Aakash Odedra andAditi Mangaldas’ new work to be performed at Birmingham Hippodrome
Image: Aakash Odedra and Aditi Mangaldas. Photo by Angela Grabowska
A new collaboration from two of the finest Kathak contemporary dancers on the world stage, Aakash Odedra and Aditi Mangaldas is set to be performed at Birmingham Hippodrome on Tuesday 9 April.
Telling the story of a taboo relationship between an older woman and a younger man, Mehek is a powerful and mesmerising duet, showing a physical exploration of the human heart, its desires, courage, and resilience.
Mehek marks the first full length duet of Mangaldas’ illustrious 50-year career and is Hippodrome Associate Aakash Odedra Company’s first major production since Samsara which has been touring the world to great acclaim since its creation in 2022.
Derived from the Hindi word for fragrance, the title Mehek alludes to the enduring power of memory and the essence of love itself. As the story unfolds, elements of nature will be explored with a set of mirrors by Tina Tzoka evoking the expansive waters of the sea, complimented by an epic and intimate score by composer Nicki Wells. Live on stage music will be performed by Faraz Ahmed alongside two Indian percussionists, Ashish Gangani and Hiren Chate.
At the start of the creative process, the company worked with over 450 elders from communities across Leicester who were taking part in Mehek Live, a major learning and participation project funded by a Nationally Significant Project Grant from Arts Council England. Some of their personal stories and memories of life and love, told to Aakash Odedra, dramaturg Karthika Naïr and musician Hiren Chate, have fed into the final piece.
Mehek comes to Birmingham Hippodrome on Tuesday 9 April. Tickets are on sale now and can be booked at www.birminghamhippodrome.com or by calling 0844 338 5000*
*calls cost 4.5p per minute plus your phone company’s access charge.
The BAFTA and IFTA nominated Irish actor Robert Sheehan will star as Withnail in Birmingham Rep’s brand new adaptation of Bruce Robinson’s 1987 British tragi-comedy film, Withnail and I, alongside Adonis Siddique as Marwood with Malcolm Sinclair as Uncle Monty.
Directed by the double Olivier Award-winning Artistic Director of Birmingham Rep, Sean Foley and designed by Alice Power, itwill have its premiere at Birmingham Repertory Theatre, with performances from 3 May until 25 May 2024.
Robert Sheehan made his acting debut in Aisling Walsh’s acclaimed feature Song For A Raggy Boy. Since then, his screen credits include: Season of the Witch, Cherrybomb, Killing Bono, The Mortal Instruments: City of Bones, The Road Within, The Song of Sway Lake, Anita B, The Messenger, Moonwalkers, Jet Trash, Geostorm, Bad Samaritan, Three Summers, Mute, Mortal Engines, the BAFTA winning Red Riding trilogy for Channel 43, the multi-IFTA winning Love/Hate, the BAFTA winning Misfits for E4 (for which he was BAFTA nominated), The Borrowers, Fortitude, Genius: Picasso, The Last Bus, The Umbrella Academy and the upcoming film Red Sonja. His theatre work includes The Playboy of the Western World directed by John Crowley for the Old Vic, Richard III in The Wars of the Roses directed by Trevor Nunn for the Rose Theatre and Endgame directed by Danya Taymor for the Gate Theatre Dublin.
Adonis Siddique’s theatre credits include: The Crown Jewels in the West End, Saleem in East Is East (a Birmingham Rep co-production with the National Theatre); Dorian Gray in The Picture Of Dorian Gray at the Pleasance Theatre in London, Crowther in The History Boys, Jav in Mismatched, a Sky Comedy/Birmingham Rep production, Quasim in Very Special Guest Star atSoho Theatre and Kyle in Dad at SouthwarkPlayhouse. Adonis was a creative collaborator and actor in Shunt’s Party Skills For The End Of The World at The Manchester International Festival. His film & television credits include: Newark Newark, Tin Star, Tyrant, Beyond Reasonable Doubt for CNN and the feature film Me Myself and D.
