Brooke Mauchline Productions, Big Wooden Horse and Nicoll Entertainment are delighted to present three children’s shows at the brand-new Troubadour White City theatre in West London, which will play in rep as part of the TroubaKids Festival. These are LITTLE BABY BUM LIVE from 23 July to 3 August, MONSTERSAURUSfrom 24 July to 11 August and ALIENS LOVE UNDERPANTS from 13 August to 1 September.
Based on the online and digital TV sensation, LITTLE BABY BUM LIVE combines puppetry, live action and animation as audiences are invited to step into the magical and colourful world of ‘Little Baby Bum’ and join Mia, Jacus, Twinkle and their Nursery Thyme friends on an adventure. ‘Little Baby Bum’ began life on YouTube and is now one of the platform’s most watched channels with over 32 million subscribers and over 25 billion views across multiple platforms. LITTLE BABY BUM LIVE is written and directed by Miranda Larson.
MONSTERSAURUS comes from the same team behind ‘Aliens Love Underpants’ and follows the young inventor, Monty, as he creates a whole world of whacky inventions and incredible monsters. Monty has a problem: now he has made all of these monsters, what is he going to do with them?! MONSTERSAURUS is filled with original music and audience participation. The show is adapted for the stage and directed by Adam Bampton-Smith.
Based on the international best-selling children’s book by Claire Freedman and Ben Cort, ALIENS LOVE UNDERPANTS is a hilarious tale brought to life on stage, adapted and directed by Adam Bampton-Smith. With stunning effects, madcap action, original music and lots of aliens this fantastically funny production will delight the whole family.
LISTINGS
‘LITTLE BABY BUM LIVE’ is recommended for ages 0 – 5 years.
Running Time: 60-minutes (no interval)
Tuesday 23 July – Saturday 3 August 2019
Tickets from £16.50*
‘MONSTERSAURUS’ is recommended for ages 3 – 8 years.
Running Time: 55-minutes (no interval)
Wednesday 24 July – Sunday 11 August 2019
Tickets from £16.50*
‘ALIENS LOVE UNDERPANTS’ is recommended for ages 3 – 8 years.
Koko Brown’s brutally honest show about depression is an emotional and heartfelt reminder that attitudes and reactions to mental health issues are still problematic.
Brown uses spoken word and vocal looping to present a series of sketches that link together in a non-linear, fragmented way to draw a recognisable and relatable picture of the frustrating and tormented journey sufferers go through in their fight to just be OK.
Accompanied onstage by Sapphire Joy, using BSL and wonderfully choreographed movement to share the narration, Brown takes the audience on a devastating trip through the anger “What have I got to be sad about?”, the excuses and diversions used to explain her behaviour, and the well-meaning advice that bombards her when friends and colleagues notice she is feeling low. Brown performs a piercingly insightful and inspiring dissection of the strong, black, independent woman image that millionaire celebrities are held up to be. In just a few minutes she lays bare the prejudice and misogyny that black women face but ends with an affirmation of strength and hope. Depression being a “white, middle class” affliction, and the strength of religious faith feature in a light-hearted way to partly explain the low numbers of black women seeking treatment for mental health issues, but Brown’s writing, although universal, focusses on one woman’s struggle to live with depression.
Joy’s exact role as Brown’s interpreter, and what she actually represents, becomes more and more clear as the story evolves, with her musical and jolly distractions taking Brown to “The Clubhouse” in a pastiche of children’s TV introducing our new friends – sadness, and to her obvious disgust, the drug citalopram and all of its side effects.
The lighting, sound and set design all work brilliantly together, and Brown and Joy’s movement around the stage set up their relationship wonderfully, leading to the final acceptance that Brown’s depression is a part of her that she needs to find a way to recognise and live with, with or without medication, and the hope that she will have more good days than bad.
A brave and beautiful depiction of depression that shines a light on an illness that is still misunderstood.
Sue Townsend’s spotty hero isn’t the most obvious musical star, but Jake Brunger and Pippa Cleary’s bonkers musical brings the chaotic innocence of 1980s teenagers to life with a joyfully irresistible energy.
