ACCLAIMED YOUNG VIC PRODUCTION OF DEATH OF A SALESMAN TRANSFERS
TO THE PICCADILLY THEATRE
Arthur Miller’s iconic play comes to the West End this Autumn
Starring Wendell Pierce & Sharon D Clarke
200 tickets available at each performance for £15
Limited Season begins at Piccadilly Theatre on 24 October 2019
Elliott & Harper Productions and Cindy Tolan are thrilled to announce the transfer of the highly acclaimed, sold-out Young Vic production of Arthur Miller’s Death of a Salesman to the Piccadilly Theatre from 24 October 2019 to 4 January 2020.
Tickets for Death of a Salesman at the Piccadilly Theatre go on general sale on Thursday 13 June 2019, with 200 tickets available at £15 at each performance.
Following her recent award-winning successes on Company and Angels in America,Marianne Elliott co-directsDeath of a Salesman with Miranda Cromwell, who worked as Associate Director on both shows. Together, they bring a unique vision to one of the greatest plays of the twentieth century, seen through the eyes of an African-American family.
Wendell Pierce, who is best known for his roles in The Wire and Suits, will reprise his revelatory performance as Willy Loman with the Olivier award-winning Sharon D. Clarke reprising her heart-rending performance as Linda Loman. Full cast to be announced.
Joining directors Marianne Elliott and Miranda Cromwell on the creative team are designer Anna Fleischle, lighting designer Aideen Malone, sound designer Carolyn Downing, composer and musical director by Femi Temowo; with fight direction and additional movement support by Yarit Dor and casting by Charlotte SuttonCDG.
Arthur Miller (1915-2005) was born in New York City and studied at the University of Michigan. His plays include All My Sons, Death of a Salesman, The Crucible, A View from the Bridge, After the Fall, Incident at Vichy, The American Clock, Broken Glass, Mr. Peters’ Connections, and Resurrection Blues. He received the Pulitzer Prize for Drama in 1949. Other works include the novel Focus, the screenplay The Misfits, the memoir Timebends, and texts for the books In Russia, In the Country, and Chinese Encounters, in collaboration with his wife, photographer Inge Morath.Newly published collections include CollectedEssays and Presence: Collected Stories.
Listings:
Elliott & Harper Productions and Cindy Tolan
present the Young Vic Production of DEATH OF A SALESMAN By Arthur Miller Directed by Marianne Elliott and Miranda Cromwell
Stephen Joseph Theatre, Scarborough – until June 7th before continuing national tour
Reviewed by Sara Garner
5*****
This is the latest work by Wild Card Theatre group, set up by friends in 2015. Their goal was to support and develop stories that promote social change and support emerging artists.
Electrolyte is the current production written by James Meteyard, who also stars in it.
On entering the theatre we hear music being played and find a stage set as if preparing for a concert, with all the actors warming up.
The feel of the performance is very informal, familiar and inclusive.
James Meteyard introduces himself and the other cast and explains that he will we be playing the part of Jessie. Olivia Sweeney who usually plays Jessie was unable to perform. I did wonder what impact this would have but any concern was soon put to rest.
Chris Georgiou doubled up on his roles, which he did wonderfully and without conflict.
The narrative of the piece was in almost musical poetry style with various genres of music being played by the cast throughout including House, Jazz, Drum n base and others.
We are introduced to the group of friends more specifically Jessie and their hedonistic lifestyle. We realise that Jessie is suffering grief and depression as a result of his father’s suicide. Despite the help of his friends we watch Jessie’s mental health on a downward spiral.
The shattering twist in the story was a shock to us all and a very powerful scene.
The play deals with grief, guilt, delusion, failing mental health, recovery through the care and friendship of others and finally hope. We are reminded at the end that we are merely specks of dust and dreams
The actors play instruments throughout the play either as specific performances or to underscore the emotion of the current narrative. Robyn Sinclair plays Allie Touch, a singer songwriter and her voice is just beautiful.
We saw the pace of the narrative crescendo and decrescendo which perfectly represented Jesse’s mental health decline and eventual recovery.
The performances by all the actors was superb with James Meteyard just incredible as Jessie. The role worked just as well as a man than as a woman. The music staging and lighting fantastically emotive.
