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York Theatre Royal – 27th November 2018.

Reviewed by Michelle Richardson

4****

The Ballet Black company was started 17 years ago in order to give opportunities to black and Asian dancers. On a very very wet Tuesday evening I got to see the seven members of their company perform two vastly different pieces of work at York Theatre Royal, The Suit and A Dream Within a Midsummer Night’s Dream.

The Suit, directed and choreographed by Cathy Marston, finds a husband, Philemon, discovering his wife, Matilda, is having an affair after finding her in bed with another man. The lover flees, but leaves his suit behind. The suit then manifests itself into becoming the third person in their marriage, as the husband becomes more and more bitter and resentful. Needless to say, things do not end well. Sayaka Ichikawa was engaging as Matilda, portraying such sensual intimacy with both her husband and lover, and then shock and panic as her secret is discovered.

What followed after the interval was a lot more light hearted, Arthur Pita’s A Dream Within a Midsummers Night’s Dream. I must admit that I have now seen a few takes on that Shakespeare play and they are a bit of a favourite for me. I love the total craziness and this was no exception, I’m relieved to say.

As the curtain rises the ballet opens as a traditional ballet scene, tutus and all, then Puck makes an appearance and with a sprinkle of fairy dust, madness ensues. Boundaries are pushed as Puck concocts differing liaisons, straight, gay and lesbian, Oberon going off with Lysander and Helena with Hermia, not forgetting Titania and Bottom. Helena is seen snorting a line of fairy dust, oh, and I must mention Salvador Dali, he makes an unexpected appearance. Isabela Coracy as Puck was outstanding. She looked like a very colourful, leprechaun boy scout. This is a bold, chaotic, puckishly take on Shakespeare. I was certainly seduced by it, loved it. Obviously this was my favourite piece, but that is a matter of opinion, would be boring if we all liked the same things.

Two completely different performances by the seven dancers, was a treat to watch, with accomplished dance pieces and beautiful movement.

Southwark Playhouse – until 29th December

Reviewed by Claire Roderick

4****

The colour and chaos of Dr Seuss’s imagination comes bursting onto the stage at Southwark Playhouse this Christmas in the fun-filled family musical Seussical. The Cat in the Hat acts as compere and mischief maker as two of Seuss’s gentler stories, Horton Hears a Who! and Horton Hatches the Egg, take centre stage.

When Horton the elephant hears a voice from a tiny speck of dust, he places it on a clover, vowing to protect the tiny creature and its home. The speck of dust is actually a tiny planet, populated by the Whos. The Mayor of Whoville’s child, JoJo, is always in trouble for thinking and dreaming too much (encouraged by the Cat), but in her loneliness she forms a friendship with Horton, the giant voice in the sky. The other animals in the Jungle of Nool ridicule and abuse Horton when they find out what he is doing, but Horton refuses to leave the clover and tries to convince them of the Whos’ existence. Horton’s kindness and loyalty are then taken advantage of by Mayzie La Bird, who convinces him to sit on her egg for a little while but then swans off to live the high life in Palm Springs. Watching all of this is Miss Gertrude McFuzz – in love with the oblivious Horton, she seeks medical help to improve her tiny tail feather so that the elephant will finally notice her.

The plot is simple and moralistic, with Horton repeatedly reminding the audience that “A person’s a person, no matter how small” and never breaking his promise to care for the egg and the Whos, despite all the hardships and suffering he encounters. Yes, it’s all saccharine sweet and simplistic, but not every musical needs to be hard-hitting and cutting edge. The music explores different genres but is jolly and generic rather than spectacular. Regardless, this show is ideal for all generations, with the youngest delighting in the colour, movement and slapstick, older children accessing the message of the story without being patronised, and the adults enjoying the ride alongside them.

Director James Tobias keeps the pace frenetic on the glorious multicoloured set straight out of Seuss’s books. The ensemble is fantastic, full of energy and excelling in Chris Whittaker’s camp choreography – the leather jacketed monkeys West Side story pastiche is a real hoot. There are no animal masks, just subtle costume effects – a gold bumbag is the kangaroo’s pouch, and a simple understated necktie is Horton’s trunk.