A year in Adrian’s life – where his mother’s affair with sleezy Mr Lucas and his dad’s rebound dalliance with Dirty Doreen play out alongside Adrian’s awkward attempts to romance Pandora – is portrayed at breakneck speed by a cast of 10. The four children – Adrian, his best friend/romantic rival Nigel, Pandora and bully boy Barry are shared between 16 talented young actors. I was lucky enough to see Rebecca Nardin as Pandora, Jeremiah Waysome as Nigel, Jack Gale as Barry and Rufus Kampa as Adrian. They just blew me away – Rufus Kampa is a future superstar, commanding the stage even as he hunches over his diary spouting Adrian’s execrable poetry. The adult cast give hilariously broad performances, with John Hopkins unmissable as Mr Lucas and vile headmaster Mr Scruton. The masterstroke of having the adults double as schoolchildren doesn’t lose its shine. Hopkins walking on as a moustachioed schoolgirl with a cute headband made a lot of the audience spill their drinks.
The music is a well-judged mix, with some moving numbers as Adrian’s parents’ relationship breaks down, and the spectacularly catchy upbeat anthems Misunderstood and Take A Stand. Obviously, the musical cannot do complete justice to the novel, but the sense of anarchy and the ramshackle atmosphere of the 1980s shines through in this deliberately unglossy production. The absurdity of Adrian’s brush with death is realised wonderfully, and his avant-garde Nativity play is a joy to behold that had the entire audience roaring with laughter and is worth the ticket price alone.
Fantastic summer entertainment for the whole family.
FAMILIAR FACES IN ONE MAN, TWO GUVNORS AT THE NEW WOLSEY AND NUFFIELD SOUTHAMPTON THEATRES
The New Wolsey Theatre, Ipswich, has announced the cast for the new upcoming production of comedy ONE MAN, TWO GUVNORS, in association with Nuffield Southampton Theatres. Richard Bean’s riotous farce, based on The Servant of Two Masters by Carlo Goldoni, is set in the colourful underworld of Brighton in the swinging sixties, combining all the elements of classic comedy into a fizzing cocktail of fun, with songs by Grant Olding.
The production runs at the New Wolsey Theatre from Thursday 5 September to Saturday 28 September and moves to Nuffield Southampton Theatres from Tuesday 1 October to Saturday 12 October 2019.
Directed by the New Wolsey’s Artistic Director Peter Rowe, this high-octane physical comedy, recreating swinging sixties skiffle vibes, is guaranteed to deliver comedy capers this Autumn.
ONE MAN, TWO GUVNORS brings together a host of familiar faces to both venues and new, experienced performers from the worlds of theatre, television and music. John Elkington returns to Nuffield Southampton Theatres, following his role in NoisesOff, to play Charlie “the Duck” Clench. He previously appeared at Nottingham Playhouse in Robin Hood and the Babes in the Wood and The Cherry Orchard and in Queens of the Coal Age (Royal Exchange & New Vic) and Coronation Street. Playing alongside John is Matt Devitt as Harry Dangle. Matt has a long and varied theatrical career, including 18 years as Associate Artistic Director of Queen’s Theatre Hornchurch, appearing as Cookie in the original cast of cult musical Return to the Forbidden Planet and on television in the BBC’s Red Dwarf.
The cast of actor-musicians sees the return of New Wolsey pantomime favourite Elizabeth Rowe as Pauline Clench. Audiences from the New Wolsey will recognise Elizabeth from Red Riding Hood, Sinbad and Made in Dagenham. Also no stranger to the New Wolsey is George Maguire, playing Alan Dangle, who has appeared in 20th Century Boy at the theatre before its transition to the Belgrade Theatre Coventry and most recently played Marc Bolan (2018 UK tour) in the production.
The line-up for ONE MAN, TWO GUVNORS also includes singer/song-writer, producer, actor and writer Tori Allen Martin as Dolly. Tori’s previous appearances include Hair (European Tour), Rent (The Cockpit) and H R Haitch (Iris Theatre). Further credits include Tori’s EP Wasted and three tracks on Idris Elba’s album Mi Mandela.
Philip Tomlin takes the role of the bumbling, inept Francis Henshall, the One Man with his Two Guvnors. Philip graduated from Arts Educational Schools in 2015 and has previously performed in Two Gentleman of Verona, directed by Ipswich-born Sir Trevor Nunn (Andrew Lloyd Weber Foundation Theatre).
