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Impatient Productions in association with CKP and InterTalent Group

Present

 Winner – Chortle Best Compere Award 2017

JUSTIN MOORHOUSE

NORTHERN JOKER

Comes to Leeds, Darwen, Burnley, Barnsley, Hull, Northallerton, Harrogate and Sheffield

Directed and script-edited by Henry Normal

UK TOUR 2018/2019

“NOT A MOMENT WITHOUT LAUGHTER. HE SMASHED THE HOUR OUT OF THE PARK.” ****Chortle

Following his highly anticipated return to the Edinburgh Festival Fringe 2018, award-winning comedian Justin Moorhouse is pleased to announce the UK tour of his brand-new show.

“HE CHARMS THE PANTS OFF THE CROWD” Sunday Times

These days Justin’s not certain about anything apart from his uncertainty – Brexit looms, it appears the Cold War is being rebooted and that’s before we begin to worry about what’s happening in America…closer to home he’s starting to feel redundant as a parent. One kid is leaving home, the dog is getting older and needs fewer walks, and the youngest kid hits thirteen and cancels the family subscription to The Beano.

On top of this the golden age of the Northern straight white male comedian has gone the way of the dinosaurs. Can he adapt to survive? What next for this Northern Joker? What can he talk to his daughter about now she cares little for Dennis the Menace and the Bash St Kids? Hang on. Perhaps nothing has changed that much. When he was thirteen, the Russians were scary, the White House was a madhouse and he’d never been to Europe anyhow. Thinking back this is when his reading habits changed too, more Dark Knight than Desperate Dan, more Catwoman than Minnie the Minx. Perhaps our heroes never went away…they just waited for us to pick them up again. Perhaps she just needs a different type of comic….

“HILARIOUS STORYTELLING COMBINED WITH A QUICK WIT.” **** British Theatre Guide

Justin has performed around the world and his TV and film credits include tiger-faced Young Kenny In Phoenix Nights, Ken Loach’s Looking for Eric,Live At The Apollo, Michael McIntyre’s Comedy Roadshow ,8 out of 10 Cats and Alan Davies: As Yet Untitled.

He’s also a regular contributor to BBC’s The Premier League show.

He has won Celebrity Mastermind majestically, won fortunes for charity on Celebrity Storage Hunters and lost even more magnificently on Celebrity Eggheads and Pointless Celebrities (twice)

“SIMULTANEOUSLY DOWN TO EARTH AND OUT OF THIS WORLD” List

On radio he has written and starred in two series of his own Radio 4 sitcom Everyone Quite Likes Justinand often appears on Radio 4’s The News Quiz. He’s a regular on 5 Live’s Fighting Talk. He is also a frequent guest on Shaun Keaveny’s Breakfast Show and Radcliffe and Maconie in The Afternoon (both 6 Music). He also pops up on TalkSport often as well as helming his own critically acclaimed podcast, About 30 Minutes, No More Than 45. 

www.justinmoorhouse.com  |    justinmoorhouse    |    @justinmoorhouse

Listings information:

Venue:              The Wardrobe LEEDS

Dates               Thursday 28th February

Time:                7.30pm

Box Office:        0113 383 8800

Online:              thewardrobe.co.uk

Venue:              Library Theatre DARWEN

Dates:               Friday 8^th March

Time:                7.30pm

Box Office:        0844 847 1664

Online:              darwenlibrarytheatre.com

Venue:              Mechanics BURNLEY

Dates:               Friday 22^nd March

Time:               8.00pm

Box Office:        01282 66 44 00

Online:              burnleymechanics.co.uk

Venue:              The Civic BARNSLEY

Dates:               Saturday 23^rd March

Time:                8.00pm

Box Office:        01226 327 000

Online:              barnsleycivic.co.uk

Venue               Fruitspace HULL

Dates:               Thursday 4^th April

Time:                8.00pm

Box Office:        01482 22 11 13

Online:              fruitspace.co.uk

Venue:              The Forum NORTHALLERTON

Dates:               Friday 5^th April

Time:                8.00pm

Box Office:        01609 776 230

Online:             forumnorthallerton.org.uk

Venue:              The Studio Theatre HARROGATE

Dates:               Saturday 4^th May

Time:                8.30pm

Box Office:        01423 502 116

Online:              harrogatetheatre.co.uk

Venue:              City Hall SHEFFIELD

Dates:               Sunday 5^th May

Time:                8.00pm

Box Office:        0114 2789 789

Online:              sheffieldcityhall.sivtickets.com

Charles Court Opera’s 10th Gilbert & Sullivan season at King’s Head Theatre, H.M.S. Pinafore, to be a joyous homage to the golden age of technicolour that satirises ‘entrenched British class divisions.’

