BAREcomes to the London Palladium on Sunday 7 April, in an unmissable one-night-concert.
Featuring a cast led by Jordan Luke Gage (Bonnie and Clyde, &Juliet) and Laurie Kynaston (Netflix’s Fool Me Once, Spring Awakening), BARE is a provocative and fresh coming-of-age musical about identity, sexuality and the consequences of hiding your true self.
BARE follows a group of students at a Catholic boarding school as they struggle to come to terms with who they are, and who the world thinks they should be. As they explore their sense of identity, they seek answers from their Church, their friends, but ultimately, from within themselves.
With a punchy, electric rock/pop score by Damon Intrabartolo with lyrics by Jon Hartmere, the story of BARE is as real and relevant as ever. At the London Palladium, BARE is directed by Dean Johnson, who recently directed the concert version of Once, starring Carrie Hope Fletcher and Jamie Muscato. Adam Hoskins (The Secret Garden in Concert, Once in Concert, Diana in Concert, Songs for a New World, all the London Palladium) is musical director.
An all-star full cast announcement will be made at a later date.
BARE is produced by Lambert Jackson and Positive Sum.
Raymond Gubbay presents Varna International Ballet and Orchestras Swan Lake. Synopsis by Vladimir Begichev and Vasily Geltzer in collaboration with Pyotr Tchaikovsky. This was the first of three ballets, the other two being The Nutcracker on 30th January and Sleeping Beauty on 31st January all performed at The New Theatre.
The Varna International Ballet Orchestra, conducted by Peter Tuleshkov played the very recognisable music by Pytor Tchaikovsky in this adaptation of the classic ballet. The Orchestra were very good and helped create the atmosphere and ambience of the production.
The set is simple but effective, a backdrop which shows a film at the beginning of the production and changing to various animated backgrounds throughout the rest of the ballet helps portray the story and explains what was happening on the stage.
The story of Swan Lake is well portrayed and there was some good dancing in it, particularly from Martina Prefetto who played Odelle (good fairy) and Odile (alike Odette), Vittorio Scole who played Prince Siegfried and Giacomo Ammazzini who played Benno von Somerstien (The Prince’s friend). They were very expressive dancers and were able to portray this classical story well. The iconic Cygnet dance (danced by Agnese di Dio Masa, Arianna Carafa, Monica Alegre, Aurora Damele) was also well received by the audience. The other dancers and the corps de ballet were good, particularly the dance which was by the black swans, which had great timing.
Anyone new to watching ballet would enjoy this production. The audience at the nearly full theatre last night really seemed to really appreciate this ballet, from the colourful costumes, storyline, orchestra and dancing it made for an entertaining evening of ballet.
The producers of the Curve production of AN OFFICER AND A GENTLEMAN THE MUSICAL are delighted to announce the full cast for the UK Tour, which opens at The Alexandra, Birmingham, on 23 February 2024 booking through to 9 November 2024.
Joining the previously announced Luke Baker as Zack Mayo, Georgia Lennon as Paula Pokrifiki, Jamal Crawford as Gunnery Sergeant Emil Foley, Paul French as Sid Worley and Sinead Long as Lynette Pomeroy in AN OFFICER AND A GENTLEMAN THE MUSICAL are Melanie Masson (The X-Factor)as Esther Pokrifki, Tim Rogers (West Side Story, UK Tour) as Byron Mayo, Olivia Foster-Browne (Grease, West End) as Casey Seegar and Lucas Piquero (Sister Act, Frankfurt) as Eduardo Cortez with Chris Breistein (School of Rock, UK Tour) as Finman, Wendi Harriott (The Voice UK) as Aunt Bunny, James Wilkinson-Jones (South Pacific Sadler’s Wells/UK Tour) as Troy and Danny Whelan (Miss Saigon, Sheffield Crucible) as Craig. The cast is completed by Julia Jones (MAMMA MIA! The Party, The O2), Etisyai Philip (Cluedo, UK Tour), Mia Harrison (Million Dollar Quartet, Norwegian Cruise Line), Lukin Simmonds (Annie, UK Tour), Will May (The Twelve Tenors, European Tour) and Ellie Grace Cousins (MAMMA MIA!, Novello Theatre).
