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JOANNA RIDING TO HOST WEST END GALA OF THE 13^TH ANNUAL STEPHEN SONDHEIM SOCIETY STUDENT PERFORMER OF THE YEAR

AND THE 12^TH ANNUAL STILES + DREWE PRIZE

The Stephen Sondheim Society and Mercury Musical Developments today announce the West End gala of the 13^th annual Stephen Sondheim Society Student Performer of the Year (SSSSPOTY)and the 12^th anniversary ofThe Stiles + Drewe Prize. The 2019 competition is being staged at the Theatre Royal Haymarket on Sunday 9 June, hosted by two-time Olivier Award winner and star of the current revival of Follies at the National Theatre, Joanna Riding. Chris Hocking returns to direct the gala, with musical direction by Nigel Lilley, and a guest performance by 2018 SSSSPOTY winner Alex Cardall.

This annual competition, co-produced by The Stephen Sondheim Society and Mercury Musical Developments, sees twelve of the top student performers from musical theatre and drama schools across the UK each perform a song by Stephen Sondheim, and a new musical theatre song written by members of Mercury Musical Developments. The performers are competing for the top prize of £1,000, judged by writer and broadcasterEdward Seckerson, with Julia McKenzie (six-time Olivier Award nominee and two-time winner, and Tony Award nominee), and Peter Polycarpou (currently starring in Man of La Mancha).

The Stiles + Drewe Prize supports and develops new musical theatre writing, recognising an outstanding song from a new musical, and is supported by The Entertainment Business, who said: “We’re delighted to be co-sponsoring the Best New Song prize for the third year running and to continue to support new musical writing”.The winner of Best New Song receives £1,000 to put towards developing their work. Judging the Best New Song entries with Stiles and Drewe will be Nkeki Obi-Melekwe (currently starring as Tina in Tina The Musical).

Olivier Award-winning song-writing duo George Stiles and Anthony Drewe today said “We’ve had the biggest crop ever of entries for our Best New Song Prize this year.  Thank you to all the writers who submitted a phenomenal 177 entries and congratulations to our 12 fabulous finalists. Together with MMD, we’re passionate about showcasing emerging Musical Theatre writing talent and we’re delighted to see material full of flair and panache.”

Craig Glenday, Chair of The Stephen Sondheim Society, also said “Stephen Sondheim has said that teaching is a sacred profession, so it’s a privilege to be able to honour this sentiment by supporting these talented students. SSSSPOTY gives these bright lights the chance to sing on a West End stage – and to work with an established Director and Musical Director – and it gives the audience the chance to say ‘We were there!’ when they first heard these stars of the future perform. Good luck to everyone involved!”

Sheffield Lyceum – until Saturday 11 May 2019

Reviewed by Lottie Davis-Browne

4****

It’s hard to believe that this cult classic movie is now twenty-two years old yet most of the topics covered are still relevant today. Whilst one might be lead to believe it’s all frolics, laughter and raunchiness, there’s actually a much darker edge to it. Gaz and Dave along with the rest of their now ex-colleagues were lead to believe they had a job for life in Sheffield’s once thriving Steelworks industry, suddenly find themselves on the dole – humiliated further as their wives and partners become the main bread winner whilst faced with the added humiliation being made to attend a Job Club. The impact of unemployment leads Gaz to risk losing access to his son Nathan, unable to afford to keep up with child maintenance payments, and pushes one guy into attempting suicide. This particularly strikes a chord with anyone who has ever had to deal with unemployment or redundancy to the point where you could practically feel the pain of those around you in the audience.

When Gaz (Gary Lucy) has the bright idea of forming their own equivalent to the Chippendales in order to raise some much needed cash, he soon finds himself and a group of ex-coworkers holding auditions in the now derelict steelwork. Amongst the selected there’s Horse (Louis Emerick) – who’s “more Shetland than Shire” if you get my drift…an ageing arthritic guy who may not be so stable on his feet but sure has the hip action to a tee (partly due to his shaky troublesome hip!), loner and suicidal Lomper (Joe Gill) and Guy (“Gentleman….the lunchbox has landed!”) – an openly gay young male who’s trade secret his his more-than-adequate anatomy.

What I love about Simon Beaufoy’s award winning play is that it stays true to the original 1997 movie, rather than Americanised musical. This is no surprise however since Beaufoy also wrote the film screenplay. But having seen both the musical version and the play version, I much prefer the play – The Full Monty wouldn’t be The Full Monty without it being set in Sheffield! I was fortunate enough to catch the tour in Leeds earlier this year, but seeing in in the city that started it all, and the city I’m now proud to call home, was the icing on the cake.

Robert Jones stunning stage set features as the productions back drop – perfectly recapturing the derelict steelworks set amongst the backdrop of 1980s industrial city of Sheffield – complete with broken windows, “Margaret” (the nickname given by the workers to the cold heavy crane used to move steel) – there was so many intricate details to this stunning set I often found my eyes wondered from the cast to the steel backdrop – but don’t worry – I was soon brought back round whenever the guys started to take any items of clothing off!

