Author: FairyPoweredProductions

Theatre N16 and Out of Spite Theatre present:

THIS IS NOT CULTURALLY SIGNIFICANT
February 15th – February 19th 2017, VAULT Festival

Following a 5 star sell out run at the Edinburgh Fringe, intense and darkly comic one-man show This Is Not Culturally Significant is transferring to the VAULT Festival 2017.

★★★★★ “A surreal yet incredible journey (…) absurdist, creative, comical and outstanding (…) a truly original piece of theatre that should be at the top of your list to see” Edinburgh Festivals Magazine

This Is Not Culturally Significant unveils the bizarre, compulsive and eccentric nature of humanity. Over ten characters are portrayed; from a pathologically lying classics professor to a despondent American porn star on the brink of her retirement. This is a thunderous, high energy piece of theatre combining dark clown and deeply grotesque bouffon which holds up a mirror to the often unnoticed absurdities of human life – and contains full frontal male nudity throughout.

★★★★★ “Raw, crude, harrowing (…) with a truly Beckettian feel to it, this piece unites the comic and the tragic, the real and the absurd, with a remarkable intensity” ThreeWeeks Edinburgh

Out of Spite Theatre was founded by Adam Scott-Rowley in 2014 and strives to create confrontational, unsettling and high-intensity theatre. This Is Not Culturally Significant is the company’s first show, which aims to unmask the superficiality of our society’s expectations, desires and collective ego.

Theatre N16 is a trailblazing theatre company, dedicated to creating a creative hub where new and existing works can be explored and pushed into new realms. Theatre N16 is proud of their commitment to the welfare of creatives, operating under an Equity Fringe Agreement. This promoting and nurturing of talent means that Theatre N16 is a bastion for development within the context of a society in which the arts are increasingly struggling to stay afloat.

Althea Theatre (There’s No Place Like) present the world premiere of One Last Thing (For Now), inspired by love letters from times of conflict in different cultures and languages. The production, written and developed over the last two years by Lilac Yosiphon with the ensemble, is a universal look at the language of love, the wounds of war and everything in between.

An officer in Russia cannot bear to tell a woman, far away in Wales, that her husband died. Instead, he writes her love letters pretending to be him. A woman in London awaits a letter that will never come while another skypes love messages to her boyfriend in Afghanistan. A soldier addresses his last letter to a former teacher who refused to join the army. And, at the heart of the play, is a story of a woman giving up her own limbs to make contact with her husband, a recent amputee, in the trenches a hundred years ago.

The play interweaves narratives from WWI in Northern England, WW2 in France and Germany, the civil war in Colombia and stories from contemporary Britain and Israel. The internationally diverse cast play British and non-British characters (regardless of their own nationality) and perform in their native tongue as well as other languages. This international collaboration aims to empower a compassionate and honest cultural exchange.

Lilac Yosiphon comments, Imagine you had to create one piece of theatre so brilliant, so overwhelmingly exceptional that you would be allowed to stay in the country thanks to it? That was the advice I was given and that led to the creation of this show. It was just the beginning of the centenary and I remember reading a postcard from 1914 saying ‘All My Love x’ and a last text from a soldier that was killed a week before but in 2014. Both said the exact same thing, only in a different time, a different place and a different language. By bringing out various cultures’ shared experiences, I want to create a sense of unity that can transcend cultural gaps and language barriers and engage in a truthful open dialogue.

As a part of the show, and the idea that we can better relate to foreign situations through familiar ones, there will be call out for love letters from the Borough of Islington and one scene in the show will be inspired and devised using one of these local letters.

The play connects different aspects of war (the difficulty to describe the violence involved, the need to maintain an illusion, conscientious objection), reflecting on the different injuries which occur on the front line together with the emotional impact these have to the community at home.

…. War wounds never quite heal, war letters are never quite forgotten; both just get hidden away by old memories and dusty pieces of cloth, waiting to be found…

Theatres Trust today announces the eight theatres selected to receive £15,000 each from the Spend a Penny campaign, financed by the philanthropic Chairman of Albourne Partners, Simon Ruddick. Deeply empathetic of his wife’s complaints about the ladies’ loos in many theatres, this theatre-going entrepreneur decided last summer to do something, and offered the funding to Theatres Trust to make a start on the improvement of facilities for women primarily, but also gender neutral and unisex toilets.

