£79,000 awarded to talented drama school students in need of financial support
17 drama school students from across the UK have been awarded Laurence Olivier bursaries, administered by the Society of London Theatre (SOLT), to help them complete their training.
Thanks to contributions from SOLT, and generosity of key donators – The Estate of Sir Peter and Lady Saunders, The Clothworkers’ Foundation, The Behrens Foundation, Barry Burnett and The Casting Directors’ Guild, a total of £79,000 has been distributed amongst recipients.
Now in its 36th year, the bursaries were established by SOLT in 1987 to mark Laurence Olivier’s 80th birthday, intended to support exceptional students entering their final year of drama school, who are facing financial difficulties that might jeopardize their studies.
Previous bursary winners have included Michaela Coel, Denise Gough, Bryony Hannah, Paterson Joseph, Ewan McGregor, Daniel Rigby, Vinette Robinson, Juma Sharkah, and Michael Sheen.
Nominees, put forward by drama schools across the UK, are auditioned on a West End stage and interviewed by a panel of theatre industry professionals, led by West End producer and Chair of the Laurence Olivier Bursaries Committee, Lee Menzies. This year’s auditions took place at St Martin’s Theatre earlier this month.
Bursary recipients:
The Sir Peter and Lady Saunders Laurence Olivier Bursary
Donated by the Estate of Sir Peter and Lady Saunders
Tamsin Benn (The Royal Academy of Dramatic Art)
The Clothworkers’ Laurence Olivier Bursary
Given in conjunction with the Laurence Olivier Bursary, donated by The Clothworkers’ Foundation
Abdelaziz Sanusi (The Royal Central School of Speech and Drama)
Behrens Foundation Bursary
Given in conjunction with the Laurence Olivier Bursary, donated by The Behrens Foundation
Arabella Smith-James (Bristol Old Vic Theatre School)
Benjamin Skym (Mountview Academy of Theatre Arts)
Ellie Roberts (SLP College Leeds)
Matt Underhill (Royal Birmingham Conservatoire)
Mehmet Yakar (Drama Studio London)
Joseph Stanley (Bristol Old Vic Theatre School)
Shakeel Haakim (The Royal Academy of Dramatic Art)
Carmen Silvera Bursary
Given in conjunction with the Laurence Olivier Bursary, donated by the agent Barry Burnett
Aylesbury Waterside Theatre – until Saturday 8th July 2023
Reviewed by Susan Portman
5*****
Richard O’Brien’s legendary rock ‘n’ roll musical celebrates 50 years with this special anniversary production. The longest continuous run of a contemporary musical anywhere in the world, The Rocky Horror Show has been seen by 30 million people and continues to delight audiences on its sell-out international tour.
The Rocky Horror Show is the story of two squeaky clean college kids – Brad and his fiancée Janet. When, by a twist of fate, their car breaks down outside a creepy mansion whilst on their way to visit their former college professor, they meet the charismatic Dr Frank N Furter. It is an adventure they’ll never forget, filled with fun, frolics, frocks, and frivolity. Directed by Christopher Luscombe, The Rocky Horror Show is ready to thrill you with fun and naughty moments, and features timeless classics including Sweet Transvestite, Damn it Janet, and of course, the pelvic thrusting show stopping Time Warp.
When the curtain rose to reveal the first scene with Janet and Brad in their car, my eyes scrutinised the stage backdrop. It was good, but a tad basic, and I wondered if it would improve. Oh my, it did. As it transpired it was a masterpiece of invention, with the band somehow situated above the stage (but in an almost ink-black setting) behind an aspect of the scenery. The scene changes were swift and clever with the insides of Frank N Furter’s castle looking splendid with various animal heads on the walls, but there was also plenty of techno gear as the show progressed – something for all I think.
Of course, this is very much an adult show and if you fancied a hedonistic night in Aylesbury then this was the place to be. There were transvestites, portrayals of straight and gay sex and lots of suggestive interplay between the characters including three in a bed with a hilarious moment involving Riff Raff! The Narrator, Phillip Franks was quite superb in his banter with the audience, some of whom seem to have followed the show for the fifty years that it has existed. As he narrated with alacrity, the loyal cabal in the front rows would shout out and the exchange between them and Franks provided a flawless synchronicity.
I quickly remembered that a Rocky Horror Show audience wants – nay expects – such personal interaction and this is about giving them what they desire, dressed up in all kinds of sexy gear, as they are with as much leather and sexy underwear as the actors wore onstage.
The cast was merely twelve or so strong and the amount of energy that they invested into the song and dance routines was extraordinary. They could all sing, dance and act with skill and panache – the leading players and the supporting crew. The choreography was tremendous and I can only imagine how long it took to arrange.
Brad (Richard Meek) and Janet (Haley Flaherty) gave first-class performances as the initially coy couple who ended up becoming sexual victims of the dastardly Frank N Furter. As with all the players – they possessed marvellous singing voices, and they were a perfect match. Stephen Webb, who played Frank N Furter was rip-roaringly magnificent in the leading role, having his evil way with whoever he wanted it seemed, seducing visitors to his castle. There were moments of sneering domination, and pathos to boot and he really gave us the best of the role. Frank N Furter of course created the ‘monster’ that was Rocky, played by the incredibly well built Ben Westhead with a body that most women and men would die for. He was like a young Charles Atlas (showing my age now) and his dance routines must have been exhausting, but then he looked as fit as a butcher’s dog. He gave a commanding and top notch performance
We all love Riff Raff don’t we? The sort of ‘Igor’ of the castle, slave to Frank N Furter until he turns the tables on his master. Kristian Lavercombe played him brilliantly, and his sister Magenta (Suzie McAdam was equally convincing in her role. Then there was Dr Scott, the wheelchair bound boffin, played with some considerable style by Joe Allen. I initially tried to work out what his role was in the maelstrom of madness at the castle but he fitted into the second act quickly and seamlessly. A special mention for ‘Columbia’, played with the energy of a deranged mongoose (that’s a compliment!) by Darcy Finden. She was a terrific dancer but oh my, did she have a singing voice; almost operatic at times for one with such a slim frame. She stole the show in a way for me – and I hope to see her act again someday.
