Author: FairyPoweredProductions

TWO WEEK COUNTDOWN UNTIL

HORRIBLE HISTORIES HEADS TO

STORYHOUSE WITH DOUBLE BILL

Make a date with the Terrible Tudors and Awful Egyptians

The smash-hit show Horrible Histories Live On Stage heads to Storyhouse in Chester in two weeks with a double bill set to wow young and old alike.

The first Horrible Histories books were published in 1993, and to celebrate the 25^th anniversary the team behind the successful books have brought two titles to life with brand new engaging, entertaining and educational stage shows.

The Horrible Histories double bill of Terrible Tudors and Awful Egyptians will entertain Storyhouse audiences with two hilarious shows featuring eye-popping 3D special effects.

Horrible Histories Live on Stage comes to Storyhouse in Chester from Tuesday 5 November to Friday 8 November 2019. Tickets are on sale now. Group rates are available.

Horrible Histories Live on Stage is written by Terry Deary from his bestselling Horrible Histories books. Terry Deary is the world’s bestselling non-fiction author for children and one of the most popular children’s authors in the country. He has written 200 books which have been translated into 40 different languages. Over the past 25 years, his 50 Horrible Histories titles have sold over 25 million copies worldwide from China to Brazil.

Terrible Tudors gives visitors the chance to take a trip through the horrible Henrys to the end of evil Elizabeth and hear the legend (and the lies!) about the torturing Tudors. Find out the fate of Henry’s headless wives and his punch-up with the Pope. Meet Bloody Mary and see Ed fall dead in his bed. Survive the Spanish Armada as it sails into the audience! Terrible Tudors runs from Tuesday 5 November to Friday 8 November 2019.

Awful Egyptians invites you to meetthe fascinating Pharaohs, gasp at the power of the pyramids, and discover the foul facts of death and decay with the meanest mummies in Egypt. Are you ready to rumble with Ramesses the Great? Dare you enter through the Gates of the Afterlife? It’s the history of Egypt with the nasty bits left in! Awful Egyptians runs from Wednesday 6 November to Friday 8 November 2019.

A special feature of the productions are the amazing Bogglevision 3D effects. Among an array of 3D-illusions the audience will see the Spanish Armada firing cannonballs into the auditorium or the Mummy reaching out to grab them!

Horrible Histories Live on Stage is directed by Neal Foster, design is by Jackie Trousdale, lighting by Jason Taylor, sound by Nick Sagar, and music by Matthew Scott.

Birmingham Stage Company are also currently celebrating their 25^th anniversaryand are one of the world’s top theatre companies for families. Their acclaimed productions include David Walliams’ Gangsta Granny and Awful Auntie, and Roald Dahl’s George’s Marvellous Medicine. They have been producing Horrible Histories Live on Stage since 2005, including the record-breaking West End series of Barmy Britain.

These two hilarious historical journeys through the squelchiest and yuckiest moments in British and Egyptian history are perfect entertainment for anyone aged from 5 to 105!

Tickets are on sale now and range in price from £13.50 for children under 14, to £18.50 for adults. Each ticket is subject to a £1.50 booking fee.

Website:  www.HHliveonstage.com

WHAT THE CRITICS SAY ABOUT HORRIBLE HISTORIES

‘A brilliantly fun piece of educational theatre that taught this

history graduate a few new things’

Daily Telegraph

‘Is this any way for children to learn about history? Too right it is!

If lessons were always like this, kids would be queuing at the school gates!’

The Times

‘Mortgage the school if you have to. Ransom the governors, even.

No child or adult should be denied the chance to see this:

live theatre and history at its rip-roaring best’

Times Educational Supplement

‘These actors should be in every school history class across the land.

Or given how little most us know, maybe every living room!’

The Scotsman

‘Wholly accessible, educating, entertaining and enjoyable,

Horrible Histories live on stage is a tour de force. Five stars out of five!’

