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Bridlington Spa – until Saturday 11 May 2019

Reviewed by Michelle Richardson

4****

Based on the music of American punk band Green Day, American Idiot is basically the story of three boyhood friends, searching for meaning in post 9/11 America. As thick as thieves, dropouts, with their puerile humour, they all decide to escape suburbia. This leads to different paths for all of them.

Johnny (Tom Milner) pushes the other two into leaving for the bright light of the city, Tunny (Joshua Dowen) and Will (Samuel Pope) are eager to follow, that is until Will’s girlfriend tips up to say that she’s pregnant, persuading Will to stay behind. Johnny and Tunny now in the city, react completely differently, Tunny finds it hard to adjust and spends all his time watching television, being seduced by what he sees and enlists into the army and is shipped off abroad to some conflict. Meanwhile Johnny realising that the grass is not greener on the other side, descends into a world of drugs. He is lead astray by St Jimmy (Luke Friend), pressurising him into taking hard drugs. St Jimmy mirrors Johnny the whole time. St Jimmy is so much more in every way, more intimidating, larger than life, outrageous. Each of the three friends’ lives descend into darkness, but for different reasons and in different ways.

The set was on two levels, with the live band on the top level. The band were superb delivering hit after hit, head banging aplenty. Milner manages to portray Johnny convincingly, as we follow his addictions, showing a vulnerable side to his character. His vocals are spot on and he is a strong lead. Friend portrays St Jimmy with an evil swagger, growling his way through his numbers. Dowen has obviously been spending a lot of the time in the gym in his portrayal and Tunny, he certainly looked the part of an American soldier. Pope was very believable as Will, wanting to be a father, but struggling to grow up and take responsibility. The whole cast are absolutely amazing in how much energy they have, they must have an awful lot of stamina to carry on for the whole show at the same level, night after night.

It is raw and doesn’t shy away in its explicitness. There is a powerful scene which captivated the audience, where we see Johnny injecting heroin, this is done in silence, the only sound to be heard is the slapping of skin in order to find a vein, before the hit.

American Idiot is a high energy show, with very little let up and can be chaotic at times, there is a lot going on, but it stays true to Green Day and their music and lyrics. I encourage anyone to give it a go.

CELEBRATING 9/5 DAY!

300,000 TICKETS RELEASED FOR

DOLLY PARTON’S

9 TO 5 THE MUSICAL

AT THE SAVOY THEATRE

AS THE SHOW EXTENDS ITS LONDON RUN

IN TO 2020

To mark 9/5 Day today (9-5-2019), a celebration of both the iconic Dolly Parton song and the musical, the producers of 9 TO 5 THE MUSICAL are delighted to announce 300,000 more tickets are now on sale for the London run of the musical as the show extends at the Savoy Theatre in to2020.

Dolly Parton said today I am so excited that the UK has given both my song and my show 9 to 5 the Musical their very own special day! I couldn’t think of a better date to announce that the West End run of the show will be extending in to 2020 with a further 300,000 tickets now on sale, that’s almost more tickets than I have rhinestones on my outfits!

The London production currently stars Louise Redknapp as ‘Violet Newstead’, Amber Davies as ‘Judy Bernly’,Natalie McQueen as ‘Doralee Rhodes’, Bonnie Langford as ‘Roz Keith’ and Brian Conley as ‘Franklin Hart’. The show opened in the West End in February, where Dolly Parton attended the premiere and joined the cast on stage at the finale.

A second production of the hit musical will play 11 cities throughout the UK and Ireland, opening at the Alexandra Theatre Birmingham on 6 September 2019.

9 TO 5 THE MUSICAL features a book by Patricia Resnick, the legendary film’s original screenwriter, and an original Oscar, Grammy and Tony award-nominated score by multi Grammy Award winner, country legend and pop icon Dolly Parton.

9 TO 5 THE MUSICAL tells the story of Doralee, Violet and Judy – three workmates pushed to boiling point by their sexist and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the women manage to reform their office – or will events unravel when the CEO pays an unexpected visit?Inspired by the cult film this hilarious new West End production is about teaming up, standing up and taking care of business!

9 TO 5 THE MUSICAL is written by Patricia Resnick, with music and lyrics by Dolly Parton. It is directed by Jeff Calhoun, choreography by Lisa Stevens, design by Tom Rogers, lighting design by Howard Hudson, sound design by Poti Martin, video design by Nina Dunn, original arrangements by Stephen Oremus & Alex Lacamoire, original Broadway orchestrations by Bruce Coughlin, musical supervisor, reductions & extra arrangements by Mark Crossland, musical direction by Andrew Hilton and casting by Victoria Roe.

