Home

Casting and sponsor announced for RADAR 2015
Bush Theatre’s Festival of New Writing
11-26 November 2015

 

• Tim Crouch, Paul Hunter and Hattie Morahan, to appear in Blank by Nassim Soleimanpour
• RADAR Connect sponsored by Nick Hern Books

Tim Crouch, Paul Hunter and Hattie Morahan will each appear in acclaimed Iranian playwright Nassim Soleimanpour’s one-person show Blank as part of RADAR, the Bush Theatre’s annual festival of new writing. The show’s UK premiere will feature a different performer reading a sealed script every night. Paul Hunter will appear on 19th November, Tim Crouch on 20th November, and Hattie Morahan on 21st November.

The Bush Theatre also announced today that RADAR Connect – a series of free theatre practice workshops for postgraduate students – will be sponsored by leading theatre publishers Nick Hern Books, who publish some of the UK’s most exciting new drama, including many original plays produced at the Bush, together with a wide range of authoritative theatre books written by well-known theatre practitioners. Nick Hern Books also publish Arinze Kene and Steve Waters, both of whom are presenting work in this year’s festival.

RADAR is a festival presenting the Bush’s annual snapshot of the very best of contemporary new writing, from London to the rest of the UK and beyond. Embracing a wide range of voices, styles and experiences, the aim of RADAR is to champion a new generation of artists, to present them to a wider audience, to offer a testing ground for new work, and to begin and nurture long-term relationships between the Bush and emerging artists.

Each night of the festival two shows will be presented in a double bill under one ticket. As in previous years, RADAR CONNECT will run alongside the festival – a series of free practical workshops for postgraduate students, led by a cohort of professionals working in the industry.

RADAR 2015 will see the Bush embrace new artists such as Racheal Ofori and Ben Duke, as well as welcoming returning writers and companies such as Steve Waters, Nassim Soleimanpour and Antler.

Tim Crouch was an actor for many years before starting to write – and he still performs in much of his work.  His plays include My Arm, ENGLAND (a play for galleries), the OBIE award winning An Oak Tree, The Author, Adler & Gibb and (with Andy Smith) what happens to the hope at the end of the evening. Tim tours his work nationally and internationally. He also writes for younger audiences. A series of plays inspired by Shakespeare’s lesser characters includes I, Malvolio.  For the RSC, Tim has directed The Taming of the Shrew, King Lear and I, Cinna (the poet) – all for young audiences. Tim is published by Oberon Books.

Paul Hunter will soon be filming This Beautiful Fantastic. He has just finished filming the feature film The Jungle Book. He also stars in the feature films Pan, directed by Joe Wright;Cinderella, directed by Kenneth Branagh, and Alice Through The Looking Glass, directed by James Bobin. He could recently be seen in Marvellous for BBC. Theatre credits include Tartuffefor Birmingham Rep; The Fantasticks for the Duchess; Much Ado About Nothing, A Midsummer Nights Dream and Troilus & Cressida all for the Globe and Rapunzel for Kneehigh. TV credits include Wizards Vs Aliens for BBC; regular Dr Cooper on Trinity for Roughcut and Mitchell And Kenyon for the BBC. Film credits include Maleficent; Snow White And The Huntsman; Pirates Of The Caribbean and One Day. Paul is a founder member and artistic director of award-winning theatre company Told By An Idiot.

Hattie Morahan’s work in theatre include The Changeling (Sam Wanamaker playhouse); A Doll’s House (Young Vic / West End / BAM – Evening Standard Award, Critics Circle Award); The Dark Earth and the Light Sky (Almeida); The Real Thing (Old Vic); The Seagull, Three More Sleepless Nights, Time and the Conways, …some trace of her, Iphigenia at Aulis and Power (National Theatre); The Family Reunion (Donmar); The City (Royal Court); See How they Run; Arsenic and Old Lace (West End). Her work outside London includes Plenty at the Sheffield Crucible, directed by Thea Sharrock; Twelfth Night (WYP); and for the RSC, Night of the Soul, The Prisoner’s Dilemma, Hamlet, Love in a Wood, and Huis Clos.

On screen, her work includes Beauty and the Beast; Ballot Monkeys; Mr Holmes; Alice Through the Looking Glass; The Outcast; Arthur and George; Outnumbered; Summer in February; Eternal Law; Money; Lewis; Bodies; Marple; The Peacock Spring; The Bank Job; The Golden Compass; Sense and Sensibility.