AN OFFICER AND A GENTLEMAN THE MUSICAL is based on the award-winning 80s movie which starred Richard Gere. This timeless story of love, courage, and redemption will make your heart soar and leave you breathless, longing for more. Be part of the emotional journey of Zack Mayo, a fearless young officer candidate, and the captivating Paula Pokrifki, whose fiery spirit matches his own. Their encounters ignite a spark that transcends boundaries, awakening a passionate love that defies all odds.
With every note, every step, and every heartfelt ballad, immerse yourself in this romantic masterpiece. Set to a smash-hit soundtrack featuring the songs of Madonna, Bon Jovi, Cyndi Lauper, Blondie, and many more, the power of music will carry you through the highs and lows of their extraordinary love story, including the award-winning (Love Lift Us) Up Where We Belong.
AN OFFICER AND A GENTLEMAN THE MUSICAL invites you into a world where dreams and destinies intertwine. Don’t miss your chance to experience this captivating romance brought to life on stage.
AN OFFICER AND A GENTLEMAN THE MUSICAL has a book by Douglas Day Stewart & Sharleen Cooper Cohen and will be directed by Artistic Director of Curve, Nikolai Foster, with set & costume design by Michael Taylor, choreography by Joanna Goodwin, musical supervision and orchestration by George Dyer, lighting design by Ben Cracknell, sound design by Tom Marshall, wig, hair and make up design by Sam Cox, musical direction by Christopher Duffy, casting by Debbie O’Brien and associate direction by Michaela Powell. This Made at Curve production is produced by Jamie Wilson, Jack Maple, Gavin Kalin and Jason Haigh-Ellery in association with Paramount Pictures and Warner Bros Theatre Ventures.
NEW WIMBLEDON THEATRE, LONDON – UNTIL SATURDAY 3RD FEBRUARY 2024
REVIEWED BY REBECCA LOBB
4****
Get your boarding pass ready…we’re off to Turkey!
A Stock Aitken Waterman musical filled with songs such as Kylie Minogue (I Should Be So Lucky), Rick Astley (Never Gonna Give You Up), Jason Donovan (Especially for You) and Bananarama (Love In The First Degree) to tap your feet to too!
The story starts with Ella (Lucie-Mae Sumner) and Nathan’s (Billy Roberts) wedding day, but the groom jilts his bride after being warned about a family secret that will be exposed if they get hitched. Ella is left heartbroken, so her family and friends, including her Mum (Melissa Jacques) and best friends Bonnie (Kayla Carter) and Michael (Scott Paige), decide to whisk her to Lovers Paradise – on what would have been her honeymoon!
However, back up north in England, Nathan realises he has made a big mistake, and enlists his best man Ash (Giovanni Spanò) to help him win Ella’s heart back…by flying out to Turkey! But all is not as it seems, as Nathan must deal with Ella’s new love interest Nadeem (Matthew Croke) and her not so happy family and friends.
Sumner has been gifted with great vocals, which made her performance cheerful and energetic. Plus the comedic value of Spencer (Jamie Chapman), the camp general manager of Lover’s Paradise, all added to the feel good factor of the show.
In saying that I found the second act quite rushed, mainly due to too many sub plots relating to the love lives of the minor characters. I found some of these plots like the passports going missing, and Britney’s (Jessica Daley) gambling habit a little redundant. I think this took the spotlight away from Ella and Nathan’s love story.
However, one of the main selling points of this production comes in the form of pop princess Kylie Minogue herself. She appears in digital format as Ella’s inner alter-ego, encouraging her to find her inner diva and follow her heart.
The set was bright, colourful, and fun! This musical is joyous, if a little chaotic, from start to finish. And it’s no wonder the crowd were dancing in the aisles at the end!
DOMINIC WEST KATE FLEETWOOD and CALLUM SCOTT HOWELLS in A VIEW FROM THE BRIDGE By Arthur Miller Directed by Lindsay Posner Designed by Peter McKintosh. Lighting Designer Paul Pyant
THEATRE ROYAL HAYMARKET 23 MAY – 3 AUGUST 2024
Theatre Royal Bath Productions with Len Blavatnik and Danny Cohen for Access Entertainment present Arthur Miller’s A View from the Bridge starring BAFTA Award winner Dominic West (The Wire, The Crown, The Affair), Olivier and Tony Award nominee Kate Fleetwood (Harry Potter and the Deathly Hallows, Macbeth, London Road) and BAFTA Cymru Award winner Callum Scott Howells, (It’s A Sin, Cabaret).