BBC.co.uk

LISTING INFORMATION

HORRIBLE HISTORIES

Tuesday 5 November 2019 – Friday 8 November 2019

STORYHOUSE

Hunter Street, Chester, CH1 2AR

Tickets £13.50 children under 14 / £18.50 adults

Each ticket is subject to a £1.50 booking fee

HORRIBLE HISTORIES: TERRIBLE TUDORS

Tuesday 5 November 2019 – Friday 8 November 2019

Tuesday 5 November 2019 at 5.30pm

Wednesday 6 November 2019 at 1.30pm

Thursday 7 November 2019 at 6pm

Friday 8 November 2019 at 10.30am

HORRIBLE HISTORIES: AWFUL EGYPTIANS

Wednesday 6 November 2019 – Friday 8 November 2019

Wednesday 6 November 2019 at 10.30am

Thursday 7 November 2019 at 10.30am

Friday 8 November 2019 at 6pm

HOW TO BOOK

Online:            Visit www.storyhouse.com

By Phone:       Call 01244 409 113

In person:       Visit the Ticket Kiosks at Storyhouse, Hunter Street, Chester, CH1 2AR

Website:         www.storyhouse.com

Facebook:       www.facebook.com/storyhouselive/

Twitter:           @StoryhouseLive

KILN THEATRE AND FICTIONAL COMPANY

ANNOUNCE THE FULL CAST FOR

THE LONDON PREMIÈRE OF MIKE BARTLETT’S NEW PLAY SNOWFLAKE

ALSO ANNOUNCED – THE RUN EXTENDS TO 25 JANUARY

Kiln Theatre and Fictional Company present

SNOWFLAKE

by Mike Bartlett

10 December 2019 – 25 January 2020

Director Clare Lizzimore; Designer Jeremy Herbert; Lighting Designer Jessica Hung Han Yun;

Sound Designer Elena Peña; Additional Casting Amy Ball

With the world premiere of Anupama Chandrasekhar’s When the Crows Visit about to open in Kilburn, and Florian Zeller’s The Son running in the West End, Artistic Director of Kiln Theatre Indhu Rubasingham today announces the full cast for the London première of Mike Bartlett’s latest play Snowflake which will run at Kiln Theatre over Christmas.  Clare Lizzimore directs Elliot Levy (Andy) and Ellen Robertson (Maya) who created their roles in the original run at Old Fire Station in Oxford; and they will be joined by Amber James (Natalie). The production opens on 16 December, with previews from 10 December; and also announced today ,the production extends for an additional week, now running until 25 January 2020. For a full schedule over Christmas, please see the website.

‘Because Christmas. Well… That’s when they say people come home.’

Andy’s 43. He loves nostalgic TV and pints down the pub. His daughter Maya is 21. She left home three years ago and hasn’t spoken to him since. This Christmas, Andy knows she’s coming back – Maya knows she’s not.

Snowflake is an epic story about generational conflict, fathers and daughters, and whether we’re living in the best or worst of times…

The critically acclaimed festive hit by Olivier Award-winning and BAFTA-nominated Mike Bartlett, directed by Olivier Award-winner Clare Lizzimore, makes its London debut at Kiln Theatre.

Amber James plays Natalie. Her theatre credits include Vassa (Almeida Theatre), A Midsummer Night’s Dream (Regent’s Park Open Air Theatre), A Streetcar Named Desire (ETT), Antony and Cleopatra, Titus Andronicus and Dido, Queen of Carthage (RSC), Two Gentlemen of Verona (Shakespeare’s Globe & International tour), Much Ado About Nothing (Queen’s Theatre) and The Gathered Leaves (Park Theatre). For television, her work includes Doc Martin and Ransom.

Elliot Levy plays Andy. His theatre work includes Three Sisters (Almeida Theatre), Snowflake (Old Fire Station, Oxford), Mary Stuart (Duke of York’s Theatre), Saint Joan, Coriolanus (Donmar Warehouse), The Mighty Walzer (Royal Exchange Manchester), The Ruling Class (Trafalgar Studios), Canvas (Chichester Festival Theatre), and for the National Theatre – Danton’s Death, The Habit of Art, All’s Well That End’s Well, England People Very Nice, Henry IV Parts 1 & 2 and His Dark Materials. For television, his work includes Martin’s Close, Anne, State of the Union, Peaky Blinders, Press, Watergate, Black Earth Rising, Silent Witness, Man Down, The Child in Time, Ripper Street, Da Vinci’s Demons and Parade’s End; and for film, Murder on the Orient Express, Denial, Fallen, The Master of York, Florence Foster Jenkins, The Lady in the Van, Philomena, The Wall and The Queen.

