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 LIVERPOOL’S EPSTEIN THEATRE

UNDER NEW MANAGEMENT 

FUTURE OF HISTORIC LIVERPOOL THEATRE SECURED AS EXPERIENCED 

TEAM COLLABORATE TO TAKE OVER HANOVER STREET VENUE 

Liverpool’s much-loved Epstein Theatre is entering a brand new chapter with a new management team at the helm. 

Epstein Entertainments Ltd is a joint venture between Liverpool producers Bill Elms, Chantelle Nolan, and Jane Joseph, who have taken over the historic Hanover Street venue this week. 

The creative team’s exciting plans already include a Christmas pantomime this festive season, which will be announced and on sale this week.

The theatre will retain the same name and continue to run as a variety venue with a mixed programme of entertainment. 

Bill Elms has more than 30 years’ experience in the entertainment industry, both regionally and nationally. He is director of leading Liverpool based arts PR company Bill Elms Associates, and a theatre producer under Bill Elms Productions, whose previous shows have included Jerry Springer – The Opera, Swan Song, Judy & Liza, and Something About Simon. Last year, he also created Liverpool Theatre Festival, of which he is Artistic Director – the festival has just enjoyed a successful second year. Bill will become the venue’s Artistic and Communications Director. 

Chantelle Nolan, who is currently General Manager at St Helens Theatre Royal, is the new Artistic and Operations Director at The Epstein Theatre. Along with her mother Jane Joseph, she is one half of the hugely successful Regal Entertainments Ltd which has run St Helens Theatre Royal for the past 20 years, as well as producing top quality drama, comedy, and panto productions which have toured extensively. 

Chantelle also directs and produces St Helens’ three annual pantomimes. Regal Entertainments Ltd will now produce three in-house pantomimes a year at The Epstein Theatre. 

Bill Elms Productions, Liverpool Theatre Festival, St Helens Theatre Royal, and Regal Entertainments Ltd will continue to run as normal. 

The Epstein is a 108-year-old, 380-seat proscenium arch theatre. It was originally opened as Crane’s Music Hall in 1913 and was a popular location for recitals and performances. It was renamed Crane Theatre in 1938. In 1967 the theatre was purchased from the Cranes by Liverpool Corporation, who decided that it should be run by local people for local people and was named The Neptune Theatre. The Neptune also became a comedy club and, after many years of uncertainty about the future of the theatre, it eventually closed in 2005. 

In July 2011, a £1million refurbishment of the theatre was completed which saw the Hanover Street venue brought up to 21st Century standards and renamed The Epstein Theatre in honour of former Beatles manager Brian Epstein, who guided the Fab Four from popular cellar act to global superstardom. The opening season show at the venue was the premiere of Epstein: The Man Who Made The Beatles, which was also produced by Bill Elms. 

The former operator went into administration in December 2017 and has been run by administrators until this time, continuing to showcase a programme of music, comedy, drama, and children’s entertainment. The venue closed its doors in March 2020 as part of the Government national Covid-19 lockdown, and will now reopen under the management of the new team. 

Bill Elms, Artistic and Communications Director at Epstein Entertainments Ltd, said: “I’m absolutely delighted to have been successful in the joint tender for the lease of The Epstein Theatre. This is a venue I have loved with a passion for so many years and is one of Liverpool’s leading historical and cultural gems. I’m excited to play a part in both strengthening and reaffirming its future, with a vision to establish the venue among the most prolific theatres in the industry – we’ll be showcasing established favourites, revivals and new works; working with both local and national producers and production companies; and exploring some mid-scale UK tours that currently tend to bypass the city.” 

Chantelle Nolan, Artistic and Operations Director at Epstein Entertainments Ltd, said: “The Epstein holds a very special place in people’s hearts, myself included. My mother Jane produced the annual panto for many years in the theatre’s previous incarnation as The Neptune, and I appeared in her first show there as a child. Performing there helped fuel my love of theatre, but little could I have known then that I’d be running the venue one day. The Epstein has amazing potential, and we’re absolutely committed to presenting a quality programme of music, comedy, and children’s shows, as well as building on the family pantomime and exploring longer running shows for Epstein audiences.” 

Regal Entertainments Ltd Company Director Jane Joseph added: “This is a very special moment for me. I produced my first ever pantomime, Aladdin, at the then Neptune in 1994. I’m incredibly excited that 25 years later, to be coming full circle and returning to the theatre where it all started for me – this time as part of the team running the venue. The Epstein is a theatrical jewel and I’m looking forward to helping it continue to sparkle.” 

The theatre management are welcoming enquires from local and national production companies to programme from January 2022, producers can email [email protected] 

For more details check out www.epsteintheatre.co.uk and join the theatre’s mailing list. Follow the venue on Facebook www.facebook.com/EpsteinTheatre and Twitter @EpsteinTheatre. 

FULL CAST ANNOUNCED FOR WEST END PREMIERE OF SPELLBINDING SHOW

Dazzling show based on Yann Martel’s Man Booker Prize-winning novel

to begin performances in West End on 15 November 2021

Wyndham’s Theatre, London

Rehearsals began this week for the highly anticipated West End premiere of Life of Pi, Lolita Chakrabarti’s dazzling stage adaptation of Yann Martel’s award-winning book.  It will begin performances at the Wyndham’s Theatre in London on Monday 15 November 2021. For the first time ever, the historic Wyndham’s Theatre will be transformed to fully accommodate the magnificent elements of the production that left audiences mesmerised.

