CELIA IMRIE, JONATHAN BAILEY, SAMUEL BARNETT AND MORE JOIN THE CAST OF DIGITAL PRODUCTION OF WHAT A CARVE UP!

• THE BARN THEATRE, LAWRENCE BATLEY THEATRE & NEW WOLSEY THEATRE CO-PRODUCE THE WORLD PREMIERE OF WHAT A CARVE UP! BY HENRY FILLOUX-BENNETT

• THE PRODUCTION, BASED ON JONATHAN COE’S CRITICALLY ACCLAIMED NOVEL, WILL BE DIRECTED BY THEATRE CLWYD ARTISTIC DIRECTOR TAMARA HARVEY.

• THE CAST ALSO INCLUDES ALFRED ENOCH, STEPHEN FRY, SHARON D. CLARKE AND SIR DEREK JACOBI

The Barn Theatre in Cirencester, the Lawrence Batley Theatre in Huddersfield and the New Wolsey Theatre in Ipswich have today announced the full cast for the digital world premiere of Henry Filloux-Bennett’s online play What A Carve Up!, based on Jonathan Coe’s critically acclaimed satirical novel.

Jonathan Coe said of the new adaptation, “I’m thrilled that What a Carve Up! is being brought to the stage by such a talented and experienced team. It’s twenty-five years since I wrote the book but unfortunately its political satire seems as relevant as ever – I’m sure the new adaptation will capture that, as well as the novel’s sense of fun and irreverence. I’m looking forward to getting to know it again!”

Casting announced today includes Jonathan Bailey as Henry Winshaw, Samuel Barnett as Michael Owen, Robert Bathurst as Thomas Winshaw, Celia Imrie as Joan Simpson and Dervla Kirwan as the Brunwin Advert.

The newly announced cast members join Fiona Button as Josephine Winshaw-Eaves, Sharon D. Clarke as Kim Bolton, Alfred Enoch as Raymond Owen, Rebecca Front as Hilary Winshaw, Stephen Fry as Patrick Mills, Sir Derek Jacobi as Findlay Onyx, Griff Rhys Jones as John Stephens and Tamzin Outhwaite as Interviewer 2020.

The full cast also includes: Catrin Aaron, Jamie Ballard, Jack Dixon, Julian Harries, James McNicholas and Lizzie Muncey.

The digital production, directed by Tamara Harvey (Home, I’m Darling), chronicles the events leading up to the ‘Winshaw Murders’. Filled with murder, mayhem and madness, the murder mystery turns a satirical eye on what it is like to be a member of one of the most corrupt, powerful and toxic families in the country.

Tamara Harvey said of the announced casting, “There are some casts so dazzling that my job, as a director, is to not get in the way. This is one of them. My only sadness, of course, is that we don’t get to be in the rehearsal room together. But the fact that these brilliant actors have all agreed to create this piece to raise money for regional theatres is one of the ways we’re all still fighting to ensure that there will still be rehearsals rooms across the country, somewhere, somehow, in our future.”

The murder mystery is written by Henry Filloux-Bennett (Nigel Slater’s Toast), based on the award-winning novel by Jonathan Coe, directed by Tamara Harvey (Home, I’m Darling) with Harry Smith (Henry V, Private Peaceful) as sound designer and composer, Annie May Fletcher as production coordinator and Holly Piggott as set designer.

What A Carve Up! is produced by the Barn Theatre, Lawrence Batley Theatre and New Wolsey Theatre.

The play, which will be available internationally, will run from 31 October – 29 November 2020. Tickets can be purchased at whatacarveup.com with audience members receiving a screening link which will activate at their booked performance time for a 48-hour period. A premium option, consisting of a physical programme and pre-theatre dining recipe card, will be available for UK residents.

The recipe card included in the premium option will be curated by world-renowned chef Asma Khan. Owner of the prestigious Darjeeling Express in London’s Soho, Asma Khan was the first British chef to be profiled on Netflix’s award-winning documentary series Chef’s Table and in 2019 was named number one on Business Insider’s “100 Coolest People in Food and Drink” list.

A portion of the proceeds raised by What A Carve Up! will be donated to a freelance fund to support the creative workforce that the theatres would not be able to survive without.

The production is kindly supported by Blackmagic Design.

