Breffni Holahan wins The Stage Edinburgh Award for Collapsible by Margaret Perry Disruption: co-curated by HighTide and Assembly
Breffni Holahan has won The Stage Edinburgh Award for her performance in Collapsible – a piece by Margaret Perry (Porcelain), directed by Thomas Martin (Ross and Rachel). It comes to Edinburgh as part of HighTide’s Disruption series, in partnership with Assembly Roxy.
Holahan comments, I’d like to say a massive thank you to The Stage for this enormous honour. No takesies backsies now! My eternal gratitude to Margaret, Tom, Ellie and everyone on Team Collapsible. I was nervous I’d feel lonely performing solo for the first time, but I’ve made wonderful friends in you all, and in Essie.
Producer Ellie Keel adds, It’s been a joy to produce this complex, surprising, wonderful play in partnership with HighTide, and one of the best parts of that process has been seeing Breffni’s performance amaze and dazzle so many people. I can’t wait to take the show to Aldeburgh, the Dublin Fringe and finally the Bush Theatre in 2020!
The Stage Edinburgh Awards are presented throughout the festival. They are not defined by category but recognise an outstanding performance at the Fringe. In her review for The Stage, Natasha Tripney wrote, Breffni Holahan is mesmeric as Essie. A little wide-eyed even in the beginning, her performance builds gradually in intensity.
Collapsible (winner of VAULT Festival 2019’s Origin Award for Outstanding New Work) is a funny, furious new monologue about holding on. It follows the life of a complex, funny bisexual woman and looks at finding connections to people when you don’t feel connected to yourself.
Perry’s writing uses soaring imagination with sharp observation to take a tender look at one person trying to be normal. Blending a fearless, psychologically acute female performance with a set intervention that appears to float the performer in the air, we see that Essie Nutting, despite everyone’s protestations, quite literally doesn’t have her feet on the ground.
Also part of the Disruption programme are Kenny Emson’s Rust, Pops by Charlotte Josephine, and a double bill of shows presented with The Queer House from writers Teddy Lamb and Mika Johnson, as Kevin P. Gilday’s Suffering From Scottishness completes the curated programme.
The shows by Kenny Emson, Margaret Perry, Charlotte Josephine, Teddy Lamb and Mika Johnson will headline HighTide Festival, Aldeburgh 2019 (10th – 15th September).
The Casting Directors’ Guild welcomes new casting category at the BAFTA’s
In response to the news that BAFTA has introduced a new category to recognise achievements in the craft of casting – for both film and television – Victor Jenkins, Chair of the Casting Directors’ Guild (CDG) commented:
“We are thrilled at the news that BAFTA has introduced a category for casting in both their film and television Awards in 2020. The overwhelming industry support since the announcement alone shows just how important this news is to so many of us. We do what we do because we love actors, we love being part of the story telling process, and above all else we are creative people.
The alchemy of casting has long been overlooked in awards categories. I am both personally and professionally over the moon about this most excellent news and on behalf of the Casting Directors’ Guild and its members…and Casting Directors as a whole….send a huge thank you to BAFTA for not one, but two new awards for the craft of casting.
We really hope that the creation of these awards will lead to wider recognition for the huge amount of work that goes into casting for both stage and screen, and instigate further casting categories.”
Andy Pryor, member of the CDG Casting Awards Committee added: “Any production – be it film, television drama, theatre or commercial – is heavily reliant on the quality of its casting, which forms an intrinsic part of the creative process. Casting Directors are at the vanguard of the quest for new talent and the push for inclusiveness. I am delighted that BAFTA will recognise casting for the first time in the film and TV Awards from 2020.”
On 12 February 2019, The Casting Directors’ Guild launched its first Casting Awards to address the lack of casting categories at other industry ceremonies and to celebrate the excellent work of its members. Presenting awards at this event, and echoing the call for official recognition, were celebrated actors Jade Anouka, Gemma Arterton, Sanjeev Bhaskar, Lucy Boynton, Natalie Dormer, Claire Foy, Ana Geislerova, David Gyasi, Andrew Garfield, Richard E Grant, Lisa Hammond, Eleanor Matsuura, John Simm and Russell Tovey. The CDG Casting Awards will return on 11 February 2020
Sheffield Theatres and English Touring Theatre today announce the full cast for their co-production of the world première of Matt Haig’s Reasons to Stay Alive imagined for the stage by Jonathan Watkins and with text by April De Angelis.
Jonathan Watkins directs Phil Cheadle (Older Matt), Chris Donnelly (Dad), Janet Etuk (Andrea), Mike Noble(Younger Matt), Dilek Rose (Dawn/Jenny/Rose) and Connie Walker (Mum). The production opens on 18 September, with previews from 13 September and runs at Sheffield Theatres until 28 September, ahead of a tour to Bristol, Huddersfield, Newcastle, Manchester, York and Leeds.
