American Idiot extends run at Arts Theatre until 22nd November 2015

-35608Following on from its immensely successful opening in July and due to popular demand, the critically acclaimed production of Green Day’s explosive award-winning Broadway musical American Idiot is to extend its run at The Arts Theatre, Leicester Square and is now booking until 22nd November 2015.

The entire cast, including X-Factor’s Amelia Lily (Whatsername), Steve Rushton (Will) and Aaron Sidwell (Johnny) will all continue in their celebrated roles within the production throughout the new booking period. The rest of the cast includes Luke Baker (Theo), Natasha Barnes (Heather), Alexis Gerred (Tunny), Llandyll Gove (Gerard), Raquel Jones (Extraordinary girl), Natasha Karp (Alysha) Robyn Mellor (Libby), Lucas Rush (St. Jimmy) and Ross William Wild (Favorite Boy).

The producers of American Idiot said, “We have been overawed by the unbelievable response from audiences and are thrilled to be extending our stay at the Arts Theatre. We look forward to welcoming more members to join our Idiot Nation!

The musical features the music of Green Day with the lyrics of its lead singer Billie Joe Armstrong, and book by Billie Joe Armstrong and Michael Mayer. The production is directed and choreographed by Racky Plews, with musical supervision by Richard Morris, sound by Chris Whybrow, design by Sara Perks and lighting by Tim Deiling.

American Idiot is the story of three boyhood friends, each searching for meaning in a post 9-11 world. Winner of two Tony Awards® and the 2010 Grammy Award winner for Best Musical Show Album, American Idiot premiered at Berkeley Repertory Theatre in September 2009, moving onto a critically acclaimed Broadway run in April 2010.

Its hit songs include “Boulevard of Broken Dreams,” “21 Guns,” “Wake Me Up When September Ends,” “Holiday” and the blockbuster title track “American Idiot” from Green Day’s 2004 Grammy Award-winning, multi-platinum album. Also included are several songs from Green Day’s 2009 release “21st Century Breakdown,” and an unreleased love song, “When It’s Time.”

The musical is produced by David Hutchinson and Philip Rowntree for Sell A Door Theatre Company and Stephen McGill Productions. The Associate Producers are Hartshorn – Hook Productions, London Contemporary Theatre, and Nathan Gardner/Danny Brooke.

American Idiot The Musical is presented by arrangement with Josef Weinberger Limited on behalf of Music Theatre International of New York.

 

AMERICAN IDIOT – THE MUSICAL
ARTS THEATRE
Performances: Tuesday – Friday at 8.00pm
Saturday – 2.30pm & 8.00pm
Sunday – 3.00pm & 6.00pm
Running time: 90 minutes (no interval)
Arts Theatre, Great Newport Street, London, WC2H 7JB

 

Morgana Le Fey Previews in York

MAGICAL AND MYTHICAL STORYTELLING PREVIEWS IN YORK AHEAD OF EDINBURGH FRINGE

Morgana Le Fey is a new piece of story-telling theatre exploring the myths and legends surrounding the many faces of Morgana who features in the famous legends of King Arthur. A preview of the performance will take place at York Theatre Royal’s De Grey Rooms at 6.00pm on Tuesday 13 August, to an invited audience, before moving to the Scottish Storytelling Centre as part of the Edinburgh Fringe Festival. PHD Story-telling student in residence Catherine Heinemeyer will be hosting a sharing from a group of young people prior to the event.

The piece is a co-production between York Theatre Royal, Xanthe Gresham Knight and Nick Hennessey. It was first performed in York in 2013 as part of the theatre’s summer season which featured King Arthur in the Main House. Morgana Le Fey is being taken to Edinburgh Fringe Festival to further develop the piece in front of an audience. Storytellers do not often have chance to perform their work in long runs making this an ideal opportunity.

Director Juliet Forster, who is also York Theatre Royal’s Associate Director, believes the show is about the quest for love and finding the female voice.

As sister, lover and foster mother to King Arthur, Morgana’s very human passions are rejected time and time again. As Queen, politician, working mother and sorceress, she tries to do it all and fails. Is she trying to do too much? It’s a perennial question.

Storyteller and co-producer Xanthe Gresham Knight explains

The first record of Morgana is as a Water Goddess arriving on a boat with healing herbs for the sick Arthur, then medieval misogyny branded her as the evil force that destroyed Camelot. Morgana’s fate mirrors that of women and the environment. Both were shoved to the margins. Now, in the midst of today’s feminine revolution, Morgana le Fey, lightning rod of Avalon takes centre stage at last.

Nick Hennessey’s harp, luminous songs and theatrical defence of Camelot provide a feisty male voice that adds to the heart and humour of the show.

There has to be some redemption in the battle of the sexes

Nick comments.

Directed by Juliet Forster, Associate Director York Theatre Royal, funded by Arts Council England, produced by York Theatre Royal. Morgana Le Fey opens on Thursday 20 August and runs at 5pm each day until Monday 31st August at 5pm at the Scottish Storytelling Festival.

“Gresham is a truly great storyteller who unwraps each story like the petals of a lotus flower.” British Theatre Review

“A fine voice, pure and unforced. Nick Hennessey’s fluid style and engaging presence is a winning combination”. The Times

 

East is East Review

Grand Opera House, York – 4 August 2015.  Reviewed by Marcus Richardson

The much loved film East is East was a phenomenal success, so the play has to live up to the name. Needless to say I thoroughly believe that the performance offered everything I could want from the dramatic comedy.

The play follows the broken Kahn family haunted by the eldest child running away from the wrath that is Mr. Kahn trying to force his family into an arranged marriage. With the children living in fear, they quarrel over family matters and the way society views them. The events in the play are comedy genius with jokes about foreskins and Indian music. The leading lady Pauline McLynn stood out from within the cast, offering a witty yet firm character, her monologue towards Mrs. Shar claiming its own applause. The other actors I felt didn’t offer as much as McLynn, partly because she stole the limelight and drew the audience in. There was no multi-role whatsoever in the play which helps create the believable characters one would expect from a dramatic comedy. This also helps the audience as we see the progress of each character and how they change; this I love in theatre as it makes each audience member think deeply about each character. We see this in the character of Mr. Kahn as his story is more caring then we thought.

