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Olivier Awards 2024 with Mastercard announces show performances, presenters and broadcast details 

• Host Hannah Waddingham will be joined by awards presenters including Dominic West, Edward Enninful, Michelle Visage, Cara Delevingne, Michael Ball, Ruth Jones, Beverley Knight and Adrian Dunbar
• The casts of the Mastercard Best New Musical and Best Musical Revival nomination categories including The Little Big Things, Next To Normal, Operation Mincemeat, A Strange Loop, Guys & Dolls and Hadestown will perform during the ceremony plus a special moment from Groundhog Day
• Meera Syal will be heard as the voiceover throughout the Olivier Awards ceremony 
• A highlights package from the Olivier Awards with Mastercard will be broadcast on ITV1 at 10:10pm on 14th April 2024 

officiallondontheatre.com/olivier-awards

For immediate release, Thursday 4th April 2024: The Olivier Awards 2024 with Mastercard today announces the shows performing in this year’s ceremony. The Awards will take place on Sunday 14th April at the Royal Albert Hall, hosted by Hannah Waddingham. 

There will be performances from Mastercard Best New Musical nominees including The Little Big Things, Next To Normal, Operation Mincemeat and A Strange Loop, alongside Best Musical Revival nominees Guys & Dolls and Hadestown in addition to a special moment from Groundhog Day Australia. Presenter, Emmy winner and multi-Olivier nominee Hannah Waddingham will open the event performing with singer and pianist Joe Stilgoe.

On the evening, Awards will be presented to winners by a host of well known names from the worlds of theatre, TV and fashion, including the likes of Carlos Acosta, Freema Agyeman, Michael Ball, Ryan Calais Cameron, Billy Crudup, Cara Delevingne, Adrian Dunbar, Edward Enninful, Denise Gough, Lenny Henry, Ruth Jones, Beverley Knight, Henry Lewis, Anna Maxwell Martin, Lucian Msamati, Georgina Onuorah, Rosalind Plowright, Jonathan Sayer, Michael Sheen, Luke Treadaway, Anjana Vasan, Michelle Visage and Dominic West. The voiceover for the evening will be spoken by comedian, writer and actress Meera Syal.

This year’s Olivier Awards coincide with the National Theatre’s 60th anniversary. The theatre, founded by Laurence Olivier, has this year been nominated for 15 awards and will celebrate the landmark anniversary with a special grand finale and onstage dedication. 

The Olivier Awards continues its partnership with ITV, which will broadcast a highlights programme the same evening at 10:10pm on ITV1.

TikTok will also be hosting a live stream on the Green Carpet with Content Creator and Actor Maddie Grace Jepson as their host. Viewers can tune in on Official London Theatre’s channel from 4:30pm – 5:30pm BST.

Mastercard returns as headline sponsor for the 14th year and offered Mastercard cardholders exclusive access to tickets and VIP experiences for the biggest night in theatre. Tickets are now sold out, but more theatre experiences can be found on priceless.com.

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FINAL CASTING ANNOUNCED

AND ADDITIONAL TICKETS RELEASED FOR

SPRING AWAKENING

15^TH ANNIVERSARY REUNION CONCERT

OF ORIGINAL WEST END PRODUCTION

AT THE VICTORIA PALACE THEATRE

SUNDAY 2 JUNE 2024

Producers Jack Maple and Evelyn Hoskins are delighted to announce final casting and the release of additional tickets for the 15^th Anniversary reunion concert of the original West End production of Steven Sater and Duncan Sheik’s Tony, Olivier and Grammy award-winning musical SPRING AWAKENING, based on the play by Frank Wedekind.

Celebrating the original London production’s 15^th anniversary, the concert will reunite many of the original London cast for this one night only celebration on Sunday 2 June 2024 at Victoria Palace Theatre. Final tickets are on sale now.

Olivier Award nominated and WhatsonStage Award-winning actor, Jack Wolfe (Next to Normal, Donmar Warehouse), will be joining the company as Moritz and original West End cast member Richard Southgate (Crops, the Yard Theatre) will play Hanschen.

Producers of the concert, Jack Maple and Evelyn Hoskins said: “We’re absolutely delighted that the incredible Jack Wolfe, who blew audiences away in Next To Normal last year, is joining our reunion concert to play Moritz. His addition to the company sets up what we know is going to be an incredibly unique and emotional evening. We’re also thrilled that original company member Richard Southgate, one of the London production’s original swings, is stepping up to take on the role of Hänschen. It really does promise to be a very special concert!”

Jack and Richard join the previously announced original West End cast members Lucy May Barker (The Crucible, Regent’s Park Open Air Theatre) as Ilse, Natasha Barnes (Hex, National Theatre) as Anna, Harry McEntire (Andor, Disney+, Britannia, Sky) as Ernst, Hayley Gallivan (Wicked, Apollo Victoria Theatre) as Martha, Evelyn Hoskins (Waitress, West End & UK Tour) as Thea, Edward Judge (The Play That Goes Wrong, West End, UK & International Tour) as Otto, Jamie Muscato (Moulin Rouge, Piccadilly Theatre) as Melchior, Jos Slovick (Beautiful – The Carole King Musical, UK Tour) as Georg and Charlotte Wakefield (The Great British Bake Off Musical, Noel Coward Theatre) as Wendla. Other returning cast members include Chris Barton (The Sound of Music, UK Tour), Natalie Garner, Mona Goodwin (Misfits, Queen’s Theatre) and Gemma O’Duffy (Priscilla: Queen of the Desert, Palace Theatre).

They are joined by the entire returning original London band consisting of Huw Davies (Guitars), Don Richardson (Bass), Matthew Senior (Drums), Vicky Matthews (Cello), Charlie Brown (Violin/Guitar), Rachel Robson (Viola), under the musical direction of Nigel Lilley.