Season: Wednesday 10 April – Saturday 11 May

Following nine critically-acclaimed, wildly popular seasons of Gilbert & Sullivan’s beloved operettas at King’s Head Theatre, internationally-renowned chamber opera company Charles Court Opera’s humorous, heartfelt and high energy take on H.M.S. Pinafore will run from 10 April to 11 May 2019, with a press night on Tuesday 16 April.

In the 15 years since the company was formed, Charles Court Opera have toured Gilbert & Sullivan productions across the UK and USA to some of the most high-profile venues and arts festivals and have built a reputation as ‘the masters of Gilbert & Sullivan in small spaces’ (Camden New Journal). In 2016, they became an Associate Company of King’s Head Theatre.

H.M.S. Pinafore is set on board a strictly hierarchical naval ship and satirises the rigid British class system. Josephine, the Captain’s daughter has fallen in love with a lowly sailor, Ralph Rackstraw, despite being promised to the First Lord of the Admiralty.

Featuring some of Sullivan’s best loved music, including ‘I am the Monarch of the sea’ and ‘He is an Englishman,’ audiences can expect an evening of rollicking choruses and tender tunes imbued with unique wit and infectious energy in a show suitable for all ages, that harks back to the golden age of technicolour.

Director John Savournin said ‘I’m delighted to bring our visually explosive and playfully joyous production of H.M.S. Pinafore, in our 10th Gilbert & Sullivan season, to King’s Head Theatre. In an age where British class divisions seem more entrenched than ever, Gilbert & Sullivan’s witty satire is not only superb entertainment, it’s incredibly relevant to the times in which we live.

York Theatre Royal until Saturday 23 February 2019.

Reviewed by Michelle Richardson

4****

Grease is the word, is the word that you heard, it’s got groove, it’s got meaning, Grease is the time, is the place, is the motion, Grease is the way we are feeling. Yes, Grease with its feast of 1950’s music and dance, has come to York Theatre this February thanks to York Light. Grease is one of the best known musicals thanks to the John Travolta and Olivia Newton John film, which is over 40 years old (how did that happen?).

Grease follows a group of high school kids from the fifties, going back to school as seniors after summer break. Sandy (Sarah Craggs) is new to the school and is taken under the wing of the Pink Ladies, Frenchy (Hannah Witcomb), Jan (Fiona Baistow), Marty (Rachael Whitehead) and of course Rizzo (Emma-Louise Dickinson). Meanwhile Danny (James Horsman) is the leader of the T-Birds, Kenickie (Jack Armstrong), Doody (William Darwin), Roger (Finn East) and Sonny (Jonathan Wells). What follows is the story of friendship, love and teenage pressure, and of course all those memorable, iconic tunes.

Horsman played Danny as a lot gentler character than we are used to, his vocals were smooth, and the perfect partner for this Sandy, in fact they are a couple in real life. There is a lot of energy on stage, and with a few of the audience, who were singing along with hands in the air for quite a bit of the performance. The cast really looked like they were having a blast, who can blame them, doing what they love, singing and dancing to a packed audience?

One of the highlights of the show for me was the “Mooning” scene, a duet with Roger and Jan. It was hilarious and got the whole audience going, both are truly wonderful. East is such a presence on stage, with his over the top expressions and comic timing, it so works in this production. As for Baistow, she was just an energetic bundle during the dance routines, mesmerising to watch. Another highlight was of course Kenickie and the T-Birds performing “Greased Lightnin’”, probably the most well known of all the songs in the show. Armstrong was amazing as the supposed bad boy, who is really just a softy. He is a real talent and I would love to have seen him in the lead role in the future, hopefully a star in the making.