Malcolm Sinclair is currently appearing at the National Theatre in Dear Octopus with Lindsay Duncan. His other many theatre credits include The Inquiry at Chichester Festival Theatre, My Fair Lady in the West End, The Light in the Piazza internationally and at the Royal Festival Hall, An Enemy of the People at Nottingham Playhouse, This House at Chichester Festival Theatre and at the Garrick Theatre, The Doctor’s Dilemma, The Habit of Art, The Power of Yes and House/Garden, History Boys and Racing Demonfor the National Theatre, Ivanov at the Donmar Warehouse and Richard III, Uncle Vanya and The Comedy of Errors for the Royal Shakespeare Company. His many TV credits include Andor in A Star Wars Story for Disney +, Midsomer Murders, VirtuosoSilk, HenryV, The Hollow Crown, Foyle’s War, Hustle, Judge John Deed, A Touch of Frost and the US mini-series, Scarlett. His many films include: Drowning; The Man Who Knew Infinity, Survivor, A Belfast story, The Young Victoria, Casino Royale, V for Vendetta, Keep The Aspidistra Flying, Young Poisoner’s Handbook, God On The Rocks, Now That It’s Morning and Success Is The Best Revenge.
Written and adapted for the stage by Bruce Robinson himself, the writer and director of the original film, the show will bring to life some of the most iconic comic characters ever created. The film, based on Robinson’s own unpublished novel, was produced by Handmade Films and starred Richard E Grant, Paul McGann and Richard Griffiths.
Sean Foley said: “Hilarious, tragic, and wild, Withnail and I, is a comedy like no other, and I’m thrilled to be working with the legendary Bruce Robinson to bring it to life on stage… In fact, where better for the extraordinarily funny tale of two unemployed actors who go on holiday, ‘by mistake’? Rightly regarded as one of the finest British film’s ever made, our world premiere stage version brings to life the classic dialogue, the insane situations, and above all the boozy, irresistibly hilarious relationship of one of the most famous slacker duo’s ever created…”
September 1969… the swinging ’60’s, rock ’n’ roll, counter culture bohemianism… and two young unemployed actors – the flamboyant, boozy Withnail, and the shy, contemplative Marwood – live in utter squalor in a flat in Camden Town, praying for a job… Their only visitor is their drug dealer, Danny; their only expeditions are to the local pubs; and their only friends each other…
Needing a break from the atrocious state of their acting careers, they hit upon the idea of a nice holiday – and Marwood proposes a trip to a cottage in the Lake District, owned by Withnail’s wealthy Uncle Monty. Monty lives in Chelsea, and after a few drinks together, agrees to lend them the key to the cottage – for a price…
Regarded as one of the finest British film’s ever made, this world premiere stage version brings to life the classic dialogue, the insane situations, and above all the boozy, irresistibly hilarious relationship of one of the most famous slacker duo’s ever created…
‘We want the finest wines available to humanity, we want them here and we want them now!’
Withnail & I is produced for the stage by Birmingham Repertory Theatre alongside Handmade Films and George Waud for Groove International.
Casting is by Ginny Schiller. Further cast and creative team details will be announced in due course.
AND NOW NOMINATED FOR 5 OLIVIER AWARDS INCLUDING BEST ENTERTAINMENT AND BEST DIRECTOR
IS NOW BOOKING UNTIL 15 DECEMBER
★★★★★
‘The First Shadow is a Scintillating Experience’
Metro
Sonia Friedman Productions and Netflix today announce that the critically acclaimed world première production of Stranger Things: The First Shadow extends until the 15 December 2024 at the Phoenix Theatre.
Written by Kate Trefry and with direction by Stephen Daldry and co-director Justin Martin, the production opened to rave reviews at the Phoenix Theatre on 14 December 2023. Recently winning the WhatsOnStage Award for Best New Play, and receiving 5 Olivier Award nominations including Best New Entertainment Play, Best Director, Best Set Design, Best Lighting Design and Best Sound Design.
★★★★★
“As a piece of total theatre, this is streets ahead of anything else”
Evening Standard
★★★★★
‘Sinister and thrilling trip balances horror and humour to great effect. This is exhilarating live theatre…’
Financial Times
Netflix and Sonia Friedman Productions present
STRANGER THINGS: THE FIRST SHADOW
By Kate Trefry
Original story by The Duffer Brothers, Jack Thorne & Kate Trefry
Based on the Netflix Series, Stranger Things, created by the Duffer Brothers
The Duffer Brothers act as creative producers, with 21 Laps Entertainment as associate producer.
