Category: Uncategorized

New Victoria Theatre Woking – until Saturday 18th June

Reviewed by Liberty Noke

4****

Footloose tells the well known story of Ren McCormack (Joshua Hawkins) who moves from Chicago to a small town called Bomont where dancing is banned. Ren and his mother Ethel (Wendy Paver) move to Bomont and at church meet the preacher (Darren Day) and his daughter, bad girl Ariel (Lucy Munden). Ren quickly develops a reputation as a troublemaker as he struggles to fit in in Bomont. He befriends the charming yet awkward Willard (Ben Mabberley) who teaches him about life in Bomont. And they along with Ariel and the other teenagers in Bomont plan to oppose the law banning dancing.

This is a phenomenally talented cast, if the amazing vocals weren’t enough they were also playing the music for the show. One drummer was positioned above the stage and a bassist but all other instruments were played on stage. Members of the ensemble were playing clarinets, guitars and saxophones while dancing and it became increasingly clear how talented the cast were during the bows when all the instrumentalists were on stage while singing and dancing. At one point 2 guitarists were jumping a skipping rope while paying guitar. A unique way of playing the score to a show that I really loved. I will say the choreography in the opening number while the dancers weren’t playing instruments was a little out of sync but I believe that to be opening night nerves. All choreography was performed with great energy and enthusiasm.

Lucy Munden is a powerhouse as Ariel her vocals were incredible and she was the perfect Ariel, stubborn, adventurous and fun. This was a spectacular professional début and no doubt the start to a successful career. I don’t think this is the last time we will hear the name Lucy Munden. Ben Mabberley who played Willard in the place of Jake Quickenden was another stand out performance he created such an endearing and funny character you couldn’t take your eyes off him.

Ariel and Ren had great onstage chemistry laughing and joking with each other during the song almost paradise. The song learning to be silent was a lovely moment in the show Holly Ashton, Wendy Paver and Lucy Munden all sang with such emotion and at the end when instead of singing the last line they closed their mouths and hummed it was perfectly heartbreaking.

Footloose is the ultimate feel good show the entire audience were on their feet dancing and singing along at the end. The bright 80s costumes, the upbeat music and the endearing characters make this the kind of show you can’t help but enjoy. It’s a story so many of us know from the movie but seeing this talented cast bring it to life on the stage is an experience not to be missed.

FULL CASTING ANNOUNCED FOR

WHISTLE DOWN THE WIND

OPENING AT THE WATERMILL

FRIDAY 22 JULY – SATURDAY 10 SEPTEMBER

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

Full casting and creative team have been announced for WHISTLE DOWN THE WIND – the first major UK revival of Andrew Lloyd Webber and Jim Steinman’s 1996 rock musical since 2010 – which will play at The Watermill from Friday 22 July until Saturday 10 September.

Directed by Tom Jackson Greaves (Watermill Associate Artist, The Jungle Book, Amélie, Sweet Charity, Macbeth, A Midsummer Night’s Dream, The Borrowers, Twelfth Night, Romeo and Juliet, Frankenstein), WHISTLE DOWN THE WIND will feature a company of actor musicians alongside a cast of talented local young people.

America, 1959. Change is in the air. The post war boom is thriving, the civil rights movement is growing and the golden age of television has begun. But, on a farm in rural Louisiana three children are hoping for a miracle.

When Swallow, a teenager struggling to come to terms with the death of her mother, discovers a man hiding out in the family barn she becomes convinced he is Jesus. In a town where the community will do anything to defend their way of life, the children unite to protect their saviour. As fantasy and reality collide, Swallow begins to discover who she is and what it means to grow up.

Chrissie Bhima (LIFT – Southwark Playhouse) will play ‘Candy’, Lewis Cornay (John and Jen – Southwark Playhouse – Off West End Award for Leading Performance, The Book of Mormon – Prince Edward Theatre) as ‘Amos’, Lloyd Gorman (Once – UK Tour, Sunny Afternoon – Harold Pinter Theatre) as ‘Boone’, Charlotte Grayson (Songs for a New World – London Palladium) as ‘Ensemble’, Jerome Lincoln (For You, I’d Wait – Turbine Theatre & Union Theatre) as ‘Ed’, Elliot Mackenzie (Million Dollar Quartet – UK Tour, Aladdin – Queens Theatre Hornchurch) as ‘Snake Preacher/Minister/Show MD’, Emma Jane Morton (Just So – Watermill Theatre, Amélie – UK Tour & The Other Palace) as ‘Ensemble’, Alfie Richards (Parade – The Other Palace) as ‘Earl’, Robert Tripolino (Jesus Christ Superstar – Barbican, Rent – Sydney Opera House) as ‘The Man’, Toby Webster (Shakespeare in Love – Theatre Royal Bath, Oppenheimer – RSC West End) as ‘Sheriff’, Lydia White (Little Women – The Park Theatre, The Last Five Years – Garrick Theatre) as ‘Swallow’, Stephanie Elstob (Edward Scissorhands – Matthew Bourne New Adventures – Amadeus – Chichester Festival Theatre) as ‘Mother’. 