Further casting and creative announcements will be released at a later date.

PW PRODUCTIONS LTD

RECEIVES LIFELINE GRANT

FROM GOVERNMENT’S £1.57BN

CULTURE RECOVERY FUND

PW Productions, producer of the long-running THE WOMAN IN BLACK and AN INSPECTOR CALLS has been awarded £245,000 as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future, the Culture Secretary has announced today.

PWP is one of 1,385 cultural and creative organisations across the country receiving urgently needed support. £257 million of investment has been announced today as part of the first round of the Culture Recovery Fund grants programme being administered by Arts Council England.

In mid-March 2020 PWP was employing 180 theatre practitioners in seven productions – including THE WOMAN IN BLACK, AN INSPECTOR CALLS, THE LAST SHIP and DIRTY DANCING – across the UK, Europe and the USA. The company had plans to open further productions, all of them with significant commercial potential. By the end of March all seven production had closed, and all future shows had been shelved.

The funding from CRF will enable PWP to weather its complete loss of income until at least March 2021, when it is anticipated that a gradual return to normal business will start to become apparent.

Culture Secretary Oliver Dowden said:

“This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery. 

These places and projects are cultural beacons the length and breadth of the country. This unprecedented investment in the arts is proof this government is here for culture, with further support to come in the days and weeks ahead so that the culture sector can bounce back strongly.”

Chair, Arts Council England, Sir Nicholas Serota, said:

“Theatres, museums, galleries, dance companies and music venues bring joy to people and life to our cities, towns and villages. This life-changing funding will save thousands of cultural spaces loved by local communities and international audiences. Further funding is still to be announced and we are working hard to support our sector during these challenging times.”

Peter Wilson, Chief Executive and Chair of PWP, said

“These are worrying times for all the performing arts. So we at PWP are grateful that the needs of the commercial producing companies have been recognised alongside those of the subsidised sector. Our hibernating productions of THE WOMAN IN BLACK and AN INSPECTOR CALLS, alongside our future productions with partners throughout the UK, have been protected by this very welcome act of sensible generosity. “

Over 1200 sign letter to save music sector

Organisations and musicians back letter to Chancellor asking for support to #MakeMusicWork

As the controversy continues over the Government’s advert featuring Fatima, a ballet dancer suggesting she retrain to work in cyber security, over 1200 organisations and musicians have signed a joint letter to Chancellor Rishi Sunak. Organised by the Musicians’ Movement and the Incorporated Society of Musicians, the letter is part of their campaign to#MakeMusicWork and save jobs in the arts sector. The proposals are also in response to Ministers stating that musicians jobs are not viable. They are viable – indeed they are essential and in many other countries direct support has been given to creatives to ensure that they can continue to work.

The signatories include organisations like the London Symphony Orchestra, Ivors Academy,  Musicians Answering Service and the Featured Artists Coalition as well as individuals like Chi-chi Nwanoku OBE, Tasmin Little OBE and Nicola Benedetti.

The letter calls for two measures to save the music sector. First, we are proposing a new Freelance Performers Support Scheme to facilitate the reopening of music venues under social distancing and see the return of live performances. This funding model would combine grants for venues and a guaranteed fee for each performer with a cultural exemption on VAT for tickets.

With a guaranteed fee for each performer even if performances are cancelled, this proposal puts freelancers at the heart of a sustainable funding model for venues.

Secondly, we are calling on the government to deliver on its pledge to ensure parity between employees and the self-employed by maintaining the existing level of support provided by the Self Employment Income Support Scheme (SEISS) and expanding the eligibility criteria.

We are keen to work with others in the sector to develop this proposal further and build support for it so signatures are still be collected on the letter. Some other notable signatories so far include the Royal Philharmonic Society, Sinfonia Cymru, the National Youth Jazz Orchestra and Help Musicians (the UK’s largest independent music charity).

Tens of thousands of jobs at risk in the UK’s cultural sector, so it is critical for government to provide a viable route back to work, allowing musicians to both support their families and start contributing once again to our communities and national life.

The Incorporated Society of Musicians’ Chief Executive, Deborah Annetts, said:

‘Arts venues and performers need support that makes it financially viable to reopen within social distancing safety requirements. With musicians’ livelihoods on the line, we are calling on the UK government to provide funding that doesn’t just help the arts survive, but enables them to thrive once again.’

