Category: Uncategorized

Lyceum, Sheffield – until 1st October 2022

Reviewed by Alison Beaumont

4****

Bugsy Malone The Musical tells the story of the rise of Bugsy Malone and the battle for power between Fat Sam and Dandy Dan. The musical is set in New York City and the characters are played by child actors. It captures a flashy world of wood-be hoodlums, showgirls and dreamers.

As all the main characters are children there are 3 actors playing each role. In the performance I saw Bugsy Malone was played by Gabriel Payne who was a cheekly little chap and had great vocals.

Blousey in this performance played by Mia Lakha had absolutely outstanding vocals and was the star of the show for me, this girl really has got an exciting future in musical theatre ahead of her.

Tallulah was played by Jasmine Sakyiama and just like Blousey played her role well and had amazing vocals.

Fat Sam (Albie Snelson) was spot on with his acting and portrayed the right amount of humour.

The orchestra could have done with being a little bit quieter as sometimes they were a bit too loud when the children were singing.

The ensemble and swing was played by young adults who added that little bit extra to this show. In particular Georgia Pemberton stood out to me. I particularly liked the boxing scene they managed to keep the skipping all in time and how they managed to move the ropes of the boxing ring without any mishaps had certainly been impressively rehearsed.

It was good to see lots of young people in the audience and as I overheard one little girl say to her mum “this has been the best night of my life ever” it shows how the younger audience were also entertained with this musical.

Well done to all the children they really are very talented.

FULL CASTING ANNOUNCED FOR

THE SLEEPING SWORD

OPENING AT THE WATERMILL THEATRE

THURSDAY 27 OCTOBER – SATURDAY 5 NOVEMBER

BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

Full casting and creative team have been announced for the new production of Michael Morpurgo’s THE SLEEPING SWORD, adapted by Tatty Hennessy, and directed by Lucy Jane Atkinson, which will play at The Watermill from Thursday 27 October to Saturday 5 November.  

‘I’m not a king or a Wizard… but I do have a story to tell’

Meet Ben Bundle. He likes fishing and snorkelling, jumping off rocks and exploring the magical island of Bryher with his friends.

But after an accident leaves Bun blind, he fears his days of adventure are over. Until one day he is swept into the realm of his favourite story, the ancient legend of King Arthur, and Bun’s world changes forever.

Get ready for a gripping adventure where a broken promise, a magic sword and a ghostly king reveal to Bun a life-changing quest of his own.

A tale about magic, mystery, hope, love, triumph and disaster, The Sleeping Sword weaves a contemporary tale of self-discovery with Arthurian legend in a way that is utterly spellbinding.

Kirsty Ferriggi (a 2021 graduate, most recently seen on stage as the lead in The Illusion of Time at the Playground Theatre) will play ‘Mrs Parsons / King Arthur’, Aarian Mehrabani (a 2020 graduate whose recent theatre credits include GUY A New Musical, Nothing and Brink at the Royal Exchange in Manchester), will play ‘Bun’ and Tika Mu’tamir (a UK-Malaysian performer and facilitator who has recently toured the UK by bicycle, as part of  The Handlebards’ production of The Tempest), will play ‘Anna’.

Every performance of The Sleeping Sword will feature the use of creative captioning and integrated audio description.

The Sleeping Sword is adapted from Michael Morpurgo’s 2002 book by Tatty Hennessy, directed by Lucy Jane Atkinson, with lighting design by Alex Musgrave, sound design by Xavier Velastin, with Louise Worrall as Design Consultant, Amy Bethan Evans as Dramaturg and Visually Impaired Creative Consultant, Douglas Baker as Creative Captions Designer, and Sam Brewer as Audio Description Consultant. The Stage Management team consists of Emily Stedman (CSM), Caitlin Ravenscroft (DSM) and Amelia Costello (ASM Placement).

Amy Bethan Evans said, “Tatty put a call out for a visually impaired dramaturg for the project and I responded. When we met, I knew I wanted to work with her and that she was totally committed to turning this story into something visually impaired people could both access and relate to. We have worked on making Bun’s journey one towards acceptance of himself as a blind person and I don’t think you can do that without the input of a visually impaired artist. 

My heart belongs to children’s books and working with Tatty and Lucy on such an important project has been truly magical.”

