THE WIDER EARTH – CELEBRATES DARWIN’S BIRTHDAY WITH SPECIAL GALA PERFORMANCE ON 12 FEB, HOSTED BY JULIA BRADBURY

CELEBRATING THE 210TH BIRTHDAY OF CHARLES DARWIN

THE WIDER EARTH

GALA NIGHT

TUESDAY 12 FEBRUARY 2019

IN SUPPORT OF

THE QUEEN’S COMMONWEALTH CANOPY

AND

THE QUEEN’S COMMONWEALTH TRUST

HOSTED BY

JULIA BRADBURY

The Wider Earth – the critically acclaimed drama about the young Charles Darwin’s expedition on HMS Beagle playing at the custom-built theatre in the Jerwood Gallery at London’s Natural History Museum until 24 February – will hold a special VIP Gala Night on 12 February 2019. The gala, hosted by Julia Bradbury, will be held to celebrate Charles Darwin’s 210th birthday, and will support The Queen’s Commonwealth Trust and the production’s official charitable partner The Queen’s Commonwealth Canopy.

Trish Wadley, on behalf of the producers of The Wider Earth, said, “as an Australian production with a global view, we are thrilled to support a Commonwealth initiative that encourages multiple nations to join together and create a meaningful green footprint on the planet for future generations.”

Julia Bradbury, best known for presenting BBC’s Countryfile and ITV’s Britain’s Best Walks and a forthcoming seriesJulia Bradbury’s Australia, is a passionate advocate for the conservation of the natural world, and a tireless campaigner against plastic pollution.   She said, “I am thrilled to be hosting The Wider Earth’s gala night. This theatrical celebration of discovery is a testament to the beauty of nature, and a reminder of our duty to protect the landscapes and wildlife that Charles Darwin loved so much.”

Tickets include a pre-show reception and are now available on request by contacting [email protected] by Friday 25th January.

The Queen’s Commonwealth Canopy is a unique network of forest conservation initiatives that marks Her Majesty The Queen’s service to the Commonwealth and conserves indigenous forests across the globe. Through their voluntary commitment to this pan-Commonwealth initiative, the nations of the Commonwealth are acting together to address climate change and protect habitats and biodiversity for the future. QCC partner Cool Earth is an award-winning UK-based charity that works alongside indigenous villages to halt rainforest destruction.

Project Coordinator Sophie Kisnorbo commented,

“The Queen’s Commonwealth Canopy is honoured to have been chosen as The Wider Earth’s official charitable partner. It is a real privilege to work with The Wider Earth to continue Darwin’s legacy.”

The Queen’s Commonwealth Trust uses its network, platform and experience, together with the collaborative input of like-minded foundations and supporters, to enable young leaders to realise their dreams and hopes for the future. They are a platform for young change-makers across the Commonwealth, and a place where smart ideas are shared, sparking inspiration, and more and more people feel motivated and enabled to step up and take action – no matter how small. They find and fund young people whose bright ideas solve local problems in education, health, the environment and sport. They support those who have set up their own not-for-profit organisations, as well as those who are leading projects that help others. With the young people they work with, they aim to create a network where mentorship, resources and skills are shared. Their work demonstrates the values of the Commonwealth in action, through the leadership, energy and optimism of its young people.

Featuring a cast of seven people and 30 extraordinary hand-crafted puppets representing the exotic wildlife Darwin encountered, The Wider Earth is an ingenious coming-of-age story which celebrates the incredible complexity of our planet and Darwin’s adventurous spirit as he faced perilous environments and unknown dangers on his bold voyage. Written and directed by Dead Puppet Society’s creative director David Morton, the idea for The Wider Earth was conceived at a residency in Cape Town in 2013 with the Handspring Puppet Company – the creative team behindWar Horse.

Following sold-out seasons in Brisbane and Sydney, The Wider Earth has found the perfect home at the Natural History Museum. The Museum is custodian to many of the specimens Charles Darwin collected on his expeditions and its 350 scientists continue in his footsteps of exploration and discovery, seeking solutions to the major issues facing the natural world. This is the first time a performance-based theatre has been constructed in the Museum and adds an exciting new element to the wide-range of exhibitions and events which already attract over 4.5 million visitors every year.

The Museum’s scientists, led by paleobiologist Professor Adrian Lister, author of Darwin’s Fossils, have worked closely with the creative producers of the show to ensure it is rooted in authenticity.

The Wider Earth is presented by Trish Wadley Productions, Dead Puppet Society and Glass Half Full Productions.

9 TO 5 The Musical – Louise Redknapp statement

LOUISE REDKNAPP – 9 TO 5 THE MUSICAL

The producers of 9 to 5 The Musical said today..

