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DISNEY’S THE LION KING RETURNS TO THE
ALHAMBRA THEATRE BRADFORD IN SPRING 2020

Priority booking sign-up opens today (6 September 2019)
Tickets go on sale from October 2019

The Walt Disney Company UK and Ireland and the Alhambra Theatre, Bradford have today announced that Disney’s THE LION KING will return to the city’s award-winning venue in spring 2020 – the only Yorkshire venue on its tour.

The iconic musical will come to Bradford for seven weeks from 30 April to 20 June 2020. Tickets go on sale in October 2019 and patrons can sign up for priority access to tickets at either www.thelionking.co.uk or www.bradford-theatres.co.uk from today (Friday 6 September 2019).

The UK cities of THE LION KING tour are exclusively supported by VeryMe Rewards from Vodafone UK. Vodafone customers will be able to access the pre-sale tickets through the My Vodafone app 24 hours before they become available elsewhere, on Friday 4 October 2019.

Over 81,000 people experienced the production across a 7-week, record-breaking season when it last visited the Alhambra Theatre in 2014, the year in which the venue celebrated its 100th anniversary. This year, THE
LION KING celebrates an incredible 20 years in the West End. The musical had its premiere in London on 19 October 1999 at the Lyceum Theatre, which remains its home in London.

Adam Renton, General Manager Bradford Theatres, said:
“I am thrilled to welcome this incredible musical back to the Alhambra Theatre next year. It’s an iconic production which audiences in the region will be very excited to see back in Bradford. We’re also especially pleased to be hosting a Relaxed Performance during the show’s residency with us and we are looking forward to welcoming the widest audience possible to enjoy this spectacle.”

Bradford Theatres Friends Members will be able to purchase tickets from 10am on Monday 7 October. Customers who join the Sign-Up Priority List will be able to purchase pre-sale tickets on Thursday 10 October at 10am (online only). Tickets will go on general sale online, by phone and in person from 10am on Friday 11 October, with demand expected to be huge.

While the show is in Bradford, there will be a dedicated Relaxed Performance on Tuesday 16 June 2020 at 5pm. Disney’s THE LION KING is committed to creating a friendly and inclusive audience experience. Having now hosted five Autism-Friendly performances in London, the landmark musical is delighted to be presenting a Relaxed Performance in each city it visits on the tour. Relaxed Performances are specially adapted to be accessible to a wide range of audiences such as those with autism, those with a learning difficulty or other sensory and communication needs, with extra trained staff on hand and dedicated quiet areas inside the theatre should anyone need to leave their seat. All patrons who feel this performance might suit their specific needs are warmly encouraged to attend. Audience members can find out more information at www.bradford-theatres.co.uk/whats-on/the-lion-king.

Julie Taymor’s internationally-celebrated stage adaptation of THE LION KING opened on Broadway in 1997 and 25 global productions have now been seen by more than 100 million people. THE LION KING is produced by Disney Theatrical Productions, under the direction of Thomas Schumacher. The show has been performed in nine different languages (English, Japanese, German, Korean, French, Dutch, Spanish, Mandarin and Portuguese), productions of THE LION KING can currently be seen on Broadway, London’s West End, Hamburg, Tokyo and Sapporo, Madrid, Daegu in South Korea and on tour across North America – a total of eight productions running concurrently across the globe. Having played in more than 100 cities in 20 countries on every continent except Antarctica, THE LION KING’s worldwide gross exceeds that of any film, Broadway show or other entertainment title in box office history.

The previous tour of THE LION KING broke attendance records across the nation and the 2019/2020 tour coincides with THE LION KING celebrating 20 years at London’s Lyceum Theatre. Since the UK premiere in London on Tuesday 19th October 1999, THE LION KING has entertained more than 16 million theatregoers and remains the West End’s best-selling stage production and the sixth longest-running West End musical of all time.

