Author: FairyPoweredProductions

RSC ACTORS DO THEIR BIT TO SUPPORT YOUNG PEOPLE THROUGH COVID-19 CRISIS

As the Summer term ends and many young people across the UK look ahead to returning to school in September, the Royal Shakespeare Company has today released highlights from its nationwide Homework Help initiative which saw over 100,000 people receive advice on performing and studying Shakespeare from RSC actors and alumni.

Highlights of the campaign include contributions from RSC Associate Artist, David Tennant, who responded to a question about his favourite Hamlet soliloquy, and actor, director and writer Adjoa Andoh, who, in response to the question – Is Shakespeare relevant? – discussed  some of the ways in which Shakespeare can speak to us today, as we navigate how to live in the world amidst the global pandemic, Black Lives Matter and environmental emergencies. Paapa Essiedu, who can currently be seen playing Kwame in I May Destroy You, gave students a masterclass in making characters their own, star of the Harry Potter film series, David Bradley, shared his tips about how to get into theatre whilst RSC Artistic Director Gregory Doran gave insights into the downfall of Richard II and the complex morality of Measure for Measure.

WATCH: IS SHAKESPEARE RELEVANT? Actor, director and writer Adjoa Andoh speaks about Shakespeare and homophobia, racism, injustice and love.

WATCH: WHAT IS YOUR FAVOURITE HAMLET SOLILOQUY with David Tennant.

WATCH: DAVID THRELLFALL ON PERFORMING SHAKESPEARE

WATCH: PAAPA ESSIEDU ON MAKING CHARACTERS YOUR OWN

The actors, who are currently unable to rehearse or perform on stage, volunteered to share their tips and answer questions about Shakespeare and drama studies whilst under lockdown, helping students, parents and teachers adjust to their new home-schooling environment.

From questions about acting and directing to the life and times of Shakespeare, his comedies, histories and tragedies, topics covered as part of Homework Help have been incredibly diverse; from ‘Did Shakespeare have a happy childhood? to ‘Was Richard III truly villainous’, ‘Why are genders reversed in productions and, does it work?, ‘Are female characters dressed as boys ever convincing?’, ‘If Julius Caesar was a radio play, how would you stage the assassination scene?’, ‘Why does Romeo make such terrible decisions?’, ‘Did Shakespeare write in posh or colloquial English?’, ‘Why should students study Macbeth?, ‘Which sister is in King Lear is worse, Goneril or Regan?’, ‘Did Shakespeare ever visit Scotland’, ‘Why was he obsessed with fairies’ and ‘Was William Shakespeare really a woman?’

Since launching in May 2020, the #RSCHomeworkHelp initiative has received over five hundred submissions from young people studying Shakespeare in the UK and around the world from Australia to New York, Indianapolis and Tanzania.

Since the closure of UK schools on 23 March 2020:

• The Royal Shakespeare Company’s dedicated education website Shakespeare Learning Zone  has received over 1 million views, an increase of 300% in comparison to the same period last year. 
• David Tennant’s video response to the RSC ‘Homework Help’ campaign received a total of 89k views.
• 33,000 young people have accessed the RSC’s ‘Live Lesson’ of Macbeth directed by Polly Findlay and featuring Christopher Eccleston

• The RSC Education pages have received over 8.5K pageviews with downloadable Teachers Packs and a newly launched programme of 15-minute Activity Toolkits for KS3 pupils including digital activities from our education partner, Adobe.
• Over 280,000 unique users have accessed the RSC’s daily BBC Bitesize Shakespeare Lessons for KS3 & 4. In the last two weeks of June there were a total of 38,000 users to all RSC lessons (both Year 10 and KS3)

Commenting on the campaign, RSC Director of Education, Jacqui O’Hanlon, said; ‘“We have been overwhelmed by the volume and variety of questions received in response to our RSC Homework Help initiative and are incredibly grateful to our RSC artists for giving up their time to help, support and inspire young people through this challenging time.

Every year, RSC Education reaches over 500,000 young people who experience, first-hand, the extraordinary power of Shakespeare’s language in their school and local communities.

Whilst our buildings remain closed and performances postponed, it is important that we continue to offer support to students, families and teachers across the country, whether through initiatives like Homework Help, our  partnership with BBC Bitesize or through tailored packages of support delivered to our  Associate Schools in collaboration with our 12 regional partner theatres across the UK.”

REGIONAL PARTNER THEATRES

The RSC forms lasting partnerships with regional theatres, community groups and schools around the country and has been working with its network of 12 regional partner theatres and 261 Associate Schools under lockdown to help support a range of distanced learning initiatives with support from members of the RSC’s current acting company.

In Bradford..

Highlights include a collaboration between Bradford College, Bradford Alhambra and RSC actor Andrew French, who was due to appear as Polixenes in The Winter’s Tale with the Royal Shakespeare Company when theatres closed in March. Andrew has been working with members of Bradford College’s ESOL ‘Shakespeare Club’ to lead an online question and answer session with students on Romeo and Juliet. The students, many of whom are asylum seekers or members of the refugee community, all have English as a second language.

In Blackpool..

Elsewhere, in Blackpool, RSC actor Joseph Kloska, who was due to appear as Leontes in The Winter’s Tale, has been working with GCSE students from Highfields Academy to support their study of Macbeth. Students and teachers at Highfields Academy joined Joseph Kloska for a taoilred Q & A via Zoom to share their questions on the play which included: Was Macbeth weak? Macbeth is told his fate, would you want to know yours? Would you say Lady Macbeth is an emotional character? What do you like about Macbeth as a character?

In Canterbury and Hull…

Other facilitated Q & As include ‘Ask An Actor’ sessions with Joseph Arkley, who recently appeared as Kate in Justin Audibert’s gender-flipped production of The Taming of the Shrew for students of The Marlowe Theatre, Canterbury’s Youth Theatre and Associate School, and a ‘Routes into Acting’ Q & A with Laura Elsworthy delivered to students of St Mary’s College, Hull.

EXISTING RESOURCES TO SUPPORT HOME LEARNING

The RSC also has a number of existing resources that can be used to support learning in school or at home including:

• Shakespeare Learning Zone – games, videos, timelines, character, plot summaries and more help to unlock the plays rsc.org.uk/shakespeare-learning-zone
• Live Lessons: The RSC’s Live Lessons on Macbeth and Romeo and Juliet are available to watch and take part in at any time. There are also a number of Primary and Secondary lessons co-produced by the RSC and the BBC that can be watched at any time. Click here for more information
• The RSC YouTube channel: contains a selection of educational videos including introductions to language terms such as iambic pentameter, actor-lead tutorials exploring the techniques they use to get to grips with a text and full online performances including Tim Crouch’sI, Cinna.
• Teacher resources are free to download from the RSC website including teacher packs by play and Key Stage.
• Home-educators can also access up to seventeen RSC productions in partnership with Digital Theatre+ alongside supporting resources including backstage insights, practitioner interviews, written analysis and over 450+ productions of the world’s finest theatre.

