Celebrate Valentine’s day with Love, life and death at Nature Morte
Love, life and death at Nature Morte
Guildhall Art Gallery’s alternative celebration of Valentine’s Day
Guildhall Art Gallery, Guildhall Yard, London EC2V 5AR
Date: Friday 16th February 2018, 7pm – 10pm
Exhibition dates: Thursday 7th September 2017 – Monday 2nd April 2018
As romantic clichés take over, Guildhall Art Gallery is offering an alternative Valentine’s Day experience, inviting you to celebrate something that we all have in common: life and death. Inspired by the core themes in Nature Morte, this Late event promises an enjoyable night of music, art, drawing, and cocktails.
Watch a top-notch Victorian entertainment show, enjoy a variety of activities (including still life drawing, flower pressing or tote bag making) and hear a talk about ‘ethical’ taxidermy with Jazmine Miles-Long. DJ Museum of Vinyl’s life and death-inspired playlist will provide the soundtrack to the evening
Nature Morte, one of the largest exhibitions ever presented by the City of London Corporation at Guildhall Art Gallery, illustrates how leading artists of the 21st century have reinvigorated still life. With over 100 pieces from different disciplines going beyond the two-dimensional, including sculpture, digital, and sound, Nature Morte displays works by artists including Mat Collishaw, Michael Craig-Martin, Gabriel Orozco and Marc Quinn.
Elizabeth Scott, Head of Guildhall Art Gallery & London’s Roman Amphitheatre, said, Nature Morte celebrates the age-old themes of life and death and yet, when you reflect on these themes, love isn’t very far away. Life, death and love go hand in hand, and what better way to explore these themes than an alternative Valentine’s Day Late that celebrates the romantic, morbid and life-affirming?
The exciting events programme is as follows:
Talk on ‘ethical’ taxidermy with Jazmine Miles-Long (7pm and 8.15pm, Basinghall Suite)
Described as an ‘ethical’ taxidermist, Jazmine Miles-Long produces work using only animals that have died from natural causes. This is an exciting opportunity to discover and understand the techniques used to create her work. The audience will be able to handle objects and tools that show the process of taxidermy in different stages, while Jazmine also reveals some of the romantic stories in taxidermy historically. [please note: no dead animals will be used during the
talk.]
Memento Mori Still Life: Death Drawing workshop with Art Macabre (7 – 10pm, Undercroft)
Join London’s purveyors of death-positive creativity, Art Macabre, to create your own unique memento mori collage. Be inspired by a contemporary twist on a traditional still life set up in the space, with objects from fruit and bones to symbols of modern life. Cut and paste a DIY design that will remind you of your own mortality. A reflective, creative activity to help you explore and draw inspiration upon looking death in the face.
Don’t go into the Cellar present ‘Tea with Oscar Wilde’ (split into three acts, taking place at intervals throughout the evening, Amphitheatre)
A chat show with a difference brought to you by Don’t Go Into The Cellar! Theatre Company – the British Empire’s finest practitioners of top-notch Victorian entertainment. Join Oscar Wilde as he interviews a leading celebrity of the Victorian era, recounts a story or two and invites his audience to get ‘Caught in the Act’! Jonathan Goodwin plays the famed Victorian wit, in a show packed with comedy, music and audience participation.
15-minute tours of Nature Morte with Curators (Michael Petry, Roberto Eckholm (Museum of
Contemporary Art)) (7.30pm, 8.30pm, 9.30pm)
Join the curators of Nature Morte for a brief introduction to the exhibition, as they will highlight particular works and discuss what inspired them to create the show. This major exhibition is one of the largest shows ever presented at Guildhall Art Gallery – with works displayed by artists including Mat Collishaw, Michael Craig-Martin, Gabriel Orozco and Marc Quinn.
DJ Museum of Vinyl (7-10pm, Victorian Gallery)
Museum of Vinyl will be spinning an eclectic mix of sounds inspired by, and exploring the themes of, life and death.