The six guys – who later really do go all the way ie The Full Monty – work perfectly in sync with each other and for me this is what makes this production so wonderful. Despite the fact that it’s often difficult to understand the dialogue due to the poor Sheffield accents – not even convincingly Northern sounding half the time – seems to be that even the finest of actors struggle to master a convincing Northern accent; this aside this production is otherwise pretty faultless. Scene changes are slick, doubling up as various settings without the need to make many changes to the set.

It’s impossible to single out a particular cast member but if I had to choose one I’d definitely say Louis Emerick for bringing the warmth and humour of Horses character to life. Not surprising that ticket sales are doing so well it’s wonderful to attend shows where the auditorium is pretty much full to capacity – be sure to capture this cult classic on tour!

 

LONDON THEATRE COMPANY ANNOUNCE PLANS FOR SECOND THEATRE

IN THE HEART OF KING’S CROSS

Today, 8 May 2019, London Theatre Company and King’s Cross Central Limited Partnership (KCCLP) announce their joint venture for a brand new 600 theatre in King’s Cross.

King’s Cross will be the location of London Theatre Company’s second theatre, a new 600-seat flexible auditorium, based on the acclaimed Bridge Theatre which opened in October 2017.

Like the Bridge, the new theatre is designed by Stirling Prize-winning Haworth Tompkins Architects in collaboration with TAIT, world leaders in designing, constructing and delivering the finest live event venues.  The building containing the new theatre, P2, is designed by architects Allford Hall Monaghan Morris (AHMM) and when complete will offer nine floors of flexible office space, set to house Facebook, with a fifth-floor wraparound terrace, and retail space at ground level to the south.

The 600 seat theatre at King’s Cross will include a flexible auditorium, capable of a streamlined transformation between formats to support a varied programme of new commissions and classics. The theatre will include an active foyer, which will include a café/bar, open during the day to visitors, as well as during shows. The building is currently under construction and the new King’s Cross theatre is planned to open for winter 2021.

The new theatre, which will be situated on Lewis Cubitt Square, adjacent to London’s new shoppingand dining district Coal Drops Yard, represents a significant cultural addition to the King’s Cross development, already home to Central Saint Martins, its Platform Theatre and two Everyman Cinemas, as well as nearly 30 restaurants and cafes, twenty-six acres of public realm and an annual events programme.

Nicholas Hytner and Nick Starr, London Theatre Company, said: “We’ve been delighted with thewelcome the Bridge has received, and with the intimacy, comfort and adaptability of Haworth Tompkins’/Tait auditorium.  We’re looking forward to joining the vibrant King’s Cross neighbourhood in a few years’ time.”

James Edgerley, Project Director at KCCLP, commented: “We’ve been busy working with the London Theatre Company on this joint proposal as the building’s design has evolved and we are excited to bring forward a high quality theatre at the heart of King’s Cross. This will help further our vision of N1C as London’s creative quarter, where there will be plenty more new openings in the years to come. We can’t wait for the first performance!”

London Theatre Company’s latest production at The Bridge Theatre is A German Life, which marks Maggie Smith’s acclaimed return to the stage.  Following that is Nicholas Hytner’s production of A Midsummer Night’s Dream to be staged in the Bridge’s ‘immersive’ promenade format withGwendoline Christie, Oliver Chris, David Moorst and Hammed Animashaun who lead the cast as Titania, Oberon, Puck and Bottom.  LTC’s production of My Name is Lucy Barton with Laura Linney will open on Broadway in January 2020. 

This permanent addition to King’s Cross follows the pop-up King’s Cross Theatre which delighted audiences between 2014 and 2016 with performances of an Olivier Award-winning production of The Railway Children, Lin-Manuel Miranda’s In The Heights, David Bowie’s Lazarus and the Donmar’s Shakespeare Trilogy. 

MGCfutures BURSARY PROGRAMME

OPENS APPLICATIONS FOR THE FOURTH YEAR

Including new bursaries in partnership with Gate Theatre,

English Touring Theatre and Deafinitely Theatre

Artistic Director of MGC, Michael Grandage today announces the fourth annual MGCfutures Bursary Programme is now open for applications. MGCfutures is a charity, formed in 2012. The bursaries programme was launched in 2016 for arts practitioners who show a commitment to their chosen career and look to progress to the next stage of their development.

Applicants can apply for bursaries from £500-£5,000, to support careers across the theatre industry. Bursaries in previous years have supported a range of projects including directors and producers who needed help towards funding a workshop, choreographers, a theatrical milliner who needed help to buy tools for his work and designers who needed to invest in computer assisted design programmes or workshop space. MGCfutures are keen to expand the reach of the bursaries across all the professions that play a vital role in making live performance happen.

In addition, MGCfutures will offer The Stephanie Arditti Bursary created in the memory of award-winning costume supervisor Stephanie Arditti for those working in costume; as well as partnering with three companies – renewing their collaboration with the Gate Theatre for two Assistant Director Bursaries, and new partnerships with English Touring Theatre for an Assistant Production Manager for their co-production with Sheffield Theatres of Reasons to Stay Alive, and Deafinitely Theatre on HUB, the first ever deaf accessible theatre training scheme.

