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Original Theatre in association with Park Theatre  

presents the world premiere of
The Interview

at Park Theatre from 27 October – 25 November 2023  

Written by Jonathan Maitland 

Directed by Michael Fentiman 

Starring Tibu Fortes as Martin Bashir and Yolanda Kettle as Diana, Princess of Wales  

This is the story of the interview. 

The interview which told her story. A story that shocked the world. 

“Why should I stay silent? They’ve been trying to shut me up from day one.  

This way I’ll finally be heard.” 

Original Theatre in association with Park Theatre presents the world premiere of The Interviewat Park Theatre from 27 October until 25 November 2023 (press night: 1 November, 19:00). The production will star Tibu Fortes as Martin Bashir and Yolanda Kettle as Diana, Princess of Wales. 

On 20 November 1995 the BBC broadcast an interview between Diana, Princess of Wales and Martin Bashir. It was watched by hundreds of millions worldwide. But now, it is said, the interview has no legitimacy. Is it right that the way it came about has overshadowed what it was meant to be? 

This powerful new play by writer and broadcaster Jonathan Maitland (author of Park Theatre hits Dead Sheep, An Audience with Jimmy Savile, The Last Temptation of Boris Johnson) and directed by Olivier Award nominated Michael Fentiman (Amelie, The Lion, The Witch and The Wardrobe, Loot), gives an insight into the story behind the interview: the woman who gave it, the man who made it happen and the institution that broadcast it.  

The Interview poses tough questions: What can we justify in the pursuit of truth? Can we trust our great institutions? And are we ever, really, in control of our own narrative… our legacy? 

The cast of The Interview is Tibu Fortes as Martin, Naomi Frederick as Luciana, Yolanda Kettle as Diana, Princess of Wales and Ciarán Owens as Matt, with a further cast member to be announced. 

The Creative Team is completed by Set and Costume Designer Sami Fendall, Lighting Designer Emily Irish, Sound Designer and Composer Barnaby Race, Costume Supervisor Logan Kelly, Production Manager Andreas Ayling, Wig Designer Susanna Peretz, Wigs Supervisor Pedro Paiva. The Stage Manager on Book is Kanoko Shimizu and Assistant Stage Manager is Paulina Krauss. The Interview is produced by Steven Atkinson for Original Theatre.  

Writer Jonathan Maitland said: “The things that led to the famous interview and the events that came after it revealed much about our country and its institutions. It’s definitely the stuff of drama and I can’t wait to see our superb cast and brilliant director Michael Fentiman bring it all to life.” 

Director Michael Fentiman said: “It’s a great pleasure to be directing Jonathan Maitland’s play The Interview at Park Theatre this Autumn. It’s an opportunity to return to a theatre I have very fond memories of after my production of Joe Orton’s Loot there in 2017. It’s an added bonus that I get to work with a theatre company in Original Theatre, who I have long admired as a tireless and vital part of the UK’s new work ecology. Jonathan Maitland is a writer of great integrity and bravery and it’s been an honour to be trusted with his play.” 

The Interview is produced by the award-winning theatre company Original Theatre (The Mirror Crack’d, The Habit of Art) who delivered Park Theatre productions The End of The Night, Napoli, Brooklyn and Monogamy and the forthcoming The Time Machine – A Comedy, this December.  

Artistic Director of Original Theatre, Alastair Whatley, said: “I am delighted to be returning to Park Theatre once again with the first of two plays back-to-back, first up with a world première of Jonathan Maitland’s superb new play. It’s wonderful for us to be collaborating with director Michael Fentiman and a brilliant cast and creative team for what we anticipate will be a play that gets London talking.” 

To book tickets for The Interview, visit: https://parktheatre.co.uk/whats-on/the-interview or call the Box Office: 020 7870 6876.*  

* Telephone booking fee applies. 

-LISTINGS- 

Show: The Interview 

Venue: Park Theatre, Clifton Terrace, Finsbury Park, London N4 3JP 

Dates: Friday 27 October – Saturday 25 November 2023; Mon – Sat 19.30, Thu & Sat 15.00 

Running Time: approx. 1hr 50 mins (including interval) 

Box Office: https://parktheatre.co.uk/whats-on/the-interview / 020 7870 6876*  

* Telephone booking fee applies. 