Ellen Robertson plays Maya. Her theatre work includes Snowflake (Old Fire Station, Oxford). Robertson and her comedy partner, Charly Clive, have recently completed the second sold-out run of their debut show Britney at the Battersea Arts Centre – the production first played at the Edinburgh Festival Fringe, Soho Theatre and The VAULT Festival. Together they are developing a scripted television project with Pure producers Drama Republic. As a writer, her work includes Nesting (The Watermill Theatre), an episode of the web series Post Coital (which she also starred in) and is currently working on a new play, Any Willing Provider. For television, as an actor, her work includes The Pale Horse and In My Skin.

Mike Bartlett is a multi-award-winning stage and screen writer. He has won three Olivier Awards for his plays Cock (Royal Court Theatre – Achievement in an Affiliate Theatre), King Charles III (Almeida Theatre/Wyndham’s Theatre – Best New Play; also winner of Critics’ Circle Award for Best New Play), Bull (Young Vic – Achievement in an Affiliate Theatre). He also won the UK Theatre Award for Best New Play for Love, Love, Love, which transferred to the Royal Court Theatre. Other plays include Albion, Game (Almeida Theatre), Wild (Hampstead Theatre), 13, Earthquakes In London (National Theatre) and many others. He has previously been Writer-in-Residence at the Royal Court Theatre, National Theatre and Paines Plough. His television work has also won national acclaim, including hit BBC One series Doctor Foster, which won BAFTA, National Television, Royal Television Society and Broadcasting Press Guild Awards. Other TV credits include Press (BBC), Trauma, The Town (ITV – BAFTA nominated) and the TV adaptation of King Charles III (BBC).

Clare Lizzimore is an award-winning writer and director. Snowflake is her second collaboration with playwright Mike Bartlett, following Bull (Young Vic, Sheffield Theatres & 59E59 New York), which won the Olivier Award for Outstanding Achievement in An Affiliate Theatre. She has also won a Channel 4 Theatre Directors Award (Formally the RTYDS Award) and Arts Foundation Theatre Directing Fellowship; and she was previously resident director at Citizens Theatre, Glasgow and staff director at the National Theatre. Her other directing credits include One Day When We Were Young (Paines Plough/Sheffield Theatres/Shoreditch Town Hall), Lay Down Your Cross, On The Rocks (Hampstead Theatre), Pieces of Vincent (Arcola Theatre), Faces In The Crowd, The Mother (Royal Court Theatre), Fear and Misery, War and Peace (Royal Court Theatre/Latitude), The Most Humane Way To Kill a Lobster (Theatre503), and Tom Fool (Glasgow Citizens/Bush).

www.KilnTheatre.com

@KilnTheatre

Edinburgh Playhouse – until 26 October 2019

Reviwed by Manetta McIntosh

5*****

Fab-U-Lous

From the moment the curtains opened I was captivated. This iconic Rogers and Hammerstein musical transported the audience to the Bangkok docks for the arrival of Anna, played by Annalene Beechey, and her son, played by Joseph Black, on a paddle steamer – a truly imposing first impression. Michael Yeargan’s set was incredible, you did not feel there was any compromise from the big stage to the tour and it so cleverly transformed from the docks to the Palace, where much of the production takes place.

The story, for those who may not know, is about an English widow who moves to Bangkok, with her son, to take on a teaching role for the family of the King of Siam (now modern-day Thailand). Growing up my family used to watch Yul Brynner every year in the role of the King and it is difficult to imagine anyone able to make this their own. Jose Llana did just that, he was imposing, he was funny, he was petulant and his on-stage relationship with Anna was delightfully frustrating. Annalene Beechey plays the strong, independent woman with such grace, such style, such elegance and as soon as she started singing ‘I Whistle a Happy Tune‘ you could see the heads of the audience swaying and bobbing along.

Although the story is predominately about Anna and the King, the supporting cast were well represented. Paulina Yeung in the role of Tuptim absolutely blew me away with her singing and from the audience reaction I think this was felt by everyone. Lady Thiang, played by Cezarah Bonner, was another strong presence. Her role as the Kings ‘head wife’ was sensitively portrayed as she brokers the relationship between her husband and the schoolteacher, who is trying to show the rest of the World he is not a barbarian, etcetera, etcetera.

The second half contained a performance within a performance with the depiction of ‘The Small House of Uncle Thomas‘ ballet. This was important to the story, as it is Tuptim’s way of showing the King the similarities between black slavery and how he ‘collects’ women to his Royal household as she has been, despite the fact she loves someone else. A very sensitive subject but cleverly interpreted. The choreography ingeniously depicted this ballet as if it were a shadow play, which is very much in-keeping with the time. The political, racial and religious aspects to the original story are not completely disguised, Bartlett Sher has done a fantastic job to sympathetically incorporate the essence of the original story, without the controversy it would cause in today’s climate.

