




LENNON’S BANJO
Tue 24 April – Sat 5 May 2018
Tickets from £16
We are watching you…
Metro Radio Arena, Newcastle – Saturday 1st December 2018
Jeff Wayne’s Musical Version of The War of The Worlds – Alive on Stage returns to UK arenas next year to celebrate its 40th ANNIVERSARY, at the Newcastle Metro Radio Arena on Saturday 1st December 2018.
Conducted by Jeff Wayne, with the 9-piece Black Smoke Band and 36-piece ULLAdubULLA Strings, the most ambitious production yet will ‘break through the fourth wall’ to bring the action closer to the audience for a most captivating and immersive experience.
The show, which is mixed live in Surround Sound, will also feature Liam Neeson in 3D holography, the incredible 3-tonne 35-foot tall Martian Fighting Machine firing real flames, the incineration of a cast member in full view of the audience, and a ground-breaking levitation effect! Full cast to be announced soon!
Nearly 40 years on, Jeff Wayne’s double album has grown into a true classic, and has sold over 15 million records worldwide, with two International hit singles – ‘Forever Autumn’ and ‘The Eve of The War’, spending over 330 weeks in the UK album charts. It has also won two prestigious UK Ivor Novello Awards, the US Best Recording in Science Fiction and Fantasy, and for Jeff, Classic Rock’s ‘Showman of The Year’ Award.
DON’T MISS your chance to experience this spectacular Arena production and join the 40 YEAR celebrations!
Jeff Wayne said: “In June 1978 my original double album was released. I had no idea if it would vanish as quickly as one can say… “ULLAdubULLA!” But here I am today, soon to be celebrating its
40th Anniversary throughout 2018, culminating in what I believe will be the most exciting arena tour we’ve ever performed. No one would have believed…
Tickets will go on sale Friday 24th November 2017 and are available online, from the booking hotline number 0844 493 6666 or in person from the Metro Radio Arena Box Office. Please note venue facility and booking fees will apply.
Tickets are available from:-
A BRAND NEW PRODUCTION OF THE FEEL- GOOD MUSICAL FEATURING CLIFF RICHARD’S CLASSIC HITS
WILL TOUR THE UK IN 2018/19
Based on the iconic 1960’s film starring Cliff Richard and The Shadows this brand new stage musical includes all of the number one hits from the movie, plus some additional Cliff Richard classics. The famous red double-decker bus with make its first stop at the Liverpool Empire on 8 May 2018 before touring the UK.
Summer Holiday tells the story of Don and his fellow London Transport mechanics as they journey together in a red double-decker bus through Paris, the Alps, Italy and Greece. Along the way they pick up a girl singing group and a young American pop star who is on the run from her domineering mother!
This hit – filled musical features many of 1960’s biggest songs including In the Country, Summer Holiday, Travellin’ Light, Bachelor Boy, Move It, Living Doll, The Young Ones and On the Beach.
Tickets for Summer Holiday are on sale now. Star casting to be announced.
