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Neal Pike presents: Five Years

An adolescence spent at a special educational needs school is revisited to ask what it means to refuse the labels others make for you

Written and performed by Neal Pike | Directed by Matt Miller

UK tour

@FiveYearShow1 | @neal86 | #FiveYearsShow | www.nealpikeprojects.co.uk | Trailer

Based on Neal Pike’s memories of life at a special educational needs (SEN) school, Five Years uses poetry, storytelling and direct address to explore an adolescence shaped by being marked ‘disabled’ owing to his stutter. Directed by Matt Miller, this sharp, subtle and brutally human solo show questions the limited expectations others had for a child with a stutter. Five Years is a work about refusing to conform to those ideas, reaching for a life beyond the one teachers and parents had planned for him, and keeping hold of a sense of self during turbulent times.

From 1998-2002, poet and performer Neal Pike was a pupil at Foxwood, an SEN school in Nottinghamshire. At once a show about the uniqueness of SEN schooling and the commonalities of teenage experience, Neal describes Foxwood as being both difference to other schools and, in many ways, exactly the same. Filled with 90s references and often painfully relatable anecdotes, the piece explores how our school experiences help shape the people we grow up to be, for better or worse.

Neal Pike is a poet and performer based in Nottingham. He was inspired to create Five Years, his first work for the stage, after hearing theatre maker and comedian Jess Thom, a.k.a Touretteshero, (Backstage in Biscuit Land and Not I) present a talk on making autobiographical art at an Arvon writing retreat. Having previously mentioned his school days and youth in Identity Bike Ride, his debut poetry pamphlet, Neal felt the time was right to delve deeper into his past and broaden his own artistic practice with a work for theatre. Along with performing his work at venues across the UK and internationally, Neal is the leader of Tentacles, a collective and network for disabled and d/Deaf writers supported by Unlimited.

Writer and performer Neal Pike said, “Being told you can’t do something because you’re special and you will be forever known as special always stuck with me. I wrote this show and am touring it because I want to show people that it’s possible to do things when everyone defines you as having disabilities and forever dampen your expectations”.

Director Matt Miller said, “Working with Neal on Five Years is where I’ve learned my craft as a director and it has been an immense privilege to be allowed access to work on such a rich, deep, complex, moving and entertaining story. Neal’s performance style, both with joyful off the cuff humour and real felt investment and care in his own stories creates an almost effortless connection with audiences, which is great to watch and be part of. I can’t wait to help bring his story to an audience across the UK.”

Matt Miller is a poet, performer and theatre maker. In 2014, Matt was chosen as one of BBC Radio Three’s Verb New Voices. Matt’s poem River Monster, about their Tyneside childhood, was broadcast on the show. Two years later, their debut solo theatre show, Sticking, played to sold-out venues in Newcastle, Manchester and Durham. Their follow-up work for the stage, Fitting, is currently under development. Matt was also a member of the Mouthy Poets, a poetry collective from Nottingham, which is where they first met Neal Pike. 

Running Time: 60 minutes | Suitable for ages 16+

Content/Trigger warning: references to bullying, occasional strong language

All performances are relaxed and BSL interpreted

Company Information

Written and performed by Neal Pike    Directed by Matt MillerProduced by Dan Nicholas        

Listings information

25 Sep              The New Wolsey Theatre, Ipswich
                        Civic Drive, Ipswich, IP1 2AS
                        7.45pm | £10 (£5 concs)

                        01473 295900 | www.wolseytheatre.co.uk

27 Sep              Theatre Deli, Sheffield

                        202 Eyre Street, Sheffield, S1 4QZ 
                        7.45pm | £10 (£8 concs)

                        01142 786500 | www.theatredeli.co.uk

1 Oct                 Old Fire Station, Oxford

                        40 George Street, Oxford, OX1 2AQ 
                        7:30pm | £12 (£10 concs)

                        01865 263990 | www.oldfirestation.org.uk

5 Oct                 Derby Theatre, Derby

                        15 Theatre Walk, St Peter’s Quarter, Derby, DE1 2NF 
                        7.30pm | £12 (£10 concs)

                        01332 59 39 39, Text number: 07717 346 964 | www.derbytheatre.co.uk

8 Oct                 Nottingham Playhouse, Nottingham

                        Wellington Circus, Nottingham, NG1 5AF 
                        7.30pm | £12 (£10 concs)

                        01159 419419 | www.nottinghamplayhouse.co.uk

24 Oct               The Seagull, Lowestoft

                        19-74 Morton Rd, Lowestoft, NR33 0JH
                        7.30pm | £9 (£7 concs)

                        01502 589726 | www.theseagull.co.uk

1 Nov                Attenborough Arts Centre, Leicester

                        University of Leicester, Lancaster Rd, Leicester, LE1 7HA
                        7pm | £10 (£5 concs)

                        01162 522455 | www.attenborougharts.com

8 Nov                Chapel FM Arts Centre, Leeds

                        Old Seacroft Chapel, York Road, Leeds, LS14 6JB
                        Times and prices TBC

                        01132 255944 | www.chapelfm.co.uk

15 & 16 Nov     Camden People’s Theatre

                        58-60 Hampstead Road, London, NW1 2PY
                        9pm | £12 (£10 concs)

                        0207 4194841 | www.cptheatre.co.uk

21 Nov              Theatre Shop, Theatre Orchard, Clevedon

                        Unit 5, Queens Square, Clevedon, North Somerset, BS21 6HX
                        Times and prices TBC

                        0333 666 3366 | www.theatreshop.org.uk

23 Nov              Phoenix, Exeter

                        Gandy Street, Exeter, EX4 3LS
                        Times and prices TBC

                        01392 667080 | www.exeterphoenix.org.uk

3 Dec                Arena Theatre, Wolverhampton

                        Wulfruna Street, Wolverhampton, West Midlands, WV1 1SE
                        Times and prices TBC

                        01902 321321 | arena.wlv.ac.uk

Supported by Project Grants funding from Arts Council England

Temple Church – until 7 September 2019

Reviewed by Claire Roderick

4****

Antic Disposition return to the magnificent Temple Church with their dark and powerful production of Macbeth. Directors Ben Horslen and John Risebero (who also designed the show) make the constraints of staging the play in the central aisle of the church seem minimal and make the most of the echoing acoustics and evocative atmosphere by using lighting at either end of the stage. The acoustics could work against a lesser cast during scenes where characters raise their voice, but the actors let the words breathe and the echoes carry, adding to the building tension onstage.

