Author: FairyPoweredProductions

• NEW IMPROBABLE SHOW – LOST WITHOUT WORDS – ANNOUNCED IN 2017 NATIONAL THEATRE SEASON

• IMPRO FOR ELDERS IMPROVISATION WORKSHOPS FOR THE OVER 60S AT THE COCKPIT THEATRE IN DOUBLE BILL WITH LIFEGAME

• DEVOTED & DISGRUNTLED 12 TO TAKE PLACE IN BRISTOL, JANUARY 2017

Improbable today announces three new projects: a theatrical show – Lost Without Words; a participation project – Impro For Elders; and a move to Bristol for Devoted and Disgruntled 12.

LOST WITHOUT WORDS – Dorfman Theatre, 4 – 18 March 2017

A co-production between Improbable and the National Theatre.

Improbable’s directors Lee and Phelim have been improvising on stage all their adult lives.  Then one day they had a fantasy: what would happen if they took older actors in their 70s and 80s, actors who had spent their lives on stage bringing life to a writer’s words, actors who – now they are old – appear in our theatres less and less; what would happen if they put those actors on stage without a script? What scenes would they create? What stories would they unfold? What might they tell us about what awaits us all at the other end of life?

We are about to find out. Lost Without Words – a theatrical experiment.

Improbable’s Artistic Directors Phelim McDermott and Lee Simpson will co-direct with Colin Grenfell as Lighting Designer and music by Steven Edis.

IMPRO FOR ELDERS & LIFEGAME – Cockpit Theatre, 30 November & 1 December 2016

IMPRO FOR ELDERS: The wisdom of making it up as you go along.
Improbable will be working with a group of older people local to Church Street, Westminster, to create a brand new performance. This show will be presented in a double bill with Improbable’sLifegame.

Keith Johnstone’s LIFEGAME: Part chat show, part impro show.
Improbable have been performing Lifegame around the world since 1998.  A member of the public is interviewed on stage about their life. The stories they tell are dramatized by a company of improvisers. A different guest every show, a different show every night. Instantaneous theatrical biography. In this special version of Lifegame, a member of the Impro For Elders group (also a resident of the Church Street area) will be the guest. What are the stories that only a Church Street local could tell? Join us to find out.

DEVOTED & DISGRUNTLED 12 – Passenger Shed at Brunel’s Old Station, Bristol 14 – 16 January 2017

Improbable’s 12th annual Devoted & Disgruntled event gets under way in January 2017, in partnership with Theatre Bristol.

At a time of economic and social uncertainty, it’s more important than ever for the UK’s theatre and arts community to unite around the issues that really matter, share concerns, and work together to strengthen the creative community. D&D is an opportunity for arts people at every point in their careers, from audiences to artists, CEOs to FOH staff, grassroots groups to seasoned professionals, to come together and focus on the question WHAT ARE WE GOING TO DO ABOUT THEATRE AND THE PERFORMING ARTS?

The biggest ever D&D – For its 12th annual event, Devoted & Disgruntled heads to the magnificent Passenger Shed at Bristol Temple Meads, providing space for more people than ever before to come together and get to grips with the issues that really matter to the UK arts community.

Why Bristol? – 2015’s event in Birmingham – the first annual D&D outside London – was a sell-out success, with 300 people generating almost 100 reports over the weekend. Bristol, as a creative hub with a thriving theatre community and an embedded Open Space practice, seemed the natural next location for this national event. D&D 12 is being hosted in partnership with Theatre Bristol, the city’s unique network of theatre producers and organisations, and is also supported by Tobacco Factory Theatres.

IT’S BACK IN THE WEST END AND SEXIER THAN EVER!

DIRTY DANCING – THE CLASSIC STORY ON STAGE

RETURNS TO LONDON THIS CHRISTMAS

FOR THIRTY PERFORMANCES ONLY

 

OPENING AT THE PHOENIX THEATRE

6 – 31 DECEMBER

 

Producers Karl Sydow and Paul Elliott are delighted to announce that the new UK production of Dirty Dancing – The Classic Story On Stage, currently wowing audiences around the country on its UK tour, will play a season in the West End this Christmas, mambo-ing into the Phoenix Theatre for thirty performances only from 6 – 31 December 2016.

 

Starring Lewis Griffiths as ‘Johnny Castle’, Katie Hartland as ‘Baby Houseman’ and Carlie Milner as ‘Penny Johnson’, the UK tour has taken over £5.5million pounds since it hit the road in August.

