Month: October 2020

West End talents unite to create ‘Hush’

–       Performers from the Royal Ballet and Les Misérables combine their skills for new original song and dance film

–       ‘Hush’ aims to highlight the mental health challenges many face as a result of lockdown 

London, UK, 15 October 2020: Performers from across West End theatre and the Royal Ballet have come together to make a new original song and accompanying dance film. Entitled ‘Hush’, the piece aims to highlight the importance of positive mental health during the coronavirus pandemic and to raise awareness of the brilliance of the UK’s performing arts at a time of mounting concern for the sector.

The pandemic has created incredible challenges for society at large, causing an increase in anxiety and sharp rise in people reporting mental health issues. ‘Hush’ intends to draw attention to the need for many to seek out peace and calm against a backdrop of ongoing uncertainty and noise.

‘Hush’ was written by musical theatre composer/lyricist Kath Haling with additional musical arrangement by Harry Haden-Brown, and vocals provided by West End performer Leo Miles (Phantom of the Opera, Les Misérables). Choreographed by Erico Montes, former First Artist of the Royal Ballet, the film features dancers from the Royal Ballet including Benjamin Ella, Harry Churches and Giacomo Rovero, who perform together for the first time since lockdown began.

‘Hush’ songwriter Kath Haling commented, “2020 has been an extremely chaotic and challenging year with many people feeling anxious about factors beyond their control. Add to this the noise from social media and pressure of so-called ‘toxic-productivity’, there is little respite from what can all-too-often feel like a tsunami of pressure and negativity. The idea for ‘Hush’ came from a need to find peace and quiet in amongst the overwhelming ‘noise’ felt by many during lockdown.”

Haling continued, “We wanted to help people remember that no matter how chaotic and overwhelming things can feel, we have the power within ourselves to take a moment, sit still and breathe. ‘Hush’ is about the understanding that finding that sense of peace is never out of our reach.”

The UK is a creative and cultural powerhouse, with British theatre, film and music a vital part of the nation’s soft power. However, the coronavirus pandemic has had a catastrophic effect on the performing arts sector, which is on the brink of collapse due to the extended closure of venues and performers isolated from each other. ‘Hush’ provided an opportunity for the team involved to be united and perform together once more. 

Choreographer Erico Montes commented, “After months of doing ballet classes alone in my living room, it was very special to work again with fellow dancers and performers. I was inspired by Kath’s lyrics which talk about a yearning for space as well as physical and mental freedom – something we can all relate to, most especially during lockdown.”

‘Hush’ can be viewed online at https://youtu.be/OZl5D9mj-uY

With this work, the team behind‘Hush’would like to support Acting for Others, an organisation who provide financial and emotional support to industry workers in times of need, through 14 member charities. Those who feel able to do so, can donate here: www.actingforothers.co.uk.

‘Hush’ Full Credits

• Music & Lyrics by Kath Haling
• Piano and Arrangement by Harry Haden-Brown
• Vocals by Leo Miles
• Song Mastering by Andrew Furze
• Choreography by Erico Montes
• Ballet Dancers: Benjamin Ella, Harry Churches & Giacomo Rovero
• Filmed & Edited by Peter Saunders
• Behind the scenes stills Photography by Kate Scott
• Rehearsal and performance space provided by Cre8 Studios/Stour Space Hackney

ST HELENS THEATRE ROYAL SUCCESSFUL IN COVID-19 RECOVERY GRANT BID

St Helens Theatre Royal have been successful in their bid for funds from the Government’s £1.57 billion Covid-19 Culture Recovery Fund.

The news was announced as part of the first round of the Culture Recovery Funds grants programme administered by Arts Council England.

The grant will support the venue over the coming months with the on-going challenges due to the Coronavirus pandemic – allowing the theatre to open for socially distanced performances, as well as improve facilities at the venue.

Theatre Manager Chantelle Nolan said: “We are absolutely delighted to be awarded funds as part of the Government’s Cultural Recovery Fund. This will ensure we can continue to serve the local community and secure our future.

“These funds will be invaluable towards securing job retention, enable us to open social distanced performances, present our annual pantomime and make improvements at the venue and improve access facilities.

“We cannot wait to open our theatre doors again and look forward to welcoming audiences back where they can expect the same world-class entertainment that St Helens Theatre Royal is renowned for.”

The theatre’s annual festive Christmas Covid-secure pantomime production is on sale now – Regal Entertainments’ enchanting tale of Beauty and the Beast will be entertaining audiences from Friday 11 December 2020 – Sunday 3 January 2021.

St Helens Theatre Royal will be fully adhering to social distancing measures and Government guidelines to ensure the safety of theatregoers, venue staff, cast and crew.

Covid-secure safety measures being implemented include reduced capacity auditorium, temperature checks, the wearing of face masks, deep cleaning, and pre-order drinks and confectionery.

For more information please visit www.sthelenstheatreroyal.com

Follow St Helens Theatre Royal on social media channels: 

Facebook: www.facebook.com/St-Helens-Theatre-Royal 

Twitter: @TheatreRoyalStH 

Instagram: @TheatreRoyalStH  

LISTING DETAILS 

Regal Entertainments Ltd Present: Beauty And The Beast 

Dates: Friday 11 December 2020 – Sunday 3 January 2021 

Tickets: From £14* 

*All prices are inclusive of a £1 per seat booking fee. Online bookings are subject to an additional 50p per seat on-line processing fee. 

