Author: FairyPoweredProductions

HIDDEN HISTORIES

The Royal Geographical Society (with IBG) presents Mary-Ann Ochota with her presentation: Hidden Histories: A spotter’s Guide to the British Landscape, at Central Hall, Dolphin Centre, Darlington on Saturday 11 February.

Join TV presenter and archaeology writer Mary-Ann Ochota on a journey through Britain’s historic landscape. What clues should you look for to puzzle out the origins of a village, or the age of a hedgerow? What are the secrets hidden in tumuli, chambered tombs and churchyards?

Drawing on her new book, Hidden Histories, this talk will be packed with clues and examples of what to look for and where to go to decipher the story of the landscape around us. A must for all landscape detectives! Mary-Ann Ochota is a broadcaster and anthropologist whose work has taken her across the world, including into the Chernobyl exclusion zone, the Algerian Sahara, across Australia’s Simpson Desert, and to the slums of Dhaka and Delhi. She writes regularly for Geographical, The Great Outdoors and The Telegraph.

She has presented programmes such as Time Team and Unreported World. Her new book, published in October 2016 and entitled Hidden Histories: A Spotter’s Guide to the British Landscape, will be the subject of her talk.

Mary-Ann Ochota comes to Central Hall, Dolphin Centre, Darlington on Saturday 11 February at 7.30pm.

Tickets* £12, Discounts £11, RGS/IBG members £10

To book contact the Box Office on 01325 486 555 or visit www.darlingtoncivic.co.uk

*Includes £1 restoration levy

TOURING CONSORTIUM THEATRE COMPANY PRESENTS

A BIRMINGHAM REPERTORY THEATRE COMPANY PRODUCTION

FULL CASTING ANNOUNCED FOR

ANITA AND ME

BY MEERA SYAL

ADAPTED BY TANIKA GUPTA

DIRECTED BY ROXANA SILBERT

TOURING THE UK IN SPRING 2017

SHOBNA GULATI TO STAR AS ‘DALJIT’

The Touring Consortium Theatre Company and Birmingham Repertory Theatre are pleased to announce that Shobna Gulati (Coronation Street, Dinner Ladies) will star as ‘Daljit’ in the new tour of ANITA AND ME, opening at the Wolverhampton Grand on 14 February 2017, and touring the UK until April. Adapted by multi award-winning Tanika Gupta from the book by Meera Syal, directed by Roxana Silbert, with original music by the Ringham Brothers, ANITA AND ME will play Wolverhampton, Cheltenham, Blackpool, Nottingham, Bradford and Edinburgh.

Joining Shobna on stage will be Laura Aramayo as ‘Anita’, Sam Cole as ‘Sam Lowbridge’, Therese Collins as ‘Mrs Worrall’, Rina Fatania as ‘Namina’, Rebekah Hinds as ‘Mrs Ormerod / Deidre’, Sejal Keshwala as ‘Aunty Shaila / Fortune Teller’, Megan McCormick as ‘Tracey / Sandy’, Robert Mountford as ‘Shyam’, Tom Oakley as ‘Ned / Bazza’, Humera Syed as ‘Pinky’, Aasiya Shah as ‘Meena’, Aaron Virdee as ‘Uncle Amman / Mr Bhatra’, and Claire Worboys as ‘Mrs Lowbridge’.

The professional company will perform alongside eight actors drawn from the local community, with auditions taking place in individual venues. Lighting design is by Chahine Yavroyan, sound Design by Ben and Max Ringham, original choreography by Ann Yee, Set and costume design is by Bob Bailey.

This poignant coming-of-age tale follows Meena, a young girl growing up in the only Punjabi family in a 1970s Black Country mining village. Meena spends her days happily getting into scrapes with the other local children until one day the impossibly cool Anita enters her life.

Suddenly Meena knows exactly who she wants to be but is Anita all that she seems? Soon Meena’s world is turned upside down as she is caught between two very different cultures.