Shakespeare’s story of insane ambition and regicide is presented with the cast wearing Victorian clothing: Duncan (Chris Courtenay) in towering stovepipe hat, Ross (Robert Bradley) looking for all the world like a Victorian clerk and Lady Macbeth with a black bustle that is switched for a stunning red outfit after the interval when her bloody deed has been done. What is most effective is the witches’ costume and demeanour. Dressed as maidservants, they are an almost constant presence, effortlessly eerie in their encounters with Macbeth – staged simply and chillingly with no special effects. The cauldron scene becomes the 3 witches laundering the bloody sheets from Duncan’s deathbed, with a fantastic nod and a wink to the Victorian obsession for spiritualism as they call forth the spirits. The staging of Macbeth’s vision of Banquo’s (the excellent Peter Collis) future line of kings is simple but shocking. When the 3 (Louise Templeton, Bryony Tebbutt and Robyn Holdaway) take the roles of messengers and servants delivering bad tidings to Macbeth or taking orders from the nobles, there is a definite Handmaid’s Tale rebellion vibe as they intone bad news in a monotone, never quite making eye contact with their masters, but allowing a victorious smile to creep out as their machinations triumph. The use of the witches is inspired, especially during Lady Macbeth’s sleepwalking scene, adding an extra frisson of psychological horror.

Harry Anton is a strong and brooding Macbeth, delivering the most well-known speeches with an intense stillness but also excelling in the more physical scenes. Helen Millar’s steely Lady Macbeth is a fine match for Anton, and their onstage chemistry is wonderful to watch, especially so as their grip on power loosens. Andrew Hislop’s Macduff and Nathan Hamilton as Malcolm also impress, making even the tedious scene where Malcom tests Macduff riveting. Wisely, Chris Courtney’s Seyton is played as a boorish, unappealing drunk rather than forcing any comedy out of the scene.

This chilling and atmospheric production proves that with a stellar cast, inspired design and an intuitive understanding of Shakespeare’s text, you don’t need high tech bells and whistles to create something magical.

Jack Studio Theatre – until 31 August 2019

2**

Kākāriki Theatre Company aim to showcase great New Zealand writing and theatre, and this is their first UK production.

Arthur Meek may well have written some great plays, but this isn’t one of them. Promotional material states that the play recounts the courage of a visionary who must battle his conscience to change the world, but Meek’s Darwin is an insipid ineffectual scientist taking refuge on his sickbed and in his study, breeding increasingly sickly pigeons and children as the world spins around him. (Portrayed most effectively by the cast repeatedly rotating the set around Darwin as he stands in a trance-like state.)

Darwin was undoubtedly brilliant, but he wasn’t the most exciting man (he spent years studying barnacles!) and was only stirred into publication after the much more interesting Alfred Russel Wallace came to the same conclusions independently, but he can’t possibly have been this dull. Meek starts the play some years after Darwin’s voyage on the Beagle, with his thoughts about natural selection already formed and distils the entire controversy surrounding the publication of On the Origin of Species into two hours (although it seems much longer). At home in Kent, Darwin (Gavin Harrington-Odedra) is visited by two people, Alfred Thomas (Richard Stranks) and John Roberts (Michael Tuffnell), instantly recognisable as representing Wallace and Robert Fitzroy, captain of the Beagle. This sets up the visionaries against the stuffy establishment, but becomes increasingly frustrating, especially in the second act as Meek crams as many of Darwin’s supporters’ and opponents’ voices as possible into the two composite characters. Thomas begins as a boyish, wide-eyed scientist, full of awe at the wonders of the world and morphs into a rabid anti-establishment revolutionary, an espouser of eugenics, and Darwin’s bulldog, Thomas Henry Huxley. Roberts swerves back and forth between initially supportive fellow scientists questioning the mechanics of the process and religious figures. Meek can’t resist slipping in the Huxley/Soapy Sam ape argument, and there has obviously been a lot of research put into the writing, but it just doesn’t work. Using only two voices to present the arguments and debate surrounding the theory of evolution is a disaster, as both Darwin’s supporters and detractors had myriads of different questions and reasons for their stands and it all becomes a huge jumble of ideas. Meek may just have well had Thomas and Roberts dressed as a devil and an angel standing at Darwin’s shoulder whispering “Publish” and “Don’t publish” for two hours. It would have had the same effect as this overly verbose script – it’s no wonder that some members of the cast sometimes lost track of their lines. It’s as if the only characters Meek feels anything for and imbues with any real and lasting humanity are Gardner, Darwin’s loyal assistant, played with a light touch by Richard Houghton-Evans (a welcome relief whenever he appeared, as you knew there’d be a comedic moment) and Emma Darwin. Paula James impresses as Emma, showing her devotion, faith and strength with a deft hand. So strong is Emma next to Charles (with Harrington-Odedra playing him exactly as written – a dithering, strangely spiritless little man) that you expect her to jump up at the end and shout “It was ME who wrote the damn book!”.

The cast do their best and will become more at home with their roles over the run, and likewise director Jessica Jeffries attempts to instil a little drama into the turgid material, but the play does the exact opposite of what it sets out to do, making Darwin appear frankly pathetic. Not the best way to celebrate the 160th anniversary of publication.

THE SON PARTNERS WITH YoungMinds

FOR THE WEST END TRANSFER

For its West End Transfer, the Kiln Theatre’s critically acclaimed production of Florian Zeller’s The Son will partner with YoungMinds – the UK’s leading charity fighting for children and young people’s mental health.

The production, which opens at the Duke of York’s Theatre on 2 September, with previews from 24 August, and runs until 2 November, will offer the opportunity to make a donation on ticket purchases, as well and having donation points for the charity throughout the theatre. On World Mental Health Day on Thursday 10 October, the performance will be dedicated to the charity with bucket collections post show across the house.

