Áine Ryan’s haunting and gripping monologue is unmissable. Alone in the kitchen of the home she shares with her dying father, Kitty slowly reveals details of her life leading up to this night as she waits for her boyfriend to pick her up to take her to the pageant. Kitty’s opportunistic friend Salisha – the only other girl in her class – is the polar opposite of Kitty and is competing in the pageant. An eye catching large box containing a present Kitty wants to give to Salisha at the crowning ceremony.
The lane of the title is the two-mile lane that leads from the house to the nearest road. Mocked and sometimes abused by the locals, Kitty is isolated geographically and emotionally, mourning the death of her beloved brother with little solace from those few people she sees. Ryan skilfully builds a picture of an isolated woman, sharing a bed with her brother into adulthood and living a monotonous, life working on the farm under the control of an unloving and domineering father, who had cameras installed around the farm and house to maintain his power when he became bedridden.
Florence Hand’s sound direction is exquisite – strains of violin music continuously tormenting/reminding Kitty of the violin she played before her father’s unthinking cruelty stopped her. Constance Comparot’s set and Alex Forey’s lighting change the atmosphere from stark to mystical and dreamlike effortlessly with Jack Reardon’s assured direction.
Ryan’s playfulness with structure and language enhances the sense of isolation and otherworldliness of Kitty, with some beautiful phrases and wonderful Irish vernacular. Ryan inhabits the character brilliantly in her delivery and the physicality of her performance – convincingly innocent, reckless, devious, traumatised and full of animalistic anger throughout the play. The anecdotes of abuse and unfairness in Kitty’s life scattered throughout the monologue are told with fury, followed by moments of silence that are far more affecting than any words of explanation. Moments of brutality and shocking loss build into a satisfyingly frenzied finale that is horrifying and heart breaking – simply stunning.
As part of the Hull City Hall Classics 2022/2023 (in partnership with the Royal Philharmonic Orchestra and the Hull Philharmonic Orchestra) last night we were treated to a masterclass in how to produce an orchestral concert. I have seen the Royal Philharmonic on a number of occasions and they seem to get better every time I see them. Their conductor was Antony Hermus (Chief Conductor Designate of the Belgian National Orchestra and Principal Guest Conductor of the North Netherlands Orchestra and Opera North) and his enthusiasm and skill was evident from the moment he set foot on the City Hall stage. He kept the audience in the palm of his hand and his explanation of the pieces was very well received.
The first piece was by Zoltan Kodaly (1882-1967) Dance of Galanta. From the Hungarian melodies to the soaring string section (led by First Violinist Magnus Johnston) and the light and shade of the woodwind and percussion section this piece held the rapt attention of the audience. Zolan Kodaly started off as a romantic composer in the mainstream 19th Century tradition before he began absorbing the folk music of Hungary.
The next piece was Franz Liszt (1811-1886) Piano Concerto No.1 in E-flat major, S124. Fransz List took over 26 years to write this concerto performing it himself the first time. The piano was played by Shunta Morimoto, he was born in Kyoto, Japan, in December 2004 and this very talented pianist was awarded the Fukuda Scholarship Award at the age of twelve. He is currently studying at the International Piano Academy Lake Como (with Maestro William Grant Nabore). His piano playing was sublime and he was a joy to watch and listen to. From dark and brooding to light and melodic he played with such feeling and very much deserved the standing ovation he got after which he played a fabulous solo piece.
The final piece was Ludwig van Beethoven (1770-1827) Symphony No.5 in C minor Op.67. Beethoven started to write this symphony in 1804 and he knew he was going deaf at this point; he wrote it over 4 years along with a number of other pieces. To hear an orchestra of this calibre playing the opening bars of this very recognisable piece of music in the magnificence of the Hull City Hall was fabulous. As the conductor explained that this piece of music was his first introduction to classical music and I think that this would be the same for a lot of other people, myself included.
The Royal Philharmonic Orchestra always produce brilliant concerts and I would urge anyone to go and see them, you won’t be disappointed.