The Sleeping Sword marks the next collaboration between Lucy Jane Atkinson and Tatty Hennessey: Lucy directed Tatty’s A Hundred Words For Snow at the Vaults 2018 before its UK tour and transfer to the Trafalgar Studios in 2019, where it received 4 Offie nominations, including Best Director and Best New Play.

Lucy Jane Atkinson said, “I am thrilled to be reuniting with Tatty to work on this incredible new show for The Watermill. Throughout the development process we have made so many exciting discoveries about the potential for accessible work, and I can’t wait to get into the rehearsal room with this talented group of actors and creatives to start playing with Michael Morpurgo’s beautiful story!”

The Sleeping Sword will run at The Watermill before heading out on tour to schools across Berkshire and Wiltshire. Tickets are priced from only £10 and can be purchased online at watermill.org.uk or by calling 01635 46044.

Union Theatre, London – until 8th October 2022

Reviewed by Celia Armand Smith

3***

Ghosts on a Wire is a new play by Linda Wilkinson and directed by PK Taylor. Based on the real events of the Pioneer Power Station, now the Tate Modern, Ghosts on a Wire takes you
from the publication of Mary Shelley’s Frankenstein or Modern Prometheus in 1818, to the end of the 1800s where the real life costs of the new power station are becoming known.

Well researched, there is a lot of exposition that can make the story feel a bit more like a historical reenactment in a museum. It concerns the human, environmental, and societal cost of the power plant and energy itself. The rich are getting richer and the working classes are being pushed out with the implication that everyone will eventually benefit. The plot feels very topical if you dare read the news.

The play begins with Mary Shelley (Deborah Klayman), Michael Faraday (Tom Neill), Hester Thrale (Ali Kemp), and William Blake (Timothy Harker) chatting about Frankenstein and the advent of electricity in 1817. It then jumps forward in time, and suddenly we are in the 1880s on Bankside, where a new power station is being planned. There we meet industrialist and MP Lyon Playfair (Andrew Fettis) and Octavia Hill (Gerri Farrell), a social reformer and the founder of the National Trust, along with a publican and his wife, some local workers, a fortune teller, and a loved companion. It is at this point the ghosts of Shelley, Faraday, and Blake start to drift in and out of the plot, commenting on what has happened, and later providing some light relief at a seance.

The cast plays at least two characters each, cleverly swapping between them with the use of simple costume pieces and the occasional accent shift. The background projections helped place the action, and meant that the staging could remain simple and understated. The projections are best utilised when working alongside sound effects that signal when the ghosts are present and a change of scene.

Linda Wilkinson’s commentary on ruling classes placing industry and themselves above general humanity would not be out of place if it was set now. There is optimism and wisdom from William Blake and Octavia Hill, giving us hope for the future, however we know that history is destined to repeat itself.

THE ALEXANDRA THEATRE BIRMINGHAM – UNTIL SATURDAY 1ST OCTOBER 2022

REVIEWED BY NADIA DODD

4****

The classic Rodgers and Hammerstein’s 1949 film South Pacific is bought alive on the stage currently touring the UK by the Chichester Festival Theatre. A powerful love story set on an island in the South Pacific during World War II.

The audience tonight were treated to such delights of iconic songs such as ‘Some Enchanted Evening’, ‘I’m Gonna Wash That Man Right Outa My Hair; and ‘I’m In Love With A Wonderful Guy’.

The musical performances were enchanting, the choreography was mesmerising, which was all put together by Ann Yee, the theatre’s choreographer.

You are hooked from the opening scene where Sera Maehara (Liat) is dancing alone on the stage as if she is engulfed in water, she’s a young Tonkinese girl whose mother later offers her up to marry a Lieutenant from the US. You find yourself following her movements from her fingers to her toes, the lines that her body makes are 10 out of 10.

The main characters are played in this production by Julian Ovenden (Emile) and Gina Beck (Nellie) their voices are outstanding and they are real stage superstars of musical theatre.

Stage scenery and lighting went from bold bright revolving sets and flooring to the dim, romantic setting of the Polynesian Island of Bali Ha’i the latter of which you can’t help getting completely emerged within.

One of my favourite scenes for pure entertainment would have been when the song ‘There Is Nothin’ Like A Dame’ was performed by the marines, the Seabees. Amazing choreography by all the males throughout this number appreciated by the audience with such a raucous applause.