Tickets: Previews: £15 – £25. Standard: £22.50 – £44.50. 65+: £20 – £22.50 (Mon eve and Thu mat). Access: £17.50. Booking fees apply. Book early to secure the best prices. Prices may change, subject to demand. 

Age Guidance: 12+ 

Captioned: Tue 14 November, 19.30

Audio Described: Fri 17 November, 19.30 with Touch Tour, 18.30

Access information: https://parktheatre.co.uk/your-visit/access-information 

Category: theatre / drama  

York Theatre Royal – until 23rd September 2023

Reviewed by Janina Cairns

5*****

The age guidance for this play is 14+.

If you are not familiar with the York Theatre Royal, then you are missing a treat. It is over 250 years old and still a firm favourite of theatre goers.

Something that doesn’t happen often is this, they offered a special, post show discussion after the 7.30pm performance on Wednesday 20th September

Murder In The Dark is a psychological ghost story style thriller with humour. It is hard to describe this wonderful show without giving too much away (and spoilers here isn’t appropriate) but it is safe to say, the show takes you on a rabbit warren of plot twists. This play needs to keep the plot secret so as not to spoil it for those coming after – akin to The Mousetrap.

The play starts with Danny Sierra (played by TV and Stage’s Tom Chambers) -a singer – and his dysfunctional family, his brother William (played by Owen Oakshott), his ex-wife Rebecca (played by Rebecca Charles), his son Jake (played by Jonny Green) and Danny’s girlfriend Sarah (played by Laura White).

Having to seek refuge from the weather in a run-down holiday cottage on a farm after being rescued after the crash on the way back towards London after a funeral. Their rescuer is the owner of the farm, Mrs Bateman (played by TV and Stage legend Susie Blake). The stage set for this play is very simple but effective. It is all set within the holiday cottage with an occasional set change for the outside toilet area.

The family are told that the weather has worsened, and it is clear they are stuck for the night as no taxis would be able to get to them and even if they did, no trains were running.

None of them are happy of course. It is New Year’s Eve, and they have places to be. The first half of the play really sets the scene for what is to come, giving us an insight into the dynamic of the group and feeling the tension build between the characters.

The second half of the show really ramps up the tension, with twists, revelation of secrets, some more twists. A real rollercoaster of what is going to happen next. If I am truly honest, I didn’t guess the ending here and that is all down to the brilliant writing of Torben Betts and his creation of this wonderful play.

There was humour all the way through the play and Mrs Bateman’s character is absolutely brilliant. She has us laughing out loud as she takes the cast and the audience with her on her own little mad ramblings. For me, she stole the show but the writing and deliverance of the lines she was given was absolute genius. Well done again to Torben Betts for his writing.

Finally, if you enjoy a good spooky story, you will not be disappointed, but it is also for those who aren’t a ghost story style fan because you will have just as much fun as the humour is more than worth it.

Adelphi Theatre – 19^th September 2023

Reviewed by Heather Chalkley

4****

The promoter, Entertainers, secured the venue for an Adelphi Theatre debut that rocks the house with the reggae beat. Three years after Bob Marley’s death the greatest hits album Legend was released in 1984 and became the bestselling reggae album of all time. Fittingly named, this show brings to life the music of Bob Marley that is as relevant today as it was in the 60’s and 70’s.

Although Marley can never be replaced, he can be remembered. Michael Anton Phillips does the great man justice, bringing to life his well known hits that has the audience on their feet and singing along. A roar goes up when Phillips releases his dreadlocks, synonymous with Marley. The clarity of the lyrics resonates throughout the auditorium, telling real stories of love, life and freedom.

The talented band members of lead guitarist, bass player, keyboards and drummer know their craft and are well honed to the reggae beat. The backing singers are choreographed beautifully for each song and encourage the audience to join in with the lyrics and the moves.

Legend is on a UK wide tour and this is their first time in the West End. After this resounding success, let’s hope we get that rock steady beat back in the city for more dates in the future.

Southwark Playhouse – until 14 October 2023

5*****

Reviewed by Claire Roderick

This gloriously silly pastiche of 1980s police films is insanely smart and absolutely hilarious. The laughs are non-stop and musical numbers capture the nonsensical eighties vibe brilliantly.