Whistle Down the Wind has Tom Jackson Greaves as Director and Choreographer, Simon Kenny as Designer, Stuart Morley as Musical Supervisor and Arrangements, George Francis as Musical Director, Andrew Exeter as Lighting Designer, Yvonne Gilbert as Sound Designer, Nandi Bhebhe and Annie Southall as Assistant Directors, Rose Burston as DSM, Caitlin Ravenscroft and Natalie Toney as ASM, Chloe Robson as Placement ASM and Audio Description by Jenny Stewart-Cosgrove.

Tom Jackson Greaves says: ‘The opportunity to bring this incredible story back to the stage after its long absence feels extremely special. We have been given the chance to introduce it to audiences anew whilst also creating a brave and fresh interpretation for those who may have seen it before. It’s a real gift. Stories of dreams, grief, family and community have universal power and I hope our actor-musician-led revival will engage and surprise our audiences at the most beautiful theatre in the country – The Watermill.’

Theatre Royal Brighton – until 18th June 2022

Reviewed by Sue Bradley

4****

This play was inspired by the film Clue which itself took its inspiration from the famous board-game known in the UK as Cluedo.  The game was based on a real house in Rottingdean and was invented during the second World War, then subsequently sold to Waddingtons, who launched it in 1949.  

Six strangers, with apparently nothing in common, arrive at a country house for a mysterious party. Their anticipated good time quickly unravels into something more sinister. But this is a comedy – not even a dark comedy – and from the off it is clear that this will be a light-hearted spoof of the murder-mystery genre and it is played for laughs throughout.

Michelle Collins is suitably vampish as Miss Scarlett and Daniel Casey shakes off his Midsomer Murders’ ‘Detective Troy’ role to become an amusing Professor Plum. However the comically sinister butler, played by Jean-Luke Worrell, is the lynchpin to the show. In a wonderful scene in the second half he treats us to a breakneck Agatha Christie – style recap of the plot, which got a much-deserved round of applause. A mention too for Tom Babbage as Reverend Green, whose physical clowning in the second half got one of the biggest laughs of the night.

The ensemble playing from the cast is extremely strong – there are many set pieces which involve the entire cast in complicated tableaux and there is much running around in Keystone Cops style, where comic timing is everything, and the cast never let us down. It was clearly very well-rehearsed, so that when there was a happy accident with a make-up mishap, the actors involved allowed us to see that it had happened and then ad-libbed their way out of it to great comic effect. This momentary breaking of the fourth wall gave the audience another of the many well-deserved belly-laughs.

The set is also worthy of special mention; at first glance it is simply a nicely designed hallway with several doors leading off it, then through clever designs of pull-out sections, more and more ‘rooms’ (old favourites like The Study, The Kitchen, The Conservatory etc.) are revealed – and we even get a secret passage at one point which allows for a simple but funny sight gag. Lighting and sound design was also entertaining; never intrusive but with cues coming bang-on time, every time. Very impressive.

In the best tradition of murder-mysteries it is difficult to know who the murderer is until the last few scenes and even the denouement keeps us guessing to the end.

If you are looking for something of deep intellectual substance this show will not be for you, but if you want to be entertained with skill, pace and glorious silliness, you will not be disappointed.

In the end, you will be pleased with yourself if you work it out in advance or equally pleased to let the show give you the answer to the perennial question in a murder-mystery: ‘Whodunnit?’

Kids Week tickets available now for nearly 50 top West End shows this August

Tickets on sale TODAY Tuesday 14 June from 10am via officiallondontheatre.com/kids-week

Tickets go on sale this morning (10am Tuesday 14 June) for Kids Week, the long-running audience initiative giving kids aged 17 and under the chance to see a show for free throughout August when accompanied by a paying adult – with half price tickets for two additional children in the same group and no booking fees. Kids Week tickets for nearly 50 top West End shows are now available via OfficialLondonTheatre.com.

