Author: FairyPoweredProductions

NOTES FROM A SMALL ISLAND

JON CULSHAW TO STAR AS ‘BILL BRYSON’
IN A NEW THEATRICAL ADAPTATION OF BRYSON’S AWARD-WINNING BOOK
OPENING AT THE WATERMILL THEATRE NEWBURY
AND THEN TOURING THE UK THIS AUTUMN

Jon Culshaw will star as ‘Bill Bryson’ in a brand-new stage production of Bryson’s award-winning memoir NOTES FROM A SMALL ISLAND adapted by BAFTA and Olivier Award winning playwright Tim Whitnall. Directed by the Watermill’s Artistic Director Paul Hart, the production will have its world premiere in Newbury on Thursday 24 September and play until Saturday 31 October, with a national press night on Monday 28 September. The production will then tour to Malvern, Cambridge, and Richmond, with further dates to announced.

What makes us love this country we call our own?

Join Bill as he journeys from Calais to Scotland, rediscovering the green and pleasant land he calls his home, before moving back to his native United States. Why does the nation that produced Marmite, Gardener’s Question time and people who say ‘Ooh lovely’ at the sight of a cup of tea, hold such a special place in his heart? And what precisely does he love so much about a country with place names like Farleigh Wallop, Titsey and Shellow Bowells? A witty and insightful tribute to all the head-scratching quirks and idiosyncrasies of our small island, that will leave you feeling positively proud to be British.

Notes from a Small Island spent three years in the Sunday Times bestsellers list, sold over two million copies and was voted on World Book Day by BBC Radio 4 listeners as the book that best represents our British identity.

Bill Bryson said, “I am naturally intrigued and excited to see how Notes from a Small Island will be translated into a theatrical experience. I am especially delighted that Jon Culshaw will be taking the lead role.  I have no doubt that he will be a better me than I am!”

Jon Culshaw said, “It’s a great pleasure and honour to have chance to portray Bill Bryson. His delicious wit makes preparing the role an absolute joy.”

Jon Culshaw is warmly regarded by many as one of Britain’s best impressionists with an unmatched versatility and a catalogue of over 350 voices and impersonations including Boris Johnson, Donald Trump, Professor Brian Cox, Barack Obama, Alan Carr, John Bishop and Michael McIntyre. Jon is a regular guest on current affairs programmes, providing comic relief with impromptu impersonations of politicians and commentators. BBC Radio 4 comedy Dead Ringers is now onto its 19th series and he is also in demand for voicing audio books including ‘The Beautiful Poetry of Donald Trump’ as well as many of the Dr Who releases.

In a further departure from comedy he played the iconic David Bowie in an acclaimed BBC World Service radio drama before turning his hand to a Terry Pratchett audio drama for Audible, The Unseen Academicals.

Following a sold-out debut tour, Jon is about to embark on his third UK tour The Great British Take Off with Dead Ringers producer, Bill Dare, which sees them perform an evening of unscripted, unrehearsed, spontaneous comedy and conversation.

Bill Bryson was born in Des Moines, Iowa, in 1951. Settled in England for many years, he moved to America with his wife and four children for a few years but has since returned to live in the UK. His bestselling travel books include The Lost Continent, Notes From a Small Island, A Walk in the Woods and Down Under. His acclaimed work of popular science, A Short History of Nearly Everything, won the Aventis Prize and the Descartes Prize, and was the biggest selling non-fiction book of the decade in the UK.