“Due to an injury this week, Louise Redknapp has had to temporarily withdraw from performing the role of Violet in 9 to 5 The Musical. The recovery time recommended means Louise is no longer able to properly rehearse the show in the remaining time left before opening. Together we have made the difficult decision to delay Louise’s start date in the show. We hope that Louise will start performances sometime towards the end of March/early April 2019. Everyone at 9 to 5 wishes Louise a speedy recovery and we look forward to welcoming her back”.

The name of the actress stepping in to play the role in Louise’s absence will be announced shortly. Any patrons who would like to exchange their tickets to a performance when Louise has returned to the show should contact their point of sale.  

9 to 5 The Musical will have its first preview at the Savoy Theatre as planned on 28 January 2019.

Tyrone Huntley and Oti Mabuse bring AIN’T MISBEHAVIN’ back to London at Southwark Playhouse

Paul Taylor-Mills and Mercury Theatre Colchester

in association with Tamasha Theatre Company

present

AIN’T MISBEHAVIN’
The FATS WALLER Musical

At Southwark Playhouse

From Friday 19 April to Saturday 1 June 2019

Paul Taylor-Mills and Mercury Theatre Colchester in association with Tamasha Theatre Company are delighted to announce a brand-new production of Ain’t Misbehavin’ – the first London revival inalmost 25 years – playing at Southwark Playhouse from Friday 19 April to Saturday 1 June, following its premiere at Mercury Theatre Colchester from Friday 15 – Saturday 30 March. Tickets are on sale now.

Celebrating the legendary jazz musician Fats Waller and his energetic, exuberant and effervescent music, Ain’t Misbehavin’ steps back into the 1920’s and the raunchy nightclubs of Manhattan.Join an extraordinary group of performers on a journey through a defining period of American musical history, the Harlem Renaissance – where musicians were free to experiment with new styles, and joints were jumpin’ with talented dancers, singers and instrumentalists jamming to a new beat known as swing.

Ain’t Misbehavin’ will be directed by Tyrone Huntley, making his directorial debut. Tyroneis best known for his acclaimed performance as Judas in Jesus Christ Superstar at Regent’s Park Open Air Theatre, for which he won the Evening Standard Theatre Award and received an Olivier Award nomination. Tyrone is soon to appear in Leave to Remain at the Lyric Hammersmith with other performing crediting including Angry (Southwark Playhouse) and Dreamgirls (Savoy Theatre).

Ain’t Misbehavin’ will be choreographed by Oti Mabuse, making her debut as a theatre choreographer. Best known as a professional dancer on BBC One’s Strictly Come Dancing since 2015, Otiis also an 8-time South African Latin American Champion and one of the most successful South African dancers in the world. Oti is currently a Dance Captain and Mentor on BBC One’s new Saturday night dance and entertainment show The Greatest Dancer.

Ain’t Misbehavin’ first premiered at Manhattan Theatre Club in 1978 and transferred to Broadway the same year, where it won the Tony Award for Best Musical. The original West End production opened at Her Majesty’s Theatre in 1979, and was followed by a revival at the Tricycle Theatre and Lyric Theatre in 1995. This new production will mark the first London revival in almost 25 years.

Ain’t Misbehavin’ is basedon an idea by Murray Horwitz and Richard Maltby Jr, with orchestrations and arrangements by Luther Henderson, vocal and musical concepts by Jeffrey Gutcheon and vocal arrangements by Jeffrey Gutcheon and William Elliott.

Casting and further creative team details are to be announced.

Twitter:

Southwark Playhouse @SwkPlay

Mercury Theatre Colchester @Mercury Theatre

Instagram:

Southwark Playhouse @SwkPlay

Mercury Theatre Colchester @MercuryTheatreColchester

LISTINGS

FRIDAY 15 – SATURDAY 30 MARCH

MERCURY THEATRE COLCHESTER

Balkerne Gate, Colchester CO1 1PT

Performances: Tuesday – Saturday 7.30pm, Thursday and Saturday 2.30pm

Tickets: £14.00-27.00

Box Office: 01206 573948 / www.mercurytheatre.co.uk

ON SALE NOW

FRIDAY 19 APRIL – SATURDAY 1 JUNE 2019

SOUTHWARK PLAYHOUSE

77-85 Newington Causeway, London, SE1 6BD

Performances: Monday – Saturday 7.30pm, Tuesday and Saturday 3.00pm

National Press Night: Wednesday 24 April, 7.30pm

Tickets: £16 (Previews), £27.50 (Standard), £22 (concessions, valid Mon-Thu and all matinees)

Box Office: 020 7407 0234 / www.southwarkplayhouse.co.uk

ON SALE NOW

Alex Kingston returns to the West End stage

ALEX KINGSTON

stars in

ADMISSIONS

THE ACCLAIMED HIT COMEDY DIRECT FROM NEW YORK’S

LINCOLN CENTER THEATER

“Astonishing and daring”

