Category: Uncategorized

ROYAL SHAKESPEARE COMPANY REVEALS NEW COSTUME WORKSHOP

• Costume makers return to historic site – the largest in-house costume-making workshop in British theatre
• 30,000 people from around the world supported the fundraising campaign
• Costume Workshop will open to the public for the first time in 2022
• New apprenticeships to be created to learn specialist costume-making skills
• Weird and wonderful items created include dogs’ tails, snake puppets, pigs’ heads, breastplates, gauntlets, and weaponry

The restoration and redevelopment of the Royal Shakespeare Company’s (RSC) Costume Workshop has been completed in the Company’s Stratford-upon-Avon hometown.  The RSC has the largest in-house costume-making department of any British theatre and the future of costume making on the historical site has been secured through a mix of public and private support.

Over 30,000 people from around the world supported the Stitch In Time fundraising campaign, alongside the National Lottery through Arts Council England, the National Lottery Heritage Fund and The Government’s Local Growth Fund through the Coventry and Warwickshire Local Enterprise Partnership.  With gifts from other trusts, foundations, companies and individuals, £8.7 million was raised for the Costume Workshop restoration and redevelopment.

The 30-strong team of costume makers have moved back into the new workshop which has some of the best facilities for costume-making.  The redeveloped building, which includes more space and daylight, is now fit to provide training and apprenticeship opportunities to retain the costume-making skills and crafts locally. For the first time the Costume Workshop will be open to visitors where they will get a glimpse at the skills used every day to create RSC costumes, and to see the restored Grade II listed buildings that now sit alongside newly created spaces. Guided tours are expected to start in 2022.

The Costume Workshop team had to relocate for two years whilst the restoration and redevelopment took place. This involved packing and moving:

• Over 1714 reels of thread
• 7885m of stock fabric

• 3500 pairs of shoes
• 1131 magnets
• One pricing gun
• 126 paintbrushes
• Five Sheila’s Maids
• 115kg salt
• 97 hat blocks
• Two hat stretchers
• 27 fob watches
• One Sonic Jewellery Cleaner
• One swivel knife
• One power file
• One anvil pre-1950s
• 36 Mannequins
• 45 Sewing machines
• 862 square feet of stock leather
• One manual treadle machine from the 1920’s
• Seven tailor’s hams
• Eight velvet boards

All items are now in the new Costume Workshop which is home to many specialist skills, and crafts including men’s and women’s costume-making, millinery and jewellery, dyeing and costume painting, costume props and footwear (see facts at the end of the release). The workshop sits opposite the Royal Shakespeare and Swan Theatres on the site of the 1887 Memorial Theatre Scene Dock, which is now the new entrance to the building. 

Gregory Doran, RSC Artistic Director said:

“Thank you to all who have supported the restoration and redevelopment of our Costume Workshop. The team create amazing costumes every year but were doing so in conditions that were not fit for purpose.  Costumes are integral to an actor’s performance and to them becoming the character they are to play.  As Judi Dench said, ‘no matter how much rehearsal time you have, you cannot get fully into the part until you are in costume’.

“We make, repair and recycle hundreds of costume pieces each year, which are seen by audiences around the world.  Costumes have been made on this site continuously since at least the 1940s, and the workshop now has the costume-making facilities to secure the legacy of our costume-making skills and the heritage buildings that house them.”

Harriet Walter, RSC Associate Artist said:

“Much as I loved visiting the rabbit warren where costumes and armour and everything else was made in the old days, I realise it was pretty much a Dickensian sweatshop and it was more fun to visit rarely than to work in permanently.

“The RSC costume laboratory has produced all kinds of magic and I can remember nearly every RSC costume I have worn on stage and many that I viewed from the auditorium.  It is testament to the skill contained here that these costumes have endured and not fallen apart after all the wear and tear we have given them. Playing Cleopatra, I needed to be free to move around, to feel skittish and sexy and then transform into a grieving shadow and emerge from that grief with a final triumphant throned image. The costumes did most of that work for me”.

As part of the National Lottery Heritage Fund support for the project, Threads is a programme of engagement activity that will celebrate the opening of the Costume Workshop and run until the end of 2021.  The aim is to share the heritage of the building, the technology and the people involved in costume-making in Stratford-upon-Avon through a series of family events, community projects, exhibition, and educational activity.

The Threads Costume Day on Friday 20 August will celebrate RSC costume-making heritage through a series of free pop-up performances, workshops and family-friendly activities taking place across Stratford-upon-Avon.  Full details to be announced.

Anne Jenkins, Director England, Midlands and East, National Lottery Heritage Fund said:

“It is wonderful that thanks to National Lottery players, we have been able to support Threads and the costume workshop restoration to ensure that these amazing services and unique skills are preserved for years to come, meaning that local people and visitors will be able to learn more about the RSC’s rich heritage on and off stage.”

Helen Peters, Board Director and Chair of the CWLEP’s culture and tourism business group, added:

“The £1 million awarded from the Local Growth Fund will enable the public to access the costume workshop for the first time which will be a major boost to tourism in the town as we all recover from the pandemic.

“The CWLEP Strategic Reset Framework is focused on encouraging enterprise and innovation to drive forward the economy and this is a perfect example of collaborative working which will give the RSC the opportunity to train the next generation of costume makers as well as encouraging more people to visit Stratford-upon-Avon.”