There were some hilarious moments in this as one would expect, and the narrator essayed some memorable and thankfully not politically correct one-liners that I guess I dare not repeat here. Suffice to say it is adults only, but so what – we all deserve a night without the kids! I must finally mention that superb stage set. The skill of any stage set in my opinion is to seduce the audience into thinking they are actually part of it, that they are in the various scenes. This they achieved as the castle seemed to reach out and devour the audience. The costumes, music, choreography, lighting and sound were second to none and Christopher Luscombe as Director deserves a round of applause for making a lot of people very happy, living as we are in difficult times at the moment.
On the morning of the show I put the Rocky Horror Show CD on at home, just to remind me what it was like. After watching this performance live at the Waterside in Aylesbury I am reminded that ‘live’ really is the only way to experience music, dance and acting. After 50 years, the Rocky Horror Show has lost none of its allure, and it continues to entertain audiences old and new. Here’s to hedonism and cocking a snook at the world.
I am unashamedly giving it a whip-cracking, time warping 5*****
Theatre Royal, Nottingham – until Saturday 8 July 2023
Reviewed by Amy Coulson
5*****
BANG!
The gunshot startles the audience into their seats.
The stage version of the iconic early 1990s romantic thriller starring Whitney Houston is here, and it entertains from start to finish.
Never have I seen pyrotechnics in the Theatre Royal! What an awesome way to kick off this much-loved blockbuster. Literal gasps from the audience echo as the opening number throws us right into the chaos of Grammy award winning songwriter and pop star, Rachel Marron’s (played by Melody Thornton) life.
It’s worth mentioning here that as soon as it started, we felt like we’d got the wrong show! Magic Mike came to mind! These dancers were so very talented, that sometimes I forgot to watch the star!
Marron, strong willed and independent, finds her security strengthened after a stalker manages to get backstage at one of her shows, steals a costume of hers, and leaves a life-threatening letter. Her Manager, Publicist and team decide not to tell Rachel, instead leaving her to her sassy independent ways. It makes for some great tension building moments between Rachel and the new guy, Frank Farmer (played by Ayden Callaghan).
From start to finish, there’s great use of the stage. From unexpected use of projections (which were just a little cheesy) to fabulous sets which range from Academy Award shows, nightclubs, Rachel’s mansion, a recording studio, a cabin in the woods…each scene was beautifully dressed. There were plenty of unexpected thrills. This reviewer nearly dropped her ice cream a couple of times!
There are some fantastically fierce voices in The Bodyguard. We all instantly think of Whitney when we hear the title, so there were some big boots to fill. Multi- platinum Grammy nominated Melody Thornton is probably best known for being a Pussycat Doll. Here, she effortlessly leaves the audience spellbound with emotionally driven ballads that pull you in. Emily Mae as Rachel’s sister Nicki Marron needs a special shout out, for matching the talent of Thornton. Her voice is something special.
I will say, my guest turned to me at the interval and asked, “was Kevin Costner this wooden” and the answer was yes! I know what she meant! The acting did feel a little stiff in comparison to the quality of everything else, but it felt right. Film in the early 90s was all about cheese and awkwardness, wasn’t it?
Every song is a hit. I hadn’t realised how great an album this had been! I’m Every Woman, Saving All My Love For You, Run To You, I Have Nothing, and of course, the song that it felt like everyone had been waiting for, I Will Always Love You. Perfection.
AT closing, the audience is invited to sing along and get on their feet, and we were up, singing badly like no one was watching! It felt like a great way to end the day. Everyone was buzzing as they left the theatre.
A talented cast, incredible singing, world class dancers, sets that transport you to another place…with the quality, it felt like we were in London. If you want a show that leaves an impression and has you humming Whitney’s discography, then this is the show for you!
by Noël Coward With Dugald Bruce-Lockhart and Natalie Walter Directed by Christopher Luscombe
AMBASSADOR’S THEATRE, LONDON FROM 31 AUGUST 2023
Noël Coward’s scintillating comic masterpiece Private Lives starring Nigel Havers and Patricia Hodge heads to the West End this Autumn.
A dazzling comedy which is both a witty and scathing study of the rich and reckless in love, Private Lives is one of Noël Coward’s most beloved plays. Marking the 50th Anniversary of Coward’s death, this acclaimed production is presented by Theatre Royal Bath Productions and will open at the newly refurbished Ambassadors Theatre in London on 31 August 2023 for a strictly limited 12-week run until 25 November 2023. Press night will be on Wednesday 13 September.
Ex-spouses Elyot and Amanda are honeymooning with their new partners in the South of France only to find themselves in adjacent hotel rooms. Their initial horror evaporates as, in no time at all, they’re rekindling their previous passion. But when they daringly elope to Amanda’s Parisian flat their lust thaws as quickly as it had reignited and they resume the slanging match which drove them apart in the first place…
One of the UK’s most popular actors, Nigel Havers has been a favourite with audiences for nearly four decades. His roles on screen have encompassed Downton Abbey and Coronation Street, Chariots of Fire and The Charmer. Stage roles range from Art to Rebecca, to The Importance of Being Earnest at the National Theatre and becoming a mainstay of the annual pantomime at Theatre Royal Drury Lane.
One of our best loved actresses, Patricia Hodge’s many theatre credits include Travels With My Aunt, Relative Values, Calendar Girls, His Dark Materials, Noises Off and A Little Night Music. Her recent television credits include A Very English Scandal, Downton Abbey and Miranda.
Dugald Bruce-Lockhart’s recent West End appearances include The Last Temptation of Boris Johnson, The Deep Blue Sea, Mamma Mia!and he toured the UK in The 39 Steps. Television credits include The Crown and Foyle’s War.
Natalie Walter’s most recent theatre credits include Pack of Lies, Jerusalem and A Little Hotel on the Side. She was a regular performer in CBBC’s Horrible Histories.
Director Christopher Luscombe’s award-winning career has included plays, musicals and operas across the globe, from Nell Gwynn at Shakespeare’s Globe (Olivier Award for Best New Comedy) to The Rocky Horror Show which has toured for almost twenty years. Other notable productions include The Madness of George III, Spamalot, Sweeney Todd, The History Boys and A Midsummer Night’s Dream.
Private Lives will be the first production to be staged in the now fully refurbished Ambassadors Theatre, following ATG’s multi-million-pound investment to improve facilities, customer experience, and access. The access improvement works carried out provide an access lift for the first time, the potential for 6 wheelchair spaces, accessible toilet facilities, and improved audio access to support the hearing impaired.