Submissions for these grants were received at the end of October, and after thorough scrutiny the following theatres have been selected:

Shelley Theatre, Bournemouth
Darlington Hippodrome
Liverpool’s Royal Court
Little Angel Theatre, Islington, London
Marine Theatre, Lyme Regis
Tyne Theatre and Opera House, Newcastle-upon-Tyne
Stephen Joseph Theatre, Scarborough
Theatre Royal Wakefield

An incredible variety of theatres throughout England have been successful – ranging from a small community theatre in Dorset to the Grade I listed Tyne Theatre and Opera House in Newcastle-upon-Tyne. The projects too are varied – some involve major re-workings, whilst others involve a more creative use of existing space. Further details of the theatres and their individual schemes can be found in Notes to Editors.

The scheme attracted a lot of media attention when it was originally announced last summer, but now the hard work begins and in at least eight venues and communities, ladies (and in the case of Little Angel girls) will have a more agreeable theatre going experience in future.

Simon Ruddick today says, “Although my original impulse was simply to ‘lift the lid’ on this specific issue, we hope that other donors will bear in mind the contribution that theatres make to the community  and the contribution that the Theatres Trust makes to the community of theatres.”

Newcastle Theatre Royal’s 2017/18 pantomime Peter Pan has set a new box office record as it hurtles through the million pound barrier whilst the current pantomime, Cinderella, still has a week left to run.

Produced by Qdos Entertainment, the world’s biggest pantomime producer, Peter Pan will once again feature Newcastle panto legends Danny Adams in the title role, Clive Webb as Mr Smee and Chris Hayward as Mrs Smee in what promises to be a non-stop adventure that will have all the family hooked with its infectious comedy and spellbinding production.

Peter Pan went on sale in November 2016 and with more than 49,000 tickets sold almost 11 months ahead of its opening night it has surpassed the previous record set this time last year by the current pantomime Cinderella. 

Theatre Royal pantomimes are widely thought to be among the fastest-selling in the UK, due to the winning combination of father and son team Clive and Danny – for whom Peter Pan will mark their thirteenth consecutive Theatre Royal panto appearance – and their hilarious slapstick routines, the special effects provided by The Twins FX alongside spectacular sets, chroeography and the sensational musical scores.  This combination is brought together by Newcastle’s own Michael Harrison, who co-writes, produces and directs the show.

Theatre Royal Chief Executive Philip Bernays said: “Sales have been rocketing since tickets for Peter Pan went on sale in November and this is the first time in our history that we have hit the million pound sales barrier for next year’s panto whilst still having so many performances of the current show yet to go.

“After every performance we have seen people race from the auditorium to the box office as audiences look to immediately snap up their seats for the following year which is testimony to the fantastic experience and enjoyment for all the family that the Theatre Royal pantomime offers.”

He added:  “This year’s production of Cinderella has been another huge success in a long line of what have been extremely popular pantomimes at the theatre which keep audiences coming back for more year on year.  It’s thanks to a superb cast, incredible staging, expert behind-the-scenes team and the talent of top West End producer Michael Harrison that we can keep delivering what is considered not only the biggest panto in the region but one of the best festive spectaculars anywhere in the country. We can’t wait to see the reaction to Peter Pan – every year the panto just gets better and better and this will be one trip to Neverland that nobody will want to miss.”

Director and Producer Michael Harrison said “The early success of Peter Pan is a testament to the fondness the Theatre Royal pantomime is held in by local people, and the popularity of Danny, Clive and Chris who have become true Newcastle panto institutions. We’re already working to make the first production of Peter Pan at the Theatre Royal for over a decade a truly spectacular show for all the family.”

Cinderella runs until Sunday 15 Jan 17 with a handful of seats available for the remaining performances.  Tickets are now on sale for the 2017/18 pantomime Peter Pan which plays Tue 28 Nov 17 – Sun 21 Jan 18 and early booking is advisable as they are selling fast; prices from £13.00 and tickets can be purchased from the Theatre Royal Box Office on 08448 11 21 21 (calls cost 7ppm plus your phone company’s access charge) or book online at www.theatreroyal.co.uk.

