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Upstairs at the Gatehouse, Highgate Village – until 8 October 2023

Reviewer Alec Legge

3***

This theatre is situated above the Gatehouse pub and is a little gem. It is accessed through the pub, up a flight of stairs. It is a large rectangular area with seating along three sides and the performance area being on the fourth,

The set consisted of a backdrop of a promenade on which was a painting of a Lady with a dog and a seascape on the rear wall with two low platforms at centre stage and some beach furniture. Very sparse.

The play was adapted from Chekhov’s short story of the same name but rewritten to take place in Scotland and London in the years following the first world war. It follows the story line that Damian Granville, Richard Lynson, sets out to seduce a young holiday maker Anne Dennis, Beth Burrows, who is in an unhappy marriage. He succeeds and they go on to have a love affair which continues after the holiday. Also appearing are Laura Glover as Elaine Granville Damian’s wife and Toby Manley as Carl Dennis, Annes Husband.

Due to the sparseness of the set some of the dialogue is supported by mime, ie patting a non existant dog, pruning flowers and so on.

The actors used cheek microphones but I do question their use in a theatre of this size as some of dialogue, particularly Anne’s was lost, and also appeared to come from somewhere other than the actors mouth.

I found this a solid but not outstanding performance.

Royal Shakespeare Theatre Stratford-Upon-Avon – until 14th October 2023

Reviewed by Amarjeet Singh

4****

Wils Wilson’s production of Macbeth opens with mist and mystery. Dead birds dropping from the sky, shadows, and shrouded movements, and then, the appearance of the weird sisters. Witches which don’t come much weirder than this. Birthed upon the stage in the most unhuman way, the combination of sound, light and staccato motions create an eerie and troubled scene. Haunting, it sets you up for a cracking ride into a raw, random but mostly entertaining rendition of Macbeth.

This final offering in Shakespeare’s first folio, tells the tale of the General’s bloody rise to power and eventual tragic downfall. The Scots have successfully defended their country and their beloved King Duncan against a treacherous invasion. Returning triumphant, Macbeth, Thane of Glamis and his friend Banquo happen upon three witches who foretell that Macbeth will become Thane of Cawdor, and one day King. They further prophecies that Banquo’s descendants will be kings. The warriors don’t at first believe the witches, but upon their return they find out that Duncan has rewarded Macbeth’s bravery on the battlefield by making him Thane of Cawdor. This causes Macbeth to fantasize about usurping the king. Aided by his wife, the tormented Lady Macbeth, Macbeth begins to succumb to his ambition. They murder Duncan and frame his guards. Duncan’s sons, Malcom and Donalbain, thinking they may be murdered next, flee. Macbeth is made king, and because they fled, Duncan’s sons become the prime suspects in their father’s murder.

Knowing of the witches’ prophecy, Banquo is suspicious of Macbeth, and the predicted declaration that Banquo’s line will reign, makes Banquo a threat. Macbeth hires two murderers to kill Banquo and his son, but his son escapes. Macbeth is haunted by Banquo’s ghost, and his subsequent behavior makes all, including Macduff, Thane of Fife, wary of him. They begin to think of Macbeth as a tyrant and thus travel to England to support Malcolm in his effort to raise an army against him.

Macbeth revisits the three witches to learn more about his fate. They show him three apparitions who tell Macbeth to beware of Macduff, but also that no “man born of woman” can defeat him and that he will rule until Birnam Wood marches to Dunsinane. Since all men are born of women and trees can’t move, Macbeth takes this to mean he’s invincible. Blinded by ambition, guilt, arrogance, and grief Macbeth unravels as the witches’ predictions are realised.

This offering of Macbeth is hypnotic and moving. It has flashes of brilliance and had me on the edge of my seat at key moments, but unfortunately some parts jarred. Most notably was the Porter scene which had been re-imagined as a stand-up set. The script, written by comedian Stewart Lee, left me unsure of what to make of this modern interpretation. The Porter arriving on stage, carrying an electric buzzer, like a combination of Billy the puppet from the ‘Saw’ movies and Beetlejuice, left me baffled. Performed superbly, with laughs a plenty, it was highly entertaining, but it knocked me out of the momentum completely. The electric buzzer and the scene lost the message to the mirth.