Peter Knott, Midlands Area Director for Arts Council England said:

“We’re proud to invest in the RSC and delighted to hear its long-awaited costume workshop is now complete. Theatre is about so much more than just the final performance, so I hope this new space will not only give the costume department the resources they need but give visitors from around the world a rare insight into the intricate and inspiring work that goes on behind the scenes of this world class theatre company.”

Runaway Entertainment presents

2:22 – A GHOST STORY

A new play by Danny Robins

Directed by Matthew Dunster

@222AGhostStory #222AGhostStory 

• LILY ALLEN, JULIA CHAN, HADLEY FRASER AND JAKE WOOD TO STAR IN THE WORLD PREMIERE OF A NEW PLAY BY DANNY ROBINS (THE BATTERSEA POLTERGEIST)

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• MATTHEW DUNSTER WILL DIRECT THIS SUPERNATURAL THRILLER ABOUT FOUR FRIENDS AND AN ADRENALINE-FILLED NIGHT WHICH PROMISES TO KEEP AUDIENCES ON THE EDGE OF THEIR SEATS

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• THE PRODUCTION WILL OPEN AT THE NOËL COWARD THEATRE ON 3 AUGUST WITH A PRESS NIGHT ON 11 AUGUST

• TICKETS ARE ON SALE FROM 9AM on 10 JUNE FROM WWW.222AGHOSTSTORY.COM

Producer Runaway Entertainment is delighted to announce that the World Premiere of Danny Robins’ new play 2:22 – A Ghost Story will take place at the Noël Coward Theatre on 3 August. The production will feature Lily Allen, Julia Chan, Hadley Fraser, and Jake Wood and will be directed by Matthew Dunster. The press night will be on 11 August and tickets are on sale from 9am on 10 June.

Lily Allen makes her West End debut playing Jenny alongside Hadley Fraser (City of Angels) as Sam, Julia Chan (Silent House and Katy Keene) who will play Lauren and Jake Wood (EastEnders) playing Ben. Danny Robins is best known for his hugely successful podcast The Battersea Poltergeist which is being made into a TV series. 2:22 – A Ghost Story is his debut play in the West End. Olivier Award-nominated director Matthew Dunster received universal acclaim for his productions of Martin McDonagh’s A Very Very Very Dark Matter and Hangmen and Sam Shepard’s True West. 

“There’s something in our house. I hear it every night, at the same time.” 

Jenny (Lily Allen) believes her new home is haunted, but her husband Sam (Hadley Fraser) isn’t having any of it. They argue with their first dinner guests, old friend Lauren (Julia Chan) and new partner Ben (Jake Wood). Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they’re going to stay up… until 2:22… and then they’ll know.

This edge-of-your-seat, supernatural thriller takes you into one adrenaline-filled night where secrets will emerge and ghosts may appear… What do you believe? And do you dare discover the truth? 

Lily Allen said: “I am so excited about getting to work on this play! The live performance aspect of my career has always been the most thrilling part for me, connecting with a group of individuals and the spontaneity of whatever happens on the night. I feel that stepping into this play is an exciting natural extension of that and affords me the best of all worlds. I get to explore mature subject matter, be a woman with a real point of view and show the West End audiences how much I love live performance and being in front of an audience. I can’t wait!

Danny’s play is a brilliant investigation into the ghosts that haunt us and the how’s and why’s they come to be.  It’s everything I love; wit, a meditation on marriage and relationships and family all hinging on a frightening plot. Matthew is an amazing director who has worked with some of the coolest material theatre has to offer. I’m a fan of what he does, and so honoured that he asked me to come on board.” 

Matthew Dunster said: “I’m so excited to be directing this play. A unique combination of horror and social commentary. Danny has really come up with something special and scary for audiences to experience together as they return to the theatre. Myself and designer Anna Fleischle like creating an atmosphere of suspense, just as we did together on Hangmen and A Very Very Very Dark Matter. And this is Lily’s stage debut, and I feel really privileged and excited to be guiding that. Lastly, I’ve always wanted to direct something that means at the end you ask punters and press not to spoil it for those who’ll come later. There’s a real surprise waiting for audiences.” 

Danny Robins said: “I’m thrilled to be making my West End debut with this jaw-dropping cast and Matthew, one of the most exciting directors in British theatre. Anyone who’s heard The Battersea Poltergeist will know my fascination with the question “do ghosts exist?”, so 2:22 has been a labour of love, exploring the clash between belief and scepticism through a couple’s relationship. And of course it’s bloody scary! I wanted to create a night out in the theatre that gives you that delicious tingly feeling in your spine and keeps you on the edge of your seat right up until the end. There’s something deeply cathartic about ghost stories – what better way to celebrate the end of social distancing than to grab your mate’s arm in terror?  I’m excited to partner with Runaway who have a great track record of delivering really distinctive ‘event’ theatre. I’m hoping this will be a show you’ll enjoy and then argue with your friends about. And I’ll be wanting to know on Twitter afterwards – what do YOU believe???”

2:22 – A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, casting by Jessica Ronane CDG and illusions by Chris Fisher.

2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. 

