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IRIS THEATRE ANNOUNCE PARTICIPANTS FOR #START –

A DEVELOPMENT SCHEME FOR EARLY CAREER DIRECTORS AND DESIGNERS

Iris Theatre today announces participants for #start, a development scheme for those early in their theatre careers and those getting into theatre for the very first time. The scheme has two strands: #startDIRECTING and #startDESIGNING, offering aspiring practitioners a selection of workshops, online learning and practical placements from May – December 2021.

Paul-Ryan Carberry, Artistic Director of Iris Theatre, said today, “The start scheme marks an important aspect of our work as a charity. Forging opportunities for artists in their early career, is more important than ever as the industry looks to build back from the pandemic. We are excited to welcome these nine incredible individuals and look forward to supporting them on this stage of their creative journey.”

#startDIRECTING

May – December 2021

Iris Theatre will support five people who want to develop or begin a career in directing for theatre, but have yet to receive any formal, vocational training in the role. They will receive regular online sessions from Artistic Director of Iris Theatre, Paul-Ryan Carberry and be offered placements on Iris Theatre’s Summer Festival and Winter Season, to be announced.

Participants are Carol Curtis, Ozioma Ihesiene, Peyton Lee, Natali Servat and Isobel Witcomb.

#startDESIGNING

May – August 2021

Iris Theatre will support four people who want to develop or begin a career in theatre design. The participants will receive regular workshops under the mentorship and guidance of Iris Theatre’s Summer Festival designer, Sophia Pardon, helping to deliver the design for this year’s festival programme.

Participants are Ella Di Gregorio, Aslan Herzen, Ellie Roser and Jack Sheehan.

Paul-Ryan Carberry has been Artistic Director of iris Theatre since 2019. His credits for the company include Festive Folklore and The Three Musketeers. Other directing credits include London – a theatrical film (Online/Mountview), Dead Dog in a Suitcase & other love songs (Backstage Theatre, Peckham), A Serious Business (Luton Hat Factory/The Pleasance), The Nativity (St James’s Church, Paddington), Touched (Bernie Grant Arts Centre), The Outback Games (Edinburgh Festival Fringe – nominated for an MTN Award), Star Jumps Are Not Essential (The Lost Theatre), Little Shop of Horrors (Central Academy of Drama, Beijing), Half A Sixpence, James Joyce’s The Dead, Heathers, Ourselves Alone, Into The Woods and Parade (Mountview). As an associate director his credits include Grease (UK tour); and as assistant director, Strangers on a Train (UK tour). As an actor, his theatre credits include The Rise and Fall of Little Voice, The Wonderful Wizard of Oz (Octagon Theatre), A Christmas Carol (Birmingham Rep/West Yorkshire Playhouse), As You Like It (Grosvenor Park Open Air), Billy Liar (West Yorkshire Playhouse), Everybody Loves a Winner (Royal Exchange Theatre) and All the Fun of The Fair (UK tour); and for television, A Song For Jenny and The Village.

Sophia Pardon is a set, costume and puppet designer. Her credits include A Christmas Carol (Barn Theatre), Once on This Island (Arts Ed), A Doll’s House (UK tour), GORGON: A Horror Story (VAULTS Festival), Faustus (Queen Elizabeth Hall), Neck or Nothing (Pleasance Theatre) and The Little Prince (Omnibus Theatre). Pardon is also currently the designer at Italia Conti Academy of Performing Arts.

Iris Theatre’s #start scheme is generously supported by The Boris Karloff Foundation and The Derek Hill Foundation.

Newepisodes featuring leading names of stage and screenannounced for National Theatre’s Life in Stages interview series

Wednesday 5 May 2021 

The National Theatre today announces three new episodes as part of its recently launched interview series Life in Stages featuring conversations with leading names in British Theatre. The new episodes will be available to watch for free on the National Theatre’s YouTube channel on Thursday evenings at 7pm BST.   

The fourth episode of the series which will air on Thursday 13 May will see award-winning actors Bill Nighy, Chiwetel Ejiofor and Andrew Lincoln, 20 years on from starring together in Joe Penhall’s critically acclaimed Blue/Orange at the National Theatre (2000) and in much-loved film Love Actually (2003), reunited to discuss and reflect on their extensive acting careers.  

On 20 May the fifth episode will feature a conversation between director and National Theatre Associate Dominic Cooke together with award-winning actor Sophie Okonedo. The sixth episode will be broadcast on 27 May featuring actor, writer and newly appointed Deputy Artistic Director of the National Theatre Clint Dyer and writer, recording artist and spoken word performer Kae Tempest.  

These conversations were pre-recorded on the empty Lyttelton stage at the National Theatre and see renowned figures from across the theatre industry reflect on their illustrious professional careers and share personal anecdotes, stories and memories along the way.  

The first three episodes featured conversations between Rufus Norris and Olivia Colman, Jessie Buckley and Josh O’Connor, and Meera Syal and Adrian Lester, and are all available to catch up on now for free on the NT’s YouTube channel.  