CONTACT 

Due to the Coronavirus, St Helens Theatre Royal Box Office is closed for in-person bookings. Telephone bookings can be made by calling 01744 756000 between 10am and 2pm on Monday, Wednesday and Fridays. Online bookings are available at www.sthelenstheatreroyal.com or email the Box Office on [email protected] 

BLACKEYED THEATRE 

ANNOUNCE THE RETURN OF THEIR TOURING PRODUCTION OF 

JANE EYRE 

WILL BE PERFORMED FOR TWO PERFORMANCES ONLY 

AT THE WILDE THEATRE IN BRACKNELL

Blackeyed Theatre are thrilled to announce their acclaimed production of Jane Eyre, which was forced to close on 16 March 2020 as a result of COVID-19, returns to the stage for two public performances on Tuesday 3 and Wednesday 4 November 2020 at the Wilde Theatre in Bracknell. The production will subsequently be available to stream on demand throughout the autumn. 

Seen by over 19,000 people in 40 towns and cities across the UK, Jane Eyre had thirteen weeks of performances left, including a month in China, when the closure of theatres left thousands of ticket-holders disappointed. But for just two nights, socially-distanced audiences will be able to enjoy the production described as‘a triumph’ (Susan Elkin, Sardines Magazine), and gives the actors their final curtain, which the pandemic denied them. For those unable to see the live show the performance will be filmed and available on demand throughout autumn. 

Last month Blackeyed Theatre successfully live-streamed their production ofThe Strange Case of Dr Jekyll & Mr Hyde to audiences’ homes all over the UK, whilst performing the show to a socially-distanced audience at the Wilde Theatre. The performance will be available on demand soon. 

Artistic Director of Blackeyed Theatre and Director of Jane Eyre Adrian McDougall said: 

“Bringing Jane Eyre back to the stage at such a precarious time for the theatre industry is an important step for us. There’s a real hunger among the cast and artistic team to get back to what we love doing, and among audiences for that shared live experience. We achieved it in September with Jekyll & Hyde and the feeling was extraordinary. It shows what can be achieved and the benefits to artists, audiences and venues. Investing in people by continuing to create in a sustainable way is more important now than it’s ever been. As an industry we all share that responsibility, because without the individuals who create the work, we’re nothing.” 

The performance of Jane Eyre features Kelsey Short, Ben Warwick, Camilla Simson, Eleanor Toms and Oliver Hamilton. Adapted for the stage from Charlotte Brontë’s novel by Nick Lane, the production features original music by George Jennings. It is directed by Adrian McDougall, with musical direction by Ellie Verkerk, movement direction by Sammy Fonfe, and fight and intimacy direction by Enric Ortuño.Lucy Fennell (Assistant Director),Victoria Spearing (Set Designer), Alan Valentine (Lighting Designer), Naomi Gibbs (Costume Designer) and Benjamin Smith (Technical Stage Manager) complete the artistic team. 

Jane Eyreis produced by Blackeyed Theatre in association with South Hill Park Arts Centre. 

NATIONAL THEATRE ANNOUNCES NEW ASSOCIATES AND PETER HALL BURSARY RECIPIENTS 

The National Theatre announced today that Rufus Norris, NT Director and Joint Chief Executive, has invited Ola Animashawun and Clint Dyer to join as Associates of the National Theatre.  

In addition, The Peter Hall Bursary has been expanded to support three new artists. The directors who have been invited to receive this fund are Ned Bennett, Ola Ince and Nancy Medina and they will be supported by the NT for the next two years.   

Ola Animashawun, was previously the founder and Head of the Royal Court Young Writers Programme, where he was also an Associate. Ola will work at Associate level in both Learning and the New Work Department at the NT, as well as continuing in his role as Connections Dramaturg which he has held since 2018.  In this new position he will work cross organisationally towards racial equity and increased representation both in the work presented on stage and at all levels in the NT’s workforce.   

Ola is joined by Clint Dyer who becomes an NT Associate following playing ‘Cutler’ in the NTs Olivier winning production of Ma Rainey’s Black Bottom, the success of Death of England and the programming of Death of England: Delroy, which will open in the Olivier theatre later this month. In this role Clint will work closely with Rufus Norris and the Senior Artistic team and together with the Associates will advise on programming decisions. He will also continue to act and write and direct his own work. Clint Dyer’s Associate role is supported by the NT Foundation as a Peter Hall Bursary.    

The NT Associates are a group of leading artists, creatives and theatre makers who provide thought leadership and advisory input across all areas of the National Theatre’s artistic mission, galvanising change and providing fresh incisive perspectives on the decisions of the Director and Senior Managers. They take on special projects that they both initiate and at the request of the Director, as well as make their own work. 

The National Theatre is committed to supporting freelance artists and continuing to expand the pool of directors making work at the NT. Every two years The Peter Hall Bursary is awarded to an exceptionally talented director, providing them with the opportunity to develop their experience through an attachment at the NT. Previous recipients of this bursary include Emily Lim and Alexander Zeldin.  

This year the bursary has been expanded to support three directors, Ned Bennett, Ola Ince and Nancy Medina. These three new Bursaries are in recognition of these directors’ artistic merit and outstanding achievement in their body of work over the last five years, with the long-term aim of bringing their great talent onto the National Theatre’s stages for the benefit of our audiences.    

Each director will use the financial and artistic support to gain a greater understanding of the workings of the NT and be empowered and supported to develop work to direct at scale for the National Theatre’s stages.  NT Associate Lyndsey Turner will be working closely with all three directors in a mentor capacity and the two-year Bursary will support a period of artistic development and research, create a space for enquiry and the development of their own creative practice. 

