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ETT ANNOUNCES DATES FOR UK TOUR OF

MIXED REALITY INSTALLATION

MUSEUM OF AUSTERITY

Following its successful run at HOME Manchester last November, ETT (English Touring Theatre) today announces further dates for theUK tour of Museum of Austerity. The mixed reality installation – a co-production with National Theatre Immersive Storytelling Studio,and Trial & Error Studio – will open the spring 2024 tour at Live Theatre, Newcastle on 17 April and run there until 21 April before touring to No 1 Smithery Studio, The Historic Dockyard from 16-18 May and culminating with a run at Bristol Old Vic from 12 – 15 June.

Winner of Best Immersive Production at International Documentary Festival Amsterdam, Museum of Austerity combines the skills of director Sacha Wares with the in-depth knowledge of Disability News Service editor John Pring to tell the human stories of Austerity Britain. The creative team is completed with Composer Adrian Lee, Costume and Installation Design by 2024 Olivier Award Winner Miriam Buether, Sound Design by Gareth Fry, Original Lighting Design by Prema Mehta, Movement Direction by Leon Baugh, Assistant Direction by  Hana Pascal Keegan and Casting Direction by Amy Ball.

Running alongside the production on tour, there will be a programme of exhibitions and workshops led by Healing Justice LDN and local partnering organisations. The first workshop Rage, grief and justice: Disabled people’s resistance to austerity will run at Live Theatre, Newcastle on 19 April.

Director and founder of Trial & Error Studio, Sacha Wares said today, “Inspired by war photographers of the past who used early cameras to capture distant battlefields, Museum of Austerity employs mixed reality technologies to record the invisible, devastating violence of austerity. Museum of Austerity is an artwork I wish we hadn’t had to make, but which needs to be seen.”

Founder of Disability News Service and Co-Editor of Museum, John Pring said, “Museum of Austerity has found an innovative and powerful way to tell these terrible stories in a way that exposes the horror of what happened to so many disabled people during the austerity period. This is a ground-breaking piece of work, and I’m relieved that this tour will allow more people to view the exhibition and understand how the actions of the Department for Work and Pensions led to widespread poverty, acute distress and even the deaths of countless benefit claimants. I hope the audience will think about the harm done, and how no-one associated with these actions has ever been held accountable for what happened and is still happening today.”

Richard Twyman, Artistic Director and CEO, and Sophie Scull, Executive Producer of ETTsaid, “We’re happy that ETT’s dedication to innovative storytelling and ground-breaking XR technology continues to travel the country, meaning this extraordinary and vital work will be seen across the UK’s regions. We’re honoured to have co-produced this important work alongside Trial & Error and The National Theatre Immersive Storytelling Studio and are in awe of the dedication and hard work of the artists at the centre of Museum of Austerity, particularly co-creators Sacha Wares and John Pring, and the families whose stories are told through the piece for their commitment to the project.”

An ETT, National Theatre Immersive Storytelling Studio, and Trial and Error Studio co-production

MUSEUM OF AUSTERITY

Age guidance – 18+

17 April – 15 June

Creative team:

Director and Co-Editor: Sacha Wares; Specialist Advisor & Co-Editor: John Pring; Composer: Adrian Lee; Costume and Installation Designer: Miriam Buether; Sound Designer: Gareth Fry; Original Lighting Designer: Prema Mehta; Movement Director: Leon Baugh; Assistant Director: Hana Pascal Keegan; Casting Director: Amy Ball

Witness the human stories of Austerity Britain in this arresting mixed reality installation. 

In 2016, the UN found that “grave or systemic violations” of the rights of disabled people were taking place throughout the UK. Wearing a mixed reality headset, you will enter a striking, holographic gallery that lays bare the consequences when state safety nets fail. 

 Museum of Austerity is more than an exhibition; it’s a blend of theatre, history and humanity.

 “It is impossible to look away from the shimmering figures that emerge in what appears at first to be an empty room. And that is the point.” THE GUARDIAN

This powerful installation combines the skills of theatre/XR director Sacha Wares with the in-depth knowledge of John Pring, editor of Disability News Service.

Museum of Austerity was nominated for Best Digital Innovation at the UK Theatre Awards, previewed at the London Film Festival in 2021 and won International Documentary Festival Amsterdam’s (IDFA) Best Immersive Production in 2021. 

