Tickets on sale for Ellie Goulding at Sheffield Arena


 Sheffield Arena

Satruday 12th March 2016 


Ellie Goulding has announced details of a UK Arena tour in March 2016. Goulding will perform in 10 cities, including a Sheffield Arena headline debut on Saturday 12th March.  Ticket go on sale Friday 25th September at 9am.

The tour news comes hot-on-the-heels of the announcement that Goulding will release her third studio album ‘Delirium’ on November 6th on Polydor Records. It has been a whirlwind few years for the singer from Herefordshire. Since the release of her debut ‘Lights’ in 2010, she has sold over 20 million records, had two Number One albums, won two Brit Awards and had Vevo views and streams both in excess of one billion. This year’s ‘Love Me Like You Do’ single, meanwhile, was a worldwide Number One hitting the top spot in 70 countries and breaking the record for the most streamed song in one week. Some artists might be inhibited about where to go after such success but Goulding had no doubts: make everything bigger, better and braver.

Tickets go on sale Friday 25th September at 9am, available online, via the ticket hotline on 0114 256 5656 or in person at the Arena box office.

Tickets purchased online or by phone are priced £38.50 including booking fee.  Tickets purchased in person at the Arena box office are priced £36.75 including booking fee.



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Sheffield Theatres today announce the cast for their forthcoming co-production with Orange Tree Theatre of Deborah Bruce’s The Distance. The regional première of the sharply funny play about friendship and family opens in the Studio Theatre on Thursday 29 October running until Saturday 14 November.  The production will then transfer to Orange Tree Theatre from Thursday 26 November.


Sheffield Theatres’ Associate Director Charlotte Gwinner (Crave, 4:48 Psychosis) directs Michelle Duncan (Grantchester, Call The Midwife, Luther, Atonement) as Bea, with Charlotte Emmerson (From Darkness, DCI Banks, Peak Practice) as Alex.  Returning to the roles they played in the original production of The Distance at the Orange Tree Theatre, Daniel Hawksford (Waking The Dead, Colditz) plays Dewi and Timothy Knightley (The Inbetweeners 2) returns to the role of Simon. Charlotte Lucas (Jamaica Inn, Not Going Out), seen earlier this year on the Crucible stage in David Hare’s The Absence of War, plays Kate, Steven Meo (Drifters, The Slate) plays Vinnie and, in his professional stage debut, Joshua Sinclair-Evans, plays Liam.

I am asking you both, as my oldest, closest friends, to accept the decision I have made. And I am sorry if it’s difficult to accept. I can assure you, it has been difficult to make.

Good friends should be there for one another – no matter what. But when Bea returns home after five years abroad having made a bold choice about her life, old friends struggle to support her. Or even to understand. One night in Brighton, things threaten to slide into chaos…

A sharply funny play about motherhood and fatherhood; about keeping control and letting go.

Tickets for The Distance can be purchased from Sheffield Theatres’ Box Office in-person, by phone on 0114 249 6000 or online at and are priced from £12.00 (Concessions, school and group discounts available).  A transaction fee of £1.50 (£1.00 online) applies to all bookings made at the Box Office (excluding cash).


8fa82305bc7ee045_orgJamie Lloyd to direct the 50th anniversary production of The Homecoming by Harold Pinter

With Keith Allen, Gemma Chan, Ron Cook, Gary Kemp, John Macmillan and John Simm

14 November 2015 – 13 February 2016, Trafalgar Studio 1, London

The Jamie Lloyd Company returns to the West End with Harold Pinter’s enigmatic masterpiece,The Homecoming, in the 50th anniversary year of the multi award-winning modern classic.

Widely regarded as Pinter’s finest play, the dangerous and tantalisingly ambiguous world of The Homecoming is a crackling hotbed of visceral tension. Celebrated as one of the leading interpreters of Pinter’s work, director Jamie Lloyd has assembled an impressive cast in what promises to be a dynamic production.

Starring Keith Allen (Sam), Gemma Chan (Ruth), Ron Cook (Max), Gary Kemp (Teddy), John Macmillan (Joey) and John Simm (Lenny).

Designed by Soutra Gilmour, with lighting design by Richard Howell and sound by George Dennis.

The Homecoming is a unique contemporary masterpiece of the 20th Century. This 50th anniversary production will continue The Jamie Lloyd Company’s reputation for presenting compelling drama that sparks passionate debate.