SPRING AWAKENING tells the story of adolescent anarchy, set to one of the most loved scores of the 21st century. A group of teenagers – silenced and controlled by a censorious society – discover a new world of feeling and freedom outside the classroom, with beautiful and devastating consequences.

SPRING AWAKENING opened on Broadway at the Eugene O’Neill Theatre on 10 December 2006 starring Jonathan Groff, Lea Michele, and John Gallagher Jr. It won eight Tony Awards, including Best Musical, Direction, Book, Score and Featured Actor. It embarked on a North American tour in 2008. The musical then opened in London at the Lyric Hammersmith on 23 January 2009, before transferring to the West End’s Novello Theatre in March that same year. It won 4 Olivier Awards, including Best New Musical. SPRING AWAKENING was revived on Broadway in 2015 and in London in 2021.

This anniversary concert will be raising funds in the memory of Imogen Kinchin, one of the original producers of SPRING AWAKENING in 2009. Imogen sadly died on 27 March 2024 following her diagnosis of Stage IV Bowel Cancer in March 2022. 

Proceeds from the evening’s concert will be donated to support her three children, Arthur, Orson and Audrey. 

Producer Evelyn Hoskins added “myself and the cast of Spring Awakening are so unbelievably saddened by the passing of Imogen. She helped shape our careers as young artists starting out in the industry and she continued to champion us. Every breath and word at the concert will be in her honour and memory.”

Imogen Kinchin was Senior Producer at the Lyric Hammersmith for 10 years before joining Matthew Bourne’s New Adventures as Executive Director in 2018. 

In 2022, Imogen was diagnosed with Stage IV Bowel Cancer. Aside from being one of the most outstanding, creative, inspirational and respected producers in show business, she was a cherished wife, family member and friend. Her cancer was aggressive, yet her resilience was extraordinary, and she remained a positive and hopeful warrior in the face of adversity. 

SPRING AWAKENING has direction by Jamie Armitage (SIX), musical direction by Nigel Lilley (Newsies, Next to Normal, The Witches), lighting design & production management by Toby Darvill (Treason), sound design by Paul Gatehouse (Mary Poppins) with original UK casting direction by Pippa Ailion.

SPRING AWAKENING is produced by Jack Maple and Evelyn Hoskins.

LISTINGS INFORMATION

SPRING AWAKENING

Sunday 2 June 2024, 7pm

Victoria Palace Theatre

79 Victoria St,

London

SW1E 5EA

Tickets from £27.50

Box Office: 0344 482 5151

www.victoriapalacetheatre.co.uk

FULL CASTING ANNOUNCED FOR THE UK PREMIÈRE OF

WENDY BECKETT’S SAPPHO

AT SOUTHWARK PLAYHOUSE ELEPHANT

Pascal Productions today announces casting for the UK and English language première of Wendy Beckett’s Sappho. Wendy Beckett and Adam Fitzgerald co-direct Georgie Fellows (Sappho), Emmanuel Akwafo (Narrator), Eleanor Kane (Adore), Fanos Xenofos (Pittacus), Jumoké Fashola (Cleis), Velile Tshabalala (Mrs Obstinatus / Aphrodite), Aidan Banyard (Mr Obstinatus /Hephaestus), Kostas Tekkis (Dancer), Aaron Bladen (Dancer), Lucy Mackay (Dancer), Roann Hassani McCloskey (Chorus Leader) and Andrew Franklin (Chorus Leader) in this new satirical play inspired by the famous Greek poet – integrating the original poetry with contemporary music and dance.

Sappho premières at Southwark Playhouse Elephant on 8 May, with previews from 3 May, and runs until 25 May.

Pascal Productions presents

SAPPHO

Written by Wendy Beckett

3 May – 25 May

Cast: Georgie Fellows (Sappho), Emmanuel Akwafo (Narrator), Eleanor Kane (Adore), Fanos Xenofos (Pittacus), Jumoké Fashola (Cleis), Velile Tshabalala (Mrs Obstinatus / Aphrodite), Aidan Banyard (Mr Obstinatus /Hephaestus), Kostas Tekkis (Dancer), Aaron Bladen (Dancer), Lucy Mackay (Dancer), Roann Hassani McCloskey (Chorus Leader) and Andrew Franklin (Chorus Leader)

Directed by: Wendy Beckett and Adam Fitzgerald; Set Designer: Halcyon Pratt; Costume Designer: Pavlos Thanopoulos; Choreographer: Fotis Diamantopoulos; Lighting Designer: Adam King; Composer and Sound Designer: Mehdi Bourayou; Casting Director: Nicholas Hockaday; General Management: Paul Virides Productions; Assistant Choreographer: Tamsin January

Poet. Lover. Legend.

Fusing ancient poetry with modern music, Greek chorus with contemporary dance, Sappho is a thrilling adult fairy tale of mythic proportions that may – or may not – have happened.

We are somewhere between imagination and 6th century BC on the Greek island of Lesbos. The poet Sappho creates a new world in her own words. She breaks the rules of her society and elevates her gender. Socrates calls her work beautiful, Plato describes her as the tenth Muse and many think her work rivals even that of Homer’s Iliad.

Sappho has fallen in love with a woman but her family and a civilisation on the precipice of democracy have other plans for her. The defiantly spirited Sappho comes under fire and soon she must decide whether to marry a man for the advancement of her society or remain true to her own words – and her authentic self.

Expect dancing, passion, poetry and plenty of queer joy as Pascal Productions’ international hit makes its debut on the London stage.

