Mandy Picks a Husband Canal Café Theatre, Delamere Terrace, Little Venice, W2 6NG Thursday 5th – Sunday 8th December 2019
Inspired by her personal Instagram experiment, Mandy Picks a Husband is the hilariously dark and witty dating traumedy from seasoned New York theatre actress and stand-up comic, Amanda Broomell. Following acclaim at the 2019 Hollywood and Edinburgh Fringe Festivals, this satirical exposé comes to London to reveal the highs and hurdles of falling in love.
Prompted by the success of reality TV’s dating juggernaut The Bachelorette, Amanda launched an Instagram experiment in 2018 (@mandypicksahusband) to document her experiences with online dating. Body image, abuse and addiction came to the forefront as she had to battle with past traumas to heal and trust in love and lifelong commitment.
Outside of the cookie-cutter ideals of love, Amanda’s autobiographical story is a humorous yet raw and revealing saga of self-help groups, psychics and discovery programmes. This romantic odyssey of a nearly 40-year-old singleton and her aged cat, channels the trials and tribulations of courting in the modern age, to ask: how can you create intimacy with someone if you can’t love yourself?
Broomell comments, This story tracks my complicated relationship with enough-ness, so I designed the performance with no light cues, no sound cues, no props, no set, no costumes— marking yet another step in my healing process; that I, alone, am enough.
LEADING LEEDS ARTS ORGANISATIONS TO TAKE PART IN DISCOVER! CREATIVE CAREERS WEEK
Leeds Grand Theatre & Opera House, Northern Ballet and Phoenix Dance Theatre are welcoming young people into their buildings next week to inspire them to consider a career in the creative industries as part of Discover! Creative Careers Week (Monday 18 to Friday 22 November 2019).
The initiative has been backed by the Department for Digital, Culture, Media and Sport in England and is designed to find and encourage new talent for the country’s booming creative industries.
Working alongside the Broadway and West End hit We Will Rock You which is currently in residence, The Grand’s Learning Team are offering students from Allerton High School a tour of the theatre (including backstage access) on Thursday 21 November, followed by a chance to explore non-performance job roles in the theatre, including programming, marketing, finance and house management. Through practical activities, the young people will learn about skills that are required by the sector and take part in mock interviews to help prepare them for the world of work.
Catherine Hayward, Education Manager, says: “Our Learning Programme offers students the opportunity to engage with our heritage theatres and learn more about the wide range of jobs available in the sector (not just performance). This event has been opened up to students in Yrs7-9 who have shown an interest in the Arts and creative subjects, and we hope that we will encourage more students to study creative subjects into Yr10 and beyond.”
Northern Ballet and Phoenix Dance Theatre are delivering a joint day of activity on Monday 18 at their building in Quarry Hill.
After an introduction to the two companies and a tour of the building, students from Leeds City College and Mount St Mary’s will have the opportunity to speak to a range of staff from both companies in a speed-dating style ‘Meet the Professionals’ session. Staff will be from across a wide range of departments, including Communications, Front of House, Technical, Education and some of Phoenix’s professional company dancers. The students will also take part in a dance workshop led by both companies.
“Discover! Creative Careers is a great way for the creative industries to use our collective power to demonstrate how many exciting and diverse careers are available in the arts and cultural sector,” says Leanne Kirkham, Director of Learning at Northern Ballet: “We are passionate about creating opportunities for local young people to find out about the range of opportunities in the arts, particularly in roles they may not have considered or even know exist. Discover! Week is a great vehicle for us to shine a light on those roles.”
An estimated forty thousand young people aged 11+ are expected to make visits to creative businesses as part of Discover! Creative Careers Week. Employers opening their doors range from advertising agencies, film studios, theatres, architect practices, museums, heritage properties, libraries and design studios.
The Discover! Week is one strand of the Creative Careers Programme, an industry-led programme which consists of several practical and sustainable activities including a brand-new online creative careers finder, training about jobs in the creative industries for careers advisers, a programme of speaking events in schools and work experience opportunities.
The Creative Careers Programme aims to raise awareness of employment opportunities in the sector, reaching more than 160,000 students by 2020. It is hoped that around two million young people will be able to access better advice about pursuing a creative career. The programme was a commitment made by government and industry as part of the Government’s industrial strategy, championed and supported by the Creative Industries Council.
9 to 5 arrived in Sunderland as part of its UK tour. Unusually, the tour is sharing cast members from the current West End production and audiences at the Empire got to enjoy Amber Davies in the role of Judy.
Equality for women is sadly still an issue in today’s society but thankfully times have changed considerably since the 1980’s (when the film was written) on which this musical is set. With the music and lyrics written by Dolly Parton, the show revolves around three office workers, Violet Newstead, Doralee Rhodes and Judy Bernley, exacting revenge on their sexist boss, Franklin Hart Jr. Together, the women embark on a mission to gain control of the workplace and wipe out the inequality imposed by Hart.
The 3 leads throw themselves into their roles and are hard to fault. They have fantastic singing voices and are each given their own song with which to shine. Amber Davies exhibits great comic timing as the newly divorced Judy but it is her singing voice that really impresses especially in her rendition of Get Out and Stay Out. Stephanie Chandos’ Doralee could simply be an impression of Dolly Parton but Chandos stamps her own brand of feistiness on the character with an amazing set of lungs. Her version of Backwoods Barbie was truly moving. Laura Tyrer’s Violet, seemingly forever destined to be passed over for promotion, is a strong, centring force for the production. However, Lucinda Lawrence (Roz) steals every scene she is in as the office busybody with an unrequited crush on the boss. One true highlight of the show is her slapstick performance of Heart to Hart complete with saucy undies and a comic tango with boss Hart. Sean Needham’s villainous boss is amusingly drawn in pantomime shades of evil, all dastardly swagger and fun with it – especially as we lead into the end of Act 1 and the intermission.
The show is a good, solid, humourous night of entertainment, incredibly uplifting and has a real energy that runs through its core which rarely dips. The characters are well rounded, and director Jeff Calhoun has created a really warm atmosphere that encases the show. Lisa Stevens‘ intelligent and exciting choreography hits the delicate balance the show needs, and I think it is one of the reasons the show stays at such a high energy throughout.
This isn’t a Dolly Parton jukebox musical. 9 to 5 is the only well-known Dolly song in the show, although everything has a familiar Dolly twang to it. Fans won’t be disappointed though as she narrates her way through the show. The whole soundtrack to this show is infectious, leaving you energised and finding yourself on your feet clapping away.