SUMMER HOLIDAY
Stage Adaptation by Michael Gyngell and Mark Haddigan
Based on the film SUMMER HOLIDAY, Directed by Peter Yates
Screenplay by Ronald Cass and Peter Myers
By special arrangement with StudioCanal
Orchestrations by Keith Strachan
Presented by arrangement with
Music Theatre International (Europe) Limited
On behalf of Josef Weinberger Limited
Executive Producer
David King
Director and Choreographer
Racky Plews
SUMMER HOLIDAY – 2018 UK TOUR DATES
Tuesday 8 – Saturday 12 May Box Office: 0844 871 3017
Liverpool Empire Website: www.atgtickets.com/liverpool
Tuesday 15 – Saturday 19 May Box Office: 0844 871 7652
Milton Keynes Theatre Website: www.atgticket.com/miltonkeynes
Tuesday 22 – Saturday 26 May Box Office: 0844 871 7645
New Victoria Theatre, Woking Website: www.atgtickets.com/woking
Tuesday 29 May – Saturday 2 June Box Office: 01904 623568
York Theatre Royal Website: www.yorktheatreroyal.co.uk
Tuesday 5 – Saturday 9 June Box Office: 020 3285 6000
Churchill Theatre, Bromley Website: www.churchilltheatre.co.uk
Tuesday 12 – Saturday 16 June Box Office: 0844 871 3011
New Alexandra Theatre, Birmingham Website: www.atgtickets.com/birmingham
Tuesday 19 – Saturday 23 June Box Office: 0844 871 3014
Edinburgh Playhouse Website: www.atgtickets.com/edinburgh
Tuesday 26 – Saturday 30 June Box Office: 01752 267222
Theatre Royal, Plymouth Website: www.theatreroyal.com
Tuesday 17 – Saturday 21 July Box Office: 0844 871 7650
Theatre Royal, Brighton Website: www.atgtickets.com/brighton
Tuesday 24 – Saturday 28 July Box Office: 0844 856 1111 ON SALE SOON
Blackpool Winter Gardens Website: www.wintergardensblackpool.co.uk
Tuesday 30 July – Saturday 4 August Box Office: 0844 848 2700
Leeds Grand Theatre Website:www.leedsgrandtheatre.com
Tuesday 22 – Saturday 27 August Box Office: 01702 351135
Cliffs Pavilion, Southend Website: www.southendtheatres.org.uk
Tuesday 4 – Saturday 8 September Box Office: 01322 220000 ON SALE SOON
Orchard Theatre, Dartford Website: www.orchardtheatre.co.uk
Tuesday 11 – Saturday 15 September Box Office: 01244 409113 ON SALE SOON
Chester Storyhouse Website: www.storyhouse.com
Tuesday 18 – Saturday 22 September Box Office: 0844 871 7646 ON SALE SOON
New Wimbledon Theatre Website: www.atgticket.com/wimbledon
Tuesday 25 – Saturday 29 September Box Office: 01325 405405 ON SALE SOON
Darlington Hippodrome Website: www.darlingtonhippodrome.co.uk
Tuesday 2 – Saturday 6 October Box Office: 0844 871 7649 ON SALE SOON
Regent Theatre, Stoke Website: www.atgtickets.com/stoke
Tuesday 23 – Saturday 27 October Box Office: 0844 871 7607 ON SALE SOON
Aylesbury Waterside Theatre Website www.atgtickets.com/aylesbury
Tuesday 30 October – Saturday 3 November Box Office: 0844 871 7647 ON SALE SOON
Kings Theatre, Glasgow Website: www.atgtickets.com/glasgow
FURTHER DATES FOR 2018 AND 2019 TO BE ANNOUNCED SOON
Lyric Theatre, The Lowry, Manchester – 18th November 2017. Reviewed by Julie Noller
5*****
This was my first taste of Opera, it was also the matinee performance from The Little Greats selection of short operas by England’s national opera company in the north – Opera North. It was refreshing to see so many young faces in the audience, all delighting in taking in the sight of the orchestra warming up. Conducted by Martin Andre the sounds were delightful to listen to. At only 45 minutes long with no interval, it’s the perfect introduction for those young faces and indeed myself.
Having read the synopsis before arriving at the theatre and noting that L’Enfant et les Sortileges was a tale firstly written by Colette over 100 years ago as The Great War was bringing Europe to its knees. I simply wasn’t expecting upon curtain up to be met by cast in bright colours attempting to take a selfie, it could be said that boys will be boys no matter what year this is. Although Revel had not added his musical touches until 1924, If you are to dig deeply into the emotions, you could say there are parables of Europe being destroyed, of deep mistrust, hatred. Yet it must’ve been so refreshing in 1925 at that first Monte Carlo performance to watch a child learning to trust himself and care of others once again. I wonder did they view the child as Europe at war or simply a child? This is where my puzzlement comes in, is this simply the story of a child quite like my own stamping their feet at the thought of more homework, throwing a temper tantrum leading to total mental exhaustion and dreams of the animals and people around them all of whom have been hurt. We must praise the voices the exceptional singing all in French – impressive, even more impressive was my ability to recognise words after all these years. Thank You equally to The Lowry for the two screens either side of the stage with Engish translations on them for those of us slow with French to English – although my enjoyment of the opera was not entirely dependent on this, it did enhance it.