ELENA SKYE TO PLAY TWIGGY IN THE WORLD PREMIÈRE OF
BEN ELTON’S CLOSE UP – THE TWIGGY MUSICAL
PUBLIC BOOKING OPENS TODAY
The Menier Chocolate Factory today announces that Elena Skye will play Twiggy in the world première of Close Up – The Twiggy Musical. Written and diredcted by Ben Elton, the production opens on 27 September, with previews from 18 September, and runs until 18 November.
Twiggy said today, “It’s very unexpected, but truly an honour, to see my own life translated onto stage – and I can’t imagine a better, more generous, collaborator than Ben. I’ve been approached before about sharing my story, but never has the alchemy felt so right.”
Ben Elton added, “I’m thrilled to be bringing Twiggy’s incredible story to the stage, with an amazing creative team at the Menier – the perfect home to begin our journey. Very London, very authentic, and such wonderful intimacy in which to stage this musical. In Elena, we’ve found a glorious talent – not just a unique voice, but someone who’s funny, honest and utterly authentic, very much like Twiggy herself.”
Completing the season is the Menier and Umeda Arts Theater’s co-production of Stephen Sondheim and John Weidman’s Pacific Overtures – directed by Matthew White – which opened earlier this year at the Nissay Theatre in Tokyo. The musical, which was significantly revised by both Sondheim and Weidman in 2017, will be seen here in the UK for the time in this version. This continues the venue’s history of Sondheim collaborations, which also sees the company’s production of Merrily We Roll Along open on Broadway later this year.
CLOSE UP – THE TWIGGY MUSICAL
WRITTEN AND DIRECTED BY BEN ELTON
18 September – 18 November
Choreography: Jacob Fearey; Set and Video Design: Tim Bird; Costume Design: Jonathan Lipman; Sound Design: Gregory Clarke; Musical Supervision, Direction and Orchestrations: Stuart Morley;
The story of a skinny kid from Neasden who became the most famous teenager on the planet and the ‘face of the 1960s’ may seem like the stuff of fairy tales, but there is tragedy as well as triumph in this intimate portrayal of a true 20th century icon. It’s the story of a young working class woman who faced snobbery and sexism in a pre-Me Too world and yet achieved her dreams without ever compromising who she was. Author and director Ben Elton charts Twiggy’s journey through laughter and tears from the suburbs of London to the world’s fashion capitals to Hollywood and Broadway and ultimately to becoming a national treasure and Dame of the Realm. All accompanied by a fabulous score featuring the hits that have been the soundtrack to Twiggy’s life. Grab your miniskirt and re-live the swinging ‘60s and soulful ‘70s in this joyful, uplifting and empowering world première musical!
Elena Skye plays Twiggy. Her theatre work includes Lauren in Kinky Boots (Adelphi Theatre), Eponine in Les Misérables (Queen’s Theatre) and as Scaramouche in WeWill Rock You (London Coliseum and UK tour).
In the mid-1960s at 16 years of age, Twiggy became internationally known as the world’s first supermodel. Her photographic modelling success epitomised the age. She appeared, and continues to appear, on the cover of Vogue, Tatler,Elle and countless other major magazines worldwide. She is now an actress, singer, writer, designer, presenter, producer and activist, as well as a model. Twiggy became a successful actress on stage, film and television, and won two Golden Globe Awards for her first film, The Boyfriend, directed by Ken Russell. In the mid-1980s, she was nominated for a Tony Award for her role in the hit Gershwin musical, My One and Only, on Broadway. She has appeared several times onstage in the UK and the USA, including in Sir Peter Hall’s production of Mrs Warren’s Profession, and played Gertrude Lawrence in If Love Were All, Off-Broadway. Her television credits include playing Eliza Doolittle in Pygmalion. She has recorded several albums, ranging from country pop to standards.
Also known as a fashion designer, she has designed successful ranges in the UK, the US and Japan. Twiggy was a guest judge for several seasons on the phenomenally successful America’s Next Top Model. She is an ardent supporter of many charities, including Great Ormond Street Hospital for Children, breast cancer, many animal welfare charities, and she is an anti-fur campaigner. In 2020 Twiggy was invited to launch a podcast, Tea with Twiggy, in which she chats to friends and people she admires. Due to its ongoing success, the fourth series was launched in 2023. In 2019, she received a Damehood in the Queens New Year’s Honours list, for her contribution to fashion, the arts and charity.
Ben Elton is a multi-award-winning novelist, playwright, television writer, screenwriter and lyricist. He is also a theatre, screen and television director, a stand-up comedian and occasional actor. His work for the stage includes The New Review (1985) – with Richard Curtis, Gasping (1990), Silly Cow (1991), Popcorn (1997), Blast from the Past (1998), The Beautiful Game (2000) – book and lyrics, music by Andrew Lloyd Webber, We Will Rock You (2002) – book, music by Queen, Tonight’s The Night (2004) – book, music by Rod Stewart and others, Love Never Dies (2010) – co-writer of the book, with music by Andrew Lloyd Webber. His many television credits include The Young Ones (1982/4) – writer with Rik Mayall and Lisa Meyer; Alfresco (1982/4) – performer and co-writer with Stephen Fry, Hugh Laurie and Emma Thompson; Happy Families (1985) – writer; Blackadder 2 (1983) – co-writer with Richard Curtis; Filthy Rich & Catflap (1986) – writer; Saturday Live (1986/7) – comedian/host; Blackadder The Third (1987) – co-writer with Richard Curtis; Friday Night Live (1988) – comedian / host; Blackadder Goes Forth (1989) – co-writer with Richard Curtis; Ben Elton The Man From Auntie (1990 and 1994) – writer/performer; The Thin Blue Line (1995/6) – writer/co-director; The Ben Elton Show (1998) – writer/performer; Blessed (2005) – writer/director; The Wright Way (2013) – writer/co-director; and Upstart Crow (2016/17) – writer. Elton also wrote Mr Bean’s “exam” episode. In 2007 he was awarded the Special Golden Rose D’Or at The International Television festival in Lucerne Switzerland for his life-time contribution to the Television Arts. As a novelist, his work includes Stark (1989), Gridlock (1991), This Other Eden (1993), Popcorn (1996), Blast From The Past (1998), Inconceivable (1999), Dead Famous (2001), UK No 1. High Society (2002), Past Mortem (2004), The First Casualty (2005), Chart Throb (2006), Blind Faith (2007), Meltdown (2009), Two Brothers (2012), Time. And Time Again (2014); and for film, he has written and directed Maybe Baby (2000) and Three Summers (2017).
