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Pure Fluke Theatre presents:

Disney’s hit new musical ALADDIN, which opened in the West End in June 2016 is pleased to announce its first dedicated Autism-Friendly Performance will take place on Tuesday 29 August 2017. Tickets are now on sale. It follows the success of previous such performances at The Lion King, whose upcoming Autism-Friendly Performance on 4 June 2017 has now sold out.

The Autism-Friendly Performance of ALADDIN is specially designed to make the West End production more accessible to autistic people. Disney Theatrical Productions will work closely with The National Autistic Society, the UK’s leading charity for autistic people and their families, to deliver the performance.

Autism is a lifelong developmental disability that affects how people perceive the world and interact with others. There are around 700,000 autistic people in the UK. Although everyone on the autism spectrum is different, people may be under or oversensitive to sounds, touch, tastes, smells, light or colours, which can make everyday life extremely challenging. They can also find social situations and unexpected changes a challenge, which can sometimes lead to extreme levels of anxiety.

Nancy Shakerley, Development and Education Manager for Disney Theatrical Group, said:“We understand that Autism Friendly Performances can make theatregoing a more accessible and relaxed experience for people with autism as well as their family and friends.

Building on the success of the last three Autism Friendly Performances at The Lion King, we are thrilled to continue our partnership with the National Autistic Society in holding our first Autism Friendly Performance at Aladdin this summer, just one year after opening in the West End.”

Daniel Cadey, Autism Access Development Manager at the National Autistic Society, said:“We were delighted to be offered the opportunity to work with Disney Theatrical Productions and the Prince Edward Theatre on this hugely successful show.

“There are around 700,000 autistic people in the UK, and many struggle to cope with unfamiliar places and everyday sights and sounds which others are able to filter out, such as artificial lighting, background music or traffic noise.

“Autistic people and their families tell us that they would love to visit the theatre, but because of sensory issues and anxiety in unfamiliar surroundings, they are prevented from doing so. Aladdin’s production team have taken great care in adapting the show, including having a ‘visual story’ online which can help autistic people prepare for their visit in advance. This means that for some of the audience on 29 August, this will be the very first time that they are able to experience the thrill of a live performance.” 

These dedicated Autism-Friendly Performances of ALADDIN include modifications to the booking process, performance and the theatre environment, including:

• The theatre’s foyer includes designated quiet and activity areas; staffed by experts in autism throughout the performance should anyone need to leave their seats.
• Slight adjustments are made to the performance itself, including the reduction of jarring sounds or strobe lighting that face the audience.
• The cast of ALADDIN along with Prince Edward Theatre box office and front of house staff have been given training to understand the needs of an audience made up of adults and children who are autistic.
• A specific website has been set up for this performance, linking to a dedicated booking page. The website includes a downloadable ‘visual story’ to help people with autism understand the process of a visit to the theatre, thus aiding their comprehension of the experience and reducing anxiety by explaining each step from arriving in the foyer to the final curtain call.

Audience members can find out more information and purchase tickets athttp://www.aladdinthemusical.co.uk/autismfriendly. Tickets are sold at a specially reduced rate and can be selected on a virtual map of the auditorium.

Now in its third record-breaking year on Broadway at the New Amsterdam Theatre, where it has been seen by more than 1.5 million people, ALADDIN’s global presence has grown to five productions on three continents. The show is now playing at Tokyo’s Dentsu Shiki Theatre Umi, Stage Theatre Neue Flora in Hamburg and Capitol Theatre in Sydney, ahead of moving to Her Majesty’s Theatre, Melbourne in April 2017.

ALADDIN features the timeless songs from the 1992 animated film as well as new music written by Tony®, Olivier© and eight-time Academy Award® winner Alan Menken (Beauty and the Beast, Newsies, Little Shop Of Horrors). With lyrics from Olivier Award and two-time Oscar®winner Howard Ashman (Beauty and the Beast, The Little Mermaid), three-time Tony and Olivier Award, three-time Oscar winner Tim Rice (Evita, Aida), and four-time Tony Award nominee Chad Beguelin (The Wedding Singer), and a book by Beguelin, Aladdin is directed and choreographed by Tony and Olivier Award winner Casey Nicholaw (The Book of Mormon).

Dean John-Wilson plays the role of Aladdin alongside Jade Ewen as Jasmine in the new musical based on the classic Academy Award®-winning animated film. Broadway cast member Trevor Dion NicholasLondon stage debut as Genie and is joined by Don Gallagher as Jafar, Peter Howeas Iago, Irvine Iqbal as the Sultan, Nathan Amzi as Babkak, Stephen Rahman-Hughes as Kassim and Rachid Sabitri as Omar.