Anita And Me paints a comic, poignant, compassionate and colourful portrait of village life in the era of flares, power cuts, glam rock, decimalisation and Ted Heath.

Meera Syal said, “I’m delighted that Anita and Me is touring the UK. It is amazing to think of so many people engaging in this story – particularly young people, who like me as a child, may be wondering how they fit in!”

Critical praise for the original production at the Birmingham Repertory Theatre in 2015:

★★★★”Hilarious” The Independent

★★★★ “Very funny” Birmingham Mail

“Entertaining” The Times

“Uplifting, humorous and poignant, Anita And Me is a beautifully staged production” BroadwayWorld.com

“This show has a sizeable heart” The Stage

“Impressive” British Theatre Guide

Created by producer Jenny King, The Touring Consortium Theatre Company celebrated their 20th anniversary in 2016, producing both highly successful tours of A Tale of Two Cities and Of Mice and Men.

Jenny King said, “The company was created in 1996 in response to a need expressed by chief executives of several of the UKs leading touring venues for quality text based drama that reached out to new, young audiences as well as sustaining the interest of core theatre goers. Since its creation we have produced over twenty five productions and played to over a million people, involving some 25,000 young people in our workshops and creative learning programmes.”

In 2012 TCTC were awarded over one million pounds from the ACE Strategic Touring Fund (one of the largest grants given) to support a programme of productions to be presented on tour over two and half years, with the specific aim of reaching out to new audiences. These included a world premiere production of To Sir with Love, directed by Mark Babych, adapted by Ayub Khan Din, with Matthew Kelly; a new production of Brassed Off directed by Damian Cruden with John McArdle; a world premiere production of Regeneration adapted from Pat Barker’s Booker nominated novel by Nicholas Wright, directed by Simon Godwin with Stephen Boxer; A View from the Bridge directed by Stephen Unwin with Michael Brandon and Jonathan Guy Lewis; a world premiere production of Aldous Huxley’s Brave New World, adapted by Dawn King, with original music from These New Puritans, directed by James Dacre with Sophie Ward, a tour of Of Mice and Men featuring Dudley Sutton, and most recently a tour of A Tale of Two Cities, also directed by James Dacre.

On the back of the success of the initial programme of work the company have again been awarded a substantial grant from the ACE Strategic Touring fund to extend their programming until 2018 with four further productions planned and further Audience development projects. TCTC continues to form links with literacy projects around the country, as each production has an affiliated writing project run from its resources website THEATRECLOUD.

Follow us:

Twitter – #anitaandme

Facebook: /TouringConsortium

/TheatreCloud

 

UK tour dates 2016

Tuesday 14 – Saturday 18 February WOLVERHAMPTON GRAND

Tuesday 28 February – Saturday 4 March CHELTENHAM EVERYMAN

Tuesday 7 – Saturday 11 March BLACKPOOL GRAND

Tuesday 14 – Saturday 18 March THEATRE ROYAL NOTTINGHAM

Tuesday 21 – Saturday 24 March ALHAMBRA THEATRE BRADFORD

Tuesday 28 March – Saturday 1 April KINGS THEATRE EDINBURGH

EVERYMAN THEATRE CHELTENHAM APPOINT AWARDWINNING INDEPENDENT PRODUCER MARK GOUCHER AS CHIEF EXECUTIVE

The Board of The Everyman Theatre Cheltenham have today announced that they are appointing Mark Goucher as their Chief Executive. Goucher (50), who will continue to run his independent production company alongside his duties at the theatre, is an established independent West End and Touring producer of 25 years’ standing. He is on the Board of The Society of London Theatres and The League of Independent Theatre Producers.

Goucher takes up his appointment on 31st March taking over the reins of the theatre’s leadership from Geoffrey Rowe, who is stepping down after ten highly successful years building up the theatre’s artistic reputation and financial strength.