Based on the 20^th Century Fox Picture. Originally produced on Broadway by Robert Greenblatt, April 2009.

9 TO 5 THE MUSICAL is produced by Ambassador Theatre Group, Selladoor Worldwide and Gavin Kalin Productions with Benjamin Lowy Productions, Glass Half Full Productions, Showtime Theatre Productions, Hartshorn – Hook Productions, Harmonia Holdings and Kilimanjaro Live.

LISTINGS INFORMATION

9 TO 5 THE MUSICAL

Savoy Theatre, Savoy Court, London, WC2R 0ET

Currently booking in to 2020

Box Office: 0844 871 7687

Performances: Monday – Saturday 7.30pm, Wednesday and Saturday 2.30pm

Website: 9to5themusical.co.uk

Instagram: @9to5themusicaluk

Twitter: @9to5MusicalUK

YouTube: 9 to 5 The Musical

CASTING ANNOUNCED FOR YORK SUMMER OF SHAKESPEARE

• Maggie Bain (Netflix’s Black Mirror, The End of the F***ing World; film Dark Sense; and A Midsummer Night’s Dream at Shakespeare’s Globe) to play Henry V
• ITV’s Victoria star David Oakes to play Hamlet
• Sam Callis (Game of Thrones, The Bill)to play Prosperoin The Tempest
• And returning from last year’s SHAKESPEARE’S ROSE THEATRE are Olivia Onyehara in the role of Viola, Mark Holgate as Orsino, and Leandra Ashtonplaying Olivia in Twelfth Night

Casting has been announced for the 2019 York company of SHAKESPEARE’S ROSE THEATRE, the award-winning pop-up Shakespearean Theatre, which makes a triumphant return to the foot of Clifford’s Tower in York this summer with new productions of Hamlet, Henry V, The Tempest and Twelfth Night. The plays have been selected from across the genres, offering something for everyone, and will be performed in repertory by two companies of actors.

Making up the 18-strong Hamlet/Twelfth Night company are Leandra Ashton (Courtier/Soldier/Sailor & Olivia), Antony Bunsee (Player King/Courtier/Soldier & Priest), Claire Corbett (Horatio & Feste/Sailor), Marcello Cruz(Laertes/Soldier & Sebastian), Fine Time Fontayne (Ghost 1/Player 1/Digger 1/Lord & Sir Toby Belch/Sailor/Musician), Hannah Francis-Barker (swing), Mark Holgate (Marcellus/Fortinbras/Player 3 & Orsino), Gordon Kane (Polonius/English Ambassador & Captain), Rina Mahoney (Gertrude & Maria/Sailor),Serena Manteghi (Ophelia & 1st Officer), David Oakes (Hamlet & 2nd Officer/Sailor), Olivia Onyehara(Osric/Courtier/Soldier & Viola), Alex Phelps (Courtier/Reynaldo/Priest/Soldier & Sir Andrew Aguecheek/Sailor/Musician), Richard Standing (Claudius & Curio/Musician), Claire Storey (Ghost 2/Player 2/Digger 2 & Malvolio/Sailor/Musician), Cassie Vallance (Guildenstern/Bernardo & Fabien/Sailor) Wreh-asha Walton (Rosencrantz/Francisco & Valentine) and Declan Wilson (Voltimand/Captain & Antonio/Sailor).

Making up the 19-strong Tempest/Henry V company are Ali Azhar (Male Spirit & Dauphin/French Soldier),Maggie Bain (Antonia & Henry V), Raphael Bushay (Caliban & Montjoy/Chorus), Sam Callis (Prospero & King of France/Erpingham), Niall Costigan (Alonso & York/Governor/Bourbon), Richie Daysh, (Boatswain & Pistol),Leander Deeny (Ariel & Constable/Grey), Jessica Dennis (Female Spirit/Ceres & Chorus/Williams/Nym), Charlyne Francis (Iris & Katherine/Boy), Alexandra Guelff (Miranda & Alice/Scrope/Court/Chorus), Scott Hoatson (Francisco & Westmoreland/Chorus), Alexander Knox (Ferdinand & Bates/Gloucester), Christopher Logan (Trinculo & Orleans/MacMorris/Cambridge), Amy Loughton (Adrian & Fluellen/Chorus), Peter Moreton(Stephano & Canterbury/Bardolf/Burgundy), Johanne Murdock (Juno & Duke of Exeter), Marilyn Nnadebe(Female Spirit & Duke of Berri/Soldier), Paul Sockett (Sebastian & Gower/Chorus) and Flo Wilson (Gonzala & Ely/Hostess/Isabel).