LISTINGS

Disney’s ALADDIN – an Autism-Friendly Performance

Tuesday 29 August at 1.30pm
Tickets on sale
http://www.aladdinthemusical.co.uk/autismfriendly/

ALADDIN
Prince Edward Theatre
28 Old Compton St
London W1D 4HS

Box Office number: 0844 482 5151
www.aladdinthemusical.co.uk

Facebook: Aladdin London
Twitter: @AladdinLondon
Instagram: @AladdinLondon
#AladdinLondon

LISTINGS
Joan Vázquez ‘Something’s Coming – A Sondheim Tribute’
Conceived, directed and performed by Joan Vazquez
Monday, 26th June 2017, 7.00pm
Live at Zédel
The Crazy Coqs
20 Sherwood Street, London W1

BOOK TICKETS
Tickets: £20
Website: https://www.brasseriezedel.com/crazy-coqs
ON SALE NOW!

Vincent Simone & Flavia Cacace

return in their hottest show yet…

TANGO MODERNO

Tango superstars’ new show to capture the heat of the street

Strictly superstars Vincent Simone and Flavia Cacace return to the stage with their most audacious and thrilling show yet, Tango Moderno. The production opens at the Waterside Theatre, Aylesbury on Thursday 7^th September, ahead of a major UK Tour.

Tango is the rhythm of the city, the heat of the streets and the pulse of life. Tango Moderno is the irresistible hot new stage spectacular from Vincent and Flavia: dance partners for over two decades, world champions, Strictly favourites and acclaimed West End stage stars, whose previous productions Midnight Tango, Dance Til Dawn and The Last Tango have all been acclaimed, sell-out hits.

Having originally intended The Last Tango to be their farewell tour, Flavia commented:

“As we were creating our last show, we developed a number of new routines with so much raw choreography. It was thrilling to still be discovering new numbers for Vincent and I to dance, but we just couldn’t accommodate them in the production. We toured the country with the show and were overwhelmed by the support from our audiences and from people asking us to continue. Vincent and I spoke at the end of the tour and we decided that we wanted to continue; we love dancing together, we are having so much fun and a year after our last UK tour, we are more excited than ever to share this new work and show with our audiences.”

The new production fuses together Ballroom, Latin, and Argentine tango to give you a performance that smoulders with desire.  With classic steps, they create a Tango for today.

Tango Moderno is directed by Olivier Award winning choreographer and director Karen Bruce and produced by Adam Spiegel Productions (Motown The Musical, The Producers, Dance ‘Til Dawn, Midnight Tango, Love Me Tender).

Website:      www.TangoModerno.com

Facebook:    facebook.com/vincentandflavialive

Twitter:         @vfvincentflavia

  TANGO MODERNO – 2017 UK TOUR

Thursday 7 – Saturday 9 September                 Box Office: 0844 871 7607

Aylesbury Waterside                                                               Website: www.atgtickets.com

Tuesday 12 – Saturday 16 September                              Box Office: 0844 871 3012

Bristol Hippodrome                                                  Website: www.atgtickets.com

Tuesday 19 – Saturday 23 September                              Box Office: 0844 871 3011

Birmingham New Alexandra Theatre                                Website: www.atgtickets.com

Monday 25 – Saturday 30 September                              Box Office: 08448 11 21 21

Newcastle Theatre Royal                                       Website: www.theatreroyal.co.uk

Tuesday 3 – Saturday 7 October                                         Box Office: 020 3285 6000

Bromley, Churchill Theatre                                    Website: www.churchilltheatre.co.uk

Tuesday 17 – Saturday 21 October                     Box Office: 0844 871 3018

Manchester Opera House                                     Website: www.atgtickets.com

Tuesday 24 – Saturday 28 October                     Box Office: 01253 290190

The Grand Theatre, Blackpool                                             Website: www.blackpoolgrand.co.uk

Tuesday 31 October – Saturday 4 November                Box Office: 0844 871 7645

Woking, New Victoria Theatre                                             Website: www.atgtickets.com

Tuesday 14 – Saturday 18 November                               Box Office: 0844 871 7652

Milton Keynes Theatre                                                           Website: www.atgtickets.com

Monday 20 – Wednesday 22 November                         Box Office: 0844 871 3022

Sunderland Empire                                                   Website: www.atgtickets.com

Thursday 23 – Saturday 25 November                              Box Office: 0844 871 3014

Edinburgh Playhouse                                                               Website: www.atgtickets.com

Further tour dates in 2017 and dates through 2018 to be announced soon

York Theatre Royal – until 18 March.  Reviewed by Marcus Richardson

I went to see ‘The King And I’ at the York Theatre Royal by the amateur theatre group York Light Opera, which has a 10 day run until the 18th of March. The classic Roger and Hammerstein Musical set in Siam features a teacher who goes to Bangcok to teach the kings many children.