Anna Barnes does a fine job imbuing JoJo with childish innocence that isn’t too sickly, while Ngozi Ugoh as the Sour Kangaroo lets rip with some mighty powerful vocals. Katie Payne almost steals the show as Mayzie with her showgirl numbers and Amy Perry and Scott Paige are beautifully matched as Gertrude and Horton. Paige is the calm eye of the Seussical storm – his stillness and presence anchor the show, and his facial expressions sell the story more than any words ever could. Marc Pickering is simply brilliant as the Cat in the Hat, acrobatic, mischievous and anarchic – mugging to the audience and orchestrating events onstage – but always guiding young JoJo to use her imagination and become more than she thinks possible. That’s the sort of guardian angel every child wishes for.

With an important message delivered in a dynamic and zany production, Seussical is a perfect festive frolic for families of all shapes and sizes.

CAROLINE FLACK
TO STAR AS ROXIE HART IN

AT THE PHOENIX THEATRE

FROM 10 DECEMBER 2018 – 5 JANUARY 2019

Caroline Flack will star as Roxie Hart in CHICAGO from 10 December 2018 until the end of the show’s run at the Phoenix Theatre on 5 January 2019.

Caroline joins YouTube sensation and star of RuPaul’s Drag Race Todrick Hall as Billy Flynn, Josefina Gabrielle as Velma Kelly, Mazz Murray as Mama Morton and Paul Rider as Amos Hart.

Sarah Soetaert plays the role of Roxie Hart until 8 December.

Caroline Flack is the presenter of the BAFTA award-winning Love Island. Her other presenting credits include The X Factor, The Xtra Factor and I’m A Celebrity Get Me Out Of Here Now! She made her stage debut as Irene Roth in the national tour of Crazy For You playing to rave reviews and sell out business. Caroline won the 2014 series of BBC1’s Strictly Come Dancing and will return for this year’s Christmas special on Christmas Day.

Caroline said today “I’ve been imagining playing Roxie since I was a teenager. To have now landed the role in the West End is a dream come true. I hope I do everyone proud and don’t fall off the ladder!”

The multi award-winning Kander & Ebb musical CHICAGO, winner of six Tony Awards, two Olivier Awards and a Grammy, returned to London’s West End on Monday 26 March 2018, with a press night on Wednesday 11 April at the Phoenix Theatre in London.

CHICAGO originally ran in London for 15 years, making it the West End’s longest running revival.  It first opened at the Adelphi Theatre on 18 November 1997 to rave reviews and immediately became a sell-out hit.  CHICAGO won the 1998 Laurence Olivier Award for ‘Outstanding Musical Production’ as well as the 1998 Critics Circle Drama Award for ‘Best Musical’.  CHICAGO transferred from the Adelphi Theatre to the Cambridge Theatre in April 2006, where it ran for five years until 27 August 2011.  The show then opened at the Garrick Theatre on 7 November 2011, where it ran until 1 September 2012.

Since it opened in New York in 1996, CHICAGO has played in 36 countries worldwide, and been performed in English, Dutch, German, Swedish, Spanish, Portuguese, Russian, Italian, French, Danish, Japanese and Korean.  It has grossed over $1.5 billion worldwide and has played over 32,500 performances worldwide, with an estimated 31 million people around the world having seen CHICAGO.  CHICAGO continues to play on Broadway, where it celebrated its 21^st birthday last year, and around the world in multiple languages.  It is the world’s longest running American musical.

CHICAGO, which is based on the play by Maurine Dallas Watkins, has a book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb.  The 1996 Broadway revival of CHICAGO was choreographed by Ann Reinking in the style of Bob Fosse, directed by Walter Bobbie, and produced by Barry and Fran Weissler.

LISTINGS INFORMATION

Phoenix Theatre

110 Charing Cross Road

London WC2H 0JP

Box Office: 0844 871 7629 / www.atgtickets.com/shows/chicago/phoenix-theatre

Ticket Prices: From £20.00

Performances: Monday-Saturday 7.30pm, Wednesday & Saturday 2.30pm

Booking Period:  Booking Until 5 January 2019

Running Time:  2 hours, 25 minutes (with interval)