If You Fall – An exploration of how we care for people at the end of their lives. Told through the lens of those who are nearing the end themselves, their loved ones who are also suffering and those upon which the heavy burden of daily care often falls, the over-worked, under-staffed men and women of the care system.
Originally conceived by Nir Paldi , researched and developed using testimony from a number of contributors such as Bristol Older Peoples Forum as well as the lived experiences of the cast and company, Ad Infinitum have woven together a series of stories about those coming to the end of life and placed them all within one care home to allow seamless transition between them.
The cast are all superb, the timing and flow between characters is perfectly executed allowing us to meet a plethora of people; from the elderly who have fallen at home, those men and women facing dementia, lonely widows, desperate family members, and those who have come to this country to work whilst their own families are thousands of miles away needing support themselves.
The production includes horror and humanity, pain and love, despair and relief. They even manage to find humour in moments of grief. These themes are emotive, topical and in dire need of attention. If there were ever a call to action, this is it. This is what theatre is for, to move you, to make you question ‘how can we make the system in our country better?’
There were people in the audience visibly shaken and crying, perhaps reminded of a loved one, or a deeply uncomfortable experience, or simply moved by the care and attention this fine ensemble and collective company brought to the piece.
This show is flawless from the beautiful chorography steered by movement director, Deb Pugh, the haunting rhythmic harmonies composed Jack Drewry, to the exquisite performances of the ensemble cast, Clive Duncan, Elisabeth Gunawan, Jabari Ngozi, Kirris Riviere, Heather Williams, Robin Paley Yorke.
Helena Middleton, who directs this production and Ad Infinitum should be proud of what they have achieved.
On sale dates have been announced for the West End return of the Olivier Award nominated production of SISTER ACT at the Dominion Theatre from Friday 15 March to Saturday 31 August 2024.
Sign up at www.sisteractthemusical.co.uk/london for priority access from Wednesday 10 May at 10.00am. General on sale will be from Monday 15 May at 10.00am.
The role of Deloris Van Cartier will be played by the multi-award-winning music star and Olivier Award winning performer Beverley Knight, reprising her performance following sensational acclaim during the show’s run in London during the summer of 2022, from 15 March to 8 June2024, and by Number One best-selling artist and musical theatre star Alexandra Burke, who returns to the role having previously played Deloris in the 2016 tour, from 10 June to 31 August 2024.
Beverley Knight MBE was most recently seen on stage in her Olivier Award winning performance as ‘Emmeline Pankhurst’ in “Sylvia” at The Old Vic, and in 2022 received an Olivier nomination for her starring role as ‘Faye Treadwell’ in “The Drifter’s Girl” at The Garrick Theatre. Beverley can also be seen as a judge on ITV’s highly successful entertainment show “Starstruck” now in its second series. She is a three-time MOBO Award winner and Mercury Music Prize nominee who has sold over a million albums in the UK, including the platinum selling “Voice: The Best of Beverley Knight”. Her other West End credits include Olivier Award nominated performance as ‘Felicia Farrell’ in “Memphis The Musical”, ‘Rachel Marron’ in “The Bodyguard” and ‘Grizabella’ in “Cats” at The London Palladium. In 2021 she was also seen in Amazon’s live action movie “Cinderella” and in the Channel 4 pilot “Big Age”.
Alexandra Burke was most recently seen on stage as ‘The Narrator’ in “Joseph and The Amazing Technicolor Dreamcoat” at the London Palladium. Other theatre credits include ‘Rachel Marron’ in the hit musical “The Bodyguard” in both the West End and subsequent sell-out 2015/2016 tours. Her #1 debut single “Hallelujah” sold over one million copies in the UK in 2008, a first for a British female soloist, while her #1 and million-selling debut album “Overcome” earned three BRIT Award nominations. Her smash-hit singles over the last decade include #1 “Bad Boys”, #4 “All Night Long”, #1 “Start Without You”, #3 “Elephant” and #8 “Broken Heels”. A firm favourite across both stage and screen, she reached the final of “Strictly Come Dancing” in 2017. She was crowned ‘Star Baker’ on “The Great Celebrity Bake Off” and won “SAS: Who Dares Wins”. Her movie debut in the BFI/BBC film “Pretty Red Dress”, playing the role of Candice May, will be released in June following critical acclaim at London Film Festival. Further theatre credits include Svetlana in “Chess” at the London Coliseum and Roxie in “Chicago” at the West End’s Phoenix Theatre.