THE NEW YORK TIMES

“Smart, hilarious and provocative”

THE HOLLYWOOD REPORTER

Winner of the Drama Desk and Outer Critics Circle Awards

for Best Play

Written by JOSHUA HARMON

Author of Bad Jews

TRAFALGAR STUDIOS

28 FEBRUARY – 25 MAY

Alex Kingston (ER, Doctor Who) stars in this award-winning and bitingly funny new comedy from the writer of acclaimed hit Bad Jews, direct from New York’s Lincoln Centre Theater, the producers of Oslo.

Following its hugely successful run at LCT, Admissions will open at London’s Trafalgar Studios on 28 February (Press Night 12 March) for a strictly limited season until 25 May, before embarking on a UK tour.  The production will be directed by Daniel Aukin, further casting will be announced soon.

Following the run at Trafalgar Studios, Admissions will tour the UK playing at the Richmond Theatre (w/c 27 May 2019), the Cambridge Arts Theatre (w/c 3 June), the Malvern Festival Theatre (w/c 10 June 2019) and the Lyric Theatre at The Lowry in Salford (w/c 17 June 2019).

The New York production received huge critical acclaim during its LCT run, with The New York Times describing the show as “astonishing and daring”, The Hollywood Reporter calling the show “smart, hilarious and provocative”. Theatre Mania hailed it “a scorching new drama… lands like a gut-punch“ and Time Out New York raving about it and awarding the show four stars. Admissions also won the Drama Desk and Outer Critics Circle Awards for Best Play.

Sherri (Alex Kingston) is the Head of Admissions at a private school, fighting to diversify the student intake and she wants you to know about it. When her son is deferred from his university of choice, and his best friend – who ‘ticks more boxes’ – is accepted, Sherri’s personal ambition collides with her progressive values. Piercing and provocative, Admissions is 90 minutes long, but the debate will take you through the night.

Alex Kingston is a highly acclaimed, award-winning star of stage and screen.  She is best known for playing Dr. Elizabeth Corday on ER and River Song in BBC’s Doctor Who. Other TV credits include Law & Order, Lost in Austen and most recently A Discovery of Witches. Her varied stage career has included roles in Macbeth opposite Kenneth Branagh and One Flew Over The Cuckoos Nest with Christian Slater, as well as frequent work with the Royal Shakespeare Company.

Admissions is produced by Simon Friend, Trafalgar Theatre Productions and Gavin Kalin in association with Anthology Theatre.

LISTINGS  INFORMATION

TRAFALGAR STUDIOS

Previews: From 28 February 2019

Press Night: 12 March 2019 at 7pm

Tickets: From £15

Box Office: 0844 871 7632

Performances: Monday – Saturday at 7:30pm, Thursday and Saturday matinee at 2:30pm

To book tickets please visit: admissionsplay.com

Twitter @Admissionsplay
Instagram: @Admissionsplay

Facebook: AdmissionsThePlay

Press Statement – Doctor Dolittle UK & Ireland Tour

Music & Lyrics Productions has announced that its touring production of Doctor Dolittle will close at the end of its run at the New Theatre, Oxford, on Saturday 26 January 2019. It had been planned to tour the UK and Ireland until November 2019.

The company has cited lower than anticipated advance ticket sales for the reason to cancel the tour.

Chair of Music & Lyrics, Robert Sanderson, said in a statement:

“Music & Lyrics was established to create work of scale and imagination for regional presenting venues and over eight years it has met with a high degree of success. On this occasion, Doctor Dolittle has not secured the same degree of support and, sadly, members of the consortium have had no alternative but to foreshorten the planned tour.

“I would like to thank all those involved in creating this breathtaking production, which has been enjoyed by audiences and critics alike. There is still time to see the production in Oxford between 15 and 26 January.”

Members of the public who have purchased tickets for venues across the tour should contact their venue to arrange refunds.

ROSE THEATRE KINGSTON PRESENTS VIENNA 1934 – MUNICH 1938 A WORK IN PROGRESS BY VANESSA REDGRAVE

ROSE THEATRE KINGSTON PRESENTS VIENNA 1934 – MUNICH 1938

A WORK IN PROGRESS BY VANESSA REDGRAVE

Rose Theatre Kingston presents

VIENNA 1934 – MUNICH 1938

A Work in Progress

Written and devised by Vanessa Redgrave

Rose Theatre Kingston

7 February – 9 February 2019

Rose Theatre Kingston and Vanessa Redgrave today announce a work in progress, Vienna 1934 – Munich 1938. Vanessa Redgrave performs on stage with Daisy Bevan, Robert Boulter and Paul Hilton. Opening with a limited run as a Work in Progress, atRose Theatre Kingston on 7 February until 9 February. Also announced today is An Evening with Vanessa Redgrave hosted by Roger Michell on Saturday 9 February 7.30pm.

