with Diana Quick and Daniel Evans. These transferred to the Donmar and the Old Vic. He produced two plays by Jonathan Harvey and Peter Gill’s award-winning The York Realist as well as Sir Peter Hall’s production of Uncle Vanya. In 2008, he became Artistic Director of the new Rose Theatre in Kingston, which he ran until January 2014. His productions there included Hay Fever with Celia Imrie, The Importance of Being Earnest with Jane Asher, The Lady from the Sea with Joely Richardson, The Vortex with Kerry Fox and Day in the Death of Joe Egg with Ralf Little. He hosted the very successful Time to Talk series with 50 leading actors and personalities. Also an author, he has written 10 books on theatre, drama and related subjects, as well as numerous articles for newspapers and journals. He is also is active in campaigning for the rights of the disabled. He is Chairman of KIDS, a national charity which provides a wide range of services for disabled children, young people and their families.

SEE IT SAFELY

We have been granted the use of Society of London Theatre & UK Theatre’s See It Safely mark. The mark certifies that we are complying with the latest Government and industry COVID-19 guidelines, to ensure the safety of our staff and audiences. You can find out more here [https://www.riversidestudios.co.uk/book/winter-theatre-season–our-covid-measures or link to https://officiallondontheatre.com/see-it-safely/] about the measures we have been putting in place ready for your visit, and what you will need to know beforehand.

Michèle Taylor (Director for Change, Ramps on the Moon) is appointed MBE for services to Theatre and People with Disabilities as part of the New Year’s Honours list and has released the following statement:

“I am delighted to accept this award for services to Theatre and People with Disabilities. 

Like any award, this honour is about the work of a whole team: it is a privilege to be Director for Change at Ramps on the Moon, working with consortium partners to make meaningful change so that disabled people can take our place in the mainstream theatre industry. Sarah Holmes, Chief Executive at The New Wolsey Theatre, has been a particularly important ally to disabled people working in theatre; without her, Ramps on the Moon would never even have happened and it has been a real pleasure to work alongside her in this endeavour.

I have been delivering training and giving advice to cultural organisations for more than 30 years. My work has always been about making disabled people more visible across our cultural industries, demystifying disability equality and debunking the myths around making the necessary changes. It has been exciting to see that work amplified and platformed in new ways since we set up Ramps on the Moon in 2015, with thanks to the support of the Arts Council. 

Ableism is being challenged in the theatre industry and our wider cultural sector like never before, but if the last two years have shown us anything, it is that the place of disabled and deaf people is precarious; we cannot rest in this work.

I see this award as a celebration of what disabled and deaf people have achieved in fighting ableism, and an acknowledgement of the importance of continuing to work for equality in order to enrich our cultural landscape.”

ABOUT MICHÈLE TAYLOR

Michèle Taylor works as Director for Change for Ramps On The Moon. This is the Arts Council Funded consortium aiming to change the theatre sector by bringing more Deaf and disabled people into the sector and making them more visible.

Michèle has more than 25 years experience working in arts and heritage, focusing particularly on disability issues, and a background in professional theatre having performed in, written and directed shows for all ages (credits include work with Graeae and Roundabout Theatre Companies). She is therefore well-placed to support the 7 partner organisations to embed sustainable change and to disseminate their learning so that the wider theatre sector can benefit.

Michèle set up her own business in 1992 to work at that edge where disability and ‘the mainstream’ meet, training and advising organisations on making their practices, policies and premises inclusive of disabled people. Since then, her practice has broadened out to take good account of changes in the legislative approach and in recognition of equality and diversity principles as a whole.

She is a Registered Member of the Institute of Equality and Diversity Professionals, a qualified psychotherapist and accredited coach as well as being an experienced facilitator and trainer.

Previous clients have included strategic bodies such as Arts Council and local authorities as well as the Royal Shakespeare Company, the Royal Opera House, Universities including Nottingham and Gothenberg and the University of the Arts in London, and the Sherwood Psychotherapy Training Institute. She has been involved for nearly 10 years in an initiative in the Western Balkans supporting Museums to develop policy and practice around disability.