Emmanuel Akwafo plays Narrator. For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy (Apollo, Royal Court & New Diorama), As You Like It (Globe Theatre), Primary Playwrights (Soho Theatre), Cinderella, Jack and the Beanstalk (Lyric Hammersmith), The Bald Soprano (Leicester Square), The Spalding Suite (Southbank Centre, UK Tour), The Bacchae, The Ecstatic Bible (Melton Theatre) and A Midsummer Night’s Dream (Northfleet Theatre). His television credits include Sex Education, Eastenders, The Crown, 24: Live Another Day, M.I. High, and Grange Hill; and for film Now You See Me 2 and Tarzan.

Aidan Banyard plays Mr Obstinatus / Hephaestus. His previous theatre credits include The Choir of Man (Arts Theatre, Edinburgh Fringe, Australia, US and World Tour), Beauty and the Beast (Lyceum, Sheffield), Les Misérables (UK and Ireland Tour), The Phantom of the Opera (International Tour), Snow White and the Seven Dwarfs (Malvern Theatres, Rhyl Pavilion), Parade (Hope Mill), My Land’s Shore (Ye Olde Rose and Crown), Viva Voce (UK Tour), Coriolanus (Signature Theatre Company), Pressure Drop (Signature Theatre Company) and Marshmallow Sky (Mansfield Palace). His television credits include Autopsy: The Last Hours of Gram Parsons; and concert credits include On Broadway and Hear My Song, WestEndFest: Miscast (St Paul’s Church, Covent Garden), Bublé to Broadway and Not Just Noise.

Aaron Bladen plays Dancer. His previous theatre credits include Cinderella (Towngate Theatre), The Three Little Pigs (UK Tour) and MS Borealis (Cruise). His previous film credits include Grey Area and Giften Pain.

Jumoké Fashola plays Cleis. Her theatre credits include Beneatha’s Place (Young Vic), The High Table (Bush Theatre), For All the Women Who Thought They Were Mad (Hackney Showroom), CAP – A Medicinal Love Story (Royal Court), Our Husband Has Gone Mad (Unibadan), Trials of Brother Jero (Unilag), Lost in the Stars, Mass (Southbank Centre), The Secret Lives of Baba Segi’s Wives (Arcola Theatre) and House Of Corrections (Riverside Studios). In addition, she has written and appeared in one woman shows including Dirty Little Secrets (London Festival of Cabaret/Bush Theatre’s Radar Festival/St James Theatre), Protest – Divas & Revolutions (EFG London Jazz Festival/Royal Albert Hall/The Pheasantry). She also created Jazz Verse Jukebox which had a seven-year residency at Ronnie Scott’s Jazz Club. Fashola is also a radio and television broadcaster, currently hosting and presenting Friday Afternoons on BBC Radio London and their Sunday Breakfast show. For five years, she also hosted J to Z, BBC Radio 3’s premier Jazz Show.

Georgie Fellows plays Sappho. Her previous theatre credits include Henry I (Rabble Theatre), Living Newspaper Edition 1 (Royal Court), and Sam Wannamaker Festival (The Globe). Her television credits include Surface, The Day of the Jackal, and Secret Invasion; and for film Life Hack and Red, White & Royal Blue.

Andrew Franklin plays Chorus leader. His previous theatre credits include Dick Whittington (Courtyard Centre, Hereford), Horrible Histories (Terrible Thames), Beauty and the Beast (Courtyard Centre, Hereford), Rapunzel (UK Tour), Pinocchio (Guildford Fringe Company), and Magic At The Musicals (Royal Albert Hall, Magic FM).

Roann Hassani Mccloskey plays Chorus leader. Her theatre credits include ReMythed (Vault Festival), Hakawatis (Shakespeare’s Globe), Who Murdered My Cat? (Soho Theatre), My Father the Tantric Nassuer (Assembly George Square Studios, Edinburgh Fringe), NewsRevue (Canal Cafe Theatre), Besharam (Kala Sangham), Unfinished Business (Park Theatre), Hedda Garbler (Upstairs at the Gatehouse), and All My Sons (The Questors). Her film credits include Kittys Fortune, Freedom, and The Return.

Eleanor Kane plays Adore. Her theatre credits include Fun Home (Young Vic), A Monster Calls (Rose Kingston, Bristol Old Vic, Kennedy Centre Washington DC), Hex (National Theatre), The Invincibles (Queens Hornchurch, New Wolsey),  Just So (Watermill), The Duchess of Malfi (Lyceum Edinburgh, Citizens Glasgow), High Fidelity (Turbine), and Billionaire Boy (Nuffield Southampton).

Lucy MacKay plays Dancer. Her previous theatre credits include Gwenda’s Garage (Crucible Theatre, Sheffield), Ladyfriends (53two, Manchester), Butterfly (VAULT Festival), The Prince of Homburg (The Space), and Air Pressure (Lyric Theatre, London). Her previous film credits include Sumotherhood.

Kostas Tekkis plays Dancer. His previous theatre credits includes Lysistrata (National Theatre of Cyprus). His film credits include Bad Faith, Breakfast Club, The “Good” Witch and Dilemma.

Velile Tshabalala plays Mrs Obstinatus / Aphrodite. Her previous theatre credits include Dick Whittington’s Cat (Compass Theatre), Twelfth Night (Nottingham Playhouse), and Running with Lions (Lyric Theatre). Her television credits include Kerching!, Tittybangbang, The Next Doctor (The Doctor Who Christmas Special), Call the Midwife, Silent Witness, Doctors, Class Dismissed, Birds of a Feather, Hollyoaks, Death in Paradise and Casualty.

