The Lord Chamberlain’s Men announce Macbeth summer 2021 tour dates

The Lord Chamberlain’s Men announce Macbeth summer 2021 tour dates

As previously confirmed, The Lord Chamberlain’s Men, leading proponents of open air theatre return this summer with a thrilling and powerful production of Shakespeare’s Macbeth.

It can now be confirmed that the production will open in Salisbury on 4 June before embarking on a 14-week summer tour. The tour will call at more than 55 venues giving more than 60 performances with yet more venues and dates in the UK and mainland Europe still to be announced. The extensive summer tour will see the company perform in the gardens and grounds of some of the UK’s most significant, historically important and visually stunning castles, cathedrals and stately homes including; Chichester Cathedral (11 June), Hever Castle (13 June), Harewood House (17 June), Waddesdon Manor (24 June), Ham House and Garden (4 July), Chiswick House & Gardens (7 July), Norwich Cathedral (9 & 10 July), Chawton House (15 July), Tyntesfield (24 July), Kingston Lacy (29 July), Chatsworth (4 August), Morden Hall Park (13 & 14 August), East Riddlesden Hall (18 August) and Holkham Hall (25 August).

The 2021 tour will provide audiences with a highly anticipated return to live outdoor theatre and a kick start to the summer. There are performances at beautiful open air venues up and down the country. With venues from Yorkshire to Cornwall and with 7 performances in London there are plenty of opportunities to see one of the country’s leading open air theatre specialists with more than 15 years’ experience getting back to doing what they do best. Full tour dates and details are available via

This open air production is supported by Arts Council England’s Culture Recovery Fund and is ‘See it Safely’ compliant. The company will adhere to all government and industry COVID safety guidance relating to outdoor performance, ensuring every effort is made to protect audiences and company members at all times. For this unique theatrical experience, audiences are encouraged to bring a chair, a sun hat and a glass of something chilled as the show promises to be another authenticexcellent and magical treat from the company that brought you 2019’s sell-out smash production of A Midsummer Night’s Dream.

Acclaimed for their stylish and accessible productions The Lord Chamberlain’s Men have been wowing audiences throughout the country and internationally in their trademark style since 2004. Continually raising the bar for standards in open air theatre they have gone from strength to strength and now eagerly anticipate utilising that expertise to be at the vanguard of the theatre industry’s post-lockdown recovery this summer. 

With AuthenticityExcellence and Magic as the watchwords of the company, audiences new and old can expect a summer treat and a much sought-after return to theatre, as The Lord Chamberlain’s Men bring their own special brand of all male Shakespeare to venues throughout the country. Don’t miss this brilliant company perform Shakespeare as he first saw it; all male, in the open air and with Elizabethan costume, music and dance. 





Online showcasing platform Showcase 2020 has relaunched with a new name and new expanded platform, marking the one-year anniversary of their launch. Now called Showcase Base, the platform connects drama school graduates and the people who want to sign them, cast them, and work with them.

With a new name to reflect inclusion of 2021 graduates and beyond, Showcase Base expands the scope of online showcasing and the features it offers. Graduates are in control of what and how they showcase, plus new features mean they can flag their available regions and receive messages from Industry Professionals. For the first time Industry members can also join, allowing them to search graduates by available regions, create lists for projects and castings and contact graduates directly on the platform.

Co-founded by actors Olivia Beardsley and Isaac Stanmore initially as a response to the pandemic, it quickly became apparent to the pair the huge appetite for online showcasing and the benefits it provides. ‘Everyone kept saying “I can’t believe this doesn’t already exist”, said Beardsley. “So while we continued to run Showcase 2020 we began work behind the scenes to build a brand new, updated platform to incorporate all of our new ideas and to be able to introduce more features for everyone. That is Showcase Base – the online showcase.

While traditional showcases are on a specific day, at a specific time, in a specific place, by going online graduates can showcase 24/7. “And the brilliant thing”, added Stanmore, “is everyone benefits. Graduates are more available and easier to find, and the Industry have greater access with expanded tools. By making everyone’s job easier, we can get more graduates seen and signed and save people time and money in the process.

Beardsley went further. “Online showcasing is a chance to completely re-imagine how we find, cast and sign new talent in this industry.

Not just pandemic proof, online showcasing provides solutions to issues that have been around for a long time. Problems like availability, noted Stanmore. “If a casting director is in castings, or a director rehearsing, they simply can’t make an in person showcase. Plus with literally dozens of Showcases up and down the UK, the reality of an agent or casting director being able to see them all is simply unrealistic. By centralising all drama school showcases into one place, we make it easier than ever to see more graduates and discover talent you might have missed. It’s a constantly updating rolling database of new talent.