 

 

 

LISTINGS
RADAR 2015
11 – 26 November 2015
Bush Theatre, London

All shows presented in double bills, starting at 7.30pm

Wed 11 Nov
Misty by Arinze Kene
Dirty Little Secrets aka The Blues Show by Jumoké Fashola

Thu 12 Nov
No More Worries by Simon Mole
Misty by Arinze Kene

Fri 13 Nov
This Is How We Die by Christopher Brett BaileyNo More Worries by Simon Mole

Sat 14 Nov
This Is How We Die by Christopher Brett Bailey
No More Worries by Simon Mole

Mon 16 Nov
Portrait by Racheal Ofori/Fuel
Labels by Worklight Theatre

Tue 17 Nov
Portrait by Racheal Ofori/Fuel
If I Were Me by Antler

Wed 18 Nov
Portrait by Racheal Ofori/Fuel
If I Were Me by Antler

Thu 19 Nov
Blank by Nassim Soleimanpour
If I Were Me by Antler

Fri 20 Nov
Blank by Nassim Soleimanpour
Paradise Lost by Ben Duke/Lost Dog

Sat 21 Nov
Blank by Nassim Soleimanpour
Paradise Lost by Ben Duke/Lost Dog

Mon 23 Nov
In A Vulnerable Place by Steve Waters
Solo by Curious Directive

Tue 24 Nov
The Ground Is On Fire by Nasim Aghili
In A Vulnerable Place by Steve Waters

Wed 25 Nov
The Ground Is On Fire by Nasim Aghili
In A Vulnerable Place by Steve Waters

Thu 26 Nov
The Ground Is On Fire by Nasim Aghili
Pheasant Plucker by Lily Bevan

BOX OFFICE
Bush Theatre
7 Uxbridge Road, London, W12 8LJ

Box Office: 020 8743 5050 / bushtheatre.co.uk

Early bird tickets £10
Standard tickets £15

RADAR Off Script £4 per debate and discounts available for multiple bookings

 

King’s Head Theatre Pub – 1st – 24th October. Reviewed by Claire Roderick

Peter Darney has amalgamated and recombined over 50 hours of anonymous interviews to create a fantastic piece of verbatim drama. With the programme including a glossary of terms for the uninitiated, we are introduced to the gay Chill-Out scene.

J (Damien Hughes) is the host of the party, and welcomes 4 men into his home. They immediately get comfortable, changing into shorts (for easy access), snorting drugs and chatting about their preferences and experiences.

The characters are well written and just about manage to avoid stereotypes. J is funny and relaxed, M (Tom Holloway) has a melancholy side, R (Elliot Hadley) and B (Michael Matrovski – nonchalantly displaying his backside all night) are a couple – R is hyperactively camp and Northern, and B is older, more composed and occasionally menacing. PJ (Shri Patel) is an Asian man who appears out of his depth at first.

In between the drug taking (whilst bemoaning the fact that nobody climaxes because of all the drugs), dancing and simulated sex acts, the characters share hysterical anecdotes about their previous parties and misadventures with drugs. The etiquette of sex parties is debated, and wonderful examples of what happens when rules aren’t followed are shared with glee. There are a few wince inducing stories, but they are told with such openness and honesty that you end up laughing along with the actors.

The tone gradually darkens as the party goes on. J and B’s nonchalant attitudes to their HIV status crumble as they tell of the nights on which they were infected. Both actors effortlessly allow the veneer of bravado to be stripped away revealing heartbreaking regret and vulnerability. The relationship between R and B becomes increasingly questionable as R reveals his past – Elliot Hadley’s almost childlike honesty and helplessness as he speaks is a revelation after his earlier frenetic performance. PJ’s experiences as a gay Pakistani going along with an arranged marriage are portrayed matter of factly and with a sense of acceptance and loss by Patel. Tom Holloway conveys the deep dissatisfaction and emptiness of M’s life expertly. The man needs a hug.

The actors work together brilliantly and the superb writing makes the audience feel as if we are voyeurs at the flat. This conceit is cleverly continued as the audience leaves the theatre. There is no curtain call, instead the actors remain in character and silently (apart from a few grunts and groans) continue with the party.

Yes, there is nudity, sex, drugs and strong language, but this isn’t a glorified peep show. Observations about gay men seeing sex as a pastime, the ridiculous reality of sex parties, and R’s confession that he prefers to cuddle in bed and watch a DVD, are just some of the things that combine to make 5 Guys Chillin’ a funny, revealing, brutally honest and ultimately sad drama. This is a party you should not miss.

