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FULL CAST ANNOUNCED FOR

THE JAMIE LLOYD COMPANY’S THE SEAGULL

WithCyrano de Bergerac opening tonight at Brooklyn Academy of Music in New York, The Jamie Lloyd Company today announce full cast for its production of Anton Chekhov’s The Seagull, in a version by Anya Reiss directed by Jamie Lloyd. Joining the cast alongside the previously announced Emilia Clarke (Nina), Tom Rhys Harries (Trigorin), Daniel Monks (Konstantin), Indira Varma (Arkadina) and Sophie Wu (Masha) are Jason Barnett (Shamrayev), Robert Glenister (Sorin), Mika Onyx Johnson (Medvedenko), Gerald Kyd (Dorn) and Sara Powell (Polina), with understudies Katie Buchholz, Tina Harris, Joseph Langdon and David Lee-Jones. The production opens at the Harold Pinter Theatre on 7 July, with previews from 29 June, and runs until 10 September 2022.

The Jamie Lloyd Company continues its commitment to accessibility with 12,000 £15 tickets offered across its 2022 UK productions (Cyrano de Bergerac and The Seagull), with an additional 5,000 free tickets for The Seagull available for those with limited access to the arts.

£15 Tickets

Throughout the run, there will be specific Monday evening and Wednesday matinee performances with £15 seats available across the house exclusively for under 30s, key workers and those receiving government benefits. These performances are:

• 13 July (2.30pm) and 18 July (7.30pm)

On sale: 6 June at 12pm for a limited time only.

• 27 July (2.30pm), 1 August (7.30pm), 10 August (2.30pm) and 15 August (7.30pm)

On sale: 29 June at 12pm for a limited time only.

• 24 August (2.30pm), 29 August (7.30pm) and 7 September (2.30pm)

On sale: 27 July at 12pm for a limited time only.

Tickets will be available via thejamielloydcompany.com

Free Tickets

A dedicated outreach manager is distributing 5,000 free tickets amongst both secondary state schools and community organisations who otherwise would not have access to the theatre. Those working with a group who does not have the means or opportunity to visit the theatre, can register their interest here.

Anton Chekhov‘s

THE SEAGULL

A version by Anya Reiss

Director: Jamie Lloyd; Set and Costume Designer: Soutra Gilmour

Lighting Designer: Jackie Shemesh; Sound and Composition Designer: George Dennis

Casting Director: Stuart Burt CDG; Costume Supervision: Anna Josephs

Props Supervision: Fahmida Bakht; Associate Director: Jonathan Glew

Associate Design: Rachel Wingate

Harold Pinter Theatre

29 June – 10 September 2022

‘We need the theatre, couldn’t, couldn’t do without it. Could we?’  

A young woman is desperate for fame and a way out. A young man is pining after the woman of his dreams. A successful writer longs for a sense of achievement. An actress wants to fight the changing of the times. In an isolated home in the countryside where dreams are in tatters, hopes dashed, hearts broken and there is nowhere left to turn, the only option is to turn on each other.

Produced by ATG Productions, Gavin Kalin Productions, Glass Half Full Productions and Wessex Grove in association with Rupert Gavin/Mallory Factor.

Anya Reiss’ playwriting credits include Oliver Twist (Regent’s Park Open Air Theatre), Uncle Vanya (St James’ Theatre), Spring Awakening (UK tour), Three Sisters (Southwark Playhouse), and The Acid Test and Spur of the Moment (Royal Court Theatre); and as screenwriter her credits include Ackley Bridge and EastEnders.

Jason Barnett plays Shamrayev. His theatre credits include Living Newspaper, Instructions for Correct Assembly, Prime Time, Friday Night Sex, The Victorian in the Wall, The Girlfriend Experience (Royal Court Theatre), The Visit, Saint George and the Dragon, Emil and the Detectives, War Horse, Amato Saltone (National Theatre), Life of Galileo (Young Vic), Mad About The Boy (Young Vic/UK tour), Mogadishu (Manchester Royal Exchange), The Winter’s Tale, Pericles, Days of Significance (RSC), The Fixer (Almeida Theatre), Cruisin‘ (Bush Theatre) and The Tempest (Shakespeare’s Globe). His television credits include Agatha Raisin, Bridgerton, Waffle the Wonder Dog, Lee and Dean, Porridge, Josh, Bad Education and series regular Eddie Olosunje in The Bill; and for film, SuperBob, London Road, One Man and His Dog and The Sight.

Emilia Clarke plays Nina. Theatre credits include Breakfast at Tiffany’s (Cort). Film credits include Last Christmas; Solo: A Star Wars Story; Me Before You; Terminator: Genisys; Dom Hemingway; Spike Island. Television credits include Game of Thrones (nominated for 2013, 2015 and 2016 Emmy Awards for Outstanding Supporting Actress in a Drama Series, nominated for 2019 Emmy Awards for Outstanding Lead Actress in a Drama Series), and the upcoming Secret Invasion.

Robert Glenister plays Sorin. His theatre credits for the company include Moonlight/Night School (Pinter at the Pinter, Harold Pinter Theatre). Other theatre credits include Alys Always (Bridge Theatre), Glengarry Glen Ross (Playhouse Theatre), Great Britain, Never So Good, Blue Remembered Hills (National Theatre), Noises Off (The Old Vic/Novello Theatre), The Late Middle Classes (Donmar Warehouse), Hedda Gabler (Theatre Royal Bath), The Winterling (Royal Court Theatre), Uncle Vanya (Royal Exchange Theatre), Measure for Measure, The Tempest, The Spanish Tragedy, Little Eyolf (RSC), According to Hoyle (Hampstead Theatre), Hamlet (Sheffield Theatres) and Tango at the End of Winter (Piccadilly Theatre). His television credits include Suspicion, Strike, Curfew, Cold Feet, Close to the Enemy, Paranoid, Code of a Killer, The Cafe, Hustle, We’ll Take Manhattan, Legless, Spooks, Between the Sheets, Dirty Work, Soldier Soldier, Chancer and Sink or Swim; and for film Villain, The Aeronauts, Journey’s End, Live by Night, Cryptic, Creation and The Secret Rapture.

