Month: October 2018

ONLY FOOLS AND HORSES IS BACK – AND THIS TIME IT’S MUSICAL!

Starring
PAUL WHITEHOUSE as ‘GRANDAD’

TOM BENNETT as ‘DEL BOY’
RYAN HUTTON as ‘RODNEY’

Written by Paul Whitehouse and Jim Sullivan, fully endorsed by the Sullivan estate
Based on the programme ‘Only Fools and Horses’ written by John Sullivan

Original music by Paul Whitehouse and Jim Sullivan
Additional music by John Sullivan & Chas Hodges
Directed by Caroline Jay Ranger

THEATRE ROYAL HAYMARKET
PREVIEWS FROM 9 FEBRUARY 2019

 

TICKETS ON SALE MONDAY 8 OCTOBER 2018
FROM ONLYFOOLSMUSICAL.COM

Stone me!  Would you Adam and Eve it?  Only Fools and Horses is going up West!

 

John Sullivan’s iconic and record-breaking television series has been turned into a brand-new, home-grown West End musical spectacular.  With a script and original score by John’s son, Jim Sullivan and comedy giant Paul Whitehouse, prepare to get reacquainted with Britain’s most loveable rogues and experience the classic comedy brought to life once again through 20 ingenious and hilarious songs.

 

Paul Whitehouse also takes centre stage as Grandad, uniting with Tom Bennett (Del Boy) and Ryan Hutton (Rodney) in this unique showstopper, featuring cherished material from the TV series. Join us as we take a trip back to 1989, where it’s all kicking off in Peckham. While the yuppie invasion of London is in full swing, love is in the air as Del Boy sets out on the rocky road to find his soul mate, Rodney and Cassandra prepare to say ‘I do’, and even Trigger is gearing up for a date (with a person!).  Meanwhile, Boycie and Marlene give parenthood one final shot and Grandad takes stock of his life and decides the time has finally arrived to get his piles sorted.

 

With musical contributions from Chas n Dave, the beloved theme tunes as you’ve never heard them before and an array of comic songs full of character and cockney charm, you’re guaranteed to have a right knees-up!  Only Fools and Horses The Musical is a feel-good family celebration of traditional working class London life and the aspirations we all share.

 

Directed by Caroline Jay Ranger, Only Fools and Horses The Musical will also feature many of the hugely loveable characters from the TV series: Raquel, Denzil, Mickey Pearce, Mike the Barman and the dreaded Driscoll Brothers.

Only Fools and Horses The Musical will be a truly cushty night out. Only a 42 carat PLONKER would miss it!

               

LISTINGS INFORMATION

Theatre Royal Haymarket

Previews: From 9 February 2019

Box Office: 020 7930 8800

Performances: Monday – Saturday at 7:30pm. Wednesday and Saturday matinee at 2:30pm

 

Website: OnlyFoolsMusical.com

Twitter: @OFAHMusical

 

StoryHouse, Chester – Saturday October 6th 2018 – matinee and evening performances.

Reviewed by Julie Noller

5*****

This was a one night performance of which I was lucky enough to see the matinee. I’m a child of the 70’s growing up with repeats of Eric Morecambe and Ernie Wise TV shows and especially their Christmas specials – that’s if they were Christmas specials and not just repeated. The StoryHouse did the boys justice, playing music before the show, that may just jog a few memories, jazz numbers alongside big musical numbers.

In their heyday Morecambe and Wise were huge entertainers, and even after some fifty years appear to hold a place in Britain’s comedy heart. They were falling out of favour when I was getting a taste for comedy with satire being the big draw. There was little appetite for slapstick, good old fashioned British sarcasm and wit. Jonty Stephens and Ian Ashpitel should be applauded and cheered to the rafters for not only delivering a cracking tummy wobbling humour-fest, but for bringing back to life the comedic genius of Eric and Ernie. The humour was made for Music Halls, it’s deliciously devilish, simple yet very effective. Laughter is infectious and some of the deep belly laughs travelled across the theatre and had us the audience as well as Eric and Ernie giggling. Those innocent gags told tongue in cheekily have you wondering was a stooge placed in the audience? Surely not but then perhaps? Can such laughter be real? If so it did nothing to dampen the mood and added to all the fun. You watch this performance as if they’ve just walked on stage without a clue of what’s going to happen and yet you know it’s the complete opposite, to look that clueless takes hours of practice. It’s brilliant how those old gags you just know are coming, alongside newer material written by Jonty and Ian are delivered from old favourites such as the over ringing telephone, the Dutch Dancing – many a slapstick moment, Griegs Piano Concerto, not forgetting the brown paper bag (a favourite with many Grandads).