Website: ChicagoWestEnd.com

Twitter: @ChicagoOnStage

Christmas 2018/19 Performance Schedule

Monday 24 December                        NO PERFORMANCE

Tuesday 25 December                        NO PERFORMANCE

Wednesday 26 December                  7.30pm

Thursday 27 December                       2.30pm and 7.30pm

Friday 28 December                            2.30pm and 7.30pm

Saturday 29 December                       2.30pm and 7.30pm

Monday 31 December                        2.30pm

Tuesday 1 January 2019                      7.30pm

Wednesday 2 January                        2.30pm and 7.30pm

Thursday 3 January                              2.30pm and 7.30pm

Friday 4 January                                  7.30pm

Saturday 5 January                             2.30pm and 7.30pm

Bristol Hippodrome – until 1st December 2018

Reviewed  by Nicky Wyatt

5*****

The curtain goes up to lead you straight into a forest with a lake. The set of this ballet is just stunning, it felt as if you could actually walk through forest just beautiful. In the forest we are greeted by the Princess Odette (Erina Takahashi) dancing, unbeknown to her she is being watched from the forest edge by Rothbart( Junor Souza). Robert is half man half bird a wicked sorcerer who soon kidnaps the Princess and turns her into a swan. She now is trapped under his spell . What a fabulous opening scene.

As the story unfolds the stage is full of the most amazing dancers who tell this ballet story so beautifully. In the palace it’s all hands on deck for the birthday celebrations of Prince Siegfried (Francesco Gabriele Frola) . A huge party is planned for him and during the party his mother the Queen tells him he is required to choose a wife. She gives him the gift of a crossbow as a gift and
leaves him to it. He goes off to the lake armed with his crossbow planning to get some shooting practice in. Arriving at the lake he is greeted by a flock of beautiful swans flying overhead and sets out to hunt them. Of course he is not alone at the lake, the evil Rothbart is watching him. Eventually the Prince spies Odette Swan Queen as she dances he is entranced. Before long the sorcerer reappears and both Odette and the Prince flee he is desperate to find her. In a bid to confuse him Rothbart summons all the other girls he has captured and turned into swans to come to the lake. The lake is an amass of the most beautiful swans. Eventually the Prince returns to the lake and finds Odette amongst the swan maidens here he declares his live for her and promises himself to her
forever. Of course that dastardly sorcerer is nearby, he swoops in and steals her away leaving the Prince alone and heartbroken.

Back at the palace the birthday celebrations are in full swing. Amongst the guests are 6 ladies to be presented to the Prince. None of them will do as his heart belongs to Odette and he has promised to marry her. With a fanfare sorcerer Rothbart arrives with his daughter Odili ( (Erina Takahashi) she is however in disguise as Odette! The price believing it is hearts desire he sees in front of him falls for it. Not seeing the real Odette hiding in the wings. She witnesses this display and Rothbart takes delight in telling the Prince of his mistake.

Prince Siegfried finds her at the lake and begs her forgiveness, she concedes. Only for Rothbart to appear he fights with the Prince. A heartbroken Odette throws herself in the lake followed by the heartbroken Prince where they are united in everlasting love.

The fabulous orchestra that lead this production are just that totally fabulous I feel I need to single out the Harpist I’m afraid I couldn’t find her name but her playing was melodic . A totally mesmerising ballet that deserved every moment of its applause.

Eleanor Lloyd Productions and Rebecca Stafford Productions present
Witness for the Prosecution
By Agatha Christie

• First look at Emma Rigby and Jasper Britton in costume in the new cast ofWitness for the Prosecution
• Now in its second year, the production welcomes new cast members including Emma Rigby as Romaine Vole, Daniel Solbe as the accused Leonard Vole, Jasper Britton as Sir Wilfrid Robarts, William Chubb as Mr Myers QC, Christopher Ravenscroft as Mr Justice Wainwright and Ewan Stewart as Mr Mayhew.

Eleanor Lloyd Productions and Rebecca Stafford Productions today release the first images featuring the new cast of Witness for the Prosecution by Agatha Christie, now in its second year in the spectacular Chamber space inside London’s County Hall. The new company’s first performance was on Tuesday 20 November and brand new production photography can be downloaded here.

Emma Rigby (Once Upon A Time in Wonderland, Hollyoaks) plays Romaine Vole, Daniel Solbeplays the accused Leonard Vole, Jasper Britton (Pack of Lies, The Libertine) plays Sir Wilfrid Robarts, William Chubb (Othello, This House) plays Mr Myers QC, Christopher Ravenscroft(High Society, The Ruth Rendell Mysteries) plays Mr Justice Wainwright and Ewan Stewart(Titanic, Let The Right One In) plays Mr Mayhew. The new company also includes Richard Banks, Chloé Booyens, Joanna Brookes, Miriam Cooper, Liam Lau Fernandez, Phoebe Marshall, Hugh Osborne, Simon Roberts, Leo Turner and Jamie Zubairi.