The Royal children were absolutely delightful, they added some well punctuated humour and softness to the evening. The costumes were exquisite, Catherine Zuber has created an appropriately opulent feel to this production. This was a truly professional production in every aspect and will have you whistling happy tunes for the rest of the evening.

Motown the Musical (Sunderland Empire) ★★★★

October 19, 2019 

For: West End Wilma 

https://www.westendwilma.com/review-motown-the-musical-sunderland-empire-october-2019/

I arrived at Sunderland Empire expecting to see a tribute concert to the many glorious songs produced on the Motown label. However I was delighted to find that it is actually the Berry Gordy story – which might not be a dynamic name for a musical but it is a very compelling tale.

Gordy started out with a dream of wanting to be the best that he could be and a love of music. In his late 20’s he wrote Reet Petite for Jackie Wilson. Using the cash from his songwriting a loan from his family he opened Hitsville USA – that was destined to become the home of Motown.

From the very beginning there came a lifelong friendship with Smokey Robinson and, when he was in his mid 30’s, he started a relationship with a young Diana Ross – who he wanted to make the biggest star in the world.

There was a veritable smorgasbord of hits and artistes all on the Motown label: The Miracles, The 4 Tops, Marvin Gaye, The Supremes, Mary Wilson, Stevie Wonder, Michael Jackson and the Jackson Five and many more

Written by Gordy himself, the script isn’t the best but it’s the songs that tell the tale. Edward Baruwa who plays the man himself has an amazing voice and gives life to the vocals. His relationship with Diana Ross (Karis Anderson) and friendship with Smokey Robinson (Nathan Lewis) are at the heart of the show. Charting the humble beginnings, the segregation and racism, the different court cases and the coming and going of different artistes to his label, right up to the 25th anniversary of Motown – its a powerful production.

The live band lead by Griff Johnson is phenomenal, the hits come along almost straight after each other with no time to pause for breath, but yet the band plays on in sheer note perfection. After all it’s the music the audience are there for.

The scenery by David Korins is minimal, the costumes by Emilio Sosa are fabulous and Linda McKnights wigs are outstanding. Patricia Wilcox and Warren Adams choreography is sublime and all under the direction of Charles Randolph-Wright

Whether you are there for the music or to find out the story behind it all, you won’t be disappointed. Motown the Musical is full of life and fabulous music. Proving beyond doubt that some tunes are classics that will never get old.

Trafalgar Studios – until 23 November 2019

Reviewed by Claire Roderick

4****

The aftermath of a teenager’s death really shouldn’t be this funny, but Sarah Rutherford has created a thoroughly modern, soul searching and hilarious play.

The sketchy details of 15-year-old Sam’s suicide are revealed slowly throughout the production as those closest to her struggle with their grief and guilt. The finger of blame points firmly at Sam’s mum Thea (Claire Goose) and her misguided act of discipline, but Sam’s friend Billie (Rosie Day) and her twin Lenny (Will Fletcher), who was also Sam’s boyfriend may be hiding their own culpability from the world and themselves. Thea meets Gil (Navin Chowdhry) in a coffee shop, but is the charming stranger all he seems, and does he have a connection with Sam?

The effect of social media on teenagers is tackled without hysteria, with the two teenagers’ conversations keeping the play from becoming too moralising. Sam’s peers’ reactions to her posts are authentic, and Thea’s extreme response is based on a real-life incident. There is an online community of parents who discipline/humiliate their children, record it and upload it – sharenting is a shockingly real thing that proves that it’s not only children who get seduced into doing stupid stuff online.