Director of the production, Michael Longhurst commented, “It was important to us as a company to partner with YoungMinds – they are a brilliant and vital organisation whose work impacts daily on young lives across the UK. They felt the perfect companion to our production of Florian Zeller’s masterpiece The Son, to help us do full justice to Nicolas’ story.”

‘Florian Zeller’s remarkable play… Michael Longhurst’s immaculate production…

I’d defy anyone not to be moved’ Guardian

Written by the internationally acclaimed Florian Zeller, lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst and forms the final part of the critically acclaimed trilogy with The Father and The Mother.

I’m telling you. I don’t understand what’s happening to me.

Nicolas is going through a difficult phase after his parents’ divorce. He’s listless, skipping school, lying and thinks that moving in with his father and his new family may help. A fresh start. When he doesn’t settle there either, he decides that going back to his mother’s may be the answer. When change feels like the only way to survive, what will he do when the options begin to run out?

‘This final part of Florian Zeller’s trilogy is the most powerful of all’

The Times

‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’

Observer

YoungMinds is the UK’s leading charity fighting for a future where all young minds are supported and empowered, whatever the challenges. We’re here to make sure they get the best possible mental health support and have the resilience to overcome life’s difficulties.

For more information please visit www.youngminds.org.uk

Follow us on Twitter, Facebook and Instagram @YoungMindsUK

For free advice and support for parents, call our helpline on 0808 802 5544

‘Exceptional… Fizzes with raw emotion… It totally blew me away.’

Daily Mail

FIERY ANGEL AND GAVIN KALIN PRODUCTIONS

PRESENT THE KILN THEATRE PRODUCTION OF

THE SON

By Florian Zeller

In a translation by Christopher Hampton

Cast: Amanda Abbington, Laurie Kynaston, John Light, Amaka Okafor, Cudjoe Asare and Martin Turner

Director: Michael Longhurst; Designer: Lizzie Clachan; Lighting Designer: Lee Curran

Composer and Sound Designer: Isobel Waller-Bridge; Casting Director: Amy Ball

The Son marks the first West End transfer for the Kiln Theatre since it reopened last September, and is presented in the West End by Fiery Angel and Gavin Kalin Productions.

Based in Kilburn, Kiln Theatre creates internationally renowned, high-quality, engaging and innovative work which presents the world through a variety of different lenses, amplifying unheard voices into the mainstream. Led by Artistic Director Indhu Rubasingham and Executive Director Daisy Heath, it makes theatre that crosses continents and tells big stories about human connections across cultures, race and languages.

We encourage artists of all ages and backgrounds. Our work is commissioned specifically for our theatre and produced by Kiln Theatre’s artistic team, as well as additional work which is programmed in collaboration with national or international partners.

Recent productions include White Teeth by Zadie Smith, adapted by Stephen Sharkey, Holy Sh!t by Alexis Zegerman, Approaching Empty by Ishy Din, The Son by Florian Zeller, The Half God of Rainfall by Inua Ellams, Wife by Samuel Adamson and Blues in the Night. Recent collaborations include the National Theatre, Tamasha and Sundance Theatre Lab (US).

The ambitious Creative Learning programme aims to champion the imagination, aspiration and potential of the Brent community young and old. It invests in creating meaningful relationships with young people to inspire and encourage their creativity, their confidence and self-esteem. It works with older people to create a thriving community around the theatre.

Listings                                                                                                                                                       The Son

Duke of York’s Theatre

St Martin’s Lane, London, WC2B 4BG

24 August – 2 November

Box Office: 0844 871 7623

Online:  www.thesonwestend.com

Twitter @thesonwestend

Instagram @thesonwestend

Facebook /thesonwestend

Monday to Saturday 7.30pm, Wednesday and Saturday matinee 3pm

Tickets from £15

READING REP THEATRE ANNOUNCES WORLD PREMIÈRE OF

HELEN EASTMAN’S THE NUTCRACKER

Reading Rep Theatre and Reading Libraries presents

The Nutcracker

Adapted and Directed by Helen Eastman

Composed by: Patrick Stockbridge

17 – 23 December 2019

Reading Rep Theatre today announces the world première of Helen Eastman’s The Nutcracker, a brand-new musical adaption of the classic tale for all the family. The production opens at Reading Studio from 20 December, with previews from 17 December, and runs until 23 December 2019.

It’s Christmas, and Marie is delighted with a new toy nutcracker from her Uncle. But this is no ordinary nutcracker…

In Drosselmeyer’s workshop, the magical Nutcracker brings all the toys to life to fight off the evil Mouse King and his army – and takes the audience on a magical journey to the Kingdom of Sweets!

With original songs, live music, magical puppets and plenty of Christmas tinsel, this adaptation of A. E. Hoffman’s classic story is a festive family spectacular.

Paul Stacey, Artistic Director of Reading Rep, today said “We are thrilled to be presenting another world première this Christmas and reuniting the creative team from the hugely successful Alby the Penguin. This year’s show is more ambitious than ever with live music and songs. This will be the final show before we move to our new theatre and is sure to be a fitting festive celebration for the whole family.”