The stage followed an early 1970s vibe very much like the set of Blood Brothers. The terraced houses made out of stage flats made it clear that the play was set in Salford. Most of the play was set in the Kahn family home, with the addition of the family owned chip shop. The transition was done with a shop counter placed on stage, which makes for a quick and easy scene change.

The play themes were very important, with the family labeled as ‘half-cast’. The racial theme played a large factor as Meenah (Taj Atwel) quotes ‘we’re just the pakis that own the chip shop’. With such a sensitive subject to be made into a comedy, it could be risky to pull off, but the play made it work and the audience laughed, appreciating that the joke should be taken lightly.

WEST END MAGIC SHOW IMPOSSIBLE SEEKS MAGICIANS, ILLUSIONISTS AND DAREDEVILS FOR STARRING ROLES IN 2016 UK & INTERNATIONAL TOUR

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IMPOSSIBLE: NOTHING IS QUITE AS IT SEEMS

HIT WEST END MAGIC SHOW IMPOSSIBLE SEEKS MAGICIANS, ILLUSIONISTS AND DAREDEVILS FOR STARRING ROLES IN 2016 UK & INTERNATIONAL TOUR

AS CURRENT RUN AT NOEL COWARD THEATRE DRAWS TO A CLOSE, PRODUCERS SEARCH FOR MAGIC STARS TO CONTINUE SHOW’S LEGACY  

PROFESSIONAL MAGICIANS AND ILLUSIONISTS INVITED TO SEND AUDITION VIDEOS FOR CHANCE TO STAR IN WORLD-CLASS MAGIC SHOW

PRODUCERS SEEKING FULL RANGE OF MAGICAL ARTISTRY FROM DEATH-DEFYING ESCAPOLOGY, GRAND STAGE ILLUSIONS, STATE-OF-THE-ART TECHNOLOGICAL MAGIC TO UNPLUGGED UP-CLOSE-AND-PERSONAL SLEIGHT OF HAND AND MIND-BOGGLING MENTALISM

Following the success of its premiere production at the Noël Coward Theatre, the Producers ofIMPOSSIBLE, the hit new magic show currently dazzling audiences in London’s West End, are searching for professional illusionists, daredevils, mentalists and tricksters to join their spectacular line-up of world-leading magicians for a 2016 UK and International Tour.

Applicants should send a video to [email protected] showcasing their best tricks or stunts and magical prowess, along with their name, contact information and a photograph by 12pm on Monday, 17th August 2015. The most promising candidates will be invited to audition in London for multi-award winning magical producer and director Anthony Owen during the week of 17th August.

Successful applicants will have the chance to join the production’s principal cast, performing their incredible feats for enrapt audiences in theatres all over the world.

Launched this summer in London, where Harry Houdini and the superstars of illusion stunned Victorian audiences on stage, IMPOSSIBLE has re-established the UK capital as the epicenter of innovation and spectacle, hosting the greatest magic show on Earth. The current line-up includes: modern-day Houdini, daredevil and TV escapologist Jonathan Goodwin; mind-blowing mind-reader Chris Cox; boundary breaking magician Ben Hart; spell-binding digital marvel Jamie Allan; sleight of hand master Ali Cookand world-renowned grand illusionist Luis de Matos.

IMPOSSIBLE is produced by Jamie Hendry Productions, created by Anthony Owen, and staged by Lloyd Wood with scenic design by Andrew D. Edwards, lighting design by Tim Lutkin, sound design by Gareth Owen, video design by Duncan McLean and music by Michael Bradley.

 

LISTINGS INFORMATION

IMPOSSIBLE
Noël Coward Theatre, St Martin’s Lane, London WC2N 4AU

Friday 24th July – Saturday 29th August 2015

Monday – Saturday evenings at 7.30pm
Matinee performances: Tuesday and Saturday at 3.00pm

Booking details:  0844 482 5141
Access bookings: 0844 482 5137

Website: www.impossiblelive.com
Facebook: www.facebook.com/ImpossibleTheShow

Twitter: @ImpossibleShow

Ticket prices: £15, £25, £45, £65. Premium tickets are also available

 

BRYONY KIMMINGS DELIVERS OFFICIAL WELCOME ADDRESS TO PARTCIPANTS ON THE FIRST DAY OF THE 2015 EDINBURGH FESTIVAL FRINGE

AWARD-WINNING COMEDIAN AND THEATRE-MAKER BRYONY KIMMINGS DELIVERS OFFICIAL WELCOME ADDRESS TO PARTCIPANTS ON THE FIRST DAY OF THE 2015 EDINBURGH FESTIVAL FRINGE


On the opening day of the 2015 Edinburgh Festival Fringe award-winning comedian and theatre-maker Bryony Kimmings addressed hundreds of Fringe participants in the official Fringe Central Opening Address hosted by Chief Executive of the Edinburgh Festival Fringe Society Kath M Mainland.


This is the third year of the Fringe Central Opening Address which is designed to welcome participants to the Fringe and introduce them to Fringe Central and the extensive range of events on offer to them throughout August. The event was created to inspire participants to make the best use of the Fringe by getting them to think about the wider perspective and how their experience at the Fringe will impact on them and their work in the future.  


Bryony Kimmings, an Associate Artist at Soho Theatre and a Fringe participant herself, has toured her award-winning work across the world – from Finland, Portugal, and Texas to Australia and Croatia. As well as performing, Bryony mentors artists, teaches workshops and writes a popular art blog. She is taking part in this year’s Fringe in a show she’s also directed, Fake It ‘til You Make It which plays at the Traverse Theatre from 07 – 30 August.


