Month: August 2017

Edinburgh Fringe Festival

Pleasance Courtyard – until 28 August.  Reviewed by Linda McLaughlan

5*****

This one woman show written by Martin Murphy and performed by Louise Beresford, took the audience through an excerpt of two characters lives.

The performance took place in the Attic located in the Pleasance Courtyard and could not have been a more apt location. The snugness of the room allowed for the audience to be up close and personal with Louise as she began to tell the story of the power struggle between Tracey, a prison guard and Siobhan a convicted criminal doing time in prison.

The scene is set as Tracey tells us how things can change in life so quickly, just when you think everything is okay life can unravel and turn itself on its head. Her life as a Prison guard seems mundane and uneventful as she tells us abut the lengths some inmates will go to get “stuff” brought in from the outside and how many are so manipulative that if you give them an inch they will take a mile. Reference is made to her work colleague George who likes to repeat the same story over and over.

Scene two introduces us to Siobhan who can appear almost nice and very approachable but there are indications that her persona is a well rehearsed act for her latest targets benefit. Reference is made at this point to a third person Marcia…. a notorious baby killer who has been moved to the prison…. The object of Tracey’s obsession and now the cell mate of Siobhan.

Louise expertly changes from one character to another with effortless ease and keeps you entranced with the lives of the two main characters. Her professional performance has you almost believing everything she is telling you about the lives of Tracey and Siobhan and you can almost relate to how they talk about their fears, anxieties and about the road their lives have taken. Although one is free and the other locked up for life they both seem trapped in their situations.

There were many occasions throughout the show eye contact was made with Louise and this can feel quite unnerving depending on the persona she was portraying at the time, several times she stays in character as she sits next to an unsuspecting audience member and almost drools over them as Siobhan talks inappropriately about sexual encounters and also how to get what she wants by watching and waiting.

The story progresses to show how one little mistake can slowly be the start of life unravelling and having no where to turn……… just who then becomes the Victim?

The professional performance was a credit to Louise and the way she delivered the story of the two women involved in Victim. It was clear to see why this play has been brought to the Fringe and should be watched by everyone. A five star performance that I wouldn’t hesitate to go watch again……….Artistically Brilliant!!

 

NEW CASTING ANNOUNCED FOR
THE ROYAL SHAKESPEARE COMPANY’S
MATILDA THE MUSICAL

• David Shannon will toe the line as Miss Trunchbull for the first time on 12 September
• Gina Beck will join the company as Miss Honey opposite Tom Edden and Marianne Benedict as Mr and Mrs Wormwood
• Currently in its sixth year in the West End and booking until 28 May 2018, the multi award-winning show will also be embarking on a UK and Ireland tour in 2018/19

The Royal Shakespeare Company’s Matilda The Musical has announced its new adult cast with David Shannon playing Miss Trunchbull alongside Gina Beck as Miss Honey and Tom Edden and Marianne Benedict as Mr and Mrs Wormwood. The multi award-winning production is currently playing its sixth year in the West End and is booking until 27 May 2018.

The full adult cast includes Keisha Amponsa Banson, Richard Astbury, David Birch,Maria Graciano, Karina Hind, Peter Houston, Katie Lee, Vicki Lee Taylor, Kris Manuel, Bryan Mottram, Tom Muggeridge, Emma Robotham-Hunt, Simon Shorten,Biancha Szynal, Callum Train and Robert Tregoning. The new children’s cast will be announced in due course.

Gina Beck (Miss Honey) is renowned for leading roles in musical theatre. Previous roles have included Glinda in Wicked (Apollo Victoria Theatre & US Tour), Christine Daaé in The Phantom of the Opera (Her Majesty’s Theatre), Magnolia Hawks in Daniel Evan’s production of Show Boat(New London Theatre) and Cosette in Les Misérables (Queen’s Theatre).  A graduate of the Royal Central School of Speech and Drama, her other theatre credits include Far From the Madding Crowd (The Watermill Theatre) and The Belle’s Stratagem (Southwark Playhouse) both directed by Jessica Swale, I Love You You’re Perfect Now Change (Arts Theatre Upstairs), Jacques Brel is Alive and Well and Living in Paris (Charing Cross Theatre),  The Sound of Music (Kuala Lumpur), Peter Pan (Birmingham Rep), The Kissing Dance (Jermyn Street Theatre) and Imagine This (Plymouth Theatre Royal). Her television credits include the BBC’s Doctors and Sherlock Holmes and The Case of the Silk Stocking. Opera credits include Madame Butterfly and L’elisir d’amore (Opera Holland Park). She was a soloist in the 21st and 25th anniversary celebrations ofLes Misérables as well as in the recent blockbuster film version. She made her BBC Proms debut in 2016 as a soloist in the BBC’s Bernstein prom.