In the late 1930s the famous actor Michael Redgrave became close friends with the celebrated poet Stephen Spender. Through their families’ notebooks, journals and memoirs, and Stephen’s poems, Vanessa Redgrave discovers the love affairs that they remembered, and the hopes and fears of the generation that confronted the fascist seizing of power in Europe. Among these was the German writer Thomas Mann.

As Stephen‘s love and respect for a young American woman studying psychology in Vienna grew deeper, he and his secretary Tony Hyndman tried to assist her in obtaining false visas and passports for socialist Jews and their families to escape from fascist Austria.

Written and devised by Michael’s daughter Vanessa, the play highlights the affectionate and intimate thoughts of individuals during these years of political and social disaster.

Vanessa Redgrave’s theatre credits include The Inheritance (Noël Coward Theatre/Young Vic), Richard III (Almeida Theatre), The Revisionist (Off Broadway – Cherry Lane Theatre), Driving Miss Daisy (Golden Theatre USA/Wyndham’s Theatre) and The Year of Magical Thinking (Booth Theatre USA/National Theatre). Her television credits include Man in an Orange ShirtCall the MidwifeThe Black Box and The Fever. Vanessa is thewinner of the Academy, Emmy, Tony, Olivier, BAFTA, Cannes, Golden Globe, and the Screen Actors Guild Awards. Vanessa is an advocate for human rights internationally. She has been a UNICEF Goodwill Ambassador since 1995 and is a supporter of Amnesty International and Liberty.

Daisy Bevan’s theatre credits include Dorian Gray (Riverside Studios). Her television credits include The Alienistand The Outcast. Her film credits include Noble Earth, Modern Life is RubbishRevolution: New Art For A New WorldOne Crazy ThingThe Two Faces of JanuaryThe Affair of the Necklace and Elizabeth.

Robert Boulter’s theatre credits include The Inheritance (Noël Coward Theatre/Young Vic), Mercury Fur(Menier Chocolate Factory), Herons (Royal Court Theatre), Revolt. She Said. Revolt Again.The Ant and the CicadaI You Can Hear (RSC), The Odyssey, Karamazoo, Burn/Citizenship/ChatroomAn Island Far From Here(National Theatre), How to Curse (Bush Theatre) and A Midsummer Night’s Dream (Wirksworth Festival). His television credits include EvidenceFather BrownSurvivorsWaking the Dead and The Long Firm. His film credits include Star Wars Episode IX, GenesisMarkSome Things Mean SomethingMercenariesDonkey Punchand Daylight Robbery.

Paul Hilton’s theatre credits include The Inheritance (Noël Coward Theatre/Young Vic), The Cherry Orchard, The Daughter-in-Law (Young Vic), MosquitoesPeter Panwonder.landThe President of an Empty RoomMourning Becomes ElectraThree Sisters, The Oresteia (National Theatre), Anatomy of a SuicideTerrorism, Mountain Language (Royal Court Theatre), Rosmersholm, The Storm (Almeida Theatre), All New PeopleRiflemindIn Celebration (Duke of York’s), Dr FaustusAs You Like It (Shakespeare’s Globe), Polar Bears, The Wild Duck (Donmar Warehouse), The Mysteries and Romeo and Juliet (RSC). His television credits include The Crown, A Very English ScandalGrantchesterSilkTwenty Twelve, and True Dare Kiss. His film credits include Lady MacbethWuthering HeightsLondon RoadSwansongEdge, Klimt and Eternal Beauty.

AN EVENING WITH VANESSA REDGRAVE

Saturday 9 February, 7.30pm

Vanessa Redgrave is one of the world’s most acclaimed actresses and a prominent human rights activist. Join her in this unique evening hosted by director Roger Michell (Notting Hill), as Vanessa shares tales from an extraordinary career spanning seven decades.

All proceeds from the show will support the Rose’s commitment to produce first-class theatre, alongside its Learning and Participation programmes. Although the Rose is the largest producing theatre in South West London, it does not receive regular Arts Council subsidy and must secure additional fundraising income to complement contributions from stakeholders, benefactors and sponsors. This vital funding helps the Rose to advance its artistic and charitable activities.

ROSE THEATRE KINGSTON

Founded by Sir Peter Hall and modelled on the original Elizabethan Rose Theatre on London’s Bankside, Rose Theatre Kingston is the largest producing theatre in South West London.