Fanos Xenofos plays Pittacus. His previous theatre credits include Can’t See For Looking (Cockpit Theatre), The Beekeeper Of Aleppo (Nottingham Playhouse UK and Dublin tour), Swimming With Sharks (Vaudeville), Antigone (Southwark), Rest Upon The Wind (Riverside Studios, Middle East tour), Hedda Gabler (Riverside Studios), The Crumple Zone (King’s Head), Failed States (Edinburgh Festival), Don Quixote In Algiers (White Bear), and Dogs Barking (Edinburgh Underbelly). His television credits include FBI: International, Four Weddings and a Funeral, Mankind, and The Jonathan Pie Referendum Special; and for film On-Off Licence.

Wendy Beckett writes and co-directs. She has written over twenty–five plays and directed more than fifty. She has also written biographies, radio plays, books, librettos, and academic articles. On ABC radio she interviewed some of the most important minds of our time – including Gore Vidal, Leonard Bernstein and Paul Bowles. Her academic background includes psychology, philosophy, literature and she has lectured on these subjects at many Australian Universities. She has travelled her works all over the world including performances in Sydney, New York, Paris, Tokyo, and throughout Greece.

Adam Fitzgerald co-directs. He is a writer, director, filmmaker, and content creator whose work has been recognized with an Emmy Nomination, Critic’s Picks from The New York Times, The Chicago Tribune, TimeOut Chicago and TimeOut New York, Best of the Year nods in The Advocate Magazine and The Contra Costa Times, a Jeff Award Nomination, and San Francisco Bay Area Critics’ Award nominations. His writing has been published by the Huffington Post and Thomson Reuters Foundation & Openly; and his short film, Occupy Me (director/writer) has been viewed more than one million times on YouTube. Fitzgerald directed RESISTANCE RADIO for Man in the High Castle (Amazon Studios) which was nominated for a Creative Arts Emmy Award and received two Silver and three Bronze Lions at the Cannes Lions International Festival of Creativity, and the short film Dividends, which won Best Director at the New York Film Awards.

LISTINGS

SAPPHO

Southwark Playhouse Elephant

1 Dante Place, London SE11 4RX

Box Office: 020 7407 0234

3 May – 25 May

Pioneers Preview (3 May): £10

Preview Tickets: £16

Full Price Tickets from: £22

Concession Tickets from: £17

TV’s most iconic villain, EastEnders star Charlie Brooks, to play musicals’ ultimate baddie, The Childcatcher

FURTHER CASTING ANNOUNCED

CHARLIE BROOKS

TO PLAY THE ROLE OF ‘THE CHILDCATCHER’

JOINING

ADAM GARCIA AS ‘CARACTACUS POTTS’

EMMERDALE STAR LIAM FOX AS ‘GRANDPA POTTS’

AND

ELLIE NUNN AS ‘TRULY SCRUMPTIOUS’

IN

THE NEW PRODUCTION OF THE

MOST FANTASMAGORICAL MUSICAL OF ALL TIME
CHITTY CHITTY BANG BANG

OPENING AT

MAYFLOWER THEATRE, SOUTHAMPTON

ON 30 APRIL 2024
AHEAD OF A UK TOUR

David Ian for Crossroads Live is delighted to announce that Charlie Brooks will play the role of The Childcatcher in the new production of the most fantasmagorical musical of all time, CHITTY CHITTY BANG BANG opening at Mayflower Theatre, Southampton on Tuesday 30 April 2024 where it plays until 12 May 2024, before embarking on a UK tour. Elaine C. Smith will play the role of The Childcatcher in Edinburgh, Aberdeen, Glasgow and Inverness. Casting schedule and listings below. www.chittyontour.com

Charlie will join Olivier-nominee Adam Garcia as Caractacus Potts, Emmerdale star Liam Fox as Grandpa Potts, Ellie Nunn as Truly Scrumptious, Martin Callaghan as Baron, Jenny Gayner as Baroness, Adam Stafford as Boris, Michael Joseph as Goran and John Macaulay as The Toymaker.The cast also includes Charlie Bishop, Ruaraidh Blackwood, Hadrian Delacey, Belle Kizzy Green, Tia Gyngell, Kirsty Ingram, Bibi Jay, Isabella Mason, Joe Press, Theo UK Rose, Molly Rees Howe, Callum Train and Luke Woollaston.

The roles of Jeremy and Jemima Potts will be shared by Gracie Cochrane, Ayrton English, Isla Ithier, Isabella Manning, Charlie McGuire, Jasmine Nyenya, Roshan Thomson and Louis Wilkins.

Charlie Brooks is a seasoned actor with a long list of television and theatre credits to her name. Charlie is well known for playing the iconic role of Janine in BBC’s EastEnders,for which she won several British Soap awards. Her other television credits include BBC’s Bleak House, alongside Carey Mulligan and Gillian Anderson, ITV’s Wired, starring Sacha Dhawan and Jodie Whittaker, and Channel 5’s crime thriller Lie With Me, which was nominated for Best Television Script at the Australian Writers Guild awards. She has also recently wrapped on a major recurring role in ITV’s Broken News directed by Lewis Arnold and written by Jack Thorne. On stage, Charlie most recently played the role of Ursula in the National Theatre’s West End run of The Ocean at the End of the Lane. Charlie’s other theatre credits include leading roles in All in a Row at the Southwark Playhouse, Monogamy at the Park Theatre, Beautiful Thing at the Arts Theatre (West End) and Blanche Dubois in A Streetcar Named Desireat Curve, Leicester.