Directed by Stephen Daldry, with co-direction by Justin Martin, leading the world class award-winning creative team, the cast is Shane Attwooll (Chief Hopper), Kemi Awoderu (Sue Anderson), Chase Brown (Lonnie Byers), Christopher Buckley (Bob Newby), Ammar Duffus (Charles Sinclair), Gilles Geary (Ted Wheeler), Florence Guy (Karen Childress), Max Harwood (Alan Munson), Michael Jibson (Victor Creel), Oscar Lloyd (James Hopper Jr.), Louis McCartney (Henry Creel), Isabella Pappas (Joyce Maldonado), Matthew Pidgeon (Principal Newby), Calum Ross (Walter Henderson), Maisie Norma Seaton (Claudia Yount), Patrick Vaill (Dr Brenner), Alex Young (Virginia Creel), Ella Karuna Williams (Patty Newby), and Anika Boyle, Lily Crawford, Faith Delaney and Imogen Turner (alternating the role of Alice Creel); with Tricia Adele-Turner, Lauren Arney, Samuel Baxter, Reya-Nyomi Brown, Patricia Castro, Lydia Fraser, Isaac Gryn, Mark Hammersley, Benjamin Lafayette, Tom Peters, Kingdom Sibanda, Tiana Simone, Danny Sykes and Meesha Turner.
ABOUT STRANGER THINGS: THE FIRST SHADOW
Hawkins, 1959: a regular town with regular worries. Young Jim Hopper’s car won’t start, Bob Newby’s sister won’t take his radio show seriously and Joyce Maldonado just wants to graduate and get the hell out of town. When new student Henry Creel arrives, his family finds that a fresh start isn’t so easy… and the shadows of the past have a very long reach.
Brought to life by a multi-award-winning creative team, who take theatrical storytelling and stagecraft to a whole new dimension, this gripping new adventure will take you right back to the beginning of the Stranger Things story – and may hold the key to the end.
STRANGER THINGS: THE FIRST SHADOW is written by Kate Trefry, directed by Stephen Daldry with co-director Justin Martin, set design by Miriam Buether, costume design by Brigitte Reiffenstuel, lighting design by JonClark, sound design by PaulArditti, original music composition, orchestration, arrangements and supervision by D.J. Walde, illusions design & visual effects by JamieHarrison & ChrisFisher, video design & visual effects by 59Productions, choreography by CoralMessam, movement direction by LynnePage, wigs, hair and make-up design by CampbellYoungAssociates, technical director is Gary Beestone for Gary Beestone Associates, props supervision by Mary Halliday, dialect by William Conacher, fight direction by Kev McCurdy, casting by Jessica Ronane Casting CDG with additional casting by Charlotte Sutton CDG, and international casting consultancy by Jim Carnahan.
STRANGER THINGS: THE FIRST SHADOW
LISTINGS
Phoenix Theatre
Charing Cross Rd, London WC2H 0JP
For further ticket information, performance schedule, full creative team and cast biographies,
OPEN DOOR UNVEILS ELEVATE PARTICIPANTS FOR 2023/2024
Open Door have today unveiled the latest graduating actors selected to be part of Open Door Elevate, an initiative now in its fourth year, designed to help emerging talent from lower-income backgrounds as they enter the professional industry.
The individuals this year were put forward by some of the UK’s top Drama Schools and the selected seven actors were chosen by a leading industry panel made up of Open Door actor and founder David Mumeni, Shaheen Baig (Casting Director), Amy Ball (Casting Director), Claire Maroussas (Independent Talent) and Kate Morrison (B-Side).
The actors selected for the 2023/2024 Elevate Group are: Roman Asde (LAMDA), Sophie Cox (Guildhall School of Music and Drama), Rafe Slade (Italia Conti), Joseph Stanley (Bristol Old Vic Drama School), Kate Wilson (Royal Welsh College of Music and Drama) and Bethany Wooding (Guildhall School of Music and Drama).
Open Door said today “We’re so excited to be working this group of exiting actors on our Elevate programme. After the success of last years graduates, never has it been more important to mentor new talent entering the industry.”
Previous Elevate participant Eva Morgan, will take on the lead role in upcoming Channel 4 series The Gathering and Ava Hinds-Jones is the current lead in Gen-Z for Channel 4.