Flower pressing ‘make and take’ activity (7-10pm, Victorian Gallery)
Flora has traditionally held a special place in the still life tradition. Explore the relationship between this symbolic motif and the passing of time, whilst pressing flowers and using your artistic skills to create your own keepsake to take away.
Tote bag decorating ‘make and take’ activity (7-10pm, Victorian Gallery)
Using stamps and stencils displaying the common themes of still life – flora, fauna, food, domestic objects and vanitas – you can decorate a tote bag and express your own thoughts on life, death and the transience of time to make your own still life creation in the form of a tote bag!
Nature Morte has been assembled by MOCA London.
The City of London Corporation, which owns and manages Guildhall Art Gallery, invests over £100m every year in heritage and cultural activities of all kinds. It is the UK’s largest funder of cultural activities after the government, the BBC, and Heritage Lottery Fund. It is also developing Culture Mile between Farringdon and Moorgate – a multi-million-pound investment which will create a new cultural and creative destination for London over the next ten to fifteen years. This includes £110m funding to support the Museum of London’s move to West Smithfield and £2.5m to support the detailed business case for the proposed Centre for Music.
FULL CAST AND CREATIVE TEAM ANNOUNCED FOR STING’S DEBUT MUSICAL
THE LAST SHIP
FULL CAST AND CREATIVE TEAM ANNOUNCED FOR STING’S DEBUT MUSICAL
Opens 12 March 2018 at Northern Stage, ahead of UK & Ireland Tour
The full cast and creative team has been announced for the UK premiere of The Last Ship – the acclaimed musical by internationally renowned musician Sting – which is to premiere in the UK when it opens at Northern Stage in Newcastle on 12 March 2018.
Rehearsals for the production, which has a TONY-nominated original score and lyrics composed by Sting, began this week. It will play from 12 March – 7 April in Newcastle before embarking on a major UK & Ireland Tour.
The Last Ship, which was initially inspired by Sting’s 1991 album The Soul Cages and his own childhood experiences, tells the story of a community amid the demise of the shipbuilding industry in Tyne and Wear.
Writer and director Lorne Campbell said, “We have brought together a remarkable cast and team of creatives from across the UK with a core of incredible performers from the North East, many of whom are only a generation away from the shipyard workers of the Tyne and the Wear. This personal connection to the project brings an enormous passion and resonance to the company.”
The casting of Joe McGann (Jackie White), Charlie Hardwick (Peggy White), Richard Fleeshman (Gideon Fletcher) and Frances McNamee (Meg Dawson) was announced last month.
Completing the cast are Michael Blair (Yard Worker), Joe Caffrey (Billy Thompson), Matt Corner, (Young Gideon & Yard Worker), Marvin Ford (Ferryman & Yard Worker), Orla Gormley (Cathleen & Yard Worker), Annie Grace (Mrs Dees), Sean Kearns (Freddy Newland & Old Joe), Katie Moore (Ellen Dawson), Charlie Richmond (Adrian Sanderson), Parisa Shahmir (Young Meg), Kevin Wathen (Davey Harrison) and Penelope Woodman (Baroness Tynedale).
This personal, political and passionate new musical from multiple Grammy Award-winner Sting, is an epic account of a family, a community and a great act of defiance. The Last Ship features an original score with music and lyrics by Sting as well as a few of his best-loved songs; Island of Souls, All This Time and When We Dance. It is the proud story of when the last ship sails.
Joe McGann, perhaps best known for his lead role as Charlie Burrows in the TV comedy series The Upper Hand, has had a wide career spanning theatre, television and film. Theatre credits include Elf (Plymouth Theatre Royal/ Bord Gais Energy Theatre, Dublin, Dominion Theatre, West End, and Lowry, Salford); The Rise and Fall of Little Voice (UK Tour); Calendar Girls (three UK tours), Oliver! (London Palladium), Tevye in Fiddler on the Roof (UK Tour, 2008), Nathan Detroit in Guys and Dolls (2006 ATG UK Tour).