STUDIO
A Sheffield Theatres and English Touring Theatre production
World Première
REASONS TO STAY ALIVE
By Matt Haig
Imagined for the stage by Jonathan Watkins
Text written by April De Angelis
Director Jonathan Watkins; Designer Simon Daw; Lighting Designer Jessica Hung Han Yun
Composer Alex Baranowski; Sound Designer Nick Greenhill; Casting Director Lucy Casson
13 – 28 September
‘Life is waiting for you. Hang on in there if you can. Life is always worth it.’
At 24 Matt’s world collapsed under the weight of depression. This is the true story of his journey out of crisis; a profoundly uplifting exploration of living and loving better. The first theatrical adaptation of Matt Haig’s frank and funny bestseller. This play with music and movement, imagined for the stage by Jonathan Watkins, celebrates what it means to be alive.
Phil Cheadle returns to Sheffield Theatres to play Older Matt. He previously appeared in A Midsummer Night’s Dream. His other theatre credits include Table (New Vic Theatre), The Cardinal (Southwark Playhouse), Breaking The Code (Royal Exchange Theatre), Henry V (Regent’s Park Open Air Theatre), The Boy in the Striped Pyjamas (Chichester Festival Theatre), Mrs. Affleck (National Theatre), Henry IV, Bedlam (Shakespeare’s Globe),The Changeling (UK tour/Barbican), Neighbourhood Watch (Stephen Joseph Theatre/Tricycle Theatre/59E59 Theater), Dear Uncle (Stephen Joseph Theatre) and Events While Guarding The Bofors Gun, Variation on a Theme (Finborough Theatre). His television credits include Harlots, Dark Angel, The Crimson Fields and New Worlds; and for film, John Carter of Mars and the forthcoming 1917.
Chris Donnelly plays Dad. His theatre credits include Bent (Courtyard Theatre), Road (Southwark Playhouse), Darkness Darkness (Nottingham Playhouse), The Country, Billy Liar, One Flea Spare (UK tours) The Tempest, Orpheus and Eurydice and Macbeth (Insane Root Theatre Company). He has been part of Andrew Hilton’s award-winning Shakespeare at the Tobacco Factory theatre company ensemble since its inception in 2000, with roles in Othello,The Winter’s Tale, Two Gentlemen of Verona, The Tempest, Measure For Measure, The Taming of the Shrew, A Midsummer Night’s Dream, The Changeling, Troilus and Cressida and most recently Henry V. For television, his work includes No Offence, Fat Friends, Silent Witness, Wire in the Blood, The Musketeers, The Derren Brown Show and Vital Signs.
Janet Etuk plays Andrea. For theatre her work includes Tao of Glass (Manchester International Festival), Dinomania (New Diorama Theatre), Love (National Theatre, UK tour), Gastronomic (Norwich Theatre), Satyagraha (ENO/Improbable), Electronica (Rhum and Clay), The Scar Test (Soho Theatre and UK tour), Icons(Woman of the World Festival), The Love I Feel is Red (Tobacco Factory and Òran Mór) and Beyond Caring (Yard Theatre and National Theatre). For film, her work includes Love and The Souvenir.
Mike Noble plays Younger Matt. For theatre his work includes Cougar (Orange Tree Theatre), The Almighty Sometimes (Royal Exchange Manchester), Road (Royal Court Theatre), Game (Almeida Theatre), The Curious Incident of the Dog in the Night-Time, Port (National Theatre), Mudlarks (HighTide and Bush Theatre) and Punk Rock (Lyric Hammersmith and Royal Exchange Manchester). For television, his work includes Home Fires, Mr Selfridge, Granchester and Prisoners’ Wives; and for film, Dark River, Kill Command, The Siege of Jadotville, Bachelor Games, Jack Ryan: Shadow Recruit and Private Peaceful.
Dilek Rose plays Dawn/Jenny/Denise. For theatre, her work includes Cuzco, The Words are Coming Now, Gather Ye Rosebuds (Theatre503), Gendering Memories of Iraq (V&A), Baby Love (Bush Theatre and Tristram Bates Theatre), Twist (Soho Theatre), Octopus (Edinburgh Fringe, Greenwich Theatre andUK tour), Fallujah(Cockpit Theatre), Contractions (Trafalgar Studios) and Love’s Labour’s Lost (Bristol Old Vic). For television her work includes MotherFatherSon; and for film, Snake Pit and The Chocolate Wrapper.
