Darlington Hippodrome is to team up with ODDMANOUT Theatre Company to create a dynamic new community theatre company called The Foundry.
Darlington Hippodrome is to strengthen links with local theatre production company ODDMANOUT to create a dynamic new community theatre company to be called The Foundry.
During the 18 month restoration of the Hippodrome the theatre and ODDMANOUT worked closely together on two major projects alongside performers from the local community creating a full-scale production of the Charles Dickens classic ‘A Tale of Two Cities’ and an immersive theatre experience titled ‘Anywhere’ which took place around the new Hippodrome building taking audiences on a 50 minute tour of the new venue and introducing characters that shaped the history of the theatre.
Following a successful bid to Arts Council England and support from Creative Darlington, The Foundry will build upon the desire shown by local performers who were involved in the two previous projects. The Foundry will open it’s doors in 2019 to regional performers to embark on a 36 week programme of professional training and workshops across a range of dynamic contemporary theatre practice developed by ODDMANOUT through it’s work across the globe over the last five years.
Scott Young from ODDMANOUT Theatre Company said “We are thrilled to be working with Darlington Hippodrome to offer a bespoke new training opportunity to local talent at The Foundry. It has always been our ambition to make the company’s work as open and accessible as possible, The Foundry is the next phase of our work in achieving this. We want to be part of emerging artists’ journey as they forge their careers and grow as theatre makers, and to be able to do this in our home town of Darlington is an exciting time in our organisations growth.”
The Foundry will meet on Tuesday evenings at the Hippodrome for three 12 week terms. To find out more about The Foundry and how to get involved please visit the Hippodrome website www.darlingtonhippodrome.co.uk
London’s hottest new sing-along musical theatre piano bar OVERTURES has now opened its doors, just fifty yards from Marble Arch. Whether you sip cocktails, savour wine or love a beer, whether you are a discerning show-tunes aficionado or just want a drink, everyone is invited to enjoy the uplifting, magical feeling of musicals in this fun-filled and unique bar.
Located in the basement of LGBTQ pub, the City of Quebec, OVERTURES is London’s answer to the renowned Marie’s Crisis Café in New York. The evenings are unplugged and spontaneous – it’s just the crowd, the piano, the pianist and the showtunes. There’s no set list, no stage, no microphone and no shooshing. Everyone’s welcome to sing their heart out – or just stand and enjoy the musical mavens. It’s riotous and rambunctious and welcomes all ages, all sexual orientations, all backgrounds and all singing levels.
Songs on offer range from popular classics – such as Les Misérables, Wicked, My Fair Lady, The Sound of Music and Grease – to the cult showtunes from Stephen Sondheim’s musicals and everything in between.
Similarly to its New York relation, walking into OVERTURES is like stepping back in time where people come together and gather nightly round the keys. Spot a musical theatre celebrity relaxing after their show. Grab a traditional New York style cocktail and take a pew. But, most importantly, sing! Be one voice in a big crowd singing in unison.
Founder Ray Rackham comments, We never anticipated the hunger of the general public of London, in needing a place to sing out loud until the wee small hours. London welcomed this very New York institution with open arms, and I am delighted the pub and its clientele have entrusted my team to establish a singalong presence permanently in the heart of London.
OVERTURES will feature regular guest appearances from the famed pianists and singing bar tenders from Marie’s Crisis Café and will also showcase homegrown talent in one, big, showtune singing family.
With their inaugural production currently touring the UK, Wise Children today announce their adaptation of Enid Blyton’s Malory Towers, co-produced by York Theatre Royal in association with Bristol Old Vic. Adapted and directed by Emma Rice, the production opens on 25 July at The Passenger Shed in the company’s home city of Bristol, before embarking on a tour to venues across the UK including Cambridge, York, Exeter, Manchester and Oxford.
The windows shone. A green creeper climbed almost to the roof. It looked like an old-time castle.My school! thought Darrell, and a little warm feeling came into her heart. How lucky I am to be going to Malory Towers!