The classic story of Baby and Johnny, featuring the hit songs ‘Hungry Eyes’, ‘Hey! Baby’, ‘Do You Love Me?’ and the heart stopping ‘(I’ve Had) The Time Of My Life’, returns to the UK, following two blockbuster West End runs, two hit UK tours, and various sensational international productions.

 

Full of passion and romance, heart-pounding music and sensationally sexy dancing, the record-breaking show has been reconceived in an all new production created by an innovative new creative team; directed by Federico Bellone, choreographed by Gillian Bruce and with design re-imagined by top Italian set designer Roberto Comotti. The production premiered in Milan in July 2015, subsequently packing out the 15,000 seat Roman Arena in Verona, and then played a season in Rome.

 

Lewis Griffiths has had a prolific career in musical theatre, most recently starring as ‘Nick Massi’ on the UK tour of Jersey Boys. Other roles in UK tours include Ghost and Legally Blonde, and West End credits include Priscilla Queen of the Desert,Rent and Whistle Down the Wind.

 

Katie Hartland has made her professional musical theatre debut carrying the watermelons as she takes on the role of ‘Baby Houseman’, having graduated from the Royal Central School of Speech and Drama in 2015.

 

Carlie Milner is part of the Dirty Dancing family; starting as a member of the ensemble in 2014, she covered and subsequently took over the role of ‘Penny’ in 2015.

 

The rest of the company are: Simone Craddock as ‘Marjorie Houseman’, Roger Martin ‘as Max Kellerman’, Jo Servi as ‘Tito Suarez’, Lizzie Ottley as ‘Lisa Houseman’, Michael Kent as ‘Billy Kostecki’, Greg Fossard as ‘Neil Kellerman’, Tony Stansfieldas ‘Mr Schumacher’, and Daniela Pobega as ‘Elizabeth’, and Camilla Rowland as ‘Vivian’. Also joining the company areGabby Antrobus, Simon Campbell, Robert Colvin, Michael Cookson,  Katie Eccles, Beth Highsted, Matthew James Hinchliff, Samuel John Humphreys, Megan Louch, Ashley Rumble, Callum Sterling, Austin Wilks and Karl James Wilson, who is the Alternate ‘Johnny Castle’.

 

It’s the summer of 1963, and 17 year- old Frances ‘Baby’ Houseman is about to learn some major lessons in life as well as a thing or two about dancing. On holiday in New York’s Catskill Mountains with her older sister and parents, she shows little interest in the resort activities, and instead discovers her own entertainment when she stumbles across an all-night dance party at the staff quarters. Mesmerised by the raunchy dance moves and the pounding rhythms, Baby can’t wait to be part of the scene, especially when she catches sight of Johnny Castle the resort dance instructor. Her life is about to change forever as she is thrown in at the deep end as Johnny’s leading lady both on-stage and off, and two fiercely independent young spirits from different worlds come together in what will be the most challenging and triumphant summer of their lives.

 

Full tour dates at www.dirtydancingontour.com

 

LISTINGS INFORMATION

VENUE: PHOENIX THEATRE, CHARING CROSS ROAD, LONDON, WC2H 0JP

DATES: Tuesday 6 – Saturday 31 December 2016

GENERAL PERFORMANCE SCHEDULE: Tuesday – Thursday @ 7.30pm, Friday 5.30pm & 8.30pm, Saturday 2.30pm & 7.30pm (no show on Saturday 24 December)

CHRISTMAS & NYE SCHEDULE: Monday 26 December 7.30pm, Friday 30 December 5.30 & 8.30pm, Saturday 31 December 3.00pm

TICKETS £15 – £67.50 (£95 premiums)

BOOKING: 0844 871 7629 / www.atgtickets.com/phoenix

Undress Rehearsal

It’s a dirty job but someone’s got to do it…Vicky Edwards gets hot and bothered as she sits in on rehearsals for the brand new tour of The Full Monty

As I enter the building in North London that is housing rehearsals for The Full Monty I swear I can smell the testosterone from the bottom of three flights of stairs. Making my way to the top floor I enter an almost exclusively man’s world, where I am promptly (and warmly) greeted by some of our best and buffest actors. Accompanied to a seat by ex-EastEnders hottie Jack Ryder – who it transpires is also an accomplished director – I happily acknowledge that, as Monday mornings go, this middle-aged woman has had far, far worse.

But all joking (and drooling) aside, the stage version of The Full Monty is a joy. Adapted from his own smash-hit movie, writer Simon Beaufoy (The Hunger Games: Catching Fire, Salmon Fishing in Yemen, 127 Hours and Slumdog Millionaire) has somehow managed to retain all the warmth and charm of the film, while overcoming the obvious setting difficulties that the stage production throws up. Already sold out at several dates, some venues have added in additional performances to keep pace with demand.

