Aptly, for a story about being lost at sea, Lolita Chakrabarti’s adaptation of Yann Martell’s Life of Pi arrives at Edinburgh’s Festival Theatre on a wave of expectation. Martell novel won the Booker Prize in 2002 and was filmed by Ang Lee in 2012. More than ten million people have read the story of Pi, a young Indian boy whose parents own a zoo and who endures the terrors of India’s 1970s Emergency and shipwreck with only a hyena, a zebra, an orangutan, and a Bengal tiger for company.
Unlike most of the rest of the audience, however, I came to Chakrabarti’s adaptation fresh, having neither seen the film nor read the book. This perhaps left me at a slight disadvantage, as some of the play’s impact seems to depend on a prior understanding of the story’s spiritual and philosophical undercurrents. Yet even for the uninitiated there is much to relish in this vibrant and often astonishing production.
Sonya Venugopal made for an exuberant, vivacious lead, very compelling in conveying Pi’s various highs and lows and the subtle way his relationship with the tiger, Richard Parker, evolves from wariness to acceptance. The staging evocatively suggests both the colour and energy of India (I loved the opening scenes of family life in the zoo) and the emptiness of Pi’s time abandoned on the ocean. But the most spectacular element of the whole production are Nick Barnes and Finn Caldwell’s beautiful puppets, which move with a convincing animal grace. The athleticism of the puppeteers was remarkable. I especially loved the turtles and fish, as well, of course, as the majestic Richard Parker.
If I had one complaint, it was that the very obvious presence of the puppeteers manipulating some animals could be distracting. Overall, though, this only slightly diminished the effect of a truly magical spectacle.
Record-breaking National Theatre Live, Prima Facie starring Jodie Comer returns to cinemas worldwide in partnership with Empire Street Productions
Empire Street Production’s Prima Facie is the most-watched National Theatre Live title to date, watched by nearly half a million people around the world.
Captured live from the West End, Prima Facie will be available to watch worldwide from
12 September 2024 in partnership with Empire Street Productions.
Jodie Comer received Olivier, Tony, WhatsOnStage, Evening Standard Theatre, and The Stage Debut Awards for her performance in Prima Facie.
National Theatre and Empire Street Productions announce Prima Facie, the most watched National Theatre Live title to date, is returning to cinemas from 12 September 2024. Jodie Comer’s (Killing Eve) ‘extraordinarily gutsy and rich’ (★★★★ Evening Standard) performance in Suzie Miller’s gripping one-women play has been watched by nearly half a million people worldwide, and from September more audiences will have the opportunity to watch the award-winning production, with screenings found at primafacie.ntlive.com.
Audiences can watch Comer’s ‘masterful West End debut’ (★★★★ Guardian), captured live in 2022 during a sold out run at the Harold Pinter Theatre in London’s West End. Directed by Justin Martin (Stranger Things: The First Shadow), Comer plays Tessa, a young, brilliant barrister who has worked her way up from working class origins to be at the top of her game; defending; cross examining and winning. An unexpected event forces her to confront the lines where the patriarchal power of the law, burden of proof and morals diverge in this “unforgettable moment of theatre” (★★★★ WhatsOnStage).
The play has since become a global phenomenon, adapted into a novel by Suzie Miller, with the audiobook narrated by Jodie Comer. In Northern Ireland, new protocols have been implemented so that judges must now watch the film of the production as part of their training for sexual assault cases. Jodie Comer received Olivier, Tony, WhatsOnStage, Evening Standard Theatre, and The Stage Debut Awards for her performance in Prima Facie, and the play itself won an Olivier award.
Playwright Suzie Miller has said: “Thrilled to be able to tell fans that Jodie’s magnificent performance in Prima Facie is back in cinemas with National Theatre Live. I’m so intensely proud of the creative and production teams for all the changes it has provoked.”
Jodie Comer has said: “I’m thrilled that the NT live recording of our London run of Prima Facie will be screening worldwide in cinemas again. It’s a wonderful opportunity to keep spreading this important message and for those who couldn’t make it in person, here is your invitation, come join us!”
The production of Prima Facie continues to partner with The Schools Consent Project. Set up in 2014 by barrister Kate Parker, The Schools Consent Project is a charity which sends lawyers into schools to teach 11-18 year olds the legal definition of consent and key sexual offences. For further information, please see https://www.schoolsconsentproject.com
Sky Arts is the Headline Sponsor of National Theatre Live in the UK.