The Child (Wallis Giunta) is present throughout the entire performance, you see him angry, defiant, scared and finally accepting of his life and of those lives around him. It was a very brave decision to wear a blue football kit in Manchester, but no one complained. Our other characters each took on multiple roles, each connected. Ann Taylor we saw as The Childs Mother ‘Maman’, the childs favourite chinese cup as he desperatly tried to piece it back together and also as the squirrel, injured and hurt with the child wanting to ease the pain. Fflur Wyn had made me giggle when she first appeared in a pink velour tracksuit, smoking a cigarette, Vicky Pollard anyone? She represented both the fire and the princess who the child lost due to his inability to protect her. Quirijin de Lang played out the dance of the frisky Tom cat well, ignoring the child as insignificant. Typical Cat, basically is what any cat owner would say, we are but mere servants to their demands. I do believe the biggest laughs came from both children and adults alike, albeit for different reasons – when John Graham-Hall appeared as Tea Pot, in his words black and shiny. To children he looked silly holding the lid with his spout, well that’s where the adults laughed at the extremely phallic placement. We all understood the child’s depression upon arithmetic appearing and firing those hard sums at him, how is he expected to know these things, why should he? The Child manages to learn a valuable life lesson at the end, don’t destroy those closest to you, for you will need them. He calls out for his Mother and after helping the injured squirrel the animals of the forest see the goodness in him and help him to reach her.
Would I go to another matinee performance at The Lowry? Absolutely. Would I watch another operatic performance? Yes certainly, I liked the way I felt puzzled, questioned. Did I need to think too deeply into history and time or is The Child just another child questioning us parents as children will continue to do. I guess as with all art, interpretation is down to the individual and I look forward to hearing what you thought when you see L’Enfant et les Sontileges. To those who don’t watch opera because its confusing or just for posh people, then I challenge you to let go of your poor judgements. These shorts are perfect at just 45 minutes long, slightly longer than a soap opera (note the name). I enjoyed this challenge today and who knows maybe I’ll see you at the next performance.
Jack Studio Theatre – until 2 December. Reviewed by Claire Roderick
4****
The Importance of Being Earnest is familiar material to lots of theatre goers, so seeing a new production can sometimes feel like visiting an old friend. Not much has been changed in this production, except for the addition of some musical numbers to bookend acts and scenes by a ukulele playing butler (Daniel Desiano-Plummer – who also does some pokerfaced scene stealing silent background nonsense). Dan Gillingwater’s naïve monochrome set, dominated by a giant version of Earnest’s calling card, also serves to highlight the cartoonish obsession with style and status of the characters, but apart from that, Sarah Redmond directs a traditional version of the play that allows Oscar Wilde’s scathing wit and satire to shine.
The first act, where Algie (Daniel Hall) and Earnest/John (Riley Jones) share their deceits involving imaginary brother Earnest and invalid friend Bunbury that allow them to escape their responsibilities is always slow to build, but Hall is delightfully foppish, and Jones is full of bristling energy as he changes from lovesick suitor to exasperation as things hurtle out of his control. As Lady Bracknell, Harriet Earle isn’t quite imposing enough for my tastes, she wisely underplays the handbag line, but doesn’t seem to get into full flow until the second act. It is Sophie Mercell as Gwendolen and Emily-Rose Clarkson as Cecily who dominate this production as the objects of the gentlemen’s affections. Mercell gives Gwendolen a terrifying self-assuredness, and Clarkson excels in physical comedy, adding extra girlish glee to Cecily’s words. Their performances in the scene where they first meet, and they go from polite social manners to fierce animosity as they realise that they are both engaged to Earnest are hysterical. Rounding off the cast are Scott Barclay as a suitably bumbling as Dr Chasuble, and Kate Sandison as a spiky Miss Prism.
Whilst the satire may be dated, certain issues still ring true today, and the playfulness, humour and cleverness of Wilde’s writing mean that this play is always worth revisiting. An excellent and assured production of a wonderful comedy. Well worth a look.