Industry have also been consulted on how best the site could serve them. “We spoke to Industry Professionals from every corner and country of the UK to help us get the right regions that they would use” said Beardsley. “Our Smart Regions allow the industry to find their local graduates regardless of where they are training in the UK, helping to de—centralise and aid regional casting in the industry.

The pair are also conscious of the landscape in which they launch. “It has been an enormous, challenging year for the arts, and we have always strived to help and do our bit. It’s the whole reason we set up Showcase 2020 originally. Reflecting the current world situation our monthly plans are just £2.99 for Graduates and £4.99 for Industry, with a 14-day free trial.

Graduates and Industry professionals should visit to get started with applications now open for 2021 graduates. Stanmore concluded “We are incredibly excited to get showcasing even more talent and helping connect the industry. The future of graduates deserves to be bright and we look forward to Showcase Base playing a part in that.

Lightbearers – a new initiative which aims to remedy some of the racial tensions that exist within schools

Lightpost Theatre Company, The Black Pounds Project
and Birmingham Repertory Theatre launch

a new initiative which aims to remedy some of the racial tensions
that exist within school environments 

Lightpost Theatre Company: credit – Kris Askey

Today, Lightpost Theatre Company, The Black Pounds Project and Titan Partnership, alongside Birmingham Repertory Theatre, have announced Lightbearers; a new initiative which aims to remedy some of the racial tensions that exist within school environments. 

Lightbearers will provide a series of workshops to be developed by Black mentors, working alongside teachers in mainstream schools to jointly articulate their experiences and create a strategy for change. Experienced drama and workshop facilitators will manage a series of workshops and, where applicable, use elements of performance to convey a message. 

Black and mixed heritage pupils have rates of permanent exclusion three times that of the student population as a whole. There are a multitude contributing factors to this disparity, including: staff being unaware of how microaggressions have a negative impact on culturally marginalised groups, the reinforcement of existing racial tensions; a lack of Black educators throughout the mainstream education system, from nursery to university level, so that Black children are not seeing themselves represented in environments where they spend the majority of time during key developmental years; add to this next to no representation of Black figures, history and culture across Humanities curriculums, affecting esteem, attainment and aspiration. 

The Lightbearers initiative aims to address the myriad of fundamental faults within the UK’s education system which act as a driver not just for exclusion, but also for the over representation of Black adults within mental health and criminal justice settings.  

CJ Lloyd Webley, Lightpost Theatre’s Lead Artist and creator of Lightbearers said; “The Lightbearers initiative will allow us to remedy some of the racial tensions that exist within school environments between staff and students. The issues that the Black community face are very specific – this project allows us to raise awareness as we begin to tackle some sensitive issues.  

“We will provide a space for staff to reflect on their own unconscious biases towards Black students in a safe space which will provide room for growth and transparency. Conducting anonymous surveys during sessions will allow staff to understand themselves and each other better without fear of judgement. We hope that Lightbearers will begin to be a catalyst for similar initiatives throughout our schools and begin to drastically needed change.” 

Lightpost Theatre Company is a company of young black men between the ages of 18-26 from across Birmingham and the West Midlands. The company seeks to actively challenge some of the social stigmas and ideas associated with young black men, using theatre as a gateway to create new plays of social and historical importance. For more information visit

Lightpost Theatre Company originated as part of Shifting the Dial – a programme that aims to improve the mental well-being of young men of African, Caribbean, or mixed African or Caribbean heritage. The Shifting the Dial Partnership is a unique collaboration comprised of The REP, First Class Legacy, Centre for Mental Health and Birmingham and Solihull Mental Health NHS Foundation Trust and is funded by the National Lottery Community Fund.  

The Black Pounds Project (BPP) was founded by CJ Lloyd Webley, CEO as a not-for-profit Community Interest Company. The Project was created in direct response to the growing number of Black business owners that are failing due to a lack of business acumen or understanding of due diligence requirements. Many have no awareness of services they can access or the free business support that is available to them. The Project’s aim is to provide relevant training in professional development for black-owned businesses in the West Midlands to have greater access to finance and business support. To find out more visit

Titan Partnership is an educational charity based in Birmingham. The wider partnership is made up of over thirty nursery, primary schools, secondary schools, colleges, universities and business partners. The needs of the inner city are the main driving force behind the Titan Partnership Ltd. Every member of Titan is committed to combating disadvantage, with a shared belief in the tremendous potential and cultural richness of the inner city. By showing businesses, parents and community groups that the inner city can offer a quality learning experience, Titan is helping to build confidence and strength in the area. For more information visit

If you are a practitioner, teacher or researcher interested in the Lightbearers project please email [email protected] for more information.  