My only regret was that there weren’t enough bums on seats. I would recommend this show to anyone and everyone (over the age of 16).
Sergei Polunin’s mixed programme at the London Palladium which received very mixed reviews was followed by the UK premier of Rasputin, the Russian peasant who became a powerful mystic with great influence in the court of Tsar Nicholas II because of the belief that Rasputin could heal his son’s debilitating illness. The story of an outsider who came to have such influence and the tragedy that ensued is dramatic ~ perfect for Polunin. Unfortunately choreographed by Yuka Oishi who also created Paradox and Sacré in the mixed programme earlier in the week, the same strengths and weaknesses evident in the choreography there, were repeated here.
Rasputin is a strong story and with a wonderful exhilarating new score from Krill Richter full of crashing drums and pulsating rhythms that scream ‘danger’ it should have kept us more engaged throughout than was the case. The problem is the dance doesn’t always follow the energy and huge drama of the score with far too much walking around, overreaching outstretched arms and melodramatic contorted faces to fill the music or the space. Strong storytelling Dance Theatre is no longer the poor relation of classical ballet and too many brilliant choreographers abound for such self-indulgence. Oishi’s work has brief moments of exhilaration and some beautiful duos and trios, but much of her work is simply far too boring and slow to express this huge dramatic story. There is a noticeable flutter for the few brief moments when Polunin jumps and spins and delivers some breath-taking fouettés en tournant in the way that only he can, but he doesn’t do this very often needs to do far more than occasionally simply jump, charismatic though he clearly is. The stage lit up whenever Johan Kobborg appeared as evil Prince Yusupov. Royal Ballet trained, Kobborg is a commanding dancer also brimming with charisma, nuance and stunning technique but not so full of self-importance. Polunin is allowed to be self-important and egocentric of course ~ this is why people pay several hundreds of pounds for ludicrously expensive tickets and even more to ‘meet and greet’, but it is pretentious and wearisome to simply strut around the stage without doing much actual dancing. When Polunin and Kobborg actually danced together in a powerful duet in the first half as the Prince tries to get rid of Rasputin’s influence on the family, the audience are gripped and transfixed. More of this choreography and dance was required throughout. Alexey Lyubimov and Elena Ilinykh beautifully and poignantly convey the desperation of The Tsar and Tsarina trying to save their desperately sick son, danced with great conviction and spirit by young Djordje Kalenic who deservedly received one of the loudest cheers at the end of the evening.
Giant chess pieces, occasionally moved or lit differently, are the only pieces of set on stage designed by Otto Bubeníček, but at times looked a little dwarfed on the vast Palladium stage. Beautiful and dramatic lighting design by Konstantin Binkin is beautiful, powerful and dramatic.
Polunin is well suited to the role of Rasputin. I look forward to seeing him in this again, hopefully revised with less bland repetitive choreography and more creative, energised dance.
Personally, I still adore Polunin the dance artist and would hope that he rises above the personal nastiness of social media and some reviews, takes on board the considerable constructive criticism that is offered by many and concentrates on dance rather than political and social commentary. I would also love to see him work with other choreographers who might perhaps be able to reign in the self-indigent strutting and preening and deliver more subtlety and Dance! His creatives and company dancers in both programmes are all wonderful artists thoroughly deserving of the standing ovations they all received.
FURTHER TICKETS TO BE RELEASED FOR WEST END PRODUCTION OF
D E A R E V A N H A N S E N
BOOKING TO APRIL 2020
WEST END PRODUCTION LAUNCHES FAN SEARCH FOR
YOU WILL BE FOUND MOSAIC ARTWORK
Following a sell-out priority booking period, the West End production of Dear Evan Hansen today announces a second additional ticket release will take place at 10am on Monday 10 June 2019, with tickets on sale to Saturday 4 April 2020. Dear Evan Hansen begins previews at the Noël Coward Theatre on Tuesday 29 October 2019 with opening night on Tuesday 19 November 2019 at 7pm. Casting will be announced at a later date.
Producer Stacey Mindich is also excited to announce an opportunity for fans to appear in the poster artwork for Dear Evan Hansen as part of the mosaic background, which features real people inspired by the production’s Act 1 ending anthem ‘You Will Be Found’. Dear Evan Hansen has had the support of passionate fans in New York, on tour and internationally – and since the show opened on Broadway in 2016, over 6,000 of those supporters have been ‘found’ in the show’s locally personalised artwork, enabling a further connection to the production. For participants to be eligible they must submit their photo or video via the official Dear Evan Hansen website before Sunday 4 August 2019. Full details can be found at www.dearevanhansen.com/london/ from Monday 10 June 2019.