Open Door was launched by actor David Mumeni in 2017 to help provide budding actors and behind-the-scenes creatives from low income households with the opportunity to enter the industry. The organisation counts Emilia Clarke, Woody Harrelson, Riz Ahmed and David Morrissey among its supporters and in December, was awarded the Special Jury Prize at the British Independent Film Awards. Its participants are already making waves in the industry, with graduate Jerome Lance featuring in The Hunger Games: The Ballad of Songbirds, Dionne Brown currently appearing as a series regular in Criminal Record for Apple TV alongside Cush Jumbo and Peter Capaldi, and taking on the title role in hotly anticipated Channel 4 series Queenie. Along with this Open Door are proud to have multiple participants landing roles at the National Theatre, Regents Park Open Air Theatre and at The Old Vic.
As factors such as the cost-of-living crisis and ongoing barriers to the industry continue to disproportionately impact on those from lower-income backgrounds, Open Door once again supports emerging talent preparing to graduate from Drama School who had not previously been involved with the organisation.
Open Door Elevate launched in 2022, with each Drama School in the Federation of Drama Schools invited to nominate two candidates who met the criteria of being a final year student on their respective B.A. Acting Course and who come from a household with a combined income of £33,000 per year or under.
The actors supported by Open Door Elevate will merge with those participating in the Open Door Graduating Group programme, which offers support to actors already part of Open Door as they prepare to transition from Drama School into the professional industry. The actors selected for Open Door Elevate will receive the same opportunities, enhancing the support they may receive at their drama school. Actors will participate in Q&As and workshops, with the recent programme including a workshop delivered by The Donmar Warehouse Artistic Director Michael Longhurst, audition workshops with the National & RSC, and Q&As with leading talent agencies including Independent Talent, United Agents, ARG, Emptage Hallet, Conway Van Gelder Grant, 42 Management and Curtis Brown.
For further information please visit opendoor.org.uk.
FULL CAST AND CREATIVE TEAM ANNOUNCED FOR MERCURY THEATRE AND BARN THEATRE’S ENGLISH PREMIERE PRODUCTION OF DAVID GREIG AND GORDON MCINTYRE’S PLAY WITH SONGS
MIDSUMMER
MERCURY THEATRE FROM 3-18 MAY
BARN THEATRE FROM 22 MAY-22 JUNE
Mercury Theatre Colchester and the Barn Theatre in Cirencester have today announced the full cast and creative team for their English premiere production of David Greig and Gordon McIntyre’s play with songs Midsummer. The production marks the first co-production between the two venues.
Penned by award-winning playwright, David Greig, and composed by songwriter, Gordon McIntyre, Midsummer is a rose-tinted musical rom-com that provides a fast-paced, funny look at love, life, and the ache of aging. The co-production will run from 3-18 May in Colchester and 22 May – 22 June in Cirencester.
One Midsummer night in Edinburgh, two ill-matched thirty-somethings – a high-powered, hard-drinking lawyer called Helena, who’s stuck in a dead-end affair with a married man, and a small-time crook called Bob – collide with one another for one short night of wild abandon, with hilarious consequences. It’s an unlikely coupling as both are all too aware, but it’s Midsummer and anything can happen…
The Mercury’s creative director Ryan McBryde (Baskerville, The Comedy of Errors) will direct the riotously funny, touchingly romantic 90-minute tour d’amour in all its drunken, heartfelt glory.
The cast of Midsummer will be Ross Carswell (Girl From The North Country – UK Tour) as Bob, Karen Young (Kidnapped – National Theatre of Scotland) as Helena, Will Arundell (Kinky Boots – New Wolsey Theatre & Queen’s Theatre Hornchurch) as Narrator 1 and Laura Andresen Guimarães (Unbelievable – Mercury Theatre & West End) as Narrator 2.
Joining McBryde on the creative team is Libby Todd as Designer, Paul Herbert as Musical Director, Rory Beaton as Lighting Designer, Mark Melville as Sound Designer, Chihiro Kawasaki as Movement Director, Natalie Gallacher for Pippa Ailion Casting as Casting Director and Chani Merrell as Assistant Director.
McBryde said of the show, “David Greig is one of our most exciting writers and we’re delighted to be sharing his and Gordon McIntyre’s multi award winning romantic comedy with our audiences. Full of laughs and tinged with hope, this play with songs is an inventive, laugh out loud, love-song to everyone who has ever felt stuck in a rut: reminding us that no matter how repetitive, dull, or hopeless our lives might seem, change is always possible.”