“We sold out the last time we toured the show and it looks like we’re going to do the same again,” says Gary Lucy (EastEnders, The Bill, Footballers’ Wives and She’s Gone), still managing to look gorgeous while shovelling down lunchtime chicken and spuds in the canteen.

And having done four previous tours of the show (bagging the UK Theatre Award for Best Touring Production along the way), Gary knows what to expect.

“The audiences love it because it’s got a bit of everything; laughs, a few tears and of course the story of the journey these guys go on. At the end, even the guys who have been dragged along to see it by their wives or girlfriends are on their feet. It’s testimony to Simon’s brilliant writing.”

The story of six out-of-work Sheffield steelworkers who, with nothing left to lose but face, decide to put on a male strip show, the movie became one of the most successful British films ever made. Sadly, parts of the story still resonate today.

“Just look at the recent news of companies like BHS,” observes Andrew Dunn, who plays Gerald.

Far dishier in the flesh than he is as Tony in Dinnerladies, Andrew is sitting with the play’s other ‘more mature’ gent; Louis Emerick who plays ‘Horse.’

“Audiences leave the theatre happy and smiling, which is bizarre given the subject matter, but Simon has created something very joyful. It’s great to hear how much they have enjoyed themselves,” Louis tells me, tactfully ignoring my look of gormless adoration (be still my beating heart – it might be fifteen years since he last appeared as Brookside hunk Mick Johnson, but he’s still just as fit!).

All agreeing that the combination of gallows humour, pathos and camaraderie gives the play broad appeal, ‘the boys’ also reckon that, although it is predominately women who book the tickets, this is actually very much a man’s show.

“A lot of the themes are very relevant to men,” points out Anthony Lewis (playing ‘Lomper’ and most recently on our screens as Marc Reynolds in Emmerdale). “Body weight issues, blokes toying with their sexuality, suicide, the lengths people will go to for their kids – it’s all in there.”

Playing Guy, Chris Fountain (formerly Justin Burton in Hollyoaks and Tommy Duckworth in Coronation Street) chips in: “As soon as I got the part I watched the film again and I was reminded just how good it is.”

Pushing his knife and fork together he grins and adds: “I’m also a Yorkshireman myself so it’s nice to be able to talk in my own accent!”

Best known for his portrayals of Rhys in Torchwood and as Pete in Hollyoaks, Kai Owen who plays Dave says that anyone hoping that the play is faithful to the film can rest assured.

“This really is the film on stage. It’s got all the laughs and all the emotions. You feel for the characters as you tell their stories, but these boys are down to earth and have that fantastic laugh-in-the-face-of-adversity Northern humour. They are absolutely skint and they’re losing their jobs and their self-esteem, yet there is still massive warmth; they’re still having a laugh and dreaming up schemes, and they are there for each other.”

Ah, but as actors are they all there for each other when it comes to the bit in rehearsals when they have to get their kit off for the first time? Andrew recalls the moment on the previous tour with a broad smile.

“Finally the day came and we tipped everyone out of the rehearsal room, covered the windows and locked the door. But after that it was fine. You just get on with it. There’s a lot more to the show than stripping.”

As for life on tour, the boys are all upbeat. Being away from family might make them heart sore, but they relish the opportunities for sightseeing and getting to know the towns and cities they visit.

“I walk for Britain and Louis sleeps for Britain,” laughs Andrew, “but we do all get out and about to explore.”

The tour, which runs until April 2017, includes dates at some of the country’s finest theatres, including the Grand in Leeds. One member of the cast who is particularly chuffed about this date is Anthony.

“I filmed Emmerdale close by so I have lots of friends there and I’m also a massive Leeds supporter, so I’m very happy to see the Grand Theatre on the schedule,” he says, a broad beam spreading across his handsome face.

It has been a fascinating morning but, alas, it’s time for me to bid these lovely lads farewell.

Out in the much-needed fresh air it occurs to me that The Full Monty isn’t exclusively a man’s or a woman’s play. Touching, inspiring and resonating with anyone whose self-esteem has ever taken a walloping, it is simply the perfect prescription for anyone who wants to leave the theatre with their heart warmed, their joy unleashed and their faith in humanity restored. That the leading actors just happen to be drop-dead gorgeous sweethearts is just a happy bonus…

THE FULL MONTY IN LEEDS THIS AUTUMN

STARRING GARY LUCY, ANTHONY LEWIS, ANDREW DUNN, LOUIS EMERICK,

CHRIS FOUNTAIN AND KAI OWEN

Simon Beaufoy’s THE FULL MONTY, which won the UK Theatre Award for Best Touring Production, comes to Leeds Grand Theatre from November 28th to December 3rd.