The Life in Stages series is supported by Charles Stanley Wealth Managers.  

Life in Stages is co-produced by WING, an All 3 Media Company.  

Daniel Bye, Boff Whalley and ARC Stockton present

THESE HILLS ARE OURS

Written and performed by Daniel Bye and Boff Whalley

Direction and Lighting Design by Katharine Williams
Commissioned by Beaford Arts, Eden Project North, Lancaster Arts, Leeds Playhouse and Shoreditch Town Hall
Produced by ARC Stockton / Supported by Arts Depot and inov-8

• New project from writer/performer Daniel Bye (Arthur, Edinburgh Fringe) and singer/songwriter Boff Whalley (Chumbawamba).

• Project explores their mutual love of running through story and original songs by Whalley and Bye.

• At each performance, the audience will be invited to join Bye and Whalley (who are both accomplished runners) for a run the following morning from a route the venue town/city to a green place.
  
  

Tour dates: 18 June – 16 July 2021 (also touring in the Autumn)

Do you ever want to run away from it all?

ARC Stockton presents the world première of These Hills Are Ours, written and performed by writer-performer Daniel Bye and singer-songwriter Boff Whalley (Chumbawamba) which explores their mutual love of running, celebrates the freedom to roam wild places – and asks what they are really running from.

Originally set to premiere nearly one year ago before COVID-19 closed theatres, These Hills Are Ours will now start its tour at The Mill Arts Centre, Banbury on Friday 18 June and then touring to 16 July. The production will preview in Devon from the 17-22 May.

For the last three years Bye and Whalley have been running a series of routes, from the centre of the city in which they found themselves, to the top of the peak overlooking that city – culminating in one epic journey for Dan, more than twice as far as he has ever run before. But what were they running from?

In story and in song, this is the story of what they found out – about the relationship between city and country, between wild and controlled, about land ownership, about why we are drawn to wild places – and about how far we are prepared to go for what we believe in. 

At each performance, the audience will be invited to join Bye and Whalley (who are both accomplished runners) for a run the following morning from a route the venue town/city to a green place.

These Hills Are Ours is the most personal piece of work either Dan or Boff has made, the most heartfelt, and the most direct. It’s really funny and genuinely moving.

Daniel Bye said: “Boff and I have worked together on lots of projects, from very small to large enough to warrant an AA road sign. And work conversations always had a habit of drifting into conversation about running. So we thought it was high time to make hay out of that and work together on a show with running as its starting point.

As these things do, it is evolved into something much more than that: non-runners will get just as much from this show as runners. Anyone who has ever enjoyed the countryside, celebrated freedom, done something really hard, or just wanted to run away from it all, will be at home in this show.

For those who want it, though, there is a bonus for runners: in each venue we will invite the audience to join us for a run the following morning. The route will be an escape, a route out of the town or city to the nearest high, wild, or green place. Because that is what we have done together as part of working on the show and it’s great to be able to share that with the audience in a more real setting than a post-show Q&A. Although if you do not run and do want to chat, I expect we’ll be in the bar afterwards.”

These Hills Are Ours is directed by Katharine Williams and produced by Daniel Bye, Boff Whalley and ARC Stockton. It was commissioned by Beaford Arts, Eden Project North, Lancaster Arts, Leeds Playhouse and Shoreditch Town Hall.

These Hills Are Ours will start its national tour at The Mill Arts Centre, Banbury on Friday 18 June and then will tour till 16 July. It will have an extended tour in the autumn.

For more information on These Hills Are Ours visit

http://www.danielbye.co.uk/these-hills-are-ours.html

NEW POSTER IMAGE RELEASED FOR AMELIE THE MUSICAL

ONE OF THE FIRST WEST END SHOWS TO REOPEN POST 17 MAY

FIRST PREVIEW THURSDAY 20 MAY

Following its opening at the Watermill Theatre, a critically acclaimed sell-out tour in 2019, a highly successful Christmas season at The Other Palace in 2019, a Grammy nomination and 3 Olivier Award nominations, Amélie The Musical arrives in the heart of the West End this summer. Following the government roadmap announcement, tickets are on sale now for a socially distanced audience at the Criterion Theatre from Thursday 20 May, with a press night on Wednesday 2 June. Olivier-nominee Audrey Brisson (The Elephantom, Pinocchio and Pericles (National Theatre), The Flying Lovers of Vitebsk (Kneehigh), and The Grinning Man (Bristol Old Vic)), will return to the role of ‘Amélie’.

Amélie secretly improvises small, but extraordinary acts of kindness discovering the possibilities around every corner and bringing happiness to those she encounters. When a chance at love comes her way, Amélie realises that to find her own contentment she’ll have to risk everything and say what’s in her heart. Experience this beautiful story and be inspired by this imaginative dreamer who discovers her voice, uncovers the power of human connection and sees possibility around every corner.