An ETT, National Theatre Immersive Storytelling Studio & Trial & Error co-production. Supported by CreativeXR, a programme developed by Digital Catapult and Arts Council England. A Genesis Kickstart Fund project, supported by the Genesis Foundation Co-Commissioned by BFI London Film Festival – LFF Expanded

Sacha Wares is a critically acclaimed theatre director and founder of Trial and Error Studio. Her theatre credits include Sucker Punch, My Child, Random (Royal Court Theatre), Guantanamo – Honour Bound to Defend Freedom (Tricycle Theatre), Game, Boy (Almeida Theatre), Generations, Wild Swans (Young Vic), and Trade (RSC). She is founder of Trial and Error Studio, Innovation Associate at English Touring Theatre, and Associate Director at the National Theatre’s Immersive Storytelling Studio.  Wares’ work as director for extended reality performance includes Adult Children (Donmar/ETT/Trial and Error/ScanLAB Projects) and Museum of Austerity (ETT/NT/Trial and Error). Sacha is an Innovate UK Award recipient for her pioneering research into multisensory accessibility for extended reality narrative. She is currently in production for a VR documentary about the artist Judith Scott.

John Pring is founder of Disability News Service. He is a disabled journalist, and co-creator of the Deaths by Welfare timeline, and was associate producer on an award-winning Dispatches documentary, The Truth About Disability Benefits. The Department, his book about the Department for Work and Pensions, and how its actions led to countless deaths of disabled benefit claimants, will be published by Pluto Press this summer.

LISTINGS

MUSEUM OF AUSTERITY

Website ett.org.uk | Email [email protected]

Live Theatre, Newcastle

17-21 April

Box office: 01912 321 232 / https://www.live.org.uk/

No 1 Smithery Studio, The Historic Dockyard, Chatham

16-18 May

Box office: 01634 823 800 / https://thedockyard.co.uk/attractions/no-1-smithery/

Bristol Old Vic

12-15 June

Box office: 0117 987 7877 / https://bristololdvic.org.uk/

Rage, grief and justice: Disabled people’s resistance to austerity

Live Theatre, Newcastle-upon-Tyne

Friday 19 April at 1pm

https://bit.ly/HealingJusticeLDNWorkshop

Calling all Bohemians and Aristocrats!

The Spectacular, Spectacular MOULIN ROUGE! THE MUSICAL will embark on a World Tour, beginning in the UK, in 2025.

Further details and information on venues will be announced in due course. To be the first to hear, sign-up at www.moulinrougemusical.co.uk 

The acclaimed London production will continue to play at the Piccadilly Theatre.

NICHOLAS HYTNER’S AWARD-WINNING PRODUCTION OF GUYS & DOLLS

ANNOUNCES FINAL EXTENSION RUNNING UNTIL JANUARY ‘25

The Bridge Theatre | SE1 2SG

Booking until 04 January 2025

Nicholas Hytner’s critically acclaimed immersive production of Guys & Dolls announcesits final extension, with tickets on sale until 04 January 2024.

The Bridge’s production of Guys & Dolls, which opened in March 2023, immerses audiences in one of the greatest musicals of all time. This unlikeliest of love stories is packed with hit songs, including the showstopping ‘Sit Down You’re Rockin’ the Boat’, ‘Luck Be a Lady’ and ‘Take Back Your Mink’. In this production the seating is wrapped around the action, while the immersive tickets transport audiences to the streets of Manhattan and the bars of Havana.

With this final extension, audiences have one last chance to enjoy the award-winning Guys & Dolls before the theatre is transformed again, for new, soon to be announced, productions in 2025.

Guys & Dolls stars Owain Arthur (The History Boys, One Man, Two Guvnors, The Lord of the Rings) in the role of Nathan Detroit, George Ioannides (An Officer and a Gentleman, Annie, MAMMA MIA!) in the role of Sky Masterson, Timmika Ramsay (Moulin Rouge!, Cinderella) in the role of Miss Adelaide, Celinde Schoenmaker (Howard Goodall’s Love Story, Les Misérables, The Phantom of the Opera) in the role of Sarah Brown and Jonathan Andrew Hume (Come From Away; nominated for Best British Actor in a Musical at the Black British Theatre Awards) in the role ofNicely-Nicely Johnson.

Niall Buggy plays Arvide Abernathy, Cornelius Clarke plays Lieutenant Brannigan, Cameron Johnson plays Big Jule, TJ Lloyd plays Rusty Charlie, Ryan Pidgen plays Benny Southstreet, Tori Scott playsGeneral Cartwright, and Dashaun Vegas plays Harry the Horse.