With a cast of more than 50 singers and dancers, the story of THE LION KING is miraculously brought to life using masks, puppets and striking costumes to tell the story of young Simba’s epic adventures as he struggles to accept the responsibilities of adulthood and becoming king. The stunning artistry of the production is the work of a team of designers which drew on diverse cultural influences to recreate the rich colours and vast expanses of the African savanna in this daring and inspiring reinvention of one of the most successful animated films of all time.

Julie Taymor, one of the world’s most innovative directors, brought a vast array of disciplines to THE LION KING including extensive experience staging epic theatre and opera productions, exploring classic myths through ritualised puppetry, mask, and movement. THE LION KING was the first musical Taymor directed in the commercial theatre and she made Broadway history by becoming the first woman to win the Tony Award® for Best Director of a Musical.

The Broadway show’s full creative team, which won five Tony Awards® for its work on THE LION KING, reunited in 1999 to recreate the show in London. Julie Taymor and Michael Curry created hundreds of masks and puppets. Scenic design is by British designer Richard Hudson and lighting is by Donald Holder. Costume design is by Julie Taymor, and choreography by Garth Fagan. The book was adapted by Roger Allers, who co-directed the animated feature and Irene Mecchi, who co-wrote the screenplay.

The original score from the animated film was expanded for the stage and now features 15 musical numbers. As well as writing completely new songs, South African composer Lebo M created an evocative blend of
African rhythms and chorales, with additional material by Julie Taymor and Mark Mancina. Elton John and Tim Rice have added three new numbers to the five that they wrote for the award-winning score of the animated film. The resulting sound of THE LION KING is a fusion of Western popular music and the distinctive sounds and rhythms of Africa, including the Academy Award®-winning Can You Feel The Love Tonight and the haunting Shadowland.

Ticket information for Bradford
 *VeryMe Rewards by Vodafone pre-sale: Friday 4 October 2019, 8am
 *Priority sign up closes: Friday 4 October 2019, 11.59pm
 *Bradford Theatres Friends Members: Monday 7 October 2019, 10am
 *Disney and Alhambra Theatre Priority On Sale: Thursday 10 October 2019 10am (online only)
 *General sale: Friday 11 October 2019 at 10am (online, phones & in person)
Performance information for Bradford
 *Previews: Thursday 30 April – Sunday 3 May 2020
 *Press Night: Tuesday 5 May 2020, 7.30pm
 *Signed Performance: Thursday 14 May 2020, 7.30pm
 *Audio Described Performance: Thursday 4 June 2020, 7.30pm
 *Captioned Performance: Thursday 11 June 2020, 7.30pm
 *Relaxed Performance: Tuesday 16 June 2020, 5pm
For more information or to book please call 01274 432000 or visit bradford-theatres.co.uk.

Royal and Derngate Theatre, Northampton – until 14 September 2019

Reviewed by Boo Wakefield

3***

Two Trains Running is the 6th of 10 plays that August Wilson wrote covering African-American experience from 1900 to 1990. There is no doubt, judging by the exuberant reactions of a handful of members of the audience I watched it with, that it is an intelligent production. That is to say, I sensed that my own intelligence was not quite up to the job of enjoying every nuance, but I nevertheless congratulated myself for at least being aware of the deficiency.

It is set in a run-down diner (designed by Frankie Bradshaw) in the Hill District of Pittsburgh, an area once vibrant but now fallen on hard times as the regeneration programme sweeps through, scattering communities and demolishing businesses. It is also a time of racial unrest and protest marches; the set has a wrecking ball and demolished buildings ominously above the ceiling to the diner.

The play focuses on Memphis (Andrew French) as the once successful diner owner who yearns after the better times and the land in the south that he lost in his youth. Memphis’s diner is to be demolished as part of the renewal programme and he is fighting for compensation from the city hall. Risa (Anita-Joy Uwajeh), his put-upon waitress, bears the brunt of his frustrations and serves the few remaining regular customers with sass and perfect timing, keeping them in their places.

Derek Ezenagu’s interpretation of the troubled Hambone was both moving and disturbing. For a part with so few words to have such a big impact on the play was impressive. Sterling (Michael Salami) was at his best when encouraging Hambone to speak.