Now Or Never Review

Barn Theatre At Home Streamed live 2 April


Reviewed by Claire Roderick

What would you do if the world was ending in 7 days? Matthew Harvey’s song cycle introduces seven characters and their reactions to impending doom. This may sound depressing, but Harvey’s creation is an uplifting and hopeful celebration of life.

Directed by Ryan Carter, the show is filmed in one shot with the camera operator moving through the corridors and stairs of the Barn Theatre to each performer. Opening with Matthew Harvey singing a fantastic upbeat number about finally fixing up an old motorbike and hitting the road – with a silent reveal about the bike’s legacy ramping up the emotions – we are then taken to Katie Shearman performing a more traditional musical theatre song full of wonderful comedy but eventually explaining her need to love and be loved as she takes the plunge and adopts a dog… or two.

Lucy St. Louis’s song is a stunner as she portrays the author of fantasy books about a powerful female warrior who is trying to find the words to write the perfect ending to give her character and herself peace and happiness. Courtney Stapleton and Eloise Davies’s sweet duet sees a couple who have been meticulously planning a trip realise that they have got caught up in the details and now just have to take a chance and go. The pace slows again with a beautiful song about lost love and regrets for lost opportunities performed with a haunting stillness by Irvine Iqbal before the camera takes us upstairs to Ahmed Hamad, dressed in official Zoom work outfit of business from the waist up. Even with the threat of the end of the world the mundane meetings continue and, after realising how much he has missed because of his dedication to his job, he finally bites the bullet and quits mid-meeting declaring there’s more to him than this.

The cast join together for the finale – full of hope and dignified defiance and building to a fabulous crescendo – it’s a showstopper and allows the fantastic vocals of the cast to blend and harmonise for the first time, creating something gorgeous and unbelievably emotive.

Hopefully, we’ll see more of Now Or Never in the future – its current form is perfect for these strange times, but I would love to be sitting in a full auditorium full of people sobbing after that finale.

A Midsummer Night’s Dream Review

Streamed live online 31 March


Reviewed by Claire Roderick

Produced as part of the SHAKE Festival, this rehearsed reading of A Midsummer Night’s Dream is a delight. Unlike the RSC’s Puck -inspired Dream, this is unashamedly low tech with just a change of lighting or simple backgrounds to suggest settings and characters.

The joy of a rehearsed reading is that the lack of bells and whistles ensures that the focus is entirely on the language and delivery, and under Jenny Caron Hall’s direction, this cast certainly delivers.

Dan Stevens is a calm but ruthless Theseus, laying down the law to Hermia and Lysander and setting in motion the misadventures in the woods. There are no histrionics from Stevens as the steely Oberon either, although the frustration as events spiral out of his control is portrayed expertly. Rebecca Hall is magical as Hippolyta and Titania – ethereal, but wonderfully animated in her reactions – especially as she watches the performance of Pyramus and Thisbe. The rude mechanicals are still funny without slapstick and lots of physical comedy (instead they all have comedy accents) – Luisa Omielan is a hoot as Bottom and Tim Fitzhigham as Flute producing some facial expressions that Marty Feldman would be proud of. Wendy Morgan’s Puck is a waspish treat, and the four lovers impress, with Barnaby Taylor (Lysander) and Louis Rudnicki (Demetrius) keeping the insipid male characters interesting, and Máiréad Tyers and Daniel Bowerbank excelling as the wonderful Hermia and Helena. Even without physical contact, the two manage to convey the fracturing and repair of their loving friendship beautifully.

This reading is an absolute joy – calm and measured, allowing Shakespeare’s words to drift over the audience like a dream.

Open Mic Review

Streaming Live 1 – 3 AprilBook via


Reviewed by Claire Roderick

Rob Drummond comperes an open mic evening live from the Soho Theatre directed by Richard Twyman, which can be watched as a live stream, or joined online as part of the audience in the room – seen on large screens around the room, with mannequins sitting at the tables in front of the stage.

Drummond quickly puts the audience and performers at ease, repeatedly assuring us that this is a place with no judgement, just do your best, as the show begins.