Callum Scott Howells
Portrait Shoot
Credit: The Other Richard
The production will open in London at the Theatre Royal Haymarket with performances from 23 May to 3 August 2024. 100 tickets for each performance will be available for £20 to those under 25 years old.
This highly anticipated West End run will follow an already sold-out engagement at Theatre Royal Bath’s Ustinov Studio from 16 February to 16 March 2024.
Eddie Carbone is an outwardly straightforward man with a strong sense of decency. For Eddie it is a privilege to welcome his wife’s Italian cousins to the land of freedom. But as his niece Catherine falls for one of the visitors, Eddie struggles to control his fierce jealousy, tormented by his own barely concealed lust for the girl. As passions rise, they all soon learn that some freedoms have to come at a terrible price.
The cast also includes Nia Towle, recently seen in the West End’s The Ocean at the End of the Lane and Martin Marquez (Hotel Babylon, Les Miserables) with further cast for the West End transfer, soon to be announced.
Pulitzer Prize-winner Arthur Miller is one of the most highly regarded American playwriters of the 20th Century with work including All My Sons, Death of a Salesman, The Crucible, and The Misfits. His timeless masterpiece A View from the Bridge is a passionate study of one man’s place in the close-knit Italian-American community in 1950s New York.
A View from the Bridge was first performed as a one-act verse drama on Broadway in 1955 before being revised for its West End premiere a year later, directed by Peter Brook and starring Richard Harris and Anthony Quayle. The play has since been produced for stage, film, television, radio and as an opera, starring many notable actors and winning numerous awards.
Presented by Theatre Royal Bath Productions with Len Blavatnik and Danny Cohen for Access Entertainment,A View from the Bridge by Arthur Miller is directed by Lindsay Posner, designed by Peter McKintosh with lighting designs by Paul Pyant.
The Beauty of Being Herd, written and performed by Ruth Berkoff, was one of the most memorable hours of time I’ve spent watching a live theatrical play and memorable in a most positive way. We were greeted by the sparsest set I’ve ever seen – a hung piece of red velvet material and a solo sad balloon. It looked like we were staring at the remains of an abandoned jumble sale in a village hall – mismatched and odd but this set up was perfect for what was about to unfold. The sad and limited space foreshadowed Hannah, the play’s main and only character (apart from the ones we conjure from her enactments of various scenarios) and reflected how she feels about herself. One picks up on her anxiety within seconds of meeting her and through her constant apologies and over explaining of what she means to say, it’s clear that Hannah doesn’t feel like she’s coherent when she speaks to other people. she can’t find harmony within any group and so never feels relaxed or happy but my first impression of her was the opposite of how she thinks others perceive her. She was funny, entertaining, different from the ‘norm’ and warm.
After what she considers as failed attempts to form relationships (not romantic) with people at work, an adult party, and a rave – she concludes that there is something wrong with her – she doesn’t understand the code of conduct or the ‘rules’ that need applying to form connections with people. Even at the ‘adult’ party there were rules on the doors, but people didn’t follow them, so she has eventually decided to jack in being a human and to go and live as a sheep. Sheep do follow the rules, they’re basic and because there are only four rules to follow then there’s no chance of her being misunderstood or rejected.
So as an audience, we were simply there to say goodbye and good luck however, by the end of the show Hannah had relaxed because she had finally been HEARD by us and it felt like (although she never said so) that she might decide to give humans another go and stick around a bit longer. As a group, we had listened to her, laughed with her, sang with her, baaaaa’d with her and even danced a little. We had experienced intimacy and how I interpret intimacy is: in-to-me-in-you-I-see and so we had exchanged energy that connected. She felt harmony with us as we did with her, and the energy feedback exchange was positive. I’m sure that at that moment, as a collection of random people, we were starting to form a tribe and Hannah was our leader! Her once furtive eyes were now wide open and smiling, she was doing superhero poses and getting us to follow her actions. She felt good, I felt good and by the look on everyone’s faces in the audience and the high energy in the room – they did too!