This long play had moments of humour to lighten the serious stories played out. However, heavy accenting, speed of delivery and elocution did, at least to my ear, make following every word of the dialogue tricky and at times beyond me. I left the theatre feeing that more questions were left unanswered than answered.

This production of Two Trains Running was co-produced by Royal & Derngate and English Touring Theatre and will go on tour to Oxford, Doncaster, Ipswich, Guildford and Derby until the end of October.

York Theatre Royal – until Saturday 7 Sept 2019

Reviewed by Michelle Richardson

3***

The Night Watch, adapted by Hattie Naylor, is The Original Theatre Company and York Theatre Royal’s production of Sarah Waters 2006 novel of the same name.

Set in London in the 1940s it is set around four main characters, who are linked by their experiences during the war. Unlike most stories this one goes back in time, starting in 1947, it then visits 1944 before concluding in 1941. I must admit that I found this a bit baffling at first, but once I realised the receding timeline it was fine, just unexpected.

Kay (Phoebe Pryce) seems troubled, undergoing therapy, visiting film theatres, but only seeing the second half of any film. She appears to be living in the shadows, not living at all. Helen (Florence Roberts) is a girly girly, in a relationship with another woman, the more masculine Julia (Izabell Urbanowicz). These three used to be friends, Helen and Kay were a couple before Helen fell in love with Julia. The other main character is Duncan (Lewis Mackinnon) a gentle soul, who we find out had been in prison during the war years. We never really learn why he was there, there is a hint of homosexuality and a death.

Some of the sounds and imagery are quiet harrowing. Duncan and his cellmate Fraser (Sam Jenkins-Shaw) huddling together under blankets in prison, other prisoners shouting, whilst a bomb raid is going on, is one of note. The set is very atmospheric, dark, sometimes too dark to follow what was happening on stage.

All the actors had real stage presence and are excellent in their playing their complex characters. Mackinnon was so touching as Duncan, real vulnerable. The actors in the love triangle were outstanding, though I did get a bit confused at one stage at who we were watching, Kay or Julia, as the stage was that dark and they do look similar from a distance, both tall and dark.

To fully understand the play, I really wished that I had read the book beforehand. At times I got a little lost and would have liked to have gotten to know the characters more in depth, especially Kay’s story, to find out what happened to her. At the beginning of the war she is so confident, full of joy, life and love, but by 1947 she is a broken woman. You are left to the conclusion that something terrible must have happened, war, broken heart (maybe?), but I wanted to know more. The other character I would have liked to try and understand is Duncan. What really happened to him and why was he incarcerated? Perhaps this was the intent to let the audience, reader keep guessing and making up their own minds.

The Night Watch certainly makes you think and is a bit of a challenge to watch, but that is not a bad thing at all.

ROBERT DAWS LEADS A STAR CAST IN

ALAN AYCKBOURN’S HILARIOUS COMEDY BY COMMITTEE

TEN TIMES TABLE

BILL KENWRIGHT PRESENTS THE INAUGURAL PRODUCTION OF
THE CLASSIC COMEDY THEATRE COMPANY

THE COMMITTEE FROM HELL… AND A ‘FETE’ WORSE THAN DEATH…

Ten Times Table, written by multi-award-winning writer Alan Ayckbourn, will embark on a nationwide tour opening at the Theatre Royal Windsor on 8 October 2019. Ten Times Table is the inaugural production of The Classic Comedy Theatre Company, produced by Bill Kenwright and his team behind The Agatha Christie, The Classic Thriller and The Classic Screen To Stage theatre companies. Between them, these companies have enjoyed over 15 years of theatrical success across the UK.

The star cast is led by TV and stage actor Robert Daws, who is most loved for his role as Dr. Gordon Ormerod in The Royal as well as his time in other hit shows such as Poldark, Outside Edge and Roger Roger. Joining him is Deborah Grant,best known for playing Wendy in Not Going Out and Deborah Bergerac in Bergerac. Emmerdale and Holby City star Gemma Oaten is joined by Robert Duncan of Drop The Dead Donkey fame and theatre veteran Mark Curry, well known for his appearances in Hollyoaks and as Kevin in Last Of The Summer Wine. Craig Gazey, famous for his portrayal of Graeme Proctor in Coronation Street completes the cast, alongside Elizabeth Power known for playing Christine Hewitt in EastEnders.