Adam Garcia recently received rave reviews as Julian Marsh in Curve and Sadler’s Wells hit production of 42^nd Street. His musical theatre credits include Tony Manero in Saturday Night Fever and Bill Calhoun in Kiss Me, Kate, for which he received Olivier Award nominations for both roles. His other theatre credits include Fiyero in Wicked, The Artilleryman in The War of the Worlds and Damien Karras in The Exorcist. His film credits include Kenneth Branagh’s Death on the Nile and Murder on the Orient Express, Confessions of a Teenage Drama Queen, Coyote Ugly and Riding in Cars with Boys. Adam recently appeared as a finalist in the UK series of The Masked Dancer, finishing in second place.

Liam Fox is probably best known for playing the role of Dan Spencer in ITV’s Emmerdale, where he featured in more than a thousand episodes. His many other TV credits include Stephen Poliakoff’s Dancing on the Edge, Cold Feet, Coronation Street, Hollyoaks, Clocking Off, A Touch of Frost, Always and Everyone, At Home with the Braithwaites and Dinnerladies. His many theatre credits include The Collector and Tuesday’s Class, both at The Lowry Studio and Iron at Manchester’s Royal Exchange.

Ellie Nunn’s many theatre credits include Identical at Nottingham Playhouse, the UK tour of Posh, Shakespeare in Love at the Noel Coward Theare, Twelfth Night at Leicester Square Theatre, The Game of Love and Chance and Daughter in Law, both at the Arcola Theatre, Honk! at the Union Theatre and on tour and Gatsby at the Arts Theatre.

Based on Ian Fleming’s timeless story for children and later made into the famous 1968 film, CHITTY CHITTY BANG BANG features the unforgettable songs by the Sherman Brothers including Toot Sweets, Hushabye Mountain, Truly Scrumptious and the Academy Award-nominated title song, Chitty Chitty Bang Bang.

This new production will be directed by Thom Southerland (Titanic, Parade), choreographed by Karen Bruce (BBC’s Strictly Come Dancing, The Bodyguard) with Set and Costume design by Morgan Large (Newsies, Joseph and the Technicolour Dreamcoat), Lighting design by Ben Cracknell, Sound design by Gareth Tucker, Musical Supervision by George Dyer (The Wizard of Oz, Annie, Billy Elliot) and casting by Debbie O’Brien.

In CHITTY CHITTY BANG BANG we meet absent-minded inventor Caractacus Potts who restores a broken-down old racing car with the help of his children Jemima and Jeremy. Soon the family discover the car has magical powers, and along with the delectable Truly Scrumptious, the family end up on a hilarious fantastical adventure to far off lands.

CHITTY CHITTY BANG BANG has Music and Lyrics by Richard M. Sherman and Robert B. Sherman, Music by Special Arrangement with Sony/ATV Publishing and is Adapted for the Stage by Jeremy Sams. Based on the MGM Motion Picture the Licensed Script is adapted by Ray Roderick. It was Originally produced by Eon Productions, Dana Broccoli, Frederick Zollo, Nicholas Paleologos, Jeffrey Sine, Miriam Productions and Michael Rose at The London Palladium.

This production is presented by permission of Music Theatre International.

Arcola Theatre presents: 

The Book of Grace 

A fierce family drama set against the backdrop of the Mexico-United States border by Pulitzer Prize-winning playwright Suzan-Lori Parks  

Written by Suzan-Lori Parks | Directed by Femi Elufowoju jr  

Arcola Theatre, 16 May – 8 June 2024 

“Nothing short of spectacular” ***** Guardian (on The Secret Lives of Baba Segi’s Wives atArcola Theatre, directed by Femi Elufowoju jr)  

@arcolatheatre | [http://about:blank/]www.arcolatheattre.com 

When an abusive husband is awarded a medal for his service patrolling the Texas-Mexico border, it brings to the fore the family conflict between him, his estranged son and his hopeful wife, Grace. Written byPulitzer Prize-winning playwright and Tony nominee Suzan-Lori Parks (Topdog/Underdog), The Book of Grace paints a visceral family portrait, reflecting on society’s hostility towards immigrants with timely new resonance as the world watches its own borders, with another Trump election on the horizon and the UK government continuing to push their ‘stop the boats’ campaign. The UK premiere will be directed by award-winning and Olivier nominated director Femi Elufowoju jr OBE and stars Ellena Vincent (Sylvia, Hamilton, Coronation Street), Associate Artist of the RSC Peter de Jersey, and Daniel Francis-Swaby (Barbershop Chronicles). 

Grace, a hopeful woman desperately seeking positivity in the world, keeps a book of everything good she witnesses, and lives with her abusive husband Vet, a patrol officer on the Texas-Mexico border. When Vet is awarded a medal for his services in catching smugglers trafficking marijuana at the border, Grace invites his estranged son Buddy to join them at the ceremony that is to be celebrated by the whole town. But Buddy arrives armed with resentment, an ultimatum and (several) hand grenades. Can Grace heal the rift, and contain the threat?  

Director Femi Elufowoju jr said, “Eleven years after observing Suzan-Lori Parks and director George C Wolfe in rehearsals with Topdog/ Underdog at the Royal Court, it gives me much pleasure directing the UK premiere of its companion piece The Book of Grace. It is a fascinating character study of a deeply troubled family led by a brutal husband to a wife whose only goal in the world is to see the good in everything. I look forward to opening the can of worms the story’s universal themes entreats us to, and the extreme solutions we consider coming to terms with them.” 

Femi Elufowoju jr OBE is the founding artistic director of tiata fahodzi. His latest venture, the Elufowoju jr Ensemble, conceived the stage adaptation of Lola Shoneyin’s The Secret Lives of Baba Segi’s Wives. Also for Arcola Theatre, Elufowoju jr has directed Hoard by Bim Adewunmi and Tennessee Williams’ The Glass Menagerie as a co-production with Watford Palace Theatre. He made his opera directing debut with Verdi’s Rigoletto for Opera North and directed and wrote a new libretto Der anonyme Liebhaber (based on the life of Joseph Bologne, Chevalier de Saint-Georges) for Konzert und Theater St Gallen. He was appointed Officer of the Order of the British Empire (OBE) in the 2023 Birthday Honours for services to drama.  

