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SARAH FRANKCOM STEPS DOWN AS ARTISTIC DIRECTOR OF THE ROYAL EXCHANGE THEATRE 

It has been announced today that Sarah Frankcom is stepping down as Artistic Director of the Royal Exchange Theatre to take up a new post as Director of the prestigious drama school LAMDA. Sarah originally joined the Exchange as Literary Manager in 1998. In 2008 she was made Joint Artistic Director before taking up her current position as sole Artistic Director in 2014. Under her artistic leadership the Exchange has thrived and has been celebrated for its originality, innovation and continued support for the next generation of writers, actors, directors and theatre makers. Described as a ‘Powerhouse’ and recognised for its ‘brave and bold’ programming Sarah has shaped the Theatre into an award-winning Company that asks what a producing theatre can be for artists, audiences and communities today.

Sarah Frankcom, Royal Exchange Artistic Director said,  

“My last four years at the Royal Exchange have been the most fulfilling and exhilarating of my career to date. The Theatre has allowed me to focus on my passions of nurturing new work and developing next generation theatre talent, whilst collaborating with some amazing artists and sharing work with an increasingly wide range of audiences. I’m immensely proud of the strides the Company has taken on and off our stages, increasing representation in both the stories we share with audiences, the artists we make work with, and the meaningful way in which we now work with, and listen to the communities we serve. The Exchange is in a really positive place and confidently embraces creative adventure. The time is ripe for fresh ideas and a new imagination to explore the possibilities of our iconic spaces, and lead the Company to new places artistically in partnership with our inspiring Executive Director, Steve Freeman.”

“There are very few jobs I would feel excited about leaving the Exchange for, but my background in teaching and enduring appetite for finding new and innovative ways of developing the widest variety of theatre talent, made the offer to lead LAMDA, and reimagine what drama training might be in the future, too enticing a challenge to pass up. I can’t wait to see what the Exchange accomplishes next, and know that whoever the next Artistic Director is, they will be enabled and supported by the finest of theatre colleagues, artists and audiences.” 

Creating some of the Exchange’s most defining pieces of theatre, Sarah’s work as a director has seen her reimagine classic drama and breathe life into new plays. Through her creative partnership with Associate Artist Maxine Peake she has redefined work as wide ranging as HAMLET, Caryl Churchill’s THE SKRIKER, A STREETCAR NAMED DESIRE and in 2018 Samuel Beckett’s surreal masterpiece HAPPY DAYS. Her recent productions have included the critically acclaimed DEATH OF A SALESMAN with Don Warrington and OUR TOWN, for which she was awarded Best Director at the 2018 UK Theatre Awards.  

Alongside her work on stage Sarah established THE BRUNTWOOD PRIZE FOR PLAYWRITING, a beacon for new writing and now Europe’s largest playwriting competition. She has championed the development of the Exchange’s award-winning Young Company and Elders whose extraordinary work continues to inform and impact. OPEN EXCHANGE, a growing network of local artists, has helped to connect makers from across the region providing space and support for the development of theatre here in the City. She has placed audiences and the communities of Greater Manchester at the heart of the organisation through unique projects such as YOU, THE AUDIENCE, the GM CRITICS SCHEME and the development of the Theatre’s newest programme of work LOCAL EXCHANGE. These projects have become a vital part of a continually evolving relationship with audience and communities.  

Royal Exchange Executive Director Steve Freeman commented…  

“It is a testament to Sarah’s generosity and vision that she is moving on from the Royal Exchange when the organisation is at the height of its creativity, handing over one of the most exciting roles in British theatre to fresh talent. She leaves us in an incredibly strong and vibrant position with art, artists, audiences, and our local communities at the centre of all we do. Her leadership is the reason why the Exchange is such a thriving and vital cultural institution, and her legacy is a tremendous foundation for our future. I know that Sarah will have an equally powerful impact in her new role at LAMDA.”