RADA have today announced that Sir Kenneth Branagh is their new President, succeeding Lord Attenborough who was President from 2002 until his death in 2014.

Branagh graduated from RADA in 1981 and since then has achieved notable success as an actor, director, producer and screen writer.

Branagh becomes RADA’s sixteenth president, and commented “It’s such a privilege to be asked to take up this role. I am delighted to see – and now help – RADA continue to nurture and support generations of acting and technical talent. To be able to give back to the school which provided me with so much is a wonderful honour.”

Director of RADA, Edward Kemp, added “We’re thrilled to have Ken on board for the next step of the RADA journey, which includes plans to make our training even more accessible and public-facing and to renovate our Studios building to maintain our position as a world-leading drama school. The diversity of Ken’s career, not only as an actor, but as director, producer and beyond are an inspiration to us all, staff and students alike.”

Branagh, was born and raised in Belfast, the son of working-class Protestant. At the age of nine, he relocated with his family to Reading, Berkshire. He appeared in school theatrical productions which included Toad of Toad Hall and Oh, What a Lovely War!

One of Branagh’s early professional successes was in Northern Ireland for his role as Billy, the title character in the BBC’s Play for Today trilogy – known as the Billy Plays (1982–84), written by Graham Reid and set in Belfast. Immediately after leaving RADA he won the 1982 SWET Award for Best Newcomer, for his role as Judd in Julian Mitchell’s Another Country.

Branagh became a major presence on the British stage in a 1988 touring season of three Shakespeare plays under the title of Renaissance Shakespeare on the Road, which also played a repertory season at the Phoenix Theatre in London. It featured directorial debuts for Judi Dench with Much Ado About Nothing (starring Branagh and Samantha Bond as Benedick and Beatrice), Geraldine McEwan with As You Like It, and Derek Jacobi directing Branagh in the title role inHamlet, with Sophie Thompson as Ophelia.

King’s Head Theatre Pub – 30th September – 24th October.  Reviewed by Claire Roderick

A comedy about the ludicrous loopholes of EU funding could have been a satirical bullseye. Unfortunately Nobody’s Business misses the target completely and buries itself in bad 70s sitcom land.

Hugo is a rather dodgy businessman setting up an office in a building managed by Howard. He meets Sybil the concierge, who ends up posing as his secretary when clients turn up earlier than expected. Hugo’s scam is finding inept inventors and convincing them to apply for EU development grants, with him acting as consultant and pocketing most of the money. Throw in Hugo’s artist girlfriend and hilarity ensues… apparently.

Sylvia Freedman’s plot is predictable and full of clichés and missed opportunities for cutting humour. The characters are written one dimensionally and some jokes are hammered home so much that you expect a Basil Brush style “Boom Boom” afterwards. When the biggest point of interest in the first act is the fate of a discarded chicken tikka, and loudest laugh of the night comes from an Albanian spouting incomprehensible nonsense punctuated with “F***wits”, you know there’s something wrong. At times I was willing the actors to improvise rather than follow the clunky script.

On the King’s Head’s tiny stage there are obvious staging issues, but the decision to mark scene changes by using coloured lighting, playing “Nobody’s Business” and having the actors on stage miming and dancing like middle aged librarians at their first swingers’ party is slightly jarring. The only time this works is when Hugo joins in involuntarily – I thought someone had summoned Beetlejuice to save the day. The effects used at the end of act one are also bizarre and unsatisfactory, as if it’s been patched on from a different production.  

The cast is game and committed. Katy Manning, as Sybil is delightfully ditzy at first, but as the play progresses, her character becomes simply annoying. Perhaps Freedman thought that the cod philosophical lines and revelations about Sylvia’s past would make her multidimensional, but it just doesn’t work. Manning’s constant movement around the stage doesn’t help either – seasickness begins to set in if you follow her too closely. However, Manning does a fantastic job with the material she is given – I can’t help but wonder what she and Tristan Beint (Hugo) could have achieved with a better script. Their interactions were fantastic and Beint plays slimy Hugo with just the right amount of greed, frustration and fear that makes you root for the character, even though you know you shouldn’t.