Nostalgic, naughty and perfect for now, Malory Towers is the original ‘Girl Power’ story. Join Wise Children for high jinks, high drama and high spirits, all set to sensational live music and breathtaking animation.
Darrell Rivers is starting school with an eager mind and fierce heart. Unfortunately she also has a quick temper! Can she learn to tolerate the infuriating Gwendoline Lacey, or value the kind hearted Sally Hope? Can she save the school play and rescue terrified Mary Lou from the grip of a raging storm? If she can do these things anywhere, she will do them at Malory Towers!
Adapted and directed by Emma Rice, this is a show for girls, boys, and all us grown up children who still dream of midnight feasts and Cornish clifftops.
The show is officially licensed by Enid Blyton Entertainment, a division of Hachette Children’s Group (HCG). Karen Lawler, Head of Licensed Content at HCG, says “Enid Blyton created incredible female characters at Malory Towers: strong, capable and always, always kind. ‘Women the world can lean on,’ in Enid’s own words. We share Emma’s passion for these characters and we couldn’t be more excited to see Emma’s vision of Malory Towers come to life.”
Emma Rice is the proud and excited Artistic Director of her new company, Wise Children. She adapted and directed the company’s debut production, Angela Carter’s Wise Children (The Old Vic/UK tour). As Artistic Director of Shakespeare’s Globe (2016/18), she directed Romantics Anonymous, Twelfth Night, A Midsummer Night’s Dream and The Little Matchgirl(and Other Happier Tales). For the previous 20 years, she worked for Kneehigh as an actor, director and Artistic Director. Her productions for Kneehigh include: The Flying Lovers of Vitebsk, Tristan & Yseult, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes, The Wooden Frock, The Bacchae, Cymbeline (in association with RSC), A Matter of Life and Death (in association with National Theatre), Rapunzel (in association with Battersea Arts Centre); Brief Encounter (in association with David Pugh and Dafydd Rogers Productions); Don John (in association with the RSC and Bristol Old Vic); Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages); and Steptoe and Son. Other work includes: the West End production of The Umbrellas of Cherbourg, Oedipussy(Spymonkey); The Empress (RSC); and An Audience with Meow Meow (Berkeley Repertory Theatre). Brief Encounter was revived this year at the Empire Cinema Haymarket.
Emma Rice on Malory Towers…
I’ve always been drawn to the years that followed the Second World War. It’s a time that feels close enough to touch, as I vividly remember my grandparents and how the war affected their lives. My Mum’s parents – poor and largely uneducated – decided that their children would have access to all the things that they hadn’t. I don’t know how they managed it on a railway worker’s pay, but my mother was sent to a remote grammar school in Dorset: Lord Digby’s School for Girls.
Whilst not a boarding school, Lord Digby’s was an extraordinary place of learning that changed my mother’s, and by extension my own, life. The tendrils of passion and education that Lord Digby’s stood for reach out across 60 years and more. They reached out over my inner city comprehensive education and have shaped my own beliefs and choices to this day.
My adaptation of Malory Towers is dedicated to the generation of women who taught in schools in that period. With lives shaped by the savagery of two wars, these teachers devoted themselves to the education and nurture of other women. It is also for the two generations of men that died in those same wars, leaving us with the freedom to lead meaningful, safe and empowered lives. And it is for Clement Attlee and his Labour government of 1945 who looked into the face of evil and chose to do what was right. These people changed the political landscape in their focus on care, compassion and the common good.
Malory Towers was written at the heart of this political revolution, and embodies a kindness, hope and love of life that knocks my socks off. ‘Long live our appetites and may our shadows never grow less!’ the girls cry.
My mother wrote to her teachers at Lord Digby’s until they died and is still friends with many of the girls she met there. And when I see my Mum, born into the poorest of rural backgrounds, enjoying Dickens and Almodovar and speaking French to her childhood pen-friend, I am stopped in my tracks. She went on to dedicate her life to the NHS and the helping of others whilst never losing her appetite for life, culture and hope. I salute her, and I cheer the education that threw this mind and soul into the air and said, “be a woman that the world can lean on”.