London’s world-famous theatres are preparing to throw open their doors for families this summer, with Kids Week tickets for exciting new shows like 101 Dalmatians, Back To The Future The Musical, Disney’s Beauty And The Beast, The Lion, The Witch And The Wardrobe, Grease The Musical, Life Of Pi and My Fair Lady, as well as established favourites including Six, The Play That Goes Wrong, Wicked, The Tiger Who Came To Tea, Horrible Histories: Terrible Tudors, Mamma Mia!, Disney’s Frozen and Mary Poppins.

Alongside the performances, shows are offering a wide range of free activities for Kids Week ticketholders, such as dance workshops, technical demonstrations and cast Q&As. And families travelling into London to see a show can take advantage of exclusive restaurant and hotel deals via OfficialLondonTheatre.com. 

List of shows participating in Kids Week 2022

& Juliet

101 Dalmatians

Anything Goes

Attenborough And His Animals

Back To The Future – The Musical

Disney’s Beauty And The Beast

Blippi The Musical

Come From Away

Dear Evan Hansen

The Drifters Girl

Disney’s Frozen

Get Up Stand Up! The Bob Marley Musical

Grease The Musical

The Great Gatsby

Heathers The Musical

Horrible Histories: Terrible Tudors

Jersey Boys

Kinky Boots The Musical In Concert

Life Of Pi

Disney’s The Lion King

The Lion, The Witch And The Wardrobe

Mamma Mia!

Mary Poppins

Matilda The Musical

Midsummer Mechanicals

Les Misérables

The Mousetrap

My Fair Lady

Only Fools And Horses The Musical

The Paper Dolls

The Phantom Of The Opera

The Pirate, The Princess And The Platypus

The Play That Goes Wrong

Room On The Broom

Sarah & Duck’s Big Top Birthday

Sister Act The Musical

Six

South Pacific

Tiddler And Other Terrific Tales

The Tiger Who Came To Tea

Tina – The Tina Turner Musical

Tom, Dick & Harry

Treason The Musical In Concert

Twirlywoos Live

The Very Hungry Caterpillar Show

Wicked

Witness For The Prosecution

The Woman In Black

Age recommendations and restrictions for participating shows will vary. Please check the show listings on OfficialLondonTheatre.com for more information.

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#KidsWeek

ARIA ENTERTAINMENT

PRESENT

THE WORLD PREMIERE OF
A NEW PLAY BY JJ GREEN

A-TYPICAL RAINBOW

PRESENTED BY ARIA ENTERTAINMENT

AT THE TURBINE THEATRE FROM 30 JUNE TO 7 AUGUST 2022

Based on real events from the perspective of the writer and the autistic community, JJ Green will lead the cast as Boy for the limited run at The Turbine Theatre.The rest of the cast will be made up by Caroline Deverill (Mother), James Westphal (Father/Doctor), Conor Joseph (Jake/Daniel), Joy Tan (Abby/Thomas/Lara) and Maya Manuel (Emily/Mrs Whiteman/Rachel).

Boy has always seen the world differently to most people. Where they see monochrome, he sees the world in vivid and brilliant technicolour.

As Boy grows up, he faces increasing pressure to conform to the black and white logic of the ‘real’ world, a way of thinking that doesn’t make sense, and forces him to suppress his unique and beautiful view of life.

A-Typical Rainbow is the World Premiere debut play by autistic writer JJ Green that asks: could a kinder, more joyful world lie at the end of the rainbow?

Katy Lipson (Producer) has said, “I am so thrilled to be presenting the World Premiere of this beautiful and relevant piece of writing. We are delighted to have assembled such a wonderful creative team and cast with multiple autistic and neurodivergent team members. We are looking forward to welcoming audiences to the Turbine Theatre this summer.”

A-Typical Rainbow is written by JJ Green, with direction by Bronagh Lagan. Composition and sound design by Max Alexander-Taylor, with associate sound design by Chris Czornyj and choreography by William Spencer. Set and costume design by Frankie Gerrard, and video design by Matt Powell. The casting director is Jane Deitch and production manager is Jack Boisseux with deputy stage manager Ryan Webster. Ollie Hancock, Tom Ramsay and Sarah Jordan Verghese are production coordinators with Chris Matanlé for Aria Entertainment as general manager and Katy Lipson for Aria Entertainment as producer.