Michael Grandage said today, “I’m delighted to announce our fourth year of this unique bursary scheme which encourages representation from every single part of the industry. We have already helped more than fifty emerging theatre-makers since it began in 2016 and this year we are hoping to reach an even wider group of theatre makers in some of the more technical areas of the industry. We’re also launching some exciting new partnerships including a training placement for an aspiring Production Manager with English Touring Theatre, and mentoring support for deaf artists with Deafinitely Theatre as well as continuing our association with the Gate Theatre in Notting Hill, offering a placement to work on two Gate Productions as an Assistant Director.” 

Applications must be submitted via the MGCfutures website – www.mgcfutures.com – before 12 noon on 31 May 2019.  Please note, bursaries are not available to support training or as commercial investments in productions.

MGCfUTURES

The future of theatre depends on young people. They are the theatre makers and theatre goers of tomorrow. MGCfutures reaches out to people of different ages and backgrounds, providing information, guidance and support through mentorship, the Bursary scheme, online resources, workshops and participatory activities.  It is also committed to enabling young people to visit the theatre who might otherwise not be able to do so.

MGCfutures is a charitable organisation, governed by a Board of Trustees. MGCfutures Education Associates, Dominic Francis and Samantha Lane, develop workshops and online materials to support theatre-goers to get the most out of their experience, especially those visiting a theatre for the first time.

MGCfutures is also supported by the charity’s patrons: Judi Dench, Dawn French, Nicole Kidman, Jude Law, Daniel Radcliffe, Simon Russell Beale, Sheridan Smith, Aidan Turner, David Walliams and Ben Whishaw.

“MGCfutures understands that artists need practical support, as well as encouragement and mentorship, in order to be empowered to make good work. It’s exactly the investment I need at this stage in my career to keep raising my ambitions.”

Isley Lynn – MGCfutures Bursary recipient, 2016

 
To find out more about the charity’s work, and how to get involved, please contact Andrew Broadleyandrew@mgcfutures.com

• The MGCfutures Bursaries are funded through money raised by the company itself. As the company continues to expand the scheme, individual donors and supporters are being sought.

• The recipients of the awards are selected from an industry panel including Michael Grandage. After the panel, each recipient will be met with to discuss their bursary and the support MGCfutures will give each one moving forward.

Twitter: @MGCfutures

Facebook: MGCfutures

Instagram: MGCfutures

https://www.mgcfutures.com/bursaries/bursaries-2019/

DUE TO PHENOMENAL DEMAND, THE BOOK OF MORMON EXTENDS ITS MANCHESTER SEASON AND ANNOUNCES ITS OPENING CAST FOR ITS FIRST EVER UK AND INTERNATIONAL TOUR

“The best musical of this century.”

Ben Brantley, The New York Times

Due to popular demand, more tickets have been released for The Book of Mormon, Broadway’s smash-hitmusical written by Trey Parker, Matt Stone and Robert Lopez.

The Tony®, Olivier® and Grammy® award-winning show, which begins performances at the Palace Theatre, Manchester on Thursday 6 June, has extended booking through to Saturday 10 August viawww.thebookofmormonmusical.com and at the Palace Theatre Box Office.

The cast of The Book of Mormon in Manchester will be led by Kevin Clay as Elder Price and Conner Peirson as Elder Cunningham, recreating their roles from the Broadway and US touring productions. They are joined by Nicole-LilyBaisden as Nabulungi, William Hawksworth as Elder McKinley, Ewen Cummins as Mafala Hatimbi, Johnathan Tweedie as Joseph Smith and Thomas Vernal as the General.

The company will include Sanchia Amber Clarke, Jed Berry, David Brewis, Melissa Brown-Taylor, Chinasa, Tre Copeland-Williams, George Crawford, Jordan Lee Davies, Jemal Felix, Patrick George, Isaac Hesketh, M-Jae Cleopatra Isaac, Evan James, Alex James-Hatton, Nicole Louise, Fergal McGoff, Jesus Reyes Ortiz, Lawrence Rowe, Lukin Simmonds, Chomba S Taulo, Brad Veitch, Tommy Wade-Smith, Sharon Wattis and Jacob Yarlett.

Trey Parker and Matt Stone are the creators of the Emmy and Peabody award-winning television show,  South Park, now in its twenty-second season, and the feature films South Park: Bigger, Longer & Uncut and Team America: World Police.

Robert Lopez co-created the Broadway musical Avenue Q and co-wrote the songs for Disney’s Frozen and Coco. He is one of only fifteen artists to win all four major entertainment awards – Emmy®, Grammy®, Oscar® and Tony® Awards.   

The Book of Mormon follows a pair of Mormon boys sent on a mission to a place that’s a long way from their home in Salt Lake City.

Since making its world premiere in March 2011 at New York’s Eugene O’Neill Theatre, where it won nine Tony® Awards, including Best Musical, The Book of Mormon has been performed on three continents and won over thirty international awards. The musical has smashed long-standing box office records in New York, London, Melbourne, Sydney and cities across the U.S.

The London production opened in February 2013, winning four Olivier Awards® including Best New Musical, and breaking the record for the highest single day of sales in West End history. It has sold out every one of its 2583 performances to date at the Prince of Wales Theatre.