Helen Eastman’s credits as both writer and director include Foreclosure Follies (Symphony Space, international tour), Bicycle Boy (Greenwich + Docklands International Festival), Alby the Penguin Saves Christmas (Reading Rep) Dear Father Christmas, Where’s Father Christmas, Father Christmas and the Icicyle Bicycle, Hurry Up Father Christmas (Oxford Playhouse), Splat (Greenwich and Lewisham Festival). Her directing credits include Fair (Trafalgar Studios), Prometheus, Agamemnon, Frogs, Lysistrata (Cambridge Arts Theatre), Circus Etc (The De La Warr Pavilion), Wild Raspberries (Citizens Theatre, Glasgow), Bug Off (OTC Dublin and tour), Cure at Troy(Delphi International Festival, UK tour), Bridgetower (Hackney Empire, UK tour), Dido and Aeneas (English Touring Opera), Hansel and Gretel (Cork Opera House), and Cloudcuckooland (international tour), Alcestis (RADA). As a writer her credits include She Sells Sea Shells (Edinburgh Festival Fringe), Hercules (Grosvenor Park Open Air Theatre), The Price – a Suffragette Opera (W11 Opera), 147 and Chefs (Sheffield Theatres), Don’t Tell Not To Fly (Edinburgh Festival Fringe), Everyoung (W11 Opera), Casket Girl (Aldeburgh Theatre), In The Night Garden Live (UK tour), Bing (UK tour). Helen has recently made a series of films in Ancient Greek which were installed at the V&A, provided a literal translation of Sophocles’ Philoctetes to the National Theatre for Kate Tempest’s Paradise and been Classics consultant on shows including Electra (Old Vic), Translations (National Theatre) and The Goat or Who is Sylvia (Theatre Royal Haymarket). She founded the Live Canon ensemble and has created over 100 shows, pop-ups and interventions with the company at venues from Abbey Road to Broadway.

Patrick Stockbridge is a Musical Director, Composer and Pianist. His credits as Musical Director include Blood Brothers (UK tour), Closer to Heaven (Union Theatre), Die Fledermaus (King’s Head Theatre), News Revue (Canal Cafe Theatre) and Ed Fringe: The Musical Revue (Edinburgh Festival Fringe). He is currently Musical Supervisor/Arranger on the forthcoming new musical, Normality at The Other Palace. Stockbridge has composed and arranged music for a range of venues including Oxford Playhouse, Symphony Hall, Birmingham and the Royal Albert Hall.

Reading Rep Theatre                                                                                                                                Listings

Reading College, King’s Road, Reading, RG1 4HJ

Box Office: 01189 554 757 / www.readingrep.com

Tuesday 17 December – Monday 23 December 2019

Performance Schedule:

17 – 20 December: 10am and 1pm

21 – 23 December: 10am, 1pm and 4pm

Tickets: £10 Standard, £30 family (2 adults and 2 children, or 1 adult and 3 children)

PETER PAN GOES WRONG

MISCHIEF THEATRE ANNOUNCES NEW CAST FOR ITS OTHER COMEDY DISASTER – ‘PETER PAN GOES WRONG’

UK TOUR: 19 Oct 2019 – 29 Feb 2020

CHRISTMAS SEASON AT ALEXANDRA PALACE THEATRE, LONDON: 13 Dec 2019 – 5 Jan 2020

Mischief Theatre, the multi award-winning theatre company responsible for the worldwide smash hit The Play That Goes Wrong, today announces the full cast for its 2019/20 UK tour of Peter Pan Goes Wrong.  The touring cast presents: Romayne Andrews (Dennis), Tom Babbage (Max), Georgia Bradley (Lucy), Connor Crawford (Chris), Katy Daghorn (Sandra), Phoebe Ellabani (Annie), Ciaran Kellgren (Jonathan), Ethan Moorhouse (Trevor), Oliver Senton (Robert), and Patrick Warner (Francis), with understudies Eboni Dixon, Christian James, Soroosh Lavasani and Ava Pickett.

Opening at the Everyman Theatre, Cheltenham on 19 October 2019, the production will tour to 14 venues nationwide until 29 February, including a Christmas season at Alexandra Palace Theatre in London from 13 December 2019 to 5 January 2020. 

Co-written by Mischief Theatre company members Henry Lewis, Jonathan Sayer and Henry Shields, Peter Pan Goes Wrong is a highly physical comedy packed with finely-tuned farce and Buster Keaton inspired slapstick, delivered with split-second timing and ambitious daring. The play sees the ‘Cornley Polytechnic Drama Society’ back on stage battling technical hitches, flying mishaps and cast disputes as they attempt to present J.M Barrie’s much-loved tale. But will they ever make it to Neverland?

Nominated for an Olivier Award for ‘Best New Comedy’ in 2016, Peter Pan Goes Wrong has enjoyed two West End seasons, a tour of Australia and New Zealand and a UK tour. A one-hour version of the show was broadcast on primetime BBC One in December 2016, starring David Suchet as the guest narrator and watched by an audience of over six million worldwide.

Mischief Theatre was founded in 2008 by a group of graduates of The London Academy of Music and Dramatic Art (LAMDA) and began as an improvised comedy group. Mischief Theatre performs across the UK and internationally with improvised and original scripted work. Current productions include: The Play That Goes Wrong which is now booking into its 5th year in the West End at the Duchess Theatre and also touring the United States and playing Off Broadway, following a two year run on Broadway and two sold out UK tours; The Comedy About A Bank Robbery, which is now in its 3rd year in the West End at the Criterion Theatre and recently enjoyed a nine-month UK tour. Their forthcoming ‘Mischief Season’, a year-long West End residency at the Vaudeville Theatre, will premiere three new comedies: Groan Ups from 20 September and Magic Goes Wrong from 14 December. The third production has yet to be revealed. Mischief are also set to launch a brand new six-part television series for BBC One, The Goes Wrong Show, written and starring the original founding Mischief Theatre members. The television series will be broadcast this autumn, dates yet to be announced. Mischief Theatre is led by Artistic Director Henry Lewis and Company Director Jonathan Sayer.

Peter Pan Goes Wrong is directed by Adam Meggido, with set designs by Simon Scullion, costumes by Roberto Surace, lighting by Matt Haskins, sound by Ella Wahlstrom, co-composed by Richard Baker and Rob Falconer, Associate Director Fred Gray. Peter Pan Goes Wrong is produced by Kenny Wax Ltd and Stage Presence Ltd. A donation from every ticket sold is given to Great Ormond Street Hospital. 

