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Theatre Royal Bath Productions and Len Blavatnik and Danny Cohen for Access Entertainment present two transfers from the Theatre Royal Bath at the Theatre Royal Haymarket next spring

Brian Cox and Nicole Ansari-Cox in

THE SCORE 

A new play by Oliver Cotton

Directed by Trevor Nunn

Theatre Royal Haymarket from Thursday 20 February – Saturday 26 April 2025

Tamsin Greig and Finbar Lynch in

THE DEEP BLUE SEA

by Terence Rattigan

Directed by Lindsay Posner

Theatre Royal Haymarket from Wednesday 7 May – Saturday 21 June 2025

From Thursday 20 February to Saturday 26 April 2025, Theatre Royal Haymarket will play host to legendary stage and screen actor Brian Cox (HBO’s multi-award-winning Succession) who will star as Johann Sebastian Bach alongside Nicole Ansari-Cox as Bach’s wife Anna in Oliver Cotton’s new play THE SCORE, directed by Trevor Nunn, which was originally presented at Theatre Royal Bath in Autumn 2023.

Spring 1747, Potsdam, Prussia. Johann Sebastian Bach reluctantly visits the court of Frederick II, Europe’s most ambitious and dangerous leader. The two men could hardly be more different. As the Age of Enlightenment dawns, they stand in opposite camps. Bach is deeply religious, Frederick is an atheist. Bach loathes war, Frederick revels in it. Bach studies scripture, Frederick reads military history. Frederick remains in awe of Bach’s genius however and has mischievously prepared a musical conundrum that he hopes will baffle the composer and amuse his court. The explosive events of the following days could not have been predicted by either man. 

Brian Cox’s glittering career has spanned more than sixty years, garnering numerous awards, working with the most esteemed theatre companies and renowned Hollywood and TV directors. Twice Olivier Award winner for Best Actor, his portrayal of Logan Roy in the HBO hit series Succession has won him a Golden Globe award and Emmy nominations.

Nicole Ansari-Cox studied at the prestigious Actors’ Studio in New York and has starred regularly on stage and screen in the UK and the US. Her major credits include Deadwood, The Biographerand Blumenthal on screen, and starring in Tom Stoppard’s Rock’n’Roll at the Royal Court and on Broadway.

Former artistic director of the National Theatre and Royal Shakespeare Company, Trevor Nunn’s multi-award winning repertoire ranges from Les Misérables to The Life and Adventures of Nicholas Nickleby.

Robert Jones is the Set and Costume Designer, Johanna Town is the Lighting Designer, Sound Designer and Additional Composition is Sophie Cotton, Cordelia Monsey is the Associate Director and the Casting Director is Ginny Schiller CDG.

Immediately following THE SCORE, another critically acclaimed Theatre Royal Bath production will transfer to London’s Theatre Royal Haymarket when Tamsin Grieg and Finbar Lynch star in THE DEEP BLUE SEA from Wednesday 7 May to Saturday 21 June 2025. Terence Rattigan’s 1950’s study of obsession and the destructive power of love, directed by Lindsay Posner, was originally presented at the Ustinov Studio, Theatre Royal Bath in Spring 2024.

When you’re stuck between the devil and the deep blue sea, the deep blue sea can sometimes look very inviting. In this powerful drama of passion versus loyalty, Hester Collyer, the daughter of a clergyman and wife of a judge is floundering in the closing stages of a hopeless affair. Freddie Page, her lover, a handsome but shallow ex-Battle of Britain pilot, is out of his depth in their relationship, overwhelmed by the strength of an emotion he is incapable of reciprocating…

Olivier Award winner Tamsin Greig has been one of the country’s best-loved stage and screen actresses in a career spanning four decades. She won the Olivier for Best Actress in 2007 for Much Ado About Nothing and has been nominated for The Little Dog Laughed and Women on the Verge of a Breakdown.

The cast includes Tony Award nominee Finbar Lynch (Not About Nightingales, National Theatre, Girl From The North Country, Noel Coward Theatre).

Director Lindsay Posner’s recent highly acclaimed productions include the West End transfer of Noises Off and  A View From The Bridge starring Dominic West. 

Joining Lindsay on the creative team are Peter McKintosh (Set & Costume Designer), Paul Pyant (Lighting Designer), Gregory Clarke (Sound Designer), Will Stuart (Composer), Carole Hancock (Hair, Wigs & Make-up Designer), Ginny Schiller (Casting Director) and George Jibson (Associate Director).

Full casting for both productions at Theatre Royal Haymarket will be announced in due course.