This new play will run at The Turbine Theatre from 30 June – 7 August, with press night on 7 July 2022.

WORLD PREMIERE MUSICAL AT BIRMINGHAM REP

PRODUCTION SHOTS RELEASED FOR
Birmingham 2022 Festival presents
PLAYBOY OF THE WEST INDIES

Birmingham Rep, the city’s only major producing theatre, has released production shots of the world premiere musical, Playboy of the West Indies, presented by the Birmingham 2022 Festival.

Based on the Irish Classic The Playboy Of The Western World, Mustapha Matura’s hilarious reinvention Playboy Of The West Indies has been delighting audiences and critics alike world-wide for over 35 years. Now, the classic play has been transformed into a glorious new musical with a toe-tapping, finger-snapping score firmly rooted in the Caribbean.

Playboy of the West Indies stars Gleanne Purcell-Brown as Peggy, Durone Stokes as Ken, Elizabeth Ayodele as Ivy, Guy Burgess as Mac, McCallam Connell as Mikey, Derek Elroy as Stanley, Nathaniel Morrison as Fisherman Pepe, Neil Patterson as Jim, Tendai Rinomhota as Schoolgirl Iris, Rachel Summers as Alice, Chris Tummings as Phil and Angela Wynter as Mama Benin.

Playboy of the West Indies is written by Mustapha Matura; music composed by Clement Ishmael and Dominique Le Gendre, with lyrics by Clement Ishmael, Nicolas Kent, Dominique Le Gendre and Mustapha Matura; and directed by Clement Ishmael, Nicolas Kent and Dominique Le Gendre. 

The full creative team includes; Fight Director, Yarit Dor; Choreographer and Movement Director, Ingrid Mackinnon; Set Designer, Michael Taylor; Costume Designer, Natalie Pryce; Lighting Designer, Matt Eagland; Sound Designer, Tony Gayle; Musical Director, Ian Oakley; Casting Director, Debbie O’Brien; Production Manager, Sam Paterson; and Voice & Dialect Coach, Simone Sauphanor.

Playboy of the West Indies runs at Birmingham Rep until Sat 2 July 2022, to book tickets visit Birmingham-rep.co.uk, call 0121 236 4455 or visit the box office during opening hours.*

Playboy of the West Indies is presented by the Birmingham 2022 Festival, a six month celebration of creativity in the West Midlands surrounding the Birmingham 2022 Commonwealth Games generously supported by Arts Council England and the National Lottery Heritage Fund. More information at birmingham2022.com/festival.

National Theatre’s Speak Up Programme expands to work with 140,000 young people 

– New creative programme delivered for free across the country with Theatre Nation Partners  

– Young people, teachers and artists to collaborate in 55 secondary schools with Creative Associates LUNG  

– £3.3 million grant from Mohn Westlake Foundation to deliver the project in areas of low arts engagement over 3 years 

Following a successful pilot phase that began in Autumn 2021, the National Theatre’s Speak Up programme will expand to work with nearly 140,000 young people in 55 secondary schools nationwide across the next three years.  

Speak Up is the NT’s new national programme which sees young people, who have been most affected by the pandemic, working in collaboration with local artists and teachers to co-create artistic responses to issues that are most important to them. Responding to the current challenges in schools, the programme aims to develop young people’s self-expression, wellbeing and personal skills, with an open-ended offer to make creative projects in their local area.  

The NT is collaborating with LUNG as Creative Associates to deliver the training of artists and teachers and to develop the creative ambitions of Speak Up. LUNG is a campaign-led verbatim theatre company which works closely with communities nationally to shine a light on political, social and economic issues in modern Britain to ensure hidden voices are heard. 

Speak Up is taking place in selected schools across Doncaster, Greater Manchester (Salford, Wigan, Rochdale), Havering, Sunderland, Wakefield and Wolverhampton, with the project extending into additional areas in 2023. The NT’s current Theatre Nation Partnership organisations are Cast in Doncaster, The Lowry in Salford, Queen’s Theatre Hornchurch, Sunderland Empire and Sunderland Culture, Theatre Royal Wakefield and Wolverhampton Grand Theatre.  

As part of the pilot with secondary schools across Wakefield, Sunderland and Greater Manchester, students have taken part in a variety of creative sessions to empower them to tell their own stories and connect with each other and their local communities. Sessions have included creating a mural around the theme of equality and exploring storytelling methods through a variety of artforms such as film making, animation and stand-up comedy. Artists, partner organisations and young people have used the sessions to work collaboratively to design what Speak Up is going to look like for them in their schools for the next three years. 