All were extremely talented although I feel that an extra mention is well deserved for Douggie McMeekin (Luther Billis) his is perfectly cast for this role, he brings laughter and comedy to his character, has a powerful voice and carries off a grass skirt and bikini bra top rather well!

All in all, soaring melodies, explosive choreography and some delightful upcoming child stars, the cast and orchestra really raised the roof this evening.

Salisbury Playhouse, Salisbury – until 1 October 2022

Reviewed by Gemma Gibson

4****

Four ghost stories, two men, one chilling secret.

I’ve never been sure whether I believe in ghosts, but for 90 minutes, When Darkness Falls had me unashamedly converted.

James Milton and Paul Morrissey’s spine-chilling production left me on the edge of my seat, drawing me into a world of dark, unproven history with endless twists and turns. 

The play begins with a stormy night on the small island of Guernsey. Here, a young paranormal expert joins a sceptical history teacher to record the first in a series of podcasts, exploring the area’s incredible folklore and paranormal history.

Starring Peter Duncan and Daniel Rainford, it doesn’t take long before disturbing tales and truths reach the surface, and the pair learn more about each other than they could have ever imagined. 

The sheer storytelling power of Rainford, playing ‘the speaker’, had the audience fully gripped and transported to that small classroom in Guernsey, and then wherever his terrifying tales took us, making us all believe that, perhaps, ghosts actually do exist. 

The haunting stories of past, present and future had the audience echoing the reactions of Duncan, playing the increasingly rattled John Blondel who, despite being only one of two men onstage, filled the space effortlessly with this big, formidable role. A history teacher clearly with a complex history.

As the speaker, Rainford’s stories of paranormal activity had the audience glued to the stage, frightened but alert and questioning. Cowering in my seat, I couldn’t look away even if I wanted to. 

The minimalistic – but cleverly done – use of sound, set and lighting not only amplified happenings onstage, but put paramount focus on the pair’s exchange of powerful stories and anecdotes. 

The dialogue between the pair anchored the production with a sense of realism, the fast pace causing emotions and pulse to run high, for both audience and cast, with every new shocking folklore tale. 

Inspired by true events, When Darkness Falls is built on powerful, electric storytelling, weaving and confusing what is real with frighteningly realistic legends yet to be proven.

The production had the audience guessing what would come next, but by the end we were all reflecting on our own history and those unthinkable, locked away moments – our own ghosts perhaps.

Grand Opera House, York – until Saturday October 1st 2022

Reviewed by Janina Cairns

5*****

Rock of Ages is a rock anthem comedy musical set in the mid to late 80’s. The era of big hair and loud rock, leather trousers and short shorts. Rock of Ages gives you the story of Drew (Sam Turrell) an aspiring rock star and of Sherrie (Gabriella Williams) an aspiring actress. Their story is the old “boy meets girl, boy and girl fall in love, it doesn’t work out, they get back together, all live happily ever after”. However, it is far from boring. Their on-stage chemistry is wonderful to watch, and they play their parts brilliantly. Drew (Sam Turrell) is a busboy in the Bourbon Room and he begins by persuading his boss to allow Sherrie (Gabriella Williams) – who has just arrived into town – to be a waitress there.

Intertwined with this comedic love story, is the rebellious rock club called the Bourbon Room – which is owned by Dennis Dupree (Kevin Kennedy) and its fight to keep it from being developed along with the rest of Sunset Boulevard. The Bourbon Bar is due to be demolished for development by German developers – a father, Hertz Klinemann (Vas Constanti) and his son Franz (David Breeds). To try to save the club, Dupree (Kevin Kennedy) decides to bring in rock star Stacee Jaxx (Cameron Sharp) for his farewell gig before going solo.

All of this is told via a very talented and incredibly funny narrator, Lonny Barnett (Joe Gash). Lonny (Joe Gash) is a larger than life, slightly rude narrator who sings, dances and acts alongside the rest of the cast. He interacts and talks directly to the audience throughout the show which engages the audience well and doesn’t detract from the storylines in any way. Very cleverly and expertly done. The cast is brilliant in this show, but Lonny (Joe Gash), for me, was the cherry on the top.