Alison Clark, Director North and National Combined Arts Director at Arts Council England added:  

“The Royal Exchange has gone from strength to strength under the artistic directorship of Sarah Frankcom. The work that has been produced under her leadership has been artistically outstanding and innovative, while also attuned and connected to local communities and audiences. She leaves the Royal Exchange in a fantastic place to now build on what she has achieved, especially under its new Executive Director, Steve Freeman. On a personal note I will miss Sarah’s presence in the city but look forward to seeing the difference she’ll make in her new role.”

Ben Caldwell, Chair of the Royal Exchange’s Board concludes…   

“Sarah is an extraordinary leader and an inspiring Artistic Director. It goes without saying that we are sorry to see her go but wish her an enormous amount of luck in her new role at LAMDA. I’ve had the privilege of working closely with Sarah since 2015 and have seen her passion for theatre and her drive for change first hand. Under her guidance the Royal Exchange has soared, our work is celebrated, our audiences have grown, and they are younger and more representative of our city region. She leaves this theatre on a high, with a strength and confidence for what our future might hold. I cannot think of anyone better to shape the future of LAMDA and I thank her for her everything she has brought to this unique Manchester theatre.”

As Artistic Director of the Royal Exchange Sarah Frankcom has transformed the Theatre into one of the most important and vibrant producing houses in the UK. She takes up her new role at LAMDA in November 2019.

York Theatre Royal – until 2nd March 2019

Reviewed by Marcus Richardson

4****

My second time watching Madagascar The Musical on stage, my first in Bridlington and now at the York Theatre Royal. I always find it interesting to watch a show at different points in the tour, does it get better or does the commitment die down. I would find it rather stupid to try and explain the plot of the much loved film so I’ll skip straight to the actors.

The cast, with just as much energy as I watched the show a couple of months ago, entertained the kids and adults alike, with fun upbeat songs and hilarious jokes throughout the show you’ll have to try hard not to have a good time. Matt Terry from the X Factor played Alex the Lion, the King of New York; with an impressive voice during the songs in the show and an energy on stage that engages the audience. My stand out performer was Timmika Ramsay, same as last time, playing Gloria the hippo with a soulful voice and a sassy character.  Antoine Murray-Straughan played Marty the Zebra with a lot of energy on stage and really brought the bounce to the show. Jamie Lee-Morgan player Melvin the giraffe, with a tall head on a stick it looked hard to control and heavy to hold, I’m surprised at how he held it up and use it in dance scenes. The character that the kids loved was King Julien played by Jo Parsons, with a crazy personality and more milk in the character than in a cow, the audience were howling at his moments on stage. The ensemble did an amazing job of taking on different roles from penguins, old ladies and lemurs, giving vocals that worked well with each other and each stood out on stage. It’s so great to see when the actors don’t loose the oomph throughout the run and give the same energy to every performance, and the energy here is fanatic.

The costumes look as similar to the film as you can make a body suit, it suited the style of the show. The set was simple enough so that the actors could bring props and scenery on stage   I really like when a show does this at it means scene changes are fast and we get lost in the magic of theatre more.

The kids loved this show and the audience at York Theatre Royal was much more reactive than at Bridlington Spa, the show is rather short with two forty minute acts, so you won’t have children getting bored. This is a show for all ages and families, any fans of the film will have to watch the live show as it’s just as funny.

Sheffield Lyceum – until 2 March 2019

Reviewed by Lottie Davis Browne

3***

It’s the late 1970’s and disco fever is in full swing. Italian-American teenager Tony Manero lives in Bay Ridge, Brooklyn with his parents and younger sister. Stuck in a dead end job in a small DIY site, Tony’s only real escape is the weekend when he can hang out with his four friends at local disco bar 2001 Odyssey (more fondly referred to as “the 2001”), where Tony is fast becoming the King of the dance floor.

When Tony hears about an upcoming dance contest at the 2001 where the top prize is $1,000 he decides to enter, reluctantly partnering with local girl Annette, who has been lusting after Tony for some time. However Annette’s joy is short lived as Tony meets a more experienced dancer, Stephanie Mangano at Dale Dance Studio, where him and Annette have been rehearsing, telling Annette he has found himself a new dance partner.