Managing Directors of Musicians’ Movement, Phil Meadows & Christopher Barrett said:

‘#MakeMusicWork represents the overwhelming consensus in the arts sector that freelancers are the bedrock of our industry. These principles have the potential to reunite local communities whilst simultaneously supporting creators, performers and venues.’

Chi-chi Nwanoku OBE, Founder, Artistic & Executive Director of Chineke Foundation said:

‘Freelance musicians have borne the brunt of the shutdown of the entertainment industry over the past seven months. Their situation is precarious even during normal operating times, but last-minute cancellations of concerts due to lockdown regulations could be the difference between meeting the rent and not.

‘We are in danger of a whole generation of talent being lost without the means or commitment to a solid recovery for the cultural industries. Therefore, I am advocating that the government introduces a guaranteed minimum fee that protects freelance musicians in the event of last-minute concert cancellations.’

About the proposals

The grant, distributed by Arts Councils, is based on a venue’s full capacity and designed to cover the loss of income due to the reduced ticket sales required by social distancing guidelines. As a safeguard, venues and promoters will need to be pre-approved and meet eligibility criteria, including demonstrating their activity before coronavirus. This grant would be in addition to the income generated from ticket sales on reduced, socially distanced performances.

Because this proposal is based on a venue’s fixed total capacity, it has three key advantages:

1. It is simpler to calculate than relying on available capacity, because that rises and falls as government guidance changes.
2. It requires less administration and provides income for start-up costs, unlike a model based on ticket sales.
3. There is no regional disparity and bias between types of performance.

In addition, a cultural exemption on VAT for all tickets in both the commercial and non-commercial sector would maximise the impact of the grants and build on the success of the previous reduction in VAT – from 20% to 5% until January 12 2021. This would not just benefit to musicians but would also contribute to the well-being of communities that they work in.

The proposal would rebuild audience confidence for attending live events and keep the industry ready for a full return once all safety restrictions are removed at the end of the current crisis. Its success would depend on an accessible and efficient application system as well as the payment of grants even if government guidance changes at short-notice at either a national or local level. We anticipate that the Arts Councils in England, Wales and Northern Ireland together with Creative Scotland will be best-placed to manage the grant-making. Naturally, the scheme would need to be updated regularly in response to the ever-changing situation and would be funded by new government spending.

Mind the Gap receives vital grant from Government’s £1.57bn Culture Recovery Fund

Bradford’s Mind the Gap has been awarded £150,000 as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future, the Culture Secretary has announced today.

Mind the Gap is one of 1,385 cultural and creative organisations across the country receiving urgently needed support. £257 million of investment has been announced today as part of the very first round of the Culture Recovery Fund grants programme being administered by Arts Council England. Further rounds of funding in the cultural and heritage sector are due to be announced over the coming weeks.

Mind the Gap is one of Europe’s leading companies that creates live performance experiences with learning-disabled artists taking centre stage. This DCMS grant funding will ensure the company can continue to develop its work, and explore new digital technology and film opportunities, so that learning-disabled artists can play their role in England’s cultural recovery.

It will be invested in new artistic activity including film outputs and broadcast that build on the success of recent live touring productions like ‘a little space’, which was co-produced with internationally renowned physical theatre company Gecko. It will also enable Mind the Gap to explore new projects and ways of working, including a family show in collaboration with fellow Bradford company 509 Arts. The majority of this investment will be used to support the involvement of freelance artist practitioners and small organisations, who are particularly vulnerable to the impacts of the Covid-19 pandemic on the arts and cultural sector.

Culture Secretary Oliver Dowden said:

“This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery. 

“These places and projects are cultural beacons the length and breadth of the country. This unprecedented investment in the arts is proof this government is here for culture, with further support to come in the days and weeks ahead so that the culture sector can bounce back strongly.”

Chair, Arts Council England, Sir Nicholas Serota, said:

“Theatres, museums, galleries, dance companies and music venues bring joy to people and life to our cities, towns and villages. This life-changing funding will save thousands of cultural spaces loved by local communities and international audiences. Further funding is still to be announced and we are working hard to support our sector during these challenging times.”