The set is quite simple, but more than effective, with the use of panels, benches and of course Kenickie’s car. The band, led by John Atkin, did great justice to all the fabulous tunes, that we know so well. Hair and costumes had that true 50’s feel, men with slicked back hair, combs always at hand, and the girls in their full skirts. There was also quite a bit of sparkle in the Teen Angel scene, and I do love a bit of sparkle. Teen Angel (Richard Bayton,) got probably one of the loudest cheers on the night and he sure camped it up, he is a well known face at York Theatre Royal.

It was sometimes hard to remember that this was an amateur production with a predominantly young cast. It was performed with such energy and enthusiasm that it was catching. I had such a grin on my face for most of the show, what more could anyone ask for? This show is a must see for any age. Please go and see it and support this local drama group, you will leave feeling so much happier, with a smile on your face, you will not be disappointed.

York Theatre Royal – 13 February 2019

Reviewed by Marcus Richardson

5*****

Gypsy Queen a match both in and out of the ring. A play that explores the world of sexuality and sport, and how the two rarely intertwine. Written by Rob Ward, a plays of two actors follows the life of ‘Gorgeous’ George a gypsy who gets into professional wrestling, and Dane ‘The Pain’. The two form a close bond as sparring partners and end up romantically together. George who hasn’t come to terms with his sexuality and we watch as their relationship changes both characters. We are given themes of identity as George is stuck between polar worlds such as being a gypsy, gay and getting into boxing from scrapping.

The two actors on stage are the writer of the play Rob Ward and John Askew, playing a multitude of character but mainly focusing on the two main characters. The play is something beautiful and the way both actors approached it created such a moving piece. Askew played Dane, a boxer open with his sexuality, trapped under his father empowering grip; Askew takes on other roles such as George’s mother, giving some good comic relief in the play, yet still dealing with an important issues properly. Ward played George, Ward does a phenomenal job of giving the character a story that is both heart breaking and engages the audience with a lot of attention. Both the actors know how to work with each other on stage both as different characters and as actors. One of the best aspects of the show isn’t the relationships with Dane and George but all the relationships, that of a mother, a father, and a lover.

It has been a while since I have been blown away from a show on this level; a play where we can really focus on the acting without the need for a large distracting set, we listen to what the actors are saying and for me personally the issues raised become more relevant.

The stage did have a changing room bench which was used for many things, smart little scene changes were both effective and quick done by the two actors on stage, a no fuss, no frills situation. Music in the show was thought out and changes scenes so much making them raw and emotional, Artic Monkey’s ‘Do I Wanna Know?’ made an appearance lending itself to be a good fight style song. The lighting was also simple with only three colours used, your basic stage lights and red and blue. Everything was thought out and fitted perfectly with each other and the show.

With the amount of shows I have seen, it’s very rare that I am moved this much by a performance, that’s not saying all the other shows are bad, it’s to say that this show was in a league much higher than your average show. Lasting for ninety minutes with no interval we are deeply submerged into the show. Its a show that is captivating and creates a story that is beautiful beyond words. The show is on tour until 26th of February across the UK and I would highly suggest you watch, if I could force you to watch I would.

The Lowry, Salford – until Sunday 17th February 2019

Reviewed by Julie Noller

4****

Billionaire Boy written by one of Britains most loved all round entertainers and good guy David Walliams was published back in 2010. Along with with his numerous other titles it’s popularity remains to this day with many school children enjoying reading and delighting in the humour within it’s pages. My own teenagers accompanied me to a show that had a pantoesque feeling and warm welcome from the outset.

This is a musical with show tunes and key changes mid song. All that’s missing is a staircase and a water feature to be a true old school film musical. The creative team is a mutli-award winning talented one, writers, lyricist and composers Miranda Cooper and Nick Coler have worked with stars such as Kylie, Sugarbabes and Girls Aloud; Jon Brittain in 2017 was awarded an Olivier. So you know those tunes will be catchy and they are indeed. The audience is predominately young children but that should not stop you going and enjoying it’s simple, easy to follow story, but as with all of David Walliams books there is a strong moral compass running throughout.

Billionaire Boy is a moral story that children will understand and a warming tale many adults will be pleased to be reminded of. There’s chuckles a plenty throughout and sometimes I wondered if the humour was too close to the bone in a very camp David Walliams of Little Britain fame; but don’t worry it’s only as close to the bone as a traditional panto is; where silliness shines through and there’s lots of giggling.