This appointment is seen by some as a radical move by the theatre’s Board of Directors, signalling its move towards more co-productions with other managements and national companies, as well as an ambition to begin plays in the theatre prior to transferring them to the West End. In this regard Goucher follows the likes of Danny Moar, of Theatre Royal Bath, and Peter Wilson at the Norwich Theatre Royal, who continue to run independent production companies combined with their jobs of running a regional theatre.

The theatre will continue its strong programme of studio work, community and education work, as well as its support to the local companies with which it works. Goucher acknowledges the support of Arts Council England and Cheltenham Borough Council and will continue to strive to deliver excellence to fulfil the theatre’s obligations to these stakeholders.

Clive Thomas Chairman of the Board said: “The trustees and directors of the Everyman are terrifically excited at this important appointment of Mark Goucher as chief executive, building on the considerable achievements of Geoffrey Rowe and helping us to move this already excellent regional theatre to a new level with even more national prominence for the quality of its work and contribution to the region and community it serves.”

Mark Goucher said: “Cheltenham is the only theatre I have ever had an interest in running. Gloucestershire is my adopted County and is where I call home. I will embrace this challenge to work with the staff and trustees to continue to present high quality and diverse work for the whole of Gloucestershire. I am fully committed to the subsidised work here both in the community and the studio but would like to see the theatre extend its influence both regionally and nationally. I have a strong artistic vision and will want us to work with high profile directors and writers to deliver a programme of exciting work. I will continue to run my own producing company and hope that my existing relations ships with other producers and theatres will propel The Cheltenham Everyman into the Premier division of regional theatres.”

Madalena Alberto, one of West End’s top leading ladies, is performing at Brasserie Zédel on the 23rd February, 7pm. A unique intimate evening where she’ll perform songs from shows that have marked her career – including EVITA, LES MISERÁBLES and PIAF – as well as a personal take on some of her favourite pop songs and her own compositions. The stage will be nourished with eclectic sounds and and guest musicians.

She will be accompanied by the extraordinary Miquel Tejada on piano, winner of Best Musical Theatre Director award in Spain, for RENT.

They will be joined by Australian bass player Ashley de Neef – an in-demand bassist in the jazz scene who’s performed with some of the world’s finest jazz musicians (including trumpeter James Morrison) – and by the versatile Scottish percussionist Ian Cape, who currently holds the percussion seat at LES MISERÁBLES in the West End.

The evening will also count on two very special appearances: one of the world’s top guitarists John Themis, who has had Top Ten and Number One success performing, producing, arranging and writing for Boy George, Cat Stevens, Kylie Minogue, Elton John, George Michael, Rod Stewart, Dolly Parton and many more… And the actress Maddy Hill, best known for her role of Nancy Carter in ‘East Enders’ and the lead role in the Shakespeare’s Globe’s latest production of ‘Imogen’.

This will be a musical evening set apart from the others, filled with diversity and Madalena’s distinctive take on famous and unexpected songs.

‘Alberto is indeed a star.’ Georgina Brown, The Mail on Sunday

‘Madalena Alberto is simply superb.’ Dominic Maxwell, The Times.

Tickets at £18 on sale at
https://www.brasseriezedel.com/live-at-zedel/madalena-alberto

www.madalenaalberto.com

The White Bear Theatre 17 January – 4 February.  Reviewed by Claire Roderick

If you’re looking for an evening full of laughs and humanity, get down to The White Bear and see Out There On Fried Meat Ridge Rd. JD (Keith Stevenson) lives and works in a tatty motel run by Flip (Michael Wade) – who likes to know where you’re from so that he can direct his racist comments appropriately. After breaking up with his girlfriend and losing his job in the spork factory, Mitchell (Robert Maloney) answers JD’s ad for a roommate and his initial horror at realising he’d be sleeping in the same room as JD is compounded when he meets his neighbours. As well as Flip bursting into the room spouting (very funny) bile, meth head Marlene (Melanie Gray) and New Jersey thug Tommy (Dan Hildebrand) keep storming in in various states of hysteria and rage. So far, so Jerry Springer. But these stereotypical veneers hide more interesting depths. Marlene is an artist and Tommy is a poet. The fantastic cast are all completely believable, and the production has the feel of an American Father Ted. The set is ludicrously realistic with damp patches, rubbish on the floor, piles of clothes on the bed – and an inescapable smell of tuna in the later stages of the play.