LISTINGS

Brian Cox and Nicole Ansari-Cox in

THE SCORE 

A new play by Oliver Cotton

Directed by Trevor Nunn

Thursday 20 February – Saturday 26 April 2025

Tamsin Greig and Finbar Lynch in

THE DEEP BLUE SEA

by Terence Rattigan

Directed by Lindsay Posner

Wednesday 7 May – Saturday 21 June 2025

Tickets for both productions go on sale from 10am Monday 9 September via trh.co.uk  

FULL CAST ANNOUNCED FOR
SAM MENDES’ LANDMARK PRODUCTION OF THE LEHMAN TRILOGY

RETURNING TO LONDON FROM 24 SEPTEMBER FOR A STRICTLY LIMITED RUN AT THE GILLIAN LYNNE THEATRE

The National Theatre and Neal Street Productions announce today full casting for its critically acclaimed, five-time Tony Award® winning production of The Lehman Trilogy which returns to London’s West End following highly acclaimed international performances.  This ‘genuinely epic production‘ (New York Times), which has now been seen by over half a million people worldwide, will play at the Gillian Lynne Theatre from 24 September 2024 until 5 January 2025 for a strictly limited run.

Written by Stefano Massini, adapted by Ben Power and directed by multi-award-winning director, Sam Mendes with set design by Es Devlin, The Lehman Trilogyis a sweeping story of a family spanning generations and a company that changed the world.

As previously announced, following a critically acclaimed run in San Francisco, John Heffernan, Aaron Krohn and Howard W. Overshown will reprise their ‘virtuosic performances’ (The Mercury News), playing the Lehman brothers, their sons and grandsons in this thrilling ‘tour de force of acting talent’ (KQED Radio).  Cat Beveridge and Anyssa Neumann will reprise their respective performances as principal pianist and alternate pianist. 

Joining them in this ‘mesmerising chronicle of an American dynasty’ (The Times), is Valentine Hanson as Understudy Emanuel Lehman, Leighton Pugh as Understudy Henry Lehman and Simon Victor will perform the role of Janitor and Understudy Mayer Lehman.  Ali Berry completes the company as Understudy Pianist. 

Mendes is joined by set designer, Es Devlin; costume designer, Katrina Lindsay; video designer, Luke Halls;lighting designer Jon Clark; composer and sound designer, Nick Powell; co-sound designer, Dominic Bilkey; music director, Candida Caldicot;movement director, Polly Bennett and West End Director, Rory McGregor.  Company voice work is by Charmian Hoare with UK casting by Naomi Downham and USA casting by Jim Carnahan.They are joined by associate set designer, Olukoye Akinkugbe,  associate video designer Zakk Hein andassociate lighting designers, Charlotte Burton and Lucía Sánchez Roldán.

On a cold September morning in 1844, a young man from Bavaria stands on a New York dockside dreaming of a new life in the new world. He is joined by his two brothers, and an American epic begins. 163 years later, the firm they establish – Lehman Brothers – spectacularly collapses into bankruptcy, triggering the largest financial crisis in history.

John Heffernan will play the role of Henry Lehman.  Recent theatre credits include Nachtland (Young Vic) and Much Ado About Nothing (National Theatre), co-starring with Katherine Parkinson.  Previous theatre credits include the title roles in Edward II (National Theatre), for which he was nominated for an Evening Standard Theatre Award, Oppenheimer (Royal Shakespeare Company) and Macbeth (Young Vic).  Recent screen credits include, This Town (BBC), The Crown (Netflix), The Pursuit of Love (BBC), The Duke (Warner Bros), Misbehaviour (20th Century Fox) and Agatha Christie’s Crooked House (Vertical Entertainment).

Aaron Krohn will play the role of Mayer Lehman.  Previous theatre credits with Sam Mendes include As You Like It (2010) withThe Bridge Project, Mendes’ transatlantic collaboration with The Old Vic and the Brooklyn Academy of Music spanning three years and travelling to 15 international cities, Mendes’ Tony-winning production of Cabaret (2014), co-directed with choreographer Rob Marshall for Roundabout Theatre Company on Broadway and more recently The Lehman Trilogy (on Broadway) as the understudy role of Mayer Lehman.  Other theatre credits include: Spamalot, Twelfth Night and Henry V at Stratford Shakespeare Festival.  Screen credits include Fosse/Verdon (BBC), Boardwalk Empire (HBO) and Law & Order: Special Victims Unit (NBC).

Howard W. Overshown will play the role of Emanuel Lehman.  Previous theatre credits with Sam Mendes include Richard III for The Bridge Project (2012) and, prior to this current production of The Lehman Trilogy, he also played the role at the Ahmanson Theatre in Los Angeles (2022).  Other theatre credits include A Soldier’s Play, Julius Caesar, Saint Joan, A View from the Bridge and Free Man of Color on Broadway.  Screen credits include Blue Bloods (CBS), Fosse/Verdon (BBC), Tina Fey’s Girls5Eva (Netflix), and The Marvelous Mrs Maisel (Amazon Prime).

The Lehman Trilogy was first commissioned by Neal Street Productions and developed and co-produced with the National Theatre at the Lyttelton theatre in 2018.  An acclaimed sold-out run at the Park Avenue Armory in New York followed in the Spring of 2019.  The Lehman Trilogy then returned to London for a 16-week sold-out run at the Piccadilly Theatre in the West End from May until August 2019.  It was the first British play to return to Broadway following its 18-month shutdown (having previously played four performances in March 2020) for a much-lauded limited engagement at the Nederlander Theatre from September 2021 until January 2022.  The Lehman Trilogy was the most awarded play on Broadway in 2022, winning Best Play, Best Director, Best Set Design, Best Lighting Design and Best Actor at the Tony Awards®.  It also won the Drama League Award for Best Play and six Outer Critics Circle Awards, including Best Play.   A Los Angeles transfer to Center Theatre Group’s Ahmanson Theatre followed Broadway from March until April 2022 before it returned to London’s West End in 2023 for a 17-week sold-out run at the Gillian Lynne Theatre. The Lehman Trilogy has recently played a limited run at Theatre Royal Sydney, Australia and American Conservatory Theater, San Francisco to great critical acclaim.