Although this play may appear like a bit of a joke and tomfoolery at first, it’s actually very deep and the play on words associated with herd, heard, sheep and following the rules is interesting. If I had got to know ‘Hannah’ a little better, I would like to have reassured her that feeling a bit odd and like you don’t fit in within some groups and social platforms is a good thing and quote Krishnamurti suggesting that “It is no measure of health (mental) to be well adjusted to a profoundly sick society.” We live in a world that is collectively manifesting wars and follow leaders who put their own power and financial gains before humanity so don’t worry about any rules for humans – they no longer exist as a sacred code, form your own with like mined people, in fact you just did it with us! Furthermore Hannah, if you’re not feeling in harmony with who you are surrounded by then have the courage to go inside, do the work and love ‘you’ because the law of attraction is a rule that never fails us and eventually you will magnetise your tribe, you did tonight already. The Beauty of Being Herd is bizarre, bonkers and beautiful – I loved it!
THE STAGE AWARDS 2024 IN ASSOCIATION WITH TYSERS LIVE WINNERS ANNOUNCEMENT
L-R National Theatre, Watermill Theatre, Ellie Keel, Battersea Arts Centre
The winners of The Stage Awards, in association with Tysers Live, have been announced at the annual awards ceremony at Theatre Royal Drury Lane, London. The prestigious event took place in front of an audience from every corner of the industry, with guests including West End producers, artistic directors, stage stars and many of the figures who featured in The Stage 100 list.
Now entering its 14th year, The Stage Awards were launched in 2010 to highlight the achievements in theatre across the UK. This year it turned its attention to 30 nominees across nine categories, all of whom exemplified the very best of the theatre community. For the first time this year, there was also the surprise addition of a Judges’ Award, presented to theatre company Chickenshed, in celebration of 50 years of excellence.
This year, the Theatre of the Year Award was given jointly to two venues in recognition of their achievements during 2023: The National Theatre in London and the Watermill Theatre in Newbury.
This was a timely win for the National, receiving the award for its work during its 60th anniversary year, a testament to outgoing artistic director Rufus Norris and an admirable legacy for its incoming artistic director Indhu Rubasingham. In its anniversary year, the National Theatre pulled out all the stops; not only did it deliver its most prolific season in the theatre’s history, producing 31 plays and musicals – with seven West End transfers and two shows in New York, it also continued to impress with its community and outreach work. In 2023, it reached more than 15,000 students via its touring productions in schools and delivered its most ambitious Public Acts initiative: The Odyssey. Both on stage and off, the National continues to lead by example in demonstrating the power and importance of theatre.
Meanwhile, the Watermill Theatre’s win represented a heroic comeback story. Since losing its Arts Council England funding at the end of 2022, the team at the Watermill have worked tirelessly to ensure that the theatre not only survives, but thrives. Nowhere is this clearer than in its triumphant production of the Lord of the Rings musical, its boldest production to date.
Similarly to the Watermill, the winner of Fringe Theatre of the Year, sponsored by encore insure – Little Angel Theatre, London – operates within a world of ambition that goes way beyond its size. Little Angel’s win gives recognition to its contribution to the theatre ecology through its championing of puppetry and children’s theatre – an often undervalued sector of the industry. Based on an ethos of inclusivity and a passionate belief in the importance of stories for everyone, Little Angel is a beacon for the value of inventive and accessible theatre.
Accessibility and engagement with younger audiences is also at the heart of the winner of the Theatre Building of the Year award, the Roundhouse Works, London. Designed specifically for 18-30 year olds, this development has allowed the Roundhouse to expand its work with the next generation of artists massively. This venue, which will offer young creatives affordable membership and financial assistance, stands as a reminder of the importance of carving out spaces within the theatre community in which to welcome and nurture young creatives.