The production will be directed by Robin Herford known for his work on the West End hit The Woman In Black, with lighting design by Jason Taylor and sound by Dan Samson. Set and costume design is by Michael Holt.

In the long-since ‘grand’ ballroom of the local Swan Hotel, a most miscellaneous assemblage gathers to conduct the business of the Pendon Folk Festival, led by excitable chairman Ray.

Unfortunately, for Ray, his calamitous committee quickly divides, as his wife Helen has a bone to pick…

 Add a Marxist schoolteacher, a military dog-breeder and an octogenarian secretary, and the table is set for one of comedy master Ayckbourn’s most hilarious plays. This tumultuous comedy by committee is not to be missed.

Churchill Theatre, Bromley – until 8 September 2019

Reviewed by Jason Rath

2**

Personally I consider Teechers by John Godber to be one of the modern hidden gems within theatre. A play that could be just as relevant today as when it was first written if given the proper direction and care. In fact I have fond memories of delving into the political subtext of it as a youngster when I was studying the play for my GCSE’s. And all these happy memories in part contribute to why I was so disappointed with this current production of this great play. Guildford Fringe Theatre Company deliver the play as a slapstick piece of comedy that lacks the feel this show should have when commenting on the way the education system treats the downtrodden. For me it just missed the mark when dealing with these more serious moments as the way they were playing it with the maximum comedy could have totally contributed to making these hit even more if the care was given. 

Elle Banstead-Salim was good in the role of Hobby, showing the slightly tomboyish persona that makes this character shine and in another production I think she could have excelled. Sam Stay was poor in the role of Salty, with a mass of misplaced energy and tripping over his lines that reminded me of a young drama student, not a professionally working actor. However a shining gem within this piece was Dannie Harris as Gail. She showed of just how much of a multi faceted actor she is with her multiple roles in this show, each completely individual and all equally hilarious. I will not be surprised to see this lady go from strength to strength within the industry. 

The production did the best it could with the limited space of the Churchill studio, with minimal set and lighting expected in such a space. However I feel like the blame for how this production turned out can only lie with the director as there was a good show deep inside this, and if the misplaced energy and frantic performances had been reigned in then I think this could have been very good. It is a shame really. 

Overall I think that, while Teechers did have some highlights inside it, this is perhaps not the production of it you should see if you are given the option. Teechers runs at Bromley Churchill Theatre until 8th September.

Aria Entertainment and John Gertz present
ZORRO THE MUSICAL

• A NEW PRODUCTION OF ZORRO THE MUSICAL WILL PREMIERE AT HOPE MILL THEATRE IN MANCHESTER, PRODUCED BY KATY LIPSON FOR ARIA ENTERTAINMENT AND JOHN GERTZ IN ASSOCIATION WITH ZORRO USA, LLC.
   
• DIRECTED BY CHRISTIAN DURHAM, THIS RE-IMAGINED, IMMERSIVE PRODUCTION WILL RUN FROM 14 MARCH – 18 APRIL 2020 
   
• TICKETS NOW ON SALE  FROM WWW.HOPEMILLTHEATRE.CO.UK/EVENTS/ZORRO
   

Katy Lipson and John Gertz are thrilled to announce a new production of Zorro The Musicalwhich will run at the Hope Mill Theatre in Manchester from 14 March – 18 April 2020. The production will place audiences at the heart of this legendary adventure as they are invited to take part in flamenco dancing and sample tapas on offer during the evening. Audiences will be taken on a journey into this iconic story of good vs. evil, love vs. hate, by an energetic and talented company of actor-musicians, directed by Christian Durham.