The winner of six Tony awards including Best Musical, as well as the 2018 Grammy award for Best Musical Theatre Album, Dear Evan Hansenis directed byfour-time Tony Award nominee Michael Greif and features a book by Tony award-winner Steven Levenson and a score by the Tony, Grammy and Academy Award-winning composers of The Greatest Showman, Benj Pasek & Justin Paul.
A letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed he could have. Evan Hansen is about to get the one thing he’s always wanted: a chance to finally fit in. Both deeply personal and profoundly contemporary, Dear Evan Hansen is a new musical about life and the way we live it.
Reuniting the original Broadway creative team for this West End production, Dear Evan Hansen is produced by Stacey Mindich and features scenic design by David Korins, projection design by Peter Nigrini, costume design by Emily Rebholz, lighting design by Japhy Weideman, sound design by Nevin Steinberg, and hair design by David Brian Brown. Music supervision, orchestrations and additional arrangements are by Alex Lacamoire. Ben Cohn is the Associate Music Supervisor. Vocal arrangements and additional arrangements are by Justin Paul. Danny Mefford is the choreographer. Casting by Jill Green Casting. Sash Bischoff, Adam Quinn andDanny Sharron are the Associate Directors. Judith Schoenfeld is the Production Supervisor. US General Management 101 Productions, Ltd. Adam Speers is Executive Producer.
Dear Evan Hansenhas won the Drama League Award for Outstanding Musical Production and for the off-Broadway production, two Obie Awards, a Drama Desk Award, two Outer Critics Circle Awards and two Helen Hayes Awards. Dear Evan Hansen is also the winner of the Broadway.com Audience Choice Awards three years running, and was just proclaimed the Best Long-Running Show and the Best Touring Production in the 2019 Broadway.com Audience Choice Awards. The Grammy Award-winning Original Broadway Cast Recording of Dear Evan Hansen produced by Atlantic Records, was released in February 2017, making an extraordinary debut on the Billboard 200 and entering the chart at #8 – the highest charting debut position for an original cast album since 1961. The album went on to win the 2018 Grammy Award for Best Musical Theatre Album and recently became only the third cast recording this decade to go gold. A deluxe version of the cast recording, including six bonus tracks and a pop cover from Katy Perry of ‘Waving Through a Window’ is available digitally.
Dear Evan Hansen opened on Broadway at the Music Box Theatre to great critical acclaim on 4 December 2016 where it has broken all box office records and recently celebrated its two-year anniversary. A record-breaking US national tour launched in October 2018 and is currently touring North America and a limited engagement recently opened at Toronto’s Royal Alexandra Theatre, where it runs through to Sunday 21 July 2019.
LISTINGS
Theatre Noël Coward Theatre, St Martin’s Lane, London WC2N 4AU
Laura Elmes Productions and Theatre Deli in association with the King’s Head Theatre presenta Fat Rascal Theatre production
Unfortunate: The Untold Story of Ursula the Sea WitchA Musical Parody
Wednesday 31st July – Monday 26th August 2019 (not 14th), 18:55 (70 mins) Book and Lyrics by Robyn Grant & Daniel Foxx Music by Tim Gilvin
Disney villain. Octo-woman. Plus-size icon. But who is the woman behind the tentacles? From the multi-award winning Fat Rascal Theatre, creators of sell-out hit musicals Buzz and Vulvarine, comes the untold story of Ursula the Sea Witch. It’s time to take the plunge as Fat Rascal Theatre reveal what really happened under the sea, in a tell-all tale of sex, sorcery and suckers.
When Disney released ‘The Little Mermaid’ in 1989, they had no idea they were also giving birth to an icon. Despite having just one song and only a handful of scenes, Ursula the Sea Witch quickly took her place as the queen of Disney villains: a bad bitch, a pop culture legend, and an endless source of quotes, memes, and merchandise. She’s the toast of the film, and yet she’s woefully underused.
So who better to take us on a scorching trip through the problematic minefield that is Disney?