Tim Whitnall wrote the stage plays HARRY’S WEB – Theatre Royal Windsor 2000, THE SOCIABLE PLOVER – Old Red Lion Theatre 2005, THE FABULIST – Old Red Lion Theatre 2006, and ROADKILL– a reading at Paines Plough in 2007. His comedy,MORECAMBE, debuted at the Edinburgh Festival in 2009, winning a Fringe First Award. Transferring to the Duchess Theatre, London the show triumphed in the 2010 Laurence Olivier Awards, winning for Best Entertainment. Published by Samuel French, the play continues to tour in venues across the UK. Through his company, Feather Productions (www.featherproductionss.com) Tim co-produced PAXO – a one-man entertainment starring Jeremy Paxman – which enjoyed a sell-out run at the Pleasance Theatre, Edinburgh as part of the 2014 Festival Fringe. ONCE SEEN ON BLUE PETER (Cahoots Theatre Co.), Tim’s “play-within-a-play” celebrating the diamond anniversary of the iconic BBC children’s TV series (and starring six of the programme’s ex-presenters) premiered at the 2018 Edinburgh Festival Fringe. LENA, Tim’s drama detailing the rise and fall of former child star Lena Zavaroni, is scheduled to open in autumn 2020 at the newly refurbished Rothesay Pavilion, Isle of Bute, Scotland. His original comedy, FLYING DUCKS, will also premiere at the Theatre Royal, Bury in September this year, presented by the Summerseat Players.

Tim’s first feature film, THE HIDE, was completed in 2008 by Poisson Rouge Pictures/ Solution Films for Film Four, receiving its TV premiere in 2009 and subsequent cinema release at the ICA. The film made the TIMES TOP 100 LIST and was later released on DVD. Tim was nominated for his work in the 2010 Writer’s Guild Awards in the Best First Feature Length Screenplay category. In 2018, Tim’s company, Feather Productions, co-produced GONE, a short film written by Laurence Akers, starring Suranne Jones and Daniel Betts. The work has been screened successfully at several major international film festivals including from Oxford to Manhattan (via San Diego Shorts). Tim has recently been commissioned by Evolution Productions/ Wrekin Hill (LA) to write the screenplay for BRING ME SUNSHINE, a feature-film adaption of his play, MORECAMBE, slated for production later in 2020.

BEST POSSIBLE TASTE: THE KENNY EVERETT STORY, Tim’s BBC Four drama about broadcasting legend ‘Cuddly Ken’, was nominated for several honours, Tim winning the Breakthrough Talent Award in the 2013 BAFTA TV Craft Awards. His feature-length adaptation of GREENSHAW’S FOLLY for Mammoth Screen/ ITV’s AGATHA CHRISTIE’S MARPLE was broadcast in 2013. Tim’s C4/ ITV Studios drama series, TIGER FEET (co-written with Robert Murphy), was recently shortlisted for production in the 2018 UK TV BRIT LIST.

Tim has recently been commissioned by BBC / Cosmopolitan Pictures to write an episode of their BBC One crime drama, THE MALLORCA FILES. He is currently developing a number of major TV projects with several independent production companies including ITV Studios, Various Artists Ltd and Moonriver Content/E1.

Paul Hart is Artistic and Executive Director of The Watermill.

Previous productions for The Watermill include: Macbeth and A Midsummer Night’s Dream (UK Tour 2019 and Wilton’s Music Hall 2020); Kiss Me, Kate, Macbeth (2019); Sweet Charity, A Midsummer Night’s Dream (2018); The Borrowers, Twelfth Night (2017, Wilton’s Music Hall and UK Tour); Romeo and Juliet (2016/17 and UK Tour); Crazy For You (2016 and UK Tour); Journey’s End (2014); The Tempest (2012); Great Expectations (2011); Heroes (2010).

Other credits include: Private Peaceful and Pope Joan (National Youth Theatre/West End); Doctor Faustus (National Theatre Studio); Huis Clos (Donmar Warehouse at Trafalgar Studios); How to Find Love in Three Easy Dreams and Odd Jobs (Pentabus Young Writers Festival).

As Associate Director for Propeller: Pocket Henry and Pocket Merchant. Also: UK andInternational Tours of Henry V, The Winter’s Tale, Richard III, The Comedy of Errors, A Midsummer Night’s Dream and The Merchant of Venice.