Simon Friend, the producer of the acclaimed Life of Pi, is thrilled to announce the full cast of the celebrated and multi-award winning Sheffield Theatres production. 

Hiran Abeysekera makes a welcome return to the show in the central role of Pi, alongside Mina Anwar as Ma, Nicholas Khan as Father, Payal Mistry as Rani, Tom Espiner as Father Martin and Commmander Grant-Jones, Raj Ghatak as Mamaji and Pandit-Ji, Syreeta Kumar as Mrs Biology Kumar and ZaidaKhan, David K.S. Tse as Mr Okamoto, Kirsten Foster as Lulu Chen, Habib Nasib Nader as Cook and Voice of Tiger.

They are joined by:  Fred Davis (Tiger Head), Daisy Franks (Tiger Heart), Romina Hytten (Tiger Heart), Tom Larkin (Tiger Head), Scarlet Wilderink (Tiger Heart), and Tom Stacy (Tiger Hind).

Nuwan Hugh Perera is Pi alternate, and understudies are Alex Chang and Deeivya Meir.

Simon Friend commented: “I am delighted to announce the cast for this show – most of whom were in the original production in Sheffield, alongside some brilliant new cast members who have joined us on our journey.  After an incredibly difficult year for so many people I hope this truly captivating production about how we deal with life’s toughest challenges will particularly resonate with audiences.”

The production is directed by Max Webster, Set and Costume designer is Tim Hatley, the Puppet and Movement Director is Finn Caldwell, the Puppet Designers are Nick Barnes and Finn Caldwell, the Video Designer is Andrzej Goulding, the Lighting Designer is Tim Lutkin, theSound Designer is Carolyn Downing, the Composer is Andrew T Mackay, Dramaturgy is by Jack Bradley, the Casting Director is Polly Jerrold, the Associate Director is Hannah Banister, the Associate Set Designer is Ross Edwards, the Costume Supervisor is Sabrina Cuniberto and the Props Supervisor is Ryan O’Connor.

 For all information, please see www.lifeofpionstage.com

Based on one of the best-loved works of fiction – winner of the Man Booker Prize, selling over fifteen million copies worldwide – Life of Pi is a breath-taking new theatrical adaptation of an epic journey of endurance and hope.

After a cargo ship sinks in the middle of the vast Pacific Ocean, there are five survivors stranded on a single lifeboat – a hyena, a zebra, an orangutan, a sixteen year-old boy and a 450-pound Royal Bengal tiger. Time is against them, nature is harsh, who will survive?

Award winning writer Yann Martel’s works include The Facts Behind the Helsinki Roccamatios (1993), Self (1996), We Ate the Children Last (2004), Beatrice and Virgil (2010) – a New York Times Bestseller and a Financial Times Best Book, 101 Letters to a Prime Minister (2012) – a collection of letters to the prime minister of Canada; and The High Mountains of Portugal (2016).  

Lolita Chakrabarti OBE is an award-winning playwright and actress. Her writing credits include: Red Velvet which opened at the Tricycle Theatre in London in 2012, returning in 2014 before transferring to New York and the West End; Red Velvet was nominated for nine major awards including two Olivier Awards. Lolita won the Evening Standard Theatre Award for Most Promising Playwright, The Critics Circle Award for Most Promising Playwright and the AWA Award for Arts and Culture; She adapted Italo Calvino’s Invisible Cities for MIF in 2019 a collaboration with 59Productions and Rambert; her play Hymn was live streamed in February 2021 from the Almeida, before opening to audiences later in July; she was dramaturg on Message in a Bottle for ZooNation and Sadler’s Wells; she curated The Greatest Wealth for Old Vic, a series of monologues marking the 70th birthday of the NHS. Acting credits include: Vigil, The Casual Vacancy (BBC),  Riviera, Delicious (Sky), Born to Kill, My Mad Fat Diary (Ch4), Criminal (Netflix), Fanny and Alexander (The Old Vic), Hamlet (RADA). She can soon be seen in Showtrial for the BBC and Wheel of Time for Amazon Prime. 

Max Webster was the inaugural Baylis Director at the Old Vic and is now an Associate Director at the theatre where his work includes Fanny and Alexander, Cover My Tracks and Dr. Seuss’s The Lorax. Selected other stage work includes the forthcoming The Merry Widow (ENO), The Jungle Book (Northampton/Fiery Angel UK tour), The Winter’s Tale (Lyceum, Edinburgh), and King Lear (Royal and Derngate, Northampton/UK tour).

The extraordinary animals are brought to life by Puppet & Movement Director Finn Caldwell, who began his career in the original company of the National Theatre’s international phenomenon War Horse. He is the Artistic Director of his own company Gyre & Gimble, for whom work includes: co-director/puppet designer of The Four Seasons: A Reimagining (Shakespeare’s Globe), The Hartlepool Monkey (UK tour) and The Elephantom (National Theatre & West End). His other work includes: director of puppetry/movement for Angels in America (National Theatre & Broadway), The Light Princess (National Theatre), War Horse (West End & Internationally) and Groundhog Day (Old Vic & Broadway).

Life of Pi is produced by Simon Friend in association with Playing Field and Tulchin/Bartner.

Edwardian Hotels London is proud to be the official hotel partner of Life of Pi in the West End.