The rest of the cast includes Iroy Abesamis, Katie Bradley, Tanisha-Mae Brown, Filippo Coffano, Eamonn Cox, Kamilla Fernandes, Alex Given, Lucie Horsfall, Dominic Lamb, Siân Nathaniel-James, Saffi Needham, Sophie Pourret, James Revell, Nathan Rigg, Pierce Rogan and Samuel Routley, Charlotte Scott (Co-Dance Captain), Hollie Jane Stephens and Dale White (Dance Captain, Fight Captain).

Guys & Dolls – A Musical Fable of Broadway, based on the story and characters of Damon Runyon – has music and lyrics by Frank Loesser and book by Jo Swerling and Abe Burrows, with choreography by Arlene Phillips with James Cousins, musical supervision and arrangements by Tom Brady, set by Bunny Christie, costumes by Bunny Christie and Deborah Andrews, lighting by Paule Constable, sound by Paul Arditti, orchestrations by Charlie Rosen, associate direction by James Cousins and Lily Dyble, casting by Charlotte Sutton, fight direction by Kate Waters and wigs, hair and make-up by Campbell Young Associates.

Since opening, Guys & Dolls has won a number of awards; in November 2023, it won Best Musical at the Evening Standard Theatre Awards, in February 2024 it won three awards at the WhatsOnStage Awards including Best Musical Revival, in March 2024 it won the Critics’ Circle Theatre Awards for Best Musical (The Peter Hepple Award) and in April 2024

Arlene Phillips with James Cousins won The Olivier Award for Best Theatre Choreographer.

LISTINGS INFORMATION FOR THE BRIDGE THEATRE

Address: Bridge Theatre, 3 Potters Fields Park, London, SE1 2SG

Box Office: 0333 320 0051 or [email protected]

Access: 0333 320 0051 or [email protected]

Website: www.bridgetheatre.co.uk

Twitter: @_bridgetheatre

Instagram: @_bridgetheatre

Facebook: facebook.com/bridgetheatrelondon

A Simon Friend Entertainment and Leeds Playhouse co-production 

FULL CAST AND CREATIVE TEAM ANNOUNCED FOR

FOR THE FIRST TIME ALL OF DOLLY PARTON’S BIGGEST HITS CAN BE EXPERIENCED TOGETHER IN A ROLLICKING AND JOYOUS NEW MUSICAL COMEDY!

www.hereyoucomeagain.co.uk

Simon Friend Entertainment and Leeds Playhouse are delighted to announce the full cast and creative team for the UK premiere of Here You Come Again. The show receives its UK premiere in Leeds this spring, where it runs from Saturday 11 May to Saturday 8 June ahead of a major UK tour.

Aidan Cutler (Backing Vocalist and Cover ‘Kevin’) and Charlotte Elisabeth Yorke (Backing Vocalist and Cover ‘Dolly’) join the cast alongside previously announced star and co-writer Tricia Paoluccio, who reprises her celebrated role as ‘Dolly’ following US acclaim and West End star Steven Webb (Oliver!, Book of Mormon) as ‘Kevin’, a 40-year-old, ‘has-been-who-never-was’ comedian in the new musical. Richard John is Musical Supervisor, Jordan Li-Smith is Musical Director, Kevin Oliver Jones joins the band on Bass, Alex Crawford on Guitar and Ben Scott on Drums.

Having enjoyed several successful runs across the United States, Here You Come Again was originally written by multi-Emmy award-winning comedy and songwriter Bruce Vilanch with Gabriel Barre (who also directs) and writer and actor Tricia Paoluccio (who co-writes and stars as Dolly). Acclaimed British TV and theatre writer Jonathan Harvey (Gimme, Gimme, Gimme and Coronation Street) provides additional material for the production’s UK run.

The wider creative team comprises Gabriel Barre as Director; Set and Costume Designer, Paul Wills; Choreographer, Lizzie Gee; Lighting Designer, Tim Deiling; Sound Designer, Tom Marshall; Associate Director/Assistant Choreographer, Teenie MacLeod; Illusion Designer, Richard Pinner; Orchestrator, Eugene Gwozdz; Orchestra Manager, Maurice Cambridge; Production Manager, Ben Arkell and Casting Director, Stuart Burt.

For the first time ever, all of Dolly Parton’s biggest hits are brought together in a rollicking and joyful new musical, fully authorised by Dolly herself. Packed with iconic songs like Jolene, 9 to 5, Islands in the Stream, I Will Always Love You, Here You Come Again and more, this lively and touching new musical tells the story of a diehard fan whose imagined version of international icon Dolly Parton gets him through trying times.