In one scene the school bullies Dave and Sue Grubb (Jared Leathwood and Natalie Morgan) are doing their thing, their words are bleeped out and I heard a mother and child from the row behind me ‘it’s instead of a naughty word’ ‘are they swearing Mummy? That’s bad’ We’ve all had those conversations when out and about.

The interaction with the audience is fantastic, from narration by Sophia Nomvete who incidentally also plays a variety of characters from the upstanding lovely Bobs Mum – Gwen to hilarious and rather ridiculous substitute school teacher Peter Bread. Avita Jay is the star of reality TV show and gold digger Sapphire and I dare you to not wonder which star she’s based on, but as shop owner Jay the inventor of the microphone mop she is a firm audience favourite; linking with the audience to usher in the second act, again in a throwback to panto we have the promise of sweets but get lettuce chucked off stage.

Lem Knights deserves a round of applause he was quite easily us older patrons favourite character, from Bob to the Spuds cleaning lady I couldn’t take my eyes away from his camp movements and even wondered if his influences came from watching soaps such as Eastenders. Ryan Heenan is Joe Spud our 12 year old Billionaire Boy who just wants an ordinary life, to attend his local comprehensive school, have friends any friends. He’s lonely and any Mum or Dad watching in the audience will feel the pull on their heart strings for isn’t it all any of us really want for our children to be truly happy?

Dean Nolan is Len Spud inventor of BumFresh that still has me in fits of laughter (yes I gave in to childish humour and it felt great) the man who has forgotten how to be a parent and in his own fit of loneliness throws his money into buying lot’s of expensive ill fitting wigs. All Joe wants is his time and his love and that message has got lost along with his hair and his amazing shepherds pie recipe. But when he buys the headmaster a brand new Harley Davidson and even pays Lauren (Eleanor Kane). Well it’s a step too far and as the play is wrapping up, everything is imploding in Joe Spuds life.

Dean Nolan is also Mrs Trafe from the school canteen with it’s disgusting food, she is the Pantomime dame of Billionaire Boy especially after using the money Joe gives her for a hip replacement on cosmetic enhancements. This is one of my many highlights that had me in stitches.

Billionaire Boy is fantastically camp, warm and witty. You’ll leave humming even singing those big show tune numbers. It works so well as a musical in fact it’s great strength may just be that it’s a fabulous starting block into the world of musicals for those younger and not so younger patrons of the theatre.

It’s strength throughout is it’s moral story line of loneliness, money doesn’t buy you happiness; simple happiness is sharing a chocolate bar with a friend and not buying the whole shop. There’s also the encouraging theme of talking about bullying and it’s effects on everyone. As with all Walliams stories the good guys despite their purple bottoms from minty BumFresh and becoming bankrupt they always win in the end and everyone is just happy in warm fuzzy glow as you will be leaving the theatre.

JOEY VISITS WEMBLEY PARK AS TICKETS GO ON SALE TODAY TO THE GENERAL PUBLIC FOR WAR HORSE AT TROUBADOUR WEMBLEY PARK THEATRE

Joey, the life-sized horse puppet from the National Theatre’s acclaimed play War Horse, visited Wembley Park to celebrate today’s general public on sale of War Horse coming to the Troubadour Wembley Park Theatre this autumn.

Having visited 11 countries around the world and playing to nearly 8 million people over the past 11 years, including a recent sold-out return to the National Theatre, the NT’s War Horse is now on a UK and international tour throughout 2019 and as part of the tour, will return to London for a strictly limited run at Troubadour Wembley Park Theatre, located in North West London’s newest cultural neighbourhood, from 18 October – 23 November.

Tickets for the limited six week run are now on sale and include a Captioned performance on  Saturday 2 November 2pm, a BSL performance on Saturday 9 November 2pm signed by Donna Ruane and an Audio Described performance on Saturday 16 November 2pm plus a 12 noon Touch Tour.

Troubadour Theatres, who specialise in the creation of temporary and semi-permanent theatre venues including Kings Cross Theatre, will open Troubadour Wembley Park Theatre this summer. The six week run of War Horse will include a programme of activity which engages with schools and the local community in Brent in the lead up to the yearlong Brent Borough of Culture collaborative project in 2020.