Tom Rhys Harries plays Trigorin. His theatre credits include Tumulus (VAULT Festival), The Pitchfork Disney (Shoreditch Town Hall), Dedication (Nuffield Southampton Theatres), Creditors (Young Vic), Four Play (The Old Vic), Mojo (Harold Pinter Theatre), The History Boys (Sheffield Theatres) and Torch Song Trilogy (Menier Chocolate Factory). His television credits include Suspicion,White Lines, Britannia, 15 Days, Merched Parchus, Unforgotten, Chewing Gum, Hinterland, Jekyll and Hyde, Under Milk Wood, If I Don’t Come Home: Letters from D-Day, Parade’s End; and for film, The Gentlemen, Slaughterhouse Rulez, Dragonheart: Battle for the Heartfire, Crow, Hot Property, Iron Clad: Battle for Blood and Hunky Dory.

Mika Onyx Johnson plays Medvedenko and is an Associate Artist with the company. Theatre credits as an actor include Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York), Boxes (Purple Theatre), Chessboard Society (Curve, Leicester), Behind Closed Doors (Lakeside Arts Centre, Nottingham) and #FaceMe (Contact, Manchester); and as a writer, Pink Lemonade (Edinburgh Festival Fringe/Bush Theatre – also performer), and My White Best Friend and Other Letters Left Unsaid (Part 2) (Bunker Theatre).

Gerald Kyd plays Dorn. His credits for the company include Richard III (Trafalgar Studios). Other theatre credits includeDeep Blue Sea, The Meeting (Chichester Festival Theatre), Winter Solstice, Love’s Labour’s Lost, Deathtrap, Breaking The Rules (UK tours), North By Northwest (Bath Theatre Royal/Toronto), Hapgood, 55 Days, Revelations (Hampstead Theatre), Feed The Beast (Birmingham Rep/New Wolsey Theatre), Three Winters, Children of the Sun, The Cherry Orchard, Blood and Gifts (National Theatre), Little Black Book (Park Theatre), The Real Thing (West Yorkshire Playhouse), The Years Between (Royal & Derngate Northampton), This Much Is True (Theatre503), The Three Musketeers (Bristol Old Vic), Edward II, Richard II (Shakespeare’s Globe), Ramayana (Birmingham Rep) and Cyrano De Bergerac (RSC). His television credits include Sister Boniface Mysteries, Queens of Mystery, Britannia, Whitstable Pearl, Harlots, Deep Water, Jesus: His Life, Unforgotten, Humans, The Coroner, Benidorm, Sherlock, The Bible, The Midnight Beast, Persons Unknown, as series regular Sean Maddox in Casualty (BBC), All In The Game; Brief Encounters and Underworld; and for film,Legacy: Black Ops, The Defender, Lara Croft Tomb Raider: The Cradle of Life and The Principles of Lust.

Daniel Monks plays Konstantin. His theatre credits include The Normal Heart (National Theatre), Teenage Dick (Donmar Warehouse – Winner of Best Performer in a Play at The Stage Debut Awards 2020), Lord of the Flies (Sydney Theatre Company) and The Real and Imagined History of The Elephant Man (Malthouse Theatre, Sydney – for which he was nominated for a Helpmann Award and Green Room Award for Best Lead Actor in a Play). For film, he wrote, produced, edited and starred in Pulse – which won the Busan Bank Award at the Busan International Film Festival 2017 and for which he was nominated for the Australian Academy Award (AACTA) for Best Lead Actor in a Film. He is an Ambassador for the Starlight Children’s Foundation, and in 2018, he was named the Ambassador for People with Disabilities Australia at the 40th Sydney Mardi Gras Parade. 

Sara Powell plays Polina. Her theatre credits include The Madness of George III (Nottingham Playhouse), La Peste, Richard III (Arcola Theatre), The Crucible (Bristol Old Vic), Disgraced (Bush Theatre), A Walk on Part (Soho Theatre), Macbeth (Almeida Theatre), Stuff Happens, The Villain’s Opera, Honk, The Darker Face of the Earth, Troilus and Cressida (National Theatre), World Music (Donmar Warehouse), Racing Demon, The Absence of War (Birmingham Rep), Mapping the Edge (Sheffield Theatres) and The Duchess of Malfi (RSC). Her television credits include Murder in Provence, Ghosts, Death in Paradise, Unforgotten, Damned, Silent Witness and Little Boy Blue; and for film, Last Christmas, Denial, My Zinc Bed and The Golden Years.

Indira Varma plays Arkadina. Her theatre credits for the company include The Hothouse (Trafalgar Studios). Other theatre credits include Faith Healer, Present Laughter – Olivier Award for Best Supporting Actress in a play (The Old Vic), The Treatment, Five Gold Rings (Almeida Theatre), Exit the King, Man and Superman, Ivanov, Remembrance of Things Past, Othello (National Theatre), Tiger County (Hampstead Theatre), Titus Andronicus (Shakespeare’s Globe), The Dance of Death (Donmar Trafalgar), Twelfth Night (Donmar Warehouse/Wyndham’s Theatre), The Vortex, Privates on Parade (Donmar Warehouse), Ingredient X, The Vertical Hour, The Country (Royal Court Theatre), Hysteria (Theatre Royal Bath), The Skin of Our Teeth (Young Vic), Celebration (Almeida Theatre/Lincoln Centre/Harold Pinter Theatre). Her television credits include upcoming Damage and Extrapolations, Obi Wan Kenobi, This Way Up, Game of Thrones, Luther, For Life, Carnival Row, Patrick Melrose, Silk, Rome and Indian Summer. For film, Mission: Impossible 7, Official Secrets, Crisis, The One & Only Ivan, Close and Exodus: Gods and Kings.

Sophie Wu plays Masha. Her theatre credits include Vassa (Almeida Theatre), Sketching (Wilton’s Music Hall), Shopping and F**king (Hammersmith Apollo), The Callous Corruption of Wesley McBunion (Paines Plough), Punk Rock (Royal Exchange Theatre/Lyric Hammersmith), The Wood Orchid (Bush Theatre,) and The Table (National Theatre). Her television credits include The Break, New Blood, Horrible Histories, Babylon, The Midnight Beast, Fresh Meat, Black Mirror, The Fades; and for film, Wild Child, Tormented, Kick-Ass, Kick-Ass 2 and Tonight You’re Mine. Her theatre credits as a writer include Ramona Tells Jim (Bush Theatre) and Sophie Wu Is Minging and Looks Like She’s Dead (Edinburgh Festival Fringe/Soho Theatre).