Book, Music and Lyrics are by Trey Parker, Robert Lopez and Matt Stone.  Directed by Casey Nicholaw and Trey Parker, The Book of Mormon has choreography by Casey Nicholaw, set design by Scott Pask, costume design by Ann Roth, lighting design by Brian MacDevitt, sound design by Brian Ronan, orchestrations by Larry Hochman and Stephen Oremus and music supervision and vocal arrangements by Stephen Oremus.

The Book of Mormon is produced by Anne Garefino, Scott Rudin, Important Musicals and Sonia Friedman Productions.

Palace Theatre, Manchester

Box Office: 0844 871 3019*

www.atgtickets.com/venues/palace-theatre-manchester  

* Calls cost 7p per minute, plus your phone company’s access charge.

www.thebookofmormonmusical.com | @bookofmormonuk

FULL CAST ANNOUNCED FOR SHAKESPEARE IN THE SQUARES’ A MIDSUMMER NIGHT’S DREAM –

TOURING TO LONDON SQUARES AND PARKS THIS SUMMER

Shakespeare in the Squares presents

A MIDSUMMER NIGHT’S DREAM

By William Shakespeare

Directed by Tatty Hennessy

19 June – 11 July 2019

Shakespeare in the Squares today announces the full cast for A Midsummer Night’s Dream, the company’s fourth production touring London’s glorious private squares and gardens. Tatty Hennessy directs Gemma Barnett (Hermia/Snug/Fairy), Paul Giddings (Theseus/Oberon/Quince), Jodie Jacobs (Bottom/Egeus), Sioned Jones (Hippolyta/Titania), David Leopold (Lysander/Starveling), Riad Ritchie (Demetrius/Snout), Hannah Sinclair Robinson (Helena/Flute) and James Tobin (Puck/Philostrate). The production runs from 19 June to 11 July, with press night at Arundel and Ladbroke Gardens on 25 June.

Shakespeare’s wild play of love and magic is transplanted to 1920s Britain, a country bruised by battle and economic hardship where our lovers chafe against the constraints and conventions of an older generation and seek to find freedom in the forest. There they stumble upon a riotous world untouched by time, still revelling in illusion. Moonlight suffuses this drama, bringing romance and a touch of madness – even in an oppressive world, all manner of things can happen under cover of night.

Gemma Barnett plays Hermia/Snug/Fairy. Her theatre credits include A Hundred Words For Snow (VAULT Festival/Trafalgar Studios), Lola (VAULT Festival), Cinderella: A Wicked Mother of A Night Out (UK tour), Flog(Camden People’s Theatre), Roosting (Park Theatre), Oil and Matter (The Bunker), Cousins (Soho Theatre) andSpring Storm (The North Wall).

Paul Giddings plays Theseus/Oberon/Quince. His theatre credits include Time and Tide (Park Theatre), People Like Us (Union Theatre), Dr Jekyll and Mr Hyde (Rose Theatre Kingston/UK tour), My Night with Reg (Apollo Theatre), The Vote (Donmar Warehouse), Handbagged (UK tour), The Mousetrap, The Woman In White,Besame Mucho (Charing Cross Theatre), 1000 Polar Bears On A Beach In Kent (Southwark Playhouse), Spitting Image, Superman and Me (King’s Head Theatre), Entertaining Mr. Orton (Arcola Theatre), Clench (Greenwich Theatre) and Be Civil, Disobey (Lost Theatre). His television credits include The Vote; and for film, Kingsman: The Golden Circle and The Hippopotamus.

Jodie Jacobs renews her collaboration with Shakespeare in the Squares to play Bottom/Egeus, having appeared in As You Like It. Other credits include Unexpected Joy, Bananaman and Carrie (Southwark Playhouse), Dick Whittington (Lyric Hammersmith), Myth (The Other Palace), Lizzie (Greenwich Theatre), Disaster – The Musical(Charing Cross Theatre), Oliver! (Grange Park Opera), Rock of Ages (Garrick Theatre), Footloose, The Wedding Singer (UK and Ireland tour), We Will Rock You (Dominion Theatre), Fame (Aldwych Theatre), Evita (Adelphi Theatre) and Little Shop of Horrors (Duke of York’s Theatre). Her work for television includes The Amazing World of Gumball and Drop Zone.

Sioned Jones plays Hippolyta/Titania. Her theatre credits include 13, Women Beware Women, All’s Well That Ends Well, Oedipus, Never So Good (National Theatre), A Woman of No Importance (Vaudeville Theatre), Lettice and Lovage (Menier Chocolate Factory), Shakespeare in Love (Noël Coward Theatre), Shadowlands (Novello Theatre/Wyndham’s Theatre), The Letter (Wyndham’s Theatre), Glorious! (Duchess Theatre), Tolstoy (Aldwych Theatre), Henry VI (Wales Millennium Centre), The Giraffe, The Pelly and Me (Birmingham Rep), 101 Dalmatians (The Castle Theatre) and Pippin and The Wild Party (Union Theatre). Her television credits includeCadfael; and for film, Happy Now and Dark Signal.