Much of what makes Ursula a ‘villain’ is also what makes her a feminist badass. She’s loud. She’s clever. She’s a ruthless businesswoman, and oh boy is she sexy. Sexy, and unapologetically fat. Even now, in 2019, where posters still demand that we are ‘beach body ready’ and plus-size models remain a controversial topic; where young women are raised on a diet of lithe and limby princesses, fairies and (yes) mermaids; where disproportionately sized heads and minute waists are the animated norm… A woman like Ursula is needed more than ever. She’s not defined by slipper-sized feet, or enchanted blonde hair, or snow white skin. Ursula is plump, purple and proud.
With her character design based on the outlandish drag queen Divine, and brought to life by gay lyricist Howard Ashman, Ursula has become a major icon for the LGBTQ+ community, too. A community still woefully underrepresented by Disney, thrown only the occasional veiled hint or (most recently, in Beauty and the Beast) a two second scrap of dancing. But, once again, there stands Ursula, defiant against her creator and with a message for all us ‘poor unfortunate souls’: love the skin you’re in, value your voice over your body, and don’t be afraid to be a little bit nasty.
Fat Rascal Theatre are a creative team packed to the brim with the plus size, the gay and the fabulous: and they’re ready to give Ursula the story she deserves. In this parody remix of the classic tale, Ursula spills the ink and tells audiences what really happened beneath the waves. We’ll see how she dealt with the embodiment of toxic masculinity that is King Triton, and tried to teach his airhead daughter, Ariel, to treasure her voice. Our hero is rude, she’s opinionated, and she’s got no time for faint-hearted Disney darlings. Think Wicked, but wider and wetter. And definitely not for kids.
Carnival is here. The streets of Notting Hill are alive with history and amongst the pulsating soca, dazzling colour, and endless sequins and feathers, Jade (Sapphire Joy) and Nadine (Sharla Smith) are fighting for space in a world they thought was theirs. J’Ouvert is a snapshot of these two best friends and their experience on one summer’s day at the Notting Hill carnival.
This is the debut play of Yasmin Joseph, one of Theatre503s writers-in-residence, and directorial debut of actor Rebekah Murrell: a story of sexual politics, friendship, culture and the Black experience.
The production has clearly been beset with some problems and Sharla Smith had only had a week to rehearse and was very much still on book in this, it’s opening week. It was valiant and energy-infused effort and by the end of the run, she will have nailed it, for sure. It must have been deeply frustrating for everyone involved and contributed to the slightly “work in progress” feel.
Having said that, this is a tale of friendship and culture and it wasn’t long before we were immersed in the girls’ relationship as Nadine prepares for the Queen of the Carnival competition. There is the meeting with Jade’s Y5 teacher, a trip to get food from overpriced Milly’s before a very unpleasant encounter with two white men. We meet Nisha (Annice Boparai), Jade’s politically “do gooder” and wealthier Asian friend, a tour de force of naïve activism, enthusiasm, heart and absolutely no emotional awareness at all.
The piece explores a wide range of concepts – racism, grades of colour, misogyny, rich v poor, modern “me too” girls against their old fashion, religious aunts and mothers, the futility of youth and commercialisation. It is indeed ambitious but these concepts are cleverly woven together in a tight and more often than not hilarious script. Although Grenfell and Windrush are not mentioned directly they permeate through the play. The Carnival’s deep historic and cultural routes are epitomised by the ghost of Claudia Jones, the Mother of Carnival in a slightly random and confusing way not helped by the three performers playing all parts throughout. A special mention to Sapphire Joy whose versatility shone through but was particularly hilarious as Hubert, a 70 year old beer drinking Jamaican.
Overall, this is a sharp, funny and well written work which tackles complex issues with humour and great insight, despite the slightly clunky production and casting issues. Yasmin Joseph is a playwright to watch and this production is worth a visit
St Helens Theatre Royal – until Saturday 8 June 2019
Reviewed by Carla Whittaker
4****
On Wednesday evening I was lucky to get tickets to watch Regal Entertainments new show Achy Breaky Bride at St Helen’s Theatre Royal. I went with my nana and we had been really looking forward to it due to my nana’s love of country music.