Although Tony wants more than just friendship from Stephanie, he reluctantly agrees to keep their relationship strictly professional.

Admittedly I haven’t seen the original movie that this musical is a direct adaptation of, having not being born until the early 80s nor not being a fan of disco nor The Bee Gees, whom of course provide the entire soundtrack for the story. Sure I’m familiar with the majority of their songs but tend to flick between radio stations should one of their tunes come on – unless of course it’s one of the many cover versions! However Saturday Night Fever transported me back in time to the groovy seventies, from the bad fashion to the disco balls.

Whilst the story itself is pretty much non existent, focussing mainly around the dance competition, it’s the music and choreography which make this musical such a hit. Bearing this in mind, I wasn’t particularly blown away by Richard Winsor as leading man Tony. For those that have seen the original movie, I’m sure you’ll recall how John Travolta was full of sass putting every emotion into his dancing – from toe to finger tips. However I felt Winsor lacked charisma and was seemingly devoid of showing any energy or emotion in his routines. You’d only to glance across at Jared Thompson as Double-J to see the difference. A great deal of disco moves relay on exaggerated hip moves which Thompson certainly didn’t disappoint on. Every part of his anatomy and facial expressions delivered the moves with jive and charisma, making me wonder why he hadn’t been cast as the leading role instead.

Phillip Aiden gave a chilling performance as Tony’s abusive alcoholic father whist Melody E Jones gave a heart warming performance as his ill-suffering wife.

The stage set was featured around some metal staircases which became the 2001’s steps for dancing on, lead to Tony’s bedroom and to the bridge Tony and his friends loved to hang out on, which later becomes the place where tragedy strikes (or should that be Tragedy?!).

Throw in the mirrored multi-coloured lit floor and disco balls for that original nostalgic disco feel and this musical leaves one itching to get up and strut. Whilst nothing can be done to enhance the lack of story from the original movie, having a issues from domestic violence, suicide, rape and the over use of the F-word, by the time the cast reach the encore finale mega mix (Disco Inferno/Night Fever/You Should be Dancing) one cant help but feel all warm and fuzzy and busting your best disco moves.

Saturday Night Fever is the ultimate nostalgic night out, performing at Sheffield’s Lyceum Theatre until Saturday 2nd March

Bristol Hippodrome – until 9 March 2019

Reviewed by Lucy Hitchcock

5*****

Harvey Fierstein and Cyndi Lauper as the original Musical and Staging designers of this show have hit the market in British Theatre with a BANG!

Kinky Boots follows the story of Charlie Price who takes on his fathers business as shoe makers, but ends up sending it into disrepair. In comes Lola, a flamboyant, fabulous and larger than life drag queen, who with Charlie, helps to build the business back up to hit the niche market of Drag Queens who need shoes. With Lola needing ‘2 and a half inches of irresistible, tubular sex…in RED’ this is no mean feat for Charlie, who eventually takes his shoes to Milan once perfected. Along the way, are some mountains Charlie needs to move in order to make his father proud, but nothing can sway his newfound passion of Shoe making.

Charlie Price, played by Joel Harper-Jackson was superb. His vocal ability was astonishing and he showed such emotion through the issues his character has to face-offending Lola and losing her support, losing his father, his marriage ending (the list could go on!). Harper-Jackson showed such empathy and really captured the audience and held us throughout the show.

The Angels are Lola’s backup group-a swarm of 6 Drag Queens who uplift the audience and enhance the choreography in ways I never dreamt of! High kicks, daring jumps and sultry moves all performed in humongous heels put most of the female audience to shame!

The standout performance of this show, was Kayi Ushe as the incomparable Lola, who served fabulous sass, iconic movement and soul destroying vocals all packed into this one performance. Lola is a superstar, an amazing character that any aspiring little boy would be proud to play! She has one of the most stunning emotional arcs I’ve ever witnessed and Ushe performed this seamlessly; making the audience laugh one minute and then cry the next. Hold Me In Your Heart is one of the most beautifully performed songs I’ve ever heard. Ushe channelled his inner Whitney Houston and certainly made me well up.