As with The Jamie Lloyd Company’s previous productions, all tickets for Monday performances will be £15. Half of these will be made available through a special outreach scheme, targeted at schools and first-time theatregoers. The other half will be released monthly to the public on the first day of each month, and will be available online or at the Trafalgar Studios box office.

Jamie Lloyd said: “This is a significant anniversary for this iconic, game-changing play and I couldn’t be more excited to be creating it with this dynamic cast of powerful actors. This production is the first project from our company’s new and ambitious slate of work that I can’t wait to announce over the coming months. I am thrilled to be introducing Pinter’s masterpiece to a new and diverse audience at Trafalgar and, determined as ever to make our productions as accessible as possible, I am looking forward to the return of our popular £15 Mondays.”

When Teddy returns from America to introduce his wife Ruth to his family in London, they discover a claustrophobic and brutal household where his father Max, brothers Lenny and Joey and Uncle Sam live in a state of mutual loathing and festering resentment. Theirs is a motherless, compassionless and lawless home where Ruth immediately becomes the centre of attention. Pinter’s sinister masterpiece simmers with suspense and rings with savage humour as Ruth navigates her way between the roles of predator and prey in an incisive battle of wills.

The Jamie Lloyd Company is a partnership between acclaimed director Jamie Lloyd and Ambassador Theatre Group. Previous productions include Richard III starring Martin Freeman and Gina McKee, East is East featuring Jane Horrocks and Ayub Khan Din (currently on a UK tour with Pauline McLynn), The Ruling Class and Macbeth, both starring James McAvoy, The Hothouse with John Simm and Simon Russell Beale, and The Pride with Hayley Atwell, Mathew Horne, Harry Hadden-Paton and Al Weaver.

Jamie Lloyd has previously directed The Caretaker (Sheffield Crucible and Tricycle), The Loverand The Collection (Harold Pinter Theatre) and The Hothouse (Trafalgar) – all by Harold Pinter. Lloyd’s other theatre credits include The Ruling Class, Richard III, The Pride and Macbeth(Olivier nomination for Best Revival), all for The Jamie Lloyd Company at Trafalgar Studios. Other credits include Assassins (Menier Chocolate Factory), Urinetown (St. James & Apollo), The Commitments (Palace), Cyrano de Bergerac (Roundabout Theatre Company; American Airlines Theatre, Broadway); The Duchess of Malfi (Old Vic); She Stoops to Conquer (National, Olivier; Whatsonstage nomination for Best Revival); The Faith Machine, The Pride (Royal Court; Olivier Award for Outstanding Achievement in an Affiliate Theatre for The Pride), Inadmissible Evidence, The 25th Annual Putnam County Spelling Bee, Passion, Polar Bears (all at the Donmar; Evening Standard Award for Best Musical for Passion), Piaf (Donmar, also Vaudeville/Teatro Liceo, Buenos Aires/Nuevo Teatro Alcala, Madrid; Olivier nomination for Best Musical Revival, Hugo Award for Best Director, Clarin Award for Best Musical Production, ADEET Award for Best Production); The Little Dog Laughed (Garrick), Three Days of Rain (Apollo; Olivier nomination for Best Revival, Whatsonstage nomination for Best Revival) and Elegies: a Song Cycle (Arts) in the West End; The School for Scandal (Theatre Royal, Bath); Salome(Headlong) and Eric’s (Liverpool Everyman). He has also directed plays as a part of the Old Vic 24 Hour Plays and the Royal Court International Residencies. Jamie was Associate Director of the Donmar from 2008 to 2011 and Associate Artist of Headlong.

Keith Allen’s theatre credits include Smack Family Robinson (Rose, Kingston and New York),Comedians (Lyric Hammersmith), Treasure Island (Theatre Royal Haymarket), The Celebration & The Room (Almeida and New York) and Teddy in The Homecoming (National Theatre). TV and film credits include Trainspotting, Shallow Grave, three series of Robin Hood (BBC), Uncle(BBC), Treasure Island (Sky) and Death in Paradise (BBC).

Gemma Chan recently played the lead role of Anita in the Channel 4 drama Humans. Her theatre credits include Yellow Face (NT Shed), Our Ajax (Southwark Playhouse), and The Sugar-Coated Bullets of the Bourgeoisie (Finborough). Other TV credits include Fresh Meat, The Game, Mummy’s Boys, Bedlam, and Death in Paradise. Film credits include Belles Familles, London Fields and Jack Ryan.