Kevin has just separated from his long-time boyfriend, Jeremy, an investment banker, and is in quarantine in the attic bedroom of his childhood home in Yorkshire. Surrounded by precious belongings from his youth, he is reunited with a much-loved old record player and his cherished Dolly albums. He remembers the hard times those songs helped him through in the past and counts on them to help him once again. With her wit, humour and charm, Dolly teaches him a whole lot about life, love and how to pull yourself up by your bootstraps… even if your bootstraps don’t have rhinestones!

After its UK premiere in Leeds, the tour then continues to: Curve Theatre, Leicester; Theatre Royal, Newcastle; Arts Theatre,Cambridge; Marlowe Theatre, Canterbury; Theatre Royal, Nottingham; Malvern Theatres, Malvern; Playhouse Theatre, Edinburgh; His Majesty’s Theatre, Aberdeen; Cliffs Pavilion, Southend; Wales Millennium Centre, Cardiff; Theatre Royal, Brighton; Alexandra Theatre, Birmingham; Lyceum Theatre, Sheffield; Richmond Theatre, Richmond; King’s Theatre, Glasgow; Theatre Royal, Norwich; Everyman Theatre, Cheltenham; New Victoria Theatre, Woking; The Lowry, Salford; Theatre Royal, Bath; Milton Keynes Theatre, Milton Keynes; Grand Theatre, Blackpool Grand before concluding at the Empire Theatre, Liverpool.

Festival Theatre, Malvern – 14h April 2024

Reviewed by Courie Amado Juneau

5*****

Ellen Kent Opera Productions once again return to Malvern, this time with Bizet’s masterpiece Carmen performed by the Ukrainian Opera & Ballet Theatre Kyiv.

The story concerns Don José falling for the obvious (though morally dubious) charms of Carmen, abandoning his former life (soldiering, a sweetheart and his elderly mother) and becoming jealous of the attention she garners wherever she goes which (being an opera) does not end well.

The orchestra, masterfully conducted by Vasyl Vasylenko, gave us a rousing Overture – a greatest hits of opera all on its own! The music was crisp, lush, suitably exotic and (like a flamenco dancer) perfectly balanced. Everything needed to transport you to the sensuous delights of Seville; the effect completed by an impressive plaza set and a chorus resplendent in their enchanting costumes – a feast for all the senses!

Davit Sumbadze gave us heroic romanticism in the lead male role of Don José. I particularly enjoyed his duets with our female leads, both of whom he had a genuine connection with. The complete performance.

Carmen (played by Natalia Matvieieva), enters with one of the most famous and popular arias ever, the “Habanera”. Her sultry, sensuous rendition set the tone for a flawless depiction of this seductive temptress. She absolutely nailed the character’s Iberian heat and joie de vivre and (like many on stage and off) I totally fell in love with her Carmen.

We were graced once more with the presence on stage of the incomparable Elena Dee (as Micaela). I saw her recently as Madamma Butterfly and she was perfect – she was again tonight. Opera is, of course, complete musical theatre and Dee has it all with a mellifluous tone to caress your ears, coupled with the ability to convey every ounce of raw emotion directly into ones heart.

The acting throughout was of the highest order – especially from Sumbadze, Matvieieva and Dee in their respective final scenes together. But the chorus were also doing some fine acting in the background which added to the atmosphere and enjoyment – indeed, much of the time I found myself watching them as much as the principals. A highlight for me was the wonderful gypsy revelry during the festive scene in act 2. I’ve said it before; there’s something about the twirling of hair, skirt and hands whilst castanets (or tambourines) are playing that makes the senses reel. Ah, España! Escamillo (played by Iurie Gisca) gave us a believable love interest/rival and his “Toreador Song” was suitably arrogant. His singing was rich and sonorous but when that chorus joined in, it was stunning!

The companions of Carmen (Anastasiia Blokha and Marharyta Bochachova) deserve special mention too for their exceptional performances i.e. when giving the pivotal “cards scene” a commendable, joyful vibrancy.

I hope our applause and cheers at the end continue to convey to all how much we still support Ukraine at this dreadful time. What a tragedy that their suffering continues. May we soon be waving their flag in a clear blue peaceful sky.

Another triumphant night to thrill the senses, transport you to a better place (Spain) and make you feel alive once more. I cannot see how tonight could have been improved upon – it was sheer perfection and an unalloyed pleasure from start to finish. Bravissimo.