Star of stage and screen, Julian Ovenden, will play one night only at Cadogan Hall on Monday 14 October.
The Broadway and West End legend – and stellar storyteller – will be performing songs from his award-winning performances alongside some of the most beloved musical theatre hits of all time.
Ovenden is a natural born entertainer, whether it’s on hit television shows such as Bridgerton and Downton Abbey or performing live on stage. His critically acclaimed roles include his Olivier Award winning performance in South Pacific, Armand in Michel Legrand’s Marguerite in the West End opposite Ruthie Henshall, My Night With Reg at The Donmar Warehouse and West End transfer and opposite Gillian Andersen in Ivo Van Hove’s smash hit All About Eve.
He made his Broadway debut opposite Nathan Lane in Simon Gray’s Butley and created the title role in Maury Yeston’s Death Takes A Holiday for The Roundabout Company in New York City.
On TV he played Andrew Foyle in the hugely popular wartime series Foyle’s War. He has starred in many other TV shows including Netflix’s The Crown, Steven Spielberg’s Smash, Person of Interest, The Forsyte Saga and Family Guy. In 2015 he starred as Captain Von Trapp in a live to air movie of The Sound of Music, the first foray into live musicals for British TV. Recently Julian starred for two seasons as William De Nogaret in Knightfall, opposite Rupert Everett in the Channel 4 mini-series smash Adult Material and in Armando Ianucci’s Avenue 5 for HBO. His latest TV work sees him working alongside Vicky McClure in ITV’s smash hit Trigger Point.
Recent film work includes Made In Italy with Liam Neeson.
This very special evening will also feature the Broadway composer, musical director and pianist Scott Frankel on keys.
Frankel worked on Broadway shows including Into the Woods, Les Misérables, Jerome Robbins’ Broadway and Falsettos and Off-Broadway on Putting It Together starring Julie Andrews.
His work as a composer was most recently represented on Broadway with War Paint, starring Patti LuPone & Christine Ebersole. Other credits include: Grey Gardens (Tony nomination), The Flamingo Kid (Hartford Stage), Far From Heaven (Playwrights Horizons, Williamstown Theatre Festival) and Happiness (Lincoln Center Theater).
JULIAN OVENDEN IN CONCERT is produced by Lambert Jackson.
Having been devastated at the early closure of this fabulous show, I was so excited to hear there was a live streamed version. Filmed directly from the West End, it was a joy to see a different cast to the tour version. Jeremy Jordan and Frances Mayli McCann as the main characters and driving force of this wonderful streaming are superb.
We follow the life and death of Bonnie and Clyde, one which I was not familiar with before this show and I have certainly been researching the lives of these outlaws-this show sticks to their story impeccably. Jordan and McCann have the perfect collaborative acting styles, easily melting into each other through times of trouble, stress and love. Vocally, they are exquisite and truly match the characters story perfectly. The songs lend themselves beautifully to both Jordan and McCann and are sung in such a way that intices you in, drawing you further into the storyline until you are so engrossed that you can almost feel the gunshots. I was in tears by the end of the show-an absolute testament to the cast’s performances.
One lovely thing about having a live version, is that I got to see more of the choral interactions and it almost heightened the show for me. There is something special about live theatre, but when it is a show you thoroughly enjoy, you feel even more connected. There is not a foot wrong in this streaming of the show-harmonies are spot on, casting is excellent and the stand out moment for me is McCann’s version of ‘Dyin’ ain’t so bad’. She has the most expressive sound when she sings, that it matches the lyrics perfectly.
I wouldn’t hesitate to download this show and if you missed it on tour, this is the best way to see it. For only £13, Bonnie and Clyde are certainly not robbing you-unlike some of their victims!!
Guildford Shakespeare Company celebrate their 18th birthday in style with the most unique production of Romeo & Juliet that I have ever had the pleasure of watching. This unusual play sees Guildford high street shut down and various buildings taken over as the set. The audience are guided through the street and stop at the church, hospital and guildhall among other locations. The action then unfolds before them.
The play opens on the steps of the church where we meet the Montagues and the Capulets played by children from local drama groups. It is evident that the children have been well rehearsed the fight scene in particular was very impressive. We then meet Romeo (Christian James) and Benvolio played by Luke Latchman who brought a modern “roadman” approach to the role. While the traditional language was used his modern costume and accent made this character relatable and endearing to a modern audience.