Lion and Unicorn Theatre – until 29 November. Reviewed by Claire Roderick
4****
The morning after a one-night stand can be excruciating at the best of times, but at least with humans those awkward conversations are (hopefully) two-way streets. So, watching Bobby (Linus Karp) attempt to bond with his four-legged friends is painfully funny.
If you’d asked me if I’d warm to a character who was attracted to animals before seeing this play, I’d have scoffed, but Rob Hayes’ script is so sensitive and unsensational, and Maddie Rice’s direction so sympathetic, that poor Bobby’s neediness becomes (almost) understandable. Bestiality is disgusting, but you can’t help but like Bobby – he is just looking for love in all the wrong (VERY WRONG) places.
Working his way through a dog, cat, goat, monkey and bear, Bobby’s reactions in the afterglow are exactly as you’d expect if there was a human in his bed. He plans their future, apologises for any comments that could be misconstrued as sexist (speciesist?) and anthropomorphises their imagined responses. Just as you begin to feel comfortable, a stark reminder of the species is thrown in – eliciting belly laughs and squirms alike. The scene with the monkey prostitute is especially well written, with Bobby imagining a grooming story for the creature that is in turns hysterical and horrifyingly familiar.
Linus Karp gives Bobby a pathetically defiant edge, and is wonderful in the moments when he thinks he has offended an animal. His body language when making gauche compliments is simply adorable. As Bobby’s past is gradually revealed, Karp becomes more and more fragile, until the final scene where the laughs dry up and the dark sadness that drives Bobby’s life is portrayed with understated but devastating skill.
Awkward Conversations is a warm and wonderful surprise. I wasn’t expecting to be moved by or empathise with a bloke I wouldn’t trust with my guinea pig, but Bobby’s story is charming, funny and entertaining.
Tori Scott: Vodka is the Reason
for the Season
Live at Zedel, 20 Sherwood Street London W1F 7ED
Monday 18th, 19th & 22nd December 2017
The vocals are legit, the thirst is real, and the stories are tragically, all true.
Tori Scott, named one of Time Out New York’s top 10 Cabaret artists, is coming to London with Vodka is the Reason for the Season. This exciting show recounts her early childhood fascination with Dolly Parton in the movie The Best Little Whorehouse in Texas and her time spent as a singing elf in an old peoples’ home. Tori takes the audience on a festive autobiographical journey to celebrate what is truly special about this time of year.
Both hysterical and heart-warming, Vodka is the Reason for the Season includes songs by Dolly Parton, Madonna, Michael Jackson, and more. The Texas born star is a huge personality; drawing audiences in close, she makes them feel like they are becoming the best of friends.
Tori Scott comments, It was such a thrill to make my UK debut back in July with three nights of packed houses at Zedel’s. The audiences in London were amazing, generous and totally along for the ride – the response exceeded all my expectations and I could not be happier. I’m now very excited to return with my Christmas show and experience London during the festive season.
Stunningly powerful…warm, generous and funny (★★★★Everything Theatre).
Tori is a soul-baring singer and a sharp comedian! This show is for anyone who enjoys great music, dark humour, storytelling and classy cabaret.
Vodka is the Reason for the Season is directed by Seth Sklar-Heyn (Broadway Associate Director: Miss Saigon, Evita and A Little Night Music), with Musical Arrangements and Direction by Jesse Kissel (Broadway: The Visit and Leap of Faith).
Gecko extends the tour of its most ambitious show to date, The Wedding, into spring 2018
www.geckotheatre.com / @GeckoTheatre / Facebook.com/GeckoTheatre1
Ipswich-based physical theatre company Gecko extends the tour of its most ambitious show to date, The Wedding, into spring 2018. The tour includes 8 venues around England: Bristol Old Vic, Watford Palace Theatre, Nottingham Playhouse, Derby Theatre, Cast in Doncaster, Oxford Playhouse, Nuffield in Southampton and Liverpool Playhouse and is one of Gecko’s longest consecutive tours since the company began in 2001.
The Wedding is set in a dystopian world that imagines we are all brides, wedded to society and bound by a contract. Inspired by the complexities of human nature, the show brings these contracts and issues of social cohesion within communities into question. What are the terms of this relationship? And can we consider a divorce?