War Horse will also tour to Sunderland Empire (currently playing until 23 February), Marlowe Theatre, Canterbury (27 February – 16 March), Regent Theatre, Stoke-on-Trent (27 March – 6 April), Bord Gáis Energy Theatre, Dublin (10 – 27 April), Lyric Theatre, Hong Kong (from 10 May), Civic Theatre, Auckland (from 21 June), Liverpool Empire Theatre (31 July – 17 August), New Theatre, Oxford (22 August – 7 September), Curve, Leicester (18 September – 12 October) and Seine Musicale, Paris (29 November – 29 December), with further international dates to be announced.

War Horse is directed by Marianne Elliott and Tom Morris, designed by Rae Smith, with puppet direction, design and fabrication by Basil Jones and Adrian Kohler for Handspring Puppet Company, lighting by Paule Constable, and movement and horse choreography by Toby Sedgwick, with video design by Leo Warner and Mark Grimmer for 59 Productions, songmaker John Tams, music by Adrian Sutton and sound by Christopher Shutt. 

Katie Henry is the UK & International Tour Director and Craig Leo is the Associate Puppetry Director. Charlotte Peters is the Associate Director and Matthew Forbes is the Associate Puppetry Director. They are joined by Resident Director, Charlie Kenberand Resident Puppetry Director, Gareth Aled.

War Horse is produced on tour by the National Theatre.

Suitable for ages 10+

For more information and to purchase tickets visit warhorseonstage.com

Or https://www.troubadourtheatres.com/wembley-park

For access bookings call 0333 320 1663 or email access@kxtickets.com

War Horse at Troubadour Wembley Park Theatre is supported by American Express, the National Theatre’s preferred Card Partner. 

T I N A – T H E   T I N A   T U R N E R   M U S I C A L

HIT WEST END PRODUCTION TO WELCOME

NKEKI OBI-MELEKWE

AS LEGENDARY QUEEN OF ROCK ‘N’ ROLL

WITH ASHLEY ZHANGAZHA AS IKE TURNER

The producers of TINA – THE TINA TURNER MUSICAL are delighted to welcome Nkeki Obi-Melekwe to London who will join the West End production from 15 April 2019 to play Tina Turner, the iconic Queen of Rock ‘n’ Roll.  Joining the Company from the same date will be Ashley Zhangazha as Ike Turner.   Adrienne Warren, who has played the title role in London since the show’s world premiere, will lead the Broadway production opening in Autumn 2019.

Tina Turner said:  “I know just how extensive the search was to find her, and I am delighted that Nkeki will be joining our Tina family. Her raw talent is clearly extraordinary and her determination and spirit are second to none.  Audiences at the Aldwych will be amazed. I look forward to welcoming her to London!”

Nkeki Obi-Melekwe said:  “I am beyond excited!  To be coming to London to join the West End community is one thing, but to be taking on this extraordinary role is something else.  Tina means so much to so many people, including me, and I do not take this opportunity lightly.  I hope I can make her as proud as I am to be playing Tina Turner.  I can’t wait to get started.”

Phyllida Lloyd, Director of Tina – The Tina Turner Musical, said: “This role must be one of the most demanding in world theatre and requires a human being of exceptional gifts and massive inner strength. Nkeki has both.  Nkeki just has that THING – ferocious power – without which you can’t even think of playing Tina.“

A 2018 graduate of the The University of Michigan’s School of Music, Theater and Dance, Nkeki Obi-Melekwe will make her West End debut in the title role.  She made her professional off-Broadway debut last month in Alice by Heart at Robert W. Wilson MCC Theater Space.  Her television credits include Smilf for Showtime and Bull for CBS.

Ashley Zhangazha was last on stage in Death of a Salesman at the Royal Exchange in Manchester where he also appeared in Hamlet and Guys and Dolls, for which he won Best Performance in a Musical at 2018 UK Theatre awards. His other theatre credits include Henry V and Fences in the West End, Pericles and Danton’s Death for the National Theatre, A Raisin in the Sun and Macbeth (for which he won the Ian Charleson Award) at the Sheffield Crucible, Terror for the Lyric Hammersmith,Ah, Wilderness! for the Young Vic, Human Animals, Belong and Truth and Reconciliation for the Royal Court and Richard II and King Lear at the Donmar Warehouse.  His television credits include Victoria II, Humans and Ordinary Lies.

