Olivia Olsen’s new play about Anna Akhmatova, the Russian poet who voiced the suffering of the people in Stalin’s Russia is heartfelt but flawed.
Olsen plays fast and loose with timelines and compositing her friendships with male emigres into Isaiah Berlin, instead focussing on Anna’s conflicted feelings and the source of her poetry. With her husband executed and her artistic past questionable and dangerous under Stalin, Anna reluctantly agrees to writing poetry for Stalin and helping him with his speeches, in the hope that he will free her son from the gulag.
The arrival of Berlin, now working for the British government, offers Anna an escape from Leningrad, but she never leaves until ordered to by Stalin during the siege of the city. There is a lot of impassioned declaiming about the city being Anna and Anna the city and chewing over her guilt at helping Stalin for the sake of her son when so many lives are being destroyed, but it all blends into a long, circular argument. Olsen’s portrayal of Anna, staring into the mid distance as she talks about poetry and art, and swaying like a reed in the wind as she recites poetry, is interesting, with Ben Porter’s Berlin presenting a worldlier view of the situation. The scenes with Ian Redford as Stalin come as a relief. I never thought I would be thinking “oh, good, time for Uncle Joe”, but Redford infuses monstrous energy into the proceedings. Ranting and raving, but delivering threats with a deadly calm, Redford handles the bad taste one-liners brilliantly and is worth the price of a ticket. Unfortunately, even these scenes become repetitive, and when Anna reveals her secret oral distribution of her great poem Requiem, the thrill the audience should feel is noticeably absent. Some editing could cut out repetitive moments and hone this into a shorter, sharper and more engaging play that would do the great poet justice.
Sixteen-year-old Alice thinks that her life is shit. Her dad is useless and her mum is weird, and she is convinced that she is the stereotypical plain sidekick to her beautiful best friend, Meg. She should be preparing for her GCSEs, but Alice is more concerned with finally doing “it”, as everyone else in the school year brags about their sex lives. Her crush, Jamie, finally shows some interest, and Alice prepares herself for the big moment.
Amy Blakelock’s monologue captures the angst and pressure of teenagers trying to emulate impossible body images and trying to fit in with the inescapable tribe mentality fuelled by social media. The unrealistic, unhealthy aspirations and relationships that the children think they must chase, and the unignorable digital evidence of every embarrassing moment caught and shared online are huge obstacles, and Alice’s story isn’t unusual or ground-breaking, but is depressingly familiar. Blakelock gives Alice a voice that is realistic and isn’t judgmental – Alice’s language veers between matter-of-fact diary entries and flowery descriptions that feel like she is going all out for an A* in her English exam, naivety and fatalism finally growing into acceptance and hope.
Director Hannah de Ville uses Verity Johnson’s set, Dan Saggars lighting and Anna Clock’s sound design brilliantly to build a superb sense of place and mood. The grid pattern of astro turf and stark white tiles on the floor is echoed by a wall of lockers that are lit beautifully, from a dreamy, soporific green at the pond, to a dull grey light in maths lessons.
Robyn Wilson is incredible as Alice, with a wonderfully physical performance that never turns into caricature. In a scene which could have been laughable as Wilson puts herself in various awkward positions as Alice finally loses her virginity, the confusion and disappointment she manages to convey is devastating. Thankfully, the play doesn’t become a quest for justice or vengeance, giving this chapter of Alice’s life a quiet, soulful ending full of calm maturity and hope for the future. A disturbing but touching play, powerfully performed and well worth a look.
Duke of York’s Theatre, London – until Saturday 29 February 2020
Reviewed by Riley Anderson
5*****
Much like Joe (Josh Williams) and Simons (Angus Yellowlees) ascent of the West Face of Siula Grande, this play is epic.
Admittedly, prior to seeing the show, I was sceptical. I couldn’t fathom how a story of this magnitude could be told on stage, but luckily for me my scepticism had well and truly melted away within the first five minutes.
We begin inside the Clachaig Inn, Glen Coe for Joe’s wake. Ti Green’s set is minimal; a juke box, a table, a couple of chairs, that when coupled with Chris Davy’s imposing lighting design, we instantly feel as though we’re at the foot of mountain, having one last drink before reliving Joe and Simon’s Homeric journey. But this is of course Joe’s wake, and it is the words of his frustrated sister Sarah (Fiona Hampton) we hear first, in an aggressive monologue as she struggles to understand Joe’s need to climb.