Marianne Benedict (Mrs Wormwood) has most recently appeared as Grizabella in Cats (UK Tour). Her other credits include Women On A Verge Of A Nervous Breakdown (Playhouse Theatre), The Wizard of Oz (London Palladium), Dirty Dancing (Aldwych Theatre), We Will Rock You (Dominion Theatre), Chicago (Oldham Coliseum), The Girl Dusty (Duchess Theatre), Crazy for You (Lincoln Theatre Royal and UK Tour), Return to the Forbidden Planet (Basingstoke Haymarket and UK Tour), The Blonde Bombshells of 1943 (Stoke New Vic & Oldham Coliseum),Loveshack (UK Tour), The Sunshine Boys (Oldham Coliseum), Debbie Does Dallas (Old Fire Station Theatre, Oxford) and The Country Wife (Watford Palace Theatre). Having studied at the Arts Educational School, she has also appeared in Eastenders.

Tom Edden (Mr Wormwood) is known for his work across stage, television and film. His theatre work includes Amadeus (National Theatre), One Man, Two Guvnors (National Theatre, Adelphi Theatre, UK Tour & Music Box Theatre, Broadway) for which he received Tony and Critic’s Circle nominations and won The Drama Desk Award for his role as Alfie, and Oliver! (Sheffield Crucible) for which he was nominated for a UK Theatre Award for his role as Fagin. Other notable credits include The Resistible Rise of Arturo Ui (Donmar Warehouse), Doctor Faustus (Duke of York’s Theatre), Peter Pan Goes Wrong (Apollo Theatre), Les Misérables (Queen’s Theatre) and Measure for Measure (Young Vic). His film credits include Star Wars Episode VII – The Force Awakens, Mr Turner and Cinderella; television includes Upstart Crow, The Scandalous Lady W and Doctor Who.

David Shannon (Miss Trunchbull) is known for playing iconic stage roles in the West End and beyond.  His extensive stage credits include The Phantom in The Phantom of the Opera (Her Majesty’s Theatre), Chris in Miss Saigon (Theatre Royal, Drury Lane & UK Tour) and Jean Valjean in Les Misérables (Queen’s Theatre). Other credits include, The Beautiful Game (Cambridge Theatre), Romeo and Juliet, Threepenny Opera and Sweeney Todd (Gate Theatre, Dublin),Martin Guerre (Prince Edward Theatre), Cats (New London Theatre), Whistle Down the Wind(Aldwych Theatre), Jesus Christ Superstar (N.C.H Dublin) and Notre Dame de Paris (Dominion Theatre). Film credits include Noah, 5 to 7, Framed and La Visa Loca. David is also one half of Irish singing duo ‘Fir’, alongside Simon Morgan. He has also made regular appearances on the past three seasons of the History Channel’s Vikings.

Seen by over 7 million people across 60 cities and playing more than 5300 performances worldwide, Matilda The Musical is now preparing for its New Zealand premiere at The Civic in Auckland in August 2017 as well as the first UK and Ireland tour which will begin in March 2018, running alongside the continuing West End production. Winner of 86 major international awards, including 16 for Best Musical, the hit show is now the longest running production to play at the Cambridge Theatre.

Inspired by Roald Dahl’s beloved book, Matilda The Musical was commissioned by the Royal Shakespeare Company and premiered at the RSC’s Courtyard Theatre in Stratford-upon-Avon in November 2010, before transferring to London’s West End in October 2011, where it opened to rave reviews.

