Month: May 2018

To be Frank

Joe Pasquale talks to Vicky Edwards about playing Frank Spencer in the stage world premiere of Some Mothers Do ‘Ave ‘Em.

I hope the insurance is comprehensive and the Stage Manager has a well-stocked first aid kit when the world premiere of Some Mothers Do ‘Ave ‘Em goes on national tour.

“Oh blimey, yes!” says the effervescent Joe Pasquale, who will play Frank Spencer, the character made famous on TV in the 1970s by Michael Crawford and that had a nation chorusing his ‘Ooh, Betty!’ catchphrase

“We have a stunt coordinator and I’m doing it all – hanging by my ankles, chicken chasing and all sorts. But we’re not doing it as Michael’s version of Frank Spencer; that would be an insult to Michael. I’m putting my personality into it, which is how to make it believable. There’s a difference between child-like and childish and Frank isn’t childish; he believes in what he’s doing.

“We did three workshops and at the last one we had an invited audience who were across an age range of between eighteen and seventy. All the younger people didn’t know the show or have a frame of reference with Michael, but they laughed their socks off. Even the older people who remember the original, forgot Michael doing it in within five minutes – the script is so good,” enthused Joe, explaining that the show is based on an original story about Frank trying to get on a TV talent show.

“It’s still set in the 70s, so you get the mustard wallpaper, tank tops and all the trimmings. It is so funny and you can take the whole family to see it. Apart from panto and maybe musicals there aren’t any theatre shows that people of all ages can enjoy together, but this is proper family comedy.”

Agreeing that he is something of an adrenalin junkie (as well as slumming it on – and winning – I’m a Celebrity fourteen years ago, Joe has also appeared in TV documentaries that have entailed him being trained by the SAS and imprisoned in Costa Rica) he jokes: “If it’s not dangerous or life threatening then I’m not interested anymore. I read the book Feel the Fear and do it Anyway fifteen years ago and it made me think. Now, if I’m not sure about doing something, I automatically say OK; let’s do it. You might as well live while you can.”

Asked how the show came about, Joe recalls playing King Arthur in the Monty Python musical comedy Spamalot in the West End a couple of years ago. Stuck in an airless dressing room at the height of summer, wearing chainmail and kingly robes, a broken fan was about as much use as a chocolate fire guard. Setting about taking it to pieces, cleaning it and putting it back together again (“I was sweating my knackers off”), when he turned the power back on the fan exploded. The show’s director Christopher Luscombe and staff director Guy Unsworth were present and both roared with laughter, calling it a pure Frank Spencer moment. A seed was sown and Guy sought out Raymond Allen, writer of the original TV series. Fate was smiling. Allen, it transpired, was a big fan of Joe’s. Unsworth set about writing a script and now, two years, several script edits and three workshops later, the show is underway.

“We have been working really hard on it, Guy in particular,” says Joe, admitting that when he first met “this very well spoken young lad who looked like an American football player” he questioned what the youngster could possibly teach him about comedy.

“I soon realised that he knew everything; he’s a natural,” marvels Joe. “He suggests the smallest change; a tiny nuance to get the comedy out of a line, and he’s always right. He’s also a real historian on British comedy. I think he’ll be one of the biggest directors in the West End.”

Joined by a cast that includes Susie Blake as Mrs Fisher, Frank’s disapproving mother-in-law, Moray Treadwell as Mr Luscombe, David Shaw-Parker as Father O’Hara and Chris Kiely as Desmond, playing his long-suffering wife Betty is Spamalot co-star Sarah Earnshaw.

“Sarah’s role is so much more difficult. She has to be softer and so likable, but she’s brilliant,” says Joe, confessing that he’s a terrible on-stage ‘farter’ and that Sarah knows all about playing long-suffering having been downwind of his lively bottom during the run of Spamalot. “She calls me the Unstoppable Moron,” he chuckles.

Unstoppable is certainly right. As well as the tour of Some Mothers, Joe continues to do stand-up and has just had a book of his short horror stories published.

