Guildford Fringe Theatre Company regrets it has to reschedule Beauty and the Beast at The Borough Hall, Godalming, to the revised dates of 19 to 31 December 2020 

Guildford Fringe Theatre Company regrets it has been forced to reschedule its family pantomime, Beauty and the Beast, at The Borough Hall, Godalming, to the revised dates of 19 to 31 December 2020 (originally due to run 12 to 26 December 2020). 

Producer Nick Wyschna said: “Unfortunately one of our company members came in to contact with someone who tested positive for COVID-19. In order to adhere to the rules and to keep everybody safe, we immediately went into isolation, and that’s where we all are now. Obviously, this is not ideal for anybody, but we are determined not to give up. Our sets, costumes, lights and sound have been fitted up and all of our production costs have now been spent. We really need this show to go ahead. We are grateful that we are able to extend our run to 31 December to cover the cancelled week. Our first priority has always been the safety of our cast and our audience, but our second priority is to bring Christmas pantomime magic to Godalming and that is what we’re going to do. I would like to thank the company, the venue and our audience for their ongoing support during these tricky times, I can’t wait to get our wonderful show opened!” 

All shows between 12 December and the 11am and 1pm performance on 19 December have been cancelled. Ticket holders for those shows have been emailed (contact Nick at [email protected] with any queries). The pantomime now runs from 19 December (4pm performance) until 31 December, and there is ticket availability for the new shows. For full details, visit www.GodalmingPanto.com. 

The venue will operate at a greatly reduced capacity to allow for social distancing. Face coverings will be mandatory. Group bookings will allow a maximum of 6 people to sit together (no mixing of households within bubbles). The show’s duration will be approx. 1 hour 15 minutes with no interval. For full details of health and safety measures, visit www.GodalmingPanto.com.  

The full pantomime cast includes Maria Coyne (Wicked, The Phantom of the Opera, Singin’ in the Rain) as Beauty with Philip Day (Oliver!, The Mousetrap) as Dame Dominique Derrière, Lily de-la-Haye (CATS, The Phantom of the Opera) as Sybil, Paul Kemble (School of Rock, Top Hat, The Sound of Music) as Monsieur Bertrand, Ben Redfern (Mary Poppins, Billy Elliot, Charlie and the Chocolate Factory) as Potty Pascal and Jordan Wheatstone (The Little Princess, Disney’s Broadway Hits) as the Beast, with Arran Bell and Charlotte Wyschna, who have numerous professional credits, as the ensemble.  

Directed by Jo Kirkland, choreographed by Charlotte Wyschna and produced by Nick Wyschna and Charlotte Wyschna for Guildford Fringe, this professional production features spectacular song and dance routines, colourful costumes and lots of fun for the whole family. 

The magical “tale as old as time” of Beauty and the Beast tells the story of an arrogant Prince who is turned into a beast as punishment for his vanity. He has only one chance to lift the curse: to find true love before the final petal falls…  

To book for Beauty and the Beast, visit www.GodalmingPanto.com or telephone the Box Office on 01483 361101. There is disabled access throughout the venue. The relaxed performance has been moved to 27 December at 4pm.  This show will be specifically adapted for those on the autism spectrum, individuals with sensory and communication disorders, those with learning disabilities and anyone who would benefit from a more relaxed environment. Tickets for this performance have been reduced to £15 and can purchased by calling the Box Office only.  

LISTINGS 

Show: Beauty and the Beast 

Dates: Saturday 19 December (4pm) until 31 December 

Times: Varies – matinee and evening performances; see website or call the Box Office 

Running Time: 1hr 15 mins (no interval) 

Venue address: Godalming Borough Hall, The Burys, Godalming, GU7 1HY 

Tickets: £22 (£20 concessions) including booking fees.  

Book at www.GodalmingPanto.com or call 01483 361101. 

Category: Theatre, pantomimes, family shows, professional theatre 

Age guidance: suitable for all ages 

Access: There is disabled access throughout the venue. On 27 December 2020 at 4pm there will be a relaxed performance specifically adapted for those on the autism spectrum, individuals with sensory and communication disorders, those with learning disabilities and anyone who would benefit from a more relaxed environment. Tickets for this performance have been reduced to £15 and can purchased by calling the Box Office only. 

