Following the Government’s announcement on a national lockdown for England and taking into consideration the safety of all staff and cast, the producers of THE GREAT GATSBY will be cancelling performances at IMMERSIVE LDN from Wednesday 4 November until Wednesday 2 December 2020.
The return performance will be Thursday 3 December 2020, and the booking period for the show has been extended through to Sunday 28 February 2021.
Ticket holders for cancelled performances will be contacted asap by Arts Tickets to confirm next steps.
Producers Louis Hartshorn and Brian Hook said, “We are proud of everyone who took up that call to arms and everyone who has taken this second lockdown on the chin. Getting our venue reopened was a massive feat, a pathfinding, a learning and a humbling experience. We look forward to welcoming back our patrons into the socially distanced version of the production as soon as we are able, when the R rate is under control and times are a little kinder. We are grateful for the continued support of our co-producers and investors. We also hope for a greater stimulus package and necessary support from DCMS for the sector and those who form some of the 3 million #ExcludedUK. Our heart goes out to other producers, theatre owners, casts and crews during this time. The fightback to the stages is an important cultural moment and we are very proud of everyone who has taken up the call.”
THE GREAT GATSBY reopened in the West End on 1 October and has been welcoming audiences back with socially distanced performances at IMMERSIVE LDN, a Covid-Secure venue, with full adherence to government health and safety regulations.
Although 2020 has been a trying year with regards to theatre, we are absolutely delighted to announce the winner of the Aurora Award 2020 is Oscar Conlon-Morrey.
Our reviewers nominated him because “I don’t think anyone has done as much to keep our spirits high as Oscar – Love him”
So a huge congratulations to Oscar and thank you for his amazing contribution to keeping us entertained and aware during 2020
Following the announcement last night that we are heading into a second lockdown, I am now sharing a statement from the Theatres Trust.
Jon Morgan, director of Theatres Trust, comments:
While we understand the absolute necessity of protecting lives at this critical time, Theatres Trust is disappointed that theatres will have to close for a further month during the November lockdown. Many theatres were only just managing to reopen or were preparing to reopen with Christmas shows and this news will come as a further blow to an already struggling sector. We are seeking urgent clarification whether theatre rehearsals, alongside television and film production, can continue as without this Christmas shows will not go ahead. This further setback means theatres will need to further delay their reopenings and many will still be unable to do so viably under the three tier system. While we are grateful that the government has extended the furlough scheme for a further month to cover lockdown, theatres still need further sector specific support beyond the end of November to ensure this latest blow does not lead to more closures.
ISM comment on the new coronavirus restrictions for England
While safety must a priority, today’s announcement will have devastating consequences for the music industry
On 31 October, Prime Minister Boris Johnson announced new public health restrictions for England. He was joined by England’s chief medical officer Chris Whitty and the government’s chief scientific adviser Sir Patrick Vallance.
Non-essential shops and hospitality will have to close for a month for England but educational institutions will be allowed to stay open. The lockdown also includes restrictions on travel and will last from 5 November to 2 December.
Chief Executive of the ISM, Deborah Annetts said:
‘While protecting the population must be a priority, today’s announcement by the Prime Minister will have devastating consequences for our world-leading music industry, which is already suffering from the impact of earlier restrictions. For months we have warned the government that self-employed musicians are in desperate financial difficulty whilst venues remain closed, with our highly-skilled workforce struggling to survive without an income since March and excluded from government support.
‘Now, with no prospect of future work on the horizon, the government has a moral duty to reform the Self-Employment Income Support Scheme, maintaining the level of support at 70%, and expanding the eligibility criteria to include the estimated three million who have been excluded.
‘Before this crisis, music and the creative industries made an essential contribution to the health, wealth and culture of our nation. Unless the government introduces meaningful support, we are looking at the devastation of the performing arts and a permanent exodus of talent.’
The macabre murders of the Winshaw family in 1991 are investigated by the son of the prime suspect 30 years later in this riveting play. Balancing a fine line between radio play, true crime shockumentary and theatrical whodunit, but transcending each medium, director Tamara Harvey makes Henry Filloux-Bennett’s play fizz with relentlessly building fury.