Based on the iconic movie, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent! Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own.
SISTER ACT has direction by Bill Buckhurst, choreography by Alistair David, Set and Costume Design by Morgan Large, Musical Direction by Neil MacDonald, Lighting Design by Tim Mitchell, Sound Design by Tom Marshall and Musical Supervision by Stephen Brooker. Casting is by Stuart Burt.
SISTER ACT features original music by Tony® and 8-time Oscar® winner Alan Menken(Disney’s Aladdin, Enchanted), lyrics by Glenn Slater, book by Bill and Cheri Steinkellner with additional book material by Douglas Carter Beane. SISTER ACT is produced by Jamie Wilson, Gavin Kalin, Kevin McCollum and Curve.
Ustinov Studio, Theatre Royal Bath Thursday 25 April – Saturday 25 May 2024
Olivier Award winner Tamsin Greig will star in The Deep Blue Sea, Terence Rattigan’s 1950’s study of obsession and the destructive power of love, which will play the Ustinov Studio, Theatre Royal Bath next Spring, from Thursday 25 April – Saturday 25 May 2024
When you’re stuck between the devil and the deep blue sea, the deep blue sea can sometimes look very inviting. In this powerful drama of passion versus loyalty, Hester Coller, the diaughter of a clergyman and wife of a judge is floundering in the closing stages of a hopeless affair. Freddie Page, her lover, a handsome but shallow ex-Battle of Britain pilot, is out of his depth in their relationship, overwhelmed by the strength of an emotion he is incapable of reciprocating…
Tamsin Greig has been one of the country’s best-loved stage and screen actresses in a career spanning four decades. She won the Olivier for Best Actress in 2007 for Much Ado About Nothing, and has been nominated for The Little Dog Laughed and Women on the Verge of a Breakdown.
Her screen credits have included some of the most successful British comedies, amongst them Green Wing, Black Books, Episodes, Love Soup and Friday Night Dinner.Tamsin has also starred on Radio 4’s The Archers, and film roles have included Tamara Drewe and Shaun of the Dead.
Director Lindsay Posner returns to the Ustinov Studio fresh from his widely acclaimed production of Who’s Afraid of Virginia Woolf? One of the UK’s most accomplished directors, his recent productions in Bath and for the West End include Noises Off, God of Carnage, Stone in his Pockets, She Stoops To Conquer and Hay Fever.
Further cast and further creative team will be announced in due course.
Ballet Black’s vibrant diversity has been breathing beauty into ballet since 2001. Performed in two acts, Ballet Black: Pioneers comprises of Will Tucketts, Then or Now, a majestic merging of dance, poetry and music, and Mthuthuzeli November’s By Whatever Means, a heartfelt homage to Nina Simone. This performance blew me away. Its powerful, raw and emotive. The movement, music and message leave every sinew tingling, surprising the senses with its celebration of self, of women, and of worth.
Simple sets, 9 dancers, Taraja Hudson, Mthuthuzeli November, Rosanna Lindsey, Ebony Thomas, Isabela Corancy, José Alves, Sayaka Ichikawa, Alaxander Fadayiro and Helga Paris-Morales, traversed the stage to create a night of absolute magic. Breaking down barriers and conveying meta messages of belonging and home.