The set was eye catching. It looked like the indoor of a rock bar for most of the show. Massive speakers display double as doors. Scaffolding doubling as balconies (so to speak) to give a lovely multi-level performance. Live music occasionally wheeled in and back. Costumes capture the era well. The whole show is punctuated with lines from fabulous rock anthems. From bands like Journey, Bon Jovi, Europe and Slade to name only a few. Anthems like “We Built This City”, “Every Rose has its Thorn”, “Wanted – Dead or Alive” and many, many more and the cast all sang them powerfully. Their voices were so powerful, at times that they shocked us with their long-held notes or when a male cast member reached a really high note.

When the whole audience engages with the show, you know it’s a winning performance. This show had everyone (that was able) on their feet at the end. I haven’t laughed out loud at a show for a very long time, and I was laughing from the first 5 minutes. So, if you fancy a really good laugh and a little bit of head banging, then this is the show for you.

LONDON’S BIGGEST HIT COMEDY THE PLAY THAT GOES WRONG CELEBRATES ITS 8^TH ANNIVERSARY IN THE WEST END

AND APOLOGISES FOR EXTENDING UNTIL 29 OCTOBER 2023

8 YEARS ON AND STILL GOING STRONG WRONG

Today, as it celebrates its 8^th anniversary in the West End, The Play That Goes Wrong, the Olivier Award-winning smash hit announces an extension to the mayhem and chaos at The Duchess Theatre, with tickets now on sale until 29 October 2023.

The Play That Goes Wrong is the longest running play at The Duchess Theatre (since the theatre opened in 1929), and the longest running comedy in the West End. In addition, the accident-prone members of the Cornley Drama Society are hit (by objects or each other) 35 times during each performance, which means the West End casts of The Play That Goes Wrong have been struck 99,820 times over the last 8 years (officially) making it the biggest HITshow.

Awarded the 2014 WhatsOnStage Award for Best New Comedy, the 2015 Olivier Award for Best New Comedy and a Tony Award for the Broadway transfer, The Play That Goes Wrong continues to delight audiences in the West End and around the world. The show’s success is a testament to the hard work and determination of a group of drama school graduates who became friends, set up a company under the name ‘Mischief’ and created an extraordinary body of work. The Play That Goes Wrong shows no signs of slowing down since its first performance at The Old Red Lion nearly 10 years ago with only four paying customers. Since then, it has played to an audience of over two million and now has productions in over 30 countries.

Cast: Tomisin Ajani (Trevor), Jaouhar Ben Ayed (Dennis), Ashh Blackwood (Annie), Anya de Villiers (Sandra), Tendai Humphrey Sitima (Robert), Scott Hunter (Max), Oliver Mott (Jonathan), and Mikhail Sen (Chris). The company is completed by Roisin Fahey, Charlie Richards, Stuart Vincent, Emily Waters and Jack Whittle.

The Play That Goes Wrong is co-written by Mischief company members Henry Lewis, Jonathan Sayer and Henry Shields and is directed by Mark Bell, with set designs by Nigel Hook, costumes by Roberto Surace, lighting by Ric Mountjoy, original music by Rob Falconer, sound design by Andy Johnson, the associate director is Sean Turner and the resident director is Amy Milburn. The Play That Goes Wrong is produced in the West End by Kenny Wax Ltd and Stage Presence Ltd.

Twitter:                @playgoeswrong

Facebook:           The Play That Goes Wrong

Instagram:           @playgoeswrong

Twitter:                @MischiefComedy

Instagram:          @MischiefComedy

TikTok:                  @MischiefComedy

THE PLAY THAT GOES WRONG 

LISTINGS

Duchess Theatre, 3-5 Catherine Street, London WC2B 5LA

Box Office: www.theplaythatgoeswrong.com / 0330 333 4810

BOOKING TO 29 OCTOBER 2023

PERFORMANCE TIMES

Tuesday to Saturday at 7:30pm

Saturday at 2:30pm

Sunday at 3:00pm & 7:00pm

RUNNING TIME

2 hours including an interval

AGE

8+

Please note children under 15 years of age must be accompanied by an adult over 18 years of age.

PRICES

Tickets from £22

Prices include booking fees of £2.50, applicable to online & telephone bookings. All tickets include a £1.25 Theatre Restoration Levy.