Having swept the board at the 2012 Olivier Awards, winning a record-breaking seven awards, the New York production of Matilda The Musical opened in April 2013 at Broadway’s Shubert Theatre and was celebrated on 10 “Top Ten” lists for 2013, including TIME Magazine’s #1 Show of the Year. The show also won four Tony Awards and a Tony Honor for Excellence in the Theater for the four girls sharing the title role on Broadway.

In July 2016, the Australian production broke further records by winning all 13 Helpmann Awards for which it was nominated. Having also won a Sydney Theatre Award for Best Musical in 2015, the Australian production has also played sold-out seasons in Melbourne, Brisbane, Perth and Adelaide.

Matilda The Musical is produced by the Royal Shakespeare Company with André Ptaszynski and Denise Wood as Executive Producers. The production was developed with the support of Jeanie O’Hare and the RSC Literary Department.

Matilda The Musical is written by Dennis Kelly, with music and lyrics by Tim Minchin, and direction by Matthew Warchus. The production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision byChristopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and the special effects and illusions are by Paul Kieve.

LISTINGS INFORMATION

MATILDA THE MUSICAL
Cambridge Theatre,
Earlham Street,
London WC2H 9HU

Booking until 28 May 2018
Tuesdays 7pm
Wednesday – Saturday 7:30pm
Wednesday & Saturday 2:30pm
Sundays 3pm

Box Office: Cambridge Theatre* 0844 412 4652 / RSC Ticket Hotline 01789 403493
No booking fee. *Calls cost 7p per min plus your telephone company’s network access charge.

Twitter: @MatildaMusical
Facebook: Matilda The Musical
Instagram: @MatildaTheMusical

To book online visit: www.matildathemusical.com

Edinburgh Fringe Festival 

Underbelly Circus Hub – until 28 August.  Reviewed by Linda McLaughlan

5*****

 

The Australian Troupe is 10 members strong as they returned for an another year of the Edinburgh Festival.

The show began with the audience watching them as they wandered on and off the floor stage removing their clothing and trying on different items belonging to others. The performance itself began when one of the team placed a coat clad body in the middle of the floor and through movement the performer indicated what it was like to be Human showing the audience what they believed this to be, removing clothing for recycling and shredding the different layers they wore.

Using the medium of music to help interpret the contemporary dances and moves they performed. The core strength of each member of the troupe enhanced the artistic way they held each other with the hand to hand performances. A limited selection of different apparatus provided the show with a different style of entertainment, however the show was mainly displayed through the mediums of trapeze, using their bodies to display the beauty of poise as well as the bravery of trusting their team mates to support them as they pushed their bodies into the most amazing positions.

We watched as bodies were thrown, pushed, pulled and lifted at a speed which seemed almost impossible for the human body to maintain, and in normal circumstances would lead to dislocated bones, however not with these finely tuned athletes. The elegance of the teamwork was flawless and although the audience could be heard throughout the show letting out gasps of fear as the troupe supported each other as they stood one footed on their partners heads or walked across a spine with daring expertise, allowing us the pleasure of watching a world class troupe of individuals who shone as bright as stars each within their own right as well as a team.

The performance is definitely a 10 out of 10 and I would not hesitate in watching this show over and over again as I most likely missed parts due to the speed and professionalism of this group of artists. It seemed to end quicker than I expected as I could have sat for hours in awe of the amazing talent on display. The standing ovation was well deserved and the audience could not congratulate the troupe enough as they returned again and again to take a bow.

This is a must see for everyone to experience as this went above and beyond any Circus or Trapeze show I have ever witnessed before and it displays just how much respect the human body should be given to push it to what should be impossible positions. Outstanding!!!

 

Edinburgh Fringe Festival

Underbelly Circus Hub – until 28 August.  Reviewed by Linda McLaughlan

5*****

The show was set in the smaller of the Circus Big Tops located in Meadow Park Edinburgh. The atmosphere was one of excitement from the audience which consisted of families with children from months old to primary school age. The circular layout allowed for the children to sit in front of the stage as well as in the chairs around venue.

