Author: FairyPoweredProductions

NEW NATIONAL RESTRICTIONS FORCE

SPINE-CHILLING GHOST STORY

WHEN DARKNESS FALLS

TO BE POSTPONED

Following the Government’s announcement on 31 October 2020 of new national restrictions from 5 November 2020, the new spine-chilling ghost story, WHEN DARKNESS FALLS, which was due to play a limited season from 25 November to 12 December 2020 at The Union Theatre in London, will now be postponed.  The Box Office will be in touch with ticket holders as soon as possible.

WHEN DARKNESS FALLS is written by James Milton and Paul Morrissey. The production at the Union Theatre was to be directed by Paul Morrissey, with Will Barton playing John Blondel and Alex Phelps The Speaker. 

The producers added, “We were so excited to be going back into rehearsals this week for what we know is going to be a truly terrific production. However the safety of the audience, cast and crew are of paramount importance. It’s a huge blow, but we will be back as soon as we possibly can.”

WHEN DARKNESS FALLS was to be produced at the Union Theatre by Paul Morrissey Ltd, Christopher Wheeler and Molly Morris.

Website: whendarknessfalls.co.uk

LISTINGS INFORMATION

Union Theatre

229 Union Street

London SE1 0LR

Box Office:  020 7261 9876

Website: uniontheatre.biz

Twitter & Facebook: @TheUnionTheatre

Instagram: @theuniontheatre

Further to the government’s announcement of enhanced national restrictions, The Cockpit and Hairy Bear Productions can now announce that performances of A PERFECT CHRISTMAS will begin on Monday 7 December and run until Thursday 24 December.

Children’s show CHRISTMAS IS RUINED will start performances on Sunday 6 December (with three shows on that day). There are plans to livestream performances in December, and eventually offer a recorded version for sale – details to be announced.

For further details and to book, please go to thecockpit.org.uk

Windsor Royal Theatre – until Saturday 7 November

Reviewed by Carly Burlinge

4****

Lloyd George Knew My Father by William Douglas-Home is the story of Lady Shelia Boothroyd (Liza Goddard) when she finds out that the authorities are planning to put a bypass through her estate, this makes her very unhappy indeed. She loves her house and loves to tell the history of her estate. To anyone that will listen. When this sad news comes she announces to her family that if the bulldozers start on their scandalous work she is going to kill herself. Which causes quite the commotion within the household! Her Husband General Sir William Boothroyd (Tom Conti) who likes to reminisce and tell a story or two, is a little forgetful and dithery as well as a little eccentric, short of hearing, loves a laugh and thinks that his wife is not all there and totally bonkers. Tells everyone that she hasn’t listened in years so why will she listen now? Tom Conti and Liza Goddard both play their  part brilliantly well and had the audience in laughter on many occasions.

Their son Hubert Boothroyd (Robert Duncan) who happens to be a typical MP and is under pressure from his mother Lady Shelia Boothroyd (Liza Goddard) to try and make the Minister of Transport see sense and feels that he should resign to make a point! He gets very frustrated when he is unable to help her in the matter and stop the bulldozer from destroying some of their land.

As all the family try to offer their support they call on Rev Trevor Simmonds (Martin Carroll) to see if he can talk her out of her outrageous idea! Will she go ahead with it or not?

This show had lots to offer, with great acting, many laughs from the audience and was generally a delight to watch definitely a show to see.

Sounds affects which were executed by Martin Carroll were marvellous from the crunching of toast to the clinking of glasses, opening of curtains, rustling of the papers, giving the show a sense of depth and reality very well done indeed.

Streaming 3 – 8 November

Reviewed by Claire Roderick

3***

This rehearsed reading of Steven Carl McCasland’s imaginary meeting of some extraordinary women has a stellar cast, but even they cannot spark life into this verbose play.

Inspired by the literary feud between Lillian Hellman and Mary McCarthy – who questioned Hellman’s claims in Pentimento that she had worked with the activist and close friend Julia to save Jews during WWII, insisting that she had stolen the story of Muriel Gardiner – McCasland engineers an accidental meeting between Hellman and Gardiner at one of Gertrude Stein’s salons.