Based on Jonathan Coe’s 1994 novel satirising the corruption, nepotism and power behind British politics and society, Filloux-Bennett sadly didn’t need to change much when it comes to the monstrous Winshaws. A few arch touches, such as the Winshaw MP who prefers taking a backseat to allow him to quietly whittle away public funds and rights mentoring a young Dominic Cummings, and the feckless, sensationalist, plagiarist newspaper columnist having Boris Johnson as her intern raise chuckles, but the brutal truth that nothing has really changed in the power dynamics of cronyism and wealth in the UK in 30 years is unavoidable and the quietly heart-breaking epilogue is an unforgettable wakeup call.
Alfred Enoch plays Raymond, the son of writer Michael Owen, who disappeared after the murders and whom the police are convinced committed the crimes. Enoch is completely believable as he presents his evidence, retakes and all, to build his case in defence of his father after 30 years. He moves between despair, incredulity and seating quiet rage seamlessly and is a magnificent anchor for the story. The only other actors we see are Fiona Button as the last of the Winshaws and Tamsin Outhwaite as her interviewer in 2020 in response to a book written about the family. Button is hilarious as the privileged online commentator Josephine Winshaw-Eaves whose mother was apparently killed by Michael Owen. Her tone-deaf comments could be attributed to any number of real-life “personalities” and Tamsin Outhwaite’s silent reactions to her moments of truth are brilliant, clearly showing which character is really in control of the interview.
Having Raymond present and “edit” the evidence allows a lot of jumping about and repetition of key phrases, weaving together the accumulating evidence of the terrible things the Winshaws did to deserve their poetically grisly ends, and Michael Owen’s connections to each of the family until the many strands build a clear picture. Voice performances from a stellar cast featuring Celia Imrie, Stephen Fry, Samuel Barnett and Sharon D Clarke play over a hypnotising montage of family photos, film clips and crime scene photos with a stunning soundtrack. (Sean Longmore’s graphic design and Harry Smith’s sound design are something special.) Derek Jacobi as the exquisitely named Findlay Onyx steals the show with most of the best (and bizarre) lines and seems to be having a ball with this OTT character.
What A Carve Up! is simply incredible entertainment – a mystery with laughs and shocks that will leave you forlorn and furious – a damning indictment of those in power in the UK, and those who are happy to keep them there.
“BAD CINDERELLA” THE FIRST SINGLE FROM ANDREW LLOYD WEBBER’S NEW MUSICAL ‘CINDERELLA’
“BAD CINDERELLA” IS PERFORMED BY CARRIE HOPE FLETCHER
AND IS AVAILABLE VIA ALL DIGITAL SERVICES ON OCTOBER 30
THE FULL ALBUM OF ‘CINDERELLA,’ RECORDED EARLIER THIS YEAR DURING LOCKDOWN, FEATURES A UNIQUE COMBINATION OF CAST MEMBERS AND GUEST ARTISTS AND IS DUE FOR RELEASE EARLY NEXT YEAR
‘CINDERELLA’ WILL BE RELEASED ON RECORD BEFORE IT DEBUTS ON STAGE, MIRRORING THE RELEASE OF THE ORIGINAL ‘JESUS CHRIST SUPERSTAR’ ALBUM 50 YEARS AGO
THE NEW MUSICAL, ‘CINDERELLA,’ IS AREINVENTION OF THE CLASSIC FAIRYTALE CREATED WITH ‘KILLING EVE’ WRITER & STAR OF ‘THE CROWN,’ EMERALD FENNELL AND TONY WINNER AND DOUBLE OSCAR NOMINEE DAVID ZIPPEL
THE HIGHLY ANTICIPATED NEW THEATRE PRODUCTION IS SET TO OPEN IN LONDON’S WEST END SPRING 2021
October 30, 2020 — Polydor Records/UMe has announced the forthcoming release of Andrew Lloyd Webber’s Cinderella: The Musical (Original London Cast Recording). The album features cast from the highly anticipated new theatre production, which was originally meant to have opened in October 2020, along with appearances from some surprise guest vocalists.
Andrew said, “50 years ago I couldn’t get Jesus Christ Superstar on stage as nobody wanted to produce it, so it appeared on record first. It’s so strange to find history repeating itself half a century later with the album of the complete score of my new Cinderella. I can’t get Cinderella on stage because I’m not allowed to, so I have gone back to my roots and recorded the album first.”
Recording for began in March 2020 and continued through lockdown with Andrew recording artists remotely and producing the majority of the score from his home. Once it was feasible, the recording process proceeded via socially distanced studio sessions in London.