Tour Listings Information:
PETER PAN GOES WRONG UK TOUR 2019/20
Sat 19 Oct – Sat 2 Nov CHELTENHAM Everyman TheatreRegent Street, Cheltenham GL50 1HQ Mon – Sat eves: 7.30pm, Thu & Sat mats: 2pm (exc 19 Oct) Box Office: 01242 572573 | everymantheatre.org.uk
Tue 5 – Sun 10 Nov CARDIFF New TheatrePark Place, Cardiff CF10 3LN Tue – Sat eves: 7.30pm, Thu, Sat, Sun mats: 2.30pm Box Office: 029 2087 8889 | newtheatrecardiff.co.uk
Tue 12 – Sat 16 Nov CAMBRIDGE Arts Theatre6 St Edward’s Passage, Cambridge CB2 3PJTue – Sat eves: 7.45pm, Thu & Sat mats: 2.30pm Box Office 01223 503333 | cambridgeartstheatre.com
Tue 19 – Sun 24 Nov BRIGHTON Theatre RoyalNew Road, Brighton, East Sussex BN1 1SDTue – Sat eves: 7.45pm, Thu, Sat, Sun mats: 2.30pm Box Office 0844 871 7650 | atgtickets.com/brighton
Tue 26 Nov – Sun 1 Dec BATH Theatre RoyalSawclose, Bath BA1 1ETTue – Sat eves: 7.30pm Wed, Thu, Sat & Sun mats: 2.30pm Box Office: 01225 448844 | theatreroyal.org.uk
Tue 3 – Sat 7 Dec SALFORD QUAYS The LowryTue – Sat eves: 7.30pm, Wed, Thu & Sat mats: 2.00pmPier 8, Salford Quays M50 3AZBox Office: 0843 208 6000 | thelowry.com
Fri 13 Dec – Sun 5 Jan LONDON Alexandra Palace TheatreSee full listings below  Alexandra Palace Way, London N22 7AYBox Office: 0871 220 0260 theatre.alexandrapalace.com
Tue 14 – Sat 18 Jan WOKING New Victoria TheatreTue – Sat eves: 7.30pm,  Wed, Thu & Sat mats 2.30pmThe Ambassadors, The Peacocks Centre, Woking GU21 6GQBox Office: 0844 871 7645atgtickets.com/woking
Tue 21 – Sun 26 Jan CHESTER StoryhouseHunter Street, Chester CH1 2ARTue – Sat eves: 7.30pm, Wed, Sat & Sun mats 2.30pm Box Office: 0844 815 7202storyhouse.comTue 28 Jan – Sat 1 Feb  SHEFFIELD Lyceum Theatre55 Norfolk Street, Sheffield S1 1DATue – Sat eves: 7.45pm, Wed, Thu mats 2pm; Sat mat 3pm Box Office: 0114 249 6000sheffieldtheatres.co.ukTue 4 – Sat 8 Feb MILTON KEYNES Theatre500 Marlborough Gate, Milton Keynes MK9 3NZTue – Sat eves: 7.30pm, Wed, Thu & Sat mats: 2.30pm Box Office: 0844 871 7652 atgtickets.com/miltonkeynesTue 11 – Sun 16 Feb EDINBURGH Festival Theatre 13-29 Nicolson St, Edinburgh EH8 9FTTue – Sat eves: 7.30pm, Thu & Sat mats 2.30pm; Sun mat 2pm Box Office: 0131 529 6000capitaltheatres.com
Tue 18 – Sat 22 Feb BIRMINGHAM Alexandra TheatreSuffolk Street Queensway, Birmingham B5 4DSTue – Sat eves: 7.30pm, Wed, Thu & Sat mats: 2.30pm Box Office: 0844 871 3011atgtickets.com/BIRMINGHAM
Tue 25 – Sat 29 Feb COVENTRY Belgrade TheatreTue – Sat eves: 7.30pm, Wed, Thu & Sat mats: 2pmBelgrade Square, CV1 1GS Coventry GU6 8TBBox Office: 024 7655 3055belgrade.co.uk
London Christmas Season Listings Information:
PETER PAN GOES WRONGAlexandra Palace TheatreAlexandra Palace Way, London N22 7AY
Fri 13 Dec 2019 – Sun 5 Jan 2020
Performance Times:Fri 13 Dec  7:30pmSat 14 Dec  2:30pm | 7:30pmSun 15 Dec 3pm | 7pmMon 16 Dec  No performanceTue 17 Dec   No performanceWed 18 Dec  7:30pmThu 19 Dec  2:30pm | 7:30pmFri 20 Dec  7:30pmSat 21 Dec  2:30pm | 7:30pmSun 22 Dec 3pm | 7pmMon 23 Dec  7:30pmThu 26 Dec  3pm | 7pmFri 27 Dec 7:30pmSat 28 Dec 2:30pm | 7:30pmSun 29 Dec 3pm | 7pmMon 30 Dec  7:30pmTue 31 Dec  No performanceWed 1 Jan 7:30pmThu 2 Jan 2:30pm | 7:30pmFri 3 Jan  7:30pmSat 4 Jan  2:30pm | 7:30pmSun 5 Jan 3pm | 7pm
Box Office: 0871 220 0260**Calls cost 13p per minute plus network extras
Website:peterpangoeswronglive.com | theatre.alexandrapalace.com
Prices: Tickets from £20
Age: recommended 8+ 
Running Time: 2 hrs 10 (inc a 20 minute interval)

THE JOHN GODBER COMPANY ANNOUNCES

WORLD PREMIÈRE OF THIS IS NOT RIGHT

The John Godber Company presents

The World Première of

THIS IS NOT RIGHT

Written and directed by John Godber

Wilton’s Music Hall

1 October – 5 October

Following the recent run of Scary Bikers at Trafalgar Studios, The John Godber Company today announces the world première of John Godber’s This is not Right. Godber directs Frazer Hammill (Dad) and Martha Godber(Holly Parker) in the production which opens on 2 October, with previews from 1 October, and runs until 5 October.

This is not Right is the unfiltered story of Holly Parker, a talented girl from a Council estate in Hull, and her single parent Dad. After exam success leads to her being bullied, Holly’s anxiety grows when her Dad becomes obsessed with the Madeleine McCann case and keeping her safe.

Holly moves on, from local college to University College London. Three years of freedom, music and mac ’n’ cheese. But a degree isn’t worth what it was, and soon she is back on the estate she was desperate to leave, back with the spice zombies and the vandals next door, struggling with an over-protective parent to make things work, with no money, no job, and a whole load of debt.