Jamie Lloyd directs. His credits for the company include Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival), Betrayal (Pinter at the Pinter, Harold Pinter Theatre/ Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play), Pinter One, Two, Three, Six and Seven (Pinter at the Pinter, Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse, Macbeth (Trafalgar Studios).

THE SEAGULL

LISTINGS

Harold Pinter Theatre

29 June – 10 September 2022

www.haroldpintertheatre.co.uk

FULL CAST & CREATIVE TEAM ANNOUNCED FOR THE NORTHERN IRELAND RETURN OF MARIE JONES’

STONES IN HIS POCKETS

THE BARN THEATRE’S 25^TH ANNIVERSARY PRODUCTION WILL RUN AT LYRIC THEATRE BELFAST FROM

7 JUNE – 3 JULY 2022

The Barn Theatre in Cirencester have today announced the full cast and creative team for the Northern Irish transfer of the 25^th anniversary production of Marie Jones’ Olivier award-winning tragicomedy Stones in His Pockets. The production will return to Lyric Theatre Belfast, where the original acclaimed production debuted in 1999, from 7 June – 3 July 2022 (Press Night: 9 June).

Set in rural Ireland, Stones in His Pockets follows a small village that is turned upside down by the arrival of a Hollywood studio to film the latest historical blockbuster. Told through the eyes of local lads Charlie Conlon and Jake Quinn, who are employed as extras, it soon becomes clear that Tinseltown’s romanticised dream of Ireland is a long way from reality.

Directed by Matthew McElhinney, son of the playwright Marie Jones and the play’s original director Ian McElhinney, this new production promises to bring an authentic rediscovery of the worldwide phenomenon, which has won numerous awards including both the Olivier and Evening Standard Awards for Best New Comedy, as well as three Tony nominations on Broadway.

The 25^th Anniversary production, which premiered in Cirencester in Summer 2021, will see the return of Shaun Blaney as Jake and Gerard McCabe as Charlie with direction by Matthew McElhinney, design by Gregor Donnelly, choreography by Fleur Mellor, lighting design by Sam Rowcliffe-Tanner, sound design by Harry Smith, AV design by Benjamin Collins and Alex Tabrizi and Denise Cleal as costume supervisor.

Marie Jones said of the production’s homecoming, “Almost 25 years ago when this play opened at the Lyric Theatre, little did we know the amazing journey that was ahead… from London to Broadway, Olivier Awards, Tony Nominations, translated and performed in 38 languages and still playing around the world.. but coming home, for me, is just the best.”

Matthew McElhinney said, “Lights, Camera, Action! After conquering the world 25 years ago, it is my privilege to work with the exciting team at The Barn Theatre to bring the phenomenal smash hit ‘Stones In His Pockets’ back to the nest. What happens when the stars become the extras and the extras become the stars? Find out at the Lyric Theatre Belfast; resurrected, reclaimed, and reimagined! This is ‘Stones,’ like you have never seen it before’ Welcome home!”

Tickets are now on sale and can be purchased at www.lyrictheatre.co.uk

Young Vic Announces Work for Summer – Autumn 2022

and celebrates 25 Years of creative engagement in the local community

Young Vic Artistic Director Kwame Kwei-Armah, announces upcoming work for Summer and Autumn 2022:

• The drumbeat that inspired a revolution – the story of Mandela and the movement behind him comes to the Young Vic stage in the World Premiere of Mandela,a revolutionary new musical, with a book by Laiona Michelle, music & lyrics by Greg Dean Borowsky & Shaun Borowsky, additional music & lyrics by Bongi Duma, directed by Schele Williams, choreographed by Gregory Maqoma, orchestration and musical supervision by Benjamin Kwasi Burrell, and developed in proud partnership with Nandi Mandela, Luvuyo Madasa and the Mandela family. (Quotes avaliable)
• Multi-award-winning director Ivo van Hove presents his blistering production of literary sensation Édouard Louis’ Who Killed My Father, performed as a monologue by acclaimed actor Hans Kesting.
• Chasing Hares, a new play by Sonali Bhattacharyya, winner of Theatre Uncut’s 2021 Political Playwriting Award, and directed by Milli Bhatia (seven methods of killings kylie jenner) considers the power of storytelling in imagining a fairer world, in an epic tale about a father’s resistance in the face of exploitation, set between the UK and West Bengal.
• The Young Vic’s creative engagement department begins a year of celebrations to mark its 25th anniversary with a series of events entitled Taking Part 25. 
  • Of The Cut co-written by Yasmin Joseph (J’Ouvert) and the company, directed by Philip J Morris (Sessions) brings together the voices and imagination of the Young Vic’s Taking Part community to create a promenade performance piece which blends film, theatre, audio and imagery, using magical realism to imagine what the next 25 years could look like on and around The Cut. 
  • Journeys, a six-part podcast series celebrating local voices in Lambeth and Southwark, uncovers stories with our Neighbourhood Theatre Company, taking a look at the past 25 years and looking ahead to the next. 
  • Taking Part’s 25th anniversary season will conclude with The Twenty Thrive Exhibition,an immersive, interactive exhibition combining archive material, photography, and storytelling to explore the role the Young Vic has played in its community over the past 25 years.
• ​Deirdre McLaughlin the Young Vic’s 2021 Genesis Future Directors Award recipient will direct a devilishly camp social satire The Secretaries by American collective The Five Lesbian Brothers, integrating creative access into the heart of the show.
• YV Unpacked returns for its fourth year with a new devised show in The Maria and on tour within Lambeth and Southwark. I Wonder If… will be directed by Daniel Bailey (Red Pitch) and devised by the company which includes John Rwothomach (Far Gone) and Shakira Stellar fusing dance, music and dialogue to explore human relationships in its many forms.
• An international collaboration between the Young Vic Taking Part, the Hetrick-Martin Institute in New York City, Jay Jay Revlon, Tristan Fynn-Aiduenu and Kemar Jewel, Communities of Resistance will see a group of young Queer and Black or Global Majority UK-based artists travel to the US to explore the political heritage of ballroom.
• Tickets for all Young Vic performances start at £12.50 with Lucky Dip tickets available from £10 and tickets available from £5 with the Young Vic’s £5 First Previews lottery, which opens 48hrs in advance of the performance.