Since opening in 2008, the Rose has collaborated with a range of directors, playwrights and producing partners to create vibrant, engaging and inspiring productions. Recent works include the world premiere of Hogarth’s Progress by BAFTA Award-winning playwright Nick Dear, the first stage adaptation and world premiere of Elena Ferrante’s My Brilliant Friend adapted by April De Angelis and directed by Melly Still; Zach Helm’s hard-hitting play Good Canary directed by John Malkovich; Peter Hall and John Barton’s adaptation of The Wars of the Rose directed by Trevor Nunn; David Hare’s The Absence of War directed by Jeremy Herrin, and Jacqueline Wilson’sHetty Feather (West End transfer and Olivier Award nominee) directed by Sally Cookson. Future productions include the first major stage adaptation of Louis de Bernières’ best-selling novel Captain Corelli’s Mandolin, a co-production with Neil Laidlaw and Birmingham Repertory Theatre, adapted by Rona Munro and directed by Melly Still.

With over 150,000 visitors a year, the Rose enjoys artistic and critical acclaim from its own productions and co-productions and a reputation as one of the most exciting theatres in the UK.

Vienna 1934 – Munich 1938                                                                                                                 Listings

Rose Theatre Kingston

24-26 High Street, Kingston, KT1 1HL

7 February – 9 February 2019

www.rosetheatrekingston.org

Twitter:                @Rosetheatre

Facebook:           /RoseTheatreKingston

Instagram:          RoseTheatreKingston

Performance Schedule

Vienna 1934 – Munich 1938

Thursday 7 February                       7.30pm

Friday 8 February                             7.30pm

Saturday 9 February                       2.30pm

Band A £30.00                  

Band B £25.00                   

Band C £20.00                   

Band D £15.00

Secret Seats £10.00

Concessions available for Access Bookers/Companions (£10) and for those Under 26 (£8).

Box Office:                        020 8174 0090

                                            Monday – Saturday: 10am – 8pm (6pm non-performance days)

                                            Sun: one hour before the performance

Concessions:                    Only one discount per ticket, subject to availability

Terms and conditions apply – no discounts on Pit Cushion prices.

Over 60, unwaged, entertainment union, children under 16 and Students: £5 off.

Access:                              Patrons with disabilities enjoy half price tickets.

The Rose is a fully accessible organisation and we welcome everyone.

                                            There is Blue Badge parking in High Street and Rose car park.

Sensory Access:               A digital hearing system is available for patrons with a hearing aid, and Sennheiser headsets for patrons without a hearing aid. Guide and hearing dogs are welcome. Please let us know in advance so we can provide a dog-sitter and water bowl.

Learning Disabilities:       Please contact us in advance to discuss how we can help make your visit as comfortable as possible, on 0208 174 0090 or email [email protected].

Priority Booking:

Rose Circle Members – booking opens Fri 11 Jan, 12 noon. 
Friends Loyalty Card holders – booking opens Mon 14 Jan, 12 noon.
General Public – booking opens Wed 16 Jan, 12 noon

National tour of the musical ANNIE – Full cast announced

FULL CASTING ANNOUNCED FOR

THE FORTHCOMING UK TOUR OF

MICHAEL HARRISON AND DAVID IAN’S PRODUCTION

OF THE MUSICAL

“ANNIE”

STARRING ANITA DOBSON AND CRAIG REVEL HORWOOD

AS ‘MISS HANNIGAN’

OPENING AT THE MANCHESTER OPERA HOUSE

ON SATURDAY 2 FEBRUARY 2019

Michael Harrison and David Ian are delighted to announce full casting for the forthcoming UK tour of their smash hit production of the musical “ANNIE” opening at the Manchester Opera House on Saturday 2 February 2019.Joining the previously announced Anita Dobson and Craig Revel Horwood who both star as ‘Miss Hannigan’ (Anita will play the role from 2 February – 27 April 2019 and Craig will play the role from 30 April – 6 July 2019)will be Alex Bourne as ‘Oliver Warbucks’, Richard Meek as ‘Rooster’, Jenny Gayner as ‘Lily’ and Carolyn Maitland as ‘Grace Farrell’. The title role of ‘Annie’ is shared by Faye KatsandeAva Smith and Freya Yates. They are joined by three teams of young performers who play the girls in Miss Hannigan’s orphanage. 

Completing the cast will be Michael Anderson, Thomas Audibert, Andy Barke, Caroline Bateson, Daisy Boyles, Blaise Colangelo, Gary Davis, Ashleigh Graham, George Rae, Anne Smith, India Thornton, Matt Trevorrow, Amy West and Samuel Wilson Freeman

This production recently ran for an extended season in the West End following a sell-out tour of the UK and Ireland in 2015/16 as well as a recent sell-out season in Toronto.