However, back to what worked, and there was plenty of it. Kai Fischer, Claire Windsor and Alasdair Macrae combined moody lighting and stunning sound, to create a rugged and ethereal landscape. Employing booming brass and bagpipes with stunning Celtic vocals, these carried us through the tale and amped up the eerie to the max. Julia Cheng’s movement and choreography, and fights by Kaitlin Howard added so many layers and dimensions to this production. On occasion there is the feel of a Beijing opera, with strong, powerful thrusts and moves, and this was echoed subtly in the design of the costumes, although tartan was still aplenty. There were clever scenes with background players moving in slow motion or being still whilst key performers delivered soliloquies, and players moved in reverse, with fluid dance and acrobatic rolls. These all added a cinematic quality to this production.

Reuben Joseph was an incredible Macbeth. He led us through his demise in a powerful but skilled way to balance the protagonists emotional and physical shifts. He was a joy to behold. Conflicted and tortured he indeed strutted and fretted for all the right reasons. Valene Kane was a skittish and flighty Lady Macbeth, a contrast to the plotting, devious spouse in other productions. Anna Russell-Martin gave a strong performance as Banquo. Shyvonne Ahmmad was an exceptional Malcom and created magic with George Anton as Macduff. For all I said about the Porter, Alison Peebles delivered her piece with aplomb. Amber Sylvia Edwards, Eildh Loan and Dylan Read were terrifyingly terrific as the trio of witches. The cast as a whole, collaborated to make this production beguiling and thoroughly entertaining.

With murdered puppets, waterfalls of rain, flying witches, flickering chandeliers and speeches which are delivered respectfully and at a pace enabling us to both appreciate their beauty and meaning, Wilson’s Macbeth is a play about choices, bold choices. The choices the characters make and their dramatic outcomes, and the choice, I hope you make, to see this spectacular production.

Wynham’s Theatre, London – until 7th October 2023

Reviewed by Ben Jolly

3***

Mike Birbiglia’s The Old Man & The Pool is billed as a series of jokes and stories about life and death. After the world premiere at the Mark Taper Forum in Los Angeles in 2022, this one-man event has been touring across the US before enjoying a Broadway run later in the year at Lincoln Center’s Vivian Beaumont Theater. But now, London calls… and Birbiglia has answered.

Birbiglia wastes no time in diving straight for the material as he bounces on stage full of energy and charisma. There’s an air of excitement and enthusiasm from this comedian/actor/writer as he comments on taking this show to London and talks briefly of his admiration for the Wyndham’s Theatre where this show will play until 7th October. 

The piece is quick to establish the premise and with charm and wit Birbiglia is the ultimate tour guide of the journey into his life and psyche. The piece is a perfect blend of stand-up and TED Talks, it is not a laugh a minute, but humour is the foundation from which the stand-up veteran builds his point. The language is clear and concise and Birbiglia is clearly a gifted and charming storyteller. He is smart and succinct with his vocabulary and a wonderful physical comedian. He is not afraid to show sensitivity or emotion – no stone has been left unturned here.

This leads to an engaging evening as the material gives the audience pause for thought and plenty to contemplate when it comes to life, death, family and friendships; through the use of his comedic talents and timings, Birbiglia is successful in putting his voice across. The play is well paced and doesn’t outstay its welcome, running at 80 minutes with no interval, it is both well-crafted and thoroughly enjoyable. A successful endeavour by Birbiglia indeed

Park Theatre – until 30 September 2023

Reviewed by Claire Roderick

3***

Emmanuele Aldrovandi’s dark comedy (translated by Marco Young) is set in the near future, where the tide has turned, with economic collapse and closed borders in Europe causing desperate people to risk everything to get to a safer continent and a new life.