For me the show wasn’t my cup of tea as it took too long to finish and scene changes were on the longer side which is something a theatre goer I don’t really like.

The set and costume of the show was visually stunning and made great use of the stage at the theatre, with the ballet scene and how they used the river when telling the story of ‘The Small Hose Of Uncle Tom’, this scene of the play was rather funny for the first few parts however it just went on too long and I lost interest in what was happening. The costumes were all rather splendid as the chorus had multiple outfits that were colourful and suited the oriental style to a T.  Anna’s outfits were also very good with a big skirting on her dresses and this elegant ballgown for the party. The set also was rather impressive as it filled out stage nicely and no space was wasted and everything looked in place, just when the scenes were changing they took too long and the movement of props were clunky and loud.

One of the best parts about the play was the cast and that includes the chorus of many wives and children, I was rather surprised at how good the children were as my past experience of child actors have never been good ones, and with the amounts of them it made for great comical affect and the scenes where all the wives on stage were defiantly one of the highlights of the play.  My favourite scenes was when all the wives were seeing the locket and reacting to it. The leading lady Anna Leonowens played by Emma Dickinson had a delightful voice to listen and the memorably song of getting to know you lives up to the film version by Deborah Kerr. The King Played by John Hall was also good at giving a great performance of the character creating comical affect over anything else, his portrayal was both visually and vocally hilarious with his interaction with Dickinson.

Overall I felt that the show had many great aspects and strong features however in total I didn’t fall head over heels as it took too long for scenes to move along and there were too many song For Anna even though she had an amazing voice. Even though it wasn’t my cup of tea a lot of the audience members enjoyed the show and loved the singing, maybe this is an age thing as most of the audience were in the older age range. If you loved the King and I film in sure that you would love the show and if it was part of your childhood then I’m definite. I wouldn’t say I want my personal opinion to deter you from watching this performance as it was good overall just not my thing.

The Quays Theatre, Lowry, Manchester – Tuesday March 7th 2017.  Reviewed by Julie Noller

Upon collecting my tickets I was thrilled with my programme which appeared in book format with a full copy of the forthcoming play written by Caryl Churchill. The usher informed myself and everyone else entering that the play would be 50 minutes long without an interval and as such be prepared before entering to have any comfort breaks now and to please turn off all mobile phones as the theatre will need to be pitch black. Eeeekk what is going to happen?

Indeed the theatre was plunged into total darkness but around us was the sound of children laughing, birds singing – it must be summertime! The lights illuminated the stage, where the set was a plain old garden fence with an open gate it reminded me of looking towards a television set with the edges of the stage framing it. And there on stage stood a woman looking nervous, she spoke to us yet it wasn’t clear if she knew we were there or just generally thinking out loud. Her voice was unmistakable as Linda Bassett of Call The Midwife fame. We hear voices off stage appearing to drift through the open gate from the garden beyond. The lights dim to pitch black something we are going to have to get used to. Cue scene change to inside the garden where sits the aforementioned Mrs Jarrett and 3 others – this could be me in a mere 20 years time, sat with my friends in my garden enjoying a gossip and a cuppa. The play is somewhat surreal and indeed I understand why you are discouraged from leaving for you need to be aware at all times – simply blink and you may miss a minor detail that will lead to a misunderstanding.

My understanding of Escaped Alone was different to my friends and will probably be different to yours. I believe it is all down to the individual’s interpretation. Go with an open mind, prepare to be puzzled, go for a drink afterwards. Enjoy every detail of this 50 minute play and then allow 2 hours minimum to discuss! It’s very thought provoking, for that reason I thoroughly enjoyed it. Brilliantly acted from bizarre to scary to emotional. Why all those things? Well it appears to touch on the topic of today without actually saying it – mental health.

We have 3 good friends sat together in the safety of a garden (we never find out who the garden belongs to, all of them? None of them? I even questioned if they are real)

Sally (Deborah Findlay), Lena (Kika Markham) and Vi (June Watson), it’s very obvious they have been friends a very long time. Just as expected they know each others flaws and fears which are tolerated. They each finish the others sentences both in knowledge and also a sense of protection.