Speaking about the bursaries Rufus Norris said, “At a pivotal moment in my career I was hugely fortunate in being awarded an Arts Foundation fellowship which gave me some crucial breathing space within a period where my artistic development was being hampered by an inability to simply pay my rent, a situation most freelancers will be very familiar with. That breathing space allowed me, for a year, to focus solely on my artistic work, and I am incredibly grateful to the National Theatre Foundation for their support in delivering something similar to these three exceptional directors. We will be making demands of them but with the sole aim to keep them growing creatively through this most challenging of times.” 

Camden People’s Theatre announces four ‘Outside the Box’ commissioned artists   Brand new commission for projects exploring ‘live’ in the era of closed theatres and social distancing  Announced in August, ‘Outside the Box’ supports R&D towards digital or live sharings in Autumn 2020/Spring 2021  Artists/companies commissioned are Pigfoot, John Akinde, Adam Welsh, and Anna Morrissey & Tristan Kajanus; plus two additional seed commissions due to high quality of submissions  Artists were selected by a panel including members of CPT’s local community and artists from marginalised backgrounds

In August 2020, Camden People’s Theatre announced its biggest ever round of commissions: now, it’s proud to announce the four artists selected for their Outside the Box commission. Bespoke to the Covid era, Outside the Box commissions are to develop larger-scale projects which are either live, virtual or both, and which explore what ‘live performance’ can be at a time of closed theatres. CPT also welcomed projects that communicate meaningfully – and promise exciting cultural encounters – with their local communities, themselves isolated in many cases by the Covid-19 pandemic. These commissions will support R&D towards a digital or live sharing in autumn 2020 or spring 2021. The judging panel comprised members of CPT’s local community and artists from marginalised backgrounds alongside members of the CPT team. 

The four artists and companies are: 

• Pigfoot, a multi-award winning, carbon-neutral theatre company dedicated to making collaborative theatre with and for those grappling with ecological crisis, led by Bea Udale-Smith and Hetty Hodgson. Pigfoot will be developing ‘HOT IN HERE: a carbon-neutral dance party’(working title) to explore Camden’s role in the global climate and ecological crisis. In 2018, a shocking 6.8% of adult deaths in Camden were attributable to air pollution. This new show is a co-creation led by interviews between young climate activists in Camden and those at the ‘frontline of the crisis’ across the globe. Pigfoot will create a ‘carbon-neutral dance party’, a hopeful and multidisciplinary piece of ‘protest theatre’ powered by the energy generated by the performers’ collective bodies.  
• John Akinde (also known as OSOM), who creates work that seeks to entertain, challenge and provoke thought. John was born and raised in East London, and carries with him a West African (Nigeria) heritage. MANDEM is both a campaign and a research and development project towards a web drama highlighting the current realities of prisoner experiences under Covid-19. John will curate a six-week campaign of podcast discussions and provocations with ex-prisoners and young men who have difficulties with the law. The MANDEM project will centre around mental health, identity and justice – culminating in a web drama, Belly of the Beast, to be showcased online. 
• Adam Welsh, a writer, performer and sound designer. His debut show There but for the grace of God (go I) was developed with CPT and ARC Stockton and most recently seen at Soho Theatre. No Futureis a multi-dimensional theatre project merging verbatim techniques and live cinema, and created with CPT’s local communities. The project will explore the theatricalisation of remote (dis)connection and the element of voyeurism implicit in entering people’s private spaces through a camera. It will deconstruct a night at the theatre and playfully put it back together, from a distance and in close up. ‘No Future’ investigates what theatre can be, what role it can play and whether we really need it. 
• Anna Morrissey and Tristan Kajanus, who present ‘North West’, a headphones-based audio artwork mixing recorded verbatim testimony with sound design and music. It documents the stories, testimonies and memories of the former students of North Westminster Community School, which stood in the Paddington Basin for 25 years before it was demolished in 2006. The site where nearly 40,000 comprehensive school students were once educated is now home to luxury flats worth up to £1.5m. There is almost nothing to testify to the school’s existence apart from a one-line entry on Wikipedia. Former students Anna and Tristan collaborate for the first time to make an artistic stand against the erasure of their personal history in the face of gentrification. Anna Morrissey has worked across theatre, opera and dance as a movement director and director. Her work has been shown on the West End, the National, the RSC, and the Royal Opera House, as well as many major regional venues and internationally. Tristan Kajanus is a DJ, producer and record store owner. He spent 10 years producing and hosting The Essential Guide for Radio Monaco, is a former music director for Vnitroblock, and is currently working as music director with Manifesto Market. 

Each company receives a £4,000 commission, £800 fund for professional development plus over £7,000 of in kind support, including rehearsal space and mentoring from CPT’s core team, included dedicated time with their Community Engagement Manager and Audience Development Officer.  

Because of the quality of the submissions, CPT has also granted an additional £1,000 seed commission to two companies: Knaive Theatre to develop a Zoom performance about the experience of Bangladeshi frontline workers during the pandemic, and Kill the Cat for a live streamed, office party-themed Christmas show produced by Turtle Key Arts. Kill the Cat’s Office Christmas Party is provisionally scheduled to live-stream from Dec 8 to 18; tickets to be released later this autumn. 

In addition to the Outside the Box commissions, nine Seed Commissions will be offered exclusively to artists from marginalised backgrounds for projects for digital presentation or working towards live performance when the sector starts to reopen. Finally, CPT will offer six places on their ten-week residency and peer network for early-career artists, Starting Blocks, which has been funded for the first time. At least three of the places will be offered to artists from marginalised groups.  