Iwan Lewis, CEO & Artistic Director, Barn Theatre said,“In today’s world, it’s crucial for theatres to adapt and seek innovative approaches to their productions. For a small, independent theatre like the Barn, which harbours large aspirations yet operates without subsidies, finding the right partners can prove challenging. With the Mercury, we’ve discovered an incredibly inspiring ally. They not only share our vision but have also broadened our horizons, showing us what’s possible at the next level. ‘Midsummer,’ is a musical comedy that I’ve hoped to stage for many years and is the perfect production for our first collaboration.”
It’s 1912 and New York is on the cusp of becoming the cultural superpower it is today, charged with new politics and creative undercurrents: particularly music. Swept up by the beat are seamstress Anna and meatpacker Henry, eager to become a renowned dance duo – and with a little spark between them, maybe something more.
Director Karen Jemison (Blood Brothers, Pacific Overtures) brings Allan Knee’s ballroom-inspired play to life with the choreography of Strictly Come Dancing’s Jenny Thomas, and a score of classics arranged by musical director Fiz Shapur. Jemison states, “Syncopation has everything you could want in a play and more – wonderful Ragtime music, a touching comic drama with two highly engaging characters and lots of ballroom dancing!”
The dancing and romancing are performed by West End and Broadway performers Devon-Elise Johnson (Half a Sixpence, Mamma Mia, Titanic) as Anna, and Jye Frasca (Wicked, Jersey Boys, Mary Poppins) as Henry. Syncopation is not so much a full-scale musical as a quirky romantic drama with comedic elements and dancing to help tell it. The story itself is a bit repetitive at times, but impressive stamina is on display here; as the sole cast members, Johnson and Frasca occupy the stage for two and a half hours with grace and charisma that can’t be faulted.
Mayou Trikerioti and Joseph Thomas also work wonders with a spartan set and lighting. I say this with real delight; I’ve never seen shipping crates look so ethereally beautiful. Anna and Henry are inspired by real-life couple Irene and Vernon Castle, who chased their dancing dreams right into celebrity, popularising contemporary dance and music both on stage and for a burgeoning generation of moviegoers. Jemison’s minimalist production favours quality of talent over theatrical spectacle, but it does a nice job of imagining the backdrop of early modernising 20th century New York.
Syncopation is a spirited celebration of early American dreaming with dance at its core.
In Malvern we were blessed with a visit from the BBC Philharmonic with a mouth watering programme showcasing masterworks from three colossus of Classical music.
First up was Haydn’s Symphony No.53 L’Impériale (1777). It’s hard not to love the man who popularised the string quartet and I’ve yet to be disappointed by one of Herr Haydn’s works, tonight’s included. Tripping strings with urgent interjections from drums and winds, the composer’s impish sense of humour shines brightly in this sparkling piece. The final movement conjured the opulent splendour of the Esterházy court where the great man spent the majority of his career.
Under the baton of conductor Ben Gernon the orchestra delivered a richly sonorous, finely detailed reading with an impressively varied palette of colours. I was particularly taken with the furious lower strings and the extended string quintet section – it takes a natural genius to imagine such a level of inventiveness and it was a pure pleasure to hear it played so wonderfully. The held chords from the winds in the final movement were also a sumptuous highlight.
Soloist István Várdai joined the Philharmonic for Elgar’s Cello Concerto (1919). Written in the aftermath of World War 1 while the composer was dealing with the grave illness of his beloved wife, you can hear the heartbreak from the very first notes. Indeed, the opening movement has a crushing anguish that is both heart wrenching and hauntingly beautiful. In a piece that demands stamina and sustained concentration from the soloist, Mr Várdai took us on an emotional journey that showcased his instrument’s full range of gymnastics and its individual voice in a commendably committed performance. The orchestra and soloist perfectly complemented each other as they wrung every ounce of drama from this exceptional concerto.
The second half gave us a single piece by the master himself: Beethoven’s Symphony No.4 (1806). The 4th is arguably one of his lesser known works but one well worth exploring – especially live. It was fascinating to not only hear it but see it. His passing of the melody around the orchestra, from lowest to highest strings, in an almost balletic fashion was singularly delightful – like a sonic Mexican wave, this was a feast for the eyes as well as the ears. At times the music had brute force, a moment later it caressed with the empathetic tenderness of an estranged lover appearing at your sick bed. Ah, what a soul Ludwig must have had!