Claire Jeater as Imogen has a thankless task. Her character just has nothing to do, which is a shame, as Jeater is a fine actress. As Howard, Stephen Oswald milks every drop of comedy possible from his manchild character, and Michael Nowak as Ervin is like a young David Walliams – getting lots of laughs for his silent physical comedy. And then there’s poor Jeremy Drakes, who has to play two “hysterical” inventors – I’ve seen funnier creations in my hanky – before playing Neville the inventor of the Shopalong. There is a half decent running joke with Hugo forgetting Neville’s name, and Drakes doesn’t go over the top with his gentle portrayal of nerdy Neville.

At one point Hugo talks about EU grants fostering the need to fail, and arts grants fostering the right to fail. Well this production has flaunted its right. It is such a shame as the talented cast could be amazing. It’s just the script that needs a development grant.

JAMIE HENDRY PRODUCTIONS
presents

THE WORLD PREMIERE OF THE MAJOR NEW MUSICAL ADAPTATION OF
THE WIND IN THE WILLOWS
BY JULIAN FELLOWES, GEORGE STILES AND ANTHONY DREWE
TO OPEN IN PLYMOUTH AND SALFORD PRIOR TO THE WEST END

 

The highly-anticipated major new musical theatre adaptation of THE WIND IN THE WILLOWScreated by Julian Fellowes, George Stiles and Anthony Drewe is confirmed to open at the Theatre Royal in Plymouth from 8th October 2016, followed by The Lowry in Salford from 26th October 2016 prior to opening in London’s West End.

Based on Kenneth Grahame’s treasured novel which has captivated generations of readers for over a century, THE WIND IN THE WILLOWS has been adapted for the stage with a book by Oscar-winning screenwriter and Downton Abbey creator Julian Fellowes and Olivier Award-winning composer and lyricist team George Stiles and Anthony Drewe. THE WIND IN THE WILLOWS marks the first time the three have worked together since their hugely successful collaboration on the international hit musical Mary Poppins which ran for three years in the West End and six years on Broadway.

Developed and produced by Jamie Hendry Productions and presented in association with Theatre Royal Plymouth, THE WIND IN THE WILLOWS is directed by Rachel Kavanaugh with design by Peter McKintosh and lighting design by Howard Harrison.

Kenneth Grahame’s wild tale about the thrill-seeking, lovable menace Mr Toad comes to life in a brand new stage musical. Ratty, Badger and Mole join the exuberant Toad and embark on a series of adventures and misadventures caused by his insatiable need for speed! Imprisoned for theft and with his existence under threat from the inhabitants of the Wild Wood, Toad must attempt a daring escape to defend Toad Hall. Featuring spectacular stagecraft and a company of over fifty, this sparkling new musical with a glorious original score brings this treasured British classic to life in what is set to be 2016’s wildest theatrical adventure.

Jamie Hendry (Producer): “I am delighted that we will be opening The Wind in the Willows in two of the country’s most prestigious venues prior to the West End. It has been a joy working with such a distinguished team of writers and creatives to develop that rare thing – a new British musical. I can’t wait to get the show on the road and invite audiences to share in our journey next year!”

Hendry also announced that he is sending copies of Kenneth Grahame’s novel to every school and library in Plymouth and Salford launching an incentive to provide readers of all ages the opportunity to enjoy The Wind in the Willows before the musical opens. He added “I am a firm believer that our most classic novels should be freely available for everyone to enjoy. I hope that readers will fall in love with Grahame’s story as much as I did, which ultimately led to the commissioning of this musical.”

Julian Fellowes (Writer): “I could not be more pleased to have been working on this new production of The Wind in the Willows, which has been a favourite of mine literally all my life. It has been a real privilege to be part of the team re-imagining it for the musical stage. As an added bonus, I’ve really enjoyed being back in the Stiles/Drewe/Fellowes team with our last production of Mary Poppins being a high point for all of us. Naturally, I have similar hopes for The Wind in the Willows and I shall be on the edge of my seat when we open at Plymouth, a marvellous theatre and the perfect launch pad for us to begin. Of course I would say all this, wouldn’t I? But I do believe audiences everywhere will love the adventures of Toad, Ratty, Mole, Badger and their friends, on stage, as much as they have always loved the book. I certainly hope so, anyway.”

Adrian Vinken OBE (Chief Executive, Theatre Royal Plymouth): “We feel privileged that the Theatre Royal Plymouth will stage the world premiere of The Wind in the Willows next year. It will be great to be working again with George, Anthony and Julian – the show simply couldn’t have a better pedigree than that!”

