Month: July 2019

MULTI AWARD WINNING DIRECTOR & PRODUCER

PAUL TAYLOR-MILLS TO OPEN EXCITING NEW VENUE AT BATTERSEA POWER STATION

GENERATING NEW WORK.      POWERING PREMIERES.      RE-ENERGISING CLASSICS.

LAUNCHING ON 22 AUGUST 2019

WITH THE TONY AWARD WINNING

TORCH SONG

WRITTEN BY HARVEY FIERSTEIN &

DIRECTED BY OLIVIER AWARD WINNING DREW McONIE

The Turbine Theatre is a brand new theatre on the banks of the Thames next to the iconic Battersea Power Station, presented by Bill Kenwright and founded and led by Artistic Director Paul Taylor-Mills.The theatre will be located under the Grosvenor Bridge railway arches at Circus West Village, the first chapter of the iconic Battersea Power Station’s regeneration, which is already a thriving riverside destination located at the foot of the iconic Grade II* listed landmark. 

The Turbine Theatreis an intimate theatre with big ambitions. Everything they do revolves around one simple idea: powering the imagination.

Paul Taylor-Mills, Artistic Director, The Turbine Theatre said, “I’m elated to be launching a brand new theatre at the iconic Battersea Power Station. The vision is a simple one, to enable world class artists to tell stories that enchant at The Turbine Theatre and eventually play beyond our London home. We’re interested in being the starting point for new shows and also reimagining the older ones.

It has been a lifetime dream of mine to have a home for my ideas that feels authentically ‘me’. Over the last year I’ve had the most precious time curating a venue and programme that reflects my tastes and I’m really excited about welcoming those that have followed my work over the last couple of years.

I’ve been blessed with the most wonderful partners in Bill Kenwright and Hilary and Stuart Williams, without whom none of this would have been possible.”

Honor Fishburn, Director of Placemaking at Battersea Power Station Development Company (BPSDC), said: “We are extremely excited to work with Paul Taylor-Mills on The Turbine Theatre to enhance the arts and culture offering already available at Circus West Village. Paul will build upon the success of The Village Hall, which will continue to be used as an extraordinary venue for generating new ideas and talent, while widening access to creative spaces for local residents. Establishing a new cultural district for London that will generate a sense of community has always been a key focus for our shareholders in the regeneration of Battersea Power Station and will continue to be a very important pillar as the neighbourhood grows.”

THE TURBINE THEATRE – INAUGURAL SEASON

New energy drives everything we do, from festivals of brand new works, world premieres of new productions and classic stories reimagined for contemporary audiences.

Every story is a journey andThe Turbine Theatreaims to be just the first stage for every idea, risk and labour of love that is brought to life in this electric new environment. We want to be the spark for the most talented and diverse voices that theatre has to offer.

We’re also passionate about playing a vital role at the heart of the emerging local Battersea community, offering a dynamic public space by day, and a groundbreaking theatre by night.

The Turbine Theatre’s inaugural season opens with Torch Song, presented by Bill Kenwright, a new revival of Harvey Fierstein’s dizzyingly funny and deeply touching landmark play, directed by Olivier Award winning Drew McOnie (King Kong, Strictly Ballroom, On The Town).

The groundbreaking and Tony Award winning story of drag queen Arnold Beckoff and his quest for true love in 1970s Manhattan is a hilarious and heartbreaking portrait of love, loss, sexual identity and the deep longing for family approval that drives us all forward, and drives us all crazy.

Torch Song opens the doors to The Turbine Theatre from 22 August, running until 13 October. The production stars Daisy Boulton (Yonderland, Working Title/Sky), Dino Fetscher (Years and Years, BBC),  Matthew Needham (Chernobyl, HBO, Summer & Smoke, Almeida/West End) and Rish Shah (Years and Years, BBC), with further casting to be announced in due course.

Torch Song features design by Ryan Laight, lighting by James Whiteside, sound by Seb Frost, with casting by Will Burton.

LISTINGS

Bill Kenwright presents a Paul Taylor-Mills endeavor, The Turbine Theatre.