Arcola Theatre produces daring, high-quality theatre in the heart of East London and beyond. They commission and premiere exciting, original works alongside rare gems of world drama and bold new productions of classics. Their socially engaged, international programme champions diversity, challenges the status quo, and attracts thousands of people to their building each year. Their ticket prices are some of the most affordable in London. Arcola has won awards including the UK Theatre Award for Promotion of Diversity, The Stage Award for Sustainability and the Peter Brook Empty Space Award. 

Running Time: 120 mins (inc interval) | Suitable for ages 15+ 

Company information 

Director Femi Elufowoju jr    Writer Suzan-Lori Parks 

Set & costume designer Will Fricker & Rae Smith       Lighting designer David Howe              Composer/Sound designer Simon McCorry     Production manager Casimira Hayward-Peel 

Cast 

Grace Ellena Vincent Vet Peter de Jersey Buddy Daniel Francis-Swaby 

Listings information 

16 May – 18 June 2024  

Studio 1, Arcola Theatre, 24 Ashwin Street, London E8 3DL  

Mon – Sat 7.30pm, Sat matinees 3.30pm  

£33 – £12 | [http://about:blank/]arcolatheatre.com | 020 7503 1646  

Social media 

Twitter: @arcolatheatre 

Instagram: @arcolatheatre 

Facebook: www.facebook.com/arcolatheatre    

TikTok: @ArcolaTheatreOfficial

#TheBookOfGrace 

Malvern Theatres – until 6 April 2024

Review by Kathie Hodges

5*****

Could there be a more perfect role for our beloved Tweedy?

Having never seen Tweedy ~ the now former Giffords Circus Clown outside of the circus or annual pantomimes my daughter and I were super excited to see him in a whole new light.
A magical and whimsical Shakespearean play with a character named Bottom seems an incredibly appropriate place to start.

We didn’t lose the clown by any means. The fun aspect of this play was apparent immediately. In typical slapstick style there was flatulence, lots of falling around and general horseplay or Donkey play might be a more appropriate description.

Though the language was testing for my nine year old daughter at times she did manage to keep up with the story and the laughs from all ages in the auditorium were proof enough that the audience were suitably impressed.

Expect to be taken on a fantastical adventure through intertwining stories.

The theme at the forefront being that age old issue ~ love.

The beautiful Athenian landscape and magical forest lit up by colourful costumes were simply striking.

No one cast member stood out more than another, though we were drawn in by Tweedy, we left with a complete adoration for the entire cast who managed with ease to take on their many roles effortlessly.

A magical must see show.

Seat your Bottom comfortably and immerse yourself in the whimsical world of Shakespeare.

Theatre Royal Concert Hall Nottingham – until 4th April 2024

Reviewed by Amarjeet Singh

2**

This play is based on a short story of the same name by the nineteenth century master of the macabre, Edgar Allan Poe, but that’s pretty much where the similarities end. I was left quite baffled by this rendition. It started of well, a dimly lit stage, draped in swarths of cloth, shadows and rumbles of thunder, it made for quite the fright, but it soon descended into confusion.

Rumpus Theatres version of The Tell-Tale Heart is set in the house of Roderick Bounty, in the mid-19th century. Clarry Straven, a clerk to a respectable firm of solicitors, is sent to draw up an inventory of Prospect Manor whilst the owner is away. This aspect of the story appears to borrow quite heavily from ‘The Woman in Black’, but without the fleshed-out backstory of the character. Straven decides to stay at Bounty’s house, as the latter takes in lodgers. Straven is unsettled by Bounty’s ‘Vulture Eye’ which has been an affliction to him for some time. For some unknown reason Bounty decides to tell Straven about a fortune of gold and silver he was given by his other lodgers, tokens they have left behind, and how it would be disrespectful to their generosity to turn the goods into cash. Bounty also fears being robbed. For all these reasons he decides to keep the curtains closed. Straven decides that Bounty’s eye has a supernatural quality to it, even though Bounty has been nothing but kind to Straven, plying him with wine and stew. The eye haunts Straven and gives him nightmares, eventually leading him to commit a terrible deed.

This play makes no sense. There is no reason for the characters to act the way they do. At 2 hours long there is plenty of time for these motivations and drives to be explored, but they were not, instead it was packed with disjointed scenes, strange ramblings, static staging, and odd directional choices, I left the theatre confused. There were some positives. The acting on the most part was impressive. David Martin’s portrayal of Straven was solid and his stew eating was near perfect. However, the transformation from the obedient solicitor’s clerk into a man suffering severe mental anguish was questionable. This could be down to the writing and direction. Nothing added up, it all seemed so incredulous. John Goodrum as Roderick Bounty started strong and then took us on a journey of meanderings, the script could do with some serious tightening up. The pivotal scene was such a letdown, akin to school play efforts, or toddlers having at a piñata. A disappointing close to act one. The end of the play had a huge twist that left me cold for all the wrong reasons. David Gilbrook’s sounds added atmospheric music and sound effects which lifted the production but was not consistent enough to build tension.

I’m sure there are some who would really enjoy this retelling of a Poe classic, and I have no doubt with some tweaks it would suit some audiences.