It’s uncanny how alike Eric and Ernie the boys look, how they sound just like they sounded on the television. It was as if I was transported through time and actually sat in a music hall of years gone by. How I giggled at the ventriloquists dummy who just like my son shared his name, blue eyes and blonde hair. As with all Morecambe and Wise shows there is a guest vocalist in the wonderful Becky Neale who has joined this nationwide tour, she sings one of my Mothers favourites Send in the Clowns whilst the boys join her onstage with impeccable comedic timing dressed as clowns to blow up balloons. Such a simple act but one of many delightfully funny moments. Becky impresses us with a rendition of Cilla Blacks You’re My World and is respectfully left alone on stage. Despite not yet getting paid she carries off her show well. I admit to spending the interval attempting and falling to perfect the wonky glasses and headshake of Eric, how did he do it? If you get the chance; then take your Parents, Grandparents or even your children, this is a show that will warm your soul and all ages will enjoy.

Yes some names anyone younger than thirty may not recognise but compared to the gentle slapstick that tickles your funny bones it doesn’t matter. Another typically British institution is the weather, we went into the theatre with the sun hiding and feeling a little chilly after a summer of incredibly high temperatures. But after a solid ninety minutes of laughter and gentle fun poking in typically British fashion, we ended the show with a thoroughly rousing rendition of Bring Me Sunshine, encouraged to join in, how could we refuse? And do you know what? I had to leave the theatre in my sunglasses thanks to Eric and Ernie encouraging the sun out. Jonty and Ian I salute you, Eric and Ernie I salute you. Time to You Tube some old repeats for my children to enjoy.

Southwark Playhouse – until 27 October 2018

Reviewed by Elizabeth J Smith

5*****

The tale of four woman in Victorian England trying to make life better for themselves and all women, present and future.

All four woman are from very different back grounds and each in some way are controlled by men. The aspiring nurse, (Sophie Bleasdale), who wants to study to be a doctor and right many injustices she see’s other women endure.

The abused middle class house wife, (Kemi-Bo Jacobs), who’s husband’s defects become the controls she can not escape but have fatal impact on her life.

The poor immigrant Irish girl Jessica Regan) who despite being intelligent enough to work at a news paper, is paid so poorly she has to turn to prostitution to help support herself.

The fiesty northern lass, (Fiona Skinner), who even, as an abandoned new born has had to fight for every breath she takes.

All want to prove themselves bigger than just the stereo typical woman.

All want to achieve greatness and boxing gives them the opportunity.

Based on historical facts, Joy Wilkinson, weaves a tremendous tale of
passion, politics and pugilism.

The story moves quickly and effortlessly from one scene to another with the
voice of the boxing impresario Professor Charlie Sharp (Bruce Alexander) taking you on a journey of discovery of how these four women’s lives entwine.

The acting was superb from every character, the choreography of the boxing matches thrilling, the costumes fitting of the time and the set intimate.

This production holds your attention and draws you in. You care for the characters, even some of the men.

Brilliant tale, well told, better than any night on the sofa.

Omnibus Theatre, Clapham, London – until 6 November 2018

Reviewed by Lisa Harlow

4****

Take yourself back just over 100 years to 1916, and if life was not turbulent enough due to the trials of the First World War, Dublin was further rocked by an uprising. Several groups led the rebellion, united in fighting against what they believed to be Ireland’s acquiescence to Westminster during the War. And so, a bloody week began in the name of Ireland’s ‘national right to freedom and sovereignty’.

Lizzie Nunnery (playwright) takes us into the midst of this intense violent fog to witness conversations between Frank Sheehy-Skeffington (Gerard Kearns), a dedicated pacifist and spearhead of the Women’s Suffragette movement, with a starving and naive soldier (Robbie O’Neill) following his arrest. Frank firmly questions the soldier’s strict adherence to his duties when the ethics of his arrest and the activities of the soldiers he had experienced were under serious question. In spite of the contrast between the characters’ stance, as each develop their understanding of the other, a softness unravels in the interchanges, an understanding. Frank’s intelligence is both emotional and spiritual, and his demeanour remains calm, until the disbelief and desperation at the situation he finds himself in crescendos through Gerard’s excellent performance.