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Kwame Kwei-Armah, Young Vic Artistic Director says: “Our Summer/Autumn season is a celebration of community and of resilience – from the stories you find on your doorstep to powerful tales of international resistance – that will bring us together to view the world through the eyes of others and through the lens of their experiences.

Starting with three of this season’s main house shows, intimate familial stories unfold against a backdrop of global struggle from the factory picket lines of West Bengal to France’s Yellow Jacket Protests and the fight against apartheid in South Africa. We invite you to travel the world with us to celebrate the forms of communal strength that have come before.   

We open the season with Sonali Bhattacharyya’s Chasing Hares, a tale of defiance, dignity and the power of storytelling in the face of exploitation. Moving from West Bengal to Continental Europe, Who Killed My Father is a son’s poignant account of his relationship with his father and fury at the social deprivation that led to his father’s decline. Finally, we travel to South Africa for a story of hope, the story of Nelson Mandela – father, husband and freedom fighter – his family and the sacrifices they made for a liberated nation in the World Premiere of Mandela, a revolutionary musical.  

In the Clare Theatre we will watch gender stereotypes and workplace exploitation be torn apart in the riotous and satirical camp-comedy-horror The Secretaries. Staged and updated for 2022 by our 2021 Genesis Future Directors Award recipient Deirdre McLaughlin.

We stand by the belief that theatre is there for its community – it is our rallying cry and has sat at the centre of the Young Vic’s ethos for the past 25 years. This year we celebrate the 25th anniversary of the beating heart of our organisation, our extraordinary outreach and engagement programme Taking Part, with a joyful season that shines a light on the stories from our vibrant community and the role we, the Young Vic, have played in Lambeth and Southwark over the last quarter of a century. 

So please join us as we come together, audience members and artists alike, in the communal space of the Young Vic to celebrate our communities, pay tribute to the stories of hope and resilience and challenge ourselves to see the world from different perspectives.”

Shereen Jasmin Phillips, Director of Young Vic Taking Part says: “I am incredibly proud to present our 25^th birthday season of Taking Part work, for, with and by the local community of Lambeth and Southwark. This year we will be connecting our young people with the queer community in New York through our Communities of Resistance project, imagining what the next 25 years will look like through a magical realism lens with our Of The Cut promenade production that will boast a 30 strong intergenerational community ensemble cast! And for a fourth year we will be taking theatre to community centres, hospitals and schools through YV Unpacked: I Wonder If… , which will explore human connection through an array of stories. Taking Part is staunchly committed to continuing joyous & thought provoking work through our local communities over the next 25 years and beyond.”

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The Secretaries 

By The Five Lesbian Brothers

Directed by Deirdre McLaughlin

Clare Theatre

1 – 11 June

“How did a decent girl like me get involved with a cult of murderous secretaries?”

New girl Patty is just dying to fit in with the perfectly put together secretaries at the Lumber Mill. But when the local lumberjacks start going missing, how far will she go to join their clique?

From American theatre company, The Five Lesbian Brothers, comes a murderously dark comedy that splits open gender stereotypes and carves up the line between violent instincts and passive submission.

Deirdre McLaughlin, Genesis Future Directors Award recipient, directs The Secretaries, integrating creative access into the heart of the show. Set and costume design is by Rhys Jarman, lighting design is by Stacey Sandford, sound design by Mwen, creative captioning by Rachel Sampley movement by Sita Thomas, casting director is Polly Jerrold and the trainee assistant director is Esmee West-Agboola.

Cast includes Jessica Murrian, Natasha Jayetileke, Georgia Frost, Tessa Parr & Francesca Mills.

Audio description and captioning are integrated into every performance and all performances will be relaxed.

Socially Distanced Performance: Wednesday 8 June 2022, 2.45pm

The Secretaries goes on sale to Soul Mates 19 April, and Friends 22 April. 

Public booking opens 28 April 2022. 

Due to the nature of the Genesis Future Directors Award, there will be no press night.

The Genesis Future Directors Award program is made possible by the Genesis Foundation.
 

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A Taking Part and Hetrick-Martin Institute project

Communities of Resistance 

Co-created by Jay Jay Revlon, Tristan Fynn-Aiduenu & Kemar Jewel

June – July

New York

Following the sell-out success of the Taking Part production Sundown Kiki, young people will explore how art has historically been used as a collective space of political resistance. 

The Young Vic will engage a group of Queer and Black or Global Majority young artists in a new creative process which connects Sundown Kiki to the birthplace of ballroom – New York City and explores ballroom’s political heritage.  

Working in collaboration with Hetrick-Martin Institute in New York City, co-created by House Father and leading figure of UK ballroom Jay Jay Revlon, theatre director and writer Tristan Fynn-Aiduenu, and US based theatre and ballroom artist Kemar Jewel, the young artists will explore what the notion of Communities of Resistance means to them and within their creative practice.

The project will conclude with a collaboration between the UK and US young artists in New York City, summer 2022 where they will create a scratch performance around the theme of Communities of Resistance. This international group of young artists will also march together in the New York Pride Parade 2022.

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A Young Vic and Theatre Uncut co-production

Chasing Hares 

By Sonali Bhattacharyya

Directed by Milli Bhatia

Main House

From 16 July – 13 August

“There’s a story he can’t afford for me to tell. For anyone to tell. And I wish I hadn’t realised that. Because now it’s the only one I’m interested in…”

Prab and Kajol dream of a different life for their daughter, Amba. One far away from their grinding factory jobs in West Bengal. So when the factory owner’s son asks Prab to write a new play for his Jatra theatre troupe, they jump at the chance to impress the boss. But Prab knows stories are powerful, and as conditions in the factory worsen, he has a choice to make about the story he is writing – one that will have far-reaching consequences for Prab, Kajol and the factory itself.

Winner of Theatre Uncut’s 2021 Political Playwriting Award, Sonali Bhattacharyya’s Chasing Hares is a tale of resistance and dignity in the face of global exploitation. The play is directed by Milli Bhatia (seven methods of killing kylie jenner), with designs by Moi Tran, lighting design by Jai Morjaria, sound design by Donato Wharton, composition by Sarathy Korwar, movement direction by Chi San Howard, video design by Akhila Krishnan and lyric consultant Jammz.