The Capulets’ party took place in the shopping centre with the audience looking down from the gallery. The party guests were played by an ensemble who brought a perfect energy to the scene, performing a simple dance routine in such a way that every member of the audience felt included.
The famous balcony scene was a stand out moment in this play. The audience are instructed to stand in the road and face Romeo as he talks about Juliet. She then appears on the balcony behind the audience gives her famous speech. This allowed the audience to feel included in the scene leading to greater engagement. Often Shakespeare can feel like a boring text written years ago that doesn’t relate to us, with complex language that is difficult to understand and this can put audiences off. However, allowing the audience to feel like part of the story made the story feel even more relevant. April Hughes’ performance of Juliet in this scene was a stand out she perfectly emulated that giddy, lovesick teenager bringing a fresh, modern, relatability to the role.
Moving from scene to scene did take a little time and was a little clunky however what I really enjoyed about this was the opportunity to talk about the action with other theatre goers. While this part could be a little smoother it didn’t hinder the action and the performance didn’t ever restart until everyone had arrived and was able to see.
After the interval the audience are invited to sit down and watch the second half on stage in the grounds of Guildford castle. This setting is perfect as the story becomes darker and more serious, the night draws in and the audience are a little colder and the sun is no longer shining, using natural light to aid story telling is absolute genius.
Romeo & Juliet has been told and retold a million times and I wasn’t sure there could be a new way to tell the story but at this performance I was proved wrong. What makes this performance so special is the way the audience feel included. They are included in the way they stand among the action and in the way the actors portray their roles with such engagement and relatability. The balance of including modern elements while remaining true to the original text is spot on in my opinion. The acting performances were incredible and the setting of Guildford high street was beautiful. A wonderful and engaging performance of Romeo and Juliet that can be enjoyed by all.
A political comedy on tour in late June 2024… the timing is almost too perfect – it’s as if someone had insider knowledge about the timing of this current General Election. And if you enjoyed that Have I Got News For You inspired ribbing you will love this play.
As pointed out in the programme, writer Michael McManus used to be a Tory aide. It shows. The “One Nation” fictional party of this comedy is obviously inspired by the “one-nation conservatism” concept of recent years.
Matthew Cottle plays newly minted PM John Waggner, catching the buffoonery, tendency to get distracted by earthly pleasures when serious matters need attending to and lack of political savvy (clearly inspired by Boris Johnson) to a tee. His subtle but hilarious use of cake at one point was worth the price of admission on its own and perfectly displayed his exceptional comedy pedigree. A delicious performance!
Anne, wife to the PM, was obviously a Carrie Johnson take off and Natalie Dunne was pitch perfect in the role. Very much the grounding force that her husband needed, she also had some witty and insightful lines to relish. Seth (Ryan Early) was clearly modeled on puppet master extraodinaire Dominic Cummings and his interplay with the ladies orbiting the PM was insightfully handled and suitably Machiavellian. Debra Stephenson as Deputy PM Lisa gave us a commanding presence to round out this splendid triumvirate.
The rest of the cast were also exceptional; Krissi Bohn (as Civil Servant Candice), William Oxborrow (as Chief Whip and other roles (leader of the SNP was a highlight) and Luke (Jason Callender), all giving our playwright the opportunity to show the ruthlessness of politics where friends are dispensed with once necessity trumps loyalty and also the grinding inevitability of Westminster’s machinations. Just like Yes, (Prime) Minister all those years ago, this play is viciously cutting in it’s authenticity. Quite an achievement and one that is as entertaining whether you have an interest in politics or not. Bringing the satire up to date, AI, social media and technology are spotlit and – very possibly just like the real thing – have a pivotal role to play in proceedings.
The set was a rather inventive concoction from designer Francis O’Connor; a large Union Flag stylized backdrop that highlights events coming apart at the seams in a most subtle, witty and telling manner.
Real life figures like Diane Abbot make surprising cameos, which gives the work a kind of parallel universe feel. But, then, when we consider the political landscape of the past 14 years perhaps it’s not so fanciful after all. And did the play successfully lampoon the tomfoolery and missteps of the current election cycle? You bet!
Although this is a hard hitting satire that is thought provoking, it is done in such a light and frothy way that it’s a sheer delight to watch. The genuinely laugh out loud script fizzes along at a fair old rate leaving one wanting more – for many the polar opposite of the current election campaigns. If you’ve had enough of politics and politicians at the moment this will be just the tonic you need to help you survive until the 5th July. Hilarious stuff and unreservedly recommended.