As Angie Watts in EastEnders, Anita Dobson created one of the most popular characters in television winning numerous awards. Her West End theatre credits include ‘Madame Morrible’ in “Wicked”, ‘Mama Morton’ in “Chicago”, ‘Mrs Meers’ in “Thoroughly Modern Mille”, ‘Chris’ in “Calendar Girls”, ‘Joan Crawford’ in “Bette and Joan” and ‘Nancy’ in “Frozen” at the National Theatre for which she was nominated for an Olivier, Evening Standard and London Critics Award. Her film credits include “London Road”.

Craig Revel Horwood is probably best known as a judge on all 16 series of BBC1’s “Strictly Come Dancing”. He returns to the part of ‘Miss Hannigan’ having played the role to critical acclaim in this production in both the West End and on the 2015/16 UK tour. His other West End Theatre credits include ‘Munkustrap’ in “Cats”, “Miss Saigon” at the Theatre Royal, Drury Lane and ‘Harry’ in “Crazy for You” at the Prince Edward Theatre. Craig directed and choreographed the recent tour of “Sister Act The Musical” as well as the “Strictly Come Dancing Live” tour for the past six years. He also choreographed the film “Paddington 2”.

Alex Bourne reprises his performance as ‘Oliver Warbucks’ after playing the role in this  production of “Annie” in the West End, Toronto and on the 2015/16 tour. His many other West End credits include ‘Danny’ in “Grease”, ‘The Beast’ in “Beauty and the Beast”, ‘Billy Flynn’ in “Chicago”, ‘Khashoggi’ in “We Will Rock You” and ‘Fred/Petruchio’ in “Kiss Me, Kate” for which he received an Olivier Award nomination for Best Actor in a Musical. His other credits include ‘Daryl Van Horne’ in “The Witches of Eastwick” and the Watermill Theatre, for which he received a TMA nomination for Best Actor, ‘Sam Michael’ in the national tour of “Mamma Mia!” and ‘Lex Hogan’ in “Eugenius!” at the Other Palace.

Richard Meek’s many credits include ‘Trevor Graydon’ in “Thoroughly Modern Millie”, ‘Brad’, ‘Eddie’ and ‘Dr Scott’ in “The Rocky Horror Show” and ‘Sir Galahad’ in “Spamalot”, all on national tour. He has also appeared as ‘Leo Bloom’ in the international tour of “The Producers” as well as ‘Dustin’ and ‘Greaseball’ in the 25th anniversary cast of “Starlight Express” in Bochum, Germany.

Jenny Gayner’s West End credits include ‘Miss Wilson’ in the original cast of “The Girls” at the Phoenix Theatre, ‘Hunyak’ in “Chicago” at the Adelphi, Cambridge and Garrick theatres and “Spamalot” at the Palace Theatre. Jenny has also appeared as ‘Lina Lamont’ in “Singin’ in the Rain” and ‘Brooke Windham’ in “Legally Blonde”, both at Kilworth House.

Carolyn Maitland reprises her performance as ‘Grace Farrell’ after playing the role in this production of “Annie” in Toronto. Her West End credits include ‘Ellen’ in “Miss Saigon” at the Prince Edward Theatre, ‘Marian’ in “The Woman in White” at the Charing Cross Theatre and “Groundhog Day” and “Kiss Me, Kate”, both at the Old Vic. Her other credits include ‘Molly’ in the national tour of “Ghost” and ‘Kathy Seldon’ in Singin’ in the Rain at Kilworth House. 

Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…

With its award-winning book and score, this stunning new production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.

“ANNIE” has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. “ANNIE” is directed by Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker. “ANNIE” is produced by Michael Harrison and David Ian.