The final words are from Dolly herself. If you enjoyed the show, tell everyone. If not, keep your mouth shut and they might still come anyway!
The National Theatre to open UK tour of ROMEO AND JULIE- a new play by Gary Owen – at The Lowry in Salford
Inspired by Shakespeare’s romantic tragedy, writer Gary Owen and director Rachel O’Riordan reunite for ROMEO AND JULIE– a powerful, funny and poignant new play about the hope and heartbreak of two young people in Britain today.
A co-production with Sherman Theatre, the production opens at The Lowry on Friday, 5 June and runs until Saturday, 13 June. It is part of the Theatre Nation Partnership programme.
Romeo is a teenage single dad hanging on tight. Julie is fighting to follow her dream of studying at Cambridge. The two working-class eighteen year-olds, raised a few streets apart, but from entirely different worlds, crash into first love and are knocked off their feet. But at this crossroads to the rest of their lives, both families fear the worst in a world of unequal opportunity.
Set and costume design by Hayley Grindle, lighting design by Jack Knowles, sound design by Gregory Clarke and puppetry design and direction by Finn Caldwell.
Writer Gary Owen said, ‘I’ve wanted for ages to write a story about a man who became a dad in far more difficult circumstances than me, but who would succeed, be a good parent, and be transformed for the better by what he’d been through.’
‘Shakespeare’s Romeo and Juliet is a story about young love. It becomes a tragedy because of pressures the lovers face from outside their relationship. Well, raising a baby puts pressure on any relationship, no matter how stable. And so I had my play about a young man, Romeo, dad to four-month-old Niamh, who meets Julie, a girl from three streets away and an entirely different world.’
‘This will be the fourth play I’ve made with Rachel. It’s fantastic to be working with her again. There’s a genuine trust.’
Director Rachel O’Riordan said, ‘I am very connected to Gary’s work; I feel that the way he writes, and what he writes about, resonate with me very strongly. I will always be interested in directing anything he writes; but this idea also foregrounds another real interest of mine, which is how classic plays can be radically reinvented. I am keen to see how far the interpretation can go, and how a great play can be reframed by a great contemporary playwright.’
Rufus Norris, Director of the National Theatre said, ‘Rachel O’Riordan directs Gary Owen’s new play Romeo and Julie, which takes inspiration from Shakespeare’s play to create a funny and poignant look at the hope and heartbreak of two working class teenagers. A co-production with Sherman Theatre, we’re delighted to be able to tour this production to four of the brilliant Theatre Nation Partnership venues that we have been working closely with to build audiences over the last three years.’
The Lowry is one of the National Theatre’s ‘Theatre Nation Partners’. Theatre Nation Partnerships is a multi-year collaboration between the National Theatre and partner organisations in six areas around the country. It aims to broaden and grow local audiences for drama through touring, working with schools, and creating theatre with local communities. Drawing on combined expertise, resources and each partner’s deep community links, the project has engaged with over 100,000 people since 2017.
The National Theatre has been working in Salford and the Greater Manchester area with The Lowry on the Theatre Nation Partnerships for some time. Highlights of the programme have included
Tours of Macbeth, War Horse and A Taste of Honey to Theatre Nation Partnerships venues, where Macbeth attracted an unprecedented 55% first-time bookers.
A specially adapted production of The Curious Incident of the Dog in the Night-Time toured into schools in each area, reaching over 20,000 young people in more than 100 schools.
The schools tour has allowed partner theatres to forge strong relationships with high priority local schools. This quickly delivered results on our touring production of Macbeth, which saw a huge uplift in schools’ attendance at these theatres – school groups made up 43% of audiences in Theatre Nation Partnership areas against a 29% tour average.
Public Acts, which creates ambitious participatory theatre with venues and community organisations: Pericles in the Olivier theatre was followed by As You Like It at Queen’s Theatre Hornchurch this year. In 2020, the NT will partner with Cast to stage The Caucasian Chalk Circle, working with community partners from Doncaster. Through reaching out to local communities, audiences from historically disengaged areas have been invited to attend People’s Nights, encouraging them to return to see drama at their local venue.
Theatre Nation Partnerships is generously supported by Arts Council England’s Strategic Touring Fund and Garfield Weston Foundation.
National Theatre UK Touring is supported by The Thompson Family Charitable Trust, The Royal National Theatre Foundation and Jacqueline and Richard Worswick.
Andrew Lloyd Webber and Cameron Mackintosh are delighted to announce full casting for the UK and Ireland tour of the brilliant original production of THE PHANTOM OF THE OPERA opening at Curve, Leicester on 22 February 2020. Tour schedule below with further dates to be announced.
Killian Donnelly will play ‘The Phantom’, Holly-Anne Hull ‘Christine Daaé’, Rhys Whitfield ‘Raoul’, Saori Oda ‘Carlotta Giudicelli’, Adam Linstead ‘Monsieur André’, Matt Harrop ‘Monsieur Firmin’, Francesca Ellis ‘Madame Giry’, Greg Castiglioni ‘Ubaldo Piangi’ and Ellie Young ‘Meg Giry’. At certain performances the role of ‘Christine Daaé’ will be played by Anouk Van Laake.
Please note: Killian Donnelly will play the role of ‘The Phantom’ in Leicester, Manchester, Dublin and Birmingham. Casting for the role of ‘The Phantom’ from Edinburgh onwards will be announced in due course.
The cast is completed by Brad Barnley, Cassiopeia Berkeley-Agyepong, Corina Clark, Edward Court, Vinny Coyle, Lily De-La-Haye, Hywel Dowsell, Connor Ewing, Erin Flaherty, James Gant, Lydia Gerrard, Daniel Hall, Eilish Harmon-Beglan, Yukina Hasebe, Hettie Hobbs, Jacob Hughes, Grace Hume, James Hume, Michaela Leisk, Janet Mooney, Ian Mowat, Michael Robert-Lowe, Anna Simmons, Nikki Skinner, Anouk Van Laake, Louis Van Leer, Jasmine Wallis and Andrew York.
Killian Donnelly can currently be seen as Jean Valjean in the International Tour of Les Misérables. Prior to this, he played the role in the West End production of the show. He played the role of Charlie Price in Kinky Boots on Broadway, a role he originated at the Adelphi Theatre in the West End in 2015, for which he was nominated for an Olivier Award. His other theatre credits include Huey in the original London cast of Memphis at the Shaftesbury Theatre for which he was also nominated for an Olivier Award, and Jackie in Frank McGuinness’ Donegal at Dublin’s Abbey Theatre. He created the role of Deco in The Commitments at the Palace Theatre and has also played Tony in Billy Elliot at the Victoria Palace Theatre as well as Raoul in The Phantom of the Opera at Her Majesty’s Theatre. He first joined the company of Les Misérables in 2008, going on to play the role of Enjolras from 2009 to 2011. In 2010, he played the role of Courfeyrac in the 25th Anniversary Concert of Les Misérables at The O2 Arena and also played the role of Combeferre in the multi-award-winning film of the show, released in 2012.