RSC TO BECOME FIRST PERFORMING ARTS COMPANY TO BE GIVEN INDEPENDENT RESEARCH ORGANISATION STATUS

• First Associate Scholars announced and a commitment to being a Teaching Theatre

The Royal Shakespeare Company has been awarded Independent Research Organisation (IRO) status by the Arts and Humanities Research Council (AHRC), part of UK Research and Innovation (UKRI).  The RSC is the first performing arts organisation to receive the award.  It will enable the Company to conduct crucial research, from exploring the role of immersive technologies in performance, to engaging a more diverse talent base in the performing arts.  

In moves that echo founder Peter Hall’s original vision for the RSC to become ‘a teaching and research institution’, the newly acquired IRO status will allow the Company to broaden its research capacity and develop its role as a national centre for Shakespeare and performance, teaching, training, learning and research.

The IRO status recognises the economic and social contribution of the cultural sector and is designed to support research in the UK’s major culture and heritage organisations. The RSC will expand its research into a range of subjects including immersive technologies in performance, the impact of theatre-led approaches in education, audience engagement, developing a diverse talent base, considering organisational structures for the 21^st Century and ensuring fairer access to and representation across the performing arts sector.

The RSC also announced the Company’s first Associate Scholars, Professor Ayanna Thompson, Professor James Shapiro and Professor Emma Smith, who will work with the RSC to guide, advise and inform its work in person, online and across all locations.

The IRO status and Associate Scholars are an important part of the RSCs commitment to being a Teaching Theatre. The Company is uniquely placed to bring together teaching, research, and theatre practice as all three are interwoven into the RSC’s work on and off stage, online, in classrooms and communities.

This announcement builds on a successful legacy of collaboration between the RSC and AHRC. Most recently, this includes the UKRI-funded Dream, a pioneering collaboration exploring how audiences could experience live performance in the future. 

Commenting on the award, Erica Whyman, Acting Artistic Director, said:

‘Peter Hall’s vision for the RSC to be a producing theatre as well as a world-class teaching and research specialist still inspires us today. We’ll be a different kind of IRO as our work is already rooted in research-based practise.  From our artistic process and output, our superb archives and Collection which detail performance history, to understanding the significant impact of arts-rich schools on the development of children and young people, a spirit of enquiry runs through every aspect of the organisation’.

‘Some of our latest research around Dream as part of the Audience of the Future initiative, is discovering the role of immersive technologies and virtual production in live and digital performance, looking at how audiences may experience live performance in the future.  The new IRO status will enable us to build on this and ensure the performing arts plays a critical role in setting and leading the research agenda alongside existing IROs’.

The Company’s first research project as an IRO is funded by Paul Hamlyn Foundation and expands on the findings of the 2018 Time to Listen study. This captured the enormous value that young people place on creativity and arts learning in their education.  It also confirmed the importance of RSC approaches to teaching Shakespeare and the positive impact they have on learning outcomes for young people. This next major research project will provide a deeper insight into why this is and what works most effectively, with the findings informing RSC practice and influencing the work of wider cultural and education sectors and key policy and decision-makers for the benefit of future generations.

Professor Christopher Smith, AHRC Executive Chair, said:

‘For over fifty years the RSC has challenged audiences to ask important questions about our society, our culture and ourselves through the power of performing arts.

Its new status as an Independent Research Organisation will enable the RSC to work with AHRC to fully explore these questions on and off the stage.

‘The research undertaken by the RSC as an Independent Research Organisation will help all of us to imagine an exciting future for the performing arts, and shape a more dynamic, resilient and inclusive cultural ecosystem.’

The RSC will establish a dedicated Research Board, chaired by RSC Trustee and newly appointed Associate Scholar, Professor, Ayanna Thompson to oversee the delivery of a new Research Strategy. One of the Company’s aims is to oversee the co-ordination and development of research projects that will contribute to building a stronger performing arts sector.

Ayanna Thompson, RSC Board and Regents Professor of English at Arizona State University, said:

‘The RSC is uniquely poised to change the way we encounter Shakespeare in the 21st century. It is exciting to plan and design new research projects that are performance-based, education focused, and technologically informed. The RSC’s new teaching theatre model will advance the way we think about Shakespeare and social justice.’

Priorities for RSC research include:

• Analysing the impact of Shakespeare’s work and language on the learning outcomes and development of cultural capital in children, young people and adults
• Tracking the detailed and specific advancements required to develop and implement inclusive practise and behaviours
• Assessing the civic impact and place-shaping role of arts and cultural organisations
• Building on our leadership of Audiences of the Future
• Developing a cohort of doctoral level researchers within the RSC
• Engaging with the Company’s collections and archives to illuminate theatrical, literary and adaptation histories

King’s Theatre, Edinburgh – until 16 October 2021

Reviewed by James Knight.

5*****

It’s really good.  

Based on Susan Hill’s book of the same name, the story has been adapted many times over the years, but theatre removes the barriers that can sometimes impede horror. You can put down the book, you can switch off the TV. In a theatre however, the threat of the Woman in Black cannot leave you. 

So that’s one reason why the play has lasted so long, why else? Well, the cast is superb and at the top of their game. Past productions have starred Martin Freeman and Joseph Fiennes, and the UK tour is no exception. Both Robert Goodale as Arthur Kipps and Antony Eden as the Actor draw the audience in this unnerving tale, simultaneously creating two worlds without effort: Arthur Kipps’ story of his encounter with the Woman in Black in the past, and his present-day efforts to ‘exorcise’ his trauma by sharing it with others. The premise of these two worlds is simple: Kipps, now an old man, is determined to ‘exorcise’ his past and has written down his bone-chilling tale in order to share with his family. He has hired the Actor to help him deliver his story, to bring some much-needed life into what would otherwise be five hours of an old man droning through a manuscript. The Actor, keen to do his best for this traumatised gentleman, slowly encourages Kipps to enliven his delivery, making way to a full performance. After a few edits and directorial notes, the Actor plays a young Kipps, while the man himself takes on the roles of everyone he met in the haunted town of Crythin Gifford. 