Charlie Hardwick played Val Pollard from 2004 to 2015 and again in 2017 in the ITV soap opera Emmerdale. For this role, she won the 2006 British Soap Award for Best Comedy Performance. Stage credits include Hyem (Theatre 503/Northern Stage) and Double Lives (Live Theatre).
Richard Fleeshman is a familiar face on our stage and screens having been acting since the age of 12 when he played the role of Craig Harris in Coronation Street for four years. A talented singer-songwriter, Richard’s stage roles include Sam Wheat in Ghost the Musical, a part he originated and played in the West End on Broadway, Sky Masterson in Guys and Dolls (UK Tour) and Bobby Strong in Urinetown (original West End production).
Frances McNamee is currently appearing alongside Kelsey Grammer in Big Fish (The Other Palace). Other stage credits include The Mother (Tricycle), Love’s Labour’s Lost, Love’s Labour’s Won (RSC), Punishment Without Revenge (Arcola/Theatre Royal Bath/Belgrade Coventry), Pride and Prejudice (Regent’s Park), A Midsummer Night’s Dream (Royal and Derngate), The Borrowers (Northern Stage), Epsom Downs (Salisbury Playhouse), The Phoenix of Madrid, The Surprise of Love (Theatre Royal Bath) and Les Misérables 20th Anniversary Gala Performance (West End). Her film credits include Love in Fifteen Minutes.
The show is directed by Lorne Campbell, the artistic director of Northern Stage and has set design by the Tony Award-winning 59 Productions – the team behind the video design for the 2012 London Olympic Games.
The Last Ship has orchestrations by Rob Mathes musical direction by Richard John, costume design by Molly Einchcomb, movement direction by Lucy Hind, lighting design by Matt Daw and sound design by Seb Frost. Other members of the creative team are dramaturg Selma Dimitrijevic, associate director Jake Smith, casting director Jenkins McShane Casting and associate musical director Sam Sommerfield.
Lorne Campbell said, “It has been in incredible journey to work with Sting and the rest of the team on shaping a show that hopes to connect to the political musical theatre legacies of Joan Littlewood and John McGrath in telling the story of epic societal change through the lens of those working communities
who are always the first to feel its effects.
“It is with great excitement we start rehearsals this week. Working from Sting’s remarkable score and lyrics, we have spent the last year building a show that not only tellsthe story of the resilience defiance of communities during the end of an era in British industrial history but also about the legacies of deindustrialisation
and the weakening of worker’srightsin the United Kingdom that we are living through today.”
North P&I Club will sponsor The Last Ship at Northern Stage. Paul Jennings, Joint Managing Director at North P&I Club said, “Northern Stage is one of the main cultural centres in Newcastle and their production of Sting’s The Last Ship has a strong historical resonance for North. As a leading mutual marine insurance group, North has provided commercial shipping insurance since we were founded in Newcastle in 1860. We’ve also been very impressed by the way Northern Stage outreach programmes engage with local communities and young people across the region and we hope this sponsorship will be the catalyst for more local businesses to support Northern Stage.”