The show began with the Children’s Classic Concerts Festival Ensemble who performed the well known music from Beatrix Potters Tales of Peter Rabbit and Jemima Puddle Duck written by Stephen McNeff enjoyed by audiences globally.

The show commenced with Michelle Todd , a well respected and established Soprano singer and actor who came on stage dressed in the recognisable clothes of Beatrix Potter, with Jemima Puddle Duck in her arms and commenced to tell the story of her adventures. The facial expressions and voice of Michelle brought the story to life for all the children in the audience as they listened entranced with the adventures of Jemima as she tried to find a safe place to lay her eggs.

The professional performance was first class from Michelle as she fluently changed her voice and expression for the different characters in the tale. The ensemble played in time with her verses and raised the atmosphere with the music. As the first tale came to a close some of the children began to show signs of restlessness which may be due to the time frame of the performance. During the interval the children and families where introduced to the ensemble and we got to learn who each person was and their instruments being played. An ideal opportunity for the educational element in regards to the variety of instruments being used. The MC took the opportunity to remind the children about the competition taking place and reminded parents to leave the Activity Sheet at the end of the show in the box provided at the door.

Act 2 began with Michelle returning to the stage this time with Peter Rabbit as a large plush toy. Michelle began to tell the children about Old Mrs Rabbit and her 4 children Flopsy, Mopsy, Cottontail and Peter. The children settled again to listen to the story as Michelle expertly told the story of Peters adventures as he went to find berries, herbs and veg from a nearby garden. Michelle was able to bring the tale to life again with her singing, verses and expert use of expressions and body language. Her ability to keep the interest of the children was superb and it was evident by the smiles of many of the parents her ability to bring back many childhood memories of the tales of Beatrix Potter.

This is a show that every child and parent should take time to go and see during the Edinburgh Festival and allow children to experience the Tales of Beatrix Potter brought to life by Michelle an excellent hour well spent.

⭐⭐⭐⭐⭐ An excellent show

Edinburgh Fringe Festival

Underbelly – until 28 August.  Reviewed by Linda McLaughlan

4****

Barely Methodical Troupe

The show takes place in Big Top as part of the Underbelly Circus Hub festival shows. An environment that allows excellent views from all areas of the raised seating to provide uninterrupted views of the artistic performances on display throughout the show.

Kin is about families and how people perceive them. Starting with the Artists arguing over who is to be chosen as each is put through a test given by a dominant women who herself is tested about her family. The contents of the test includes an artistic dance culminating in a show of strength, poise trust and belief in each other, with the winner get-ting the prize.

The young female tester chooses a young man and as he wins the others grab him not allowing him to leave due to jealousy of his success.

Kin shows the strength of hand to hand pairs and the intricate movement of the CYR wheel which embraced the grace of a piece of apparatus. The use of different genres of music alongside hand to hand contact of the artists, using a combination of flair and beauty in the dance. Each artist shows strength and trust when holding each other in positions both daring and exhilarating, showing the core strength of everyone participating. The evidence is on view to show the training both in body and mind is given equal attention to deliver and display an outstanding show for the audience. The director has given us a show that is ‘Breathtaking, Funny and Emotional ‘ providing a powerful display by all present in the audience.

The show is suitable to all ages and was enjoyed by everyone who took time to watch this evening. A powerful display of stamina which I would recommend everyone take time to visit during the Edinburgh Festival.

Trafalgar Studios London – until 18 November 2017.  Reviewed by Catherine Françoise

4 ****

APOLOGIA is Alexia Kave Campbell’s third play and second incarnation here in London after first being seen in 2009. It also marks the return of American actress Stockard Channing to the West End stage after a decade. There’s no denying her strong and charismatic presence as world renown professional art historian Kristin Miller reaching her sixth decade and known for her lifelong radical left wing views and demonstrations outside Grosvenor House and in Paris in the politically charged 1960s. She still has a portrait of Karl Marx hanging above the loo in her bathroom.