Prior to this production, the world premiere of Stefano Massini’s The Lehman Trilogy opened at the Piccolo Teatro in Milan in 2015.  It turned out to be Artistic Director Luca Ronconi’s final production before his death.  A long-term admirer of Ronconi’s, Sam Mendes was inspired to begin planning an English adaptation for Neal Street Productions.  Ben Power was commissioned by Neal Street Productions to create a new version of this epic play, using a literal English translation by Mirella Cheeseman.  

The Lehman Trilogy in the West End is supported by American Express, the National Theatre’s Preferred Card Partner. 

Mayflower Theatre Southampton – until 29th September

Reviewed by Emma Barnes

5***** 

Disney’s Aladdin has come to Mayflower Theatre in Southampton,  and oh my!  What a treat.    From the moment the curtain rises the stage is alive with colour and energy. We are transported to a world of shimmering palaces, bustling bazaars.  I had expected this show to be vibrant,   but I hadn’t quite anticipated that it would maintain the sheer level of breathtaking engagement for the duration. I found myself quite literally on the edge of my seat for the whole evening,  

Having watched the classic Disney cartoon many times,  I was delighted that the stage show captured so many nostalgic cartoon details. The set design is magnificent, capturing the essence of Agrabah with familiar details, lighting and a host of vibrant colour. The many many costumes are equally stunning, showcasing the opulence and grandeur of the Arabian world. We were treated to sparkly glitter, amazing choreography, magic tricks, special effects and a sublime carpet ride scene, this show simply did everything, and did it really well. A feast for the senses.   

Of course, no Disney production would be complete without the iconic songs. Alan Menken’s score is as memorable as ever, with classics like “Friend Like Me,” “A Whole New World,” and “Arabian Nights” still buzzing round my head as I write these words the following morning. 

The entire cast delivers flawless performances, bringing the animated characters to life with conviction. Aladdin is played by Gavin Adam in his professional debut with charm, charisma and fitting chemistry alongside Princess Jasmine played by Desmonda Cathabel as a spirited and independent heroine. For me it was Genie (Yeukayi Ushe) who stole the show with his comedic timing, pizazz and relentless energy.  If I could,   I would have watched the cave scene at the end of Act 1 over and over just as my childhood self would have sat and rewound the VHS video.    

The production’s pacing is well-balanced, with plenty of humour provided by the villain of the piece Jafar (Adam Strong) and sidekick Iago (Angelo Paragoso). I felt that this was particularly well timed to get us into the mood for pantomime season.   

Aladdin the musical certainly re-cast a spell upon middle-aged me.  All too soon the show reached the fairytale ending and as streamers fell on the thrilled audience during the closing scene I experienced child like joy in picking them up and waving in the air. I thoroughly recommend this magical journey, catch it in Southampton until the 29th September.

Festival Theatre, Malvern – 6^th September 2024.

Reviewed by Courie Amado Juneau

5*****

Tonight’s The National Gilbert & Sullivan Opera Company gift is the always marvellous and (deservedly) ever popular The Pirates Of Penzance (1879).

The Overture presents a river of wonderful, instantly recognizable melodies for us to drift along on in merry reverie. Indeed, many in the crowd found themselves humming (or singing) along. Conductor Murray Hipkin wielded his baton to masterful effect, judging by the musical results which tripped along gaily, amply proving the orchestra were in fine form.

The story is a complicated one principally involving a young lad, Frederic, mistakenly being apprenticed to pirates and his duty holding him in that role until his 21^st birthday which, we discover, is today…

And so it’s straight on with the pirates! It’s astonishing how joyous a chorus line of dancing pirates are and how something that in the mind’s eye looks so unnatural can look so natural on the stage. It sure puts a grin on your face. As does The Pirate King himself; which Charles Rice tackles with gusto and a relish that is infectious, especially during the wonderful “Oh, better far to live and die”.

Frederic (played by David Webb) singing was, naturally, top notch but his comedy timing was just as good with an ability to react to the moment that was impressive. Mabel (Rebecca Bottone) entered with the ever popular “Poor wandering one” and the duet (with chorus) “How beautifully blue the sky” gave further testament to our lead couple’s genuine chemistry. But the most affecting scene in the whole piece (which is, primarily, a comedy) was the second half’s “Stay, Frederic, stay!” which truly brought a tear to ones eye.