Holly-Anne Hull is currently appearing in the concert of Les Misérables at the Gielgud Theatre. She has also appeared in the International tour of the show and the West End production at the Queen’s Theatre. Her other credits include the UK tour of Copacabana and Loserville at the Union Theatre.
Rhys Whitfield recently appeared in Summer and Smoke at the Duke of York’s Theatre in the West End and as Peter in Jesus Christ Superstar at Regent’s Park Open Air Theatre. His other credits include Close to You at the Criterion Theatre and the UK tour of The Commitments.
Saori Oda’s many West End credits include Miss Saigon at the Prince Edward Theatre, The King and I at the London Palladium, Wicked at the Apollo Victoria, The Lion King at the Lyceum Theatre, Carousel at the Coliseum and The Wizard of Oz at the Southbank Centre.
Adam Linstead most recently appeared in Fiddler on the Roof at the Playhouse Theatre in the West End. His other West End credits include Les Misérables, The Phantom of the Opera and Cats.
Matt Harrop has appeared in the West End productions of Chess and Les Misérables. His other theatre credits include the European tour of Cats, the national tour of My fair Lady and Me and My Girl at Chichester Festival Theatre.
Francesca Ellis most recently appeared in the West End production of Company at the Gielgud Theatre. She has also appeared as Donna in the International tour of Mamma Mia!, The Duckhouse at the Vaudeville and The Railway Children at Waterloo Station. She has also appeared in the national tours of Les Misérables and Oklahoma!
Greg Castiglioni most recently appeared in The Woman in White and Titanic The Musical, both at the Charing Cross Theatre. His other credits include Fiddler on the Roof at Chichester Festival Theatre and the International tour of Cats. He has also appeared as Magaldi in Evita at the Adelphi Theatre and the 25th Anniversary tour of The Phantom of the Opera.
Ellie Young graduated from the Royal Ballet School this year and made her professional debut in the recent International Tour of Cats.
Now in its 34th phenomenal year in the West End, THE PHANTOM OF THE OPERA is widely considered one of the most beautiful and spectacular productions in history. Andrew Lloyd Webber’s romantic, haunting and soaring score includes Music of the Night, All I Ask of You, Masquerade and the iconic title song.
THE PHANTOM OF THE OPERA tells the tale of a disfigured musical genius known only as ‘The Phantom’ who haunts the depths of the Paris Opera House. Mesmerised by the talents and beauty of a young soprano – Christine, the Phantom lures her as his protégé and falls fiercely in love with her. Unaware of Christine’s love for Raoul, the Phantom’s obsession sets the scene for a dramatic turn of events where jealousy, madness and passions collide.
THE PHANTOM OF THE OPERA is one of the most successful musicals in entertainment history playing to over 145 million people in 41 countries and 183 cities in 17 languages. It has won more than 70 major theatre awards, including seven Tony Awards and four Olivier Awards.
THE PHANTOM OF THE OPERA is the only show in history to have celebrated 30 years on both sides of the Atlantic. In October 2016 the London production celebrated its 30th Anniversary with a special gala performance at Her Majesty’s Theatre and in October 2011 the London production celebrated its 25th Anniversary with a spectacular staging of “The Phantom of the Opera at the Royal Albert Hall” which was screened live in cinemas all over the world and subsequently released on DVD. The musical became the longest running show in Broadway history on 9 January 2006 when it celebrated its 7,486th performance. On 1 January 2018 it celebrated its 13,000th performance and later that month on 24 January the Broadway production celebrated an amazing 30 years on Broadway.
THE PHANTOM OF THE OPERA has music by Andrew Lloyd Webber, Lyrics by Charles Hart, and Additional Lyrics by Richard Stilgoe. Book is by Richard Stilgoe and Andrew Lloyd Webber, Based on the novel ‘Le Fantôme de l’Opera’ by Gaston Leroux, with Orchestrations by David Cullen and Andrew Lloyd Webber. It is produced by Cameron Mackintosh and The Really Useful Group Ltd.
THE PHANTOM OF THE OPERA is currently showing in London, New York, Prague and Sao Paulo, as well as on tour in the US and Asia.
Waitress has today announced Willemijn Verkaik in the leading role of Jenna for the upcoming international tour of the Netherlands which will visit the country’s largest theatres from September 2020.
Jenna is a waitress and expert pie-maker who dreams of some happiness in her life. When a hot new doctor arrives in town, life gets complicated. With the support of her workmates Becky and Dawn, Jenna overcomes the challenges she faces and finds that laughter, love and friendship can provide the perfect recipe for happiness.
Iris van den Ende, Producer, said: “I am extremely proud that, after Broadway and West End, we received the trust of the American production company to bring this romantic comedy to the Netherlands. Waitress tells a story that a lot of women can identify with. It is full of humour and romance but it also has an edge. The music is beautiful, modern pop and I am confident that Willemijn, with her talent and international experience, is going to blow us away.”
Waitress made theatre history as the first Broadway and West End musical with an all-female lead creative team. It is led by composer Sara Bareilles, the singer-songwriter who achieved worldwide success in 2008 with the hit Love Song.
Sara Bareilles, Composer, said: “It is a dream come true to see Waitress travel around the world! To see this beautiful show have a life like this is more than I ever could have imagined! We are so proud to share the story of Jenna with a whole new audience and welcome them into the world of Waitress with open arms and plenty of pie.”
As of September 2020 MediaLane, in association with original Broadway producers Barry & Fran Weissler, bring Waitress in collaboration with the Theateralliantie to the biggest theatres across the Netherlands. For more information: www.waitressdemusical.nl.
Willemijn Verkaik said: “I saw Waitress a couple of years ago on Broadway. I was immediately impressed by the musical and the amazing music written by Sara Bareilles for which she received a Grammy Award nomination, which was well deserved. The role of Jenna is a role that challenges me, especially vocally. I am looking forward to introducing the Netherlands to this beautiful musical that has all the right ingredients.”