With music by the Gipsy Kings and John Cameron, lyrics by Stephen Clark and a book by Stephen Clark and Helen Edmundson, Zorro is inspired by the 2005 fictional biography of the same name written by Isabel Allende. Zorro the Musical retells the dramatic tale of a romantic hero in an immersive new production featuring original music by the Gypsy Kings alongside their international hits including Bamboleo, Baila Me and Djobi Djoba.

Casting and full creative team will be announced in due course.

Christian Durham, Director, said: “Our new immersive production will see the action spread from the stage through the audience as they become part of the story and witness the thrills and spills of our famous masked hero. We’ll be bringing the flavour and passion of Spain and 19th Century California to the Hope Mill with heart-thumping flamenco choreography, Cante jondo singing, magic, ‘get-up-and-dance’ music by The Gypsy Kings and of course, the thrill of sword fights.”

Katy Lipson, Producer of Aria Entertainment, said: “I have always held the Gipsy King’s music close to my heart and being a huge fan of making ambitious shows in small spaces Zorro felt like a fitting addition to my programme of work. I am truly excited to be working with John Gertz and Christian Durham on this re-imagining and hope we can bring a lot of sunshine, tapas and flamenco to the Hope Mill Theatre next spring.”

Tickets are now on sale at www.hopemilltheatre.co.uk/events/zorro/
 

LISTINGS

ZORRO THE MUSICAL 
Directed by Christian Durham
Book and Lyrics by Stephen Clark
Music by Gipsy Kings
Original Story by Stephen Clark and Helen Edmundson
Co-Composer and Adapter: John Cameron

Hope Mill Theatre
113 Pollard Street, Manchester M4 7JA

First Performance: Saturday 14 March 2020

Final Performance: Saturday 18 April 2020

Performances: Tuesday to Saturday at 7:30pm, Wednesday and Saturday at 2:30pm, Sunday at 3pm

Box Office details
Website: www.hopemilltheatre.co.uk/events/zorro/
Tel: 0333 012 4963
Prices from £16

Twitter: @ZorroMusicalUK
Facebook: /ZorroMusicalUK
Instagram: /ZorroMusicalUK
# ZorroMusicalUK

• A SPECIAL GALA PERFORMANCE OF DISNEY’S THE LION KING WILL TAKE PLACE ON 19 OCTOBER AT THE LYCEUM THEATRE TO CELEBRATE 20 TRIUMPHANT YEARS IN THE WEST END
   
• THE GALA IS IN SUPPORT OF ELTON JOHN AIDS FOUNDATION AND ROYAL ACADEMY OF MUSIC
   
• TICKETS GO ON SALE AT 10AM ON THURSDAY 5 SEPTEMBER AND CAN BE PURCHASED FROM WWW.THELIONKING.CO.UK/GALA 

On 19 October, Disney’s THE LION KING celebrates 20 years in the West End, cementing its place in theatrical history as one of the most successful and beloved stage musicals of all time. 

To celebrate this landmark achievement, THE LION KING will hold a gala performance on Saturday 19 October 2019 at the Lyceum Theatre, in support of the Elton John AIDS Foundation and the Royal Academy of Music. Tickets go on sale at 10am today and can be purchased from www.thelionking.co.uk/gala 

Disney Theatrical Productions over the last two years provided scholarships to seven students from diverse backgrounds to study on the Academy’s Musical Theatre MA course, offering them the opportunity to nurture their talent and hone their performance skills. The scholarships illustrate both organisations’ ongoing efforts to redress the underrepresentation of BAME performers in musical theatre.

With an iconic score by original creative team member Sir Elton John, Disney Theatrical Productions is proud to support Elton John AIDS Foundation (EJAF) which aims to combat stigma, prevent infections, provide treatment and services, and motivate governments to end AIDS.

Since the UK premiere in London on Tuesday 19 October 1999, THE LION KING has entertained over 16 million theatregoers and remains the West End’s best-selling stage production and sixth longest-running West End musical of all time. An extraordinary team of more than 50 performers on stage and 100 crew off-stage present this global phenomenon every night to 2,200 people at the Lyceum Theatre, London.