So that’s why I am making Malory Towers, with gratitude, hope and sheer pleasure! I call it my ‘Happy Lord of the Flies’ and it is joyfully radical to its bones. Imagine a world where (left to their own devices), people choose kindness. Imagine a world where difference is respected and arguments resolved with thought and care. Imagine a world that chooses community, friendship and fun. Now that’s a world I want to live in and, at Malory Towers, you can!
Wise Children Tour Listings
The Passenger Shed – Station Approach, Bristol BS1 6QH
Finborough Theatre, London – until 20th April 2019
Reviewed by Antonia Hebbert
4****
No, this is not an evening of Rod Stewart. Stay with me, all the same, because this is a spellbinding show. The name comes from an old sea-song about a Liverpool prostitute who cheats a sailor. (Liverpool and cheating women are always popping up in old sea-songs.) In this retelling by Lionel Bart and Alun Owen (directed by Michael Iliffe), Maggie is a prostitute with a heart of gold, and has fallen in love again with her childhood sweetheart. He’s been round the world and come back with principles, so when he gets a job in the docks, he soon leads a walkout over a dodgy shipment of guns.
It’s a celebration of Liverpool, the docks and tough dockyard people, written just as the city was about to storm the world with the Mersey sound (and go into bitter industrial decline). It premiered at the Adelphi in 1964, with Barry Humphries among others in the original cast. The tiny Finborough Theatre might seem an odd space for a musical revival about a big city, workers’ rights, and the conflicts of love, beliefs and the need for wages. But the intensity of song and dance in the small space works a treat.
Lionel Bart’s songs are a real hotchpotch, and for me had an honesty that’s missing from typical musical belt-out numbers (naming no names, Andrew Lloyd Webber). Ballads, folk, rock and roll and sea shanties rub shoulders with stomping group numbers, all beautifully sung whether in tender solos or group harmonies, with musical director Henry Brennan at the piano. The dancing is a delight, ranging from a very intense tango-ish encounter of prostitutes and dockyard workers through lovely jive to a surprising comic number towards the end, involving a three-way swap of hats, shoes and coats (choreography by Sam Spencer Lane). Verity Johnson’s set is exceedingly basic, involving boxes, steps and some ropes, but it works – you feel that you are there in that pub or dockyard.
Kara Lily Hayworth is an adorable Maggie, both steely-tough and vulnerable. Natalie Williams is nicely brassy as her co-worker Maureen. James Darch is suitably noble as Maggie’s sweetheart Patrick Casey, and Mark Pearce is a commandingly villainous Willie Morgan, the local fixer and wheeler-dealer. All the ensemble were convincing characters: a couple of other standouts were David Keller as Dooley, the old-school docker who is well past his best; and Michael Nelson as the fiery Judder Johnson (and terrific dancer – how do knees do that?)
Written at the age of 25, Idomeneo is considered Mozart’s first operatic masterpiece.
There have been countless incarnations of this opera and the English Touring Operas production, directed by James Conway is a paired down version which allows Mozart’s score and the performances to take ‘centre stage’. Some cuts to the production were more obvious such as combining the role of the Kings adviser Arbace and the High Priest. This isn’t detrimental to the performance.
The orchestra conducted by Jonathan Kenny, were fantastic and received justified rapturous applause at the end.
The use of a simple but effective set means we are always focused on the performers who in turn have to be constantly involved even when they are not singing. The chorus of Trojans and Greek manage this through out and as a result are able to convey the emotions of the story very well.
The story itself is set on Crete after the Trojan war and we are introduced to the captured Llia, daughter of the defeated Trojan King Priam, performed beautifully by Galina Averina who manages to demonstrate elegant prowess but also despair, passion and strength wonderfully well. Despite her despair because of her loss she falls for Idamante the son of the King of Crete (Idomeneo).
Idamante is played by Catherine Carby. Again a wonderful vocal performance, at times I didn’t feel convinced by the relationship between Idamante and Llia. This did improve by the final act though.