From the first scene the action begins, with a wonderful movement sequence that utilises every element of the set, up to and including the top of the proscenium arch, as Simon helps Sarah understand the psychology of a climber, and come to terms with her brothers decision to attempt to scale Siula Grande.
The first half of the play is a dynamic, spirited retelling of the ascent. The narrative jumps between Richard (Patrick McNamee) describing the events to Sarah, and Joe and Simon as they climb a huge mountain shaped frame up stage. The storytelling is superb and makes for a pulsating hour or so, I say an hour so, but I have no idea how long I was sat there, the action held the entire auditorium in suspense as sweaty hands gripped the underside of seats in anticipation of Simon severing the rope, the only thing between Joe and certain death.
In contrast, the second half of the play becomes a dreamscape, distilling all of the energy and action of the first half of the play into a study of the mind and body in extremis. But make no mistake, it’s still tantalising theatre, and what David Greig has achieved in this adaptation is remarkable. We are pulled the edge of our seats before being catapulted into the crevasse of our own minds and forced to ask ourselves ‘what would I do?’.
The performances were all excellent, both vocally and physically, but special mention has to go to Patrick McNamee who added a delightful, humorous thread to the piece.
As part of Raymond Gubbay’s Christmas Festivals 2019, the Philharmonia Orchestra will be joined by special guest, the much loved actor Bernard Cribbins, for seasonal classics, carols and festive readings at the Royal Festival Hall on Sunday 15 December at 7.30pm. Pieces performed include Franck’s Panis Angelicus, Handel’s Zadok the Priest, Goodall’s The Lord is my Shepherd, Rutter’s Candlelight Carol, Willcocks’s Ding, dong merrily on high! plus all carols for all God rest ye merry gentlemen, Hark! The herald angels sing, Once in Royal David’s City and O come, all ye faithful.
The concert will be performed by the Philharmonia Orchestra, the Philharmonia Brass, Trinity Boys Choir and the Brighton Festival Chorus on Sunday 15 December at 7.30pm.
Mandy Picks a Husband Canal Café Theatre, Delamere Terrace, Little Venice, W2 6NG Thursday 5th – Sunday 8th December 2019
Inspired by her personal Instagram experiment, Mandy Picks a Husband is the hilariously dark and witty dating traumedy from seasoned New York theatre actress and stand-up comic, Amanda Broomell. Following acclaim at the 2019 Hollywood and Edinburgh Fringe Festivals, this satirical exposé comes to London to reveal the highs and hurdles of falling in love.
Prompted by the success of reality TV’s dating juggernaut The Bachelorette, Amanda launched an Instagram experiment in 2018 (@mandypicksahusband) to document her experiences with online dating. Body image, abuse and addiction came to the forefront as she had to battle with past traumas to heal and trust in love and lifelong commitment.
Outside of the cookie-cutter ideals of love, Amanda’s autobiographical story is a humorous yet raw and revealing saga of self-help groups, psychics and discovery programmes. This romantic odyssey of a nearly 40-year-old singleton and her aged cat, channels the trials and tribulations of courting in the modern age, to ask: how can you create intimacy with someone if you can’t love yourself?
Broomell comments, This story tracks my complicated relationship with enough-ness, so I designed the performance with no light cues, no sound cues, no props, no set, no costumes— marking yet another step in my healing process; that I, alone, am enough.
LEADING LEEDS ARTS ORGANISATIONS TO TAKE PART IN DISCOVER! CREATIVE CAREERS WEEK
Leeds Grand Theatre & Opera House, Northern Ballet and Phoenix Dance Theatre are welcoming young people into their buildings next week to inspire them to consider a career in the creative industries as part of Discover! Creative Careers Week (Monday 18 to Friday 22 November 2019).
The initiative has been backed by the Department for Digital, Culture, Media and Sport in England and is designed to find and encourage new talent for the country’s booming creative industries.
Working alongside the Broadway and West End hit We Will Rock You which is currently in residence, The Grand’s Learning Team are offering students from Allerton High School a tour of the theatre (including backstage access) on Thursday 21 November, followed by a chance to explore non-performance job roles in the theatre, including programming, marketing, finance and house management. Through practical activities, the young people will learn about skills that are required by the sector and take part in mock interviews to help prepare them for the world of work.
Catherine Hayward, Education Manager, says: “Our Learning Programme offers students the opportunity to engage with our heritage theatres and learn more about the wide range of jobs available in the sector (not just performance). This event has been opened up to students in Yrs7-9 who have shown an interest in the Arts and creative subjects, and we hope that we will encourage more students to study creative subjects into Yr10 and beyond.”