The surreal and farcical plot develops the characters in the short running time and reveals the close family that exists in the motel without getting schmaltzy. JD at first appears to be a few sandwiches short of a picnic – he believes his mother’s story about his father being Jesus – but his sweet and simple philosophy of kindness and neighbourliness is infectious, and the realisation that the other characters need him and respect him, rather than take advantage of him, comes quickly. There is a huge warmth and love for these frankly insane characters, and the laughs come thick and fast. There’s even a hostage situation, which JD tries to resolve through the medium of dance. I cried with laughter. And the final reveal is just brilliant. It is just what you are hoping for after falling a little bit in love with the cuddly JD. Everyone needs a neighbour like him.

Just brilliant.

Tristan Bates Theatre 17 January – 11 February.  Reviewed by Claire Roderick

Set in a shabby London theatre during the second world war, The Doppel Gang is a charming and atmospheric play. After most of the acts on his bill walk out, theatre manager Lombard struggles on, with double act Doppler and Burke and unconvincing male impersonator Rachel struggling to entertain the dwindling audience. When they happen upon Marx Brothers material, the gang decide to put on a Marx Brothers show, split the money and run.

The set (built by the cast!) is almost another character, with a moveable proscenium arch, doorway and assorted props being wheeled around the creaky wooden floor to shift the audience’s perspective from backstage to auditorium, and the sympathetic lighting creating a sepia toned atmosphere. The set changes could have become tedious, but the jaunty music and movement of the cast as they reposition objects fits right in with the tone of the play. My only gripe is that some of Cyril’s lines get lost when he is performing and we are watching from “backstage”, but that might be my old ears not coping with such speedy delivery.

The first act feels a little like Dad’s Army meets The Producers, with Spivvy Lombard struggling with debts, repairs and having to compere the show – brilliantly inept lines that make you cringe. There’s a taste of the dreadful music hall acts as we get to know snippets about the conscription-dodging and debt-ridden men. The sense of transition, in theatre and world events, is explored with bittersweet whimsy. Director Terence Mann keeps the pace leisurely, trusting writer Dominic Hedges’ fine script and the fantastic cast to draw the audience into this world. The contrast with the second act – mostly taken up by the performance of their Marx Brothers act – works effortlessly, with madcap energy taking over the stage as the cast revel in rapid fire lines and slapstick comedy, interspersed with quieter backstage moments developing the personal stories of the characters.

Jordan Moore is amazing as Cyril/Groucho – capturing the rhythms and presence of Groucho without going over the top. Peter Stone’s Harpo is adorable, Rachel Hartley is wonderful as the strong but loving Rachel, keeping the character sympathetic when it could have got a bit shrew-like. Jake Urry is hysterical as Lombard, and a revelation as Chico. This is truly an ensemble piece, and the cast bounce off each other with an infectious energy and feel for the period.

The Doppel Gang is a wonderful play, unashamedly nostalgic and very, very funny. Well worth a look.

Brockley Jack Studio Theatre 17 January – 4 February.  Reviewed by Claire Roderick

Holding The Man is a beautiful and heart-breaking love story about the relationship between Timothy Conigrave and John Caleo. Based on Conigrave’s book, written for Caleo after his death, Tommy Murphy’s play manages to put the audience through the emotional wringer without losing the uniquely Australian humour.