In act one, we have the poetry of Adrienne Rich, poet, feminist and activist against the oppression of women. Thought-provoking blends of history and crucial themes of black lives today are engagingly echoed through words and choreography. Raw and honest, weaving wonder into Rich’s verse, the dancing is sophisticated and sublime. Subtle movements, urgent and passionate solos, duets, and group ballets, this act closed to rapturous applause and a desire for more.
Act two takes us into poignant moments in the musician, singer and human rights activist Nina Simone’s life. This builds in momentum, from a slow start as a child, into fame, onto a tumultuous relationship, facing and defying racism, fighting for black rights and all this done with the backdrop of the rapturous music of Simone and her spoken voice. Moving and dynamic, it stirs a multitude of emotions, joy, anger, sadness and culminated in a blazing and frenzied finale which resulted in the whole theatre giving a richly deserved standing ovation. I will never be able to hear the amazing “Sinnerman”, again without recalling the struggles felt by this wonderous woman and the incredible performance given by this talented company .
DAVID TENNANT AS MACBETH AND THE EUROPEAN PREMIÈRE OF LYNN NOTTAGE’S CLYDE’S CONCLUDE DONMAR WAREHOUSE’S 2023 PROGRAMME
With the sold-out production of Noël Coward’s Private Lives currently running until 27 May, Artistic Director Michael Longhurst and Executive Director Henny Finch today announce the final two shows in the programme for 2023, and the conclusion of Donmar’s 30th birthday season. The European première of Clyde’s reunites double Pulitzer Prize winner Lynn Nottage and director Lynette Linton as a follow up to their Donmar smash hit Sweat which transferred to the West End. The production opens on 19 October, with previews from 13 October and runs until 2 December.
The season concludes with William Shakespeare’s Macbeth starring David Tennant in the title role, directed by Donmar Associate Director Max Webster, which opens on 15 December, with previews from 8 December, and runs until 10 February 2024.
Michael Longhurst’s final season of shows before he steps down as Artistic Director next year will be announced in Autumn 2023.
Also announced today is the schools’ tour of William Shakespeare’s Henry V, directed by Donmar’s former Resident Assistant Director Dadiow Lin. Inspired by the critically acclaimed 2022 Donmar Warehouse production directed by Max Webster, and supported by headline partner Howdens and Westminster City Council, the production tours for four weeks in June and July, with performances offered free of charge reaching up to 3000 young people in Camden and Westminster.
Later this year, the Donmar will host the launch of a new paper by Climate Dramaturg and Donmar Associate Artist Dr Zoë Svendsen. This report represents the culmination of an 18-month research period during which Zoë and the Donmar, together with freelance artists, have worked to create a new, climate-conscious model for production, which they intend to make freely available to the industry along with key resources to share their learnings and new ways of working.
Donmar Warehouse also announces today the second cohort of playwrights who will receive The Theatre Royal Haymarket Writers Award, in partnership with Access Entertainment, owner of the Theatre Royal Haymarket.
The Award commissions two new writers each year to support the development of their careers on main stages. Each writer will receive a full commission to write a play as well as access to the Donmar’s creative talent who will offer support for the research and development of the writers’ ideas, through readings and workshops with professional actors. The 2023 recipients of the Theatre Royal Haymarket Writer’s Award are Mufaro Makubiku and Hannah Shury-Smith.
This season is generously supported by Charles Holloway, Season Supporter.
Michael Longhurst says today “For my penultimate season announcement I am thrilled to share two more productions to round off our 30th birthday year. First, we have the European première of Lynn Nottage’s hilarious and uplifting CLYDE’S directed by Lynette Linton, fresh from her Critics’ Circle Best Director win. CLYDE’S follows their astonishing production of SWEAT staged at the Donmar, and the West End, in 2019. And I am so excited to witness David Tennant’s portrayal of Macbeth, in what will be an unmissable production directed by Max Webster. We are also proud to share an adapted version of our last Shakespeare production HENRY V with young people in Camden and Westminster in our next Schools’ tour, created by artists from our training programme. With the continued cuts to schools’ arts provision, touring productions like this are essential, to help nurture the next generation of audiences and theatre makers. Finally I am delighted to have Mufaro Makubiko and Hannah Shury-Smith under commission, thanks to our Theatre Royal Haymarket Writers Award”
Forbes McNaughton, Howdens Company Secretary said, “We are delighted to be sponsoring the Donmar’s Henry V Schools Tour this year, building on last year’s successful support of their ‘Take the Stage’ programme. Supporting local communities, and inspiring young people within them, is one of Howdens’ key values. Access to inspiration should be available to all, and our ongoing support of this exciting initiative means that young people, who may not have previously considered a career in performing arts, for cultural, geographical or socio-economic reasons, have access to some of theatre’s leading creative minds.”