FULL CASTING ANNOUNCED

FOR THE WORLD PREMIERE

STAGE PRODUCTION OF THE

BESTSELLING PETER JAMES NOVEL

LOOKING GOOD DEAD

STARRING

ADAM WOODYATT AS TOM BRYCE AND GAYNOR FAYE AS KELLIE BRYCE

OPENING AT LEICESTER CURVE

ON 1 JULY 2021

As rehearsals begin this week, Peter James and producer Joshua Andrews are delighted to announce full casting for the World Premiere stage production of the Peter James best-selling novel “LOOKING GOOD DEAD”. Joining the previously announced award-winning EastEnders star Adam Woodyatt as Tom Bryce and TV and Stage star Gaynor Faye as Kellie Bryce will be Harry Long as Roy Grace, Ian Houghton as Jonas, Leon Stewart as Branson, Gemma Stroyan as Bella, Luke Ward-Wilkinson as Max Bryce, Mylo McDonald as Mick and Natalie Boakye as Janie. With rescheduled dates confirmed, “LOOKING GOOD DEAD” is now set to open at the Leicester Curve on 1 July 2021 ahead ofa major UK tour. www.peterjames.com.

Adam Woodyatt is the longest serving cast member in “EastEnders” having appeared continuously as Ian Beale since the show began in 1985. For his portrayal of the role he was honoured in 2013 with the Lifetime Achievement Award and in 2015 after the “EastEnders” 30th Anniversary Live episode, Best Actor at the British Soap Awards. “Looking Good Dead” marks Adam’s return to stage in a play for the first time since 1982 as a 13-year-old at the National Theatre in Tom Stoppard’s “On The Razzle”. In addition to “EastEnders” Adam has also appeared on many TV programmes including “Robot Wars”, “Dream House”, “A Question of Sport”, presented “The National Lottery” draw live and last year was a contestant on “Celebrity Masterchef”. He has also previously appeared in the pantomimes “Peter Pan”, “Snow White”, “Aladdin”, “Mother Goose” and “Cinderella”.

Gaynor Faye played the role of Megan Macey in “Emmerdale” for seven years. She is also well-known for playing Judy Mallett in Coronation Street and most recently played Cheryl Armitage in the BBC1 drama “The Syndicate”. Her many other TV credits include “Fat Friends” and “Playing The Field”. Gaynor’s stage credits include Celia in the original West End production of “Calendar Girls” and Rose in the recent UK premiere and tour of “Band of Gold”. Other stage credits include the Narrator in Jonathan Harvey’s comedy play “Corrie!” and Cathy in “Wuthering Heights” for Hull Truck.

LOOKING GOOD DEAD is Peter’s fifth novel to be brought to the stage and follows the hugely successful productions of “The House on Cold Hill” starring Joe McFadden and Rita Simons last year, “Not Dead Enough” starring Shane Richie and Laura Whitmore in 2017, “The Perfect Murder” starring Shane Richie and Jessie Wallace in 2016 and “Dead Simple” starring Tina Hobley in 2015. 

No good deed goes unpunished…. hours after picking up a USB memory stick, left behind on a train seat, Tom Bryce inadvertently becomes a witness to a vicious murder. Reporting the crime to the police has disastrous consequences, placing him and his family in grave danger. When Detective Superintendent Roy Grace becomes involved, he has his own demons to contend with while he tries to crack the case in time to save the Bryce family’s lives.

Peter James is a number one bestselling author of crime and thriller novels and the creator of the much-loved Detective Superintendent Roy Grace, now a major ITV series, GRACE. He has topped the Sunday Times best seller list eighteen times and has achieved global book sales of over 21 million copies which have been translated into 37 languages. Synonymous with plot twisting page turners, he has garnered an army of loyal fans throughout his storytelling career which also included writing for TV and producing films. He has won over 40 awards for his work, including the WHSmith Best Crime Author of All Time Award, Crime Writers’ Association Diamond Dagger and a BAFTA nomination for The Merchant of Venice starring Al Pacino and Jeremy Irons for which he was an Executive Producer.

“LOOKING GOOD DEAD” is produced by Joshua Andrews and Peter James and has been adapted for the stage by Shaun Mckenna. An award-winning British dramatist, Shaun’s previous theatre credits include Ladies in Lavender, the Lord of The Rings musical and Peter James’ The Perfect Murder, Dead Simple, Not Dead Enough and The House on Cold Hill. “LOOKING GOOD DEAD” is directed by Jonathan O’Boyle, Designed by Michael Holt with Lighting Design by Jason Taylor. The Composer and Sound Designer is Max Pappenheim.