“It’s a book for adults called Deadknobs and Doomsticks. I’m a bit of a horror buff and when I did an Open University course in geo-science and geology, as a by-product I did some writing courses.”

Sending his stories to an author friend for feedback, his chum promptly forwarded them on to his publisher who saw the potential and immediately told Joe to write some more.

Reminiscent of the Duracell Bunny in terms of energy, does Joe find acting in a long tour a tiring prospect?

“My life is a sitcom, so, no acting required for this one [another infectious laugh], but touring in Some Mothers will be a lot easier than my stand-up show. Then I usually do forty one-nighters at different theatres. A week in one place will be like a holiday,” he beams, adding that there are certain dates he is particularly looking forward to.

“I like to get out and about. I don’t just sit there watching the telly. I get the local pamphlets from the hotel and go see whatever there is to see and get to know a place.”

As for playing Frank, dare-devil Joe is mindful that he has already had his fair share of ‘industrial injuries,’ including getting stuck inside a bingo machine, breaking his toe while tap dancing and dislocating a shoulder in panto.

“It’s got danger written all over it for me,” agrees Joe cheerfully. “I wouldn’t want to be my understudy.

“But the world is a miserable place sometimes and we need to empty our bins, mentally. The only way to do that is release some laughter and you’ll laugh for two hours solidly at this, I promise.”

Radiating warmth as naturally as Frank Spencer causes chaos, Joe’s mum certainly ‘ad a very funny, talented and lovable lad.

www.somemothersdoaveem.com

Vicky Edwards©

MITCH SEBASTIAN RETURNS TO BRIDEWELL FOR Q&A AT
SEDOS’ PRODUCTION OF PIPPIN

Director, choreographer, writer and performer Mitch Sebastian returns to the Bridewell Theatre this Thursday (17 May 2018), 20 years after he directed Pippin at the venue, to see a new production of the show and answer the audience’s questions.

Mitch will join members of the Sedos Pippin company for a post-show Q&A discussing his role in the recent history of the now-popular show, from directing a seminal production at the Bridewell 20 years ago — the first to use the “Theo ending” — and the Menier Chocolate Factory production in 2011, to working with Pippin’s music and lyric writer Stephen Schwartz to develop the recent Broadway revival.

Mitch Sebastian is an Olivier and WhatsOnStage Award-nominated British theatre director, choreographer and performer. He created and directed The Rat Pack: Live from Las Vegas which ran for four years in the West End and was artistic director of Kilworth House Theatre for several years. As a performer, he appeared in the European premieres of the Sondheim shows Follies and Pacific Overturesas well as the original cast of Stephen Schwartz’s Children of Eden. As a choreographer and director, he has worked on numerous West End shows, as well as with the Royal Shakespeare Company and the Peter Hall Company at the Old Vic.

The Q&A is free for ticket holders and there are fewer than 30 tickets left for this performance. Wednesday night’s performance is sold out, with tickets still available for Tuesday, Friday and both Saturday shows.

Sedos’ Pippin opened last Wednesday (9 May) and has been receiving excellent reviews:

• “If ever a show was crying out for a large scale return to the West End, then Pippin is
the one and, my advice is to all the members of Sedos, give up the day jobs and take it there” — London Theatre 1 (*****)

• “For my money the show is good enough to transfer West, half a mile up the road. Certainly, many of the cast could have a second string to their bows in the commercial theatre any time they wanted” — Sardines (*****)

• “Pippin is a triumph… highly recommended” — The 730 Review (****)

•  “A genuinely moving piece of drama” — Remote Goat (****)

• “It was not good. It was very good… Go to the Bridewell and give some support to these guys. They deserve it!” — London Theatre Reviews (****)

•  “The whole production is more polished and entertaining than many professional shows… In the hands of Sedos, Pippin is a gem of a musical” — Fairy Powered Productions (****)

•  Joe Thompson-Oubari and Corin Miller “are a tour de force excelling in their vocals, their acting and their dance” — Musical Theatre Musings