The four characters are only described by physical characteristics, remaining nameless just as the media presents real-life migrants. The burly one (Felix Garcia Guyer) is the trafficker, smuggling the others in his shipping container – he only owns the one, describing himself sardonically as a small businessman. The power dynamics are demonstrated instantly, with his looming physicality and capriciousness nature intimidating the travellers. Aldrovandi keeps pulling the rug from under the audience whenever the play seems settled into a narrative arc – characters who seem sympathetic reveal their duplicity, and the vulnerability and fear driving others’ violence and aggression is seen. The stocky one (Marco Young) forced to flee with only a knife, the beautiful one (Yasmine Haller) who has brought mementos of her family, and the tall one (Will Bishop) with his suitcase of impeccably folded Egyptian cotton shirts tiptoe around each other on the claustrophobic journey inside the container. The beautiful one can remember leaving her home and migrating to Europe as a child, and her strong survival instinct means that alliances form and break as half truths and lies are shared and desperation heightens. Neither of the men is who they seem, so any judgemental opinions formed about good and bad migrants are shown as the nonsense they are.

The suffering of the trio in the container is interrupted by the burly one grabbing a microphone and sharing his knowledge (mostly gleaned from Wikipedia) on topics including shipping containers, recipes and whales. Felix Garcia Guyer delivers these monologues with devilish abandon, prowling around the stage with an ominous but pretentious aura and the disturbing feeling that he could attack at any second. These absurdist sections take you out of the migrants’ story for a while, but never distract from the sense of impending disaster. The political and moral messages are delivered with a lighter touch than I expected but raise lots of soul-searching questions. Perhaps some of these could have been addressed with more focus and depth onstage to achieve a sharper and more coherent play.

When a storm hits, and the container is left floating in the ocean, the lengths we will go to to survive are explored – with very funny hypotheticals about who to eat first, and which parts of the body would be best, before things get real – and very nasty. From drinking urine to full-blown cannibalism, the brutality is visceral, but still slightly cartoonish. Director Daniel Emery directs with aplomb and while the ending is dreamlike and understated with no definite conclusion to the characters’ stories but feels right for this strange and disturbing comedy.

The cast all impress, and Alys Whitehead’s set design is atmospheric and appropriately stark, with a red curtain thrust forward and back to represent the container. Jamie Liu’s sound design and Catja Hamilton’s lighting add fantastic dramatic and absurd flourishes to the unsettling production.

A dark and disturbing comedy that makes you laugh and squirm. Well worth a look.

Crazy Coqs, Brasserie Zédel, London – until 16^th September 2023 

Reviewed by Ben Jolly 

4**** 

Randy Roberts has returned to London with his new show Aging Disgracefully, which plays for 3 nights at the fabulous cabaret space, Crazy Coqs – Live at Zédel in the heart of Piccadilly. 

With humour, heart and a whole lotta hairspray, Roberts puts on a show that is more reminiscent of “old-school” drag but still feels fresh and relevant as ever for audiences today. Randy Roberts knows what he has to offer as a performer and his confidence, the kind that can only grow through years of experience and hard work in the industry shines through straight off the bat. 

Opening the show with his own rendition of Lizzo’s 2022 hit single, ‘About Damn Time’ before seamlessly transitioning into an upbeat Bette Midler segment, Roberts hits the “manicured” nail on the head with his comedic timings and vocal precision. 

After a joyful and exhilarating medley honouring some of Cher’s biggest musical hits, Roberts moves into the role of the red-headed Randy Roberts herself. It was here when the show opened up to provide some warmth and emotional depth. We were also given a glimpse to another side of Roberts as he spoke of family holidays in France in between a rousing song-list of classic show-tunes; some more time spent like this would have been just the tonic as these human moments resonated strongly with the audience.

A performer like Randy Roberts would benefit greatly from a live band, it is evident he feeds off the energy from the people around and a small band would raise the energy level and allow room for more interpretation and dynamics that cannot be duplicated with a backing track, right now it feels that Roberts is restraint from being able to make more artistic or improvised decisions. 

Randy Roberts’ Aging Disgracefully is the epitome of the traditional drag show that we all know and love; it was joyous to watch this entertainer do just what they set out to do, ENTERTAIN! Aging disgracefully? I beg to differ. Like a great wine, Randy Roberts is only getting better with time. 

DANCE UMBRELLA AND SOMERSET HOUSE ANNOUNCE THE FULL SCHEDULE FOR LONDON BATTLE, SATURDAY 7 OCTOBER

Dance Umbrella and Somerset House are excited to announce more details for London Battle which takes place at Dance Umbrella’s home, Somerset House, on the opening weekend of the festival, Saturday 7 October.