The Rush Theatre Company bought their narrated musical interpretation of the history of Jamaica to the Birmingham Rep stage last night. The story covers the arrival and claiming by Christopher Columbus in 1494, through to the Windrush migrants that were transported to England on the HMS Empire Windrush in 1948 to help the British Government to fill shortages in the labour market.
The cast and set are both minimal. We have a narrator, a DJ, three vocalists and the wonderful 8 piece JA Reggae Band. The backdrop is a multimedia screen that displays the various pieces of media that intersperse the show. This included videos, photos and a spinning vinyl record that displays the name of each song performed.
The show started as it meant to go on, after a Muppet-style video depicting the arrival of the HMS Empire Windrush, DJ Ken Dread appeared at the back of the auditorium with his suitcase asking us to wave the boarding passes we had been given earlier in the evening, as “We don’t want any stowaways!!”. Dread displayed the same exuberant, lively stage presence throughout the show. He jumps around the stage encouraging the audience to clap, cheer and dance. He introduced us to the narrator, Andrina Davis, an actress and comedian from Birmingham. She takes us right back into the history of the Arawak people whose lives were changed when ‘uninvited guest’ Columbus arrived and slavery under Spanish Rule began, before British Rule conquered and took over in 1655, making it part of the West Indies.
The main topic of the show is, of course, the Windrush Generation and their journey to England and how they helped change the face of Britain. Many of the new arrivals found work in the newly created NHS. They bought new fashion and musical styles with them, but many faced hardships in their new homes, due to resistance to their arrival and the racism they endured.
Between the narrator’s stories, facts and images of the history, we are treated to Jamaican themed musical interludes from the JA Reggae Band, with the help of powerhouse vocalists Letitia George and Ika. Songs ranged from ‘Baby Come Back’ to Bob Marley’s ‘One Love’. Taking in a bit of Marvin Gaye and 2-Tone along the way. The brass section is particularly entertaining during this section, as they danced across the stage to ‘One Step Beyond’ by Madness.
The show doesn’t shy away from talking about some of the more taboo subjects along the way. Enoch Powell’s infamous ‘Rivers of Blood’ speech is mentioned, as is the current government’s own crusade against migrants. The Narrator once again asks to see our boarding passes, as she is sure the audience “don’t want to be sent off to Rwanda”. This was met with a mix of surprise and applause from the crowd.
Rush- A Joyous Jamaican Journey definitely lives up to its title. It’s an energetic and glorious show from start to finish. Throughout the show, the audience cheered, sang and got to their feet to dance. The temperature outside in Brum was hot, but the Rush Theatre and JA Reggae Band made sure it was extra ‘Hot Hot Hot’ inside the Rep last night.
Zog and the Flying Doctors, based on the bestselling sequel by Julia Donaldson and Axel Scheffler, will fly into London this summer, playing at Cadogan Hall from 1 – 31 August 2024 with a press performance on Friday 2 August 1pm.
The London summer season comes at the end of the UK tour, which has been delighting audiences round the country since February.
Zog, super keen student turned air-ambulance, still lands with a bang-crash-thump. Together with his Flying Doctor crew, Princess Pearl and Sir Gadabout, they tend to a sunburnt mermaid, a unicorn with one too many horns and a lion with the flu. However, Pearl’s uncle, the King, has other ideas about whether princesses should be doctors, and she’s soon locked up in the castle back in a crown and a silly frilly dress!
With a bit of help from some friends and half a pound of cheese, can Pearl make her uncle better and prove princesses can be doctors too?
The cast consists of Ethan Jay Scott (Frankie’s Guys, UK Tour) as titular character ’Zog’, with Emily Attridge-Cox (Camelot: In Concert, The London Palladium) as ‘Pearl’ and Edward Conroy (Dick Whittington, The Attic Theatre, Stratford-Upon-Avon) as ‘Gadabout’ & ‘Doctor’. James Stirling (Alice In Wonderland, UK Tour) plays ‘King’ and ‘Unicorn’ with Darcy Manning (The Wizard Of Oz, Theatre Royal Bury St Edmunds) playing ‘Mermaid’ and ‘Lion’. The cast is completed by Swing and Resident Director Mikey Wooster (The Wind In The Willows, UK Tour), and Swing and Dance Captain Samantha Richards (Footloose, UK & International Tour).