Marcus Adolphy is playing Lloyd Boateng. Marcus has recently appeared in The Convert (The Gate Theatre), The Suicide (The National Theatre) and Backseat Drivers (The London Theatre).
Josie Dunn is no stranger to the New Wolsey’s stage and is appearing as Rachel Crabbe. Josie may be recognised from her role in New Wolsey’s sell-out production of Our Blue Heaven in 2018and her appearance in Rosencrantz and Guildenstern Are Dead (National Theatre Live). Other familiar faces include Lloyd Gorman as Gareth.Some may recognise Gorman from his appearances in Once, Worst Wedding Ever and Our House at the New Wolsey Theatre.
The cast of actor-musicians also includes: Luke Barton as Stanley Stubbers (Sherlock Holmes, Blackeyed Theatre, and Romeo & Juliet, Merely Theatre and Richard Leeming as Alfie (Dr Faustus, RSC, and Anna Karenina, Royal Court).
The creative team is comprised of New Wolsey regular contributors, including set and costume design by Libby Watson (Once, New Wolsey Theatre), with physical comedy direction from Ian Nicholson, who was Associate Director on Nuffield Southampton Theatres’ The Audience and Billionaire Boy The Musical, and fight direction by Bret Yount.
From Tuesday 10 September, every performance of ONE MAN, TWO GUVNORS will be Audio Described via a headset. On Thursday 26 September at 1.30pm, the New Wolsey Theatre will present a Dementia Friendly and Relaxed Performance, where the environment is adjusted for those requiring a more relaxed atmosphere when attending the theatre, or need additional support. Saturday 21 September at 2:30pm and Friday 27 September at 7:45pm will be British Sign Language Interpreted and Captioned performances.
Rehearsals for the production begin on Monday 12 August with the show opening at the New Wolsey Theatre on Thursday 5 September. The production runs in Ipswich until 28 September and ends in Southampton on 12 October.
Performed in the New Wolsey Theatre’s ever-popular actor-musician style, this joyous update of Goldini’s classic Italian comedy, has established itself as one of the great British comedies of the 21st Century. The National Theatre’s production in 2011 cemented James Corden’s reputation as a star of stage and screen, on both sides of the Atlantic, winning a Tony Award during its Broadway debut in 2012. Be sure to secure your tickets to avoid disappointment for this hotly anticipated rollicking farce this Autumn!
Tickets are on sale now and can be booked through the tickets sales team at the New Wolsey by calling 01473 295900 or by booking online at www.wolseytheatre.co.uk
For tickets at Nuffield Southampton Theatres call 023 8067 1771 or book online atwww.nstheatres.co.uk
Full casting for Joseph and the Amazing Technicolor Dreamcoat, Sheridan Smith as The Narrator, Jason Donovan as Pharaoh, Jac Yarrow making his professional debut as Joseph.
The production is playing a strictly limited 11-week season from Thursday 27 June.
Michael Pickering plays Simeon and Richard Carson will be Reuben. Joining them are Femi Akinfolarin, Casey Al-Shaqsy, JR Ballantyne, Lydia Bannister, Thalia Burt, Michael Cortez, Vanessa Fisher, Ahmed Hamad, Blythe Jandoo, Matt Krzan, Kelsie-Rae Marshall, Billy Mitchell, Georgina Parkinson, Emily Ann Potter, Matthew Rowland, Harriet Samuel-Grey, Carl Spencer, Joshua Steel, Hannah Taylor and Jack Wilcox.
The cast also includes a rotating children’s ensemble, featuring Rihana Akhtar, Mia Byers, Angel Clark, Aoife Connelly, Oliver Crouch, Jacob Dennison, Anna De Oliviera, Tilly Doherty, Nessa Eriksson, Dara Gleeson, Sean Gordon, Maci Hughes, Isabelle Jones, Dino Karakostas, Jamie Kenly, Jaxon Knopf, Olivia Leask, Olivia McNulty, Indiphile Mbonzongwana, Jack Meredith, Chloe Muldowny, Keanna-Skye O’Quinn, Regan Parker, Devon Pomeroy, Etienne Ragoo, Olivia Seagrove, Tom Skoines, Nina Stevenson, Jandice Stewart, Mia Walsh, Luca Willemburg and Sacha Yarwood.