The five – time Oscar®-nominated film will be brought to life by a cast of actor-musicians and set to a critically acclaimed re-orchestrated score. With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, this musical adaptation of the five-time Oscar®-nominated film written by Jean-Pierre Jeunet and Guillaume Laurant, is directed by Michael Fentiman.

The producers acknowledge that all current government guidelines will be adhered to in terms of Covid security, and they will keep them under constant review. The seating plan at the Criterion has been designed to facilitate social distancing. The box office system is responsive to demand and will automatically auto-distance seats during the booking process to ensure a minimum 1 metre space between patrons until such a time that social distancing is no longer a legal requirement.

Louis Hartshorn, CEO of Hartshorn-Hook Productions, said, “Amélie is about kindness, distance and human connection, and resonates deeply with what we have all been through over the last year. We’re very excited to be bringing this beautiful production to the West End and contributing to the reopening of the theatre industry. We thank the Arts Council and DCMS for the support of the Culture Recovery Fund and our hard working producing and creative teams for their passionate and careful work to bring our shows back to the stage.”

The full cast includes Sioned Saunders as ‘Gina’ (Camelot– The Watermill, Made in Dagenham – Queen’s Theatre Hornchurch), Flora Spencer-Longhurst as ‘Georgette’ / ‘Sylvie’ (Once – Phoenix Theatre, The Real Thing– Rose Theatre Kingston), Rachel Dawson as ‘Amandine’ / ‘Philomene’ (The Jungle Book – UK Tour, A Little Night Music – The Watermill), Oliver Grant as ‘Lucien’ / ‘Mysterious Man’ (War Horse – UK Tour, Twelfth Night – Chichester Festival Theatre), Chris Jared as ‘Nino Quincampoix’ (946: the Amazing Story of Adolphus Tips – Shakespeare’s Globe, The Duchess of Malfi – Nottingham Playhouse), Caolan McCarthy as ‘Hippolito’ / ‘Elton John’ (The Plough and the Stars – NT, The Beggar’s Opera/Alice in Wonderland – Storyhouse), Samuel Morgan-Grahame as ‘Joseph’ / ‘Fluffy’ (Sister Act – UK Tour, All My Sons – Regent’s Park Open Air Theatre), Kate Robson-Stuart as ‘Suzanne’ (Crazy For You – UK Tour, Untold Stories – Watermill Theatre), Jack Quarton as ‘Blind Beggar’ (Assassins – The Watermill, Wonderland – Nottingham Playhouse), Jez Unwin as Raphael / Bretodeau (Oliver – Leicester Curve, Once – Phoenix Theatre) and Johnson Willis as Collignon / Dufayel (Harold and Maude – Charing Cross Theatre, Dido Queen of Carthage & Salome – RSC Swan). Nuwan Hugh Perera, Miiya Alexandra, Robyn Sinclair and Matthew James Hinchliffe complete the ensemble.

The original film, Le Fabuleux Destin d’Amélie Poulain, was released in 2001, starring Audrey Tautou and Matthieu Kassovitz. Taking over $33 million in a limited theatrical release, it remains the highest-grossing French-language film released in the United States, and one of the biggest international successes for a French film. Amélie won Best Film at the European Film Awards, four César Awards in 2002 (including Best Film and Best Director), two BAFTA Awards (including Best Original Screenplay), and was nominated for five Academy Awards, including best foreign language film. Amélie The Musical was first staged in California in 2015 and was described as an ‘enchanting act of theatrical reinvention’ (The Los Angeles Times).

Audrey Brisson’s theatre credits include: The Elephantom, Pinocchio and Pericles (National Theatre), Midnight’s Pumpkin and The Wild Bride (Kneehigh), The Lion, The Witch and The Wardrobe (Kensington Gardens), Dead Dog in a Suitcase & Other Love Songs (Kneehigh), Romeo and Juliet (Rose Theatre, Kingston), The Flying Lovers of Vitebsk (Kneehigh), The Grinning Man (Bristol Old Vic), The Strada (UK Tour & The Other Palace). Her film credits include: Hereafter directed by Clint Eastwood and W.E. directed by Madonna. Television includes: Outlander and Money. Radio includes the title role in Amy Dorrit.

Amélie The Musical is directed by Michael Fentiman, designed by Madeleine Girling, with musical supervision and arrangements by Barnaby Race, movement direction by Tom Jackson Greaves, lighting design by Elliot Griggs, sound design by Tom Marshall, puppet design and construction by Dik Downey andmusical direction, additional orchestrations and arrangements by Samuel Wilson.

The Grammy®-nominated original London cast recording of Amélie is available digitally and will be released on CD on 1^st April. It can be streamed, downloaded, or pre-ordered here: https://found.ee/amelie-mus

Amélie The Musical, is produced by Hartshorn – Hook Productions, Broadway Asia International and Selladoor Worldwide in association with The Watermill Theatre, Piers Cottee-Jones Entertainment, Just Entertainment and Concord Theatricals.

