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MAMMA MIA! CELEBRATES 20 YEARS IN LONDON

WITH A SPECIAL TICKET LOTTERY THROUGHOUT APRIL

AND A NEW BOOKING PERIOD TO 7 MARCH 2020

MAMMA MIA! TURNS 20 AT LONDON’S NOVELLO THEATRE

ON SATURDAY 6 APRIL 2019

The global smash hit musical MAMMA MIA! celebrates its 20^th anniversary in London’s West End at the Novello Theatre on Saturday 6 April. Since premiering in London in 1999, the irresistible feelgood musical has captured the hearts of millions around the globe.

The sunny, funny tale of a mother, a daughter and three possible dads on a Greek island idyll, all unfolding to the magic of ABBA’s timeless pop masterpieces, has now been seen live on stage by 65 million people across the world, and turned into two record-breaking movies – MAMMA MIA! The Movie and MAMMA MIA! Here We Go Again.

To celebrate the musical’s 20^th anniversary, the producers of MAMMA MIA! will be offering 20 tickets for £20 on the day of performance for every performance throughout April 2019, either via the TodayTix app or todaytix.com (https://www.todaytix.com/x/london) or in person at the Novello Theatre Box Office.

A new booking period, from Monday 16 September 2019 to Saturday 7 March 2020, will open at 10.00am on Wednesday 3 April 2019.

The London cast of MAMMA MIA! currently stars Sara Poyzer as Donna, Kate Graham as Tanya, Ricky Butt as Rosie, Richard Trinder as Sam, Neil Moors as Harry, Stephen Beckett as Bill, Lucy May Barker as Sophie, Alec Porter as Sky, Charlotte O’Rourke as Ali, Leah St Luce as Lisa, Damian Buhagiar as Pepper and Eamonn Cox as Eddie, with Caroline Deverill playing the role of Donna Sheridan at certain performances.

Also in the cast are Chloe Ames, Chloe-Jo Byrnes, Adam Clayton-Smith, Adam Davidson, Luke Hall, Lauren Hampton, Jack Heasman, Jennifer Hepburn, Stuart Hickey, Zoe Humphryes, Mark Isherwood, Tyler Kennington, Robert Knight, Chanel Mian, James Willoughby Moore, Natasha O’Brien, Dean Read, Beth Relf, Annie Southall and Katy Stredder.

To date, MAMMA MIA! has been seen in 50 productions in 16 different languages grossing more than $2 billion at the box office.  In 2011, it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China.  MAMMA MIA! is also currently playing a German-language tour in Germany, Austria and Switzerland, a Dutch-language production in Utrecht and a Mandarin-language production in China.  Upcoming productions include a UK and International Tour and productions in Korea, Berlin and Denmark.

MAMMA MIA! originally opened in London at the Prince Edward Theatre on 6 April 1999, before transferring to the Prince of Wales Theatre in 2004, and then to the Novello Theatre in 2012. 

The London production of MAMMA MIA!  has been seen by over 8.9 million people, played over 8,000 performances and has broken box office records in all three of its London homes.

Produced by Judy Craymer, MAMMA MIA! The Movie became the highest grossing live action musical film of all time upon its release in 2008.  A second film, MAMMA MIA! HERE WE GO AGAIN, opened in July 2018 and is the most successful live musical movie sequel of all time.

With music & lyrics by Benny Andersson & Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. The production is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce & Bobby Aitken, and musical supervision, additional material & arrangements by Martin Koch.

MAMMA MIA! is produced by Judy Craymer, Richard East & Björn Ulvaeus for Littlestar in association with Universal.

LISTINGS INFORMATION

Novello Theatre

Aldwych

London WC2B 4LD

Ticket Prices: From £15.00

Performances until 14 September 2019 – a £2.25 per ticket booking fee applies to tickets booked online, and a £2.75 per ticket booking fee applies to tickets booked by phone.  No booking fee on tickets purchased in person at the Novello Theatre Box Office.

Performances from 16 September 2019 onwards – a £2.50 per ticket booking fee applies to tickets booked online and by phone.  No booking fee on tickets purchased in person at the Novello Theatre Box Office.

All prices include £1.25 restoration levy.

Early Bird Pricing – anyone booking four months or more in advance of the performance they are attending (Monday to Thursday performances only) will save £20 on Band A and Premium tickets, but only through Delfont Mackintosh Theatres, either online, in person at the theatre, or by calling the Novello Theatre Box Office.