Joseph and the Amazing Technicolor Dreamcoat directed by Laurence Connor (School of Rock Miss Saigon). Laurence is joined on the creative team by Choreographer JoAnn M Hunter, Morgan Large who designed the set and costumes, Lighting Designer Ben Cracknell and Sound Designer Gareth Owen.
A scene from Joseph And The Amazing Technicolor Dreamcoat by Andrew Lloyd Webber and Tim Rice @ London Palladium. Directed by Laurence Connor.
(Opening 11-07-19)
QUEEN’S THEATRE TO CLOSE 13 JULY 2019 FOR RENOVATION OF
WARTIME BOMB DAMAGE AND A MAJOR RESTORATION
REOPENING AS
T H E S O N D H E I M T H E A T R E
WITH THE NEW PRODUCTION OF LES MISÉRABLES
ON 18 DECEMBER 2019 AS IT ENTERS ITS 35TH WORLD RECORD-BREAKING YEAR
LES MISÉRABLES IN CONCERT PLAYS THE GIELGUD THEATRE AUGUST – NOVEMBER 2019
Cameron Mackintosh today (5 July 2019)announces he is delighted that in honour of Stephen Sondheim’s 90th birthday next March, the Queen’s Theatre will be renamed the Sondheim Theatre, making him the only living artist to have a theatre named in his honour both in the West End and on Broadway. Following the renovation of wartime bomb damage and a major restoration of the auditorium and the complete backstage, the newly named Sondheim Theatre will continue as the home of world’s longest running musical Les Misérables as it enters its 35th year.
Cameron Mackintosh said: “I have been lucky enough to have been a friend and colleague of Steve’s since our first collaboration in 1976 on the musical revue Side by Side by Sondheim at the Wyndham’s Theatre. After 112 years Shaftesbury Avenue will have a theatre named after a living legend and house the world’s longest running musical, the legendary Les Misérables as it enters its phenomenal 35th year. As an innovative voice in musical theatre, his influence has no equal. Sondheim’s work will undoubtedly be performed as long as audiences want to see live theatre, so I feel honoured that he has agreed to have his name on one of my Shaftesbury Avenue theatres to salute his upcoming 90th birthday. Over the decades his work has become increasingly appreciated and performed by all, both as part of the popular theatre and classical repertoires and in spaces that range from a pie shop to the Royal Opera House. His love of theatre is unquenchable and throughout his career he has been an exceptional champion of so many young creatives as well as supporting numerous productions worldwide, especially here in London. When Les Misérables re-opens in December with the new production, the re-built and restored theatre will be re-named the Sondheim Theatre – a perfect companion to the Gielgud Theatre next door, named after the great actor John Gielgud, and the Coward and Novello Theatres, named after the two celebrated British writers and composers. For the past 25 years I have tried to build a studio theatre in central London named after Sondheim, but it wasn’t to be. I felt this major refurbishment of a building that has housed his brilliant work was the perfect moment to put his name “on some marquee all twinkling lights – a spark to pierce the dark”. Stephen Sondheim has always been that spark to all of us. Even as an eight-year-old boy dreaming about becoming a producer I could never have dreamt a dream like this or be happier.”
Stephen Sondheim said: “I have loved British Theatre since I saw my first play here in 1958. I have treasured Cameron Mackintosh’s support and friendship ever since he produced Side by Side by Sondheim in 1976. Cameron is synonymous with British Theatre, so the confluence on this occasion is truly exhilarating. I am chuffed, as you say in British English, to a degree I wouldn’t have imagined. Or as we say in American English, it’s awesome.”
The Queen’s Theatre originally opened on 8 October 1907 with The Sugar Bowl, a comedy by Madeleine Lucette Ryley and was designed by architect W.G.R. Sprague as a pair with the adjoining corner of Shaftesbury Avenue. On 8 July 1959 the theatre reopened with John Gielgud’s Shakespearean recital Ages of Man. Architects Westwood Sons & Partners reconstructed the building at a cost of £250,000, with Sir Hugh Casson acting as consultant on the décor. On 13 July 2019 the theatre will close for four months of rebuilding work both backstage and in the auditorium. This work will also restore W.G.R. Sprague’s original boxes and loges which, along with the entire front of house, were destroyed by a bomb in 1940 and caused the theatre to be closed for 20 years. The restored theatre will be returned to its pre-war splendour, reopening on 18 December 2019 as the Sondheim Theatre.