Ayomide Adegun is awarded

The Luke Westlake Scholarship 2020

22 year old South Londoner Ayomide Adegun is currently in his 2^nd year of the BA Acting course at Royal Welsh Academy of Music & Drama. His professional credits include The Jumper Factory by Luke Barnes at the Young Vic.

In his application Ayomide said “Acting changed my life, and put me on the straight and narrow, coming from a working class background has benefited me in a sense that it enabled me to have a range of experiences to draw from. I decided to pursue drama school when I was 19 because I wanted to enhance my quality and improve my range and cast-ability, as I was always going up for the typical, rough, offender type character but I see myself as much more than that… The scholarship would mean so much to me because It would mean I could receive advice from industry professionals who are able to guide me and give me an inside view of what the industry is like and what it demands from a modern-day actor… It would also put financial worries behind me to give me the best chance of developing into the best version of myself after graduating.”

Across the board, he received the most votes, with all but one judge selecting him as their first or second pick, which is quite outstanding. The shortlist material provided by Faye Timby was delivered very well by Ayo and he took some brilliant choices in his self-tapes. We feel that as well as being a talented actor, he will benefit strongly from the scholarship, as someone who identifies as coming from a working-class background and someone who will squeeze every little bit out of the scholarship.

Co-founder Liam McLauchlin said, “This year we received 187 applications from 27 different institutions and schools across England, Wales and Scotland. This was a significant increase on last year, over triple the amount of applicants and 15 new institutions and schools. Despite our fears that this year’s scholarship would be hampered by the pandemic, the shortlist was an extremely difficult decision to make – so much so, we ended up adding 2 extra actors because they were so good. This year’s scholarship incredibly important, as the pandemic has ruptured the heart of the theatre and performance industry – meaning the majority of actors at some point this year have lost work. We hope the scholarship highlights how much care we must take to support graduates and actors, and hope we can continue to improve and expand the award for more actors in 2021 and beyond.”

The Luke Westlake Scholarship, formerly known as the JAM Scholarship, is an award designed to provide an actor with artistic and financial support worth over £3,000 in their final year and as they graduate from university or drama school, and begin to navigate their way into the industry. The scholarship was established when the team behind JAM realised many actors were being priced out of their career once they left training. After spending upwards of £30k to learn their craft, actors need to purchase union membership, database subscriptions, materials for marketing themselves, and more; they often work zero hours jobs so they can duck out at short notice to attend auditions and can lack the contacts to get their foot in the door. The acting industry frequently notes the lack of working class talent, but without support it is near impossible to get started. By reaching out to contacts and industry organisations JAM is delighted to build on last year’s inaugural scholarship with yet more partners and prizes, to alleviate the financial and artistic burden and set another graduate up on a stronger footing for their first year in the industry.

Last year’s winner Madison Stock shared what being the recipient of the scholarship has meant to her “I come from a very working class background, and where I’m from not many people are given many good opportunities so getting into ALRA on a full DADA was a dream because without it I wouldn’t be financially stable enough to be there. I was so chuffed when I won the JAM scholarship set up by Liam, Kristian and Kyle. It was the confidence boost I needed in order for me to grab the bull by the horns and say “I’m ready for this industry.” I am so very grateful for the things I’ve received through the scholarship like my headshots, showreel scene, Filmclub membership. And I cannot wait to watch this scholarship grow and grow and help many more young working class actors. I am so grateful for the boys at JAM and I can’t wait to be on this journey with them by my side.”

The panel included Actor Remmie Milner, Casting Director Faye Timby, Industry Minds, Voiceover Coach Guy Michaels and JAM.

The full list of prizes are: 1yr Spotlight membership, 1yr subscription to The Stage, 2 industry advice sessions with Spotlight’s Emma Dyson (Performer Careers Consultant), Full headshot session + edits with Samuel Black Photography, Full showreel package with self-tape.co.uk, First year tax return with Tax for Actors, Full voice reel, 1yr full membership of Voiceover Kickstart’s training and community with Guy Michaels at voice-reel.com, £100.00 voucher at Nick Hern Books, Industry advice meeting with an Agent from Olivia Bell Management, Industry advice meetings with: Casting Associate Faye Timby (The Witcher, Netflix) and Casting Assistants Naomi Downham (National Theatre) and Martin Poile (RSC), 6 JAM Casting Workshops, £500.00 towards accommodation rent (after graduating), 1yr subscription to Spikizi Accent and Dialect App.