Julian Fellowes has achieved extraordinary success recently having created the hugely popular period drama Downton Abbey for which he won two Emmy Awards and a Golden Globe in 2011.  Fellowes won an Oscar in 2002 for his Gosford Park screenplay. Other screenplays include The Young Victoria, Separate Lies, Vanity Fair and The Tourist.

George Stiles and Anthony Drewe have been writing together for over thirty years. They are best known for writing new songs for Mary Poppins, their Olivier Award-winning Honk!, Just Soand more recently Betty Blue Eyes. Their current projects include a new version Half a Sixpenceand a musical based on Travels with My Aunt.

The production is being developed and produced by Jamie Hendry Productions, whose recent productions include the global phenomenon Let It Be, hit magic show Impossible, Tim Firth’sNeville’s Island, the multi Olivier Award-winning Legally Blonde the Musical and the multiOlivier Award-winning La Cage Aux Folles.

Full details on casting as well as West End dates and venue will be announced in due course.

The website for the production is www.windinthewillowsthemusical.com

LISTINGS

THE WIND IN THE WILLOWS

Website:       www.windinthewillowsthemusical.com
Facebook:     \WillowsMusical
Twitter:        @WillowsMusical
Instagram:     \WillowsMusical

8th October 2016 – 22nd October 2016
THEATRE ROYAL, PLYMOUTH
www.theatreroyal.com
01752 267 222

26th October 2016 – 6th November 2016
THE LOWRY, SALFORD
www.thelowry.com
0843 208 6000

Robert Fox, Matthew Byam Shaw for Playful Productions and Royal Court Theatre Productions
Present
The Royal Court Theatre production of
HANGMEN
By Martin McDonagh
Directed by Matthew Dunster

Design by Anna Fleischle, lighting by Joshua Carr and sound by Ian Dickinson for Autograph.

• WEST END TRANSFER ANNOUNCED FOR ROYAL COURT’S HANGMEN

• UNIVERSALLY ACCLAIMED PRODUCTION OF MARTIN MCDONAGH’S FIRST UK PLAY IN 10 YEARS WILL PLAY AT WYNDHAM’S THEATRE FOR A LIMITED SEASON

• ORIGINAL CAST MEMBERS DAVID MORRISSEY AND JOHNNY FLYNN WILL REPRISE THEIR ROLES, WITH FULL CASTING TO BE ANNOUNCED

• HANGMEN WILL PREVIEW FROM 1 DECEMBER 2015 AT WYNDHAM’S THEATRE IN LONDON’S WEST END, WITH TICKETS ON SALE FROM NOON TODAY

Following a sell out run at the Royal Court Theatre, producers Robert Fox, Matthew Byam Shaw for Playful Productions and Royal Court Theatre Productions are delighted to announce that Matthew Dunster’s production of Martin McDonagh’s Hangmen will transfer to the West End for a strictly limited season. Previewing from 1 December, the production will have a press night on 7 December at Wyndham’s Theatre. Tickets for the run go on sale at 12 noon today.

After a decade-long absence from the London stage McDonagh returned to the Royal Court Theatre with Hangmen in September 2015 to critical and public acclaim, with tickets selling out for the production’s entire run. Original cast members David Morrissey and Johnny Flynn will reprise their roles for the transfer, performances which were heralded at the Royal Court Theatre.

In his small pub in Oldham, Harry is something of a local celebrity. But what’s the second-best hangman in England to do on the day they’ve abolished hanging?  

Amongst the cub reporters and sycophantic pub regulars dying to hear Harry’s reaction to the news, a peculiar stranger lurks, with a very different motive for his visit.

“I am thrilled to be working with Martin McDonagh again on this stunning production of his new play Hangmen, wonderfully directed by Matthew Dunster.”
Robert Fox

“We are delighted that Hangmen will have a future life in the West End. It’s been thrilling to be able to continue the legacy of Martin McDonagh’s work at the Royal Court.  Hangmen will become a modern classic. This stunning production has been a huge success here and a commercial life will mean it can be seen by many more people – which is, after all why we make theatre.”
Vicky Featherstone

Martin McDonagh’s work for the Royal Court Theatre includes Hangmen, The Beauty Queen of Leenane, A Skull in Connemara and The Lonesome West (Druid Theatre/Royal Court & Broadway). Other theatre includes The Cripple of Inishmaan (National/Noel Coward/Broadway), The Pillowman (National/Broadway), The Lieutenant of Inishmore (RSC/Garrick/Broadway) and A Behanding in Spokane (Broadway). For film (as Writer/Director) credits include Six Shooter (Short), In Bruges and Seven Psychopaths. Martin has been awarded an Olivier Award for Best New Comedy (The Lieutenant of Inishmore), an Olivier Award for Best New Play (The Pillowman), an Academy Award for Best Live Action Short Film (Six Shooter) and a BAFTA for Best Original Screenplay (In Bruges).