LISTINGS DETAILS

Pippin

Book by ROGER O.HIRSON

Music and lyrics by STEPHEN SCHWARTZ

Box office: sedos.co.uk

Until 19 May

7.30pm Tuesday-Saturday, plus Saturday matinee at 2.30pm

Bridewell Theatre, Bride Lane, London, EC4Y 8EQ

Tickets: £14.50-21

Bridge Theatre – until 26 May

Reviewed by Claire Roderick

4****

The harsh realities of rural life are brought into sharp relief in Barney Norris’s Nightfall. Set on a farm in Hampshire, the conflict and expectations of different generations come to the surface as childhood friend Pete returns after spending time in prison. Pete was Lou’s boyfriend and her brother Ryan’s best friend, spending most of his time on the farm rather than at his home on the council estate. Lou and Pete’s father Des died while Pete was away, and neither the siblings nor their mother Jenny have come to terms with their grief. When Pete helps Ryan in a scheme to make a little extra illegal cash, things begin to unravel for Jenny and her dream of the future.

The economic fragility of farming is represented by the huge oil pipeline dominating the set, signalling before the play starts that this is a farm in trouble, even though we later learn that Des agreed to the pipeline for spiteful as well as monetary reasons. Designer Rae Smith has created a realistic farm garden, with an old septic tank next to the garden furniture, farm machinery rusting away and the patchy lawn of a family with more important things to worry about. The huge stage was a little overwhelming at first, until you realise that director Laurie Sansom has the characters always removing themselves to a safe distance, never quite making the connections they need to understand each other.

Ophelia Lovibond and Sion Daniel Young are devastating as Lou and Ryan, both portraying grief, guilt and reluctant duty in contrasting but convincing ways. Claire Skinner gives a fascinating performance as Jenny, at first seeming funny and snarky in a wine buzz haze, but as things slip out of our control, revealing the devious and manipulative hardness beneath as she fights to keep her family together, whether they want it or not. Ukweli Roach slowly reveals Pete’s strength and honour in a restrained but likeable performance.

Norris’ deft writing touches on many relevant topics for rural families – the balance of clinging to tradition and family history, and economic and pragmatic choices that free future generations from debt; the need for younger generations to strike out on their own and find their own way in the world rather than dutifully follow the family’s expectations. Jenny’s selfish grief, sanctifying her bully of a husband and manipulating her children to keep them near, is beautifully written – with some lines making the audience gasp with horror. And most satisfyingly, there are no obvious happy endings for any of the characters, only a slight hope for change.

With a wonderful cast and superlative writing, Nightfall is a must-see.

Bridewell Theatre – until 19 May

Reviewed by Claire Roderick

4****

You have to pinch yourself at times to remind yourself that the cast of Sedos’ Pippin are all amateur performers. In fact, the whole production is more polished and entertaining than many professional shows.

Stephen Schwartz’s musical is not to everybody’s tastes, with some productions overcompensating for the slim plot with gimmicks and circus or magic tricks. Director Chris Adams keeps things simple, using the fantastic space of the Bridewell Theatre imaginatively, and giving the players and their makeshift scenery the true feel of a ragtag bunch of artists. The talented band are up in the balcony behind the stage, with conductor Ed Curry in full view ready to receive instructions, and criticism, from the Leading Player (Corin Miller).

The show follows Pippin, son of Charlemagne, on his quest for fulfilment in life, guided by the Players. As his stepmother Fastrada plots to gain the throne for his half-brother Lewis, Pippin searches for his own corner of the sky and his own glory. He tries being a soldier, sex, drugs and finally patricide – and all before the interval – before trying out an ordinary life with an ordinary family (much to the disgust of his guide) before the much-promised finale.

Corin Miller is fantastic as the Leading Player, cajoling, bullying and seducing Pippin into making dubious choices on his journey. She is almost constantly on stage, prowling like a caged tiger as she watches Pippin’s experiences, and is a powerhouse vocally and physically. Her chemistry with Pippin (Joe Thompson-Oubari) is incredible, with Thompson -Oubari subtly giving Pippin more and more confidence, purpose and strength as the show progresses. Charlie Welch is sweet but spiky as Catherine, making the most of the antagonism between Miller’s and her own character. Kris Webb (Charlemagne), Vicky Terry (Fastrada) and Paul Nicholas Dyke (Lewis) provide great comic relief, and Annie Houseago steals the show as Pippin’s grandmother with an irresistible singalong rendition of No Time at All.