Casting to be announced.

Relaxed Performance: 3 August 2022, 7.30pm

Socially Distanced Performance: 8 August 2022, 7.30pm

BSL Performance: 29 July 2022, 7.30pm

Audio Described Performance: 2 & 9 August 2022, 7.30pm

Captioned Performance: 4 August 2022, 7.30pm

Chasing Hares goes on sale to Soul Mates 19 April, and Friends 22 April. 

Public booking opens 28 April 2022.

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A Young Vic Taking Part project

Journeys the podcast

Led by Neighbourhood Theatre Company

25 July – 25 December

Online

A six-part podcast series celebrating local voices in Lambeth and Southwark. We’ll uncover stories about our community over the past 25 years and look ahead to the next 25 years, with even more stories to share.

This series is a tribute to the legacy of our community work and its long-lasting impact. Our episodes will be published on the 25th of each month, starting in July which will take us right through to the end of the year.

Part of Taking Part 25, a season of work celebrating 25 years of the Young Vic’s creative engagement department.
 

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A Taking Part production from Young Vic and TEA films 

Of The Cut 

Written by Yasmin Joseph and the Company 

Directed by Philip J Morris 

30 July – 6 August 

Across multiple locations including Southwark College and The Maria, Young Vic 

To celebrate 25 years of Taking Part, our three strands (Learning, Participation and Neighbourhood Theatre) will come together to create a promenade performance piece which shines a light on the voices and stories of our community members. Of The Cut will be led by a team of multi-disciplinary creatives, fusing film, stage, sound, imagery and story together through the lens of magical realism. Of The Cut will provide an insight into the many lives lived on and around The Cut, and also explore what the next 25 years has in store for our vibrant community.

This is a co-production with TEA films, led by Adam Kes Hipkin and Dan Patrick Hipkin and will champion the local creativity of Lambeth and Southwark, which the Young Vic has spent the last quarter-century doing. Of The Cut is designed by Natalie Pryce with sound design by Nicola T. Chang. The assistant producer is Jordi M. Carter, the stage manager is Emily Behague, the deputy stage manager is Phyllys Egharevba and assistant stage manager is Leelah McEvoy.

Part of Taking Part 25, a season of work celebrating 25 years of the Young Vic’s creative engagement department.

Of The Cut will go on sale later in the year.
Of The Cut is generously supported by IHS Markit.

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An International Theater Amsterdam production in association with Young Vic

Who Killed My Father

Adapted by Ivo van Hove from the book by Édouard Louis

Main House

7 – 24 September

“Every time we have a fight, your father swears he’ll change. He’ll never change. It’s like they say, a dog that’s bitten before will bite again.”

Adapted for the stage by multi-award-winning director Ivo van Hove, Who Killed My Father is an anger-soaked letter written by literary sensation Édouard Louis to his father. Inspired by a visit to his father after some time, where he found him almost unrecognisable, it tells a gripping story of a life marked by alcohol, social deprivation, and years of hard work in heavy industry in the north of France.

Making its UK premiere at the Young Vic, Who Killed My Father is “both a furious indictment of the political elite and a son’s declaration of love” performed as a monologue by Hans Kesting.

A merciless and moving portrait.’ – de Volkskrant ★★★★

‘Intense and beautifully played by Kesting’. – Telegraaf ★★★★

Who Killed My Father is translated, adapted and directed by Ivo van Hove, after the book by Édouard Louis, performed by Hans Kesting with scenography and lighting by Jan Versweyveld, costumes by An D’Huys and music by George Dhauw. 

Access performances to be announced.

Who Killed My Father goes on sale to Soul Mates 19 April, and Friends 27 April. 

Public booking opens 19 May 2022.

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A Young Vic Taking Part project

The Twenty Thrive Exhibition: Celebrating 25 years of creating, exploring and Taking Part in our community

Creatives include Myah Jeffers and QianEr Jin
The Maria

14 October – 21 October

Explore The Twenty Thrive Exhibition, an immersive and interactive exhibition that celebrates the last 25 years of the Young Vic’s outreach and engagement work. Curated and designed by a team of multi-disciplinary artists including Myah Jeffers and QianEr Jin, and young people from Southwark and Lambeth, The Twenty Thrive Exhibition will use archive material, photography, storytelling and testimonies from Taking Part participants past and present to explore the role the Young Vic has played in our community over the past 25 years and celebrate how our community has helped make us who we are today. 

Part of Taking Part 25, a season of work celebrating 25 years of the Young Vic’s creative engagement department.

The Twenty Thrive Exhibition will go on sale later in the year.
 

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YV Unpacked: I Wonder If …

Devised by the Company 

Directed by Daniel Bailey 

On tour to community venues in Lambeth and Southwark, 10 – 21 October 

The Maria, 24 – 29 October 2022

Two people meet. The rest is infinite.

Set in a world of limitless possibilities, two people meet, but how they meet changes with the beat of the drum. One moment they’re friends figuring out the depths of their affection, in another they’re star-crossed lovers trying to stay in rhythm.

Fusing dance, music and dialogue to explore the human relationship in its many forms, I Wonder If…  is a dazzling new play directed by Daniel Bailey (Red Pitch) and devised by the company.

YV Unpacked was established in 2018 by Kwame Kwei-Armah, developed with the intention of reaching audiences who may find it more difficult to access theatre by taking professional work to them. Following the success of three YV Unpacked tours – Spring Awakening, She Ventures, He Wins and Love Reign which were performed in community venues across Lambeth and Southwark including prisons, schools, care homes, homeless shelters and rehabilitation centres – Taking Part will tourI Wonder If…to similar locations in local boroughs where theatre is not usually performed.  

I Wonder If… will be devised by the company and directed by Daniel Bailey, with movement direction by Ricardo Da Silva, design consultation by QianEr Jin, musical direction and composition by Shakira Stellar and dramaturgy by Shereen Jasmin Phillips. The company stage manager is Sylvia Darkwa-Ohemeng, the deputy stage manager is Emily Behague and the sound operator is Lateef Salvador Oshinowo. The cast includes John Rwothomach and Shakira Stellar.

I Wonder If… will go on sale later in the year.
 