Writers Zachary Hunt, Nathan Parkinson and Tom Roe dig deep into the cliches of 1980s cop buddy movies and ramp up the absurd comedy with spectacular results. They also wrote the ridiculous lyrics for Ben Adams’ eighties/musical theatre mashup score which is equally nostalgic and rib-tickling for those of us who grew up playing the soundtracks to cheesy films on cassettes.

When his sister is shot, young Jimmy Johnson vows to become the best darn Police Cop ever. He grows up and achieves his goal, but the search for a drug kingpin may have connections to his sister’s death, and the chief of police sends Jimmy to collaborate with renegade Police Cop Harrison. But does the chief have a sinister motive for sidelining Jimmy? As Jimmy’s quest to bring down the man who shot his sister takes him to Mexico, he meets old friends and forms unlikely alliances as the parade of physical comedy, sight gags and ridiculous costumes (especially for Parkinson) gathers pace to the obligatory final showdown between our tiny band of heroes and the bad guys. The unbelievable exploits of movie heroes are referenced in an “inspirational” song to prepare for conflict, and the fight choreography is wonderfully relaxed for the good guys as villains are frantically attacking. The prejudices and attitudes of the eighties are front and centre to be satirised, with audience participation in a song about racism providing one of the highlights of the show. The Police Cops are American, so they shoot first and ask questions later, and the way the show represents the guns, violence and deaths as silly cartoon violence with anonymous bad guys being dispatched with abandon is a fantastic representation of the equally ridiculous exploits of the blockbusters we grew up with.

Melinda Orengo and Natassia Bustamante provide stellar vocals – Bustamante’s particularly unhinged ex-chief of police is a hoot and Orengo is a wonderfully earnest love interest for Jimmy. Hunt’s sweet and driven Jimmy is relatively sane, and Hunt almost manages to keep a straight face as Parkinson and Roe create mayhem around him in a range of brilliantly bonkers roles. The song and dance numbers fit in cleverly with the plot, adding an extra layer of nonsense and performed impeccably by the cast.

It’s not subtle, but it is very clever and painfully funny – a fantastic musical comedy that shines in its absurdity. Grab a ticket while you can.

@sohoplace – until 25 November 2023

Reviewed by Claire Roderick

5*****

This new British based on Henry Fraser’s memoir, The Little Big Things, is a musical miracle.

When 17-year-old Henry – a promising rugby player with a bright sporting career ahead – goes on his first lads’ holiday to Portugal, a freak accident causes life-changing injuries. This may sound a bit grim for a musical, but Joe White’s book is warm, wise, witty and full of hope. The master stroke is having two actors play Henry – Jonny Amies is Henry before the accident, bursting with teenage energy and enthusiasm, while wheelchair-using actor Ed Larkin plays Henry after the accident – older and trying to come to terms with events he cannot remember. The struggle to let go of his younger self and forgive while his younger self can’t accept that things can never be the same as they were before the accident drives the plot as Henry tells his story.

To paraphrase Henry, this is no pity party. The two actors build a complex character facing a future that is very different to the sporting glory he and his family had envisaged. Of course, Henry doesn’t go through this alone – his family and their reactions to his accident are written beautifully. If Henry had three sisters, this would be a very different musical, but the three brothers struggle with their guilt over the accident, and their inability to express their feelings feels authentic and produces laughs of recognition. These brothers express their love, when sober, through insults – perfectly normal British siblings. Jamie Chatterton, Cleve September and Jordan Benjamin are all marvellous as the brothers, with the musical numbers allowing the strength of the brothers’ bond to shine through, harmonising and dancing together. Linzi Hateley and Alasdair Harvey play Henry’s parents brilliantly, each portraying their different ways of showing their pain and fear of what will happen to Henry with heartbreaking realism. Hateley’s physical reaction to hearing the news had some of the audience sobbing even before she’d started singing the viscerally tearjerking memory of motherhood, One to Seventeen. As Andrew, Harvey is pitch perfect as a da trying to keep things together for his family, and quietly finding ways to adapt and “fix” things – providing Henry with the means to continue his art. Henry’s physio, Agnes (Amy Trigg) is comedy gold. Also a wheel-chair user, Agnes guides Henry with advice about facing his future and tons of sarcasm. Trigg has some powerhouse lines about attitudes to disability and steals every scene she is in with her sharp comic timing.