As resident Assistant Director at The Donmar Warehouse: Red (also Broadway), Life Is a Dream, A Streetcar Named Desire, A Doll’s House and Dimetos.

As Staff Director at the National Theatre: The Captain of Köpenick (NT Olivier).

He has also directed: The Revenger’s Tragedy (LAMDA); Love’s Labour’s Lost and The Fall of the House of Usher (RoseBruford College); Boys (Guildhall Schoolof Speech and Drama). Radio includes: Existentialism in Theatre (The Essay, Radio3). He started his career as an apprentice director at the Theatre Royal Haymarket and as Assistant Director at the Menier Chocolate Factory. Training: Theatre Directing at Rose Bruford College.

NOTES FROM A SMALL ISLAND is produced by Simon Friend and Hanna Osmolska and the Watermill Theatre. Further casting and creative team to be announced.

Don Black to receive Special Award at Olivier Awards 2020 with Mastercard

Renowned lyricist Don Black will be honoured with this year’s Special Olivier Award in recognition of his outstanding contribution to theatre.

In a prolific career spanning six decades, Black has provided lyrics for many musical theatre productions, working with Andrew Lloyd Webber on Tell Me On A Sunday, Aspects Of Love, Whistle Down The Wind and Stephen Ward.

His collaboration with Christopher Hampton on Sunset Boulevard won them a Tony Award for Best Book in 1995. Other stage credits include A. R. Rahman’s musical Bombay Dreams, John Barry’s Billy and Brighton Rock, and Frank Wildhorn’s Dracula, The Musical.

Alongside his theatre work, Black’s output includes numerous film and television themes, as well as hit songs. He has written lyrics for Quincy Jones, Lulu, Meat Loaf, Michel Legrand and Debbie Wiseman, among many others.

Black is particularly known for his long association with the James Bond films, starting with the Thunderball theme in 1965, and continuing with John Barry’s Diamonds Are Forever and The Man With The Golden Gun. A further collaboration with Barry on the title song of the film Born Free won Black a 1966 Academy Award for Best Song.

Kenny Wax, President of the Society of London Theatre, said:

‘The Society of London Theatre is delighted to honour Don Black with the Special Award, marking an extraordinary career encompassing many genres, but particularly musical theatre. Lyricists often do not receive the recognition they deserve, despite their words being known and loved by audiences worldwide – and having personally known Don for over 25 years, it makes it a particular pleasure to celebrate his impact on the face of theatre.’

The Special Award is given each year to recognise an individual who has made an outstanding contribution to theatre over the course of their career. Past recipients include Matthew Bourne, Kenneth Branagh, Stephen Sondheim, Judi Dench, Alan Bennett, Sam Mendes, Maggie Smith, Harold Pinter, Alec Guinness, John Gielgud, Joan Littlewood and Ian McKellen.

The Olivier Awards, widely recognised as Britain’s most prestigious stage honours, take place on Sunday 5 April at the Royal Albert Hall, hosted by Jason Manford. Nominations were announced earlier this week and are available to view on the Olivier Awards website.

OlivierAwards.com | Facebook | Twitter | Instagram

#OlivierAwards

Royal and Derngate, Northampton – until 7 March 2020

Reviewed by Megan Raynor

4.5****

‘The Last of the Pelican Daughters’ written and created by Bristol based The Wardrobe Ensemble and directed by Jesse Jones and Tom Brennan, is a beautifully crafted piece which centres around a family brought together to celebrate the birthday of their newly deceased mother. Four distinctively different sisters united, unbeknown to them, by their shared tendency to muddle through life. Storm (Jesse Meadows) craves the money and recognition for her role as her mother’s carer. Sage (Beatrice Scirocchi) craves her mum’s memory to live on. Joy (Kerry Lovell) craves a baby to call her own. Maya (Sally Cheng) craves to be taken seriously. To be a Pelican, we learn, means to be head strong and honest; allowing for an explosive evening to unfold.