Julia Skelton, Mind the Gap’s Executive Director said:

“Mind the Gap is delighted to be awarded this vital DCMS grant funding totalling £150,000. Our sector has been badly affected by the impacts of the pandemic and we recognise that we are privileged to have been awarded a share of the Culture Recovery Fund.  We will ensure that this is invested in targeted ways so that it benefits learning-disabled artists and their work for the long-term as well as tackling immediate priorities. Our plans are particularly focused on creative activities within our home base of Bradford, including new innovations using digital technologies, and supporting freelance artists and small organisations who face particular challenges right now.”

LAMBERT JACKSON PRODUCTIONS AND THE LONDON COLISEUM ANNOUNCE VIRTUAL PRODUCTION OF [TITLE OF SHOW]

Lambert Jackson Productions and the London Coliseum today announce a virtual production of Tony-nominated musical [Title of Show], filmed and edited at the London Coliseum in their Chorus Rehearsal Room, and available to stream on 12, 13 and 14 November. Josh Seymour directs Marc Elliot (Jeff), Tyrone Huntley (Hunter), Lucie Jones (Heidi), and Jenna Russell (Susan), with musical direction from Ben Ferguson.

Jeff and Hunter, two self-confessed nobodies in New York, make a pact: they will write an original musical and submit it to the New York Musical Theatre Festival. The only catch? The deadline is in three weeks! They’re joined by their two actress friends, Susan and Heidi and their music director, Larry but they hit another roadblock… What should they write about? They decide it’s best to “write what you know,” and set off on a unique musical adventure: writing a musical about writing a musical. As the deadline looms, insecurities creep in and jealousies flare. Will the team succeed with their musical? Could it even win a Tony?! 

Jamie Lambert and Eliza Jackson, CEO and Creative Director of Lambert Jackson Productions, today said: “We are so excited to bring this Tony Award-nominated show to the UK and stream it in partnership with the London Coliseum – what a phenomenal cast and creative team! We are determined to keep bringing theatre to audiences during this very scary and difficult time, and our streamed projects have had such a wonderful impact throughout 2020 that we want to carry on producing them for audiences across the world.” 

Tickets for the streamed performances are available at https://londoncoliseum.org/whats-on/title-of-show/  

Marc Elliott plays Jeff. His previous theatre credits include City of Angels (Donmar Warehouse, Garrick Theatre), The Girl on the Train (Duke of York’s Theatre), Macbeth (Sam Wanamker Playhouse), Sweet Charity (Nottingham Playhouse), The Big I Am, Othello, Paint Your Wagon (Liverpool Everyman), Into the Woods (Manchester Royal Exchange), Urinetown (The Other Palace, Apollo Theatre), NT50 (National Theatre), Tape (Trafalgar Studios), The History Boys (National Theatre, Wyndham’s Theatre), and Lord of the Flies, Macbeth, The Winter’s Tale, Julius Caesar (RSC). For television, his credits include Syed Masood in EastEnders, The Invisibles, M.I. High, Lewis, and Mile High.

Tyrone Huntley plays Hunter. His previous theatre credits include The View Upstairs (Soho Theatre), Leave to Remain (Lyric Hammersmith), 21 Chump Street (Courtyard Theatre), Homos, Or Everyone in America (Finborough Theatre), A Midsummer Night’s Dream (Watermill Theatre – Ian Charleson Award nomination), Angry (Southwark Playhouse), Dreamgirls (Savoy Theatre), Jesus Christ Superstar (Regent’s Park Open Air Theatre – Olivier Award nomination for Best Actor in a Musical, Evening Standard Theatre Award for Emerging Talent), Memphis (Shaftesbury Theatre), Porgy and Bess (Regent’s Park Open Air Theatre), Hairspray (Leicester Curve), and The Book of Mormon (Prince of Wales Theatre).

Lucie Jones plays Martha. Her previous theatre credits include Waitress (Adelphi Theatre), A Christmas Carol (Lyceum Theatre), Girlfriends (Bishopsgate Institute), Legally Blonde, The Wedding Singer (UK tour), RENT The Musical (The Other Palace, UK tour), American Psycho (Almeida Theatre), We Will Rock You, Ghost: The Musical (international tour), The Prodigals (Edinburgh Festival Fringe), and Les Miserables (Queen’s Theatre).