The cast will be led by Gary Lucy (Danny Pennant in EastEnders, DS Will Fletcher in The Bill, Kyle Pascoe in Footballer’s Wives, Luke Morgan in Hollyoaks, winner of Dancing on Ice) as Gaz, along with Anthony Lewis (Emmerdale, The Syndicate) as Lomper, Andrew Dunn (best known as Tony in Dinnerladies and for his regular appearances playing Alastair Campbell on Bremner, Bird and Fortune) as Gerald, Louis Emerick (Mick Johnson in Brookside and PC Walsh in Last of the Summer Wine) as Horse, Chris Fountain (best known for his roles as Justin Burton in Hollyoaks and Tommy Duckworth in Coronation Street, runner-up of Dancing on Ice) as Guy and Kai Owen (best known for his portrayal of Rhys in Torchwood and recently played Pete in Hollyoaks) as Dave.

In 1997, a British film about six out-of-work Sheffield steelworkers with nothing to lose, took the world by storm becoming one of the most successful British films ever made. The story still resonates today, probably more so now than ever.

Simon Beaufoy, the Oscar- and BAFTA-winning writer of the film, has adapted his own screenplay for this hilarious and heartfelt stage production, which features the iconic songs from the film by Donna Summer, Hot Chocolate and Tom Jones.

The Full Monty is at Leeds Grand Theatre from Monday 28th November to Saturday 3rd December

Tickets are on sale now priced from £11 to £35.50

Book online at leedsgrandtheatre.com or call box office on 0844 848 2700

What are you most looking forward to about being in Million Dollar Quartet?

I’m looking to the music. I’m looking forward to the character, playing Sam Phillips. It’s quite dialogue-heavy and story-driven, so it’s quite a challenge for my memory. But I’m looking forward to telling a story and playing something different than what I’ve done in the past.

What’s your favourite thing about performing on stage?

The audience, always the audience. And the fact that you never quite know how a performance is going to go and each performance is different – it’s the chemistry between the actors. It’s exciting. It gets your adrenaline going.

What do you think the biggest challenge will be?

Well definitely being on top of the words and the dialogue and the character each night, because it’s meaty in its dialogue and I’m really the driving force of the story. That requires a lot of concentration!

What have you/will you be doing to get into character?

Spending many hours on my own, wandering around the streets of London, learning lines. And, you know, looking up clips of Sam Phillips and just getting a sense of the person, working on the American accent, and just finding within the dialogue the character.

What 3 words would you use to describe Sam Phillips?

Smart, passionate, and he’s someone who’s willing to accept and look at the bigger picture

The show is all about four rock n roll icons – what’s your favourite song in the show?

I Walk The Line – Johnny Cash’s classic.

What else can audiences look forward to about the show?

I just think it’s going to be a great piece of entertainment. I think for those people who don’t know that era in music, it’s very uplifting. The 50’s were a massive change in America and throughout the world, and I think I’m just looking forward to the interaction with the songs and the story.

On December 4th 1956, one man brought Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley to play together for the first – and only – time.

His name was Sam Phillips; the place was Sun Records and that night they made rock ‘n’ roll history.

Million Dollar Quartet became the name for the impromptu jam session between the four greats of rock ‘n’ roll when an album of the previously unheard recording was released in 1981.

Now, based on the true story of that night, Million Dollar Quartet is a Tony Award-winning Broadway musical and West End hit and is on its first ever UK tour hitting Leeds Grand Theatre from Monday 7th to Saturday 12th November this year.

At the time of the recording Elvis Presley is already a star – albeit now with RCA records, Phillips having sold him for $35,000 – Johnny Cash has had a host of hits with Sun Records/Sam Phillips, Carl Perkins has had success with his song Blue Suede Shoes and Jerry Lee Lewis is an unknown; though not for much longer.

Set in a single room studio, Million Dollar Quartet is narrated by Sam Phillips, played by Jason Donovan. He switches from speaking directly to the audience, giving them the history of Sun Records and its signings, to the heart of the play, exchanging stories and witticisms with the quartet of rock ‘n’ roll stars and then steps back completely allowing Elvis, Carl, Johnny and Jerry to perform.

The show is backed by a score of rock hits including Blue Suede Shoes, Hound Dog, I Walk The Line and Great Balls of Fire all played and sung live by the cast.