Achy Breaky Bride is a production written by David Paul and Emma Culshaw, directed by S Gatrill and presented by Regal Entertainments. It is a jukebox country musical which features a number of well-known cast members including Radio City’s Leanne Campbell, West End Star Daniel Taylor, and ITV Benidorm’s/ I’m a Celebratory favourite Crissy Rock joined by Divina De Campo from The Voice (2016) and Regal Entertainments favourite Olivia Sloyan. The line-up is completed by Joshua Ford, Jenna Sian O’Hara and Emma Vaudrey.
The story is based around Dolly’s Dream Dresses, a St Helen’s Bridal Boutique run by Jolene (Leanne) and her brother ‘A Boy Named Sue’ (Daniel Taylor). Despite being jilted at the alter by the love of her life; Hank Reynolds, Jolene works tirelessly with A Boy Named Sue to help brides prepare for their biggest day of their life, however nothing goes to plan. Olivia Sloyan plays Faye a young girl with her own personal chaos going on who helps Jolene and Sue in the shop. Olivia is a very talented actress and her vocals are sensational.
Actress Crissy Rock appeared to be a favourite with the audience due to the comic value of her performances throughout the production. Crissy plays several parts in the show firstly as mother of the brides; Tara, Jackie, Liz and then Miss Wallace who has been saving up for a wedding even though she doesn’t have a husband to be. The highlight for me was Crissy playing Gladys who is an elderly resident of a care home who is marrying her toyboy only to find out when in the shop he has passed away. Jenna Sian O’Hara plays three character brides firstly as Shelly an Irish gypsy, Hattie, and Lia. Jenna, brilliantly was able to change between three different accents –showing just what a versatile actress she is.
Drag queen Divina De Campo show cased their versatility as Breathless a performer who has auditioned for the X-Factor, and Sue’s husband businessman Mikey. I must say Divina De Campo’s stage presence and vocals are excellent!
Hank Reynolds is played by the handsome Joshua Ford; Jolene’s first love. Hank comes to Dolly’s Dream Dresses with his fiancée, he comes face to face with Jolene and it would appear Jolene was not jiltered at the alter they were both at different chapels! I have never seen my nana laugh so much as when Hank did his Elvis stripper routine on stage.
Myself and my nana have not laughed so much in a long time, although I did feel that the amount of swearing and sexual references on occasions was not needed. The whole cast were excellent and really connected with the audience with audience participation encouraged. The songs were catchy and sung enthusiastically by the cast and audience including favourites such as Jolene, Jolene, Achy Breaky Heart, Rhinestone Cowboy and You’re Still the One to name just a few.
If you like a laugh and can appreciate Scouse humour/not easily offended I would recommended this show for an evening of cheesy giggles!
Having first seen this superb actor in this extraordinary one man play at Edinburgh last summer I was thrilled to be invited to review it at this wonderful new / old north London theatre as part of its 2019 UK tour journey back to Edinburgh again this summer. Having sold out at Edinburgh last summer it is being performed in larger space at the Pleasance this year with double audience capacity. Book your tickets before you go – David William Bryan playing his Great Uncle Arthur (Joe) In Loyal Company is a Must-See. One of the best things I’ve had the privilege of seeing in recent years on any level.
Watching it in the amazing old Alexandra Palace Theatre, recently reopened to the public again for the first time in over 80 years, was a added treat. It’s so evocative ~ you can sense all the (wonderful!) ghosts and theatrical stories in the lofty walls! Looking forward to seeing more here for sure!
But more importantly, back to the outstanding actor/writer David William Bryan in a tour de force solo performance recreating the incredible true story of his Great Uncle Arthur (known as Joe) who went missing in World War II where he was a prisoner of War in the Far East before returning home to Birkenhead, somewhat broken and sick after the war.
Bryan plays every character in his Great Uncle’s story including every member of his family: his mum, dad, Bill (one of his 6 brothers), his best friend Frank, his unattainable perfect gal Mary, his 3 army pals, commanding officers, and more! It’s quite astounding. Every character totally believable, voice and physicality changed in an instant and then swiftly switched again to another, or back to Arthur who addresses us the audience throughout the entire performance. Upbeat 1940s music is playing before the play begins which sets us in a different, simpler, era and as the music fades Bryan literally leaps on to the stage with an energy and immediacy that never dims throughout the 75 minutes. He completely owns the space and propels you along his story with him.