Seven people perform – mostly singers, but also a poet and a frantically funny stand up – and they are all warmly received, with the familiar glitches that come with online meetings ever-present but making the realisation that we’re together for this event more triumphant.

Drummond chats to each contributor about their experiences of lockdown, and the conversations soon tackle depression, drinking, and the damage that isolation does to mental health. Drummond always brings us back to a lighter tone, but there is an underlying melancholy to Drummond and the show that can’t be dismissed as the benefits of, and need for, touch and physical interaction are repeated.

As Drummond discusses his experiences and his one-off rule-breaking, the audience is asked to raise their hands if they broke the rules during lockdown – a few brave souls admit this.

It’s when the final performer, an older lady called Val, is introduced that things start coming together. A technical hiccup means that Drummond’s words are echoed and come back to haunt him, and as Val talks about her shielding and says that it’s not on to break the rules, Drummond’s compere finally reveals the guilt that he’s carrying. All the conversations with the other performers have fed into this, and it leaves you wondering if this was skilful interviewing, or the entire show is scripted. But that doesn’t really matter – the message that you just have to do your best without judgement that has been woven through the show hits just as hard either way.

Theatres Trust responds to latest round of Cultural Recovery Fund

Theatres Trust director Jon Morgan responds to the newest round of Cultural Recovery Funding:

Theatres Trust is pleased to see further support for theatres in England in the latest round of the Culture Recovery Fund. Theatres have had to remain closed for far longer than anyone could have anticipated so quite rightly, there are theatre organisations receiving additional grants in recognition of that.

Before the pandemic hit, theatres played an important role in communities everywhere. More than 34 million people attend theatres in the UK each year, generating £1.28bn in ticket revenue. It is crucial to the social, cultural and economic wellbeing of the country that our theatres survive this crisis and can contribute to its recovery. It is therefore important that theatres continue to receive support until they can reopen viably.

The Space press release

The Space theatre to receive £27,098 from second round of the Government’s Culture Recovery Fund 

The Space, on the Isle of Dogs, East London, is among over 2,700 organisations to receive funding from the £1.57 billion Culture Recovery Fund in the latest round.  

Like so many organisations, the Space had to furlough the majority of their staff back in April 2020. Despite this, the venue launched Locked Down, Looking Up, an online programme of new play readings, workshops and performances, thanks to funding from the Arts Council’s Emergency Grants.  

Further funding from the first round of the Cultural Recovery Fund enabled the Space to bring staff back off furlough, re-open briefly in October, invest in live-streaming equipment, develop new work and continue to deliver performances, workshops and networking/support sessions online. 

Since February this year, with strict COVID guidelines in place, the Space has been live-streaming performances from the venue. This new grant will mean the Space can retain all staff, whilst progressing the development of new work and reaching new audiences.  

The Space’s programme for April-June will include a festival of four new plays developed in 2020, three audio plays commissioned by the Space to accompany a visual art exhibition, a Global Majority Symposium including workshops, discussions and events and a window for playwrights to submit new work to the ScriptSpace programme. 

Artistic Director of the Space, Adam Hemming, says, “We’re incredibly grateful for the continued support from the Arts Council and DCMS. The work we’ve done over the last 12 months hasn’t been a stopgap whilst we wait for the pandemic to end. We felt it was crucial to keep reaching out to audiences and artists and, in doing so, we’ve developed new ways of working, built an online, international audience and provided meaningful support to creatives. We will use the latest award to underline our commitment to delivering high quality performances and expand our reach to benefit more artists and the public that we both serve. In 2020, we were ‘locked down, looking up’, in 2021, thanks to this award we’re coming out of the lockdown, looking forward.” 

Culture Secretary, Oliver Dowden, said: 

“Our record breaking Culture Recovery Fund has already helped thousands of culture and heritage organisations across the country survive the biggest crisis they’ve ever faced. 

Now we’re staying by their side as they prepare to welcome the public back through their doors – helping our cultural gems plan for reopening and thrive in the better times ahead.” 

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

“Investing in a thriving cultural sector at the heart of communities is a vital part of helping the whole country to recover from the pandemic. These grants will help to re-open theatres, concert halls, and museums and will give artists and companies the opportunity to begin making new work.   

We are grateful to the Government for this support and for recognising the paramount importance of culture to our sense of belonging and identity as individuals and as a society.” 

Turtle Opera: free workshops for children on autism spectrum

Turtle Opera announces free workshops for
children on the autism spectrum
April – June 2021

Turtle Opera, a music and drama creative project for children on the autism spectrum, has announced its free workshop series for 2021. Allowing children to create their own group performance of music and story, the Saturday workshops will initially be held on Zoom and then at the Ogston Music School – St Edward’s School, Oxford.