Jenna Russell plays Susan. Her previous theatre credits for the Menier Chocolate Factory include include Merrily We Roll Along (also Harold Pinter Theatre – Olivier Award nomination for Best Actress in a Musical) and Sunday in the Park With George (Wyndham’s Theatre – Olivier Award for Best Actress in a Musical; and Studio 54, Roundabout Theater Company – Drama League Award, and Tony Award and Drama Desk nominations for Leading Actress in a Musical) and The Bridges of Madison County. Other theatre work includes Fun Home (Young Vic), Doctor Faustus (Duke of York’s Theatre), Grey Gardens (Southwark Playhouse), Peter Pan the Musical (Royal Festival Hall), Songs for a New World (St James’ Theatre), Di and Viv and Rose (Vaudeville Theatre), Urinetown (St James’ Theatre and Apollo Theatre), Soho Cinders (Soho Theatre), That Day We Sang (MIF), Season’s Greetings (National Theatre), Amy’s View (Garrick Theatre), and Guys and Dolls (Piccadilly Theatre – Olivier Award nomination for Best Actress in a Musical). For television, her work includes as series regular Michelle Fowler in EastEnders, Call the Midwife, The Ladies Paradise, Better Class of Person and Born and Bred; and for film, The Death and Life of John F. Donovan, Mortdecai, Scared Hearts and The Fear.

Ben Ferguson plays Larry (The Musical Director). His recent Theatre credits include: Groundhog Day, Les Misérables (Wermland Opera), Adding Machine: A Musical (Finborough Theatre, OffWestEnd.com finalist for ‘Best Musical Direction’), Honeymoon In Vegas (London Palladium), A Night At The Oscars (Upstairs At The Gatehouse/Radlett Centre), Holy Crap! (King’s Head Theatre, also arrangements and orchestrations), How To Succeed In Business Without Really Trying (Wilton’s Music Hall), Heart of Winter (Tristan Bates Theatre), Strålande, Miss Foster! (Smålands Musik och Teater, Sweden), West Side Story, Ragtime, Bishopsgate Christmas Cracker (Bishopsgate Institute) Company (Royal Academy of Music), Urinetown (Mountview Academy) and The Pajama Game (Urdang Academy). For television, his work includes Friday Night Is Music Night – Christmas Special.

Josh Seymour directs. He was the Runner-Up for the RTST Sir Peter Hall Director Award in 2018, and was Resident Assistant Director at the Donmar Warehouse from 2014-15. His previous directing credits for the stage include Musik (Assembly Rooms Edinburgh, Leicester Square Theatre), Adding Machine: A Musical (Finborough Theatre), Loserville (Stafford Gatehouse), and One Arm (Southwark Playhouse). As an Associate Director, his credits include A Christmas Carol (The Old Vic), Follies (National Theatre), Red (Wyndham’s Theatre), Beautiful – The Carol King Musical (Aldywch Theatre), and My Night with Reg (Apollo Theatre).

53TWO RECEIVES LIFELINE GRANT FROM GOVERNMENT’S £1.57BN CULTURE RECOVERY FUND

53two has been awarded a life-saving grant as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future, the Culture Secretary has announced today

53two is one of 1,385 cultural and creative organisations across the country receiving urgently needed support. £257 million of investment has been announced today as part of the very first round of the Culture Recovery Fund grants programme being administered by Arts Council England. Further rounds of funding in the cultural and heritage sector are due to be announced over the coming weeks.

53two was established in 2016 and since, has become one of Manchester’s most exciting independent arts venues. Set to move into a new, permanent venue in September this year, their plans were halted due to the current pandemic. Nevertheless, they have continued to provide ‘Pay What You Can’ services, training and opportunities throughout the lockdown, ensuring that creatives were able to feel connected to the arts whatever their situation. Since March, 53two have struggled to stay afloat and were concerned about their imminent move to a new home in Manchester city centre. Whereas money for the capital build was secure, this grant has allowed them to survive and grow as a company, providing not just affordable, professional services, but also to ensure they can launch projects to commission writers, producers, stage-managers, technicians, designers etc from across the ten Greater Manchester boroughs, creating not just new work but new opportunities for those that might not usually have them. 53two will also help creatives from diverse backgrounds express their creativity and launch their careers with much-needed, paid work. This level of work will enable them to open the doors to their new premises in 2021 and provide a fully accessible ‘arts hub’ with equality, diversity and opportunity at it’s heart.