Arthur Robinson, whose family call him Joe because… “when you’ve got six children it’s faster if you get rid of a few syllables,” was a young lad living in Birkenhead in 1941. His mum has the cleanest front step on their street nestled under the shadow of Cammell Lairds shipbuilders. Arthur tells us he packs aircraft parts in a factory and is dead excited to get his best clobber on and go to the dance hall to see Mary who he is desperate to ask out but too shy. A bombing raid on the city changes everything and Arthur decides to join the army to fight Hitler.
Young Arthur had no idea where he was going, what he was going to do, what he would face and we are swept along in the innocence of this youthful, optimistic though shy unknown soldier’s life. Bryan is a totally engaging, always interesting, extremely personable actor who with no set or props manages to portray the entirety of the second world war in Asia, aided only by dramatic story telling and Jonny Ryan’s superb lighting and sound effects. Bryan transports us on board ships and trains on epic journeys with him to countries Arthur had no knowledge of, to the heat of dreadful battlefields, the exhausting jungles of the far east and to the unspeakable brutality of Japanese prisoner of war camps. It’s exhausting, and quite extraordinary. The abrupt end of the war and Arthur’s return home full of anticipation, and joy, to possibly be reunited with Mary is incredibly poignant but there is no happy ending. Yet the story of a young soldier’s life who determined to be optimistic come what may is incredibly uplifting. There were hundreds of thousands of Arthur’s in the second world war. Unknown soldiers full of ordinary hopes and dreams and aspirations, who made life better for the people around them, made people laugh and kept hope alive despite dreadful brutality and the most horrendous circumstances.
Bryan’s wonderful writing is resourceful, clear, heart-warming and beautifully paced. I’m intrigued and excited to see future work from this exceptionally talented writer and actor. It is especially poignant seeing In Loyal Company as we are commemorating the D Day Normandy landings when so many thousands of young men so bravely risked, and lost, their lives for future generations. Seeing men in their 90s still jumping out of planes reminds us of real ‘ordinary’ heroes like Arthur Robinson – Uncle Joe. Bryan’s tribute to his beloved unsung Great Uncle is a tribute to all these service men of WWII
In Loyal Company is a tour de force masterclass of superb and immense acting from David William Bryan. Intelligent, witty, fierce, physical, smart, poignant, incisive, reflective and fast paced. If you get a chance to see this do not miss it! For upcoming In Loyal Company tour dates, visit www.DavidWilliamBryan.com
Britain’s Got Talent winner George Sampson joins Shirley Ballas in this year’s GIANT family pantomime, Jack and the Beanstalk.
Darlington Hippodrome are delighted to announce that George Sampson, Phil Walker and Daniel Taylor are joining Strictly Come Dancing head judge Shirley Ballas in the festive family pantomime Jack and the Beanstalk from Friday 6 December.
Starring in the title role of Jack Trot will be Britain’s Got Talent winner, George Sampson. The Warrington-born dancer, presenter, singer and actor rose to fame when he entered the second series of ITV’s flagship talent show Britain’s Got Talent where he wowed audiences with his impressive street dance abilities and performance skills, which he showcased in front of His Royal Highness the Prince of Wales and The Duchess of Cornwall at the Royal Variety Performance. Since then George has gone on to headline at regular summer festivals across the UK, host weekend specials at UK resorts, host various product launches, released his debut single ‘Get Up on the Dance Floor’, and released his debut dance DVD, Access 2 All Areas.
He continues to dance, but is now also known for his acting, having starred in the hip-hop musical Into the Hoodz in London’s West End and in the feature films Streetdance 2 and Streetdance 3D, held roles in Waterloo Road and Casualty for the BBC, starred in Mount Pleasant on Sky One, appeared in The Dumping Ground for CBBC and made his soap debut as Ryan in Emmerdale for ITV. Last year he starred in the Madness musical Our House and made his pantomime debut for producers Qdos Entertainment at the Crewe Lyceum.