David Leopold plays Lysander/Starveling. His theatre credits include Bury the Hatchet (The Hope Theatre), Late Company (Trafalgar Studios/Finborough Theatre), Muted (The Bunker), Burnt Part Boys (Park Theatre), Little Sure Shot (Theatre Royal Bath) and Uncle Vanya, Polar Bears and The Crucible (West Yorkshire Playhouse).

Riad Ritchie plays Demetrius/Snout. His theatre credits include The Show in Which Hopefully Nothing Happens(Unicorn Theatre), Timon of Athens, Tartuffe, Tamburlaine (RSC), Macbeth, Frankenstein (Ovalhouse), Romeo and Juliet (Theatre Royal Bath) and The Scarlet Pimpernel (Tower of London).

Hannah Sinclair Robinson renews her collaboration with Shakespeare in the Squares as Helena/Flute, having appeared in Romeo and Juliet. Her theatre credits include Water Bread and Salt (Tangle International), Timothy (VAULT Festival) and Border Control (UK tour). Her television credits include Killer Cops; and for film, Urban Decay

James Tobin plays Puck/Philostrate. His theatre credits include The Snow Queen, Finding Peter (Theatre N16), The Merry Wives of Windsor, Henry IV, Macbeth, Romeo and Juliet, The Comedy of Errors (Merely Theatre), Pyramus and Thisbe, MATES, The Wall (Rift Theatre), Valley of the Weird (VAULT Festival) and No Allergens (Queen’s Theatre Hornchurch).

Tatty Hennessy is an award-winning playwright, dramaturg and director. She continues her collaboration with Shakespeare in the Squares with A Midsummer Night’s Dream following her productions of As You Like It andRomeo and Juliet for the company. Her previous directing credits include her own adaptation of The Snow Queen (Theatre N16), a revival of her first play All That Lives (Ovalhouse Theatre) and Acorn (The Courtyard Theatre). Hennessy was the Baylis Assistant Director at The Old Vic in 2018, where she assisted on Max Webster’s production of Fanny & Alexander.  As a writer, she won the Heretic Voices competition in 2017 with her play A Hundred Words for Snow, which received an acclaimed production at the Arcola Theatre in 2018 before a run at Trafalgar Studios this year.

ABOUT SHAKESPEARE IN THE SQUARES

Founded by Sue Fletcher and Martin Neild in 2016, Shakespeare in the Squares is a not-for-profit touring theatre company that stages a Shakespeare play across London squares and parks every summer. The productions are tailored to the individual garden squares, and the company works with the garden committees and other local organisations to create a unique community celebration around the play. The company aims to provide a showcase for talented young theatre practitioners and to introduce audiences to the stars of the future. The company’s previous productions include As You Like It, Romeo and Juliet and Much Ado About Nothing which performed to sell-out audiences.

www.shakespeareinthesquares.co.uk

Twitter: @shakessquares

Facebook: shakespeareinthesquares

Instagram: @shakespeareinthesquares

Schedule for Summer 2019

All performances at 7pm unless stated

Wednesday 19 June                        Leinster Square, W2

Thursday 20 June                            St James’s Gardens, W11

Friday 21 June                                   Norland Square, W11

Saturday 22 June                            Queen’s Park, NW6

Sunday 23 June                                 Camden Square, NW1      

Tuesday 25 June                               Arundel and Ladbroke Gardens, W11 2EP (press night – nearest tube stations are Ladbroke Grove and Holland Park)

Wednesday 26 June                        Paulton’s Square, SW3

Thursday 27 June                             St James’s Square, SW1

Friday 28 June                                   Paddington Street, W1 (3pm matinee)

                                                           Paddington Street W1 (7pm evening)

Saturday 29 June                             Little Wormwood Scrubs Park, W10

Sunday 30 June                                 Ladbroke Square Gardens, W11

Tuesday 2 July                                   Cornwall Gardens, SW7

Wednesday 3 July                            Connaught Square, W2

Thursday 4 July                                 Elgin and Arundel Gardens, W11

Friday 5 July                                       Bedford Square, WC1 (part of the Bedford Square Festival)

Saturday 6 July                                  St Peter’s Square, W6

Sunday 7 July                                     The Courtyard at le Gothique, Royal Victoria Patriotic Building, Wandsworth, SW18 (3pm matinee)

Tuesday 9 July                                   The Courtyard at le Gothique, Royal Victoria Patriotic Building, Wandsworth, SW18 (7pm evening)

Wednesday 10 July                          Formosa Garden, W9. (NB GARDEN)

Thursday 11 July                               Cleveland Square, W2

Shakespeare in the Squares kindly thanks the following sponsors for their support:Carringtons, Chestertons, Domus Nova, Durbar Restaurant, Garden Square News, Hayes Parsons, Jeroboams, John D Wood & Co, Knight Frank, The Royal Borough of Kensington and Chelsea, Vickers Independent Estate Agent, Westbourne Block Management.

DIANA VICKERS & SARA CROWE JOIN

SHANE RICHIE IN THE UK TOUR OF

JOHN OSBORNE’S

THE ENTERTAINER

Curve, Leicester: 27 – 31 August 2019

UK Tour: 27 August – 23 November 2019

New casting was announced today (8 May 2019) for the upcoming tour of John Osborne’s funny and heartbreaking play The Entertainer starring Shane Richie as Archie Rice.  Sara Crowe joins the cast to play Phoebe Rice and Diana Vickers to play Jean Rice.