Set within the peach walls of their mother’s house, fuelled by endless bottles of cheap prosecco and scored by their mum’s precious vinyl collection, the sisters are each forced to face their demons, not purely their grief but the curveballs life inevitably throws at everyone. The family dynamic, the Pelican quirks, are so well developed and it’s clear it’s a family evolved with heart, soul and memories from the company. The inside jokes and shared stories of the family added a great sense of truth. The addition of Grandma, visiting from day leave, is deliciously dark and hilarious. Dodo (yes, like the bird), Maya’s obnoxiously spiritual boyfriend had the audience crying with laughter; Laurie Jamieson delivered impeccable comic timing.

Their mother, although not cast, is as developed and visceral as the other family members. Her exuberance and brashness are encapsulated through stories, the kind of family stories that never cease to be brought up at gatherings, and the daughters’ embodiment of her. Her life and personality are celebrated in equal measure to the exploration of guilt for her loss. We see a bit of her in each of her children.

The design (Ruby Spencer Pugh) and aesthetic of the piece is complimentary to the fresh writing and stunning stylised movement sequences and tableaux. The projections and placards defining each scene by ‘chapter’ alongside the interjections of epic string scores were a strong choice – visually and conceptually this was a piece of deliberate and bold choices.

The piece seamlessly mixed tears of laughter into tears of heartbreak. Honest, thoughtful and intelligent in direction, writing and performance.

The Last of the Pelican Daughters finishes at The Royal and Derngate on March 7th before continuing its run onto Nuffield Southampton Theatre, Shoreditch Town Hall, The Lowry in Salford, Worthing Theatres, Bristol Old Vic and Aberystwyth Arts Centre.

TYRONE HUNTLEY

JOINS THE CAST AS THE FULL COMPANY IS CONFIRMED

FOR THE NEW PRODUCTION OF THE ICONIC MUSICAL

Clare Halse and Harry Hepple also join

four-time Olivier Award winner IMELDA STAUNTON

ANDY NYMAN and JENNA RUSSELL

Jerry Herman’s unforgettable score includes

Put On Your Sunday Clothes, Before the Parade Passes By,

It Only Takes a Moment and Hello, Dolly!

Strictly limited season begins at Adelphi Theatre on 11 August 2020

Today Michael Harrison and David Ian are thrilled to announce full casting for Hello, Dolly! as one of the most iconic musicals of all time comes to the Adelphi Theatre this summer. This brand new production is headlined by Imelda Staunton, as she reunites with director Dominic Cooke,following the critically acclaimed production of Follies at the National Theatre.

With an unforgettable score by the legendary Jerry Herman, Hello, Dolly! will begin performances at the Adelphi Theatre in London on Tuesday 11 August 2020 for a strictly limited 30-week season.

Joining the previously announced Imelda Staunton, Andy Nyman and Jenna Russell will be Clare Halse, who will play Minnie Fay. She starred in the lead role of Peggy Sawyer in the iconic Broadway musical 42^nd Street at Theatre Royal Drury Lane. Her West End credits also include Gypsy and A White Christmas.

Harry Hepple, who will play Cornelius Hackl, has previously performed in Follies at the National Theatre and Romantics Anonymous at Bristol Old Vic.

Tyrone Huntley, who will play Barnaby Tucker. Tyrone was nominated for an Olivier Award for his performance as Judas in the widely acclaimed production of Jesus Christ Superstar at Regent’s Park Open Air Theatre. He was also previously in the original London casts of Dreamgirls and The Book of Mormon.

Andy Nyman, who will play Horace Vandergelder, is a multi-award winning actor, writer and director. Most recently he won unanimous acclaim and is Olivier Award nominated for his memorable portrayal of Tevye in the celebrated production of Fiddler On The Roof at the Menier Chocolate Factory and its subsequent transfer to the Playhouse Theatre.