London Battlewill take in the  iconic open-air courtyard for a day packed with showcases, workshops, cyphers, live DJs and a big outdoor party. In celebration of the 50th anniversary of hip hop culture and with Breaking set to be the highlight of the 2024 Paris Olympics, Dance Umbrella and Somerset House are bringing together some of the most exciting talent from the four corners of London to go head-to-head across a diverse range of styles. 

Curated by choreographer Jade Hackett, the audience will play their part in judging and deciding which part of our global city brings the best dance flavour – north, south, east or west. 

Jade Hackett said: ‘London Battle is an explosive new festival festuring some of London’s finest within the hiphop and street dance communities. With dancers representing all the four corners of this city, it will be brimming with powerful and gravity-defying movement from its battlers and is certainly not a show to be missed. 

Spectators can also participate in family fun classes and be entertained with incredible performances, including new work by award winning dance company, Boy Blue Ent. Finishing off with THE party of all parties as our Dj’s help us to skank the evening away. 

Come and enjoy an amazing day with us at ‘London Battle’ and truly celebrate our wonderful city, in style.’

Starting at 1pm this completely free event offers audiences plenty of opportunities to get involved beginning with a stellar line-up of workshops to get everyone moving with Turbo teaching house style, Olu on Afrobeats, Kloe Dean doing Hip Hop and Tiago will be Waacking. All abilities welcome!

Between 3.30 and 4.30pm there will be a series of showcase performances from some of London’s most exciting talent including krump collective Gully South Block (GSB); the UK’s most celebrated hip-hop dance theatre company Boy Blue, street dance expert Lauren Scott and Britain’s Got Talent 2023 contestants The Queens.

DJs featured across the day include: Midnight Train Collective and Josh Constanzo,  and our MC for the day is actor and presenter Ashley J. 

The London Battle finale commences at around 4.30pm with four teams hailing from the four corners of London, North, South, East and West meeting in the middle to slog it out for the London crown. Who will be the best? You decide!

Leading the team from the north is Troy Banton aka Dat Boi Troy from the Indahouse family. A house dance specialist, Troy also trained in classical ballet with the Russian ballet school, and in African Caribbean dance forms with Irie Dance Company. He’ll be joined by 19 year-old Rory Clarke, an exciting newcomer who regularly performs with ZooNation and Far From the Norm alongside the talented Anna Ponomarenko aka b-girl Stefani who this year took the silver medal at the European Breaking Championships.

The team from the south will be led by Nicholas Marvel (aka Marvel) who is a representative of Monsterz Crew UK. He is known for his signature animatronic popping style and inventive isolations. He’ll be accompanied by Team GB member and Red Bull BC One champion Roxanne Milliner (b-girl Roxy), as well as Chaldon Williams (aka Sev Raven), a choreographer, artist mentor and creator of the Tribe Wayz collective.

Representing east London is Jordan ‘JFunk’ Franklin, who has been performing as a member of one of the UK’s most celebrated hip hop dance theatre companies, Boy Blue, for over 10 years. He’ll be joined by dynamic dance artist and international champion Evion Hackett and creative performer Toby “Shush” Jackman.

Battling for the title from west London is breaking expert Lee Crowley, also known as Reckless-Lee, who is a member of the award-winning BirdGang Dance Company. He’ll be joined by fellow BirdGang crew member and multi-skilled performer, dancer and teacher Elise Antonia, and Benjamin Banishahi aka Shahi.

Once the winners are crowned there will be a celebration of Hip Hop bringing all the elements of the day together in one big party.

FULL CASTING ANNOUNCEMENT

Theatre Royal Bath Productions presents

Brian Cox

In the world premiere of

THE SCORE

A new play by Oliver Cotton
Directed by Trevor Nunn

JOINING BRIAN COX: 

NICOLE ANSARI-COX, MATTHEW BURNS,

DOÑA CROLL, PETER DE JERSEY, STEPHEN HAGAN,

CHRISTOPHER STAINES,

BENEDICT SLATER & ERIC SIRAKIAN

Friday 15 September:  As rehearsals begin this week for the Theatre Royal Bath Productions production of the world premiere production of THE SCORE, starring legendary stage and screen actor Brian Cox (HBO’s multi award-winning Succession) as Johann Sebastian Bach, the complete cast and creative team are announced.