Providing one of the most ostentatious finales I’ve been blessed to witness, Kinky Boots is a mirage of heel, sex, fun and hilarity – so much so, I’ve booked to see it again this Saturday!! Do not miss out-Lola is waiting! 

Mayflower Theatre Southampton until Saturday 2nd March 2019.

Reviewed by Leanne Caplis

4****

Directed by Rufus Norris the National Theatre bring to the stage Macbeth. This is a UK and Ireland Tour that will also be broadcast to cinemas by National Theatre Live on Thursday 10th May 2019.

Having not familiarised myself with the story since reading it during my school days I was lost trying to establish what moment of time the play was trying to portray. I also found it difficult to confirm who was who within the play although by the second half I had worked it out.

The opening scene, which is a good blend of staging, lighting, music, dance and gore set the scene for the brilliance that was yet to come.

I found the set and costumes to be very dark; the only flash of colour being the loud red suit worn by King Duncan (Tom Mannion) and Michael Nardone (Macbeth). The rest of the cast wore modern day clothing which was mainly combat style attire. Some might find the set a bit basic with only three poles with shredded black bin bags hanging from them, a steep wooden walkway and outer walls of accommodation. I thought it worked well for this production and I enjoyed watching the cast move the set about making in part of the storyline.

The witches (Elizabeth Chan, Hauk Pattison and Evelyn Roberts) were superb. Their eerie voices that echoed throughout the theatre together with the creepy way they moved about the stage left me feeling like I was in a scene from a horror film.

I found the old Scottish dialect difficult to get to grips with at times and had to concentrate hard not to focus on every word being spoken; it was easy to get lost in the script. I’m not sure if it was our seating location (dress circle) or the microphone volume but I found Macbeth hard to hear on more than one occasion which was unfortunate as Michael Nardone was definitely the stand out character for me. A special mention here for Kirsty Besterman (Lady Macbeth) and Rachel Sanders (Ross) who both gave powerful performances.

I would gauge the audience to have been at least 70% school/college children and as a result I expect the play will produce good debates as part of literature study. The silence of the audience throughout the production is testament to a good show and therefore a recommended watch

THE ROYAL SHAKESPEARE COMPANY’S
MATILDA THE MUSICAL
WILL HELP ‘SHARE A STORY’ AS THE
OFFICIAL WORLD BOOK DAY BEDTIME STORY
ON THURSDAY 7 MARCH

The Royal Shakespeare company is delighted to announce that on World Book Day, Thursday 7 March at 7pm, cast members from the multi award-winning Matilda The Musical will present this year’s Official World Book Day Bedtime Story.

Audiences across the globe who tune into the Matilda The Musical Facebook channel at this time will be able to watch an exclusive performance from the cast including a reading from the beloved book by Malinda Parris as the show’s librarian Mrs Phelps and a performance of one of the show’s iconic musical numbers ‘Quiet’, featuring Isobel Hubble, one of the four actresses who share the role of Matilda. The bedtime story will also be streamed across partner feeds including those for Roald Dahl, World Book Day, Puffin and more.

In 2019, once again, the call to action to “Share a Story” lies at the heart of World Book Day – encouraging parents and carers to read and share stories with their children for just ten minutes each day. Reading for pleasure is the single biggest indicator of a child’s future success – eclipsing family circumstances, parents’ educational background or income (OECD). Yet the fact remains that children’s reading for pleasure is in long-term decline. According to the National Literacy Trust, if every child left primary school with the reading skills they need, the UK economy could increase by £30 billion by 2025.

As part of this year’s partnership between the Roald Dahl Story Company and World Book Day, children across the country will also find Roald Dahl’s most famous heroine, Matilda Wormwood, at the heart of the day’s celebrations as each of the 15 million book tokens given to every school child in the UK and Ireland is set to feature the literature-loving heroine.  

