The Vaults Opens Its Doors Again with a BRAND NEW COVID FRIENDLY SHOW
The doors have been dusted off and sanitised again and again, ready for the filth and scourge of London to descend into the depths of Hell aka The Vaults, in this covid-safe brand-new show: Dante’s In Furlough from the 15th October.
Amidst the doom and gloom of a pandemic, can our spirits sink any lower? Well yes, right down to the pits of Hell itself, as The Devil invites you to attend his wedding in the underworld (other times known as The Vaults). It’s set to be the most action you’ve had in 6 months. As with most things, the deeper you go, the more enjoyment you get.
For you to progress further, you’re going to have to lie, betray and cheat to beat the Devil at his own game, making your way through each circle of Hell; becoming his worst men, maids and all round rascals, in earning your seat at his wedding table.
Through each of these circles you’ll face all your vices, be they lust, gluttony, greed or something altogether more sinister. Your demonic guide will keep you in check and in trouble, along with your quarantine dearest or social bubble. Should you appear all too moral for their liking, then face being banished to the plains of Earth, missing out on all the hedonism Hell hath to offer.
Inspired by Shel Silverstein’s epic poem ‘Billy Markham and the Devil’ written for PlayBoy in 1977, fans of Shel’s can find themselves in a similar scenario to the poem’s protagonist – you’ll be gambling with your soul.
Hell on earth: The Vaults with its maze of winding tunnels married with its speciality in immersive theatrical productions, makes for a safer covid performance without compromise. Patrons will be permitted entry on certain time slots, staggering audiences, thus keeping the chaos organised and safe for all. For all your debauched devilish fun be sure to book your tickets online and we’ll see you in Hell in October. Suitable for ages 18+
BLACKEYED THEATRE ANNOUNCE THEIR ACCLAIMED PRODUCTION OF THE STRANGE CASE OF DR JEKYLL & MR HYDE WILL BE PERFORMED AND STREAMED LIVE THIS MONTH
Blackeyed Theatre’s production of The Strange Case of Dr Jekyll & Mr Hyde will be performed LIVE in front of a socially-distanced audience on Friday 18 September 2020.
The production will be streamed LIVE to audiences at home and will be available on demand.
Blackeyed Theatre make their filmed archive performances of Teechers, Jekyll & Hyde and Oh What A Lovely War available to schools.
Blackeyed Theatre have today announced that their highly acclaimed production of The Strange Case of Dr Jekyll & Mr Hyde, adapted from Robert Louis Stevenson’s novella by Nick Lane, will be performed to a socially-distanced audience at the Wilde Theatre in Bracknell, Berkshire, on Friday 18 September and be available to watch LIVE online and on demand. The Strange Case of Dr Jekyll & Mr Hyde will be the first performance in the Wilde Theatre since March, when they officially closed their doors due to COVID-19.
The roles of Henry Jekyll and Edward Hyde will be played by Blake Kubena (Vikings, History Channel; Othello, Alabama Shakespeare Festival; All’s Well that Ends Well, Minack Theatre). Joining Blake and reprising their roles from Blackeyed Theatre’s 2017 production are Zach Lee (Bouncers, Glass Menagerie, Hull Truck; The Derby McQueen Affair, York Theatre Royal; Treasure Island, Harrogate Theatre) as Gabriel Utterson, Paige Round (Hurling Rubble at the Moon, Park Theatre; Nobody, Hanyong Theatre/National Theatre Company of Korea) as Eleanor Lanyon and Ashley Sean-Cook (Frankenstein, Blackeyed Theatre; The Boy in the Striped Pyjamas, Children’s Touring Partnership; Might Never Happen, King’s Head) as Hastings Lanyon.
The Strange Case of Dr Jekyll & Mr Hyde is adapted and directed by Nick Lane, who was Associate Director and Literary Manager at Hull Truck from 2006 to 2014, with original music composed by Tristan Parkes. Completing the artistic team are Enric Ortuño (Movement and Intimacy Director), Victoria Spearing (Set Design), Naomi Gibbs (Costume Design) and Claire Childs (Lighting Design).
Doctor Henry Jekyll is a good man. Successful within his field and respected by his peers, he’s close to a neurological discovery that will change the face of medical science forever. However, his methods are less than ethical, and when a close friend and colleague threatens to expose and destroy his work, Jekyll is forced to experiment on himself, whereupon something goes very wrong…or very right. And suddenly Jekyll has a new friend, the brutal Edward Hyde.