Then after one night at the Welly Club, another student goes missing… Now her Dad is losing control and Holly is scared.

Written and directed by BAFTA and Olivier Award-winner John Godber, this new play follows the critical success of Scary Bikers at Trafalgar Studios. This is not Right, is told in the signature style of his seminal worldwide hitBouncers.

John Godber is a writer and director. His credits as a playwright include Scary Bikers, Bouncers, Up ‘n’ Under (Olivier Award for Best New Comedy), April in Paris, Teechers, Blood, Sweat and Tears, Cramp, Happy Jack, September in the Rain, Salt of the Earth, Passion Killers, Happy Families, Up ‘n’ Under ll, Gym and Tonic, Dracula, Lucky Sods, Hooray for Hollywood, Weekend Breaks, It Started With a Kiss, Unleashed, Thick As a Brick, Big Trouble in the Little Bedroom, Seasons in the Sun, On a Night Like This, Our House, Departures, Men of the World, Reunion, Screaming Blue Murder, Black Ties and Tales, Perfect Pitch, Going Dutch, Christmas Crackersand Crown Prince. Film writing credits include My Kingdom for a Horse (starring Sean Bean).

Martha Godber plays Holly Parker. Her previous theatre credits include Seasons in the Sun, I Want That Hair(East Riding Theatre), POP (Oldham Coliseum), The Memory Project, The Remarkable Tale of Dorothy Mackaill(Hull New Theatre), Three Emos (UK tour) and Right (The Old Vic).

Frazer Hammill plays Dad. His previous theatre credits include Wuthering Heights, Lady Chatterley’s Lover, Macbeth, Studs, Flint Street Nativity, Teechers (Hull Truck Theatre), Bouncers, Poles Apart, Sculptor’s Surprise(Theatre Royal Wakefield) and Up ‘n’ Under (Hull New Theatre). For television his credits include Happy Valley and The Heart of Thomas Hardy. For film his credits include Justice League, Abraham’s Point and End of My Tether.

This Is Not Right                                                                                                                                               Listings

Wilton’s Music Hall

1 Graces Alley, Whitechapel, London, E1 8JB

Tuesday 1 October – Monday 5 October 2019

1 October            19:30

2 October            19:30                    

3 October            14:30/19:30

4 October            19:30

5 October            14:30/19:30

Box Office: 020 7702 2789

https://www.wiltons.org.uk/

ON SALE TO BIRMINGHAM HIPPODROME FRIENDS FROM 11AM TODAY
 

GENERAL ON SALE – TUE 27 AUG 2019, 11AM

Roll-up, roll-up for an all-singing, all-dancing new season as Birmingham Hippodrome continues its 120^th anniversary celebrations!

• Birmingham’s big top; celebrating the theatre’s origins as a circus

• Birmingham Hippodrome and the surrounding area is transformed into the greatest show on earth for a free open day featuring circus acts and interactive workshops to officially mark the theatre’s 120^th birthday
• The circus returns to its Birmingham roots in the main auditorium as Circus 1903 comes to the city for the very first time direct from a sell-out run at London’s Southbank Centre
• Musical marvels

• Just announced – a new production of the hit musical Sister Act starring Brenda Edwards and produced by Whoopi Goldberg
• Divorced. Beheaded. LIVE! The sell-out musical sensation SIX has its Birmingham premiere
• The brilliant original production of Broadway’s longest running musical, The Phantom of the Opera haunts the Hippodrome in summer 2020
• Dazzling dance

• Renowned choreographer, Dada Masilo presents her fearless re-imagining of Giselle
• Matthew Bourne’s production of The Red Shoes returns after two sell-out seasons in 2016
• Birmingham Royal Ballet revive their iconic Swan Lake and Carlos Acosta’s Don Quixote recieves its first UK performances outside of London
•  Laugh-out-loud comedy

• Big comedy names take top billing including Ben Elton, Rob Beckett and Romesh Ranganathan plus a return home for Lenny Henry as he opens his brand new tour
• The fairest pantomime in the land, Snow White and the Seven Dwarfs features an all-star cast including the hilarious Matt Slack back for his seventh consecutive year
• New Patrick Studio season
• The Patrick Studio continues its reputation for bringing the best in new performance with the announcement of a new season including the world premiere of Rosie Kay’s Fantasia, multi-award-winners Ad Infinitum return with Extraordinary Wall of Silenceand Birmingham Hippodrome’s monthly world-class poetry and spoken word event,Hit the Ode continues its residency

This October will mark Birmingham Hippodrome’s official 120^th birthday. To celebrate, the greatest show on earth will come to the city centre with a range of free performances and workshops honouring the theatre’s origins as a circus.

On Saturday 26 October, everyone is invited for a day of free family fun in and around Birmingham Hippodrome, as well as at Bullring & Grand Central. Try your hand at circus workshops where you can learn a range of performance skills, watch a variety of jaw-dropping circus acts such as jugglers and stilt walkers, and delve into the theatre’s rich history with a range of talks.

Continuing the celebration of the theatre’s heritage from 120 years ago, the circus returns to its Birmingham roots in the main auditorium as Circus 1903 (25 Oct-2 Nov) comes to the city for the very first time direct from a sell-out run at London’s Southbank Centre and packed with the thrills and daredevil entertainment of a turn-of-the-century circus. The show also includes sensational lifesized elephants stunningly created by puppeteers from War Horse!

Birmingham Hippodrome’s Patrick Studio has announced a new season of bold, creative work as the theatre strives to bring the best in new cabaret, comedy, dance and drama to the studio space. Equipped with over 18 million views on Youtube, Mawaan Rizwan brings his one man show Juice (12 Sep), Hippodrome Associate Rosie Kay premieres her brand-new work Fantasia (25 & 26 Sep) and award-winning original musical Eye of the Storm (8 & 9 Oct) by Theatr na nÓg brings an unmissable tale of one young girl’s scientific quest to pursue her passion for tornados. YOOO!!! (22-24 Oct) presented by Emanuel Gat Dance & Théâtre National de Chaillot is a hip-hop and contemporary dance show for all ages, Anjali Dance Company’s Genius(19 & 20 Nov) is a double bill by an exceptional group of six dancers and multi-award-winners Ad Infinitum return with Extraordinary Wall of Silence(22 & 23 Jan), a new production combining the company’s trademark physical storytelling with the beauty of Sign Language. Apples and Snakes and Birmingham Hippodrome’s monthly world-class poetry and spoken word event, Hit the Ode (11 Oct, 8 Nov, 31 Jan) also continues its residency in the Patrick Studio.