The workshops are vitally important as they support participants to reduce social isolation, improve communication skills, increase confidence and self-esteem, as well as to enjoy the creative process. By taking part in the Turtle Opera activities, the children will gain a sense of achievement through seeing their work valued publicly with a live group performance for
friends and family

During the nine workshops, participants aged 12-16 will explore a variety of creative disciplines, working with a professional composer and director. The team will be supported by a project coordinator from Turtle Key Arts, a pastoral leader from Autism Family Support Oxfordshire. The project is also supported by students from The Faculty of Music, University of Oxford, enhancing the professional development of the students

The mother of one participant says, I don’t mean to be dramatic about it, but Turtle Opera has completely changed our lives. Pascal walked out of the first session, and it was as if “Oh my God, it’s OK to be autistic.” For the first time in his life he picked up the phone and he now talks regularly to his grandparents in Australia. He is a changed child.

Turtle Key Arts is a UK registered charity that provides access to the arts to disabled, disadvantaged and socially excluded people, and those that otherwise wouldn’t necessarily get the opportunity. Watch a short film of the final performance of Turtle Opera 2018 with
feedback from participants, parents and music students:

Turtle Opera Oxford 2021 is a Turtle Key Arts partnership with English Touring Opera, in
collaboration with The Faculty of Music, Oxford University (Music in the Community course), Autism Family Support Oxfordshire and St Edward’s School, Oxford. Funding is supported by Prospero and University of Oxford Community Grant.

Turtle Opera was originally a collaboration between the Royal Opera House and Turtle Key Arts, starting in 2001 and held each year until 2007. It has been held each year since 2015 in Oxford in partnership with the University of Oxford.

Chichester Festival Theatre reopens with SOUTH PACIFIC and a film of CRAVE





Artistic Director Daniel Evans and Executive Director Kathy Bourne announce today that Chichester Festival Theatre will reopen its doors with its summer musical: Rodgers & Hammerstein’s SOUTH PACIFIC, running from 5 July – 4 September.

Before then, a film of Sarah Kane’s CRAVE, created from Tinuke Craig’s acclaimed production, will be available to watch on demand in May.

CFT is also planning a weekend of open air concerts and family events in Oaklands Park in early June.

Kathy Bourne and Daniel Evans said:

‘Seldom can a summer have been as eagerly anticipated as this one. We are so proud and thankful to be able to say: we are re-opening, we will be producing work on our stages and digitally, and we will continue to serve our community of audiences and theatre-makers.

‘We know that Chichester’s summer musical is a highlight of the year for people locally, regionally and nationally. South Pacific should have been the centrepiece of Festival 2020; we couldn’t be more thrilled that it will finally open this July, with a superb cast and creative team who’ve waited a year to bring it to fruition.

‘We’re also delighted to offer a specially made film of our Autumn highlight, Sarah Kane’s Crave – giving audiences around the globe a second chance to see Tinuke Craig’s revelatory production.

‘While South Pacific will initially be booking with a reduced capacity auditorium and a dedicated socially distanced performance every week, our hope is that, later in 2021, we will see the return of non-socially distanced audiences with a renewed confidence and appetite for live performance. We’ll announce further productions for Festival 2021 later this spring.’

Currently, Step 4 of the government’s roadmap anticipates the removal of all legal limits on social contact and the reopening of full theatre auditoriums from 21 June, subject to successful pilot test events taking place in April and May. Accordingly, South Pacific will go on sale with a reduced capacity auditorium (approximately 900, as opposed to 1300) in order to ease congestion in the foyers and public spaces, with a view to moving to full capacity as soon as government guidelines permit. Enhanced cleaning, hand sanitising and the wearing of face coverings at all times in the Theatre will be in place.

In addition, there will be one specially designated socially distanced performance every week – complete with the Covid-safety measures introduced last autumn, including timed arrivals and temperature checks – for those audience members who would prefer to remain socially distanced for the foreseeable future.

By Sarah Kane

Streaming worldwide: opening night 18 May at 7.30pm BST, on demand from 19 – 29 May

A chance for audiences at home to experience a specially made film of the production that defied lockdown. Sarah Kane’s Crave was live streamed to thousands in 50 countries around the globe as the cast of four performed in an empty auditorium. This film is a new edit of the live stream, with remastered sound and incorporating new footage from filmmaker Ravi Deepres.