TORCH SONG

THE TURBINE THEATRE

WRITTEN BY HARVEY FIERSTEIN

DIRECTED BY DREW McONIE

22 AUGUST – 13 OCTOBER 2019

Address: The Turbine Theatre, Arches Lane, Circus West Village, London, SW11 8AB

Shakespeare’s Rose Theatre York – until Sunday 1st September 2019

Reviewed by Michelle Richardson

3.5***

Following the highly successful inaugural season last year, Shakespeare’s Rose Theatre is gracing the York skyline with its presence once again. The premise is the same, four plays, two company of actors, performing right up until the 1st September. It astounds me that the actors can switch so easily between two different plays, but what is even more astonishing is that the schedule sometimes has the same company performing their two plays on the same day, a huge feat, must be exhausting. What makes this year different is the fact that another pop up theatre, at Blenheim Palace, is also following the same set up. If this continues to be as successful there are plans to roll out elsewhere, and grow.

I must admit that I am not a big fan of Shakespeare and I have worked out that I find his comedies easier to watch, so I had hopes. I did not know this play beforehand, the basics are twins Viola and Sebastian are shipwrecked on the coast of Illyria, unaware of each other’s survival. In order to stay safe in a foreign land, Viola disguises herself as a boy, Cesario, modelling her new male self on the appearance of her twin brother. As Cesario, she finds employment in the service of Duke Orsino, only to find herself falling in love with him. But Orsino is suffering the pangs of unrequited love for Lady Olivia. Sent to woo Olivia on his behalf, Cesario is dismayed to discover that she has herself become the object of Olivia’s affections. When Olivia later comes across Viola’s twin brother Sebastian fighting a duel with another of her rejected suitors, Sir Andrew Aguecheek, she believes him to be Cesario and comes to his rescue. Unlike his sister Viola, Sebastian has no qualms about being loved by Olivia.

Amidst the more poignant moments of heartache, misunderstanding and exclusion, the scene is also set for much delightful confusion, joyful abandon and comic mayhem!

This Illyria, appears to be set in the roaring twenties, with its Art Deco inspired set to the flapper dresses and pin stripes, and not forgetting the yellow cross gartered stockings. The stage is used for all four shows, so there is only a limited number of changes that can be made. The stage appeared to be the same as last year, wooden in construction, with a balcony dominating the middle, and the painted half roof.

The whole cast work hard to deliver strong performances. Alex Phelps provides a lot of laughs as Sir Andrew Aguecheek, he certainly has a knack for physical comedy and he did have me laughing along with the rest of the audience. The other stand out performance for me was Rina Mahoney as Maria, I can only describe her as a little pocket rocket, full of impish mischief, I really enjoyed watching her on the stage.

I believe I roughly followed the story, but at times I had no idea what was happening and was completely lost. Occasionally the comedy just went over my head, even though some of the audience were laughing their heads off, quite a few were the other company of actors who were having the night off, so at least they knew what was going on. I did find it start to drag at various stages, could have done with a bit of editing, can you do that to Shakespeare? From where I was seated, front row but right at the left of the theatre, I thought I had excellent seats, which was great for the visual, but I really did struggle to hear what was being said, especially when the actors had their back towards me, perhaps that was the problem, where I was seated. Last year the performances did not use microphones either, and I do not recall having this same issue with understanding dialogue. Maybe the best place to sit is in the centre seats, or even purchase a groundling ticket and really be part of the action, as the actors weave amongst you, just watch out if you’re drinking or eating, someone may come along and steal your chips. Seating may have had an impact on my whole experience.

Don’t get me wrong, there were parts that were really enjoyable and extremely funny and though this is not my favourite Shakespearean adaptation, I would encourage anyone to give it a go. It really is a fully immersive experience, with the theatre set within the grounds of a Shakespeare village, with food and drink aplenty, you may even be treated to a free wagon performance. It really sets the ambience for an enjoyable day/night out.

A tip if you do decide to go in the evening, take a cushion, to sit on, and a blanket, to keep yourself warm, as it can get a bit chilly.