Jennifer Sutherland from Freckle Productions said, “We are so delighted to be rounding off our 2024 tour with a return visit to Cadogan Hall for the summer holidays. It’s a wonderful venue, and we’re thrilled that this will be our first ever major London season with this production.”
Zog and the Flying Doctors is one of the best-loved creations of Julia Donaldson and Axel Scheffler, the UK’s number one picture book pair behind many modern classics including The Gruffalo which has been published in 75 languages. Together their books have sold over 75 million copies.
First published in 2016, Zog and the Flying Doctors is the smash-hit sequel to Zog, which has sold over 1.5 million copies. On Christmas Day 2020, Magic Light Pictures premiered an animated film of Zog and the Flying Doctors on BBC One featuring an all-star cast including Sir Lenny Henry and Rob Brydon.
Zog and the Flying Doctors is brought to the stage by Freckle Productions in association with Rose Theatre Kingston. Freckle Productions, the team behind smash-hit stage shows including Stick Man and Zog, are pioneers in imaginative storytelling for children.
Zog and the Flying Doctors is co-directed by Katie Beard and Bobby Delaney, featuring music and lyrics by Joe Stilgoe with choreography by Katie Beard and associate choreographer Heather Scott-Martin. Theset and costume designs are by Lucy Bradridge, with some costumes undergoing a re-imagining for 2024 by Deborah Mingham at Entify. Puppetry director Edie Edmundson, costume supervisor Louise Smith and lighting designer Ric Mountjoy work alongside musical director Bobby Delaney and musical supervisor & orchestrator Paul Herbert, to bring the story to life.
WITH WEST WING, SCANDAL AND BIG BANG THEORY STAR JOSHUA MALINA MAKING HIS LONDON DEBUT
EUROPEAN PREMIERE AT THE MARYLEBONE THEATRE
4 OCTOBER – 23 NOVEMBER 2024
TICKETS ON SALE NOW
What We Talk About When We Talk About Anne Frank is a new serious comedy by Nathan Englander, based on his acclaimed 2011 short story in The New Yorker, directed by Patrick Marber.
From the director of the Olivier and Tony Award-winning Leopoldstadt, and the producers of 2023’s The White Factory, What We Talk About When We Talk About Anne Frank will open at the Marylebone Theatre 4 October to 23 November 2024, with a national press night on Monday 14 October. Tickets are on sale now here.
WHAT A serious new comedy.
WE Two Jewish couples; one secular, the other ultra-Orthodox.
TALKThe argument none of them meant to have.
ABOUT Identity, Politics, Parenthood and Getting High.
WHEN Present day Florida.
WEA college dropout who claims to be a ‘Pastafarian’.
TALK Provocative, Hilarious, Painful, Honest.
ABOUT Gaza, Israel, the Holocaust, Nazis, Marriage, Sex.
ANNE A nice Jewish girl….
FRANK is not in this play.
American film and stage actor Joshua Malina – who recently appeared in the Broadway production of Leopoldstadt directed by Marber, will make his London theatre debut starring as ‘Phil’. He debuted on Broadway in Aaron Sorkin’s A Few Good Men.
Notable screen credits include the role of ‘Will Bailey’ on The West Wing (NBC drama), ‘Jeremy Goodwin’ on Sports Night (ABC), ‘US Attorney General David Rosen’ on Scandal (ABC), and Caltech ‘President Siebert’ on The Big Bang Theory (CBS). He is also credited as a guest star in multiple TV programmes, which include Inventing Anna (Netflix), Shameless (Showtime), The Good Doctor (ABC) and American Horror Story (FX).
Nathan Englander said, “I first wrote What We Talk About When We Talk About Anne Frank as a short story for the New Yorker Magazine in 2011 and I’ve been rewriting it in different ways ever since. I think my obsession with the piece is probably because the setup is something I see as an increasingly rare occurrence in our ever more polarized and personalized-algorithm driven lives. That is, two best friends, now on opposite ends of political, religious, and economic spectrums come together to talk and laugh and cry it all out—and to see if any of the love they’ve long felt for each other can survive.