Rutherford nails the awkward nonsense that people come up with to fill silences and gives Thea some cracking one-liners oozing with sarcasm and frustration as she has to cope with sympathetic friends, vitriolic accusers and humanity in general. Claire Goose is fascinating to watch as Thea, portraying her whirlpool of emotions with quiet intensity and integrity. Navin Chowdhry is charmingly ambiguous as Gil. The twins carry the play, keeping in character with hilarious silent bickering even in scene changes as they gradually deconstruct the set, as the characters’ defences and lives break down. (A masterstroke from director Hannah Price, who gives the whole production an organic, unrushed flow.) Both actors capture teenage body language and attitudes brilliantly. Will Fletcher’s wide-eyed naivety and man-child body language are brilliant as Lenny struggles to cope with his sister’s reaction to Sam’s death. His scene with a drunken Thea as they celebrate Sam’s 16th birthday is comedy gold. Rosie Day, whizzing about the stage on her one heely reciting from her quote a day app, is every cocky, petulant teenage girl that has driven you mad, but with an underlying gentleness and wisdom that makes even the bluntest of her comments lovable. Her maturity shines through when she saves Thea and Gil and is able to admit what she did to Sam because of her childish jealousy and fear of being left behind by her best friend and brother. These are messy characters, with messy emotions and lives, and the unresolved search for a reason for Sam’s suicide feels justified, as there is no simple explanation or cause. The characters’ beginning to accept this fact and trying to continue with their lives is the perfect ending, played for bittersweet laughs.

Carriageworks Theatre, Leeds – on tour until 2 November 2019

Reviewed By Dawn Smallwood

3***

Box of Tricks brings Under Three Moons, a new play written by Daniel Kanaber, to the Carriageworks Theatre. It received its world premiere in Salford at the end of September and is currently on an Autumn Tour playing at eleven venues including this one. Under Three Moons is about two friends, Mike (Kyle Rowe) and Paul (Darren Kuppan) and they kill time and share their experiences across thirty years over three nights. The play begins, in their teens, a night from a school trip in France; another one, in their twenties, at a surf shack in Pembrokeshire; and, in their thirties, at Christmas time when Paul stays overnight at Mike’s place.

The main themes are friendship and growing together from when they were boys to men. This play explores how their friendship shapes them today from the good times and the not so good ones. Notably mental health is explored particularly with Paul and the challenges he faces. It is more so sharing and talking about the experiences of mental health which with this stigma is sadly still experienced particularly among men. The play is beautifully written and encourages one to think of the wide range life experiences both men went through past and present.

Under the direction of Adam Quayle, Under Three Moons, is well delivered with a simplistic but effective staging from Katie Scott. Louise Anderson’s creative and innovative lighting suits the mood of the play particularly with its night time settings and the captured moods from the story.

Both Rowe and Kuppan give excellent portrayals of Mike and Paul respectively and contribute to a short, approximately 70 minutes, but enjoyable play. Under Three Moons is touring until the beginning of November.

Yvonne Arnaud, Guildford – until 19 October 2019

Reviewed by Heather Chalkley

5*****

August Wilson provides a window into the lives of black Americans, living through historic moments in different decades, in a series of plays referred to as The Pittsburgh Cycle. Two Trains Running is based in the 60’s, on the cusp of the civil rights era giving way to The Black Power movement. Director Nancy Wilson has caught the mood of the moment, bringing passion, frustration, fear and hope into the every day, neighbourhood diner of Lower Hill District.

Leon Herbert (Holloway) gives resounding monologues, capturing the audience in his grasp with the fervour and pride in his war cry ‘they will pay my price’. Again later in his triumph in winning his battle with rich developers who wanted to knock down his diner. The young man Sterling (Michael Salami) is about the same age as the writer (Wilson) at this time and is said to embody his ardour and intensity, not least his humour. Salami is a tall and strong man that manages to bring a youthful, gangliness to his character Sterling – you can’t help but like him. Ray Emmet Brown gives Wolf a natural swagger that takes you straight back to that era. He perfectly narrates the historical junctures unfolding around them. Hambone (Derek Ezenagu) gives the piece a certain realism, evidence that life takes it toll in many forms. He gives the neighbourhood a tangible reason to bond together in life and death. Risa (Anita-Joy Uwajeh) remains her own person throughout, a symbol of female strength and fortitude.

The creative team have produced an amazing set, atmospheric and believable. A great balance of sound tracks coming from outside deliver history into the room.

In some ways this play reflects present day events. We are living through the long term impact of austerity, the uncertainty of Brexit and major town centre redevelopments all over the UK. Extinction Rebellion are giving the fear and anger of our young people a channel to protest for their future. It is worth reflecting on the fact that without the Civil Rights Era, Extinction Rebellion probably wanted exist.

Grand Opera House York Wed – 16 October 2019

Reviewed by Michelle Richardson

4****

I was looking forward to a good old Beatles fest and an evening of celebrating the Fab Four’s music. Growing up I can remember listening to all my mother’s Beatles albums, and ever since their tunes have always been a favourite of mine. A note here, my mum always said I could have her original lps, but unfortunately one of my brothers, after moving back home, decided to have a clear out and took them all to the tip. I was heartbroken, and still to this day am livid.