Culture Secretary Oliver Dowden said:

“This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery.

“These places and projects are cultural beacons the length and breadth of the country. This unprecedented investment in the arts is proof this government is here for culture, with further support to come in the days and weeks ahead so that the culture sector can bounce back strongly.”

Chair, Arts Council England, Sir Nicholas Serota, said:

“Theatres, museums, galleries, dance companies and music venues bring joy to people and life to our cities, towns and villages. This life-changing funding will save thousands of cultural spaces loved by local communities and international audiences. Further funding is still to be announced and we are working hard to support our sector during these challenging times.”

53two Artistic Director, Simon Naylor, said:

‘The past few months have been a difficult time for all within ‘The Arts’ representing just one of the hardest hit sectors. There is still a long way to go but this grant will not only ensure our survival, but will enable us to fully commit to our promise of growing and diversifying the company whilst continuing to provide essential training, professional services for creatives and exceptional productions both online and in our new home.’

Theatre Royal Bath receives lifeline grant from Government’s £1.57bn Culture Recovery Fund

Theatre Royal Bath has been awarded £955,192 as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future, the Culture Secretary has announced today.

Theatre Royal Bath is one of 1,385 cultural and creative organisations across the country receiving urgently needed support. £257 million of investment has been announced today as part of the very first round of the Culture Recovery Fund grants programme being administered by Arts Council England. Further rounds of funding in the cultural and heritage sector are due to be announced over the coming weeks.

Since closing its doors to the public in March, the Theatre Royal Bath is estimated to have lost over £1.5million, with the absence of audiences in Bath for the high quality touring productions and the hugely popular Summer Season. The closure of the West End also hit hard as the record-breaking production of Blithe Spirit had to close just one week into its scheduled twelve week run. Arts Council England funding and support from Innovate UK earlier in the year ensured that The Egg could continue with some innovative provision for outreach and educational activities, and this further funding will ensure that plans can continue for the Theatre’s socially-distanced Welcome Back Season which opens this week, and to continue to plan into 2021.

Culture Secretary Oliver Dowden said:

“This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery. 

“These places and projects are cultural beacons the length and breadth of the country. This unprecedented investment in the arts is proof this government is here for culture, with further support to come in the days and weeks ahead so that the culture sector can bounce back strongly.”

Chair, Arts Council England, Sir Nicholas Serota, said:

“Theatres, museums, galleries, dance companies and music venues bring joy to people and life to our cities, towns and villages. This life-changing funding will save thousands of cultural spaces loved by local communities and international audiences. Further funding is still to be announced and we are working hard to support our sector during these challenging times.”

Theatre Royal Bath Director, Danny Moar, said:

“We are thrilled to receive this news, especially in the week we open our Welcome Back Season after a seven month closure. This funding will help us keep our doors open into the Spring of 2021 and beyond. We are delighted that the importance of our work for the people of Bath and beyond has been recognised in this way”

Following the announcement of the first round allocation of the Culture Recovery Fund, I’m pleased to share a statement from Jon Morgan, director of Theatres Trust, who comments:

With £500m in grants to be divided across all artforms, we always knew that the Culture Recovery Fund would not be enough to support every organisation in need, that there would be winners and losers.

As the theatre sector has been particularly impacted by the pandemic, we are pleased to see that a good number of theatres have been successful in this first round and hope to see more funded in subsequent rounds. It is also welcome that it includes treasured local theatres and important theatres on the touring network.

However, there will also be many theatres that were unsuccessful and this news will have a terrible impact on those organisations, their staff, the artists they work with and the communities they serve. We had hoped that November would bring good news about when theatres might reopen fully, but with the Prime Minister’s announcement of a three-tier lockdown system that now looks unlikely.

There is still a real danger of more redundancies and ultimately losing theatres that add so much to their local areas, to people’s sense of place and to town centre economies.

Theatres Trust will do all it can to support theatres to navigate through the challenges ahead, through our advice service, seminars and grants programme. We are continuing to raise money to help theatres through the #SaveOurTheatres campaign with Crowdfunder.