NEW SEASON OF OUTDOOR PERFORMANCES ANNOUNCED FROM

THE WATERMILL THEATRE

THE RETURN OF THE CRITICALLY ACCLAIMED COMEDY VERSION OF
THE HOUND OF THE BASKERVILLES

A SUSTAINABILITY FOCUSSED WATERMILL ENSEMBLE PRODUCTION OF 
AS YOU LIKE IT

A CONCERT VERSION OF STILES & DREWE’S
JUST SO

PERFORMANCES FROM 21 MAY – 4 SEPTEMBER

GENERAL ON SALE FROM TUESDAY 11 MAY

PRIORITY BOOKING FOR FRIENDS OF THE WATERMILL FROM THURSDAY 6 MAY

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

Artistic Director Paul Hart and the team at Newbury’s The Watermill Theatre are thrilled to announce a new summer season of outdoor performances, following the sell-out success of the 2020 season. Audiences from far and wide will once again be able to enjoy alfresco theatre from socially distanced tables seating 2, 4 or 6 people in the idyllic setting of The Watermill’s glorious gardens. A limited number of individual seats will also be available. Young people aged 18 – 30 years will be able to access a limited number of discounted solo tickets priced at £15 for each show.

The first show opening on 21 May on the front lawn is the return of the critically acclaimed comedy version of Arthur Conan Doyle’s classic Sherlock Holmes tale, THE HOUND OF THE BASKERVILLES. A trio of actors bring this production to life, devised by the company anddirected by Abigail Pickard Price. Performances take place from Friday 21 May – Saturday 19 June, with a press night on Monday 24 May.

This will be followed by the Watermill Ensemble’s brand-new sustainability focussed production of Shakespeare’s AS YOU LIKE IT, adapted by Yolanda Mercy and directed by Paul Hart, with a cast of twelve actor-musicians and an atmospheric modern folk soundscape, inspired by the music of Mumford & Sons, Fleet Foxes, Bon Iver and Taylor Swift. AS YOU LIKE IT will open on the main lawn on Thursday 24 June and run until Saturday 24 July, with a press night on Monday 28 June.

Using responsibly sourced, repurposed, or recyclable materials to create the set, props and costumes, this production of Shakespeare’s famous pastoral comedy will celebrate the unique environment of The Watermill gardens. With a focus on eco-friendly practices both on and off stage, this season marks a new direction for the venue in terms of sustainability and access for future generations.

The third production will be a new semi-staged concert version of Stiles & Drewe’s JUST SO. This wondrous family musical blends five of Rudyard Kipling’s Just So stories to tell a tale of courage, friendship and the power of an individual to make a difference. Directed by Abigail Pickard Price, with Tarek Merchant as the Musial Director, JUST SO will run from Friday 30 July to Saturday 4 September, with a press night on Monday 2 August.

To ensure the safety of all, the season will take place outside in The Watermill Theatre’s beautiful gardens with shows performed to a socially distanced audience. Audience members can book their own socially distanced seating area, with aisles and space between each seating area. Tables are reserved, and audiences will be able to select a seating area when booking their tickets. Seats will be uncovered, and performances will go ahead whatever the weather. Audiences are advised to bring appropriate clothing for the conditions and may also wish to bring extra cushions and blankets.

Face coverings, unless exempt, will be required to enter indoor spaces, such as the toilets. There will be hand sanitiser stations, a one-way system for accessing the toilets and signage to indicate routes and procedures. There will also be free onsite parking in the main car park.  All current government guidelines will apply throughout the season and The Watermill will keep these under constant review.

A two-course pre-show menu from the restaurant will be available to enjoy from 5pm before evening shows starting at 7pm and from midday before matinée performances starting at 2pm. Cream teas will also be available to enjoy in The Watermill’s riverside gardens after matinée performances.

Paul Hart said, “We’re absolutely thrilled to announce another joyous summer season after the sell-out success of last year. Audiences absolutely loved our production of ‘The Hound of the Baskervilles’ which was devised in the midst of the pandemic. I was struck by the idea of a group of individuals trying to solve a murder whilst observing social distancing measures(!) and we’re delighted to bring back the production for a very limited run. 

The rest of the season integrates themes of the environment and sustainability, an issue we’re really passionate about, not least because of our stunning location which backs onto a nature reserve in the heart of the Berkshire countryside. 

Our Shakespeare ensemble return with a radical new version of ‘As You Like It’ which focuses on the importance of connecting with nature and as ever, will be filled with glorious music performed live by our cast. After this we’ll be presenting a very special concert performance of our summer musical, ‘Just So’. The show began its life at The Watermill to great acclaim in 1989. It feels like a perfect moment to celebrate this uplifting musical and to bring it to life once again, this time in our beautiful gardens!

I couldn’t be more excited to welcome back audiences and to be creating brilliant theatre again.”