Northern Ballet and Phoenix Dance Theatre are delivering a joint day of activity on Monday 18 at their building in Quarry Hill.
After an introduction to the two companies and a tour of the building, students from Leeds City College and Mount St Mary’s will have the opportunity to speak to a range of staff from both companies in a speed-dating style ‘Meet the Professionals’ session. Staff will be from across a wide range of departments, including Communications, Front of House, Technical, Education and some of Phoenix’s professional company dancers. The students will also take part in a dance workshop led by both companies.
“Discover! Creative Careers is a great way for the creative industries to use our collective power to demonstrate how many exciting and diverse careers are available in the arts and cultural sector,” says Leanne Kirkham, Director of Learning at Northern Ballet: “We are passionate about creating opportunities for local young people to find out about the range of opportunities in the arts, particularly in roles they may not have considered or even know exist. Discover! Week is a great vehicle for us to shine a light on those roles.”
An estimated forty thousand young people aged 11+ are expected to make visits to creative businesses as part of Discover! Creative Careers Week. Employers opening their doors range from advertising agencies, film studios, theatres, architect practices, museums, heritage properties, libraries and design studios.
The Discover! Week is one strand of the Creative Careers Programme, an industry-led programme which consists of several practical and sustainable activities including a brand-new online creative careers finder, training about jobs in the creative industries for careers advisers, a programme of speaking events in schools and work experience opportunities.
The Creative Careers Programme aims to raise awareness of employment opportunities in the sector, reaching more than 160,000 students by 2020. It is hoped that around two million young people will be able to access better advice about pursuing a creative career. The programme was a commitment made by government and industry as part of the Government’s industrial strategy, championed and supported by the Creative Industries Council.
9 to 5 arrived in Sunderland as part of its UK tour. Unusually, the tour is sharing cast members from the current West End production and audiences at the Empire got to enjoy Amber Davies in the role of Judy.
Equality for women is sadly still an issue in today’s society but thankfully times have changed considerably since the 1980’s (when the film was written) on which this musical is set. With the music and lyrics written by Dolly Parton, the show revolves around three office workers, Violet Newstead, Doralee Rhodes and Judy Bernley, exacting revenge on their sexist boss, Franklin Hart Jr. Together, the women embark on a mission to gain control of the workplace and wipe out the inequality imposed by Hart.
The 3 leads throw themselves into their roles and are hard to fault. They have fantastic singing voices and are each given their own song with which to shine. Amber Davies exhibits great comic timing as the newly divorced Judy but it is her singing voice that really impresses especially in her rendition of Get Out and Stay Out. Stephanie Chandos’ Doralee could simply be an impression of Dolly Parton but Chandos stamps her own brand of feistiness on the character with an amazing set of lungs. Her version of Backwoods Barbie was truly moving. Laura Tyrer’s Violet, seemingly forever destined to be passed over for promotion, is a strong, centring force for the production. However, Lucinda Lawrence (Roz) steals every scene she is in as the office busybody with an unrequited crush on the boss. One true highlight of the show is her slapstick performance of Heart to Hart complete with saucy undies and a comic tango with boss Hart. Sean Needham’s villainous boss is amusingly drawn in pantomime shades of evil, all dastardly swagger and fun with it – especially as we lead into the end of Act 1 and the intermission.
The show is a good, solid, humourous night of entertainment, incredibly uplifting and has a real energy that runs through its core which rarely dips. The characters are well rounded, and director Jeff Calhoun has created a really warm atmosphere that encases the show. Lisa Stevens‘ intelligent and exciting choreography hits the delicate balance the show needs, and I think it is one of the reasons the show stays at such a high energy throughout.
This isn’t a Dolly Parton jukebox musical. 9 to 5 is the only well-known Dolly song in the show, although everything has a familiar Dolly twang to it. Fans won’t be disappointed though as she narrates her way through the show. The whole soundtrack to this show is infectious, leaving you energised and finding yourself on your feet clapping away.
The final words are from Dolly herself. If you enjoyed the show, tell everyone. If not, keep your mouth shut and they might still come anyway!
The National Theatre to open UK tour of ROMEO AND JULIE- a new play by Gary Owen – at The Lowry in Salford
Inspired by Shakespeare’s romantic tragedy, writer Gary Owen and director Rachel O’Riordan reunite for ROMEO AND JULIE– a powerful, funny and poignant new play about the hope and heartbreak of two young people in Britain today.