Jack Studio Theatre – until 27 July 2019

Reviewed by Claire Roderick

3***

Arrows and Traps takes a giant leap into new territory with this comedy celebrating the 50th anniversary pf the moon landing. In Ross McGregor’s farcical version of events, NASA can land on the moon, but just can’t film it. Enter Edward Price, producer of a sci-fi show that has just been cancelled before the end of its first season. Offered 2 million dollars by a CIA agent to fake footage, Price and his ex-wife Carol try to keep their eccentric cast and crew in the dark as they film their new rewritten scenes.

This is a great premise, and there are lots of good ideas (maybe too many), but it doesn’t quite gel together. Firstly, it’s too long – there’s a good 20 or 30 minutes of material that could be lost in order to create a more coherent and focussed comedy. Setting up the situation and the characters takes too long and isn’t needed as these are familiar stereotypes. Their backstories could perhaps be just as obvious through some well-timed throwaway lines as the plot progresses. As it is, the first scenes drag a little as each character gets their moment.

There’s the hippy newcomer, Alchemy (Lucy Ioannou), adored by walking disaster area Howard (Will Pinchin), leading man Daniel (Steven Jeram) – graduate of the groin and eyebrow acting academy of starship captains, Linda (Vivian Belosky) resigned to wearing as little as legally possible on a Sunday evening show, and Perry (Daniel Ghezzi), the frankly insane but deeply committed actor who dons the rubber masks to play the aliens. Ghezzi steals every scene with his magnificently OTT performance which blends aspects of French Stewart in 3rd Rock From The Sun, John Leguizamo in Moulin Rouge and a shedload of LSD. With a talented cast like this I can understand why McGregor would want to give them as much to do as possible, but there aren’t many laughs until the moon landing plot is revealed by Alex Stevens’ Agent Harris. The relationship arcs are obvious from the beginning in authentic trashy TV style, and sometimes the play has the feel of a trippy episode of Scooby Doo – which is never a bad thing.

The comedy influences are clear, with Charlie Ryall and Christopher Tester providing fine verbal sparring in Spencer Tracy/Katherine Hepburn mode and lots of slapstick physicality, with some absurdist business thrown in for good measure. But while Tester and Ryall give their all, the audience’s eyes and attention are drawn to the glorious clowning of Pinchin and Ghezzi as they perform their schtick in the background. There could well have been some genius lines being delivered, but nobody was really listening as they were absorbed by Ghezzi and his disturbingly complex relationship with a stepladder. There is just too much going on at once, and while nothing is done badly, the components of some scenes seem to be in competition against, rather than working with, each other. There’s no doubting that McGregor is an excellent writer – some of the more reflective, quieter moments are delightful – but an excellent script editor might help streamline One Giant Leap into something special. The set is wonderfully detailed and authentic, and as always with Arrows and Traps, the music is perfectly judged. As the landing date approaches and things get more frantic, the laughs come much more frequently, building to a brilliantly bonkers dance routine that is hilarious and will leave you unable to keep a straight face whenever you next hear Space Oddity.

Even with some flashes of brilliance and a stellar cast, One Giant Leap doesn’t quite reach the starry heights it’s aiming for.

Lyric theatre, Shaftsbury Avenue – until 8 September 2019

Reviewed by Alex Sykes

5*****

Most people dread going to the theatre when the audience is mainly small children but The Gruffalo is worth the trip.

Currently on at the Lyric theatre, The Gruffalo tells the story of a mouse (Rebbeca Newman) on the hunt for a nut to eat which is hidden in the deep dark woods. Along the way she meets a fox, an owl and a snake (all played by Jake Addley), all who want to eat the mouse. The mouse manages to convince the animals not to eat her as she is actually on her way to meet the Gruffalo, whom she describes to each animal in turn. All is well for the mouse, until she meets the Gruffalo.

A special mention must be given to Elliot Rodriguez who not only narrated the show but plays the Gruffalo as well.

The set is fun, with the fox hole, the owls tree and the snakes log pile all there for the children to see and recognise from the book and with a bit of imagination the ponds and rivers are there as well. The set works well to cover any traces of Thriller which is on in the evenings. The costumes also work well, with Addley having a basic outfit to which different accessories are used to become either the fox, the owl or the snake.

With lots of catchy songs, an amazing set and lots of audience participation, this is a fun show for all the family.