Ross is currently appearing as Roger in Rent at the St James Theatre until January 28th and then off on tour around the UK. Ross’s theatre credits include My Fair Lady Proms 2012 (Royal Albert Hall); Charlie And The Chocolate Factory (Workshop); Ensemble and understudy to Warner and UPS guy in Legally Blonde (Savoy Theatre); Drew in Rock of Ages (Shaftesbury Theatre) and Ensemble as well as understudying and playing the role of Galileo in We Will Rock You (Dominion Theatre). Ross chats to fairypoweredproductions…

 

 

• Tell me about your experience of Rent

 

• It’s amazing to be at the St James theatre, it’s very intimate with the audience.  The story and the music are great.  I’ve never been in it before but I am aware of the songs and I’m loving it

 

 

• Are you looking forward to touring?

 

• I’ve never toured before, I’ve mainly done West End so I’m looking forward to venturing out and seeing how Rent works slightly modified for touring.

 

 

• Are you looking forward to anywhere in particular?

 

• I’m looking forward to York as it’s close to home – just half an hour away on the train and I’ve got family and friends coming to see me.  And I’m looking forward to the Millennium Centre in Wales as it’s huge

 

 

• What is your favourite show?

 

• I would have to say We Will Rock You as it was my first part out of Drama School.  I was 21 and supposed to be second cover but I ended up playing Galileo (the lead male role) for 4 weeks due to circumstances.  I was in front of 2000 people every night at the Dominion and it was amazing.  

 

 

• What is your favourite role so far?

 

• I would have to say Drew from Rock of Ages, that was my first lead role in my own right and not an understudy.  It was a brilliant show and I sang around 14 songs every night so it was  knackering but I enjoyed it

 

 

• You appear as a vocalist on some CD’s, do you have any plans to produce your own CD?

 

• I’ve not got any plans but I do play guitar and write songs so you never know!

 

 

• Have you ever done a straight play with no singing?

 

• I’ve not yet but never say never, I’d love to do all kinds of different styles so plays, tv maybe films who knows

 

 

• What made you decide to become a performer?

 

• It got me a GCSE in Drama.  I did Performing Arts in year 7 and hated it but in year 10 it gave me the chance to play in band and get a qualification so I did.  I then got the opportunity to go to Stockton Riverside College which is a performing arts college and from there I went to Arts Ed and here I am

 

 

• So if you’d not been a performer what do you think you would have done?

 

• It sounds weird but I was obsessed with the weather when I was little so maybe a Weatherman or followed my dad into Engineering

 

 

• Have you had any weird or nice gifts from fans?

 

• I had a lovely Mulberry body wash once that smelt lush and a birthday cake with my head on.  I appreciate anyone who pays to see me and then cares enough to send me a gift

 

 

• Do you fancy branching out in Producing or Directing?

 

• Not really, I quite like standing on stage and performing – I think I’d rather be told what to do than tell someone else

 

 

• What are your plans for the future?

 

• Not sure.  I do gigs when I’m out of work, but I’d like to keep touring, maybe move out to Germany where they like Rock Musicals but just keep performing

 

With Thanks to Ross for speaking to fairypowered

 

Tour dates

 

31 January to 4 February 2017

Devonshire Park Theatre

Box Office: 01323 412 000

Website: www.eastbournetheatres.co.uk/venue/devonshire-park-theatre

 

6-11 February 2017

Churchill Theatre

Box Office: 020 3285 6000

Website: www.churchilltheatre.co.uk

 

14-18 February 2017

Festival Theatre

Box Office: 0131 529 6000

Website: www.edtheatres.com

 

28 March to 1 April 2017

Curve

Box Office: 0116 242 3595

Website: www.curveonline.co.uk

 

3-8 April 2017

Wales Millennium Centre

Box Office: 029 2063 6464

Website: www.wmc.org.uk

 

11-15 April 2017

Cheltenham Everyman Theatre

Box Office: 01242 572573

Website: www.everymantheatre.org.uk

 