Nick Butcher and Tom Ling have crafted a soaring score, full of upbeat infectious numbers with intelligent and memorable lyrics that serve the story well and you will be humming for days after the show. The mix of pop with musical theatre flourishes culminates in the title number, at the very end of the show which has the whole theatre sobbing and clapping along. Mark Smith’s choreography has lots of signing, creating a beautifully fluid movement and unity in the cast onstage. The emotional highs in the big numbers are matched with raised platforms and some glorious aerial work. Paul Gatehouse’s sound design, the sound mixing and acoustics in this incredible theatre are pristine – even with an actor standing right next to you singing their heart out, the sound balance ensures they do not drown out the rest of the cast. Performed in the round, Colin Richmond’s set design needed to be accessible for performers and visible from all areas of the auditorium, and the clever use of blocks and props is excellent. Luke Halls video and Howard Hudson’s lighting design are magical – with the stage lighting up with bright colours as Henry begins to appreciate the pure and simple beauty of things he’d never stopped to consider before and creating the same awe and wonder in the auditorium. Fay Fullerton’s costumes are ordinary noughties wear, but Henry’s subconscious and memories are filled with brightly coloured and flamboyantly dressed people having the time of their lives. Director Luke Sheppard does wonders with this show – obviously he includes confetti cannons at some point, but amongst all the dance routines and technical wonders, the quiet moments between characters are allowed to sit and hit home with perfectly judged beats.

The show is an emotional roller coaster, filled with enough snarky and silly humour so it never strays into sentimentality. Watching Henry come to terms with his future, and his family learning to adapt to his needs in this heightened reality is thrilling and heart-warming. This is one of the most inclusive, open-hearted shows you will ever see – guaranteed to make your feet tap, your tears flow and your heart soar.

MUSICALS FROM THE HEART AT THE MAYFLOWER THEATRE WOWED AUDIENCES AND WAS ATTENDED BY HER ROYAL HIGHNESS THE DUCHESS OF EDINBURGH

Southampton-based cardiac charity, Heartbeat, pulled out all the stops for its 30th-anniversary extravaganza, “Musicals from the Heart,” at the Mayflower Theatre, Southampton on Sunday 17 September.

Her Royal Highness The Duchess of Edinburgh, Royal Patron of the heart charity attended the event, as well as familiar faces from Heartbeat’s 30 years serving the region including former patients, members of the cardiac team at the Wessex Cardiac Centre, and loyal supporters of the charity.

The hotly anticipated event, hosted and produced by renowned Broadway and West End performer Earl Carpenter and co-hosted by BBC Radio Solent broadcaster Lou Hannon, captured the hearts of theatre lovers, who were all eager to see the lineup of Hampshire-based stars.

Among those treading the boards were Holly-Anne Hull, Lauren Byrne and Harry Chandler, who dazzled the audience with a host of well-known songs from the musicals. 

Adam Hoskins served as the Music Director and conductor on the night, enthralling the audience with players from the Bournemouth Symphony Orchestra.

Earl Carpenter was thrilled with how the night went. He said: “What a night! We are all delighted with the performances, and it was wonderful to get so many old and new friends to get together for an evening of excellent music and for such a good cause.”

The unique collaboration between Heartbeat and the Mayflower aimed to raise vital awareness of the cardiac charity, which plays a major role in supporting over 10,000 patients each year.

Michael Ockwell, Chief Executive of the Mayflower Theatre, said: “After an unforgettable night, Mayflower Theatre takes immense pride in having supported Heartbeat in presenting a feast for the ears and eyes. We extend our heartfelt gratitude to all who attended and contributed to making Heartbeat’s 30^th anniversary celebrations truly exceptional.”

Mark Ind, CEO of Heartbeat, expressed his gratitude, saying: “We would like to thank Her Royal Highness, the cast and crew of ‘Musicals from the Heart,’ as well as the wonderful city of Southampton, for attending this very special performance.