The RSC is a charity with a mission to transform lives through amazing experiences of Shakespeare and great theatre. The financial impact of temporary closure for the RSC, and theatres across the country, is considerable and damaging, and alongside many theatres the RSC is urgently appealing for support through the Keep You RSC campaign to:

• Keep Your RSC educating
• Keep Your RSC transforming lives
• Keep Your RSC open for everyone

The impact of school closures means that any donations received will make a difference for young people, particularly those with less support at home.

For more information on how to  help Keep Your RSC educating, visit https://www.rsc.org.uk/support/keep-your-RSC-educating-the-nation

Shifting the Dial Partnership presents
Fix It: Time to Breathe
A series of free events on how we address the adversities young African Caribbean men face in Arts, Health and Justice

Created in response to the Black Lives Matter movement, this week, Birmingham Repertory Theatre and Lightpost Company began their series of free online events titled Fix It: Time to Breathe.

Designed to explore and share strategies on how we address the adversities young African Caribbean men face in Arts, Health and Justice, the first in a series of three events began this Tuesday (14 July) on the subject of trauma. Attended by 45 participants, the digital conversation brought together a mix of practitioners working with young people, young people, commissioners, decision-makers (including elected officials), service managers and community leaders.

Each Fix it event is structured to feature an introduction to guest speakers and young men from the Shifting the Dial project plus an open, solutions-focussed conversation between practitioners, decision-makers and young people on how we work together to tackle the issue.

The following events over the next two weeks will focus on Justice and Rights (21 July) and Healing (28 July). Each conversation is intended as an opportunity to learn, share and look at effective approaches inspired by the innovative Shifting the Dial programme – a programme dedicated to boosting young black men’s resilience and wellbeing. The Shifting the Dial Partnership is a unique collaboration comprised of The REP, First Class Legacy, Centre for Mental Health and Birmingham and Solihull Mental Health NHS Foundation Trust and is funded by the National Lottery Community Fund. Interested participants can find out more and book their place for the next two Fix It conversations by visiting birmingham-rep.co.uk.

Shifting the Dial Project Producer, Samina Beckford said; “Due to the effects of the COVID-19 pandemic, we have been forced to change how we run our ever-popular quarterly “Fix It” events. This new format allows our delegates the space for vital reflection during and after our online conversations. We will continue to work with our attendees who have pledged practical and sustainable organisational changes which aid in dismantling systemic issues that negatively impact young black men.”

The conversations will end with a time to breathe, an opportunity to make a pledge/promise on what you and/or your organisation can implement in order to address systemic racism and support young African Caribbean Men.

The Good Enough Mums Club launches
exciting podcast about motherhood while
undergoing lockdown R&D

While The Good Enough Mums Club, a poignant and hilarious musical romp, undergoes new development in lockdown, the team have announced a new podcast series to explore the highs, lows and sleep deprivation of motherhood during this especially challenging time. What began life as a musical has evolved into a movement of mothers spreading the message that you don’t have to be perfect, and sometimes being good enough is best.

With many mothers struggling with home-schooling and 24/7 childcare, The Good Enough Mums Club is seeking to spark conversations about motherhood. Mothers are currently under more pressure than ever before with isolation and loneliness taking a huge toll. This project and podcast seek to provide an escape and antidote as well as a safe place to connect.

The stellar cast of Maisey Bawden (An Officer and a Gentleman, UK Tour; Honeymoon in Vegas, West End), Louise Dearman (Wicked, West End; Guys and Dolls, West End), Gemma Knight Jones (Falsettos, West End; The Lion King, West End), Dianne Pilkington (Only Fool and Horses the Musical, West End; Young Frankenstein, West End), and Jade Samuels (tinned goods, UK tour; Jumprov) are working with director Hannah Chissick (Side by Side by Sondheim, West End;
Horrid Henry: Live and Horrid, West End and UK tour) to perfect the music, examine what a postCovid tour could be like and write four new songs which will feature in the podcast

The podcast will offer the perfect extension of the show: a place to share the stories they have been gathering to share with other mums. Lockdown has only increased the pressures of motherhood and this podcast comes at a time when parents deserve to hear that they are not alone, they are not the only ones struggling to figure it all out. The team will soon announce their line-up of mums ready to talk about the real stuff: the good, the bad, the heart-breaking,
the heart-warming, the pee and the glee that comes with being a mum

The Good Enough Mums Club is conceived, produced, directed, arranged, and performed by mothers. The show’s creator Emily Beecher and co-producers Sarah Shead and Jade Samuels are single mums who juggle work in the arts alongside motherhood. Working in the traditional style was not going to be possible so they are creating new pathways to balance work and lockdown
family life.

Producers, Emily Beecher, Sarah Shead and Jade Samuels comment, In creating the club we wanted to share our stories of being mums and to communicate the message of hope and acceptance we’ve discovered, born out of some of the darkest experiences of early motherhood. We recognise that every mum has their own story and we hope the club is a celebration of the ordinary things that make all mums extraordinary.

The Good Enough Mums Club has been fortunate to receive Arts Council England emergency fund to continue the planned development of the show in lockdown

Bridlington Spa is delighted to announce the return of entertainment.

Bridlington Spa is delighted to announce the return of entertainment.

Comeback Cabaret is five eclectic evenings of socially distanced entertainment presented in the historic Royal Hall at Bridlington Spa, starting Saturday 1 August and every Saturday in August.

The singer will introduce themselves to the audience before moving to the Theatre; where they will sing to an empty auditorium, with their show being live streamed into the Royal Hall.  The audience will be seated at tables and watch the show on a large screen in the centre of the Royal Hall stage and served a two course meal during the interval.

Asa Elliott will launch the first Comeback Cabaret evening on Saturday 1 August. Asa is best known as the charming crooner in the hit TV series ‘Benidorm’. He recently reprised his role for the smash-hit UK and Ireland theatre tour of ‘Benidorm Live’.

Asa’s first TV break was on ‘Stars In Their Eyes’ (appearing as Bobby Vee), leading to a blossoming singing and acting career in the UK and America.  Twice appearing in pantomime at Bridlington Spa in 2016 & 2017, and a sell-out ’Swing Your Heart Out’ show in 2018, Asa is a familiar face to regulars at the venue.  A natural showman, described by Frankie Valli as ‘effortless’, his powerful vocals and charismatic stage presence guarantee a show you will not forget. 

Bridlington Spa general manager Mark Lonsdale said “It has been hugely important to us as a venue to reintroduce entertainment as quickly as possible in a safe way for both our staff and audiences.