Brought to life by a ground breaking, female-led creative team, this four-time Tony Award®-nominated hit musical features original music and lyrics by 7-time Grammy® nominee Sara Bareilles (Love Song, Brave), and a book by acclaimed screenwriter Jessie Nelson (I Am Sam). Waitress is a musical based on the American eponymous movie by Adrienne Shelly from 2007, with Keri Russell in the leading role. For three seasons, Waitress has been a resounding success on Broadway and in London’s West End. The show has been travelling through America and Canada and will premiere in 2020 in the Netherlands. With catchy songs written by Sara Bareilles, the singer-songwriter known for her mix of blues and pop music, the musical has won the hearts of the international theatre audience.
2020 Year of Artists: A celebration of creativity in everyone
Mark Rylance to headline, joined by a host of leading theatre-makers, up-and-coming artists, and you.
Bristol Old Vic today launched its 2020 programme of work, Year of Artists – shining a spotlight on the role of artists in a changing world, and celebrating creativity in us all. Work from some of the most incredible talent in British theatre today (from Emma Rice, Sally Cookson, Joel Horwood and Maria Aberg) sits alongside dazzling new writers and artists (such as Ross Willis and Miranda Cromwell) and opportunities for everyone from across the region, regardless of age, experience or background, to get creatively involved.
The year starts with two of our Associate Companies; Kneehigh, and Bristol’s own Wise Children, sharing their astonishing story-telling skills. Emma Rice’s irresistible musical Romantics Anonymous is revived at Bristol Old Vic for its only UK date ahead of a run in the USA while Mike Shepherd and Carl Grose’s Ubu! A SingalongSatire will wow you at The Marble Factory in January.
The early part of the year is also home to some of the many productions supported by our Artist Development strand, Bristol Ferment, providing artists with support to develop their own unique voice. This includes Ferment-supported work Mid Life (presented by Diverse City) and the twice yearly Ferment Fortnight, which throws open the rehearsal room doors to show the latest work-in-progress from some of the finest talent in the region.
Returning in 2020 – The Wardrobe Ensemble company were formed through Bristol Old Vic’s Made In Bristol scheme – an apprentice training programme for older Young Company members to develop into professional theatre-makers. In February they are welcomed home to Bristol Old Vic with a special re-staging of their first production RIOT to celebrate Made In Bristol’s 10th Anniversary. In April, they’re back with TheLast of The Pelican Daughters (co-produced with Complicité and Royal & Derngate, Northampton) their latest work which was first seen at the Edinburgh Fringe Festival in 2019, coming to the Theatre as part of a UK tour.
And at the very beginning of their own imaginative journey – our award-winning Young Company continue to develop their own creative voices with a powerful new translation of Antigone by Anne Carson, taking place in The Weston Studio in January. This is just one of the many ways we are engaging with young people across the city, helping to develop creativity and confidence while also having fun.
Because creative opportunities are for everyone, we’re supporting that creative spark in every adult in Bristol through our Adult Company, and our community and business partnerships, and using those opportunities to strengthen the most vulnerable members of our communities too. More details will be announced on 4 December of how everyone can participate and how we’ll be reaching into our communities through the year.
In March, we welcome back Headlong (People, Places and Things; Acts of Resistance) in a co-production with the Lyric Hammersmith Theatre, and in association with Birmingham Repertory Theatre, with Faustus: That Damned Woman. This astonishing re-imagining of the myth of Doctor Faustus is from award-winning playwright and theatre-maker, Chris Bush, directed by Caroline Byrne, and will visit Bristol Old Vic as part of a UK tour which begins at the Lyric Hammersmith in January 2020.
There is also the welcome return of Bristol’s biennial festival Mayfest. Mayfest began here in 2003 and has exploded into a city-wide festival of international renown. Produced by our Associate Company MAYK, Mayfest welcomes Bryony Kimmings back to the theatre with her rapturously-received autobiographical show I’m a Phoenix, Bitch, following a sell-out run at the 2019 Edinburgh Fringe. Mayfest will also host the first visit to Bristol from the one-man phenomenon, Le Gateau Chocolat with his brand-new show Pandora.
On Bank Holiday Monday (25 May), the theatre’s annual celebration of the creative magic and madness found in every Bristolian is back with Open Stage. For one day, we hand over the stage to anyone who wants to show the world what they’ve got. Open Stage began in 2016 to celebrate the Theatre’s 250th birthday and is now a firm part of our year’s programme, open to absolutely everyone.
In June, Mark Rylance will make his Bristol Old Vic debut in Semmelweis,a powerful world premiere based on the true story of Dr Ignaz Semmelweis. Semmelweis was a radical creative of the medical profession whose rejection of received wisdom dared him to look at the world differently and held the potential to save countless lives. Based on an original idea from Mark Rylance, Semmelweis is written by Stephen Brown in collaboration with Tom Morris and Mark Rylance. It is presented in association with Sonia Friedman productions, The National Theatre and Shakespeare Road.
This is followed by another new production, Gatsby, from Bristol Old Vic in co-production with Northern Stage, English Touring Theatre, Royal & Derngate, Northampton, Oxford Playhouse, Lyric Hammersmith Theatre and Birmingham Rep. Originally commissioned and developed by Royal & Derngate, Birmingham Rep and English Touring Theatre, Gatsby is adapted by Maria Aberg and Joel Horwood, and directed by Maria Aberg ([BLANK], The White Devil). A vivid and unique reinterpretation of F. Scott Fitzgerald’s classic novel, Gatsby premieres at Bristol Old Vic in September.
In October, the first main stage production to come from the Writers Department premieres. Olivier-winning director Sally Cookson directs Wonder Boy, a new play selected for development through Bristol Old Vic’s annual “Open Session” for West Country writers. Bristol-based writer Ross Willis teams up with Sally Cookson to bring this powerful coming-of-age story to the Theatre.
Wonder Boy was first seen in March 2019 as part of New Plays in Rep which showcased some of the Open Session-developed work in a series of fully-staged and workshop productions powered by the talents of the Bristol Old Vic Theatre School. New Plays in Rep will return in June 2020 with a new selection of the freshest new writing in plays and musicals.
Next Christmas, former Bristol Old Vic Young Company director Miranda Cromwell, co-director of this year’s West End sensation Death of a Salesman, will be returning to Bristol to direct The Little Mermaid with a narrative championing environmental messages about us all being able to make a difference no matter how little we are.