In parallel, we experience the encounter between the bereft wife of Frank, Hanna (Elinor Lawless) starched by shock and anger, and Sir Francis’ (Russell Richardson) red-faced exhortations trying to desperately put all blame on one loose cannon. Here the dynamics remain confrontational and unresolved.

The dialogues alternate with mournful tunes; all vocals and instruments are skilfully performed by the actors, creating an atmosphere heavy with grief and disbelief. Hanna leads with pleading eyes and clear voice. The set is chaotic, reflecting the houses that were ‘like doll houses torn open’ by the fighting and violence. Items become percussion instruments to accompany the dark songs that pepper the interchanges.

This is an intense short play, and the acting can be certainly commended. The accents never waver and the dialogue for Sheehy-Skeffington is particularly a highlight.

Mayflower, Southampton – until October 27 2018
Reviewed By Jo Gordon
5*****

Fifteen years after its first Broadway premiere and twelve since its first UK show, Wicked is still one of the most popular musicals running in history. Based on Gregory Maguire’s Novel  ‘Wicked: The Life and Times of the  Wicked Witch of the West’  who took inspiration from L. Frank Baum’s ‘The Wonderful Wizard of Oz’ we see the truth behind the green hued woman’s life before, during and after the timeline of the original Oz story.

The Friendship of Elphaba (Amy Ross) and Glinda (Helen Woolf) is an unlikely one, but they do say opposites attract and a strong beautiful friendship blossoms despite the obvious differences. Throughout the story we see how Elphaba begins as a rather lovely soul and it is the actions of others who turn her into the “Wicked Witch” we are more used to hearing about. From fighting the injustice of animal inequality, the Dictatorship of Oz’s leader “The Wizard” (Steven Pinder)  and the untruths used by his media spin doctor Madame Morrible (Kim Ismay) to keep the masses under control there is lots to keep you hooked.

The cast is one of the strongest I have seen in this production, and would go far as to say that Amy Ross’s rendition of the crowd pleasing “Defying Gravity” is the best portrayal I have witnessed and her talent carries throughout to the same standard. Helen Woolf’s Glinda is equally as good with perfect comic timing and beautiful voice. To play two very different characters must be difficult but Steven Pinder effortlessly slides between the Wizard and Dr.Dillamond and Kim Ismays’s Madame Morrible is a force to be reckoned with and again, one of the best versions of the character I have seen.

If you took a big bubbling cauldron and added a touch of song, some breathtaking costumes and a pinch magic you would get Wicked. A perfect show to keep the Munchkins happy over half term .

Lowry Theatre, Salford – until Saturday 6th October 2018 

Reviewed By Dawn Smallwood

5*****

After a successful run in London, National Theatre’s Macbeth embarks on a national tour with its first stop at Salford Lowry’s Theatre. National Theatre is reputed for its ground breaking and critically acclaimed productions that some have been in receipt of long runs in London’s West End such as War Horse and The Curious Incident of the Dog in the Night Time. They are endeavouring to reach out to a wider audience especially schools. This is certainly evident from seeing many school groups present at the theatre and it proves Macbeth is popular as the Shakespeare’s tragedy is studied at GCSE level in many secondary schools.

Set after the civil war, Macbeth, follows the lives of Macbeth (Michael Nardone) and Lady Macbeth (Kirsty Besterman) who are determined to seize power to become king and queen at all costs including murder and afterwards venture on a course of self destruction. The play explores strong and bloody themes of murder, misuse of power, manipulation, corruption and psychology. The themes are set in deep rooted superstition, witchcraft and the supernatural which were condemned at the time but is widely believed and practised.

What strikes immediately is the staging – it is visually stunning! Rae Smith, an award winning stage designer, puts her creativity and talent onto the stage. The set is modern, dark and eerily atmospheric which is perfectly appropriate for Macbeth. The stage isn’t cluttered whatsoever which enables the audience the opportunity to fully appreciate the characters and the unravelling of the plot.

Moritz Junge’s contemporary costumes work so well and certainly break down the traditional perceptions that are usually associated with staging Shakespeare on stage. Junge ensures maximum focus on the tragedy and what are admired are the lead characters randomly wearing brightly coloured costumes which symbolises and prompts any significant activity in the upcoming scenes that will change the characters’ lives forever.