This blossoming relationship enraged Elettra played by Paula Sides, daughter of the Greek King Agamemnon, she herself is also in love with Idamante. Hers is one of the stand out performances in the opera with her display of maddening rage in the final scene was just brilliant.
The other stand out performance was by Christopher Turner who plays Idomeneo himself who has made a sacrificial promise to the gods for safe passage during a storm. A promise to sacrifice the first person he sees turns out to be his own son Idamante.
The conflict and emotional turmoil Idomeneo experiences is conveyed fabulously. He sends his son away to safety with Elettra and this new opportunity with Idamante pleases her. This is not to be as the gods are angry because of Idomeneo broken promise.
The climax of the final act sees all the main protagonists perform at their best. We see the resigned despair of Idomeneo, the heroic sacrifice of Idamante, the loving altruism of Llia and the madanning rage of Elettra.
This was a memorable first opera for myself but not perfect. The slightly unconvincing bond between Llia and Idamante, the slightly inconsistent translation screen (only one was working so I felt for some of the audience who had no translation), and we were slightly distracted by the two orchestra members who insisted on coming in and out throughout the performance.
The English Touring Opera are touring extensively till June 1st.
Fiddler on the Roof’s heart-warming story of love and acceptance for all is a story as relative today as it was when the musical was first staged in 1964. The little town of Anatevka is a glorious setting for the piece and this tale of normal citizens being turned into homeless refugees feels eerily similar to what seems to be happening now in our own world, at least if some people got their own way.
The show follows Tevye, the lovable milkman in a tiny Russian village and takes us on the journey through a rather earth changing time in his life. His daughters are seeking marriage and independence, members of his community try to discredit him and even his own country now turns against him. This is the world which our protagonist lives in and in which we get to enjoy nearly three hours of heart warming joy, framed by its bitter conclusion.
Andy Nyman was exceptional as Tevye, bringing some excellent comedic work to the part, as well as a real guttural punch when it came to Tevye’s more turmoil filled scenes. This is a performance that I feel will go down with the best of Tevyes. Judy Kuhn was equally strong as Golde, showing us the strong but warm woman that you do not want to mess with in a fine class. Nicola Brown, Harriet Bunton and Molly Osborne were all strong as Chava, Hodel and Tzeitel respectively, although I do feel like the song Matchmaker was a bit lacklustre on the night, however this could also be attributed to the extremely low microphone volumes in this number. Stewart Clarke was fantastic as Perchik, bringing a real awe inspiring sense of idealism to this character and making you really want him to succeed in what he wants. This “smaller” part may have actually been my favourite performance in the entire show. Joshua Gannon was also strong as Motel, brilliantly showing the weedy and apologetic side to the character. Mathew Hawksley and Dermot Canavan also did well as Fyedka and Lazar Wolf respectively, doing as best as they could with the material they were given.
The scenic design of this show was absolutely stunning. Being sat in the stalls with the houses of Anatevka bulging out around you and the streets of the town running through the aisles you really were transported into this world and it made what could have been a long piece so much more rewarding. The choreography was as effective as ever, not being overly showy but doing what it needed to for the piece. The lighting design was exceptional and really set the mood, however the sound seemed a bit weak on the night, due to a couple of teething problems like peoples microphones not being switched on, although I am sure these will be sorted out straight away.
Altogether though, I thoroughly enjoyed my night at the theatre at this show, feeling truly immersed into the world of Fiddler and getting a real sense of warmth to all the characters. I would highly recommend this show to all people, see it quick before it shuts!