Nyman’s acting credits include the Royal Court production of Hangmen and the West End hit Ghost Stories, which he also created and starred in the film adaptation. His various TV roles include Winston Churchill in Peaky Blinders and he has frequently collaborated with illusionist Derren Brown, co-writing and co-directing four of his stage shows.

Olivier Award winner Jenna Russell will play Irene Molloy. Jenna recently starred in the UK premiere of The Bridges of Madison County. She won an Olivier Award for Best Actress in a Musical in 2006 for her performance in Sunday In The Park With George at the Menier Chocolate Factory (a performance she later reprised on Broadway) and was nominated for her work in the Menier’s 2012 revival of Merrily We Roll Along. She also appeared in the acclaimed, London premiere production of Fun Home the Young Vic.

Multi Olivier and BAFTA Award winning Imelda Staunton plays meddlesome socialite turned matchmaker Dolly Levi, as she travels to Yonkers, New York to find a match for the miserly, unmarried ‘half-a-millionaire’ Horace Vandergelder. But everything changes when she decides that the next match she needs to make is for herself.

The full cast also includes: Craig Armstrong, Gemma Atkins, Jenni Bowden, Alan Bradshaw, Natalie Chua, Joshua Clemetson, Brendan Cull, Bessy Ewa, Isaac Gryn, Ashlee Irish, Jodie Jacobs, Paul Kemble,

Emily Langham, Amira Matthews, Sarah Marie Maxwell, Laura Medforth, Matt Overfield, Angelo Paragoso, Tom Partridge, Wendy Lee Purdy, Edwin Ray, Phil Snowden, Bree Smith, Christine Tucker, Gavin Wilkinson and Liam Wrate.

With music and lyrics by Jerry Herman (La Cage aux Folles, Mack and Mabel, Mame) and book by Michael Stewart (42nd Street, Mack and Mabel, Barnum), Hello, Dolly! is one of the most iconic musicals of all time. Herman’s timeless score includes ‘Put On Your Sunday Clothes’, ‘Ribbons Down My Back’, ‘Before the Parade Passes By’, ‘Elegance’, ‘It Only Takes a Moment’ and ‘Hello, Dolly!’.

Imelda Staunton and Dominic Cooke most recently worked together to spectacular effect with the critically acclaimed National Theatre production of Stephen Sondheim’s Follies. Now Hello, Dolly! reunites star and director in this classic Broadway musical.

Hello, Dolly! also reunites Imelda Staunton with producers Michael Harrison and David Ian. Their production of Gypsy at the Savoy Theatre was awarded the Olivier Award for Best Musical Revival, and for which Imelda also won the Olivier Award for Best Actress In A Musical for her acclaimed portrayal of Momma Rose.

Lowry Theatre, Salford – until 7 March 2020

Reviewed by Niamh Holleran

4****

From the minute the orchestra enter and begin playing, the calibre of the show has you transfixed. Going by several people’s recommendations that Swan Lake is their favourite ballet and Birmingham Royal Ballet (BRB) are renowned for their shows, I was already expecting an enjoyable experience but what I got was so much more. Not knowing the story, I had read the program before the start to get a sense of the plot – a good thing too, so I saw the advice for the pause between act 1 and act 2 – “please remain seated”.

Each act changed the feel of the stage completely – the stage design and lighting fully immersed you in the story, in perfect partnership with the music which deftly changed with the appearance of different characters – a clue I thought I would need but turned out not to. During the opening of act 4, fog filled the stage which united the crowd in “oohs” of amazement, especially when, seconds later, two rows of swans emerged from the mist and rose up into position.

By the final act, I was desperate to see how it would end and glad to see Momoko Hirata return to grace the stage as Odette (especially after performing 32 fouettés in the previous act as Odile – an outstanding display of balance and elegance) with her lover – played by César Morales and the crescendo of their story was played out beautifully. A wonderful mid-week escape.

York Theatre Royal – until Saturday 21 March 2020

Reviewed by Michelle Richardson

3***

Alone in Berlin, originally a novel written in German by Hans Fallada, is based on true events in 1940’s Berlin. This adaptation by Alistair Beaton is a co-production by York Theatre Royal and Royal & Derngate, Northampton in association with Oxford Playhouse.