Damian Cruden, formerly artistic director at York Theatre Royal for 22 years, returns to SHAKESPEARE’S ROSE THEATRE, having directed Macbeth last year in York.  This year he will direct Hamlet and will serve as overall artistic director for the Company. Award-winning writer Joyce Branagh, who has directed Measure for Measureat Lancaster Castle as well as Much Ado About Nothing at Vienna’s English Theatre, and is the sister of acclaimed Shakespearean actor and director Kenneth Branagh, will join the company to direct Twelfth Night;Philip Franks, best known for playing the role of Charley opposite Catherine Zeta Jones in The Darling Buds of May, and more recently Associate Director at Chichester Festival Theatre, will direct The Tempest; and Gemma Fairlie, recently Associate Director at Pitlochry Festival Theatre and award-winning director of outdoor physical theatre company Light the Fuse, will direct Henry V. Sara Perks also returns to SHAKESPEARE’S ROSE THEATRE, this year as overall season designer as well as scenic and costume designer for Hamlet and costume designer for Twelfth Night. Adrian Linford will be scenic and costume designer for The Tempest and costume designer for Henry V. Max Dorey will be scenic designer for Twelfth Night and Henry V.

On casting Maggie Bain in the role of Henry V, director Gemma Fairlie commented, “We auditioned a huge range of actors of all genders for this role, but no-one quite captured the complexity of the character like Maggie. Henry is such an iconic figure for the English, he is sometimes more myth than man. But we have to understand why thousands followed him into battle, whilst also seeing the weight of that responsibility for the nation on his shoulders. Henry has a wit, a charm and a charisma that is infectious, and Maggie has that in spades. I know that the audience will fall in love with Henry through her, while hopefully questioning how constructed the public persona of a King is by seeing a woman play a man.”    

Originator of the project and CEO of international theatre company, Lunchbox Theatrical Productions, James Cundall MBE, said “I am absolutely delighted that once again the creative team has found a cast of such stunningly high calibre for our four new Shakespeare plays and I’m sure that the audiences in York will really enjoy and appreciate their talents.”

Damian Cruden, Artistic Director of SHAKESPEARE’S ROSE THEATRE said, “From our company of 34 actors last season, 14 have returned – we all so enjoyed the experience of performing in such a unique and intimate venue last year; there was a great team spirit and I’m thrilled that so many of the cast have decided to join our revels again this year.”

SHAKESPEARE’S ROSE THEATRE – a 13-sided Elizabethan-style playhouse, complete with an Elizabethan village – will be constructed over a three-week period from the end of May, returning to the foot of 13^th century Clifford’s Tower, where it will open on 25 June and run until 1 September 2019.

SHAKESPEARE’S ROSE THEATRE is also expanding this year, with a new site at Blenheim Palace in Oxfordshire, where two other companies will be performing the repertoire of plays from the first season in York: Romeo & Juliet, Richard III, A Midsummer Night’s Dream and Macbeth.

Both Shakespearean theatres will be constructed using state-of-the-art scaffolding technology, corrugated iron and timber.  Inspired by the famous London Rose Playhouse built in 1587, 12 years prior to The Globe, SHAKESPEARE’S ROSE THEATRE will house an audience of 900, with 560 seated in three covered tiers around an open-roofed courtyard with standing room for 340 ‘groundlings’.

Both theatres will be located within a Shakespearean village, bringing an authentic Elizabethan ambience and theatricality to the event, with ‘wagon’ performances of Elizabethan-style entertainment and the oak-framed and reed-thatched Bear Arms pub serving the best local food and drinks.  In York the village will feature an Elizabethan garden with ornate box-edged beds of flowers and herbs as well as a water fountain, while Blenheim Palace will feature a rustic rural scene complete with village pond, farm wagons and carts.

The Blenheim Palace season will run from 8 July – 7 September, with casting to be announced.

SHAKESPEARE’S ROSE THEATRE and Shakespeare’s Village are produced by Yorkshire-based Lunchbox Theatrical Productions. The Blenheim Palace season is presented in association with Raymond Gubbay Ltd and Blenheim Palace.

@ShakespearesRT

For more information on SHAKESPEARE’S ROSE THEATRE or to book tickets at York please visit: www.shakespearesrosetheatre.com

Leeds Grand Theatre – until 18th May 2019

Reviewed by Dawn Smallwood

5*****

Willy Russell’s Blood Brothers began its existence in the early 1980’s when it first ran as a school play before becoming a musical, debuting at the Liverpool Playhouse in 1983. Unknown at the time it would eventually be one of the longest running musicals in London’s West End alongside successful national tours.