The orchestra once again impressed with their crisp phrasing, giving this work a precision that brought it thrillingly to life. Couple that with winds that were playful, brass that was hefty and strings that were sweeping, tender and lush and you had everything the composer demanded, the music needed and the audience wanted. All kudos to those concerned for giving us such an enthralling evenings entertainment. Sheer unadulterated perfection from start to finish.
THE KINGS ARMS THEATRE, SALFORD – UNTIL 24TH MARCH 2024
REVIEWED BY MIA BOWEN
4****
I’ve visited many fascinating and stunning theatre venues and seen some wonderful productions over the years, but last night I had a pleasantly unique experience at The King’s Arms. Upstairs in this quaint pub, there is a quirky little theatre and music venue that has been recently refurbished and redesigned. Despite being small, the venue feels spacious due to its impressively high ceiling, which helps to create an intimate and welcoming ambiance. The Kings Arms has also been used as a filming location, featuring in TV productions such as Cracker and Fresh Meat.
The audience, of about 35 people, sit on various chairs and stools around the outer edges of the room. This theatre-in-the-round setup allows for a more intimate connection with the stage and ensures that everyone is close enough to hear the actors clearly as they deliver the characters’ elaborate dialogue. Additionally, it enables the audience members to have a direct view of one another.
Rising Moon is working together with David Thacker, the former Artistic Director of The Bolton Octagon, to bring a revival of “American Buffalo” to the stage. This classic play by David Mamet had its premiere in a showcase production in Chicago in 1975 and opened on Broadway in 1977. A writer for the stage and screen and later a director, Mamet’s work is nothing if not distinct. His works are famous for their clever, concise, sometimes vulgar dialogue and intricate stylised wording. He is also known for his examination of masculinity.
American Buffalo is based in a junk shop in Midwest America and follows three small-time crooks, seeking a slice of the American dream. These men are supposed to be working together on a coin heist, but none of them has a clue about what they’re doing, let alone what the others are up to. This creates ample space for bluster, paranoia, fake expertise, and the playwright’s distinctive fast-paced dialogue.
In this revival, the characters Don, played by Colin Connor (Girl From The NorthCountry, UK tour), Teach, played by Dave MacCreedy (The Full Monty, UK tour), and Bob, played by John O’Neill (Coronation Street, ITV), stand out. Their confident movements on stage and precise delivery of dialogue create a captivating performance. I was mesmerised by their skilful acting and amazed the power of live theatre!
ALEXANDRA BURKE TO LEAD THE CAST OF JACK AND THE BEANSTALK AT NEW WIMBLEDON THEATRE
Fe-fi-fo-fum, a GIANT panto full of fun!
New Wimbledon Theatre and Crossroads Pantomimes, the World’s biggest pantomime producer, have today [Friday 15th March] announced that Alexandra Burke will lead the cast of this year’s GIGANTIC pantomime adventure, Jack and the Beanstalk, as Mrs Blunderbore.
Alexandra Burke is truly one of the UK’s most distinguishable powerhouse voices, having sold over 5 million records. Her #1 chart-toppers include Bad Boys, Start Without You and Hallelujah. Her double platinum debut album Overcome has sold over 850,000 copies in the UK alone.
Alexandra has established herself as one of the UK’s most sought-after West End leading ladies having starred in The Bodyguard, Sister Act, Chess, Chicago and Michael Harrison’s production of Joseph and the Amazing Technicolour Dreamcoat at The London Palladium.
The multi-platinum recording artist and actress first rose to fame 15 years ago, winning the fifth series of The X Factor while duetting with Beyonce. Alexandra received a BIFA nomination for her debut movie role in Pretty Red Dress last year and is currently filming for a brand-new Paramount+ crime-drama series Curfew.
Alexandra made her pantomime debut in 2021 at Manchester Opera House playing the role of The Spirit of the Ring in Aladdin.
Chief Executive of Crossroads Pantomimes, Michael Harrison said: “I’m absolutely delighted that Alexandra Burke will be starring in our New Wimbledon Theatre panto this Christmas. Alexandra is a brilliant leading lady with a sensational voice, and having worked with her in pantomime before I know just what a brilliant time our Wimbledon audiences will have at Jack and The Beanstalk this Christmas.’