Performance Times:

Monday – Saturday 7.45pm

Matinees – Thursday & Saturday 3.00pm*

* extra Tuesday matinees 22 October 2019 & 18 February 2020

Christmas 2019/20 Performance Schedule

Monday 23 December                      3.00pm and 7.45pm           

Tuesday 24 December                     NO PERFORMANCE

Wednesday 25 December               NO PERFORMANCE

Thursday 26 December                    7.45pm

Friday 27 December                         3.00pm and 7.45pm

Saturday 28 December                    3.00pm and 7.45pm

Monday 30 December                      3.00pm and 7.45pm

Tuesday 31 December                     3.00pm and 7.45pm

Wednesday 1 January                      7.45pm

Thursday 2 January                          3.00pm and 7.45pm

Friday 3 January                               7.45pm

Saturday 4 January                           3.00pm and 7.45pm

Currently booking to 7 March 2020

The performance lasts 2 hours and 35 minutes (including a 15-minute interval)

Box Office: 0844 482 5151

http://www.mamma-mia.com/

http://www.facebook.com/mammamiamusical

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REHEARSAL IMAGES RELEASED FOR SECOND YEAR COMPANY OF

T I N A – T H E   T I N A   T U R N E R   M U S I C A L

AT THE ALDWYCH THEATRE AS FULL CAST IS CONFIRMED

Final casting and rehearsal images are released today (26 March 2019) for the second year West End Company of TINA – THE TINA TURNER MUSICAL.  Based on the life of legendary artist Tina Turner, this hit production is playing to packed houses at the Aldwych Theatre and currently booking to 21 December 2019.

From 15 April 2019, Nkeki Obi-Melekwe will lead the cast in the title role with Ashley Zhangazhaas Ike Turner.  They are joined by Maria Omakinwa who will play the role of Tina’s mother Zelma,Aisha Jawando who will play the role of Tina at some performances each week, Irene-Myrtle Forrester as Tina’s Grandmother GG, Howard Gossington as Record Producer Phil Spector and Lyricist Terry Britten, Francesca Jackson as Ike and Tina’s manager Rhonda Graam,Ava Brennanas Tina’s sister Alline Bullock, Jammy Kasongo as Tina’s father Richard Bullock and Tina’s first love Raymond Hill, Edward Bourne as record company Marketing Manager Erwin Bach and Oscar Batterham as Tina’s Manager Roger Davies.

Ensemble members are Daniella Bowen, Chloe Chambers, Joelle Dyson, Lejaun Sheppard,Kibong Tanji, Jayme-Lee Zanoncelli, Cameron Bernard Jones who also plays Tina’s son Craig and Ashlee Irish who plays Tina’s son Ronnie and Joseph Richardson, and swings Gavin Alex,Derek Aidoo, Joshua Da Costa, Amandla Elynah, Hannah Jay-Allan, Angela Marie Hurst,Leisha Mollyneaux and Samuel J. Weir.

The children’s cast are Athea Andi, 11 years old from Richmond upon Thames, Navaeah Hoath, 11 years old from Bromley and Fayth Ifil, 11 years old from Swindon,who share the role of Young Anna Mae, Perola Da Cunha, 11 years old from Hackney, Jasmine Djazel, 9 years old from Wandsworth and Teri Ofon, 12 years old from Surrey, who share the role of Young Alline andRomell Barrocks-Bedeau, 9 years old from Lamberth, Riotafari Gardner, 8 years old from Brent and Myles Grant, 8 years old from Hertfordshire, and who share the role of Young Craig.

Directed by Phyllida Lloyd and written by Katori Hall with Frank Ketelaar and Kees Prins,TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting byBruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations byEthan Popp. 

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race. 

A 2018 graduate of the The University of Michigan’s School of Music, Theater and Dance, Nkeki Obi-Melekwe will make her West End debut in the title role.  She made her professional off-Broadway debut last month in Alice by Heart at Robert W. Wilson MCC Theater Space.  Her television credits include Smilf for Showtime and Bull for CBS.

Ashley Zhangazha was last on stage in Death of a Salesman at the Royal Exchange in Manchester where he also appeared in Hamlet and Guys and Dolls, for which he won Best Performance in a Musical at 2018 UK Theatre awards. His other theatre credits include Henry V and Fences in the West End, Pericles and Danton’s Death for the National Theatre, A Raisin in the Sun and Macbeth (for which he won the Ian Charleson Award) at the Sheffield Crucible, Terror for the Lyric Hammersmith,Ah, Wilderness! for the Young Vic, Human Animals, Belong and Truth and Reconciliation for the Royal Court and Richard II and King Lear at the Donmar Warehouse.  His television credits include Victoria II, Humans and Ordinary Lies.