“Our twice weekly free cinema Picturehouse screenings have proved hugely popular and we are now thrilled to move to the next stage in our phased reopening with the Comeback Cabaret evenings. These evenings provide a fantastic platform for artists to showcase their work in what has been a really difficult time for the industry as a whole. We are the only venue of our kind for miles that will have any form of entertainment this summer.”

Other performers throughout August include Lisa Kelsey performing cabaret & show tunes, soloist Zara performing classic hits, and Ricky K who will be performing cabaret & a Robbie Williams tribute in the same evening with one more act to be announced shortly.

CARLOS ACOSTA CBE APPOINTED TO BOARD OF GOVERNORS OF THE ROYAL BALLET SCHOOL

DIRECTOR OF BIRMINGHAM ROYAL BALLET JOINS THE SCHOOL’S BOARD OF GOVERNORS IN EX-OFFICIO POSITION

The Royal Ballet School has appointed internationally renowned dancer, choreographer and Director of Birmingham Royal Ballet Carlos Acosta to its Board of Governors.

Born in 1973, Carlos grew up in one of Havana’s poorest districts and – at the insistence of his father – was sent to train at the National Ballet School of Cuba. In 1990, he won the coveted Gold Medal at the Prix De Lausanne, capturing the attention of the international dance world and catapulting him into an international dance career.

Since then, Carlos has danced professionally with some of the world’s most prestigious companies including English National Ballet, National Ballet of Cuba, American Ballet Theatre, and Houston Ballet. He made his home at The Royal Ballet in 1998, retiring from the Company in 2015. He has danced principal roles in most of the major classical ballets, and has performed as a guest artist in virtually every corner of the world.

In the 2014 New Year’s Honours List, Carlos was awarded the CBE, capping the end of a remarkable year which saw him stage his new production of Don Quixote at the Royal Opera House, and choreographing a new production of Guys and Dolls for the West End. In the National Dance Awards 2015, Carlos was awarded the De Valois Award for Lifetime Achievement.

In addition to his work with The Royal Ballet, Carlos also choreographed his semi-autobiographical show, Tocororo, which premiered in Havana in 2003 and was nominated for an Olivier Award. He continued to develop his own highly popular and award-winning shows in London and throughout Europe, including both classical and contemporary repertoire.

Carlos retired from The Royal Ballet stage in 2015 with his own version of Carmen.

Carlos continues to perform contemporary dance and formed his own company, Acosta Danza, to critical acclaim. The culture and vibrancy of his country of birth continue to have a big influence on his career. He has created the Carlos Acosta International Dance Foundation, giving opportunities to young dancers and choreographers whose talents might not otherwise be seen or heard. The Acosta Danza Academy opened its doors in Havana in September 2017 to its first intake of aspiring and talented young Cuban students.

In 2018, the film Yuli – telling the story of his humble beginnings and ballet career – attracted great public and critical acclaim.

He became Director of Birmingham Royal Ballet in January 2020.

Christopher Rodrigues CBE, Chairman of The Royal Ballet School, said:

‘I am delighted to welcome Carlos Acosta to The Royal Ballet School’s Board of Governors, and know that he will bring a passion for dance and a clear vision for its future to the School. His perspective as the new Director of Birmingham Royal Ballet will be invaluable in helping the School to maintain its crucial relationship with his company’.

Christopher Powney, Artistic Director of The Royal Ballet School, said:

‘I am thrilled that Carlos Acosta will bring his energy and commitment to dance to The Royal Ballet School. His appointment is a celebration of the long-standing ties between the School and Birmingham Royal Ballet – a company that so many of our talented students have made their home. I look forward to working with Carlos as the Director of one of our great companies and also receiving his support as a Governor. He will continue to be an inspiration to our young dancers and play a key role in helping us to successfully steer the future of the School’.

Carlos Acosta CBE said:

‘I’m delighted to have been invited to join The Royal Ballet School’s Board of Governors, and look forward to bringing a wider perspective to the School’s direction and future plans. Birmingham Royal Ballet’s presence and influence on the Board brings a golden opportunity to celebrate our historic relationship with The Royal Ballet School’.

JOSHUA ANDREWS AND PETER JAMES

ANNOUNCE

THE WORLD PREMIERE

STAGE PRODUCTION OF THE

PETER JAMES BEST SELLING NOVEL

LOOKING GOOD DEAD

OPENING AT GLASGOW THEATRE ROYAL

ON 17 MARCH 2021

Following the news this week that his latest Roy Grace novel, FIND THEM DEAD, has gone straight to No.1 in the UK Book charts, Peter James and producer Joshua Andrews are delighted to announce the World Premiere stage production of the Peter James novel LOOKING GOOD DEAD. The production will open at the Glasgow Theatre Royal on 17 March 2021 ahead ofa major UK tour. Star casting will be announced soon. peterjames.com

Peter James said today “I can scarcely believe this is the fifth of my novels to be adapted for the stage. It has been a tremendous thrill to see my characters so brilliantly brought to life, and it has been quite humbling to have seen such passion and enthusiasm, repeatedly, from audiences around the nation”.

LOOKING GOOD DEAD is Peter’s fifth novel to be brought to the stage and follows the hugely successful productions of The House on Cold Hill starring Joe McFadden and Rita Simons last year, Not Dead Enough starring Shane Richie and Laura Whitmore in 2017, The Perfect Murder starring Shane Richie and Jessie Wallace in 2016 and Dead Simple starring Tina Hobley in 2015. 

No good deed goes unpunished…….hours after picking up a USB memory stick, left behind on a train seat, Tom Bryce inadvertently becomes a witness to a vicious murder. Reporting the crime to the police has disastrous consequences, placing him and his family in grave danger. When Detective Superintendent Roy Grace becomes involved, he has his own demons to contend with while he tries to crack the case in time to save the Bryce family’s lives.

Producer Joshua Andrews commented “When Peter and I first talked about adapting his novels for the stage, we never dreamt we’d do five of them! Their continued success is thanks to the wonderful sell out audiences around the country, who love watching these adaptations of Peter’s best selling books and we hope to give them all another thrilling night at the theatre with Looking Good Dead”.

Peter James is a number one bestselling author of crime and thriller novels and the creator of the much-loved Detective Superintendent Roy Grace. He has topped the Sunday Times best seller list sixteen times and has achieved global book sales of over 20 million copies which have been translated into 37 languages. Synonymous with plot twisting page turners, he has garnered an army of loyal fans throughout his storytelling career which also included writing for TV and producing films. He has won over 40 awards for his work, including the WHSmith Best Crime Author of All Time Award, Crime Writers’ Association Diamond Dagger and a BAFTA nomination for The Merchant of Venice starring Al Pacino and Jeremy Irons for which he was an Executive Producer.