At the Fringe Central Opening Address Bryony Kimmings said:

“My name is Bryony Kimmings. I am a slightly pregnant, loud mouth feminist performance artist slash comedian slash theatre maker from London. I think that just about covers it. Even I’m not sure what box to put myself in nowadays. And I am very excited to be here to welcome both you here and those who will bear witness to this momentous occasion through the eyes of the press.

“Having previewed yesterday and spent the rest of the evening eating ice cream and crying about the dodgy mics I bought off ebay and the distinct lack of funniness to my jokes about depression I can tell you that the Edinburgh Festival Fringe has officially begun.

“If I was allowed to I would down a bottle of champagne in the festivals honour right now and get progressively drunker throughout the speech as some kind of excellent live art performance piece as a homage to the festivals experimental and revolutionary beginnings back in the late forties.

“Now when I was asked to give this address I was so honoured I had a little cry. Because for me the Edinburgh fringe has been so instrumental to the career that I love today that I feel this fair city and this excellent festival run through my very veins. I feel alive  when I get off the train, I feel a fizz in my stomach when I run my hand along the posters in the grassmarket, I feel a lump in my throat when old friends stop me in the street and I realize I have shared so many amazing times with them here!

“I agreed to do it because I felt that it was a great chance to sum up what I have learnt over the past few years; some of what others have learnt around me and to take the chance to celebrate the phenomena unfurling around us all, in posters and pop ups and papers.  Before we blink and it disappears again.  Some stories, some thoughts and some advice.

 

(sighs) Ahhhh Edinburgh Fringe…

The bain of my life

The focus point of any given making year

The hatching ground of new projects

The breaking of a show

The opportunity to make a mint

The chance to lose it all

“It is a beast and it is rare to tame it and in some ways you have to ride it for 3.5 weeks, being careful not to fall off or crack your head open or drown in its drool and then jump off it and THEN ask the question (dazed and confused) “what just happened”… so I have had fun trying to remember my favourite festival moment and my worst. So let’s start there. Two silly snapshots.

“My first ever proper Edinburgh with my first full length solo show Sex idiot was 2010. I was in the wonderful Zoo venues. I can’t ever thank them enough for taking me on, I must have sounded like a nutter on the phone to James with my risk assessment of scissors and bourbon and other flammable goods. My venue was 30 seats in what used to be Zoo Roxy. In the basement. We had 6 lights and some playback. I think now it is a store room, I tried to get in there last year to peak and the whole stairwell was covered in boxes and cobwebs which made my heartache a bit. It was tiny. Two rows, three sides, 50 minutes of me screaming at you about ex boyfriends and demanding your pubes from you at the end… everything about that should have spelt out disaster. But for whatever reason: stars aligning, trends being set by other like-minded artists, a new found penchant for brash female comics … that show was a hit. Out of nowhere. Good reviews from big papers, lots of invites to do slots, a gig at Soho Theatre before I left the festival and a total theatre award right at the end. I remember that summer as bouquets from a fan, skipping from party to party, laughing hard producer and best friends, being out our minds with excitement. I picture sunshine and taxi’s and prosecco.

“Flash forward a year. And I find myself standing in the rain outside a flat just that little bit too far from the centre of town. I have an unfinished script in my bag, a very worried tech beside and a completely different feeling in my gut. The show was 7 Day Drunk. My difficult second album. I had spent July slogging my guts out at Jacksons Lane studio space trying to wrestle any kind of show out of a bunch of terrible material made during a madcap scheme to spend a week with some scientists getting progressively more drunk to prove to a friend that alcohol had no effect on creativity. That year no awards, 2-3 star reviews, audible whispers of “yeah she made sex idiot but…” I picture hangovers, leaky shoes, bad ecstasy tablets, a throat infection and the worst feeling of NOT understanding how to make art, or what an audience wanted as I buried my head in the sand and spent hours on the phone to my mum.

“Such different experiences in the space of one year. But those two polar extremes sum up how this festival can go for all of us. And allow them to help us keep our feet on the ground as we begin our journeys this year. It could be great, it could be a disaster… and the truth is you have no idea at this stage which it will end up being. I think that might be part of this festival’s constant seduction for artists… the whiff of a hit. And I think that we have the best jobs in the world and are so lucky to be here. But believe me we’ve all played to 2 people, we’ve all hit bums notes when the man from Public Reviews has his notebook out in the front row and we’ve all cried as soon as we’ve stepped off stage.

“I hope that for you, this year is more like my Sex Idiot experience than my 7 Day Drunk, but if it’s not… know that next year is another year and tomorrow we are all fish and chip shop paper.

 

“Next I want to talk about the tremendous community.

“With 3,193 shows here last year the Edinburgh Fringe can feel like a lonely, isolating and damn right alien place. Especially if you are new. It’s like doing the first day of school times one million, naked. EVERYTHING seems out to trip you up: you don’t what the word PR means, your venue doesn’t look like it did on the floor plan, you had no idea that Scotmid stopped selling booze at like 7:30pm and your flyers haven’t arrived yet. But what do have at your disposal that you are about to learn is about 10,000 people who are willing to help you out! I’ve been to festivals all over the world and never at any of them have I ever seen so many people so happy to help one another. Be it advice, flyering, hugs, tea, to sit and watch your show cos you have the financial times in. My one gleaming recommendation to everyone, old or new is to TALK TO PEOPLE. EVERYONE. Nothing bad ever came of being friendly and helpful and supportive of strangers and this fringe is built on the good will of artists and comedians. That extends to the services here at Fringe Central, the seminars and the advisory sessions, your venue team… god even the angry theatre bloggers will answer your questions if you buy them a bev. Asking for help is allowed, encouraged and how I learnt everything I know today.