The first song from the album is “Bad Cinderella” performed by Carrie Hope Fletcher, who will star as Cinderella in the production which is due to open in London’s West End Spring 2021. “Bad Cinderella” launches across all DSPs today, here: https://cinderella.lnk.to/BadCinderellaWE
“Bad Cinderella” is the first original material to be released by Andrew Lloyd Webber in five years, since School of Rock The Musical launched in 2015. It follows his personally curated compilation, Unmasked: The Platinum Collection in 2018 which featured performances from a diverse range of artists including Lana Del Rey, Beyoncé, Gregory Porter, Barbra Streisand, Michael Ball and many more.
Cinderella will open at the Gillian Lynne Theatre on Wednesday, May 19, 2021, with previews from Friday, April 30, 2021. Ticket holders will be contacted individually to rearrange their plans and further information is available at www.andrewlloydwebberscinderella.com
The production, a complete reinvention of the classic fairytale, is based on an original idea by Emerald Fennell, the Emmy® Award nominated lead scriptwriter of the second season of international smash hit Killing Eve, with a brand new score from the legendary composer and lyrics by David Zippel.
Fennell’s new film A Promising Young Woman, that she wrote and directed and which stars Carey Mulligan, will open this Autumn. As an actress she played Patsy Mount on the BBC’s Call The Midwife and currently depicts Camilla Parker Bowles on the Netflix hit The Crown.
The show’s lyrics are by David Zippel, a multi-award winner for Broadway productions including City of Angels for which he won the Tony Award® for Best Score, The Goodbye Girl, The Woman in White and Liza at the Palace, as well as for work on film including Disney’s Hercules and Mulan, both of which received Oscar® nominations.
Cinderella will reunite Andrew Lloyd Webber with director Laurence Connor and choreographer JoAnn M Hunter, who previously worked on the Olivier Award winning international hit School of Rock and the recent, sold-out production of Joseph & the Amazing Technicolor Dreamcoat at The London Palladium, which returns to the venue in Summer 2021.
Carrie Hope Fletcher will play Cinderella in the eagerly awaited new production at the Gillian Lynne Theatre. She has starred in Heathers (Theatre Royal Haymarket), The Addams Family (UK Tour), Chitty Chitty Bang Bang (UK Tour), Mary Poppins (Prince Edward Theatre), and most recently played Fantin in Les Miserables at the Sondheim Theatre. She is also a bestselling author and social media personality.
Cinderella will also star Victoria Hamilton-Barritt as the Stepmother. All further creative team and cast announcements regarding Cinderella will be made at a later date.
Ahead of Cinderella’s arrival at the Gillian Lynne Theatre, LW Theatres are carrying out internal upgrade work to the building including the addition of more toilets and refurbishment to areas of the auditorium and Front of House, as well as adopting measures to welcome back audiences safely as soon as restrictions allow. These measures are currently being trialled at The London Palladium and will be rolled out across LW Theatres.
YOUNG PEOPLE IN BIRMINGHAM AND WARWICKSHIRE RECEIVE DIGITAL ACCESS TO ASSIST LEARNING
250 young people will receive individual laptops and free data to support their learning at home through an initiative between the Royal Shakespeare Company (RSC) and SCC. The young people from 12 RSC Associate Schools in Birmingham and Warwickshire will receive individual laptops and 12 months of free data per user to support the resilience of schools and young people through the challenges of the current academic year. The equipment will ensure that students can access high quality learning and arts opportunities at home as well as in school.
The RSC’s network of over 250 Associate Schools around the country focusses on areas with limited access to arts learning opportunities, and often with a high proportion of students eligible for free school meals. The donation of laptop devices and data is in partnership with SCC, Europe’s biggest independent technology solutions provider with headquarters in Birmingham. The project is being funded by SCC’s charitable trust, which has long invested in causes relating to lifelong learning, health and education.
This project comes at a crucial time for many young people, who now rely more heavily on remote learning and digital access in the wake of the COVID-19 pandemic. Many families do not have regular or easy access to computers, mobile tablets or broadband connectivity in their homes.
Headteacher at Nelson Mandela School, Birmingham said: “I cannot begin to say how much this generous gift and act of kindness means to me as a headteacher, but more importantly for our children. I have been so concerned about the impact of digital poverty on the lives of our children and families not only the growing academic divide but also on their feelings of isolation. This gift really will change lives but also reinforces just how sharing our worries can lead to change. Thank you so much to the RSC and SCC’s charitable trust for making this happen. A much-needed light in these challenging times.