BROOKE MAUCHLINE PRODUCTIONS, BIG WOODEN HORSE

AND NICOLL ENTERTAINMENT

PRESENT THREE CHILDREN’S SHOWS AT THE BRAND NEW

TROUBADOUR WHITE CITY

AS PART OF ‘TROUBAKIDS’

LITTLE BABY BUM LIVE

FROM 23 JULY TO 3 AUGUST 2019

MONSTERSAURUS

FROM 24 JULY – 11 AUGUST 2019

ALIENS LOVE UNDERPANTS

FROM 13 AUGUST – 1 SEPTEMBER 2019

Brooke Mauchline Productions, Big Wooden Horse and Nicoll Entertainment are delighted to present three children’s shows at the brand-new Troubadour White City theatre in West London, which will play in rep as part of the TroubaKids Festival. These are LITTLE BABY BUM LIVE from 23 July to 3 August, MONSTERSAURUSfrom 24 July to 11 August and ALIENS LOVE UNDERPANTS from 13 August to 1 September.

Based on the online and digital TV sensation, LITTLE BABY BUM LIVE combines puppetry, live action and animation as audiences are invited to step into the magical and colourful world of ‘Little Baby Bum’ and join Mia, Jacus, Twinkle and their Nursery Thyme friends on an adventure. ‘Little Baby Bum’ began life on YouTube and is now one of the platform’s most watched channels with over 32 million subscribers and over 25 billion views across multiple platforms. LITTLE BABY BUM LIVE is written and directed by Miranda Larson.

MONSTERSAURUS comes from the same team behind ‘Aliens Love Underpants’ and follows the young inventor, Monty, as he creates a whole world of whacky inventions and incredible monsters. Monty has a problem: now he has made all of these monsters, what is he going to do with them?! MONSTERSAURUS is filled with original music and audience participation. The show is adapted for the stage and directed by Adam Bampton-Smith.

Based on the international best-selling children’s book by Claire Freedman and Ben Cort, ALIENS LOVE UNDERPANTS is a hilarious tale brought to life on stage, adapted and directed by Adam Bampton-Smith. With stunning effects, madcap action, original music and lots of aliens this fantastically funny production will delight the whole family.

LISTINGS

‘LITTLE BABY BUM LIVE’ is recommended for ages 0 – 5 years.

Running Time: 60-minutes (no interval)

Tuesday 23 July – Saturday 3 August 2019

Tickets from £16.50*

‘MONSTERSAURUS’ is recommended for ages 3 – 8 years.

Running Time: 55-minutes (no interval)

Wednesday 24 July – Sunday 11 August 2019

Tickets from £16.50*

‘ALIENS LOVE UNDERPANTS’ is recommended for ages 3 – 8 years.

Running Time: 55-minutes (no interval)

Tuesday 13 August – Sunday 1 September 2019

Tickets from £16.50*

Buy tickets for two shows and save 10%

Buy tickets for three shows and save 25%

Troubadour White City

201 Wood Lane

London

W12 7TS

Website: www.troubadourtheatre.com 

Telephone: 0844 815 4866

*Additional fees may apply

Ovalhouse – until 13 July 2019

Reviewed by Claire Roderick

4****

Koko Brown’s brutally honest show about depression is an emotional and heartfelt reminder that attitudes and reactions to mental health issues are still problematic.

Brown uses spoken word and vocal looping to present a series of sketches that link together in a non-linear, fragmented way to draw a recognisable and relatable picture of the frustrating and tormented journey sufferers go through in their fight to just be OK.

Accompanied onstage by Sapphire Joy, using BSL and wonderfully choreographed movement to share the narration, Brown takes the audience on a devastating trip through the anger “What have I got to be sad about?”, the excuses and diversions used to explain her behaviour, and the well-meaning advice that bombards her when friends and colleagues notice she is feeling low. Brown performs a piercingly insightful and inspiring dissection of the strong, black, independent woman image that millionaire celebrities are held up to be. In just a few minutes she lays bare the prejudice and misogyny that black women face but ends with an affirmation of strength and hope. Depression being a “white, middle class” affliction, and the strength of religious faith feature in a light-hearted way to partly explain the low numbers of black women seeking treatment for mental health issues, but Brown’s writing, although universal, focusses on one woman’s struggle to live with depression.