Roger O. Hirson’s book is flawed, with a few underwhelming jokes, but the cast do their utmost with what they’re given. The musical numbers are memorable and choreographer Paul Brookland Williams mixes Fosse with modern and classical styles to create energetic routines performed with skill by the cast.

In the hands of Sedos, Pippin is a gem of a musical – fiercely fun and revelling in its strangeness. One not to miss

WEST END BARES

RETURNS FOR 2018

SUNDAY 28 OCTOBER

AT THE SHAFTESBURY THEATRE

TICKETS ON SALE NOW

After two years of sold-out performances at the Novello Theatre, WEST END BARES, theatre’s hottest annual fundraiser will bare more than ever before as it moves to the Shaftesbury Theatre on Sunday 28 October at 7pm and 9.30pm in aid of the Make A Difference Trust with tickets on sale NOW. Last year’s sold-out performances, hosted by Graham Norton, raised £57,633 and featured performances by Olivier Award winner Rebecca Trehearn,  Marisha Wallace from “Dreamgirls” and special guest hosts Summer Strallen, Adam Garcia, Dianne Pilkington, Tom Allen, Mark Gatiss, Ian Hallard, Celinde Schoenmaker and Oliver Savile.

Artistic Director, David Grewcock said today, “From our first spectacular six years at the legendary Café de Paris, to two sold out years at the Novello Theatre, I am thrilled that the demand for tickets for WEST END BARES keeps getting bigger.  Moving to the Shaftesbury Theatre for 2018 will allow even more people to join us for one of the West End’s biggest fundraisers as we dare to bare like never before.  We have massive plans for this year to make the ninth edition of WEST END BARES the biggest yet which will help us continue to raise vital funds for the Make A Difference Trust”

This year’s theme and celebrity guests will be announced in the summer. Previous celebrity supporters have included Eddie Izzard, Dame Judi Dench, Michelle Visage, Samantha Bond, John Barrowman, Ramin Karimloo, Bianca Del Rio, Joe Lycett and Beverley Knight.

The event is based on the original concept ‘Broadway Bares’ by legendary Broadway and West End director and choreographer Jerry Mitchell to benefit Broadway Cares/Equity Fights Aids.

The Make A Difference Trust is a UK based charity with a vision of a world free from HIV and AIDS. Building on the legacy of 25 years of fundraising by the Theatre industry, they continue to make the vision a reality having distributed over £1.6million in grants to support individuals experiencing hardship across the UK as well as over £1million to support projects with their UK and international partners. For further information about the Make A Difference Trust please visit www.madtrust.org.uk

Tickets for WEST END BARES are on sale now and are priced at £25 – £80.

Tickets are available from www.madtrust.org.uk or the Shaftesbury Theatre booking line 020 7379 5399 and in person at the Shaftesbury Theatre Box Office. Booking fees apply.

VIP tickets are available directly from MAD Trust by calling 020 7231 9719 and include access to the pre-show drinks reception, VIP entrance to the theatre with a drink on arrival, £10 of MAD money, the best seats in the House for the legendary Rotation and access to the Exclusive After Party. Booking fees apply.

York Theatre Royal – until Saturday 19th May 2018.

Reviewed by Michelle Richardson

4****

York Theatre Royal presents the premier of Jonathan Lewis’s new play, The Be All and End All, a story about the education system and how far a parent will push the boundaries to help get their child get that A*.

Right from the offset this play resonated quite strongly with me, and by the sound of it, for quite a few of the audience too. The relationship between the son, Tom (Matt Whitchurch) and his parents, politician Mark (Jonathan Guy Lewis) and publishing executive Charlotte (Imogen Stubbs), reminded me so much of my own family dynamics, but with a lot less money, privilege, entitlement and I suppose expectations, especially in the first act, that I couldn’t help looking at my son, who had accompanied me, thinking this was so us, see we are not the only ones.