Elvis, Carl, Johnny and Jerry brought to life not only through the actors’ singing, musical talent and embodiment of each well-known character, but through its script written by Colin Escott and Floyd Mutrux.

“You’d be forgiven for thinking that there is only one person who can play the piano like Jerry Lee Lewis – and that’s Jerry Lee Lewis,” The Grand’s PR Manager, Faye Dawson, says. “Well it turns out there are two; Martin Kaye is out of this world.”

Martin Kaye played the role of Jerry Lee Lewis on the first North American tour of Million Dollar Quartet which, after a year and a half, led him to open the Las Vegas Production at Harrah’s. Martin has received countless accolades and the award for Best Actor by Vegas Seven Magazine.

Robbie Durham performs as Johnny Cash. His stage credits include Sunny Afternoon (Harold Pinter Theatre); Dreamboats and Petticoats (West End & UK tour); Kiss Me, Kate (Upstairs at the Gatehouse).

Ross William Wild joins the cast as Elvis Presley. Recent roles include Norman in Dreamboats and Miniskirts (UK Tour), Michael in The Witches of Eastwick (The Watermill Theatre), Jason in the European Premiere of BARE (Union Theatre and Greenwich Theatre in London) and Kenickie in Grease (National tour).

Matt Wycliffe appears as Carl Perkins. Stage credits include Outspan Foster in The Commitments (Palace Theatre) Bob Guadio in Jersey Boys (Prince Edward Theatre, WhatsOnStage Award nomination), Buddy in The Buddy Holly Story (Duchess Theatre).

Katie Ray is Dyanne. Her stage credits include Beauty in Beauty and the Beast (Central Theatre Chatham), Wendy in Peter Pan (Grand Canal Theatre, Dublin and Mayflower Theatre, Southampton), Truly Scrumptious in Chitty Chitty Bang Bang (UK Tour), Liesl in The Sound of Music (Royal Palladium).

“Each of the cast is superb, giving performances that blow you away,” continues Faye. “The show is a wonderful insight into one night in rock ‘n’ roll history and all its players; If you like rock ‘n’ roll and its roots, Million Dollar Quartet is most definitely for you.”

Million Dollar Quartet is at Leeds Grand Theatre from Monday 7th to Saturday 12th November

Tickets are on sale now priced from £19.50 to £38

Book online at leedsgrandtheatre.com or call box office on 0844 848 2700

 

DARREN DAY OFFERS GOOD LUCK AND CONGRATULATIONS AT ALHAMBRA THEATRE’S OPEN AUDITIONS

Peter Pan – Alhambra Theatre, Bradford

Saturday 17 December 2016 – Sunday 29 January 2017

*Tickets: £39 – £15.50 (*inclusive of booking fees)

Call the Box Office on 01274 432000 or visit bradford-theatres.co.uk

On Sunday 9 October Qdos Entertainment, the producers of this year’s swashbuckling pantomime adventure Peter Pan, held open auditions to find a team of four boys to play the roles of ‘John’ and ‘Michael’.

When the doors of the Alhambra Theatre, Bradford opened at 10am there was a large queue of excited young boys all waiting for their chance to audition to be part of Yorkshire’s biggest and funniest professional pantomime.

Qdos Entertainment had to choose only four boys and the standard of those auditioning was very high. However after a very busy morning a decision was made and we are delighted to announce that Will Collier from Rothwell and Theo Francis from Embsay will be taking on the role of ‘John’ and William Campbell from Cullingworth and Leo McDonnell from Horsforth will be taking on the role of ‘Michael.’ There is also a reserve team of boys who were chosen on the day: Morgan Bass from Bingley; John Hudson from Guiseley; Dylan Miles-Davis from Idle; and Frazer Lee from Leeds.

Michael Harrison, Managing Director of Qdos Entertainment’s Pantomime division said:

“We’re absolutely delighted to be welcoming these four talented local boys to the cast of Peter Pan and to have them performing alongside the professional cast. Pantomime is a great first taste of theatre for so many children and for these four the experience will most certainly be extra special!”

Darren Day, who will be playing Captain Hook in Peter Pan, joined the auditions to offer good luck to those taking part. He offered a warm welcome to the boys who will join the cast alongside Yorkshire’s best-loved comedian and panto performer Billy Pearce, soap-star Charlie Hardwick and pop and musical theatre sensation Jon Lee.

Peter Pan will be staged by Qdos Entertainment, the world’s largest pantomime producer, and the company behind the theatre’s record-breaking productions each year. Peter Pan will feature the Alhambra Theatre’s hallmark of outstanding entertainment for theatregoers of all ages. With amazing 3D effects, a barrel-full of comedy and a very hungry crocodile, Peter Pan is the ideal festive treat for everyone!