With the support of the Strategic Touring Funding from Arts Council England Gecko is able to bring an experimental, mid-scale theatre show to the main regional stages around the country and therefore help diversify their programmes, at the same time appealing to and nurturing young and more diverse audiences, inspiring them to be both the artists and audiences of the future.
The Strategic Touring Funding also allowed the company to develop an audience engagement programme that encourages social cohesion between local and migrant/refugee communities through participation as well as increasing audience attendance among these groups at each venue on the tour.
This ambitious outreach programme includes, for example, 3-day training course with one associate artists from each venue (27-29 September 2017), a 2.5-3 residency co-delivered with the associate artists and aimed at young people of migrant or refugee background, free half-day workshop for audiences at each venue and a post-show panel discussion.
Through workshops, residencies, free ticket offer and more, Gecko will actively engage 750 participants around England, some of whom might not be able or inclined to engage in such activity otherwise. This will not only strengthen Gecko’s reputation as an inclusive company with a strong educational status but also foster the development of more diverse audiences around England.
Amit Lahav, Gecko’s Artistic Director said: “For me, The Wedding started as a battle between anger and love. Played out around the complex ideas of belonging, state, exclusion and a longing for community, all set within the excitement and ceremony of marriage!”
“In Spring 2018 we will tour The Wedding to 8 UK venues and there are many reasons why this is particularly exciting tour for us. Most of the venues we’ll be visiting are new to the company, or venues who we have only recently begun a relationship with. This is significant because touring mid-scale devised work is notoriously difficult, more so in the last two years, and for us to have so many new relationships shows a real step change in the national excitement around Gecko’s work. We have also put together a deep reaching participation project around inclusion, exclusion and community, some of the central ideas in the show, which will see the company working in the towns and cities of the touring venues with local young adults, refugees and asylum seekers. It has become increasingly important for me to find ways to engage communities and certainly to try and reach into the more marginalised areas of society. Enriching the tapestry of the shows content, furthering our understanding of some of the questions raised within the show and bringing some of those human beings into the theatre to celebrate our shared journeys, whilst encouraging more empathy within all of us.”
Spring tour 2018:
Bristol Old Vic / 17-20 January / tickets available here.
Watford Palace Theatre / 23-25 January / tickets available here.
Nottingham Playhouse / 1-3 February / tickets available here.
Derby Theatre / 8-10 February / tickets available here.
Liverpool Playhouse / 21-24 February /tickets available here.
Cast in Doncaster / 27 February / tickets available here.
Oxford Playhouse / 1-3 March / tickets available here.
Nuffield Southampton Theatres / 6-9 March / tickets available here.
SIMON RUSSELL BEALE CURATES EVENING INSPIRED BY RAVEL
A B S O L U T E M U S I C : R A V E L
On Monday 20 November 2017 at 8pm Simon Russell Beale, actor, author and music historian, will curate the first of a series of evenings inspired by classic works of chamber music. The first takes audiences on a journey to the Paris that gave birth to Ravel’s String Quartet in F, a city witnessing the dawn of the new industrial age and inspiration to a composer obsessed with factories, machines and mathematical precision. Russell Beale and others will read passages from Proust as well as poetry by the likes of Wordsworth, Auden and Larkin to paint a rich canvas against which the prize-winning Navarra Quartet will perform
Ravel’s exquisite early work. Tickets are £20 and £25.
The cast taking part in the evening includes Adjoa Andoh, Simon Russell Beale and Penelope Wilton.
Future evenings will be inspired by works including Shostakovich’s String Quartet No. 8, Mendelssohn’s Octet and Dvořák’s American Quartet.