LOOKING GOOD DEAD – 2021 TOUR LISTINGS

1 – 3 JULY 2021

CURVE, LEICESTER
www.curveonline.co.uk

6 – 10 JULY 2021

MAYFLOWER, SOUTHAMPTON

www.mayflower.org.uk

12 – 17 JULY 2021

THE LOWRY, SALFORD

www.thelowry.com

19 – 24 JULY 2021

NEWCASTLE THEATRE ROYAL

www.theatreroyal.co.uk

26 – 31 JULY 2021

NOTTINGHAM THEATRE ROYAL

www.trch.co.uk

2 – 7 AUGUST 2021

THEATRE ROYAL GLASGOW

www.atgtickets.com

16 – 21 AUGUST 2021

MILTON KEYNES THEATRE

www.atgtickets.com

23 – 28 AUGUST 2021

SHEFFIELD LYCEUM

www.sheffieldtheatres.co.uk

30 AUGUST – 4 SEPTEMBER 2021

MALVERN THEATRE

www.malvern-theatres.co.uk

6 – 11 SEPTEMBER 2021

LEEDS GRAND THEATRE

www.leedsheritagetheatres.com

13 – 18 SEPTEMBER 2021

NEW VICTORIA THEATRE WOKING

www.atgtickets.com

20 – 25 SEPTEMBER 2021

WYVERN THEATRE, SWINDON

www.swindontheatres.co.uk

28 SEPTEMBER – 2 OCTOBER 2021

NEW THEATRE CARDIFF

www.newtheatrecardiff.co.uk

5 – 9 OCTOBER 2021

EDINBURGH KING’S THEATRE

www.capitalthaetres.com

11 – 16 OCTOBER 2021

THEATRE ROYAL BRIGHTON

www.atgtickets.com

18 – 23 OCTOBER 2021

BATH THEATRE ROYAL

www.theatreroyal.org.uk

25 – 30 OCTOBER 2021

NORWICH THEATRE ROYAL
www.norwichtheatre.org

FURTHER DATES TO BE ANNOUNCED SOON

Cambridge Arts Theatre, Cambridge – until 12 June 2021.

Reviewed by Steph Lott

5*****

The timing and location of this production of David Mahmet’s play “Oleanna” could not be more fitting, given recent discussions and articles in the press concerning the difficult balance between preserving academic freedom and yet ensuring that students of all backgrounds are free to study and thrive. There are longstanding concerns about the ways universities and colleges tackle inappropriate behaviour between students and teaching staff, while retaining their fundamental commitment to free speech. This, along with the #metoo campaign, means that “Oleanna” remains as relevant today as it was when it was written in the 1990s.

What I enjoyed about this play was that it stimulates discussion and reflection about a very difficult subject. It doesn’t lead the members of audience to one conclusion or another but rather invites a consideration of both sides of the issue. There is no doubt that both characters are flawed. The professor certainly behaves unprofessionally – the question is to what degree, and if the reaction of the student is understandable or if she has over-reacted. I was thinking how interesting a Q&A session after the play would be, to share reactions and explore the issues that this play raises.

I was also struck by the issues of power this play raises, how at the start it appears that the Professor holds all the cards (he’s male, white, older, can determine if the student passes or fails), and knows it! Yet as the story progresses, so does the transfer of power.

I thought that both Jonathan Slinger, as John, the Professor, and Rosie Sheehy, as Carol, the Student, gave excellent performances. It’s not easy when there are only 2 characters in a play and the whole production is resting on their shoulders. The pacing and the development in their relationship had me captivated from start to finish and I found myself very caught up in what was happening between them, and very exasperated by their behaviour. I don’t want to say too much but the ending had me stunned. I think the audience’s enthusiastic applause at the end was well deserved.

As someone who works in education, I have been reflecting how true to life this play is. I think dramas such as the one in “Oleanna” are played out every day in our universities and colleges. I think this production underlines just how dangerous and damaging these situations can be.

In summary I would thoroughly recommend going to see this play. It was a thought-provoking and enjoyable production and its themes are just as relevant today as when it was first written and performed.

National Theatre announces winner of 2021 nationwide New Views playwriting competition for young people

17-year-old student Mackenzie Wellfare from HSDC Alton in Hampshire is announced today as the winner of the National Theatre’s annual playwriting competition for 14–19-year-olds. This year has seen more first drafts of scripts submitted to the competition than ever before, with Mackenzie’s play Perspective selected from over 400 final entries from 74 secondary schools and colleges across the UK.  

Inspired to write this play to share his own experience of autism as well as others’, Perspective by Mackenzie Wellfare explores the experiences of a teenage boy, Leo, with autism through his conversations with his best friend Shaun. Set in his bedroom, Leo’s big imagination fills the stage as he considers how the world sees him.  

Perspective was selected from a shortlist of nine plays by a panel of judges including NT’s Head of Play Development Nina Steiger, playwright and screenwriter Beth Steel, playwright and performer Mojisola Adebayo and Jenny Sealey, Artistic Director of Graeae Theatre Company.  

The play will be performed in a full production by professional actors at the National Theatre and will be streamed to participating schools across the UK to watch in July, alongside rehearsed readings of seven shortlisted plays as part of the digital festival of new writing. Following the production, Mackenzie will also take part in a live streamed Q&A about his play alongside the director.  

The digital festival will also showcase the work of a group of D\deaf students from Eastbury Community School’s Alternative Resource Provision. The students have taken part in playwriting workshops facilitated by Jenny Sealey, Artistic Director of Graeae Theatre and have developed scenes exploring their experiences of the world. A selection of these scenes entitled Conversation Breakdown will be directed by Jenny Sealey and performed as part of the rehearsed readings.  

Mackenzie Wellfare said, “I’m so excited to have won! To have my play performed is just unbelievable and I can’t wait to see how it turns out! I want to show a perspective of Autism that I believe hasn’t been truly shown in modern media, and yet which some people experience every day of their lives.” 

Jenny Sealey, Artistic Director of Graeae Theatre and member of the judging panel said, “Perspective has a matureness in its unpacking of the heart stuff. It’s an important play, beautifully simple in its mass of complexity.”  