The staging and costumes work so well with Paul Arditti’s soundscapes and modern music (composed by Orlando Gough and Marc Tritschler), which has a familiarity to it, but ties in nicely and transitionally. Paul Pyant’s dimmed lighting reflects the sombre and tragic spirit of Macbeth and yet the characters’ spotlights aren’t at all compromised.

What is capturing is the presence of the Three Witches (Elizabeth Chan, Evelyn Roberts, and Olivia Sweeney) at the beginning and at crucial points during the performance is its chilling, eerily and hypnotic sounds. They seductively influence the characters’ courses of action particularly Macbeth’s. Incredible lighting is used effectively for Banquo’s ghost (Patrick Robinson) and how the silhouetted presence during the banquet in the first act unsettles Macbeth indefinitely and also his fate at the end of the second act.

The performances of Nardone as Macbeth and Besterman as Lady Macbeth epically stand out and they portray the characters superbly. Another memorable performance is from Robinson as Banquo with the character’s key presence on the stage at the beginning and this ghostly presence after he was murdered. Rest of the company are excellent and the performance flows smoothly under the direction of Rufus Norris.

The adaptation doesn’t compromise the story line and plot however it is refreshing not to rely just on the action and the goriness alone to dramatise the plot as the stunning staging do this as well. Macbeth is and will be a popular tragedy to see on stage for many and this particular production minimises distraction and encourages equivocal focus which the audience can draw their thoughts and feelings from. This contemporary production will no doubt be a success on its tour and is a must see as it is absolutely wonderful from beginning to end. It is a testament that Shakespeare wrote ahead of his time and centuries later Macbeth and the themes drawn from it is just as relevant today on the world stage as when it was first written.

 

Waterloo East Theatre – until 21st October 2018

4****

Reviwed by Elizabeth J Smith

From the opening bars of Muses on a Mission, (the next big thing), I had a feeling of Déjà vu.

The musical is about a young man, Trevor, who isn’t very confident and can’t tell the love of his life how he feels, he just dreams of her while staring at the back of her head in the office. He has ambitions of becoming a famous author, to win over his love and live happily ever after. But, he has no imagination for writing and spends his time researching how to. He is sent three celestial muses to help and inspire him to finish a novel so they can graduate Muse school and move on to greater things in the heavens. However, as they seem unable to motivate his imagination they decide to recite an incantation, put a spell on him. But, as a good, well intentioned spell, it goes wrong and conjures up the devil incarnate, Liberty. The drag Queen who wants her story told, just as she likes it. With offers of greatness to the author of her story, Trevor is seduced by the promise of money, success and love. But as his wishes come true the consequences of how they are given leave a very different ending than he ever expected. Can he
turn things around and save the love of his life, send the muses of to graduate and kill off Liberty and her wicked ways?

The story reminded me of Little Shop of Horrors and the music had a similar ring to it, as did the muses telling the story as we move forward.

However I loved it.

William Hazell, as Trevor, was nerdy, shy, a bit useless. He didn’t have the best singing voice but he carried it off.

Dereck Walker, Liberty, had a feel of an over bearing land lady, turning on the charm or bullying to achieve her goal. Loved the one liners and facial expressions that weren’t lost in such a cosy space as the Waterloo East theatre.

The three muses, Georgie Faith, Ute, Chloe Rice, Callie, and Emma Scott, Thalia all played they characters with exuberance depicting their chosen fields, romance, poetry and comedy, with passion and humour.

The tunes were catchy and you could follow every word, so never missing the great one liners hidden in the lyrics. “Revenge” was a show stopping big number and I could imagine it on a much larger, grander scale.

With the addition of a free programme and a Ferrero Rocher chocolate I can highly recommend a great night out.

Jenny Topper and Theatre Royal Bath Productions present
THE NIGHTINGALES 
by William Gaminara

• FULL CASTING ANNOUNCED FOR THE WORLD PREMIERE OF THE NIGHTINGALES ALONGSIDE WRITER AND ACCLAIMED ACTOR RUTH JONES
• STEVEN PACEY, STEFAN ADEGBOLA, SARAH EARNSHAW, PHILIP McGINLEY AND MARY STOCKLEY COMPLETE THE CAST
• ON UK TOUR THIS AUTUMN PRIOR TO A WEST END TRANSFER

Jenny Topper and Theatre Royal Bath Productions today announce full casting for the world premiere of The Nightingales which will see Steven Pacey, Stefan Adegbola, Sarah Earnshaw, Philip McGinley and Mary Stockley join previously announced BAFTA Award-winning television star and writer Ruth Jones in her highly anticipated return to the stage. The production, directed by RSC Associate Artist Christopher Luscombe and written by William Gaminara, will run at Theatre Royal Bath from Wednesday 31 October to Saturday 10 November, with opening night for press on Wednesday 7 November. The Nightingales will then tour to Cambridge, Cardiff, Chichester and Malvern prior to a West End transfer, with venue and dates to be announced.