Listings Information
Address: The Bridge Theatre, One Tower Bridge, London SE1 2SD
Box Office: 0843 208 1846 or [email protected]
Access: 0333 320 0051 or [email protected]
Website: www.bridgetheatre.co.uk
Twitter: @_bridgetheatre
Instagram: _bridgetheatre
Facebook: facebook.com/bridgetheatrelondon
Howard Panter for Trafalgar Entertainment Group, GWB Entertainment, Promenade Productions, BookMyShow,
TOKYU THEATRE Orb, Tulchin/Bartner and David Lazar in association with KHAM Inc.
proudly present
The Lincoln Center Theater production of
RODGERS & HAMMERSTEIN’S
including Best Musical Revival
“I doubt I’ll see a better production in my lifetime”
Wall Street Journal
Starring
Tony Award Winner
KELLI O’HARA as Anna
Oscar and Tony Award Nominee
KEN WATANABE as The King
Music by RICHARD RODGERS
Book and Lyrics by OSCAR HAMMERSTEIN II
Based Upon the Novel “Anna and the King of Siam” by MARGARET LANDON
Directed by Tony Award Winner BARTLETT SHER
LONDON PALLADIUM
PREVIEWS FROM 21 JUNE 2018
FOR A LIMITED ENGAGEMENT, BOOKING UNTIL 4 AUGUST 2018
TICKETS ON SALE FRIDAY 17 NOVEMBER AT 10AM
The multi Tony Award-winning production of Rodgers & Hammerstein’s THE KING AND I will transfer from Broadway to London next summer following a critically acclaimed 16 month run at New York’s Lincoln Center Theater and an unprecedented continuing record-breaking sold out USA tour.
Opening at the world famous London Palladium in June 2018, the show will star the two original Lincoln Center Theater lead actors: Broadway Musical Royalty Kelli O’Hara, who will reprise her Tony Award-winning role of Anna Leonowens, together with film star, Oscar and Tony nominee (for his role on The King and I) Ken Watanabe, who will star in the title role of The King of Siam. Both will be making their West End debuts, following their acclaimed performances on Broadway.
Acclaimed Tony Award-winning Bartlett Sher will once again direct the production, hot on the heels of his work on The Lincoln Center Theater’s World Premiere of J.T. Rogers’ smash hit play Oslo, which opened on Broadway and then transferred via the National Theatre to London’s Harold Pinter Theatre in October this year to rave reviews. He, along with the celebrated creative team behind the award winning production of South Pacific, will reunite to bring this majestic production to life at the Palladium.
With music by Richard Rodgers, book and lyrics by Oscar Hammerstein II, THE KING AND I – which won four Tony Awards including Best Revival of a Musical – will open its European Premiere at the London Palladium. The production will open 21 June 2018 (Press Night on 3 July 2018) for a limited engagement, booking until 4 August 2018.
One of Rodgers & Hammerstein’s finest works, this masterpiece boasts a score featuring such beloved classics as Getting To Know You, Hello Young Lovers, Shall We Dance, I Have Dreamed, and Something Wonderful. Set in 1860s Bangkok, the musical tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna Leonowens, a British schoolteacher, whom the imperious King brings to Siam to tutor his many wives and children.
WHAT THE US PRESS HAVE SAID ABOUT THE LINCOLN CENTER THEATER BROADWAY PRODUCTION OF THE KING AND I:
“Something wonderful indeed. Breathtaking. Exquisite. Remarkable.”
NEW YORK TIMES
“Five stars. Grand and glorious.”
TIME OUT NEW YORK
“A landmark production and a shot of purest rapture. I never wanted it to end.”
“Too beautiful to miss! An astonishing achievement.”
“Absolutely stunning. Kelli O’Hara is ravishing. Ken Watanabe is powerfully seductive. Chalk up another triumph for Lincoln Center Theater.”
“Magnificent. A sweepingly romantic production. How good to be getting to know the show all over again.”
“Simply divine. You can’t overstate how stunningly beautiful, how achingly well sung this new revival is.”
“This splendid revival emerges as majestic and intimate simultaneously. Grandeur and grace fill each scene and song. O’Hara and Watanabe share warm chemistry.”
“Splendid! This just may be, in fact, the finest staging of a Rodgers and Hammerstein musical in my experience.”