LOOKING GOOD DEAD has been adapted for the stage by Shaun Mckenna. An award-winning British dramatist, his previous theatre credits include Peter James’ The Perfect Murder, Dead Simple, Not Dead Enough and The House on Cold Hill. It will be directed by the Olivier Award winning Ian Talbot. Ian was Artistic and Managing Director of the Regent’s Park Open Air Theatre until 2008. His West End credits include High Society at Shaftesbury Theatre, Lend Me A Tenor at the Gielgud Theatre and The Mousetrap at St Martin’s Theatre. His UK touring credits include Annie Get Your Gun, Anything Goes, Priscilla Queen of the Desert, Million Dollar Quartet and Peter James’ The Perfect Murder and The House on Cold Hill.

LOOKING GOOD DEAD – 2021 TOUR LISTINGS

WEDNESDAY 17 – SATURDAY 20 MARCH 2021

THEATRE ROYAL GLASGOW

www.atgtickets.com

ON SALE NOW

MONDAY 22 – SATURDAY 27 MARCH 2021

RICHMOND THEATRE

www.atgtickets.com

ON SALE NOW

MONDAY 29 MARCH – SATURDAY 3 APRIL 2021

DARTFORD ORCHARD THEATRE

www.orchardtheatre.co.uk

ON SALE NOW

MONDAY 5 – SATURDAY 10 APRIL 2021

ALEXANDRA THEATRE BIRMINGHAM

www.atgtickets.com

ON SALE NOW

MONDAY 12 – SATURDAY 17 APRIL 2021

THEATRE SEVERN SHREWSBURY
www.theatresevern.co.uk

ON SALE NOW

TUESDAY 27 APRIL – SATURDAY 1 MAY 2021

NEW THEATRE CARDIFF

www.newtheatrecardiff.co.uk

ON SALE SOON

MONDAY 3 – SATURDAY 8 MAY 2021

LEEDS GRAND THEATRE

www.leedsgrandtheatre.com

ON SALE NOW

MONDAY 10 – SATURDAY 15 MAY 2021

COVENTRY BELGRADE THEATRE
www.belgrade.co.uk

ON SALE SOON

MONDAY 17 – SATURDAY 22 MAY 2021

NORWICH THEATRE ROYAL
www.norwichtheatre.org

ON SALE SOON

MONDAY 24 – SATURDAY 29 MAY 2021

THEATRE ROYAL BRIGHTON

www.atgtickets.com

ON SALE NOW

TUESDAY 1 – SATURDAY 5 JUNE 2021

THE LOWRY, SALFORD

www.thelowry.com

ON SALE FROM FRIDAY 17 JULY 2020

MONDAY 7 – SATURDAY 12 JUNE

EVERYMAN THEATRE CHELTENHAM

www.everymantheatre.org.uk

ON SALE NOW

MONDAY 14 – SATURDAY 19 JUNE 2021

MILTON KEYNES THEATRE

www.atgtickets.com

ON SALE NOW

MONDAY 21 – SATURDAY 26 JUNE 2021

NEWCASTLE THEATRE ROYAL

www.theatreroyal.co.uk

ON SALE SOON

MONDAY 28 JUNE – SATURDAY 3 JULY 2021

CURVE, LEICESTER
www.curveonline.co.uk

ON SALE SOON

TUESDAY 6 – SATURDAY 10 JULY 2021

MAYFLOWER, SOUTHAMPTON

www.mayflower.org.uk

ON SALE NOW

MONDAY 12 – SATURDAY 17 JULY 2021

SOUTHEND PALACE THEATRE

www.southendtheatres.org.uk

ON SALE NOW

MONDAY 26 – SATURDAY 31 JULY 2021

NOTTINGHAM THEATRE ROYAL

www.trch.co.uk

ON SALE NOW

FURTHER DATES TO BE ANNOUNCED SOON

LIVE THEATRE IS BACK AT LONG LAST!

STEPHEN TOMPKINSON & JESSICA JOHNSON STAR IN

WILLY RUSSELL’S EDUCATING RITA

AT THE MINACK OPEN AIR THEATRE, CORNWALL

FROM TUESDAY 18 – SATURDAY 29 AUGUST

Olivier and Tony Award-winning producer David Pughand Zoe Curnow, Executive Director of the Minack Theatre, are delighted to announce that the acclaimed 40^th anniversary production of Willy Russell’s EDUCATING RITA will play the Minack Theatre, Cornwall this August.  The production was on a UK Tour when the Government closed theatres, but is now able to open at this beautiful outdoor theatre with social distancing.  Performances will begin on Tuesday 18 August and the season will run until Saturday 29 August. The production stars Stephen Tompkinson as Frank and Jessica Johnson as Rita and is directed by Max Roberts.

David Pugh explained his decision to stage the production outdoors for two weeks: “I am a producer, so I should produce. The idea of playing Educating Rita at the Minack Theatre is not only exciting but also a step towards re-opening all of our theatres. I do worry about the rain but when I mentioned this to Willy Russell, he said ‘Don’t worry, I’ll just add a line. Rita can say: There’s a leak in your ceiling, Frank.’”

Zoe Curnow added, “We are delighted to be able to reawaken the Minack from its lockdown sleep and put the soul back into our theatre with live performances. Having sadly had to postpone our previously scheduled 2020 season, we are delighted to be forging new friendships with producers like David and are really excited to welcome Willy Russell and Stephen and Jessica to our beautiful theatre. Our fingers are crossed that the sun shines on us for the remainder of the summer.”

EDUCATING RITA tells the story of married hairdresser Rita, who enrols on an Open University course to expand her horizons, and her encounters with university tutor Frank. Frank is a frustrated poet, brilliant academic and dedicated drinker, who is less than enthusiastic about teaching Rita. However, Frank soon finds that his passion for literature is reignited by Rita, whose technical ability for the subject is limited by her lack of education, but whose enthusiasm Frank finds refreshing. The two soon realise how much they have to learn from each other.

Stephen Tompkinson and Jessica Johnson said of playing the Minack Theatre, “On March 16, we thought that was it, that we were never to perform in our favourite play ever again. Now, we are beyond excited to be doing Educating Rita one more time at the Minack, the stunning open air theatre in Cornwall.”

EDUCATING RITA was originally commissioned by the Royal Shakespeare Company and played at the Warehouse Theatre, London in 1980, starring Julie Walters and Mark Kingston. Julie Walters reprised her role in the BAFTA, Golden Globe and Academy Award-winning film opposite Michael Caine.

Born in Liverpool in 1947, Willy Russell left school at 15 and became a women’s hairdresser and part-time singer/songwriter before returning to education to retrain as a teacher. Russell’s other writing credits include the Olivier Award-winning musical Blood Brothers, and the hugely successful play Shirley Valentine, which won the Olivier Awards for Best New Comedy and Best New Actress, and a  Tony Award for Best Performance by a Leading Actress in a Play. The play was adapted for film and nominated for a host of BAFTA and Academy Awards. Willy Russell continues to be one of the most celebrated writers of his generation with works constantly in production throughout the world as well as in the UK.