We’re also committed to celebrating the shows audiences have loved with the return of Sally Cookson’s Olivier Award-winning A Monster Calls (an Old Vic production, in association with Bristol Old Vic) and the smash-hit Pride and Prejudice* (*sort of) (co-produced with Royal Lyceum Theatre Edinburgh, Tron Theatre Company and Blood of the Young). Also returning is our increasingly celebrated dance programme (this year including Laberinto, Rambert2, Candoco and Akram Khan) alongside OperaUpClose with Madam Butterfly after their successful La Boheme in 2019.
As always, our year is full of inspiring visiting work from some of the most exciting artists and work made and premiered in association with homegrown talent, showcasing a plurality of creative voices and offering something for everyone in the city. Visiting work includes: The Political History of Smack and Crack, winner of Summerhall’s Lustrum Award in 2018; RUSH: A Joyous Jamaican Journey, telling the story of Reggae music from the arrival of the Windrush generation; I Think We Are Alone, a brand-new production from Frantic Assembly who celebrate their 25th anniversary this year (written by Sally Abbott, co-directed by Kathy Burke and Scott Graham). We will showcase new work in association with some of the region’s brightest talents: the Bristol Old Vic Theatre School with The Laramie Project directed by Nancy Medina; What Remains of Us (in association with Bath Spa productions) from playwright David Lane, directed by Sita Calvert-Ennals, looking at a Korean family divided by one of the world’s most militarised borders; and Patrick Marber’s The Red Lion, exploring the passions and conflict that run deep in non-league, semi-pro football, starring Bristol’s Joe Sims (Broadchurch).
And because first encounters with theatre are often through our work for young children, we have a host of options for families – from the smallest toddlers (Zog and The Very Hungry Caterpillar Show) to work for primary-aged live-wires (Shlomo’s Beatbox Adventure for Kids and the return of Le Navet Bete’s The Three Musketeers: A Comedy Adventure). For brave children who like their tales a little more spooky, we are co-producing Neil Gaiman and Dave McKean’s modern classic TheWolves in the Walls with Little Angel Theatre and York Theatre Royal.
Speaking today, Tom Morris said: “Great artists can see round corners. Their view of the world is unique and their gift is the ability to communicate that view to the rest of us. That’s why we love the work of Bob Dylan, or Picasso; Stormzy, Shakespeare or Sarah Kane. But our 2020 Year of Artists isn’t just about them. Because exactly that same creative spark is in the rest of us; every child in school, every professional in the workplace, every patient in hospital, every citizen in a healthy society. The evidence of this year’s Durham Report is that creative opportunity is transformative for every child in every school, and our contention is that it’s equally valuable for all of us throughout our lives. This year is a celebration of the creativity in us all, and a clarion call for increased investment in creative opportunity for everyone.”
We’ve also looked at our ticket pricing and listened to audiences to improve access for our studio work. Beginning in January, a flat £12 Weston Studio ticket price will be available for everyone, while Ferment Fortnight, Studio dance piece Laberinto and the new “Student Rush” tickets are all still under £10.
Tickets for the full 2020 season go on sale to Artists Circle on 15 Nov at 10am, to Friends on Mon 18 Nov and on general sale at 10am on Thu 21 Nov.
The audience was instantly on its feet and cheering very loudly at the end of last night’s fabulous performance of Kinky Boots. I have seen it said recently that standing ovations are the norm now, please take note, the Hull New Theatre’s audiences only give a standing ovation when they have been well earned and this was certainly one of the best shows we have seen. Another important fact is that Hull New Theatre is the last stop for this UK tour of Kinky Boots, so you have only a few days to catch the show.
Kinky Boots is directed and choreographed by Jerry Mitchell; book by Harvey Fierstein and music and lyrics by Cyndi Lauper. This is the story of Charlie Price who doesn’t want to go into the family shoe business Price and Son, but wants to escape “boring” Northampton. His Father’s sudden death means he returns to Northampton to find that the business is in trouble. A chance meeting with a drag queen, Lola, leads to a whole new venture for Price and Son and a lot of fun for the audience.
David Rockwell’s stage design is very clever and provides a wonderful backdrop for the action. The action starts in the factory, which is very drab, brown and really rather depressing, which makes for a wonderful contrast when the drag queens arrive on stage. The choreography is superb and I particularly loved the performance of Everyone Say Yeah and Raise You Up/Just Be at the finale. Greg Barnes’ costume designs for the drag queens are stunning. Cyndi Lauper’s music is refreshingly varied in genre from rock to ballad to the advertising jingles for the factory. Musical Director Richard Anderson had a wonderful orchestra, and what a surprise it was to me to suddenly hear the poignant notes of an oboe at one point.
Kayi Usher was a triumph as Lola, providing fun and sassiness but oh so much poignancy, he has a beautiful voice. His performance of Not My Father’s Son left me and I suspect much of the audience totally breathless, simply superb. His full on drag performances were a riot and so much fun, but I almost preferred the quieter moments. He has such a talent to be able to switch moods so effectively and believably.
Joel Harper-Jackson’s Charlie was played beautifully, whether he was feeling sorry for himself, ineffectually trying to sack his work force or struggling to come to terms with what life had thrown at him. His relationship with Lola was totally believable. I loved his rendition of Soul of a Man, another beautiful voice. As to the finale, I strongly suspect he enjoyed it as much as the audience!
Paula Lane was excellent as the slightly kooky Lauren and I loved The History of Wrong Guys, a cracking song, wonderfully performed.
Lola’s angels, Connor Collins, Daniel Downing, Damon Gould, Joshua Lovell, Chileshé Mondelle and Toyan Thomas-Browne rocked the stage. What beautiful drag queens, elegant but feisty and their dance routines were jaw dropping at times.
Kinky Boots is very much the sum of all its parts, Kayi Ushe shines throughout as Lola, but this is only possible with the support of a superb cast, cracking music, wonderful choreography, fab costumes, great scenery and an engaging story. The action zips along at a pace and the audience was rapt, totally engaged in what was going on on the stage. Sadly it was over far too soon.
Just being yourself is one of the main themes of Kinky Boots, but I rather wonder if there is not more of a message for parents about letting their children be themselves…
Finally I really must mention those boots. Ooh those boots, I can’t have been the only woman in the audience wanting to take a pair home!
You will bounce your way out of the theatre after a performance of Kinky Boots. Price and Son manufacture joy and exuberance, as well as boots!
SARAH FRANKCOM’S FINAL SEASON: STUNNING NEW WRITING, FRESH IMAGINATION & A BOLD LOOK AT THE PAST
This Spring/Summer season is an inspiring collection of work programmed under the leadership of former Artistic Director Sarah Frankcom. It embraces the energy and power of new writing, staging plays from established, award-winning writers alongside supporting early career playwrights to realise their work for the stage. Dynamic new directors, who are making waves across the industry, will create fresh and ambitious pieces of theatre for today, tackling both new plays and turning their attention to bold interpretations of classic texts. This spring/summer is a powerful and energetic programme of work for audiences in Manchester and beyond.