“The spectacular special effects…were worthy of any West End show” Telegraph & Argus (Jack & The Beanstalk, 2015/2016)

Royal & Derngate Northampton outlines a five year vision

• Planning under way by the venue to launch a New Secondary School in Northampton specialising in the cultural and creative industries 
• Royal & Derngate is invited to share its highly successful business model for the Errol Flynn Filmhouse with Daventry District Council 
• The theatre has gathered a consortium of partners to commission and support new music-theatre

Sunday 9 October 2016 – At an event held to celebrate the decade since the reopening of Royal & Derngate, Martin Sutherland, Chief Executive, announced three ambitious new initiatives that will shape the future of Royal & Derngate and the cultural development of Northamptonshire.

Martin Sutherland said: “Royal & Derngate finds itself at an exciting crossroads today. The skills acquired and lessons learned, as we head towards hard won sustainability, will continue to be shared within our community and beyond. We are now seeking conversations, debate and discussion with partners who can influence our vision for cultural education, the creative industries, music-theatre and film exhibition in our County and beyond.” 

Ten years on from the £15 million development that brought the Royal Theatre and the Derngate centre under one roof, the management and staff today celebrated with friends, supporters and patrons the many eye-catching successes from the past decade. The expansion of the venue’s core operations, which includes developing and managing a brand new arts centre, The Core at Corby Cube, since 2011 and developing and managing the hugely successful on-site cinema, the Errol Flynn Filmhouse, since 2013, along with annual local audiences now exceeding 300,000, have contributed to making the organisation more resilient and sustainable, able to play a leading role in the development of Northamptonshire.

Having welcomed 2.6 million audience members over the last ten years and delivered a local economic impact of more than £213 million, Royal & Derngate can count among its successes being named as Regional Theatre of the Year in the inaugural Stage Awards in 2011 (the theatres were shortlisted again in 2015 for the same award).  Recent years have seen the theatre present the world premiere of Arthur Miller’s The Hook and transfer itsYoung America season to the National Theatre and End of the Rainbow to the West End and Broadway. Over 1.1 million people have seen Royal & Derngate’s Made in Northampton productions either at the venue or on tours across the country, and its continued success led to the theatre winning the UK Theatre Management Award for Best Presentation of Touring Theatre in 2015. Its work with children, young people, emerging artists and community groups is perhaps less visible, but the theatre remains hugely proud of reaching more than 225,000 participants through its creative learning activity over the last decade.

A New School for Northampton, developed by Royal & Derngate and Balance
Royal & Derngate today announced that, along with creative digital agency Balance, it is exploring the idea of developing a new secondary school for Northampton, placing cultural and creative learning at its heart. Sharing the values of Royal & Derngate and Balance, the new school will encourage creativity, ambition, collaboration and inclusion.

This new school initiative directly responds to the cultural sector’s concerns that arts education is increasingly being marginalised within secondary schools across England despite the sector being amongst the fastest growing in the UK economy. As the cultural and creative industries sector wrestles with this challenge, Royal & Derngate and Balance believe that a new school for Northampton could be one very positive solution. As well as ensuring that creative learning is integral to the curriculum, the new school will address a very real need locally, responding to the projected levels of population growth and the need for new school places as identified by Northamptonshire County Council.

Over the next three months, Royal & Derngate and Balance will be hosting a series of events and conversations that are intended to shape the vision for the new school. Anyone interested in joining this conversation is encouraged to visit www.new-school-northampton.co.uk in the first instance.

Support for the project will also be sought from New Schools Network, a charity that works with groups that want to set up new schools.

Sarah Pearson, Director New Schools Network, said: “Groups like Royal & Derngate, which are so embedded in their communities, are well positioned to bring teachers, existing schools and other experts together to create schools that really meet the needs of local children. I’m very excited about their initial ideas to drive greater access to the arts for all and look forward to seeing their application to the NSN Development Programme so that we can hopefully support their project in the coming months.” 

Martin Sutherland, Chief Executive of Royal & Derngate, added: “In order to start shaping a truly radical education and creative learning programme we need to seek the support of educators, thinkers, artists, young people and parents who can help us develop our vision regarding creative learning in Northampton. Together we can realise the potential that will be unlocked by opening a new cultural and creative industries school in Northampton.”