Director Sean O’Connor, who has changed the setting of Osborne’s play for the very first time from 1957 to 1982, said: “I fell in love with Diana’s feisty but vulnerable LV in The Rise And Fall Of Little Voice when I saw it in the West End and am very excited about what she’ll bring to the role of Jean in The Entertainer, a young woman whose political conscience has been awakened by the Falklands war and who struggles in her combative relationship with her feckless father, Archie.”

“And I’ve long been an admirer of Sara’s extraordinary work and am thrilled that she is taking on one of Osborne’s greatest female roles as Phoebe, the hapless, hopeless wife of the washed up showman, Archie Rice.”

Diana Vickers first came to the public eye as a semi-finalist in The X Factor in 2008.  Her previous theatre work includes I Wish My Life Were Like A Musical, Myth, Son of A Preacher Man, Big,  The Rocky Horror Show, The Duck House, Hatched and Dispatched and The Rise and Fall of Little Voice in the West End. Herfilm credits include: Awaiting, To Dream and The Perfect Wave and television appearences include: Josh, Top Coppers and Give out Girls.

Aberdeen born and Olivier Award-winning Sara Crowe most recently appeared as Ruth in the first UK Tour ofCalendar Girls, the Musical, and was seen on screen in the 2019 Comic Relief reboot of Four Weddings & A Funeral – One Red Nose Day and a Wedding. This Christmas she can be seen on BBC4 in the ghost story ‘Martins Close’ written and directed by Mark Gatiss.

This new adaptation of The Entertainer will open at Curve in Leicester on 27 August 2019 and then tour the UK until 23 November, to Milton Keynes, Malvern, Plymouth, Woking, Eastbourne, Wolverhampton, Coventry, Brighton, Manchester, Bromley, Cheltenham and Shrewsbury.

Osborne’s play was chosen by Guardian theatre critic Michael Billington as one of the greatest plays of the 20^thcentury.

1982: Archie Rice is a washed-up entertainer playing a summer season. As his soldier son sails with the Task Force to liberate the Falklands, his daughter Jean returns from campaigning against the war, and Archie’s professional and personal lives collide with devastating consequences.

Shane Richie has balanced a hugely successful forty year career between theatre, film & TV; and he has been a regular fixture on prime time television hosting such shows as Lucky Numbers (ITV), The Shane Richie Experience (ITV), Win, Lose or Draw (ITV), Don’t Forget the Lyrics! (SKY1), Reflex (BBC) and Win Your Wish List(BBC) to name but a few.  Shane is well known for playing Alfie Moon in EastEnders and is currently performing in the West End in Everyone’s Talking about Jamie.

The Entertainer is a co-production between Curve, Anthology Theatre, and Simon Friend Entertainment.

Further casting and creative team to be announced.

To find out more about Curve, visit www.curveonline.co.uk

For further details on The Entertainer, visit www.TheEntertainerPlay.co.uk

PETER ANDRE AND ARLENE PHILLIPS JOIN CAST MEMBERS AT GREASE PRESS LAUNCH

Peter Andre (Teen Angel) and Arlene Phillips (choreographer) recently joined newly cast Dan Partridge (Danny) and Martha Kirby (Sandy) at an exclusive event at City Varieties Music Hall to launch the first new production in 25 years of Jim Jacobs & Warren Casey’s iconic musical Grease which is set to premiere at Leeds Grand Theatre from Wednesday 19 June to Saturday 20 July 2019.

Pop and reality TV star Andre, and ex-Strictly Come Dancing judge Phillips, were in town for a whistle-stop tour of press calls and photo shoots, whilstDan and Martha performed debut live versions of Sandy, Hopelessly Devoted To You and You’re The One That I Want.

In a Q&A with producer Colin Ingram, Andre commented that growing up Grease was his favourite musical, and to play the iconic roll of Teen Angel was an honour after playing Danny in a high school production, whilst Philips, who choreographed the original tour, said: “I’m so thrilled to have the opportunity to choreograph a new production of Grease. This new production is going to be edgy, vibrant and certainly takes a new look at this very exciting musical. The cast are incredible, many of them fresh out of college and ready to burst onto the stage.” 

Grease is at Leeds Grand Theatre from 19 June to Saturday 20 July

Book online at leedsgrandtheatre.com or call Box Office on 0844 848 2700

MICHAEL LONGHURST’S CRITICALLY ACCLAIMED PRODUCTION OF

FLORIAN ZELLER’S THE SON TRANSFERS TO THE WEST END

★★★★★     ★★★★★     ★★★★★     ★★★★★

Daily Telegraph        Observer          Times               Daily Mail

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FIERY ANGEL AND GAVIN KALIN PRODUCTIONS PRESENT THE KILN THEATRE PRODUCTION OF

THE SON

By Florian Zeller

In a translation by Christopher Hampton

Director: Michael Longhurst; Designer: Lizzie Clachan; Lighting Designer: Lee Curran

Composer and Sound Designer: Isobel Waller-Bridge; Casting Director: Amy Ball

24 August – 2 November

‘Florian Zeller’s remarkable play… Michael Longhurst’s immaculate production…

I’d defy anyone not to be moved’ Guardian

Following a critically acclaimed sell out run at Kiln Theatre, Michael Longhurst’s production of Florian Zeller’sThe Son, in a translation by Christopher Hampton, transfers to the West End. The production opens at theDuke of York’s Theatre on 2 September, with previews from 24 August, and runs until 2 November. Amanda Abbington, Laurie Kynaston, John Light and Amaka Okafor reprise their lauded performances for the strictly limited 10 week run. The Son marks the first West End transfer for the Kiln Theatre since it reopened last September, and is presented in the West End by Fiery Angel and Gavin Kalin Productions.