Alongside all of this she has been a wife, a mother and a divorcee who lost custody of her two young sons at an early age and it is in the domestic setting of her homely kitchen, rather than what has defined her public life that we meet her. Her sons are coming to dinner to celebrate her 60th birthday with their respective partners and as the evening unfolds we discover that in recently published memoirs of her life, neither of her sons are mentioned at all. Tensions rise. Campbell explores the damage caused within family by all sorts of decisions made for the best reasons at the time. As is always the case with hindsight, things seem much clearer and simpler in retrospect, and the damage wrecked by an unintentionally neglectful mother to her now two adult sons, has also inflicted its own damage on her.

There is wit and compassion and gentle observation but I found the play to be a little disjointed and forced in places. Whilst activism and conviction is admirable, unbelievable rudeness to those who do not share similar views is not and there is a jarring disconnect between wanting better for people in general yet treating those standing in your kitchen with absolute disdain, which is what Kristin Miller does to her son’s partners. But Campbell’s characters are well cast with Channing magnificent as Kristin at the centre, with an unstoppable array of fierce, droll jibes. She also elicits sympathy from us as she struggles to understand why her sons have been so badly affected when she always acted with the very best of intentions both for them and society as a whole.

Joseph Millson impresses playing both of Kristin’s sons (banker Peter and depressive writer Simon). Millson is superb and particularly profound playing Simon who has been completely broken by his mother’s abandonment as a child. The scene between mother and son was especially poignant and extremely moving. Laura Carmichel playing Peter’s girlfriend Trudi is outstanding, warm, intelligent, open and multifaceted. Freema Agyeman is fearless and gutsy as Simon’s soap actress girlfriend, despised by his mother. Desmond Barrit as long-time family friend articulates a warm and genuine vision for a better world that fuelled protests and demos of the tempestuous 60s. Thoughtfully directed by Jamie Lloyd, Channing leads a superb cast in Campbell’s sharp, witty, insightful play.

 

Today I am going to do some bragging – forgive me if it appears we are self indulgent.

We’ve managed to review some fabulous shows – more hits than misses thankfully and we have had some lovely feedback on the reviews on the website, facebook and twitter.

Edinburgh Fringe Festival

Pleasance One – until 28 August.  Reviewed by Jessica Brady

3***

Based on the 1984 cult classic directed by Michael Herz and Lloyd Kaufman, this musical remake of The Toxic Avenger hits the fringe after a successful run in London’s Southwark Playhouse.

Despite going up 35 minutes later than planned, the show managed to pack a punch for the audience! The story follows Melvin (played by Mark Anderson), a geeky New Jersey boy who is in love with a local blind girl Sarah (played by Emma Salvo) and wants to win her heart by saving the town from the toxic waste that seems to be destroying everything in its path. Melvin seeks out the mayor (played by Natalie Hope) and pin points her as the culprit and vows to tell the town. She uses her sexually persuasive powers to convince him otherwise and once he is out of her sight she sends her two thugs to ‘take care’ of him. The two thugs (played by Che Francis and Oscar Conlon-Morrey) rough poor Melvin up and throw him into a pipe of toxic waste transforming the measly boy into a grotesque mutant. He saves the helpless Sarah from the very same thugs who attack her and she falls head over heels for the newly named ‘Toxie’.

This is a silly hour and 15 minutes that has 5 talented performers who give it everything they have with powerful vocals and a rock and roll score! It’s a cross breed between Little Shop of Horrors and Urine Town and has some pretty funny one liners at times. I would say that throughout the music was so loud and over powering that I couldn’t hear a lot of what the performers were singing about which wasn’t great but over all if you’re looking for something that will give you a whirlwind experience then The Toxic Avenger is for you.

CRAIG REVEL HORWOOD TO PLAY MISS HANNIGAN FOR 10 WEEKS IN

HIT WEST END PRODUCTION OF

A N N I E

BOOKING EXTENDS AT PICCADILLY THEATRE TO 18 FEBRUARY 2018

Today (4 August 2017) Michael Harrison and David Ian, Producers of the West End production of Annie are delighted to announce that from 18 September to 26 November 2017, Craig Revel Horwood will join the West End Company to play the role of Miss Hannigan for 10 weeks.  In addition, it is announced today that Nikolai Foster’s production will extend booking at the Piccadilly Theatre to 18 February 2018.