Stephen Sondheim wrote the music and lyrics for Saturday Night, A Funny Thing Happened on the Way to the Forum, Anyone Can Whistle, Company, A Little Night Music, The Frogs, Pacific Overtures, Sweeney Todd, Merrily We Roll Along, Sunday in the Park With George, Into the Woods, Assassins, Passion (which played the Queen’s Theatre in 1996) and Road Show, as well as lyrics for West Side Story, Gypsy, Do I Hear a Waltz? and additional lyrics for Candide, Side by Side by Sondheim, Marry Me a Little, You’re Gonna Love Tomorrow, Putting it Together, Moving On and Sondheim on Sondheim are anthologies of his work as composer and lyricist. For films, he composed the scores of Stavisky, co-composed Reds and wrote songs for Dick Tracy. He also wrote songs for the TV production Evening Primrose, co-authored the film The Last of Sheila and the play Getting Away With Murder and provided incidental music for the plays The Girls of Summer, Invitation to a March, Twigs and The Enclave.
Stephen Sondheim is on the Council of the Dramatists Guild, the national association of playwrights, composers and lyricists, having served as its President from 1973 to 1981, in which year he foundedYoung Playwrights Inc. to develop and promote the work of American playwrights aged 18 years and younger. His collected lyrics with attendant essays have been published in two volumes: Finishing the Hat and Look, I Made A Hat. Sondheim is the recipient of numerous awards for his extensive body of work. In 2010 the Broadway theatre formerly known as Henry Miller’s Theatre was renamed in his honour.
Produced on stage by Mackintosh, Les Misérablesis the world’s longest running musical now in its 35th year in London. Produced on screen also by Mackintosh (along with Working Title and Universal), Les Misérablesis now the most successful movie of an original stage musical. From 10 August – 30 November 2019 a spectacular staging ofLes Misérablesin concert with a company of over 65 will run at the intimate Gielgud Theatre next door, for which most performances are sold out. The new production of Les Misérables, with a separate company, is currently on a sold-out international tour which has recently been extended to Autumn 2020.
The acclaimed new production of Les Misérables first premiered in Cardiff in 2009 for the UK 25th anniversary tour and, apart from London, is the only version of the show produced by Cameron Mackintosh that has been seen around the world in the last ten years, having enjoyed record-breaking runs in Australia, Japan, Korea, France, Spain, Dubai, Manila, Singapore, Brazil, Mexico, Broadway and 2 North American Tours which are still continuing. The new Les Mis will now re-open at the newly named Sondheim Theatre on 18 December 2019 with casting to be announced later this summer.
This musical version of The Color Purple, written by Alice Walker back in 1982, has been brought to the stage with simplicity, passion and ultimately joy. The music and lyrics by Brenda Russell, Allee Willis and Stephen Bray, telling the story that spans over 40 years of Celie’s life of abuse and heartache convey it cleverly but succinctly. The set, designed by Alex Lowde, is simple but very effective with two openings appearing through a wooden slated backdrop allowing different rooms to slide in and out. Joshua Pharo’s projections of nature onto the wooden slats give you both the darkness at the beginning of Celie’s story and then the light towards the end with increasing use of colour.
It is a play of two halves with the first act telling how horrific Celie’s early life was with her illegitimate children by her stepfather being taken away, being made to marry the over-powering and equally abusive Mister so that she could look after his unruly children but also to protect her younger sister Nettie from the same fate. It is only at the end of the first half that her spirits and whole demina rise when she meets Shug Avery, a singer who Celie falls in love with. Gradually Celie begins to realise that there is a way out and moves to Memphis with Shug, cursing Mister on her departure. Whether it is the curse or not, Mister falls on hard times and gradually begins to see how appalling he was and starts to make amends. Celie inherits her old home and store when her stepfather dies and Shug encourages her to go back and make a go of running the store, which is a success. Mister comes to terms with the fact that he actually loves Celie and manages to arrange for Nettie and Celie’s two children, who have been brought up by the Preacher and his wife with whom Nettie went to Africa with, to come home giving the emotional crescendo to what was a dark, disturbing story.