LISTINGS INFORMATION
MENIER CHOCOLATE FACTORY
53 Southwark Street, London, SE1 1RU
THE THIRD MAN
Until 9 September
CLOSE UP – THE TWIGGY MUSICAL
18 September – 18 November
PACIFIC OVERTURES
25 November 2023 – 24 February 2024
Box Office: 020 7378 1713 (£2.50 transaction fee per booking)
JONATHAN CHURCH THEATRE PRODUCTIONS AND RJG PRODUCTIONS
ANNOUNCE FULL CAST FOR
JONATHAN CHURCH THEATRE PRODUCTIONS AND RJG PRODUCTIONSANNOUNCE FULL CAST FOR
IT’S HEADED STRAIGHT TOWARDS US
A COMEDY BY ADRIAN EDMONDSON AND NIGEL PLANER
OPENING AT PARK THEATRE
Jonathan Church Theatre Productions and RJG Productions today announce that Nenda Neururer plays Leela completing the cast of It’s Headed Straight Towards Us, a comedy written by stars of TheYoung Ones,Adrian Edmondson and Nigel Planer, directed by Rachel Kavanaugh. Neururer joins the previously announced Rufus Hound (Gary Savage)and Samuel West (Hugh Delavois). The production opens at Park Theatre on 19 September, with previews from 13 September, and runs until 20 October 2023.
Jonathan Church Theatre Productions and RJG Productions present
In association with Park Theatre
IT’S HEADED STRAIGHT TOWARDS US
A comedy by Adrian Edmondson and Nigel Planer
Directed by Rachel Kavanaugh
Park Theatre: Park200
13 September – 20 October 2023
Two actors, stuck in a trailer on the side of a volcano, in Iceland. The glacier is melting, the volcano is active. Bitter rivalries emerge between fussy ‘bit part’ actor Hugh Delavois and fading Hollywood bad boy Gary Savage, going back to their time at college together, as the film they are meant to be working on collapses around them and the trailer they are in begins to slip. An avalanche wipes out the only escape road and the only bridge to safety subsides into the ravine.
Stuck with them is 21-year-old Leela, the runner on the film, and supposed seismology expert. As their arguments and point-scoring become increasingly fractious, it is down to Leela to contain their petty squabbles and prepare them for the possibility that they may not get out of this alive.
Acclaimed theatre director Rachel Kavanaugh directs multi-award-winning actors Rufus Hound and Samuel West, joined by Nenda Neururer in this quirky, surprisingly tender, laugh out loud comedy.
It’s Headed Straight Towards Us is written by British actor-comedians Adrian Edmondson and Nigel Planer, who rose to fame in TV comedies The Comic Strip Presents, and the BAFTA award-winning cult classic The Young Ones.
Adrian Edmondson writer. Adrian accidentally became a comedian in the mid 70’s when he and his friend Rik Mayall performed in pubs in an effort get equity cards. They became a double act called ‘20th Century Coyote’ performing at the Comedy Store and the Comic Strip clubs before going on to make the TV series The Young Ones, The Comic Strip Presents…, Filthy, Rich & Catflap, Saturday Live and Bottom. The latter of which spawned five national tours. Simultaneously an acting career saw Adrian take leading roles in two Les Blair films Honest Decent& True and Newshounds; as well as If You See God, Tell Him; Jonathan Creek a three-year stint in Holby City, six months in Eastenders. More recently he has appeared in the dramas War & Peace; Star Wars: The Last Jedi; A Spy Among Friends, and Rain Dogs. In the theatre he has appeared as Brad in The Rocky Horror Show, as Estragon in Waiting for Godot, as William in Bits of Me are Falling Apart (Soho Theatre); and as Malvolio in Twelfth Night and Scrooge in A Christmas Carol for the RSC. As a musician he created the spoof heavy metal band Bad News; the folk/punk band Bad Shepherds; the more comedic Idiot Bastard Band; and has been a regular guest with The Bonzo Dog Doo-Dah Band. He has also performed in Hyde Park with The Who. He has written numerous TV comedies, most notably Bad News Tour; The Dangerous Brothers; Bottom and Teenage Kicks. He wrote a novel The Gobbler in the late 90s, and more recently two books for children Tilly & the Time Machine and Junkyard Jack & the Horse That Talked. A reality TV addict, Adrian has appeared in Comic Relief Does Fame Academy (3rd); Hell’s Kitchen (2nd) and Celebrity Masterchef (Winner!). He also presented 36 episodes of The Dales and 50 of the travelogue Ade in Britain.
Nigel Planer writer. He was an original member of the Comedy Store and Comic Strip groups at the centre of the so-called ‘Alternative Comedy’ movement in the 1980s and one of the stars of the TV series The Young Ones, and The Comic Strip Presents. Since then, he has enjoyed a successful career as an actor in television, theatre, film and radio. He has played leading roles in the original productions of Evita, Chicago, We Will Rock You, Wicked, Hairspray, Feelgood and Charlie and the Chocolate Factory. He won a BRIT award in 1984 and has been nominated for Olivier, TMA, What’s on Stage, and BAFTA awards. With Christopher Douglas, he created the actor character ‘Nicholas Craig’, who featured in TV and radio series, a spoof autobiography and one man show.
Writer; His first play, On the Ceiling, was produced in Birmingham and in London’s West End, his second; Death of Long Pig premiered at the Finborough in London. The Game of Love and Chai, a re-imagining of Marivaux’s farce, opened at the Tara Arts theatre, London, followed by a National tour. All Above Board, toured in 2021 with the Northern Theatre of Comedy. He has written novels, radio plays, and TV scripts as well as writing and voicing over one hundred episodes of The Magic Roundabout for Channel 4. This year sees the release of his latest novel, Jeremiah Bourne in Time (Unbound) – a strange and funny take on time-travel, and a collection of poetry, Making Other Plans. (Flapjack Press).