Director Lucy Bailey (Switzerland, Love From A Stranger, The Graduate) thrillingly places the audience in the thick of the action, with some even watching from the jury box, as this gripping tale of justice, passion and betrayal unfolds around them.

Leonard Vole is accused of murdering a widow to inherit her wealth. The stakes are high. Will Leonard survive the shocking witness testimony? Will he be able to convince the jury of his innocence and escape the hangman’s noose?

Witness for the Prosecution is now booking until 1 September 2019.  The production is designed by William Dudley, with lighting by Chris Davey and sound design by Mic Pool.

LISTINGS

Eleanor Lloyd Productions and Rebecca Stafford Productions present
Witness for the Prosecution
By Agatha Christie
Directed by Lucy Bailey
Designed by William Dudley
Lighting Design by Chris Davey
Sound Design by Mic Pool

London’s County Hall
The Chamber, County Hall, Belvedere Road, London, SE1 7PB
Currently Booking until 1 September 2019
Box Office: 0844 815 7141

Online: www.witnesscountyhall.com

PERFORMANCE SCHEDULE

Tuesday to Saturday, 7.30pm and matinees on Thursday and Saturday at 2.30pm and Sunday at 3pm

See website for the following performances:

17 December 2018 – 6 January 2019
18 – 24 February 2019
15 – 23 April 2019

TICKET PRICES

Tickets from £10
No booking fees if booked via the official website

Our exclusive VIP Jury Ticket will place you in the heart of the courtroom action. Jurors will receive a complimentary programme and 2 complimentary drinks (soft drink, beer or house wine) to be redeemed pre-show or at the interval.

A KILLER CHRISTMAS PRESENT – Gift packages now available. See website for details.

To celebrate a killer first year, Witness for the Prosecution is offering a new range of gift packages, just in time for Christmas.

You simply select which of the three packages you would like to send as a gift, and the date you’d like us to confirm the gift to your recipient, and we’ll send an email that allows them to choose a performance date and time that suits them.

Or if you prefer to present in person, we’ll send you one of our limited-edition Witness for the Prosecution gift boxes, with ticket voucher and information about the show – so you can give your friends and family their day in court.

JURY PACKAGE £210 – Become a member of the Jury, and be prepared to be “sworn to secrecy” as the trial begins. Package includes 2 VIP Jury tickets, programme and drinks before the show and during the interval.

JUDGE PACKAGE £175 – Take your seats in our Premium area, right at the heart of the action. Package includes 2 Premium seat tickets, programme and drinks before the show.

COURTROOM PACKAGE £150 – Watch the trial play out before you as Leonard Vole fights to convince the jury – and you – of his innocence. Package includes 2 Band A tickets, programme and drinks before the show.

Website: www.witnesscountyhall.com
#SeeYouInCourt
Twitter: @WitnessPlayLDN
Instagram: @witnessplayldn
Facebook: /WitnessPlayLDN

Box of Tricks presents
SparkPlug by David Judge
UK Tour: 13th February – 13th April 2019
Press night: 14th February 2019, HOME Manchester
He’s got two Dads, my lad. One’s black. That makes him black. I suppose.

Manchester, 1983. Dave loves Rod Stewart, Joanne and his Ford Capri. He’s all set for a new start. Only Joanne’s about to have someone else’s baby. Is Dave ready to become a Dad even though he’s not the father?

A punchy and poetic exploration of family, race, identity and love, SparkPlug is the story of a white man who becomes the adoptive father, mother and best friend of a mixed-race child, David. This lyrical and energetic monologue from Manchester-based dual heritage writer David Judge examines what family means today.

Inspired by autobiographical events and exploring the playwright’s background as an actor and spoken word artist, SparkPlug is unflinching in its portrayal of real situations as it explores racism, violence and masculinity – some of the most pressing issues currently being discussed. Offering a non-judgmental space in which to start a conversation, SparkPlug seeks to give people the chance to talk openly about these themes.