Stein (Linda Bassett) and her partner Alice Toklas (Catherine Russell) give Muriel (Sarah Solemani) money to arrange 3 fake passports and safe passage for Jews to escape from the Nazis. A mix up means that Muriel arrives on the same evening as the couple and their maid Bernadette (Natasha Karp) are expecting literary guests – Hellman (Juliet Stevenson), Dorothy Parker (Debbie Chazen) and Agatha Christie (Sophie Thompson). Muriel decides to stay to meet the writers, and a night of drinking, insults, soul-searching and confessions begins.

The performances are faultless, with Bassett and Stevenson exchanging barbs with arrogance, charm and increasing vulnerability, and Solemani nailing the drive and passion of a revolutionary. Thompson is sharp and unrelenting inquisitive as Christie and Chazen nails Parker’s arch comebacks. The heart of the play is Russell’s loving and steadying Toklas and Karp’s mysterious Bernadette, traumatised after a horrific encounter with Nazis.

The themes of the play are still frighteningly relevant, with the women talking about attitudes towards lesbians, abortions, anti-Semitism, Holocaust denial and personal accountability, but the structure of the play is just too much like a talking therapy session between Stein and Hellman proving how clever and talented they are to each other, every character gets a big emotional speech that acts to break down the barriers between the women – and their consciences- and the pragmatic and initially selfish Hellman gets to become a hero. And Parker is perhaps the least snarky of the women! The round robin of confessions acts to lessen the impact of stories that would otherwise be much more affecting, and it’s only Parker and Bernadette who really have any lasting impact in that respect. It’s as if the writer was unwilling to discard any research or idea and the result is an overegged pudding. The actors are recorded separately and are presented like a wartime Zoom meeting by director Hannah Chissick, but this isolation probably doesn’t impact too much on the production, as the script is definitely one where characters speak at, rather than connect with each other.

A worthy but over wordy play that is worth a look for the impressive performances, and is raising funds for Women For Refugee Women

RIVERSIDE STUDIOS ANNOUNCES FAMILY PRODUCTION OF

DEAR SANTA LIVE

Riverside Studios today announces the first production of their 2020 Christmas season, scheduled to begin following the November lockdown. Norwell Lapley Productions’ stage adaptation of Rod Campbell’s family-favourite and much-loved picture book, Dear Santa Live, directed by Tim Wallers runs from 2 December until 24 December. The season, to be announced very soon, will include a dazzling array of live cabaret, comedy, music and theatre that will run throughout December.

Interim Creative Director, Rachel Tackley today said “We know that the month ahead is going to be a hard one for many and so we wanted the news of our programme to be a light at the end of the tunnel for those who have been craving the return of live performance. We are sure that Dear Santa Live will provide pure joy, escapism and entertainment. Join us, relax and be merry – we can’t wait to have you back in the building.”

Norwell Lapley Productions present

Rod Campbells’

DEAR SANTA LIVE

Adapted for the stage by Michael Gattrell and Rod Campbell

Directed by Tim Wallers

At Riverside Studios

2– 24 December 2020

Santa is determined to deliver the most fantastic Christmas present to Sarah, but he doesn’t get it right straight away! With the help of his cheeky Elf, he finally settles on something ‘perfect’, just in time for Christmas Eve.

From the author of the well-loved children’s book Dear Zoo, Rod Campbell, comes Dear Santa and it’s LIVE!

Dear Santa Live is recommended for audiences between 2 and 6 years old.

Tony Lankester, Interim Executive Director,commenting on the announcement said: “Dear Santa Live is a great way to welcome audiences back to Riverside – and we’re working hard to make sure that our audiences are kept safe and comfortable once we re-open after lockdown.”