The Last Ship is produced by Northern Stage in association with Karl Sydow and Kathryn Schenker. The show is at Northern Stage from 12 March to 7 April. For more information or to book tickets visit www.northernstage.co.uk
https://thelastshipmusical.co.uk/
www.twitter.com/LastShipOnStage
https://www.facebook.com/LastShipOnStage/
#TheLastShip
2018 TOUR DATES
Monday 12 March – Saturday 7 April
NORTHERN STAGE
northernstage.co.uk | 0191 230 5151
Monday 9 – Saturday 14 April
LIVERPOOL PLAYHOUSE
everymanplayhouse.com | 0151 709 4776
Monday 16 – Saturday 21 April
THE NEW ALEXANDRA, BIRMINGHAM
atgtickets.com/Birmingham | 0844 871 7647
Tuesday 24 – Saturday 28 April
ROYAL & DERNGATE, NORTHAMPTON
royalandderngate.co.uk | 01604 624 811
Monday 30 April – Saturday 5 May
LEEDS GRAND THEATRE
leedsgrandtheatre.com | 0844 848 2700
Monday 7 – Saturday 12 May
NOTTINGHAM PLAYHOUSE
nottinghamplayhouse.co.uk | 0115 941 9419
Monday 14 – Saturday 19 May
WALES MILLENIUM CENTRE, CARDIFF
wmc.org.uk | 029 2063 6464
Monday 4 – Saturday 9 June
BORD GAIS ENERGY THEATRE, DUBLIN
bordgaisenergytheatre.ie | +353 1 677 7999
Tuesday 12 – Saturday 16 June
FESTIVAL THEATRE, EDINBURGH
edtheatres.com | 0131 529 6000
Monday 18 – Saturday 23 June
THEATRE ROYAL GLASGOW
atgtickets.com/Glasgow | 0844 871 7647
Monday 25 – Saturday 30 June
YORK THEATRE ROYAL
yorktheatreroyal.co.uk | 01904 623 568
Tuesday 3 – Saturday 7 July
THE LOWRY, SALFORD
thelowry.com | 0843 208 6000
The Importance of Being Earnest Review
Yvonne Arnaud Theatre, Guildford – until 3 February 2018. Reviewed by Heather Chalkley.
3***
The Importance of Being Earnest by the master of comedy Oscar Wilde, starts its new UK tour in Guildford in this classic revival from The Original Theatre Company.
Jack wishes to marry Algernon’s cousin the beautiful Gwendolen but first he must convince her mother, the fearsome Lady Bracknell, of the respectability of his parents and his past. For Jack, however, this is not as easy as it sounds, having started life abandoned in a handbag at Victoria station
The opening and two subsequent sets and props worked to good advantage. The scenery was grand without being distracting.
The costumes, by Gabriella Slade, reflected the period and characters well. Although, Cecily played by Louise Coulthard, had a slight problem with her dress catching on the garden chair more than once. I also found myself distracted by the large bustle worn by Gwen Taylor’s character Lady Bracknell, as it came very close to the tray of filled glasses on the low table.
All the actors maintained their characters throughout, if a little dully at times. They did have their moments. Lady Bracknell came alive when expressing her disgust at the thought of John Worthing marrying her daughter, which Gwen Taylor conveyed with a deep gravelly voice. The swing seat scene with Susan Penhaligon’s Miss Prism and Geoff Aymer’s Rev Canon Chasuble left no illusions as to their irreverent feelings for one another! Algernon, played by Thomas Howe, hiding from his Aunt behind Cecily in the final scene was a favourite moment. Simon Shackleton playing both Butlers and Hannah Louise Howell as the Maid stole the final laugh with her hug and his shocked look, then the book dropping to the floor. The Butler and Maids timing throughout was a hoot, providing unexpected background humour.
Peter Sandys-Clarke as Jack retained his ramrod straight back and Thomas Howe as Algernon his boyish mischievousness. Kerry Ellis is making her debut in her first non singing role and her portrayal of Gwendolyn was a believable character, whilst Louise Coulthard’s Cecily was a quirky caricature that really brought the play to life.
Key points in the plot felt like people being thrown into a room, rather than clever direction. There was a reaction but not the expected fireworks. The director Alastair Whatley’s timing of these events made the entrances clumsy. As a result the build up to the revelation of who Ernest and Ernest really were was greater than the reveal itself.
The satirical commentary on Victorian society throughout the script has necessarily lost some of its bite over the last century or so. Even so, “Earnest” is packed with so many wonderfully witty lines and farcical complications that it remains a delight no matter how many times one might have seen it or how recently. It’s a charmingly roguish play that enchants anew at every encounter and at this first show last night, The Importance of Being Earnest did finally show through giving us the happy ending Oscar Wilde intended.
Julius Caesar Review
Bridge Theatre – until 15 April. Reviewed by Claire Roderick
5*****
Wow. Just… Wow.