Tom has the perfect, privileged life, privately educated, to the cost of £650,000, so his father has calculated, and is about to sit his A levels. The expectations of both his parents is immense, needing those A*’s in order to get into Cambridge, to study Politics and History, not having any interest in what Tom really wants to do, after all they know best. His girlfriend Frida (Robyn Cara) is from a far less privileged background and is more intellectually gifted that Mark and Charlotte can’t help comparing Tom, and unfortunately find him lacking. Tom has issues with anxiety and coping with stress, which has been brushed under the carpet, forgotten about. What unfolds is how far everyone will go in order to achieve what they think is best for their family, no matter if it is right or wrong, or even what that member really wants.

Set in a kitchen and lounge, with a staircase, the staging and scenery was very naturalistic, there was even a functioning sink with running water, I loved the kitchen with the island and trendy stools. The use of the stage added to the real raw aspect of the show, making the issues that the family were going through more relatable. The relationship with the actors on the stage added to the life like quality of the show and it felt that, we as an audience, were gazing into the life of a real family.

From the get go it was light hearted and there were laughs aplenty, but as time passed things got more serious, secrets were being kept, before unravelling, and things got darker as the truth immerged, the stage become messier and messier, before the bloody final conclusion.

How far would you go to help your child on the road to success, where would you draw the line? That is a tough question but I would like to think that I personally wouldn’t lie, cheat and sacrifice my morals in order to push my ideals on my children to their own detriment. What would you do?

Catch this whilst you can in York. Then showing in Colchester and Windsor.

Theatre Royal Haymarket – until 20 May

Reviewed by Claire Roderick

4****

The Maly Drama Theatre of St Petersburg’s acclaimed production of Life and Fate is extraordinary. Truth be told, the first half hour feels as long as the three years they spent rehearsing the play, but once the groundwork has been laid, and all characters introduced, the pace quickens and the investment in the characters pays off.

Vasily Grossman’s weighty novel has been adapted by director Lev Dodin, retaining the feel of the series of vignettes onstage with characters from different locations intermingling and watching the action unfold. The stage is dominated by a volleyball net, doubling as the wire fence of the various camps and eerily lit to great effect as prisoners march behind it.

Jewish scientist Viktor Shtrum returns to Moscow with his wife and daughter, but his work and life are threatened as Stalin’s orders force Jewish academics out of their jobs. Luckily for Shtrum, Stalin hears of his work and needs him for the nuclear program. As Shtrum and his family breath a sigh of relief, his wife and her sister Zhenya’s exes are political prisoners in a Siberian Gulag, while Shtrum’s mother writes to him from a Jewish ghetto. Her ex-lover is in a Nazi concentration camp, while Zhenya is having an affair with Russian tank commander Colonel Novikov.

The prisoners discuss philosophy and political ideology, culminating in the old Bolshevik horrified by an SS officer’s insistence that their political beliefs are not so dissimilar, while Shtrum rails against compromising and selling out to Stalin to ensure his family’s safety. Every male character is a fanatic for his own flawed cause, be it Communism, Nazism or academia, with the women, especially Anna, Shtrum’s mother being the heart and conscience of the play. There are moments of surreal humour, especially from Colonel Novikov at the Battle of Stalingrad, but the brutality of Stalin’s regime is all-pervading.

The cast are exceptional, with a classic and contained style that portrays the suspicion of the time brilliantly, and the use of music and dance is both uplifting and tear-jerking. At almost 3½ hours, Life and Fate is an overwhelming experience, but this passionate and haunting production is unforgettable, and disturbingly relevant today.

Blue Elephant Theatre 8-10 May

Reviewed by Claire Roderick

3***

Naked Frank’s show begins as an often-hilarious study of three schoolgirls talking about their useless teachers and lessons. Writer Carleigh-Ann Portelli uses verbatim accounts to develop an ever-darkening story of homophobia and bullying on social media that is sickeningly familiar.