Artistic director Brian Logan said: “We’re thrilled to be working with four extraordinary artists on these supremely exciting new artworks. We were overwhelmed by the volume and quality of submissions, and are deeply indebted to the community panel who helped select such a diverse and timely roster of projects. At a time when audiences are often isolated and certainly starved of live performance, and when freelance practitioners are struggling to survive, it’s essential that organisations like ours support artists, right now, to make new work – work that brings people together, challenges orthodoxies and explores the times we’re living in. We’re grateful – particularly to our funders the Paul Hamlyn Foundation – to have the chance to do so, and can’t wait to see what our Outside the Box commissions bring into the world.” 

Founded 26 years ago, Camden People’s Theatre is one of Britain’s most influential studio theatres. Its mission is to champion different ways of thinking about the world by supporting emerging artists making adventurous theatre – particularly about issues that matter to people now. Its work is rooted in the communities of Camden and London. Through it, they celebrate the bold, the spirited and the unconventional.  

CPT is continuing to support artists at this difficult time, and is engaged in an ongoing delicate balancing act between its responsibilities to its artists and community, and its need to ensure its own long-term survival. If you are able to support their work with a one-off or regular donation please visit the ‘support us’ pages on our website.  

Twitter: @CamdenPT | Insta: @camdenpeoplestheatre | www.facebook.com/CamdenPeoplesTheatre 

Listings information 

Camden People’s Theatre, 58-60 Hampstead Road, London, NW1 2PY  

08444 77 1000 | www.cptheatre.co.uk 

www.cptheatre.co.uk | 020 7419 4841 

SPONSORED BY STERLING BANK & GOOGLE AFRICA

AKÉ FESTIVAL 2020

AFRICA’S LEADING INTERNATIONAL

ARTS AND BOOK FESTIVAL GOES DIGITAL

THURSDAY 22 – SUNDAY 25 OCTOBER 2020

Tickets available from 12pm West African Time, 12pm GMT, 10 September 2020 https://Akéfestival.org/

 THE BIGGEST COLLECTION OF BLACK VOICES ON AFRICAN SOIL

ABI DARÉ | AFUA HIRSCH | BLACKMAN AKÉEB KAREEM |

DEREK OWUSU | DESMOND COLE | DESMOND HALL | EMMA DABIRI | ESI EDUGYAN | FATOUMATA DAIWARA | JESSICA HORN |

KELECHI OKAFOR | LEBOGANG MASHILE | MARLON JAMES |

MONA ELTAHAWY | NNEDI OKORAFOR | NICOLE DENNIS-BENN | OKECHUKWU NZELU | PETINA GAPPAH |

SARA-JAYNE MAKWALA-KING | STELLA NYANZI | TAYARI JONES | TEMIE GIWA-TUBOSON | TOCHI ONYEBUCHI | VANESSA KISUULE | WOLE SOYINKA

LAGOS, NIGERIA, Monday 24 August 2020: Africa’s leading arts and book event Aké Festival will return Thursday 22 – Sunday 25 October with a free programme of 65 inspiring talks, workshops, panel discussions and performances from the most exciting voices across Africa and the African Diaspora.

Due to the global coronavirus crisis, Aké Festival will go digital for 2020. This online edition of the festival will be free to access by audiences all over the world, creating an important platform for the intellectually and culturally curious to tAké part in this celebration of black excellence, resilience and resistance.

Now in its eighth year, Aké Festival is world’s largest collection of African creative voices on African soil and hosts some of the most sought-after, innovative voices in black thought.

The theme for 2020 is ‘African Time’, in recognition of the global anti-racism movement that has gathered momentum and visibility in recent months. Audiences across the world are invited to join luminaries from contemporary fiction, non-fiction, poetry, film, theatre, music and visual arts in discussions about some of the most critical issues of our time, including race, gender, identity, equality and empathy.

Lola Shoneyin, Director & Founder, Aké Arts and Book Festival, said: “Our world has changed forever; the magnitude of recent world events cannot be ignored. In 1918, African nations were in the clutches of imperial forces that degraded our stories, culture, history, language and belief systems. More than a century later, the COVID-19 pandemic finds Africa struggling with the colonial hangover of poor leadership and a predatory global order. Now is the time for Africa to recalibrate and break the cycle of betrayal by those elected to lead. It may have come later than hoped for, but, for the children of Africa everywhere, this is African Time.”

FESTIVAL PROGRAMME

Over the course of the festival, attendees will be able to participate in 27 stimulating panel discussions, 20 author talks, storytelling sessions, 3 workshops, a concert, poetry performances, films and a stage play. Topics under discussion will range from intersectional feminism, blacktivism and colourism to the burgeoning post-COVID mental health crisis and decolonisation of black spaces. Panel discussion highlights include: Black Women Harnessing Anger for Social Change; Publishing While Black; Decolonising Feminism in Africa; Writing Queer, Writing Black; and Why African Needs Feminist Giants.

On the morning of Sunday 25 October, a cross-religion communion will be held with leaders and practitioners from multiple religions and beliefs including Christianity, Islam and indigenous Nigerian faiths. Together they will ask universal questions like ‘why are we here?’ from their own religious perspectives.