Connie Walker plays Mum. Her theatre credits include The Importance of Being Earnest (Watermill Theatre), In Basildon (Queen’s Theatre Hornchurch), My Mother Said I Never Should,The Beauty Queen of Leenane (London Classic Theatre), Trestle (Southwark Playhouse), The March on Russia (Orange Tree Theatre), Death of a Salesman (Northampton Theatre Royal, UK tour), A Month of Sundays (Queens Theatre Hornchurch), FOLK(Birmingham Rep & UK tour), Seeing the Lights, Kes, Top Girls (New Vic Theatre), To Kill a Mockingbird (Regent’s Park Open Air Theatre/UK tour/Barbican), As You Like It and Hay Fever (West Yorkshire Playhouse), Separate Tables (Chichester Festival Theatre), Happy Birthday Brecht (National Theatre), Mother Courage (New Wolsey Ipswich), Inside Out (Arcola Theatre/UK tour) and Much Ado About Nothing (Manchester Royal Exchange). Television credits include Silent Witness, The Vice and Blackpool. Film credits include The Darkest Light andWhat Do You See?.
Matt Haig is a British author for children and adults. His memoir Reasons to Stay Alive was a number one bestseller, staying in the British top ten for 46 weeks. His children’s book A Boy Called Christmas was a runaway hit and is translated in over 25 languages. His novels for adults include the award-winning The Radleys and The Humans. He won the TV Book Club ‘book of the series’, and has been shortlisted for a Specsavers National Book Award. The Humans was chosen as a World Book Night title. His children’s novels have won the Smarties Gold Medal, the Blue Peter Book of the Year, been shortlisted for the Waterstones Children’s Book Prize and nominated for the Carnegie Medal three times.
April De Angelis’ work includes Wild East (Young Vic), The Village adapted from Lope de Vega’s Fuenteovejuna(Theatre Royal Stratford East), My Brilliant Friend adapted from Elena Ferrante’s novels (Rose Theatre Kingston), Rune (Old Vic Stoke), After Electra (Plymouth Theatre Royal and Tricycle Theatre), Jumpy (Royal Court and Duke of York’s), Catch (a collaboration with four other female playwrights) and Wild East (Royal Court), A Gloriously Mucky Business (Lyric Hammersmith), Calais (Paines Plough/Oran Mor), Country (Terror Season, Southwark Playhouse), an adaptation of Wuthering Heights (Birmingham Rep Theatre), A Laughing Matter (Out of Joint Theatre Company, National Theatre), The Warwickshire Testimony (RSC, The Other Place),The Positive Hour (Out of Joint Theatre/National Tour) and Playhouse Creatures (Sphinx Theatre Company, later revived by The Old Vic Theatre).
Jonathan Watkins directed and adapted KES (Sheffield Crucible Theatre, UK) a full-length dance-theatre production of the book ‘A Kestrel for a Knave’ by Barry Hines and created the first dance adaptation of George Orwell’s modern classic 1984 for Northern Ballet (UK Tour and Sadler’s Wells Theatre, May 2016). 1984 won Best New Dance Production at The Southbank Sky Arts Awards 2016 and was broadcast on the BBC with a DVD release by Opus Arte. Other credits include; Silent Vision, Stop Me When I’m Stuck, In The Presence of Others(Royal Ballet at Linbury Studio Theatre), As One (Royal Ballet), Diana and Actaeon for the productionMetamorphosis: Titian (Royal Opera House/BBC Imagine film), Beyond Prejudice, Free Falling (Curve Foundation, Edinburgh Fringe Festival), NOW (New York City Ballet), Anger Fix (Sadler’s Wells), From Within andOnwards (Royal Ballet School), Push, Pull and all in-between and Osmosis (Hong Kong Performing Arts Centre),Together Alone (Ballet Black), Eventual Progress (Ekaterinburg Ballet Theatre, Russia), Present Process (Ballet Manila, Philippines), A Northern Trilogy (Northern Ballet), and Crash (Texas Ballet Theatre). He also worked as Movement Director on Road by Jim Cartwright (Royal Court Theatre), People by Alan Bennett (National Theatre), The Machine (Manchester International Festival/Donmar Warehouse/New York Park Avenue Armoury), Aristocrats and Coriolanus (Donmar Warehouse). On film Route 67 for The Slice Project. Sofa, which he also directed, and Bunker for Channel 4’s Random Acts series. He produced and directed the Iphone Dance Series, a collection of Iphone shot dance films and recently directed the Saint-Petersburg Film Festival selected short Imperfect Perfection.
NOTES TO EDITORS
Sheffield Theatres is the world-famous Crucible, a Sheffield landmark with a distinctive stage and a reputation for producing brilliant drama, the Studio, an intimate, versatile space that puts you right at the heart of the action, the beautiful Lyceum, the gleaming traditional theatre that hosts the best of the UK’s touring shows. It’s a place to try your hand at acting; a space for artists to practise and hone their craft; a place to play, explore, imagine, create. It’s a place for everyone.