THE TURBINE THEATRE RECEIVES LIFELINE GRANT

FROM GOVERNMENT’S £1.57BN CULTURE RECOVERY FUND

The Turbine Theatre has been awarded £90,000 as part of the Government’s £1.57 billion Culture Recovery Fund (CRF) to help face the challenges of the coronavirus pandemic and to ensure they have a sustainable future, the Culture Secretary has announced today.

The Turbine Theatre is one of 1,385 cultural and creative organisations across the country receiving urgently needed support. £257 million of investment has been announced today as part of the very first round of the Culture Recovery Fund grants programme being administered by Arts Council England. Further rounds of funding in the cultural and heritage sector are due to be announced over the coming weeks.

Founded in August 2019, new energy drives everything at The Turbine Theatre, from festivals of brand-new works, world premieres of new productions and classic stories reimagined for contemporary audiences.

​

Every story is a journey and The Turbine Theatre aims to be just the first stage for every idea, risk and labour of love that is brought to life in this electric new environment.

Paul Taylor Mills, Artistic Director, The Turbine Theatre said:

“The events of the last year have been life-changing for those working within the theatre industry. At The Turbine Theatre we’ve tried to be as resilient as we can be but the challenges of the last 7 months have been unfathomable. Over this time we’ve continued to entertain audiences through our outdoor festival, we’ve employed a variety of freelancers to work on our shows and still programmed emerging talent. Furthermore, we’ve raised over £60,000 through our #FundForFreelancers support fund. 

The support from the Cultural Recovery Fund will allow us to retain staff, continue to promote new musicals / artists and ensure we’re able to hit the ground running for when we’re finally able to open our doors. I’m desperate that this will be sooner rather than later.

Theatre remains an important part of so many people’s lives and not just the people who work within the industry. Its value to the economy and indeed the health and wellbeing of those that call this great country home should never be under estimated. I’m honoured that we’ve been chosen as one of the organisations trusted to get us back to a vibrant and meaningful future for the arts.”

Culture Secretary Oliver Dowden said:

“This funding is a vital boost for the theatres, music venues, museums and cultural organisations that form the soul of our nation. It will protect these special places, save jobs and help the culture sector’s recovery. 

“These places and projects are cultural beacons the length and breadth of the country. This unprecedented investment in the arts is proof this government is here for culture, with further support to come in the days and weeks ahead so that the culture sector can bounce back strongly.”

Chair, Arts Council England, Sir Nicholas Serota, said:

“Theatres, museums, galleries, dance companies and music venues bring joy to people and life to our cities, towns and villages. This life-changing funding will save thousands of cultural spaces loved by local communities and international audiences. Further funding is still to be announced and we are working hard to support our sector during these challenging times.”

MIZ ROCKS AGAIN!

LAST YEAR’S SENSATIONAL SELL-OUT

L E S   M I S É R A B L E S  –  T H E   S T A G E D   C O N C E R T

RETURNS THIS CHRISTMAS TO THE WEST END AT THE SONDHEIM THEATRE

5 DECEMBER 2020 FOR SIX WEEKS ONLY

MICHAEL BALL, ALFIE BOE, CARRIE HOPE FLETCHER AND MATT LUCAS

LEAD A COMPANY OF OVER 50 ACTORS AND MUSICIANS

WWW.LESMIS.COM

Cameron Mackintosh today (12 October 2020) officially confirms the return of Les Misérables –The Staged Concert for a six-week limited run at the Sondheim Theatre from 5 December 2020 – 17 January 2021 to coincide with the musical’s 35^th year on Shaftesbury Avenue and following Saturday night’s spectacular musical extravaganza on Britain’s Got Talent. 

With a reduced seating capacity of 750, Covid safety measures and social distancing are in place front of house, on stage, backstage and throughout the building. Tickets go on sale at 12noon on 13 October 2020 for priority booking and general on sale at 12noon on 14 October 2020.  The cast for this six-week run will include Michael Ball as Javert, Alfie Boe as Jean Valjean, Carrie Hope Fletcher as Fantine and Matt Lucas as Thénardier. At certain performances John Owen-Jones will again play the role of Jean Valjean.