As for working with Patrick Marber, it’s been a dream. We dove into a rewrite of the play more than a year ago and have not come up for air since. It’s been some of the most intense and joyous and depressing work I’ve ever done, and beyond symbiotic tackling the piece together. As relates to the difference in our own styles of communication, I’d like to take this moment to apologize to Patrick for interrupting every single sentence he’s tried to utter (but I highly doubt I’ll stop).“
Patrick Marber said, “I’ve loved Nathan Englander’s work since I read his astounding debut short story collection, ‘For The Relief Of Unbearable Urges’. I’m very excited to be directing this UK premiere of his new play. It’s a rare thing to find a comedy that is both hilarious and deeply serious. I’m greatly looking forward to rehearsals with this exceptional cast and with the remarkable Mr Englander in attendance.”
What We Talk About When We Talk About Anne Frank will be directed by Patrick Marber, with design by Anna Fleischle, and sound design by David Gregory.
Full casting and creative team will be announced shortly.
The National Theatre today announces casting for its two new productions coming to the South Bank for the 2024 festive season – a new adaptation of the beloved family favourite Ballet Shoes and a revival of the classic comedy The Importance of Being Earnest:
Ballet Shoes
Initial casting for Kendall Feaver’s (The Almighty Sometimes)new adaptation of Noel Streatfeild’s best-selling book Ballet Shoes will include Melanie-Joyce Bermudez (Petrova Fossil), Eryck Brahmania (Ensemble), Cordelia Braithwaite (Ensemble), Michelle Cornelius (Ensemble), Sonya Cullingford (Winifred), Jenny Galloway (Nana), Courtney George (Ensemble), Georges Hann (Ensemble), Nadine Higgin (Theo Dane), Helena Lymbery (Doctor Jakes), Xolishweh Ana Richards (Ballerina ), Sid Sagar (Jayan Saravanan), Grace Saif (Pauline Fossil), Justin Salinger (GUM) and DaisySequerra (Posy Fossil).
Grace Saif (Pauline Fossil)
Melanie-Joyce Bermudez (Petrova Fossil)
DaisySequerra (Posy Fossil)
In a crumbling house full of dinosaur bones and fossils, three adopted sisters – Pauline, Petrova and Posy – are learning who they are and what they want to be. Under the watchful eyes and guidance of their guardian Sylvia, Nana, and some unlikely lodgers, they fight to pursue their individual passions. Can they forge a future, keep their family together, and even learn a dance or two along the way?
Directed by Katy Rudd with set design by Frankie Bradshaw, costume design by Samuel Wyer, choreography by Ellen Kane, composition by Asaf Zohar, lighting design by Paule Constable, sound design by Ian Dickinson for Autograph, casting by Bryony Jarvis-Taylor and associate choreography by Jonathan Goddard.
Ballet Shoes will run in the Olivier theatre from 23 November 2024. Recommended for ages 7+.
The Importance of Being Earnest
Joining the cast for Max Webster’s (Macbeth, Life of Pi) reimagining of Oscar Wilde’s classic comedy about identity The Importance of Being Earnest will be Ronkẹ Adékọluẹ́jọ́ (Rain Dogs, Blues for an Alabama Sky)as Gwendolen Fairfax and Eliza Scanlen (Little Women, Sharp Objects) as Cecily Cardew. They join the previously announced cast Richard Cant (Stan & Ollie, Mary Queen of Scots) as Reverend Canon Chasuble, Sharon D Clarke (Ma Rainey’s Black Bottom, Doctor Who)as Lady Bracknell, Ncuti Gatwa (Doctor Who, Sex Education) as Algernon Moncrieff, Amanda Lawrence (Star Wars: Episode – IX The Rise of Skywalker, Angels in America) as Miss Prism and Hugh Skinner (W1A, Mamma Mia! Here We Go Again) as Jack Worthing.
Ronkẹ Adékọluẹ́jọ́ as Gwendolen Fairfax
Eliza Scanlen as Cecily Cardew
Being sensible can be excessively boring. At least Jack thinks so. While assuming the role of dutiful guardian in the country, he lets loose in town under a false identity. Meanwhile, his friend Algy takes on a similar facade. Unfortunately, living a double life has its drawbacks, especially when it comes to love. Hoping to impress two eligible ladies, the gentlemen find themselves caught in a web of lies from which they must carefully navigate.
Directed by Max Webster with set and costume design by Rae Smith,lighting design by Jon Clark, sound design by Nicola T. Chang, composition by DJ Walde, movement direction by Carrie-Anne Ingrouille and casting by Alastair Coomer CDG.
The Importance of Being Earnest runs in the Lyttelton theatre from 20 November 2024 to 25 January 2025.
Tickets for Ballet Shoes and The Importance of Being Earnest are on sale from nationaltheatre.org.uk