Best known on television as a judge on the BBC’s Strictly Come Dancing and for a role he returns to this Autumn, Craig Revel Horwood received great critical acclaim in Foster’s production of Annie that toured the UK in 2015. Previously in the West End he has performed the role of Munkustrap in Cats, was Dance Captain in Miss Saigon and played the role of Harry in Crazy for You.  His production of Son of a Preacher Man will open in Bromley in September before embarking on an extensive UK tour.  During his 10-week run, because of his Strictly Come Dancing commitments, Craig Revel Horwood will not play the role of Miss Hannigan on Saturdays.

Craig Revel Horwood said:  “I am so pleased to be returning to the West End, especially to a role I had such a brilliant time performing on tour.  Miss Hannigan is evil, sassy and fab-u-lous.  It will be a real challenge for me not to take her man-hungry, wicked ways to the Strictly judging panel each Saturday night – though I am sure my fellow judges will keep me in check!  I can’t wait to get started.”

 The Annie West End Company also includes Alex Bourne as Daddy Warbucks, Holly Dale Spencer as Grace Farrell, Jonny Fines as Rooster and Djalenga Scott as Lily.  The title role of Annie is shared by Madeleine Haynes, 13-years old from Hadley Wood, Barnet, Lola Moxom, 12-years old from Rochester, Kent and Ruby Stokes, 12-years old from Hampshire. They are joined by three teams of young performers who play the girls in Miss Hannigan’s orphanage. Amber, a 4 year-old Labradoodle, plays Annie’s dog Sandy.  Completing the company are adult are Russell Wilcox, Bobby Delaney, Keisha Atwell, Sophie Ayers, Nic Gibney, Patrick Harper, Ben Harrold, George Ioannides, Megan Louch, Benjamin Mundy, Ben Oliver,Heather Scott-Martin, Anne Smith, Kate Somerset How and Katie Warsop.  Miranda Hart will play the role of Miss Hannigan until 17 September 2017.

Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Meanwhile, spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search for her true family…

 

Annie has book by Thomas Meehan adapted from the comic strip Little Orphan Annie, music byCharles Strouse and lyrics by Martin Charnin.  The West End production will have sets and costumes designed by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell, sound design by Richard Brooker and orchestration and musical direction byGeorge Dyer. 

 

Foster’s production arrived in the West End 40 years after the original Broadway production opened in 1977 and received seven Tony awards including the Best Musical, Best Score and Best Book.  The last West End production of Annie opened at the Victoria Palace Theatre in 1998. In 1982, Annie was adapted for the big screen directed by John Huston with a cast including Carol Burnett, Bernadette Peters and Albert Finney and in 2014 a further feature film was released, directed by Will Gluck, with a cast including Cameron Diaz and Jamie Foxx.  The much-loved score includes the classics It’s A Hard Knock Life, Tomorrow and Easy Street.

LISTINGS INFORMATION

Theatre:                  Piccadilly Theatre, 16 Denman St, Soho, London W1D 7DY

Dates:                    now booking to 18 February 2018

Performances:          Mondays, Wednesdays, Thursdays, Fridays and Saturdays at 7.30pm, Thursdays, Saturdays and Sundays at 3pm

At certain performances, the role of Miss Hannigan will be played by Anne Smith, see website for details

Prices:                    Tickets from £20 which include a restoration levy of £1.75.  No booking or transaction fees through official sales outlets, Children Go Half-Price (Monday to Thursday performances, top price only, subject to a maximum of 2 children aged 16 or under with each full paying adult, and subject to availability)

Box Office:              0844 871 7630

Twitter:                   @AnnieMusicalUK

Facebook:               AnnieMusicalUK

Instagram:              anniemusicaluk

Website:                 www.AnnieWestEnd.com

REND Productions and Lighthouse Poole present the
UK Tour of Howard Barker’s Judith:
A Parting From The Body
Tuesday 5th – Saturday 30th September 2017

Judith: A Parting From The Body by internationally-renowned playwright Howard Barker returns to the stage for a UK tour this autumn, telling the apocryphal story that has fascinated artists for centuries. Barker, lauded by The Times as ‘England’s greatest living dramatist’, pulls back the dusty sheets of Holofernes’ tent in this radical re-telling revealing what really happened in this mystic tale.