Writer David Judge comments, As a ‘man of colour’ my voice as a writer has become a valued weapon, loaded and aimed at those without. As a ‘man of colour’ I sometimes feel pressured to speak for a community I know nothing of and feel I am being recruited to hate those without, the ‘white man’. This fight both inside and outside of myself makes me question where my loyalties lie. Who am I loyal to? And who to me? The answers are straight forward; my biological Father, my ‘Black’ left me before I was born; my biological Mother, my ‘Blood’ left me when I was seven years old; the only person who stuck by me, from boy to man, who grew and shaped me into the man I am today was a white man. A white man with love and hate tattooed on his knuckles, with a ginger perm, with a Ford Capri, with Rod Stewart constantly on the stereo. So out of my loyalty to him, I have used my voice to write a play about the man who made me one. My Father. I hope it’s enjoyed.

SparkPlug was a finalist for the Alfred Fagon Award for Best New Play 2017. It is produced by Box of Tricks, a Manchester-based theatre company that champions the next generation of playwrights, producing top quality new plays on local and national stages. Their previous two productions Narvik (Best New Play at UK Theatre Awards 2017) and Plastic Figurines enjoyed sellout audiences and critical acclaim in 2016-17.

Tour Dates
Wed 13th – Sat 23rd Feb HOME, Manchester
www.homemcr.org

Tues 26th Feb – 2nd Mar Unity Theatre, Liverpool
www.unitytheatreliverpool.co.uk

Thurs 7th – Fri 8th Mar Theatre Severn, Shrewsbury
www.theatresevern.co.uk

Sat 9th Mar Cheltenham Everyman Studio
www.everymantheatre.org.uk

Mon 11th – Tues 12th Mar Harrogate Theatre Studio
www.harrogatetheatre.co.uk

Thurs 14th – Sat 16th Mar Live Theatre, Newcastle
www.live.org.uk

Tues 19th – Wed 20th Mar York Theatre Royal
www.yorktheatreroyal.co.uk

Thurs 21st – Fri 22nd Mar Hull Truck
www.hulltruck.co.uk

Tues 26th – Wed 27th Mar Theatr Clwyd, Wales
www.theatrclwyd.com

Thurs 28th Mar Crewe Lyceum Studio
www.crewelyceum.co.uk

Fri 289h Mar Spring Arts Centre, Havant
www.thespring.co.uk

Fri 30th Mar The Lighthouse, Poole
www.lighthousepoole.co.uk

Wed 1st April Marlowe Studio, Canterbury
www.marlowetheatre.com

Thurs 2nd April Old Town Hall, Hemel Hempstead
www.oldtownhall.co.uk

Fri 3rd April The North Wall Arts Centre, Oxford
www.thenorthwall.com

Sat 4th April Square Chapel, Halifax
www.squarechapel.co.uk

Fri 5th & Mon 7th April The Met, Bury
www.themet.org.uk

Tues 8th – Wed 9th April Stephen Joseph Theatre, Scarborough
www.sjt.uk.com

Thurs 10th – Sat 13th April The Birmingham Repertory Theatre, Birmingham
www.birmingham-rep.co.uk

Sheffield Lyceum – until Saturday 1 December

Reviewed by Lottie Davis-Browne

5*****

It doesn’t seem like two minutes since Rock of Ages opened in London’s West End – yet in actual fact it is some seven years ago in 2011 when I first took a step back in time to the 80’s, to witness this jukebox musical for the first time. Although a huge lover of 80’s music, it’s the softer cheesier stuff I’m a particular fan of (artists such as Bananarama, Duran Duran, Wham! etc….), I took a step out of my comfort zone and embraced my inner (soft) rock Goddess. The show is filled with many famous glam metal and soft rock songs of the 1980’s – featuring songs by Journey (“Don’t Stop Believing”), Pat Benatar (“Hit Me With Your Best Shot”) and Bon Jovi (“Dead or Alive”).

Set around 1987-“ish”, the story is set around saving The Bourbon Room, (a bar/club owned by Dennis Dupree and assisted by Lonny) from pending demolition. Wannabe rock star Drew Boley (Luke Walsh) works as a bartender at The Bourbon Room, and when new arrival Sherrie arrives seeking a job, he is instantly smitten and begs Dennis to give her a job. Whilst the tour programme states Jodie Steele in the role of Sherrie, following finishing the West End run of “Heathers: The Musical” on Saturday, Jodie doesn’t actually start the role until Thursday evenings performance. This however was only discovered at the start of the show with a rather muffled voice over which only told the majority of the audience there were a few cast changes – sadly most of us didn’t hear any of the names but were able to find out during the interval. Having seen Jodie in Heathers and Wicked in the past, it was clear once the show started and we met our Sherrie (later confirmed to be Rhiannon Chesterman) that I realised Jodie wasn’t performing tonight. This left me feeling instantly deflated, however this feeling soon vanished once Rhiannon sang her first note. Her performance was flawless and I soon felt myself blush for feeling like a disappointed child on Christmas Day when I didn’t get everything I wanted!