 

“Now Let’s talk about press

“Ok so I could be considered as a person who likes to court the press here in Edinburgh and beyond. I very much consider infiltrating the international press platforms that surround us in our daily lives as an integral part of my artistic practice, anyone who followed my Catherine Bennett project with know that, as it reached 36 million people worldwide, art can be crammed into eyes via the Sun as much as the stage of the National! And over the past half a decade I have learnt some stuff…

 

“My press tips are pretty straightforward:

 

·         Make a show about a newsworthy topic (if you feel so inclined) – now I don’t mean chose a subject matter depending on what the press is currently talking but rather what you want them to talk about tomorrow. I chose what I think of as public secrets (the things everyone knows but no-one says out loud yet), this usually means I am seen as being a provocateur of stigmas or taboos and people want to talk about that because it’s exciting

·         Write the blurb for your show (which also then makes up a large part of your press release!) like a human being talking to another human being. Who are you, what is this show about, what might people feel if they come and see it, what does it look like. It’s not hard… don’t swirl it all up with buzz words and lies and not actually simply communicate the show

·         Have a cracking show image something that catches the eye because its smart

·         Have cracking press and production shots (I LOVE DRESSING UP and having my photo taken don’t you!) and pick a photographer you love… mine are Christa Holka and Richard Davenport.

·         Make sure your show IS what it says it is and that it is bloody good. Test it a fair bit as you are making it, to friendly people who will be honest with you! Then let the press see it, not before then.

“BOOM. Easy.

“But don’t just listen to me… ask an expert! Kelly Fogarty (or KFOG as she is known!) Currently Soho Theatre’s Head of Press (but

previously Assembly’s AND Melbourne International Comedy Festival!) says:

One way to piss the press off is to not have done your homework. Get online and find out what they’ve covered in the past, what subjects they’re interested in, what themes they’ve picked up on recently. Don’t be pitching them something they covered on last week’s programme, yesterday’s blog or today’s paper.

Send one page press releases and don’t stalk people, it’s weird.

 

“Also. Be nice. Think of it from the press’s perspective. The festival can be just as tough on them…and lonely actually. I’ve seen critics standing in queues with tears running down their faces. Running between shows, writing up the reviews, living on just as little sleep and being harangued by 3000 performers, their publicists and their agents.

 

“Now Let’s talk about Art…

“Be you a comedian or involved in the making of (funny voice) theatre you have what is commonly known as a craft. And during these three weeks you have a very luxurious opportunity… one that presents itself very rarely. You have 20 odd chances to get that elusive little bugger of a show right. I know some people make work differently, even me this year… (I arrive here off the back of Perth, Adelaide and Melbourne Festivals so slightly more prepared) but the majority of you are probably looking down the barrel of a brand new show. I like to see Edinburgh Fringe as not only the chance to showcase your wares for booking, for profile raising and for potential press BUT also as an excellent chance to hone said craft; to learn something new every day… about audience reactions, about the way you write, about the effect you are having on the minds sitting before you. If you do not use this festival as a chance to get better at your job you are missing a trick. I very much feel like I am here to WORK. Of course there is the incredible chance to play too but it’s a great chance to get super geeky about your practice. Use the chance. Make notes, change things, play, keep tweaking… everyone knows a show hasn’t found its sea legs until the 3rd week and where else do you get the chance to do the job you LOVE every day and possibly even get paid for it. If you hate your show, turn it into something you love.

“If I were you I would ask these questions:

·         What question am I asking of the world with this work? And am I answering it clearly and thoroughly?

·         What 3 things do I want my audience to leave with? (For my show Credible, Likeable Superstar Role Model I wanted people to cry for the loss of their childhood, think about the pop culture they consume more carefully and for people to leave wanting to do their own bit to change the world (ambitious but why not!)

·         Am I/is my character changed by the end of the work (all stories revolve around the protagonist changing in some way!) – or perhaps in comedy is everything working towards the most stupendous of all call back pay offs!

“If the answers are foggy keep going. Let’s all try and be excellent this year. Why would we not?

To balance the art chat, let’s talk about business.

So we all know that Edinburgh Fringe IS a marketplace. But this doesn’t mean that it is a one way street… you also control the market. The way I see it working is this. You plough your heart and your hard earned cash into getting here… you pay for your venue fee, brochure fee and marketing fees… as well as all that money that goes into the making of your show (be it through gigs like the stand ups do, or arts council like my type of scrounger) and it costs MONEY. So if that is the case then you should be paying a little bit of attention to the fact that you might get some of that back as a return… if you are smart. It irks me when performers and companies say “oh well Edinburgh is a loss for everyone” because that actually isn’t true. If you are a savvy business woman like I am you can make sure that you don’t just breakeven but you pay yourself too. Obviously not if you are in a 25 seater venue with a cast of 50 professional actors (but I would say you should have been living within your means when you made that silly decision back in February!) And yes the first few years may need to be an investment but after that you can begin to expect a return. That might be in the future gigs you get by inviting the right people. If this is to be a proper job: You need to make every seat count, paper the first shows to get a buzz going, flyer hard, hire a good PR and I promise it is worth it, keep asking the question how do I get people in here. Don’t give up. It’s very likely you find yourself with a hit in the final week when the first two have sucked (its happened to me!)

 

“My top 5 pieces of advice for festival sanity:

 

·         Eat healthily – smash into your mouth your 5 a day and try to cook at home 2-3 times a week. Else you will get ill.

·         Get out of the city – on your day off (if you haven’t taken one you are an idiot) go to the countryside or beach and breathe the great Scottish air, it will clear your mind.

·         Use the facilities and services of the Fringe Society – come here, do everything, knowledge is power!

·         Don’t sweat the bad stuff – try not to fixate on bad reviews or tiny audiences you will drive yourself insane and it’s bad for your emotional wellbeing. Set those thoughts adrift, compartmentalize them or do something about it, don’t dwell.

·         Make lots of friends – literally be kind to everyone!