To help The Watermill rebuild its artistic programme and resume its important outreach and education activities on-site, the theatre has also launched ACT 2 – a new fundraising appeal. The ACT 2 appeal invites supporters to help The Watermill Celebrate Theatre, Inspire Creativity and Connect Communities. For further information please visit watermill.org.uk/ACT2

Paul Hart said: “The past year has undoubtedly been a challenging time for us, but the generosity of our community has truly blown us away. Buoyed by your encouragement we are delighted to be reopening, and hope that you feel able to continue to support our mission to uplift and inspire people through great theatre.”

Additional headlining shows announced at Birmingham Hippodrome

Ceri Dupree: A Star Is Torn!!!, What the Ladybird Heard

and The Play That Goes Wrong

Birmingham Hippodrome have announced three new productions for this Autumn with the ever-popular drag superstar Ceri Dupree’s A Star Is Torn!!! (11 Sep), family favourite What the Ladybird Heard (16-18 Sep) and the smash-hit West End comedy, The Play That Goes Wrong (26-30 Oct). Tickets are on sale now to Birmingham Hippodrome Friends and Patron scheme members and go on general sale 11am, Wed 5 May at birminghamhippodrome.com.

Seating for these productions will be based on a socially-distanced model at this moment in time, subject to change depending on Government guidance closer to the performance date.

Ceri Dupree has performed almost everywhere! Throughout the UK, Europe and overseas and has impersonated almost every female star in the world at one time or another. A Star Is Torn!!! (11 Sep) features all live vocals, impersonations, stand up comedy, specially written sketches and songs… and a clever twist at the end. No two shows are ever the same as Ceri chooses up to 15 of her fabulous impressions of some of the globe’s biggest female icons.

What the Ladybird Heard (16-18 Sep), the bestselling picture book by Julia Donaldson and Lydia Monks bursts into life on stage featuring live music, puppetry and a whole farmyard of fun. This 55-minute family favourite is the perfect treat! Join the clever Ladybird as she leads the animals on their quest to save the day in this joyous stage adaptation.

The Play That Goes Wrong (26-30 Oct) is the brilliantly funny West End comedy that’s guaranteed to leave audiences aching with laughter. The Cornley Drama Society are putting on a 1920s murder mystery, but as the title suggests, everything that can go wrong… does! The accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences!

More exciting productions and events for 2021 will be announced soon – to be amongst the first to find out and benefit from priority booking become a Birmingham Hippodrome Friend today at birminghamhippodrome.com/friends.

Tickets for Ceri Dupree’s A Star Is Torn!!!, What the Ladybird Heard and The Play That Goes Wrongare now on sale to Birmingham Hippodrome Friends and Patron scheme members. Tickets go on general sale 11am, Wed 5 May 2021 at birminghamhippodrome.com.

DEAFINITELY THEATRE TO SHOWCASE WORK OF BURSARY RECIPIENTS

IN ADDITION TO SECOND ROUND OF BURSARIES FOR DEAF OR HARD OF HEARING THEATRE FREELANCERS

Deafinitely Theatre today announce they will be showcasing the work of deaf and hard of hearing theatre freelancers that were awarded a bursary in February 2021, via their website – beginning today in celebration of UK Deaf Awareness Week 2021, Coming Through It Together. Earlier this year the recipients were awarded £1000 and provided with networking and keeping-in-touch sessions, and have been working on a wide-ranging collection of projects and career development initiatives in the past months. In addition, Deafinitely Theatre today opens applications for a further six bursaries, open to any deaf or hard of hearing theatre practitioners and performers aged 18 and over at any stage of their career.  

Artistic Director Paula Garfield said, “As our industry begins to emerge from lockdown, I am so pleased that, thanks to a second Arts Council Cultural Recovery Fund grant, Deafinitely Theatre can offer a further six bursaries to support deaf freelance theatre practitioners to develop their practice as we build back to live performance. We are very excited to share the brilliant work of the first round of Bursary recipients on our website throughout May and can’t wait to see the work that our future recipients are able to develop with this funding.” 

The recipients of the first round of bursaries were Stephanie Back, Rinkoo Barpaga, Duffy, Katie Erich, Richard France, Fifi Garfield, Ben Glover, Alim Jayda, Sahera Kahan, Ace Mahbaz, Harri Marshall, Zoë McWhinney, Colly Metcalfe, Chisato Minamimura, Julian Peedle-Calloo, Jamie Rea, Mary-Jayne Russell de Clifford, Rebecca Saffir, Deepa Shastri and Otis Waby.