The Nightingales is a thought-provoking, bittersweet play which follows the lives of a small community acapella group in their weekly singing practice, and the impact of new arrival, Maggie.

Under the watchful eye of Steven, their choirmaster, Connie, Ben, Diane and Bruno gather every week in the village hall to practise their accomplished acapella singing. They are a motley crew, but whatever their differences, whatever the problems they may have at home, all are happily bound together in their shared love of music. Until one day Maggie knocks on the door. . . Soon she is urging them to enter Talentfest, a potentially life-changing route to Britain’s Got Talent. In the weeks that follow, loyalties will be tested, tempers will fray and lives will indeed be changed – but not in the way that any of them had quite anticipated.

Ruth Jones (Maggie) is best known for playing Nessa in the BBC’s multi award winning Gavin and Stacey which she co-wrote and created with James Corden. She also took the title role in Sky 1’s Stella made by her own company Tidy Productions, which ran for six seasons, gaining Ruth a BAFTA nomination for Best Female Performance in a comedy. Other screen credits include: Little Britain, Nighty Night, Saxondale, Fat Friends, Tess of the D’Urbervilles and Little Dorrit. Ruth also played Hattie Jacques in BBC4’s highly acclaimed film Hattie. Ruth’s last stage performance was in Educating Rita at the Sherman Theatre, Cardiff in 2006. Before that she’d worked with Dominic Cooke in The Marriage of Figaro, Roger Michell in the National Theatre’s Under Milk Wood as well as the RSC’s world tour of The Winter’s Tale. Ruth’s debut novel Never Greener is a Sunday Times number one bestseller.

Steven Pacey’s (Steven) most recent stage appearances include The Knowledge (Charing Cross Theatre), Loves Labour’s Lost / Much Ado About Nothing (West End and Chichester Festival Theatre), Travels with my Aunt and King Lear (Chichester Festival Theatre). Musical theatre credits include Spamalot (National Tour) and La Cage aux Folles (The Playhouse). On television he has appeared in Doctors, Humans, Silent Witness and Poirot.

Stefan Adegbola (Bruno) has performed on stage in Titus Andronicus (RSC), The Convert (Gate Theatre), After Independence (Arcola), The Merchant of Venice (Globe Theatre and World Tour), A Midsummer Night’s Dream (Noel Coward). His screen credits include Doctor Who.

Sarah Earnshaw (Connie) most recently appeared in the UK tour of Some Mother’s Do ‘Ave ‘Em.Previous stage credits include Travels with My Aunt (Chichester Festival Theatre), the original cast of Wicked (Apollo), Heart of Winter (Tristan Bates) and national tours of Spamalot, Jekyll and Hyde, Scrooge and Puttin’ on the Ritz. Television appearances also include Casualty and Children in Need.

Philip McGinley’s (Ben) numerous television credits include Game of Thrones, Manhunt, Vera, Coronation Street, Drifters, No Offence and Home Fires. Stage credits include Husbands & Sons (National Theatre), Microcosm (Soho Theatre), The Daughter in Law (Sheffield Crucible) and Herding Cats (Theatre Royal Bath and Hampstead Theatre).

Mary Stockley’s (Diane) stage credits include The Curious Incident of the Dog in the Night-time (National Theatre and West End), The House They Grew Up In (Chichester Festival Theatre), Rainman (Apollo), Anything Goes (National Theatre and West End) and Merrily We Roll Along (Donmar Warehouse). Recent television credits include Delicious, and The Alienist and film includes The Woman in Black and V for Vendetta.

William Gaminara (Playwright) is an actor and writer. He played Leo Dalton in Silent Witness for 11 years, and is Dr Richard Locke in The Archers. His plays include Germinal (Paines Plough), Back up the Hearse and According to Hoyle (Hampstead Theatre) and The Three Lions (St James Theatre/Pleasance). TV writing includes episodes for Jimmy McGovern’s The Lakes,  BBC’s This Life (winner of a Writers’ Guild Drama Award), and an adaptation of Rachel Morris’ novel Ella and the Mothers.