ANNIE – UK TOUR 2019

SATURDAY 2 FEBRUARY – SATURDAY 16 FEBRUARY 2019

MANCHESTER OPERA HOUSE www.atgtickets.com/venues/opera-house-manchester

Anita Dobson as Miss Hannigan

TUESDAY 19 FEBRUARY – SATURDAY 23 FEBRUARY 2019

WOLVERHAMPTON GRAND THEATRE www.grandtheatre.co.uk

Anita Dobson as Miss Hannigan

MONDAY 4 MARCH – SATURDAY 9 MARCH 2019

NEW THEATRE OXFORD www.atgtickets.com/venues/new-theatre-oxford

Anita Dobson as Miss Hannigan

TUESDAY 19 MARCH – SATURDAY 23 MARCH 2019

BRISTOL HIPPODROME www.atgtickets.com/venues/bristol-hippodrome

Anita Dobson as Miss Hannigan

MONDAY 25 MARCH – SATURDAY 30 MARCH 2019

STORYHOUSE THEATRE, CHESTER www.storyhouse.com

Anita Dobson as Miss Hannigan

MONDAY 1 APRIL – SATURDAY 6 APRIL 2019

HULL NEW THEATRE www.hulltheatres.co.uk

Anita Dobson as Miss Hannigan

MONDAY 8 APRIL – SATURDAY 13 APRIL 2019

NEWCASTLE THEATRE ROYAL www.theatreroyal.co.uk

Anita Dobson as Miss Hannigan

MONDAY 15 APRIL – SATURDAY 20 APRIL 2019

KING’S THEATRE GLASGOW  www.atgtickets.com/venues/kings-theatre

Anita Dobson as Miss Hannigan

MONDAY 22 APRIL – SATURDAY 27 APRIL 2019

BRADFORD ALHAMBRA www.bradford-theatres.co.uk

Anita Dobson as Miss Hannigan

TUESDAY 30 APRIL – SATURDAY 4 MAY 2019

MAYFLOWER THEATRE, SOUTHAMPTON www.mayflower.org.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 6 MAY – SATURDAY 11 MAY 2019

THEATRE ROYAL PLYMOUTH www.theatreroyal.com

Craig Revel Horwood as Miss Hannigan

TUESDAY 14 MAY – SATURDAY 18 MAY 2019

LLANDUDNO VENUE CYMRU www.venuecymru.co.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 20 MAY – SATURDAY 25 MAY 2019

NOTTINGHAM ROYAL CONCERT HALL www.trch.co.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 27 MAY – SATURDAY 1 JUNE 2019

CLIFFS PAVILION THEATRE, SOUTHEND www.southendtheatres.org.uk

Craig Revel Horwood as Miss Hannigan


TUESDAY 4 JUNE – SATURDAY 8 JUNE 2019

LYCEUM THEATRE SHEFFIELD www.sheffieldtheatres.co.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 10 JUNE – SATURDAY 15 JUNE 2019

NEW VICTORIA THEATRE, WOKING www.atgtickets.com/venues/new-victoria-theatre

Craig Revel Horwood as Miss Hannigan

MONDAY 17 JUNE – SATURDAY 22 JUNE 2019

THE ORCHARD THEATRE, DARTFORD www.orchardtheatre.co.uk

Craig Revel Horwood as Miss Hannigan

MONDAY 24 JUNE – SATURDAY 29 JUNE 2019

LIVERPOOL EMPIRE THEATRE  www.atgtickets.com/venues/liverpool-empire

Craig Revel Horwood as Miss Hannigan

MONDAY 1 JULY – SATURDAY 6 JULY 2019

MILTON KEYNES THEATRE www.atgtickets.com/venues/milton-keynes-theatre

Craig Revel Horwood as Miss Hannigan

Coming Clean Review

Trafalgar Studios – until 2 February 2019

Reviewed by Claire Roderick

4****

The King’s Head Theatre’s production of Kevin Elyot’s first play transfers to Trafalgar Studios, and the intimate space of Studio 2 is the perfect fit. It feels like we are all sitting in Tony and Greg’s cramped little flat. Even before the action starts, Amanda Mascarenhas’s brilliantly authentic set design whisks you back to the 1980s.

It is 1982, and Tony and Greg live together in Kentish Town. They have been together for five years, and have an open relationship, with the unspoken rule that they don’t sleep with the same man twice. When Tony hires actor Robert as a cleaner, their relationship is put to the test.

I can’t speak knowledgably about gay relationships in the 80s, but I am sure this play will resonate with many of that generation. Replace the discos and bars where Tony and William go cruising with modern social media, and Coming Clean is still topical, with the sexuality of the characters irrelevant to the emotional core of the story. Fidelity and monogamy, love or sexual gratification, domestic bliss or exciting and possibly dangerous encounters – what choices and compromises would you make in the name of love? Elyot’s writing still feels fresh, and even the darkest moments in the play are shot through with wit and warmth.

Adam Spreadbury-Maher’s direction is spot on, with superb sound and light design choices, and brings out the best from a fine cast, with superb timing and chemistry – especially between best mates Tony and William. Lee Knight’s Tony and Elliot Hadley’s William are a scream together, with a wonderfully written relationship that provides the biggest laughs of the night. Hadley steals the show as William, revelling in the flirtatious and outrageous role, but allowing the underlying vulnerability to trickle through, and Knight is fantastic as catty but sensitive Tony. Tom Lambert is suitably wide eyed and seemingly innocent as Robert, and Stanton Plummer-Cambridge is imposing in the difficult role of Greg. At first it is very unclear what Tony sees in the gruff and slightly staid Greg, but Plummer-Cambridge reveals his softer, almost paternal side – ensuring that he doesn’t become the villain of the play, just a man who can’t give Tony the relationship he longs for.