Ron Cook returns to Trafalgar having appeared in The Ruling Class for The Jamie Lloyd Company. His extensive theatre credits include Henry V (Noel Coward), Trelawney of the Wells, Richard II, King Lear, Hamlet, Twelfth Night (all Donmar), The Seafarer (National). TV credits include four series of Mr Selfridge (ITV), The Mystery of Edwin Drood (BBC), Bert and Dickie(BBC), and Vera (ITV), Little Dorrit (BBC). Film credits include Hot Fuzz, On A Clear Day, 24 Hour Party People, Charlotte Gray, Chocolat, Topsy Turvy and Secrets and Lies.

Gary Kemp’s previous theatre credits include Fings Ain’t Wot They Used T’Be (Theatre Royal Stratford East), The Rubenstein Kiss (Hampstead), Pig Night (Menier Chocolate Factory) and Art(Wyndham’s). TV credits include Lewis (ITV), Casualty (BBC), M.I.T (Thames), Murder in Mind(BBC) and The Larry Sanders Show (HBO). Film credits include: Assassin, Molly Moon, Poppies, Dog Eat Dog, American Daylight, The Krays, The Bodyguard, Paper Marriage, Killing Zoe, Hide & Seek and Still Crazy. Gary is a founding member of the band Spandau Ballet.

John Macmillan’s previous theatre credits include In The Red and Brown Water, The Member of the Wedding (both Young Vic), The Last Days of Judas Iscariot (Almeida), Macbeth (Royal Exchange), Hamlet (nominated for the Ian Charleson Award; Donmar West End and Broadway). TV credits include three series of Silk (BBC), New Tricks (BBC) Critical (Hat Trick) and Hoff the Record (Dave). Film credits include Fury, Maleficent, World War Z and The Dark Knight Rises.

John Simm is reunited with Jamie Lloyd having starred in the Trafalgar production of The Hothouse (The Jamie Lloyd Company). Simm is a well-known presence from such TV and film roles as Everyday, Tuesday, Miranda, 24 Hour Party People, Human Traffic, The Village (BBC), Prey (ITV), Mad Dogs (Sky TV), Dr Who, Life on Mars, State of Play and The Lakes (all BBC TV).Other theatre credits include Three Days in the Country (National Theatre), Speaking in Tongues (Duke of York’s), Hamlet and Betrayal (Sheffield Crucible) and Elling (Bush and West End).



14 NOVEMBER 2015 – 13 FEBRUARY 2016

For priority information and seat releases follow us on:
Twitter @JamieLloydCo
Facebook /JamieLloydCo


Performances:                                       Monday – Saturday at 7.30pm
Thursday & Saturday at 2.30pm

                                                            THE HOMECOMING
                                                            Press previews from 20th November and Gala Night on 23 November at 7.00pm

Ticket prices:                                        £15 all tickets on Mondays
£29.50, £39.50, £52.50
Premium Seats Available

All tickets will be £15 on Mondays. Half of these will be made available through a special outreach scheme, targeted towards schools and first-time theatregoers. The other half will be released monthly to the public on the first day of each month and will be available online or at Trafalgar Studios box office.

Address:                                               Trafalgar Studios, 14 Whitehall,
Westminster, SW1A 2DY

Box Office:                                            0844 871 7632



Twitter                                                  @JamieLloydCo



The Lowry, Salford Quays – 17-20 September 2015.  Reviewed by Mavid Doyles


It certainly was a game of two halves….

…a remark I’m sure every ‘witty’ reviewer will make. In actual fact, it was a game of 4 quarters.

These four short plays performed at The Lowry, were written about ‘One city. Two teams’ and produced by the wonderful Monkeywood Theatre, a company at the pinnacle of Manchester’s theatre growth.

The doors opened to reveal an artificial and skewed football pitch, surrounded by an audience of ‘supporters’, many of which had chosen to wear their colours – an important element that perhaps the producers could have foreseen in casting the shows; this production is about football, for football fans. As a United fan, with a season ticket for 15 years, I was buckled in for an emotional and turbulent depiction of what football actually means to those die-hard fans from both sides of the city.