Matilda The Musical has now been seen by more than 9 million people worldwide, having toured to over 72 cities and played more than 6600 performances in the West End, on Broadway and on tour across North America, the UK, Ireland, Australia and New Zealand. The London production is now booking to 24 May 2020. 

Winner of over 91 international awards, including 23 for Best Musical, Matilda The Musical is also now touring the UK and Ireland, playing across the country until 17 August 2019.

Matilda The Musical is written by Dennis Kelly, with music and lyrics by Tim Minchin, and was developed and directed by Matthew Warchus. The production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and the special effects and illusions are by Paul Kieve. 

Inspired by the incomparable Roald Dahl’s beloved book, Matilda The Musical was commissioned by the Royal Shakespeare Company and premiered at the RSC’s Stratford-upon-Avon home in November 2010, before transferring to London’s West End in October 2011, where it opened to rave reviews. The New York production of Matilda The Musical opened in April 2013 at Broadway’s Shubert Theatre and was celebrated on 10 “Top Ten” lists for 2013, including TIME Magazine’s #1 Show of the Year. 

Matilda The Musical swept the board at the 2012 Olivier Awards, with a record-breaking seven awards, and won four Tony Awards and a Tony Honor for Excellence in the Theater for the four girls sharing the title role on Broadway.  

The North America production toured 52 cities. The Australian and New Zealand production won a Sydney Theatre Award for Best Musical in 2015, and played sold-out seasons in Melbourne, Brisbane, Perth, Adelaide and Auckland. The show broke further records in July 2016 by winning all 13 Helpmann Awards for which it was nominated. Matilda The Musical had its first non-English language production at the LG Arts Centre in Seoul, South Korea in September 2018. 

Matilda The Musical is produced by the Royal Shakespeare Company with André Ptaszynski and Denise Wood as Executive Producers. The production was developed with the support of Jeanie O’Hare and the RSC Literary Department.    

LISTINGS INFORMATION

MATILDA THE MUSICAL
Cambridge Theatre
Earlham Street
London WC2H 9HU

Tuesday – Friday 7pm
Wednesday 2pm
Saturday 2.30pm & 7.30pm
Sundays 3pm

Box Office: Cambridge Theatre 020 7087 7745 / RSC Ticket Hotline 01789 331111
No booking fee. 
Booking until 24 May 2020

www.matildathemusical.com

Twitter: @MatildaMusical
Facebook: @MatildaTheMusical
Instagram: @MatildaTheMusical
 

THE KINGS THEATRE, EDINBURGH – UNTIL 2ND MARCH 2019

REVIEWED BY SIOBHAN WILSON

4****

Allan Stewart and guests did not disappoint. The Big Big Variety Show was filled with big big laughs throughout. The intimate theatre made you feel like you were at a VIP viewing.

From Shirley Bassey to Freddy Mercury Allan’s impressions are as impeccable as ever.

Grant Stott as Allan’s right hand man was perfect. The comradery is so natural and everyone was in on the jokes with the way they deliver them.

Soul Nation Choir have great voices and got the audience participation started. Was brilliant to see them in the second half, showing off their acting skills.

BGT’s Mandy Muden had an opening night teething problem with her microphone not working however, between Allan & the sound team they got her up and running quickly, with a few laughs in the process. She done very well to get the audience back on side following this, and finished on a high.

For me, Kev Orkian stole the show. His own section had all belly laughs from start to finish. His incredible piano skills and singing added a great extra depth to his performance. His Cameo after the interval had everyone in stitches, even the cast when he went off script. Playing on his accent & heritage in Armenia, he pushed the boundary on political correctness with the most hilarious results.

The Andy Pickering Orchestra is a collection of highly talented musicians that are a perfect backbone running through the whole show.