Nowhere is the development of creative spaces and the impact it can have on communities more evident than in Culture Collective, the recipient of the Community Project of the Year award sponsored by Evolution Productions. Using pandemic recovery funds to support 26 organisations – ranging from tiny community hubs to regularly funded organisations across Scotland – Culture Collective has had a transformative effect on some of the communities and the industry professionals within them hit hardest by the pandemic – all against a backdrop of a chronically underfunded sector.
Ellie Keel Productions, the winner of Producer of the Year, equally embodies the importance of championing accessibility within the industry and the nurturing of new talent through the Women’s Prize for Playwriting, now in its third year. Through the prize, producer Ellie Keel demonstrates not only her passion for discovering new writers, but her commitment to producing their work. 2023 proved a busy year, taking three shows to the Edinburgh Fringe Festival, including Nathan Queeley-Dennis’ hit debut play Bullring Techno Makeout Jamz, which later transferred to London’s Royal Court.
Shifting perspective to the global theatre community, the contribution of Battersea Arts Centre (BAC), London was recognised today, winning the International Award sponsored by Concord Theatricals. This year, BAC’s ambitious and commendable international programming included a series of remarkable works, from productions such as Hate Radio by Milo Rau (SWITZERLAND) and Miet Warlop’s propulsive and intense One Song (BELGIUM), to collaborations such as with the Shubbak Festival, the UK’s premier festival of contemporary Arab arts and culture. Through its work both on and off stage, Battersea Arts Centre is fast becoming London’s key hub for international theatre.
The importance of the international network also shines through in Parade-Fest and Artists on the Frontline’s With Fire and Rage, the recipient of sponsored by Cabbells. This immersive multimedia theatrical experience not only followed artists on the front line in Ukraine but linked them to Liverpool. Stories unravelled in public spaces across the city as first-hand audio testimony was combined with a variety of mediums and art forms, bringing distant experiences to audiences with powerful immediacy. This award-winning work pushed the boundaries of how audiences can engage with storytelling.
The value of engaging audiences beyond the physical realm is exemplified, too, in ZUUK’s Within Touching Distance, which took home the Innovation Award sponsored by Charcoalblue. Within Touching Distance is a digital arts collaboration between mental health patients, health professionals, researchers and community organisations. This intimate, one-on-one, mixed-reality production has been described by health practitioners as “a perfect example of the power art has to push the limits of healthcare simulation and make healthcare professionals think beyond their own reality”.
The Unsung Hero Award, sponsored by Kindred Partners, was awarded to Janet Bakose from the Chichester Festival Theatre. She is the theatre’s longest-serving staff member of an incredible 45 years. Janet first joined the theatre in 1978 as a deputy box-office manager. Since taking over the programming responsibilities for the winter months in 2004, she has brought in over 600 productions, performances and concerts. As colleagues describe: “Quite simply, it is impossible to underestimate her contribution to the success and ethos of Chichester Festival Theatre.”
In a surprise first for The Stage Awards, a Judges’ Award was given to north London’s Chickenshed for 50 years of excellence. Its ethos of being a theatre company for “absolutely everyone”, Chickenshed champions inclusivity and accessibility not only on stage but also through its courses, workshops and Young Company.
Louise Perry, managing director from Chickenshed said: “Huge thanks to The Stage Awards for recognising Chickenshed’s contribution over the last 50 years.
“Mary Ward and Jo Collins founded our theatre from a chicken shed in 1974, declaring that it was a space for everyone and over the past five decades the organisation has been defined by both groundbreaking professional theatre and industry-leading inclusive practice. This award gives us confidence that the industry is ready for the wonder out of chaos that this inclusion creates.
“We can’t wait to show everyone what the next 50 years of Chickenshed looks like and look forward to having many conversations with those who share similar aspirations for community-led, inclusive practice.”
The Stage editor Alistair Smith, said: “My fellow judges and I would like to congratulate all our winners. It’s always a real pleasure to judge these awards, which reveal just what an extraordinary range of superb theatre is being created by all types of companies all across the UK.
They also underline how much is achieved by theatremakers despite dwindling public funding. Imagine what they could do with more generous support from central and local government.”