Now I would like to offer you some advice from some of the people I know

“I have canvased opinion and asked a few people and here are my favourite tips from Edinburgh regulars, know it all’s and industry peeps…

“Steve Lock – Comedy Producer Soho Theatre says:

 

“As a top notch comedy producer (ha!) I look through the brochure for stuff I don’t know about that I think sounds interesting. I talk to people about what they’ve seen – performers, punters, anyone who’ll listen! I want to be open to new experiences and try new things – that’s what I think this festival is all about

“Excellent Technician from my first ever visit and long-time friend… Nathan

“Techs get thrown in at the deep end. If they swim they are legends. Treat em like they’re part of your company. Be specific about exactly what u want but let them be creative. Remember they’ll be there hours before u get there and hours after u leave. Most of them are there coz they want to be and they give a fuck. Listen to em. Be patient also, and everyone get results

“Poet and Dandy Luke Wright

I always climb Arthur’s seat. I always have a duvet day on my day off. I always drink too much and make as many friends as possible.

“BBC Radio’s Gemma Cairney

“John Peel Enthusiast and wonderful writer John Osbourne

If you want to stay up all night you’re allowed. If you want to go to bed early you’re allowed. Work really hard so that in September you don’t look back and wish you had made more of your time at the festival.

“Now for a couple of LOCALS:

“Fringe First Winning artist Jenna Watt (who lives here)

Thank your audiences for choosing to spend their time with you, pick up your litter and don’t be a dick to strangers or friends.

“Activist one of my favourite writers Keiran Hurley

 

“Remember that Edinburgh is an actual real year-round place, and not just an overblown industry playground. Try not to be too disgruntled with any locals who appear to be shitty reluctant hosts unless you can match that expectation with the humility of a good guest. Remember this not just because it’s respectful, but also because if you can remember that Edinburgh is a place (not just a state of mind) you will also remember that the world does not begin and end within the goldfish bowl of the Fringe. Whether you’re smashing it with Fringe Firsts and five star reviews or reluctantly dragging yourself to the end in front of two people a day, holding on to this truth can be an important act of self-care. Get on a 26 bus and walk along Porty Beach. Get on a 44 bus and take a walk in the Pentlands. Make friends, see shows, book in a short holiday for the start of September.

“Bootworks Director Rob Daniels:

 

“Remind yourself why you decided to do the fringe in the first place: the jolly, the craic, ‘cut your teeth’, to promo a new show, to bed a show in…or whatever… and focus on doing that one (or two) things ‘well’. It won’t guarantee success, but you’ll have clear aims to reach, clear objectives to follow, and you won’t be able to blame ‘other reasons’ for it not going to plan.

 

“Don’t be a cunt. Don’t be all high-and-mighty, or self-involved, or arrogant, like you know it all, or know better (or ‘are’…because you’re not): show some humility and respect. For others, and yourself. Don’t prance about like an obnoxious art-prick espousing your attitude and opinions on anyone who’ll listen. Don’t judge other people, even if they’re cunts.

“Forest Fringe’s Andy Field said

 

“Be nice to the other people (staff, other artists, volunteers, etc.) in your venue. Get to know them. Go and see their shows. Take the time to hang out in the venue bar and chat to people. Do this firstly because it is good to be nice, but also because they will be the most likely people to come and support your show and the best means of building up some word of mouth about it. Wear trainers. Shower regularly. Don’t listen to advice from loud pregnant women and their irresponsible, unemployable friends.

“Kelly Fogarty chimes back in from an interesting Australian perspective about the quality level of the festival in the eyes of the international promoters and venues.

 

“This festival is a rite of passage for aussies… onstage and off. You’re worth more and you’re better regarded if you can do this festival. It’s like if you can succeed at this endurance race you can do them all

“Comedian Shappi Korsandi says

 

“Don’t buy a load of spices the moment you arrive. Yes, you’ll have all these grand plans of cooking proper meals…and you will, for the first three days, then it’ll be 4am chips and shawmas for the rest of the festival and at the end you’ll be left wondering JUST how tight you are being by taking your turmeric, salt, pepper, garam masala and cling film home with you because, after all you’ve barely used them.

 

“Finally My Fringe recommendations:

 

·         My Beautiful Black Dog by the wonderful Brigitte Aphrodite about depression

·         An Oak Tree at the Traverse for only a week is sublime.

·         Dave by aussie stand up Zoe Coombs Marr, Spaghetti for Breakfast by Sam Simmons and CUT staring Hannah Norris – all smashes hits on the Australian festival circuit this year

·         Brute by Newbie Izzy Tennyson looks like she will be great

·         Head to see some dance… it is something I LOVE and I worked in the Industry for years and I would love to see it grow bigger here. Dance Base or The Zoo for that!

·         Go to Forest Fringe for the day down in Leith and take a chance on the wonderful artists they have programmed, including the figs in wigs, made in china, Action Hero, Brian Lobel and Scottee!!

“Have the best of times, have the worst of times… but just fucking have it!”

PENNY WOOLCOCK AND BLOCK9’S MAJOR NEW INSTALLATION

BLOOMBERG SUMMER AT THE ROUNDHOUSE
PENNY WOOLCOCK & BLOCK9’S UTOPIA

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Bloomberg Summer at the Roundhouse, the annual festival dedicated to introducing new audiences to innovative culture has returned for a fourth year with UTOPIA, a ground-breaking installation by Penny Woolcock in collaboration with Block9. Taking over the entire Main Space, Utopia is a huge multi-sensory world focusing in on inequality, consumerism, housing, gentrification, education, crime and social media through real life stories.

The piece has been imagined by award-winning Director and Filmmaker Penny Woolcock. Woolcock’s curiosity and craft for storytelling underpins all her work and for Utopia, she spent many months uncovering the stories of Londoners from the most wildly diverse of backgrounds to reveal the hidden narratives of the city. Her work has regularly focused on social cohesion, leading her to collaborate with young inner-city gang members and street hustlers (1 Day, One Mile Away).