Jacqui O’Hanlon, RSC Director of Education said: “This is one of the most challenging times to be in education, either as a teacher or student. The ability of schools and families to adapt quickly and easily to the changing context is being constantly tested. This wonderful gift from SCC’s charitable trust means that 250 children will be able to access online learning opportunities wherever they are, and ensure they are acquiring important new skills along the way. The next few months continue to be uncertain, but these young people will have the right tools to keep on progressing and developing, supported both by technology and the talents of their dedicated teachers.”
Sir Peter Rigby, Founder and Executive Chairman of Rigby Group, SCC’s parent company, said:“On behalf of the Group I can’t express how pleased we are to be able to support such a wonderful and life-changing initiative. Digital access is critical both for online learning and to develop digital skills that are becoming more and more important as technology innovation continues in the workplace.”
Mike Swain, SCC UK CEO, said: “The impact of COVID-19 has accelerated the requirement for us all to be more reliant on digital access and it’s easy to forget that this is a privilege not afforded to everyone. We hope this donation through our charitable trust to children in Birmingham and Warwickshire will improve their learning experience and help them to unleash their potential.”
Schools receiving with gift from SCC include:
In Stratford-upon-Avon: Welcombe Hills
In Leamington Spa: Sydenham Primary, Lighthorne Heath Primary
In Warwick: Newburgh Primary School
In Birmingham: Nelson Mandela School, Anderton Park Primary School, Clifton Primary School, Greet Primary School, Conway Primary School, Percy Shurmer Academy, Montgomery Primary Academy, Arden Primary School
DAVID MORRISSEY AND LEANNE BEST TO STAR IN HEADLONG’S THE GHOST CALLER
– A SIGNAL FIRES PROJECT
Award-winning theatre company Headlong, have today announced their plans for UK-wide touring theatre initiative Signal Fires. Originally intended as a live performance staged for audiences at St Luke’s Bombed Out Church in Liverpool, the company adapted and reimagined their project following the announcement that the city would be entering a Tier 3 lockdown.
On Thursday 5 November, Headlong in association with Coney will present the world premiere of The Ghost Caller a new short work by actor and playwright Luke Barnes (Bottleneck, No One Will Tell Me How To Start A Revolution), recorded by David Morrissey (The Walking Dead, Singapore Grip) Leanne Best (Young Wallander, Line of Duty) and Jamal Ajala (ear for eye), directed by Headlong’s Associate Artistic Director, Holly Race Roughan.
An exploration of grief and loss in 2020, The Ghost Caller, will invite members of the public to text a number which will appear at sundown, projected onto the side of St Luke’s Bombed Out Church. Upon texting the number, audience members will receive a call and become part of an intimate theatrical experience.
Experienced by audiences over the phone, The Ghost Caller starring David Morrissey and Leanne Best will see Headlong bring a theatrical offering to audiences in Liverpool (and across the UK) under the most severe of lockdown restrictions. The number will be projected onto the side of St Luke’s Bombed Out Church, Liverpool on Thursday 5 November and will be available online via www.Headlong.co.uk for seven days from 5 – 12 November. Performances of The Ghost Caller will be accessible to D/deaf, blind and visually impaired audiences.
“The Ghost Caller was born out of our desire and determination to continue to bring theatrical experiences to our Liverpool audiences despite the increased government restrictions. Luke Barnes’ cracking new ghost story – originally written for our live show and now adapted for telephone – makes the audience the protagonist and invites us to sit with loss. As the pandemic continues and the nights get longer, theatre is constantly having to adapt and embrace new ways of working in order to weather these challenging times and reach our audiences. With such an astonishing cast we hope this will lift spirits (as well as summon them!) until we can return next, in person.”
The Ghost Caller is part of Signal Fires, a collective touring initiative that will see new work staged UK-wide throughout October and November. The project, conceived by Headlong and English Touring Theatre, brings together over 40 of the most exciting and diverse touring companies to tour a single idea at a time when traditional touring isn’t possible.
Each company involved in the project is self-producing an evening of work – a signal fire – at a different locations from Devon to Inverness in celebration of our fundamental need to tell stories, in order to help make sense of the world around us and reimagine the future.