I am interested in the history of Berlin during WW2 and the erection of the Berlin Wall. I even studied, and visited, as part of my O level History. I was looking forward to seeing this production and to question what I would have done if I was ever in that situation.

It follows the story of a working-class couple, Otto (Dennis Conway) and Anna (Charlotte Emmerson) Quangel, who after losing their son in the war, become more disenchanted with Hitler and the Third Reich. It is only with the injection of defiance from their son’s fiancé Trudi (Abiola Ogunbiyi), that they decide to make a stand, enough is enough. Otto comes up with a scheme to hand write postcards, opposing the Nazi regime, and leave them scattered all over Berlin. This proves to be extremely laborious with the meticulous Otto only delivering a few cards per week. Frustrated Anna insists on helping, enabling them to reach a larger audience.

The existence of the cards soon come to the attention of the Gestapo and Inspector Escherich (Joseph Marcell) and his superior SS Officer Prall (Jay Taylor). Months pass and a massive hunt ensues for the culprits. Otto and Anna find themselves in a deadly game of cat and mouse. With a near miss, it is only with the betrayal of their thoroughly loathsome neighbour, Klaus Borkausen (Julius D’Silva), that their small acts of rebellion come to an end.

For the whole show there is, what I can only describe as a cabaret narrator, a striking and androgynous figure played by Jessica Walker. First appearing as Golden Elsie, the famous statue on top of Berlin’s Victory Column, she provides commentary throughout, through song, but only really recapping what had already occurred and been said. I found this confusing at times and these narrations interrupted the flow of the production.

The monochrome staging by Jonathan Fensom, is very stark and is enhanced by the projected images of Jason Lutes. Charles Balfour’s lighting is used to great success, be warned, there are a couple of times when you are literally blinded by the light. All this makes for a very atmospheric set, you can literally feel the oppression in the air. I especially liked the effect of an almost 3D tunnel that appear several times during the show.

Even with the evocative subject, the dialogue at times was arduous and I simply wasn’t invested in the characters. It did have its moments and got us talking about important subjects, such as tyranny and oppression, and how that made us feel, but ultimately it fell short for me

WORLD PREMIERE PRODUCTION

WILL NOW BEGIN PERFORMANCES

ON FRIDAY 9 OCTOBER

Andrew Lloyd Webber announced today that the world premiere of his new musical Cinderella will now open at The Gillian Lynne Theatre on Wednesday 28 October, with previews from Friday 9 October.

Lloyd Webber said “The show will go on sale next week as planned, but in the current global circumstances the creative team and I feel that this later opening date is wise. 

Full scale pre-rehearsals of Cinderella will take place with our leading actors, as planned, throughout this month”.

Tickets will go on General Sale on Friday 20 March. For all information, including exclusive priority purchase for tickets, see www.andrewlloydwebberscinderella.com

Carrie Hope Fletcher will play Cinderella in the highly anticipated new productionat the Gillian Lynne Theatre.

She has starred in Heathers (Theatre Royal Haymarket), The Addams Family (UK Tour), Chitty Chitty Bang Bang (UK Tour), Mary Poppins (Prince Edward Theatre), and is currently playing Fantine in Les Miserables at the newly named Sondheim Theatre.

The production, a complete reinvention of the classic fairytale, is based on an original idea by Emerald Fennell, the Emmy Award nominated lead scriptwriter of the second season of international smash hit Killing Eve, with a brand new score from the legendary composer and lyrics by David Zippel.

Fennell’s new film A Promising Young Woman, that she has written and directed and which stars Carey Mulligan, will open this Spring.  As an actress she played Patsy Mount on the BBC’s Call The Midwife and currently depicts Camilla Parker Bowles on the Netflix hit The Crown.