It’s a plot point that many in the audience I suspect were not prepared for, especially if they came expecting a re-telling of the film version with Daniel Radcliffe. But the purpose of this first half hour of story-telling is clear – we see these two men, one weary and frail, the other energetic and enthused, come together, bond, and we see the care the Actor has for the older Kipps, even if the odd moment of theatrical ambition shines through. This is an extravagant therapy session for Kipps, and the Actor is determined to see it through. By the time all this set-up is complete, the true ghost story begins. 

Sound gradually creeps in, enveloping us in the world of Crythin Grifford and the vendetta of the Woman. Jump-scares are rare in this production. Instead, the long, slow, dread of what might happen creeps into your mind, making the fear that much worse. Towards the end of the first act, the stage is overwhelmed in sea-mist, and all sight is obliterated. What is in the mist? What might we see when the fog clears? Some effects might have been lost in the transition to a touring production, but that does not lessen the tense atmosphere that both actors create onstage. 

Both actors weave the tale before us magnificently, with empathy, fear, and just the right touch of humour – just enough to make you settle into your seat and lull you into a false sense of security, before the Woman in Black emerges from the shadows once again. 

‘The Woman in Black’ is a tense, nerve-wracking horror, which will have you jumping at shadows the whole way home. 

Sheman Theatre, Cardiff – 11 October 2021

Reviewed by Rhys Payne

4****

It was heavily publicised during the most recent lockdowns that one of the industries that were most affected by the stay at home restrictions were the theatre industry. Actors, stage crew, box office personal (among others) were all out of work with no guaranteed return date. This lasted for just over two years and I can’t imagine how tough it must have been for people who have worked for years to get into the industry to not be able to actually work. Luckily, theatre in Wales has just begun reopening which is why the Sherman Theatre in Cardiff have decided to organise a mini-festival that showcase Welsh creativity but also the possible future theatre we may see. Their Back In Play series (which runs from the 8th to the 30th October) is a way of the theatre celebrating the return of live audience into their premise. They selected four, very distinctive welsh theatre creatives to write a short thirty-minute piece that was inspired by a classic play or book. I was able to watch the first two of these unique performances which both focused mostly of Shakespeare and bringing his work into the twenty-first century.

Hamlet is a F&£$boi

I have to admit that when I first heard the title “Hamlet is a F&£$boi” I instantly cringed. For those who are not familiar with this phrase ‘F&£$boi,’ dictionary.com defines it as someone who is “self-absorbed, does stupid things, and f**ks with others’ emotions” usually with no respect for women or potential lovers. With all this in mind, I anticipated an extremely cringy retelling of Shakespeare’s ‘Hamlet’ where the titular character was an over-the-top, caricature who wears a backwards cap with sagging jeans etc. Luckily this was not what was performed for which I am extremely thankful for! The story however follows the narrator as they discuss their unsuccessful partner searching and after a booze-filled night decides to revisit some of Shakespeare most famous male characters. She opens up an anthology of all Shakespeare’s (which fun fact I also own) and is suddenly greeted by a spirit called Gemma. Gemma introduces the narrator to a series of the male suitors in Shakespeare’s work that the narrator used to have a crush on when they were younger and highlights the dangers of falling in love with fictional characters. Firstly they meet Paris from Romeo and Juliet who turns out to be too passionate and loving which causes a lot of uncomfortableness and frustration from the narrator. Then they encounter Hamilton who is famously known for his disrespect towards women and this is where the label ‘f&£$ boi’ is bestowed to him during the story. Finally, they met John Proctor from The Crucible who seems like the perfect guy but after a while becomes too controlling and reinforces the classic idea of a women’s role which we in the twenty-first century no longer agree with!

From my very limited experience, writing and performing original pieces of work is extremely difficult. Being able to flip between writer and performer mindset was very difficult but I had a team of actors working alongside me so they were able to take on some of the pressure. I can only imagine the stress that Lowri Jenkins was under during this performance as not only did she write and perform it herself, but it was a one-person play. This meant that she, and she alone, had to keep the audience entertained throughout the whole performance which is difficult on its own at the best of times however this did not seem to phase Lowri at all! Her performance within this play was incredible as it flipped from critiques of modern dating, comedy, supernatural elements and self-love flawlessly. I was surprised initially when I entered the theatre as all the seats were sat around a table with three smaller stages across the centre of the room. This was a very unusual set-up for a play but it was used perfectly through this satirical play. Due to how imitate the audience was, Lowri was able to give eye contact to the majority of audience members which really helped to pull them into the centre of the story and helped everyone to be able to relate to her story. I do think that this is a play for a more mature audience due to the sexual references, strong language and the fact that it is built on the idea of crushes from classic literature that many young people may not be able to relate to. It also managed to cleverly integrate classic Shakespearean quotes (which I personally would struggle to remember) which again showcased the tales of Lowri while also being a nice reference that the fans of classical literature would really enjoy!