Entering the stage in their sharp black suits, the Fab Four, Paul (David Peterson), John (Clark Gilmour), George (Richard Petch) and Ringo (Joe Montague), started the ball rolling with She Loves You, which was only the beginning of a song packed show. Concentrating on the early part of their career, we were treated to hits, including Please, Please Me, Love Me Do, Hard Days Night, before a quick costume change and before the feast continues with tracks like Help, Paperback Writer and Ticket to Ride.

After what seemed an extended interval the band opened up the second half in full Sgt Pepper’s regalia, George’s outfit was a sight to behold. The hair was notably longer and the moustaches, started to make an appearance. The tunes of course continued, my favourites being Back in the USSR and Revolution and yet another costume change, John’s iconic white suit making an appearance.

This was truly a song packed show, and I came to realise that my personal preference is probably for their earlier or later music, their psychedelic phase not so much. All the while they stayed in character, each having at least one song to sing, and showed good interaction with the audience, with their cheeky Liverpudlian accents. This was predominately Paul and John, but only because they are the main vocalists. Montague, as Ringo, is a Yorkshire lad, and so this was his almost hometown show, and he loved it, encouraging us all to join in, drumsticks waving in the air.

All four showed great musicianship, creating that fab sound, and engaged well, injecting that bit of humour. Gilmour was amazing as John, both in looks and vocally. He showed a real connection with the audience, and even my other half, who does not do shows but accompanies me when needed, commented how good he was. Unfortunately, Peterson was full of cold I believe, and at times seemed to be suffering, but he still delivered and carried on regardless, a true artist. I do wonder though how different it would have been if he was fighting fit.

This was a great evening, dedicated to the Beatles, so very entertaining. It had me singing along and jigging in my seat, got told off for shaking the whole row by my other half, though that didn’t stop me. I still love the Beatles, even if they didn’t play my song, Michelle!

THE OLIVIER AWARD-WINNING “BEST NEW MUSICAL” COME FROM AWAY FURTHER EXTENDS BOOKING THROUGH TO 23 MAY 2020

TODAY MARKS THE 300TH PERFORMANCE OF THE HIT MUSICAL IN THE UK AND ITS 300,000TH VISITOR

THE PRODUCTION IS TO PARTNER WITH CENTREPOINT AS COMPANY ‘SLEEPS-OUT’ FOR CHARITY

Website | Twitter | Facebook | Instagram

As hit musical Come From Away celebrates its 300th performance and 300,000th visitor in the UK, the Olivier Award-winning “Best New Musical” announces that it will further extend its hugely successful run in the West End until 23 May 2020.

This joyous musical tells the remarkable true story of 7,000 stranded air passengers during the wake of 9/11, and the small town in Newfoundland that welcomed them. Cultures clashed, and nerves ran high, but as uneasiness turned into trust, music soared into the night and gratitude grew into enduring friendships.

On 11 September 2001 the world stopped. On 12 September, their stories moved us all.

To honour the kindness and stewardship shown by the people of Newfoundland, the London company of Come From Away is pleased to announce a partnership with homeless charity Centrepoint. The partnership will include a gala performance on 7 November as well as members of the Come From Away team joining the Centrepoint ‘sleep-out’ on 21 November, to raise awareness and vital funds for the charity’s good work.

To sign up and join the team sleeping-out on 21 November, visit: www.sleepout.org.uk        
To donate to the fundraising page, please visit: www.justgiving.com/campaign/sleepout-come-from-away

The multi award-winning musical continues sold-out, record-breaking engagements on Broadway, in Canada, in Australia and on a 60-city North American Tour. It has recently been announced that a tour of China will commence in Shanghai from May 2020, and a feature film adaptation is in the works.

The cast of Come From Away in the West End includes Jenna Boyd (Beulah and others), Nathanael Campbell (Bob and others), Clive Carter (Claude and others), Mary Doherty (Bonnie and others), Robert Hands (Nick, Doug and others), Helen Hobson (Diane and others), Jonathan Andrew Hume (Kevin J, Ali and others), Harry Morrison (Oz and others), Emma Salvo (Janice and others), David Thaxton (Kevin T, Garth and others), Cat Simmons (Hannah and others) and Rachel Tucker (Beverley, Annette and others) with Chiara Baronti, Mark Dugdale, Bob Harms, Kirsty Malpass, Tania Mathurin, Alexander McMorran, Brandon Lee Sears and Jennifer Tierney.