As the play progresses the theatre is often plunged into total darkness, to have a spotlight illuminate Mrs Jarrett stood solitary at the edge of the stage with a bright orange coil of light lit up surrounding the frame of the stage edge she addresses us the audience. These breaks in the mundane life of the 4 woman sat drinking tea during summer filled me with confusion, had there been a nuclear holocaust? Some disaster? Was Caryl Churchill trying to bring our attention to some catastrophe (you can see early on I was already questioning everything and starting to look for clues). These breaks were sometimes amusing, other times I wondered should I feel amused? Should others be laughing? Should I feel emotional?

Back to the garden each time where life continues over general chit chat with glimpses into each of our ladies lives – Vi had been away for a period of 6 years, we later find out she had stabbed her husband in ‘self defence’, Sally an ex GP who appears to have missed a diagnosis of cancer in one of her patients, Lena who had been a highflyer in an office was now scared to go out alone.

We are treated to a glimpse into each ladies ‘head’ as the lights dim on all the others periodically allowing us to see what their friends do not. Making me sense that we don’t always show our true selves to those around us, everyday life is quite often an act.

Sally who has an intense fear of cats and checks everywhere they might be inside her house, Lena looks for rooms with nothing which is better than dealing with things, Vi who can’t love a kitchen and despairs at the lost relationship with her son.

The play ends with Mrs Jarrett who has her time alone within the garden spotlight, chanting 2 words ‘terrible rage’ each chant getting louder and quite frankly scaring me into what would happen.

What follows is a joke about chickens crossing the road and then Mrs Jarrett makes her leave thanking the ladies foe her tea and closing the gate she leaves and the play ends.

I feel anything I write should contain a spoiler alert clause don’t let my confusion or questioning put you off this play as I’ve said its only 50 minutes long, brilliantly acted and very thought provoking as to how and why the 4 women had ‘Escaped Alone’ .

Tamasha and The Belgrade Theatre in association with Pilot Theatre present

MADE IN INDIA

written by Satinder Chohan, directed by Katie Posner

at York Theatre Royal on 7 + 8 April at 7.45pm

www.yorktheatreroyal.co.uk / 01904 623568 / £14

Satinder Chohan explores the global and personal implications of India’s surrogacy industry in a thrilling new play about motherhood and blood ties between women and nations. The play brings together Tamasha and The Belgrade Theatre with York-based Pilot Theatre and is directed by Pilot’s associate director Katie Posner.

In a surrogacy clinic in Gujarat, three women meet. It’s Londoner Eva’s last chance for motherhood. For village girl Aditi, dairy worker and single mother, surrogacy is a lifeline out of poverty – a chance to giver her own daughters a better chance in life. For clinic owner and businesswoman Dr Gupta, it’s all just another transaction. But with the backdrop of profound global forces, can it possibly remain that simple?

India has been regarded as the world’s ‘surrogacy hub’, one of a handful of countries legally offering commercial surrogacy to parents internationally, although the industry was not fully regulated. The industry was estimated to be worth over £1.5million, with surrogates themselves stated as being able to earn up to £6000. During 2016, a change to the law was drafted so that surrogacy would become legal only to heterosexual Indian couples married for five years.

Satinder Chohan, playwright: ‘I felt compelled to write a play with surrogacy at its heart as it is such a controversial subject loaded with conflicting emotion, culture and politics. I felt connected to the subject as, with my Indian village roots, the Indian women acting as surrogates that I had read about in news stories could be any number of my female relatives or indeed myself if my parents had taken a different path in life. At the same time, I wanted to explore the wider global issue of which surrogacy is a part – the commodification of everything’ in a time when morals are easily sacrificed for financial markets and how we, as privileged Westerners and consumers rely on worker all over the world to provide the material stuff of our lives.’

Satinder Chohan’s first production Zameen (2008, Kali Theatre + UK tour including Soho Theatre) told the story of a suicidal farmer and his family in India. Crossing The Line (Heat and Light, Hampstead Theatre) touched upon twenty-something Somali pirates in the Indian Ocean and KabaddiKabaddiKabbadi (2012, Kali Theatre + Pursued By A Bear + Mercury Theatre, Colchester) engaged with the lives of illegal immigrants in the UK.

Tamasha’s relationship with Satinder began in 2007 when she took part in Tamasha Developing Artists (TDA) New Writing Course. Lotus Beauty, her subsequent commission for the company was showcased at the Gate Theatre in 2010. Tamasha nominated her successfully for the Off-WestEnd.com 2013 Adopt-a-Playwright award, through which she developed Made In India.