Starring as Jack’s hapless brother Simon will be comedian Phil Walker. Having started his career as a Butlins redcoat, Phil went on to forge a successful career as a stand-up comedian, appearing regularly across the northern club scene and winning accolades including the City Life Comedian of the Year. Since then he has headlined at comedy clubs across the UK, entertaining thousands of people every year. He has also starred at the Edinburgh Fringe, winning rave reviews for his show ‘Is this it?’ and has entertained over 4,000 troops on two tours of Afghanistan, The Falkland Islands, Bosnia and Germany. A regular in pantomime, Phil spent 11 years starring at the King George’s Hall in Blackburn, and the last four years at Preston’s Guildhall. Jack and the Beanstalk marks his Darlington Hippodrome debut.
Joining them as the evil villain Fleshcreep will be actor and comedy writer Daniel Taylor. On stage he is best known for his portrayal of Sammy in Blood Brothers, Mickey in Down the Dock Road at the Royal Court, Tommy Cooper in the critically acclaimed The Tommy Cooper Show and as John Lennon in the off-Broadway production, Lennon – Through a Glass Onion at the famous Epstein Theatre in his native Liverpool.
Jack and the Beanstalk will be produced by Qdos Entertainment, the world’s biggest pantomime producer, and the team behind Darlington’s annual pantomime, who guarantee another must-see production packed with audience participation, sensational music and even more spectacular dance routines, jaw-dropping special effects and fantastic festive entertainment suitable for all ages.
Jake Hine, Executive Producer for Qdos Entertainment, said: “I’m thrilled that George, Phil and Daniel will be joining the wonderful Shirley in Darlington’s pantomime this year. Between the four of them we have every facet of dance imaginable, hilarious comedy and the ultimate panto villain. Together they will ensure Darlington can be sure of one of the best pantomimes yet, with plenty of exciting things planned.”
Darlington Hippodrome Director Lynda Winstanley said: “We are absolutely thrilled to announce that George, Phil and Daniel will be coming to Darlington Hippodrome to join Shirley Ballas. I’m sure Darlington audiences will be as excited as we are to see this fantastic cast in action ensuring Jack and the Beanstalk is another festive, family pantomime success.”
Jack and the Beanstalk runs at Darlington Hippodrome from Friday 6 December 2019 to Sunday 5 January 2020. For full details and to book visit www.darlingtonhippodrome.co.uk or call 01325 405405.
Northern Ballet has announced details of their 50th Anniversary Programme including three world premières, a star-studded Gala and tours of some of the Company’s best-loved productions. Worldpremières in 2020 include Geisha by Kenneth Tindall, Merlin by Drew McOnie and a new children’s ballet. David Nixon OBE’s blockbusters Cinderella and The Great Gatsbyreturn for national tours.Northern Ballet will also perform Three Short Ballets in Newcastle and tour Mariana Rodrigues’ Little Red Riding Hoodnationally.
50th Anniversary Celebration Gala
Marking the start of the Company’s anniversary programme, Northern Ballet’s 50th Anniversary Celebration Gala will see dancers from some of the world’s leading companies unite in a unique eventcelebrating Northern Ballet’s 50-year journey. Northern Ballet will be joined by guest stars from The Royal Ballet, American Ballet Theatre, English National Ballet, Scottish Ballet, Birmingham Royal Ballet and Phoenix Dance Theatre performing excerpts from Northern Ballet’s repertoire and worksconnected to the Company’s history. The gala will be a magnificent celebration of the Company’s 50-year story so far.
The 50th Anniversary Celebration Gala will be at Leeds Grand Theatre for one night only on Saturday 4 January 2020. For information visit northernballet.com/gala
Geisha – World Première
In the first of three world premières, Kenneth Tindall, choreographer of the Company’s acclaimedCasanova, creates his second full-length ballet. Based on a true story, Geisha is the haunting tale of two young women trapped in a world of duty and sacrifice, who can only be saved by a promise frombeyond the grave.
Geisha will feature original music composed by Alexandra Harwood (The Guernsey Literary and Potato Peel Pie Society), an original scenario and dramaturgy by Gwyneth Hughes (ITV’S Vanity Fair), set and costume designs by Christopher Oram (Casanova and Disney’s Frozen, Broadway) and lighting by Alastair West (Casanova).
Geisha will première in Leeds on 14 March 2020 followed by a tour to Sheffield, London, Edinburgh and Cardiff until May 2020. For information visit northernballet.com/geisha
Cinderella
A family favourite, David Nixon OBE’s Cinderella will tour nationally in the spring. An enchantingadaptation of the world’s most famous rags to riches story, Cinderella is whisked away from her wicked Stepmother and a desolate life of servitude, to the glistening lake of ice where she first meets her Prince and changes her destiny forever.