English Touring Theatre (ETT) is one of the UK’s leading touring companies, winning the UK Theatre Awards Best Touring Production in 2014, 2015 and 2016 and the 2017 Manchester Theatre Award for Best Visiting Production. ETT works with exciting artists to stage an eclectic mix of new and classic work for audiences throughout the UK and internationally; theatre that is thrilling, popular and engaged in the contemporary world. ETT celebrates the diversity of the nation, creates connections between audiences nationally and places an examination of English identity at the heart of everything it does. ETT passionately believes that everyone, wherever they are in the country, deserves access to world class theatre that has meaning and relevance to their lives.
Last year saw the company celebrate its 25th anniversary, it began the year with a critically acclaimed production of A Streetcar Named Desire directed by the 2017 RTST Sir Peter Hall Director Award-winning Chelsea Walker, followed by a major national and international tour of Richard Twyman’s production of Othello and a celebrated revival of Dealing with Clair by Martin Crimp in a co-production with the Orange Tree Theatre.
In 2019 ETT have produced a major revival of Equus by Peter Shaffer in a co-production with Theatre Royal Stratford East, directed by award winning director Ned Bennett which is currently running in the West End; the world première of Cougar by Rose Lewenstein, directed by Chelsea Walker in a co-production with the Orange Tree Theatre; and The Funeral Director by Iman Qureshi, winner of the 2018 PAPAtango award. This autumn ETT is also touring the Tony award winning play, Two Trains Running by August Wilson, directed by RTST Sir Peter Hall award winner, Nancy Medina, in a co-production with Royal & Derngate Northampton.
CRITICALLY ACCLAIMED PRODUCTION OF FLORIAN ZELLER’S THE SON
★★★★★★★★★★★★★★★★★★★★★★★★★
Daily Telegraph Observer Times Daily Mail Sunday Express
★★★★ ★★★★ ★★★★ ★★★★
Guardian Evening Standard Financial Times The Stage
FIERY ANGEL AND GAVIN KALIN PRODUCTIONS PRESENT THE KILN THEATRE PRODUCTION OF
THE SON
By Florian Zeller
In a translation by Christopher Hampton
Director: Michael Longhurst; Designer: Lizzie Clachan; Lighting Designer: Lee Curran
Composer and Sound Designer: Isobel Waller-Bridge; Casting Director: Amy Ball
24 August – 2 November
‘Florian Zeller’s remarkable play… Michael Longhurst’s immaculate production…
I’d defy anyone not to be moved’ Guardian
The full cast is announced for the Michael Longhurst’s critically acclaimed production of Florian Zeller’s The Son, in a translation by Christopher Hampton, as it transfers to the West End. The production opens at the Duke of York’s Theatre on 2 September, with previews from 24 August, and runs until 2 November. Amanda Abbington, Laurie Kynaston, John Light, Amaka Okafor and Martin Turner reprise their lauded performances for the strictly limited 10 week run. They are joined by Cudjoe Asare to complete the company. The Son marks the first West End transfer for the Kiln Theatre since it reopened last September, and is presented in the West End by Fiery Angel and Gavin Kalin Productions.
‘This final part of Florian Zeller’s trilogy is the most powerful of all’
The Times
‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’
Observer
Written by the internationally acclaimed Florian Zeller, lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst and forms the final part of the critically acclaimed trilogy with The Father and The Mother.
I’m telling you. I don’t understand what’s happening to me.
Nicolas is going through a difficult phase after his parents’ divorce. He’s listless, skipping school, lying and thinks that moving in with his father and his new family may help. A fresh start. When he doesn’t settle there either, he decides that going back to his mother’s may be the answer. When change feels like the only way to survive, what will he do when the options begin to run out?
‘Exceptional… Fizzes with raw emotion… It totally blew me away.’
Daily Mail
Florian Zeller is a French novelist and playwright. Zeller won the prestigious Prix Interallié in 2004 (Fascination of Evil) and several Molière Awards for his plays La Mère (The mother)and Le Père (The father). L’Autre, le Manège, Si tu mourais, Elle t’attend, La Vérité (The truth)andUne heure de Tranquillité were successfully produced in France and internationally. L’Envers du décor, starring Daniel Auteuil was produced in Paris in 2016. Avant de s’envoler was on the same season, and recently played at the Wyndham’s Theatre (The Height of the Storm) with Jonathan Pryce and Eileen Atkins (Olivier Award nomination for Best Actress) directed by Jonathan Kent. Le Père(The father), was nominated as Best New Play at the 2016 Olivier Awards, with Kenneth Cranham winning for Best Actor in a Play. It also received two nominations for the 2016 Tony Awards – Best Play and Best Performance by an Actor, the latter was won by Frank Langella. This play has been performed in over 35 countries and is being adapted into a feature film with Anthony Hopkins and Olivia Colman which Zeller will direct. Christopher Hampton has translated most of Zeller’s plays into English; and his plays have received many international awards.