As part of its continued 30th birthday celebrations, and with generous support from Associate Sponsor Barclays, the Donmar continues to offer £10 tickets on all of its productions in 2023 for audiences under the age of 30. Six tickets will be available for every performance of Clyde’s and ten on every performance of Macbeth.
Speaking about supporting the Donmar to continue to offer these discounted tickets on Macbeth, Tom Corbett, Managing Director, Sponsorship, from Barclays said: “We are incredibly proud of our long-standing affiliation partnership with the Donmar Warehouse and anticipate that this production of Macbeth will be a must-see event. We are delighted to be able to offer audiences aged under 30 the opportunity to experience the show for just £10.”
Designer: Frankie Bradshaw Lighting Designer: Oliver Fenwick Sound Designer: George Dennis Movement Director: Kane Husbands
Composer: Duramaney Kamara
Casting to be announced.
It’s kind of a ritual, we speak the truth. Then, let go and cook.
In the bustling kitchen of a run-down Pennsylvania truck stop, the formerly incarcerated staff have been given a second chance. Under the tyrannical eye of their boss Clyde, this unlikely team strives to create the perfect sandwich, as they dream of leaving their past mistakes behind for a better life.
Double Pulitzer Prize-winning writer Lynn Nottage (Ruined, Sweat, The Secret Life of Bees) and director Lynette Linton (Critics’ Circle Best Director for Blues for an Alabama Sky) reunite for the European premiere of the hilarious and hopeful CLYDE’S,the follow up to their Donmar five star production of SWEAT which transferred to the West End.
“Lynn Nottage is remarkable and uniquely exhilarating.” The Washington Post on Clyde’s
“Lynette Linton’s superbly calibrated production excels from start to finish” ***** The Guardian on Sweat
Lynn Nottage is a playwright and a screenwriter, and the first woman in history to win two Pulitzer Prizes for Drama. Her plays have been produced widely in the United States and throughout the world. Recent work includes the book for MJ the Musical (Broadway), the libretto for the Intimate Apparel Opera (LCT), and Clyde’s (Broadway, 2ST, Goodman Theater), and co-curating the performance installation The Watering Hole (Signature Theater). Past work includes Sweat, Ruined, the book for The Secret Life of Bees; Mlima’s Tale; By the Way, Meet Vera Stark; Intimate Apparel; Fabulation, or the Re-Education of Undine; Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por’knockers; and POOF!. She has also developed This is Reading, a performance installation in Reading, Pennsylvania. Ms. Nottage is a member of the Theater Hall of Fame, and the recipient of a MacArthur “Genius Grant” Fellowship (among other awards). She is also an Associate Professor at Columbia University School of the Arts and is a member of the Dramatists Guild.