Nicholas Hytners’ production of Julius Caesar is a phenomenal.
Although modern dress, Brexit and Trump are not shoehorned in (although you can buy snazzy red baseball hats with Caesar emblazoned on them), and the seemingly eternal failing of the liberal elite to understand the masses and the rise of populist rulers is portrayed brilliantly by Ben Wishaw as Brutus and Michelle Fairley as Cassius.
With the stall seating removed to allow promenading ticketholders to get up close and personal with the cast and be part of the play, an ingenious staging design was needed to prevent this being merely a crowd milling around a few stage blocks. Bunny Christie’s inspired use of multiple platforms that sink into the floor gives the production a vibrant energy, especially with the cast and tech staff urgently ushering the audience backwards and forwards as actors enter and platforms reconfigure. As the audience arrive, a street band plays Seven Nation Army, Eye of the Tiger and finally whips up the crowd with We’re Not Gonna Take It, creating a true rock concert atmosphere around the stage. The proximity and interaction really suck the audience in, with the triumphant passing overhead of Caesar’s giant red banner soon dissolving into a real sense of unease after his murder. And all those interminable battle scenes in the second half of the play are taut and visceral under Hytner’s direction.
The cast are outstanding, with Wishaw magnetic as Brutus. Peering over his glasses as he pores over his books (one a biography of Stalin) he is the quintessential academic, tics and all, but after coming to the logical decision to kill Caesar, his arrogance in his reasoning becomes fierce, but gently comical, with Wishaw’s timing fantastic, and Fairley’s exasperated reactions priceless. Fairley keeps Cassius strong and righteous, with just enough petty jealously seeping through to make her the least sympathetic conspirator. In the latter part of the play, as Cassius begins to despair, Fairley truly shines, with Cassius’s death resonating far more deeply than previous productions I’ve seen. David Morrissey plays Mark Anthony as an opportunist chancer prior to Caesar’s death, and reveals his political skill after the murder with steely glances and a barnstorming “Friends, Romans, Countrymen…” David Calder’s Caesar is the perfect politician, switching from bumbling old man to viciously smiling bully in a heartbeat.
This Julius Caesar is a sublime and unforgettable theatrical experience that shouldn’t be missed.
THE MUSICAL BOX PRESENTS A GENESIS EXTRAVAGANZA IN OCTOBER 2018
A GENESIS EXTRAVAGANZA
A MUSICAL FEAST OF FAVOURITES AND RARITIES 1970-1977
UK TOUR OCTOBER 2018
The internationally acclaimed French Canadian band The Musical Box, famed for their historically faithful re-enactments of Genesis are coming to the UK in October 2018 with a brand new show, which for the first time in the band’s 25 year history enters the world and music of early Genesis. The 10 date tour begins on 2 October 2018 in Southend and takes in Leicester, Basingstoke, Birmingham, Edinburgh, Liverpool, Manchester, London, Brighton and Bath.
As the only band ever licensed and supported by Genesis and Peter Gabriel, The Musical Box’s latest show features some iconic tracks from the albums Trespass, Nursery Cryme, Foxtrot, Selling England by the Pound, The Lamb Lies Down on Broadway, A Trick of the Tail and Wind and Wuthering plus a few surprises. Including live visual stunts, theatrical tricks and a vast array of vintage musical instruments, this show is an intense trip back in time into the world of early Genesis.
The band has performed for more than a million spectators globally in some of the world’s most prestigious venues including the Royal Albert Hall and the Paris Olympia and has hosted both Phil Collins and Steve Hackett as guest performers.