Speak Up is generously supported by the Mohn Westlake Foundation which shares the NT’s belief in the power of youth voice and working with young people to enable positive change in their lives, schools and local communities. Through a £3.3million grant to deliver the programme nationally, Speak Up will reach hundreds of thousands of students, with the majority of the funding distributed to partners enabling local employment of producers and artists.  

Rufus Norris, Artistic Director of the National Theatre said, “Speak Up is a crucial part of the National Theatre’s work in levelling up, giving agency to young people nationwide whose voices often go unheard and that the Covid pandemic hit even harder. This innovative model will empower young people to share their views on current issues and put them at the heart of the creative process. We are excited to build on our in-depth relationships with our Theatre Nation partners across the country to deliver this new programme, guided by the creative vision of LUNG with invaluable funding from the Mohn Westlake Foundation. Together we will support young people to become leaders of the future and make positive change in their own lives and in their communities”.  

Marit Mohn and Stian Westlake, Trustees and Founders of The Mohn Westlake Foundation said, ”We understand that the pandemic has created unprecedented levels of isolation and disenfranchisement for young people. We are delighted to be extending our partnership with the National Theatre to increase access to the arts in particularly hard-hit areas of the country. By investing in young people, our leaders of the future, Speak Up will put them at the heart of the creative process, empowering them to combat these challenges, and rediscover their voice.” 

Amanda Parkes, Head of School at Oxclose Academy, Sunderland said, “Speak Up has reignited a love for group creativity that Covid decimated. Through taking part in Speak Up, our students have blossomed and learned so much about themselves and opportunities the arts offer them – and, more importantly, how valuable their voice and place in this world is. Their energy and engagement are electric and pupils have stepped up to the challenge, taken risks and found their voice.”  

Connor, 13, pupil at Oxclose Academy, Sunderland said, “Speak Up has given me opportunities to work with lot of different types of artists. I have really enjoyed working practically and have grown in confidence when working as part of a group”.  

www.nationaltheatre.org.uk/speak-up 

Blue Elephant Theatre – until 25 June 2022

4****

Reviewed by Claire Roderick

The trio of characters in Gaia Fay Lambert’s beautiful debut play live in the same house but are all crippled by loneliness and grief. Lambert’s words are evocative and reflective, weaving each character’s story of loss together expertly as they try to voice their feelings. The cast, Gbenga Jempeji, Meg Lewis and Séamus Newham are breathtaking, each capturing their characters despair effortlessly and sucking the audience into the void with them. Lambert’s language is full of repeated phrases with different meanings for each character; with frequent references to Greek myths illustrating humanity’s eternal longing for love and happiness and paralleling the narratives of the characters.

Director Myles O’Gorman’s perceptive direction and the incredible design by Hazel Low has the characters seemingly trapped inside an almost bare stage surrounded on three sides by large windows with blinds firmly down. The characters inhabit this space huddled shoulder to shoulder, swaying and twitching together in their shared but solitary states. The early part of the play is almost hypnotic as the monologues drift in and out, with shared gasps for air separating segments. The magnificent sound and lighting design by Jamie Lu and Kevin Murphy enhance the bleakness, gradually building to an uncomfortable crescendo as the trio force themselves apart.

The rhythm of the play breaks up at this point, with each character’s story examined in more depth through monologue and a sweet but heartbreaking wordless performance from Meg Lewis. As the characters work through their torments and begin to reach for the light, the blinds are opened and glimpses of hope creep in as they reach out for each other. The cycle of recovery from such despondency is portrayed thoughtfully and realistically, ending with a cathartic hopefulness and togetherness after the onslaught of emotions the play evokes.

A poetic and emotional play of haunting beauty, The Blue House is an extraordinary debut.

Barons Court Theatre – until 25 June 2022

3***

Reviewed by Claire Roderick

Eye Opening Productions’ Love (to) Bits is a heartfelt and funny exploration of love. Writer Ioana Goga weaves the personal triumphs and tragedies of Cynthia’s quest for love between verbatim responses to the question “What is love?” and, under Goga and Jez Davess-Humphrey’s co-direction, the result is a punchy and fast-moving show.