Joy’s exact role as Brown’s interpreter, and what she actually represents, becomes more and more clear as the story evolves, with her musical and jolly distractions taking Brown to “The Clubhouse” in a pastiche of children’s TV introducing our new friends – sadness, and to her obvious disgust, the drug citalopram and all of its side effects.

The lighting, sound and set design all work brilliantly together, and Brown and Joy’s movement around the stage set up their relationship wonderfully, leading to the final acceptance that Brown’s depression is a part of her that she needs to find a way to recognise and live with, with or without medication, and the hope that she will have more good days than bad.

A brave and beautiful depiction of depression that shines a light on an illness that is still misunderstood.

Ambassadors Theatre – Booking to 12 October 2019

Reviewed by Claire Roderick

4****

Sue Townsend’s spotty hero isn’t the most obvious musical star, but Jake Brunger and Pippa Cleary’s bonkers musical brings the chaotic innocence of 1980s teenagers to life with a joyfully irresistible energy.

A year in Adrian’s life – where his mother’s affair with sleezy Mr Lucas and his dad’s rebound dalliance with Dirty Doreen play out alongside Adrian’s awkward attempts to romance Pandora – is portrayed at breakneck speed by a cast of 10. The four children – Adrian, his best friend/romantic rival Nigel, Pandora and bully boy Barry are shared between 16 talented young actors. I was lucky enough to see Rebecca Nardin as Pandora, Jeremiah Waysome as Nigel, Jack Gale as Barry and Rufus Kampa as Adrian. They just blew me away – Rufus Kampa is a future superstar, commanding the stage even as he hunches over his diary spouting Adrian’s execrable poetry. The adult cast give hilariously broad performances, with John Hopkins unmissable as Mr Lucas and vile headmaster Mr Scruton. The masterstroke of having the adults double as schoolchildren doesn’t lose its shine. Hopkins walking on as a moustachioed schoolgirl with a cute headband made a lot of the audience spill their drinks.

The music is a well-judged mix, with some moving numbers as Adrian’s parents’ relationship breaks down, and the spectacularly catchy upbeat anthems Misunderstood and Take A Stand. Obviously, the musical cannot do complete justice to the novel, but the sense of anarchy and the ramshackle atmosphere of the 1980s shines through in this deliberately unglossy production. The absurdity of Adrian’s brush with death is realised wonderfully, and his avant-garde Nativity play is a joy to behold that had the entire audience roaring with laughter and is worth the ticket price alone.

Fantastic summer entertainment for the whole family.

FAMILIAR FACES IN ONE MAN, TWO GUVNORS AT THE NEW WOLSEY AND NUFFIELD SOUTHAMPTON THEATRES

The New Wolsey Theatre, Ipswich, has announced the cast for the new upcoming production of comedy ONE MAN, TWO GUVNORS, in association with Nuffield Southampton Theatres.  Richard Bean’s riotous farce, based on The Servant of Two Masters by Carlo Goldoni, is set in the colourful underworld of Brighton in the swinging sixties, combining all the elements of classic comedy into a fizzing cocktail of fun, with songs by Grant Olding.

The production runs at the New Wolsey Theatre from Thursday 5 September to Saturday 28 September and moves to Nuffield Southampton Theatres from Tuesday 1 October to Saturday 12 October 2019.

Directed by the New Wolsey’s Artistic Director Peter Rowe, this high-octane physical comedy, recreating swinging sixties skiffle vibes, is guaranteed to deliver comedy capers this Autumn.

ONE MAN, TWO GUVNORS brings together a host of familiar faces to both venues and new, experienced performers from the worlds of theatre, television and music. John Elkington returns to Nuffield Southampton Theatres, following his role in Noises Off, to play Charlie “the Duck” Clench. He previously appeared at Nottingham Playhouse in Robin Hood and the Babes in the Wood and The Cherry Orchard and in Queens of the Coal Age (Royal Exchange & New Vic) and Coronation Street. Playing alongside John is Matt Devitt as Harry Dangle. Matt has a long and varied theatrical career, including 18 years as Associate Artistic Director of Queen’s Theatre Hornchurch, appearing as Cookie in the original cast of cult musical Return to the Forbidden Planet and on television in the BBC’s Red Dwarf.