Nina Steiger, NT’s Head of Play Development and member of the judging panel said, “In what was a landmark year that took a particularly heavy toll on young people and the performing arts, it was thrilling for us to receive over 400 submissions from all over the UK. The final plays were about identity, imagination, and love and the bravery of expressing these elements of what makes us human, and perhaps what we’ve missed most in being together.  That these plays were written at home in lockdown, developed with teachers and mentors over the difficult platform of group Zoom sessions, and that the voices in these plays nevertheless resonate with truthfulness, joy and life force is a testament to the importance of this programme and the self-expression it enables.”  

This year the programme was delivered digitally through workshops with professional writers, a playwriting course and the opportunity to watch NT productions for free online, as well as a pre-recorded masterclass on writing for audio with Audible, the official Audio Partner of New Views. Students wrote their own original 30-minute plays, exploring topical issues from mental health and the pandemic to politics and relationships. 

Applications to take part in New Views 2021/2022 are now open. To register please visit www.nationaltheatre.org.uk/newviews   

The seven shortlisted plays are:  

• In A Room with Gavin and Francesa by Aran Grover from St Olave’s School, London 
• The Nursing Home by Charlotte D’Angelo from Wimbledon High School, London 
• Childhood, War and Love by Ellie Sharman from Ricard’s Lodge, London 
• Colour Inside The Lines by Jamila Salim from The Haberdashers’ Aske’s Boy’s School, Hertfordshire 
• Billionaire’s Row by Joel Wall from Oxted School, Surrey  
• Bus Stops by Mia Galanti from Lady Margaret School, London 
• Rose Coloured Glasses by Nyah With from Southend School for Girls, Essex 

The National Theatre’s Partner for Learning is Bank of America. 

  New Views is supported by The Mohn Westlake Foundation, Buffini Chao Foundation, The Hearn Foundation Old Possum’s Practical Trust, The Steel Charitable Trust and Chapman Charitable Trust. 

 Audible is the Official Audio Partner of New Views.

OLIVER AWARD WINNING MISCHIEF ANNOUNCE FULL CASTING FOR INAUGURAL UK TOUR OF MAGIC GOES WRONG 

UK Tour opens 16 July 2021

Olivier award-winning comedy favourites, Mischief, today announce full casting for their very first UK tour of Magic Goes Wrong, created with magic legends Penn & Teller. The touring cast presents: Daniel Anthony (Mickey), Valerie Cutko (Eugenia), Sam Hill (Sophisticato), Kiefer Moriarty (The Blade), David Nellist (Mind Mangler), Jocelyn Prah (Spitzmaus), Chloe Tannenbaum (Bar), with understudies Ishbel Cummings, Rory Fairbairn, CJ Field and Jay Olpin.

Magic Goes Wrong will open on tour at Curve, Leicester on 16 July, before visiting Salford, Eastbourne, Cambridge, Newcastle, Leeds, Liverpool, Milton Keynes, Southampton, Woking and Bath with further dates to be announced. 

Mischief’s biggest and most daring comedy catastrophe to date, Magic Goes Wrong follows a hapless gang of magicians as they stage an evening of grand illusion to raise cash for charity. As the magic turns to mayhem, accidents spiral out of control and so does their fundraising target! The show premiered in the West End at the Vaudeville Theatre in December 2019 and is set to resume performances in London this October. 
Mischief’s other West End successes include The Play That Goes Wrong, Peter Pan Goes Wrong, The Comedy About A Bank Robbery, Groan Ups and Mischief Movie Night. Their hugely successful six-part TV Series, The Goes Wrong Show, aired in the UK on BBC ONE and on Amazon Prime Video in the US, Canada and Australia. The show received a 2020 TV Choice Award nomination for Best Comedy and has recently been nominated in the Comedy category at the 2021 National Television Awards. Series two is currently in production. 

Magic Goes Wrong is written by Penn Jillette, Henry Lewis, Jonathan Sayer, Henry Shields and Teller and directed by Adam Meggido, with set design by Will Bowen, magic consultant Ben Hart, costume designer Roberto Surace, lighting designer David Howe, sound designer Paul Groothius, video and projection designer Duncan McLean, composer Steve Brown, movement director Ali James, associate director Hannah Sharkey. The touring production is produced by Kenny Wax Ltd, Stage Presence Ltd and Kevin McCollum.

Runaway Entertainment presents

THE WINDSORS: ENDGAME

Written by George Jeffrie and Bert Tyler-Moore

Directed by Michael Fentiman

@thewindsorslive

• HARRY ENFIELD AND MANY OF THE CAST OF CHANNEL 4’S THE WINDSORS WILL APPEAR IN A HILARIOUS NEW STAGE ADAPTATION

• WRITTEN BY GEORGE JEFFRIE AND BERT TYLER-MOORE  THE ANARCHIC AND HYSTERICAL PRODUCTION FOLLOWS THE ROYAL FAMILY’S CRAZY ANTICS IN THE WAKE OF AN IMPORTANT CONSTITUTIONAL EVENT

• THE PRODUCTION WILL OPEN AT THE PRINCE OF WALES THEATRE ON 2 AUGUST WITH A PRESS NIGHT ON 10 AUGUST

• TICKETS ARE ON SALE AT 10AM AND CAN BE PURCHASED FROM WWW.THEWINDSORSENDGAME.COM 

Producer Runaway Entertainment is delighted to announce the World Premiere of George Jeffrie and Bert Tyler-Moore’s joyous stage adaptation of their huge Channel 4 hit The Windsors. The Windsors: Endgame will open at the Prince of Wales Theatre on 2 August. Tickets are now on sale.