A thrilling adaptation of Robert Louis Stevenson’s dark psychological fantasy, The Strange Case of Dr Jekyll And Mr Hyde immerses you in the myth and mystery of 19th century London’s fog-bound streets where love, betrayal and murder lurk at every chilling twist and turn.
This gripping production takes inspiration from Nick Lane’s own personal journey. Injured by a car accident at the age of 26 that permanently damaged his neck and back, Lane imagines Jekyll as a physically weakened man who discovers a cure for his ailments, a cure that also unearths the darkest corners of his psyche. Lane says, If someone offered me a potion that was guaranteed to make me feel the way I did before the accident, but with the side effect that I’d become ruthless and horrible – would I drink it?
Nick Lane said: “In this chaotic period in our history, the arts serve as an oasis of peace and I’m absolutely delighted to be working with Blackeyed again to bring autumn chills down the spines of any audience member with Jekyll and Hyde. It’s a timeless story that we’ve put into historical context, adding detail that will intrigue people who know the novel and those coming to it fresh”.
Blackeyed Theatre will also be making the recording of The Strange Case of Dr Jekyll & Mr Hyde available to schools, along with accompanying video resources designed to support students of Drama, Performing Arts and English Literature. This is in addition to their recordings of Teechers by John Godber and Oh What A Lovely War by Joan Littlewood’s Theatre Workshop, which are available exclusively to schools to license for the entire 2020/2021 academic year. These resources, including the full shows and interviews with cast and creatives, are designed to address the specific challenges teachers and students face in the coming academic year.
Adrian McDougall, Artistic Director of Blackeyed Theatre said: “We’ve been working towards getting Jekyll & Hyde back on stage for many months now, and there have been times when it’s been touch and go. But I’m really pleased we can finally get back into the rehearsal room and create some great theatre for a live audience. As well as producing something new and exciting for a public online audience, it means we can add Jekyll & Hyde to our online library of syllabus-related work, and we’ll be creating lots of educational content to accompany the show for our schools audience. In the meantime, we continue to plan to welcome live audiences to the live tour later in the year”.
The Strange Case of Dr Jekyll & Mr Hyde is produced by Blackeyed Theatre in association with South Hill Park Arts Centre.
Total Insight provides mental health support and creative platforms for young people My Mind Matters submissions due Wednesday 16th September 2020 In It Together Wednesday 16th September – Wednesday 25th November 2020
Total Insight Theatre is continuing its incredible work providing theatre and support for young people with two new projects that provide platforms for young voices and support their mental health and wellbeing. My Mind Matters will allow young people to explore their creativity through filmmaking and to reflect on and share their experiences of the pandemic. In It Together is a free support scheme launching in September, providing digital workshops for young people in Hackney, focusing on creativity, mental health and wellbeing.
According to a survey by Young Minds, 80% of respondents agreed that the Covid-19 pandemic has made their mental health worse, and 87% respondents agreed that they had felt lonely or isolated during lockdown. My Mind Matters will be a platform for young people affected by the pandemic, providing a creative outlet for their stories and experiences. Total Insight are holding an open call for young people to submit their stories about lockdown and mental health, through a wide variety of creative outlets including videos, audio, text and images. A selection of young voices and stories will be included in the film My Mind Matters, alongside short clips that bust mental health myths and provide practical tips for mental wellbeing.
Virtual hub In It Together aims to help young people aged 14-16 in Hackney stay connected and creative during these difficult times. The creative workshops, held once a week over Skype for two months this autumn, will explore a wide range of art forms for participants to express themselves and learn more about the arts. These will include writing, spoken word, music, improvisation and theatre. The wellbeing workshops will help to assess and better understand their own mental wellbeing, as well as provide resources and contacts to help them navigate their way through the Covid-19 crisis and its aftermath.
Chief Executive and Artistic Director Adam Tulloch says, We are delighted to be able to continue to support children and young people during these difficult times and to provide opportunities that highlight and process the impact the pandemic has had on young people.
My Mind Matters is funded by City Bridge Trust. In It Together is generously supported by The Fishmongers’ Company’s Charitable Trust.
NEW DATES ANNOUNCED FOR THE WEST END TRANSFER OF THE OCEAN AT THE END OF THE LANE, A NEW PLAY BASED ON THE BEST-SELLING NOVEL BY NEIL GAIMAN
PERFORMANCES WILL NOW BEGIN 23 OCTOBER 2021
Due to the ongoing impact of COVID-19, The Ocean at the End of the Lane, which was scheduled to begin performances this autumn, has been postponed. The acclaimed production will now open at the Duke of York’s Theatre in 2021, with previews beginning from 23 October 2021.