A co-production with Sherman Theatre, the production opens at The Lowry on Friday, 5 June and runs until Saturday, 13 June. It is part of the Theatre Nation Partnership programme.
Romeo is a teenage single dad hanging on tight. Julie is fighting to follow her dream of studying at Cambridge. The two working-class eighteen year-olds, raised a few streets apart, but from entirely different worlds, crash into first love and are knocked off their feet. But at this crossroads to the rest of their lives, both families fear the worst in a world of unequal opportunity.
Set and costume design by Hayley Grindle, lighting design by Jack Knowles, sound design by Gregory Clarke and puppetry design and direction by Finn Caldwell.
Writer Gary Owen said, ‘I’ve wanted for ages to write a story about a man who became a dad in far more difficult circumstances than me, but who would succeed, be a good parent, and be transformed for the better by what he’d been through.’
‘Shakespeare’s Romeo and Juliet is a story about young love. It becomes a tragedy because of pressures the lovers face from outside their relationship. Well, raising a baby puts pressure on any relationship, no matter how stable. And so I had my play about a young man, Romeo, dad to four-month-old Niamh, who meets Julie, a girl from three streets away and an entirely different world.’
‘This will be the fourth play I’ve made with Rachel. It’s fantastic to be working with her again. There’s a genuine trust.’
Director Rachel O’Riordan said, ‘I am very connected to Gary’s work; I feel that the way he writes, and what he writes about, resonate with me very strongly. I will always be interested in directing anything he writes; but this idea also foregrounds another real interest of mine, which is how classic plays can be radically reinvented. I am keen to see how far the interpretation can go, and how a great play can be reframed by a great contemporary playwright.’
Rufus Norris, Director of the National Theatre said, ‘Rachel O’Riordan directs Gary Owen’s new play Romeo and Julie, which takes inspiration from Shakespeare’s play to create a funny and poignant look at the hope and heartbreak of two working class teenagers. A co-production with Sherman Theatre, we’re delighted to be able to tour this production to four of the brilliant Theatre Nation Partnership venues that we have been working closely with to build audiences over the last three years.’
The Lowry is one of the National Theatre’s ‘Theatre Nation Partners’. Theatre Nation Partnerships is a multi-year collaboration between the National Theatre and partner organisations in six areas around the country. It aims to broaden and grow local audiences for drama through touring, working with schools, and creating theatre with local communities. Drawing on combined expertise, resources and each partner’s deep community links, the project has engaged with over 100,000 people since 2017.
The National Theatre has been working in Salford and the Greater Manchester area with The Lowry on the Theatre Nation Partnerships for some time. Highlights of the programme have included
Tours of Macbeth, War Horse and A Taste of Honey to Theatre Nation Partnerships venues, where Macbeth attracted an unprecedented 55% first-time bookers.
A specially adapted production of The Curious Incident of the Dog in the Night-Time toured into schools in each area, reaching over 20,000 young people in more than 100 schools.
The schools tour has allowed partner theatres to forge strong relationships with high priority local schools. This quickly delivered results on our touring production of Macbeth, which saw a huge uplift in schools’ attendance at these theatres – school groups made up 43% of audiences in Theatre Nation Partnership areas against a 29% tour average.
Public Acts, which creates ambitious participatory theatre with venues and community organisations: Pericles in the Olivier theatre was followed by As You Like It at Queen’s Theatre Hornchurch this year. In 2020, the NT will partner with Cast to stage The Caucasian Chalk Circle, working with community partners from Doncaster. Through reaching out to local communities, audiences from historically disengaged areas have been invited to attend People’s Nights, encouraging them to return to see drama at their local venue.
Theatre Nation Partnerships is generously supported by Arts Council England’s Strategic Touring Fund and Garfield Weston Foundation.
National Theatre UK Touring is supported by The Thompson Family Charitable Trust, The Royal National Theatre Foundation and Jacqueline and Richard Worswick.
Andrew Lloyd Webber and Cameron Mackintosh are delighted to announce full casting for the UK and Ireland tour of the brilliant original production of THE PHANTOM OF THE OPERA opening at Curve, Leicester on 22 February 2020. Tour schedule below with further dates to be announced.