The winners were announced at The Stage Awards 2024 – hosted by Isobel Thom and Elan Davies, co-recipients of The Stage Debut Award 2023 for best performer in a play – on January 29, 2024 at Theatre Royal Drury Lane, London, in association with Tysers Live. The ceremony also featured a live performance from the award-winning actor Jessica Lee, winner of best performer in a musical at The Stage Debut Awards 2023 for her performance in Miss Saigon at the Crucible Theatre, Sheffield. Jessica Lee performed Borrowed Time from her run playing Misa Amane in the English-language premiere of Frank Wildhorn’s musical adaptation of Death Note: The Musical.
#TheStageAwards
THE WINNERS IN FULL Theatre of the Year National Theatre, London Watermill Theatre, Newbury
Fringe Theatre of the Year Little Angel Theatre, London
Theatre Building of the Year Roundhouse Works, London
Community Project of the Year Culture Collective
Producer of the Year Ellie Keel Productions
International Award Battersea Arts Centre
Digital Project of the Year Parade-Fest and Artists on the Frontline for With Fire and Rage
Innovation Award ZU-UK for Within Touching Distance
Unsung Hero Janet Bakose – Chichester Festival Theatre
New casting is announced for the 70th Anniversary tour of The Mousetrap, the longest running play in the world, which continues to enthrall audiences throughout the UK and Ireland.
From 30 January 2024, the cast of the iconic murder-mystery on tour will include Todd Carty (EastEnders, Grange Hill, Dancing on Ice) who continues to play Major Metcalf and Gwyneth Strong (known for playing Cassandra in Only Fools and Horses) as Mrs. Boyle.
They will be joined byNeerja Naik as Mollie Ralston, Barnaby Jago as Giles Ralston, Shaun McCourt as Christopher Wren, Amy Spinks as Miss Casewell, Steven Elliot as Mr. Paravicini, and Michael Ayiotis as Detective Sgt. Trotter.
Genre-defining murder mystery The Mousetrap, written by Agatha Christie, the world’s best-selling novelist of all time, premiered at Theatre Royal Nottingham in 1952 and toured the UK before opening in the West End where it continues its record-breaking engagement at the St Martin’s Theatre, over 70 years on. The iconic thriller’s 70th Anniversary tour also opened in Nottingham in September 2022, and continues to travel throughout the UK and Ireland, marking its milestone anniversary by visiting over 70 theatres, including all cities to which it originally played 70 years ago, plus many more.
A full tour schedule, further information, theatre listings and ticket purchase through the website MousetrapOnTour.co.uk
As news spreads of a murder in London, a group of seven strangers find themselves snowed in at Monkswell Manor, a remote countryside guesthouse. When a police sergeant arrives, the guests discover – to their horror – that a killer is in their midst. One by one, the suspicious characters reveal their sordid pasts. Which one is the murderer? Who will be their next victim?
The Mousetrap is produced by Adam Spiegel with Direction by Ian Talbot OBE and Denise Silvey.
Festival Theatre usher Graham Simpson wins prestigious Unsung Hero Award at The National Lottery’s Big Night of Musicals 2024
Graham Simpson surprised as Unsung Hero by Jason Manford and Craig Revel Horwood at the National Lottery’s Big Night of Musicals; photo BBC and The National Lottery’s Big Night of Musicals
Festival Theatre’slong serving usher Graham Simpson has been celebrated as an Unsung Hero of musical theatre at The National Lottery’s Big Night of Musicals.
Graham, who first joined the Festival Theatre in 1994, marked the start of his 30th anniversary with the organisation through a surprise award at the event, which aired on BBC One on Saturday 27 January. His nomination was kept secret and he was taken to the Manchester AO Arena under the guise of representing Capital Theatres at an industry event. Graham was surprised on the night by friends and colleagues including the likes of Brian Cox, Honorary Patron of the King’s Theatre, who appeared on screen to congratulate Graham on his award.
Graham was presented with a commemorative plaque which will be installed at the Festival Theatre, a venue where he has worked as an usher for three decades as well as providing much loved public tours and tending to the rose garden.
The event was hosted by Jason Manford in-front of an audience of 12,000 musical theatre fans at the Manchester Arena and featured 12 of the UK’s West End and Touring productions including Hamilton and A Chorus Line which will tour to the Festival Theatre later this year. The event serves as a massive thank you to National Lottery players who in the past year, have helped The National Lottery award more than £517m to arts projects across the country, with £46m going towards theatre related projects. The King’s Theatre is one of these projects being supported by The National Lottery’s Heritage Fund.