Tim takes us through his memories of John, from their first sweet flirtation in geography class, university and life together until John’s death. We see their families’ reactions to their relationship, their tentative first steps into gay nightlife, and the effects of HIV. Theatrical Tim – who eventually gets into NIDA (resulting in a brilliant mickey take of drama classes) obviously loves John, but is constantly searching for excitement and new experiences. His sexual adventures are handled uncompromisingly, with Tim narrating each scene with an unapologetic but self-aware matter-of-factness. There are times when you want to scream at John to dump this idiot, but then the next memory portrayed demonstrates the love between the two men and all is forgiven. Christopher Hunter as Tim and Paul-Emile Forman as John are just gorgeous. Forman exudes so much strength through little smiles and looks, and dominates the stage, even when standing silently, while Hunter manages to keep Tim frustratingly likeable, even when he is being a total arse, and his grief and guilt is devastatingly believable in the latter part of the play.

Maria Jane Lynch, Dickon Farmar, Emma Zadow and Sam Goodchild play the characters from Tim’s memories, using minimal costume changes (apart from the club scene – fab-u-lous) and props to great effect. Goodchild’s turn as Juliet’s mother had the audience in stitches before he’d even opened his mouth. The ensemble provides a colourful and engaging world for the story to develop.

The second act, with AIDS related illnesses and John’s eventual death, is necessarily slower paced and darker, but there are still many moments of absurd and gallows humour. The unflinching reality of their illness is constantly present, with medical statistics and diagnoses being thrown at Tim by doctors, but this never strays into preachy or docudrama territory.

Holding The Man is a fantastic piece of theatre, director Sebastian Palka has created a sympathetic and stunning representation of Tim’s memories, and the stellar cast bring a lump to your throat and tears to your eyes. Go and see it. Take tissues.

LUCY PARHAM PRESENTS

RÊVERIE: THE LIFE AND LOVES OF CLAUDE DEBUSSY

SCRIPTED BY LUCY PARHAM AT RICHMOND THEATRE

FRIDAY 17 FEBRUARY

 

Lucy Parham and Simon Russel Beale will take to the stage at Richmond Theatre for one night only onFebruary 17 to perform Rêverie: The Life and Loves of Claude Debussy scripted by Parham. Reverie evokes Debussy’s complex emotional life through a personal and revealing journal, illustrated by a sequence of his most famous and atmospheric solo piano works.  Simon Russell Beale, described as ‘the greatest stage actor of his generation’ by The Independent, will narrate, as one of Britain’s finest pianists and former BBC Young Musician of the Year winner, Lucy Parham is the solo pianist.

Join us for an exclusive on stage Q&A with Lucy Parham and Simon Russell Beale following the performance.

Celebrated actors who have collaborated with Lucy Parham in composer portraits include Juliet Stevenson, Harriet Walter, Simon Russell Beale, Simon Callow, Jane Asher, Jeremy Irons, Roger Allam, Henry Goodman, Dominic West, Alistair McGowan,  Patricia Hodge, Niamh Cusack, Rosamund Pike,  Tim McInnerny, Edward Fox, Robert Glenister, Greg Wise, Samuel West, Alex Jennings, Martin Jarvis, Timothy West, Charles Dance and Miranda Richardson.

“Lucy Parham’s trailblazing evening concerts in which she fuses music and words with the help of some of our most distinguished thespians, have become one of the must-see events on the musical calendar.” – 5 stars from BBC Music Magazine.

 

Lucy Parham has performed throughout the UK and Europe, South Africa, USA, Canada and Russia. As a concerto soloist with leading orchestras, she has appeared in the UK with the London Philharmonic, Philharmonia, Royal Philharmonic, BBC Philharmonic, RTE, Ulster, BBC Concert, Royal Liverpool Philharmonic, London Mozart Players, City of London Sinfonia, Hallé and Royal Scottish National Orchestra, and abroad with the Russian State Symphony Orchestra at the Tchaikovsky Hall and Great Hall in Moscow, Bergen Philharmonic, L’Orchestre National de Lille, L’Orchestre Rencontres Suisse, and on three tours with the Sofia Philharmonic and the Polish National Radio Symphony Orchestra. In 2002 she joined the BBC Concert Orchestra and conductor Barry Wordsworth on a six-week 50th Anniversary tour of the USA and she has toured the UK, Mexico and Turkey with the Royal Philharmonic Orchestra with whom she has now given over sixty concerts. Parhams composer portrait shows include Beloved Clara, Liszt – An Odyssey of Love, Nocturne – The Romantic Life of Frédéric Chopin, Rêverie – the life and loves of Claude Debussy and Elegie – Rachmaninoff A Heart in Exile.