Social distancing measures will be in operation at Riverside Studios, with audiences being seated in households. All patrons, unless they have a known medical condition, will be required to wear a face covering at the venue. In case of cancellation, Riverside Studios will offer tickets holders a full refund. For full details on the measures implemented to ensure audience safety and wellbeing, please visit: www.riversidestudios.com

Rod Campbell is a Scottish writer and illustrator of children’s books. Best known for his classic lift-the-flap title Dear Zoo, which has sold over 2 million copies worldwide, he is also the creator of the much-loved preschool character Buster. His credits include ABC Zoo, Oh Dear!, It’s Mine!, I’m Hungry!, I Won’t Bite!, Baby’s Busy Book, My Presents, Noisy Farm, Farm Babies, Here’s Buster, But Where’s Teddy and Buster Gets Dressed.

This is Tim Wallers’ directorial debut. Hisstagecredits as an actor includes The Last Temptation of Boris Johnson, Dead Sheep (Park Theatre/UK tour), An Ideal Husband (Vaudeville Theatre), Travesties (Menier Chocolate Factory), Yes Prime Minister, Lady Windermere’s Fan, The School For Scandal (Chichester Festival Theatre), A Right Royal Farce (King’s Head Theatre), The Cabinet Minister (Albery Theatre) and for TV his credits include as series regular Prince Andrew in The Windsors.

RIVERSIDE STUDIOS LISTINGS

Riverside Studios, 101 Queen Caroline Street, Hammersmith, London W6 9BN

DEAR SANTA LIVE

Adapted for the stage by Michael Gattrell and Rod Campbell

Directed by Tim Wallers

2 December – 24 December at 11am

5,6,12,13, 17 – 24 December at 11am and 1pm

Box Office: 020 8237 1010 / www.riversidestudios.co.uk

Opening Hours:

Box Office                            Monday – Sunday, 10am – 10pm

The Bakery                          Monday – Saturday, 9am – 4pm

Bar and Kitchen                Monday – Sunday, 10am – 9pm

TALKING SHAKESPEARE RETURNS WITH IAN MCKELLEN, HELEN MIRREN & DAVID OYELOWO

• 2^nd series of ‘Talking Shakespeare’ confirmed; Intimate online conversations with Artistic Director, Gregory Doran featuring Ian McKellen, Helen Mirren, David Oyelowo, Roger Allam and Jane Lapotaire

Booking opens to Subscribers, Members and Patrons on Wednesday 4 November at 10am

Following the success of the first series of Talking Shakespeare earlier this year, the RSC is delighted to confirm the return of the popular online conversation from Monday 16 November 2020.

Hosted by RSC Artistic Director, Gregory Doran, guests confirmed for the new series of Talking Shakespeare include Ian McKellen, Helen Mirren, Roger Allam, David Oyelowo and Jane Lapotaire with further dates and names to be announced.

The live, online event series runs weekly on a Monday from 6-7pm from 16 November – 14 December and is open to Subscribers, Members and Patrons of the Royal Shakespeare Company. The events are free as a thank you for the ongoing support given to the Company during the pandemic, but with a suggested donation of £10. Those interested can become subscribers for as little as £20 per year. Further details of how to support can be found at rsc.org.uk/support/become-a-member-supporter

All donations received will go towards the Keep Your RSC campaign to help secure the future of the RSC and its mission to transform lives through amazing experiences of Shakespeare and great theatre. To make a gift to the RSC, visit rsc.org.uk/support/make-a-donation/

The previous series of Talking Shakespeare, which ran over twelve weeks, attracted supporters from seventeen countries and raised over £50,000 in donations and with 400 new members joining in order to access the events. Members of the RSC’s Lead Associate School network and Next Generation participants were also able to join the events for free.

Past contributors to the series include Judi Dench, Ray Fearon, Harriet Walter, Patrick Stewart, Alexandra Gilbreath, David Tennant, Adjoa Andoh, Simon Russell Beale, Antony Sher, David Suchet, Juliet Stevenson and Paterson Joseph.

RSC Members, Patrons and Subscribers can also take advantage of a series of online talks and events which delve deeper into the RSC’s programme. On Wednesday 20 January, RSC Artistic Director Gregory Doran will be joined by John Wyver, broadcast historian and producer of RSC Live from Stratford-upon-Avon series to discuss the highlights and challenges of adapting Shakespeare for the screen.