Based on the life of legendary artist Tina Turner, TINA – THE TINA TURNER MUSICAL recently announced a new release of over 200,000 tickets for the hit musical, now taking bookings at the Aldwych Theatre to 21 December 2019.

Earlier this month a new music video of River Deep – Mountain High was released featuringAdrienne Warren performing the track from the upcoming original cast album. 

The second year Company will begin performances on 19 March 2019, with Nkeki Obi-Melekwe(Tina Turner) and Ashley Zhangazha (Ike Turner) joining the following month.  Aisha Jawandowill play the role of Tina at some performances each week, Irene-Myrtle Forrester will play Tina’s Grandmother GG, Howard Gossington will play Record Producer Phil Spector and Lyricist Terry Britten, Francesca Jackson will continue to play Ike and Tina’s manager Rhonda Graam, Jammy Kasongo will play Tina’s father Richard Bullock and Tina’s first love Raymond Hill, Edward Bournewill play record company Marketing Manager Erwin Bach and Oscar Batterham will play Tina’s Manager Roger Davies. Maria Omakinwa joins to play the role of Tina’s mother Zelma until 22 June 2019, when Madeline Appiah will rejoin the Company in that role. Final casting will be announced shortly.

They are joined by ensemble members Daniella Bowen, Chloe Chambers, Joelle Dyson, Sia Kiwa, Lejaun Sheppard, Kibong Tanji, Cameron Bernard Jones who also plays Tina’s son Craig and Ashlee Irish who plays Tina’s son Ronnie and Joseph Richardson, and swings Gavin Alex, Derek Aidoo, Joshua Da Costa, Amandla Elynah, Hannah Jay-Allan, Angela Marie Hurst, Leisha Mollyneaux and Samuel J. Weir.

Directed by Phyllida Lloyd and written by Katori Hall with Frank Ketelaar and Kees Prins,TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting byBruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations byEthan Popp. 

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race. 

The critically acclaimed production received its world premiere in April 2018 in London and subsequently has broken all Box Office records at the Aldwych Theatre.  Next month, the German premiere of TINA – THE TINA TURNER MUSICAL begins performances at the Stage Operettenhaus in Hamburg and the musical will have its Broadway premiere in Autumn 2019.

TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment,Joop van den Ende and Tali Pelman, in association with Tina Turner.  Nkeki Obi-Melekwe will be appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity.

The Queen is coming to Yorkshire

with world première of Victoria ballet biopic

World Première: Leeds Grand Theatre, 9 – 16 March 2019

Lyceum Theatre, Sheffield, 19 – 23 March 2019

Next month, Yorkshire is receiving a royal visit like no other as Northern Ballet brings the sensational story of Queen Victoria to life in dance with the world première of Victoria, a ballet by Cathy Marston.Coinciding with the 200^th anniversary year of the birth of one of Britain’s most iconic monarchs, theworld première will take place at Leeds Grand Theatre from 9 – 16 March 2019 followed by a UK tour including performances at the Lyceum Theatre, Sheffield from 19 – 23 March 2019.

Victoria tells the astounding life story of Queen Victoria through the eyes of her youngest child and lifelong companion Beatrice. Travelling back in time from Victoria’s death bed, Beatrice relives her memories of her mother as a secluded widow before discovering her anew as she transcribes the Queen’s intimate diaries. Wife, mother, lover, Empress; Victoria presents the various, often conflicting faces of this emblematic monarch.

Victoria is choreographed and directed by the internationally acclaimed Cathy Marston, who also created Northern Ballet’s critically-acclaimed Jane Eyre which was nominated for a South Bank Sky Arts Award. It will be performed to live music with an original score by Philip Feeney whose previous scores for Northern Ballet include Jane Eyre and Cinderella. Sets and costumes are designed bySteffen Aarfing whose recent projects include designs for Król Roger at the Royal Opera House. Lighting is designed by Alastair West who was recently nominated at the Knight of Illumination Awards for his designs for Northern Ballet’s Casanova. Dramaturgy is by British director and writer Uzma Hameed whose previous projects include Woolf Works for The Royal Ballet. The scenario for Victoriahas been written by Marston and Hameed in collaboration.

David Nixon OBE, Artistic Director of Northern Ballet, said: ‘Queen Victoria is arguably one of the most iconic women of all time. The legacy of her extraordinary reign extends into the current day and we are privileged to be able to tell her story in dance.’