This year’s line-up of more than 130 authors, artists and creatives, includes:

·       American Tayari Jones, winner of the 2019 Women’s Prize for Fiction and New York Times best-selling author who will speak about her new novel Silver Sparrow;

·       Booker Prize-winning Jamaican author Marlon James who joins award-wining Nigerian-American science-fiction and fantasy author Nnedi Okorafor in a panel discussion titled ‘When African History Meets Futurism’;

·       Two-time Giller Prize-winning Canadian author Esi Edugyan will speak about her acclaimed work Washington Black;

·       Winner of African Literary Person of the Year 2016, Zimbabwean novelist Petina Gappah will speak about her novel Out of Darkness, Shining Light;

·       Tochi Onyebuchi, American author of the urgent – and somewhat prescient – dystopian novel Riot Baby;

·       Nigerian-born Abi Daré, who will talk about her latest book Girl with the Louding Voice, awarded Amazon Best Book of the Year So Far in 2020 and New York Times best-seller;

·       British-South African Sara-Jayne Makwala-King, whose debut memoir Killing Karonline reflects on how her biracial identity was shaped by racism, colourism and Apartheid, will explore ‘Africa’s Isms: Colourism and Tribalism’;

·       Ugandan feminist and gay rights activist Stella Nyanzi, who was released from prison earlier this year after insulting the Ugandan President and remains a fierce and uncowed advocate for change will discuss ‘Why Africa Needs Feminist Giants’ with intersectional feminist Mona Eltahawy, Egyptian-American author of Headscarves and Hymens (2015)and The Seven Necessary Sins For Women and Girls (2019);

·       British writer and filmmAkér Afua Hirsch, who joins Irish-Nigerian author Emma Dabiri (Don’t Touch My Hair) andBritish actor Kelechi Okafor in a panel discussion titled ‘Black Women Harnessing Anger for Social Change’;

·       Best-selling Canadian journalist and author Desmond Cole who will lead a panel discussion on ‘Blacktivism Around The World’;

·       Jamaican Nicole Dennis-Benn, best-selling author of Here Comes The Sun and Patsy, who will explore the topic ‘Writing Queer, Writing Black’;

·       Ugandan-American founding member of the African Feminist Forum Jessica Horn, chair of the discussion Decolonising Feminism in Africa;

·       British author Derek Owusu, whowill talk about his acclaimed work That Reminds Me, which won the Desmond Elliot Prize for debut fiction;

·       Cambridge University alumnus Okechukwu Nzelu will discuss his debut book The Private Joys of Nnena Maloney; and

·       Founder and CEO of LifeBank, Africa’s healthcare supply chain, Nigerian-American Temie Giwa-Tuboson – who is celebrated for her innovative use of drones and speedboats to deliverurgently needed blood supplies – will draw on her decades of experience with the Department For International Development (DFID), World Health Organization, UNDP, and the Lagos State Government to answer the question: How Efficiently Can Technology Solve Africa’s Problems?

FILM, MUSIC AND VISUAL ARTS PROGRAMME

Beyond the world of literature, Aké Festival has an incredible programme of film, music, theatre and visual arts.

A new art project for 202 titled WS 20 for 20 will seeNobel Prize for Literature Laureate Wole Soyinka present 20 works from his astonishing collection of African antiquities, explaining their histories and personal significances. The contemporary art exhibition curated by Jessica Byenyan Bitrus, will adopt ‘African Time’ as its theme and feature artists from all over the world.

On Thursday 22 October, the new film ‘Elders Corner’ will be screened. Part of Sheffield Doc Fest 2020’s Official Selection, the film traces how Nigerian music – from the colourful, celebratory sounds of Juju music to the politicised urgency of Afrobeat – has spearheaded some of Africa’s most prominent musical movements and asks what has happened to these pioneers since their heydays?

On Friday 23 October, the Festival will be tAkén over by a music concert featuring some of Africa’s most celebrated artists, including Blackman Akéeb Kareem (sometimes described as the Mick Jagger of Africa),Malian BAFTA and Academy Award nominee Fatoumata Daiware, Falana, Beautiful Nubia, Urban Village, Maia and the Big Sky, Bab L’ Bluz, Akua Naru,  Joyce Olong and Christine Obiamalu.

The acclaimed new theatrical work Venus vs. Modernity will have its digital premiere on the evening of Saturday 24 October. Produced by poet, artist, and activist Lebogang Mashile, the play explores the life of Sara Baartman, aka the Hottentot Venus.

Sunday 25 October will be a celebration of poetry in all its forms, featuring the likes of the award-winning British slam poet and Bristol City Poet 2018-2020 Vanessa Kisuule in addition to Afurakan, Vangi Gantsho, Ola Elhassan, Yomi Sode, D’bi Anitafrika, Titilope Sonuga, Paul Ward, Jabir Malik, Poetra Asantewa and Ndukwe Onuoha.

Performer Collective Cher Lessons on How to Survive an Apocalypse 

“The only things to survive the apocalypse will be Cher and cockroaches” 

I Need to Cher are a collective of performers united by one thing – their love of Cher. Following their humble roots as a DIY club night in 2017, the circus, drag, comedy, dance and wrestling acts have stormed Latitude festival and had a successful run at Camden People’s Theatre.   

How to Survive the Cherpocalypse has undergone some revisions since it was first submitted to the Space for a run this Spring. Space Director, Adam Hemming explains, ‘We loved the sound of this and how a message of hope in dark times can come from unexpected quarters. When the actual apocalypse (or close to it) hit us, we asked I Need to Cher to come up with an online version of the show for our Locked Down, Looking Up ACE-funded programme. They came up with The Cherona Edit which was a brilliant way of bringing the show to our online audiences.’ 