The hits just kept coming as Simon Butteriss at last enters as Major-General Stanley and it’s the big one “I am the very model of a modern Major-General”. Delivered with felicitous alacrity and precise verbal gymnastics, Mr Butteriss is a master of the patter song. I loved his direction throughout too (yes, he’s also Director of the show (and last night’s too)) with genuine belly laughs brought forth throughout but, especially, during the chorus of girls interactions with Frederic and the pirates and during “Softly softly to the river” with the policemen and pirates hiding behind implausibly small twigs. Absolutely hilarious.

Ruth (wonderfully played by Gaynor Keeble) is a pivotal role and source of joy throughout as are the chorus of constables and their Sergeant (Bruce Graham) with their crowd pleaser “When a felon’s not engaged in his employment”. Their lot may not have been a happy one (according to the song), but we in the crowd sure were happy at the lot of ‘em.

This is perhaps G&S’s most perfect work and so well regarded with good reason. There’s nothing not to love here. A wonderfully ingenious and convoluted plot, a bevy of the pair’s greatest hits, wonderful costumes, scenery and exotic(ish) locations and a story you can hang your hat on… A splendid time is guaranteed for all and it was delivered tonight in spades.

So, another triumph from this most excellent company. Two down and one to go and, as I said yesterday, you really should rush to see their final show before they leave town (tomorrow’s The Gondoliers).

York Theatre Royal – Friday 6 September 2024

Reviewed by Sal E Marino

5*****

After a 30-year pause, London City Ballet is back on the stage with a mesmerising programme of sublime ballet under the brilliant direction of Christopher Marney.  The Resurgence tour has returned to some of its most beloved venues including York in the UK, Italy, Portugal, China, the Joyce Theatre in New York and will end at Sadler’s Wells in London in September.

The company comprises of 14 dancers who are principal dancers of other lead international dance companies so each performance was beyond magnificent.  Christopher Marney has commented that what makes the Resurgence tour so unique and rare is that the audience gets the chance to see some of the world’s most compelling dancers in one production.  Some pieces have rarely been seen so this tour is a one-in-a-lifetime opportunity. 

The opening of the show started with some nostalgic footage of press releases, interviews, and photographs of the London City Ballet from years gone by.  The late Princess Diana was a champion of the arts and a patron of the company and would sometimes drop into rehearsals.  It was most moving to see her beautiful smile just before the first dance, ‘Larina Waltz’ by Ashley Page.  Perfect is the best word to describe this performance as the light and delicate physicality with technical expertise creates an intoxicating piece. The traditional costumes sparkle within the softly lit set and performed to the music of Pyotr Ilyich Tchaikovsky’s melodies, one can just feel the pure quality of the London City Ballet once again.

The captivating Ballade, unseen in Europe for 50 years, takes place on an austere set with a white backdrop, table, and chairs. As the performance unfolds, four dancers engage in a choreographic game of cards, where the complex dynamics of relationships are explored. MacMillan’s fluid choreography, mixed with many emotions creates a legendary dance.

Arielle Smith’s Five Dances were a myriad of many things: sensual, emotional, tribal in some ways and made me think of the elements and how their energies ebb and flow in cycles. 

Finally, Christopher Marney’s Eve: a re-telling of the biblical tale of Adam and Eve told from Eve’s perspective.  The set and costumes are magical and there is an atmosphere of ancient fairytale created through the medium of birds appearing through mist and fog.  This backdrop creates a bleak landscape and Eve appears all alone until the seductive serpent arrives … without giving too much away we see Eve and Adam rise together in a most dramatic ending.  I absolutely loved this performance and hope Mr Marney will create something similar for ‘Lilith’, the woman before Eve and tell her true story like this one which wasn’t tainted by patriarchal dogma. 

Resurgence is exquisite!  The rare opportunity to see the best of the best all together on one stage is a must see!   

CURVE LEADERS AWARDED HONORARY DOCTOR OF ARTS DEGREES FROM DE MONTFORT UNIVERSITY

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster have received Honorary Doctor of Arts degrees from De Montfort University Leicester (DMU).

Chris and Nikolai’s doctorates were conferred on them live on Curve’s stage in front of hundreds of students and their families attending the annual DMU summer degree ceremonies.

The Chair of Governors at DMU – and Curve’s former Chair of Trustees – Ian Squires, said:

“It is no over-statement to say that Chris Stafford and Nikolai Foster ‘invented’ Curve as it is today. Chris and Nikolai have made the theatre the crucible of the art form.

“In the hands of Chris and Nikolai it is as if this theatre has become an instrument and it is one that they play with great skill, invention and verve.

“I salute you both.”

Chris and Nikolai’s partnership as Chief Executive and Artistic Director began in 2015 and they have since overseen countless acclaimed productions at the theatre’s Leicester home, in the West End and on tour nationally and internationally, including A CHORUS LINE, BILLY ELLIOT, THE WIZARD OF OZ, MY BEAUTIFUL LAUNDRETTE and more.

They have also formed a close working relationship with DMU during their time at Curve, overseeing co-productions between Curve and DMU’s performing arts, dance and drama students, giving the students an enviable opportunity to work and perform in a world-class professional theatre environment.