Overall this is a very engaging and contemporary play that was influenced by some classic male characters that most people would know of. It goes from comedy to more heartfelt moments beautifully while keeping the audience engaged despite their only being one performer throughout the whole show. I would rate this original play 4 out of 5 stars and would recommend it to anyone who has ever said “I wish men in real life were like the men in my books!”

The Messenger

The Messenger written and performed by Seiriol Davies however was an almost complete contrast. I knew as soon as I spotted Seirol in his bejewelled monk’s outfit that we were in for an extremely camp time and that’s exactly what we were given. This play tells the story of a delivery boy who is tasked with delivering the letter to Romeo which outlined Juliet’s plan for a staged death. If you have read or seen ‘Romeo and Juliet’ by William Shakespeare before, you will know that the two-character tragically end their respective lives after thinking that the other was already dead. What I really enjoyed about this mini-musical performance was that it did in fact fill a gap in Shakespeare’s original story and stuck a lot more closely to the original source material. In this play, however, the messenger and Romeo have shared a brief romance so when the latter is tasked with delivering a letter that outlines the plan of Juliet’s fake death he has a change of heart and decides not to hand over the plan. Again this was another one-person show which means that praise needs to be given for Seirol to be able to keep the audience attention throughout the whole performance!

This show was extremely camp and gave off very drag Shakespeare (now there’s an idea for any drag performers out there!) which was very entertaining. There were points where the performer weaved through the audience, spoke to viewers and used every inch of the auditorium to create a unique theatre experience. As stated earlier this was a musical retelling so not only did Seiriol had to write and perform this show on his own but he also had to sing live. This really showcased their many talents with the lower sections in the vocals being the place in which they were most comfortable and sounded incredible! A highlight during this performance for me was the rendition of “What’s in a Name” which saw the performer sit down at a piano and play their own accompaniment which was amazing to watch. Seiriol appeared to put everything he had into this performance which made for a very powerful and emotional song.

THE PHANTOM OF THE OPERA celebrated its 35^th Anniversary at Her Majesty’s Theatre on Monday 11 October with guests in attendance including Boy George, Max Whitlock, Dr. Ranj, The Vivienne, Melanie Blatt, Chris Moyles, Amy Hart, Jeremy Vine and Matt Richardson.

THE PHANTOM OF THE OPERA stars double Olivier Award nominee Killian Donnelly as ‘The Phantom’, Lucy St Louis as ‘Christine Daaé’ and Rhys Whitfield as ‘Raoul’.

The cast also includes Saori Oda as ‘Carlotta Giudicelli’, Matt Harrop as ‘Monsieur Firmin’, Adam Linstead as ‘Monsieur André’, Greg Castiglioni as ‘Ubaldo Piangi’, Francesca Ellis as ‘Madame Giry’ and Ellie Young as Meg Giry. At certain performances the role of ‘Christine Daaé’ will be played by Holly-Anne Hull.

THE PHANTOM OF THE OPERA is produced by Cameron Mackintosh and The Really Useful Group Ltd. Music by Andrew Lloyd Webber, Lyrics by Charles Hart, and Additional Lyrics by Richard Stilgoe. Book by Richard Stilgoe and Andrew Lloyd Webber, based on the novel ‘Le Fantôme de l’Opera’ by Gaston Leroux, with Orchestrations by David Cullen and Andrew Lloyd Webber. Musical Supervision is by Simon Lee. The Production Design is by Maria Björnson and the Set Design is adapted by Matt Kinley with Associate Costume Design by Jill Parker, Lighting is by Andrew Bridge with Associate Lighting Design by Warren Letton, Sound is by Mick Potter. The Musical Staging and Choreography is by Gillian Lynne, recreated and adapted by Chrissie Cartwright. Originally Directed by Harold Prince, this production is Directed by Seth Sklar-Heyn.

THE SNOWMAN RETURNS THIS CHRISTMAS!

Multi award-winning company, Carrot Productions is thrilled to announce the return of The Snowman tour.

This December the enchanting, animated film of The Snowman will be accompanied by a live professional orchestra creating the perfect Christmas treat.  

Carrot Productions is the world’s leading performers of both Wallace and Gromit and The Snowman film with live orchestra and have been voted as one of the ‘Top Family Things to Do at Christmas’ by The Guardian, The Sunday Times and The Telegraph.

The Snowman, adapted from author and creator Raymond Briggs’ iconic children’s book, follows the adventures of a young boy and a truly remarkable Snowman. This big screen presentation will be accompanied by a live professional orchestra bringing the chart-topping music to life. This magical performance will be full of charm, humour and warmth and a perfect treat for the whole family.

With musicians drawn from the UK’s top orchestras including the BBC Philharmonic, Hallé, BBC Scottish and London Symphony Orchestra, families across the country will have the chance to enjoy a Christmas classic whilst in a stunning setting making the most of the beautiful music.

With the ethos of Carrot Productions being that orchestral music should be accessible and welcoming to everyone The Snowman will be a particularly special festive treat after the last year. All musicians in the orchestra are not only there because of their incredible musical skills but also for their fun, friendly nature; important when performing to a young audience who may have never seen or heard a live orchestra before.

Rachel Whibley, Managing Director of Carrot Productionssaid “We’re delighted to be back on tour again this Christmas, spreading our Snowman magic across the UK. Our shows are always special, but this year’s performances are going to be especially poignant, with families finally able to share events together again. Add in the extra sparkle of Walking in the Air sung by a local soloist or chorister, and I doubt there will be a dry eye in the house.”

And as if the excitement of the fantastic film and magical music aren’t enough there will even be a visit from The Snowman himself who cannot wait to welcome everyone back inside venues this Christmas.