‘This final part of Florian Zeller’s trilogy is the most powerful of all’

The Times

‘A compulsive, involving, emotionally stirring evening – theatre’s answer to a page-turner.’

Observer

Written by the internationally acclaimed Florian Zeller, lauded by The Guardian as ‘the most exciting playwright of our time’, The Son is directed by the award-winning Michael Longhurst and forms the final part of the critically acclaimed trilogy with The Father and The Mother.

I’m telling you. I don’t understand what’s happening to me.

Nicolas is going through a difficult phase after his parents’ divorce. He’s listless, skipping school, lying and thinks that moving in with his father and his new family may help. A fresh start. When he doesn’t settle there either, he decides that going back to his mother’s may be the answer. When change feels like the only way to survive, what will he do when the options begin to run out?

‘Exceptional… Fizzes with raw emotion… It totally blew me away.’

Daily Mail

Florian Zeller is a French novelist and playwright. Zeller won the prestigious Prix Interallié in 2004 (Fascination of Evil) and several Molière Awards for his plays La Mère(The mother)and Le Père(The father). L’Autre, le Manège, Si tu mourais, Elle t’attend, La Vérité(The truth)andUne heure de Tranquillité were successfully produced in France and internationally. L’Envers du décor, starring Daniel Auteuil was produced in Paris in 2016. Avant de s’envoler was on the same season, and recently played at the Wyndham’s Theatre (The Height of the Storm) with Jonathan Pryce and Eileen Atkins (Olivier Award nomination for Best Actress) directed by Jonathan Kent. Le Père (The father), was nominated as Best New Play at the 2016 Olivier Awards, with Kenneth Cranham winning for Best Actor in a Play. It also received two nominations for the 2016 Tony Awards – Best Play and Best Performance by an Actor, the latter was won by Frank Langella. This play has been performed in over 35 countries and is being adapted into a feature film with Anthony Hopkins and Olivia Colman which Zeller will direct. Christopher Hampton has translated most of Zeller’s plays into English; and his plays have received many international awards.

Christopher Hampton has translated plays by Ibsen, Molière, Chekhov, Yasmina Reza (including Art and Life x 3) and Florian Zeller’s The Father, The Mother and The Truth. He won an Academy Award for Best Adapted Screenplay for the adaptation of his own play, Les Liaisons Dangereuses (released as Dangerous Liaisons). He was nominated again in 2007 for adapting Ian McEwan’s novel Atonement. His television work includes adaptations of The History Man and Hotel du Lac.

‘The surgical precision of the writing achieves a devastating visceral impact’

Daily Telegraph

Amanda Abbington plays Anne. Her theatre credits include The God of Carnage (Theatre Royal Bath), A Little Princess (Royal Festival Hall), Abigail’s Party (Theatre Royal Bath/UK Tour), God Bless This Child (Royal Court), Love Me Tonight (Hampstead Theatre), The Safari Party (Stephen Joseph Theatre /Hampstead Theatre), Something Blue (Stephen Joseph Theatre), Taming of the Shrew (Queen Mother Theatre) and Tin Soldiers (New End Theatre/Grace Theatre). For television her credits include Flack, Safe, Sherlock, Mr Selfridge, Being Human, Case Histories, Psychoville, Man Stroke Woman, Booze Cruise, Teachers and Coupling; and for film, We The Kings, Crooked House, Another Mother’s Son and Ghosted.

Laurie Kynaston plays Nicolas. His theatre credits include The Ferryman (Gielgud Theatre), Jumpy, The Winslow Boy (Theatre Clwyd). For television, his work includes Derry Girls, The Feed, Cradle to Grave, Murder Games and Our World War; and for film, How To Build a Girl, Undercliffe and England is Mine.

John Light plays Pierre. Theatre credits include Uncle Vanya (Theatre Royal Bath), Mary Stuart (Duke of York’s Theatre), The Winter’s Tale, A Midsummer Night’s Dream (Shakespeare’s Globe), Three Days In The Country(National Theatre), Taken at Midnight (Chichester Festival Theatre and Theatre Royal Haymarket – Olivier Award nomination for Best Supporting Actor), The Blackest Black (Hampstead Theatre), Julius Caesar (Chicago Shakespeare Theatre), Thom Pain (Based on Nothing) (The Print Room), Luise Miller (Donmar Warehouse), The Master Builder, Certain Young Men (Almeida Theatre), True West (Sheffield Crucible) and Apologia (Bush Theatre). For television, his work includes Agatha Raisin, Mars, Maigret, Father Brown, Silk, Dresden, North and South, Cambridge Spies, Band of Brothers, Love in a Cold Climate and Aristocrats; and for film, Albert Nobbs, Scoop, The Lion in Winter and A Rather English Marriage.