This astonishing new play by Oliver Cotton is directed by Trevor Nunn and opens at Theatre Royal Bath with performances from 12 – 28 October 2023.

The stellar cast joining Brian Cox as Bach are:  Nicole Ansari-Cox (Deadwood, Succession) as Bach’s wife Anna (Nicole Ansari-Cox is Brian’s real-life wife), Matthew Burns (The Curious Case of Benjamin Button) as Carl, Doña Croll (The Doctor, The American Plan) as Emilia, RSC regular Peter de Jersey (Warrior Nun, Doctor Who) as Voltaire, Stephen Hagan (You, The Larkins) as Frederick, Christopher Staines (Wolf Hall, Mrs Dalloway) as Quantz, Benedict Salter as Benda and Eric Sirakian (The Kite Runner on Broadway) as Graun.

Robert Jones is the Set and Costume Designer, Johanna Town is the Lighting Designer, Sophie Cotton is the Composer and Sound Designer, Cordelia Monsey is the Associate Director and the Casting Director is Ginny Schiller CDG.
 

Spring 1747. Potsdam, Prussia.

Johann Sebastian Bach reluctantly visits the court of Frederick II, Europe’s most ambitious and dangerous leader. 

The two men could hardly be more different. As the Age of Enlightenment dawns, they stand in opposite camps. Bach is deeply religious, Frederick is an atheist. Bach loathes war, Frederick revels in it. Bach studies scripture, Frederick reads military history. Frederick remains in awe of Bach’s genius however and has mischievously prepared a musical conundrum that he hopes will baffle the composer and amuse his court.

The explosive events of the following days could not have been predicted by either man.

Brian Cox‘s glittering career has spanned more than sixty years, garnering numerous awards and nominations, working with the most esteemed theatre companies and renowned Hollywood and TV directors. Twice Olivier Award winner for Best Actor, his portrayal in the HBO hit series Succession has won him a Golden Globe award and Emmy nominations. Other notable film credits include Braveheart, The Long Kiss Goodnight and The Bourne Identity. In 2007, the UK Film Council named him in the top ten powerful British film stars in Hollywood.

Former artistic director of the National Theatre and Royal Shakespeare Company, Trevor Nunn’s multi-award-winning repertoire ranges from Les Misérables to The Life and Adventures of Nicholas Nickleby.

Orange Tree Theatre, Richmond – until 7th October 2023

Reviewed by Bobbi Fenton

5*****

That Face, written by Polly Stenham, explores the effects of parental neglect, addiction, and mental health issues on the family. The play opens with Mia (Ruby Stokes) and Izzy (Sarita Gabony) performing some sort of ‘initiation’ on younger girl, Alice (Holly French) at their school, which lands Alice in hospital, and Mia in a whole heap of trouble. We are then introduced to Martha (Niamh Cusak) and her 18-year-old son, Henry (Kasper Hilton-Hille). Within the first two or three scenes you can really gage the family dynamic, with the codependent and borderline incestuous relationship between Henry and Martha, and Martha’s hatred of her own teenage daughter.

Throughout the course of the play, we watch as Henry tries, in vain, to help Martha, to try to prove that the last five years of living with her have not been for nothing, and to prevent his father, Hugh (Dominic Mafham) from having Martha sectioned when he arrives from Hong Kong. This all leads to the seemingly inevitable conclusion of Henry showing just how much his life and mental wellbeing have been impacted by Martha.

One of my favourite parts of this play was the decision to have the set only use a bed, with any props underneath it, which during transitions between scenes is rotated in a circle. I interpreted this as a representation of the inescapable cycle that all the main characters are trapped in because of Martha.

I believe that this play has been perfectly cast, as I cannot think of a single actor or actress that would have been better, in any of the roles, than the actual cast. It is a definite must see, as it explores such disturbing themes in such a gripping and captivating way.

Nominations announced for the UK Theatre Awards 2023

·         Lyric Theatre Belfast and Sheffield Theatres lead the way with five nods apiece

·         Best Performance in a Musical category is dominated by female nominees

Thursday 14 September: Today, the nominees for this year’s UK Theatre Awards have been announced. 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.  