Whilst government recently made the welcome announcement that performances can resume indoors, they can do so only with social distancing. Performances of The Ocean at the End of the Lane from 31 October 2020 – 6 February 2021 have been cancelled. All existing ticket holders will be contacted by their original point of sale regarding their booking.
Tickets for the newly announced 2021 performance dates will go on sale to the public at 12pm on Friday 2 October 2020.
The National Theatre’s critically acclaimed production of The Ocean at the End of the Lane, based on the best-selling novel by Neil Gaiman (American Gods, Coraline, Stardust and the Sandman series), adapted by Joel Horwood and directed by Katy Rudd, transfers following its sold-out world premiere at the Dorfman Theatre in 2019.
The set designer is Fly Davis, with costume and puppet design by Samuel Wyer, movement direction by Steven Hoggett, composition by Jherek Bischoff, lighting design by Paule Constable (Olivier Award Nominee), sound design by Ian Dickinson, magic and illusions direction and design by Jamie Harrison and puppetry direction by Finn Caldwell. Casting to be confirmed.
Suitable for ages 12+.
Public information
Dates: Booking Until 12 February 2022 Press Night Thursday 4 November 2021, 7pm
Address: Duke of York’s Theatre
St Martin’s Lane, Charing Cross, London WC2N 4BG
Performances: Monday, Tuesday, Wednesday, Thursday, Friday, Saturday at 7.30pm Thursday and Saturday matinees at 2.30pm
Duke of York’s Box Office Online from atgtickets.com (a £3.65 transaction fee applies) Telephone 0844 871 7623* *Calls cost 7p per minute, plus your phone company’s access charge.
ENGLISH TOURING THEATRE ANNOUNCES BRAND NEW PLAYWRIGHT DEVELOPMENT SCHEME
NATIONWIDE VOICES
ETT (English Touring Theatre)today announces the inaugural Nationwide Voices; a year-long development programme for six playwrights across the UK. Year one of Nationwide Voices is led by ETT in collaboration with Kiln Theatre, Leeds Playhouse, Rifco Theatre Company, Sheffield Theatres, and Theatr Clwyd, with each venue or company offering a year-long attachment for each chosen playwright. This year the playwrights are Adam Hughes (Leeds Playhouse), Matilda Ibini (ETT), Sonia Jalaly (Kiln Theatre), Asif Khan (Rifco Theatre Company), John Rwothomack (Sheffield Theatres) and Emily White (Theatr Clwyd).
Nationwide Voices aims to connect writers with mid-scale theatres and support them through the crucial career transition onto main stages, while also enabling theatres nationwide to platform fresh and imaginative voices with a connection to their local area. These six talented writers will broaden and develop their craft through regular workshop sessions led by the award-winning playwright and Sheffield Theatres Associate Artist Chris Bush and featuring several guest speakers. They will also receive an initial seed commission, and the work they create during Nationwide Voices will be shared at a festival of staged readings in spring 2021, with ETT and partners working towards further commissioning, co-producing and touring of the plays in the future.
Nationwide Voices is made possible thanks to the John Ellerman Foundation, who have generously funded ETT to run this programme for the next three years.
Artistic Director of ETT, Richard Twyman today said “When we first conceived of Nationwide Voices the world was a very different place, and so we’ve had to adapt it to a changing landscape. But its core aim is more important than ever: to support talented, brave and imaginative writers to have their work produced on the nation’s main stages. Nationwide Voices is about forging connections between writers, venues, audiences and the touring sector to create work of national reach and relevance: celebrating remarkable voices, the diversity of our nation’s communities and the vitality of our theatres.
We don’t know what the theatre landscape is going to look like going forward but we do know that more than ever we need to look to writers and the stories they tell to help reshape our world.
We are deeply grateful to the John Ellerman Foundation for making this programme possible.”
Chris Bush added, “A lot of writers seem to spend years (if not decades) in a state of perpetual emergence. What makes this scheme so important is its specific aim to get newer writers creating work for bigger auditoriums and wider audiences. At the moment, everyone in our industry is understandably preoccupied with how to survive the current crisis. However, in the long term the theatre will only thrive by investing in talent and commissioning “riskier” work from artists who aren’t yet established names. If we keep looking to the same few ‘safe pairs of hands’ we doom ourselves to ever-dwindling audiences and diminishing artistic returns. Instead, our ambition must be to create work that is truly representative of our nation, by championing voices that haven’t yet been given a large national platform. Nationwide Voiceshas selected six of the most exciting writers from across the country, and I can’t wait to start working with them.”