Much of the cast of the television series will reprise their roles in the stage production with Harry Enfield playing Prince Charles, so we have the Prince of Wales at the Prince of Wales. Further casting to be announced. 

Like all good soap operas, this is the story of intergenerational conflict, with Wills challenging his father for the crown and Camilla determined to see him off and rule the land with an iron fist. Wills needs Harry and Meghan’s help if he’s ever going to triumph – but will they come back from California and their authentic life with their rescue chickens? And how will Beatrice and Eugenie ever clear their father, Prince Andrew’s name?

Written by the creators of the TV series, George Jeffrie and Bert Tyler-Moore, directed by Michael Fentiman (Amelie), and featuring songs, sword fights and snogging competitions, this show has everything you need to beat the lockdown blues! 

For a strictly limited run, book now for the Prince of Wales at the Prince of Wales theatre!

The Windsors: Endgame features set design by Madeleine Girling, lighting design by Jack Knowles, sound by George Dennis, music by Felix Hagan and casting by Stuart Burt CDG.

The Windsors: Endgame is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment and Isobel David. The Windsors television series was produced by Noho Film & Television. 

J’OUVERT AND ANNA X TO PLAY ADDITIONAL PERFORMANCES

AT THEATRE ROYAL AND ROYAL CONCERT HALL NOTTINGHAM

AND THE LOWRY, SALFORD

Following performances as part of SFP’s RE:EMERGE season at the Harold Pinter Theatre, Yasmin Joseph’s J’Ouvert will run for 5 performances only at Theatre Royal and Royal Concert Hall Nottingham from 21 to 24 July; and Joseph Charlton’s Anna X will run at The Lowry, Salford for 6 performances only from 10 August to 14 August, enabling more audiences to access the productions.

The RE:EMERGE season at the Harold Pinter Theatre is creating a space for new voices and fresh talent in the West End and beyond, working alongside some of the industry’s greatest theatremakers and artists. Opening with Amy Berryman’s Walden – ‘A fresh and ambitious new play. A giant leap for the West End’ – Daily Telegraph – and continuing with J’Ouvert and Anna X, the season of plays curated by Sonia Friedman Productions with Ian Rickson tackles urgent issues integral to rebuilding our society, including structural inequality, climate change and the economics of truth in an internet age. Supported using public funding from the National Lottery through Arts Council England, RE:EMERGE is supporting the theatre-makers of the future, providing vital work for the freelance community and celebrating the live experience as we begin to build back to the full reopening of British theatre.

The RE:EMERGE season, helping to re-open and re-energise our theatres, is staged in a Covid safe environment following current government advice and adhering to social distancing guidelines; and in line with Society of London Theatre’s See It Safely campaign.

J’OUVERT

A new play by Yasmin Joseph

Harold Pinter Theatre 16 June – 3 July

Theatre Royal and Royal Concert Hall Nottingham 21 – 24 July

Cast: Annice Boparai, Gabrielle Brooks, Sapphire Joy     

Directed by Rebekah Murrell; Designed by Sandra Falase in collaboration with Chloe Lamford;  Movement by Shelley Maxwell; Lighting Design by Simisola Majekodunmi; Sound Design by Beth Duke; Casting by Isabella Odoffin

“What people you know can party through all of the earth’s elements?”

2017. Carnival is here. The streets of Notting Hill are alive with history and amongst the pulsating soca, dazzling colour, and endless sequins and feathers, Jade and Nadine are fighting for space in a world they thought was theirs. A timely reflection on the Black British experience and sexual politics of Carnival, J’Ouvert is a piercing, hilarious and fearless story of two best friends, battling to preserve tradition in a society where women’s bodies are frequently under threat.

J’Ouvert was first produced by Bad Breed in co-production with Theatre503 and Tobi Kyeremateng.

Yasmin Joseph is a London-based writer. Her debut play J’Ouvert premièred at Theatre503 in 2019 and she was nominated for the Evening Standard’s Most Promising Playwright Award, and most recently won the 2020 James Tait Black Prize For Drama. She is the current writer-in-residence at Sister Pictures, and is on attachment at the Royal Court Theatre as a winner of the Channel 4 Playwrights scheme. She is also under co-commission with Soho Theatre and The Actors Touring Company as part of the Soho Six, The Place Theatre in Bedford with the Retired Caribbean Nurses Association and Clean Break.

Annice Boparai plays Nisha. Her theatre credits include Border Control, 17 (The Vaults), Hear Me Now Monologues, Behind the Blast Wall (Theatre503), Service Ellandar Productions (White Bear), Tamasha Scratch Night (Leicester Curve/Soho), J’Ouvert (Theatre503), Trojan Horse (Summerhall Main Hall, Edinburgh), The Canary and the Crow and 17 (Gig), Silently Hoping (Arcola Theatre), Earlsfield Stories (Tara Arts), If and When (Soho Theatre) and The Lights (Royal Court Theatre/Oxford School of Drama).