★★★★★ ‘A thrilling experience. The best Fiddler I’ve seen in the West End’
Daily Telegraph
Chocolate Factory Productions, Sonia Friedman Productions and Michael Harrison present
The Menier Chocolate Factory production of
FIDDLER ON THE ROOF
Book by Joseph Stein Music by Jerry Bock Lyrics by Sheldon Harnick
Director Trevor Nunn; Choreographers Jerome Robbins & Matt Cole; Set Designer Robert Jones
Costume Designer Jonathan Lipman; Hair and Make Up Designer Richard Mawbey
Lighting Designer Tim Lutkin; Sound Designer Gregory Clarke
Musical Supervisor & Director Paul Bogaev; Orchestrations Jason Carr
Trevor Nunn’s critically acclaimed production of Fiddler on the Roof, which opened this week at the reconfigured Playhouse Theatre, has extended its run due to public demand – the production, which broke box office records with the highest advance of any show at the theatre, is now booking until 28 September. Nunn directs a cast including Andy Nyman (Tevye), Judy Kuhn (Golde), Nicola Brown (Chava), Harriet Bunton (Hodel), Dermot Canavan (Lazar Wolf), Stewart Clarke (Perchik), Joshua Gannon (Motel), Matthew Hawksley (Fyedka), Louise Gold (Yente), and Molly Osborne (Tzeitel), as well as Miles Barrow, Sofia Bennett, Philip Bertioli, Lottie Casserley, Elena Cervesi,Lia Cohen, Talia Etherington, Shoshana Ezequiel, Isabella Foat,Fenton Gray, James Hameed, Adam Linstead, Adam Margilewski, Robert Maskell, Benny Maslov, Robyn McIntyre,Gaynor Miles, Ellie Mullane, Tania Newton, Craig Pinder, Valentina Theodoulou and Ed Wade.
★★★★★
‘Musically, geopolitically, emotionally, this Fiddler raises the roof.’
The Guardian
Direct from its sold-out run at the Menier Chocolate Factory, Tony and Olivier award-winning director Trevor Nunn’s ‘exuberant revival’ (Daily Telegraph) of the classic Broadway musical Fiddler on the Roof transfers to the West End for a strictly limited run. The Playhouse Theatre has been specially transformed into an immersive space for this ‘shiveringly intimate chamber musical about family’ (The Times).
★★★★★
‘An evening to be celebrated as a spikily poignant reminder of what it is to be human in politically dark times. Both whirlingly energetic and achingly moving, it marks itself out straight away as one of the most uplifting nights possible to be had in the West End right now.’ The Arts Desk
Old traditions and young love collide in this joyous and timely celebration of life. Tevye’s daughters’ unexpected choice of husbands opens his heart to new possibilities, as his close-knit community also feel winds of change blowing through their tiny village.
Featuring the iconic score including ‘Tradition’, ‘Matchmaker, Matchmaker’, ‘Sunrise, Sunset’ and ‘If I Were a Rich Man’, and featuring original choreography from Tony Award-winning Jerome Robbins alongside new choreography by Matt Cole, Fiddler on the Roof ‘bursts from the stage’ (Financial Times), bringing new life to one of the most beloved musicals of all time.
MIRROR, MIRROR, ON THE WALL ALHAMBRA THEATRE UNVEILS THE FAIREST PANTOMIME LINE UP OF THEM ALL! Snow White and the Seven Dwarfs – Alhambra Theatre, Bradford Saturday 14 December 2019 – Sunday 26 January 2020 On sale to Bradford Theatres Friends Members, Group & School Bookers: Monday 1 April 2019 at 10am On general public sale: Monday 8 April 2019 at 9am Call the Box Office on 01274 432000 or visit bradford-theatres.co.uk
The Alhambra Theatre in Bradford is delighted to announce that Billy Pearce will be joined by pop sensation and Steps star Faye Tozer and the hilarious fellow-funny man Paul Chuckle in this year’s enchanting fairy tale pantomime, Snow White and the Seven Dwarfs.
After celebrating twenty Alhambra Theatre pantomimes last year, the region’s much-loved panto legend Billy Pearce will be back to star as the hilarious Muddles, best friend to Princess Snow White. No stranger to the Alhambra Theatre stage, Billy will once again bring his array of mad-cap comedy, hilarious local references and boundless energy, which have afforded him his reputation as the King of Yorkshire panto.