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Young Vic presents

Mandela

Book by Laiona Michelle

Music and Lyrics by Greg Dean Borowsky and Shaun Borowsky

Directed by Schele Williams

In proud partnership with the Mandela family 

Co-Produced by special arrangement with Nandi Mandela, Luvuyo Madasa, Shaun Hurwitz, Ronen Zekry, Greg Dean Borowsky, Shaun Borowsky and Brian & Dayna Lee

Main House

28 November – 4 February 2023

“A new spirit has gripped our nation!”

“Together is where tomorrow’s promise lies”

A revolutionary new musical that tells the story of Mandela the man and Mandela the movement. Infused with the rhythms and spirit of South Africa, Mandela shines a light on the South African people’s courageous fight for their liberation. For 27 years, Mandela and his comrades sacrificed their freedom and their families paid the price. It is a story of determination, hope and how the world rallied to free him and his people. The production is presented in proud partnership with Nandi Mandela, Luvuyo Madasa and the Mandela family.

Thebook is by Laiona Michelle, with music & lyrics by Greg Dean Borowsky & Shaun Borowsky, additional music & lyrics by Bongi Duma, directed by Schele Williams and choreography by Gregory Maqoma, orchestration and musical supervision by Benjamin Kwasi Burrell, casting by Pippa Ailion CDG and Natalie Gallacher CDG and developed in proud partnership with Nandi Mandela, Luvuyo Madasa and the Mandela family. Cast and further creative team to be announced.

Nandi Mandela (Granddaughter of Nelson Mandela) says: “As my grandfather once said, music has the power to free us to dream, to unite people as one voice, and we hope that our musical will do just that. We are so proud to be bringing his story to the stage, with our brilliant creative team led by Greg and Shaun Borowsky, Laiona Michelle, Bongi Duma, Gregory Maqoma and Schele Williams in a way that honours and celebrates Madiba, for who he was – a grandfather, a father, a man who tried to do the best that he could during his journey on earth. We hope that my grandfather’s story, of a man from humble beginnings who pulled himself up by his bootstraps, will resonate with audiences far and wide, and communicate his message of hope – that we are all capable of doing great things, as long as we are true and authentic to ourselves.”

Luvuyo Madasa (Great Grandson of Nelson Mandela) says: “Mandela is a story of hearts and minds, the result of an incredible journey that we have been walking with Greg and Shaun Borowsky for the past seven years. Together, we will invite people to the Young Vic to see who Madiba was, who his family were and what they meant to him, the sacrifices they made and the many unsung heroes that journeyed alongside Mandela as he became a global, political icon. By sharing his tale in this way, we hope that people from all walks of life will see the story of my great grandfather in a new light and recognise that he was just a human being following his path and perhaps, this can inspire many more of us to follow in his footsteps.”

Mandela will be broadcast live for four performances as part of Best Seat in Your House, the Young Vic’s immersive multi-camera player that allows audience members to pick their preferred camera angle during the live show. The broadcast experience is designed uniquely for the production, with multiple cameras positioned to offer unique perspectives of the show. The broadcast will be available worldwide. Captions, audio description and BSL-interpretation will be available for every stream.

Relaxed Performance: 4 January 2023, 7.30pm

Socially Distanced Performance: 21 December 2022, 7.30pm

BSL Performance: 13 December 2022 & 12 January 2023, 7.30pm

Audio Described Performance: 19 December 2022,10 & 24 January 2023, 7.30pm

Captioned Performance: 15 December 2022 & 5 January 2023, 7.30pm

Best Seat in Your House broadcasts: 19, 20 & 21 January 2023, 7.30pm and 21 January 2023, 2.30pm

Mandela will go on sale later in the year.

EMPIRE THEATRE, LIVERPOOL – UNTIL SATURDAY 16TH APRIL 2022

REVIEWED BY MIA BOWEN

5*****

The history or shall I say her-story of the six wives of King Henry VIII, raised the roof last night at the Empire Theatre, as the ex wives took to the stage. These Queens have been waiting for centuries to give some perspective of their bloody, messy and church reforming marriages. The Band of Wives (should have been called Little Six) have joined forces to tell the truth behind the Tudor tragedy, their way. The ex wives are competing to be crowned the ultimate Queen, assessed on how much they suffered at the hands of the Tudor Monarch, well known for his relationship record.

More of a concert atmosphere, then a musical, the tone is set from the opening number; it is loud, proud and fierce competition for RuPaul’s Drag Race. What follows are powerful, heart wrenching and witty tales of how they eventually ended up; divorced, beheaded, died, divorced, beheaded and survived. Each Queen gets a solo and backs each other, the ensemble is so good and there is no space between them. Think Spice Girls, reinvigorated with an educational twist.

The sensational Chlöe Hart is up first as Catherine of Aragon, showing her fierce determination, smashing the high notes alongside faultless dance moves with her energetic song No Way. Jennifer Caldwell plays Anne Boleyn and does her proud. She is feisty, cheeky and hilarious and her lyrics in Don’t Lose Ur Head are full of fun. Playing the doomed Jane Seymour is Casey Al-Shaqsy, slowing down the pace with an emotional heart wrenching song, Heart Of Stone. Grace Melville playing Anna of Cleaves, gets the audience back on their feet (literally, if you’re in the front row) and stops the show in its tracks with her fierce and uproarious Get Down. Keep an eye on her costume! Jaina Brock-Patel plays Katherine Howard and performs the Britney Spears inspired anthem, of passion, pain and anger in All You Wanna Do. Finishing up the show and the only wife to survive Henry’s romantic reign, is Catherine Parr played by Alana M Robinson. She inspires the others to see themselves in their own light, not Henry’s in her belter I Don’t Need Your Love.

What is a concert without a killer backing band? The band called the Ladies in Waiting, is onstage for the duration of the show, wearing tight, studded costumes that compliment the looks of the ex wives and comprises of four women; Anna Senger (Musical director/keys), Laura Browne (guitar), Migdalia Van Der Hoven (drums) and Ashley Young (bass).

Six is full of heart, exhilaration and is a celebration of girl power, and has a strong cult following. It stays with you long after the performance is over.