8-22 April 2017

York Theatre Royal

Box Office: 01483 440000

Website: www.yorktheatreroyal.co.uk

 

1-6 May 2017

Lighthouse

Box Office: 01202 280000

Website: www.lighthousepoole.co.uk

 

9-13 May 2017

Belgrade Theatre

Box Office: 024 7655 3055

Website: www.belgrade.co.uk    

 

16-20 May 2017

Nottingham Playhouse

Box Office: 0115 941 9419

Website: www.nottinghamplayhouse.co.uk

 

23-27 May 2017

Assembly Hall Theatre

Box Office: 01892 530613

Website: www.assemblyhalltheatre.co.uk

STOMP

HAS TWO RECORD-BREAKING PERFORMANCES ON

WEDNESDAY 28 & THURSDAY 29 DECEMBER 2016

AT LONDON’S AMBASSADORS THEATRE

AND RECORDED THE HIGHEST EVER WEEKLY NET

IN THE HISTORY OF THE THEATRE

STOMP in London finished 2016 on a high with two consecutive record-breaking performances on Wednesday 28 and Thursday 29 December, when they posted the highest ever net box office figures for STOMP at the Ambassadors Theatre, beating the previous record set on Saturday 14 February 2015.  These two performances are also the highest netting performances of any production in the theatre’s 104-year history.  The show also recorded the highest ever weekly net in the history of the Ambassadors Theatre.

STOMP turned 25 in August 2016 and will celebrate its 15^th birthday in London and its 10^th birthday at the Ambassadors Theatre in September 2017.

 

STOMP was created by Luke Cresswell and Steve McNicholas and was first performed in 1991 in Edinburgh.  The show played Sadler’s Wells Theatre in January 1994 and won the Olivier Award for Best Choreography, before opening in New York in February of the same year.  The European company was created in 1997 and began the show’s London run at the Vaudeville Theatre on 25 September 2002, transferring to the Ambassadors Theatre on 27 September 2007.

One of Britain’s greatest exports, STOMP has toured the globe for 25 years, playing to more than 12 million people in 53 countries across 6 continents. There are currently four STOMP companies performing worldwide, including New York, where the show has been running for over 22 years, London, now in its 15th year, a world tour and a North American tour.  Last year, STOMP completed a very successful 10-week season in Beijing and visited India for the first time in December, playing a two-week sell-out run in Mumbai.

STOMP is presented in London by Yes/No Productions and Glynis Henderson Productions Limited.

LISTINGS INFORMATION

Ambassadors Theatre

West Street

London WC2H 9ND

Box Office: 020 7395 5405

Tickets from £26 + a £2.50 transaction fee

Performances: Monday, Thursday, Friday & Saturday at 8pm, Sunday at 6pm, with matinees Thursday, Saturday and Sunday at 3pm

Extra Performances at 3pm & 8pm on Wednesday 15 February, Wednesday 12 April, Wednesday 5 & 12 July, Wednesday 2 & 9 August, Wednesday 18 & 25 October 2017

N.B. No 3pm matinee on Thursday 7 & 14 September 2017

Running Time: 100 minutes with no interval

Current Booking Period: to 7 January 2018

www.theambassadorstheatre.co.uk

www.stomplondon.com

@StompLDN

The Bread & Roses Theatre announces its Winter Season 2017

 January – March 2017 – www.BreadandRosesTheatre.co.uk

68 Clapham Manor Street, SW4 6DZ Clapham, London

 

“This venue is quickly shaping up as one of the most exciting ones amongst the London pub theatres!”  – RemoteGoat

 

The Bread & Roses Theatre is entering its third year and we have another brimming season lined up, featuring revivals, new writing and many returning companies.

Our theatre year kicks off straight away with Between a Man and a Woman written & directed by Scott James (4^th to 14^th January). This new and harrowing drama focuses on the taboo subject of domestic violence and questions as to whether we can fully know what goes on behind closed doors and within the sanctity of marriage. Later in the month we then welcome a new musical one-woman-show about a perpetual millennial trying to find her way in the world, A Snap Musical written & performed by Lauren Stones (24^th to28th January). Taking is into February is Necessity written & directed by Paul Macauley (31^st January to 4^th February), a new play about our need to hold on to ideals and what we create in the world when our needs go unmet, coming to the Bread & Roses Theatre after a hugely successful sell-out run at Brighton Fringe. Brand new theatre company Bag of Beard also make their debut with Two Short Stories (6^th to 10^th March), featuring Torn Apart by Christopher Georgiou & Shauna McLean and Bath by Alexander Knott.