Stephen Tompkinson’s television credits include ITV’s Torvill & Dean, BBC’s The Split, five series of DCI Banks, four series of Trollied, seven series of Wild at Heart, six series of Drop the Dead Donkey (British Comedy Award Winner for Best TV Comedy Actor) and three series of Ballykissangel, and his films include Phil in Brassed Off. His theatre work includes Spamalot, Rattle of a Simple Man and Arsenic and Old Lace in the West End, Cloaca and A Christmas Carol (Old Vic), Art and Tartuffe (National Tours). 

Jessica Johnson’s theatre credits include Call Me Mary Poppins, Goth Weekend, Kings and Queens, Each Piece and Anti-Gravity at the Live Theatre, Newcastle. She previously played Rita in Rebecca Frecknall’s 2017 production of Educating Rita at the Gala Theatre, Durham. Her television credits include Wire In The Blood (ITV), Coronation Street (ITV) and Cuckoo (Channel 4).

Max Roberts is Emeritus Artistic Director of Newcastle’s Live Theatre. Under his direction, the Live Theatre has become one of the country’s most successful theatre companies with an outstanding reputation for developing new work. His Olivier Award-nominated production of Lee Hall’s Cooking With Elvis transferred to the West End’s Whitehall Theatre (now Trafalgar Studios) before touring nationally. He also directed The Pitman Painters, which transferred to the National Theatre and won Best Play at the Evening Standard Theatre Awards before opening on Broadway.

EDUCATING RITA has set and costume designs by Patrick Connellan, lighting design by Drummond Orr and sound design by David Flynn.

EDUCATING RITA is produced by David Pugh and is a Theatre by the Lake production..

Website: educatingrita.co.uk

Twitter.com/EducatingRitaUK

Facebook.com/EducatingRitaPlay

LISTINGS INFORMATION

18 – 29 August 2020

Minack Theatre

Porthcurno

Penzance

Cornwall TR19 6JU

Box Office: Minack.com / 01736 810181

Performances: Tuesday to Sunday at 7pm, Thursday, Saturday & Sunday at 3pm*

*Currently no performances on Sunday 30 August

DISNEY’S FROZEN ANNOUNCES WEST END CAST

THE PRODUCTION WILL NOW OPEN IN APRIL 2021 AT THE NEW THEATRE ROYAL DRURY LANE,

FOLLOWING AN EXTENSIVE 2-YEAR REFURBISHMENT

Disney Theatrical Productions today announces casting for Frozen – joining the previously announced Samantha Barks (Elsa) and Stephanie McKeon (Anna) are Obioma Ugoala (Kristoff), Craig Gallivan (Olaf), Oliver Ormson (Hans), Richard Frame (Weselton), and alternating the role of Sven, Mikayla Jade and Ashley Birchall; with Jeremy Batt, Cameron Burt, Lauren Chia, Laura Emmitt, Emily-Mae (Bulda), Danielle Fiamanya, Hannah Fairclough, Matt Gillett, Joe Griffiths-Brown, Emily Lane, Justin-Lee Jones, Jason Leigh Winter, Jacob Maynard, Leisha Mollyneaux, Gabriel Mokake (King Agnarr), Sarah O’Connor, Jemma Revell, Jacqui Sanchez (Queen Iduna), Jak Skelly (Oaken/Bishop), Jake Small, Isabel Snaas, Joshua St. Clair (Pabbie), Monica Swayne, and Anna Woodside. With music and lyrics by Kristen Anderson-Lopez and Robert Lopez, and book by Jennifer Lee, Frozen is directed by Michael Grandage.

Due to the ongoing impact throughout the theatre industry of Covid-19, Disney’s Frozen will open in the West End on 14 April 2021, with previews from 2 April, and is now booking until 24 October 2021. All patrons with pre-existing bookings will automatically be transferred to a new performance date with the same seats, and notified in due course via email, with the company working through bookings chronologically. If the new date is not suitable, at this point patrons will have the opportunity to request an alternative date or a refund.

Michael Grandage said today, “We’re thrilled to announce casting for Frozen – an incredibly talented group of people who will be creating the London premiere at the newly refurbished Theatre Royal Drury Lane next spring. As theatres start to open their doors again, we look forward to celebrating the spectacle of this beloved story with audiences everywhere”.

Frozen – produced by Disney Theatrical Productions under the direction of Thomas Schumacher – opened on Broadway in March 2018 to box office records, and three Tony Award® nominations including for Best Musical. In addition to the opening in London, the musical recently embarked on a North American tour, and new productions will open in Australia, Japan, and Hamburg within the next year.

Frozen was released in cinemas in 2013, winning multiple awards, including two Academy Awards® for Best Animated Feature and Best Original Song (“Let It Go”), the Golden Globe for Best Animated Feature Film and the BAFTA for Best Animated Film. It was written and directed by Jennifer Lee and Chris Buck, withmusic and lyrics by Kristen Anderson-Lopez and Robert Lopez. Frozen 2, which debuted in November 2019, had the biggest-ever opening for an animated film worldwide and is the highest grossing animated film of all time. 

In the first booking period, Frozen has scheduled the following access performances – Signed Performance (11 July 13.00 matinee), Relaxed Performance (25 July 12.30 matinee), Audio Described Performance (15 August 13.00 matinee) and Captioned Performance (22 August at 17.30).

Samantha Barks plays Elsa. For theatre, her work includes Chess (Umeda Arts Theater Main Hall / Tokyo International Forum Hall), Pretty Woman (Chicago and Broadway), The Last Five Years (St James Theatre), Amelie (Berkley Rep), City of Angels (Donmar Warehouse), Chicago (Hollywood Bowl), Oliver! (UK tour), Les Misérables (Queen’s Theatre), and Cabaret (Birmingham Rep). She was one of the participants on the BBC series I’d Do Anything. For film, her credits include Chocolate Cake, For Love or Money, Bitter Harvest, The Revenger, Interlude in Prague, The Devil’s Harvest, The Christmas Candle and as Eponine in Les Misérables (recipient of Empire Award for Best Female Newcomer; and nomination for Screen Actors Guild Award for Outstanding Performance by a Cast in a Motion Picture). She also reprised her performance as Eponine for Les Misérables in Concert: The 25^th Anniversary.

Stephanie McKeon plays Anna. For theatre, her work includes Beautiful – The Carole King Musical (Aldwych Theatre), Jacques Brel is Alive and Well and Living in Paris (Gate Theatre, Dublin), Close to You: Bacharach Reimagined (Criterion Theatre and Menier Chocolate Factory), and The Commitments (Palace Theatre). Her screen work includes, for television, Fair City – as series regular Aisling O’Brien; and as the voice of Asuka in the Netflix English-dubbed version of the critically acclaimed Japanese Anime series/films Neon Genesis: Evangelion.