The first four recipients to be profiled on www.deafinitelytheatre.co.uk are:

• Stephanie Back – Stephanie has used her bursary for the research and development of a her show Fow, a tri-lingual theatre show in Welsh, BSL and English, and to further her skills in translation, presenting work online and reaching deaf audiences.
• Alim Jayda – this bursary is enabling Alim to create a new digital platform, Released Voices, which will present a series of stories and experiences from underrepresented deaf voices and minorities.
• Richard France – the bursary has enabled Richard to explore how dance can develop through sensory feeling and sonic sounds, working with a dancer and SUBPAC technology to explore an area that he hasn’t worked on before, and open up opportunities to work with contemporary dancers on a new project. 
• Deepa Shastri – Deepa’s bursary has given her the opportunity to develop her knowledge of casting and producing (roles with very little deaf representation) through research, meetings and training and to build a plan for her professional development, including the advocacy of opportunities for deaf theatre artists and makers. 

Supported by the Arts Council Culture Recovery Fund, the bursaries are open to deaf and hard of hearing theatre practitioners and performers aged 18 and over at any stage of their career. Applicants must be self-employed, not in full-time education, live in the United Kingdom and have a UK bank account.

You can apply for the second round of bursaries now. To apply please visit www.deafinitelytheatre.co.uk for further information. The deadline is Monday 31 May 2021.

The bursary is supported by the Arts Council Recovery Fund.

★★★★

“A piece that is painstakingly crafted and superbly delivered”

North West End

ONE-MAN COMEDY BY JONATHAN HARVEY TO GO ON NORTHERN TOUR IN JULY

ANDREW LANCEL STARS IN SWAN SONG DIRECTED BY NOREEN KERSHAW

PLAY TO RE-OPEN LIVERPOOL’S UNITY THEATRE TO LIVE AUDIENCES BEFORE VISITING SOUTHPORT, LANCASTER AND LEEDS

Following its critically acclaimed sell-out premiere at Liverpool Theatre Festival in September, Swan Song, a revised comedy by acclaimed playwright Jonathan Harvey, is heading out on a northern tour in July following its rescheduled February dates due to lockdown.

Swan Song, a one-man play starring Andrew Lancel, is directed by BAFTA award-winning director Noreen Kershaw and produced by Bill Elms.

The play will open at Liverpool’s Unity Theatre for six performances over three nights, this will be the first live performances at the theatre since closing in March 2020. The show then moves on to reopen the Little Theatre in Southport, Dukes Theatre in Lancaster, and City Varieties in Leeds. All venues will adhere to the current restrictions set out by the Government and will have all necessary procedures in play to create a safe environment to watch the show.

Swan Song was first staged at the Edinburgh Fringe Festival in 1997, before transferring to Hampstead Theatre with award-winning comedy actress Rebecca Front in the lead role. Jonathan Harvey adapted the 70-minute play specially for Andrew Lancel at Liverpool Theatre Festival to play the solo role of Dave Titswell.  Due to critical acclaim, the play will now perform at venues across the UK.

Producer and the artistic director of Liverpool Theatre Festival, Bill Elms said: “Swan Song is a funny, clever and inspiring production which opened the inaugural Liverpool Theatre Festival.  Andrew Lancel, Jonathan Harvey, and Noreen Kershaw are an incredible blend of creative talent, and the play went down a storm in Liverpool. It is such a lovely piece that I approached Andrew and the team with the idea of touring. People are excited for the return of live theatre – and we’re excited to give them that experience back after such a long time with a really special production.”

Swan Song is a bittersweet comedy written by Jonathan Harvey. Set in Liverpool, it is Christmas 1997, the world is changing and in the staff room, Gay, forty-something, English teacher Dave Titswell finds that not all change is welcome. He has a crush, but life, love, and work are never straight forward for Dave. Will a school trip to The Lakes change things for the better, or make things decidedly worse? Swan Song will make audiences laugh, but equally pull at the heartstrings.

Andrew Lancel is no stranger to audiences. Well established on the national theatre scene, Andrew is also widely known for his television roles as DI Neil Manson in The Bill and super-villain Frank Foster in Coronation Street. He was three times nominated for a national tv award and won a British Soap Award in 2012 for Coronation Street. He has twice played Beatles’ manager Brian Epstein on stage to great critical acclaim, first in Epstein – The Man Who Made The Beatles (also produced by Bill Elms) which premiered in Liverpool and went on to play London’s West End, as well as playing Epstein in the national tour of Cilla The Musical, Bill Kenwright’s stage adaptation of the TV series written by Jeff Pope. He recently appeared in the Royal Variety Show and Casualty for BBC and has just commenced filming The Thief, His Wife And The Canoe for ITV.

Andrew Lancel commented: “I’m thrilled to be finally taking this wonderful play and role on the role and to returning to my beloved Unity where I am a proud patron. The other venues also have special memories and it’s humbling that Jonathan adopted this moving and funny piece for me. I think people really relate to Dave Titswell – it’s very relevant to today. To be reunited with Noreen and Bill too is a joy. It’s a gift of a role and job.”