The version presented at the Space will feature one Cher on stage with numerous others broadcasting into the venue. 

How does Cher remain so ageless and incredible? What wisdom can she bestow that will help us survive the next seven decades? The masterminds behind I Need to Cher, the world’s only feminist Cher-based cabaret collective are here to help you survive the Cherpocalypse. 

Join Cher* in her #Malibunker as she takes you through the story of her life, offering five key tips on how to live forever. Cher will prep you for believing in life after lockdown and working well into your 70s. Expect broadcasts from London’s finest performers; socially distanced audience participation – as well as an informative 75 slide presentation about Cher from Cher herself. 

You will leave strong enough to face anything that 2020 will throw at you. 

*For logistical reasons Cher will be represented by lovingly crafted Cher tribute acts 

View the trailer for How to Survive the Cherpocalypse  at https://space.org.uk/event/how-to-survive-the-cherpocalypse/ 

The performance details are:- 

 
How to Survive the Cherpocalypse 

23^rd-24^th October, 7:30pm 
Everyone knows the only thing left after the apocalypse will be cockroaches and Cher. But Why? Join Cher as she offers her life lessons on how to ensure your survival. 

The performance on 24^th October is also available via livestream.  
For more information, contact Adam Hemming at [email protected] 

Culture Recovery Fund misses major Leeds venue and throws up questions

An opinion from Jamie Hudson, CEO at Yeadon Town Hall

Yeadon Town Hall is a beautiful Victorian building, which now serves the community as both theatre and multipurpose venue. For many years local councillor; Ryk Downes with the community and in recent years; myself, have worked tirelessly to restore and maintain this fantastic asset. However, since March, income has drastically fallen by 95% due to the global Covid pandemic. Expectant of a bumper year, 2020 was to be a superb run of theatre shows, comedy, boxing, ballet, musicals – you name it and we had it.

Our survival between March to August was due to the money we had alongside the hospitality rates grant and an emergency grant from the Arts Council. However, the total of these 2 grants was only £55,000 which is 1/9 of our anticipated turnover for 2020. Through opening the Town Hall Tavern and running a monthly community market, we have just managed to cover all outgoing expenditure; nevertheless, like all old buildings, the Town Hall costs a significant amount of money to repair and maintain. We’ve had to adapt very quickly to survive.

In July the government announced that they would support Culture in England by distributing £1.57B in grants and loans to organisations through a ‘Culture Recovery Fund’. This news for many was the lifeline they needed to hear, as money would go to any type of organisation involved in UK culture. It gave the cultural community some inspiration to battle on and an unquestionable view that all culture would be supported. In August we submitted our application through the Arts Council platform where 6 questions were asked as part of the assessment. With the possibility of 350 word answers, I noted that this was very little detail for what effectively could be a £3M grant.

On Monday 12th October I logged onto the Arts Council platform to see if our bid to the Culture Recovery Fund had been successful. After several attempts of trying to log on, I finally read the generic letter to say that our application had been unsuccessful.

Extremely disappointed, I instantly felt let down and betrayed. How could our organisation, which helps and supports so many people in the community and represents the third largest theatre in Leeds (by capacity) not be seen as culturally significant?

Unfortunately, the ability to switch off from reading who had been successful in receiving grants was further hindered. The terms of receiving the grant requested beneficiaries “to acknowledge the funding publicly by crediting the Government’s Culture Recovery Fund.” Therefore the 1385 organsiations that received good news filled social media with their merriment. For me, this was a further kick in the teeth; to feel rejected then witness other theatres and venues similar to Yeadon Town Hall receive funds was even more heartbreaking.

At 1pm on Monday 12th, the Government and Arts Council released a list of those 1385 successful organisations including the amounts of money received. My first surprise was the range of organisations, from guitar shops to event crews, theatres to dance schools, sound companies to event organisers, bars and nightclubs – certainly all aspects of culture had been included. However; after scanning the list of successful candidates and looking at the amounts of money distributed, myself and others quickly started to ask questions.

Firstly there’s the lottery scenario. Why should company “A” in one town get funding, but company “B” from another town, (who do exactly the same thing), get no funding? For instance, Zig Zag Lighting LTD (a Leeds based, 35 year old lighting company) were rejected for £140,000 yet their competitor; Colour Sound received £373,000. This means that Colour Sound is now at an advantage against Zig Zag in the future as they have received state aid and therefore have greater financial resilience. Could the money not have been split equally so both companies benefited? Those that were successful won big time and those that failed were left with nothing. This feels completely unfair and unjust.

Secondly; there’s the amount of cash that was available versus the number of organisations that applied. We keep hearing the phrase “not all businesses can be saved” however in the case of saving culture, there should and could have been no excuse not to have supported the majority of the sector. The Arts Council have given away £500,000,000 (five hundred million pounds) in non repayable grants across England (only) on behalf of the DCMS. This excludes major organisations who could apply for a loan of £3M plus, which is in addition to the £500M grants and not forgetting the extended furlough scheme, rates relief, VAT relief on ticket sales and attractive government backed loans available to all. In the first round of funding, 1963 organisations applied, 1385 were successful and 578 were rejected. Whilst we don’t know of the results of Friday’s announcement (stage 2 applicants) it is expected that this round will equate to a further 1500 applicants. Surely, if monies had been fairly distributed, there would have been many more organisations supported across England.