With nominees across the UK, this year’s shortlist showcases the creativity, originality and resilience of theatre. Leading the nominations, both with acknowledgements across five categories, are Lyric Theatre Belfast and Sheffield Theatres. Lyric Theatre Belfast’s nominations include Best Design, Best Director, Best New Play, Best Play Revival and Best Show for Children and Young People, while Sheffield Theatres is represented in Best Musical Production, Best Play Revival, Best Performance in a Musical and Best Performance in a Play.

Meanwhile, two theatres receive three nods across various categories – Birmingham Rep and Nottingham Playhouse. Birmingham Rep was home to productions with nominees in performing categories, including Best Supporting Performance and Best Performance in a Play, while Nottingham Playhouse is acknowledged in the Excellence in Touring, Workforce Award and Most Welcoming Theatre categories. Separately, Shakespeare North, The Mill at Sonning and Leeds Playhouse have garnered two nominations apiece.

Elsewhere in performing categories, actors Siobhán McSweeney (Happy Days), Peter Forbes (On The Beach), Daniel Rigby (Accidental Death Of An Anarchist) and Wiliam Young (Of Mice & Men) are all nominated for Best Performance in a Play. This year, Best Performance in a Musical is dominated by female actors, with Joanna Ampil (Miss Saigon), Lena Hall (In Dreams) and Rebecca Thornhill (Gypsy) making up the list of nominees.

The exceptional work created by each of this year’s nominees demonstrates that there is no better time to support local theatre. The winners will be announced on 8 October, during a lunchtime ceremony at London’s Guildhall. The event’s host was announced on Monday as Zoe Birkett.

Hannah Essex, Co-CEO of UK Theatre, said,

“We are incredibly proud to celebrate theatre across our four nations and the inspiring work of our UK Theatre members. This year’s nominees are a reflection of the quality and diversity of talent, story-telling and community engagement that is needed now more than ever.

“We would like to thank all our sponsors for supporting the event and offer our congratulations to all those nominated. We look forward to celebrating your inspiring work at the ceremony on Sunday 8 October.”

Nominations for the UK’s Most Welcoming Theatre Award were announced last month, with

Curve, National Youth Theatre, and Nottingham Playhouse making the shortlist. The winner will be revealed as part of the ceremony.

The recipient of this year’s Outstanding Contribution to British Theatre Award is yet to be announced ahead of the ceremony.

The UK Theatre Awards 2023 are sponsored by Birra Moretti, Harbottle and Lewis, Howard Park Wines, John Good Ltd, Marshfield Farm Ice Cream, Music Theatre International, Setting Line Production Management, Spektrix, Theatre Tokens, Trafalgar Theatres, Tysers in association with Ecclesiastical, Unusual Rigging and White Light.

Full list of nominations for the UK Theatre Awards 2023

On Stage Awards

Best Design

Conor Murphy for Propaganda: A New Musical, a Lyric Theatre Belfast and The Belfast Ensemble Production

Justin Nardella & Dan Steele for iShowmanism!, a Theatre Royal Bath production

Sadeysa Greenaway-Bailey & UTLZ for Tambo & Bones, a Theatre Royal Stratford East Actors Touring Company co-production

Best Director

Matthew Dunster & Jimmy Fairhurst for A Midsummer Night’s Dream, a Shakespeare North Playhouse, Not Too Tame and Northern Stage co-production

Omar Elerian for As You Like It, a Royal Shakespeare Company production

Garry Hynes for DruidO’Casey, a Druid Theatre production at Lyric Theatre Belfast

Best Musical Production Sponsored by Tysers in association with Ecclesiastical

The Book Thief, an Octagon Theatre Bolton production

Gypsy, a The Mill at Sonning production

Miss Saigon, a Sheffield Theatres production

Best New Play

Agreement, a Lyric Theatre Belfast production

Enough Of Him, a National Theatre of Scotland and Pitlochry Festival Theatre co-production

Untitled F*ck M*ss S**gon Play, a Royal Exchange Theatre, Factory International for Manchester International Festival, Young Vic Theatre and Headlong co-production

Best Play Revival Sponsored by Trafalgar Theatres

The Beauty Queen Of Leenane, a Prime Cut and Lyric Theatre Belfast co-production

The Comedy Of Errors (More Or Less), a Shakespeare North Playhouse and Stephen Joseph Theatre co-production