New Wimbledon Theatre, Wimbledon – until 6 April 2024

Reviewed by Emily Smith

2**

[Trigger warning: Themes of suicide and abortion]

An Officer and a Gentleman the Musical, is based on the 1982 film of the same name, and follows officer candidate Zack Mayo (Luke Baker) as he joins the navy with a dream of flying jets. Along his journey he meets love interest Paula Pokrifki (Georgia Lennon) and builds friendships with his fellow candidates, including Sid Worley (Paul French).

The show relies heavily on the audience having knowledge of the original film as without this, the dialogue mixed with 80s songs that have questionable relevance to the action on stage, miss key plot points. The most well-known lines from the film are sprinkled in throughout, probably to ensure we remember what show we’re watching. In addition, several characters make more of an appearance in this musical compared with the film, such as Zack’s father, Byron (Tim Rogers), and Paula’s mother, Esther (Melanie Masson), presumably to fill some of the plot gaps left by the stage adaptation.

The film, released over 40 years ago, makes for fairly sombre viewing, so I was intrigued as to how this has translated to the stage with the additions of upbeat, classic 80s songs such as Girls Just Want to Have Fun and Livin’ on a Prayer. The answer is that really it doesn’t. The addition of the music only served to further detach the audience from the plight of the characters. The songs often lacked relevance to the action on stage, and given they were in place of key points of dialogue, it felt quite disjointed and as though they had been retrospectively fitted in. When the opening notes to Girls Just Want To Have Fun came on, there was a palpable excitement, which was short-lived as the song started slow, and then tried to reach a high on the dance-floor with disco lights, but never quite got there.

My personal highlight was St Elmo’s Fire which had been adapted to have a military theme but still gave the big choral number everyone had been waiting for (…through the whole of Act 1). I also enjoyed the latter part of Zack and Paula’s duet, I Want To Know What Love Is, I just wished it had been longer given it was the only time I felt some emotional connection to the characters.

Up Where We Belong is the famous number for the closing scene, and while it was a pleasant rendition, I can’t help but feel it would have made a beautiful closing duet between Zack and Paula rather than a group number by the factory workers. Kids in America was also slowed down and used to tell Zack’s childhood story; it is a skill to bring sadness to such a happy song, but this musical achieves it.

I give credit to the cast and ensemble who deliver and upbeat and energetic performance, particularly given the physicality required for the choreography and exercises thrown at them. Jamal Kane Crawford delivers a stellar performance as Gunnery Sergeant Emil Foley; arguably the best of the night. How he manages to consistently deliver his lines with such a bark beyond me!

Luke Baker’s performance as Zack Mayo was that of a leading-man; he delivered excellent vocals alongside an emotionally sensitive performance. I also commend his stamina and strength given the number of push-ups done on stage. The fight scene between Luke Baker and Jamal Kane Crawford was also notable.

Paul French’s performance as Sid Worley was also very well played, with the number, Family Man, delivered with the edge it required. I enjoyed the unique tone of Sinead Long’s (Lynette Pomeroy) voice, especially in her lead number, Material Girl, which for once, did fit logically into the plot. Whilst Alone could have been a truly stunning number, it was let down by Georgia Lennon’s desire to make it her own, with the addition of growls, riffs, and off-timing.

Olivia Foster-Browne’s performance as Casey Seegar was admirable, with Hearts on Fire being a great chance for her to show her vocal talent. That being said, in this show, the character of Seegar (referred to as ‘Ghetto Girl’) is very stand-offish and quite rude, which means the emotional scene at the end where Zack helps Seegar climb the wall fell very flat and lacked emotional depth. In addition, the infamous scene where Sid takes his own life lacked emotion and was not well explained given the act happens off stage. The fact this scene leads into a burst of Final Countdown also felt poorly timed.

The script as a whole fell short on any comedy added to offset the sombre mood; the show was not without giggles and scoffs from the audience with the actor’s bests attempts at comedic delivery, but ultimately the attempt to add humour to a relatively dark show was not sufficient to be a success. In fact, the most laughs of the night came from Paul French’s line “I’ll do the right thing by you… pay for the abortion”, which I’m not sure was intended to be comedic.

As far as Michael Taylor’s set goes, it consisted predominantly of a grey metal structure that moves around the stage, alongside some neon signs on the sides. It wasn’t particularly inspiring or anything new, but it served a purpose. It was always going to be challenge to recreate an obstacle course on stage for some of the key scenes in a touring production, but having candidates run in circles on stage before leaping at a yellow metal climbing frame (the infamous wall) did mean the scene lost it’s effect.

The live band, led by musical director Christopher Duffy, were brilliant but at times the volume between the microphones and the band were slightly off, meaning it was hard to hear the words being sung. Equally at other times, I wished the band’s volume was increased for the climaxes of the songs. The choreography, with its clear military influence and energetic numbers, was brilliant by Joanna Goodwin.

While Act 1 lacked many musical numbers with oomph, Act 2 was (too) full of them. The use of hand-held mics for the first two songs was confusing.

Overall, the show is a pleasant night out, but Nikolai Foster’s show misses the mark.

Theatre Royal Windsor – until Saturday 6th April 2024

Reviewed by Carly Burlinge

5*****

Windsor brings you Oh What a Lovely War a 60th Anniversary production of Joan Littlewood’s Musical originally performed in 1963 then turned into a successful film released in 1969.

Before the show begins you see the cast walking around the stage and theatre, everything being a little chaotic whilst they interact with the audience as well as themselves, this is done very well and was very entertaining to watch. Setting the scene for what was to come. The set itself is very circus like for a war game show.

The production in itself is about World War One taking you through military leaders and everything that happened over the four years of war.

Images of the war were shown throughout the production on the back screen by projection  with statistics such as how many soldiers lost their lives within hours from different battles. Giving the audience a very harsh feeling which came across very haunting and harrowing. Not to mention how there was complete incompetence and inability alongside the cruel disregard for  human life!