The cast of actor-musicians sees the return of New Wolsey pantomime favourite Elizabeth Rowe as Pauline Clench.  Audiences from the New Wolsey will recognise Elizabeth from Red Riding Hood, Sinbad and Made in Dagenham. Also no stranger to the New Wolsey is George Maguire, playing Alan Dangle, who has appeared in 20^th Century Boy at the theatre before its transition to the Belgrade Theatre Coventry and most recently played Marc Bolan (2018 UK tour) in the production.

The line-up for ONE MAN, TWO GUVNORS also includes singer/song-writer, producer, actor and writer Tori Allen Martin as Dolly. Tori’s previous appearances include Hair (European Tour), Rent (The Cockpit) and H R Haitch (Iris Theatre). Further credits include Tori’s EP Wasted and three tracks on Idris Elba’s album Mi Mandela.

Philip Tomlin takes the role of the bumbling, inept Francis Henshall, the One Man with his Two Guvnors. Philip graduated from Arts Educational Schools in 2015 and has previously performed in Two Gentleman of Verona, directed by Ipswich-born Sir Trevor Nunn (Andrew Lloyd Weber Foundation Theatre).

Marcus Adolphy is playing Lloyd Boateng. Marcus has recently appeared in The Convert (The Gate Theatre), The Suicide (The National Theatre) and Backseat Drivers (The London Theatre).

Josie Dunn is no stranger to the New Wolsey’s stage and is appearing as Rachel Crabbe. Josie may be recognised from her role in New Wolsey’s sell-out production of Our Blue Heaven in 2018and her appearance in Rosencrantz and Guildenstern Are Dead (National Theatre Live).  Other familiar faces include Lloyd Gorman as Gareth.Some may recognise Gorman from his appearances in Once, Worst Wedding Ever and Our House at the New Wolsey Theatre.

The cast of actor-musicians also includes: Luke Barton as Stanley Stubbers (Sherlock Holmes, Blackeyed Theatre, and Romeo & Juliet, Merely Theatre and Richard Leeming as Alfie (Dr Faustus, RSC, and Anna Karenina, Royal Court).

The creative team is comprised of New Wolsey regular contributors, including set and costume design by Libby Watson (Once, New Wolsey Theatre), with physical comedy direction from Ian Nicholson, who was Associate Director on Nuffield Southampton Theatres’ The Audience and Billionaire Boy The Musical, and fight direction by Bret Yount.

From Tuesday 10 September, every performance of ONE MAN, TWO GUVNORS will be Audio Described via a headset. On Thursday 26 September at 1.30pm, the New Wolsey Theatre will present a Dementia Friendly and Relaxed Performance, where the environment is adjusted for those requiring a more relaxed atmosphere when attending the theatre, or need additional support.  Saturday 21 September at 2:30pm and Friday 27 September at 7:45pm will be British Sign Language Interpreted and Captioned performances.

Rehearsals for the production begin on Monday 12 August with the show opening at the New Wolsey Theatre on Thursday 5 September. The production runs in Ipswich until 28 September and ends in Southampton on 12 October.

Performed in the New Wolsey Theatre’s ever-popular actor-musician style, this joyous update of Goldini’s classic Italian comedy, has established itself as one of the great British comedies of the 21st Century. The National Theatre’s production in 2011 cemented James Corden’s reputation as a star of stage and screen, on both sides of the Atlantic, winning a Tony Award during its Broadway debut in 2012. Be sure to secure your tickets to avoid disappointment for this hotly anticipated rollicking farce this Autumn! 

Tickets are on sale now and can be booked through the tickets sales team at the New Wolsey by calling 01473 295900 or by booking online at www.wolseytheatre.co.uk

For tickets at Nuffield Southampton Theatres call 023 8067 1771 or book online atwww.nstheatres.co.uk

Full casting for Joseph and the Amazing Technicolor Dreamcoat, Sheridan Smith as The Narrator, Jason Donovan as Pharaoh, Jac Yarrow making his professional debut as Joseph.