The Musical Box is the only band ever to be licensed and supported by Genesis and Peter Gabriel whose testimonies to the band’s authenticity can be seen below:
“The Musical Box recreated, very accurately I must say, what Genesis was doing. I saw them in Bristol with my children so they could see what their father did back then” – Peter Gabriel
“They’re not a tribute band, they have taken a period and are faithfully reproducing it in the same way that someone would do a theatrical production” – Phil Collins
“I cannot imagine that you could have a better tribute for any act. They not only manage to sound, but look virtually identical. It seems as though nothing is too difficult for them” – Steve Hackett
“It was better than the real thing actually. It was great, that was fantastic.” – Mike Rutherford
“The guy who does Peter Gabriel is brilliant” – Tony Banks
Don’t miss this rare opportunity to go back to the 70’s and re-live some of Genesis’s iconic musical performances this Autumn.
UK Tour Dates 2018
Tuesday 2 October Box Office: 01702 351135
Cliffs Pavilion, Southend Website: www.southendtheatres.org.uk
Wednesday 3 October Box Office: 0116 233 3111
De Montfort Hall, Leicester Website: www.demontforthall.co.uk
Friday 5 October Box Office: 01256 844244
The Anvil, Basingstoke Website: www.anvilarts.org.uk
Saturday 6 October Box Office: 0121 780 3333
Symphony Hall, Birmingham Website: www.thsh.co.uk
Sunday 7 October Box Office: 0131 228 1155
Usher Hall, Edinburgh Website: www.usherhall.co.uk
Monday 8 October Box Office: 0151 709 3789
Liverpool Philharmonic Hall Website: www.liverpoolphil.com
Tuesday 9 October Box Office: 08444 777 677
Manchester Apollo Website: www.academymusicgroup.com/o2apollomanchester
Thursday 11 October Box Office: 0844 249 1000
Eventim Apollo, London Website: www.eventimapollo.com
Friday 12 October Box Office: 0844 871 7650
Theatre Royal, Brighton Website: www.atgtickets.com/brighton
Saturday 13 October Box Office: 0844 888 9991
Bath Forum Website: www.bathforum.co.uk
Female consent and robotics are tackled in timely new piece at Leicester Square Theatre in February 2018
February 20th – March 3rd, Leicester Square Theatre
In new play Version 2.0, issues of female consent and robotics are thrown together in this timely new piece challenging the superficiality of modern society, opening at the Leicester Square Theatre in February 2018, directed by Kevin Michael Reed.
“a moving display of superb acting” A Younger Theatre on Kevin Michael Reed’s Shadows
Kash, a playwright, is obsessively in love with his childhood friend Karen. Kash silently expresses his love for Karen by writing plays for her and she returns his admiration by acting in them. Their enduring friendship falls apart when Karen rejects Kash, infuriating him to such an extent that he refuses to see her again. After the rejection, he isolates himself from everyone and gradually falls into a depression.
A robotic society offers Kash an opportunity to live with a humanoid companion, and in return that society wants him to introduce their robots to the world via the means of theatre. Kash accepts the invitation and creates a robot that looks exactly like Karen. He prepares a new show with the humanoid look-alike of Karen and presents her in front of a live audience.
Exploring the effect of social media culture on real human relationships, and asking whether a robot replace a true human and face to face relationships. Version 2.0 comments on and highlights the effects of social media on the nature of relationships.
Director Kevin Michael Reed says “We seem to think we know people just by being “friends” with them on Facebook, but those idealized worlds presented are not truth. When placed in the wrong hands, those worlds are dangerous.”
Reed is an award-winning, internationally published fashion photographer, producer and director from New York City, currently living in London. He is the founder and president of Squire Lane Endeavors and its subsidiaries Squire Lane Films and Squire Lane Theatrical. He produced the critically acclaimed productions of Reese Thompson’s WHORE: A Kid’s Play and Joy Donze: 13 & Not Pregnant at the 2017 Edinburgh Festival Fringe, and Shadows in London in 2017.
Opening next week: Ian Bonar’s Be Prepared at VAULT Festival | 7 Feb 9.30pm
Be Prepared
VAULT Festival, The Vaults, Leake Street, London SE1 7NN
Wednesday 7th – Sunday 11th February 2018
People would move seats on the bus. But I can’t get on the bus cos I’m waiting
for this old man to call
Following its premiere at Edinburgh Fringe 2016, Ian Bonar and Rob Watt collaborate once again to bring Be Prepared to VAULT Festival for a limited run. This is a heart-breaking and moving yet hilarious play about one man struggling to remember while another finds himself unable to forget.