Matthew Dunster’s credits for the Royal Court Theatre include Hangmen and Liberian Girl. His other credits include The Seagull, A Midsummer Night’s Dream (Open Air Regent’s Park), Love’s Sacrifice (RSC), The Lightning Child and Doctor Faustus (Shakespeare’s Globe), The Love Girl & the Innocent, You Can Still Make a Killing (Southwark Playhouse), Mametz (National Theatre Wales), Before the Party (Almeida), A Sacred Flame (English Touring), Saturday Night and Sunday Morning (Royal Exchange Manchester), Mogadishu (Royal Exchange, Manchester and Lyric Hammersmith), The Most Incredible Thing (Sadler’s Wells), The Two Gentleman of Verona(Royal & Derngate, Northampton). As a writer, his credits include Children’s Children (Almeida) and You Can See the Hills (Royal Exchange Manchester).

David Morrissey’s credits for the Royal Court Theatre include Hangmen. Other theatre includesIn a Dark House (Almeida) Macbeth (Liverpool Everyman) and Peer Gynt (National). His television credits include The Driver, Red Riding, Field of Blood, South Riding, The Walking Dead, Extant, The 7.39, True Love, Our Mutual Friend, Clocking Off, Holding On, State of Play,The Deal, Viva Blackpool and Blackpool. Film credits include Richard II, Sleepyhead, Scaredy Cat, Welcome to the Punch, Hilary & Jackie, Some Voices, Born Romantic, Captain Correlli’s Mandolin, Derailed, Stoned, The Reaping, The Waterhorse: Legend of the Deep, The Other Boleyn Girl, Centurion, Nowhere Boy and Earthbound. Awards include Arena Awards for Best Television Actor (Viva Blackpool).

Johnny Flynn’s credits for the Royal Court Theatre include Hangmen, Jerusalem, The Low Roadand The Heretic. Other theatre includes Richard III, Twelfth Night (Globe/Apollo), Jerusalem(Apollo) and Twelfth Night/ Taming of The Shrew (Old Vic/Tour). His television credits includeA Devotee of Art, Brotherhood, Detectorists, Scrotal Recall, Kingdom, Holby City and Murder in Suburbia. His film credits include Small Holding, Love is Thicker than Water, Clouds of Sils Maria, Song One, Apres Mai, Lotus Eaters and Crusade in Jeans.

The transfer of Hangmen is produced by Robert Fox, Matthew Byam Shaw for Playful Productions and Royal Court Theatre Productions.

LISTINGS INFORMATION
Robert Fox, Matthew Byam Shaw for Playful Productions, and Royal Court Theatre Productions present
The Royal Court Theatre production of
HANGMEN
by Martin McDonagh
Directed by Matthew Dunster
Wyndham’s Theatre, Charing Cross Rd, London WC2H 0DA
Tuesday 1 December 2015 – Saturday 5 March 2016

Previews from: Tuesday 1 December
Press night: Monday 7 December, 7pm
Final performance: Saturday 5 March

Performance times: Monday – Saturday at 7.30pm, Wednesday and Saturday matinees at 2.30pm. No Wednesday matinee on w/e 6 December 2015

Christmas performance schedule:

Monday	21-Dec-15	7.30pm
Tuesday	22-Dec-15	7.30pm
Wednesday	23-Dec-15	2.30 & 7.30pm
Thursday	24-Dec-15	2.30pm
Friday	25-Dec-15	CLOSED
Saturday	26-Dec-15	7.30pm
Sunday	27-Dec-15	CLOSED
Monday	28-Dec-15	7.30pm
Tuesday	29-Dec-15	2.30 & 7.30pm
Wednesday	30-Dec-15	2.30 & 7.30pm
Thursday	31-Dec-15	2.30pm
Friday	01-Jan-16	7.30pm
Saturday	02-Jan-16	2.30 & 7.30pm
Sunday	03-Jan-16	CLOSED