After receiving their degrees, the newly appointed Dr Chris Stafford and Dr Nikolai Foster congratulated the students and said:

“It is an honour for us to receive these Honorary Doctor of Arts degrees today, alongside the many brilliant DMU students who we congratulate on their achievements. We’re humbled to have shared this special day with them and to witness such a brilliant celebration of their wonderful accomplishments.

“DMU and its students contribute enormously to our city and we’re proud to have maintained a close partnership with the university over many years. To receive this honour on-stage here at Curve – our home, from an organisation we admire greatly, really does mean so much to us both.

“Our thanks again to the conference committee and the board of governors at DMU for this recognition.”

To find out more about Curve, visit CURVE LEADERS AWARDED HONORARY DOCTOR OF ARTS DEGREES FROM DE MONTFORT UNIVERSITY

Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster have received Honorary Doctor of Arts degrees from De Montfort University Leicester (DMU).

Chris and Nikolai’s doctorates were conferred on them live on Curve’s stage in front of hundreds of students and their families attending the annual DMU summer degree ceremonies.

The Chair of Governors at DMU – and Curve’s former Chair of Trustees – Ian Squires, said:

“It is no over-statement to say that Chris Stafford and Nikolai Foster ‘invented’ Curve as it is today. Chris and Nikolai have made the theatre the crucible of the art form.

“In the hands of Chris and Nikolai it is as if this theatre has become an instrument and it is one that they play with great skill, invention and verve.

“I salute you both.”

Chris and Nikolai’s partnership as Chief Executive and Artistic Director began in 2015 and they have since overseen countless acclaimed productions at the theatre’s Leicester home, in the West End and on tour nationally and internationally, including A CHORUS LINE, BILLY ELLIOT, THE WIZARD OF OZ, MY BEAUTIFUL LAUNDRETTE and more.

They have also formed a close working relationship with DMU during their time at Curve, overseeing co-productions between Curve and DMU’s performing arts, dance and drama students, giving the students an enviable opportunity to work and perform in a world-class professional theatre environment.

After receiving their degrees, the newly appointed Dr Chris Stafford and Dr Nikolai Foster congratulated the students and said:

“It is an honour for us to receive these Honorary Doctor of Arts degrees today, alongside the many brilliant DMU students who we congratulate on their achievements. We’re humbled to have shared this special day with them and to witness such a brilliant celebration of their wonderful accomplishments.

“DMU and its students contribute enormously to our city and we’re proud to have maintained a close partnership with the university over many years. To receive this honour on-stage here at Curve – our home, from an organisation we admire greatly, really does mean so much to us both.

“Our thanks again to the conference committee and the board of governors at DMU for this recognition.” To find out more about Curve, visit www.curveonline.co.uk

Festival Theatre, Malvern – 5^th September 2024

Reviewed by Courie Amado Juneau

5*****

The National Gilbert & Sullivan Opera Company once again graces the stage of the wonderful Malvern Theatres, bringing us two classics from the oeuvre of this incomparable pair.

The evening opens with Trial By Jury (1875). It may be small in stage time but it’s certainly not slight in impact. The story centers around a breach of promise of marriage trial…

The entire ensemble were superb but I will especially mention the plaintiff (Claire Ward) and Defendant (Andrew Brown) who made a most melodious and very believable ex-couple. But the standout was Stephen Godward as The Learned Judge, giving us a cross between all the Tories you can think of and a certain Mr B Johnson in particular. Masterful comic timing – especially the handing out of notes to multiple ladies and their reactions.

In truth the whole piece is farcical with everyone’s reactions, the cases presented and the judge’s solution (in particular) being utterly ridiculous. Don’t get me wrong, this is not a negative in any way. In fact, in this lampooning of a very serious procedure, G&S are to my mind taking some po-faced institutions and morals down a necessary peg or two. For that alone I find it a joyful piece, but when music of such wit and charm is added to the mix it is an invitation to quaff deeply of this heady brew. An invitation that is irresistible.

HMS Pinafore (1878) followed; the story of love conquering class divisions on the eponymous vessel. From the opening notes of the Overture the orchestra, lead superbly by Conductor James Hendry, were having a riotous time. It’s not often that music alone has us laughing out loud but they achieved this feat.

Even the most casual observer will recognize several (at least) hummable tunes in this fine score, such as “I’m called Little Buttercup”, “I am the Captain of the Pinafore” and “I am the Monarch of the sea” and all were sparklingly wrought tonight. They did both the company much credit and G&S’s music proud!

Again, the whole cast were sensational – even more so in this piece than the first. I must commend Simon Butteriss for his hilarious rendering of The Rt. Hon Sir Joseph Porter, K.C.B. There was more than a touch of Austin Powers about him, making it a sheer delight to watch. Apart from his facial expressions and some perfectly delivered one liners worthy of Kenneth Williams, the choreography (with mops) during “Never mind the why and wherefore” was rip-roaring and worth the price of admission alone!

I’d like to also heap enormous praise on Phoebe Smith for a Josephine that soared in emotion due to some pitch perfect acting and singing that was absolutely sublime. What a voice, what a talent. I had to locate my socks from the back row after they were thoroughly blown right off! A rare treat to hear singing this stunning.