Tom’s a mess. Mr Chambers keeps phoning him asking for a funeral director. Tom is not a funeral director. Getting one digit wrong can change a person’s life forever. Conversations become confused and memories intertwine and unravel. Be Prepared tells the story of two strangers who unwittingly help each other to remember and connect to the people they loved
Inspired by Ian Bonar’s own experiences of his father’s death and subsequently finding his grandad’s cherished memoires, Bonar uses his grandad’s words, some verbatim and some embellished to explore memory, grief and how we remember things. Be Prepared is a darkly comic one-man show that captures the millions of tiny emotions and confusions that ambush you when you lose someone
Writer and performer Ian Bonar comments, Death is funny, right? When I found my Grandad’s journal it was fascinating and heart-breaking to see his memories literally disintegrate on the page as his mind began to fail him, and it made me think about my Dad, about what I wanted to forget about his death and the things I desperately wanted to remember about his life. Why could remember every detail of the hilariously awful experience of going to the local Funeral Director (with whom my family nearly shared a phone number) but struggled to conjure up the sound of his voice? And as Rob and I made the show we learned that grief is both the most specific, individual, private experience – and the most beautifully universal thing that we should all maybe share a bit more…
This is a powerful collaboration between Bonar, one of nine writers in the Orange Tree Writers Collective 2016 and previous alumnus of a Royal Court invitational writers group, and Rob Watt, who is an Associate at Headlong Theatre, lead artist at Lyric Hammersmith, and artist mentor at the Barbican. They will be joined by sound designer and successful musician Alex Crispin and critically acclaimed lighting designer Charlie Morgan Jones
Be Prepared was developed at The RSC Other Place and had a first full run at the RSC Fringe Festival. It was then selected to be part of Underbelly Untapped at the Edinburgh Festival Fringe.
THE PRESIDENT IS COMING TO LONDON AS WE ASK DOES THE ‘BEST MAN’ ALWAYS WIN THE WHITE HOUSE?
THE PRESIDENT IS COMING TO LONDON…
AS WE ASK DOES THE ‘BEST MAN’ ALWAYS WIN THE WHITE HOUSE?
MARTIN SHAW
JEFF FAHEY, MAUREEN LIPMAN, JACK SHEPHERD
HONEYSUCKLE WEEKS AND GLYNIS BARBER
in
THE BEST MAN
THE WEST END PREMIERE OF GORE VIDAL’S AWARD-WINNING
POLITICAL DRAMA
Bill Kenwright presents Martin Shaw in the West End premiere of Gore Vidal’s sharp political drama The Best Man, at The Playhouse Theatre from Saturday 24 February.
Written and produced on Broadway nearly 60 years ago, long before the battles of Trump vs Clinton and May vs Corbyn, The Best Man never achieved a West End transfer at the time because it was thought that American politics were of no real interest to London audiences.
Martin Shaw is William Russell, esteemed ex-Secretary of State and US presidential candidate, with something of a philandering reputation. Jeff Fahey is Joseph Cantwell, an ambitious populist newcomer, opposing Russell for the party nomination.
Running neck and neck, the only thing that might separate the candidates are endorsements from a respected Ex-President (Jack Shepherd) and party big-wig (Maureen Lipman). As the race heats up the campaign gets personal, involving Russell’s estranged wife Alice (Glynis Barber) and Cantwell’s wife Mabel (Honeysuckle Weeks). But where does compromise end and corruption begin? How far will they each go to become the most powerful man in the world? And who in the end will be proven to be “the best man”?
The play mirrors the often surprising results of campaigning, and the all-too-often unscrupulous world of politics.
Leading the cast is Martin Shaw. Best known to TV audiences for the title-roles in Judge John Deed, Inspector George Gently and The Professionals, Shaw’s leading-man West End stage roles have included Twelve Angry Men, A Man For All Seasons and The Country Girl directed by Rufus Norris.