• ROCKETS AND BLUE LIGHTS is an astonishing new play from the award-winning playwright Winsome Pinnock. Winner of the 2018 Alfred Fagon Award, this stunningly crafted play moves seamlessly between the past and the present and unveils the impact of Great Britain’s role in the Trans-Atlantic slave trade. Confronting an ugly history head on ROCKETS AND BLUE LIGHTS is performed in the Royal Exchange, once one of the world’s largest cotton exchanges. This powerful play asks…who is it that gets to tell our stories? Straight from the acclaimed Young Vic production of DEATH OF A SALESMAN, the exceptional director Miranda Cromwell brings this epic play to life. A Royal Exchange debut for both writer and director the production previews on 12 March and runs in the Theatre until 4 April.
• Following its sold-out run in spring 2019 Sarah Frankcom’s smash-hit WEST SIDE STORY, with choreography from Aletta Collins, returns to the Royal Exchange. Loved by critics and audiences alike this infamous Broadway musical is back in Manchester for 2020. With the return of Andy Coxon as Tony and Gabriela García as Maria and remounted by Associate Director Atri Banerjee this stunning musical is in the Theatre from 18 April – 30 May.
• Alongside remounting WEST SIDE STORY, Stage Debut Award-winning director Atri Banerjee returns to the Exchange to direct Tennessee Williams’ autobiographical classic THE GLASS MENAGERIE. This memory play pulls apart the complex dynamics of a suffocating family life, and shows how unpredictable, painful and volatile memory can be. This bold new interpretation from a brilliant young director opens in the Theatre on 5 June and runs until 4 July.
• A 2017 Bruntwood Award-winning play Tim Foley’s ELECTRIC ROSARY is a funny and moving exploration of faith and humanity. Set in a time where nuns are scarce and robots are commonplace, this new play explores how artificial intelligence influences what we choose to believe in. Directed by Elizabeth Freestone this is a play about what it means to be human. ELECTRIC ROSARY can be seen in the Studio from 15 June – 4 July.
• Enchanting and brutal, chilling and beautiful Jack Thorne’s adaptation of LET THE RIGHT ONE IN is directed by Royal Exchange Joint Artistic Director Bryony Shanahan. In a world where adults are failing them, two teenage outsiders are drawn to each other. Separated by centuries and rejected by society they find salvation in a unique friendship and their palpable need for someone to love. This unforgettable vampire story has gained cult status across the world, it is a sharp and reflective coming-of-age story that asks its audience to recognise and value the humanity in us all. LET THE RIGHT ONE IN runs in the Theatre from 9 July – 8 August.
• Having a baby is the Most Important Thing you can do. If you have one. If you don’t, something else can be the Most Important Thing. Following the award-winning THREE SISTERS, RashDash and their mums explore having and becoming mothers. OH MOTHER, runs from 16 July – 1 August in the Studio.
• In the Studio original work continues to be developed and shared by artists from across the UK, by the Exchange’s award-winning Young Company and by the Theatre’s Elders Company.
Artistic Directors Bryony Shanahan and Roy Alexander Weise said …
‘The season is a powerful reflection of everything the Exchange has become in the last five years under Sarah’s leadership. It champions the importance of new plays and the power the playwright has to redefine our stories, it encourages artists to make work at scale and it highlights how valuable it is to support the future of our industry to be ambitious and brave in the work they make. We are very excited to support and celebrate this brilliant season while we work towards creating our own.’
The Theatre
A Royal Exchange Theatre production
ROCKETS AND BLUE LIGHTS
By Winsome Pinnock Directed by Miranda Cromwell
12 March – 4 April
In her powerful new play ROCKETS AND BLUE LIGHTS, celebrated playwright Winsome Pinnock superbly laces together the stories of a 21st-century black actress who finds herself bound by historical legacy, Thomas, a black sailor who longs for the sea and an ageing J.M.W Turner, impatient for artistic inspiration. This Alfred Fagon award-winning play brings together the superb writing talent of Winsome Pinnock with director Miranda Cromwell whose work includes the international tour of HALF BREED (Talawa Theatre) and as Associate Director the award-winning shows COMPANY (Gielgud Theatre) and ANGELS IN AMERICA (National Theatre). ROCKETS AND BLUE LIGHTS explores the impact of historical legacy and the representation of painful subjects, it invites us to ask what is chosen to be represented and what is denied? Juxtaposing the intimate and the epic, the personal and the political this complex play is powered by love, resilience and hope and can be seen in the Theatre from 12 March – 4 April.
Winsome Pinnock’s stage plays include THE PRINCIPLES OF CARTOGRAPHY (The Bush Theatre), TITUBA (Hampstead Theatre), CLEANING UP (For Clean Break at Oval House Theatre), TAKEN (For Clean Break at Oval House Theatre), IDP (Tricycle Theatre), THE STOWAWAY (Play for young people, Theatre Royal, Plymouth), ONE UNDER (Tricycle Theatre), BEG BORROW OR STEAL (Kuumba Community Arts Centre), WATER (Tricycle Theatre), MULES (Royal Court Theatre Upstairs and Clean Break Theatre), CAN YOU KEEP A SECRET? (Connections at Royal National Theatre), A ROCK IN WATER (Royal Court Theatre), LEAVE TAKING (Liverpool Playhouse Theatre, National Theatre, Belgrade Theatre Coventry and Lyric theatre, Hammersmith), A HEROES WELCOME (Royal Court Theatre Upstairs), THE WIND OF CHANGE (Half Moon Theatre) and PICTURE PALACE (Womens Theatre Group). Awards include the Alfred Fagon Award (2018); George Devine Award; Pearson Plays on Stage Scheme best play of the year Award; Unity Trust Theatre Award. She received a special commendation from the Susan Smith Blackburn Prize. Her play LEAVE TAKING received a major revival at the Bush Theatre, London in 2018 and a new version of ONE UNDER was produced by Graeae Theatre Company in 2019 for a UK tour. She is currently commissioned by the Bush Theatre, Royal Court Theatre and is developing a screenplay with Blueprint Pictures.