Windsor Theatre Royal – until Saturday 16th April 2022

Reviewed by Liberty Noke

4****

The Importance of Being Earnest is perhaps Oscar Wilde’s most well-known play and has been enjoyed by audiences for over 100 years. It is the story of 2 friends who use have invented a friend for themselves to use as an excuse to avoid social obligations. However these lies cause hilarity when they are taken too far.

The staging of this play is that of a radio show. The curtain opened to reveal six microphones at the front of the stage and 8 chairs for the actors to sit on. There was a piano at the back of the stage as well as another microphone and various items for providing the sounds. Martin Carroll first enters he plays Lane but also provides the sound effects for the play. He tests the microphones and takes his seat at the back of the stage before the rest of the actors arrive and take their seats. The play then begins.

The characters Algernon (Timothy Innes) and Jack (Barnaby Tobias) open the play as Algernon returns a cigarette case to Jack whom he knows by the name Ernest. He questions him why the name Jack is engraved in the case and thus is when it is revealed that Jack leads a double life as Jack in the country and Ernest in the town. Algernon reveals that he has also invented a person a friend by the name of Bunbury whom he later tells his aunt, Lady Bracknell (Jenny Seagrove) is unwell so that he doesn’t have to dine with her.

We then meet Gwendolyn (Louisa Lytton) who Jack proposes to however her mother, Lady Bracknell doesn’t approve of Jack. They make light of the serious matter of marriage and this is mirrored when Algernon travels to the country under the guise of Ernest to propose to Jack’s ward Cecily (Ruby Hartley). When Cecily and Gwendolyn meet they are shocked to find that they are both engaged to a man named Earnest and it is funny to see how they quickly change from liking each other to hating each other and how they contradict their own words.

Although the play is a radio play the performers portrayed their characters excellently. Jenny Seagrove’s voice was that perfectly posh and detestable older lady. Timothy Innes and Barnaby Tobias adopted the arrogant stance if confident men but when they were caught in their lies appeared far more timid. Another great part about this being a radio show was seeing Martin Carroll pouring tea and opening boxes to provide the sounds for the show.

I don’t think it is a spoiler to say that the play has a satisfactory ending in which all the chaos is resolved and the plot is tied up neatly. It is no wonder Wilde’s plays are still being performed as The Importance of Being Earnest had a modern audience of all ages laughing out loud.

Mayflower Theatre, Southampton – until 16 April 2022

Reviewed by Joanna Huggett  

4****

My 10 year-old daughter Amelia and I went to see Beautiful. We both really enjoyed it. We thought the set changes were very slick and the activity on stage maintained audience interest. 

The cast were very talented musicians and singers. We thought Molly-Grace Cutler really stole the show as Carole. We also enjoyed Tom Milner’s performance as Gerry Goffin and Jos Slovick as Barry. And we enjoyed the performances by the Drifters. We thought all the cast acted their parts well and had good comic timing. 

We thought the second act in particular was very uplifting, and by the end of the show most of the audience were on their feet. We loved the casts renditions of Carole Kings best known hits, especially ‘You’ve got a Friend’ ‘Beautiful’ and ‘I Feel the Earth Move’

Overall a thoroughly enjoyable show. 

Hull New Theatre – until 16th April 2022

Reviewed by Catherine McWilliams

5*****

Last night I had an utterly magical night at Hull New Theatre watching Bedknobs and Broomsticks. From the very dramatic first scene I was hooked and the performance took my breath away so many times. Bedknobs and Broomsticks has everything, a cracking storyline with superb performances plus scenery, special effects and lighting that will leave you gasping in awe.

Bedknobs And Broomsticks is based on the novels by Mary Norton and Disney Film with original music and lyrics by Richard M. Sherman and Robert B. Sherman, this musical has additional music and lyrics by Neil Bartram and the book is written by Brian Hill. The story is about the Rawlins siblings who are orphaned in World War 2 and are evacuated to the country to the home of Eglantine Price (Dianne Pilkington). Miss Price is very reluctant to take the children as she is busy making magic with the aim of making inanimate objects come to live in order to fight the invaders. The children then become involved in her search for the magic.

Having never seen the film of Bedknobs And Broomsticks I had no idea of the storyline and have to admit that I thought I was going to see a somewhat twee cosy show. This is of course nothing of the sort and this production does not shy away from the darkness of the times it is set in and the grief and loneliness of losing loved ones. The opening scene when the children’s’ home is bombed is incredible and I just held my breath at the horror that was unfolding on the stage. However, whilst the production is at times dark it has moments of great joy and humour and throughout carries the message of hope and love.

Dianne Pilkington is perfect for the role of Miss Price with an assured air and certainty about her and little time for anything else but her magic. She has a stunning voice and handled the magical elements wonderfully. The relationships she built with Emelius Browne (Charles Brunton) and the children felt very real.

Charles Brunton made a wonderful Emelius Browne the magician (verging on confidence trickster at the beginning) and “Emelius The Great” was such fun to watch. He brought a great deal of joy to the stage.

I was surprised to discover that this was Conor O’Hara’s professional debut as his performance as Charlie Rawlins was delivered with confidence and skill, as he tried to look after his younger siblings. His voice is fabulous and I suspect this is someone to watch in the future.

Huge credit should be given to Jasper Hawes as Paul Rawlins and Poppy Houghton as Carrie Rawlins, on stage from start to finish they are such a vital part of the story and played their parts with a confidence belying their age, both children have beautiful singing voices.

Bedknobs And Broomsticks is reliant on an incredible ensemble, who helped create the magic, danced, became scenery and generally made this such a wonderful show. The full company number “Portobello Road” was fast and furious and joyous to watch, and “Nopeepo Lagoon was just captivating.

The magic and illusions in this show are perplexing – I am still left wondering how that bed flew, and as to the broomstick and the other illusions, I have no idea.

The Orchestra led by Musical Director Laura Bangay was outstanding, the music fits the scenes so well and at times it seemed to fill the auditorium.

Bedknobs and Broomsticks has everything you need for a great night out at the theatre, it has a storyline with grit, simply outstanding performances from all cast members, beautiful music and stunning illusions. I would go back to see this again at the drop of a hat, this is one of those performances that you know if you see it again you will notice something new or catch a different nuance from one of the characters. Above all else you will leave the theatre filled with hope – this is a must-see show.