With Chesterman stepping in as Sherrie (when she usually plays Regina), this meant Erin Bell stepped in to play Regina. Again another flawless performance. As this is a touring production, the stage set differs great dramatically from the original London production. The Bourbon Room is still there, kind of; just set back amongst the scaffolding which forms the main part of the set. There’s a video screen high up (if you’re sat in the stalls you have to strain your neck slightly to see it but it’s worth it!), which is used throughout. When the first press photos were released of the stripped back stage set, the Roadies (Rock of Ages Roadies) were not too impressed, and even has a fellow Roadie myself (having seen the original London cast a few times and followed the last tour up and down the UK), I was slightly anxious to how it would work but I actually preferred the set like this. There were several other more subtle changes to it to which just added to the humour. Rock of Ages is a musical that doesn’t take itself too seriously and that’s what makes it such a laugh to watch over and over again – without getting bored of it. The vehicle used by Drew to collect Sherrie for their date can only be described as a child’s sit on motorcycle complete with side seat. (I had tears of laughter down my eyes at this point!). Or Kevin Kennedy (aka Curly Watts from Coronation Street many many moons ago – who was in Sheffield not that long ago with the tour of Fat Friends The Musical) as Dennis with his “naughty salt”. Or the mini ride on JCB digger on the day of the proposed demolition.

What they lacked in stage set the cast made up for with even more humour thrown into the mix. During a particular romantic number between Dennis and Lonny (Lucas Rush) “I Can’t Fight This Feeling” – where other productions have included a certain Dirty Dancing lift at the end of the duet, tonight instead we saw Dennis “fall” and land behind the bar and appear back on his feet in seconds doing cartwheels and more across the stage faster than the speed of light before disappearing again behind the bar and coming back pretending to be worn out – to which Lonny retorts (trying very hard not to laugh) “I never knew you were so agile Dennis!”

Another thing I love about this particular production is that whilst the West End had a rather large cast, this one appears much smaller in comparison but they use each and every member to fill scenes where needed making it appear the cast numbers are actually larger than what they really are.

I was eager to see how Zoe Birkett (2002 Pop Idol Winner) would perform as Justice, after seeing some unpleasant comments following cast announcements from the shows fans saying she was too young etc for the role. For me age is just a number and having been the understudy Rachel Marron in The Bodyguard before taking on the role permanently for the tour, I knew vocally she would not disappoint. Despite being under the weather tonight, Birkett still gave a knockout performance. If this was her “not at my best” as she so put it after the show somewhat apologetically, I was quick to reply that she must blow the roof off when she’s on top form!

A highlight of the show for me has always been the duet between Regina (Erin Bell) and Franz (Andrew Carthy) “Hit Me With Your Best Shot” – partly for the fantastic blink-and-you-miss-it lightening flash costume change and the humour that follows – tonight’s cast again did not disappoint on this and I thought that Erin suited the role perfectly. She certainly appeared to be having fun!

Although the movie “never ends” and go’s “on and on and on”, sadly as much as I could talk about this show and this particular tour cast for hours, I must wrap up and take off my leg warmers (for now!) and hope that it won’t be long until I am back in the Bourbon Room.

What a better way to ease the stress of the year and get into party mode in time for Christmas and New Year! I won’t stop believing, will you?

(P.S: If like me you love all things 1980s, then watch out for the tour of brand new 1980s themed musical Club Tropicana which arrives in Sheffield next March!)

ARCOLA THEATRE IN ASSOCIATION WITH MAYA ELLIS ANNOUNCE FULL CAST FOR STOP AND SEARCH

Arcola Theatre in association with Maya Ellis present

The World Première of

STOP AND SEARCH

By Gabriel Gbadamosi

Directed by Mehmet Ergen

Set Design: Eleanor Bull; Lighting Design: Richard Williamson; Sound Design: Daniel Balfour

Arcola Theatre

9 January – 9 February 2019

Arcola Theatre in association with Maya Ellis today announce the full cast for the world première of Gabriel Gbadamosi’s Stop and Search. Artistic Director of the Arcola Mehmet Ergen directs Munashe Chirisa (Akim), Tyler Luke Cunningham (Lee), David Kirkbride (Tone), Shaun Mason (Tel) and Jessye Romeo (Bev). The production opens on 14 January, with previews from 9 January, and runs until 9 February.