All shortlisted performers will also receive: 1-to-1 with Casting Director Emma Sylvester (Doctors, BBC), Group session with 2 agents from 42 Management, Group feedback session with Casting Associate Faye Timby (The Witcher, Netflix).

And all applicants are offered a free online workshop about staying physically and mentally healthy in the industry to all scholarship applicants from BAPAM, a specialist healthcare charity supporting individuals & organisations in the performing arts.

@justaddmilkjam | #TheLukeWestlakeScholarship | www.justaddmilkjam.com

Alexandra Palace Theatre for Christmas 2020

Reviewed by Heather Chalkley

4****

One of Julia Donaldson’s most popular children’s stories is transformed into a stage production that every child in the audience loves. Although not a panto, it is a winter’s tale fit for the occasion.

Emily Essery embodies the quietness and mischief of The Mouse, the nimble mind and body, reacting quickly, thinking on the spot. Althea Burey’s Gruffalo Child, captures the innocence, playful energy and inquisitive mind of youth, especially in her tone and facial expression. 

Dominic Dee-Burch’s ability to slip from one animal to the next is great to watch, each character distinct from the next. My grown up son thinks the depiction of Snake is fun and unexpected, with his party vibe on! Together the three weave the familiar tale, encouraging the family audience to participate, with calling out and clapping.

The costumes are a work of art: simple, effective and skilfully designed. The scenery and props give just enough illusion to draw out the imagination of the audience. 

This show does not need the uproar and extravaganza that a traditional panto brings. With a tale of fortitude and bravery it cleverly engages the minds of its young audience on a more cerebral level. A gentle and sweet family show.

Palace Theatre, London – until 13 December 2020

Reviewed by Claire Roderick

5*****

Sasha Regan’s All Male Pirates of Penzance is the gift that keeps on giving, a celebration of glorious silliness and sublime singing.

Incomparable musical director Richard Baker takes his seat at the piano and begins playing on the Harry Potter stage, empty apart from the Pirates’ few wooden crates, setting the audiences’ heads bobbing to the familiar tunes, and as soon as he is joined onstage by the ensemble it is obvious that you don’t need technical wizardry to create magic in this theatre.

Gilbert and Sullivan’s daft plot sees slave to duty Frederic (Tom Senior) leaving the Pirate King (Oliver Savile) and the crew on his 21st birthday at the end of his indenture, taking his nursemaid Ruth (Leon Craig) and vowing to destroy the pirates, until a handy paradox reveals that he is actually indentured to the Pirate King until 1940. Full of ridiculous characters – the unsuccessful pirates who never hurt orphans, the cowardly police officers and of course the very model of a modern Major-General and his excitable daughters – the show bounces along like an excited puppy, pausing for heartfelt romantic songs, but then following up with a huge laugh. Lizzi Gee’s exuberant and witty choreography is nailed by the magnificent ensemble, whose reactions and facial expressions are worth the ticket price alone. Sasha Regan’s brilliant direction keeps the show from straying into pantomime territory, and the slapstick serves the score rather than distracts from it. This is the perfect production to introduce new audiences to Gilbert and Sullivan.

Tom Senior impresses as dutiful Frederic, and Alan Richardson IS Mabel, sweet, funny, and determined to keep her man. Oliver Savile swaggers brilliantly as the Pirate King, David McKechnie is a wonderfully arch Major-General, and Leon Craig becomes more and more anarchic as Ruth, decked up in full PPA to feed the Major-General’s mighty steed.