Thirdly, one of the conditions of the grant was that organisations were invited to refill their savings accounts to ensure they had financial resilience to weather a future storm. The suggested amount was 10 weeks turnover (for us that would equate to £75,000, which we didn’t request). For many organisations, they would be extremely happy to make this amount of cash as net profit in an entire year, let alone during a pandemic. In essence the Arts Council have given away millions in surplus cash, as up to £150M could be sat in savings accounts of those successful grant recipients. Surely this is a complete waste of public money when so many other organisations are left with nothing and so urgently require funding now?

Fourthly, many bars and late night leisure venues have received funding. Starting at the top of successful applicants, Manchester bar operator Mission Mars, which received £1,000,000 are funded by a £10M investment from venture capitalist BGF group (a £2.3B fund.) Ministry of Sound (which received £975,468) showed a net loss on its balance sheet of £8M in 2018. Whilst there’s no denying that both are credible contributors to the cultural matrix of England, what financial due diligence has the Arts Council conducted to ensure that this public money is gifted to the most beneficial organisations to fuel cultural resilience and growth for the future? How confident is the Arts Council that this cash isn’t being used to service existing debt or repay short term loan notes plagued with extortionate interest?

Organisations to receive significant amounts of money should be made accountable as to how they contribute to culture in England and I believe this information should be made available publicly. For example, the £250,000 granted to a Meatloaf tribute show appears excessive.

Peterborough New Theatre, (which only opened in September 2019 and therefore traded for 6 months) has received £639,000, which likely is more than their turnover. The Liz Hobs Group LTD received £150,000, yet their sister company owes £300,000 to HMRC and £66,000 to the band ‘Steps’. Finally; London based ‘Secret Cinema’ received £977,000 and are linked to a £133M American private equity firm. Secret Cinemas holding company accounts show a reported loss of £2.9M in 2019. We were told only financially viable organisations were eligible to apply, yet the Arts Council have sent £977,000 to a private organisation that has failed to generate any revenue for the last 2 years. Are all these examples positive examples of UK culture and are these organisations worthy of public funds?

I firmly believe there was plenty of money available to split fairly between many more organisations and there was no excuse not to help a larger majority, even if some grants were significantly lower than requested. Every little helps. In my opinion, the DCMS money has been distributed unfairly by the Arts Council, and where it has been found to be distributed wrongly, it is unlikely to ever be recovered. I believe that the Arts Council was out of its depth to distribute this amount of money in the urgent time frame and with the unusual conditions set out by the government. I don’t believe they have the experience or resources to handle the large amount of applications or carry out adequate due diligence. Surely a few question boxes and some basic cash flow and management accounts can’t be all that’s required to receive £1M? Many organisations have been left high and dry by the Arts Council due to their inept ability to run the most basic of checks or operate with a pragmatic approach to help all.

Not only have the Arts Council and DCMS failed many cultural organisations, but they have also created an incredible divide of bitterness between those that received money and those that have not. What happens to the losers? Do they limp on or give up and retrain whilst those that did receive money prosper and know that their coffers are refilled? What about the mental health of the staff of these organisations that have been so wrongfully rejected? Where’s the followup email or offer of further support? Where’s the support for the 1000s of sole traders? In reality – it doesn’t exist.

Finally, I fundamentally believe that the Arts Council do have an opportunity and have a moral duty to correct and help those organisations that didn’t receive funding. They have to ensure they strictly monitor the grants they have given, recover money that may have been wrongfully administered and carefully audit how this precious public money is spent.

The Arts Council currently has an open £75M fund which they can again convert into an emergency fund, as they did in April. In doing so, they again could save many more cultural organisations like Yeadon Town Hall. However, to do this, they need to act fast.

Sources: ACE Data as published 12/10/2020 & HMRC Companies House

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www.TheComebackComedy.co.uk

Sonia Friedman Productions presents
 

THE COMEBACK

A new comedy by Ben Ashenden and Alex Owen 

• SONIA FRIEDMAN PRODUCTIONS ANNOUNCES A BRAND-NEW COMEDY FROM AWARD-WINNING DOUBLE ACT THE PIN (BEN ASHENDEN AND ALEX OWEN)  TO PLAY IN THE WEST END THIS CHRISTMAS
• HILARIOUS AND HEARTWARMING, THE COMEBACK DEPICTS THE BACKSTAGE TUSSLE OF TWO RIVAL COMEDY DUOS IN A DIZZYING CONTEMPORARY FARCE

• THE EDINBURGH FRINGE FAVOURITES BEHIND HIT RADIO 4 AND AUDIBLE SHOWS HAVE WON A HUGE TWITTER FOLLOWING DURING LOCKDOWN WITH A SERIES OF VIRAL ZOOM PARODIES

• A SURPRISE GUEST STAR WILL JOIN THE SHOW NIGHTLY

• TICKETS ARE NOW ON SALE FOR THE PRODUCTION, WHICH WILL TAKE PLACE UNDER SOCIAL DISTANCING GUIDELINES AT THE NOEL COWARD THEATRE FROM DECEMBER 8^TH – JANUARY 3rd. WWW.THECOMEBACKCOMEDY.CO.UK
• OVER 1,000 TICKETS A WEEK AVAILABLE AT £25 OR UNDER

The Comeback, a brilliantly original and hilarious new comedy, is set to delight all generations at the Noel Coward Theatre this December. This debut play from The Pin’s award-winning Ben Ashenden and Alex Owen – ‘destined to become one of the great comedy duos’ (Radio Times) – tells the story of two double acts fighting to wrest control of the most chaotic, farcical and high-stakes gig of their respective careers. Directed by Emily Burns, The Comeback will have audiences doubled over laughing and wiping a tear away at the end with its heart-warming exploration of bittersweet nostalgia and the enduring power of friendship. This show is a much needed dose of feel-good, dizzying escapism with real emotional heart, and a celebrity guest each night to boot.