Unsung Hero Graham Simpson said:
“It’s a real privilege to be recognised as an Unsung Hero of theatre. The whole experience was surreal, and it was such a surprise on the night, I’m glad I didn’t twig! Capital Theatres is such a massive part of my life, it has been for the last 30 years and will be for many more. A massive thank you to the National Lottery for a special night.”
Fiona Gibson CEO of Capital Theatres said:
“We are all thrilled that Graham’s dedication to Scottish theatre across the last thirty years has been recognised through the Unsung Hero Award at the National Lottery’s Big Night of Musicals 2024.
“We are incredibly proud of Graham and the phenomenal impact he has made in bringing care and joy to so many through all the fantastic work he does for Capital Theatres. The Unsung Hero Award, of which there is only one, really shines a light on the sheer variety of remarkable activity that takes place both on and off our stages.”
Adam Chataway, Head of Partnerships at The National Lottery said:
“We were thrilled to bring back The National Lottery’s Big Night of Musicals to the AO Arena, showcasing the immense talent and magic of musical theatre. The event was a heartfelt thank you to National Lottery players who have helped to raise over £7.8 billion to arts and theatre projects across the country since The National Lottery began. We were also honoured to present Graham Simpson with the Unsung Hero award for his incredible work and dedication to the Scottish theatre community for the last 30 years.”
TO GIVE THE NEXT GENERATION OF TALENT THE CHANCE TO BE FOUND
The casting team of DEAR EVAN HANSEN, in collaboration with TikTok,are searching for the next generation of talent to star in the first ever UK tour of the Olivier, Tony and Grammy award-winning Best Musical.
This opportunity is open for every role in the show, not just Evan himself. Applications from performers of all gender identities, with or without formal training, are welcome. Those interested are invited to upload a video on TikTok singing any number from the multi award-winning production with the hashtag #YouWillBeFound, before submitting their entry formally via evanontour.com/tiktok.
After the closing date, the casting team will review all submitted videos and invite anyone who they feel could be a part of the cast to participate in the formal audition process at a central London location.
Video applications are accepted for 2 weeks from today, Monday 29 January, with entries closing on Sunday 11 February. Entrants must be 18+ and based in the UK or Ireland.
For all information and to apply, visit: evanontour.com/tiktok
Directed by Nottingham Playhouse’s Artistic Director Adam Penford, DEAR EVAN HANSEN will open at the Nottingham Playhouse on 9 September 2024, ahead of a UK tour.
Director Adam Penford said, “Dear Evan Hansen is about celebrating what you bring to the world as a unique individual. It’s very exciting to be collaborating with TikTok to provide a platform for those who love the musical as much as I do to sing these beautiful songs. We can’t wait to see who is out there.”
Ed Lindeman, Head of Entertainment TikTok UK & IE said: “Dear Evan Hansen is already a huge hit with the TikTok community, with thousands of people sharing creations using the much-loved soundtrack. We are delighted that the producers have recognised this and are now turning to TikTok to uncover up-and-coming talent for the touring show.
At TikTok, we’re committed to supporting theatre and the creative industries, TikTok is a platform where creativity is discovered, and emerging talent can really thrive; we can’t wait to see who will be found!”
Packed with some of the biggest musical theatre songs of the last decade, DEAR EVAN HANSEN has a score by Benj Pasek and Justin Paul (Oscar-winning composers for The Greatest Showman) and a book by Steven Levenson. Its many awards include the Tony® Award for Best Musical, Olivier Award for Best New Musical and the Grammy® Award for Best Musical Theatre Album.
Today is going to be a good day. And here’s why…
Meet Evan: an anxious high school kid who wants nothing more than to fit in. The thing is, on his way to fitting in, he didn’t tell the whole truth. And now must give up on a life he never dreamt he’d have. As events spiral and the truth comes out, Evan faces a reckoning with himself and everyone around him.
DEAR EVAN HANSEN is presented by ATG Productions and Nottingham Playhouse by arrangement with Music Theatre International.