The bigger numbers (The Color Purple, In Miss Celie’s Pants and Africa) choreographed by Mark Smith with Alex Parker as Musical Director, were full of energy and joy with every member of the cast giving their all.
The outstanding T’Shan Williams played Celie with such passion in both poise and song but so much more. She plays down her singing during the time of abuse with restraint, which must have been difficult to do but then grows and blossoms towards the end of the show, filling the stage on her own with an amazingly moving performance of I’m Here which brought the house down. Danielle Fiamanya (Nettie) has the prefect voice to compliment Williams during their sister songs. Joanne Francis as Shug Avery portrays a strong, independent woman with style and had everyone tapping their feet during her song Push Da Button. Sophia, played by Karen Mavundukure, was a wonderful character who could not be kept down for long and added plenty of humour. The three church-going friends Jarene (Landi Oshinowo), Darlene (Rosemary Annabella Nkruman and Doris (Danielle Kassarate), who are also the town’s gossips time and again added humour and comic timing between the larger numbers and were a joy.
Watching this performance was emotionally exhausting, even teary eyed, with the songs giving you goosebumps from start to finish. The standing ovation was more than well deserved and it is a “must see” for any theatre lover!
There is a constant undertone of references to church beliefs throughout the play, the original book being based on a series of letters from Celie to God.
Shakespeare’s Rose Theatre, York – until 1st September 2019
Reviewed by Aimee Liddington
5*****
For an exciting, engaging and fully immersive experience of Shakespearean theatre, you must pay a visit to Shakespeare’s Rose Theatre in York. From the minute you enter the Shakespearean Village, you feel transported to another time as you are surrounded by wooden structures with thatched roofs and an Elizabethan garden filled with thriving flowers and herbs. You do not have to wait for the play to start to be entertained either, as there is a variety of entertainment on offer whilst you wait to be seated. The food and drinks are certainly worth a try too – on a warm summer’s evening, it is the perfect place to be.
On first glance of the stage, the simplicity of the set surprised me. The wooden set was understated with just a handful of simple embellishments. While it initially seemed bare, it actually provided the perfect blank canvas to showcase the fabulous costumes on display. Special mention should go to the Costume and Scenic Designer, Adrian Linford, whose vision really fulfilled its purpose. It added to the value of the performance but detracted nothing from the great talent of the actors.
The play itself was intriguing, entertaining and, at times, humorous. When watching Shakespearean theatre, some people get incredibly caught up with trying to understand every single word. In this rendition of The Tempest, the actors played the parts so convincingly that you did not need to worry about that. The trio of Trinculo (played by Christopher Logan), Stephano (played by Peter Moreton) and Caliban (played by Raphael Bushay) provided short bursts of comedy throughout. The actors delivered the lines in a way that kept the charm of the period in which they were written, but also appealed to a modern audience. A review of this play would not be complete without a mention of Ariel (played by Leander Deeny) who, with his agility and nymph-like movements, managed to seamlessly link the scenes together. The chorus of Spirits (played by Ali Azhar, Marilyn Nnadebe, Richie Daysh, Charlyne Francis, Jessica Dennis and Johanne Murdock) added to this and provided the element of wonder and peculiarity that so often appears in Shakespeare’s works.
A timeless classic, performed with immense passion and flair. You need to come to York and experience it for yourself – start your summer fling with Shakespeare without delay!
An All-Party Parliamentary Group (APPG) for Theatre was created this week, with an inaugural General Meeting on Monday 1 July.
Led by Giles Watling, Conservative MP for Clacton, and Tracy Brabin, Labour MP for Batley and Spen – both former professional actors with experience of the theatre industry – the cross-party group has been founded to support the resilience and relevance of theatre in the UK for audiences, its workforce and society.
In 2018, the theatre industry saw audiences of over 34m with ticket revenue of nearly £1.28bn, from a total of 62,945 performances across the UK. Theatre is part of the creative industries, which are the fastest growing part of the UK’s economy, contributing over £101 billion in Gross Value Added.