Theatre Director of New Wimbledon Theatre, William Light added: “We are thrilled to be announcing the incredibly talented Alexandra Burke for this year’s Pantomime Jack and the Beanstalk! Alexandra’s captivating voice and undeniable stage presence are a perfect fit. Panto is all about creating a magical experience for families, and with Alexandra on board, we know audiences are in for a treat. We can’t wait to see her win over the Wimbledon crowd this festive season!”
Further casting will be announced later in the year.
Follow Jack, and climb a beanstalk of gigantic proportions to cloudland in the spectacular family pantomime Jack and the Beanstalk. Doomed to sell his trust cow, join Jack and his family as they fight to outwit the evil giant, win riches beyond their wildest dreams and the hand of the girl he loves.
Expect laughs, music, special effects, magic beans and bundles of audience participation in this GIANT of a pantomime!
Jack and the Beanstalk runs at New Wimbledon Theatre from Saturday 7th December 2024 – Sunday 5th January 2025. Tickets prices start from £13 and are on sale now.
BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044
Joint CEOs Artistic Director Paul Hart andExecutive Director Claire Murray, and the whole team at Newbury’s TheWatermill Theatre are thrilled to announce details of Wendy & Peter Pan, the Watermill’s Youth Ensemble Production that will play Saturday 23 – Saturday 30 March.
Adapted by Ella Hickson from the novel by J.M. Barrie, the show will see over 50 of the theatre’s weekly Youth Theatre participants aged 12 – 19 take part in this production, which includes storytelling, puppetry, physical theatre and stage combat. Two casts – who will perform in 4 shows each – have been rehearsing for over four months, alongside a professional creative team. The show is fully relaxed with BSL integrated performances and close captioning and audio description available too, so the participants have also been learning about creating accessible performances.
When the Darling family’s world is rocked, a window opens into a world of opportunities and adventure that may help Wendy find the answers she seeks. Taking a leap of faith, Wendy and her brothers follow Peter Pan to Neverland, where they discover the extraordinary home of the Lost Boys.
Amongst the fun and hijinks, Wendy embarks on a quest to find one more lost boy, her brother Tom. With the help of the fearless Tiger Lily and spirited Tink, Wendy finds the courage to follow her own path, discovering her true self and that, sometimes, where one story ends, another adventure begins.
The company are supported by a creative team consisting of Angharad Arnott Philips and Heidi Bird as co-directors, with Alfie Heywood as costume and set designer, Matty Green as sound designer and associate director, Brett Kasza as lighting designer, Emily Boyd as fight director, Allan Hutson as movement director, Scarlet Wilderink as puppetry director, and Josette Shipp as DSM.
Co-directors Angharad and Heidi said, “This production presents themes that resonate with our casts, giving opportunities to challenge and discuss. We’ve explored traditional gender stereotypes, responsibilities of young carers, mental health, and the unconditional love of family, whatever shape it takes, represented through strong, complex characters who steer us from 1908 where the play starts, to themes of the modern day. Much like the characters in Wendy & Peter Pan our incredible casts have approached this process with strength, enthusiasm, and huge amount of playfulness. They’ve attacked stage combat skills, delved into the magical world of puppetry, and devised their own dynamic movement sequences.
We hope you enjoy the adventurous journey they will take you on, as much as we have all enjoyed the adventure of making it!”
Josh and George, two of the Youth Ensemble participants who are sharing the role of ‘Peter Pan’, said, “Embarking on the role of Peter in the production of Wendy & Peter Pan has been an extraordinary experience for both of us. It’s amazing to work with so many brilliant inspiring creatives who are so supportive and kind during rehearsals. Coming to the watermill theatre multiple times a week may sound like a lot but it’s such a joy and privilege to be part of an amazing team of young people.
We’ve learnt so many amazing and valuable skills, but both of our favourite skill we’ve developed has definitely been stage combat. As Peter, we get to participate in many dynamic fight sequences which has really pushed our coordination and trust in our cast mates. We would give you more details, but we don’t want to spoil it!”
More information on the Youth Ensemble and opportunities for Young People 0 – 25 years can be found here, and the new Youth Theatre term will be on sale from Saturday 23 March.