To coincide with the 20th anniversary, the multi award-winning musical is also embarking on a second UK and Ireland tour. THE LION KING opens at The Bristol Hippodrome on 7 September 2019 and will move on to the Edinburgh Playhouse from 5 December 2019. The production will also tour to Wales Millennium Centre in Cardiff from 9 July 2020 and further dates will be announced in due course.  

Set against the majesty of the Serengeti Plains and to the evocative rhythms of Africa, Disney’s multi award-winning musical, brilliantly reimagined by acclaimed director Julie Taymor was transformed into a spectacular theatrical experience which tells the powerful and moving story of Simba – the epic adventure of his journey from wide-eyed cub to his destined role as King of the Pridelands.

A brand-new trailer, launched earlier this year, showcases the enormity, vibrancy and beauty of Julie Taymor’s outstanding design and direction.

After 21 landmark years on Broadway, THE LION KING continues ascendant as one of the most popular stage musicals in the world.  Since its premiere on November 13, 1997, 25 global productions have been seen by more than 100 million people.  Produced by Disney Theatrical Productions under the direction of Thomas Schumacher, THE LION KING has made theatrical history with three productions worldwide running 15 or more years and another three productions running 20 or more years. The show has been performed in nine different languages (Dutch, English, French, German, Japanese, Korean, Mandarin, Portuguese and Spanish). Productions of THE LION KING can be seen on Broadway; London’s West End; Hamburg; Tokyo; Madrid; on tour across Japan and North America, with a separate production touring internationally, for a total of eight productions running concurrently across the globe. Having played over 100 cities in 20 countries on every continent except Antarctica, THE LION KING’s worldwide gross exceeds that of any film, Broadway show or other entertainment title in box office history.

THE LION KING won six 1998 Tony Awards®: Best Musical, Best Scenic Design (Richard Hudson), Best Costume Design (Julie Taymor), Best Lighting Design (Donald Holder), Best Choreographer (Garth Fagan) and Best Direction of a Musical. The Lion King has also earned more than 70 major arts awards including the 1998 NY Drama Critics Circle Award for Best Musical, the 1999 Grammy® for Best Musical Show Album, the 1999 Evening Standard Award for Theatrical Event of the Year and the 1999 Laurence Olivier Awards for Best Choreography and Best Costume Design. The show’s director, costume designer and mask co-designer, Julie Taymor continues to play an integral part in the show’s ongoing success. The first woman to win a Tony Award® for Direction of a Musical, Taymor has in recent years supervised new productions of the show around the world.

The score features Sir Elton John and Sir Tim Rice’s music from THE LION KING animated film along with three new songs by John and Rice; additional musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer; and music from “Rhythm of the Pride Lands,” an album inspired by the original music in the film, written by Lebo M, Mark Mancina and Hans Zimmer. The resulting sound of THE LION KING is a fusion of Western popular music and the distinctive sounds and rhythms of Africa, ranging from the Academy Award®-winning song “Can You Feel the Love Tonight” to the haunting ballad “Shadowland.”

Sir Elton John, Lebo M, and Hans Zimmer all collaborated on the 2019 version of the film, executive produced by Julie Taymor and Thomas Schumacher, which has gone onto extraordinary worldwide success.

The book has been adapted by Roger Allers, who co-directed THE LION KING animated feature, and Irene Mecchi, who co-wrote the film’s screenplay. Other members of the creative team include: Michael Curry, who designed the masks and puppets with Taymor, Steve Canyon Kennedy (sound design), Michael Ward (hair and makeup design), John Stefaniuk (associate director), Marey Griffith (associate choreographer), Clement Ishmael (music supervisor) and Doc Zorthian (production supervisor). Anne Quart serves as co-producer.