A driver picks up a young man crossing Europe. Two police officers work a surveillance case. A passenger directs her taxi to the edge of a bridge. Three conversations grow increasingly uneasy.

From award-winning writer Gabriel Gbadamosi comes a visceral new play, exploring a time of distrust where the lines blur between conversation and interrogation. Stop and Search explores our deep ambivalence about the ways we police each other.

Gabriel Gbadamosi is an Irish-Nigerian poet and playwright. Stop and Search marks his London stage debut. His theatre credits include Eshu’s Faust (Jesus College, Cambridge), Hotel Orpheu (Schaubühne, Berlin), Shango(DNA, Amsterdam); and for radio, The Long, Hot Summer of ’76 – winner of the first Richard Imison Award. Gbadamosi’s novel Vauxhall won the Tibor Jones Pageturner Prize and Best International Novel at the Sharjah Book Fair.

Munashe Chirisa plays Akim. His theatre credits include Doctor Faustus, Water, Bread and Salt, All of Us, The Blue Room (UK tour) and So You Think I’m Crazy (Ovalhouse).

Tyler Luke Cunningham plays Lee. His theatre credits include Summer in London (Theatre Royal Stratford East), The Butch Monologues (UK tour) and The Night Before Christmas (Chickenshed). His television credits includeBoy Meets Girl.

David Kirkbride plays Tone. His theatre credits include Under Milk Wood (Northern Stage), Pinocchio, Othello(National Theatre), The Crucible (UK tour), Rathband (Tristan Bates Theatre), Robin Hood and Marian, Larksong, Unearthed, The Gift (New Vic Theatre), Shrapnel: 34 Fragments of a Massacre (Arcola Theatre), The Muddy Choir (Theatre Centre), Luna Park (The Albany), Titus Andronicus (Dundee Rep Theatre) and The Machine Gunners (Polka Theatre). His television credits include Privates.

Shaun Mason plays Tel. His theatre credits include One Flew Over the Cuckoo’s Nest, Romeo and Juliet(Sheffield Theatres), All’s Well That Ends Well (Shakespeare’s Globe), Oliver Twist (Regent’s Park Open Air Theatre), Black Lives Black Words (Bush Theatre), Feed the Beast (Birmingham Rep/New Wolsey Theatre), AClockwork Orange (Citizens Theatre), Macbeth, Billy Wonderful (Liverpool Everyman), A Midsummer Night’s Dream and Council Depot Blues (Liverpool Royal Court). His television credits include Snatch, Cilla and Good Cop.

Jessye Romeo plays Bev. Her theatre credits include Big Guns (The Yard), The Islanders (Whitechapel Gallery), Itch and Scratch (Hackney Showroom) and Martyr (Unicorn Theatre/Bristol Old Vic/Traverse Theatre). Her television credits include Curfew, In the Long Run and Stan Lee’s Lucky Man.

Artistic Director of Arcola Theatre Mehmet Ergen is an award-winning director. His theatre credits for the company include Richard III, Bliss, The Cherry Orchard, Drones, Baby, Drones, An Enemy of the People, The Cradle Will Rock, Clarion, Shrapnel: 34 Fragments of a Massacre, Don Gil of the Green Breeches, Mare Rider,Sweet Smell of Success, The Painter, Macbeth, Fool for Love, Betrayal, Ashes to Ashes, Water’s Edge, Dumb Show, Lost in the Stars, In The Jungle of the Cities and Piano. Other theatre credits include King Lear (Southwark Playhouse). Ergen is also Artistic Director and founder of Arcola Istanbul and was previously Artistic Director of Southwark Playhouse, which he co-founded in 1993.

Stop and Search

Listings

Arcola Theatre

24 Ashwin Street, Dalston, London E8 3DL

Box Office: 020 7503 1646

www.arcolatheatre.com

9 January – 9 February 2019

Tickets: £15 – £22 (concessions available)

A Modest Little Man
January 15th – 26th 2018, Bread and Roses Theatre