Cathy Marston said: ‘Victoria’s life was full of extraordinary innovations and characters and I feel very inspired by the unusual perspective of Victoria’s daughter Beatrice, from whom we hope to discover our iconic, but nevertheless elusive subject. Responsible for shaping much of what we know of Queen Victoria today, this mother/daughter relationship will be both a historically and emotionally compelling engine for our new ballet.’

Tickets for Leeds Grand Theatre are on sale now. To book visit leedsgrandtheatre.com or call 0844 848 2700*.

Tickets for the Lyceum Theatre, Sheffield are on sale now. To book visit sheffieldtheatres.co.uk or call 0114 249 6000.

Victoria is a co-production between Northern Ballet and The National Ballet of Canada.

Northern Ballet is holding events at both theatres including audio-described performances and touch tours for visually-impaired patrons. For more information about additional events and workshops, visitnorthernballet.com/victoriaevents

Hartshorn – Hook Productions, Selladoor Productions, The Watermill Theatre & Broadway Asia present

INITIAL CASTING REVEALED FOR

UK PREMIERE OF 

Watermill Theatre, Newbury 11 Apr – 18 May | UK Tour 22 May – 21 Sep

French-Canadian stage and screen star Audrey Brisson is confirmed to play the iconic altruist Amélie Poulain in the UK’s first musical adaptation of the much-loved, five-time Oscar®-nominated film. Telling the story of the imaginative and shy romantic with a gift for helping others, Amélie The Musical will tour the UK in a vibrant, re-conception of the production with new orchestrations.

The production will open with a press night on Wednesday 17 April, 7.30pm at the Watermill Theatre in Newbury. Further casting is yet to be announced.

Amélie is the story of an astonishing young woman who lives quietly in the world, but loudly in her mind. She secretly improvises small, but extraordinary acts of kindness that bring happiness to those around her. But when a chance at love comes her way, Amélie realises that to find her own contentment she’ll have to risk everything and say what’s in her heart. Although times are hard for dreamers, Amélie is someone to believe in…

Audrey Brisson said: “Bonjour, je m’appelle Audrey Brisson et c’est avec un immense plaisir que je m’apprête à jouer le rôle d’Amelie Poulain. That is to say, I am really looking forward to sharing this journey filled with imagination and quirkiness that Amélie will concoct for us. Until then, à bientôt. (Have a raspberry on me!)”

Audrey Brisson’s theatre credits include: The Elephantom, Pinocchio and Pericles (National Theatre), Midnight’s Pumpkin and The Wild Bride (Kneehigh), The Lion, The Witch and The Wardrobe (Kensington Gardens), Dead Dog in a Suitcase & Other Love Songs (Kneehigh), Romeo and Juliet (Rose Theatre, Kingston), The Flying Lovers of Vitebsk (Kneehigh), The Grinning Man (Bristol Old Vic), The Strada (UK Tour & The Other Palace). Her film credits include: Hereafter directed by Clint Eastwood and W.E. directed by Madonna. Television includes:Outlander (Amazon), Money (BBC Two). Radio includes the title role in Amy Dorrit (BBC Radio).

Audrey trained at the Central School of Speech and Drama. She also studied Classical Singing at Cegep St-Laurent, Canada. As a child and teenager, Audrey worked extensively with Cirque Du Soleil as a vocalist and acrobat. She performed in their international tours of Reinvente, Quidamand and the Cirque Du Soleil 30^thAnniversary Concert.

With music by Hem’s Daniel Messé, lyrics by Nathan Tysen and Daniel Messé and book by Craig Lucas, this new musical adaptation of the five-time Oscar®-nominated film written by Jean-Pierre Jeunet and Guillaume Laurant, will be directed by Michael Fentiman.

The original film, Le Fabuleux Destin D’Amélie Poulain, was released in 2001, starring Audrey Tautou and Matthieu Kassovitz. Taking over $33 million in a limited theatrical release, it is to date the highest-grossing French-language film released in the United States, and one of the biggest international successes for a French film. Amélie won Best Film at the European Film Awards, four César Awards in 2002 (including Best Film and Best Director), two BAFTA Awards (including Best Original Screenplay), and was nominated for five Academy Awards, including best foreign language film.