HOTTER PROJECT AND EKP PRESENT

FITTER

Created and performed by Mary Higgins and Ell Potter

Directed by Jessica Edwards with Mary Higgins and Ell Potter

Designer: Rūta Irbite

Soho Theatre

3 December 2019 – 4 January 2020

Following the critically acclaimed success of HOTTER, Hotter Project and Ellie Keel Productions today announce the world première of FITTER opening at Soho Theatre on 9 December, with previews from 3 December, running until 4 January 2020.

A rugby ball’s soft, a hockey stick’s hard, what does that make me?’ – Boy, 12

Hello, we’re Ell and Mary.

We’re ex-girlfriends and bisexuals and we’re a bit bummed out by boys.

Three years ago we interviewed women and transpeople aged 11 to 97 for our five-star sell-out show HOTTER. We didn’t interview men. We just didn’t want to. Because men are trash, right?

Wrong. Well, sometimes wrong. We asked trans-men, cis-men, and masculine presenting people aged 8 to 85 about what makes them hard. This is a show about what we learned: about strength, fitting in, feeling yourself, and arseholes.

Through singing, dancing, and f*cking around in crap drag, Ell and Mary write a love letter to masculinity which they are forever tearing up and taping back together again.

Mary Higgins devised and stars in FITTER. Her previous theatre credits include Callisto: A Queer Epic (Arcola Theatre) and Suddenly Last Summer (Oxford Playhouse). Her screen credits include Misbehaviour (Left Bank Pictures), Traitors (Channel 4), and she recently wrapped on The English Game for Netflix.

Ell Potter devised and stars in FITTER. She graduated from LAMDA earlier this year. While studying, she was named Audible’s ‘Breakout Star’ of 2019, recording their bestselling Thriller of the Year, Winter Dark; and was shortlisted for the Alan Bates Award. She is also a prizewinner in the BBC Carleton Hobbs Bursary Award. Her credits include The Unwelcome and The Country Girls (BBC Radio Drama).

Jessica Edwards is an award-winning freelance director and writer. She makes work that is formally inventive and new. She often explores the queer and female experiences, and creates theatre that is iconoclastic, pop-tastic, subversive and outrageous. She is a Supported Artist at Shoreditch Town Hall, and has directed shows at the Soho Theatre, Edinburgh Fringe, the Arcola, Southwark Playhouse, Theatre503, the Almeida Young Company, and Trafalgar Studios. As a writer, she is currently developing her first screenplay, and was recently awarded a Peggy Ramsay Grant for her first play, Crashland. She holds a first in English from Oxford University is represented by Camilla Young at Curtis Brown.  

Recent directing: Hotter (Underbelly / Soho Theatre), Passengers (Summerhall), Sparks (Vaults / Pleasance / HighTide), Nacktsängerin (BKA Theater Berlin), Denim: World Tour (Soho Theatre / Underbelly), Punts (Theatre503), Torch (Latitude / Edinburgh Festival 2016), Haters Make You Famous (Almeida Theatre), Queering Marlowe (Jamie Lloyd Company / Duke of York’s Theatre), The Box (Latitude / Theatre Delicatessen), The Itinerant Music Hall (Lyric Hammersmith / Watford Palace / GDIF / Latitude), and Jekyll & Hyde (Southwark Playhouse / Assembly Edinburgh).

HOTTER Project are a new creative collective founded by Mary Higgins and Ell Potter. Dedicated to creating radically honest and silly work, HOTTER Project aims to speak to and platform the voices of those we don’t normally hear. While working on their stage projects HOTTER and FITTER, the company have recently recorded a pilot episode of a new podcast for BBC Sounds, and are developing a book with Susanna Lea Associates.

EKP (Ellie Keel Productions) is an award-winning new companyproducing new plays in London, Edinburgh, and on tour in the UK and internationally.

FITTER                                                                                                                                        LISTINGS

Soho Theatre

21 Dean St, Soho, London W1D 3NE

Soho Upstairs

3 December 2019 – 4 January 2020

Tickets £12 – £20

Box Office:          https://sohotheatre.com/shows/fitter/

Twitter:                @HOTTERproject

KILN THEATRE – ONE YEAR ON…

Today marks one year since Kiln Theatre opened the doors of its refurbished building with a re-opening season including seven world premières, a UK première, twelve commissions and a major musical revival.  The opening season featured leading and emerging talent that took us on a journey through time and cultures – from our doorstep of Kilburn High Road to around the world and back – presenting original and unique stories bringing different voices to the London stage.