Full cast announced for the enthralling 18^th century adventure CORAM BOY

24 May – 15 June, Chichester Festival Theatre
21 – 29 June, The Lowry, Salford

The full cast has been announced for Anna Ledwich’s new production of Coram Boy, running at Chichester Festival Theatre from 24 May – 15 June (press night: Thursday 30 May) and at The Lowry, Salford from 21 – 29 June.

Helen Edmundson‘s adaptation of Jamila Gavin‘s Whitbread Award-winning novel premiered at the National Theatre in 2005 before transferring to Broadway. Nominated for several Olivier and Tony Awards, it won the Time Out Live Award for Best Play.

The cast is: Will Antenbring (Alexander Ashbrook), Louisa Binder (Young Alexander/Aaron Dangerfield), Pandora Clifford (Lady Ashbrook/Mrs Hendry), Rhianna Dorris (Melissa Milcote/Angel), Holly Freeman (Isobel Ashbrook), Aled Gomer (Meshak Gardiner), Harry Gostelow (Sir William Ashbrook), Tallulah Greive (Alice Ashbrook), Rebecca Hayes (Young Thomas Ledbury), Tom Hier (Thomas Ledbury), Jewelle Hutchinson (Miss Price/Toby Gaddarn), Debbie Korley (Mrs Milcote), Milo McCarthy (Edward Ashbrook), Jo McInnes (Mrs Lynch), Samuel Oatley (Otis Gardiner/Philip Gaddarn)and James Staddon (Theodore Claymore/George Frederic Handel). They will be joined by an ensemble of 12 children.

Angels and abandoned children, glorious music and murder most foul whirl through this enthralling, moving and richly colourful tale of 18^th century England.

At Gloucester Cathedral, Alexander Ashbrook, heir to an aristocratic estate, has his heart set on becoming a composer; but his stern father refuses to listen and despite his love for the beautiful Melissa, flight seems his only option. Far darker conflicts are at play for Meshak, son of the brutal Otis Gardiner who preys on young unmarried mothers – promising to deliver their babies to Coram’s new Foundling Hospital but instead meting out a terrible fate.

Their stories entwine eight years later in London, where two Coram orphans, Toby and Aaron, find themselves on parallel adventures, and the great Handel is at work on a new score, Messiah, embodying the hope of love and salvation over evil.

Anna Ledwich was formerly writer in residence at CFT (Pinocchio) and Artistic Director of Theatre on the Fly (2012); her recent directorial work includes Anthropology (Hampstead).

The designer is Simon Higlett, lighting designer Emma Chapman, composer and sound designer Max Pappenheim, musical director Stephen Higgins, movement director Chi-San Howard, fight and intimacy director Bethan Clark, casting director Annelie Powell CDG, and voice and dialect coach Joel Trill.

For ages 12+.

Coram Boy will run at The Lowry, Salfordfrom 21 – 29 June, immediately following its Chichester run.

The Chichester production is sponsored by The Portsmouth Grammar School.

Tickets from £10

cft.org.uk       Box Office 01243 781312      

Prologue: £5 tickets for 16 – 30s

9,000 £5 tickets are available for 16 to 30 year-olds across all Festival 2024 productions; sign up for free at cft.org.uk/prologue.

NEW CAST JOIN MRS. DOUBTFIRE AS THE HIT SHOW ENTERS ITS SECOND YEAR IN THE WEST END

SHAFTESBURY THEATRE, LONDON
www.mrsdoubtfiremusical.co.uk

Rehearsals begin today for new cast members who will be joining Mrs. Doubtfire on stage, as the hit family musical enters its second year in the West End.

The cast of Mrs. Doubtfire will continue to include Gabriel Vick (Avenue Q) as Daniel Hillard, Laura Tebbutt (School of Rock) as Miranda Hillard, Cameron Blakely (Newsies) as Frank Hillard, Marcus Collins (Kinky Boots) as Andre, and Micha Richardson (Come From Away) who will now play Wanda Sellner.

From Tuesday 14 May 2024, they will be joined by Charlotte Fleming making her West End debut as Lydia Hillard, Matthew Goodgame (Chicago) as Stuart Dunmire, and Ross Dawes (The Phantom of the Opera) as Mr. Jolly.

The full cast, some of whom are joining on 14 May, include Michael Afemaré, Alex Bowen, Nicole Carlisle, Joshua Dever, Joseph Dockree, Autumn Draper, Maria Garrett, Cristina Hoey, Peter Houston, Jodie Knight, Ryan Lay, Adam Lyons, Lisa Mathieson, Ellie Mitchell, Perry O’Dea, Rhys Owen, Bleu Woodward, and Tom Woollaston.