The cast’s excitement and happiness being back onstage floods into the auditorium and only a true Scrooge wouldn’t be charmed by this joyful and unforgettable production

Theatre Royal, Haymarket – until 7 February 2021

Reviewed by Claire Roderick

4****

A R Gurney’s gentle two-hander is an ideal choice for re-opening TR Haymarket, with the actors never leaving their writing desks throughout the performance. The play chronicles the decades of letter writing between Andrew Makepeace Ladd III (Martin Shaw) and Melissa Gardner (Jenny Seagrove) from his first letter to her mother accepting an invitation to Melissa’s birthday party in kindergarten. Both from well-off WASP families, although Andrew is constantly reminded that the Gardiners are much wealthier, their privileged lives take widely disparate paths, with the rebellious Melissa’s artistic talent clear from the outset as she bemoans writing and prefers sending Andy pictures she has drawn instead. It soon becomes clear that their childhood affection will never lead to a happy ending, and they both marry other people, but keep in contact over the years – some years passing with a cursory Christmas greeting, and others a flurry of letters as one or both has lifechanging experiences. Both characters cannot escape their upbringing, with Melissa following her parents into divorces and drinking, and Andrew unwilling to disappoint his father in proving that their family is as good as, and better than, their wealthier acquaintances and following the conventional route to Yale, the Navy and a political career.

Gurney himself said that the actors need only commit themselves to the night of the performance, but director Roy Marsden’s work with Shaw and Seagrove gives the already charming story an extra layer. The connection between the actors is enchanting and they do not force the humour of the script. Once you get into the rhythm of the piece, you end up concentrating on the reactions of the listener rather than the writer. Jenny Seagrove makes the most of her showier role, brilliantly showing her frustrations as Shaw becomes stuffier and pompous, writing to her as if she were one of his constituents rather than his oldest and dearest friend. She gets most of the sharpest lines too, with Shaw reacting subtly and quietly in a contained but nuanced performance.

The characters are engaging and most of the audience appeared to be drawn into their complicated relationship, with gasps and moans when devasting news requires one last letter to be sent. It is in this letter that their relationship is truly expressed and ends the play on a bittersweet note reflecting on missed opportunities and unexpressed love. This isn’t challenging or original theatre, but it is polished and entertaining.

Love Letters is a charming and emotional play that is well worth a look.

The Barn Theatre, Cirencester – online

Reviewed by Andrew Harrison

4****

I may be 282 miles away from The Barn Theatre in Cirencester, but I was able to settle down to watch this unique live streaming, which also had a live audience, of Peter Pan.

Waiting for the stream to begin, rain and thunder created the atmosphere and I felt the excitement of live productions returning, with a tinge of sadness that I couldn’t be there in person. This is after all my favourite time of the year for shows.  

As a man enters a hotel room 3000 miles away from home, he still wants to be part of his daughter’s, Georgia Dibbs, bedtime, with a story before she goes to sleep. As soon as Waylon Jacobs enters the stage, I was engrossed with his captivating presence throughout the 50-minute production. He creates all of the characters and skilfully uses props to create the story including teddy bears as John and Michael Darling, a coat hanger for a bow and arrow and Captain Hook with an umbrella magically appearing as the hook.  His enthralling characterisation, makes you really feel that you are there in the middle of this magical adventure.

Even though it is a one man show, there has clearly been an incredible amount of work behind the scenes especially the 10 projection artists involved in this production. As well as the set, costumes, sound, music, lighting and ingenious direction from Kirk Jameson this has created an awfully big adventure.

Peter Pan can be seen for a limited time as a live streaming at barntheatre.org.uk/barn-digital

Bare Productions Online – Reviewed 11 December 2020

Reviewed by Manetta McIntosh

4****

I realise 2020 has been a rough year for most for many reasons, but none so much as the theatre industry. One of the biggest upsets for me was the cancellation of, not just the Fringe, but specifically Bare Productions Priscilla Queen of the Desert. I was so looking forward to it after their smash hit ‘The Addams Family’ last year. But fear not…those cunning young things have utilised their talents and put together a socially distant variety production called Camp as Christmas.

Hosted by the lovely Jo Heinemeier and the equally lovely David Doherty, or as they refer to themselves ‘Jovid’, they not only lay out the programme for the evening (or afternoon, depending on when you stream it) but also keep us amused throughout the programme with some friendly competitions, a la Christmas styli. From ‘who can eat an advent calendar of chocolate the fastest’ to ‘making a nativity with what you have to hand’ – the Babybel cheese was mentioned so much I CANNOT BELIEVE David missed the opportunity to use it in the nativity as….wait for it…the Baby Cheeses. Not forgetting the random parlour games – who knew David would turn out to be a bigger tosser than Jo!!