Award-winning Jonathan Harvey’s credits include Gimme Gimme Gimme; Murder Most Horrid; Coronation Street; Call The Midwife; and Tracey Ullman’s Show. Hisplays include Beautiful Thing, Corrie, Canary, Hushabye Mountain, Babies, Boom Bang A Bang’ and Rupert Street Lonely Hearts Club. He also wrote the 2001 stage musical Closer to Heaven with the Pet Shop Boys and its sequel Muzik. He has won the John Whiting Award, the George Devine Award, two Manchester Evening News Awards, an Evening Standard Award, two British Soap Awards and a Writers Guild of Great Britain Award.

Jonathan added: “Swan Song is a comedy about a teacher who’s trying to hold onto his dignity while the education system crumbles around him – and I’m thrilled Andrew is playing Dave. I’m delighted to also be working with Noreen again, she directed many of my Corrie scripts and my last episode of Call The Midwife. As the original Shirley Valentine, Noreen definitely knows a thing or two about one person shows.”

Noreen Kershaw’s directing credits include Our Girl, Moving On, Scott & Bailey, Emmerdale, Shameless, Heartbeat and Coronation Street. She is also known for acting in Life On Mars, Brookside, and Watching. Noreen also originated the title role of Willy Russell’s Shirley Valentine at Liverpool’s Everyman Theatre.

Facebook:       /SwanSongOnStage

Twitter:           @SwanSongPlay

Hashtags:        #DaveTitswell #SwanSong

LISTING INFORMATION

Andrew Lancel in

SWAN SONG

by Jonathan Harvey

UNITY THEATRE

Hope Place, Liverpool, L1 9BG

Thursday 1 – Saturday 3 July 2021

Performance times: 5pm / 7.45pm

Show duration: 70 minutes (no interval)

How to book: www.unitytheatreliverpool.co.uk ON SALE NOW

LITTLE THEATRE

Hoghton Street, Southport, PR9 0PA

Monday 5 July 2021

Performance times: 7.30pm

Show duration: 70 minutes (no interval)

How to book: www.littletheatresouthport.co.uk ON SALE NOW

DUKES LANCASTER

Moor Lane, Lancaster, LA1 1QE

Wednesday 7 July 2021

Performance times: 2.30pm / 7.30pm

Show duration: 70 minutes (no interval)

How to book: www.dukeslancaster.org ON SALE NOW

CITY VARIETIES MUSIC HALL

Swan Street, Leeds, LS1 6LW

Thursday 8 July 2021

Performance times: 7.30pm

Show duration: 70 minutes (no interval)

How to book: www.cityvarieties.co.uk ON SALE NOW

In their 49^th year of touring Mikron Theatre Company present

ATALANTA FOREVER

The Fight for Women’s Football

A new play by Amanda Whittington

Writer & Co-Lyricist: Amanda Whittington

Director: Marianne McNamara

Composer & Co-Lyricist: Kieran Buckeridge

Musical Director: Rebekah Hughes

Designer: Celia Perkins

Cast: Rachel Benson, Thomas Cotran, James McLean, and Elizabeth Robin

Also

Mikron Theatre double bill of A Dog’s Tale and Atalanta Forever

Wednesday 14 July at 3pm – Lawrence Batley Theatre

A Dog’s Tale at 3pm and Atalanta Forever at 7pm

Touring: 9 June – 19 September 2021

Mikron Theatre are aiming to score with their next theatrical offering for their 49th year of touring. They will be premiering Amanda Whittington’s new play Atalanta Forever which looks at the story of the pioneering women in football in 1920.

Atalanta Forever will kick off at The Piece Hall in Halifax on Wednesday 9^th June and then tour nationally by road and river until 19 September.

It is 1920, and in post-war Britain, women’s football is big news. Across the country, all-girl teams are pulling huge crowds in fund-raising games for wounded soldiers. Huddersfield amateurs Ethel and Annie take a shot at the big time. Teammates at Atalanta AFC, they are soon tackling new football skills, mastering the offside rule, and kicking back at the doubters.

Come and cheer for Atalanta as our plucky underdogs learn how to play the game, take on the legendary teams of the era – and find the toughest opponent of all is the FA.

The play is based on the true story of one of three women’s football teams in Huddersfield in post war Britain. Told through the lives of two young women Atalanta Ladies Football Club was formed in 1920 ‘to provide games for the women of Huddersfield, to foster a sporting spirit, and a love of honour among its members.’ During the Great War, several women’s football teams had sprung up around the country, usually based in factories or munitions works, and proved a great success in raising money for hospitals, war widows and so on.

A measure of the popularity of the women’s game may be measured by the estimated 25,000 crowd that packed Hillsborough, Sheffield, for their next game with the Dick, Kerr Ladies of Preston on May 4 which they lost 4-0 to their much more experienced opponents.

In the wider football world, the growing popularity of women’s football was now causing concern. The FA even saw it as taking support away from the men’s game and on December 5, 1921, they banned women’s teams from using FA affiliated grounds.