In penance for 8 catastrophic years in the West End, The Play That Goes Wrong are offering a free meal with £52 tickets booked on Sunday – Thursday performances until 15 December. For full details and terms please visit: https://mischiefcomedy.com/news/buy-a-ticket-to-the-play-that-goes-wrong-and-receive-a-free-3-course-meal

ACCESS PERFORMANCES

Relaxed:

Sunday 6 November 2022, 7:30pm

Audio Description:

Friday 9 December 2022, 7:30pm

Sunday 5 March 2023, 3pm

Friday 22 September 2023, 7.30pm

Sunday 15 October 2023, 3pm

Captioned:

Sunday 21 November 2022, 3pm

Friday 3 February 2023, 7:30pm 

Sunday 17 September 2023, 3pm

Friday 6 October 2023, 7:30pm

BSL interpreted:

Sunday 15 January 2023, 3pm

Friday 24 March 2023, 7:30pm

Friday 8 September 2023, 7:30pm

Sunday 1 October 2023, 3pm

NEW CAST ANNOUNCED FOR MAMMA MIA! THE PARTY AT THE O2, LONDON

MAMMA MIA! THE PARTY, London’s premier dining experience, is delighted to announce the new cast arriving at Nikos Taverna on the Greek island of Skopelos. Due to extraordinary demand, MAMMA MIA! THE PARTY is now playing until Sunday 26 February 2023 at The O2, London. Tickets for the new booking period are on sale now.

The new cast, who begin performances tonight include Javier Rasero as Nikos, Scarlet Gabriel as Debbie, Luke Friend as Adam, Noah Sinigaglia as Konstantina, Rosie Rowlands as Bella (at certain performances), Jamie Birkett, Caline Hampartzoumian, Robban Hogstrom, and Maison Kelley. They join existing cast members Lorraine Chappell who will continue in the role of Kate, Dawn Spence as Grandma, Allie Ho Chee as Bella (at certain performances), Claudia Bradley and Ellis Dackombe. Tamara Perks will play the role of Nina, and Oscar Balmaseda will play Fernando.

The musicians are John Donovan, Luke Higgins, Kathryn Tindall, Steve Rushton and Luke Roberts.

Created by ABBA’s Björn Ulvaeus, MAMMA MIA! THE PARTY is a unique and magical experience in a class of its own, bringing all ABBA’s hits to life more vividly than ever before! Over the course of four glittering hours, guests can immerse themselves in a spectacular musical extravaganza, a four-course Greek feast and an ABBA disco, all in one unforgettable evening of dancing, dining and singing!

MAMMA MIA! THE PARTY is set in a taverna on the beautiful Greek island of Skopelos, where most exteriors of the first MAMMA MIA! film were shot. Nikos and his wife Kate run this exotic and wonderful restaurant together with their family and friends. Told through dialogue and timeless ABBA songs, a warm, romantic and funny story evolves and unfolds during the evening, taking place around the guests as they enjoy a gourmet Greek meal. The evening ends with a 1970s disco, where audience members are welcome to stay to sing and dance to ABBA recordings.

Food is at the heart of the experience and a menu has been created that delivers the finest Greece has to offer, made from the best, freshest ingredients. Guests are served a traditional mezze followed by the iconic Greek salad of fresh cherry tomatoes, cucumber and feta. The main course of confit lamb shoulder and slow-cooked beef is served with roasted garlic potatoes, courgette peperonata, romesco and aromatic jus. For vegetarian and vegan guests, there is roasted cauliflower with a lemon-herb dressing served alongside a tomato stuffed with lentil ragout. A sumptuous Greek lemon cake served with confit orange skin and citrus yoghurt is the perfect end to this delicious meal. Vegan guests are served traditional loukoumades, delicious dough balls accompanied by a sweet fig jam.

Guests can get the ultimate MAMMA MIA! THE PARTY experience with one of the available packages. The Platinum Package provides a Tier A ticket in a prime location, a meet and greet and photo opportunity with members of the cast right at your table, champagne on arrival, half a bottle of wine and a MAMMA MIA! THE PARTY merchandise party pack. Guests can also upgrade their existing booking by adding the VIP upgrade package, taking their experience to the next level with champagne on arrival, half a bottle of Nikos house wine and a MAMMA MIA! THE PARTY merchandise party pack. 