This will be followed by an exclusive screening of Julius Caesar on Thursday 21 January. Directed by Gregory Doran, this seminal 2012 production by the RSC relocates Shakespeare’s political thriller to contemporary Africa. The screening will be available to Subscribers, Members and Patrons from Thursday 21 January for a limited time only.

On Thursday 4 Feb, rhetoric expert Benet Brandreth will be on hand to discuss his latest book: Shakespearean Rhetoric: A Practical Guide for Actors, Directors, Students and Teachers and delve deeper into how his experience as a barrister compares to working in theatre.

UPDATE FROM THE WATERMILL THEATRE

Following the Government’s announcement on Saturday 31 October of a second national lockdown, sadly The Watermill Theatre and Restaurant will temporarily close from Thursday 5 November until further notice.

Performances of Lone Flyer from 5 – 21 November and A Christmas Carol from 26 November – 2 December are cancelled. Performances of Lone Flyer will continue this week until Wednesday 4 November with Covid-secure safety measures in place. Ticketholders for cancelled performances will be contacted directly by a member of the theatre’s Box Office team.

During the last few months, The Watermill has implemented measures to ensure the safety of audiences, performers and staff and was one of the first theatres in the country to reopen during the summer with a brand new comedy production of Arthur Conan Doyle’s The Hound of the Baskervilles.

The theatre plans to reopen once restrictions are lifted with a new festive retelling of A Christmas Carol during December.A revised schedule will be published once more information becomes available. They also hope to reschedule cancelled performances of Lone Flyer for the New Year.

Artistic and Executive Director, Paul Hart said:

“There is no doubt that this has been a difficult year, but we are proud that since 17 March, when we first closed our doors, we have engaged with 1774 people through our online outreach and education workshops, created 4 brand new productions (two of which were outdoors!) and presented 103 performances where we have welcomed back 3,389 audience members to enjoy live theatre, both inside and out!

We could not have done this without the support we have received from our incredible audience members and local community and we want to say a massive thank you to everyone who has played a part in helping to sustain The Watermill Theatre during this challenging time. The response from audiences has been fantastic and the uplifting effect of our work has made us even more determined to get back up and running again after this next period of lockdown.”

The impact of cancelling performances and closing venues once again is a huge blow for the theatre industry and for audiences around the UK. The Watermill Theatre is seeking support through its FULL HOUSE appeal to enable it to continue creating ambitious and exciting theatre for audiences of all ages to enjoy once lockdown restrictions are lifted. For more information, please visit

www.watermill.org.uk/full_house_appeal_at_the_watermill_theatre

National Theatre leading free virtual courses for young people nationwide to learn theatre-making skills 

As the theatre industry continues to face huge challenges and the National Theatre closes again under new coronavirus restrictions, the NT is prioritising its work with young people across the UK to provide opportunities for them to take part in creative activities and find new ways to explore theatre-making.

The NT is collaborating with freelance artists, producers and technicians across the theatre industry to lead digital introductory courses for young people to learn about theatre-making and develop skills from experts in the field.

Applications are now open for young people across the UK to apply to take part in the How to be a Producer and Young Technicians’ programmes, running in early 2021. These online courses provide an opportunity for young people who may not otherwise have access to the industry to explore roles in the theatre alongside mentoring from industry professionals.

How to be a Producer for 16-21-year-olds is led by Tobi Kyeremateng, producer and founder of the Black Ticket Project alongside producers from the National Theatre, Southbank Centre, Young Vic and many more. The online course will explore the role of producer and what it takes to produce cultural events, including in digital form, through interactive tutorials and problem-solving activities including budgeting and project management. The course will take place across evenings in February 2021 and 50% of places will be available for young Black people in partnership with the Black Ticket Project.