Alexandra Palace Theatre, London – until 30 April 2022

Reviewed by Debra Stottor

4****

You may think of a Jane Austen novel as something of an anachronism, but her analysis of love, life and the choices we make still resonates today. The manners and social conventions belong in the 19th century, the story itself anytime, anywhere. And perhaps that’s why Jeff James and James Yeatman’s unorthodox adaptation of Austen’s final novel works, brought up to date with music and dancing that’s way too modern for this writer but with dialogue true to the original.

Austen’s novels are, to an extent, precursors to the modern-day rom-com, tales of boy-meets-girl with enough plot twists to keep you guessing and plenty of wit to keep the mood light and fun. This is very much played for laughs – from the sharp dialogue to the dance scenes to frolicking in the foam at Lyme Regis.

The three motherless Elliot sisters exemplify the different roles played by women – Elizabeth (Matilda Bailes), desperate to marry at any cost; Mary (Helen Cripps), married but disenchanted with her lot; and Anne (Sasha Frost), persuaded not to marry eight years earlier but thrown into turmoil by the reappearance of her erstwhile suitor, the now very eligible Captain Wentworth (Fred Fergus). The interactions between them and the other characters are believable and absorbing, making this a story that moves along at a good pace, keeping the audience engaged.

The staging is deceptively simple, so the audience concentrates on the interaction between the characters rather than being distracted by props. There are juxtapositions aplenty – characters in tracksuits speak in period dialogue, for example. And then there’s the music. Banging dance tunes – the soundtrack features Frank Ocean, Dua Lipa and Cardi B – accompanied by well-choreographed routines performed by the cast bring a surreal twist to an otherwise relatively straight adaptation of a 200-year-old tale (though I’m not sure what Austen would have made of the attraction between Elizabeth and Penelope (Caroline Moroney), a subject that would have been unspoken in the early 1800s).

At its heart this is a story about integrity and self-discovery, learning to trust our deepest feelings and not give in to the persuasion of others. In a world where everyone has an opinion, being certain of your own is as important now as it has ever been.

James’s adaptation brings Austen’s central themes into the 21st century in a light-hearted, accessible way for those unfamiliar with her work. This play stands alone in its own right – a fun night out for those of a romantic disposition.

LYCEUM, SHEFFIELD – UNTIL 16 APRIL 2022

Reviewed by Alison Beaumont

5*****

Jamie is a musical inspired by the 2011 television documentary Jamie: Drag Queen at 16 directed by Jenny Popplewell. The musical follows a 16 year old teenager as he overcomes prejudice, beats the bullies and steps out to become a drag queen. The musical is set in the city of Sheffield, South Yorkshire.

This show is funny and also quite emotional as sadly many people encounter this type of prejudice. The language and one liners may not be for the prudish but these all add to the reality of this musical. There were times especially in the first act where it was difficult to tell what was being said but that aside this musical still deserves the 5*****. With it being based in Sheffield and watching it in Sheffield also added to the enjoyment especially as you could understand the dialect.

Jamie is played by Layton Williams and did a brilliant job. In this performance his vocals weren’t the strongest which is slightly surprising after listening to clips of his performance on YouTube, where he did an outstanding job. However, this didn’t detract from the performance he delivered. I would struggle to walk in Jamie’s heels let alone dance in them.

Pritti Pasha (Sharan Phull) is Jamie’s best friend and encourages him to follow his dreams and not to hide away. Pritti for me had the best vocals and was outstanding, I particularly enjoyed “It Means Beautiful”.

I also felt that Jamie’s mum, Margaret (Amy Ellen Richardson) also had particularly good vocals and gave a faultless performance. Her best friend Ray (Sasha Latoya) was very funny.

Shane Ritchie (famously known as playing Alfie Moon in Eastenders) joined the performance as Hugo/Loco Chanelle. It was very different to see Shane playing a northerner. In my opinion I felt that he played Loco Chanelle better than he did Hugo.

There was a cast change in this performance, Dean was played by Ryan Hughes and he played the part of the bully very well and true to life.

Amazing performances by everyone and the dancing was out of this world with great choreography.

A full standing ovation by the audience at the end was very much deserved. I would recommend anyone to go and watch this musical and would definitely go and see this again

Charing Cross Theatre – until 28 May 2022

Reviewed by Claire Roderick

4****

Zorro is a fabulous fiesta of fun with tongue firmly in cheek.

Zorro has always been one of the cheesiest and campest masked heroes – and this production gleefully acknowledges the ridiculous story but Stephen Clark’s book and lyrics still manage to include emotive moments. 

In this version, it is Zorro’s own brother that he must battle to free the pueblo of Los Angeles. A brief glimpse of their childhood shows Don Alejandro (Pete Ashmore) will never win Father of the Year as he plays favourites with his sons, sending the youngest, Diego (Benjamin Purkiss) to military school in Spain as preparation for leadership instead of his firstborn Ramon (Alex Gibson-Giorgio). Diego ditches school and spends his time wildly with the gypsies until he is told of his father’s death and Ramon’s cruel rule by old friend Luisa (Paige Fenlon). The gypsies, led by Inez (Phoebe Panaretos) sail to Los Angeles with Diego and Luisa. As he foppishly fawns on Ramon, Diego secretly Don’s the black mask and cape to become el Zorro (although he lobbies hard for el Puma) and thwart Ramon’s despotic orders.

It is the ultimate cheese fest, and joyously so – the cast play it straight with the glorious exception of Marc Pickering as the tragi-comic Sergeant Garcia wooing Inez while the brothers play their dangerous game of cat and mouse.

Gibson-Giorgio gets to chew the scenery as the tortured but dastardly villain, Benjamin Purkiss is an impish Zorro and an excellent romantic foil for Fenlon’s strong and charming Luisa, while Panaretos is full of dry one-liners as she guides Zorro in between burning up the stage with her dance moves.

There are some well choreographed sword fights and stage magic, but it is the music and dancing that make this show so special. The music of The Gypsy Kings, along with John Cameron, is performed brilliantly by the extraordinary cast of actor/musicians. The flamenco dancing is passionate and uplifting, especially when unaccompanied. The energy of Bamboleo and Djobi Djoba is off the charts, and you can’t help but be swept along. The vocal skills of the cast are impressive, with the women’s laments guaranteed to give you goosebumps.

A blast from start to finish, Zorro is escapism at its best.