Rufus Hound plays Gary Savage. He is an award winning actor who has worked across film, television, audio, games and theatre. Film including: Lore (release tbc), The Wedding Video, Big Fat Gypsy Gangster. Television including: Queens of Mystery (AcornTV), Trollied (SkyTV), Doctor Who (BBC), Cucumber (Channel 4), Zapped (Dave), Hounded (CBBC). Audio including: Ronja the Robber’s Daughter (Studio Ghibli), Sadie Sparks (Disney), Waffle the Wonderdog (Cbeebies) and The Monk across The Doctor Who Audio Universe (Big Finish). Theatre includes: The Boy in the Dress, The Provoked Wife, Don Quixote (RSC), The Wind in the Willows (The London Palladium), One Man, Two Guv’nors (National Theatre on tour and West End). He is also the host of BBC Radio 4’s Sony Award winning My Teenage Diary.
Nenda Neururer plays Leela. She is an actor and international recording artist. She graduated from Rose Bruford College in 2017, where she represented Rose Bruford at the 2017 Sam Wanamaker Festival, playing Vittoria in The White Devil. Her theatre credits include The Borrowers (Watermill Theatre), Romeo and Juliet (Orange Tree Theatre), Jerusalem (Watermill Theatre), White Teeth (Kiln Theatre), and Death of a Salesman (Young Vic/Piccadilly Theatre). Her debut single Mixed Feelings topped the charts and is in heavy rotation on European radio channels. Nenda led in an eight-part supernatural crime thriller The Rising for Sky TV, released on Sky Max and NowTV. She has just finished filming a recurring role in Belgravia: The Next Chapter.
Samuel West plays Hugh Delavois. He has played Hamlet and Richard II for the Royal Shakespeare Company, Valentine in the first production of Tom Stoppard’s Arcadia at the National Theatre, Jeffrey Skilling in Enron in the West End and the voice of Pongo in Disney’s 101 Dalmations II.
TV includes Siegfried Farnon in the new All Creatures Great and Small, Slow Horses, The Crown, Small Axe, W1A, The Hollow Crown II, Jonathan Strange and Mr Norrell, Cambridge Spies and four series of Mr Selfridge. Films include Darkest Hour, The Gentlemen, On Chesil Beach, Suffragette, Van Helsing, Notting Hill, Zeffirelli’s Jane Eyre and Hyde Park on Hudson. He was nominated for a BAFTA for Howards End. As a reciter, he has appeared with orchestras all over the world; in 2002 he was soloist in Walton’s Henry V at the Last Night of the Proms. Samuel has toured the West Bank three times with the Choir of London and directed The Magic Flute for the Palestine Mozart Festival. From 2005 to 2007 he was the artistic director of Sheffield Theatres, where he revived The Romans in Britain. Samuel West is an Associate Artist of the RSC and a trustee of the Campaign for the Arts.
Rachel Kavanaugh directs.Theatre credits include:Great British Bake Off the Musical (Cheltenham Theatre and West End), The Witches of Eastwick (Cirkus Theatre in Stockholm and Cameron Mackintosh), TheWind in the Willows (Palladium and UK Tour); Rough Crossing (UK Tour); for Chichester Festival Theatre: Shadowlands, Half a Sixpence (also Noel Coward Theatre), The Winslow Boy (and UK Tour), Single Spies (and UK Tour), An Ideal Husband, The Way of the World, Love Story (transferred to Duchess Theatre and Walnut St Theatre, Philadelphia and received an Olivier Award Nomination for Best New Musical) The MusicMan, and A Small Family Business; for the RSC: A Christmas Carol, The Merry Wives of Windsor and Alice in Wonderland; for Regent’s Park Open Air Theatre: Seven Brides for Seven Brothers (Olivier Award Nomination for Best Musical Revival), The Sound of Music (Olivier nomination for Best Musical Revival and Winner WhatsOnStage Award for Best Musical Revival); The Taming of the Shrew, Cymbeline, As You Like It, Much Ado About Nothing, Twelfth Night, Love’sLabours Lost, A Midsummer Night’s Dream; Hope Place at the Liverpool Everyman; The Rivals and Arcadia at the Bristol Old Vic; Oklahoma! (UK Tour); Oklahoma! for the BBC Proms with The John Wilson Orchestra.As Artistic Director of the Birmingham Repertory Theatre productions included Arthur andGeorge, Notes to Future Self, His DarkMaterials, The Cherry Orchard, Peter Pan – a Musical Adventure, Uncle Vanya,The Madness of King George III and Arcadia.
IT’S HEADED STRAIGHT TOWARDS US
LISTINGS
Park Theatre,Clifton Terrace, Finsbury Park, London N4 3JP
Performances Mon – Sat Evenings, 7.30pm Thu & Sat Matinees, and Wed 18 October Matinee, 3pm (no matinee Thu 14 September)
Access performances:
Captioned: Wednesday 4 October, 7.30pm
Audio Described: Friday 13 October, 7.30pm (and touch tour at 6.30pm)
Prices Previews: £15 – £25 Standard: £22.50 – £44.50 65+: £20 – £22.50 (Mon eve and Thu mat) Access: £17.50
Book early to secure the best prices. Prices may change, subject to demand. To access the best prices at the earliest opportunity, consider becoming a Park Keeper.
Park Up Members (16-26 years) Tickets £10 (available on Band C seats for all perfs) Find out more about joining our Park Up scheme with great perks here.
Group bookings Buy 10 tickets and get the 11th ticket free. Discount automatically applies in basket.
Booking Fees No booking fee online or in person. Telephone booking fee applies
Match Day Finsbury Park station and the surrounding area can get very busy when Arsenal play at home. These days are highlighted on the schedule.
Royal Shakespeare Theatre Stratford-Upon-Avon – until 5th August 2023
Reviewed by Amarjeet Singh
5****
As one of Shakespeare’s comedies, As You Like It is best known as a tale of youth, feist, and first love. Yet this production is stirring things up, challenging stereotypes around ageing and it’s conforms by comprising of a company of actors who are mostly over the age of 70.
At first, it was all a little puzzling. We sat in our seats waiting for the production to start, the set looked unfinished, sparse but for some chairs set out in a semi-circle, awaiting a group of sorts. A classroom setting with many sheets of paper stuck up on the back wall and a double door fire exit, not in line with a Shakespearean production. The cast then began to walk on stage as the rest of the audience were taking their seats. Strolling on casually, with water bottles, socks and sandals, with the younger members holding folders containing scripts. They all greeted the audience inaudibly and greeted each other. Once all had settled into their seats, cast and audience, we had an informal prologue where we were told that most of the cast were in a 1978 production of the play which was to be recreated and we were invited to join them on this journey down memory lane.