Overall, a classic well balanced variety show that everyone in town should go and see

Yorke Dance Project comes to Leeds to celebrate 20 years of exceptional dance

Yorke Dance Project

TWENTY Years Anniversary Programme

Wednesday 20 March

Stanley & Audrey Burton Theatre, Leeds

theatreleeds.com

Contemporary ballet company Yorke Dance Project returns to Leeds next month to celebrate its 20^thanniversary with TWENTY. Featuring new dance by Robert Cohan CBE and the first ever restaging of Sir Kenneth MacMillan’s Playground, the company will be performing at the Stanley & Audrey Burton Theatre on 20 March 2019 for one night only.

Yorke Dance Project has attracted increasing acclaim for presenting dance by past masters and emerging artists from both the UK and the USA. For TWENTY, Artistic Director Yolande Yorke-Edgell has curated a celebratory programme which perfectly sums up her company’s philosophy. This first restaging of Sir Kenneth MacMillan’s Playground since its première by Sadler’s Wells Ballet in 1979will feature guest artist Romany Pajdak, First Artist of The Royal Ballet, music composed by Gordon Crosse, and set and costume designs reimagined by MacMillan’s daughter Charlotte MacMillan.

Communion is the sixth work created for the company by legendary contemporary choreographer Robert Cohan. Mythical and life-enhancing, Communion is set to music by Nils Frahm and designed by Cohan’s former London Contemporary Dance Theatre collaborator John B Read.

Between and Within is a new work by emerging LA-based choreographer Sophia Stoller, with original music by Justin Scheid. Four dancers play out the complex dynamics of a relationship between two people.

Yorke-Edgell’s own work Imprint pays tribute to the three choreographers who have been most important and influential throughout her career as a dancer: Richard Alston, for whom she danced at both Rambert and his own company; Bella Lewitzky, whose LA company she joined in 1994; and Robert Cohan, with whom she has worked so closely over the past few years.

Tickets for TWENTY by Yorke Dance Project at the Stanley & Audrey Burton Theatre, Leeds are on sale now and can be booked online at theatreleeds.com or by calling the Box Office on 0113 220 8008. Tickets are priced at £15.00.

REGENT’S PARK OPEN AIR THEATRE ANNOUNCE MOREoutdoor EVENTS FOR 2019

• MOREoutdoor COMEDY INCLUDES:
  • ADAM KAY – THIS IS GOING TO HURT (SECRET DIARIES OF A JUNIOR DOCTOR)
  • COMEDY STORE PLAYERS
  • SHAPPI KHORSANDI
• MOREoutdoor MUSIC FEATURES NICK MULVEY IN A SPECIAL ONE-OFF SOLO SHOW
• MOREoutdoor FILMS PRESENTED BY THE LUNA CINEMA INCLUDE:
  • MARY POPPINS RETURNS (SING-A-LONG)
  • A STAR IS BORN
  • 40^TH ANNIVERSARY SCREENING OF MONTY PYTHON’S LIFE OF BRIAN
• PRIORITY BOOKING OPENS 11AM, 1 MARCH /

PUBLIC BOOKING OPENS 11AM, 8 MARCH

Regent’s Park Open Air Theatre have today announced their full programme of MOREoutdoor events to complete their 2019 season. The one-off music, comedy and film events take place on Sunday evenings during the summer.

Adam Kay – This is Going to Hurt (Secret Diaries of a Junior Doctor)

Sunday, 2 June | 7.45pm (recommended ages 12+)

An absolute sell-out at the Edinburgh Fringe 2016, 2017 and 2018, Soho Theatre 2017, UK tour and West End 2018, award-winning comedian Adam Kay shares entries from his diaries as a junior doctor in this “electrifying” (Guardian) evening of stand-up and music. His accompanying book, This is Going to Hurt is a Sunday Times bestseller, and is being turned into a major BBC series.

Comedy Store Players

Sunday, 14 July | 7.45pm (recommended ages 15+)

With ingenuity and inimitable improvisational dexterity, the Comedy Store Players are back! With no idea of what you, the audience, will suggest for their sketches, skits and songs, be prepared for literally anything! 