The first half opened with ‘We’re Not Really Here’ by Ian Kershaw. It’s shocking opening began with David Judge, a Royal Exchange veteran, delivering lines from a City song that fans will know to be the most shocking on the terraces – mocking the Munich disaster. With such strong writing, the piece needed to be carried forward with a passion and involvement in the ‘religion’ that is football, throughout. Sadly, it lacked this. Meriel Schofield played on the conscience of football hooligan, Judge, however, even with lines such as ‘Singing songs about death doesn’t make you a football fan’, she lacked the conviction and believability of someone who carried the weight of the loss that the whole of Manchester felt at the Munich disaster – perhaps a lack of research on both the actors parts? Judge in particular seemed intent on being the focus of attention with his heavy breathing and imitation of a passionate football fan – difficult for Meriel to carry the story against such over-acting. A show designed to highlight the removal of the soul of football by the media giants, it was an interesting script with provocative material that lacked the believability and passion that should be associated with football.

The second story again, failed to ignite a passion that was promised with such an anthology. ‘Stretford End’ was a play set in the ‘old firm’ seating bank of the stadium, as the title suggests, looking at how relationships are made, broken and made again through football. Chris Jack played an unconvincing ‘Cockney Red’ against the seemingly innocent fan played by Mark Jordon. Jack’s ex, Francesca Waite, arrives to add a little discomfort to the scene, played out at Fergusons’ last game at United. The scene continues with little drama, apart from the unexpected arrival of a fourth character. Some funny highlights save the piece, in particular when the ‘cockney red’s’ new girlfriend called her kids ‘Vincent and YaYa’ without alarm bells being raised. Again, a nice, inoffensive piece with some fun, but for those that have experienced a match in the ‘J Stand’, the truth and emotion that the writer, Lindsay Williams, was reaching for was missed.

Heading into the interval I was unfulfilled and left a little disheartened, wondering if any of the actors in the first half, being from a Manchester based company, in a play based on what is at the heart of the very city, had ever actually been to a football match, let alone experienced the thrill of a 94th minute goal.

The third piece opened with actor Andrew Sheridan emerging from the ‘players tunnel’ amidst fiery red smoke – already, the production team, director and writer of ‘The Good, The Bad and The Giggsy’ had touched upon the feelings that the football supporter audience had turned up to expect. This was, I thought, a show stealer, with Sheridan also playing the almost unbelievable, but expertly portrayed United fan, preaching to the masses. His quirks and string-belt added to a perfectly formed physical character. The appearance of Samantha Siddall’s mobility-scooter saddled City fan only added to the absurdity but wonderfulness of the situation. A Western-style stand off and faultelessly formed ‘Phoenix Nights Does Football’ portrayal of passion and dedication – even when your dog, Giggsy, a Welsh Terrier, has gone missing. Siddall and Sheridan give a masterclass in character acting and show that no matter what colour your shirt, we all bleed the same colour. Touching, funny and ridiculous in a perfect package wrapped up with The Stone Roses – to quote many United fans, thank god for the second half.

Show four built on what I thought was, undoubtedly, the piece of the night. ‘Only Football’ however, by Sarah McDonald Hughes, was fantastic. Combining the passion of every single football fan and the difficult history between a daughter and son, never did I think that the City winning the league would move me to tears (again!). Heartfelt, truthful and passionate and both Mark Jordon and Sarah McDonald Hughes (what a multi-tasker!) nailed it. Not only highlighting the difficulty a father might find in connecting to his estranged daughter, but also dealing with depression, an issue that is rife in todays world. The piece was not about football, but relationships. Subtle, beautiful and perfectly structured. McDonald Hughes was a delight and her text work was sophisticated and clearly intelligent, connecting to the audience on every level. It highlighted why the nation and the world can be united by one thing – football. For a United fan to be moved to tears by City’s winning goal is no mean feat.

All in all, a great night, however, reading through the credits, it makes me ask; ‘why would MonkeyWood stick so closely to the actors they have worked with before, when perhaps they aren’t the best for the job?’. The plays were about football, the city and passion, and some of the actors failed to meet the mark.

The first half, riddled with off-sides and own-goals.

The second half, a miraculous comeback, made into a comfortable victory with a touching and entertaining final piece.

Football fans, theatre-goers, both….go see this!

The Rocky Horror Show Live Review

Broadcast live to cinema’s – original broadcast 17 September 2015

Celebrating 42 years of Rocky Horror, the marvellous musical was broadcast live to cinema’s throughout the world from The Playhouse Theatre in London.  Starring Richard O’Brien as one of the many narrators this was a night to a remember.

Watching the Rocky Horror show is not contained to watching the stage, the audience are equally as entertaining.  Even in a tiny cinema in North Yorkshire, people made the effort to dress to impress and possibly shock a few of the other cinema goers who weren’t quite expecting to see grown men in corsets, fishnets and stilettos.