It soon unfolded that the first part of the performance was a stripped-down version. The classroom was a rehearsal room, the young players were there to support the original players as some members of the original cast were unable to be there for various reasons. The character of Adam had passed on, but he was being respectfully represented by a coat. There were no noticeable costumes or music or sound effects, the young players read from the folders and were supported by the established actors. There was a deliberate rehearsal room feel to the production, as the actors, when not performing, sat around in casual clothing waiting for their scenes. However, as the play continued and developed, subtly and masterfully the folders disappeared, the resting ensemble left the playing area making it look more like a stage, costumes appeared and music and singing awoke and elevated the tale.
Everyone finds themselves in the Forest of Ardenne at some point in As You Like It. Duke Frederick usurps the dukedom from his brother Duke Senior and banishes him. Duke Senior and his followers, including the jaded Jacques, live in exile in Arden. Rosalind, Duke Senior’s daughter, who is still at court, falls in love with Orlando, who has been mistreated by his older brother Oliver. To escape Oliver’s murderous rage, Orlando flees to the Forest of Arden with his faithful old servant Adam. Rosalind is banished soon after for merely being the daughter of the banished Duke. Her cousin Celia insists on leaving with her and they both flee to Arden accompanied by the jester Touchstone. Disguised as a young man named Ganymede, Rosalind encounters Orlando, lovesick for his Rosalind, and promises to cure him of his lovesickness by pretending to be that very Rosalind. Oliver appears in the forest intending to kill Orlando, but, when Orlando saves his brother from a lioness and a snake, Oliver experiences deep remorse. Meeting with Celia, Oliver falls in love. Revelation of the girls’ true identities results in a group wedding. Duke Frederick repents, and the exiles are at an end, so all’s well that ends well.
There is a wealth of talent and experience packed into this production. Each Actor commands the stripped-down stage superbly. Malcolm Sinclair is wonderful as a lovesick Orlando, wrestling and pinning, hero, and poet, he churns verse to Rosalind, encompassing the very essence of moping youth. Maureen Beattie’s Celia is flirty, flighty and her fealty to Rosalind is endearing. Robin Soans balances his double role as banished Duke and brother Duke, masterfully. Christopher Saul has stepped in to play Jaques and plays him well with a stark contrast to the rest of the jovial upbeat players. David Fielder’s lovely in his many roles, most notably as lovesick Silvius with his not so successful wooing of dismissive Phoebe, played brilliantly by Celia Bannerman. Ewart James Walters is great as a Yokel/William and has fabulous comic timing with James Hayes who plays Touchstone. The scene when Touchstone threatens to kill William in 150 ways is comic perfection and had the audience roaring with laughter. Much of Hayes performance and costumes had the audience in stiches. He often broke the fourth wall and his nuances, and quips were utter joy. So much can be said for Geraldine James’ performance. I could literally wax lyrical for an age. She was a delight. The very essence of all that is Rosalind, feisty, fiery, feminine then not so much, she delivered in every way and was enchanting to behold.
Alongside all of this, four younger actors took on many of the smaller roles supporting the older cast as they attempted to recreate the past. Hannah Bristow, Tyreke Leslie, Mogali Masuku and Rose Wardlaw, were all amazing and helped shaped the overall performance. It was deeply endearing to witness moments when the older actors were supporting the younger ones, passing on experience and memories.
Set designer Ana Inés Jabares-Pita kept things simple but effective, a rehearsal room which also included a large piece of rigging, lowering a band from the ceiling to end act one with a bang. The lighting fixtures were lowered too at one point, to become windows, seats, and swings for characters. It was only in the play’s final moments when some element of traditional costume was introduced and the back wall lifted to reveal a lush forest of Arden, hidden but there all along, ghosts of the 1978 performance, that the then and now became merged.
Director Omar Elerian choices are provocative and bold and certainly won’t suit all tastes. This production, with a trimming of text, is thought-provoking and heart-warming. We are transported in time on many levels, to the age of Shakespeare and to back when these actors first performed a perhaps more authentic version of the play. Our focus here is on the timelessness of Shakespeare’s storytelling, the actors and their multitude of skills and years of experience and the intergenerational connection of these wonders not being lost and forever being valued. It makes the audience question preconceived ideas of age, does a person become redundant once they hit a milestone? What then of all they have accumulated. Is love and play solely for the youth. It brought to light that we are never too old nor too young to find a joy in anything and nothing is restricted if we employ imagination. The famous ‘Seven Ages of Man’ speech takes on an additional gravitas in this production and when the Forest of Arden is revealed at the end through smoke and mist we hear the recording of actual voices from the 1978 production. The players stopped so we could hear their former selves speak, echoes from a performance past, like magic, merging into the now. It was a truly beautiful moment, made only more beautiful by Geraldine James delivering a moving and heartfelt Epilogue.
This retelling is a revelation. Its not just older actors playing younger roles, flipping the script for controversy. Its so much more than that. The layers of play, love, age and imagination and so much more are there to be seen and engaged with if you choose to, and I earnestly hope you do.
RSC ANNOUNCES FULL CAST FOR UPCOMING PRODUCTION OF MACBETH
The Royal Shakespeare Company (RSC) today announces the full cast for Wils Wilson’s upcoming production of Shakespeare’s gripping and brutal tragedy, Macbeth, which opens in the Royal Shakespeare Theatre from Saturday 19 August – Saturday 14 October 2023, with Press Night on Wednesday 30 August at 7pm.
As previously announced, Reuben Joseph and Valene Kane will play Macbeth and Lady Macbeth respectively. They are joined by a cast of Scottish actors, many of whom are making their RSC debuts.
The company includes Anna Russell-Martin as Banquo. This will be Anna’s RSC debut season, her previous theatre credits include Exodus, The Panopticon (National Theatre of Scotland); Life Is A Dream (Royal Lyceum Theatre); Nora: A Doll’s House (Young Vic, Citizens Theatre); Wolfie, Me and My Sister Tell Each Other Everything, Bunny, Colonel Mustard and the Big Bad Wolf (Tron Theatre); Cyrano De Bergerac (Citizens Theatre/Royal Lyceum Theatre/National Theatre of Scotland); A Christmas Carol (Citizens Theatre); Bloodbank (Oran Mor) and Toy Plastic Chicken (Oran Mor/Traverse Theatre). Screen credits include Karen Pirie (ITV), Annika (BBC) and Casualty (BBC).