Running time: 2 hours 30 minutes including interval

Captioned performance: Tuesday 5 January 2016, 7.30pm
Audio described performance: Saturday 16 January 2016, 2.30pm

Tickets from £19.50

Book online: www.hangmentheplay.com
Phone: 0844 482 51204
Groups: 0844 482 51004
Schools: 0844 482 5165
Access: 0844 482 5137

Book online www.royalcourttheatre.com
Phone: 020 7565 5000
Or in person at the box office (Royal Court Theatre, Sloane Square, SW1W 8AS)

No booking fees when booked directly with the theatre, www.delfontmackintosh.co.uk,www.hangmentheplay.com and via the Royal Court Box Office.

A limited number of £19.50 Day Seats will be released in person at Wyndham’s Theatre Box Office from 10.30am for that day’s performances.

 

 

EVERY INCH A WHOPPING HIT

Author Simon Beaufoy and cast members talk about their current UK tour of The Full Monty which comes to Darlington Civic Theatre from Monday 16 to Saturday 21 November.

Former Hollyoaks and Eastenders star Gary Lucy is no stranger to taking his clothes off but he’s doing it for the first time on stage as he leads the cast of The Full Monty which is coming to Darlington Civic Theatre from Monday 16 to Saturday 21 November.

“Every job I’ve had has seemed to involve some sort of nudity!” Gary joked.

Surprisingly, in an almost 20 year career, Gary has never appeared on stage until The Full Monty.

“I had never consciously decided not to do theatre but I’ve been incredibly lucky in my career to have played so many memorable characters in some great TV series. When the producers of The Full Monty approached me about starring in the tour, I just thought that it was a great opportunity for my first stage experience. It’s a really strong script. All the characters have stories to tell, and the audience really follows that through. It’s a really great cast too, we all get on well. It’s all guys together and we’re just having a laugh.”

At the beginning, it was in at the deep end for Gary.

“It was a real challenge when I first started working on the show. Theatre is a completely different discipline to TV. I’m on stage for pretty much the entire show. The rest of the cast were brilliant and really helped me through. I’m not one to do things by half and I’ve never shied away from hard work or a challenge.”

Gary’s well into the swing of life on the road and is enjoying the nightly standing ovations but he does admit that “it’s tough being away from home as I have two young kids but I am really well supported and I am getting home as much as possible.”

Oscar winter writer of the film, Simon Beaufoy, was also a stage novice. Even with a mantelpiece groaning with awards he admits that it was terrifying to begin with, but he was determined not just to do a carbon copy of the film on stage.

“I felt really strongly that audiences would want to come and see a really good play so that’s how I approached it” Simon recalls. “It was a steep learning curve for me and enormously invigorating to learn a whole new craft after 16 years writing for the cinema. I had to discover what works and what doesn’t. Ironically, it’s turned out that the story feels perfect on stage. It’s an ensemble piece about a group of men who are stuck and wondering what to do next.”

Having won an Oscar for Slumdog Millionaire and written screenplays for 127 Hours, Salmon Fishing in Yemen and Hunger Games: Catching Fire, Simon says that The Full Monty is “the film that I’m most proud off. I love it because of the characters, because of the city and because it’s about the people I met in the late eighties, who were some of the warmest and kindest people I’ve ever come across.”

Rupert Hill, best known as Jamie Baldwin in Coronation Street, agrees with Simon. As well as being lots of fun, the show also tackles lots of important issues.

“The great thing about Simon’s script is that it looks at all the issues people faced in cities like Sheffield in the eighties but it’s also a great night out for the audience. There’s the pay off at the end, but you can really feel the audience rooting for you because they care about what the characters have been through to get to that point.

On getting naked on stage, Rupert says:

“Once you agree to the job, you’ve kind of got to get over the whole naked thing. There’s no skirting around it, you know you are going to be naked in front of hundreds – no, make that thousands – of people. If we were supposed to be the Chippendales then it would be horrendous, but the whole point is these are six ordinary blokes who are doing this to earn a few bob. That’s what’s nice about it being all different ages and sizes, they’re all normal chaps out there and that’s what we are.”

And of course, the big question is whether the cast actually do go all the way. Simon Beaufoy was amazed by the audience reaction to the finale of the show.