The production is playing a strictly limited 11-week season from Thursday 27 June.

Michael Pickering plays Simeon and Richard Carson will be Reuben. Joining them are Femi Akinfolarin, Casey Al-Shaqsy, JR Ballantyne, Lydia Bannister, Thalia Burt, Michael Cortez, Vanessa Fisher, Ahmed Hamad, Blythe Jandoo, Matt Krzan, Kelsie-Rae Marshall, Billy Mitchell, Georgina Parkinson, Emily Ann Potter, Matthew Rowland, Harriet Samuel-Grey, Carl Spencer, Joshua Steel, Hannah Taylor and Jack Wilcox.

The cast also includes a rotating children’s ensemble, featuring Rihana Akhtar, Mia Byers, Angel Clark, Aoife Connelly, Oliver Crouch, Jacob Dennison, Anna De Oliviera, Tilly Doherty, Nessa Eriksson, Dara Gleeson, Sean Gordon, Maci Hughes, Isabelle Jones, Dino Karakostas, Jamie Kenly, Jaxon Knopf, Olivia Leask, Olivia McNulty, Indiphile Mbonzongwana, Jack Meredith, Chloe Muldowny, Keanna-Skye O’Quinn, Regan Parker, Devon Pomeroy, Etienne Ragoo, Olivia Seagrove, Tom Skoines, Nina Stevenson, Jandice Stewart, Mia Walsh, Luca Willemburg and Sacha Yarwood.

Joseph and the Amazing Technicolor Dreamcoat directed by Laurence Connor (School of Rock Miss Saigon). Laurence is joined on the creative team by Choreographer JoAnn M Hunter, Morgan Large who designed the set and costumes, Lighting Designer Ben Cracknell and Sound Designer Gareth Owen.

QUEEN’S THEATRE TO CLOSE 13 JULY 2019 FOR RENOVATION OF

WARTIME BOMB DAMAGE AND A MAJOR RESTORATION

REOPENING AS

T H E   S O N D H E I M   T H E A T R E

WITH THE NEW PRODUCTION OF LES MISÉRABLES

ON 18 DECEMBER 2019 AS IT ENTERS ITS 35^TH WORLD RECORD-BREAKING YEAR

LES MISÉRABLES IN CONCERT PLAYS THE GIELGUD THEATRE AUGUST – NOVEMBER 2019

Cameron Mackintosh today (5 July 2019) announces he is delighted that in honour of Stephen Sondheim’s 90^th birthday next March, the Queen’s Theatre will be renamed the Sondheim Theatre, making him the only living artist to have a theatre named in his honour both in the West End and on Broadway.  Following the renovation of wartime bomb damage and a major restoration of the auditorium and the complete backstage, the newly named Sondheim Theatre will continue as the home of world’s longest running musical Les Misérables as it enters its 35^th year.

Cameron Mackintosh said: “I have been lucky enough to have been a friend and colleague of Steve’s since our first collaboration in 1976 on the musical revue Side by Side by Sondheim at the Wyndham’s Theatre.  After 112 years Shaftesbury Avenue will have a theatre named after a living legend and house the world’s longest running musical, the legendary Les Misérables as it enters its phenomenal 35^th year.  As an innovative voice in musical theatre, his influence has no equal. Sondheim’s work will undoubtedly be performed as long as audiences want to see live theatre, so I feel honoured that he has agreed to have his name on one of my Shaftesbury Avenue theatres to salute his upcoming 90^th birthday.  Over the decades his work has become increasingly appreciated and performed by all, both as part of the popular theatre and classical repertoires and in spaces that range from a pie shop to the Royal Opera House.  His love of theatre is unquenchable and throughout his career he has been an exceptional champion of so many young creatives as well as supporting numerous productions worldwide, especially here in London. When Les Misérables re-opens in December with the new production, the re-built and restored theatre will be re-named the Sondheim Theatre – a perfect companion to the Gielgud Theatre next door, named after the great actor John Gielgud, and the Coward and Novello Theatres, named after the two celebrated British writers and composers.  For the past 25 years I have tried to build a studio theatre in central London named after Sondheim, but it wasn’t to be. I felt this major refurbishment of a building that has housed his brilliant work was the perfect moment to put his name “on some marquee all twinkling lights – a spark to pierce the dark”.  Stephen Sondheim has always been that spark to all of us.  Even as an eight-year-old boy dreaming about becoming a producer I could never have dreamt a dream like this or be happier.”