Cameron Mackintosh with First Night Records and Warner Music this week announced that Les Misérables –The Staged Concert cast recording is now available to pre-order at https://LesMiserables.lnk.to/TheStagedConcert for a release on 20 November 2020.  Recorded at the Gielgud Theatre last year with the same all-star cast the DVD is now also available to pre-order at https://LesMiserables.lnk.to/TheStagedConcert

The critically acclaimed new production of Les Misérables which opened in January of this year will hopefully re-open at the Sondheim Theatre sometime in the Spring as soon as the Government has withdrawn social distancing and reached Stage 5 allowing full capacity audiences.

Statement from Cameron Mackintosh

“Seven months on from the enforced closure of our theatres, one of Britain’s most successful world beating industries faces being decimated, with the desperate loss of thousands of jobs.  The future of our cultural heritage hangs in the balance while the Government battles to find the best way out of this crisis.  Like so many people, I want to go back to work.

The Chancellor has said we need to live with this virus without fear and as a theatre producer and theatre owner that is exactly how I and my colleagues feel – the show must go on – but safely for both audiences and everyone onstage as well as backstage.  Time to grab the masks of comedy and tragedy once more!

The only show of mine that I can consider opening at this time is the hugely successful all-star staged concert of Les Misérables which I produced last year for a sell-out 16 week run at the Gielgud Theatre. 

As the production exists it will only require slight re-staging to play safely with social distancing both on stage and throughout the auditorium.  Our priority is always that our companies and audiences are in a safe, healthy environment so they can fully enjoy a wonderful show in a beautiful theatre. 

To comply with regulations the theatre’s capacity has to be reduced to just over 750 seats.  The authors and theatre have waived their royalties and rent to give the show a chance to break even and our leading artists have all agreed to work for appreciably less than their normal salaries.   With such a big spectacular show it is a risk, but with manageable production costs and a short run it is not a catastrophic one. 

It is encouraging to see flickers of theatrical life again both in the West End and the subsidised theatre.  Most of the recently opened productions have been selling out their reduced capacities despite the ever changing and confusing public messaging.

Of course as Producer of the fully staged version of Les Misérables which brilliantly reopened the Sondheim at the beginning of the year, I am hugely concerned for that wonderful cast to start performing again as I am for my other great companies and productions of Hamilton, The Phantom of the Opera and Mary Poppins.  As an industry we are all crying out for certainty and a date when the major productions that cannot operate viably with any social distancing can plan to return.  Realistically this can’t happen before next spring due to the Government’s current ever-changing and confusing guidelines and the practical time we need to get these big productions back up.  We also require a commitment from the Government to underwrite Covid insurance without which major long running shows will find it almost impossible to take the risk of reopening. Remounting these shows will cost several millions each and we will only be able to have one go at this if the industry is to survive. 

With several shows now being announced, the West End is determined that theatregoers can look forward to Christmas in the traditional way with at least a handful of great shows.  However, this is just a warm-up allowing us to flex our atrophied artistic muscles in preparation for the whole of UK theatre hopefully returning from next Spring.  In December, Michael Harrison is also bringing his star-studded Pantoland Christmas show to the Palladium for a short season – guaranteed to make you collapse with laughter. The Play That Goes Wrong will be doing everything right at the Duchess Theatre, Six will be knocking them for six at the neighbouring Lyric Theatre and next door Everybody’s  still Talking About Jamie at the Apollo Theatre – all of us hopefully helping to bring much needed crowds back to the West End’s bars, restaurants and hotels.

It is time to tear down the barricades and let tomorrow come.  The beautiful new Sondheim Theatre will re-open its doors so audiences can once again leap to their feet thrilled by Hugo’s timelessly uplifting story of the survival of the human spirit told through Boublil and Schönberg’s amazing iconic score – Let The People Sing.  Happy Christmas to us all.”

Cameron Mackintosh’s production of Les Misérables is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel with additional material by James Fenton and adaptation by Trevor Nunn and John Caird.

Les Misérables -The Staged Concert is being staged without any financial help from the Culture Recovery Fund or the National Lottery.

LISTINGS INFORMATION

Theatre:                    Sondheim Theatre, Shaftesbury Avenue, London, W1D 6BA

Dates:                       5 December 2020 – 17 January 2021

Website:                    www.lesmis.com

ITV’S BRITAIN’S GOT TALENT LINK