The cast of six Tom Benjamin, Tom Crabtree, Harry Curley, Alice E Mayer, Chioma Uma, Euan Wilson were extremely talented had a great connection on stage for all to see as they adapted their characters in different roles with ease throughout this fast, paced, energetic, pristine performance.

It was outstanding to watch as well as their talents of also being musicians, playing many instruments, entertaining us with timeless songs including some audience participation of Sister Susie’s Sewing Shirts for Soldiers.

All the above making it a remarkable and entertaining evening with the perfect balance between tragedy and humour one that will most definitely stick in your mind and one that is a must see! 

Sheffield Lyceum – until 6 April 2024

Reviewed by Sal E Marino

5*****

Romeo and Juliet, the greatest symbolic story of love in all its forms is performed at its best as a ballet and especially when executed by the outstanding Northern Ballet team. Love is the most powerful energy we can feel and because we feel it in our body before thinking it in our mind and translating it into thoughts and words, the narrative is communicated so much more strongly to the audience when its somatic. No words are needed to tell this tale Shakespeare penned; love is felt. Through these two young people, who are victims of their circumstances beyond their control, that being the imposition of their families – the two ‘houses’ – we experience the highly potent emotions of: romantic love, sexual love, forbidden love, family love and of course – tragic love. The love is tragic because following their true destinies means breaking the rules of tradition and what’s expected of them but who wants to live a life half loved?

Romeo and Juliet are ‘star crossed lovers’; its in their destiny and so we know it’s going to end in death and so the biggest binary here is that of love and death. What Jospeh Taylor (Romeo) and Abigail Prudames (Juliet) deliver to us by how they move together in perfect harmony so exquisitely (through the brilliant direction by Christopher Gable and choreography by Massimo Moricone) is that they make us feel their perfect, passionate love and that’s what we take away from this ballet more than their deaths – is their love. Love is triumphant and, in the end, it transforms the two families, it brings them together – it’s what we remember and why we call it the ‘greatest love story’, not the ‘greatest tragedy’. Love wins!

In Act 1, the Northern Ballet transport us to ‘fair Verona’ but straight away we see it’s not really that ‘fair’ as the theme of violence and the discord between the two houses quickly erupts with the warning that bloodshed will be punished by death is issued. Dressed from the crown to the toe in black and red, Harry Skoupas dancing as Tybalt, straight away from his first step exudes arrogance and masculine prowess. The essence of the Capulets is that of a Mafia-type tribe and Tybalt is the prince of this clan and he wields the biggest sword. During the famous ‘Dance of the Knights’, it is Tybalt who is at the forefront leading the movement. The control, precision and potent power of this sequence is intoxicating! Prokofiev’s music played by the Northern Ballet sinfonia (conducted by Daniel Parkinson) goes deep to one’s inner root energy centres – it’s the theme tune of power, wickedness and a villain and it’s breathtaking! (Please forget Alan Sugar’s Apprentice – which it’s association with this masterpiece is insulting!).

In complete contrast and in the-blink-of an eye, we witness the meeting of Romeo and Juliet at the ball and in Juliet’s Garden where love is declared. The ethereal quality of the movements between the two protagonists takes one into a place that Shakespeare intended, ‘some otherwhere’. The lightness and soft sensuality of Taylor and Prudames dance arrangements performed within this beautiful set makes you feel like they are on their own celestial sphere and you never want them to part. These two young lovers belong together and that is when as an audience member you fall in love with their love.

Lady Capulet (Amber Lewis), so like a queen commands the stage and her family. Striking, dramatic and fierce, she becomes the one you can’t take your eyes off when she’s on stage and her outpouring of grief for Tybalt as she smears his blood, is like watching an unearthly creature vent its rage on the world. Very aptly, the heavens open and rain fires down on the stage during her torturous rampage. My concerns that my teenage daughter, who is studying this text for GCSE English literature, might not ‘get’ the ballet were instantly dispelled when she gripped my arm at this sensational interval and said, “It’s wonderful!”. I know when she takes her exam she will now write with absolute passion in answer to any question after seeing this production and I now have a life-long companion to accompany me to futures ballets.

Everything in the Northern Ballet’s Romeo and Juliet set and costume design had class and that ancient style that is required to take you back into Shakespeare’s imagining. The chapel where we meet Friar Lawrence (George Liang) immediately gives a sense of peace and a safe refuge. Through his simple gestures and graceful movements Liang conveys calm and holiness. It’s mesmerising how through very simple head moves and body twists a character can be translated through dance and this was demonstrated like a masterclass through the characterization of Juliet’s nurse – the amazing Heather Lehan. Heather gives us pure comedy in her portrayal of this fussy, lovable lady and my heart was breaking (and I shed my first tears of the night) when Juliet was bound under force to Paris, because her nurse so desperately wanted to help her but couldn’t. The love that should have been one between mother and daughter was shared between Juliet and nurse and I still don’t know how they conveyed this just through sad glances and tugs of the caretaker’s skirts. Their love, though powerless in this patriarchal society, was deeper than the wounds they were about to endure and it was during Juliet’s funeral that the nurse’s love for her charge poured out more than her mother’s.

The Capulet’s crypt is the final destination of the ballet and the whole theatre was on the edge of their seats as by now we were all totally in love with the couple. Within the next few minutes, we went from tragedy to hope to tragedy again. The grace with which Romeo and Juliet end up entwined in their demise is beautifully sequenced and their love is sealed forever. The final image of the two young lovers is tragic but we end with their fathers’ embracing and so love is restored. This performance will set your heart on fire and is like seeing poetry in motion, I can’t imagine a better way of experiencing Romeo and Juliet other than as a ballet.