In light of the current crisis, the signal fires will create beacons across England, Scotland, Wales and Northern Ireland warning of the threat the industry continues to face while celebrating the extraordinary vibrancy of touring theatre and the freelancers they engage. Stretching across four nations, this festival of fires will connect audiences, freelance artists and touring companies together in a communal, national act of storytelling.
Headlong’s The Ghost Caller produced in association with Coney, is part of UK-wide touring initiative Signal Fires www.signalfires.co.uk
Today (30 October 2020) the Bridge Theatre announces a season of cabaret and burlesque acts – The Bridge After Dark – that will join the previously announced repertoire from December 2020. Priority booking opens today, with advance members from Monday 2 November at 10am and public booking on Tuesday 3 November at 10am. The season is for audiences aged 18+.
The Bitten Peach, The House of Burlesque, LADS and The Black Burlesque Review will play at 9.15pm after A Christmas Carol, when the Bridge will transform for the first time into an inclusive cabaret venue. Patrons will be able to pre-order drinks delivered directly to their seats and enjoy some of the finest nightlife entertainment in London.
The Bitten Peach – The Silk Road Circus
The Bitten Peach with the Bridge will present The Silk Road Circus for one performance only at 9.15pm on 5 December 2020.
Nominated for Best Collective for the QX Cabaret Award in 2019, The Bitten Peach is the UK’s only Pan-Asian cabaret collective, made up of performers of Asian descent working in a variety of nightlife performance genres, including drag, burlesque, dance, comedy, music and circus. Founded at the start of 2019, The Bitten Peach has been dedicated to increasing and diversifying Asian representation on the drag and cabaret scene.
The House of Burlesque
The Bridge will present The House of Burlesque for two performance only at 9.15pm on 11 and 12 December 2020.
Ruffling feathers for over 10 years with their trademark twist on traditional burlesque, the UK’s top, critically acclaimed, genre-defining showgirls are back … the revolution will be crystallised! The showgirls, led by Queen of provocateurs Tempest Rose, are back to blow away the lockdown blues.
LADS
The Bridge will present LADS for three performance only at 9.15pm on 17, 18 and 19 December 2020.
Join the LADS for a rip-roaring celebration of the artists who are kicking down doors and taking names. With thunderous performances, shocking art and killer circus, this monster welcomes all to dance on the Patriarchy’s grave.
Since their birth in 2016, the LADS have pushed gender boundaries with a glorious array of jaw-to-the-floor talent and general badassary. Originally created by three award-winning, queer female artists – Lilly SnatchDragon, Scarlett O’Hora and Lolo Brow in a sweaty attic in Camden (HerUpstairs) – the LADS have since sold out venues across London, including The Bush Theatre, The Royal Vauxhall tavern and The Vaults Theatre.
The Black Burlesque Revue
The Bridge will present The Black Burlesque Revue for two performance only at 9.15pm on 28 and 29 December 2020.
Over two nights, The Bridge Theatre is home to The Black Burlesque Revue, the 5-star production conceptualised by the UK’s own ‘Soul Sista of Burlesque’, Demi Noire, and is produced by The Cocoa Butter Club. It’s a call to ‘Decolonise’, ‘Moisturise’ and on this very special occasion, ‘Mesmerise’, with performances that proudly platform the legacy of Burlesque Artists of African and Caribbean descent. Revel in the rhythm and soak up the stories, because you can’t buy ‘soul’, but you sure can watch it.
YELLOW EARTH THEATRE RELAUNCHES AS NEW EARTH THEATRE
New stories. New terrains. New theatre.
As they celebrate their 25th anniversary, British East and South East Asian (BESEA) theatre company Yellow Earth Theatre relaunches as New Earth Theatre. To mark the occasion, they will stage both virtual and outdoor performances – including their New Stories digital short play festival; a short film Duck Rabbit by Pamela Carter in a co-commission with Chinese Arts Now; a phone call performance Homeward (house) Bound by Stacy Makishi in association with HOMEmakers; and Beyond Chinatown: A BritishEast and South East Asian Guide to Manchester’s Past, Present and Future, a performance-led outdoor walking tour through Manchester as part of Signal Fires.
Artistic Director Kumiko Mendl today said, “Today marks a new chapter for us as we celebrate our 25th anniversary as New Earth Theatre. Over the past 25 years our company has been a leading voice in presenting British East and South East Asian stories, empowering our artists and our audiences as well as providing opportunities and pathways into our industry; and will remain at the heart of what we do.