Mrs. Doubtfire also introduces Thommy Bailey Vine, Herbie Byers, and Parker Newman who alternate the role of Christopher Hillard and Rachelle Bonfield-Bell, Ellemie Shivers, and Felicity Walton who alternate the role of Natalie Hillard.

A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.

Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the ​alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.

Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with Original Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, and a Book by Karey Kirkpatrick and John O’Farrell (team behind the hit Tony Award-nominated musical Something Rotten!). Direction is by 4-time Tony winner Jerry Zaks (Hello, Dolly!), Choreography by Lorin Latarro (Waitress), and Music Supervision, Arrangements & Orchestrations by Ethan Popp (Tina: The Tina Turner Musical). Scenic design is by David Korins (Hamilton), Costume Design by Catherine Zuber (Moulin Rouge! The Musical), Lighting Design by Philip S. Rosenberg (Pretty Woman The Musical), Sound Design by Brian Ronan (Beautiful: The Carole King Musical), Hair Design by David Brian Brown (Frozen), Casting by Stuart Burt (Cabaret) and Children’s Casting Director is Verity Naughton.

Mrs. Doubtfire is produced by Kevin McCollum and Jamie Wilson and is presented by special arrangement with Buena Vista Theatrical.  

AMBASSADOR THEATRE GROUP BECOMES ATG ENTERTAINMENT,

UNDERPINNED BY A NEW PROPOSITION: “PASSION BEHIND PERFORMANCE”

LONDON, NEW YORK AND COLOGNE – 15TH APRIL 2024 – Ambassador Theatre Group (“ATG”), a leading live entertainment organisation, today announced that it is rebranding as ATG Entertainment. The transformation is accompanied by a refreshed logo, design language and brand proposition: “Passion Behind Performance”.

“Now is the right time to change our name to ATG Entertainment, modernise our look and strengthen our brand proposition,” said Ted Stimpson, CEO of ATG Entertainment. “Over the past few years, we have grown quickly and, with 64 venues and over 11,500 people across Europe and North America, we are pleased to unify the Group with a brand that reflects the breadth of our business today. We are all deeply committed to supporting our Producers as they put on incredible productions that excite, move and touch our audiences and I believe this is perfectly captured with our new brand proposition, “Passion Behind Performance.”

The new name, refreshed logo and design language reflect the Company’s evolution from theatre operator and capture the increasing variety of its content across music, comedy and events. The brand proposition, “Passion Behind Performance”, powerfully underscores the Group’s ongoing purpose, commitment, and dedication to support and enable producers and promoters to stage shows that entertain over 18 million people each year.

Stimpson added: “We are proud of our strong heritage and foundations that have been built over 30 years. The shows created with our producers for theatregoers by the Jujamcyn team on Broadway, and the unforgettable entertainment brought by Mehr-BB to our European audiences, have been transformational to the One Company we are today.”

Winners announced for Olivier Awards 2024 with Mastercard

• Sunset Boulevard is the big winner of the night with seven wins including both Best Actor and Actress in a Musical for its leading duo Tom Francis and Nicole Scherzinger. Jamie Lloyd wins the Sir Peter Hall Award for Best Director and the show also wins Best Musical Revival. Jack Knowles wins the White Light Award for Best Lighting Design; Alan Williams wins the Outstanding Musical Contribution Award for his musical supervision and musical direction and Adam Fisher wins the d&b audiotechnik Award for Best Sound Design 
• The National Theatre closed the awards ceremony with a special performance to mark its 60th Anniversary. The theatre won three awards: The Londoner Award for Best New Play for James Graham’s Dear England; Best Actor in a Supporting Role for Will Close’s performance in Dear England and Best Actor for Mark Gatiss’ performance in The Motive And The Cue 
• The Picture Of Dorian Gray won both categories within which it was nominated: Sarah Snook’s West End debut performance saw her win the award for Best Actress and Marg Horwell wins the Mithridate Award for Best Costume Design
• Operation Mincemeat wins Mastercard Best New Musical. Jak Malone took home the award for Best Actor in a Supporting Role in a Musical for his role in the same show
• Amy Trigg wins Best Actress in a Supporting Role In a Musical award for her role in The Little Big Things
• Haydn Gwynne was posthumously awarded the Olivier Award for Best Actress in a Supporting Role for When Winston Went to War with The Wireless
• Ceremony highlights to be broadcast tonight on ITV1 at 10:10pm and will be available to stream via BritBox in North America, Canada and Australia

officiallondontheatre.com/olivier-awards

This evening (Sunday 14th April), the Society of London Theatre has revealed the winners of this year’s Olivier Awards with Mastercard. The winners were announced at a star-studded ceremony at London’s Royal Albert Hall, hosted by Hannah Waddingham. A highlights package from the event will be broadcast at 10.10pm this evening on ITV1, and will be available to stream via BritBox in North America, Canada and Australia.