The critically acclaimed production received its world premiere in April 2018 in London and subsequently has broken all Box Office records at the Aldwych Theatre.  Earlier this month the German premiere of TINA – THE TINA TURNER MUSICAL began performances at the Stage Operettenhaus in Hamburg and the musical will have its Broadway premiere in Autumn 2019.  In February this year a new music video of River Deep – Mountain High was released featuringAdrienne Warren performing the track from the original cast album.  This was followed by the release of the single The Hunter featuring Kobna Holdbrook-Smith. The full album is now available for pre-order and is scheduled to be released for digital download and streaming shortly.

TINA – THE TINA TURNER MUSICAL is nominated for Best Musical at the 2019 Olivier awards with Adrienne Warren nominated for Best Actress in a Musical and Kobna Holdbrook-Smith for best Actor in a Musical.

TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment,Joop van den Ende and Tali Pelman, in association with Tina Turner.  Nkeki Obi-Melekwe will be appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity.

The Grand Theatre, Leeds – until Saturday 30th of March

Reviewed by Sally Richmond

5*****

The opening words of The Full Monty stage production are – “Turn your mobiles off and keep your knickers on” and set the scene immediately! The show opens inside a deserted Sheffield steelworks with crates, oil drums and dubious electrics. Throughout the production, the illuminated signs smoothly convert the stage into a job centre, nightclub, Conservative club and police station. It’s here that brilliant scenes of comedy are played out, with undertones of some very serious issues such as: unemployment, mental health and redundancy.

Our lovable cast is led by the charismatic Gary Lucy (EastEnders, The Bill, Footballers’s Wives, winner of Dancing On Ice) who has made the role of Gaz his own as a young, arrogant Sheffield lad. Alongside Gary, Andrew Dunn (best known as Tony in Dinnerladies) plays middle-class Gerald to perfection in a most believable portrayal. Louis Emerick (Coronation Street and Brookside) plays Horse (you can find out the meaning behind his name when you go and see the show – but it’s not what you’re thinking!) Kai Owen (Rhys in Torchwood & Pete in Hollyoaks) is Dave, who captures the essence of the character so well – going from clown to someone who’s under much emotional strain due to his marital problems. Young actor Fraser Kelly is also very notable as Gaz’s son Nathan, receiving a huge cheer from the audience, as did James Redmond (Guy) for obvious reasons! The whole cast clearly get on as they had great chemistry on stage and showed genuine affection and praise for one another during the standing ovation, which was given by a very excited, heated and mainly female audience.

There are far too many comedy highlights to mention them all with laugh-out-loud moments in abundance. The dancing is so hilarious and is set to the original, fantastic soundtrack which results in a great night out. Heart-warming and serious where it needs to be – The Full Monty will take you back in time and have you tapping your feet right from the off! The adapted stage script is mostly true to the film, including comedy, poignant moments and, of course, bare bottoms. Iconic moments from the movie are included such as: the cling film diet scene, sun bed tanning at home, and dancing in the dole queue. The pace really picks up in the second half, as our adorable rogues and misfits rehearse for the ultimate one night only – The Full Monty. The audience were going wild by the end, singing along to the legendary Tom Jones, clapping to the rhythm and screaming to the gyrations. But do they go the Full Monty? That is something you can find out when you go yourself, but I will say – you won’t be disappointed

Yvonne Arnaud Theatre, Guildford – until 30th March 2019

Reviewed by Antonia Hebbert

4****

Well, that was fun. The country might be going mad, but things aren’t completely bad when you can see a daft musical about an ogre who falls in love with a princess who turns out to be an ogre too. Guildford School of Acting students gave their all in this romp of a show, with some terrific ensemble numbers and outstanding individual performances.

The show is closely based on Shrek, the Dreamworks animated film. Aidan Cutler (Shrek) and Bradley Walwyn (Donkey) managed the tricky feat of making very familiar jokes from the film sound fresh and hilarious, with perfect comic timing. Matthew Rankcom was sheer delight as the fiendish Lord Farquaad. Jessica Bates made a funny, feisty Princess Fiona, and wowed us with nifty tap-dancing in one of the best ensemble pieces, involving the Pied Piper and wayward rats. Other ensemble highlights were What’s Up Duloc and the party-like final scene (choreography was by Amy Oxley). All the cast deserve credit: the energy never flagged as they appeared and reappeared as fairy tale characters, guard, villagers and so on in a succession of quick changes. Nick Gartland’s Pinocchio was spot on, and Anna Davey sang dazzlingly as the love-struck dragon (nicely conveyed by a giant stick puppet).

A very enthusiastic audience of fellow students probably helped, but could have been a distraction for their friends on stage. It was impressive that the performers never looked as if they were just playing to the home crowd: they were professional throughout. The set (by UK Productions) had lots of charm. Jenny Sawyer was the director, and the musical director was Michael Cotton, who led the band.