Designers Block9 (Stephen Gallagher and Gideon Berger), revered for their visually arresting, post-apocalyptic spectacles, worked closely with Woolcock to design a symbolic representation of her vision. Block9 are best known for creating extravagant fantasy worlds for Glastonbury Festival, often comprising of grand scale tower blocks, tenements and tube trains.

Named after Thomas More’s 16th century imagining of a self-contained world in which communities shared a common culture and way of life, Woolcock’s Utopia is based on a walk through the neighbourhood of the Roundhouse and the differing perspectives on reality that can offer. Utopia is peppered with narrative soundscapes that will reverberate with stories that are personal, political and pertinent to the parallel lives being lived in the world’s biggest cities. The stories have all been collected by Woolcock in interviews with residents across the social spectrum – from drug dealers, gang members, former offenders and sex workers to the homeless, the elderly, housewives and university graduates.

Utopia also involves contributions and close collaboration with participants from the Roundhouse’s creative programme for 11-25 year-olds. In 2014 Woolcock worked with young people to find and interview local Camden residents for Utopia and one of the participants has become a paid assistant on this project. Others have become some of the voices heard in the installation. Young people from across the programme will also perform at the installation’s evening events which are still to be announced.

Alongside the installation, the Roundhouse will become a daily destination where members of the public can enjoy the sunshine at North London’s very own ‘seaside’ resort, Camden Beach, presented by Stoli Vodka. On the terrace, Camden’s biggest outdoor space, there will be 150 tonnes of the finest sand, deckchairs, beach huts, ping-pong, live music, some of the best food pop-ups in the city and the chance to enjoy Stoli’s drink of the summer, the Stoli Lemonade.

A programme of late night events during which the installation remains open run alongside. More information here.

Bloomberg’s long term partnership with the Roundhouse builds on a shared commitment to support artistic innovation, ground breaking technologies and access for new audiences in the arts. For the third year running, Bloomberg Summer will have a weekly ‘pay what you like’ event to ensure that as many people as possible have the opportunity to enjoy it.

#RHUtopia

LISTINGS INFORMATION

Utopia: Until Sunday 23 August
Venue: Roundhouse, Chalk Farm Road, London, NW1 8EH
Box office:  0300 6789 222
Tickets: £10 (£5 GET IN for 16-25s) – ‘Pay What you Like’ every Tuesday
Website: roundhouse.org.uk
Age guidance: The installation includes stories and themes of an adult nature and is recommended for ages 14+

OPENING TIMES

Tuesday – Thursday        Midday – 7pm
Friday                           Midday – 10pm
Saturday – Monday          Midday – 9pm
Last entry 1 hour before closing time

Free Metro Travel with your PLAYHOUSE Ticket!

logoAll PLAYHOUSE tickets for shows from the 7th August 2015 now come with an additional benefit as you can now travel to the PLAYHOUSE on the Metro for free with your theatre ticket. Theatre tickets are valid up to two hours before and after the performance, just simply retain your PLAYHOUSE ticket for inspection by Metro Staff when travelling to or from the PLAYHOUSE for a show.

The PLAYHOUSE Whitley Bay is delighted to be working with Nexus to provide this extra added benefit to ticketholders on a trial basis until April 2016, and it’s hoped the partnership continues.

North Tyneside is well serviced by the Metro and is Monkseaton Metro Station the nearest to the PLAYHOUSE just a 10minute walk away from the theatre. Alternatively the Whitley Bay Station is also just over 10minutes away through the centre of Whitley Bay.

Cllr Eddie Darke, cabinet member for Leisure, Culture and Tourism, said: “This is a great initiative and one that I’m sure will be very popular with those going along to enjoy all of the fantastic events and performances at the Playhouse.”

The Metro is the hassle free choice to travel to the PLAYHOUSE Whitley Bay.

With frequent services you can arrive ready to relax with a pre-show with a drink from our well stocked bars in advance of the performance. A full range of alcoholic and soft drinks are on offer, with nibbles to enjoy throughout the show.

With a varied and busy Autumn and Winter Season coming up, from The Lindisfarne Story to Paul Potts, and of course the ever popular Christmas Pantomime we hope patrons take advantage of this opportunity to hop on the Metro free and save on the search for parking space and parking fees!

 

The Railway Children Review

Signal Box Theatre, York – 5 August 2015.  Reviewed by Marcus Richardson

Where to start on perfection? The Railway Children, returning for the first time to the city of York since 2008 when it premièred with great critical acclaim, screeched success as I immersed myself in the land that was Yorkshire. With the York Theatre Royal being in the dark you would expect it to be dead, but it has never been more alive as the performance was held at the National Railway Museum which ties in with the play for obvious reasons.

I watched the performance like a gawping child staring at the steam engines passing by like a “dragon”. The story-telling piece of theatre ticked all the boxes. I was completely drawn in by the narration from all three of the children: Phyllis (Beth Lily), the youngest of the trio; Bobby (Rozzi Nicholson), the oldest and most responsible; and Peter (Izaak Cainer), the man of the family while his father is away. As the audience we saw through their eyes the recollection of the summer when they were the Railway Children. This offered a large amount of comedy as the children’s view was naïve which softened the very dark events that happen in the play.

The staging gave the performance everything it needed whilst also giving the unique and creative aspect I would expect from York Theatre Royal. The staging was transverse holding a real train track centre stage which had a guest appearance of one of the trains being held at the National Railway Museum, blowing the whole audience away with the impressive size of the locomotive. The stage used platforms on the rail tracks to make for effective scene changes. There were few props on stage. However, scenes were clearly shown with a table with the addition of some smaller props on the table depending on the scene.