Alongside The Snowman film, these magical performances will include a toe-tapping Christmas Medley, a fun musical tour of the orchestra and an additional animation –  The Bear and the Piano (with narration recorded by Joanna Lumley), The Nutcracker Suite, or We’re Going on a Bear Hunt – ensuring perfect entertainment for the whole family.

Tickets for The Snowman are on sale now.

Listings

Buxton

The Octagon

Wednesday 1 December – 1.45pm (Schools) and 6.30pm (Public)

Thursday 2 December – 10.45am (Relaxed) and 1.30pm (Schools)

Schools tickets £9 | Public tickets from £10

Supported by the Derbyshire Music Education Hub

Public ticket link: https://www.eventbrite.co.uk/e/157350747321

Salisbury

Salisbury Cathedral

Friday 3 December – 2.00pm, 4.00pm and 7.00pm

Tickets from £14

Winchester

Winchester Cathedral

Saturday 4 December – 2.00pm and 4.00pm

Tickets from £14

https://www.tickets.winchester-cathedral.org.uk/en-GB/shows/the%20snowman%20also%20featuring%20we’re%20going%20on%20a%20bear%20hunt/events

Derby

Derby Reach Centre (The Riverside)

Tuesday 7 December – 1.30pm (Schools) and 6.30pm (Public)

Wednesday 8 December – 10.45am (Relaxed) and 1.30pm (Schools)

Schools tickets £9 | Public tickets from £10

Supported by the Derbyshire Music Education Hub

Public ticket link: https://www.eventbrite.co.uk/e/157352139485

Cardiff

Cardiff St. David’s Hall

Thursday 9 December – 1.30pm and 6.30pm

Tickets from £13

https://stdavidshallcardiff.co.uk/whats-on/film-with-orchestra/the-snowman/

York

York Minster

Saturday 11 December – 12.30pm, 3.00pm and 7.30pm

Tickets from £16

Manchester

Manchester Children’s Hospital

Sunday 12 December – 4.00pm

For hospital patients and families only, there are no tickets to this event

Chester

Chester Cathedral,

Saturday 18 December – 1.45pm, 4.00pm and 6.30pm

Tickets from £12

https://chestercathedral.ticketsolve.com/shows/1173611671

Durham

Durham Cathedral

Monday 20 December – 1.45pm, 4.00pm and 6.30pm

Tickets from £12

https://durhamcathedral.ticketsolve.com/shows/1173611703

Liverpool

Liverpool Cathedral

Wednesday 22 December – 5.00pm and 7.30pm

Tickets from £14

Coventry

Coventry Cathedral

Thursday 23 December – 2.30pm, 4.45pm and 7.00pm

Tickets from £12

NEW ADVENTURES

ANNOUNCE THEIR

2021/2022

‘OVERTURE’ DANCE ARTISTS

New Adventures is delighted to announce their Overture dance artist cohort for 2021/2022. Established in 2016, Overture is the annual New Adventures professional development programme for dance artists and dance teachers from a variety of genres who have been working in community or education settings for less than five years. Each year, the group of artists are chosen for their diverse range of work and experience within the community dance sector that spans a full scope of settings from across England.

Found through an open call and through our dance networks, this year’s 16 talented community dance artists are:

• Charlotte Arnold, Leeds
• Nya Bardouille, Enfield, London
• Poppy Barnes, Roehampton, London
• Emilie Barton, Wimborne, Dorset
• Emily Cooke, East Cowes, Isle of Wight
• Pippa Fisher, Chalfont St Peter, London
• Martina Ghinetti, Fulbourn, Cambridge
• Natalie Haslam, Lichfield, Staffordshire
• Megan Jansen, Higham Ferrers, Northamptonshire
• Kath McGuire, Withington, Gloucestershire
• Hannah Miles, Forest Hill, London
• Emily Orme, Coxbridge, Glastonbury
• Kate Stanforth, Stocksfield, Northumberland
• Christopher Tendai, Erith, London
• Hannah Wintie-Hawkins, York
• Tom Withington, Norfolk

Facilitated by Resident Artist Kerry Biggin and Community Dance Practice Educator and Artist Director of UNIT, Tom Hobden, the cohort of dance artists participate in tworesidential weekends at the Company’s base in Farnham Maltings, Surrey over an eight-month period, alongside digital sessions and a visit to the current New Adventures production on tour.Each residential comprises of practical workshops, discussions and skills-sharing as well as inspirational guest teachers from a variety of dance backgrounds. With workshops in areas such as personal development, coaching and networking, New Adventures aim to provide the cohort with a range of skills to support them in reaching the next level of their careers as community dance artists. This year guest tutors include among others Isabel Mortimer, a personal and executive coach and director of Coaching at Dancers Career Development; and Kane Husbands, Artistic Director of ThePappyShow, Performance Design and Practice lecturer at Central Saint Martins and Overture alumnus.

Kerry Biggin said today. ‘It is always wonderful to be part of the journey and development of the dance artists and teachers that we work with each year on Overture and is continually inspiring to see how each cohort grow, build their network, confidence and aspirations throughout the programme and beyond. I am so excited to be continuing this valuable support for freelancers across England, especially at this time of transition as we seek to re-connect and strengthen our community which was so affected by the pandemic. Sending out inspired artists, confident to forge their way in the industry brings real hope for the future of dance and I’m excited to follow their stories’. 