Jack Studio Theatre – 19 to 30 March

Reviewed by Claire Roderick

4****

Yard Players’ production of King Lear takes Shakespeare’s long, meandering tragedy and shapes it into a (relatively) fast-paced and thoroughly engaging story.

The tone of the play is set beautifully as the Fool manoeuvres each character onstage for the first scene, setting a tableau that signals the loyalties of each group before a word is uttered. Alan Booty’s Lear is a suitably commanding presence, and his descent into madness as he is abandoned is handled deftly and delicately. Zara Banks and Fleur de Wit are hugely impressive as Lear’s faithless daughters Goneril and Regan, and their husbands Albany (Benjamin May) and Cornwall (David Sayers) are played as weaker male shadows of the ruthless women. Recasting Edmund as Ada (Evangeline Beaven) is a masterstroke, making Gloucester’s indifference towards his bastard child seem even more cruel. Beaven is both sympathetic and repulsive as she plots her rise to power, and her non-verbal work is full of wit, in stark contrast to the initially rather wet Edgar (Daniel McCaully).

With no scenery and minimum props, the setting of each scene is scrawled in chalk on the black wall, using names of pubs, or simply “dark”, but this works brilliantly keeping the story flowing without the need for long scene breaks. The sense of injustice and the rising chaos as Lear’s authority is diminished are captured nicely, and the loyalty and love shown Lear by his true friends is never over simplified and cloying. The play’s most infamous scene, where poor Gloucester loses his eyes, is staged imaginatively, with groans from the audience as they realised that it was actually going to happen, and nervous gasps and giggles as the scene unfolded. There are a lot of laughs in this production as the cast and director James Eley bring the wicked and gleeful wordplay to the fore and throw masterful side eye to the audience.

King Lear is not my favourite Shakespeare play – I usually nod off – but Yard Players breathe new life into the old dog and have created an intelligent, invigorating and witty production that deserves a wider audience.

Greenwich Theatre – 20 to 30 March 2019

Reviewed by Claire Roderick

5*****

Lazarus Theatre’s pulsating production of Lord of the Flies returns to Greenwich Theatre and is even more exhilarating the second time round.

A plane full of British schoolboys, evacuated from an unspecified war, crashes on a remote island. No adults survive, so the boys must create their own society as they wait for a rescue that may never happen.

Nigel Williams’ adaptation loses, by necessity, lots of the philosophical content of Golding’s novel, leaving the bare bones of the plot. Director Ricky Dukes takes this even further, foregoing any backdrop of sand and sea and instead having an empty, unadorned stage, with Ben Jacobs lighting design portraying the baking island sun or the eerie trails amongst the trees stunningly.

The action begins with a hoodie Haka to pulsing dance music (the first of many as the boys descend to savagery), setting the scene of the plane crash, before the cast scatter and emerge from around the auditorium at the call of Piggy’s precious conch. The use of the entire theatre space is inspired, with an entire seating area being used as ramshackle shelters, and action taking place in the aisles (and scaring the bejeesus out of the schoolkids in the audience!).

The savagery and animal instincts of the boys seems even more pronounced this year, with simian leaps and yells that would make Andy Serkis proud, and the contrast between the hunters’ shouts and chants and Ralph’s group’s desperate clinging to the remnants and trappings of decent society is played to great effect – never more so than the reveal of what the hunters actually use as tribal markings. The boys’ sense of entitlement depending on whether they’re at a “good” school and the social pecking order inherent in that system, is bitterly relevant right now, but also ripe for a few good gags, with Jack declaring that he’ll bring strong and stable leadership to the island. The sense of childhood innocence being corrupted by freedom and fear is always palpable and the power of Golding’s novel is enhanced by the manic physicality of the production.

The casting is gender split, but the entire company play their characters as boys, meaning that the gender of each actor is soon forgotten. Alice Hutchinson impresses as Ralph, nailing the conflict between gleeful liberation and responsibility, and Tommy Carmichael captures Piggy’s pedantic, annoying but thoroughly decent character brilliantly and amusingly. Benjamin Victor as Simon is like a visitor from another world, in a beautifully judged and ethereal performance. Matt Penson is a revelation as Jack – utterly convincing in his rage and violence but always allowing glimpses of terrified little boy trying to cope in a strange new world. Darcy Willison also impresses as the odious and sycophantic Roger, prowling around the stage with terrifying bloodlust and shedding all responsibility and morality as he follows his chief’s orders.

The mounting terror on the island is handled with minimal stage effects and maximum horror and tension. The appearance of the parachutist will still make you jump out of your seat, and the deaths are terrifying. The schoolchildren behind me were still in shock, giggling nervously as we sat eating ice cream as Victor lay onstage throughout the interval after Simon’s murder (although they had calmed down enough to rank the shirtless male cast by hotness before the action resumed), and when poor Piggy’s time came the gasps and shrieks were even more vocal.