Shappi Khorsandi

Sunday, 15 September | 7.45pm

Shappi established herself as one of the country’s finest comedians in 2006 with her sell out Edinburgh show, Asylum Speaker. A regular on Live At The Apollo and countless TV and radio shows – including Mock The Week, 8 Out Of 10 Cats, Have I Got News For You, QI and Just a Minute, she also spent time in the jungle in I’m a Celebrity, Get Me Out of Here. Whilst this is Shappi’s stand-up debut at Regent’s Park Open Air Theatre, one of her favourite things is pulling on her wellies, trudging through muddy fields, and performing at every music festival that has a comedy tent – from Glastonbury to Secret Garden Party.

Nick Mulvey

Sunday, 18 August | 7.45pm

Following his UK solo tour last autumn, singer-songwriter Nick Mulvey plays a special one-off solo show at Regent’s Park Open Air Theatre this summer.

Nick says “being up there on my own has brought me closer to my fans as they own the material too and sing along with me. They are my bandmates.”

On the back of his Mercury Prize nominated album First Mind, Nick released his second solo album, Wake Up Now, in September 2017, selling out shows at the Royal Albert Hall and two solo shows at Hackney EartH. 

The Luna Cinema presents:

Mary Poppins Returns (sing-a-long) 2018 (U): Sunday, 25 August | 8pm

A Star is Born 2018 (15): Sunday, 1 September | 8pm

Monty Python’s Life of Brian 1979 (15): Sunday, 8 September | 8pm

Following last year’s sell out screening of The Greatest Showman, The Luna Cinema returns to the Open Air Theatre with three outstanding cinema screenings:

The long awaited sequel to Disney’s musical masterpiece, Mary Poppins Returns bringsthe magical nanny to a whole new generation of children. It’s the perfect family film to enjoy – and sing-along to – on a summers evening ‘underneath the lovely London sky’. Reduced price tickets available for under 16s.

A story of love in the face of adversity, the smash hit movie musical, A Star is Born stars Lady Gaga and Bradley Cooper. Its incredible score includes Shallow, which recently won the Academy Award for Best Original Song.

Celebrating its 40^th anniversary, Monty Python’s Life of Brian is back on the big screen.With a star-studded cast, including John Cleese, Michael Palin, Eric Idle and the rest of the Python gang, ‘always look on the bright side of life’ in this hilarious British film.

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To accompany MOREoutdoor events, there is a choice of pre-event dining options, including The Regent’s Park Burger served from The Grill, Picnics and Luxury Hampers for Two. The Gin Experience for Two, includes reserved seating before the event and ingredients for two double Sacred Gin G&Ts each.

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The 2019 season at Regent’s Park Open Air Theatre also includes productions of Our Town, Thornton Wilder’s Pulitzer Prize-winning play (16 May – 8 June), the opera Hansel and Gretel (14 – 22 June) in a co-production with English National Opera, Shakespeare’s A Midsummer Night’s Dream (28 June – 27 July) and                         Evita (2 August – 21 September), lyrics by Tim Rice and music by Andrew Lloyd Webber.

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MOREoutdoor Priority Booking for Open Air Theatre members opens 11am, Friday 1 March 2019;                Public Booking opens 11am, Friday 8 March 2019.

For more information visit: openairtheatre.com

More information of Open Air Theatre memberships visit: openairtheatre.com/join

Birmingham Repertory Theatre and Adam Blanshay Productions present
EDMOND DE BERGERAC
By Alexis Michalik
Translated by Jeremy Sams
Directed by Roxana Silbert

• EDMOND DE BERGERAC WILL STAR FREDDIE FOX, HENRY GOODMAN, JOSIE LAWRENCE AND CHIZZY AKUDOLU
• THE MOLIÈRE AWARD-WINNING COMEDY OPENS AT THE BIRMINGHAM REPERTORY THEATRE FROM FRIDAY 15 MARCH UNTIL SATURDAY 30 MARCH
• FURTHER TOUR DATES HAVE BEEN ANNOUNCED: YORK, NORTHAMPTON, CAMBRIDGE AND RICHMOND.
• THE PLAY HAS BEEN TRANSLATED BY JEREMY SAMS AND WILL BE DIRECTED BY ROXANA SILBERT
• TICKETS ARE ON SALE