Amélie The Musical was first staged in California in 2015 and was described as an ‘enchanting act of theatrical reinvention’ (The Los Angeles Times).

When the UK tour concludes in September 2019 Amélie The Musical will tour internationally, with dates to be announced.

Amélie The Musical, is produced by Hartshorn – Hook Productions, Selladoor Productions, The Watermill Theatre and Broadway Asia.

Full casting announced for

AIN’T MISBEHAVIN’
The FATS WALLER Musical

At Southwark Playhouse

From Friday 19 April to Saturday 1 June 2019

Following its premiere at Mercury Theatre Colchester

From Friday 15 to Saturday 30 March 2019

Paul Taylor-Mills and Mercury Theatre Colchester in association with Tamasha Theatre Company are delighted to announce casting for their brand-new production of Ain’t Misbehavin’ – the first London revival in almost 25 years – playing at Southwark Playhouse from Friday 19 April to Saturday 1 June, following its premiere at Mercury Theatre Colchester from Friday 15 – Saturday 30 March. Tickets are on sale now.

The cast will feature Adrian Hansel as André, Renée Lamb as Armelia, Carly Mercedes-Dyer as Charlaine, Landi Oshinowo as Nell and Wayne Robinson as Ken.

Adrian Hansel originated the role of Seaweed in the West End production of Hairspray, with other credits including Five Guys Named Moe at Marble Arch Theatre. Renée Lamb played Chiffon in Little Shop of Horrors at Regent’s Park Open Air Theatre and Catherine of Aragon in the original London cast of Six at the Arts Theatre. Carly Mercedes-Dyer was recently seen in Dreamgirls at the Savoy Theatre, with other credits including The Lorax at The Old Vic and Memphis at the Shaftesbury Theatre. Landi Oshinowo recently appeared in Big Fish at The Other Palace, with West End credits including Shrek the Musical and Sister Act. Wayne Robinson returns to Southwark Playhouse having played Benny in In The Heights. He was most recently seen as Jagwire in Bat Out of Hell.

The full creative team is also announced today. Joining previously announced director TyroneHuntley and choreographer Oti Mabuse are designer Takis, lighting designer James Whiteside, sound designer Dan Samson and associate choreographer James Bennett. There will be new orchestrations by Mark Dickman, and casting is by Will Burton CDG.

Celebrating the legendary jazz musician Fats Waller and his energetic, exuberant and effervescent music, Ain’t Misbehavin’ steps back into the 1920’s and the raunchy nightclubs of Manhattan.Join an extraordinary group of performers on a journey through a defining period of American musical history, the Harlem Renaissance – where musicians were free to experiment with new styles, and joints were jumpin’ with talented dancers, singers and instrumentalists jamming to a new beat known as swing.

Ain’t Misbehavin’ will mark Tyrone Huntley’s directorial debut. Tyroneis best known for his acclaimed performance as Judas in Jesus Christ Superstar at Regent’s Park Open Air Theatre, for which he won the Evening Standard Theatre Award and received an Olivier Award nomination. Tyrone is soon to appear in Leave to Remain at the Lyric Hammersmith with other performing crediting includingAngry (Southwark Playhouse) and Dreamgirls (Savoy Theatre).

Oti Mabuse also makes her debut as a theatre choreographer. Best known as a professional dancer on BBC One’s Strictly Come Dancing since 2015, Otiis also an 8-time South African Latin American Champion and one of the most successful South African dancers in the world. Oti is currently a Dance Captain and Mentor on BBC One’s new Saturday night dance and entertainment show The Greatest Dancer.

Ain’t Misbehavin’ first premiered at Manhattan Theatre Club in 1978 and transferred to Broadway the same year, where it won the Tony Award for Best Musical. The original West End production opened at Her Majesty’s Theatre in 1979, and was followed by a revival at the Tricycle Theatre and Lyric Theatre in 1995. This new production will mark the first London revival in almost 25 years.

Ain’t Misbehavin’ is basedon an idea by Murray Horwitz and Richard Maltby Jr, with orchestrations and arrangements by Luther Henderson, vocal and musical concepts by Jeffrey Gutcheon and vocal arrangements by Jeffrey Gutcheon and William Elliott. It is produced by Paul Taylor Mills and Mercury Theatre Colchester in association with Tamasha Theatre Company, with support from Arts Council England

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