Obioma Ugoala plays Kristoff. For theatre, his work includes The Lost Love Speakeasy (The Lost Estate), Much Ado About Nothing (New English Shakespeare Company), Hamilton (Victoria Palace Theatre), Motown (Shaftesbury Theatre), Henry V, The Mouse and His Child (RSC), Holy Warriors, Antony and Cleopatra (Shakespeare’s Globe), The Jungle Book, Crime and Punishment (Glasgow Citizens Theatre) and The Physicists (Donmar Warehouse). For television, Miracle Workers: Dark Ages; and for film, Beauty and the Beast.

Craig Gallivan plays Olaf. For theatre his work includes School of Rock (New London Theatre), Billy Elliot (Victoria Palace Theatre), Crime and Punishment (National Theatre), Days of Significance (RSC), The Long, The Short and The Tall (Sheffield Theatres), Joseph and the Amazing Technicolor Dreamcoat and Oliver! (UK tours). For television, his work includes Stella (as series regular Luke), Torchwood, Footballer’s Wives (as series regular Callum Watson) and Care; and for film, The Edge of Love.

Oliver Ormson plays Hans. For theatre, his work includes Back to the Future The Musical (Opera House Manchester), High Fidelity (Turbine Theatre), Cats (Kilworth House), Nerds, Protagonists (The Other Palace), The Addams Family (UK and international tours), The Book of Mormon (Prince of Wales Theatre), Sopranos vs Tenors (European tour), and Hairspray (Aberystwyth Arts Centre). Television includes West Side Story (Reef Television/BBC Symphony Orchestra).

Richard Frame plays Weselton. For theatre, his work includes The Lion King (as Timon from 2013 to 2018, Lyceum Theatre), Blue Remembered Hills (Theatre on the Fly), Pocket Comedy (UK tour), Richard III, The Comedy of Errors (The Watermill Theatre), London Assurance (National Theatre), A Midsummer Night’s Dream, The Merchant of Venice (Propeller), Absolute Beginners (Lyric Hammersmith), Promises, Promises (Sheffield Theatres), Love’s Labour’s Lost and A Midsummer Night’s Dream (Regent’s Park Open Air Theatre). For television, his work includes Outnumbered, The Hollow Crown – Henry IV Parts 1 and 2, Family Affairs (as series regular Damian), Wire in the Blood, Hearts and Bones, and Hope and Glory; and for film London Road.

Mikayla Jade makes her professional stage and West End debut playing Sven. Originally from Australia, she is an actress and stuntwoman. For film, her work includes Maleficent: Mistress of Evil, The Old Guard and Wonder Woman 1984.

Ashley Birchall plays Sven. For theatre, his work includes Joseph and the Amazing Technicolor Dreamcoat, Oklahoma! (Kilworth House), Wicked (Apollo Victoria Theatre), Pet Shop Boys: Inner Sanctum (Royal Opera House), Tommy (Greenwich Theatre), Starlight Express (Germany), We Will Rock You (Dominion Theatre). For film, his work includes Mary Poppins Returns.

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LISTINGS     FROZEN

Theatre Royal Drury Lane

Catherine Street, Covent Garden, London WC2B 5JF

Tickets from £20

Group rates:

Groups 9 to 19*                              Stalls & Royal Circle £49.50, Grand Circle £39.50

Groups 20+*                                    Stalls & Royal Circle £45, Grand Circle £35

*Valid on Wednesday and Thursday 7pm performances and Thursday 2.30pm matinees subject to availability. Excludes school holidays and other blackout dates that may apply.

Education Groups 10+ †                Stalls & Royal Circle £29.50 | Grand Circle £22.50

Plus one free teacher ticket for every ten paid tickets

Valid on Wednesday & Thursday 7pm and Thursday 2.30pm performances subject to availability. Excludes school holidays and other blackout dates that may apply. Minimum group size is 10. Education rate valid for groups up to Year 11.

PREVIEW PERFORMANCES:

Friday 2 April at 19.30

Saturday 3 April at 19.30

Sunday 4 April at 17.30

Tuesday 6 April at 19.30

Wednesday 7 April at 19.30

Thursday 8 April at 19.30

Friday 9 April at 19.30

Saturday 10 April at 14.30 and 19.30

Sunday 11 April at 13.00

Tuesday 13 April at 19.30

PERFORMANCES FROM Thursday 15 April evening performance (NB no matinee on 15 April):

Wednesday – Saturday                 7pm

Thursday and Saturday                 2.30pm

Sunday                                              1pm & 5.30pm

ACCESS & RELAXED PERFORMANCES:

Signed Performance                      11 July at 13.00

Relaxed Performance                    25 July at 12.30

Audio Described Performance    15 August at 13.00

Captioned Performance                22 August at 17.30

Mothers Who Make comes to
Northamptonshire

A new hub for Mothers Who Make will come to Northamptonshire led by Carbon Theatre’s Courtenay Johnson and storyteller Jo Blake, with the support of Royal & Derngate and The Core at Corby Cube with start-up funding from the Avon Fund, Northamptonshire Community Foundation. Mothers Who Make is a growing national initiative which offers a monthly peer support group for mothers who are artists and makers, in any discipline and at any stage in their creative paths.

The first sessions will take place on Zoom, prioritising the safety of artists and their family. Operating a Pay What You Can system, these sessions look to be as open and inclusive as possible, connecting a network of artists and mothers to strengthen the creative roots of Northamptonshire. The sessions create a supportive space to explore how being a mother and an artist can enrich both experiences as much as looking at the challenges they can hold.

Every kind of maker is welcome: professional and/or passionate, full-time, part-time, freelance; writers, painters, performers, producers, musicians, bakers, crafters, architects, historians, wherever creativity flourishes. Every kind of mother is welcome too: biological, adoptive, step, surrogate, mother figures, foster, LGBTQ+, bereaved, grand, great grand, future, to be… Children are encouraged to attend as well and are integrated into the meeting. These group
sessions are about recognising the dual roles of mother and artist and they are given equal value within all their events.

The initiative grew from founder, Matilda Leyser’s understanding of the experiences and challenges specific to being both a mother and an artist. She noticed many parallels between the two roles: both are concerned with creativity and play, both require stamina, patience, sensitivity, both keep her up at night. But she was struck by the cultural assumption that the two were incompatible, that one would always end up compromised. Mothers Who Make challenges this. Born in London six years ago, now the peer support group meetings take place in almost thirty different regions across the UK and overseas.

The first Northamptonshire session will take place on Thursday 23rd July at 8pm – 9.30pm, signup here: https://www.carbontheatre.org.uk/events/mwm-northamptonshire-launch.