“New Earth Theatre is a moment of reset for our company at a time of great change for many. No one could have predicted what this year would bring, and despite its challenges across our industry and globally we have responded and adapted quickly. We created an emergency BESEA freelance hardship fund, we delivered our professional writers and academy programme online and we’ve discovered new theatrical territory, creating blended digital and live work through our commissions; our New Stories festival of seventeen short plays and a performance-led walking tour of Manchester with Signal Fires: Beyond Chinatown.
“The future of theatre is very much changing and evolving as we begin the path back to live performance, and we look forward to the integral part we can play in creating a stronger future with BESEA voices and stories being heard and told for generations to come.”
New Earth Theatre presents
NEW STORIES
On 30 October streaming from 12pm
New Stories is a free digital short play festival which will be livestreamed across New Earth’s social media channels today, 30 October at 12pm. Comprised of seventeen short plays written by playwrights on the Professional Writers Programme, and brought to life by over 60 BESEA freelance theatre-makers, the themes include inter-country surrogacy and the bonds that tie us outside the white view, to reality TV cyberbullling and being queer as an East Asian.
The playwrights are Andrea Ling, Carmina Bernhardt, Enxi Chang, Jeongeun Choi, Jimin Suh, Kevin Shen, Lao Lee, Lucas Chih Peng Kao, Marie Yan, Megan Cowley, Naomi Sumner Chan, Nemo Martin, Phoebe Tsang, Rogelio Braga, Stephen Hoo, Susan Hingley and Zoë Bullock.
Watch live
@NewEarthTheatreUK Facebook, Twitter, Instagram and YouTube
New Earth Theatre presents
BEYOND CHINATOWN: A BRITISH AND SOUTH EAST ASIAN GUIDE TO MANCHESTER’S PAST, PRESENT AND FUTURE
As part of Signal Fires
On Saturday 31 October
Via Zoom on Sunday 1 November
Beyond Chinatown: A British and South East Asian Guide To Manchester’s Past, Present and Future is a performance-led outdoor walking tour through Manchester, taking place on Saturday 31 October. It begins at the restaurant Sweet Mandarin in the Northern Quarter with an excerpt from New Earth’s 2018 play Mountains –The Dreams of Lily Kwok by In-Sook Chappell. There follows a torch led audio walk, written by disabled artist Chris Shapiro and guided by performance artist Megan Arnold; leading onto new short pieces by Jasmine Chong, Houmi Miura, Anna Nguyen, and Mei Yuk Wong. The production completes its journey with a performance by New Earth’s Manchester Performers Academy 2020. There will be a digital presentation via Zoom on Sunday 1 November.
Beyond Chinatown is produced by Grace Ng-Ralph and Anna Nguyen with dramaturgy by Naomi Sumner Chan and direction by Nickie Miles-Wildin and Kash Arshad.
The production is supported by The Lowry.
NEW EARTH THEATRE PRESENTING THREE FURTHER NEW COMMISSIONS
Digital film Duck Rabbit by Pamela Carter was launched on 14 October in a co-commission with Chinese Arts Now, an imagined exchange between the playwright’s two grandmothers prompted by a series of photos.
Chang and Eng and Me (and Me) by Tobi Poster-Su, will be premiering in February 2021 as the second digital co-commission with Chinese Arts Now.
Homeward (house) bound by Stacy Makishi in association with HOMEmakers, is a one-to-one phone call during 5-7 November helping participants ride the second wave of COVID-19.
Four additional new plays are also in development as part of the Professional Writers Programme, which sees BESEA playwrights develop their craft over two years.
Finally, New Earth Theatre presents Tsunagu/Connect – an 18-month project launched at the start of this year for the Japan-UK Season of Culture. With the help of volunteer interviewers, Mendl and performance artist Kazuko Hohki have begun to gather oral histories from Japanese women living in the UK, to be presented in 2021 as part of an exhibition and live immersive performance incorporating augmented reality. It will bring to life the stories of these women and dismantle the stereotypes of being submissive, stay-at-home, model wives and mothers.
LISTINGS
BEYOND CHINATOWN
31 October – 1 November 2020
Start Location: Sweet Mandarin, 19 Copperas Street, Manchester M4 1HS
End Location: The Peterloo Memorial, Manchester M2 3DL– located in front of The Central Convention Centre
Performance times: Saturday 31 October 2020: 11am, 2pm and 4:30pm
Digital Presentation via Zoom: Sunday 1 November 2020: 5pm