The APPG’s Statement of Purpose is to identify and debate potential opportunities and issues for the theatre industry in the UK, and increase fellow parliamentarians’ understanding of the theatre and performing arts at a national and local level.
UK Theatre and Society of London Theatre (SOLT) have been appointed the secretariat, providing organisational, staff time and strategic support. They will also be bringing together a group of theatre organisations from across the UK to act as a sounding board and help ensure that a wide range of theatre topics and issues are suggested for the APPG to look into.
Giles Watling MP said:
‘It is my hope that this APPG will do more to promote domestic theatre in Parliament. As a former actor, I know that we have a thriving and successful theatre industry in the UK, but we need to do more to support this sector and improve the offer for those working within it.
I am also pleased that UK Theatre and SOLT are acting as our secretariat and their expertise will be essential. I hope that all other interested parties will get in touch to work with us, to help put domestic theatre on a higher level here in Parliament – doing so can only be a positive for our theatre, production teams, and actors.’
Tracey Brabin MP said:
‘I love theatre and I know the massive impact it has on culture, wellbeing and learning in our country. Therefore I’m absolutely delighted to be part of the Theatre APPG. Now more than ever, we need politicians to hear from theatres and support them with the challenges they face.
I hope we can be instrumental in keeping access to theatre open for all, wherever they live. The support we’ve received so far has been amazing, particularly from UK Theatre and SOLT for providing the secretariat.’
Julian Bird, Chief Executive of SOLT and UK Theatre, said:
‘The UK theatre industry is world-renowned for the work it produces, and contributes hugely to this country’s global cultural influence, Soft Power and economic standing. It is fantastic that this APPG has been created, and UK Theatre and SOLT hope that it serves to highlight the need for Government support to ensure the continued resilience of the industry and ensure the sector’s voice is heard.’
A formal launch of the new APPG will be held in the Autumn.
THE NEXT CAST ALBUM KARAOKE WILL TAKE PLACE ON JULY 17TH
The next Waitress LondonCast Album KaraokeNight has been confirmed for Wednesday July 17th. Audience members who want to take part just need to sign up before that evening’s show for the chance to sing one minute of any song from Waitress – live on stage at the Adelphi and accompanied by the show’s musical director Katharine Woolley. Hosts and further details about the event will be announced in due course.
Waitress celebrated its official opening night on 7 March and the Tony-nominated musical by Sara Bareilles is now booking to 7 December 2019.
London’s brand-new smash hit musical comedy Waitress tells the story of Jenna, a waitress and expert pie-maker who dreams her way out of a loveless marriage. When a hot new doctor arrives in town, life gets complicated. With the support of her workmates Becky and Dawn, Jenna overcomes the challenges she faces and finds that laughter, love and friendship can provide the perfect recipe for happiness.
Brought to life by a ground breaking, female-led creative team, the hit show features an original score by 7-time Grammy® nominee Sara Bareilles (Love Song, Brave), a book by acclaimed screenwriter Jessie Nelson (I Am Sam) and direction by Tony Award® winner Diane Paulus (Pippin, Finding Neverland) and choreography by Lorin Latarro. The production is currently touring the US and has also announced it will have its Australian premiere in 2020 at the Sydney Lyric Theatre.
Alongside Lucie Jones as Jenna, Waitress stars Blake Harrison as Ogie, Marisha Wallace as Becky, Ashley Roberts as Dawn, Peter Hannah as Earl, David Hunter as Dr. Pomatter and Shaun Prendergast as Old Joe.
The full company includes Kelly Agbowu, Piers Bate, Nicole Raquel Dennis, Michael Hamway, Peter Hannah, Blake Harrison, David Hunter, Lucie Jones, Stephen Leask, Chris McGuigan, Olivia Moore, Nathaniel Morrison, Sarah O’Connor, Leanne Pinder, Shaun Prendergast, Charlotte Riby, Ashley Roberts, Marisha Wallace and Mark Willshire.
On its Broadway opening, Waitress was nominated for four Outer Critics’ Circle Awards, including Outstanding New Broadway Musical; two Drama League Award Nominations, including Outstanding Production of a Broadway or Off-Broadway Musical; six Drama Desk Nominations, including Outstanding Musical; and four Tony Award Nominations, including Best Musical.