Christopher Hampton has translated plays by Ibsen, Molière, Chekhov, Yasmina Reza (including Art and Life x 3) and Florian Zeller’s The Father, The Mother and The Truth. He won an Academy Award for Best Adapted Screenplay for the adaptation of his own play, Les Liaisons Dangereuses (released as Dangerous Liaisons). He was nominated again in 2007 for adapting Ian McEwan’s novel Atonement. His television work includes adaptations of The History Man and Hotel du Lac.
‘The surgical precision of the writing achieves a devastating visceral impact’
Daily Telegraph
Amanda Abbington plays Anne. Her theatre credits include The God of Carnage (Theatre Royal Bath), A Little Princess (Royal Festival Hall), Abigail’s Party (Theatre Royal Bath/UK Tour), God Bless This Child (Royal Court), Love Me Tonight (Hampstead Theatre), The Safari Party (Stephen Joseph Theatre /Hampstead Theatre), Something Blue (Stephen Joseph Theatre), Taming of the Shrew (Queen Mother Theatre) and Tin Soldiers (New End Theatre/Grace Theatre). For television her credits include Flack, Safe, Sherlock, Mr Selfridge, Being Human, Case Histories, Psychoville, Man Stroke Woman, Booze Cruise, Teachers and Coupling; and for film, We The Kings, Crooked House, Another Mother’s Son and Ghosted.
Laurie Kynaston plays Nicolas. His theatre credits include The Ferryman (Gielgud Theatre), Jumpy, The Winslow Boy (Theatre Clwyd). For television, his work includes Derry Girls, The Feed, Cradle to Grave, Murder Games and Our World War; and for film, How To Build a Girl, Undercliffe and England is Mine.
John Light plays Pierre. Theatre credits include Uncle Vanya (Theatre Royal Bath), Mary Stuart (Duke of York’s Theatre), The Winter’s Tale, A Midsummer Night’s Dream (Shakespeare’s Globe), Three Days In The Country (National Theatre), Taken at Midnight (Chichester Festival Theatre and Theatre Royal Haymarket – Olivier Award nomination for Best Supporting Actor), The Blackest Black (Hampstead Theatre), Julius Caesar (Chicago Shakespeare Theatre), Thom Pain (Based on Nothing) (The Print Room), Luise Miller (Donmar Warehouse), The Master Builder, Certain Young Men (Almeida Theatre), True West (Sheffield Crucible) and Apologia (Bush Theatre). For television, his work includes Agatha Raisin, Mars, Maigret, Father Brown, Silk, Dresden, North and South, Cambridge Spies, Band of Brothers, Love in a Cold Climate and Aristocrats; and for film, Albert Nobbs, Scoop, The Lion in Winter and A Rather English Marriage.
Amaka Okafor plays Sofia. Her theatre credits include I’m Not Running, Macbeth, Saint George and The Dragon, Peter Pan (National Theatre), Hamlet (Almeida Theatre), Grimly Handsome, I See You (Royal Court Theatre) and Hamlet (Barbican).
Martin Turner plays The Doctor. His theatre work includes The Plague (Arcola Theatre), The Crucible (Storyhouse), Uncle Vanya (Theatr Clwyd and Sheffield Theatres), The Haunting of Hill House (Liverpool Everyman and Playhouse), The King’s Speech (Chichester Festival Theatre and tour), Medea (National Theatre), Twelve Angry Men (Garrick Theatre and Birmingham Rep) and A Life of Galileo (RSC). For television, his work includes A Very English Murder, Mother’s Day, Follow the Money, Maigret, New Tricks, The White Queen and Dark Matters; and for film, Urban Hymn and Labirent.
Cudjoe Asare plays Nurse. He Bristol Old Vic Theatre School this summer and The Son marks his professional stage debut.
The understudies are Rebecca D’Souza (Anne and Sofia), Piers Hampton (Pierre, Doctor and Nurse), and Harry Rundle (Nicolas).
Michael Longhurst directs. He was recently appointed Artistic Director of the Donmar Warehouse, and opened his inaugural production there – David Greig’s Europe – in June. His other recent credits include the recent revival of Caroline or Change (Chichester, Festival Theatre, Hampstead Theatre, and Playhouse Theatre – nominated for 3 Olivier Awards, including Best Musical Revival, with Sharon D. Clarke winning the Best Actress in a Musical Award), and Peter Shaffer’s Amadeus (National Theatre) and Nick Payne’s Constellations starring Sally Hawkins and Rafe Spall at Royal Court Theatre and in the West End, and with Ruth Wilson and Jake Gyllenhaal on Broadway. Longhurst also worked with Gyllenhaal on his American stage debut in If There Is I Haven’t Found It Yet (Roundabout Theatre, New York). Other credits include Gloria (Hampstead Theatre), Belleville (Donmar Warehouse), Bad Jews (Theatre Royal Bath/West End), and Linda (Royal Court Theatre).