George Anton joins the company as Macduff. Anton’s RSC credits include The Last Days of Don Juan, Edward II, Two Shakespearean Actors, Curse of the Starving Classes, Richard II, In the Company of Men. Other theatre includes: Mephistopheles (Actors Touring Company), Duchess of Malfi (Cheek By Jowl), Venice Preserved (Manchester Royal Exchange), Life is a Dream, Hamlet (Edinburgh International Festival), Paul Bright’s Confessions of a Justified Sinner (NTS), This Restless House (Citizens Theatre) and Titus Andronicus (Dundee Rep).
Shyvonne Ahmmad will make her RSC debut as Malcolm. Previous theatre credits include Muster Station: Leith (Grid Iron), Britannicus (Lyric Hammersmith), Constellations (Donmar Warehouse), Total Immediate Collective Imminent Terrestrial Salvation (National Theatre of Scotland/Royal Court), Interference (National Theatre of Scotland), Cymbeline, A View From The Bridge, Three Sisters (RCS) and Snowflake (The Pleasance Courtyard). Screen credits include This Town, Karen Pirie and Annika.
Alison Peebles joins the company as the Porter in her RSC debut season. Previous theatre credits include Life is A Dream (Royal Lyceum Theatre Edinburgh), 24 Hours of Peace (Royal Exchange Theatre), Richard 111 (Perth Theatre), The Locker Room (Traverse Theatre), Paul Bright’s Confessions of a Justified Sinner, My Shrinking Life and 365 (National Theatre of Scotland).Screen credits include Doctors (BBC Studios), Six Four (House Productions), Step 9 (South Of The River / Sister Productions) Molly & Mack; River City (BBC Studios), Shetland (ITV), The Strange Case of Dr Jekyll & Mr Hyde (NTS/Selkie Productions), The Lost King (Baby Cow Productions), Nettie (Macallan Brand Film), The Road Dance (Sheridan Road Productions), Where Do We Go From Here? (Worrying Drake Productions) and Seven Lucky Gods (Dehlavi Films).
Therese Bradley makers her RSC debut as Duncan. Previous theatre credits include Men Should Weep (National Theatre); Tutti Frutti (National Theatre of Scotland); The Rubber Room (Old Vic); Candida (English Speaking Theatre); Legacy (Voice Theatre); Songs of Solomon (Refraction); Dreams of Anne Frank (Latteson Productions) and Unheimlich Spine (Riverside Studios/Tour). Television includes: HMS Murder (Channel 5); Outlander (Starz); River City (BBC Scotland); The Curse (Channel 4); The Ipcress File (ITV); Vigil (BBC); The Nest (BBC); A Confession (ITV); Chimerica (Playground Productions); Shetland (ITV); Midsomer Murders (ITV); Mr Selfridge (ITV); Peaky Blinders (BBC); The Bill (ITV); Rebus (Scottish Media Group); Doctors (BBC); Rosemary and Thyme (ITV); Taggart (ITV) and Glasgow Kiss (BBC). Film includes Nobody Needs to Know; Village in the Woods (Reel King Media); Anna and the Apocalypse (Blazing Griffin); Tommy’s Honour (Gutta Perch Productions); A Long Way Down (Wild Gaze Films); Filth (Film Gate Films); Railway Man (Scottish Screen); Outcast (Scottish Screen); Half Light (Universal Pictures) and Young Adam (Hanway Films/Warner Brothers)
Full company comprises; Shyvonne Ahmmad (Malcolm), George Anton (Macduff), Therese Bradley (Duncan), Amber Sylvia Edwards (Witch), Annie Grace (Alice), Ryan Hunter (Ross), Amelia Isaac Jones (Donalbain), Reuben Joseph (Macbeth), Valene Kane (Lady Macbeth), Emma King (Lady Macduff), Liam King (Fleance), Kevin Lennon (Lennox), Eilidh Loan (Witch), Alasdair Macrae (Bloody Captain), Benjamin Osugo (Angus), Alison Peebles (Porter), Dylan Read (Witch), Anna Russell-Martin (Banquo) and Michael Wallace (First Murderer).
Macbeth is directed by Wils Wilson with Design by Georgia McGuinness, Lighting by Kai Fischer, Music by Alasdair Macrae and Sound by Claire Windsor. Movement and Choreography is by Julia Cheng, Fights by Kaitlin Howard with Casting by Simone PereiraHind CDG and Anna Dawson.
Wils Wilson directed and co-created The Strange Undoing of Prudencia Hart which has been touring non-theatre spaces internationally since 2010, winning numerous awards including a Drama Desk Award for its New York run.
She is Associate Director at the Lyceum Theatre, Edinburgh, where she directed Life is A Dream whose ‘wild, slightly punk-inflected brilliance’ (The Scotsman) recently won multiple awards at the Critics Awards for Theatre in Scotland, including Best Director, and for which Lorn MacDonald and Anna Russell Martin also won Ian Charleston Awards.
Her work at the Lyceum also includes Wind Resistance, created with singer-songwriter Karine Polwart and described as “a poignant, unflinching and beautiful show about healing, protection, the fragility of human life and the world around it.” (The Telegraph) for Edinburgh International Festival, Red Ellen (Edinburgh Lyceum/Northern Stage/Nottingham Playhouse), Twelfth Night (Bristol Old Vic/Lyceum), Cockpit and The Hour We Knew Nothing of Each Other.
Her other work includes the Olivier-nominated I Want My Hat Back for the National Theatre and shows for the Royal Court, Manchester Royal Exchange and Welsh National Opera.
She has worked extensively for National Theatre of Scotland, including The 306 Dusk, the final part of the trilogy remembering the 306 soldiers shot for desertion in WWI. She created two genre-defying shows with musician Gruff Rhys for National Theatre Wales – Praxis Makes Perfect (Best Director, Welsh Theatre Awards) described as “some sort of god-damn creative masterclass” by Artrocker magazine and Candylion.
Until 2007 Wils was co-Artistic Director of wilson+wilson, making site-specific work across the UK, where her work included HOUSE, Mapping the Edge, News from the Seventh Floor and Mulgrave.