Deliciously dark and disturbing, Lord of the Flies thrills and shocks in equal measure. A must-see production.

StoryHouse, Chester – until Saturday 30th March 2019

Reviewed by Julie Noller

5*****

Back in 1982 I was an excited eight year old, I had my very first sticker book based on a much hyped upcoming film called Annie. Fast forward over 30 years and I’m now back in the very same building I first saw Annie, it’s no longer a cinema owned by a big brand but very much a local theatre putting on great shows.

Annie itself is a book written by Thomas Meehan based on an american comic strip ‘little orphan Annie’ from it’s first run on Broadway in 1977 it has remained popular with young and older audiences. There has in fact been two films produced and I was curious to see how Annie the stage musical would compare. The set and costume design by Colin Richmond is somewhat simplistic but striking, there’s bold geometric art-deco shapes from doorways to desks. The colour scheme from the dark greens of the drab, damp and somewhat depressing orphanage to the bright cheery interior of Oliver Warbuck’s 5th Avenue mansion. The costumes are all reminiscent of the era of the so called great American depression of the late 1920’s and heading into the era of Roosevelt’s New Deal which saw relief for many and brought prosperity and hope to the masses. There’s more than a hint of those big musical films that saw stars tap dancing and incredible musical numbers still played and remembered today, tap dancing sailors? Pop them in for some light relief.

Ava Smith who incidentally is on her professional debut during this current tour; is magnificent as Annie. An eleven year old orphan who despite years of hard living has remained soft at heart. In an era of depression it’s easy to lose sight of life and Annie teaches us all that there’s always Tomorrow, which is perfectly belted out. Annie has a positive effect on all whose paths she crosses. Perhaps given today’s political climate in the UK with Brexit (sorry) we should all take a dose of Annie’s realistic optimism. Ava along with fellow orphans from Team Empire State are commanding up on stage and obviously enjoying their roles greatly, Tia Grace Isaac shines as young vulnerable Molly yet to become just another statistic she just wants to have fun as all young girls do. However much the girls long for decent meals and loving homes they treat us to a rendition of Hard Knock Life, a song that has been parodied (as I note have many other songs from this musical highlighting it’s much loved popularity) in films such as Austin Powers.

Life in the orphanage is cold in more ways than temperature, run by the drunk and somewhat dippy Miss Hannigan. Anita Dobson came to fame we know playing a somewhat alcoholic pub landlady in Eastenders, so we know she is more than capable of that. She brings humour to the role and a realism that drink is quite often the way many deal with depressing times. She hates her job, she hates the girls but it also keeps a roof over her head. Miss Hannigan’s solo number Little Girls highlights this perfectly and you can’t help but chuckle at her movements. Easy Street a shared number with Rooster and Lily (Richard Meek and Jenny Gayner) highlights how the American dream of a better life turned sour so quickly with Miss Hannigan being easily manipulated by her ruthless brother.

When Grace Farrell arrives at the orphanage with a request for an orphan to spent Christmas with Oliver Warbucks, we are introduced to a person with such warmth and a desire to help by Carolyn Maitland. Business man Oliver Warbucks a man who has in his own words spent years and climbed over many people to get to where he is, is one of my favourite parts brought to life by Alex Bourne, great vocals but also a sadness that seeps through with Annie doing what Annie does best, those deep wounds slowly heal and the strikingly obvious hits me.

Annie isn’t only a story of a small orphan girls dreams for her parents to come for her, it’s about a search in us all for no matter what today brings there’s always tomorrow. Daddy Warbucks is a person who searches and truly finds himself. Annie is an absolutely smashing musical, full of big show tunes, history, characters with real depth and life. There’s sadness and happiness there’s even a dog sandy played by the lovely Amber who is returning to the role with a wagging tail and an obvious love of life on stage, which I’m sure is nothing to do with the numerous treats.

Annie is a must see for all ages, children cheered and booed throughout even singing. Whilst adults happily remembered their own childhood, some of us joined in the singing. For such a tale set at a sad time, it’s wonderful. It ends as all stories should end happily with a flourish of glitzy streamers and a singsong. Grace gets her man, Miss Hannigan and Rooster get their comeuppance. The girls from the orphanage get decent food and little orphan Annie is no more for she finally gets her longed for family.

RECIPIENTS OF THE THIRD ANNUAL TONIC AWARDS ANNOUNCED

RECOGNISING WOMEN ACROSS THE THEATRE INDUSTRY

Recipients of the third annual Tonic Awards were announced tonight at an awards ceremony held at The May Fair Hotel hosted by Tracy Ann Oberman. The awards celebrate the achievements of game-changing women, significant organisations, projects and productions that redefine the role of women in the performing arts, both on and off stage. The recipients of this year’s awards are: Jude Kelly CBE, Alison Tickell, Open Clasp TheatreCompany, Paula Garfield, Elliott & Harper Productions for Company, Shakespeare’s Globe’s production of Emilia, The Susan Smith Blackburn Prize and Dance Umbrella.