Although they were not able to put on their Priscilla production, this was still a theme for part of the show. Some of the dancers roped in a ‘bubble’ friend or family member and the non-dancers were put through their paces and performed at the end of the show. The teams were Emma and Rebecca – or ‘the hair sisters’, Freya and Megan – who seem to be in lock-down in a cellar pub, Louisa and Jesse – she’s a dance-mum demon and Stacey and Keith – he didn’t need to underestimate himself, because everyone else did it for him! I wasn’t convinced this was going to work, but it was cleverly edited at the end so that all 4 danced together and was one of my favourite bits. I so wanted Keith to be my favourite, but the Cellar girls just pipped him to the post – it was an unfair advantage – they had disco lights, which is practically a glitter ball, and who doesn’t love a glitter ball.

There was also a special guest performance by the Queens, where they caught up over facetime…or Skype (other video platforms are available) and had a gingerbread house building competition, it was like they took my family Christmas and replicated it on screen.

For the Nigella fans watching, there was a Carry-On episode on how to make a G&T, I’ll never look at a ‘cucomber’ the same way again, not a misspelling.

No variety show is complete without some singers and the talent was undeniable. Luke Murray was adorable in his Santa hat singing his version of Last Christmas by Wham and, whilst Rebecca Drever, Darren Johnson, Laura and Andrew and Zoe Brookes all put in exceptional performances, it was Charlotte Jones who stole the limelight. Her version of Mariah Carey’s All I Want for Christmas was incredible, and Mariah is not an easy act to follow. Even for the Lip Syncing Bare Boys (Darren, your black teeth did it for me!)

All in all, this was a bit of light-hearted evening (or morning, or afternoon, depending when you stream it) entertainment. You may have to channel your inner tweeny to get the full effect, but I think this was a fabulous way for some obviously talented people to get their product out there in these ‘unprecedented’ times.

Hampstead Theatre – until 16 January 2021

Reviewed by Claire Roderick

4****

Hampstead Theatre reopens with this rescheduled and recast production of Harold Pinter’s tense two-hander about two 1960s hitmen awaiting instructions for their next job.

James Perkins’ set captures the nondescript but intimidating nature of their temporary digs, with damp patches and peeling wallpaper. Gus (Shane Zaza) and Ben (Alec Newman) are a team, but their differences are obvious from the start in a silent passage that illustrates Gus’s nervous energy and uncertainty and Ben’s apparent calmness, although it is soon clear that he has been reading and rereading the same newspaper for quite some time. It feels a lot like an episode of Porridge written by Beckett. Alice Hamilton’s direction is assured and sensitive, never overplaying the comedy or understating the pair’s true nature.

As always with Pinter, the silences propel the narrative as much as the dialogue, and the pauses between the pairs banalities and petty arguments become more and more tense as they realise that something odd is going on. In a beautifully judged performance, Shane Zaza’s Gus becomes increasingly pitiful as the doubts and guilt he feels about their last, very messy job killing a woman trickle begin to flood out of him and he looks to the older Ben for guidance and reassurance. Alec Newman is riveting as Ben, going through his fastidious rituals and chastising Gus for his constant questions. His uneasiness becomes obvious through small clenches and freezes until the dumb waiter comes into play and he is as confused and scared as Gus. There are lovely light touches as the two bicker over tea, Eccles cakes and a defective ballcock, but the tension ramps up even as shenanigans with the dumb waiter become absurd.

After nine months, we are grateful just to sit in an auditorium, but to see a production as slick, unsettling and thrilling as The Dumb Waiter is a wonderful reminder of the power of live theatre.