The acting was impeccable and I couldn’t fault the trio of adult actors who played the young heroes of the railway. When I saw the play, the famous Berwick Kaler was supposed to play the Old Gentleman. However, due to him being ill, the understudy had to step up to the job and by jove he did it. The cast worked together to create the community one would expect from a Yorkshire village. The characters were altered by the children’s views. This made for a very comical scene where one character’s dialogue was made up of ‘Blah Blah Blah’.

The play has to be the best I have ever seen, beating my all time favourite by far. I would definitely encourage anyone to see anything that York Theatre Royal produce

Aliens Visit St Mary’s Paddington

THE WEST END FAMILY SHOW

ALIENS LOVE UNDERPANTS

TEAMS UP WITH STARLIGHT CHILDRENS FOUNDATION

FOR A SURPRISE WARD VISIT AT ST MARYS HOSPITAL

 

On Wednesday 5 August, cast members from the West End family show ALIENS LOVE UNDERPANTS, currently playing at the Dominion Theatre, paid a special visit to the children’s wards at St Mary’s Hospital, Paddington.

During the event, arranged through Starlight Children’s Foundation, young patients from the Great Western Ward and the Paediatric Short Stay Unit had the chance to meet the show’s colourful pant-stealing aliens. They also listened to the ALIENS LOVE UNDERPANTS story read by cast members Abigail Carter-Simpson, Mark Collier, Alex James Ellison, Scott Jones and Eve Pearson-Wright.

Based on the hugely successful children’s book by Claire Freedman and Ben Cort, ALIENS LOVE UNDERPANTS tells the story of the mischievous aliens who come to earth on an important mission to steal everybody’s underpants. This zany and hilarious tale has been adapted and directed by Adam Bampton-Smith, with stunning effects, madcap action, original music and lots of crazy aliens of course! The show plays at the Dominion Theatre until 5 September, following a highly acclaimed UK Tour.

Every year, Starlight provides entertainment and distraction to over half a million poorly children in every hospital and hospice throughout the UK. The ALIENS LOVE UNDERPANTS ward visit gave children the chance to escape their illness and enter the magical world of storytelling all from the safety of the hospital ward.

Starlight also grants once-in-a-lifetime wishes for seriously and terminally ill children, restoring the magic and fun of childhood and giving the whole family happy memories to share, whatever the future holds.

St Mary’s is a general acute hospital that diagnoses and treats a range of adult and paediatric conditions. The hospital is one of four major trauma centres in London. Each year St Mary’s provides more than 20,000 paediatric outpatient appointments, and treat around 25,000 children in their 24-hour paediatric accident and emergency department. More than 9,000 children are patients on the paediatric wards, and more than 6,000 lives have been saved in their paediatric intensive care unit since it opened in 1992.

For more information about Aliens Love Underpants, live on stage, visit: http://www.underpantslive.com

To refer a child for a Starlight Foundation wish, or to make a donation, visit: www.starlight.org.uk

 

LISTINGS INFORMATION

 

Dominion Theatre, 268-269 Tottenham Court Road,  London W1T 7AQ

Prices*: £23.75, £19.75 and £15.75 (plus booking fee)

(*All tickets include a £1.25 restoration levy)

 Babes in arms under the age of one year will be admitted free of charge to performances of Aliens Love Underpants, however they will require a ticket which can be collected at the box office upon arrival.

1 August – 5 September 2015

Performance Times*:

Monday – 10.00am, 12.00pm, 2.00pm (except Monday 31 August which is 11.00am, 1.00pm, 3.00pm) 

Tuesday – no performances

Wednesday – 10.00am (except no show on 2 September)

Thursday – no performances

Friday – 10.00am, 12.00pm, 2.00pm

Saturday –10.00am

Sunday – no performances

(*days and times may vary; check with Box Office and website for details)

Running time: 55 minutes (no interval) Suitable for ages 3+

Box Office: 0845 200 7982 or book online at www.dominiontheatre.com (booking fees apply)

http://www.underpantslive.com  http://www.facebook.com/loveunderpantslive  http://twitter.com/underpantslive

 

OLIVIER AWARD-WINNING COMEDY HANDBAGGED SET FOR NEWCASTLE THEATRE ROYAL

Direct from the West End, the smash hit comedy Handbagged is set for Newcastle Theatre Royal’s stage from Mon 26 – Sat 31 Oct, when the relationship between two of the country’s strongest women is explored.

Handbagged Susie Blake - KateFahy

Handbagged opens the clasp on the relationship between two giants of the 20th Century. The monarch – Liz. Her most powerful subject – Maggie. Two enduring icons born in the same year. One destined to rule, the other elected to lead. But when the stiff upper lip softened and the gloves came off, which one had the upper hand? Moira Buffini’s celebrated new comedy speculates on that most provocative of questions: What did the world’s most powerful women really talk about behind closed palace doors?

 

Handbagged first premiered at the Tricycle Theatre in 2013 where it enjoyed a sell-out 7 week run, winning the Olivier Award for Outstanding Achievement in an Affiliate Theatre (2014) and nominations for Best New Comedy and Best Ensemble Performance at the WhatsOnStage Awards (2014). The production transferred to the West End on 9 April 2014 where it ran for a strictly limited 17 week season and received an Olivier Award nomination for ‘Best New Comedy’ 2015.

 

Susie BlakeSusie Blake plays ‘Q’. Her many West End theatre credits include: When We Are Married (Garrick Theatre), Grumpy Old Women Live 2: Chin Up Britain (Novello Theatre and on tour), Madame Morrible in Wicked (Apollo Victoria), Noises Off (National Theatre, Piccadilly Theatre and UK tour); The Shakespeare Revue for the RSC (Barbican, Vaudeville Theatre and UK tour); The Merry Wives Of Windsor and A Funny Thing Happened On The Way To The Forum (Open Air Theatre, Regent’s Park London).Her best known television credits include: Mrs Brown’s Boys, Beverley Unwin in Coronation Street, Parents, Singles, Born and Bred, Russ Abbott’s Madhouse and The Victoria Wood Show.