Lucy Kerbel, Director of Tonic Theatre, said today, “It is absolutely vital there is a platform to celebrate the integral part women play in this industry and we couldn’t be prouder that the Tonic Awards return this year to recognise and champion the work of these women, both on and off stage. We’ve seen great strides forward for women in our industry and wider society over the last few years and we hope to continue to support these positive changes.”

Sita McIntosh, Chair of Tonic’s Board of Trustees, added, “I couldn’t be prouder of what the Tonic Awards have become. It is now stitched into the fabric of our industry as a legitimate, respected and inspirational ceremony that brings together the leading female lights in UK Theatre to celebrate each others successes, inspire the next generation of theatre makers and generally support each other. Tonic remains committed to pushing for further change and greater representation of women across our industry.”

This year’s recipients were:

Jude Kelly CBE for her inspirational leadership of the Southbank Centre, in particular, the creation of the Women of the World Festival – utilising the resources, creativity and expertise of an arts organisations to empower and provide a platform to women and girls.

The award was presented to Jude Kelly CBE by Lemn Sissay MBE, poet, playwright and broadcaster. 

Alison Tickell for her commitment to increasing awareness of the performing arts’ carbon footprint and implementing practical and imaginative changes to better the industry through her pioneering work for Julie’s Bicycle.

The award was presented to Alison Tickell by Sir Nicholas Serota, CH, Chair of Arts Council England.

Open Clasp Theatre Company for their efforts to engage and provide opportunity to marginalised women to engage with theatre and present stories that might otherwise go unheard.

The award was presented to Open Clasp Theatre Company’s Artistic Director Catrina McHugh MBE by Erica Whyman OBE, Deputy Artistic Director at the Royal Shakespeare Company.

Paula Garfield for her energy and unwavering commitment to opening theatre up and the artistic quality of the work she produces as Artistic Director of Deafinitely Theatre.

The award was presented to Paula Garfield by Jo Hutchison, Director of JHI Marketing.

Elliott & Harper Productions for Company, an outstanding production andground-breaking example of cross-gender casting in commercial musical theatre, breathing new life into a classic and paving the way for more cross-gender casting and reimagining of the musical theatre cannon.

The award was presented to Marianne Elliott and Chris Harper from Elliott & Harper Productions by Sarah Crompton, Theatre Critic for WhatsOnStage and culture journalist.

Shakespeare’s Globe’s production of Emilia for bringing visibility to Emilia Bassano, a female artist who had been obscured in history, in an articulate, witty and intelligent production that highlighted the situation for women in theatre and wider society.

The award was presented to playwright Morgan Lloyd-Malcolm plus various members of the team behind the production of Emilia by Sita McIntosh, Chair of Tonic’s Board of Trustees and COO of WhatsOnStage.

The Susan Smith Blackburn Prize for the impact it has had in supporting women writers over the last 40 years. Its recognition and financial support has aided generations of women pursuing careers in writing.

The award was presented to Emily Reid from The Susan Smith Blackburn Prize by Indhu Rubasingham MBE, Artistic Director of Kiln Theatre.

Dance Umbrella for shaping the landscape of modern and contemporary dance in the UK. Under the leadership of three outstanding women Dance Umbrella is a creative force that develops artists, audiences and the artform itself.

The award was presented to the three women who have in succession been Artistic Director at Dance Umbrella: Val Bourne CBE, Betsy Gregory and Emma Gladstone by Siobhan Davies CBE, Artistic Director of Siobhan Davies Dance.

Attending the ceremony tonight were senior figures from across the UK theatre industry including Nadia Fall, Haydn Gwynne, Robert Hastie, Karena Johnson, Brigid Larmour, Lynette Linton, Britannia Morton, Dame Rosemary Squire DBE and Meera Syal CBE. Tonic Awards will return in March 2020 with another cohort of recipients.

The Tonic Awards are made possible by the generosity of the headline sponsor White Light Ltd, and the following sponsors: Dewynters, JHI Marketing, The May Fair Hotel, Nick Hern Books and WhatsOnStage.

Northern Broadsides production of Much Ado About Nothing to open prestigious Shakespeare Festival in Germany

Northern Broadsides are delighted to announce that their acclaimed co-production with the New Vic Theatre, Newcastle-under-Lyme of William Shakespeare’s glorious tale of antagonistic romance and chaotic comedy Much Ado About Nothing will be opening this year’s Shakespeare festival at The Globe Theatre in the German city of Neuss from the 14-16 June.