“Since Heartbeat’s launch in 1992, the charity has worked tirelessly to provide the highest quality cardiac care at the Wessex Cardiac Unit based at Southampton General Hospital. It was a true honour to mark this significant milestone in our history with such a memorable event.

“There are so many more people to thank too, this was a real team effort and I’m very grateful to everyone involved.”

Projects spearheaded by the charity include Heartbeat House, the charity’s 25-bedroom ‘home from home.’ The house is designed to support and provide respite to families of cardiac patients undergoing treatment at Southampton General Hospital and is located just a three-minute walk away. The facility’s annual operational costs amount to £87,000, fully reliant on donations.

Another Heartbeat-funded project is its innovative 3D heart campaign, revolutionising surgeons’ approach to invasive cardiac diagnostic testing. Costing £600 per heart, surgeons use specialist cardiac modelling software to non-invasively scan the patient’s heart, using methods like CT scans or MRIs. This process creates a detailed blueprint of the heart, which is then sent to a 3D printer. The printer produces an identical plastic model of the heart, providing an in-depth view of the organ and any potential defects.

For more information on Heartbeat, please visit: www.heartbeat.co.uk

Wimbledon Studio – until Saturday 23rd September 2023

Reviewed by Carly Burlinge

4****

Directed by Elizabeth Huskisson and music and lyrics by Ewen Moore and produced by Becca Rowson. Wimbledon brings you a new style of musical as a one women show called Battersea Bardot  – Carol White (Anne Rabbitt) singer/actress tells her story of fame and fortune, love and lust, the thrill of it all followed by sadness and emotion.

Once a star of London born in Putney, Hammersmith set in the 50’s Carol becomes involved in many talent shows as a child she soon makes it as a star, when she lands herself a role in a film at the tender age of eight. Although her career seems to be successful  throughout the years she dreams of more and wants to make it big in Hollywood! But whilst chasing her dreams along with men she seems to be unsuccessful and becomes just another type of ordinary in the world of Hollywood.

She definitely has a story to tell she believes in opportunity and adventure, a glamorous life for all to see…. But was it really?

Instead we see a portrayal of a life that really isn’t as it seems only to find that when it’s too late and you realise the happiness that you thought was true, is nothing but sadness and loneliness. Just a play of life gone in the blink of an eye, causing much tragedy along the way.

Anne Rabbitt plays her part as a very believable character showing much emotion on stage through the good and bad moments of her life. She draws the audience in with her fierce and destructive story line, making you feel apart of her world. She also showed great talent with her many different accents, depicting characters that were involved in the story line. All in all a powerful production, well worth a viewing. 

PERFORMERS AND PRESENTERS UNVEILED

FOR THE STAGE DEBUT AWARDS 2023

The Stage Debut Awards today unveils a star-studded line-up of guest presenters and performers taking part in the 7th annual awards ceremony, held in association with Ambassador Theatre Group, recognising the best breakthrough theatre talent in the UK.

Some of the biggest names in the performing arts industry will join this year’s host legendary drag artist, performer and singer Divina De Campo on Sunday October 1 at 8 Northumberland Avenue to honour the achievements of this year’s cream of the breakthrough crop. Forty-five nominees across 8 categories, from performers to composers and designers through to writers, lyricists and directors, all of whom have made their professional debuts in the past 12 months, will be celebrated.

Award-winning Welsh actor Callum Scott Howells leads the guest presenters this year announcing the winner of the Best Performer in a Play. Scott-Howells who has recently been seen playing the iconic role of Emcee in Cabaret at the Kit Kat Club is also widely known as fan favourite Colin in Russell T Davies’ hit drama It’s A Sin. Former cast mate Omari Douglas, who also starred in the original line up for Cabaret at the Kit Kat Club, and was an Olivier award nominee for Constellations, as well performing in Ivo Van Hove’s A Little Life, joins him at the ceremony to award the accolade for the Best Creative West End Debut. Former popstar turned West-End musical theatre performer Faye Tozer who is currently starring as Maggie Jones in the UK tour of 42nd Street, presents the category Best Performer in a Musical.