Christopher Luscombe (Director) is an associate artist of the RSC, where his productions include Love’s Labour’s Lost and Much Ado About Nothing, both of which transferred to the Theatre Royal Haymarket. He has also directed the Olivier Award winning Nell Gwynn (Shakespeare’s Globe and Apollo), The Madness of George III (Apollo), The Merry Wives of Windsor (Shakespeare’s Globe), Enjoy (Gielgud), Olivier Award nominated productions of When We Are Married (Garrick) and Fascinating Aïda – One Last Flutter (Harold Pinter) and The Rocky Horror Show and Spamalot (Playhouse).

Jonathan Fensom (Designer) has extensive design credits for productions including The Other Place (Park Theatre), Farinelli and The King (Shakespeare’s Globe, West End and Broadway) for which he received Olivier Award nominations for Best Costume and Best Set Design, Sex with Strangers (Hampstead Theatre), Six Degrees Of Separation (Old Vic), The Homecoming (Almeida) and Journey’s End (West End, Broadway and UK Tour), for which he was nominated for the Tony Award for Best Scenic Design. For Shakespeare’s Globe, Fensom he has also designed King Lear, Hamlet, Henry V, The Duchess of Malfi and Julius Caesar.

Nick Richings (Lighting) has designed for many West End productions including the Olivier Award-winning La Cage Aux Folles (The Playhouse), Whistle Down the Wind (Palace Theatre), Starlight Express (UK and Asia Tour), Scrooge (London Palladium, UK Tour and US Tour) and Glengarry Glenn Ross (Manchester Library Theatre). He has worked with the Apollo Leisure Group lighting their major musicals, summer shows, and pantomimes.

Jason Barnes (Sound) has designed sound for productions including Private Peaceful (New York and US tour), Private Lives (Broadway), We’re Going on a Bear Hunt (UK tour and West End),Canary, The Hypochondriac (English Touring Theatre), Mrs. Warren’s Profession (UK tour) andEnjoy (Gielgud and UK tour). Jason has also worked as Head of Sound and Resident Sound Designer at the Bristol Old Vic.

Luke Bateman’s (Musical Director) works have been performed in the West End, New York, around the UK and beyond, including Mr Popper’s Penguins (West End, UK and US tour), The Little Beasts(The Other Palace), The Sorrows of Satan (Tristan Bates), A Chorus of Disapproval (Harold Pinter),West End Recast (Duke of York’s), West End Recast 2 (Phoenix Theatre). He has also won three song writing awards for his work with Mary Evans.

 

Listings

The Nightingales
by William Gaminara
Directed by Christopher Luscombe
Designer: Jonathan Fensom
Lighting: Nick Richings
Sound: Jason Barnes
Musical Director: Luke Bateman

Theatre Royal Bath, Sawclose, Bath, BA1 1ET

Dates: Wednesday 31 October – Saturday 10 November
Performance schedule: Evenings 7:30pm, matinee Thursdays and Saturdays 2:30pm
Prices: £23 – £37.50
Box Office: 01225 448844
Website: www.theatreroyal.org.uk

Cambridge Arts Theatre  
Dates: Monday 12 – Saturday 17 November
Box Office: 01223 503333
Website: www.cambridgeartstheatre.com

New Theatre Cardiff
Dates: Monday 19 – Saturday 24 November
Box Office: 029 2087 8889
Website: www.newtheatrecardiff.co.uk/

Chichester Festival Theatre
Dates: Tuesday 27 November – Saturday 1 December
Box Office: 01243 781312
Website: www.cft.org.uk

Malvern Festival Theatre  
Dates: Monday 3 – Saturday 8 December
Box Office: 01684 569256
Website: www.malvern-theatres.co.uk

October 31st – November 17th, King’s Head Theatre

After a critically acclaimed 2017 run, Fat Rascal Theatre return to the King’s Head with their Offie nominated, gender-swapped musical parody of Disney’s Beauty and the Beast ahead of their UK tour.

★★★★★ “show of the year” London Theatre 1

She’s grotesque. A possessive beast of a woman, to be sure. But look on the bright side, Beau: she’s got a lovely personality. Somewhere. Under all the fur.

A fairy tale land, far, far away. A handsome young bookworm who always dreamt of more. A hideous beast, in her cursed castle… It’s a tale as old as time, as you’ve never heard it before. Brace yourself for 100 minutes of boundless energy and musical mayhem as Fat Rascal Theatre explore whether fairy tales really can come true – even when the princess doesn’t quite fit the slipper.