Under the Musical Direction of Alan Berry (Keyboard/Accordion/Harmonium), the band includes Matt Bashford (Whistles/Irish Flute/Uilleann Pipes), Aoife Ní Bhriain (Fiddle), Oli Briant (Electric, Acoustic and Nylon Guitars), Ray Fean (Bodhrán/Percussion), Joey Grant (Electric Bass/Acoustic Bass), Justin Quinn (Acoustic Guitar/Mandolins/Bazouki) and Ian Whitehead (Drums/Percussion).

Come From Away features a book, music and lyrics by Irene Sankoff and David Hein and is directed by Christopher Ashley, with musical staging by Kelly Devine, music supervision and arrangements by Ian Eisendrath, scenic design by Beowulf Boritt, costume design by Toni-Leslie James, lighting design by Howell Binkley, sound design by Gareth Owen, hair design by David Brian Brown, orchestrations by August Eriksmoen, and casting by Pippa Ailion CDG and Natalie Gallacher CDG.

In addition to winning 4 Olivier Awards (London) including “Best New Musical”, Come From Away has scooped multiple awards all across North America:  the Tony Award for “Best Direction of a Musical”, 5 Outer Critics Circle Awards (NYC) including “Outstanding New Broadway Musical”, 3 Drama Desk Awards (NYC) including “Outstanding Musical”, 4 Helen Hayes Awards (Washington DC) including “Outstanding Production of a Musical”, 4 Los Angeles Drama Critics’ Circle Awards, 4 Gypsy Rose Lee Awards (Seattle) including “Excellence in Production of a Musical”, 6 San Diego Critics Circle Awards including “Outstanding New Musical”, 3 Toronto Theatre Critics Awards including “Best New Musical”, 3 Dora Awards (Toronto) including “Outstanding New Musical/Opera” and “Outstanding Production”, and the 2017 Jon Kaplan Audience Choice Award (Toronto).

Come From Away was originally co-produced in 2015 by La Jolla Playhouse and Seattle Repertory Theatre, and presented in 2016 by Ford’s Theatre in Washington DC and Mirvish Productions at the Royal Alexandra Theatre in Toronto, Canada, all in partnership with Junkyard Dog Productions. Come From Away (NAMT Festival 2013) was originally developed at the Canadian Music Theatre Project, Michael Rubinoff Producer, Sheridan College in Oakville, Ontario, Canada, and was further developed at Goodspeed Musicals’ Festival of New Artists, in East Haddam CT. The Canada Council for the Arts, the Ontario Arts Council and the 5th Avenue Theatre in Seattle WA also provided development support.

Come From Away is produced in the UK by Junkyard Dog Productions and Smith & Brant Theatricals. The European premiere of Come From Away was co-produced with the Abbey Theatre, Ireland’s National Theatre.

LISTINGS

COME FROM AWAY

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Phoenix Theatre
Charing Cross Rd, London WC2H 0JP

Performance schedule

Monday to Saturday at 7.30pm
Wednesday and Saturday matinee performances at 2.30pm

Christmas 2019 performance schedule

Monday 23 December: 2.30pm and 7.30pm
Tuesday 24 December: No performance
Wednesday 25 December: No performance
Thursday 26 December: 7.30pm
Friday 27 December: 2.30pm and 7.30pm
Saturday 28 December: 2.30pm and 7.30pm
Sunday 29 December: 2.30pm and 7.30pm
Monday 30 December: No performance
Tuesday 31 December: 2.30pm
Wednesday 1 January: 7.30pm
Thursday 2 January: 2.30pm and 7.30pm
Friday 3 January: 2.30pm and 7.30pm
Saturday 4 January: 2.30pm and 7.30pm
Sunday 5 January: No performance

Box office details

Website www.ComeFromAwayLondon.co.uk
Telephone 0844 871 7615
Prices from £15

Centrepoint partnership

Donate to the Come From Away ‘Sleep-Out’ fundraising page: www.justgiving.com/campaign/sleepout-come-from-away

Sign up to ‘sleep-out’ on 21 Thursday November: www.sleepout.org.uk

WELCOME TO THE

     SPECTACULAR SPECTACULAR!