Lynette Linton is the Artistic Director of the Bush Theatre. She was previously Resident Assistant Director at the Donmar Warehouse. For the Donmar, her credits include Sweat (also West End; Best Director, Black British Theatre Awards).Her other productions include August in England, House Of Ife and Chiaroscuro (Bush Theatre), Blues for an Alabama Sky (National Theatre, Evening Standard Theatre Award for Best Director and Critics Circle Award for Best Director), Richard II (co-directed with Adjoa Andoh, marking the first ever company of women of colour in a Shakespeare play on a major UK stage) (Shakespeare’s Globe), Assata Taught Me (Gate Theatre) Function (National Youth Theatre) This Is (Arts Educational School), Indenture (Dark Horse Festival), Naked (Vault Festival), This Wide Night (Albany Theatre). She was also co-director on Chicken Palace (Theatre Royal Stratford East). As assistant/associate director her credits include The York Realist, Belleville, The Lady from The Sea and Knives in Hens (Donmar Warehouse), Torn (Royal Court), Image of An Unknown Young Woman, The Christians (Gate Theatre), Gutted (Theatre Royal Stratford East), and The Lieutenant of Inishmore (Noel Coward Theatre). As a writer her productions include Hashtag Lightie (Arcola Theatre), and Chicken Palace and Step (Theatre Royal Stratford East). For television, her credits include My Name is Leon; and as writer: Look At Me.
MACBETH By William Shakespeare
Directed by Max Webster
8 December 2023 – 10 February 2024
Sound Designer: Gareth Fry Movement Director: Shelley Maxwell
Cast: David Tennant
“O, full of scorpions is my mind”
A spellbinding story of love and murder, the renewing power of nature, and of the internal struggles of a damaged man as he tries to control his destiny. This bracingly fresh production of the Scottish play places us inside the mind of Macbeth, asking are we ever really responsible for our actions?
Shakespeare’s most extraordinary psychological drama is led at the Donmar this winter by David Tennant, who plays the title role for the first time in his illustrious stage career. Donmar Associate Director Max Webster (Henry V, Life of Pi) directs.
David Tennant returns to the Donmar to play Macbeth – he previously appeared in Lobby Hero (Olivier Award nomination for Best Actor). His other theatre credits include Good (Harold Pinter Theatre, Olivier Award nomination for Best Actor); Don Juan in Soho (Wyndham’s Theatre,winner of WhatsOnStage Award for Best Actor); Much Ado About Nothing (Wyndham’s Theatre); Richard II (RSC/Barbican/BAM, winner of WhatsOnStage Award for Best Actor); Hamlet (winner of Critics Circle Award for Best Shakespearean Performance); Love’s Labour’s Lost; Romeo and Juliet; Comedy of Errors; The Rivals; As You Like It; The Herbal Bed; The General from America (RSC); Look Back in Anger (Royal Lyceum Edinburgh/Theatre Royal Bath, CATS Award); The Pillowman; What the Butler Saw (National Theatre); Push Up (Royal Court); Comedians (Exeter/Oxford); King Lear; An Experienced Woman Gives Advice (Royal Exchange Theatre); Vassa (Albery); The Real Inspector Hound/Black Comedy (Comedy Theatre); Hurlyburly (Queen’s Theatre); Long Day’s Journey into Night; The Glass Menagerie (Dundee Rep). TV includes Doctor Who (BAFTA Wales Best Actor, TV Times award, four National Television Awards and three TV Choice awards for Best Actor); Des (International Emmy Award for Best Actor, Broadcasting Press Guild Award for best actor, and National Television Award, Most Popular Drama Performance); Litvenenko;Good Omens; Inside Man; Staged; Around the World in 80 Days; Criminal; Deadwater Fell; There She Goes; Jessica Jones; Camping; Broadchurch (three TV Choice awards for best actor, Crime Writers Association award for Best Actor); W1A; Gracepoint (People’s Choice Award); The Escape Artist (BAFTA Scotland Award); The Politician’s Husband; Spies of Warsaw; Playhouse Presents: The Minor Character; True Love; Twenty Twelve; This is Jinsy; United; Single Father (TV Choice Award for Best Actor); The Sarah Jane Adventures; Hamlet; The Catherine Tate Show; Einstein and Eddington; Extras; Learners; Recovery (Royal Television Society Award nomination for Best Actor); The Chatterley Affair; Secret Smile; The Quatermass Experiment; Casanova; Blackpool; He Knew He Was Right; Terri McIntyre; Posh Nosh; Trust; Foyle’s War; People Like Us; Randall & Hopkirk (Deceased); The Mrs Bradley Mysteries; Love in the 21st Century; Duck Patrol; The Tales of Para Handy; Dramarama; Rab C Nesbitt; Takin’ Over the Asylum; and for film, Mary Queen of Scots; Bad Samaritan; You, Me & Him; Mad to Be Normal; What We Did on Our Holiday; Fright Night; The Decoy Bride; Glorious 39; Harry Potter and the Goblet of Fire; Bright Young Things; Being Considered; The Last September; LA Without A Map; Jude.