Miranda Cromwell’s directing credits include as co-director DEATH OF A SALESMAN (Young Vic Theatre) as director HALF BREED (Talawa Theatre/Soho Theatre/Edinburgh Fringe Festival/India tour), MAGIC ELVES, HEY DIDDLE DIDDLE, SENSE (Bristol Old Vic), PIGEON ENGLISH (Edinburgh Fringe Festival/Bristol Old Vic), THE REST OF YOUR LIFE (Bush Theatre) and DEATH AND TREASON (Bristol Old Vic/UK tour). As Associate Director her credits include COMPANY – Olivier award for Best Musical Revival, Critics Circle Award for Best Musical (Gielgud Theatre) and ANGELS IN AMERICA – Olivier and Tony Award for Best Revival (National Theatre/Neil Simon Theatre, Broadway); A MONSTER CALLS – Olivier Award for Best Entertainment and Family (Old Vic/ Bristol Old Vic); CORAM BOY (Colston Hall).
A Royal Exchange Theatre production
WEST SIDE STORY
Based on a conception of Jerome Robbins Book by Arthur Laurents Music by Leonard Bernstein Lyrics by Stephen Sondheim Directed by Sarah Frankcom Associate Director Atri Banerjee Choreographer Aletta Collins Orchestration by Jason Carr
18 April – 30 May
Back by popular demand the Royal Exchange’s new version of Broadway’s biggest musical WEST SIDE STORY returns to Manchester. This legendary musical is an incredible blend of music, dance, lyricism and performance, with a matchless songbook – MARIA, AMERICA, SOMEWHERE, TONIGHT – which makes WEST SIDE STORY one of the most powerful pieces of modern theatre ever created. Under Sarah Frankcom’s direction, with choreography from Aletta Collins, orchestration by Jason Carr and musical direction from Tim Jackson this version brings a new focus to the gang culture of the iconic Sharks and Jets. Returning to the theatre to as Tony and Maria are Andy Coxon and Gabriela García. The production runs in the Theatre from 18 April – 23 May.
Sarah Frankcom is the Director of LAMDA and former Artistic Director at the Royal Exchange. Her recent productions include: THE NICO PROJECT co-created with Maxine Peake for Manchester International Festival. For the Royal Exchange her work includes LIGHT FALLS, WEST SIDE STORY, DEATH OF A SALESMAN, OUR TOWN (winner of Best Director at the UK Theatre Awards) and HAPPY DAYS, A STREETCAR NAMED DESIRE, THE SKRIKER (co-commission with MIF15) and HAMLET (all with Maxine Peake), BLINDSIDED, THAT DAY WE SANG and the Royal Exchange and MIF13 co-production THE MASQUE OF ANARCHY. She also directed THE LAST TESTAMENT OF LILLIAN BILOCCA for Hull City of Culture.
A Royal Exchange Theatre production
THE GLASS MENAGERIE
By Tennessee Williams Directed by Atri Banerjee
5 June – 4 July
THE GLASS MENAGERIE is Tennessee Williams’ poetic and bruising portrayal of a family on the brink of change. Tom remembers; he recalls his mother Amanda, his sister Laura, their suffocating dependency and the overwhelming responsibility of family ties that bind you for life. But memory is fragile and the clarity of truth and recollection is clouded over time. This intimate classic is given a fresh perspective by director Atri Banerjee who returns to the Royal Exchange following his acclaimed production of HOBSON’S CHOICE. Created for the Exchange’s unique in-the-round theatre, this domestic play tackles questions that resonate on a global scale. THE GLASS MENAGERIE can be seen in the Theatre from 5 June – 4 July.
Atri Banerjee trained at Birkbeck and was previously Trainee Director at the Royal Exchange Theatre. His directing credits include: UTOPIA and HOBSON’S CHOICE (both Royal Exchange). Associate/assistant director credits for the Royal Exchange include: WEST SIDE STORY; THE MYSTERIES (also tour); JUBILEE (also Lyric Hammersmith); HAPPY DAYS; THE ALMIGHTY SOMETIMES; OUR TOWN. Other associate/assistant director credits include: THE NICO PROJECT (Manchester International Festival/ Melbourne International Arts Festival); THE SON (Kiln Theatre). For HOBSON’S CHOICE, Atri won The Stage Debut Award 2019 for Best Director and was nominated for the UK Theatre Award 2019 for Best Director.
A Royal Exchange Theatre production
LET THE RIGHT ONE IN
A stage adaptation by JACK THORNE Based on the Swedish novel and film by JOHN AJVIDE LINDQVIST Directed by Bryony Shanahan
9 July – 8 August
A strange story of friendship and love finds a new home on the unique stage of the Royal Exchange Theatre. Jack Thorne’s adaptation of John Ajvide Lindqvist cult novel LET THE RIGHT ONE IN receives a brand-new production for 2020 from Royal Exchange Joint Artistic Director Bryony Shanahan. When two young outsiders meet on a snow-covered playground they are instantly drawn together, they are kindred spirits finding solace in each other – one a bullied, isolated teenage boy the other a feral, lonely and dangerous vampire. And so, begins a chilling and unlikely friendship. LET THE RIGHT ONE IN is an intricate examination of isolation, neglect and the extraordinary lengths we go to for our friends. This compelling story runs in the Theatre from 9 July – 8 August.
Bryony Shanahan is Joint Artistic Director at the Royal Exchange, this season she will direct WUTHERING HEIGHTS in a new version by Andrew Sheridan. In 2016 she won the Genesis Future Directors award and directed trade at the Young Vic. Other directing credits include: ENOUGH (Traverse Theatre), QUEENS OF THE COAL AGE (Royal Exchange), CHICKEN SOUP (Sheffield Crucible); OPERATION CRUCIBLE (Finborough Theatre, Sheffield Crucible/UK tour/59e59 New York); WEALD (Finborough Theatre); NOTHING (Royal Exchange, winner of Manchester Theatre Award); BITCH BOXER (Soho Theatre/national tour/Adelaide Fringe Festival); BOYS WILL BE BOYS (Women Centre Stage, National Theatre); CHAPEL STREET (National Tour) and YOU AND ME (Greenwich Theatre/National Tour).
The Studio
A Royal Exchange Theatre production
ELECTRIC ROSARY
By Tim Foley Directed by Elizabeth Freestone
15 June – 4 July
Winner of the 2017 Bruntwood Prize Judges’ Award Tim Foley’s ELECTRIC ROSARY sees the world of prayers and hymns collide, with that of glitching and binary. When we meet the Sisters of St Grace, their numbers are dwindling, divine inspiration is at an all-time low and a robot nun has just been invited to join their convent. Sharply funny, this acutely observed play places questions of faith, spirituality and humanity alongside technological advancement and a robotic future. Directed by Elizabeth Freestone, who returns following her production of QUEEN MARGARET, ELECTRIC ROSARY runs in the Studio from 15 June – 4 July.