Tozer says: “I can’t tell you what an honour it is to be a small part of The Stage Debut Awards and to be surrounded by all these wonderful, talented artists. I feel absolutely privileged to be presenting the award for Best Performer in a Musical.”

Presenting awards recognising talent behind the scenes include Rebecca Frecknall, the prolifically successful director behind Cabaret at the Kit Kat Club and the critically-acclaimed productions of A Streetcar Named Desire and Summer and Smoke, who will award the Best Director. The Best Writer category will be presented by Morgan Lloyd Malcolm, the playwright and screenwriter behind the triple Olivier award-winning show Emilia. Renowned lighting designer of over 200 productions with recent work at The Royal Court, Sheffield Theatres, Shakespeare’s Globe and the Young Vic Prema Mehta, founder of Stage Sight, an inspiring initiative which advocates for widening representation of the backstage workforce, will present Best Designer. John Partridge, currently playing Hugo/Loco Chanelle in Everybody’s Talking About Jamie, on UK Tour & at London’s Peacock Theatre will present Best Composer, Lyricist or Book Writer.

The Best West End Debut Performer award, voted for by the public, will be presented by Bertie Carvel, currently starring as Henry Higgins alongside Patsy Ferran’s Eliza Doolittle in Pygmalion at the Old Vic. He is best known for creating the role of ‘Miss Trunchbull’ in Dennis Kelly and Tim Minchin’s Matilda The Musical (RSC, West End, Broadway). His iconic performance won him a raft of awards including the Olivier Award for ‘Best Actor in a Musical’, playing to sell-out houses in Stratford and London, before transferring to Broadway in New York, where he picked up the prestigious Drama Desk Award, a Theatre World Award and a Tony nomination. Bertie’s performance in another musical, Parade at the Donmar Warehouse, also won him a ‘Best Actor in a Musical’ Olivier nomination.

Among this year’s performers showcasing some of the best showtunes will be Rachael Wooding singing After the Rain from the hit new British musical Standing at the Sky’s Edge opening at the Gillian Lynne Theatre in the West End in 2024 ; Charing Cross theatre’s upcoming Bronco Billy: The Musical lead’s Emily Benjamin will perform Cabaret’s soaring ballad Maybe this Time and rounding off the evening is stage and screen star Jack Wolfe who will sing a number from Next to Normal, a revival of the Pulitzer Prize winning show he is currently starring in as Gabe at the Donmar Warehouse.

The Stage Debut Award winners will be announced on October 1 2023 at 8 Northumberland Avenue, London. With thanks to our headline sponsors Ambassador Theatre Group (ATG) as well as Arts Council England, Cabbells, Carnival Cruise Line, Crossroads Live, Sonia Friedman Productions, TodayTix, Trafalgar Entertainment and Wimbledon College of Arts, UAL.

Mark Gatiss is the 2023 UK Theatre Awards recipient of the Outstanding Contribution to British Theatre Award

It has been announced that Mark Gatiss is the 2023 recipient of the Outstanding Contribution to British Theatre Award. He will be honoured at the UK Theatre Awards ceremony, taking place on Sunday 8 October at London’s Guildhall. The UK Theatre Awards are the only nationwide awards to honour and celebrate outstanding achievements in theatre throughout England, Scotland, Wales and Northern Ireland by UK Theatre members.

Gatiss is a writer, director, producer, author and actor, and regional theatre has been at the heart of his long and varied career. From directing productions like The Unfriend at Chichester Festival Theatre and The Way Old Friends Do at Birmingham Rep, to starring in productions like the Madness Of King George III and his own adaptation of A Christmas Carol (both at the Nottingham Playhouse), it is clear to see his commitment to making world class productions in regional theatre, which he acknowledges as ‘the lifeblood of the industry’. 

He is also an Olivier Award winning actor, and his stage work includes Coriolanus (Donmar Warehouse), The Boys In The Band (Park/Vaudeville Theatres) and Three Days In The Country (National Theatre: Olivier Award for Best Actor in a Supporting Role). In December he will be reprising his role as Sir John Gielgud in The Motive and The Cue which transfers to the Noël Coward Theatre. 