Amaka Okafor plays Sofia. Her theatre credits include I’m Not Running, Macbeth, Saint George and The Dragon, Peter Pan (National Theatre), Hamlet (Almeida Theatre), Grimly Handsome, I See You (Royal Court Theatre) and Hamlet (Barbican).

Michael Longhurst directs. He was recently appointed Artistic Director of the Donmar Warehouse, and opens his inaugural production there – David Greig’s Europe – on 20 June. His recent credits include the recent revival of Caroline or Change (Chichester, Festival Theatre, Hampstead Theatre, and Playhouse Theatre – nominated for 3 Olivier Awards, including Best Musical Revival, with Sharon D. Clarke winning the Best Actress in a Musical Award), and Peter Shaffer’s Amadeus (National Theatre) and Nick Payne’s Constellations starring Sally Hawkins and Rafe Spall at Royal Court Theatre and in the West End, and with Ruth Wilson and Jake Gyllenhaal on Broadway. Longhurst also worked with Gyllenhaal on his American stage debut in If There Is I Haven’t Found It Yet (Roundabout Theatre, New York). Other credits include Gloria (Hampstead Theatre), Belleville (Donmar Warehouse), Bad Jews (Theatre Royal Bath/West End), and Linda (Royal Court Theatre).

Based in Kilburn, Kiln Theatre creates internationally renowned, high-quality, engaging and innovative work which presents the world through a variety of different lenses, amplifying unheard voices into the mainstream. Led by Artistic Director Indhu Rubasingham and Executive Director Daisy Heath, it makes theatre that crosses continents and tells big stories about human connections across cultures, race and languages.

We encourage artists of all ages and backgrounds. Our work is commissioned specifically for our theatre and produced by Kiln Theatre’s artistic team, as well as additional work which is programmed in collaboration with national or international partners.

Recent productions include White Teeth by Zadie Smith, adapted by Stephen Sharkey, Holy Sh!t by Alexis Zegerman, Approaching Empty by Ishy Din, The Son by Florian Zeller and The Half God of Rainfall by Inua Ellams. Recent collaborations include the National Theatre, Tamasha and Sundance Theatre Lab (US).

The ambitious Creative Learning programme aims to champion the imagination, aspiration and potential of the Brent community young and old. It invests in creating meaningful relationships with young people to inspire and encourage their creativity, their confidence and self-esteem. It works with older people to create a thriving community around the theatre.

Listings                                                                                                                                                       The Son

Duke of York’s Theatre

St Martin’s Lane, London, WC2B 4BG

24 August – 2 November

Press Night: 2 September at 7pm

Box Office: 0844 871 7623

Online:  www.thesonwestend.com

Twitter @thesonwestend

Instagram @thesonwestend

Facebook /thesonwestend

Monday to Saturday 7.30pm, Wednesday and Saturday matinee 3pm

Tickets from £15

Yvonne Arnaud – until 11th May 2019

Reviewed by Heather Chalkley

5*****

A world-renowned playwright, Shaffer wrote Equus in 1973. This was an era when gay right activists were gaining a voice and this is a play full of dysfunctional heterosexual relationships! Delving into psychology, mysticism, erotica and sexuality, Equus is as intense as it is dynamic.

The Narrator is the psychiatrist, Martin Dysart (Zubin Varla). He takes us through the unfolding of a young man’s pathology, culminating in the blinding of 6 horses. The young man, Alan Strang (Ethan Kai), has created his own equine worship, Equus. More than once Dysart (Varla) is questioning which reality is better? The boy with great passion or the man in a sterile marriage; the fervour of Alan Strang’s (Kai) equine worship or the placid, everyday existence that his life will become once cured? To ‘fix’ the boy, Dysart (Varla) has to delve deeply into Alan Strang’s (Kai) mind, a challenge to his own mental health. The fluid delivery of Varla’s (Dysart) dialogue draws you into his world immediately. The natural innocence of Kai (Strang) opens up his world for you to see. Both characters totally believable.

The physicality of the performance is mesmerising. Ira Mandela Siobhan as the horse called Nugget, flexes every sinew of his body leaving you in no doubt what he is. Shelley Maxwell, Movement Director, has managed to bring the spirit of the animal to the performance of all 6 horse actors. The ease and flow of their movements make this fine art look simple. The use of floor to ceiling silks and a bare floor as the set is inspired, giving the Creative Team full rein, using lighting and sound effects to create the different spaces and times. The result is dramatic and impactful.

Amongst the drama a stand out moment for me is the sustained look of fear and shock on Frank Strang’s (Robert Fitch) face, when his son (Alan Strang) catches him at the cinema, watching an adult film. His explanation sent a ripple of laughter through the audience, breaking the tension perfectly. The professional delivery of all the supporting cast is outstanding – not something you get to say very often.

Ned Bennett is brave and bold in his direction of Equus, making it as accessible to students as it is seasoned theatre goers. Well worth a watch.