Ben Forster and Hayley Flaherty as Brad and Janet were tremendous.  Sophie Linder-Lee (Columbia) and Jayde Westaby (Magenta) were brilliant especially encouraging Janet during “Touch Me”.  Rocky (Dominic Anderson) was muscular to the extreme and now I’m a muscle fan, and Richard Meek in the dual role of nephew Eddie and uncle Dr Scott was fabulous.  But the phenomenal reviews must go to David Bedella as one of the best Frank’s ever and the joyfully wonderful Kristian Lavercombe as Riff Raff.  But who can fail not to love and be inspired by the master of them all Richard O’Brien now fencing with the audience in the role of narrator.

Rocky Horror never grows old.  With each new generation comes an new legion of fans ready to do the Time Warp and with the show touring the UK later in the year a lot of people can enjoy the the live show

This gala show included Stephen Fry, Adrian Edmondson, Emma Bunton, Mel Giedroyc and Anthony Head as the guest narrators who managed to deal admirably with the hecklers.

The show was living by its core beliefs “Don’t Dream It – Be It” raising money for Amnesty International and it is still possible to donate by texting 70505


War Horse announces West End closing date

After eight years, the National Theatre production of War Horse is closing in the West End.Its last performance at the New London Theatre will be 12 March 2016.

Directed by Marianne Elliott and Tom Morris, Nick Stafford’s adaptation of Michael Morpurgo’s story about a boy and his horse set against the backdrop of the First World War is the most successful play in the National Theatre’s history.

A major UK tour of War Horse will begin in autumn 2017, as the country prepares to mark the final centenary year of the First World War, with details to be announced.

Producer Chris Harper said: “War Horse has wowed audiences around the world, and we are incredibly proud of what the show has achieved over the last eight extraordinary years.”

Morpurgo called it “a show like no other, with puppets at its heart”, adding: “It has moved millions in London and all over the world.”

Darlington Civic Theatre – The Syd Lawrence Orchestra

Civic-Theatre-Hi-Res-Logo-1-117x300BIG BAND SWINGS INTO DARLINGTON

The Syd Lawrence Orchestra bring their Swinging Big Band to Darlington Civic Theatre on Wednesday 30 September.

The “Best Big Band in the Land” directed by Chris Dean brings you not only sincere musical virtuosity but as much confidence in the music as when it was the latest smash on the airwaves.

With a different show every night, see a truly hypnotic combination, all presented with a mixture of fun, laughter, excitement and comedy to make for a swinging and memorable evening

Hear the music of the swing era bought back to life with the youthful verve that made it the smash hit pop music of its day. Featuring the music of Glenn Miller, Count Basie, Tommy Dorsey, Quincy Jones, Billy May, Frank Sinatra, Ella Fitzgerald and many more.

So come and see this captivating and exciting performance and let it transport you to those glory days of live music.

The Swinging Big Band is at Darlington Civic Theatre on Wednesday 30 September. Tickets* are £18 and £19.50.

*All ticket prices include a £1 restoration levy.

To book contact the Box Office on 01325 486 555 or visit

Darlington Civic Theatre – Doug Scott

Civic-Theatre-Hi-Res-Logo-1-117x300SOARING TO NEW HEIGHTS

Celebrated mountaineer Doug Scott will visit Darlington Civic Theatre on Tuesday 29 September to share his story of climbing Everest – The Hard Way.

Autumn 2015 will mark the 40th anniversary of the first ascent of ‘Everest: The Hard Way’, when the late Dougal Haston and Doug Scott made the first ascent of the mountain’s massive South West Face. In this special lecture Doug will tell of the epic expedition and climb, how his life led up to this defining moment and where it took him upon his return from the summit.

This is a brand new lecture for the anniversary, lavishly illustrated with Doug’s celebrated mountain photography and will provide a very personal account of this legendary first ascent. Not to be missed by mountaineers and armchair adventurers alike.

Doug Scott’s Everest – The Hard Way is at Darlington Civic Theatre on Tuesday 29 September. Tickets* are £16 and £18.

*All ticket prices include a £1 restoration levy.

To book contact the Box Office on 01325 486 555 or visit

Darlington Civic Theatre – Tenors Un Limited

Civic-Theatre-Hi-Res-Logo-1-117x300THE RAT PACK OF OPERA

Tenors Un Limited – the Rat Pack of Opera will visit Darlington Civic Theatre on Monday 28 September at 7.30pm.