The prestigious festival– now is in its 29th year – will run in from 14 June to 13 July and will stage 33 performances of fifteen productions from France, Poland, Hungary, England and Germany. As well as the productions, there will be a Shakespeare Day for children, workshops for school pupils and teachers, and introductory presentations for the seven premieres scheduled to take place in Germany and on NRW radio.

Northern Broadsides Artistic Director Conrad Nelson said:

“As we career into continued uncertainty I take some solace in the knowledge that Arts organisations across European and the words of a 400 year old play can still form the foundations for an effective and enjoyable artistic partnership. I’m absolutely delighted to be returning to the International Shakespeare festival in Neuss, with our critically acclaimed production of Much Ado about Nothing. Under the enthusiastic leadership of producer Dr Rainer Wiertz The Globe Theatre continues to flourish. My last visit in 2000 was playing the reluctant lover, ‘Benedick’ in the same play – the memories of which are vivid. In 2019 I return as Director and despite of all, I have no reluctance in hoping that our future cultural liaisons with Europe could be equally as bright.”

Dr. Rainer Wiertz, Artistic Director of the Festival added:

“The start of our festival is always a very special event, and we all are eagerly and curiously looking forward to your vibrant, explosive and dashing Much Ado About Nothing. We are very proud that you will participate in this year’s program!”

The Shakespeare Festival, which takes place annually in the early summer, is unique of its kind. Fans of Shakespeare’s dramatic, turbulent, witty plays make the journey to the Rhine from all over Germany and are inspired by the atmosphere. It’s relaxed and uncomplicated and the theatre companies from all four corners of the world contribute to this, bringing international flair to Neuss for four weeks of the year in June and July.

The Globe Neuss on the Rennbahn is a small-scale replica of Shakespeare’s 1599 theatre. The intimate horseshoe design brings the audience really close to the action, whether their seats are in the stalls or on one of the two raised tiers. A unique atmosphere is created by the lovingly designed ambiance, with its “(Shakes)beer garden” and its inviting foyer contributing to the festival’s veryspecial quality.

The Northern Broadsides and New Vic Theatre co-production is currently on a national tour and will be visiting in the coming weeks Derby Theatre (26-30 March); Theatre Royal Bury St Edmunds (2-6 April); Lawrence Batley Theatre, Huddersfield (16-20 Apr), Viaduct Theatre, Halifax (25 Apr-4 May), The Lowry Salford (7-11 May); York Theatre Royal (14-18 May) and Harrogate Theatre (21-25 May).

For more information visit www.northern-broadsides.co.uk andwww.shakespeare-festival.de

Pulse Records Limited in association with Bill Elms present

‘A BIG SWEEPING STORY WITH REAL EMOTION’

THE STAGE

MAJOR UK TOUR FOR

HELEN FORRESTER’S

BY THE WATERS OF LIVERPOOL

National dates revealed for new show from the team behind Helen Forrester’s beloved Twopence To Cross The Mersey

Following on from its highly acclaimed run at the Liverpool Empire Theatre last autumn, By The Waters Of Liverpool is set to embark on a major UK tour in Spring 2020 it has been revealed today.

The production follows the smash-hit success of Forrester’s Twopence To Cross The Mersey and is being brought to audiences by the team behind both the musical and stage play versions of the award-winning true story.

By The Waters Of Liverpool is a period drama set in the 1930s. The story opens in 1935. Helen Forrester is sixteen years old and fighting a bitter battle with her parents for the right to educate herself and go out to work.

During the Great Depression, Helen’s father lost his fortune when the stock market and the family were suddenly thrown into poverty. Leaving behind the nannies, servants and comfortable middle-class life in the South West of England, the Forrester’s chose Liverpool as the place to start over. They were in for a terrible shock. Taken out of school to care for her younger brothers and sisters while her parents struggled to re-build their shattered lives, Helen is treated as an unpaid slave and desperate to escape.

By 1939, now aged twenty and with Britain on the brink of war, she has never been kissed by a man. But things start looking up for Helen when she meets a tall strong seaman and falls in love.

And in celebration of what would have been Helen Forrester’s 100th Birthday, the 11-week tour will open at Wirral’s, New Brighton Floral Pavilion from March 3-8, 2020, just a few miles from where she was born.

The tour will then move on to the Stockport Plaza from March 10-12, Warrington Parr Hall on March 14-15, St Helens Theatre Royal from March 17-21, Lancaster Grand on March 23-24, Crewe Lyceum on March 25-26, and Southport Theatre on March 27-28.