The biggest winner of the night was Sunset Boulevard with seven wins, including both Best Actor and Actress in a Musical for its leading duo Tom Francis and Nicole Scherzinger. Jamie Lloyd won the Sir Peter Hall Award for Best Director and the show also won Best Musical Revival. Jack Knowles took home the White Light Award for Best Lighting Design; Alan Williams won for the Outstanding Musical Contribution award for his musical supervision & musical direction and Adam Fisher won the d&b audiotechnik Award for Best Sound Design.

Host Hannah Waddingham opened the ceremony with a stunning performance of ‘Anything Goes’ from the musical of the same name, accompanied by musician Joe Stilgoe and the London Community Gospel Choir. Additional performances throughout the evening included Mastercard Best New Musical nominees: The Little Big Things, Next To Normal, Operation Mincemeat and A Strange Loop, alongside Best Musical Revival nominees Guys & Dolls and Hadestown and winner Sunset Boulevard, in addition to a special moment from Groundhog Day Australia. 

Mastercard Best New Musical was awarded to Operation Mincemeat, with music, lyrics & book by David Cumming, Felix Hagan, Natasha Hodgson & Zoë Roberts at the Fortune Theatre. It was a fiercely competitive category this year – a testament to the strength and creativity of London’s ever-evolving musical theatre scene. Playing Hester in Operation Mincemeat, Jak Malone took home the award for Best Actor in a Supporting Role In a Musical.

The coveted Olivier Awards for Best Actor and Best Actress went to Mark Gatiss for his role in The Motive And The Cue and Sarah Snook for her West End debut performance in The Picture Of Dorian Gray. 

Amy Trigg won the Best Actress in a Supporting Role In a Musical award for her role as Agnes in The Little Big Things at @sohoplace and the Cunard Best Revival award went to Vanya by Anton Chekhov, adapted by Simon Stephens at the Duke Of York’s Theatre.

Last year’s Special Award winner, Arlene Phillips returned to accept the Gillian Lynne Award for Best Theatre Choreographer alongside James Cousins for Guys & Dolls at the Bridge Theatre. 

Stranger Things: The First Shadow by Kate Trefry at the Phoenix Theatre won two awards: the Noël Coward Award for Best New Entertainment or Comedy Play and the Blue-i Theatre Technology Award for Best Set Design went to Miriam Buether for set design & 59 Productions for video design.

The Bush Theatre’s Sleepova by Matilda Feyiṣayọ won the Unusual Rigging Award for Outstanding Achievement in Affiliate Theatre and the TAIT Award for Best New Opera Production went to Innocence by the Royal Opera at the Royal Opera House. The Outstanding Achievement in Dance went to Isabela Coracy for her performance in NINA: By Whatever Means, part of Cassa Pancho’s Ballet Black: Pioneers at the Barbican Theatre. The award for Best New Dance Production went to La Ruta by Gabriela Carrizo, part of Nederlands Dans Theater – NDT 1 at Sadler’s Wells. In his final year in the role, Antonio Pappano won the Outstanding Achievement in Opera award for his role as Music Director of the Royal Opera House. 

The Best Family Show winner was Dinosaur World Live by Derek Bond at Regent’s Park Open Air Theatre.

This year’s In Memoriam segment paid tribute to some of the industry titans we have lost this year from both on and off stage, including Haydn Gwynne, who was posthumously celebrated as she won the Olivier Award for Best Actress in a Supporting Role for When Winston Went to War with The Wireless. Her children accepted the award in her honour and gave a touching tribute to Gwynne as a formidable and revered artist as well as a much loved mother.

The National Theatre closed the awards ceremony with a special performance to mark its 60^th anniversary. Written by James Graham with direction by Elin Schofield, the performance saw Joseph Fiennes reprise his role as Gareth Southgate in Dear England, which won The Londoner Award for Best New Play, to lead an ensemble cast including Janie Dee, Adrian Lester, Meera Syal, Callum Scott Howells and Fra Fee alongside a choir of 30 National Theatre alumni performers. Showcasing the scale of the National Theatre’s contribution to the arts, including a film marking the creation and development of the NT’s South Bank home voiced by Dame Helen Mirren, the performance culminated with a rousing rendition of ‘You’ll Never Walk Alone’ from the musical Carousel. 