Cinderella features an original score by Philip Feeney, sets designed by Duncan Hayler, lighting by Tim Mitchell and costumes by David Nixon OBE. The balletwill tour to Leicester, Milton Keynes and Salford from March to June 2020. For more information visit northernballet.com/cinderella
The Great Gatsby
David Nixon OBE’s smash hit The Great Gatsby, returns for a new national tour in the autumn. Based on the novel by F. Scott Fitzgerald, The Great Gatsby tells the story of mysterious millionaire Jay Gatsby as the sparkling façade of his world starts to slip, revealing the loneliness, obsession and tragedy that lies beneath.
Set to a toe-tapping score by Sir Richard Rodney Bennett CBE, with sets designed by Jérôme Kaplan, lighting by Tim Mitchell and costumes by David Nixon OBE, The Great Gatsby will tour to Leeds, Nottingham and Sheffield from September – October 2020. For more information visitnorthernballet.com/gatsby
Merlin – World Première
The second full-length world première of Northern Ballet’s 50th anniversary season will see DrewMcOnie make his debut with Northern Ballet. The choreographer, whose previous projects includeBroadway’s King Kong and Baz Luhrmann’s Strictly Ballroom, will create Merlin, a magical spectacle inspired by the story of the legendary wizard.
Merlin will feature original music by Grant Olding (One Man Two Guvnors, National Theatre), a scenario by Gwyneth Hughes (ITV’s Vanity Fair), set and costume designs by Colin Richmond (Grease, UK Tour) and lighting by Anna Watson (A Christmas Carol, Bristol Old Vic). In addition, Chris Fisher, International Illusions and Magic Associate on Harry Potter & the Cursed Child has been appointed as Illusionist for Merlin.
Merlin will première in Bradford on 16 October 2020 followed by a tour to Norwich, Newcastle, Southampton, Woking and Leeds until December 2020. For more information visitnorthernballet.com/merlin
Three Short Ballets
Following the success of the Company’s debut at Newcastle’s Northern Stage this year, Northern Ballet will return in April 2020 with an exhilarating programme of Three Short Ballets featuring The Kingdom of Back by Morgann Runacre-Temple, Powerhouse Rhumba by David Nixon OBE and For an Instant by Amaury Lebrun. For information visit northernballet.com/three-short-ballets
Ballets for Children
Continuing its pioneering programme of short ballets created specifically for young children, Northern Ballet will première a new children’s ballet in October 2020. The title is yet to be announced but will follow in the footsteps of the recently announced world première of Little Red Riding Hood (October 2019) which is choreographed by Mariana Rodrigues and will tour nationally in spring 2020 (details to be announced). For updates visit northernballet.com/whats-on
Digital Dance
Continuing the Company’s exciting developments in its digital dance offering, Northern Ballet’s popular children’s ballets Ugly Ducklingand Goldilocks & the Three Bearswill be screened in cinemas nationwide from January 2020. The Company will also present three new dance films on its Digital Dance platform, including an original direct to digital creation by Kenneth Tindall. For updates seedigitaldance.org
Other Activities and Opportunities
In addition to its programme of performances, Northern Ballet will be holding a number of other activities and opportunities for audiences and supporters to engage with the Company during its 50thanniversary year. These include an exhibition of ballet costumes in Leeds city centre during April and May 2020 and an exclusive fundraising dinner and performance in Leeds in autumn 2020. For more information on these and other activities as they get announced, see northernballet.com for updates.
David Nixon OBE, Artistic Director of Northern Ballet said: ‘Northern Ballet is a truly extraordinary organisation and has endured so many challenges in its history to arrive, 50 years after its inception, as the successful, confident and innovative company that we are today. I am privileged to be the Artistic Director as we reach this milestone anniversary and to be continuing the incredible work of all the artists and staff who have gone before us. Our programme of events for our anniversary year showcases Northern Ballet’s strengths in creating new work, reviving some of our most popular productions and making exciting progress with our digital ambitions. As we take our next steps in the Company’s journey, I wish to thank all of our supporters past and present, and we look forward to what the future will bring.’