★★★★★ “I can’t overstate how goddamn funny this show is” London City Nights

The show will open at the Mumford Theatre in Cambridge on the 27th and 28th of October ahead of the run at the King’s Head Theatre, before playing at the Old Joint Stock in Birmingham, The Civic in Stourport and Theatre Delicatessen in Sheffield, with more dates to be announced. The full cast from the original run will be returning.

★★★★★ “ridiculously hilarious” West End Wilma

Winners of the Otherplace/Balkan Award, the Eddies Award, the VAULT festival ‘Festival Spirit’ Award and nominated for an Off West End Award, Fat Rascal Theatre has quickly become a home for new musical theatre, having written and produced 5 new musicals since its inception in 2016. It is a company run by women, discussing social and political issues through an accessible and appealing format to engage a wider audience. They believe that theatre should aim to inspire, educate or liberate and should be available to everybody.

SHEFFIELD THEATRES ANNOUNCE FURTHER PROGRAMMING TO COMPLETE CURRENT SEASON

 

As Robert Hastie’s new production of A Midsummer Night’s Dream opens at Sheffield Theatres, he announces further programming to complete the current season.

 

Joining the previously announced co-production with Out of Joint – Kate Bowen’s Close Quarters; the Christmas musical Kiss Me, Kate directed by Paul Foster; Caroline Steinbeis’ production of Rutherford and Son; debbie tucker green’s hang and the world première of Standing at the Sky’s Edge with book by Chris Bush and music and lyrics by the internationally acclaimed musician Richard Hawley; are the world première of a major new stage adaptation of Yann Martel’s Man Booker Prize winning Life of Pi by Lolita Chakrabarti,directed by Max Webster; and Third Angel’s The Department of Distractions – a co-production with Northern Stage, produced in association with Sheffield Theatres.

Also announced today is a new initiative – Sheffield People’s Theatre Residency Season, where members of the local community will have the opportunity to hone their theatre making skills working with some of the leading theatre companies in the UK, culminating with a sharing on the theatre’s stages.

 

Robert Hastie said today, “When I first read Life of Pi, back when everyone was telling each other to read this wonderful new book, I remember thinking that it could make for an awesome piece of theatre if someone had the ambition and imagination to bring it to the stage. Max Webster, Lolita Chakrabarti and Finn Caldwell of Gyre and Gimble are those brave and brilliant people, and I’m absolutely thrilled that we have such an ambitious and exciting team joining us to realise this epic story.

Alongside new writing, the city of Sheffield also sits at the heart of the next season. Sheffield’s history is powerfully brought to life through the writing of Sheffield-born Chris Bush and the music of Sheffield icon Richard Hawley in Standing at the Sky’s Edge; Third Angel, one of the city’s finest theatre companies, bring their brilliant Department of Distractions to the Studio; and Sheffield People’s Theatre embarks on a new chapter in its development with three fantastic residencies.   “

 

 

CRUCIBLE

A Sheffield Theatres Production

World Première

LIFE OF PI

Based on the novel by Yann Martel

Adapted by Lolita Chakrabarti

Director Max Webster; Designer: Tim Hatley; Puppet Designer: Finn Caudwell of Gyre and Gimble

 

28 June – 20 July 2019

 

After a cargo ship sinks in the middle of the vast Pacific Ocean, there are five survivors stranded on a single lifeboat – a hyena, a zebra, an orangutan, a sixteen year-old boy and a hungry Bengal tiger. Time is against them, nature is harsh, who will survive?

Based on one of the most extraordinary and best-loved works of fiction – winner of the Man Booker Prize, selling over fifteen million copies worldwide – Life of Pi is a dazzling new theatrical adaptation of an epic journey of endurance and hope. A film of the book, adapted by Ang Lee, was released in 2012.

Award winning writer Yann Martel’s works include The Facts Behind the Helsinki Roccamatios (1993), Self(1996), We Ate the Children Last (2004), Beatrice and Virgil (2010) – a New York Times Bestseller and a Financial Times Best Book, 101 Letters to a Prime Minister (2012) – a collection of letters to the prime minister of Canada; and The High Mountains of Portugal (2016).