Mother, producer with Carbon Theatre and Northampton Hub co-founder, Courtenay Johnson comments, I can’t wait to start this hub in Northamptonshire and meet more local creative mothers. I’m a freelance arts producer and mum to my 2½ year old daughter. Taking on the dual roles of ‘mother’ and ‘maker’ is such a challenge, especially when you are breaking down notionsof old-fashioned professionalism or gender roles. I have a baby in this meeting, so what? I’m an unmarried single mother – shock horror. Having a group of mother-makers, creative womxn who understand a part of what your life is like and support you 100% is hugely valuable.

Mother, storyteller, dancer and Northampton Hub co-founder, Jo Blake adds, Isolation has always been an issue for mothers with young children. And in these challenging times, where isolation is enforced to protect us all, and we are witnessing such devastation to the cultural sector, it is even more important that those of us who are mothers who make reach out and stay connected. We intend these gatherings to provide a virtual space for reconnection, support and inspiration to women in the area.

Jo Gordon, Chief Executive of Northamptonshire Arts Management Trust, comments, I’m thrilled that Royal & Derngate and The Core are able to support Mothers Who Make. As a mum of two boys myself, I’m so aware that it is the most invigorating and sometimes the most isolating job in the world. Mothers Who Make is a safe and supportive space for mums of kids of all ages to come together, in this case with a fundamental connection – that of being an artist, or a maker – a skillset and identity that can often be put on hold in the early days of motherhood. While we can’t wait to welcome the groups to our buildings when it is safe to do so, the launch of Mothers Who Make online is an exciting moment for Northamptonshire.

ROYAL SHAKESPEARE COMPANY CONFIRMS RESCHEDULED PROGRAMME FOR WINTER 2021

PUBLIC BOOKING RE-OPENS WEDNESDAY 12 AUG AT 10AM

Previously announced productions include:

• New family musical, The Magician’s Elephant, by Nancy Harris and Marc Teitler based on the international, best-selling novel by Kate DiCamillo, directed by Sarah Tipple
• The Wars of the Roses, directed by Owen Horsley with Gregory Doran, an epic staging of all three parts of Henry VI across two unforgettable performances telling the enthralling story of the brutal struggle for the English crown.
• Shakespeare for Everyone; First Encounters with Shakespeare: Twelfth Night directed by Robin Belfield.
• Ambition to re-open in Winter 2020 with re-scheduled performances of The Winter’s Tale and The Comedy of Errors

The Royal Shakespeare company has today confirmed full performance dates for its previously scheduled productions of The Magician’s Elephant and The Wars of The Roses Part 1 and 2 which will now take place in Winter 2021.

The productions, which were originally due to run from October 2020 – Jan 2021, were postponed due to the ongoing impact of COVID-19, which included the temporary cancellation of all RSC performances, events and other activities.

The Company fully intends to re-open the Royal Shakespeare Theatre (RST) with new events and re-scheduled performances of The Winter’s Tale and The Comedy of Errors as soon as that proves possible. Both productions were in rehearsal and due to open in the RST this spring. Further details will be announced soon, but this remains dependent on government advice on social distancing and on whether it is financially viable for the Company to perform to audiences inside our theatres. The RSC very much hopes for positive news in the coming weeks on the reopening roadmap and on the distribution of the extremely welcome £1.57bn government rescue package for arts and culture.

Gregory Doran, Artistic Director, said: ‘While we continue to explore every opportunity to open our Stratford buildings as soon as we possibly can, ideally later this year, I am pleased to share this hopeful news of the confirmed schedule for our Winter 2021 season. Since first closing our doors back in March, we have continued to do everything we possibly can to support our audiences through lockdown and to engage and entertain our communities across the UK and beyond. Of course, nothing can or should replace the live theatre experience, which continues to be much missed by audiences everywhere. Alongside our colleagues across the industry, we can and want to play a crucial role in the recovery of the country, knowing how valuable the arts are to our collective wellbeing, whether giving strength in difficult times, helping us to tell our own stories or simply lifting the spirits for a few hours. We very much look forward to welcoming audiences back to our buildings and to share this live experience with them.

Commenting on the programme, Gregory added: “Every time the RSC mounts Shakespeare’s early history plays, they strike a powerful chord. If you want to understand the dangerous world we live in, with its divisive politics, the rise of demagoguery and the threat of despotism, then you need look no further than The War of the Roses Part 1 and 2. This ferociously vivid account of the brutal struggle for the English Crown will without doubt strike different resonances deep in its audiences’ consciousness today. I’m thrilled to be working alongside Owen Horsley once more, who I last worked with on the RSC’s King and Country cycle, to bring this dynamic story of power and corruption, saints and psychopaths, of then and now, to life afresh in a newly configured Swan auditorium in 2021.

“Meanwhile in the RST, we continue to platform the most exciting voices of today with the premiere of our new family musical, The Magician’s Elephant. Sarah Tipple will direct,  who was my invaluable Associate Director on last year’s much-loved production of The Boy in the Dress, The beautifully crafted storytelling of Kate DiCamillo’s novel combined with Nancy Harris and Marc Teitler’s idiosyncratic ear for music and lyrics are the perfect marriage for this darkly comic fairytale which, at its heart, is a celebration of human imagination and the miracle of surviving adversity.”

Flexible Bookings, Exchanges and Refunds:

For bookings made throughout 2020 for future performances, audiences can book their tickets with confidence knowing that if they are unable to attend a performance for any reason, they can exchange their tickets up to 2 hours before the performance or event start time, at no extra cost.

Tickets can be exchanged for another performance with seats at the same price or for an RSC Gift Voucher which can be used as part or full payment against future ticket purchases or memberships, ether online, in person or over the telephone. RSC Gift Vouchers are valid for 12 months from the date of issue.

Unless a performance is cancelled, tickets cannot be refunded once a purchase has been made.

This policy is for performances in Stratford-upon-Avon only and for Matilda The Musical at the Cambridge Theatre in London. Terms and conditions for performances outside of Stratford-upon-Avon may vary. Similarly, the above service is not available if you book your tickets through a ticket agent or for tickets for non-RSC productions.

Royal Shakespeare Theatre

The world stage premiere of The Magician’s Elephant, a new musical adaptation by Nancy Harris (book/lyrics) and Marc Teitler (music/lyrics) of prize-winning children’s author Kate DiCamillo’s novel, builds on a successful tradition of new work created by the RSC for family audiences at Christmas.

The Magician’s Elephant tells the story of orphan Peter Augustus Duchenne, who lives a frugal life in the lonely town of Baltese. Then one day, a magician conjures an elephant from the sky. The animal’s appearance sets off a chain of events so remarkable, so impossible, that it changes Baltese forever. Peter is catapulted into the quest of his life, overturning everything he ever thought he knew, and discovering that happiness can come from the most unexpected places.