CAST
KELLI O’HARA won the Tony Award for Best Lead Actress in a Musical for her performance in the Lincoln Center Theatre’s production of The King & I. Kelli has also been nominated for Tony Awards for previous Broadway performances in The Light in the Piazza, South Pacific, The Bridges of Madison County, Nice Work if You Can Get It and The Pajama Game. Additional Broadway credits include The Sweet Smell of Success, Follies, Dracula, and Jekyll & Hyde. Off-Broadway: Far From Heaven, King Lear, Bells Are Ringing, My Life With Albertin, Beauty and The Light in the Piazza Film/TV: Sex and the City 2, Scorsese’s The Key to Reserva, Blood Brothers, Alexander Hamilton, Numb3rs and Masters of Sex. Recordings: Her recordings include Always and Wonders of the World on Ghostlight Records. Kelli has most recently completed filming the upcoming motion picture Independents directed by Greg Naughton. Kelli is currently starring in New York City Center’s concert presentation of Brigadoon and is set to star in Roundabout Theatre Company’s Broadway revival of Kiss Me, Kate in 2019.
KEN WATANABE’s Japanese theatre credits include Dialogue with Horowitz, Hamlet, Shitayamannen-cho monogatari, The Lion in Winter, and The Royal Hunt of the Sun. For his work in film, Watanabe received Oscar, Golden Globe and Screen Actors Guild award nominations for The Last Samurai. His film credits also include Inception, Letters from Iwo Jima, Memoirs of a Geisha, Batman Begins, Godzilla, The Sea of Trees, Transformers. He has just completed work on the upcoming films Isle of Dogs, Bel Canto and Godzilla: King of Monsters.
CREATIVE TEAM
BARTLETT SHER won the Tony, Drama Desk, and Outer Critics’ Circle Awards for his direction of the Lincoln Center Theater’s production of Rodgers & Hammerstein’s South Pacific. He most recently directed the world premiere of J.T. Rogers’ play Oslo which opened on Broadway in July 2016 and has since transferred to London. His other theatre credits include; Fiddler On The Roof, Golden Boy, Blood & Gifts, Women on the Verge of a Nervous Breakdown, Joe Turner’s Come and Gone, Awake and Sing!, and The Light in the Piazza. His other Broadway and off-Broadway credits include The Bridges of Madison County, Prayer for My Enemy, The Butterfly Collection, Cymbeline, Waste, Don Juan and Pericles. He directed the operas Il Barbiere di Siviglia, Les Contes d’Hoffmann, Le Comte Ory, L’Elisir d’Amore (Metropolitan Opera); Romeo et Juliette (Salzburg Festival and La Scala); Mourning Becomes Electra (Seattle Opera and New York City Opera); and Two Boys (Met and ENO). He was the Artistic Director of Seattle’s Intiman Theatre and was also a Resident Director of Minneapolis’ Guthrie Theatre.
MICHAEL YEARGAN (Set Designer)
LCT: Golden Boy (Tony nom.), Blood and Gifts, Women on the Verge of a Nervous Breakdown, Joe Turner’s Come and Gone (Tony nom.), South Pacific (Tony, Drama Desk awards; Outer Critics Circle nom.), Edward Albee’s Seascape and The Light in the Piazza (Tony, DD awards). Broadway: The Ritz, Bad Habits, A Lesson from Aloes and The Road to Meca (Roundabout). Also credits Off-Broadway, regional theatre London, ten productions at the Metropolitan Opera and work at major opera companies throughout the United States, Europe and Australia.
CATHERINE ZUBER (Costume Designer )
LCT: The King and I (Tony Award, OCC Award), South Pacific (Tony Award), The Light in the Piazza (Tony Award), Macbeth, Golden Boy (Tony nom.), Edward Albee’s Seascape (Tony nom.). Broadway: Fiddler on the Roof, Gigi, The Royal Family (Tony Award), How To Succeed in Business Without Really Trying, Born Yesterday (Tony nom.), Doubt and The Father. TV: NBC’s The Sound of Music Live! And Peter Pan Live!
DONALD HOLDER (Lighting Designer)
Broadway: Fifty productions, two Tony awards (The Lion King and South Pacific) and eleven Tony nominations. Recent projects include The Cherry Orchard, She Loves Me, Fiddler on the Roof, The Father, On the Twentieth Century, The Bridges of Madison County, Golden Boy, Spiderman: Turn off the Dark, Ragtime, Movin’ Out, Bullets Over Broadway, Thoroughly Modern Millie, The Boy From Oz and many others. Television: SmashSeasons 1 and 2 (NBC- Dreamworks). Education: Yale School of Drama.