The Contingency Plan, a Sheffield Theatres production

Best Performance in a Play

Peter Forbes for On The Beach, a Sheffield Theatres production

Siobhán McSweeney for Happy Days, a Landmark Productions production at Birmingham Rep

Daniel Rigby for Accidental Death Of An Anarchist, a Sheffield Theatres and Lyric Hammersmith co-production

Wiliam Young for Of Mice & Men, a Birmingham Rep, Leeds Playhouse and Fiery Angel co-production

Best Performance in a Musical

Joanna Ampil for Miss Saigon, a Sheffield Theatres production

Lena Hall for In Dreams, a Leeds Playhouse production

Rebecca Thornhill for Gypsy, a The Mill at Sonning production

Best Show for Children and Young People

The Famous Five, a Theatr Clywd and Chichester Festival Theatre co-production

Mirrorball, a Replay Theatre Company production at Belfast Children’s Festival, Lyric Theatre Belfast

The SpongeBob Musical, a Selladoor Worldwide production

Best Supporting Performance (in a Musical or Play)

Bryony Corrigan for I, Daniel Blake, a Nothern Stage, Birmingham Rep, ETT, Oldham Coliseum and tiny dragon Productions production in association with Cardboard Citizens

Antony Eden for Family Album, a Stephen Joseph Theatre production

LJ Parkinson for Modest, a Middle Child and Milk Presents co-production

Achievement in Opera

Glyndebourne for Dialogues Des Carmélites

Opera North for Orpheus

Welsh National Opera for Blaze Of Glory!

Achievement in Dance

Jo Fong & George Orange for The Rest Of Our Lives 

Rambert for Peaky Blinders: The Redemption Of Thomas Shelby 

Scottish Ballet for Coppélia 

Off Stage Awards

Excellence in Touring

ETT

Northern Stage

Nottingham Playhouse

Digital Innovation Sponsored by Spektrix

HOME X presented by the Barbican

Pilot Theatre

Tara Theatre

Excellence in Inclusivity

Capital Theatres

Midland Arts Centre

Queen’s Theatre Hornchurch

Excellence in Arts Education

Birmingham Hippodrome

Blackpool Grand Theatre

Hackney Empire

Workforce Award

Ambassador Theatre Group

Grand Opera House York

Nottingham Playhouse

UK’s Most Welcoming Theatre Sponsored by Theatre Tokens

Curve

National Youth Theatre

Nottingham Playhouse

THE WEST END COMES TOGETHER TO SUPPORT THE WATERMILL

The Watermill Theatre today announced a West End ticket raffle to support their Propel fundraising campaign.

Tickets on offer as part of the Big West End Ticket Raffle include Little Big Things, The Unfriend, Frozen, Guys and Dolls, The Time Traveller’s Wife, and Phantom of the Opera. All income from the raffle will go to supporting The Watermill Theatre’s fundraising campaign, Propel, which was launched in the aftermath of the Arts Council’s 100% cut to its funding. As the charity looks to its future as an independent theatre, fundraising will play an essential role in enabling The Watermill to continue to offer a vibrant and ambitious programme of theatre and outreach that engages over 60,000 people every year. 

Claire Murray, Executive Director at The Watermill Theatre commented:

“As we look to the future as an independent theatre company, we are excited to offer audiences a way to both support our fundraising and be in with a chance of winning tickets to some of the West End’s most in demand shows. We’ve been overwhelmed by the strength of the support we’ve been shown by the theatre community in creating this raffle and we’re grateful to everyone who has donated a prize.”

A spokesperson from Playful Productions, one of the country’s leading producers, commented:

“The UK is rightly famous around the globe for the vibrancy, diversity and quality of its performing arts. Regional theatres across the country, including powerhouse producing houses like the Watermill, are crucial to supporting this thriving landscape: they create life-long relationships with local audiences, provide access to world-class theatre experiences, tell new and overlooked stories in innovative ways, and inspire and develop the next generation of talent.”

To enter the raffle and be in with a chance of winning tickets to one of a wide range of shows, visit watermill.org.uk/raffle .

For further details on opportunities to support The Watermill Theatre, please contact Steph Dewar, Development Director at [email protected].