In a damaged world, four characters search for the light. This heart-rending, funny, kind and cruel meditation on the meaning of love resonated with audiences looking to reconnect after the loneliness and seclusion inflicted by a global pandemic.

The opening night performance will be followed by a live post-show talk with members of the company.

Erin DohertyAlfred Enoch, Wendy Kweh and Jonathan Slinger are the cast in Tinuke Craig’s production, which is designed by Alex Lowde, with lighting by Joshua Pharo, composition and sound by Anna Clock, film by Ravi Deepres, movement by Jenny Ogilvie and casting by Charlotte Sutton. Filmed by The Umbrella Rooms.

Contains strong language; suitable for ages 16+.

Crave is sponsored by Genesis.

Gina Beck, Julian Ovenden,

Joanna Ampil, Keir Charles and Rob Houchen in

Rodgers & Hammerstein’s


Music by Richard Rodgers

Lyrics by Oscar Hammerstein II

Book by Oscar Hammerstein II and Joshua Logan

Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by James A. Michener

Directed by Daniel Evans

5 July – 4 September 2021, live in the Festival Theatre

Rodgers & Hammerstein’s South Pacific will be Chichester Festival Theatre’s summer musical for 2021, running from 5 July – 4 September, with a press night on Tuesday 13 July. The production will also be streamed online, dates to be announced.

Daniel Evans directs an outstanding cast led by Gina Beck (Nellie Forbush), Julian Ovenden (Emile de Becque) Joanna Ampil (Bloody Mary), Keir Charles (Luther Billis)and Rob Houchen (Joe Cable), which also includes Iroy Abesamis, Carl Au, Rosanna Bates, David Birrell, Taylor Bradshaw, Bobbie Chambers, Danny Collins, Shailan Gohil, Adrian Grove, Zack Guest, Matthew Maddison, Sera Maehara (as Liat), Melissa Nettleford, Kate Playdon, Pierce Rogan and Clancy Ryan.

This much-loved, Tony and Pulitzer Prize-winning musicalopened in 1949 to huge success, becoming one of Broadway’s longest running hit shows. It boasts one of Rodgers & Hammerstein’s most memorable scores, featuring songs such as Some Enchanted Evening, I’m Gonna Wash That Man Right Outa My Hair and Bali Ha’i.

1943. On an archipelago in the South Pacific Ocean, US troops are kicking their heels amid the cacao groves while restlessly waiting for the war to reach them. 

Nellie Forbush, a navy nurse from Arkansas, finds herself falling for the French plantation owner, Emile de Becque – a man with a mysterious past. The scheming sailor Luther Billis runs a makeshift laundry to earn a quick buck, but he’s no match for the Polynesian Bloody Mary who’s intent on exploiting these foreigners.

When young Princeton graduate Lieutenant Joe Cable is flown in on a dangerous reconnaissance mission, love and fear become entwined as the island’s battle for hearts and minds begins.

This new production of South Pacific is directed by CFT’s Artistic Director Daniel Evans whose previous Chichester productions include This Is My Family, Quiz and Fiddler on the Roof.

Making their Chichester debuts are Gina Beck (Matilda, Show Boat, Wicked, Phantom of the Opera) as Nellie, Julian Ovenden (Merrily We Roll Along, Grand Hotel, BBC Proms, Downton Abbey) as Emile, Joanna Ampil (Avenue Q, Les Misérables, Miss Saigon) as Bloody Mary, and Rob Houchen (Les Misérables, The Light in the Piazza) as Cable. Keir Charles, who played Chris Tarrant in Quiz, returns as Luther Billis.

The set and costume designer is Peter McKintosh, and the choreographer and movement director, Ann Yee. Musical direction is by Cat Beveridge, with musical supervision by Nigel Lilley, orchestrations by David Cullen, lighting design by Howard Harrison, sound design by Paul Groothuis, additional arrangements by Theo Jamieson, and casting by Charlotte Sutton

One performance of South Pacific each week will be socially distanced.

There will be a Dementia Friendly performance on 1 September at 2.30pm, welcoming individuals living with dementia, as well as their friends, families and carers.

South Pacific is sponsored by R.L. Austen.


Priority online booking for Friends of Chichester Festival Theatre opens:   

Thursday 1 April from 12 noon

General online booking opens:

Tuesday 6 April from 10.00am       01243 781312

Tickets from £10

Prologue: £5 tickets for 16 – 30s

£5 tickets are available for 16 to 30 year-olds for; sign up for free at 

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