Adam Hughes’ theatre credits include Joy (Leeds Playhouse), Where Do We Go Next (Bunker Theatre), West End Girls (Live Theatre), James Graham’s Sketching (Wilton’s Music Hall), Beeston (Finborough Theatre) and Marching On Together (Old Red Lion Theatre).
MatildaIbini is a bionic playwright and screenwriter. Her theatre credits include Little Miss Burden (Bunker Theatre), Choice and Control (The Old Vic), Muscovado (UK tour); and for TV her credits include Unprecedented (Headlong/Century Films/BBC4).
Asif Khan’scredits as a playwright includeCombustion (UK tour) and Imaan Imraan(Bradford Literary Festival). As an actor his credits include Tartuffe (RSC/Birmingham Repertory Theatre), A Kind of People (Royal Court Theatre), A Passage To India (Royal & Derngate/Park Theatre), Handbagged (UK tour/Tricycle Theatre) and Twelfth Night (National Theatre).
John Rwothomack’s credits as a playwright include Far Gone (Sheffield Theatres/Kampala International Theatre Festival). His credits as assistant director includes The Last King of Scotland (Sheffield Theatres).
Emily White’s credits include Pavilion (Theatr Clwyd). She has an MA in Theatre Writing from York University. In 2018 she won a place on Channel 4’s 4Screenwriting Course and she was selected to be part of the BBC Wales Writersroom group in 2019.
Chris Bush is a playwright, lyricist and theatre-maker. Her credits include Faustus: That Damned Woman (Lyric Hammersmith), The Last Noël (Old Fire Station), Standing At The Sky’s Edge, Steel,What We Wished For, A Dream, The Sheffield Mysteries (Sheffield Theatres), Pericles (National Theatre), The Changing Room (NT Connections 2018), The Assassination of Katie Hopkins (Theatre Clwyd – Best Musical UK Theatre Awards), A Declaration from the People (National Theatre), Larksong (New Vic Theatre), Cards on the Table (Royal Exchange Manchester), ODD (Royal & Derngate concert performance), Sleight & Hand (Summerhall and BBC Arts), TONY! The Blair Musical (York Theatre Royal and UK tour) and Poking the Bear (Theatre503).
Socially distanced ‘pop-up’ performances to run throughout September in the Dell Gardens
Riverside Cafe and Rocket takeaway service extended throughout September
Photo credit Mark Williamson. Copyright @ RSC
The Royal Shakespeare Company has today announced the extension of its popular pop-up programme of outdoor performances to run throughout September in the Dell Gardens, Stratford-upon-Avon.
Running until the end of September and sponsored by Darwin Escapes, RSC Snapshots will take place from Friday to Sunday for 45 minutes at 1pm and 3pm each day.
These free, high-energy, no-frills performances will be different each week, taking inspiration from both well-known Shakespearean texts and the works of some of the most promising new writers of today.
The performances will be delivered by actors from the RSC’s postponed productions of The Winter’s Tale and The Comedy of Errors and will be directed and curated by a different company member each week. Audiences will be asked to make a donation, if they can, to support the Keep Your RSC campaign.
Featuring a mixture of socially-distanced speeches and scenes from Shakespeare’s best-loved plays, plus a selection of exciting new works and contemporary pieces, the performances are the perfect re-introduction to live theatre and are suitable for theatre enthusiasts, newcomers and Stratford day-trippers too.
Performances will be first come, first served, with space for up to eight household groups (maximum 6 people each), plus some standing spaces.
Friday 7 to Sunday 9 September – RSC Deputy Artistic Director, Erica Whyman (who was due to direct the RSC’s postponed production of The Winter’s Tale this Autumn) will join forces with Assistant Director Aaron Parsons to curate ‘The Truth and Nothing but the Truth; an epic yet intimate celebration of truth and self-hood combining well-loved extracts from Shakespeare with excerpts from a selection of new works produced by the RSC including Can Dundar’s #wearearrested, Anders Lustgarten’s The Seven Acts of Mercy and Alice Birch’s implosive Revolt. She Said. Revolt Again among others.
Friday 11 to Sunday 13 September – This will be followed by a celebration of music, poetry, songs and sketches from 11 to 13 September as members of the RSC acting company gather for an open-mic afternoon with a difference.