Joining Billy will be singer, song-writer, dancer, stage actress and Strictly Come Dancing finalist Faye Tozer who stars as The Wicked Queen. As one fifth of the multi award winning pop band Steps for the last two decades, Faye and her band-mates released over twenty hit singles, five chart-topping studio albums and toured the nation nine times with their inimitable style of pop and famous dance routines, amassing record sales of over 20 million worldwide. After a brief hiatus the group reformed to celebrate their 20th anniversary, releasing new critically acclaimed material delighting existing fans and winning them legions of new ones.
Outside of the Steps-phere, Faye has also enjoyed an extensive theatre career, starring in Andrew Lloyd Webber’s one-woman musical Tell Me On A Sunday to great critical acclaim, the UK tour of Love Shack, Saucy Jack and the Space Vixens in London’s West End, Me and My Girl and Over The Rainbow where she played the late Eva Cassidy as well as appearing in numerous pantomimes. In 2018 Faye took part in the sixteenth series of BBC1’s primetime show, Strictly Come Dancing. Coupled with Giovanni Pernice, the pair sashayed into the final and wowed audiences with their incredible footwork, only narrowly missing out on winning the coveted glitter ball winners’ trophy.
During the mid-nineties Paul and Barry also recorded three series of their own TV game show and have toured the UK extensively, even releasing a charity single with Tinchy Stryder and performed in over 50 pantomimes at major venues across the UK every Christmas
Snow White and the Seven Dwarfs will be lavishly brought to life in a production packed full of magical mirrors, seven friendly dwarfs, an abundance of comedy, sensational song and dance and jaw-dropping special effects, for which the annual Alhambra Theatre pantomime is so well known and loved.
Michael Harrison of Qdos Entertainment, the producers of the Alhambra Theatre pantomime said: “We are absolutely delighted to be bringing the magic of Snow White and the Seven Dwarfs to Bradford this Christmas. With Billy, Faye and Paul at the helm we can guarantee a lot of laughter, stunning vocals and spectacular dance, and plenty of surprises that will have to be seen to be believed.”
Adam Renton, General Manager Bradford Theatres added: “With this superb cast, there’s no doubt that theatregoers of all ages will thoroughly enjoy another exceptional pantomime in Bradford this year. The region’s audiences have huge affection for the Alhambra Theatre’s pantomime and with our reputation for providing outstanding entertainment for all ages, I’m sure that people will choose Snow White as their festive treat.”
Snow White and the Seven Dwarfs will run from Saturday 14 December 2019 to Sunday 26 January. Book now to secure the best seats, or you won’t be able to look yourself in the mirror!
Based on the smash-hit movie starring Tom Hanks, BIG The Musical makes its West End premiere at the Dominion Theatre for a strictly limited nine-week season from 6 September to 2 November 2019, with a Gala Night in aid of Make-A-Wish on Tuesday 17 September.
BIG is a joyous, heart-warming musical about 12 year-old Josh Baskin who longs to be big. When a mysterious Zoltar machine grants his wish, he finds himself trapped inside an adult’s body and he is forced to live and work in a grown-up world, but his childlike innocence has a transforming effect on the adults he encounters.
Jay McGuiness will star as Josh Baskin, having originated the role at the Theatre Royal Plymouth in 2016. Jay came to fame as part of the successful boy band The Wanted. His fame widened when he won Strictly Come Dancing in 2015 with professional dancer Aliona Vilani. He and fellow bandmate Siva won last year’s celebrity version of Channel 4’s Hunted, raising money for Stand Up To Cancer. Jay is also a regular contributor to the BBC’s The One Show and is currently starring in Rip It Up – The 60’s in London’s West End until June.
With music by David Shire and lyrics by Richard Maltby, BIG has a book by John Weidman and direction and choreography by Morgan Young. Associate choreographer is Helen Rymer, musical supervisor Stuart Morley, set and costume designer Simon Higlett, lighting designer Tim Lutkin, video designer Ian Galloway, and sound designers Terry Jardine and Avgoustos Psillas.