“You’d think we’d all be a little blasé about seeing a few chaps in the buff. But apparently not! To answer the question – yes they really do go The Full Monty! The audience reaction is amazing – they whoop and roar but it’s not because they’re being titillated by some naked flesh. It’s because they’re just so happy that the guys are actually going for it. It’s a really lovely response – it’s sheer joy that these characters they’ve come to know and love actually have the guts to do it.”

The Full Monty is at Darlington Civic Theatre from Monday 16 to Saturday 21 November.

Tickets* are £12.50 to £29.50 To book contact the Box Office on 01325 486 555 or visit www.darlingtoncivic.co.uk

*All ticket prices include a £1 restoration levy

For the first time ever, the award-winning West End production of Roald Dahl’s Charlie and the Chocolate Factory, directed by Sam Mendes, will be holding open auditions.   Next month, performers are invited to attend a day of auditions for the iconic roles of the Oompa-Loompas for the 2016-17 West End Company. 

Auditions will be held on Monday 26th October 2015 at The Dominion Theatre, 268-269 Tottenham Court Road.  Auditions for female performers start at 10am and for male performers at 2pm.

The creative team behind the production is looking for technically strong dancers, highly skilled in a range of styles including ballet, street, hip-hop, disco and tap. Alongside dance technique, the team will be looking out for performers with bags of personality and excellent facial and character skills.  Whilst this will be a dance only call, strong singing voices will be required for any recalls. Attendees must be aged 18 years or older, eligible to work in the UK and having a playing age of 18 – early 30s.  Female performers to be 5’1’’-5’8’’ and male performers 5’6’’ – 6’0’’.  Performers of all backgrounds and ethnic groups are encouraged to attend.

Auditionees should bring tight fitting dance clothes, ballet shoes, trainers and kneepads as well as a C.V. and headshot stapled together.

Resident Choreographer, Chris Piper said ‘Charlie and the Chocolate Factory remains one of the most popular and successful musicals in the West End. This is a brilliant opportunity for performers to appear onstage as an Oompa-Loompa, one of Dahl’s most recognisable characters.  We’re searching for dancers with exceptional technical and performance skills who can embody their cheeky personality and entertain our audiences night after night’.  

Roald Dahl’s Charlie and the Chocolate Factory has quickly become one of the West End’s most popular and successful stage musicals. It won two Olivier awards in April 2014, and has broken records at the Theatre Royal Drury Lane, where it has been seen by over 1,500,000 people since it opened in June 2013. It is currently taking bookings until 4 June 2016.

Charlie and the Chocolate Factory is directed by Sam Mendes. Featuring ingenious stagecraft, the wonder of the original story that has captivated the world for almost 50 years is brought to life with music by Marc Shaiman, and lyrics by Scott Wittman and Marc Shaiman, a book by award-winning playwright and adaptor David Greig, set and costume designs by Mark Thompson and choreography by Peter Darling.

The Official Cast Recording album is available on Sony Records, on CD and download.

This world premiere musical is produced by Warner Bros. Theatre Ventures, Neal Street Productions and Langley Park Productions.

www.CharlieandtheChocolateFactory.com
Box Office: 0844 858 8877
Theatre Royal, Drury Lane, London, WC2B 5JF
Booking until 4 June 2016

Audition venue

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

 

• Roald Dahl’s
  CHARLIE AND THE CHOCOLATE FACTORY
  Directed by Sam Mendes
  Book by David Greig
  Music by Marc Shaiman
  Lyrics by Scott Wittman and Marc Shaiman
  Set and costume design by Mark Thompson
  Choreography by Peter Darling

 

Full casting has been announced for Tomcat, which opens at Southwark Playhouse next month.

James Rushbrooke’s Tomcat was the winner of the 2015 Papatango New Writing Prize which sees his play performed for a four week run at Southwark.

Directed by Kate Hewitt, the cast will be led by 14-year-old Eleanor Worthington-Cox who won an Olivier Award for Matilda along with the other actresses who played Matilda. The role of Jessie in Tomcat will be her first stage role not shared with other children.

She will be joined by Brian Doherty (From Here to Eternity), Edward Harrison (Wolf Hall), Diana Kent (The Heresy of Love) and Susan Stanley (F*ck The Polar Bears).

As debate over genetic screening rages, Tomcat questions the lengths to which people will go to keep humanity healthy.

The production features set design by So Here We Are designer Lily Arnold, with lighting by Johanna Town and sound by Richard Hammarton.

Tomcat runs at Southwark Playhouse from 30 October to 21 November 2015.