Friday 18 – Sunday 20 September – Hal Chambers – Assistant Director of the RSC’s postponed production of The Comedy of Errors – invites audiences to revel in the royal history of Kings and Queens past.
Friday 25 – Sunday 27 September – RSC actors Kemi Bo-Jacobs and Assad Zaman will curate a celebration of new writing produced under lockdown to wrap up RSC Snapshots.
RSC Artistic Director, Gregory Doran, said: “Despite our theatres being closed for full productions until 2021, our acting company continue to work on events and activity, including our programme of outdoor Shakespeare in Stratford, which has proved incredibly popular with audiences throughout August. Whilst we continue to do everything we can to bring our buildings back to life as soon as possible, we are pleased to announce the continuation of our outdoor performance throughout September.
“This month’s programme will see extracts from Shakespeare’s plays feature alongside a selection of exciting new works by the playwrights of today. I am delighted to see Stratford audiences embracing this unique programme of socially-distanced, outdoor theatre and look forward to a time when we can welcome them back to our buildings to share the experience of live theatre with them.”
The RSC has also announced that visitors can continue to take advantage of a daily takeaway service from the Riverside Cafe throughout September, which is open from 10am to 4pm daily. Customers are asked that they observe social distancing throughout their visit, using the markings on the pavement and payment is by contactless card only.
HAMPSTEAD THEATRE ANNOUNCES IRENE DORNER AS ITS NEW CHAIRPERSON
Hampstead Theatre is delighted to announce the appointment of Irene Dorner as the new Chairperson of its Board of Directors. Dorner is also currently Chairperson of Taylor Wimpey and Control Risks (a global risk consultancy) and, until recently, Virgin Money (2018). She also sits on the Boards of AXA,Rolls Royce, South East Asia Rainforest Research Partnership and St. Anne’s College, University ofOxford.
David Tyler, the current Chairperson will stand down on 30 September 2020 and Dorner will join in January 2021. In the interim, the Theatre will be chaired by Adam Jones, the current Chairperson of its Finance Committee.
Irene Dorner, incoming Chairperson of Hampstead Theatre said:
“I am thrilled to be taking over the role of Chair of Hampstead Theatre.The theatre has been part of my life for several years as I live only a few minutes’ walk from its doors and attend most performances.The opportunity to get involved with a terrific team dedicated to producing new work that is original, entertaining and ambitious is very exciting and a fulfilling way for me to continue my lifelong love of theatre.There are even more challenges than usual in our current environment but I am sure with the support of a committed board and management team we can look forward to making more world class theatre. David is a hard act to follow and I would like to thank him and the whole team for making me feel so welcome.”
Roxana Silbert, Artistic Director of Hampstead Theatre said:
“I look forward to building Hampstead’s future with our new Chair, Irene Dorner, who brings a breadth of experience, knowledge and love of Hampstead. The team and I are incredibly excited to be working with her. She succeeds David Tyler who has been a magnificent chair and whose astuteness, commitment and passion leaves Hampstead transformed. I cannot thank him enough for his tireless championing of the theatre and I have enjoyed working with him hugely.”
David Tyler, current Chairperson of Hampstead Theatre said:
“Sadly, after eight years, it is time to hang up my boots at Hampstead.I have hugely enjoyed my role at Hampstead Theatre where our outstanding team have had great artistic success and our audiences have been richly entertained consistently over the years.Thank you to the management team and to all of my colleagues on the Board.I am delighted to be passing the baton on to Irene who has the perfect blend of experience and personal style to guide the theatre to further success.”
Dorner takes over from David Tyler who has led the Board of Directors at Hampstead Theatre since 2012. Under his inspirational leadership, sources of income have diversified and strengthened. Tyler has also made the theatre more sustainable, championing the reconfiguration of the foyers (2014) and the expansion of the auditorium (2019) to increase Box Office revenues. More recently he oversaw the change in Artistic Directors, extending his tenure as Chair to see the theatre through its sixtieth season and to allow Roxana Silbert time to establish herself before his departure.
WITH ONE-MAN COMEDY PLAY BY CITY PLAYWRIGHT JONATHAN HARVEY
Swan Song will launch nine days of outdoor performance at St Luke’s Bombed Out Church
Swan Song, a comedy by Liverpool playwright Jonathan Harvey, will open a brand-new theatre festival in the city next week marking the return of live outdoor performance.
Liverpool Theatre Festival will take place between Friday 11 September and Saturday 19 September 2020 in the grounds of St Luke’s Bombed Out Church and will help to kick-start the return of theatre productions in the wake of the Coronavirus pandemic.