Jeff Fahey has starred in many indie movie classics, including the title role in cult sci-fi hit TheLawnmower Man opposite Pierce Brosnan and in Quentin Tarantino’s Grindhouse. He has rarely been off our TV screens, starring in US series The Marshal and more recently in Lost. He returns to the West End stage following his acclaimed performance in Twelve Angry Men alongside Martin Shaw.
One of Britain’s finest and best loved film, TV and theatre actresses Maureen Lipman (CBE), is known on the big screen for roles such as Trish in Educating Rita and in the Oscar winning film The Pianist as well as for her wide ranging TV appearances – from the landlady of The Rover’s Return inCoronation Street, to the Princess of France in Love’s Labours Lost. A prolific stage actress, Lipman is an Olivier Award winner (See How They Run) and has appeared in some 20 West End productions.
Star of TV’s Wycliffe and Bill Brand, Jack Shepherd’s extensive stage career includes his award-winning performance in Glengarry Glen Ross and The Iceman Cometh at the National Theatre. Glynis Barber is known for Dempsey and Makepeace and popular roles in Night and Day and EastEnders.Her stage credits include, the original London Cast of Beautiful: The Carole King Story at the Aldwych Theatre, and The Graduate. And Honeysuckle Weeks is best known for starring alongside Michael Kitchen as Samantha Stewart in hit TV drama Foyle’s War. Her theatre credits include The Shining Lives at the Park Theatre, Pygmalion and Love’s Labour’s Lost at Chichester Festival Theatre and A Daughter’s A Daughter in the West End.
Born into a distinguished political family, Gore Vidal was a prolific writer known for the waspish wit, which peppered his essays, novels, screenplays and Broadway plays. Among his most famous works are Myra Breckinridge and Lincoln. The Best Man premiered on Broadway in 1960 and was nominated for six Tony Awards, including ‘Best Play’. Vidal adapted it into a film with the same title in 1964 starring Henry Fonda, Cliff Robertson and Lee Tracy, who was nominated for an Oscar for his portrayal of the crafty ex-President. The play received a major revival on Broadway in 2012 starring James Earl Jones and Angela Lansbury, and earned two Tony award nominations including ‘Best Revival of a Play’.
Director Simon Evans‘ credits include The Resistible Rise of Arturo Ui, Silence of the Seas (Donmar Warehouse), The Dazzle, Bug, Fool for Love (Found111), Almost Maine (Park Theatre), Hannah(Unicorn), Speed Twins (Riverside Studio), Laura Marling, Shawshank Redemption and Ghostbusters(Secret Cinema), Rubber Room (The Old Vic) and Madness in Valencia (Trafalgar Studios). Simon was Resident Assistant Director at the Donmar Warehouse, Staff Director at the National and Creative Associate at the Bush.
Further casting to be announced.
The Best Man is produced by Bill Kenwright and directed by Simon Evans, with set and costume design by Michael Taylor, lighting design by Chris Davey and composition and sound design by Ed Lewis.
LISTINGS
BILL KENWRIGHT PRESENTS
THE BEST MAN
Written By Gore Vidal
Directed By Simon Evans
Playhouse Theatre
24 February – 12 May 2018
Performances:
Monday – Saturday evening: 7.45pm
Thursday and Saturday matinee: 3pm
Ticket Prices: From £15
Address: The Playhouse Theatre, Northumberland Ave, London, WC2N 5DE
Box Office: 0844 871 7631
ATG Tickets: www.atgtickets.com
Facebook: BKLProductions
Twitter: @BKL_Productions
ELIZABETH BERRINGTON AND TANYA MOODIE TO STAR IN UK PREMIÈRE OF JOEL DRAKE JOHNSON’S RASHEEDA SPEAKING
Monday to Saturdays at 7.45pm
Thursday and Saturday matinees at 3pm (no Thursday matinee on 19 April)