Gabrielle Brooks plays Nadine. Her theatre credits include Anna Bella Eema (Arcola Theatre), A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), Twelfth Night (Young Vic), The Way of the World (Donmar Warehouse), The Wizard of Oz (Sheffield Theatres), Everybody’s Talking About Jamie (Sheffield Crucible), Lazarus (King’s Cross Theatre), The Strangers Case (Liverpool Everyman Theatre), The Book of Mormon (Prince of Wales Theatre), I Can’t Sing (London Palladium) and Our House (Savoy Theatre). For television her credits include Shadow and Bone and Coming Down The Mountain. For film, her credits include Notes on A Scandal. She has created and produced BlackStage UK – an emotional and educational exposé on what it means to be Black in the UK Arts industry, featuring 30 Black and Black mixed-raced workers from across the sector and from all over the UK.

Sapphire Joy plays Jade. Her theatre credits include Anansi The Spider (Unicorn Theatre), Grey (Ovalhouse), J’Ouvert (Theatre503), Twelfth Night (Southwark Playhouse), Our Country’s Good (Nottingham Playhouse), The Interrogation of Sandra Bland (Bush Theatre) and Imogen (Shakespeare’s Globe). Her television credits include Speak For Herself, Casualty, Seconds From Disaster: Jonestown Cult Suicide and Crimewatch.

Rebekah Murrell directs. She is an actor and director from London. She made her professional directing debut with J’Ouvert by Yasmin Joseph which premièred at Theatre503 in 2019. She is currently directing a community project for The Place Theatre in Bedford with the Retired Caribbean Nurses Association; and an audio drama for Audible with students at LAMDA; and will shortly be appearing at Shakespeare’s Globe in Romeo and Juliet.

J’Ouvert will be adapted for the screen as part of BBC Lights Up, an unprecedented season of plays for BBC radio and TV, produced in partnership with theatres across the UK and continuing BBC Arts’ Culture in Quarantine initiative. The film will be screened on BBC Four on Monday 26 April at 10pm and iPlayer.

ANNA X

A new play by Joseph Charlton

Harold Pinter Theatre: 10 July – 4 August

The Lowry, Salford 10 – 14 August

Cast: Emma Corrin, Nabhaan Rizwan     

Directed by Daniel Raggett; Set and Video Design by Mikaela Liakata and Tal Yarden

Lighting Design by Jessica Hung Han Yun; Sound Design by Mike Winship

Costume Design by Natalie Pryce

Anna. 25. Curator. Retired intern. Previously @RAW magazine. I ♥ art, fashion, NYC.

Ariel. 32. CEO of @GenesisApp. A social and dating network by invitation only. SF-NYC-LDN.

Immersed in an addictive world of front-row fashion shows, private views, and endless parties, Anna and Ariel find themselves struggling to keep up with New York’s dazzling social elite. How far will two outsiders go to construct the identities they want? And at what price?

Golden Globe Award-winner Emma Corrin and Royal Television Society’s 2019 Breakthrough star Nabhaan Rizwan make their West End debuts in this searing tale of self-invention, determination, and deceit. ANNA X is a new play by Joseph Charlton, directed by Daniel Raggett which originally ran at the Vault Festival in 2019. 

ANNA X is a fictional imagining inspired by real life events, and was originally produced by Rebecca Gwyther at the VAULT Festival, 2019.

Joseph Charlton is a multi-award-winning writer from the north east of England. He is currently adapting his play Brilliant Jerks into an eight-part series for the BBC.He worked previously as a journalist.

Emma Corrin makes her professional stage debut playing Anna. For television, her credits include playing Lady Diana Spencer in the award-winning The Crown – for which she recently won a Golden Globe, a Critics Choice Award and a SAG nomination, and Pennyworth. For film her credits include Misbehaviour, and the forthcoming My Policeman and Lady Chatterley’s Lover.

Nabhaan Rizwan plays Ariel. His theatre credits include Little Revolution (Almeida Theatre) and The Undergrowth (Royal Court Theatre). For television his credits include Informer (RTS Breakthrough Award), Industry, The Accident and the forthcoming Station Eleven;and for film, Mogul Mowgli, 1917 and the forthcoming Last Letters From Your Lover.

Daniel Raggett is a director who has worked with theatres including the Young Vic, Headlong, the Almeida and the National Theatre; and as an associate director on productions in the West End and on Broadway. His recent work includes Jean Cocteau’s The Human Voice at the Gate Theatre (also adapted) and, as associate, All About Eve in the West End and West Side Story and Network on Broadway.

Listings Information

RE:EMERGE Season

Harold Pinter Theatre, Panton St, London SW1Y 4DN

Box Office: 0844 871 7622               www.atgtickets.com

WALDEN

Harold Pinter Theatre until 12 June

J’OUVERT

Harold Pinter Theatre 16 June – 3 July

Theatre Royal and Royal Concert Hall Nottingham 21 – 24 July

https://trch.co.uk/ / Box Office: 0115 989 5555

ANNA X

10 July – 4 August

The Lowry, Salford 10 – 14 August

https://thelowry.com/ / 0343 208 6000

LEEDS HERITAGE THEATRES APPOINTS LIZI PATCH AS ARTISTIC DIRECTOR YOUNG PEOPLE’S THEATRE

Leeds Heritage Theatres is delighted to announce that Lizi Patch – director, playwright, dramaturg and artist – has been appointed Artistic Director Young People’s Theatre; the charity’s first ever permanent artistic role.