The pioneering Huddersfield Atalanta Ladies FC raised more than £2,000 for various charities before they folded in 1924.

2021 is the 100^th anniversary of the Football Association banning women from playing on Football League grounds which was lifted 50 years later. It will also be the 50^th anniversary of the first Women’s first FA Cup final.

Atalanta Forever is directed by Mikron Theatre’s Artistic Director Marianne McNamara, designed by Celia Perkins, music composed and lyrics by Kieran Buckeridge with the music directed by Rebekah Hughes. The cast will feature Rachel Benson (Redcoats, Mikron Theatre), Thomas Cotran (Loserville, Union Theatre), James McLean (Much Ado About Nothing, Northern Broadsides) and Elizabeth Robin (The Little Mermaid, Everyman Theatre, Liverpool).

Amanda Whittington is one Britain’s most consistently popular dramatists. Her plays include Be My Baby (originally produced by Soho Theatre and subsequently staged throughout the UK), Ladies Day and its sequel Ladies Down Under (Hull Truck/UK Tours), Kiss Me Quickstep (New Vic Theatre), Mighty Atoms (Hull Truck Theatre). Other stage productions include The Thrill of Love (New Vic Theatre/St James Theatre), My Judy Garland Life (adapted from the Book by Susie Boyt, Nottingham Playhouse, Bollywood Jane, (Leicester Haymarket/West Yorkshire Playhouse). Amanda is currently an Associate Artist at Nottingham Playhouse.

Playwright Amanda Whittington said about her new play:

“I was an 11-year-old footballer in the 1980s, the only girl who played in the boy’s village tournament and I vividly remember being ‘advised’ to stop because it wasn’t appropriate.  I still feel the injustice, and the sense of shame for wanting to do something I was not meant to.  It brings joy to my heart to see football is now the biggest team sport for girls in Britain.  I wanted to write about the battle the women’s game has fought to survive and prosper – and perhaps to tell the 11-year-old me she was right?”

Marianne McNamara, Mikron’s Artistic Director and Director of this show, explains why they chose to tackle this subject:

“Women’s football is making a comeback and not before time. We are thrilled to pay homage to the trailblazing Huddersfield women that paved the way against all odds.”

Just like the great game itself this will be an action-packed play of two halves full of live music fun and laughter with no plans for extra time!

In 2021, Mikron Theatre Company will embark on their 49th year of touring.  Based in the village of Marsden, at the foot of the Yorkshire Pennines, Mikron Theatre Company The company are like no other. For starters, they tour for most of the year on board a vintage narrowboat, secondly, they put on their shows in places that other theatre companies would not dream of; a play about growing-your-own shown in allotments, a play about bees performed next to hives, a play about chips to audiences in a fish and chips restaurant, as well as plays about hostelling in YHA Youth hostels and the RNLI at several Lifeboat stations around the UK.

Atalanta Forever will be touring nationally in the Summer alongside Poppy Hollman’s new play A Dog’s Tale which celebrate canines past and present and explores the enduring love between people and their dogs.

For tour dates and information on Atalanta Forever visit http://mikron.org.uk

Proteus Theatre presents
The Bloody Chamber
Pavilion Theatre, Marine Parade, Worthing, BN11 3PX
Friday 11th – Saturday 12th June 2021

Proteus Theatre will bring their adaptation of Angela Carter’s collection The Bloody Chamber (and Other Stories) to Pavilion Theatre, Worthing this June. At a moment when women and men across the country confront the double standards of safety, sex, and the fears of what goes bump in the night, Carter’s incendiary caustic take on fairy tales as cautionary tales could not be a more formidable challenge to the status quo

Using circus as a physical vocabulary, the award-winning Proteus will translate the fever dream style of Angela Carter’s macabre fairy tales to the stage. The Bloody Chamber is a heady, erotic, and surprisingly funny re-phrasing of some of the most famous folk and fairy tales in Western culture. These are the stories our mothers told us. And all the ones they didn’t dare.

Director Mary Swan comments, Women are always being told what we can and can’t do in order to avoid being assaulted, while on the other hand also promoting sexual fulfilment by catering to the male gaze. We give this advice to young women all the time; why the hell should we have to? Circus inverts the world: defying gravity, contorting the bounds of physical movement and embracing the human connection to do the impossible. It’s perfect for making familiar situations entirely surreal and surreal situations quite familiar; it’s perfect for challenging what’s socially accepted for no good reason. Carter’s fantastical, theatrical, lyrical stories are beautifully transfigured by circus.

Proteus Theatre are working with leading figures in the circus industry to choreograph the piece including Mimbre’s Silvia Fratelli, Charlotte Mooney from Ockham’s Razor and Tamzen Moulding the Artistic Director of Inverted Theatre. The Bloody Chamber also features an original soundtrack with musical direction, arrangements and sound design by Max Reinhardt (BBC Radio 3 Late Junction) and original composition by Paul Wild who worked with Proteus on Macbeth.