Fin Kennedy, Artistic Director, Tamasha: ‘Tamasha is very proud to have been involved with Made in Indiasince its outset, supporting Satinder’s idea through the Adopt-a-Playwright scheme and working closely with her to develop the play as the situation she was writing about was continually changing. Her play is extremely moving as it is about human lives affected by different desperations, against a backdrop of profound global forces. As a company we are excited to be taking on tour a play for our times, which raises vital questions about the West’s ongoing relationship with the developing world.’

ROSIE KAY DANCE COMPANY presents

·        New work from the choreographer of Sunshine on Leith

MADAME RUBINSTEIN

FULL CASTING ANNOUNCED FOR

THE WORLD PREMIERE OF A BRAND NEW COMEDY

WRITTEN BY JOHN MISTO

DIRECTED BY JEZ BOND

FRANCES BARBER AND JONATHAN FORBES

TO STAR ALONGSIDE MIRIAM MARGOLYES

Park Theatre’s Artistic Director Jez Bond will direct Miriam Margolyes, Frances Barber and Jonathan Forbes in the world premiere of Madame Rubinstein, a brand new comedy by John Misto, playing at Park Theatre from 26 April – 27 May, with a press night on 3 May.

Set against the glamorous skylines of 1950s Manhattan, world-leading cosmetics entrepreneur Helen Rubinstein is locked in a power struggle with rivals Elizabeth Arden and Revlon. From humble beginnings as a Polish-Jewish immigrant, this is the story behind one of the best-known faces in the world of beauty. But as her professional and family conflicts reach fever pitch, will the ghosts of a turbulent past topple one of the world’s richest business women. Madame Rubinstein is a bright new comedy where the nails are painted and the gloves are off. Yet when the lipstick bleeds and the makeup fades, what is there left to hide behind?

BAFTA award-winning Miriam Margolyes (Harry Potter, Romeo & Juliet, The Age of Innocence) will star as ‘Helena Rubinstein’, Frances Barber (Doctor Who, Silk, Julius Caesar) will star as ‘Elizabeth Arden’, and Jonathan Forbes (‘Fergal’ in Channel 4’s hit show Catastrophe) will star as ’Irish’.

Jez Bond said, “I’m thrilled to have assembled such a stellar cast for our next in-house production, which I’m pleased to say is already the fastest selling show in Park Theatre’s history. Both in terms of the current, continuing debate on feminism and identity, and in terms of their incredible struggle in a male dominated world, the true story of these 20th Century pioneers – one of whom was an Eastern European migrant – continues to resonate in 2017. I’m delighted to be directing this world premiere that I’m sure will delight and amuse as well as inform and challenge audiences.”

MADAME RUBINSTEIN is presented by Park Theatre and Oliver Mackwood in association with TBO Productions, with lighting by Mark Howland, design by Al Turner, sound design by David Gregory, composition by Dimitri Scarlato, and casting by Ellie Collyer-Bristow.

Park Theatre is fast becoming recognised as a powerhouse of theatre; in just under four years, it has enjoyed two West End transfers (including Daytona starring Maureen Lipman and The Boys in the Band starring Mark Gatiss), two National Theatre transfers, three national tours, an Olivier Award nomination and a Theatre of the Year award from The Stage.

Jez Bond is the Founder and Artistic Director of Park Theatre. He graduated Hull University with a BA Honours in Drama and was later awarded the Channel Four Theatre Director Bursary. Directing credits include; I Have Been Here Before (Watford Palace Theatre), The Fame Game (Tour of Austria), Sleeping Beauty (Salisbury Playhouse), The Twits (Tour of Switzerland), Misconceptions (Hong Kong Arts Centre), Big Boys (Croydon Warehouse), Shot of Genius (Leicester Square), Canaries Sometimes Sing (Kings Head & France) and A Season in South Africa (Old Vic). For Park Theatre; Madame Rubinstein, Hurling Rubble at the Sun, Adult Supervision plus Rapunzel, Sleeping Beauty,Jack and the Beanstalk, which he also co-wrote and composed. As a dramaturge he began working with writers at Soho Theatre, Royal Court and Young Vic before championing new work at Park Theatre, where he has developed a number of new plays many of which have gone on to production. Having led the £2.6m conversion of Park Theatre, Jez has been a guest speaker at the Theatres Trust Conference: Converting Spaces, the RIBA Conference: 150 years of Engineering, Bruford on the Southbank: New Build / ReBuild and The International Theatre Conference in Colombia. He has also consulted on a number of new theatre buildings internationally.