So, the first of a triptych by the same composers and company this week leaves me feeling on a high and eager to see Pirates tomorrow… And I urge you all to join me in what will undoubtedly be a fabulous evening’s entertainment.

ANNOUNCED

FOR SONGWRITER

SCOTT ALAN

LIVE AT CADOGAN HALL

SUNDAY 10 NOVEMBER 2024

FOURTH WALL LIVE are delighted to announce that special guest vocalists Rob Houchen (Les Misérables, Godspell, Titanic the Musical), Christine Allado (Hamilton, In The Heights, We Will Rock You),  Amy di Bartolemeo (The Devil Wears Prada, Priscilla Queen of the Desert, We Will Rock You, Bat out of Hell), Oliver Tompsett (Kinky Boots, Wicked, Guys and Dolls), Lucie Jones (The X Factor, Les Misérables, Waitress, Rent) and Stuart Matthew Price (The Rocky Horror Show, Parade, Dear World) will join internationally acclaimed songwriter SCOTT ALAN live at Cadogan Hall on Sunday 10 November 2024 at 6.30PM. Tickets are on sale at www.fw-live.com and www.cadoganhall.com

Scott Alan is an internationally acclaimed songwriter who has worked with some of the brightest stars of theatre, TV, film and recording.  Some of those artists include Grammy Award winning Pentatonix, Grammy nominated artist Jane Monheit, Westlife’s Mark Feehily, Taylor Dayne, Tony Award winning artists Sutton Foster, Adriane Lenox, Randy Graff, Frances Ruffelle, Lea Salonga, film and TV stars Tracie Thoms, Patina Miller, Katie Stevens, Mark Feehily, Cheyenne Jackson, Megan Hilty, Samantha Barks, Jeremy Jordan and reality stars Sam Bailey, Collabro, Diana DeGarmo and Christina Marie, among others.

After the 2007 release of his debut album Dreaming Wide Awake, Alan has gone on to release six further albums that include Keys, What I Wanna Be When I Grow Up, Live, Anything Worth Holding On To, Cynthia Erivo and Oliver Tompsett sing Scott Alan and Lifeline. 

Alan has toured the world, selling out concerts in New York City, Japan, London, Holland, Germany, San Francisco, Boston, Los Angeles, Australia & various cities in South and North America. His compositions have also been featured on American Idol, So You Think You Can Dance, Entertainment Tonight, HBO, MTV, VH1 and various other programs. In addition to songwriting, Scott teaches piano and vocal to students at the Scott Alan Studio in St. Petersburg, Florida as well as virtually all over the world. 

Alan continues to tour and just released his new album Nothing More, a collection of songs written for his daughter, Alex Vivian, featuring Gay and Transgender fathers. 

Scott said “Returning to London after so many years away feels like a coming home.  I can’t wait to return with some of my favourite people, in my favourite city, celebrating the 15 year anniversary of “Dreaming Wide Awake.” To have my dear friend Darren Bell, whom I met at my first UK concert in 2008, and Fourth Wall Live produce this night feels like a giant hug.”

FOURTH WALL LIVE is an entertainment company that produces events, concerts and on-stage shows. In January 2022, FWL presented Bonnie and Clyde The Musical In Concert for two nights to a sold-out audience at Theatre Royal Drury Lane, starring Broadway favourite Jeremy Jordan. The concert broke Drury Lane box office records selling out a two-night run in less than six minutes. 

In recent months, Fourth Wall Live has presented Audra McDonald at the London Palladium, Jeremy Jordan at Theatre Royal Drury Lane, Ariana DeBose at the London Palladium and both Rachel Tucker and Stephanie J Block at Cadogan Hall. FWL regularly presents concerts featuring stars of the West End and Broadway including Keala Settle, Sierra Boggess, Matthew Morrison and Hannah Waddingham among others.

Fourth Wall Live is also a producer of the WhatsOnStage Award winning Bonnie & Clyde The Musical which recently ended its successful run at the Garrick Theatre in London’s West End.

LISTINGS INFORMATION

Sunday 10 November

Cadogan Hall

5 Sloane Terrace

London 

SW1X 9DQ

Performance: 6.30pm

Tickets: From £18

Box Office: 020 7730 4500

Website: www.fw-live.com and www.cadoganhall.com

Instagram: @scottalanmusic / @f_w_live

FIRST LOOK AT

STEVE COOGAN AS

DR. STRANGELOVE

RELEASED TODAY

Full Cast for World Premiere stage production also

announced

Performances begin at Noël Coward Theatre, 8 October 2024

Thursday 5 September 2024 – As rehearsals began this  week for the first ever adaptation of Stanley Kubrick’s comedy masterpiece Dr. Strangelove, starring seven-time BAFTA award winner Steve Coogan as Dr Strangelove, President Merkin Muffley, Group Captain Lionel Mandrake and Major TJ Kong a new photograph and a video of Coogan as Strangelove has been released and the full cast has been announced.