Swan Song is a one-man play written by Jonathan Harvey and starring Liverpool actor Andrew Lancel. The play will be directed by BAFTA award-winning director Noreen Kershaw. The show is produced by Liverpool Theatre Festival, in association with Bill Elms Productions and Quarry Street.
Swan Song will officially start the nine-day run of Liverpool Theatre Festival on Friday 11 September 2020, with performances at 6pm and 9pm.
The festival has been created by Liverpool theatre producer Bill Elms to support the city’s devastated theatre scene. Performances will take place within the church walls, in the grounds of St Luke’s in the heart of Liverpool city centre, and follow stringent social distancing and Government guidelines.
The festival line-up includes musical theatre, drama, comedy, cabaret, monologues, and children’s shows. Tickets are on sale now.
Swan Song was first staged at the Edinburgh Fringe Festival in 1997, before transferring to Hampstead Theatre with award-winning comedy actress Rebecca Front in the lead role. Jonathan Harvey has now adapted the play specially, and Andrew Lancel will play the solo role of Dave Titswell at Liverpool Theatre Festival.
Producer and artistic director Bill Elms commented:“Swan Song is a funny, clever and inspiring production to open the inaugural Liverpool Theatre Festival. Andrew Lancel, Jonathan Harvey and Noreen Kershaw are an incredible blend of creative talent, and I am confident audiences have a real treat ahead of them. We’ve had a heart-warming and phenomenal response since we announced the festival last week. People are excited for the return of live theatre – and we’re excited to give them that experience back after such a long time.”
Swan Song is written by Jonathan Harvey. Forty-something Dave Titswell is a gay teacher with a crush. Set in Liverpool in 1997. Life, love and work – none are simple for Dave. Everyone knows someone like Dave – or could even be a Dave themselves. Will a school trip to The Lakes change things for the better, or make things decidedly worse? Swan Song will make audiences laugh, but equally pull at the heartstrings.
Andrew Lancel is no stranger to Liverpool audiences. Well established on the national theatre scene, Andrew is also widely known for his television roles as DI Neil Manson in The Bill and super-villain Frank Foster in Coronation Street. He has twice played Beatles’ manager Brian Epstein on stage to great critical acclaim, first in Epstein – The Man Who Made The Beatles (also produced by Bill Elms) which premiered in Liverpool and went on to play London’s West End, as well as playing Epstein in the national tour of Cilla The Musical, Bill Kenwright’s stage adaptation of the TV series written by Jeff Pope.
Andrew Lancel commented:“Liverpool is a leader when it comes to the arts and theatre – so to launch this wonderful new festival is a real honour. The last play I saw before lockdown was Jonathan Harvey’s Our Lady of Blundellsands at The Everyman which I loved – so it’s very cool, and a little ironic, that my first play back is with Jonathan. We have known each other for years and worked together a lot but never on stage, so it’s humbling that he has adapted this play for me. It’s very funny, moving, and I think people will really relate to it today. His characters are literally gifts to play and to watch.
“This play is about reuniting too. Reuniting theatre and audiences with live performance in Liverpool is extra special. To be back with Epstein producer Bill Elms is a buzz, and I’ve worked on some very serious storylines on Corrie with Noreen Kershaw, the original Shirley Valentine. It feels like coming home for us all in so many ways.”
Jonathan Harvey’s credits include Gimme Gimme Gimme; Murder Most Horrid; Coronation Street; Call The Midwife; and Tracey Ullman’s Show.
Jonathan added:“I was deeply disappointed when Our Lady Of Blundellsands was brought to an abrupt halt by Covid, so I’m excited to be involved in getting live theatre back on stage in our home city. Swan Song is a comedy about a teacher who’s trying to hold onto his dignity while the education system crumbles around him – and I’m thrilled Andrew is playing Dave. I’m delighted to also be working with Noreen again, she directed many of my Corrie scripts and my last episode of Call The Midwife. As the original Shirley Valentine, Noreen definitely knows a thing or two about one person shows.”
Noreen Kershaw’s television directing credits Our Girl, Moving On, Scott & Bailey, Emmerdale, Shameless, and Heartbeat. She has been a series director on Coronation Street, and was awarded a BAFTA in 2014 for an episode she directed. Her acting credits include Life On Mars, Brookside, and Watching.
Live performances came to a complete standstill nationally in mid-March due to Covid-19 lockdown. With no indication on when safe and financially viable indoor performances will resume, Bill Elms has been working tirelessly behind the scenes to organise Liverpool Theatre Festival now that outdoor live performances are permitted.