Since then, Kiln Theatre has received its first West End transfer, with Florian Zeller’s critically acclaimed The Son currently playing at the Duke of York’s Theatre, and the New York transfer of the 2013 production of Moria Buffini’s Handbagged.

The venue is now selling more tickets than ever before, with 65,00 theatre tickets sold this year, and the top three bestselling shows in the venue’s history being from this season; White Teeth, Blues in the Night, and The Son.

As a proudly local theatre in the heart of Kilburn, Kiln Theatre continues to create world-class theatre that is accessible to the local community, as well as celebrating the creativity and talent of young people across Brent.

Artistic Director, Indhu Rubasingham today said “This date last year, we opened the doors, by the skin of our teeth, to the first preview of Alexis Zegerman’s Holy Shit! – the first performance in our newly renovated building.

“It has been an exhilarating year; five world premières, one British première and a musical revival thus far. We are about to stage our first community play – another world première, with 100 volunteers as well as beginning rehearsals for our next new play, When The Crows Visit.

“This has been an immense journey and today is a moment to thank everyone involved in delivering this beautiful building and for all their incredible hard work and commitment. Thank you to all the donors and supporters who made it even possible. A big shout out to the Kiln team for enduring this rollercoaster ride as well as all the actors, creatives, playwrights, technical teams, stage management and directors who have baptised this new space with their energy, talent and joy. And finally. a big ‘thank you’ to you, the audience who have come and given your time and support to Kiln Theatre.

We look forward to you coming with us on the next stage of our journey as we head into 2020, with the soon-to-be announced new season in the year that Brent is the London Borough of Culture.”

Kiln Theatre’s next production is the world première of Anupama Chandrasekhar’s When The Crow’s Visit, opening on the 23 October, followed by the London debut of Snowflake written by Olivier Award-winning Mike Bartlett.

www.KilnTheatre.com

@KilnTheatre

Mayflower Theatre Southampton  – until 14 September 2019

Reviewed by Jo Gordon

5*****

With an unusual setting of a Northampton shoe factory, many would wonder how Kinky Boots has become the huge hit it is today and if they chose not to go and see why, they are missing out on an absolute treat! On the death of his father, Charlie ( Joel Harper-Jackson) inherits the struggling family business but has aspirations to succeed in the big smoke that is London alongside his fiancé Nicola (Helen Ternent). Who wishes for bigger and better things that she believes Northampton can offer them. On returning to the factory Charlie realises its not just about him, there’s also a factory full of staff who are relying on him to save their jobs. Enter Lola (Kayi Ushe) and her Angels, a Drag Queen Diva and her glorious cross dressing ensemble in need of the highest stiletto heels that can withstand the life of a Drag Queen. A friendship is formed and they set to work developing the perfect, reddest boot much to the disdain of some of the workers, who have an issue with Lola.

There are some wonderful moments as we follow the production of the boots, from big choreography numbers involving the whole cast and treadmills, to solo pieces like Lauren’s (Paula Lane) quirky realisation that she fancies Charlie and Lola’s beautiful, moving visit to entertain the local old peoples home .

 Joel’s gentle, bumbling Charlie balances well with Kayi’s loud, confident Lola and each compliments the other wonderfully. The whole cast are brilliant at bringing each character to life and as someone who can just about manage to walk in socks on a flat floor I’m in awe of the fact they manage to fling themselves around in those heels in the Milan scene…. impressive!

With the shows lyrics written by the famous Cyndi Lauper you are in for a treat, there are some enormous numbers like Sex is in the Heel,  What a Woman Wants and Raise You Up/Just Be that get the audience clapping along and eventually raising up to their feet at the end. 

This glittered, thigh high extravaganza is a reminder that acceptance of yourself and others should always be the norm.