SCOTT LEHRER (Sound Designer)
Received the first Tony awarded to sound for the Lincoln Centre Theatre revival of South Pacific directed by Bartlett Sher. Recent Broadway: The Front Page Shuffle Along, Fiddler on the Roof, Dames at Sea, The King and I, Living on Love, Honeymoon in Vegas, A Delicate Balance, Love Letters, A Raisin in the Sun, Betrayal, Lucky Guy, Chaplin (Drama Desk), Death of a Salesman (Tony nom.), the revival of Chicago and over 50 City Centre Encores!. Recording projects include the Broadway cast recording of An American in Paris (Grammy nom), Loudon Wainwright III’s Grammy-winning High Wide and Handsome, Bebe Neuwirth’s Porcelain and Meredith Monk’s Mercy.
CHRISTOPER GATTELLI (Choreographer)
LCT: The King and I (Tony Nom.), South Pacific (Tony, OCC noms.), and Women on the Verge of a Nervous Breakdown. Broadway: Newsies (Tony, Drama Desk, OCC Awards for best choreography), Sunday in the Park with George, Casa Valentina, 13, The Ritz, Martin Short: Fame Becomes Me and High Fidelity. West End:Silence! The Musical, Sunday in the Park with George and Tick Tick… BOOM! Sydney Opera House: My Fair Lady with Julie Andrews. Film: Hail! Caesar. Upcoming: Warpaint, The Spongebob Musical and Frozen on Broadway.
TED SPERLING (Musical Supervisor)
Broadway: Fiddler on the Roof, The King and I, South Pacific, Guys and Dolls, The Light in the Piazza (Tony and Drama Desk Awards), Dirty Rotten Scoundrels, The Full Monty, Titanic (actor), Kiss of the Spider Woman, How to Succeed…, My Favourite Year, Drood, Sunday in the Park with George. Off Broadway: Red Eye of Love, The Other Josh Cohen, Striking 12 and See What I Wanna See (all as director); A Man of No Importance, Satan Returns, A New Brain, Floyd Collins, Romance in Hard Times (as musical director). Artistic Director of MasterVoices, Principal Conductor of Westchester Philharmonic. Creative Director, the 24 hour musicals.
STEPHEN RIDLEY (UK Musical Director)
As Musical Supervisor: Chitty Chitty Bang Bang, Oklahoma!, Annie Get Your Gun and Private Lives (UK Tours).As Musical Director: Seven Brides for Seven Brothers and The Sound of Music (Regent’s Park), Guys and Dolls(Phoenix Theatre), Urinetown (Guest MD, Apollo), Crazy for You (Novello, Oliver Award for Best Musical Revival), Love Story (Duchess Theatre/Minerva Theatre Chichester), Privates on Parade (Associate MD, Noel Coward), The Music Man (Chichester), The A to Z of Mrs P (Southwark Playhouse), Soho Cinders (Soho Theatre), High Society (UK tour), The Secret Garden (WYP), Peter Pan – A Musical Adventure (Birmingham Rep/WYP), The Wizard of Oz (Birmingham Rep/WYP), Mercury Musicals 25th Anniversary Gala (Novello) andThe Wind in the Willows (Regent’s Park). Stephen recently conducted the BBC Concert Orchestra recording the music for BBC Radio 4’s Home Front. Other work includes The Whipping Man (Theatre Royal, Plymouth), Charlie and the Chocolate Factory (Theatre Royal, Drury Lane), A Chorus Line and Wizard of Oz (London Palladium).
LISTINGS INFORMATION
LONDON PALLADIUM
Previews: From 21 June 2018
Press Night: 3 July 2018 at 7pm
Tickets: £15 – £75, Premium Seating available
Box Office: 020 7087 7755
Performances: Monday – Saturday at 7pm, Wednesdays and Saturdays at 2pm and 7pm
Website: KingandIMusical.co.uk
Twitter: @KingandIWestEnd
Facebook: @KingandIWestEnd
Instagram: @KingandIWestEnd