Goga’s fantastic stage presence draws the audience in straight away as Cynthia, and the descriptions of her first loves, starting at age 4, are honest but gently mocking seen through the prism of hindsight. Cynthia has a type, and they have led to disappointment and heartbreak. Aged 18, she meets Van (Tómas Howser) at a nightclub. He is the complete opposite of her type, but she is smitten. The funny awkwardness as they get to know each other is played beautifully, making the disappointment when one of them is not as committed to the relationship as the other more real, even though it is pretty obvious what is going to happen when Van doesn’t want to label their relationship.

All of Cynthia’s experiences of love in her life – unrequited, childish, downright stalkery, obsessive, comfortable, blissful, and all the pain and misery when love breaks down – are relatable and recognisable. The inclusion of the answers to “What is love?” between scenes highlights this, as each person (all wonderfully performed by Beatrix Bowden) struggles to express the concept. There are funny answers alongside truly moving replies from the older generation who have lost loved ones.

Goga’s final monologue exploring Cynthia’s realisation that loving herself is vital to her happiness is an empowering affirmation that hits exactly the right tone, accepting that selflove is as messy as loving others and ending the show on a high. With a fresh and funny approach to deep feelings, Love (to) Bits is well worth a look.

THE LEHMAN TRILOGY,
WINNER OF FIVE 2022 TONY AWARDS®, INCLUDING BEST PLAY,
WILL RETURN TO THE WEST END IN JANUARY 2023

Producers the National Theatre and Neal Street Productions today announced that the highly lauded, critically acclaimed production of THE LEHMAN TRILOGY, which last night won a total of five 2022 Tony Awards® – including Best Play – for its celebrated Broadway run, will return to London’s West End in January 2023 for a strictly limited season. Dates, including assisted performances, casting and booking information to be announced. Sign up for more news coming soon at thelehmantrilogy.com

This “genuinely epic production” (The New York Times) is the story of a family and a company that changed the world. Directed by multi-Academy Award®, Tony Award® and Golden Globe winner Sam Mendes, The Lehman Trilogy features a cast of three playing the Lehman brothers, their sons, and grandsons, in an extraordinary feat of storytelling told in three parts on a single evening. The decades unfold within the cinematic sweep of designer Es Devlin‘s Tony Award® winning set, a “slowly rotating masterpiece” (Variety).

On a cold September morning in 1844, a young man from Bavaria stands on a New York dockside dreaming of a new life in the new world. He is joined by his two brothers, and an American epic begins. 163 years later, the firm they establish – Lehman Brothers – spectacularly collapses into bankruptcy, triggering the largest financial crisis in history.

Alongside BEST PLAY, BEST DIRECTOR (Sam Mendes) and BEST SCENIC DESIGN (Es Devlin), The Lehman Trilogy, written by Stefano Massini and adapted by Ben Power, is also the winner of BEST LIGHTING DESIGN (Jon Clark), and BEST ACTOR (Simon Russell Beale) at the 2022 Tony Awards®, making the production the most awarded play at the Tony’s this season. It was also awarded this season’s Drama League Award for BEST PLAY and six Outer Critics Circle Awards, including BEST PLAY.

The world premiere of Stefano Massini’s The Lehman Trilogy opened at the Piccolo Teatro in Milan in 2015. It turned out to be Artistic Director Luca Ronconi’s final production before his death. A long-term admirer of Ronconi’s, Sam Mendes was inspired to begin planning an English adaptation for Neal Street Productions. Ben Power was commissioned by Neal Street Productions to create a new version of this epic play, using a literal English translation by Mirella Cheeseman. This production opened at the National Theatre in July 2018 before its North American premiere at the Park Avenue Armory in April 2019. The Lehman Trilogy subsequently opened for a 16-week sold-out West End run at the Piccadilly Theatre in May 2019. Following Broadway’s 18-month shutdown, The Lehman Trilogy was the first British play to return to Broadway — where it had previously played four performances in March 2020 — to run at the Nederlander Theatre for a limited engagement from September 2021 – January 2022. Following its Broadway run The Lehman Trilogy transferred to the Center Theatre Group’s Ahmanson Theatre in Los Angeles from March – April 2022.

Costume design is by Katrina Lindsay, video design by Luke Halls, and lighting design by Jon Clark. The Composer & Sound Designer is Nick Powell, the Co-Sound Designer is Dominic Bilkey, with music direction by Candida Caldicot, and movement by Polly Bennett. The West End Director is Zoé Ford Burnett. Casting is by Jessica Ronane CDG CSA.