Festivalgoers can be reassured they will be attending a safe environment. Capacity has been reduced to ensure socially distanced seating; hand sanitiser stations; temperature checks before entry; masks are requested to be worn when moving round the venue; and visitors are encouraged to attend in their social bubble groups.
Increased safety guidelines will also take place behind the scenes. Shows will be limited to one-act performances; each show lasts a maximum of 75 mins to reduce audience movement; the cast and crew will socially distance and be temperature checked; and a maximum of four performers per production.
The team at St Luke’s have been successfully running a Covid-safe garden café/bar on-site and they will provide theatregoers with premium drinks and freshly cooked pizza, drinks can also be purchased on a special app and delivered to ticketholders at their seats.
Liverpool Theatre Festival programme also includes live productions of A Fairy Tale Journey Across The Mersey, Laughterhouse Comedy, The Very Best Of Tommy Cooper, Sweet Mother, Shakers by John Godber, Deathly Confessions, Matinee Musical Classics, Music Of The Night, Judy & Liza, Hurrah For The Pirate King! andSomething About Simon.
GATSBY’S PARTY RE-IMAGINED AS A 1920s MASQUERADE BALL
SOCIALLY DISTANCED OPENING ON THURSDAY 1 OCTOBER IN THE WEST END
BESPOKE FACE MASKS TO BE DESIGNED FOR PATRONS TO PURCHASE WITH PORTION OF PROCEEDS GOING TO THE THEATRE ARTISTS FUND
Immersive Everywhere’s critically acclaimed THE GREAT GATSBY, created and directed by Alexander Wright– which had previously set a record as the UK’s longest running immersive production –is set to re-open at West End venue IMMERSIVE | LDN on Thursday 1 October 2020.
Olivier Award winning producers Louis Hartshorn and Brian Hook have re-imagined and re-set the production as an Art Deco Masquerade Ball, with audience members wearing compulsory face coverings to complement their fabulous attire. The show’s costume designer, Heledd Rees is to create a bespoke face covering that will be available to purchase at the venue should patrons require, with a portion of the proceeds going to The Theatre Artists Fund.
Jay Gatsby invites you to one of his infamous large parties. Re-imagined and re-set to meet covid-19 secure guidelines, the champagne flows and as the drama unfolds the man himself will be the perfect host. As invites go, this is the hottest in town.
A hedonistic world of red hot rhythms, bootleg liquor and pure jazz age self-indulgence awaits. Don your masquerade, dress to the nines and immerse yourself in this heart racing adaption of F Scott Fitzgerald’s seminal tale of the Roaring Twenties.
Full casting has been announced: Craig Hamilton will play ‘Gatsby’, Lucinda Turner will play ‘Daisy’, James Lawrence will play ‘Nick’, Dean Graham will play ‘Tom’, Lucas Jones will play ‘George Wilson’, Ivy Corbin will play ‘Jordan’, MJ Lee will play ‘Myrtle Wilson’, Hugh Stubbins will play ‘Rosy Rosenthal’, Aimee Barrett will play ‘Lucille’ and Alex Wingfield will play ‘Joey’.
Thanks to the recent announcement of Stage Four of the government’s roadmap for theatres’ re-opening allowing socially distanced indoor performances, the producers of The Great Gatsby continue to refine plans and measures to ensure full compliance with government Covid-Secure guidelines at IMMERSIVE LDN.
The capacity of the venue has been significantly reduced to help patrons – coming as individuals or in household groups – to keep a safe distance from others; and the nature of the show means that audience members can choose where they stand and move throughout the performance, naturally enabling social distancing. The show content is being altered and updated to avoid any activity that would be considered high risk, and the actors will be further trained to keep groups of audience following the story, whilst remaining at a safe distance. Temperature checks will be undertaken for audience and staff on arrival. The venue will be deep cleaned before and after every performance, bar equipment sterilised, and hand sanitisers will be available throughout the venue. The Producers are confident that the immersive nature of THE GREAT GATSBY will enable it to be the first long running show to responsibly re-open in 2020. The Producers are also still planning for the eventuality that the show can’t proceed, or individual patrons can’t attend, and are offering a no-questions-asked exchange policy.
Louis Hartshorn and Brian Hook said “We’re delighted The Great Gatsby is returning to its London home. We’re deeply proud of the team who have worked so skilfully and passionately – with input from the Culture Task Force, Equity, and Westminster, – to welcome back our audiences and restore some of the cultural offering in London that has been missing for far too long.