FULL CAST ANNOUNCED FOR NEW MUSICAL

ST. ANNE COMES HOME

FULL CAST ANNOUNCED FOR NEW MUSICAL

ST. ANNE COMES HOME

Willow Walk Productions presents 

ST. ANNE COMES HOME

Written and composed by Jack Miles

Director: Martha Geelan; Musical Supervision: Joe Beighton;Sound Design: Charlie Smith

Actors’ Church

8 – 14 February 2021

Willow Walk Productions today announce the full cast for new musical St. Anne Comes Home written and composed by Jack Miles, whichreturns to the Actors’ Church, following a sell-out run this summer. Martha Geelan directs Jordan Castle (James) and Rebecca McKinnis (Bridget) who reprise their roles, and Dan Buckley (Russell) who joins the company. The production runs at the Actors’ Church, as a part of Iris Theatre’s Winter Season, from 8 February until 14 February.

London can be lonely. But on the steps of St. Anne’s Church, two people strike up an unlikely friendship. James has spent years running away from his problems, while Bridget is trapped by hers. Told through original folk music, St. Anne Comes Homeis a story about community, fear and forgiveness, that explores how reaching out might help us find our way. 

St. Anne Comes Home will be staged in a Covid safe environment following government advice and adhering to social distancing guidelines. For a full list of measures in place, please visit www.iristheatre.com 

Please find link to video of the productions opening number ‘No Place Better’, performed by Jordan Castle:  https://www.youtube.com/watch?v=p8RyCpGW2Iw&feature=youtu.be

Jack Miles is a writer and composer. His credits include The Problem with Fletcher Mott (Drayton Arms Theatre) and Adeline (Edinburgh Festival Fringe).

Dan Buckley plays Russell. His theatre credits include Fiver (Southwark Playhouse, Crazy Coqs), Eugenius! (The Other Palace/London Palladium), Dead Simple (Mill at Sonning Theatre), Sweeney Todd (Derby Theatre / Mercury Theatre), Christie in Love (Kings Head Theatre), The Three Little Pigs (Sydney Opera House/Palace Theatre), LARDO (Old Red Lion Theatre), The Book of Mormon (Prince of Wales Theatre), Loserville (Garrick Theatre/West Yorkshire Playhouse), and Lord of the Flies and Spring Awakening (UK tours).

Jordan Castle returns to the company to play James. Other theatre credits include The Pirate Queen (London Coliseum), The Light in the Piazza (Royal Festival Hall London/LA Opera/Chicago Lyric Opera), and Cats and 21 Chump Street (international tours).

Rebecca McKinnis returns to the company to play Bridget. Other theatre credits include Dear Evan Hansen (Noël Coward Theatre), Everybody’s Talking About Jamie (Apollo Theatre), Women on the Verge of a Nervous Breakdown (Playhouse Theatre), A Small Family Business (National Theatre), Viva Forever (Piccadilly Theatre), Les Misérables, Taboo (UK tours), We Will Rock You (Dominion Theatre), Fat Pig (Trafalgar Studios), Three Hours After Marriage (Union Theatre), Mamma Mia! (Prince of Wales Theatre) and Starting Here Starting Now (Upstairs at the Gatehouse). Television credits include The Sound of Music Live; and for film, Beauty and the Beast.

Martha Geelan’s credits as a director include Macbeth, The Tempest, Romeo and Juliet, Twelfth Night (UK & international tours), The Psychosocial Gathering, The Librarians (Edinburgh Festival Fringe), Wolf (The Bunker Theatre), Spring Awakening: The Musical, Love and Money (Norwich Theatre), Our New Girl (Park Theatre), Between the Sheets, Potato Salad, When I Wake (Waterloo East Theatre) and As You Might Like It (Rosemary Branch Theatre). As Associate Director her credits include Fiddler on the Roof (Playhouse Theatre/Menier Chocolate Factory), Love in Idleness (Apollo Theatre/Menier Chocolate Factory), The Bridges of Madison County (Menier Chocolate Factory), Agnes Colander (Theatre Royal Bath). Other credits as Associate/Assistant Director include: Indecent, The Lie, She Loves Me (Menier Chocolate Factory), God of Carnage (Theatre Royal Bath), Top Hat, Thoroughly Modern Millie, West Side Story (Kilworth House Theatre) and The Patriotic Traitor (Park Theatre).