Tim Foley is a writer based in Manchester. Tim’s first full-length play, THE DOGS OF WAR (Old Red Lion Theatre) won the Off West End award for Most Promising New Playwright. In 2016 he was awarded the Channel 4 Playwright’s bursary to become Pentabus Theatre Company’s writer-in-residence and he is now their Associate Artist. Tim’s second play, ASTRONAUTS OF HARTLEPOOL (VAULT Festival), won a VAULT Origins Award for Outstanding New Work. His work has been supported by the National Theatre Studio, Orange Tree Theatre, Soho Theatre, HighTide Theatre, the Old Vic and the Peggy Ramsay Foundation. Tim also writes audio dramas set in the worlds of DOCTOR WHO and TORCHWOOD for Big Finish Productions.
Director Elizabeth Freestone’s productions include: NORA: A DOLL’S HOUSE (Citizen’s Theatre Glasgow); MUCH ADO ABOUT NOTHING and HENRY V (Shakespeare at the Tobacco Factory); HERE LIES MARY SPINDLER, THE COMEDY OF ERRORS, THE TRAGEDY OF THOMAS HOBBES, THE RAPE OF LUCRECE (RSC); QUEEN MARGARET (Royal Exchange, Manchester); THE DUCHESS OF MALFI, DR FAUSTUS, THE SCHOOL FOR SCANDAL, VOLPONE (Greenwich Theatre); ROMEO AND JULIET (Shakespeare’s Globe & European tour); THE WATER HARVEST (Theatre 503) and as Associate Director for the National Theatre’s PEOPLE, PLACES AND THINGS and A CAUCASIAN CHALK CIRCLE. From 2012-17 she was the Artistic Director of Pentabus Theatre Company, a new writing company touring nationwide, where she directed world premieres including AS THE CROW FLIES, HERE I BELONG, EACH SLOW DUSK, FROM LAND TO MOUTH, STAND UP DIGGERS ALL, and BLUE SKY.
A RashDash and Royal Exchange Theatre production
OH MOTHER
Developed by RashDash
6 July – 1 August
The award-winning RashDash return to the Royal Exchange with their latest show OH MOTHER and ask … To have a baby or not to have a baby…
Having a baby is the Most Important Thing you can do. If you have one. If you don’t, something else can be the Most Important Thing. What if I can’t have one? Don’t want one? What if the planet can’t take another? What if I like my life now and just want it to continue? What if I’m desperate to have one and I can’t find someone to do it with? What if I don’t want to do it on my own? What will my mum think? OH MOTHER runs in the Studio from 16 July – 1 August.
RASHDASH is Abbi Greenland, Becky Wilkie and Helen Goalen. They are a company of performers, musicians and makers and an associate company of the Royal Exchange Theatre. Their work includes THREE SISTERS (co-production with Royal Exchange Theatre, co-commissioned by The Yard, Tobacco Factory Theatres, The Old Vic, MAYK and Cambridge Junction), THE DARKEST CORNERS (Transform Festival 2017), TWO MAN SHOW (Northern Stage and Soho Theatre, Edinburgh Fringe First Winner 2016, Stage Award for Acting Excellence, shortlisted for an Off West End Award), SNOW WHITE & ROSE RED (Cambridge Junction and Battersea Arts Centre), WE WANT YOU TO WATCH (by RashDash and Alice Birch, National Theatre and UK Tour), OH, I CAN’T BE BOTHERED (Soho Theatre, shortlisted for an Off West End Award), THE UGLY SISTERS (Edinburgh Festival, shortlisted for the Total Theatre Award for Experimentation and Innovation), DARK WOODS DEEP SNOW (Northern Stage) THE FRENZY & SET FIRE TO EVERYTHING!!! (Lyric Hammersmith, GDIF, Imagine Watford and Latitude), THE TWO GENTLEMEN OF VERONA (The Royal and Derngate), SCARY GORGEOUS (Edinburgh Fringe First Award winner 2011), ANOTHER SOMEONE (Fringe First award winner 2010), and THE HONEYMOON.
The Woman in Black is a long running play, based on Susan Hill’s successful gothic horror story, and adapted for the stage by Stephen Mallatratt.
It is a play within a play. Set within a theatre, Arthur Kipps (Robert Goodale) has enlisted the help of The Actor (Daniel Easton) to tell his story, a terrifying tale that he needs to be heard. Many years ago, as a young solicitor, Kipps spent time in the remote Eel March House in order to attend the funeral and sort out the affairs of a deceased client. What starts as a mumbled recitation, turns into a play, after The Actor’s insistence. At first the play is quite slow, with The Actor interrupting the aged Kipps as his mumbling continues. Soon though Kipps becomes more comfortable in his roles and the story is allowed to unfold. We see The Actor takes on the role of the younger Kipps, whilst Kipps plays various supporting parts.
Alone in the client’s mansion, sometimes staying the night, he sets about reading the many papers she has left behind. He comes across a door that can’t be opened, even though there is no apparent lock on the door, unexplained banging noises emitting from inside. He is plagued by the noise of a pony and trap and images of a gaunt, sallow woman in black. I do not want to give too much away but it does revolve around what is hidden behind that locked door. The true shocker though is the final seed that is planted in our mind.
As an audience we had to use our imagination, Spider the dog, who is mimed, and we see no actual pony and trap, just the suggestion. As the programme states “there are no special effects here, just harmless stage smoke and sudden, loud sound effects”. The show really does allow your mind run free and with the help of the lighting, swirling fog, noises and sudden appearances, it creates the right atmosphere to be scared. The tension at times was palatable, the silence deafening, just waiting.
With the woman in black of the story only making a very limited amount of appearances, the play only has two actors. Goodale and Easton impressed with keeping the audience involved, especially with the amount of dialogue.
I did find the first act a bit of a slog with too much dialogue. By the second act I was certainly more engrossed. I was expecting to be scared, but I’m really sorry to say that at no point in the show was I truly shocked and jumping out of my seat. Not one of the surprises, shrieks had me flinching, though at times through the story I did have chills, and not because of the weather. I was expecting more and I left feeling a bit underwhelmed. Am I too hard? Maybe? Quite a few of the audience must have disagreed with me, if the screams and gasps were anything to go by.
I would still encourage anyone to try and catch this show. Give it a try and hopefully let the suspense carry you away, and scare you out of your wits.