ABOUT RAMPS ON THE MOON

Ramps on the Moon is an award-winning Arts Council funded collaborative theatre network that comprises of core consortium members: New Wolsey Theatre, Leeds Playhouse, Birmingham REP, Nottingham Playhouse, Theatre Royal Stratford East and Sheffield Theatres.

Regional Theatre Young Directors Scheme (RTYDS) and Wiltshire Creative are Associate Partners of the network.

Ramps on the Moon’s aim is to elevate and normalise the place of disabled and deaf people in mid-scale mainstream theatre, and the consortium partners are excited by seeing diversity as an engine for even greater creativity.

Ramps on the Moon’s accolades to date include an Olivier Award nomination for Birmingham REP’s production of The Government Inspector, the UK Theatre Award for Best Touring Production 2017 for The New Wolsey’s production of The Who’s Tommy, and the 2017 UK Theatre Promotion of Diversity Award to The New Wolsey for its work on Ramps on the Moon.

Ramps on the Moon most recent project was award-winning playwright Bryony Lavery’s critically-acclaimed adaptation of Charles Dickens’ Oliver Twist, produced by Leeds Playhouse in association with Ramps on the Moon, which was made available to stream during Autumn 2021.

NEW ADVENTURES ASSOCIATE ARTIST AND

TONY AND OLIVIER AWARD WINNING DESIGNER 

LEZ BROTHERSTON

TO RECEIVE AN

ORDER OF THE BRITISH EMPIRE

IN THE QUEEN’S

NEW YEAR HONOURS 2022

New Adventures is thrilled to congratulate Associate Artist and Tony and Olivier Award Winning designer Lez Brotherston on his Order of the British Empire in The Queen’s New Year Honours 2022 for services to Dance and Theatre.

Matthew Bourne said today, “Sending enormous congratulations to Lez Brotherston OBE on this much deserved honour, from the entire New Adventures Family. As my foremost collaborator, Lez’s contribution to the success of New Adventures is incalculable and much loved and admired across our industry. His particular contribution to dance design is unprecedented from his collaborations with Northern Ballet (under Christopher Gable) and Scottish Ballet (under Christopher Hampson) being especially significant. However, I’m proud to say that his longest association is the role he has had in shaping what many would recognise as the New Adventures “style” – our repertory of works is synonymous with the genius of Lez Brotherston – and today we celebrate a great man of contemporary theatre receiving the recognition that he so richly deserves” 

Lez Brotherston is an Associate Artist of Matthew Bourne’s company New Adventures.  His long collaboration with Matthew Bourne includes, “The Red Shoes”, “Romeo and Juliet”, “Sleeping Beauty”, “Edward Scissorhands”, “Lord of The Flies”, “Swan Lake”, “Play Without Words”, “Highland Fling”, “Dorian Gray”, “Cinderella” and “The Car Man”.  

His other credits include co-writing and co-directing “Les Liaisons Dangereuses” with Adam Cooper (Japan and Sadler’s Wells).  “Merry Wives of Windsor”, “The Rover”, “The Empress”, “Much Ado About Nothing”(Royal Shakespeare Company); “Me and My Girl”, “Fiddler on the Roof”(Chichester); “Twelfth Night”, “Romantics Anonymous” (Shakespeare’s Globe); “Flowers for Mrs Harris”, “Showboat”, “Pride and Prejudice” (Sheffield Crucible); “946” (Kneehigh/Globe Theatre); “Oh, What A Lovely War!” (Stratford East/West End), “Hysteria”(Hampstead Theatre); “Long Day’s Journey Into Night”, “Umbrellas Of Cherbourg”, “The Rise and Fall of Little Voice”, “Under The Blue Sky” (West End); “Sister Act” (West End, Worldwide); “Women Beware Women”, “Really Old Like 45” (National Theatre); “Hedda Gabler”, “Design For Living”, “Dancing at Lughnasa” (Old Vic); “Duet For One” (Almeida and West End); “My City”, “Measure For Measure” (Almeida); “L’Elisir d’Amore” (Glyndebourne).