Stephen Sondheim said: “I have loved British Theatre since I saw my first play here in 1958.  I have treasured Cameron Mackintosh’s support and friendship ever since he produced Side by Side by Sondheim in 1976.  Cameron is synonymous with British Theatre, so the confluence on this occasion is truly exhilarating.  I am chuffed, as you say in British English, to a degree I wouldn’t have imagined.  Or as we say in American English, it’s awesome.”

The Queen’s Theatre originally opened on 8 October 1907 with The Sugar Bowl, a comedy by Madeleine Lucette Ryley and was designed by architect W.G.R. Sprague as a pair with the adjoining corner of Shaftesbury Avenue. On 8 July 1959 the theatre reopened with John Gielgud’s Shakespearean recital Ages of Man.  Architects Westwood Sons & Partners reconstructed the building at a cost of £250,000, with Sir Hugh Casson acting as consultant on the décor. On 13 July 2019 the theatre will close for four months of rebuilding work both backstage and in the auditorium.  This work will also restore W.G.R. Sprague’s original boxes and loges which, along with the entire front of house, were destroyed by a bomb in 1940 and caused the theatre to be closed for 20 years. The restored theatre will be returned to its pre-war splendour, reopening on 18 December 2019 as the Sondheim Theatre.

Stephen Sondheim wrote the music and lyrics for Saturday Night, A Funny Thing Happened on the Way to the Forum, Anyone Can Whistle, Company, A Little Night Music, The Frogs, Pacific Overtures, Sweeney Todd, Merrily We Roll Along, Sunday in the Park With George, Into the Woods, Assassins, Passion (which played the Queen’s Theatre in 1996) and Road Show, as well as lyrics for West Side Story, Gypsy, Do I Hear a Waltz? and additional lyrics for Candide, Side by Side by Sondheim, Marry Me a Little, You’re Gonna Love Tomorrow, Putting it Together, Moving On and Sondheim on Sondheim are anthologies of his work as composer and lyricist. For films, he composed the scores of Stavisky, co-composed Reds and wrote songs for Dick Tracy. He also wrote songs for the TV production Evening Primrose, co-authored the film The Last of Sheila and the play Getting Away With Murder and provided incidental music for the plays The Girls of Summer, Invitation to a March, Twigs and The Enclave.

Stephen Sondheim is on the Council of the Dramatists Guild, the national association of playwrights, composers and lyricists, having served as its President from 1973 to 1981, in which year he foundedYoung Playwrights Inc. to develop and promote the work of American playwrights aged 18 years and younger. His collected lyrics with attendant essays have been published in two volumes: Finishing the Hat and Look, I Made A Hat.  Sondheim is the recipient of numerous awards for his extensive body of work.  In 2010 the Broadway theatre formerly known as Henry Miller’s Theatre was renamed in his honour.

Produced on stage by Mackintosh, Les Misérables is the world’s longest running musical now in its 35^th year in London.  Produced on screen also by Mackintosh (along with Working Title and Universal), Les Misérables is now the most successful movie of an original stage musical.  From 10 August – 30 November 2019 a spectacular staging of Les Misérablesin concert with a company of over 65 will run at the intimate Gielgud Theatre next door, for which most performances are sold out.  The new production of Les Misérables, with a separate company, is currently on a sold-out international tour which has recently been extended to Autumn 2020.

The acclaimed new production of Les Misérables first premiered in Cardiff in 2009 for the UK 25^th anniversary tour and, apart from London, is the only version of the show produced by Cameron Mackintosh that has been seen around the world in the last ten years, having enjoyed record-breaking runs in Australia, Japan, Korea, France, Spain, Dubai, Manila, Singapore, Brazil, Mexico, Broadway and 2 North American Tours which are still continuing.  The new Les Mis will now re-open at the newly named Sondheim Theatre on 18 December 2019 with casting to be announced later this summer.