Alex Timbers’ acclaimed production to make UK Premiere

Opening March 2021 at Piccadilly Theatre, London

Moulin Rouge! The Musical

Based on the 20^th Century Fox Motion Picture by Baz Luhrmann

Global Creatures, the producers of Moulin Rouge! The Musical, are thrilled to announce today that the first UK production of the acclaimed show will open at the Piccadilly Theatre in London in March 2021.

For further information, please register at www.moulinrougemusical.com

“After ten years in development, and following the fantastic response to Moulin Rouge! The Musical in New York, we are thrilled to be sharing this musical with audiences in the UK. We can’t wait to bring the show to London!,” said producer Carmen Pavlovic, Global Creatures.

Enter a world of splendour and romance, of eye-popping excess, of glitz, grandeur and glory! A world where Bohemians and aristocrats rub elbows and revel in electrifying enchantment. Pop the champagne and prepare for the spectacular spectacular…Welcome to Moulin Rouge! The Musical.

Baz Luhrmann’s revolutionary film comes to life onstage, remixed in a new musical mash-up extravaganza. Moulin Rouge! The Musical is a theatrical celebration of truth, beauty, freedom, and — above all — love.

Directed by Alex Timbers (Here Lies Love at National Theatre, Tony Award^®-nominated for Bloody Bloody Andrew Jackson and Peter and the Starcatcher) Moulin Rouge! The Musical has a book by John Logan (Tony Award^® for Red, three-time Academy Award nominee, including for Gladiator and The Aviator), choreography by Sonya Tayeh (Lucille Lortel Award and Obie Award for Kung Fu, and Emmy winner), and music supervision, orchestrations and arrangements by Justin Levine (Bloody Bloody Andrew Jackson).

The design team for Moulin Rouge! The Musical includes Tony Award^® winner Derek McLane (sets; his credits include Beautiful – The Carole King Musical), Tony Award^® winner Catherine Zuber (costumes; credits include The King & I, for which she won the Olivier Award for Best Costume Design), two-time Tony Award^® nominee Justin Townsend (lighting), Peter Hylenski (sound), Drama Desk Award winner David Brian Brown (wig and hair design; credits include Come From Away) and Sarah Cimino (Make-up design). Casting is by Pippa Ailion.

The musical, which features a lavish, immersive set, follows aspiring writer Christian and dancer Satine as they fall in love. But pressure mounts on Satine as her boss, Moulin Rouge owner Harold Zidler, relies on her to appease the Duke of Monroth, whose money will keep the establishment running.

As in the film, Moulin Rouge! The Musical celebrates some of the greatest popular music of the last 50 years. The stage musical features many of the iconic songs from the movie and also includes recent hits released since the movie premiered 18 years ago.

The Moulin Rouge! The Musical original Broadway Cast Album, which debuted #1 on Billboard’s Cast Albums Chart, is available at all digital and streaming providers by Baz Luhrmann’s label, House of Iona, and RCA Records. Click here to listen to the album. A physical edition of the album will be made available on October 25, 2019.

Released by 20^th Century Fox, “Baz Luhrmann’s Moulin Rouge!” premiered at the 2001 Cannes Film Festival. At the 74^th Academy Awards, the film was nominated for eight Oscars, including Best Picture, and won two.

The Moulin Rouge of Paris, managed by Jean-Jacques Clerico (CEO), is a dazzling and spectacular universe, the symbol of the Parisian way of celebrating since 1889. Starting life as a popular cabaret and dance hall, the venue became an iconic music hall in the Roaring Twenties, and then a theatre where numerous famous French and international artistes stepped out into the limelight.

Today in 2019, the Moulin Rouge and its 60 artistes present the Féerie revue show: two hours of amazement between cabaret and music hall styles where dance scenes and surprise acts intersperse – without forgetting the Moulin Rouge’s most emblematic dance, the French Cancan! Since its creation, the Moulin Rouge of Paris has always been an invitation to live and share all the emotions and effervescence of a unique party extravaganza. www.moulinrouge.fr/

Moulin Rouge! The Musical is currently playing on Broadway at the Al Hirschfeld Theatre where it opened to widespread critical acclaim on 25 July 2019. Further productions have also been announced for Australia and a North American Tour.

For further information, please see moulinrougemusical.com

PICCADILLY THEATRE

16 Denman Street

London

W1D 7DY

FURTHER INFORMATION

Register at www.moulinrougemusical.com

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