Based in Kilburn, Kiln Theatre creates internationally renowned, high-quality, engaging and innovative work which presents the world through a variety of different lenses, amplifying unheard voices into the mainstream. Led by Artistic Director Indhu Rubasingham and Executive Director Daisy Heath, it makes theatre that crosses continents and tells big stories about human connections across cultures, race and languages.
We encourage artists of all ages and backgrounds. Our work is commissioned specifically for our theatre and produced by Kiln Theatre’s artistic team, as well as additional work which is programmed in collaboration with national or international partners.
Recent productions include White Teeth by Zadie Smith, adapted by Stephen Sharkey, Holy Sh!t by Alexis Zegerman, Approaching Empty by Ishy Din, The Son by Florian Zeller, The Half God of Rainfall by Inua Ellams, Wife by Samuel Adamson and Blues in the Night. Recent collaborations include the National Theatre, Tamasha and Sundance Theatre Lab (US).
The ambitious Creative Learning programme aims to champion the imagination, aspiration and potential of the Brent community young and old. It invests in creating meaningful relationships with young people to inspire and encourage their creativity, their confidence and self-esteem. It works with older people to create a thriving community around the theatre.
“History with the horrible bits left in” is how Horrible Histories live is billed and they are absolutely right. Presented by the Birmingham Stage company, Benedict Martin and Pip Chamberlin bring the books of Terry Deary to life on stage.
Giving an in-site into the life of St Alban, Vikings, Tudors and Victorians amongst others, Martin and Chamberlin become various characters from history, some fictional and some real, and make the historic events memorable through jokes, songs and audience participation. If you ever want to see a Night-soil man do the floss dance or watch a Viking and Saxon have a rap battle then this is the show for you.
With a very basic set consisting of two old fashioned lamp posts and a large wooden box that is moved to become a Viking long boat, a train interior and a throne and costumes being taken from a fancy box so the actors can be dressed for the historical era they are explaining, the emphasis is more on the facts than the staging.
With references to modern day events such as Boris Johnson being the Prime Minister and the impending Brexit deadline, the show is as much for adults as it is children. Grab a ticket whilst the show is still on and enjoy history in a fun but educational way whilst laughing at fart jokes
New Victoria Theatre, Woking – until 10 August 2019
Reviewed by Lisa Harlow
4****
So iconic is this show that I can guarantee the title song strikes up immediately in your mind, the moment you read the title. Right?
The film and soundtrack, now over 40 years old, told the story of how disco took over the world, but also how Saturday Night became a beacon for most people trying to escape their down-trodden Monday to Friday lives.
The vibrancy of the dancefloor brings pretty much the only light into Tony Manero’s (Richard Winsor) Brooklyn working class life, the infamous main role played by John Travolta in that suit.
Tony finds himself stifled in a strict Catholic Italian family, with a bitter, unemployed father always ready to take aim with his pot shots. His friends occupy themselves with girls and fighting, whilst Tony finds his pulse and his freedom dancing in club 2001.
Enter Stephanie Mangano (Olivia Fines), and Tony’s occupation with dancing increases ten-fold as he follows his dream to find release in dancing. The sparkle from the dancefloor cannot overshadow the apparent darkness in Tony and his entourage’s lives; this story is not without tragedy.
You Should Be Dancing blasts out into the audience and for me, it was the first unveiling of the true vivacity of the music in this show. Unfortunately, there were a few audio issues during the first half, which were all handled professionally by the cast. It wasn’t clear if this was the true cause of the underlying cool, jazz vibe I felt up from the performance up to the interval, rather than fiery energy I had been anticipating. Dialogue between Tony and his father (Grant Neal) needed more impact, some dialogue needed more volume, all in all, I felt it a little muffled.
Post interval, the performance was rousing, emotionally moving and exhilarating. Winsor’s ballet training brought beautiful poise and flow to the dance moves, he also had great stage presence when peacocking on the dancefloor. Fines was hypnotic in her role as the enigmatic Mangano, and I found it hard to take my eyes off her when she was dancing. The trio singing the Bee Gees much loved songs were fantastic throughout, as was the choreography and supporting cast. By Jive Talking, Saturday Night Fever’s true explosive disco spirit had been unleashed and we were all consumed by its dazzling fire. Not only for nostalgic reasons, this show shakes your disco spirit free with its Burn Baby Burn fiery heart: a thoroughly enjoyable, glitterball of an evening
This show is definitely one of two parts. Stunning performance but not quite as good production. With no programmes available, the lovely Nic at Darlington Hippodrome managed to find me a cast list or I would be lost as to who to praise and who to grumble.