Lolita Chakrabarti is an award-winning actress and playwright. Her writing credits include Red Velvet which opened at the Tricycle Theatre in London in 2012 before returning there in 2014, transferring to New York and the West End.  Red Velvet was nominated for nine major awards including two Oliviers. She won the Evening Standard Theatre Award for Most Promising Playwright , the Critics’ Circle Award for Most Promising Playwright and the AWA Award for Arts and Culture.  She also wrote The Goddess for Woman’s Hour BBC Radio 4 and Last Seen Joy for the Almeida. She recently curated and wrote for The Greatest Wealth, a salute to the NHS on its 70th birthday, at The Old Vic.   She produced Of Mary, a short film directed by Adrian Lester which won Best Short Film at PAFF, Los Angeles in 2012.

 

Max Webster was the inaugural Baylis Director at the Old Vic and is now an Associate Director at the theatre where his work includes Fanny and Alexander, Cover My Tracks and Dr. Seuss’s The Lorax. His other stage work includes the forthcoming The Merry Widow (ENO), The Jungle Book (Northampton/Fiery Angel UK tour), The Winter’s Tale (Lyceum, Edinburgh), King Lear (Royal & Derngate, Northampton/UK tour), Mary Stuart (PARCO Productions, Tokyo), The Twits (Leicester Curve/UK tour), Much Ado About Nothing (Shakespeare’s Globe/International Tour), Orlando, To Kill a Mockingbird, My Young and Foolish Heart (Royal Exchange Manchester), Shostakovich’s Hamlet

(City of London Symphonia), James and the Giant Peach, My Generation (West Yorkshire Playhouse), Twelfth Night (Regent’s Park Open Air Theatre), Anna Karenina (Arcola Theatre), The Chalk Circle (Aarohan Theatre, Nepal), Carnival Under the Rainbow and Feast Kakulu (Hilton Arts Festival, South Africa).

 

STUDIO

Third Angel presents

THE DEPARTMENT OF DISTRACTIONS

A co-production with Northern Stage in association with Sheffield Theatres

25 January – 2 February

The Department of Distractions: you see their work – but you never see them. They say their job is to plant stories in the world ‘to make life more interesting’: a single glove in the street; a torn up love letter in a Metro carriage; a phone box that rings as you walk past. Snags in the fabric of everyday life that make you think, what’s going on there…?

But things are starting to unravel. A story they started has got out of hand. How far will they go to maintain their anonymity? Third Angel brings you a conspiracy-theory documentary-exposé detective story for the 21st century that asks: what aren’t you looking at?

 

SHEFFIELD PEOPLE’S THEATRE RESIDENCY SEASON

There are three brilliant opportunities for local communities to take part in Sheffield People’s Theatre Residency Season. Over the last six years over 500 people, aged between 12 and 90 years old, have taken part in Sheffield People’s Theatre. SPT has established a reputation for creating outstanding work for Sheffield’s stages and its streets working with acclaimed artists and companies including Chris Bush and Slung Low. This year the company’s work will be focused on three, week-long residencies with some of the most exciting and creative theatre companies in the country:

Frantic Assembly, known for their bold and distinctly physical approach to theatre making;

Barrel Organ, who work collaboratively to create politically engaged theatre and

Showstoppers, who use improvisation to explore narrative and musical forms.

Sheffield Theatres will be seeking participants from across the city region to be part of this programme.

More information about the residencies and how to audition can be found at www.sheffieldtheatres.co.uk/get-involved or by emailing [email protected].

 

www.sheffieldtheatres.co.uk

Twitter: @crucibletheatre @SheffieldLyceum

Sheffield Theatres 

Listings

Crucible Lyceum Studio 55 Norfolk Street, Sheffield, S1 1DA                              

Box Office 0114 249 6000 – Mon – Sat 10.00am to 8.00pm

On non-performance days the Box Office closes at 6.00pm.

www.sheffieldtheatres.co.uk

 

STEEL

Until 6 October 2018

A MIDSUMMER NIGHT’S DREAM

Until 20 October 2018

 

CLOSE QUARTERS

25 October – 10 November 2018

 

KISS ME, KATE

7 December 2018 – 12 January 2019

 

THE DEPARTMENT OF DISTRACTIONS

25 January – 2 February

 

RUTHERFORD AND SON

8 – 23 February 2019

 

HANG

21 February – 9 March 2019

 

STANDING AT THE SKY’S EDGE

15 March – 6 April

 

LIFE OF PI

28 June – 20 July 2019

West End:

EVERYBODY’S TALKING ABOUT JAMIE

Apollo Theatre

Booking until 6 April 2019