Up-and-coming comics Alex and Ben have been booked in the warm-up spot for a beloved but fading double act’s comeback tour. Neither duo are delighted to be playing to a sparse crowd in a sleepy, seaside town, but when it’s revealed that a Hollywood director is in the audience, both acts glimpse a final chance for their big break. Cue sabotage, mistaken identity and full on farcical mayhem, as the performance descends into a desperate battle for the limelight. With the action alternating between offstage and on, and the tone between Noises Off and Morecambe and Wise’s old-school charm, this is a warm-hearted, joyful, and dazzlingly funny new comedy.

Each night Ashenden and Owen will be joined on stage by a surprise celebrity guest star playing a cameo role in the production. Details to be confirmed at a late date.

Previous praise for The Pin:
“Destined to become one of the great comedy duos” – Radio Times
“Exquisitely silly and very funny…makes you feel as though you might be hearing the next Mitchell and Webb” – The Times
“One of the most dazzling comedy shows in Edinburgh” ★★★★ Guardian
“I had a knot in my stomach from laughing so much” ★★★★ Times
“A very classy, very funny show indeed” ★★★★ Telegraph
“Will simply make you laugh your socks off” ★★★★ Evening Standard
“This absurdist deconstruction of the sketch show is masterful” ★★★★ Sunday Times
“A bulletproof nugget of comic theatre” Guardian

The production, which is the first produced by SFP since lockdown, will play at the Noel Coward Theatre. Audiences and company will observe social distancing guidelines and strict COVID-secure protocols. All practices will be following the most up-to-date government guidance and SOLT’s ‘See It Safely’ campaign.

Ben Ashenden and Alex Owen said: “After 8 years of lugging props between tiny venues, and 8 months of watching those props gather dust, we feel ridiculously excited and fortunate to be bringing a play to the West End. For it to have been developed with and presented by a producer of Sonia Friedman’s immense standing makes us very proud, and provides ample material for anxiety dreams in which hidden cameras are revealed and words like “prank” shouted. We hope to provide 90 minutes of silliness, escapism, and extremely well dusted props.” 

Sonia Friedman said: “I am absolutely thrilled to be announcing The Comeback as SFP’s return to the West End. I was excited about The Pin’s debut play long before lockdown, but after the year we’ve had, it feels like the perfect tonic. More than ever, we need the laughter and emotional connection of communal experience – and frankly, nothing provides that like live theatre. The Comeback delivers all that and much more.

It’s so heartening to see artists and audiences in theatres once again this Christmas. As theatre makers – performers and producers alike – we have a duty to do our bit to lift the nation’s spirits and nourish its soul. Theatre plays a critical role in maintaining our collective mental health. That’s why, even while theatres were forced to close, artists looked at other outlets to make and share work, on and offline. It’s why now, despite the ultra-tight financial pressures social distancing entails and against all the odds, we’re doing all we can to get shows back on stages. Audiences need live entertainment as much as we need them.

Make no mistake, though: theatre is not back in business. Having shuttered 18 productions worldwide seven months ago, all of which remain suspended, I cannot fully – let alone profitably – re-open my shows. As well as government go-ahead (even just a date), we’re still waiting for an insurance scheme to protect our profession in the months ahead. Producing shows this Christmas is a tightrope act, but The Comeback will go ahead – following approved Performing Arts working guidelines  – and so long as government restrictions allow.

Changed circumstances offer new opportunities – to introduce adventurous audiences to the most brilliant and inspiring new talent. That’s one of the best parts of my job, and The Pin are up there with the very best. 

Following in the footsteps of Britain’s comedy greats – Morecambe and Wise, Fry and Laurie, French and Saunders – they are going to light up the West End with a combination of laugh-out-loud slapstick, self-aware silliness and witty wordplay in the most heart-warming story of two friends following their dreams. This genius comedy shows just how precious live performance is and, as British theatre begins to build itself back up, becoming a frontline of the national recovery, The Comeback couldn’t be more timely. Theatre isn’t just for Christmas. This is just the start.”

Tickets for the production which will run at the Noel Coward Theatre from December 8^th – January 3rd and are now on sale. Please visit www.thecomebackcomedy.co.uk for full booking information.

Secretary of Culture, Media and Sport Oliver Dowden was questioned by DCMS this morning about the plan for creative industries and reopening of cultural venues. Theatres Trust Director Jon Morgan responds:

As highlighted by Julian Knight MP at the DCMS Committee hearing, it is evident that the new Job Support Scheme will not prevent mass redundancies in the theatre industry. Further sector-specific support is needed: jobs in theatre are still viable and vital.

With the recent rise in infection rates and local lockdowns, we appreciate that setting a ‘not before date’ for the full reopening of theatres without social distancing is challenging. We welcome Oliver Dowden’s commitment to continuing to work with the sector to agree minimum mitigating measures that will enable theatres to safely increase capacity.

Theatres are well placed to be at the heart of the country’s recovery, providing a much-needed reason for people to visit beleaguered town centres, boosting local and night-time economies. However, we need further investment in theatre from government both to ensure they survive the Covi-19 lockdown, and as part of wider infrastructure investment to protect valuable community facilities and revitalise our high streets.