Joining Steve and the already announced Giles Terera as General Buck Turgisdon, the company is completed by: John Hopkins (General Jack D. Ripper), Oliver Alvin-Wilson (Jefferson), Penny Ashmore (Vera Lynn), Ben Deery (General Staines), Richard Dempsey (Frank), Mabli Gwynne (Swing), Mark Hadfield (Faceman), Tony Jayawardena (Russian Ambassador Bakov), Tom Kelsey (Ensemble), Daniel Norford (Ensemble), Dharmesh Patel (Lincoln), Adam Sina (Ensemble),  Alex Stoll (Ensemble) and Ben Turner (Colonel Bat Guano).

Performances at the Noël Coward Theatre in London’s West End begin on Tuesday 8 October 2024 and finish on Saturday 25 January 2025 before a limited engagement at Dublin’s Bord Gáis Energy Theatre from Wednesday 5 – Saturday 22 February 2025. 

Over 20% of tickets at the Noël Coward Theatre are priced at £35 and under, with over 1000 £25 Stalls tickets available to under 30s and additional stalls tickets available to select charities across the run.   The Under 30s tickets will be released at 11am on 6 September 2024.

With a world-renowned creative team led by BAFTA and Emmy Award winner Armando Iannucci and Olivier Award winner Sean Foley, this explosively funny satire of mutually assured destruction will leave a whole new generation of audiences laughing and afraid.

Sean Foley said:  ‘I couldn’t be more thrilled than to be working with such a talented and exciting cast on our version of Stanley Kubrick’s extraordinary ’nightmare comedy’. I know from their amazing collective experience that every character and every situation will not only be seriously dark and terrifying, but also seriously funny.’

Joining Armando Iannucci (Co-adaptor) and Sean Foley (Co-adaptor and Director) on the creative team are Hildegard Bechtler (Set and Costume Designer), Jessica Hung Han Yun (Lighting Designer), Ben & Max Ringham (Sound Designer and Composers), Akhila Krishnan (Projection Designer), Amy Ball CDG (Casting Director), Chris Fisher (Illusions), Lizzi Gee (Movement Director), Dewi Johnson (Associate Director), Laura Hunt (Associate Costume Designer & Costume Supervisor), Lucy Adams (Associate Lighting Designer), Arthur Carrington (Casting Associate), Sam Clarkson for Sound Quiet Time (Sound System Designer), Kate Elizabeth (Wigs & Make Up Supervisor), Chris Marcus and Jonathan Hall for Marcus Hall Props (Props Supervisor) and Chris Hay (Production Manager).    

Dr. Strangelove is produced by Patrick Myles and David Luff, Tulchin Bartner Productions, Playful Productions, Barbara Broccoli, Jean Doumanian, Alexander “Sandy” Marshall, Playing Field, Mark Puddle, Trafalgar Theatre Productions and in association with Wild Yak. Jonathan Cameron is the Executive Producer for the Stanley Kubrick Estate. 

For all information and tickets, visit www.DrStrangelove.com

THE WATERMILL THEATRE

AWARD-WINNING NEWBURY VENUE ANNOUNCES

NEW SHOWS FOR 2025

IAN HISLOP AND NICK NEWMAN RETURN FOR THE FIFTH TIME TO PREMIERE NEW WORK WITH

THE AUTOBIOGRAPHY OF A CAD (7 FEBRUARY – 22 MARCH)

THE RETURN OF AUDREY BRISSON TO THE WATERMILL – AS PIAF (4 APRIL – 17 MAY)

THE YOUTH ENSEMBLE PRODUCTION OF EMIL AND THE DETECTIVES (27 – 29 MARCH)

THREE HENS IN A BOAT (22 MAY – 7 JUNE) A CO-PRODUCTION WITH THE READING REP THEATRE

TICKETS ON SALE TO BULRUSH, FERN, WATER LILY & WILLOW MEMBERS 18 SEPTEMBER 1PM,

FRIENDS & REEDS MEMBERS 25 SEPTEMBER 1PM (MEMBERSHIPS START FROM £35 PER YEAR)

EMAIL SUBSCRIBERS 1 OCTOBER 1PM, GENERAL ONSALE 2 OCTOBER 1PM.

BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

Joint CEOs Artistic Director Paul Hart and Executive Director Claire Murray, and the whole team at Newbury’s Watermill Theatre are delighted to announce new shows for the first half of 2025, as well as the launch of a new free to join scheme: 16-30: Beginners which gives young people access to £10 tickets and other discounts to selected shows.

Ian Hislop and Nick Newman will return to the Watermill, following the successes of A Bunch of Amateurs, Trial By Laughter, The Wipers Times, and Spike, with a new comedy directed by Paul Hart, designed by Ceci Calf. The Autobiography of a Cad, adapted from the satirical novel by A.G. Macdonell will open the season, playing from Friday 7 February to Saturday 22 March.

Chronicling the rise of self-proclaimed political titan Edward Percival Fox-Ingleby from Eton to Oxford and then on to Parliament, the Cad’s story contains all the hallmarks of success: university escapades with friends taking the blame, courageously signing up to be on the administrative frontline of the First World War effort and doing the decent thing and joining the Tory party in the 1920s.