Puttin’ on the Ritz is from David Kings Spirit Productions and is currently on tour around the UK after a tour in Australia. It covers the golden age of Hollywood with songs from Gershwin, Cole Porter and Irving Berlin. The vocalists Katherine Glover, Robyn Tempest, Tamara Eden, Sean Smith and Miles Braithwaite are incredibly talented and the dancers Chloe Gatward, Shaunna Olley, Gemma Taylor, Daniella Hyner-Anderson, Charlie Barker, Lewis Herring, James Chew and Dan Holland help to lift the amazing vocals with stunning footwork. The second act concentrates on the stars of the time – Judy Garland, Frank Sinatra, Al Jolson and The Cotton Club.
The singing is fabulous, evoking memories of glamour of a bygone era and the dancers are spellbinding – performing many different types of choreography from waltz to a Charleston which had an audience member up on the stage joining in – he looked like he was having a whale of a time.
Unfortunately what the performers gave the production took away. The costumes which should have been dazzling were lacking. The hems were down, they had bald patches where sequins had fallen off, the appliqué was unstitched, feathers were missing and the fans looked like they were held together with luck. The men appeared to be wearing each others clothes, with nothing actually fitting anyone. During the staging of Putting on my Top Hat, the male singers managed to find tailcoats and top hats but not white ties – a simple issue easily remedied if someone just took 5 minutes to check their outfits either before or after their wear.
The sound was made up of backing tracks which sometimes drowned the singers and when there was tap dancing the track seemed to be dubbed with extra taps to make it sound like more people were on the stage.
This could be a glorious show, the potential is there, with just a bit of care and a little bit of money spending it could be spectacular. However, the predominantly elderly audience all seemed to be enjoying themselves and that is all that matters
“Achingly beautiful revival of an American classic”
The Telegraph
More2Screen today announces the cinema release of the critically acclaimed West End revival of Michael Stewart and Mark Bramble’s 42nd Streetwhich will be screenedin more than 550 cinemas across the UK and Ireland from 10 November 2019. This legendary musical stars national treasure Bonnie Langford as Dorothy Brock with music and lyrics by Harry Warren and Al Dubin. Cinema tickets are on sale now at 42ndStreetCinema.com
★★★★★
”Utterly moreish extravaganza of glitz”
The Times
42nd Street tells the story of Peggy Sawyer, a talented young performer with stars in her eyes who gets her big break on Broadway. This is the largest ever staging of the Tony® Award-winning musical, and featuring iconic songs 42nd Street, We’re In The Money and Lullaby Of Broadway, this is pure musical magic on the big screen.
The stage production was produced by Michael Linnit and Michael Grade. It was filmed live for the cinema screen at the Theatre Royal, Drury Lane in November 2018 by BroadwayHD, the US-based streaming service for live theatre. Ross MacGibbon directed the filmed version in collaboration with the late Mark Bramble, filming in 4K with 8 cameras at three separate performances to capture the spectacular scale of the stage show.
Bonnie Langford today said, I’m so proud that this great production is now going to be screened in cinemas, reaching more people across the UK and Ireland than ever before. 42nd Street has been a part of my life since my twenties when I first played Peggy Sawyer and then a whole 25 years later I returned as Dorothy Brock to Theatre Royal Drury Lane. It feels like the perfect conclusion to a joyous run.”
Christine Costello, CEO and Founder of More2Screen added, “42nd Street is one of the all-time great Broadway musicals and we’re delighted to be bringing this fabulous West End revival to cinema audiences all across the UK and Ireland.”
The production stars Emmerdale’s Tom Lister (Julian Marsh), Philip Bertioli (Billy Lawlor), Clare Halse (Peggy Sawyer), and star of theatre, film and television Bonnie Langford (Dorothy Brock).
The 60-strong cast features Jasna Ivir (Maggie Jones), Christopher Howell (Bert Barry), Matthew Goodgame(Pat Denning), Graeme Henderson (Andy Lee), Bruce Montague (Abner Dillon), Mark McKerracher (Mac/ Doc / Thug), Emma Caffrey (Annie), Ella Martine (Lorraine), Clare Rickard (Phyllis) and Paul Knight (Oscar).
Mark Bramble (December 1950 – February 2019) was an American writer, director and producer. Having produced and co-written the original production in 1980, which receiveda Tony Award Nomination for Best Direction of a Musical in 1981, Bramble directed the 2001 revival of 42nd Street on Broadway, which secureda further Tony Award nomination in the same category. He directed productions of 42nd Street across the world including Sydney, Shanghai, Tokyo, Amsterdam and Vienna, and finally in London’s West End in 2017. His previous credits as a writer include The Three Musketeers and Barnum (Tony Award Nomination for Best Book of a Musical – 1980). Creditsas a director and writer include Fat Pig and Someone Else’s Rainbow, and as a director Notre Dame.