 

Kate Fahy plays ‘T’. Her theatre credits include: After Electra (Tricycle Theatre); The Goat (Almeida/Apollo Theatres); Grace, Goucho (Hampstead Theatre); Old Flames (Arts Theatre); Othello (Young Vic); Seduced (Royal Court); and two years at the Everyman Theatre, Liverpool. Recent television credits include: The Marriage of Reason and Squalor, The Suspicions of Mr Whicher and film credits include: Archipelago, The Living and the Dead – for which she received best actress and best supporting actress awards.

 

Emma Handy plays ‘Liz’.  Her theatre credits include: Miss Julie (Chichester Festival), Thursday (Adelaide International Festival), The Boy Who Fell Into a Book (Soho Theatre, London Olympics 2012), Flare Path (Haymarket Theatre), Edward Gant’s Amazing Feats of Loneliness (Headlong), Vincent in Brixton (National Theatre, Wyndham’s Theatre, Playhouse West End), 50 Revolutions (Trafalgar Studios), The Merchant of Venice, Twelth Night, Bad Weather (Royal Shakespeare Company),The Wood Demon (Playhouse, West End). Television and film includes: Wire in the Blood Series 2-7 and Velvet Goldmine.

 

Asif Khan plays Actor 1. His theatre credits include: Love, Bombs & Apples, Kabaddi, Kabdaddi, Kabaddi (Arcola); Multitudes(Tricycle); The Nutcracker, The Snow Queen (Unicorn); Queen of the Nile (Hull Truck); Snookered (Bush); Twelfth Night(National Theatre); Mixed Up North (Out of Joint). Television credits include: The Dumping Ground; Doctors; Dark Matters; Spooks; The Liquid Bomb Plot; Casualty and Going Postal.

 

Sanchia McCormack plays ‘Mags’. Her theatre credits include: The Broken Heart, Comedy of Errors (Shakespeare’s Globe); Minotaur (Theatre Clwyd/Polka); One Night in November (Belgrade Theatre); Butterfly Lion (Curve/Derby Playhouse); The Caravan (Royal Court, Tour & Roundhouse). Television includes: The Tunnell; Doctors; Broadchurch; EastEnders; Big Bad World; Coronation Street; Law and Order.

 

Richard Teverson plays Actor 2. Theatre credits include: The Winslow Boy (Old Vic), The Doctors Dilemma (National Theatre),Cause Célèbre (Old Vic), After The Dance (National Theatre), The 39 Steps (Criterion Theatre), When Harry Met Sally (Theatre Royal Haymarket), A Woman of No Importance (Theatre Royal Haymarket), The Lion King (Lyceum Theatre). Television credits include: Downton Abbey, Coalition, Jamaica Inn, The Bletchley Circle, Spies of Warsaw, Dancing On The Edge, Upstairs Downstairs, The Roman Mysteries, Poirot-Five Little Pigs. Film credits include: Brideshead Revisited and Workhorse.

 

Moira Buffini’s plays include Wonder.land, a musical with Damon Albarn, for the Manchester International Festival and National Theatre, Women, Power And Politics for the Tricycle Theatre, Welcome To Thebes and Dinner for the National Theatre, Dying For It (adapted from Nicolai Erdman’s The Suicide) and Marianne Dreams (adapted from Catherine Storr’s book) for the Almeida Theatre, A Vampire Story for NT Connections, Loveplay for the RSC, Silence for Birmingham Rep (Susan Smith Blackburn Prize), Gabriel for Soho Theatre  (LWT Plays On Stage Award and the Meyer Whitworth Award), Blavatsky’s Tower for the Machine Room, and Jordan with Anna Reynolds for the Gate (Writers Guild Award for Best Fringe Play). Her screenplays includeTamara Drewe directed by Stephen Frears, Jane Eyre directed by Cary Fukanaga, and Byzantium directed by Neil Jordan. She recently directed her first short film, Father.

 

Indhu Rubasingham, Artistic Director of the Tricycle Theatre, directs. For the company, her work includes Multitudes, The House That Will Not Stand, Red Velvet (Tricycle/ St Ann’s Warehouse New York, Evening Standard Award and Critics’ Circle Award), Paper Dolls, Women, Power And Politics, Stones In His Pockets, Detaining Justice, The Great Game: Afghanistan, Fabulation, and Starstruck. Her other theatre work includes The Motherf**ker with the Hat at the National Theatre, Belong, Disconnect, Free Outgoing, Lift Off, Clubland, The Crutch, Sugar Mummies (Royal Court), Ruined (Almeida Theatre),Yellowman, Anna In The Tropics (Hampstead Theatre), The Waiting Room (National Theatre), The Ramayana (National Theatre/ Birmingham Rep), and Secret Rapture, The Misanthrope, Romeo and Juliet (Chichester Festival Theatre). In 2012 Rubasingham was awarded the Arts & Culture Award at the Asian Women of Achievement Awards for ‘astounding achievements in theatre’. She also received the Carlton Multi-Cultural Achievement Award for Performing Arts and in 2010 she jointly received the Liberty Human Rights Arts Award for The Great Game: Afghanistan. She was previously Associate Director of the Gate Theatre, Birmingham Rep and the Young Vic.

 

Designs are by Richard Kent, with lighting design by Oliver Fenwick, and sound design by Carolyn Downing. The production is presented by Eleanor Lloyd Productions, Tricycle London Productions and the Touring Partnership.

 

Handbagged appears at Newcastle Theatre Royal from Mon 26 – Sat 31 Oct 2015. Tickets from £12 (pay 50p less per ticket when you book online). Tickets can be purchased from the Theatre Royal Box Office on 08448 11 21 21, (calls cost 7p per minute plus your phone company’s access charge) or select your own seat and book online at www.theatreroyal.co.uk