This year’s cohort bring the total to 106 freelance artists and teachers who have worked with New Adventures on the Overture professional development programme. The Overture alumni continue to work across the dance industry: Grace Black, a member of the first cohort, is now working as a support artist on Cygnet School with New Adventures; Emily Jenkins is founder of Move Dance Feel, an organisation who facilitate dance for people affected by cancer; Jenny Reeves is the Artistic Director of Lancaster based heritage dance company, About Time; Kane Husbands is founder and artistic director of The Pappy Show; and Hilary Seaton was the 2020 Ryde Academy Winner of One Dance UK Award for outstanding secondary dance teaching.

New Adventures and the Overture Programme is supported using public funds from Arts Council England.

THE ACCLAIMED NEW LONDON PALLADIUM PRODUCTION OF

COMES TO THE EMPIRE THEATRE, LIVERPOOL

FOR ONE WEEK ONLY

6^th -11^th JUNE 2022

LINZI HATELEY, Joseph’s original, Olivier Award-Nominated Narrator

will be reunited with

JASON DONOVAN in the role of Pharaoh.

JAC YARROW will wear the Dreamcoat, following his

critically acclaimed professional stage debut in the iconic lead role.

Michael Harrison and the Really Useful Group are delighted to announce that direct from two triumphant seasons at The London Palladium, the sensational brand-new production of Tim Rice and Andrew Lloyd Webber’s Joseph and The Amazing Technicolor Dreamcoat comes to the Empire Theatre, Liverpool from Monday 6th – Saturday 11^th June 2022. Jason Donovan will reprise the role of Pharaoh, which he performed at the London Palladium in 2019 and 2021, sharing the stage once again with Linzi Hateley as Narrator and Jac Yarrow as he prepares to don the famous coat in the titular role on tour.

Linzi Hateley is an Olivier Award nominee and Theatre World Award winner who has starred on Broadway, in the West End, with the RSC, and at the National Theatre. She now returns to the role of the Narrator, having first starred in Joseph and the Amazing Technicolor Dreamcoat in 1991 opposite Jason Donovan and Phillip Schofield at the London Palladium – for which she received an Olivier Award nomination for Best Actress in a Musical.

Jason Donovan will return in the role of Pharaoh. He was originally in the show when he made his defining stage performance as the title character of Joseph in the 1990s, in a sold-out 18-month run which produced a No.1 single and best-selling soundtrack album. Jason raised the roof of the London Palladium during the show’s 2019 and 2021 engagements as Pharaoh, who rocks ‘Song of the King’ in the musical.

Jac Yarrow caused a sensation when he made his professional stage debut playing Joseph, following in the footsteps of a line of stars who have previously played the title character. His portrayal of Joseph won him unanimous acclaim and an Olivier Award nomination, with his rendition of ‘Close Every Door To Me’ regularly stopping the show with standing ovations.

Producer Michael Harrison says of today’s announcement:

“After two sensational runs at The London Palladium, I am delighted to bring this joyous show to the Empire Theatre, Liverpool next summer as JOSEPH prepares to unite audiences and spread happiness across the UK. Our ‘dream team’ casting will enchant newcomers and longstanding fans alike; Jac Yarrow has wowed audiences and critics with his spectacular debut and attendees should be prepared for the roof to be raised when Jason Donovan steps on stage. Linzi Hateley is confirmed to return to her role as Narrator when we perform in Liverpool having delivered a delightful dose of nostalgia to audiences at special performances of Joseph at the London Palladium this summer. GO! GO! GO! JOSEPH!”

Audiences and critics were unanimous in their acclaim for the legendary musical – the first major collaboration by Tim Rice and Andrew Lloyd Webber – when it returned to the London Palladium in 2019 and again in 2021.

Joseph and the Amazing Technicolor Dreamcoat is directed by Laurence Connor. Laurence’s credits include the acclaimed London production of School of Rock and the Tony-Award nominated production on Broadway, the recent London productions of Miss Saigon and Chess, the international arena tour of Jesus Christ Superstar and he is also the Co-Director of the new version of Les Misérables which has enjoyed worldwide success including Broadway, UK and US tours. He is the director of Andrew Lloyd Webber’s new production of Cinderella at the Gillian Lynne Theatre.

JoAnn M Hunter (who has 20 Broadway shows to her credit, including School of Rock and On A Clear Day You Can See Forever) is the show’s choreographer, set and costume design are by the award-winning Morgan Large with Ben Cracknell as Lighting Designer and Gareth Owen as Sound Designer.

Released as a concept album in 1969,the stage version of Joseph and the Amazing Technicolor Dreamcoat has become one of the world’s most belovedfamily musicals. The multi-award-winning show, which began life as a small-scale school concert, has been performed hundreds of thousands of times including multiple runs in the West End and on Broadway, international number one tours, and productions in over 80 countries as far afield as Austria and Zimbabwe and from Israel to Peru! The show features songs that have gone on to become pop and musical theatre standards, including Any Dream Will Do, Close Every Door To Me, Jacob and Sons, There’s One More Angel In Heaven and Go Go Go Joseph.

Told entirely through song with the help of the Narrator, Joseph and the Amazing Technicolor Dreamcoat follows the story of Jacob’s favourite son Joseph and his eleven brothers. After being sold into hardship by the brothers, he ingratiates himself with Egyptian noble Potiphar, but ends up in jail after refusing the advances of Potiphar’s wife. While imprisoned, Joseph discovers his ability to interpret dreams, and he soon finds himself in front of the mighty but troubled showman, the Pharaoh. As Joseph strives to resolve Egypt’s famine, he becomes Pharaoh’s right-hand man and eventually reunites with his family.