MAMMA MIA! THE PARTY has music and lyrics by Benny Andersson and Björn Ulvaeus (some songs with Stig Anderson), and a story by Calle Norlén, Roine Söderlundh and Björn Ulvaeus, with the English book by writer, comedian and broadcaster Sandi Toksvig.

The London version of MAMMA MIA! THE PARTY, which originally opened in Stockholm in January 2016, is co-directed and choreographed by Stacey Haynes and Roine Söderlundh, with set designed by Bengt Fröderberg, lighting designed by Patrick Woodroffe, sound designed by Gareth Owen, costumes designed by Annsofi Nyberg, music supervision by Robin Svensson and casting by David Grindrod CDG for Grindrod Burton Casting.

MAMMA MIA! THE PARTY is executively produced by Björn Ulvaeus and produced by Sally Davies for U-Live.

Hackney Empire presents
MOTHER GOOSE

CAST AND CREATIVE TEAM ARE ANNOUNCED FOR ‘MOTHER GOOSE’, HACKNEY EMPIRE’S PANTOMIME FOR CHRISTMAS 2022

KAT B, RUTH LYNCH, HOLLY MALLETT, TONY MARSHALL, REBECCA PARKER, OPE SOWANDE AND GEMMA WARDLE JOIN CLIVE ROWE, WHO STARS AS MOTHER GOOSE IN HIS 15TH PANTOMIME AT HACKNEY EMPIRE.

THE CREATIVE TEAM INCLUDES CLIVE ROWE AS DIRECTOR AND WILL BRENTON AS WRITER, ALONGSIDE STEVEN EDIS, CLEO PETTITT, RENELL SHAW, ANDRÉ FABIEN FRANCIS, DAVID W KIDD AND YVONNE GILBERT.

MOTHER GOOSE WILL RUN FROM 19 NOVEMBER – 31 DECEMBER.  TICKETS ARE AVAILABLE NOW WWW.HACKNEYEMPIRE.CO.UK

Hackney Empire has today announced the cast and creative team for their Christmas 2022 pantomime, Mother Goose, which opens on 19th November, running until 31st December. Tickets are now on sale from www.hackneyempire.co.uk.

Kat B (Jack and the Beanstalk and The Wiz, Hackney Empire) will star as Billy Goose, alongside Ruth Lynch (making her professional debut) as Priscilla the Goose, Holly Mallett (Andy and The Odd Socks, Glastonbury/UK Tour; Notflix: The Improvised Musical, Soho Theatre) as Jill Purchase, Tony Marshall (Casualty (1993 – 2021); Jitney, Old Vic/Leeds Playhouse) as Squire Purchase, Rebecca Parker (Cats, West End; Crazy For You, West End) as Demon Queen, Ope Sowande (Moulin Rouge, Piccadilly Theatre; The Lion King, International Tour) as Jack Goose, and Gemma Wardle (Les Miserables in Concert, Gielgud Theatre; Fame, Cambridge Theatre) as Fairy Fame.

They join previously announced Olivier award-winning panto royalty Clive Rowe, starring in his 15th pantomime at Hackney Empire as Mother Goose. Clive also returns to direct this year’s pantomime, alongside Will Brenton (Writer), Steven Edis (Composer and Song Writer), Cleo Pettitt (Costume Designer), Renell Shaw (Musical Director: Orchestrations and Arrangements), André Fabien Francis (Choreographer), David W Kidd (Lighting Designer) and Yvonne Gilbert (Sound Designer).

The pantomime Mother Goose was created for Hackney Empire regular and Music Hall legend Dan Leno, who first played the title role in 1902. 120 years on, Hackney are proud to present the mother of all pantomimes to conclude their 120th birthday year.

What would you do if you found a magical goose who lays golden eggs?! That’s exactly what’s in store for Mother Goose, and she soon discovered that this priceless talent isn’t all it’s cracked up to be! Packed full of all your favourite pantomime ingredients, this reimagining of the classic rags-to-riches tale is the perfect festive treat. Expect larger than life characters, gloriously outrageous costumes, incredible live music, uncontrollable laughter and loads of audience participation… oh yes, there definitely is.!

The 2022 festive season will burst into life with the 23rd Hackney Empire pantomime, providing joy for all the family, and in some cases, a vital introduction to the magic of theatre.