Killian Donnelly will play ‘The Phantom’, Holly-Anne Hull ‘Christine Daaé’, Rhys Whitfield ‘Raoul’, Saori Oda ‘Carlotta Giudicelli’, Adam Linstead ‘Monsieur André’, Matt Harrop ‘Monsieur Firmin’, Francesca Ellis ‘Madame Giry’, Greg Castiglioni ‘Ubaldo Piangi’ and Ellie Young ‘Meg Giry’. At certain performances the role of ‘Christine Daaé’ will be played by Anouk Van Laake.
Please note: Killian Donnelly will play the role of ‘The Phantom’ in Leicester, Manchester, Dublin and Birmingham. Casting for the role of ‘The Phantom’ from Edinburgh onwards will be announced in due course.
The cast is completed by Brad Barnley, Cassiopeia Berkeley-Agyepong, Corina Clark, Edward Court, Vinny Coyle, Lily De-La-Haye, Hywel Dowsell, Connor Ewing, Erin Flaherty, James Gant, Lydia Gerrard, Daniel Hall, Eilish Harmon-Beglan, Yukina Hasebe, Hettie Hobbs, Jacob Hughes, Grace Hume, James Hume, Michaela Leisk, Janet Mooney, Ian Mowat, Michael Robert-Lowe, Anna Simmons, Nikki Skinner, Anouk Van Laake, Louis Van Leer, Jasmine Wallis and Andrew York.
Killian Donnelly can currently be seen as Jean Valjean in the International Tour of Les Misérables. Prior to this, he played the role in the West End production of the show. He played the role of Charlie Price in Kinky Boots on Broadway, a role he originated at the Adelphi Theatre in the West End in 2015, for which he was nominated for an Olivier Award. His other theatre credits include Huey in the original London cast of Memphis at the Shaftesbury Theatre for which he was also nominated for an Olivier Award, and Jackie in Frank McGuinness’ Donegal at Dublin’s Abbey Theatre. He created the role of Deco in The Commitments at the Palace Theatre and has also played Tony in Billy Elliot at the Victoria Palace Theatre as well as Raoul in The Phantom of the Opera at Her Majesty’s Theatre. He first joined the company of Les Misérables in 2008, going on to play the role of Enjolras from 2009 to 2011. In 2010, he played the role of Courfeyrac in the 25th Anniversary Concert of Les Misérables at The O2 Arena and also played the role of Combeferre in the multi-award-winning film of the show, released in 2012.
Holly-Anne Hull is currently appearing in the concert of Les Misérables at the Gielgud Theatre. She has also appeared in the International tour of the show and the West End production at the Queen’s Theatre. Her other credits include the UK tour of Copacabana and Loserville at the Union Theatre.
Rhys Whitfield recently appeared in Summer and Smoke at the Duke of York’s Theatre in the West End and as Peter in Jesus Christ Superstar at Regent’s Park Open Air Theatre. His other credits include Close to You at the Criterion Theatre and the UK tour of The Commitments.
Saori Oda’s many West End credits include Miss Saigon at the Prince Edward Theatre, The King and I at the London Palladium, Wicked at the Apollo Victoria, The Lion King at the Lyceum Theatre, Carousel at the Coliseum and The Wizard of Oz at the Southbank Centre.
Adam Linstead most recently appeared in Fiddler on the Roof at the Playhouse Theatre in the West End. His other West End credits include Les Misérables, The Phantom of the Opera and Cats.
Matt Harrop has appeared in the West End productions of Chess and Les Misérables. His other theatre credits include the European tour of Cats, the national tour of My fair Lady and Me and My Girl at Chichester Festival Theatre.
Francesca Ellis most recently appeared in the West End production of Company at the Gielgud Theatre. She has also appeared as Donna in the International tour of Mamma Mia!, The Duckhouse at the Vaudeville and The Railway Children at Waterloo Station. She has also appeared in the national tours of Les Misérables and Oklahoma!
Greg Castiglioni most recently appeared in The Woman in White and Titanic The Musical, both at the Charing Cross Theatre. His other credits include Fiddler on the Roof at Chichester Festival Theatre and the International tour of Cats. He has also appeared as Magaldi in Evita at the Adelphi Theatre and the 25th Anniversary tour of The Phantom of the Opera.
Ellie Young graduated from the Royal Ballet School this year and made her professional debut in the recent International Tour of Cats.
Now in its 34th phenomenal year in the West End, THE PHANTOM OF THE OPERA is widely considered one of the most beautiful and spectacular productions in history. Andrew Lloyd Webber’s romantic, haunting and soaring score includes Music of the Night, All I Ask of You, Masquerade and the iconic title song.