Shannon (Rebecca Briley) is smarter than her grades suggest, but her need to not alienate best friends Rach (Carleigh-Ann Portelli) and Lou (Claire Louise Portelli) sees her making some bad choices. Lou is not the brightest star in the constellation, more of a black hole devoid of any flicker of intelligence or common sense, while Rach at first appears to be merely the alpha of the group, joking and making party plans, but is slowly revealed as every student’s nightmare – a manipulative bully so lacking in empathy and interest in anyone but herself that she is incredulous that people take offence at her “banter”. It is Rachel who hands Lou and Shannon the metaphorical bullets to fire, and they gleefully and naively go along with everything she says.

The girls’ descriptions of their teachers are fantastic; the obsession of their PHSE teacher with her Collins Dictionary is portrayed with great physical comedy. The girls’ plans to set up Shannon’s cousin with new girl in school Christine lead to a revelation about Christine’s sexuality that consumes the school in a group chat tsunami.

The girls’ hatred for PHSE, and their questioning of its worth is amusing, with some great one-liners, but Portelli ensures that the lack of knowledge and emotional and social intelligence of the characters hammer home the importance of these lessons in schools today, especially in Key Stage 2 and 3, so that 17-year-olds like these girls won’t be quite as clueless in the future. Voice overs from politicians preaching about the issues to be tackled in schools will make you roll your eyes, evoking the same response that teachers get from their students. To be honest, classes would probably get more from watching and discussing a more polished version of this play than what the curriculum offers in some schools.

The cast have great chemistry and their physical work is a delight. they are totally convincing as teenagers. The plot is smart, and enough curveballs are thrown in to keep it from being predictable. Scene changes are marked by the cast building up a graffiti wall while politicians talk about homophobia and LGBT rights, which is an interesting idea, but loses its appeal the more often you have to sit through it.

Before it Starts is a show with enormous potential – funny, brutally honest and thought-provoking, with a bleak message that needs to be heard by a wider audience.

NEW ADVENTURES

ANNOUNCE INTERNATIONAL DATES

FOR

TOURING TO CHINA, JAPAN AND AMERICA

FROM AUGUST 2018 – MARCH 2019.

THE UK TOUR CONTINUES UNTIL JUNE 2018,

AND

WILL BE SCREENED IN CINEMAS NATIONWIDE ON TUESDAY 15 MAY 2018

New Adventures is delighted to announce six international tour dates for Matthew Bourne’s “CINDERELLA” spanning China, Japan and America. The tour opens at the Beijing Tianqiao Performing Arts Centre on Tuesday 7 August 2018 before travelling to Shanghai; Tokyo; Charlotte and Washington, finishing with a five-week season in Los Angeles in March 2019. Full tour schedule below.

“CINDERELLA” is currently touring the UK with just six weeks remaining of the 28-week tour. Next week, “CINDERELLA” will be in Sheffield before travelling to Canterbury, Edinburgh and Glasgow, finishing in Woking on 23 June 2018. Full details below.

In addition, fans around the country will have the opportunity to watch “CINDERELLA” on a big screen near them as the production will be screened at cinemas nationwide on Tuesday 15 May followed by a live Q&A, via satellite with Matthew Bourne.   For more information new-adventures.net/cinema

Matthew Bourne said today: “New Adventures is committed to taking our work to as wide an audience as possible. That not only includes our annual nationwide tour to many of the UK’s major venues but also internationally where the company has built up a popular fanbase. It’s also important to reach audiences who perhaps cannot get to a live performance. So our big-screen presentation of “CINDERELLA”, this Tuesday, to over 200 UK cinemas, many in rural areas and towns that do not have a local theatre big enough to house our live show, is particularly exciting”.

Following their triumph playing Victoria Page in “The Red Shoes”, the role of ‘Cinderella’ is performed by Cordelia Braithwaite and Ashley Shaw. Cinderella’s heroic Pilot, ‘Harry’, is performed by Andrew Monaghan and Edwin Ray. ‘The Angel’, Cinderella’s fairy godfather is danced by Paris Fitzpatrick and Liam Mower.