Nominations announced for the UK Theatre Awards 2022

• Leeds Playhouse leads nominations with nods in five categories, whilst The
  Crucible Theatre, Sheffield receives two Best Director nominations
• This year’s Outstanding Contribution to British Theatre award will go to Sarah
  Holmes, former Chief Executive of The New Wolsey Theatre in Ipswich
• Legally Blonde and Six star, Courtney Bowman will host the ceremony, taking
  place on Sunday 23rd October

Wednesday 28th September: Today, UK Theatre announces the nominees for this
year’s UK Theatre Awards, the only nationwide awards to honour and celebrate
outstanding achievements in theatre throughout England, Scotland, Wales and
Northern Ireland by UK Theatre members.

With nominees from across the length and breadth of the UK, this year’s shortlist
showcases the creativity, originality and resilience of theatre. Leading the
nominations with five nominations across categories including Best Performance in
a Play, Best Play Revival and Director is Leeds Playhouse.

Meanwhile, The Crucible Theatre, Sheffield has received two nominations in the
Best Director category, for Rock/Paper/Scissors (Elin Schofield, Robert Hastie,
Anthony Lau) and Typical Girls (Róisín McBrinn), with four female directors
nominated for this award.

Elsewhere, actors Giles Terera and Henry Goodman go head to head in the Best
Performance in a Play category, for The Meaning of Zong and Murder on the Orient
Express respectively, with Eithne Browne (Maggie May) and Leah St Luce (Black
Love) also offering strong competition in the category.

The exceptional work created by each of this year’s nominees demonstrates that
there is no better time to support local theatre.

Following a two-year hiatus due to the pandemic, the winners will be announced
on Sunday 23rd October, during a lunchtime ceremony at London’s Guildhall. The
event will be hosted by star of the stage, Courtney Bowman (Everyone’s Talking
About Jamie, Six, Legally Blonde).

UK Theatre Joint Presidents, Stephanie Sirr and Jon Gilchrist said,

“Following an incredibly challenging few years due to the pandemic, theatres across
the UK have had to work harder than ever to continue to provide for their local
communities: to keep their doors open and to keep making the inspiring work they
present. Theatres provide so much more than just entertainment. In towns across
the UK they are often a central hub; a space for people to feel welcome and
included. That’s why it’s more important than ever that we come together on the 23rd
October to recognise and celebrate everything that they do.

This year’s nominations reflect a multifaceted variety of voices, highlighting the
diversity and quality of shows presented across the UK. It is brilliant to see so much
upcoming talent among the nominees as well as all four nations being represented.”

Nominations are split into new ‘On Stage’ and ‘Off Stage’ categories, as part of a
refresh of the Awards in 2019 instated to reflect the contemporary priorities of the
UK’s theatre industry. As part of this, UK Theatre members now have more
involvement in the nomination process, can put forward shows and individuals for
nomination and can submit an application for an Off Stage award.

Nominations for the UK’s Most Welcoming Theatre were announced last month with
Dundee Rep and Scottish Dance Theatre, Leeds Playhouse and New Wolsey
Theatre in Ipswich making the shortlist. The winner will be revealed on the 23rd
October as part of the ceremony.

The recipient of this year’s Outstanding Contribution to British Theatre Award has
been revealed as Sarah Holmes, former CEO of the New Wolsey Theatre, Ipswich.
Sarah was selected by the board for constantly championing access and inclusion,
spear-heading the post of Agent for Change and applying challenging criteria to her
own programming policy with a “nothing about us, without us” policy around
inclusion. Sarah’s tenure saw the New Wolsey become a founding partner on
Black-led theatre initiative Eclipse, and D/deaf and disabled collective Ramps on the
Moon, which has now been running for over 7 years.

The UK Theatre Awards are sponsored by: Harbottle and Lewis, John Good Ltd,
Nyman Libson Paul, Settingline Production Management, Spektrix, Theatre Tokens,
Tysers in association with Ecclesiastical, Unusual Rigging, and White Light
The full list of nominations is available here.