Simon Russell Beale is an English actor, author and music historian. Beale has been described by The Independent as “the greatest stage actor of his generation.” Beale first came to the attention of theatre-goers in the late 1980s with a series of lauded comic performances, that were on occasion extremely camp, in such plays as The Man of Mode by George Etherege and Restoration by Edward Bond at the Royal Shakespeare Company (RSC). He broadened his range in the early 1990s with moving performances as Konstantin in Chekhov’s The Seagull, as Oswald in Ibsen’s Ghosts, Ferdinand in The Duchess of Malfi and as Edgar in King Lear. At the first annual Ian Charleson Awards in January 1991, he received a special commendation for his 1990 performances of Konstantin in The Seagull, Thersites in Troilus and Cressida, and Edward II in Edward II, all at the RSC. He has appeared in Persuasion, The Young Visiters, Dunkirk, The Deep Blue Sea and as Falstaff in the BBC made-for-television films Henry IV, Part I and Part II. He was part of the main cast of Showtime’s Penny Dreadful.

Richmond Theatre is one of the most beautiful of all the Frank Matcham theatres. Built in 1899 as the Theatre Royal and Opera House and refurbished in 1991, it is now operated and managed by The Ambassador Theatre Group Ltd, renowned for its productions and highly successful management and ownership of theatre venues throughout the country. Established as one of the most successful theatres in the country, presenting a wide range of quality drama, record breaking musicals, opera, dance and family entertainment each year, Richmond Theatre welcomes a quarter of a million theatregoers to over 40 outstanding productions annually, performing for about 49 weeks in each year. We also attract up to 400 young people to education events, workshops and summer school activities each year. Tours of our historic building, the auditorium and stage area are available to the general public (and offered free of charge to Friends and Members). Richmond Theatre acts as a venue for local arts organisations and charities to meet, perform and enjoy the theatre.

Richmond Theatre

Listings

Little Green, Richmond TW9 1QJ

Friday 17 Feb 2017 at 7.30pm

Tickets: £24.90 – £34.90*

In person at the Box Office:  £22.00 – £32.00*

Online: ATGTICKETS.COM/Richmond*                    Box Office: 08448717651*

*Fees apply. Calls cost up to 7p per min, plus your phone company’s access charge.

Starring Debbie Chazen (Topsy-Turvy, Smoking Room, Psychoville), Sophie-Louise Dann (Bend It Like Beckham, Made in Dagenham, Lend me a Tenor in the West End), Michele Dotrice (Nell Gwynn, The Importance of Being Earnest and When We Are Married in the West End and BBC1’s Some Mothers Do ‘Ave ‘Em), Claire Machin (My Fair Lady, Mary Poppins, Betty Blue Eyes and Memphis), Claire Moore (Miss Saigon, The Phantom of the Opera, Les Miserables and London Road) and Olivier Award-winner Joanna Riding (Carousel, My Fair Lady).

THE GIRLS is based on the inspiring true story about a group of ladies who decide to appear nude for a Women’s Institute calendar in order to raise funds to buy a settee for their local hospital, in memory of one of their husbands – they have to date raised almost £5million for Bloodwise. Directed by Tim Firth, with musical staging by Lizzi Gee, comedy staging by Jos Houben, design by Robert Jones, lighting design by Tim Lutkin, sound design by Terry Jardine and Nick Lidster and musical direction and orchestrations by Richard Beadle, the musical comedy shows life in their Yorkshire village, how it happened, the effect on husbands, sons and daughters, and how a group of ordinary ladies achieved something extraordinary.

THE GIRLS is produced by David Pugh & Dafydd Rogers and The Shubert Organization.