A significant milestone in the organisation’s long history, the appointment solidifies its commitment to delivering its charitable aims and participation in city-wide conversations that place young people at the heart of the region’s art and culture movement.

Forming part of the Learning management structure, the role will see Lizi continue to act as Artistic Director for Leeds Grand Youth Theatre (LGYT) and Leeds Actors in Training (LAIT), as well as evolve and raise the profile of the current programme of work on offer, including its training provision of placements and apprenticeships.

Every year over 10,000 people of all ages take part in Leeds Heritage Theatres’ learning and engagement programme supported by the Emerald Foundation. Upcoming activities/projects include a sharing of work by LGYT at City Varieties Music Hall on Saturday 31 July; participation in the University of Leeds’ International Medieval Congress on Thursday 8 July, where the youngest members of the group will present filmed extracts of their work on the battle of Agincourt; and the relaunch of LAIT in autumn 2021.

Quotes

Chris Blythe, CEO: “As our first ever permanent artistic role, this appointment represents an exciting development for Leeds Heritage Theatres. Having faced our hardest year yet, our commitment to bring people together through inspiring, engaging, and educational experiences remains at the heart of what we do as we reopen our doors once again.”

Rachel Lythe, Head of Learning: “We are delighted that Lizi is joining us as Artistic Director Young People’s Theatre. Having worked together for many years this partnership has continually evolved and resulted in an extraordinary creative training programme for young people through Leeds Grand Youth Theatre and Leeds Actors in Training. These activities have become the backbone of our creative engagement activities which sit alongside our work with schools, colleges, universities, and community partners. We can’t wait to develop our training further, exploring new partnerships across the city and ensuring young people’s voices drive any new opportunities.”

Lizi Patch, Artistic Director Young People’s Theatre: “Having worked in a freelance capacity at Leeds Heritage Theatres for almost a decade, I’m over the moon to accept this permanent position, at what has been an unimaginably difficult time for theatres and freelancers. It is a significant recognition by the charity of the vital role that the arts play in the lives of young people, and gives me the opportunity to deepen and expand the work of Leeds Grand Youth Theatre and Leeds Actors in Training, and further develop collaborative partnerships in Leeds and beyond.”

For more information about Leeds Heritage Theatres’ education programme go to www.leedsheritagetheatres.com.

PUNCHDRUNK’S GROUNDBREAKING BAFTA-NOMINATED LIVE 12 HOUR THEATRICAL BROADCAST THE THIRD DAY: AUTUMN IS NOW AVAILABLE TO WATCH BY VISITING WWW.PUNCHDRUNK.COM

On Saturday 3rd of October 2020 audiences tuned in to experience the distorted and immersive world of Sky original drama, The Third Day, through a theatrical live event – ‘Autumn’ – broadcast as-live on Sky Arts and online on Sky TV Facebook for 12 hours from 9.30am – 9.30pm. This innovative theatrical event reached over one million viewers* and was nominated for the BAFTA  in the Live Event category. Punchdrunk has announced that the full 12-hour experience is available to watch by visiting www.punchdrunk.com/project/the-third-day-autumn. 

Originally designed to make The Third Day the world’s first immersive TV series, ‘Autumn’ was intended to be watched with a live audience in attendance but was re-imagined as a live theatrical broadcast after the UK went into lockdown. It was widely recognised as one of the most ambitious pivots from a live environment to a digital one during the course of the pandemic. The BAFTA nomination recognises that achievement.

The Third Day: Autumn follows the events of a single day in real time, featuring a cast including Jude Law and Katherine Waterston. Singer Florence Welch (of indie band Florence and the Machine) also featured in an acting role. Capturing events as-live and in one continuous take, this cinematic broadcast brought viewers deeper into the mysterious and suspenseful world of the series, intensifying its already blurred line between fantasy and reality. It was co-directed by founder and artistic director of Punchdrunk, Felix Barrett, and The Third Day: Summer director Marc Munden.

Created by Dennis Kelly and Felix Barrett, The Third Day consists of three separate but interconnected stories that all take place on Osea Island; ‘Summer’ (eps 1-3), ‘Autumn’ (theatrical broadcast) and ‘Winter’ (eps 4-6). Each story can be seen individually but watching all three parts offers the full experience of The Third Day.

The Third Day was commissioned by Zai Bennett, Sky UK’s Managing Director of Content and Cameron Roach, Director of Drama at Sky Studios, with Liz Lewin as the Commissioning Editor. The series is a co-production between Sky and HBO. It is the first original drama to be produced in-house by Sky Studios, Sky’s new Europe-wide production arm, in partnership with Plan B Entertainment, the world-renowned immersive theatre company Punchdrunk and writer Dennis Kelly. All six episodes of The Third Day are produced by Adrian Sturges. Autumn, the theatrical live event was produced by Gareth Collins and Sarah Goodfellow.

*      Reach viewing figure based on viewers who watched at least one minute on Sky Arts, peaking at 97k at 4.31pm on 3rd of October. Additionally, ‘Autumn’ was jointly streamed on the Sky Facebook page, reaching over 500k impressions.