Based on the Twentieth Century Fox Film BIG written by Gary Ross and Ann Spielberg, BIG will be produced in London by Michael Rose, Damien Sanders and Paul Gregg for Encore Theatre Productions Limited.
LISTINGS INFORMATION
BIG
6 September – 2 November 2019
Dominion Theatre
268-269 Tottenham Court Road
LONDON W1T 7AQ
Box Office 0845 200 7982
Tickets from £31 (£1 from every ticket sold will be donated to Make-A-Wish® UK)
Performances Monday to Saturday 7.30pm*, Thursday & Saturday 2.30pm(*7pm on 17 September)
Robert Cavanah as Nic, Madeleine Worrall as Luda and Laurie Ogden as Connie join the previously announced Georgia May Foote as Vita, Hannah Bristow as Fran, Mona Goodwin as Tina, Gloria Onitiri as Celia and Stephen Hogan as Albert in the 2019 European Premiere of Meghan Kennedy’s NAPOLI, BROOKLYN, beginning a UK Tour on 1 May at Malvern Theatres, running through to 8 June at Oxford Playhouse. The Tour will be followed by a limited four-week season from 13 June to 13 July at Park Theatre, London, with a national press night on Monday 17 June 2019.
NAPOLI, BROOKLYN was originally presented by Roundabout Theatre Company at the Laura Pels Theatre, New York. It is the story of an Italian-American family in 1959. It explores the struggle in immigrant families which is passed down from generation to generation, particularly for women. Set in Brooklyn, it’s a story of strong women taking risks to define a generation as they are forced to confront their conflicting visions for the future in this gripping, provocative portrait of love in all its danger and beauty.
Robert Cavanah’s theatre credits include: Love For Love and Queen Anne (RSC) and Men Should Weep (National Theatre). Television credits include: Outlander (STARZ), Shetland (BBC) and Emmerdale (ITV). Film credits include: Lara Croft: Tomb Raider II. Madeleine Worrall’s theatre credits include: Kingdom Come (RSC) Peter Pan and Jane Eyre (National Theatre/Bristol Old Vic). Her television and film credits include: Clique (BBC), Endeavour (ITV) and Tarzan (Warner Bros). Laurie Ogden’s theatre credits include: To Kill A Mockingbird (Lyric Hammersmith) and Macbeth (Garrick Theatre).
Georgia May Foote is best known for her television roles as Katy Armstrong in Coronation Street (ITV), Alison Simmons in Grange Hill (Lime Pictures), Holly in Trollied (Sky1), Gemma in This is England ’86 (Channel 4). She was runner up in Strictly Come Dancing in 2015. Her other theatre credits include Breakfast at Tiffany’s (UK Tour). Hannah Bristow’s theatre credits include: Jane Eyre (National Theatre and UK Tour), Kindertransport (Queens Theatre, Hornchurch and Theatre de la Ville, Luxembourg) and Who Cares (LUNG Theatre and The Lowry). Mona Goodwin is best known for Black Mirror (Channel 4), Capital (Kudos/BBC) and Marvellous (Tiger Aspect). Her theatre credits include: Ross and Rachel (UK Tour), Generation Z (Royale Productions). Gloria Onitiri’s theatre credits include: Hadestown (National Theatre), Brighton Rock (Pilot Theatre/Tour), Caroline, Or Change (Chichester Festival Theatre), Taming of The Shrew (Globe Theatre). Her television credits include Doctors (BBC). Stephen Hogan is best known for Redwater (BBC One), Injustice, Primeval (ITV), The Tudors (BBC). His film credits include: The Foreigner, Handsome Devil, The Sweeter Side Of Life and Starship Troopers Marauder.
NAPOLI, BROOKLYN is directed by Lisa Blair, designed by Frankie Bradshaw, with lighting by Johanna Town, sound by Max Pappenheim and casting by Ruth O’Dowd. The production is produced by The Original Theatre Company in association with Park Theatre.
Website: www.originaltheatre.com Facebook: Original Theatre #NapoliBrooklyn Twitter: @OriginalTheatre #NapoliBrooklyn Age Guidance: 12+