It continues with dates at Rhyl Pavilion Theatre from March 31 to April 4, Swansea Grand Theatre on April 6-7, Darlington Hippodrome from April 9-11, and Malvern Theatres on April 14-15.

The 2nd leg of the tour and full casting will be announced in the coming weeks.

Millions of people know Helen Forrester’s life story told through her best-selling volumes of autobiography, Twopence to Cross the Mersey, Liverpool Miss and By The Waters Of Liverpool.

Writer and friend of Helen Forrester, Rob Fennah has written both the stage play versions of Twopence To Cross The Mersey and By The Waters Of Liverpool. The new touring production is again produced by Pulse Records Limited in association with Bill Elms, and is directed by Gareth Tudor Price.

Rob Fennah said: “We had an amazing response when we premiered By The Waters Of Liverpool last autumn. Helen Forrester’s books resonate with millions of people across the UK and many more around the world.

“This adaptation of By The Waters Of Liverpool features a sizeable chunk from Liverpool Miss, Helen’s second volume of autobiography, together with flashbacks to Twopence To Cross The Mersey, so newcomers to Helen’s story will get a complete picture of her life.

“This June marks the centenary of Helen’s birth and, although she is no longer with us, she’ll be in our thoughts at this very special time. Last year her son Robert Bhatia made the journey from Canada to see the production at the Liverpool Empire and loved it. Now, with Robert’s full backing, we can’t wait to share his mother’s story with audiences across the UK.”

By The Waters Of Liverpool by Helen Forrester has sold more than a million books. Now this is your chance to see it come to life in this exciting new stage play adaptation.

Adapted by Rob Fennah   ·   Directed by Gareth Tudor Price

Produced by Pulse Records Limited in association with Bill Elms

Fully endorsed by the Helen Forrester Estate

Website:         www.bythewatersofliverpool.com

Facebook:       www.facebook.com/ByTheWatersThePlay

LISTING INFORMATION

BY THE WATERS OF LIVERPOOL

FLORAL PAVILION

Tuesday 3-Sunday 8 March 2020

Marine Promenade, New Brighton, CH45 2JS

Tickets from £22 plus booking fee

Website:          www.floralpavilion.com

Box Office:      0151 666 0000

STOCKPORT PLAZA

Tuesday 10-Thursday 12 March 2020

Mersey Square, Stockport, SK1 1SP

Tickets from £22 plus booking fee

Website:          www.stockportplaza.co.uk

Box Office:      0161 477 7779

PARR HALL

Saturday 14-Sunday 15 March 2020

Palmyra Square, Warrington, WA1 1BL

Tickets from £22 plus booking fee

Website:          https://parrhall.culturewarrington.org/whats-on

Box Office:      01925 442345

ST HELENS THEATRE ROYAL

Tuesday 17-Saturday 21 March 2020

Corporation Street, St Helens, WA10 1LQ

Tickets from £22 plus booking fee

Website:          www.sthelenstheatreroyal.com

Box Office:      01744 756000

LANCASTER GRAND THEATRE

Monday 23-Tuesday 24 March 2020

St Leonardgate, Lancaster, LA1 1QW

Tickets from £22 plus booking fee

Website:          www.lancastergrand.co.uk

Box Office:      01524 64695

CREWE LYCEUM

Wednesday 25-Thursday 26 March 2020

Heath Street, Crewe, CW1 2DA

Tickets from £22 plus booking fee

Website:          www.crewelyceum.co.uk

Box Office:      01270 368242

SOUTHPORT THEATRE

Friday 27-Saturday 28 March 2020

The Promenade, Southport, PR9 0DZ

Tickets from £22 plus booking fee

Website:          www.waterfrontsouthport.co.uk/events/whats-on

Box Office:      01704 500036

PAVILION THEATRE RHYL

Tuesday 31 March-Saturday 4 April 2020

East Parade, Rhyl, LL18 3AQ

Tickets from £22 plus booking fee

Website:          www.rhylpavilion.co.uk

Box Office:      01745 330000

GRAND THEATRE SWANSEA

Monday 6-Tuesday 7 April 2020

Singleton Street, Swansea, SA1 3QJ

Tickets from £22 plus booking fee

Website:          www.swansea.gov.uk/swanseagrandtheatre

Box Office:      01792 475715

DARLINGTON HIPPODROME

Thursday 9- Saturday 11 April 2020

Parkgate, Darlington, DL1 1RR

Tickets from £22 plus booking fee

Website:          www.darlingtonhippodrome.co.uk

Box Office:      01325 405405

MALVERN THEATRES

Tuesday 14-Wednesday 15 April 2020

Grange Road, Malvern, WR14 3HB

Tickets from £22 plus booking fee

Website:          www.malvern-theatres.co.uk

Box Office:      01684 892277