We are really excited to welcome folks back to Gatsby’s mansion in a responsible and measured way, and to be one of be the first shows in the West End that is able to re-open its doors to fans. At IMMERSIVE|LDN we will always lead the way with innovation, and we’re hoping this can be a blueprint to help our other productions around the world begin to open.
We’ve definitely missed telling this beautiful story each night. It has been a joy to bring back some of the original creators of Gatsby after half a decade, to revisit, revive and augment the production, with new scenes and new choreography that should be exciting for fans old and new.”
These Covid-Secure policies will be under continuous review and are by no means exhaustive – any additional measures recommended will be adopted as appropriate.
Olivier Award winning producers Louis Hartshorn and Brian Hook, who are currently co-producing the immersive production of DOCTOR WHO TIME FRACTURE – launched a new company in 2019, IMMERSIVE EVERYWHERE, entirely dedicated to developing and staging theatre-led immersive experiences, and IMMERSIVE | LDN is the newest of their network of venues, which will house cafes, bars and rehearsal and workshop spaces to help the development of new work.
IMMERSIVE | LDN is a 32,000sq ft historic building in the heart of Mayfair, which was home to the Queen Victoria’s Rifles Association until 2017. It includes three floors of immersive theatre and event spaces designated for performance, live gaming, events, escape rooms and private parties. For information about programming and venue hire visit www.immersiveldn.com
First conceived in 2015 when director Alexander Wright and producer Brian Hook were running The Fleeting Arms – a pop arts and community pub in an abandoned building in York, the show then ran in York in 2016 with a parallel production in Sheffield, and was produced by the Guild of Misrule . The Great Gatsby first came to London as part of VAULT Festival in 2017 and sold out before the show opened. Since then the show has run in Wales in co-production with Theatr Clwyd, at Halifax’s Square Chapel, and at Castle Howard in North Yorkshire. All the while the show has played night after night at Gatsby’s Drugstore in London SE1, inviting audiences into the hedonistic world of F. Scott Fitzgerald’s extraordinary tale, and in 2018 it became the UK’s longest running immersive production.
Amie Burns Walker and Oliver Tilney are Associate Directors. Choreography is by Holly Beasley-Garrigan, design by Casey Jay Andrews, costume design by Heledd Rees, sound design by Phil Grainger and lighting design by Rachel Sampley. The original score was composed and produced by Glen Brown and Tendai Humphrey Sitima, with arrangement and additional composition by David Sims. The original production was created by Holly Beasley-Garrigan, Amie Burns Walker, Hannah Davies, Phil Grainger, Michael Lambourne, Thomas Maller and Oliver Tilney.
This new production of The Guild of Misrule’s THE GREAT GATSBY is produced by Immersive Everywhere with co-producer Gavin Kalin Productions, and with Glynis Henderson Productions, Theatr Clwyd, We Culture Connects and Damier NV as Associate Producers.
The Turbine on the Jetty, Battersea – 31 August 2020
Reviewed by Adam Craddock
3***
When I got invited to review “The Best of Frankie Valli” I bit off my bosses hand. This was my first opportunity to see a piece of theatre in nearly 6 months and I was so excited, especially with it being a Four Seasons show (probably my biggest musical influence). I was a bit apprehensive about reviewing around COVID but all my worries were put to rest when I turned up at the Turbine Jetty and was greeted by the well informed front of house team, who took my temperature and then seated me in the wonderful socially distanced deck chairs that were set out.
The show started off with a beautiful bit of doo wop and harmonies as the four lads came through the audience and made their way to the stage. There were some minor technical difficulties at first as the lighting seemed a bit off and a techie had to sneak down the side to sort the lights. But after this was solved and the first couple of numbers had gone the show really began in full force. The highlight of the show for me wasn’t actually the Four Seasons songs but the wonderful Beach Boys medley that the lads had put together. The harmonies and arrangement were superb and were a real highlight for me. Some slight negatives were a bit of obvious stage rust (completely understandable given it was 5 months since their last gig) showing with some forgotten choreography and some slightly breathy falsetto. The boys played their audience better as the night went on, with some slight awkwardness in their address at first but the audience really warmed up to them as the night went on (and dare I say it the more drink was consumed in the audience) and people were up and dancing in the aisle by the end of the night.
Overall I did enjoy my evening very much and I think with a few more performances to recover from the 5 months off, this will be superb. You can catch “The Best of Frankie Valli” in theatres up and down the country in 2021.