Using talents honed in their previous solo careers in the opera, theatre and recording worlds, Tenors Un Limited – The Rat Pack of Opera set out to bring their own unique blend of wit, charm and vocal arrangements to Darlington on Monday 28 September at 7.30pm, as they present classic songs from Venice to Vegas.

Scott, Paul and Jem have performed alongside such notables as Sting, Hayley Westenra, Lionel Ritchie, Simply Red, The Opera Babes, and the Royal Philharmonic Orchestra.

In 2009, the trio had the honour of singing at the memorial service for the football legend, Sir Bobby Robson and performed the traditional anthem ‘Abide With Me’ at a sold out Wembley Stadium for the 2011 FA Cup Final which reached an audience of millions worldwide.

Appearances on Friday Night is Music Night (BBC Radio 2,) Top of the Pops, SKY & ITV Sport, as well as various festivals, proms and UK tours have firmly established the boys as one of the world’s premier classical crossover groups. This is an evening not to miss.

Two local community choirs – Voices of Darlington and STARE Entertainment, will be joining Tenors Unlimited on stage to bring you the best songs from the world’s opera houses, Broadway theatres and concert halls.

Tenors Un Limited – Venice to Vegas is at Darlington Civic Theatre on Monday 28 September. Tickets* are £21 and £23.

*All ticket prices include a £1 restoration levy.

To book contact the Box Office on 01325 486 555 or visit

Theatre Buildings at Risk Register 2015 “An untapped opportunity”

“Thirty-one theatres are at risk in the UK today.” says The Theatres Trust, launching its Theatre Buildings at Risk Register 2015.

The Theatres Trust is announcing its 2015 Register at the newly reopened Wilton’s Music Hall in east London on the 17 September. This Grade II* theatre, which was once on the Theatre Buildings at Risk Register, has now been beautifully restored.

More than half the theatres on the Register are located in the north of England and Wales, and lie unused and in a poor state of repair – despite growing recognition that theatres and culture can make a significant contribution to growth in the region as part of the Northern Powerhouse.

Many of the theatres on the Register are also listed buildings and could be restored and reopened as theatres and make a real contribution to local cultural life and productivity. One such theatre is the former Bradford Odeon. There is now genuine recognition of the potential of this building to be restored and used as a music venue.

Mhora Samuel, Director of The Theatres Trust, says: “Financial investment in theatres at risk by the Heritage Lottery Fund and other sources of regeneration funding, has shown that theatres such as Wilton’s Music Hall and Alexandra Palace can come back to life. Imagine how areas around the Winter Gardens in Morecambe, Dudley Hippodrome, Swansea Palace, Brighton Hippodrome and other theatres on our Theatre Buildings at Risk Register 2015 could be re-animated if those theatres were to be fully reopened. Whilst these buildings sit empty and underused all they represent is an untapped opportunity.”

In the south of England the Grade II* former Brighton Hippodrome remains top of Register. The Hippodrome has been closed since 2007. With investment it could have a future as a thriving Brighton performance venue and be a focal point for the regeneration of Brighton’s old town.

Also on the Register is the Coronet in Southwark in London which is currently used as a music and entertainment venue. It is now under a very real threat of demolition due to the Elephant and Castle Town Centre regeneration proposals.

The 2015 Register includes 31 buildings across England and Wales, with two additions, and four removals.

The two new theatres on the Register are the Granada Theatre in Walthamstow, London and Spilsby Theatre in Lincolnshire. Their future as performance venues is at risk. Soho Theatre is trying to secure performance use of the Granada after its sale to a pub chain, and Spilsby Theatre is in the process of setting up a new Trust which needs to raise funds urgently to keep the auditorium open.

Four theatres were removed from this year’s Register. The first three, Felixstowe’s Spa Pavilion, The Cryer and The Secombe in Sutton, have been saved. Recognising the value these theatres bring to their local communities, their local authority owners have transferred these assets, and their future as theatres has been secured.

The fourth theatre removed from the Register is the Curzon Cinema/Redstack Playhouse in Bexhill-on-Sea. Despite huge efforts by its local community to save it as a cultural venue, and listing it as an Asset of Community Value, the Playhouse was sold by its owners to the pub chain, JD Wetherspoon.

For further information and images on each theatre on the Register, please contact[email protected] or visit

Find out more about the Theatre Buildings at Risk Register 2015