Coming Clean just works on every level – a fascinating and very funny story about relationships with superb writing and acting in a brilliant production that will enthral audiences, whatever their age, gender or sexuality.

Anomaly Review

Old Red Lion Theatre – until 2 February 2019

Reviewed by Claire Roderick

3***

Liv Warden’s debut play examines the media’s (and public’s) seemingly insatiable appetite for salacious details when the abusive behaviour of powerful men is exposed. We never see Phillip Preston, an internationally-known film producer. Instead the scandal unfolds through the eyes of his three daughters, focussing much more intriguingly on their family dynamic. As soon as any news like this breaks, fingers are pointed at the women close to the abuser, accusing them of betraying their sex, moralising and speculating about how much they knew, and their motive for protecting such a vile man, without considering the dynamics and intricacies of their relationships.

Warden slowly unpicks and reveals the three women’s experiences with their father through a series of monologues that gradually explain their public reaction to the scandal. The daughters are stereotypical mogul offspring: the oldest, Piper (Natasha Cowley) is Preston’s business heir, running the company and dealing with family problems with a cool head at the expense of her own marriage. Middle daughter Penny (Katherine Samuelson0 is a successful film actor, playing the Hollywood publicity game, and youngest daughter Polly (Alice Handoll) is the family disaster, described by the press as a mentally unstable cokehead.

The sisters’ resigned reaction to their father being arrested for GBH soon changes when they hear that his victim is their mother. With photos splashed over the media, this is one scandal that can’t be covered up or the victim paid off, and the family are set adrift by former allies and protectors. The women all talk of their parents’ mantra of family first and learning about loyalty and resilience – “weathering the storm”. The damage this loyalty has done to the women is shown in flashes as Piper’s no-nonsense professionalism melts into frightened isolation and Penny’s Hollywood smile can’t hide her tears. The sexism the two women face daily is shown brutally and succinctly in two short scenes in the boardroom and a TV chat show, and highlight their inner strength and resilience clearly, even though their damaged childhoods have coloured their choices. Polly talks openly in her monologues about a long list of affairs and abuse with sardonic resignation and gleeful disdain for the media circus.

Unfortunately, the three women never interact physically, instead speaking to characters that we only hear. This heightens their isolation in the glare of the media to great effect, but the sisterly dynamic is sadly missing. Although that is possibly what Warden and director Adam Small are aiming for, to show the damage done by a father like that. The stark white set, with a slash of blood red newsprint scarring the floor adds to the uncomfortable feeling of voyeurism and the final scene leaves the audience craving to see what happens next, making us complicit in the insensitive clamour for details of other people’s misery that fuels, and is fuelled by, the media.

Anomaly is a fine debut – uncomfortable viewing, but engaging and perceptive

The War of the Worlds Review

New Diorama Theatre – until 9 February 2019

Reviewed by Antonia Hebbert

3***

Soon after 8pm on Sunday October 30th, 1938, Americans tuning into the Columbia Broadcasting radio network were startled to hear of a strange object landing at Grover’s Mill, New Jersey. A panicky reporter described aliens emerging from it, and then the line went ominously dead.

What they were hearing was a live broadcast of Orson Welles’s play The War of the Worlds. Updating the novel by H.G. Wells, it reports a Martian invasion as breaking news, and became famous because it caused mass panic among listeners… or did it? The boring reality is that not many people thought Martians had invaded. It’s just such an entertaining idea that it developed a life of its own.

This tangle of fact and fiction-making is the starting point for Rhum and Clay Theatre Company’s exploration of fake news, written by Isley Lynn and developed, we are told, by the whole creative team. Matthew Wells and Julian Spooner direct and also act, together with Mona Goodwin and Amalia Vitale. The cast of four take us straight back to the original broadcast, with minimal props (a radio, a microphone, and pipes, as smoked by Orson Welles). They then take on multiple roles as the story moves to the present day, with a would-be influencer going to Grover’s Mill to make a podcast about a child abandoned in the alleged panic. She finds a town where fact and fiction are blurred, and while claiming to seek the truth, she tells lies to trick her way into a family that isn’t as straightforward as it seems. All the cast are fun to watch, and Amalia Vitale has an especially lovely flexible voice for this kind of shapeshifting show. Fake news, it seems, isn’t just something that’s imposed on people – we reinforce and believe the stories we want to hear. A cool grey mesh-like backdrop (Bethany Wells) and hazy lighting add to the sense of blurred boundaries.

This is a play about ideas rather than an emotionally engaging piece – somehow it was difficult to care very much about any of the characters. There is a sort of reconciliation at the end, but one of the characters is virtually a stranger to us, so it doesn’t have much impact. A clever, energetic and entertaining show nonetheless.