For more information or to find a cinema screening please visit: 42ndstreetcinema.com
#42ndStreet
#42ndStreetMusical
#42ndStreetCinema
Running time: 143 minutes (including a 10-minute interval)
THE KING’S HEAD THEATRE ANNOUNCES NEW ARTISTIC ASSOCIATES
The King’s Head Theatre is proud to announce 12 new Artistic Associates, collectively encompassing a range of different theatrical specialisms. Their appointment reflects the venue’s commitment to showcasing the breadth of creative talent working on the London fringe.Artistic Director Adam Spreadbury-Maher says: ‘I am thrilled to announce such a fantastic group of theatre makers as our brand new Artistic Associates. From a first-time playwright to an actress whose career spans seven decades, their work embodies the breadth of our programme. I cannot wait to see where their talents take us next!’
The new Associates include directors, playwrights, designers, stage managers and performers, with an age range of early twenties to early nineties and diverse racial, sexual and gender identities. They have between then worked at every echelon of London theatre, including the National Theatre, in the West End and Off West End. Amongst them are Harry Mackrill, Associate Director of the National Theatre’s acclaimed production of Angels in America, regular King’s Head Theatre collaborators Designer Amanda Mascarenhas, Lighting Designer Nic Farman and Sound Designer Nicola Chang, and former Trainee Resident Director Jamie Armitage, best known as Co-Director of the multi-Olivier Award nominated SIX The Musical.The King’s Head Theatre was established in 1970. Passionate about championing ethically produced fringe theatre, we are known for our challenging work and support of young artists. Last year 116,151 audience members saw a show of ours: 44,607 at our 110-seater home on Upper Street and 71,544 elsewhere. At our home in Islington we had 774 performances last year of 95 different shows. We are committed to fighting prejudice through the work we stage, the artists and staff we work with and by producing work for minority audience groups. We believe in fair pay for all on the fringe and create accessible routes for early career artists to stage their work; work we are passionate about. Last year we announced the theatre is on the move.
Commencing in September, theatregoers in Yorkshire will be able to enjoy an impressive new season of dramatic, contemporary and family friendly dance courtesy of Leeds-based Northern Ballet. The Company will perform a captivating programme of Three Short Ballets followed by a new national tour of Cinderella, the return of Dracula and the world première of children’s ballet Little Red Riding Hood, topped off with their 50th Anniversary Celebration Gala.
Northern Ballet kicks off their new season with Three Short Ballets, a triple bill of exhilarating short dance works. With performances in Leeds (5 – 7 Sep) and Doncaster (10 – 11 Sep), the programme features The Kingdom of Back, Morgann Runacre-Temple’s humorous and moving tribute to Wolfgang’s sister Nannerl Mozart, David Nixon OBE’s heart-thumping, music pumping Powerhouse Rhumba and the world première of For an instant by in-demand choreographer Amaury Lebrun.
Returning for the first time since its world première tour ended in 2014, David Nixon OBE’s enchanting adaptation of Cinderella embarks on a new national tour from late September. The world’s most famous rags to riches fairytale, Cinderella combines thrilling dance with magic and circus skills in a feel-good, family friendly spectacle. Cinderella tours to Sheffield (24 – 28 Sep), Hull (15 – 19 Oct) and Leeds (17 Dec – 2 Jan).
In October, perfectly timed for Halloween, Northern Ballet’s gothic production of Draculareturns to the Leeds Playhouse stage. This dark and enthralling tale reveals the tormented world of Bram Stoker’s sinister vampire in a story that has seduced countless generations. Performances in Leeds are from 29 Oct – 2 Nov and audiences can also see this production broadcast live to cinemas for one night only on 31 Oct.
The latest in its highly successful repertoire of ballets created especially for children, Mariana Rodrigues’ charming adaptation of Little Red Riding Hood will première at the Stanley & Audrey Burton Theatre in Leeds from 28 Oct – 2 Nov. Telling the story of Little Red on a big adventure, she encounters a very hungry wolf and discovers the importance of kindness.
Northern Ballet’s winter season will come to a magnificent close as the Company marks its milestone birthday with a 50th Anniversary Celebration Gala at Leeds Grand Theatre on 4 Jan. Joined by dancers from internationally renowned companies including The Royal Ballet, American Ballet Theatre, English National Ballet, Scottish Ballet, Birmingham Royal Ballet and Phoenix Dance Theatre, the gala will be a remarkable celebration with a never-before-seen programme of excerpts from across Northern Ballet’s history.