The show’s lyrics are by David Zippel, a multi-award winner for Broadway productions including City of Angels, The Goodbye Girl, The Woman in White and Liza at the Palace, as well as for work on film including Disney’s Hercules and Mulan, both of which received Oscar nominations.

Cinderella will be directed by Laurence Connor, with choreography from JoAnn Hunter, who previously partnered on School of Rock and the recent, sold out production of Joseph & the Amazing Technicolor Dreamcoat at The London Palladium.

All further creative team and cast announcements regarding Cinderella will be made at a later date.

Ahead of Cinderella’s arrival at the Gillian Lynne Theatre, owners LW Theatres will carry out internal upgrade work to the building including the addition of more toilets, refurbishment to areas of the auditorium and Front of House, as well as the potential increase in seating capacity on the circle level of the theatre.

UK drama school students awarded over £64,000 in Laurence Olivier Bursaries

18 drama school students from across the UK have been awarded a total of £64,500 in bursaries by the Society of London Theatre (SOLT) and other donors, to help them complete their training.

The Laurence Olivier Bursary recipients will attend the Olivier Awards 2020 with Mastercard on Sunday 5 April at the Royal Albert Hall, where they will be presented with certificates on the red carpet.

Established by SOLT in 1987 to mark the 80th birthday of Lord Olivier, the Laurence Olivier Bursaries provide financial support to exceptional students who face financial difficulties going into their final year of drama school. Previous bursary winners have included Denise Gough, Bryony Hannah, Paterson Joseph, Ewan McGregor, Daniel Rigby, Vinette Robinson, Juma Sharkah, Michaela Coel and Michael Sheen.

Drama school principals across the UK nominate students, who are then auditioned on a West End stage and interviewed by a panel of theatre industry professionals, led by producer Lee Menzies, Chair of the Laurence Olivier Bursaries Committee. This year’s auditions took place at St Martin’s Theatre.

Alongside the Laurence Olivier Bursaries given by SOLT, funds are also awarded by The Behrens Foundation, The Casting Directors’ Guild, the estate of Sir Peter and Lady Saunders and theatrical agent Barry Burnett as part of the bursary scheme. Individual Bursaries can range from £500 to £10,000 and are given at the discretion of the judges.

Lee Menzies, Chair of the Laurence Olivier Bursaries Committee, said:

‘It is fantastic to be able to award the Laurence Olivier Bursaries each year, and I want to thank all the generous donors who, alongside SOLT, are committed to helping talented individuals overcome financial hardship and realize their potential. The impressive list of past bursary winners, some of whom have gone on become household names, demonstrates the importance of recognising and supporting talent from all backgrounds, ensuring theatre and the creative arts continue to thrive in this country.’

Full list of 2019 Bursary recipients:

Behrens Foundation Bursary

Given in conjunction with the Laurence Olivier Bursary, donated by The Behrens Foundation

Alicia Forde – Mountview Academy of Theatre Arts

Talia Nyathi – Manchester School of Theatre

Tim Oziegbe – Italia Conti Academy of Theatre Arts

Tommy Sim’aan – Bristol Old Vic Theatre School

Casting Directors’ Guild Bursary

Given in conjunction with the Laurence Olivier Bursary, donated by members of the Casting Directors’ Guild

Caleb Obediah – Royal Academy of Dramatic Art

Tommy Sim’aan – Bristol Old Vic Theatre School

The Sir Peter and Lady Saunders Laurence Olivier Bursary

Given in conjunction with the Laurence Olivier Bursary, donated by the estate of Lady Saunders

Sean Hanratty – Guildford School of Acting

Carmen Silvera Bursary

Given in conjunction with the Laurence Olivier Bursary, donated by the agent Barry Burnett