Outside of theatre, he is best known as a member of The League Of Gentlemen and as the co-creator and executive producer of the multi-award winning BBC series Sherlock, in which he played Mycroft Holmes. Elsewhere on screen, Gatiss also co-created the BBC and Netflix drama Dracula, and has written and directed several BBC ghost stories, including Count Magnus, The Mezzotint, Martin’s Close, The Dead Room and The Tractate Middoth. As an actor, his recent screen work includes Mission Impossible 7, Operation Mincemeat, The Father, The Favourite, Christopher Robin, Gunpowder, Wolf Hall, Coalition and Game Of Thrones. 

Mark Gatiss said: 

“I’m very flattered and delighted to receive this unexpected honour. The theatre holds a very special place in my blackened old heart, and it’s been a delight to have been so thoroughly immersed in it in recent years.” 

Claire Walker, Co-CEO of Society of London Theatre and UK Theatre, commented: 

“We would like to offer congratulations to the recipient of this year’s Outstanding Contribution to British Theatre Award, Mark Gatiss. The impact he has made on national theatre is immeasurable – from his Olivier Award winning performances on stage as an actor, to his work in regional and West End productions as a director. 

We are so looking forward to celebrating his achievements at the UK Theatre Awards ceremony on Sunday 8 October.” 

@UK_Theatre #UKTAwards 

Tip Tray Theatre in Association with The Hope Street Theatre
I AM STEVEN GERRARD TO RECEIVE FULL PRODUCTION IN 2024 

25 – 28 JAN 2024 | The Hope Street Theatre, Liverpool

“Football is a religion, and worship to Gerrard doesn’t stop. The other players are the saints, and the heaven is The Kop.”

Following its highly praised win as part of the inaugural new writing competition What Happens Next? in January this year, Sean McLoughlin’s debut play I Am Steven Gerrard will as part of its prize package receive its first full production at The Hope Street Theatre in January 2024, alongside £1000 production budget and dramaturgical support from Olivier Award-winning Papatango theatre company.

It’s Liverpool. The Champion’s League Final in Istanbul was 13 years ago. The buzz is still rife. The obsession is still real. Steven Gerrard has left Liverpool Football Club, but his legacy keeps on growing; a legacy that Shane wants to embody and emulate. Though Shane shares an ambition no different to many of those around him, it soon transpires that he yearns for something far beyond football. And in a city where ‘You’ll Never Walk Alone’ is the mantra, why does Shane constantly feel like he’s the only one on the sideline? Shane is back home to see his dad for the first time in three years. To heal old wounds. To attempt to find his place in a world that he has never felt a part of. To get answers. What secrets will come to light? And who will they come from? Could these revelations have saved everyone from heartache?

Written by Sean Mcloughlin and Directed by Amy Roberts, the winner of What Happens Next? 2023 is a story of football, aspiration, music, Steven Gerrard, loneliness, reality television, love, religion, friends, loss, passion, enemies, Davina McCall, politics, ambition, family, virginity, past generations – and the impact they leave behind; I Am Steven Gerrard is a one-man play performed by Joe Cowin that explores the complexities of masculinity, and what it means to be a real man in society today.

Tip Tray Theatre’s artistic directors Evan Byrne and Maisy Gordon are “delighted with the choice of the judges to crown I Am Steven Gerrard as the winner of our first ever new writing competition. Sean’s play captures the beating heart of Liverpool perfectly in a powerful coming-of-age story that is beautifully portrayed in Joe’s performance and Amy’s sharp direction.” 

Since 2022 Tip Tray Theatre have been the company in residence at The Hope Street Theatre and are fast creating an exciting and vibrant series of events, which bring together the vast talents the city has to offer. The Hope Street Theatre’s Artistic Director Sam Donovan states “When we first met Evan and Maisy, we could tell instantly the passion and drive they had to make a difference to the creative culture here in the city, the creation of What Happens Next? brought a real buzz to the city with new and old professionals creatively working together to showcase and champion new writing. It is a real honour to be able to support them and this production of I Am Steven Gerrard.”

What Happens Next? Will return directly prior to the run of I Am Steven Gerrard. Submissions for the competition is now open and seeks writers to submit the first 20mins of a play where by the end the audience wants to ask “What Happens Next?” for more information please visit www.tiptraytheatre.com