Neil Webb, Director of Balance Design (UK) Limited, said: “Balance has long recognised the challenges faced by the cultural and creative industries, in recruiting and developing future talent, alongside the significant global opportunities for both business and young people in the sector. We are delighted to be partnering with Royal & Derngate to help shape a vision for an innovative new school in Northampton that can create a cultural learning ecosystem that will inspire and prepare young people for the 21st century digital economy.”

Creative learning is already firmly embedded in Royal & Derngate’s ethos, with over 21,500 people engaging with its wide-ranging Get Involved participatory programme last year, though projects in schools, within the community and at the theatre.

A new filmhouse proposed for Daventry – developed and operated by Royal & Derngate
Building on from the success of the theatre’s cinema, the Errol Flynn Filmhouse, Royal & Derngate is working with Daventry District Council and its development partner Henry Boot Developments Ltd to devise plans which will see the inclusion of a cinema in the proposed redevelopment of Daventry Town Centre.

Opened nearly three years ago by Royal & Derngate on a site adjacent to Derngate auditorium, the 88-seat Errol Flynn Filmhouse has welcomed over 121,000 audience members so far. With a loyal following established, work has just started on building a second screen for the venue.

As nearby Daventry’s population is set to almost double by 2021, Daventry District Council is working in partnership with a range of organisations to deliver its Town Centre Vision, a regeneration programme aimed at improving the town’s amenities and economic and social vitality. As part of these ambitious plans to create a sustainable, thriving town for its residents, there is the potential for the inclusion of a cinema.

Royal & Derngate will lead a consultation process to establish what the people of Daventry would like to see in their cinema. Plans for the cinema will be developed in response to this consultation and the needs of the local community, but there is the expectation that the new filmhouse could include up to three screens, showing a mix of mainstream and independent films as well as live screenings of opera, ballet and theatre productions. If the project goes ahead it is anticipated that the cinema would be developed and operated by Royal & Derngate as tenants of Daventry District Council.

Martin Sutherland commented: “It is very exciting to be part of these plans, helping to shape the cultural development of Daventry Town Centre over the next few years. Our knowledge and expertise, gained in the successful establishment of the Errol Flynn Filmhouse, will help deliver a filmhouse that Daventry can be proud of.”

Councillor Colin Poole, Daventry District Council’s Economic, Regeneration Employment Portfolio Holder said: “These discussions between Royal & Derngate and Henry Boot, albeit at a very early stage, are encouraging.

The potential of such a scheme would provide a good fit for Daventry and the additional leisure and cultural offer that we are keen see in our town. An independent, high quality and accessible leisure experience would also complement the centre’s character of small and independent businesses.

In this ever-changing economic climate, commercial viability is key for all parties and we look forward to these initial discussions being brought to a successful fruition.”

Royal & Derngate takes a new approach to music-theatre
Building upon the Royal’s early history as an opera house, the Derngate’s regional reputation as a concert hall and Northampton’s rich musical history, Artistic Director James Dacre described how Royal & Derngate has gathered a consortium of partners – including Scottish Opera, Musical Theatre Network, Perfect Pitch, Improbable, China Plate and Underbelly – to commission, develop and support new music-theatre, ranging from opera to musicals, which it expects to present over the coming years in a festival format, in Northampton and at major UK and international festivals.

The theatre is working with Studio Three Sixty (who launched the Roundabout space which won The Stage Awards “Theatre Building of the Year” in 2015) who are developing a new portable theatre venue called The Mix, which will provide a magical and architecturally striking performance space for this series of commissions. Designed specifically with live music in mind, The Mix can be transformed into different layouts, with flexible auditorium seating for between 200 and 400 people.

As the distinctions between opera, musical theatre and plays with music are increasingly blurring, the consortium plans to commission work from a diverse range of writers and composers working across different genres, from the emerging to the established and from local to international, providing a dynamic platform for new music-theatre.

Royal & Derngate Artistic Director James Dacre explained: “For a long time we have felt that the scale and demands of new musicals and operas exclude theatres and organisations like ours, which lack the finances and resources to realise them. So we are interested in a new model for creating music-theatre that can liberate writers, composers and creators from the barriers they’ve previously faced in originating new work and still be audience-friendly, locally relevant, collaborative and deeply imaginative.

We want to demonstrate that new musical work in all its variations can be enjoyable, accessible, contemporary and exciting in celebrating the power of the sung word. In short, we are interested in developing what it means to sing stories.”

Studio Three Sixty directors Lucy Osborne and Emma Chapman added: “With The Mix we aim to create a venue that is capable of touring anywhere without compromising high artistic standards and the quality of the audience experience. Every element of the venue, from the state-of-the-art audio equipment, to the seating and exterior walls, has been carefully designed to give a unique, exciting and comfortable venue that is all about the creation of new work.”