‘Sybil’, Cinderella’s stepmother, is performed by Madelaine Brennan and Anjali Mehra. ‘Robert’, Cinderella’s father is performed by Jack Jones and Alan Vincent.

Cinderella’s step brothers and sisters and the people of 1940’s London complete the cast: Steph Billers; João Carolino; Reece Causton; Jackson Fisch; Sophia Hurdley; Jack Jones; Daisy May Kemp; Kate Lyons; Jamie McDonald; Stephen Murray; Matthew Petty; Danny Reubens;Mark Samaras; Louis Van Leer, Joe Walkling; Katie Webb, Seren Williams and Daniel Wright.

One of New Adventures’ most loved productions Matthew Bourne’s “CINDERELLA” is a thrilling and evocative love story, set in London during the Second World War.

Matthew Bourne’s interpretation of the classic fairy tale has, at its heart, a true war-time romance. A chance meeting results in a magical night for Cinderella and her dashing young RAF pilot, together just long enough to fall in love before being parted by the horrors of the Blitz.

With Lez Brotherston’s sumptuous costumes and sets, which won an Olivier Award for his original designs, and lighting by Olivier Award-winning Neil Austin, “CINDERELLA” will be performed in Surround Sound, designed by Paul Groothuis and featuring a specially commissioned recording played by a 60-piece orchestra.  Matthew Bourne’s vivid story telling has never been more heart-stopping and touching, and will take the audience into the heart of Prokofiev’s magnificent score, and the sights and sounds of war-torn London.

New Adventures is a national portfolio organisation supported using public funds by Arts Council England.

For more information please visit: www.new-adventures.net

Facebook /MBNewAdventures    Twitter @New_Adventures     Instagram @MBNewAdventures

Matthew Bourne’s “CINDERELLA” International Tour Dates 2018 – 2019

www.new-adventures.net

TUESDAY 7 AUGUST – SUNDAY 12 AUGUST 2018

TIANQIAO PERFORMING ARTS CENTRE, BEIJING – www.tartscenter.com

ON SALE NOW

THURSDAY 16 AUGUST – SATURDAY 25 AUGUST 2018

SAIC ·  SHANGHAI CULTURE SQUARE, SHANGHAI – www.shculturesquare.com

ON SALE NOW

WEDNESDAY 3 OCTOBER – SUNDAY 14 OCTOBER 2018

TOKYU THEATRE ORB – www.theatre-orb.com

ON SALE 7 JULY

SUNDAY 6 JANUARY – FRIDAY 12 JANUARY 2019

BLUMENTHAL PERFORMING ARTS, CHARLOTTE – www.blumenthalarts.org

ON GENERAL SALE SOON

TUEDSAY 15 JANUARY – SUNDAY 20 JANUARY 2019

THE JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS, WASHINGTON – www.kennedy-center.org

ON GENERAL SALE 12 SEPTEMBER

TUESDAY 5 FEBRUARY – SUNDAY 10 MARCH 2019

AHMANSON THEATRE, LOS ANGELES – www.centertheatregroup.org

ON GENERAL SALE SOON

Matthew Bourne’s “CINDERELLA” Remaining UK Tour Dates 2018

TUESDAY 15 MAY – SATURDAY 20 MAY 2018

LYCEUM THEATRE, SHEFFIELD – www.sheffieldtheatres.co.uk

TUESDAY 22 MAY – SATURDAY 26 MAY 2018

THE MARLOWE, CANTERBURY – www.marlowetheatre.com

TUESDAY 5 JUNE – SATURDAY 9 JUNE 2018

FESTIVAL THEATRE EDINBURGH – www.capitaltheatres.com

TUESDAY 12 JUNE – SATURDAY 16 JUNE 2018

KING’S THEATRE GLASGOW – www.atgtickets.com/venues/kings-theatre

TUESDAY 19 JUNE – SATURDAY 23 JUNE 2018

NEW VICTORIA THEATRE, WOKING – www.atgtickets.com/venues/new-victoria-theatre