Joe Beighton is Musical Supervisor. His credits as Musical Supervisor include SIX the Musical (UK tours, West End – for which he was nominated for the Olivier Award for Outstanding Achievement in Music, Broadway, Chicago – for which he won the Jeff Award for Musical Direction, Sydney Opera House, NCL Cruise Ships), and 42 Balloons Workshop (The Other Palace Studio). As MD, his credits include Southern Belles (Kings Head London), Cinderella (Civil Theatre Chelmsford), Luke Bayer in Concert (Live at Zedel), Spring Awakening (Greenside Venues, Edinburgh), and Janie Dee ‘Off the Record’ (Live at Zedel).

Charlie Smith is Sound Designer. He is the Associate Sound Designer for SIX the Musical (West End, UK tour, Broadway, Chicago, Sydney Opera House, NCL Cruise Ships) and Mary Poppins (Prince Edward Theatre). As Head of Sound, his credits include Our Ladies of Perpetual Succour (National, International Tours and West End), Flowers For Mrs Harris, This is My Family (Chichester Festival Theatre) Kiss Me Kate, Wizard of Oz (Sheffield Crucible Theatre), Shipwreck (Almeida Theatre), and Oh What A Lovely War (UK tour). His Sound Design credits include Lipstick (Southwark Playhouse), Merrily We Roll Along, Fiddler on the Roof, Blood Wedding (Silk Street Theatre), Running on Empty (UK Tour), and L’enfant prodigue / Francesca di Foix (Barbican).

ST. ANNE COMES HOME

LISTINGS 

Actors’ ChurchSt Paul’s Church, Bedford Street, London, WC2E 9ED

Box Office: https://iristheatre.ticketsolve.com/shows/873616143/events/128289767

8 – 14 February 2021

Ticket prices: £20 individual (limited availability), £40 bubble (seats two)

Age Guidance: 12+ (includes themes of alcoholism)

Twitter:               @stannemusical
Instagram:          @stannemusical
Facebook:          /stannemusical

Andy Fickman (dir. Heathers) announces he will return to the UK next year as director of brand new musical, Halls!

Acclaimed stage and screen director, Andy Fickman, who’s West End hit musical Heathers announced a UK tour earlier this year, has joined the Halls creative team after he heard opening number “Flat 15B” which was performed by a West End Cast during the first UK lockdown, earlier this year.

Fickman, who has had huge success with comedies such as She’s the Man, Parental Guidance, You Again, The Game Plan and Playing with Fire, has been working closely with writers, Jennifer Harrison and George Stroud, developing Halls ahead of its London debut.

During the second national UK lockdown in November, Fickman gathered a star studded group of actors together for the first official read through via zoom; Sophie Isaacs (Heathers, SIX), Olivia Moore (Waitress, Heathers), Grace Mouat (SIX, &Juliet), Millie O’Connell (Be More Chill, SIX), Felipe Pacheco (Frantic Assembly), Alex Tranter (&Juliet, Eugenius), Ivano Turco (Arts Ed 2020 Graduate) and Layton Williams (Everybody’s Talking About Jamie, Rent) all dialed in to help bring the newly drafted script to life.

Speaking after the read through, Andy Fickman said, “This is a show about hope, about starting a new chapter and having new opportunities. Halls celebrates both our differences and what unites us, and I believe it is a show that people will need to see after this crazy year. It is a story that will make people laugh and cry and I cannot wait to bring this new musical to the stage. Thank you so much to our incredible cast who helped us out today, we are so grateful to y’all.”

Writers, Harrison and Stroud, have shared that they are overwhelmed by the amount of support Halls has received so far and they feel “incredibly fortunate to be working with someone as established and talented as Andy. It is a dream come true for us. We have been very lucky to have been supported by amazing people ever since we started writing the show, and want to thank every single person who has helped us so far.”

Halls still plans to be making its London debut in 2021, with dates, venue and the rest of the creative team still to be announced.

To keep in touch with all things Halls, head to the website, join the mailing list, and follow @hallsthemusical on all social media platforms:

www.hallsthemusical.com

Insta: @hallsthemusical

Twitter: @HallsTheMusical Facebook: @HallsTheMusical

Andy Fickman’s social media handles:

Insta: @herrdirektor

Twitter: @andyfickman