Royal & Derngate looks forward to speaking to artists, venues, audiences and funders who can help support this unique new initiative.

York Theatre Royal – 7 October 2016.  Reviewed by Marcus Richardson

Underneath A Magical Moon by Tutti Frutti is a children’s show, which I as an adult loved. The piece of creative adaptation was retelling the story of Peter Pan, everyone’s favourite boy from Neverland, and Wendy who finds out what growing up means. The small cast of 3 did no means hinder the production but brought funny characterisation that the kids loved.

The trio of actors were all very good at interacting with kids as they came to sit down in the theatre, having chats about teddies, toys and much more. They were all well trained in acting and can easily switch from one character to another. But the musical ability between the three of them was stunning, playing different instruments, like a saxophone, banjo and clarinet; this blew me out of the water and made an amazing show even better.

The set was very resourceful and clever something that I love about creative adaptation, and I feel that they mastered this element, with the “Clockadile” being made out of rakes and plant pots. And the tent being quickly assembled on stage by the cast. It’s left a lot to the imagination of children which makes it so real and personal to them, which make them more interested and engaged, and you could tell as they were mesmerised by the show, not fidgeting in seats it was a dream for teachers and parents alike.

The actress who played Wendy (Grace Lancaster) stood out for me with her amazing singing voice and acting with other characters, like Peter Pan and Captain Hook. Hook was a rapping pirate (Chris Draper) not to be messed with, and Peter Pan (Jack Brett) was a child without rules. Under the direction of Wendy Harris and the writing skill of Mike Kenny they ensured a great play.

You can see this show, you don’t have to have kids. And it’s at York theatre Royal until the 22nd of October then it tours internationally after the 31st of October.

The Courtyard Theatre 4 – 29 October.  Reviewed by Claire Roderick

The myths of Persephone and Eurydice are re-imagined in Maud Dromgoole’s new play, Acorn.

My knowledge of Greek myths generally extends to watching Clash of the Titans and Troy, but my friends told me to expect something about fruit and a snake. Thankfully Dromgoole has written characters that are thoroughly modern and recognisable, and the mythical element is a subtle background. Confidently directed by Tatty Hennessy, Acorn is full of humour, both acerbic and sweet, and it will definitely make you think twice about the stories you tell your daughters.

Persephone is a junior doctor, exhausted, abrasive and lonely. She has strict rules about her interactions with patients and has set scripts and voice tones to use when speaking to the sick, who generally annoy her – although she quite enjoys palliative care, understanding the dying better than the rest of humanity. Deli Segal, in NHS scrubs and bearing her clipboard like armour is fantastically spiky as Persephone, making the most of the almost Asperger like comments about other people and their strange emotions, and ensuring that her underlying vulnerability is never forgotten.

Eurydice is preparing for her wedding – an informal occasion in the woods, with no interference from her parents. Her relationship with her parents is strained, and she appears naive and almost childlike, equating her life story with that of Snow White, and chasing her happy ever after. Lucy Pickles, in Grecian style wedding dress, has the showier role, portraying a child, teenager and adult with equal conviction and credibility, and a wonderfully natural and expressive performance.

The characters tell their stories through monologues, interspersed with consultations where Eurydice portrays Persephone’s patients – all frustrating the doctor with their idiosyncrasies, but all providing strands to enhance the women’s stories: The River Lethe, the wicked stepmother’s mirror…

The shared monologues, delivered with impeccable timing and chemistry, are brilliantly written and very, very funny. The biggest laugh out loud moments are the places where you really shouldn’t be laughing – the death of Persephone’s mother, and Eurydice being bitten by a venomous snake. A third story is told through audio, with Trevor Fox giving Luke MacGregor his words of wisdom about becoming a woodcutter. This strand seems incongruous at first, but as the play progresses and it becomes clear what is going on, its inclusion adds a devastating emotional impact to the final moments of the play. Dromgoole brings the stories together cleverly creating a tender but shocking ending. These aren’t wispy Greek nymphs, these are smart, funny, well-crafted characters that you actually care about, even in the play’s short running time.

The design is simple and effective, focussing the attention on the actors, and the projected images of Snow White, Disney, musicals and children’s TV while Eurydice dances is a lovely touch, showing that her expectation of finding, and being saved by, her own Prince Charming is perfectly understandable when you think about the media messages bombarding young girls today.

My only quibble is that Acorn isn’t long enough – I could have spent hours in the company of such beguiling characters and enchanting storytelling.