Committed to ploughing his own way through life, righting the wrongs of his unforgivably liberal parents and armed with a universal disregard for the rules, the truth, and the women in his life, this is Edward Fox-Ingleby, a man who no-one loves as much as himself. This happily fictitious memoir about serving the nation bears no relation to any politicians, past, present or future.

Ian Hislop and Nick Newman said, “We are thrilled to be returning to the Watermill Theatre with our new play, The Autobiography of a Cad. The Watermill has been an enthusiastic supporter of new writing, and this is our fifth play for the theatre, after A Bunch of Amateurs, The Wipers Times, Trial By Laughter and Spike.

Based on A.G. Macdonell’s satirical masterpiece and set in the decades before and after World War One, The Autobiography of a Cad follows in the rich tradition of outrageously subversive British humour. Once again, it is a privilege to have our work showcased by a theatre renowned for staging world-class productions.”

From Thursday 27 – Saturday 29 March, The Watermill’s celebrated Youth Ensemble will present Emil and the Detectives by Erich Kästner, adapted by Carl Miller, directed by Heidi Bird.

A train carriage, somewhere outside Berlin, 1929.

Emil has a shameful secret and pocketful of money.  Opposite him is a mysterious stranger with a cunning plan. A slice of apple and a cut finger later, Emil’s missed his stop, his pocket’s empty and he is pursuing the suspected thief, Mr Snow, across Berlin.

Joined by a detective crew including Toots, Pony the Hat, the Professor and Tuesday, Emil’s frantic dash across the city takes him to the heights of the hotels, through the lengths of the alleyways and to the depths to the sewers to try and keep a promise.

From Friday 4 April – Saturday 17 May, Piaf by Pam Gems, directed by Kimberley Sykes, will draw audiences into the extraordinary world of Édith Piaf, the French chanteuse who captivated the world with her unquestionable talent. Audrey Brisson returns to The Watermill after her much-loved, critically acclaimed and Olivier-nominated performance as Amélie Poulain in Amélie in 2019, which subsequently transferred to the West End.

Pam Gems’ play charts The Little Sparrow’s dramatic rise from the squalor of the streets of Paris to the glamour of international stardom. Piaf intertwines the great loves, losses and questionable decisions of this complex and fragile star with her raw, spellbinding songs, performed live by an ensemble cast of actor-musicians.

Audrey Brisson said, “I’m very much looking forward to being back at the Watermill and getting my teeth stuck into this tremendous project”

From Thursday 22 May – Saturday 7 June, The Watermill and Reading Rep Theatre will present Three Hens in a Boat by Camille Ucan, directed by Abigail Pickard Price. Lovingly inspired by Jerome K. Jerome’s ‘Three Men in a Boat’, Camille Ucan’s new heartfelt comedy charts the twist and turns of intergenerational family dynamics on a hen do with a difference.  Navigating the River Thames from Kingston to Henley and almost all the way down the aisle, Claudette, Gloria and Jay’s well-intentioned family outing soon devolves into a series of hilarious misadventures.

Camille Ucan said “I wanted to write a play about female family dynamics that celebrates the fun and interrogates the friction those relationships bring. I also wanted to explore heritage and how three generations in the same family connect with their own stories, inspired by my Guyanese grandmother and our own hand-me-down history. Jerome K. Jerome’s romp of a novel has provided me with the perfect backdrop for the characters to muse and meander – if you’re a die-hard fan of the book then sorry I got rid of all the men! I’m so excited to see the play come to life on stage.”

Paul Hart said, “What better way to kick off the season than with a new comedy from Watermill regulars Ian Hislop and Nick Newman. This play is a response to journalist, writer and broadcaster A.G. Macdonell’s wonderful book, which could have been written yesterday, from two of our leading satirists.  I can’t wait to see what our Youth Ensemble do with Carl Miller’s adaptation of Erich Kästner’s fast-paced, detective adventure, Emil and the Detectives, which premiered at the National Theatre. It’s a real thrill for us to be reuniting with Audrey Brisson, following her extraordinary performance here in Amelie, in Pam Gems’ monumental play about the iconic Edith Piaf. We’re also delighted to be working with the team at Reading Rep Theatre on Three Hens in a Boat, Camille Ucan’s new comedy inspired by ‘Three Men in a Boat’. It’s a truly brilliant take on the original – combining three generations of women in far too small a boat whilst navigating the Thames and the intricacies of family politics!”

Claire Murray added, “We’re operating as an independent charity since our 100% cut from Arts Council England, so we’re proud to be able to offer an ambitious season that features two exciting new adaptations, the talents of incredible actor musicians and our brilliant youth ensemble. In addition, the launch of 16-30: Beginners, offering discounted tickets to young people, reflects our continuing commitment to the next generation of audiences. We’re looking forward to welcoming everyone to our unique corner of West Berkshire and remain grateful to our audiences, donors and brilliant staff team who make it possible for us to create this work.”

Priority booking opens for Members from Wednesday 18 September, with memberships starting at £35 for the year.  Email subscribers booking opens on Tuesday 1 October with general booking opening the following day on Wednesday 2 October.  Tickets for the season start at £15 and can be booked online at watermill.org.uk or by calling the box office on 01635 46044.