Just announced for the main stage, the Broadway and West End smash-hit musical Sister Act (15-26 Sep 2020) will come to Birmingham Hippodrome with a brand-new production starring Brenda Edwards and produced by Whoopi Goldberg. Nominated for 5 Olivier Awards including Best New Musical, SIX (21-25 Jul 2020) is the new musical phenomenon everyone is losing their head over as it comes to Birmingham for the very first time.

Now in its 33rd phenomenal year in the West End, The Phantom of the Opera (29 Jul-12 Sep 2020) will haunt the Hippodrome with the spectacular and brilliant original production in the summer of 2020. Tickets will go on sale to Birmingham Hippodrome Friends and Patron scheme members on Tuesday 10 September at 11am, to groups on Tuesday 24 September at 11am and to the general public from Thursday 26 September at 11am.

Other musical blockbusters include Blood Brothers (30 Sep-12 Oct), Priscilla Queen of the Desert (13-18 Apr 2020), We Will Rock You (20 Apr-2 May 2020), MAMMA MIA! (12-30 May 2020) and the return of Les Misérables (30 Jun-18 Jul 2020) following a sell-out 2019 season.

This year’s pantomime, Snow White and the Seven Dwarfs (21 Dec 2019–2 Feb 2020) promises to be one of the most spectacular yet featuring sets and costumes direct from the London Palladium. The all-star line up features Lesley Joseph, Matt Slack, Joe McElderry, Faye Brookes, Flawless, Doreen Tipton and Andrew Ryan.

Continuing Birmingham Hippodrome’s reputation as a hub for the best in dance from across the globe, South Africa’s internationally renowned choreographer, Dada Masilo, presents her fearless re-imagining of the iconic classic, Giselle (15 & 16 Oct) plus ZooNation: The Kate Prince Company return with Some Like It Hip Hop (18 & 19 Oct). International ballet superstar Carlos Acosta brings his critically acclaimed Cuban company, Acosta Danza (11 & 12 Nov) to Birmingham ahead of his exciting appointment as Artistic Director of Birmingham Royal Ballet in January 2020 and Matthew Bourne’s Olivier Award winning The Red Shoes (11-15 Feb 2020) returns following two sell-out seasons in 2016. Birmingham Hippodrome will also co-produce Message In A Bottle (8-11 Apr 2020) with Sadler’s Wells and The Lowry, an exciting new production choreographed by Kate Prince and set to the iconic hits of Sting.

Resident ballet company, Birmingham Royal Ballet bring their timeless classic productions of Giselle (25-28 Sep), The Nutcracker (22 Nov-14 Dec) and Swan Lake (18-29 Feb 2020) plus an Autumn Mixed Bill (19-21 Sep) and Carlos Acosta’s stunning version of the dazzling, Cervantes-inspired comedy, Don Quixote (19-27 Jun) marking the first UK performances of the production outside of London.

Some of the biggest names in comedy take to the stage including Ben Elton (14 Nov), Rob Beckett (6 & 7 Feb 2020) and Romesh Ranganathan (3 & 4 May 2020) plus a return home for Lenny Henry (20 Oct)as he opens his brand new tour right here in Birmingham.

Finally, Welsh National Opera present a brand new production of Carmen (5 & 8 Nov 2019 & 7 May 2020) by Jo Davies set in 1970 South America, plus their acclaimed production ofRigoletto (6 & 9 Nov) and David Pountney’s colourful The Cunning Little Vixen (7 Nov). They are joined by the opulent The Marriage of Figaro (6 May 2020) and Verdi’s grand opera Les vêpres siciliennes (9 May 2020).

FIONA ALLAN, Artistic Director and Chief Executive at Birmingham Hippodrome said:

“Birmingham Hippodrome’s 120^th year led me to reflect on this theatre’s rich heritage as well as our continual quest to remain relevant and exciting to an evolving population. As an independent charity, we have remained successful as the result of a shared a vision for Birmingham as a truly great, and global, city.

“Whilst perhaps we will always be best known for our thriving musicals and pantomime seasons, over the last few years, our efforts have also expanded into more visible charitable activity, and our efforts to enrich the cultural life of the region through developing and investing in regional talent.

“Our Hippodrome Education Network has expanded now to over 30 schools, we have established youth companies specialising in hip-hop, musical theatre and poetry, we run regular daytime programmes for toddlers, holiday workshops and free performances.  Our programme in the Patrick Studio, our second space, has also significantly expanded. And in 2019 we have developed two main stage productions, The Color Purple and West Side Story.

“On top of that, we now have seven Hippodrome Associates, who we help commission and present work on and off our stages.  Our dedicated festivals team delivered our largest outdoor programmes to date, including Chinese New Year, Summer in Southside and B-SIDE Hip-Hop festival along with free monthly activity in the Bullring.

“Over the past year we also constructed the Dance Hub, a new extension to our campus built on top of BRB’s studios, which will be a new home to OneDance UK.  And whilst finishing one build, we have been planning another- a revamp to our public spaces to better enable us to serve our public all day every day.  More news on that to come…

“Our new season provides a huge range of productions for audiences to choose from- from blockbuster musicals like The Phantom of the Opera to smaller, experimental work presented in The Patrick Studio like Fantasia, a brand new piece from Hippodrome Associate Rosie Kay.  I’m particular excited about new shows on sale like Whoopi Goldberg’s brand new production of Sister Act and the sensational SIX which tells a very different, and much sassier, story of Henry VIII’s many wives.

“With the official 120th birthday month of Birmingham Hippodrome fast approaching in October, we’re also busy preparing to celebrate our circus origins with hit show Circus 1903rolling into town direct from London, and on Saturday 26 October, our big birthday open day steps back in time presenting spectacular performers, family-friendly workshops and heritage talks and tours. Don’t miss the fun!