This new adaptation of Kate DiCamillo’s heart-breaking and darkly magical children’s book by Nancy Harris (book/lyrics) and Marc Teitler (music/lyrics) will be directed by Sarah Tipple, Associate Director to Gregory Doran on The Boy in the Dress based on the novel by David Walliams. The production will feature design by Colin Richmond whose previous RSC credits include Wendy and Peter Pan and Vice Versa, with lighting by Oliver Fenwick.

The production will run from Thursday 14 October 2021 to Saturday 1 January 2022.

Nancy Harris and Marc Teitler said: ”We were hugely excited by the epic world Kate DiCamillo created in The Magician’s Elephant – its fluid, unexpected leaps, larger-than-life characters and darkly comic, fairy tale quality immediately suggested a highly musical and visual approach to the story-telling. And while we’re thrilled at the prospect of creating a mesmerising theatrical experience for RSC audiences, it’s the emotional truth and compassion at the heart of the story that really resonates with us and is what makes it an urgent and hopeful one for our time.”

Kate DiCamillo said: “The story of The Magician’s Elephant began, for me, with a vision of a magician on a stage conjuring an elephant — a real elephant — by mistake. I didn’t know what was going to happen, but that image of the two of them together on a stage haunted me. Imagine, then, how thrilled I am to have the brilliant Royal Shakespeare Company make that image that haunted me come to life on a stage. I wrote The Magician’s Elephant during a dark time, personally, and it seemed miraculous to me that the story could lead me through grief and to the other side of it — to love and forgiveness. I hope and believe with all of myself that this production will inspire those same feelings of love, forgiveness (and joy) in audiences.”

Swan Theatre

As the Royal Shakespeare Company continues its journey through the complete canon of Shakespeare’s work, Owen Horsley directs The Wars of the Roses with RSC Artistic Director Gregory Doran, an epic event staging Henry VI Parts 1, 2 and 3 in two performances to tell the vivid and enthralling story of the brutal struggle for the English crown.

The three Henry VI plays will be presented by one company of actors across two performances in a newly configured Swan Theatre from Friday 24 September to Saturday 1 January 2022.

The Swan Theatre auditorium will have an exciting new format for the staging of The Wars of the Roses with new grandstand seating and 100 standing arena spaces to give audiences the opportunity to immerse themselves in the action. Seating in Galleries 1 and 2 will remain unchanged. The story will conclude with Richard III, further details to be announced.

This epic journey through The Wars of the Roses will see Gregory Doran re-unite with director Owen Horsley, whose most recent productions for the RSC include a new adaptation of David Edgar’s post-war masterpiece Maydays in 2018 and a visually striking adaptation of Oscar Wilde’s Salome in 2017. Owen last worked alongside Gregory between 2013-2015 as Associate Director on the critically acclaimed King and Country cycle featuring Richard II, Henry IV Parts I and II and Henry V.

The Wars of the Roses will be designed by RSC Director of Design Stephen Brimson Lewis. He will be joined by Costume Designer Hannah Clark, whose recent credits for the RSC include Justin Audibert’s 2019 gender-flipped production of William Shakespeare’s The Taming of the Shrew. RSC Associate Artist Paul Englishby returns to compose the music with fights by Rachel Bown-Williams & Ruth Cooper-Brown.

On tour – Shakespeare for Everyone

For over a decade the RSC has been taking First Encounters productions – edited versions of the plays performed using Shakespeare’s original language – on the road into the heart of communities and they have been enjoyed by over 100,000 people to date. The work is rooted in a long-term commitment to different regions around the country made possible through deep partnerships with schools and theatres, providing pathways for young people, teachers, artists and schools to develop their skills and knowledge.

Building on the success of The Merchant of Venice in 2019, the RSC First Encounters with Shakespeare series returns with a new production of Twelfth Night directed and edited by Robin Belfield in September 2021.

The production will open in local schools before embarking upon a seven-week tour of partner schools and regional theatres across England.

This production will be created in collaboration with Creative Associates drawn from Regional Theatre Partners, our Associate Schools and our Youth Advisory Board, enabling young people to experience Shakespeare for the first time, not simply as audience members but as theatre makers too.  The voices of the young people we work with is a key part of the process, with Robin Belfield and the creative team responding to their ideas, opinions and creativity.  From the way the production addresses key themes that strike a chord with young lives, to the way we create the production with a determination to be as environmentally responsible as possible.

Continuing our commitment to make Shakespeare for everyone continues, all performances of Twelfth Night be ‘relaxed friendly’ performances offering a welcoming, safe environment for everyone to encounter Shakespeare for the first time.

RSC Director of Education, Jacqui O’Hanlon, said “Our national partnerships with schools and theatres are at the heart of our mission to make Shakespeare’s work with, by and for everyone. This production of Twelfth Night will take our work into communities across the country, inviting them to participate in the making of the play as well as experiencing live performance itself. We know this work creates the kinds of memories that last a life-time for children, their families and teachers. At a time when arts experiences are in jeopardy, we are looking forward to making this work in creative collaboration with children, teachers and artists across the country.”

Listings Information

ROYAL SHAKESPEARE THEATRE

Kate DiCamillo’s

The Magician’s Elephant

A new musical by Nancy Harris and Marc Teitler

Book and Lyrics by Nancy Harris

Music and Lyrics by Marc Teitler

Thur 14 Oct 2021 – Sat 1 Jan 2022

“Magic is always impossible.  That’s what makes it magic.”

Baltese is a town where nothing extraordinary ever happens. Recovering from a recent war, it is a lonely place, where young Peter lives a frugal life. Then one day, a magician conjures an elephant from the sky, whose appearance sets off a chain of events so remarkable, so impossible, that it changes Baltese forever. Peter is catapulted into the quest of his life, overturning everything he ever thought he knew, and discovering that happiness can come from the most unexpected places.

This brand-new musical for all the family reminds us that even the impossible can be possible when we open our eyes and hearts to those around us

Director Sarah Tipple

Designer Colin Richmond

Lighting Oliver Fenwick

SWAN THEATRE

The Wars of the Roses Part 1 and Part 2

Henry VI Parts 1, 2 and 3 told in two parts

William Shakespeare

Fri 24 Sept – Sat 1 Jan 2022

The glorious Henry V is dead.

The new King is weak, manipulated by those on his own side and threatened with civil war by those in opposition. As the factions fight for power, England descends from decency into barbarism as all around the crown seek to seize it for their personal gain.

Filled with passion, politics and revenge, The Wars of the Roses is the ultimate saga. Experience the thrill of rebellion, the brutality of battle, the tension of intrigue and ambition without boundaries, as Shakespeare hurls you headlong through one of the most turbulent periods of English history.

The Wars of the Roses is supported by RSC Production Circle Members The Hitz Foundation and Marcia Whitaker.

Director Owen Horsley with Gregory Doran

Designer Stephen Brimson Lewis

Costume Designer Hannah Clark

Music Paul Englishby

Fights Rachel Bown-Williams and Ruth Cooper-Brown