Award winning producers Andy and Wendy Barnes from Global Musicals (SIX, The Choir of Man, Pieces of String, LIFT)and Kevin McCollum from Alchemation (In The Heights, Avenue Q, Rent, Mrs Doubtfire)are delighted to announce that tickets are now on sale for the first full production of new musical 42 Balloons playing at The Lowry, Salford from 18 April – 19 May 2024.
2nd of July 1982.
Using a lawn chair and approximately 42 helium-filled weather balloons, truck driver Larry Walters defied all the odds (and FAA airspace regulations!) to make his lifelong dream a reality and fly sixteen thousand feet above Los Angeles.
No, seriously. In a chair.
42 BALLOONS is an uplifting musical inspired by the highly improbable true story of how Larry, and his partner Carol Van Deusen, convinced their friends and family to help Larry achieve his dream of flying.
Featuring an irresistible, 80s pop-inspired score, 42 BALLOONS questions how far you would go to make your dreams come true. Is the sky actually the limit, and what happens if it doesn’t all go to plan?
42 Balloons will star Charlie McCullagh(Bonnie & Clyde, Dr.Zhivago) and Evelyn Hoskins(Waitress, Gypsy, Spring Awakening) reprising their roles as ‘Larry’ and ‘Carol’ from the 2022 staged concert performances in the West End. Further casting will be announced later in the year.
42 Balloons has been in development since 2020 with Perfect Pitch – an entity dedicated exclusively to creating, developing and promoting new contemporary British musicals. The song 42 Balloons and a Lawnchair was released in 2021 on Perfect Pitch’s Rise:Up YouTube channel and in November 2022, the producers presented four semi-staged concert performances, which received hugely positive feedback from public and theatre commentators alike.
42 Balloons has book, music and lyrics by Jack Godfrey whose other works include This is a Love Story (Dundee Rep) and Babies (YMT:UK).
Jack Godfrey said, “After five years of writing and a journey that has at times seemed as unlikely as Larry’s flight, it feels incredibly surreal that we now get to present the full production of 42 BALLOONS next year. I’m extremely proud of our team, I’m hugely grateful to everyone who has helped us to get to this point and I can’t wait to share this show with everyone.”
Wendy Barnessaid, “In 42 Balloons, Jack Godfrey gives us a contemporary, original musical score rather uniquely fused with 80s inspired familiarity and nostalgia in equal measure. I was introduced to the show as a first draft of act one through our open submissions process and after a quick google of the real-life Larry Walters and hearing Jack’s impressive score and witty lyrics, I was hooked by the end of the Prologue! Andy and I are dedicated to supporting the work of lesser-known, emerging British artists and we’re incredibly excited to collaborate with Jack, The Lowry and the wider creative team to bring this fantastic new musical to audiences.”
Steve Cowton and Matthew Eames, co-Heads of Theatre at The Lowry:“‘We have invested a lot in new musicals in recent years – through Rewrites, Operation Mincemeat, Police Cops and our artist development programme – but it is important that this is backed up by bold programming. Supporting the premiere production of 42 Balloons felt like the natural next step. Jack is an incredibly exciting writer, and this is a fascinating story to tell. We think audiences will love it and we are delighted they can see it here first!”
Ellie Coote will direct the production with orchestrations & arrangements by Joe Beighton, choreography by Alexzandra Sarmiento, casting by Pearson Casting CDG and music direction by Flynn Sturgeon.
42 Balloons is produced by Andy & Wendy Barnes for Global Musicals & Kevin McCollum in association with The Lowry, Debbie Hicks, Sam Levy, S&Co and Kenny Wax.
Additional creative team and casting will be announced in due course.
Something special is happening this summer at the Barbican Theatre and you should probably definitely go and witness this theatrical event.
Once in a while, a show comes along that both engages and entertains in a fresh new approach to storytelling, A Strange Loop is that show, it breaks, twists and bends every rule in the book for traditional commercial musical theatre but manages to remain palatable enough for us to digest the material.
With a book, music and lyrics by Michael R. Jackson, this musical has had incredible critical success when it debuted in New York. The phrase that the show takes its name from was conceived by the American scholar of cognitive science, Douglas Hofstadter who used it as a way to understand the sense of self perception and the “I” narrative we form in our own minds. Jackson has taken this idea further to write a show about a young gay Black man while struggling with the inner thoughts of his own life who is writing a show about a young gay Black man while struggling with the inner thoughts of his own life who is writing a show about a young gay Black man… and the loop goes on.
We meet Usher, he’s a young gay black man who is working as an Usher for The Lion King on Broadway, he’s an aspiring musical theatre writer and his genius opening line is, “Can I really write this?” Both character and actor (Kyle Ramar Freeman) are instantly loveable and we are immediately on his side. We are privy to the thoughts inside Usher’s head with stellar performances from the multi-faceted cast and thus feel that we intrinsically know Usher on an intimate level within the first ten minutes, this knowing gives us a connection to the character that fuses an unbreakable bond between the audience and the show.
Through the one hour and forty-minute piece, we go on a short but powerful journey with Usher and his musicalised thoughts, who also take the form of various characters in his life, well the character versions that live in his head, that is. The voyage starts small but gets bigger the further we delve into Usher’s psyche, as a show it is brilliantly paced – the moment it feels like we’ve learnt all we can, there’s another level, another pocket of Usher’s mind that is still left to explore and while on the surface it might seem that the issues and struggles our character is dealing with are specific to him, they are ultimately universal. It is hard to walk away from this show without feeling that your perceptions of your inner reality have been shaken in some way.
Jackson’s book and lyrics can be thoughtful and poignant, still at times he uses grotesque and chilling dialogue which successfully capture our attention to what is being said. Who knew that realism and surrealism could coexist in the same time signature? The show is also a minefield of entertaining “if you know, you know” references from all aspects of Usher’s life.
There are beautiful orchestrations by Charlie Rosen, a thrilling set and lighting design from Arnulfo Maldonado and Jen Schriever respectively and with Stephen Brackett’s masterful direction, this show fires on all cylinders. What makes it great theatre is that it keeps one foot planted in tradition but takes another step in a whole new direction. There were moments that felt reminiscent of Pippin with the theme of isolationor Anyone Can Whistle with its Brechtian style of storytelling but this show is ultimately unique in the way that the story of Usher is told.