Joseph and the Amazing Technicolor Dreamcoat is produced by Michael Harrison.

For further information, please see www.josephthemusical.com

FULL CAST &

EXTRA DATES

ANNOUNCED FOR

THE ADDAMS FAMILY, A MUSICAL COMEDY

WITH NEW DATES ADDED TO THE UK & IRELAND TOUR

BEGINNING 5 NOVEMBER 2021

Aria Entertainment and Music & Lyrics are delighted to announce the final ensemble cast members for the UK and Ireland tour of THE ADDAMS FAMILY, A Musical Comedy. The tour will open at Theatre Royal, Nottingham on 5 November 2021 with new dates added in 2022.

The final members of the ensemble are Jessica Keable, Sario Solomon and Ying Ue Li.

They join the previously announced, Joanne Clifton (Morticia Addams), Cameron Blakely (Gomez Addams), Scott Paige (Uncle Fester), Kingsley Morton (Wednesday Addams), Grant McIntyre (Pugsley Addams), Valda Aviks (Grandma), Sean Kingsley (Mal Beineke), Kara Lane (Alice Beineke), Ahmed Hamad (Lucas Beineke), Dickon Gough and Ryan Bennett (sharing the role of Lurch), Abigail Brodie, Sophie Hutchinson, Castell Parker, Matthew Ives and Sean Lopeman.

Wednesday Addams, the ultimate princess of darkness, has grown up and has a shocking secret that only Gomez knows; she’s fallen in love with a sweet, smart young man from a respectable family! Now, Gomez Addams must do something he’s never done before — keep a secret from his beloved wife, Morticia.  Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents.  All the usual clan are present – Uncle Fester, Lurch, Pugsley et al.

THE ADDAMS FAMILY, A Musical Comedy, will be directed by Matthew White, with choreography by Alistair David, production design by Diego Pitarch, orchestrations by Richard Beadle, lighting design by Ben Cracknell, sound design by Richard Brooker and casting by Jane Deitch. Book is by Marshall Brickman and Rick Elice, and music and lyrics by Andrew Lippa, based on the characters created by Charles Addams.

THE ADDAMS FAMILY 2021 UK Tour is produced by Katy Lipson for Aria Entertainment and Music & Lyrics Limited, and is presented through special arrangement with Theatrical Rights Worldwide.

For further information, please visit www.theaddamsfamily.co.uk

Twitter: @AddamsFamilyUK

Facebook: @TheAddamsFamilyUK

LISTINGS INFORMATION

5 – 13 November                              Nottingham Theatre Royal                                        0115 989 5555                                                                                                                                      www.trch.co.uk                                                       

16-20 November                              New Theatre, Cardiff                                               029 2087 8889

                                                         www.newtheatrecardiff.co.uk                                  

23-27 November                              Sheffield Lyceum Theatre                                        0114 249 6000

                                                         www.sheffieldtheatres.co.uk

2022 Dates

11- 15 January 2022                        Milton Keynes Theatre                                             0844 871 7615*

                                                         www.atgtickets.com/milton-keynes-theatre

18-22 January 2022                         The Alexandra, Birmingham                                    0844 871 7615*

                                                         www.atgtickets.com/birmingham

25-29 January 2022                         Festival Theatre, Edinburgh                                     0131 529 6000

                                                         www.capitaltheatres.com

1-5 February 2022                           Alhambra Theatre, Bradford                                     01274 432000

                                                         www.bradford-theatres.co.uk

8-12 February 2022                         Newcastle Theatre Royal                                         0191 232 7010

                                                         www.theatreroyal.co.uk

15 – 19 February 2022                     New Wimbledon Theatre                                          0844 871 7615*

                                                         www.atgtickets.com/wimbledon                               

22 – 26 February 2022                     The Orchard Theatre, Dartford                                 0343 310 0033

                                                         www.orchardtheatre.co.uk

1 March – 5 March 2022                  Churchill Theatre, Bromley                                       0343 310 0020                                                                                                                                       www.churchilltheatre.co.uk                                     

8-12 March 2022                              Liverpool Empire                                                      0844 8717615

                                                         www.atgtickets.com/liverpool

15 – 19 March 2022                         Hull New Theatre                                                     01482 300 306

                                                         www.hulltheatres.co.uk

29 March – 2 April 2022                   Stoke Regent Theatre                                           0844 871 7615*                                                                                                                                     www.atgtickets.com/stoke

5 – 9 April 2022                                Dublin Gaiety Theatre                                              00 353 1 646 8600

                                                         www.gaietytheatre.ie

12 – 16 April 2022                            Hall for Cornwall                                                       01872 262466

                                                         www.hallforcornwall.co.uk

19 – 23 April 2022                            Manchester Opera House                                        08448717615*

                                                         www.atgtickets.com/manchester                              on sale 13 October

10 – 14 May 2022                            Eastbourne Congress Theatre                                 01323 412000

                                                         www.eastbournetheatres.co.uk/venue/congress-theatre           

24 – 28 May 2022                            New Theatre, Oxford                                               0844 871 7615*

                                                         www.atgtickets.com/oxford

7 – 11 June 2022                             His Majesty’s Theatre, Aberdeen                             01224 641122

                                                         www.aberdeenperformingarts.com                         

*Calls cost 7p per minute plus your phone company’s access charge

Further tour dates to be announced.