UK Theatre Awards – On Stage Theatre Categories

Best Design
● Dracula: The Untold Story – Leeds Playhouse – Design by Laura Hopkins, Projection
and Video Design by Simon Wainwright
● Into The Woods – Theatre Royal Bath – Design by Jon Bausor, Video Design by Will
Duke, Costume Design by Antony McDonald
● Life is a Dream – Edinburgh Lyceum – Design by Georgia McGuinness

Best Director
● Jessica Daniels – The Mozart Question – A Barn Theatre production in association with
Bob & Marianne for Anthology Theatre and The Everyman Theatre Cheltenham
● Robert Hastie, Anthony Lau, Elin Schofield – Rock/Paper/Scissors – The Crucible, Studio
and Lyceum Theatre, Sheffield
● Natalie Ibu – The White Card – A Birmingham Rep, Leeds Playhouse, Northern Stage &
Soho Theatre co-production in association with HOME Manchester
● Róisín McBrinn – Typical Girls – The Crucible Theatre, Sheffield

Best Musical Production
● Billy Elliot – Leicester Curve
● Now is Good – Storyhouse, Chester
● Whistle Down the Wind – The Watermill Theatre

Best New Play
● Cherry Jezebel – Liverpool Everyman
● How to Bury a Dead Mule – Lyric Theatre, Belfast
● Mugabe, My Dad & Me – A co-production by ETT, Brixton House & York Theatre
Royal in association with Alison Holder

Best Performance in a Musical
● Charlie Stemp – Crazy for You – Chichester Festival Theatre
● Divina de Campo – Hedwig and the Angry Inch – A Leeds Playhouse and HOME
co-production
● Nicole & Kyla Fox, Emme & Eden Patrick, Sienna & Savannah Robinson – Identical – A
Nottingham Playhouse and Kenny Wax Ltd co-production

Best Performance in a Play
● Eithne Browne – Maggie May – Leeds Playhouse
● Henry Goodman – Murder on the Orient Express – Chichester Festival Theatre
● Leah St Luce – Black Love – A Paines Plough and Belgrade Theatre Coventry
production, in association with tiata fahodzi
● Giles Terera – The Meaning of Zong – A Bristol Old Vic Production

Best Play Revival
● Jitney – A Headlong, Leeds Playhouse and Old Vic co-production
● The Mountaintop – A Royal Exchange Theatre Production
● Translations – An Abbey Theatre and Lyric Theatre Belfast Co-Production

Best Show for Children and Young People
● Beauty and the Beast – A New Vic Production
● Fantastically Great Women Who Changed the World – Kenny Wax Family Entertainment
in association with MAST Mayflower Studios
● Petula – A National Theatre Wales, Theatr Genedlaethol Cymru and August012
co-production

Best Supporting Performance (in a musical or play)
● Nicola Hughes – Into The Woods – A Theatre Royal Bath Production
● Robert Jackson – Brief Encounter – A Stephen Joseph Theatre, Octagon Theatre and
Theatre By The Lake co-production
● Nishla Smith – Kes – An Octagon Theatre and Theatre By The Lake co-production

UK Theatre – Achievement in Opera
● Scottish Opera for Candide
● Glyndebourne for the Poulenc Double Bill
● Richard Mantle for the last year at Opera North, which epitomizes the work Richard has
achieved over his tenure
● Music Theatre Wales and Britten Pears Arts production of Violet at Buxton International
Festival at Buxton Opera

UK Theatre – Achievement in Dance
● William Tuckett’s Then or Now for Ballet Black, exquisitely melding poetry, dance, light
and sound into an intimate work that gently touches big themes of our times
● The dancers of Rambert for their ability to inhabit any choreographer’s vision, as a
company of unique, versatile, incredibly skilled performers
● Dan Daw for The Dan Daw Show, a kinky, joyful, unapologetic and vulnerable
celebration of oneself and one’s body

UK Theatre Awards – Offstage Categories

Digital Innovation
Chichester Festival Theatre
English Touring Theatre
Sadlers Wells

Excellence in Arts Education
Lyric Theatre Belfast
Storyhouse
Ambassador Theatre Group

Excellence in Inclusivity
English Touring Theatre
Graeae Theatre Company
Scottish Opera

Excellence in Touring
Graeae Theatre Company
Northern Ballet
Scottish Opera

Workforce Award
Ambassador Theatre Group
The Marlowe
Mercury Theatre

Outstanding Contribution to British Theatre
Sarah Holmes – Former CEO, New Wolsey Theatre, Ipswich