“As we move forward, remember there is so much more to Birmingham Hippodrome than the work you see on stage- there is an ambitious charity sitting behind it all- working hard to make this city and region synonymous with culture and creative talent.”

Park Theatre – until 14 September 2019

Reviewed by Claire Roderick

4****

Eugene O’Hare’s dark debut play is unapologetically grim and disturbing in its approach to human trafficking and modern slavery. For the promise of 6 months’ rent free and some extra cash, broke flatmates O’Rourke (Alec Newman) and Beezer (Mark Hadfield) agree to keep Mara (Niamh James), a twelve-year-old Romanian girl, in their flat for landlord Dollar (David Schaal).

What begins as a depressingly funny version of The Odd Couple, with O’Rourke and Beezer trading barbs and oddball one-liners soon shifts into an increasingly bleak study of intimidation, coercion and complicity. Instead of dehumanising the protagonists, O’Hare’s writing manages to portray each character’s humanity, in varying levels of ugliness, strength and despair, giving each the space to develop. Director Alice Hamilton’s light touch ensures the cast make every beat count, with silent moments conveying as much as O’Hare’s monologues.

The men’s denial about what they are involved in involves a lot of circular and ludicrous explanations about the life these children would be living anyway, but the knowledge that he is as trapped as Maya slowly dawns on O’Rourke as the second act becomes a series of brilliantly delivered monologues as Mara and then O’Rourke listen in wary silence to a man with power over them.

Niamh James impresses as Mara – never speaking, but conveying the fear and pain of the child, as well as glimpses of resilience and strength. Alec Newman’s performance is extraordinary as O’Rourke, squeezing every drop of emotion out of O’Rourke’s sensitively written and recognisable history and portraying his growing self-disgust effortlessly. Mark Hadfield’s shambolic Beezer is also a triumph, and Cyril Nri steadily ramps up the intensity in his smilingly menacing performance as Dollar’s driver Turkey. David Schaal’s Dollar is a bit of a stereotype, smartly suited, cultured and amiable on the surface, but the manner in which he terrorises his victims and his employees is acute and brilliantly written. Beneath the smiles, the gentle anecdotes about his mother and the apparent generosity the threat of violence is always lurking beneath the surface and the power he relishes is obvious. This terrifying character needs a trigger warning.

Wisely there is no happy ending or any sign of resolution, as the reality of modern slavery is a huge problem for the country. What O’Hare does in keeping Mara voiceless and denying her the chance to tell her story may not please everyone, but by shifting the focus to the men involved at different levels along the food chain he has created a disquieting study of fear, morality and self-delusion. Even with lots of dark and ridiculous humour throughout, The Weatherman isn’t an easy watch – but it is well worth the effort. A remarkable debut from Eugene O’Hare.

The Bunker Theatre and W14 Productions in association
with The Royal Court Theatre
Cast and creatives announced for
We Anchor in Hope at The Bunker Theatre
The Bunker, 53A Southwark Street, London SE1 1RU
Wednesday 25th September – Saturday 19th October 2019

From the award-winning Anna Jordan (Killing Eve, Sid Gentle Films Ltd; Succession, HBO), written between the Brexit vote and Trump’s Presidential victory, We Anchor in Hope captures a moment of deep uncertainty in recent history and the characters’ lives when local pub, The Anchor, closes for good. Chaos is in the air, and yet life goes on. For the duration of the play’s run The Bunker will become The Anchor – transformed into a functioning pub with post-show events including pub quizzes, karaoke nights and music.

Chris Sonnex’s first production at The Bunker since being appointed as the theatre’s Artistic Director in 2018 will feature Valentine Hanson (Orpheus Descending, Theatr Clwyd and Menier Chocolate Factory; Handfast, Summerhall Edinburgh Festival), Alex Jarrett (Aisha, Old Red Lion, King’s Head and Tristan Bates; Les Misérables, BBC), Daniel Kendrick (Ding Dong the Wicked and Vera Vera Vera, Royal Court; Coalition, Theatre503), David Killick (Pressure, Ambassadors Theatre; The Importance of Being Earnest, Vaudeville Theatre and Tour) and Alan Turkington (Antony & Cleopatra, National Theatre; Hamlet, Donmar at Wyndham’s Theatre)

Since 2001 a quarter of all UK pubs have disappeared, with two still closing every day. Like The Anchor, these pubs are likely to become private flats. For regulars the pub is many things: a haven, a burden, a family, a home. All are about to disappear. It’s the end of an era, but Kenny and the gang are going out with a bang – determined to drink the place dry. There’s karaoke and a lot of Campari. There’s secrets divulged and forgotten dreams resurrected. History, like beer, has seeped into the carpet. Tonight, there’s a lot more to lose than a pub.

We Anchor in Hope was commissioned by Chris Sonnex as part of the Royal Court Theatre’s Beyond the Court project. Originally performed script-in-hand it is a fictional piece inspired by interviews and drinking sessions Anna Jordan carried out in and around Pimlico

Playwright Anna Jordan comments, This play is very special to me for various reasons. I started the interviews in July 2016. It was two months after my mother had died and I was very raw. Three months later we were performing the play in a pub in Pimlico – script in hand. I almost didn’t do it, but I’m so glad I did. It saved me, in many ways. I’ll never forget those few months and the kindness and light brought to me by many people. And the play – so much about memory and love and loss – is a tribute to my mum. I think she would have liked it. I bloody hope she would.

The Bunker’s Artistic Director Chris Sonnex says, This play is rooted in my soul. I grew up in a council estate in Pimlico and spent childhood and teenage years running around pubs; absorbing the culture, playing too many games of pool and spending one pound coins to hear the new “Now That’s What I Call Music!” album on the jukebox. Pubs created a community and provided theatre for me before I even knew what both were, and that led me to commission Anna to write this play when I was working with The Royal Court community programme in Pimlico. I’m happy that I get to represent that important part of my life on stage with all the joy, rage, love, heartbreak and sarcastic mocking that has shaped part of who I am.