Eleanor Lloyd, President of SOLT said: “The Olivier Awards have once again showcased the best of London theatre and the huge talent of this incredible sector. Congratulations to all of the worthy winners and every nominee for your immense and valued contribution.”

The Olivier Awards continued their partnership with Mastercard as headline sponsor for its 14th year. 

Charlie Carrington, Senior Vice President, Marketing and Communications for UK and Ireland at Mastercard said: “We are delighted to partner once again with the Olivier Awards to celebrate the best talent and performances London theatre has to offer. Mastercard continues to work closely with the creative industries, supporting inclusivity and championing all those performing on stage and behind the scenes, whilst bringing fans closer to their passion for theatre. Congratulations to all of tonight’s winners and we look forward to another wonderful year of theatre ahead.” 

Mastercard cardholders were offered exclusive access to tickets and VIP experiences for the biggest night in theatre. More once-in-a-lifetime theatre experiences can be found on priceless.com.

Clothing partner Mithridate sponsored the award for Best Costume Design, which was won by Marg Horwell for The Picture Of Dorian Gray. They also generously dressed a number of attending nominees, presenters and VIP guests, including David Tennant, Fra Fee, Madeleine Mantock, Georgina Onuorah and John McCrea.

The Olivier Awards are grateful to additional category sponsors Cunard, The Londoner, The Lynne & Land Foundation, The Noel Coward Foundation, as well as production partners Blue-I Theatre Technology, d&b audiotechnik, TAIT, Unusual Rigging and White Light, Champagne partner Taittinger, and additional partners Global, Heart of London Business Alliance, Newman Displays, See Tickets, Mobile Entertainment Platform partner TikTok and Fujifilm for their ongoing support. 

Olivier Awards 2024 with Mastercard Photos (c) Joanne Davidson

Forum Theatre, Malvern – 12th April 2024

Reviewed by Courie Amado Juneau

4****

Mozart’s Great Mass in C minor stands in the shadow of its more famous sibling, the Requiem. This work doesn’t perhaps get the recognition and adulation it deserves but tonight, in Malvern, we got to experience its majesty and power in person. Mozart wrote it in gratitude for his wife recovering from illness and to me it has a rather romantic tinge to it – or perhaps a more earthly heartfelt air than many an austere and sober church setting might elicit.

Soprano Hannah Fraser-Mackenzie, gave us our first hairs up on the back of the neck moment with a truly heavenly, soaring Christe Eleison. The other soprano soloist, Sam Cobb, was equally impressive. But honestly, as the works progressed, all the soloists were sublime, each and every one of them with the most mellifluous and sonorous of voices.

The second half gave us Bach’s Magnificat in D. As one would expect with Bach there’s a logic to the piece with some lovely symmetry between the sections – building up the tension towards the louder movements, only to release it and repeat this structure again. His employment of more sparse instrumentation and soloists to portray personal suffering and larger forces for such movements as He Shows Strength also displayed what a genius composer he was. This all results in an impressive operatic effect that’s all the more powerful than if the full forces were deployed throughout.

The Mozart was superb, the Bach superber (I know, but I was feeling jocular so it seemed an apt word). Generally speaking I’m not the biggest fan of Johann Sebastian’s music – almost certainly due to having been tortured by one of his lute transcriptions for my Grade 8 Classical Guitar exam many moons past. But this piece has turned my head; it’s dramatic yet light and frothy, unified yet varied, grand yet intimate.

The orchestra was on fine form as always and truly magnificent sounding – especially the enlarged brass, timpani and increased strings. But, for all that, I was tickled pink by the sections featuring just the continuo and singer(s) as you could really hear the fabulous organ playing and, especially, when the oboe and 2 flutes played on their own – what a beautiful combination and playing!

Sonically the evening was a triumph. As before, however, I feel like the text as presented in the programme could be much clearer. The Great Mass text was especially bad – it was for the most part just a massive wall of words which made following it (for those of us who don’t speak Latin) in the dimly lit auditorium a real challenge. The addition of some judicious use of spaces in the text for the Gloria and Credo would have solved this problem. For some this won’t be a big thing but I like to understand how the music is supporting the words (and vice versa).

The Armonico Consort under the expert hand (no baton) of Christopher Monks gave us another evening of sparkling entertainment and I cannot wait for their return in June with The Fairy Queen. World class entertainment once again.