The Young Technicians’ programme will be led by the NT’s expert technical teams to introduce the basics of lighting, sound and video through digitally delivered practical workshops, demonstrations and expert Q&As all delivered online. All participants will receive mini equipment kits to take part in hands-on challenges and learn practical skills. This course is open to 14-18-year olds and will run from January to March 2021.

These programmes are free to take part in and furthering the NT’s commitment to access, places will be prioritised for young people from Black, Asian and ethnically diverse backgrounds, from working class backgrounds and/or with disabilities. Added support will be provided for young people at risk of digital exclusion.

Ali Taie, 19, took part in the Young Technician’s Programme in 2018/2019 and said, “Young Technicians’ came up at the perfect time for me. Back then, I was still in college and the idea of doing theatre was very distant, but doing it helped me understand all of the various roles in theatre that would suit me, along with a solid understanding of the fundamentals of each backstage role in technical theatre and just how critical all members are. It is the direct reason behind the founding of my current theatre company (Opsis Theatre Co), as well as my choice to go to the university which I’m currently attending”.

Ameena Hamid, 20, took part in How to be a Producer in 2019 and said, “The course provided an invaluable window into life as a producer through the lived experience of those in the industry as well as useful tools and theory. It gave me the confidence in my skills that I needed to start producing professionally and I’ve been doing so since. Another brilliant bonus was building up a network of course mates and industry professionals that I’m still in contact with today and who all help and support each other.”

Alice King-Farlow, Director of Learning at the NT said, “The National Theatre remains determined to open up pathways into the industry for young people from backgrounds under-represented in our sector. Despite the huge challenges facing the theatre industry, and as the theatre closes again under the new lockdown, we can use digital platforms to connect young people across the country with experts in our industry, who can share their experiences and knowledge and support the development and exchange of skills – for theatre and for the creative industries more widely. We hope these programmes will open up the creative industries to talented individuals who might not have considered a career in the sector, and provide transferable skills for their futures in any career.”

For more information, key dates and how to apply, visit https://www.nationaltheatre.org.uk/young-people

The National Theatre’s Partner for Learning is Bank of America.

The National Theatre’s Youth Programme for 16-21 year olds is supported by Richard Radcliffe Charitable Trust.

Jon Morgan, the Director of Theatres Trust, responds to the confirmation by the DCMS that some theatre activity can continue during lockdown, including rehearsals:

Theatres Trust is very pleased to hear that training, rehearsal, pre-production and streamed performances behind closed doors can go ahead during the November lockdown in England.  This will be a huge relief for those planning December shows as it means that they can ensure they are prepared for opening which will contribute to saving jobs and theatres.  In order for theatres to be ready to open in December, it is vital that the sector has suitable advance notice of the confirmed reopening date. 

Chichester Festival Theatre – until Wednesday 4th November

Reviewed by Heather Chalkley

5*****

Sarah Kane’s modern masterpiece Crave is a weirdly apt reflection of the pandemic world we are living in right now. The poetry and symmetry of her words are brought to life in a unique stage set of travelators, allowing 2 metres social distance between the actors whilst providing stillness, movement, light and dark to be seen from every angle. The capture of familiar words from old texts woven into the dialogue, gives an added richness and depth.

The individuality and interconnectedness of the characters draws you in to their worlds. Jonathan Slinger (A) delivers an astounding monologue that is so believable you live it with him as he speaks. Erin Doherty (C) creates such a sense of anguish; I could physically feel her pain. The sardonic, passive-aggressive nature of B (Alfred Enoch), carried an extreme sense of worthlessness. The tight grip of the older man and the light grip of the younger man on the objects of their love, creates a spotlight on one another. 

I identified with Wendy Kweh’s ‘M’ in as much as we are a similar age, however I know I will be thinking for days about this character and feel like I need to see it all again to get to grips with it! Throughout the performance, what seem like throw away lines from the characters, that cause the audience to titter or send a shock of uncomfortableness, are well placed to weave and connect.

The use of pre-recorded and live filming on the backdrop increased the intensity, helping you to get right inside each characters’ longing for a deep connection with another person. Inevitably you will recognise yourself inside their somewhere.