Edmond de Bergerac, Alexis Michalik’s hilarious comedy and French theatre phenomenon, will have its UK première at Birmingham Repertory Theatre from 15 – 30 March with a star cast led byFreddie Fox as Edmond Rostand, alongside Henry Goodman as Constant Coquelin, Josie Lawrence as Sarah Bernhardt and Chizzy Akudolu as Maria.

The five-time Molière Award winning comedy will then tour to York Grand Opera House, Northampton Theatre Royal, Cambridge Arts Theatre and Richmond Theatre.

This English language première has a new translation by Jeremy Sams and is directed by the current Artistic Director of Birmingham Rep, Roxana Silbert.

The cast also features Delroy Atkinson as Monsieur Honoré; Gina Bramhill as Jeanne; Nick Cavaliere as Ange Floury; Simon Gregor as Marcel; Harry Kershaw as Jean; David Langham as George Feydeau; Robin Morrisey as Léo and Sarah Ridgeway as Rosemonde. 

Edmond de Bergerac is the hilarious story behind Cyrano de Bergerac. Set in Paris in 1897, playwright Edmond Rostand (Freddie Fox) is approaching his thirtieth birthday with no new plays but a whole lot of worries. He has not written anything in two years and in desperation has promised a new play to the acting superstar, Constant Coquelin (Henry Goodman).

A desperate Edmond draws on his problems to write a new comedy. It will be an unbelievable tale about the demands of his producers, the whims of the actresses, the jealousy of his wife, his doubting colleagues and the romantic adventures of his best friend. It shall be called Cyrano de Bergerac!

The original production of Edmond continues to play to packed houses in Paris at the Theatre du Palais-Royale.

Alexis Michalik will receive two UK premières of his work this season. Alongside Edmond de Bergerac at Birmingham Rep and on tour, Intra Muros will open at the Park Theatre, London from 3 April – 4 May, directed by Ché Walker. Michalik is an author, actor and director with previous writing credits including Le Porteur d’Histoire which has run for over 1500 performances to date and played around the world, as well as Le Cercle Des Illusionnistes. For these two pieces, Michalik received the Beaumarchais du Figaro Prize, the Jeune Théâtre de l’Académie Française Award and two coveted Molière Awards. He wrote and directed Edmond in 2016, winning five Molière Awards, having just celebrated its 800th performance in Paris and recently released as a feature film. Intra Muros is his most recent work, having opened in Paris, 2017 at the Théâtre 13 before transferring to the larger Théâtre La Pépinière, where it continues to sell out today.

Edmond de Bergerac will be designed by Robert Innes Hopkins. The movement director isLiam Steel and the composer is Dave Price. Sound design is by Dan Hoole and lighting design by Rick Fisher. Voice director is Stephen Kemble, casting director is Amy Ball and Jack McMahon is the assistant director. 

Produced in association with Nicolas Talar. 

LISTINGS

Birmingham Repertory Theatre and Adam Blanshay Productions present the UK première of
EDMOND DE BERGERAC
By Alexis Michalik
Translated by Jeremy Sams
Directed by Roxana Silbert

Birmingham Repertory Theatre
15 – 30 March
0121 236 4455 / birmingham-rep.co.uk

York Grand Opera House
1 – 6 April
0844 871 3024 / atgtickets.com/venues/grand-opera-house-york/

Northampton Theatre Royal
8 – 13 April
01604 624811 / royalandderngate.co.uk

Cambridge Arts Theatre
15 – 20 April
01223 503333 / cambridgeartstheatre.com

Richmond Theatre
29 April – 4 May
0844 871 7651 / atgtickets.com/venues/Richmond-theatre