Catherine Cusack (Coronation Street, ITV; The Crucible, Belfast Lyric; All That Fall, Broadway, Arts Theatre, Jermyn Street) leads the cast of this powerful reimagining. The cast also includes Liam Smith (Cuffs, BBC; The Winterling, Theatre by the Lake in Keswick; Through The Night, Finborough) playing Holofernes and Kristin Hutchinson (Beyond Caring, National Theatre; The Empress, RSC; The Waves, National Theatre) playing the Servant.

The city under siege, the night before the battle that will see this country fall. A beautiful widow, Judith, infiltrates the enemy camp with her Servant, with the intention of seducing and killing the blood-crazed army general, Holofernes, to save her country from invasion and destruction. Her land is at stake – but what of her heart and mind? In Robyn Winfield-Smith’s unsettling and emotionally
charged production, we see a passionate double-seduction and a web of truth and lies between a man who has chosen murder and a woman who has chosen love.

Brimming with political potency, Judith probes deep into fundamental questions about the human experience, about the nature of truth, and about the apparently inescapable cycles of violence in our world.

Robyn Winfield-Smith, Artistic Director of REND Productions, comments, REND is thrilled to be taking JUDITH on national tour in co-production with Lighthouse, Poole, following the success of our 4-week run at Arcola in 2015 (the 20th anniversary year of the play’s TMA-winning premiere at the Traverse). With ongoing global controversy over the trustworthiness of those in political power, and with continued violence and political unrest sweeping across the world, this intense and hard-hitting play is as devastatingly urgent as it was in both 1995 and 2015 – testament to the state of affairs internationally, the uncomfortable truths about human nature, and the calibre of Barker’s writing.

Stephen Wrentmore, Artistic Producer of Lighthouse, says, In a little less than 60 minutes, Judith manages to deftly expose the hypocrisy and influence of the state that other plays take hours to tackle. It is a brilliant and exposing piece that muscularly deals with complex themes of desire, love, power and its abuse. It addresses war, propaganda, and wraps itself around the most physical and
gruesome acts of apocryphal storytelling. This production is important to Lighthouse and our new Sherling Studio theatre as we continue to celebrate new and bold plays in our programming, working in partnership and collaboration, and setting our bar of quality and ambition high.

Howard Barker’s original TMA-winning production of Judith premiered at the Traverse in 1995. Judith was first performed at the Arcola Theatre as part of REND Productions’ HOWARD BARKER DOUBLE BILL in 2015, which received an Arts Council England Grant For The Arts.

Exhilarating and provoking. An insightful, innovative staging that breathes humanity and humourinto [a play] by one of the UK’s most uncompromising writers (★★★★ Tom Wicker, The Stage).

Following a successful partnership on the HOWARD BARKER DOUBLE BILL at Arcola in 2015, REND Productions will once again be collaborating with VocalEyes to provide accessible performances where possible, most notably Omnibus’ first ever tour and audio-described performance.

Alongside this production of Judith, REND Productions will continue to organise university and sixth form workshops, directing masterclasses as well as additional educational and outreach events.

Tour Dates
5th – 9th September Arcola Theatre, Studio 2, London (£17/£14 concessions)
24 Ashwin Street, Dalston, London E8 3DL
Tickets available from www.arcolateatre.com (0207 503 1646)

13th – 15th September Omnibus Theatre, London (£15/£12 concessions)
1 Clapham Common Northside, London SW4 0QW
Tickets available from www.omnibus-clapham.org (0207 498 4699)

28th September Lighthouse, Sherling Studio, Poole (£14/£12 + booking fee)
21 Kingland Road, Poole BH15 1UG
Tickets available from www.lighthousepoole.co.uk (01202 280 000)

29th – 30th September Mercury Theatre, Studio, Colchester (£13.50/£9 concessions)Balkerne Gate, Colchester, CO1 1PT
Tickets available from www.mercurytheatre.co.uk (01206 573 948)