Shannen McNeice – Royal Welsh College of Music & Drama

Laurence Olivier Bursary

Donated by Society of London Theatre

Natalie Blair – The Academy of Live & Recorded Arts

Alana Chokarian – Rose Bruford College of Theatre & Performance

Chris Coniston – Arts Educational Schools London

Lydia Barton Lovett – Rose Bruford College of Theatre & Performance

Mali O’Donnell – Royal Academy of Dramatic Art

Felixe Forde – Royal Conservatoire of Scotland

Olivia Forrest – East 15 Acting School

Guy Hodgkinson – Royal Conservatoire of Scotland

Olivia Nakintu – London Academy of Music & Dramatic Art

Ellie Ruiz Rodriguez – Royal Central School of Speech & Drama

George Smale – Drama Centre

Laurence Olivier Bursaries judging panel:

Lee Menzies (chair)

Priscilla John

Gareth Johnson

Carla Morris

Indhu Rubasingham

Wendy Spon

Madani Younis

Crucible Studio Theatre, Sheffield – until 21 March 2020

Reviewed by Ian Johnson

4****

World premiere by award winning playwright Chloë Moss

This new play which is 90 minutes straight through is a genuine heart warming and heart wrenching story of a family which spans four decades in front of the audience and takes us from present day backwards through their lives.

This story of two sisters Connie and Ursula played brilliantly by Lucy Ellinson and Helena Lymbery, along with Silas Carson as Connies husband Adrian the cast is completed by Lucas Button as their ‘son” Jack.

We are shown how explosive the marriage of Connie and Adrian is, how Jack is trying to fit in and the vulnerability of Ursula.

The cast are excellent in all their respective roles. I have to say how much admiration I have for both Lucy and Helena who played Connie and Ursula with such believability I was so involved in their lives together.

The first impression is of a lone garden bench on an astro turfed stage/park surrounded by different sized glass cabinets. These are well used throughout the 90 minutes.

We are introduced to Connie who sits waiting on the bench but we are not told who shes waiting for or why (we do find out at the end of the play). While she is there we are transported backwards through the years of her life, introduced to her family and her painful memories of two sisters growing up and growing apart. She has to retrace her life through forty years of caring for others, keeping secrets and being loyal to everyone.

We learn a lot about the lives of Connie and Ursula and the special bond the two sisters have together from being young girls growing up throughout their adult lives to the present day. We are shown the problems, troubles and struggles that they go through.

Life hasnt been plain sailing for Ursula with all the problems shes had to face, but having the love and support of Connie has helped her through life.

We are shown how theve gone from a close bond years ago to being virtual strangers in the present day. Secrets are revealed and hopefully a happy outcome could be the result of the revelation.

This is a case of nurture competing with nature.

This is a Sheffield Theatres, Paines Plough and Soho Theatre production.

Writer Chloë Moss, directed by Charlotte Bennett, designer Rosie Elnile and lighting designer Zoe Spurr.

Yvonne Arnaud Theatre Guildford – until 7 March 2020

Reviewed by Becky Doyle

3***

A fantastic cast and one who carried out the storyline brilliantly. Tessa Peake-Jones and Tony Gardner in particular did not disappoint, and Wendi Peters was a surprise when she sang, who knew she had such a voice?! Unfortunately for me, the story itself did not live up to expectations and I was left feeling maybe I’d missed something. I’d had in my mind, real belly laugh, fall off my chair kind of humor and that just isn’t what it was. However, others in the audience were and that leads me to think that maybe there was a generational gap.

Don’t get me wrong, I still enjoyed the show, it just didn’t meet my expectations. The set was laid out fantastically, and the change in scenery was one of the best parts of the show where Wendi Peters displayed her fabulous vocal abilities, as well as the comical interaction with the actors of the show.

I did enjoy the occasional audience interaction, that you can get form a smaller theatre, where the actors reacted to the audience’s claps, sniggers and cooing. All of the cast looked like there were thoroughly enjoying their parts and the characters they brought to life.

Overall, the show was enjoyable, and the second half was much more entertaining than the first. But, I do think I would recommended it to a slightly more mature audience as they seemed to have the most enjoyment from the show on the night.