THE PHANTOM OF THE OPERA tells the tale of a disfigured musical genius known only as ‘The Phantom’ who haunts the depths of the Paris Opera House. Mesmerised by the talents and beauty of a young soprano – Christine, the Phantom lures her as his protégé and falls fiercely in love with her. Unaware of Christine’s love for Raoul, the Phantom’s obsession sets the scene for a dramatic turn of events where jealousy, madness and passions collide.
THE PHANTOM OF THE OPERA is one of the most successful musicals in entertainment history playing to over 145 million people in 41 countries and 183 cities in 17 languages. It has won more than 70 major theatre awards, including seven Tony Awards and four Olivier Awards.
THE PHANTOM OF THE OPERA is the only show in history to have celebrated 30 years on both sides of the Atlantic. In October 2016 the London production celebrated its 30th Anniversary with a special gala performance at Her Majesty’s Theatre and in October 2011 the London production celebrated its 25th Anniversary with a spectacular staging of “The Phantom of the Opera at the Royal Albert Hall” which was screened live in cinemas all over the world and subsequently released on DVD. The musical became the longest running show in Broadway history on 9 January 2006 when it celebrated its 7,486th performance. On 1 January 2018 it celebrated its 13,000th performance and later that month on 24 January the Broadway production celebrated an amazing 30 years on Broadway.
THE PHANTOM OF THE OPERA has music by Andrew Lloyd Webber, Lyrics by Charles Hart, and Additional Lyrics by Richard Stilgoe. Book is by Richard Stilgoe and Andrew Lloyd Webber, Based on the novel ‘Le Fantôme de l’Opera’ by Gaston Leroux, with Orchestrations by David Cullen and Andrew Lloyd Webber. It is produced by Cameron Mackintosh and The Really Useful Group Ltd.
THE PHANTOM OF THE OPERA is currently showing in London, New York, Prague and Sao Paulo, as well as on tour in the US and Asia.
Waitress has today announced Willemijn Verkaik in the leading role of Jenna for the upcoming international tour of the Netherlands which will visit the country’s largest theatres from September 2020.
Jenna is a waitress and expert pie-maker who dreams of some happiness in her life. When a hot new doctor arrives in town, life gets complicated. With the support of her workmates Becky and Dawn, Jenna overcomes the challenges she faces and finds that laughter, love and friendship can provide the perfect recipe for happiness.
Iris van den Ende, Producer, said: “I am extremely proud that, after Broadway and West End, we received the trust of the American production company to bring this romantic comedy to the Netherlands. Waitress tells a story that a lot of women can identify with. It is full of humour and romance but it also has an edge. The music is beautiful, modern pop and I am confident that Willemijn, with her talent and international experience, is going to blow us away.”
Waitress made theatre history as the first Broadway and West End musical with an all-female lead creative team. It is led by composer Sara Bareilles, the singer-songwriter who achieved worldwide success in 2008 with the hit Love Song.
Sara Bareilles, Composer, said: “It is a dream come true to see Waitress travel around the world! To see this beautiful show have a life like this is more than I ever could have imagined! We are so proud to share the story of Jenna with a whole new audience and welcome them into the world of Waitress with open arms and plenty of pie.”
As of September 2020 MediaLane, in association with original Broadway producers Barry & Fran Weissler, bring Waitress in collaboration with the Theateralliantie to the biggest theatres across the Netherlands. For more information: www.waitressdemusical.nl.
Willemijn Verkaik said: “I saw Waitress a couple of years ago on Broadway. I was immediately impressed by the musical and the amazing music written by Sara Bareilles for which she received a Grammy Award nomination, which was well deserved. The role of Jenna is a role that challenges me, especially vocally. I am looking forward to introducing the Netherlands to this beautiful musical that has all the right ingredients.”
Brought to life by a ground breaking, female-led creative team, this four-time Tony Award®-nominated hit musical features original music and lyrics by 7-time Grammy® nominee Sara Bareilles (Love Song, Brave), and a book by acclaimed screenwriter Jessie Nelson (I Am Sam). Waitress is a musical based on the American eponymous movie by Adrienne Shelly from 2007, with Keri Russell in the leading role. For three seasons, Waitress has been a resounding success on Broadway and in London’s West End. The show has been travelling through America and Canada and will premiere in 2020 in the Netherlands. With catchy songs written by Sara Bareilles, the singer-songwriter known for her mix of blues and pop music, the musical has won the hearts of the international theatre audience.