Furthermore, we will host a revival of Patrick Marber’s iconic Closer (19^th to 22^nd January), which looks unblinkingly at modern relationships, in which sex is the subject even when it’s not, honesty is not always the best policy, and people with choices seem to only be able to make the wrong one.  And the season features another revival, which will be Nick Payne’s Constellations (28^thFebruary to 4^th March), a play about free will and friendship; it’s about quantum multiverse theory, love and honey, and won the Evening Standard award for Best New Play in 2012. Later in the season we will welcome Purple Cast Productions with a double ‘Bill’ Shakespeare of Macbeth & Twelfth Night (21^st March to 1^st April).

 

Audley & Co. Productions return to our theatre with Sisters written & directed by Natalie Audley (7^th to 11^th February) as do our associate company Get Over It Productions with their acclaimed all-female production of Shakespeare’s The Taming of the Shrew (21^st to 25^th February), Free Rayne Artists with the third instalment of their new writing night Spiral (12^th to 14^th March), and Third Person with improvisational show Clowns Are Not Funny (5^th February, 5^th March & 7^th May). Also returning are Goblin Baby Theatre Co. with a series of shows, which are: Where do we go from here? (12^th & 13^th February), script-in-hand performances responding to Brexit & Trump; a V-Day benefit production of Eve Ensler’s iconic and award-winning The Vagina Monologues (16^th to 18^thFebruary); & Screw the Looking-Glass a work-in-progress showing of a new darkly-comic one-woman show written & performed by Tessa Hart.

Furthermore, the The Bread & Roses Theatre continues its support for playwrights and theatre-makers with several free events: Playwrights Circle (30^th January, 27^th February & 27^th March), a friendly and supportive group in which playwrights can share their work and work-in-progress, & Networking Event (20^th February), for those interested in bringing their own work to the venue.

End of last year Godiva Films also released a short documentary about The Bread & Roses Theatre’s journey up to its 2^nd year anniversary (www.youtube.com/watch?v=0DxL0Jkxldw) and the theatre was named as a recipient of the ICWP 50/50 Applause Award for the second year in a row.

For details on all listings and more head to www.breadandrosestheatre.co.uk.

Phone: 020 8050 3025

Thick & Thin Theatre present:

Following the sell-out shows Toxicity and Slight Delay in 2016, Thick & Thin Theatre present a brand new play about money, drugs and… zombies. WARNING: ‘BRAINS’ contains strong language, scenes of violence and drug use, awkward romantic encounters and the wrath of an undead scientist.

In the not so distant future humanity has fallen victim to a disease, turning people into flesh craving, drooling, rotting versions of themselves. However, the clichéd disease spells good news for one company – business is booming at MediBite Inc., where sales of their drugs and medical products have shot through the roof.

After waking himself up with his daily cocktail of drugs, Harry, the money obsessed manager, does his best to keep his terrifying CEO, Ursula, happy, while also keeping his eye on his niece and apathetic new intern, Tina. Meanwhile, accountant and hopeless romantic Jeff shows skeptical new salesman, Rosie, around the office…. However, everything changes when smug scientist Stuart finds a cure for the disease that has ravaged the world.

Thick & Thin Theatre are a young company based in London, founded in 2016 by Cameron Szerdy, Tom Spencer & Jack Dent.  They enjoy creating theatre that’s funny, fast paced and tinged with irony; taking everyday settings and injecting them with a generous helping of the absurd; and above everything else, they aim to make people laugh.

Theatre N16 is a trailblazing theatre company, dedicated to creating a creative hub where new and existing works can be explored and pushed into new realms. Theatre N16 is proud of their commitment to the welfare of creatives, operating under an Equity Fringe Agreement. This promoting and nurturing of talent means that Theatre N16 is a bastion for development within the context of a society in which the arts are increasingly struggling to stay afloat.