Blood Brothers, set in 1960s Liverpool, is about two twin brothers who were separated at birth. One, Eddie (Joel Benedict), was given away to a wealthy family, the Lyons, and Mickey (Alexander Patmore), remained with the mother, Mrs Johnstone (Linzi Hateley) who struggled to make ends meet. Their environments could not be more contrasting, and how very different their lives are when they meet intermittently in their childhood and teens, and how their fates would extraordinarily draw them together leading to tragic consequences.

Russell emphasises “nature versus nurture” as its main theme in Blood Brothers and the extreme ends of the economic and social spectrums which both Eddie and Mickey live are highlighted. As such is marked with ignorance, inequality, class, fate, superstition and anti-social behaviour. Also not forgetting to mention the mental health and psychological impact of the twins separation and the sworn to secrecy it have on their mothers, Mrs Johnstone and Mrs Lyons (Paula Tappenden).

Blood Brothers has a narrator present throughout courtesy of Robbie Scotcher. Scotcher effective input ensures the story of the Johnstone twins is told and the continuous reminders of what happened in the past are emphasised which leads to consequential and fateful developments in both Eddie and Mickey’s lives as they grow up into adulthood. This is also serves as a moral awakening to both the mothers and that the secrecy wouldn’t eventually be a secret.

Hateley portrayal as Mrs Johnstone is excellent throughout and she shares her story of hardship and hopes through song with links to Marilyn Monroe, the optimistic Bright New Day and in the undeniably poignant finale, Tell Me It’s Not True. Hateley and the remaining cast have collectively put on an excellent performance which is met with emotions from beginning to end and they are deservedly in receipt of a standing ovation.

Blood Brothers is movingly and realistically successful and is staged so well. There are a lot of things that one can draw parallel in today’s world whether it’s personally, economically or socially. It is certainly a musical that can be seen again and again. It is understood that it’s part of the many schools’ curriculum which no doubt there will be plenty to explore and discuss among the students. A highly recommended musical!

ISLAND ROMANCE SHINES DOWN ON NEWCASTLE THEATRE ROYAL AS LOUIS DE BERNIЀRES’ BEST SELLING NOVEL COMES TO THE STAGE

Louis De Bernières’ best-selling novel that inspired the hit film is set to sweep audiences off their feet when Captain Corelli’s Mandolin arrives at Newcastle Theatre Royal for a one week run (Tue 21 – Sat 25 May 2019).

Alex Mugnaioni will play the title character with Madison Clare, Fred Fergus and Joseph Long playing Pelagia, Francesco and Dr Iannis respectively.

Completing the cast are Graeme Dalling as Soldier, Ryan Donaldson as Carlo, Ashley Gayle as Mandras, Eliot Giuralarocca as Priest, Luisa Guerreiro as Goat, Kezrena James as Lemoni, Eve Polycarpou as Drosoula, John Sandeman as Soldier, Stewart Scudamore as Velisarios, Kate Spencer as Günter and Elizabeth Mary Williams as Psipsina.

Captain Corelli’s Mandolin is an epic love story set on the Greek island of Cephalonia. It follows the lives of Dr Iannis, his beautiful, strong-willed daughter Pelagia and the Italian Captain Antonio Corelli, during the Italian and German occupation of the island in World War II.

For Captain Corelli’s Mandolin, Louis de Bernières won the 1995 Commonwealth Writers’ Prize – Overall Winner for Best Book, the 1995 Lannan Literary Award for Fiction and the 1994 Sunday Express Book of the Year. In 2001, the novel was adapted into a film starring Nicolas Cage and Penélope Cruz.

Captain Corelli’s Mandolin will be directed by Olivier and Tony Award nominee Melly Still and adapted by Evening Standard Award winner and Golden Globe and BAFTA Award nominee Rona Munro. 2019 marks 25 years since the book was first published.

Captain Corelli’s Mandolin will have set and costume designs by Mayou Trikerioti, lighting design by Malcolm Rippeth, sound design by Jon Nicholls, projection design by Dom Baker for OD Vision and music composed by Harry Blake.

Captain Corelli’s Mandolin is produced by Neil Laidlaw, Rose Theatre Kingston and Birmingham Repertory Theatre.

Captain Corelli’s Mandolin plays Newcastle Theatre Royal a very special three-week run between Tue 21 and Sat 26 May 2019 evenings at 7.30pm and matinees Thu 2pm, and Saturday 2.30pm. Tickets from £16.00 can be purchased from the Theatre Royal Box Office on 08448 11 21 21 (Calls cost 7ppm plus your phone company’s access charge) or book online at www.theatreroyal.co.uk

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.

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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