Max Webster is an Associate Director at the Donmar Warehouse where he has directed Henry V. Max’s other work as a theatre director includes Life of Pi (Sheffield Crucible/West End/Boston/Broadway, Olivier Award nomination for Best Director); Antigone;As You Like It; Twelfth Night (Regent’s Park Open Air); The Lorax (The Old Vic/Children’s Theatre, Minneapolis/Old Globe, San Diego), Fanny and Alexander and Cover My Tracks (The Old Vic), The Sea of Fertility and Mary Stuart (Parco, Japan), The Jungle Book and King Lear (Royal & Derngate, Northampton/UK Tour), The Winter’s Tale (Lyceum, Edinburgh), The Twits (Curve, Leicester), Much Ado About Nothing (Shakespeare’s Globe/World Tour), James and the Giant Peach and My Generation (WYP), Orlando, To Kill a Mockingbird and My Young and Foolish Heart (Royal Exchange, Manchester), The Chalk Circle (Aarohan Theatre, Kathmandu) and Carnival Under the Rainbow and Feast Kakulu (Hilton Arts Festival, South Africa). Film Credits include The Lorax: In Camera (Old Vic) and How the Grinch Stole Christmas: The Musical (Sky Arts/NBC). Opera credits include La Bohème (Goteborg Opera, Sweden) and The Merry Widow (ENO). Nominated for the Olivier Award, Tony Award, Drama Desk Award and Outer Critics Circle Award for Best Director.
Henry V Schools’ Tour Creative Team:
Inspired by the Donmar Warehouse production of HENRY V directed by Max Webster Director: Dadiow Lin Designer Roisin Jenner Movement Director: Liam Francis Fight Director: Philip d’Orléans Sound Designer and Composer: Dom Coyote Assistant Director Alessandra Davison Education Pack: Jordana Golbourn & Studio Certain
The Theatre Royal Haymarket Writers Award: Hannah was awarded the 2022 Alfred Fagon Award for her play GO BACK HOME! and received the 2022-3 Sky Arts RSL Writers Award for Playwriting. She is also an alumnus of the Royal Court Introduction to Playwriting Group and a graduate of the 2020-1 4Screenwriting scheme, on which she wrote her first TV pilot LIMBO.
Mufaro’s first play, SHEBEEN, opened at the Nottingham Playhouse in June 2018 and then transferred to the Theatre Royal Stratford East. SHEBEEN was the winner of the Alfred Fagon Award for best new play 2017. His most recent play, MALINDADZIMU, opened at the Hampstead Theatre in September 2021.
DONMAR WAREHOUSE
LISTINGS
41 Earlham Street, Seven Dials, London WC2H 9LX
Members Priority Booking:
Patrons (Steel, Bronze, Silver, Gold and Platinum) Friday 5 May from midday online and on the phone
Best Friends: Wednesday 10 May from 9am online and midday on the phone
Friends: Friday 12 May from 9am online and midday on the phone
Public booking:
Tuesday 16 May from 9am online and midday on the phone
When Winston went to War with the Wireless, Next to Normal, Clyde’s Evenings Mon – Sat: 7.30pm Matinees Thu & Sat: 2.30pm
Macbeth Evenings Mon – Sat: 7.30pm Tuesday matinee (2 Jan) 2.30pm Thursday matinees (4, 11, 25 Jan, 8 Feb) 2.30pm Saturday matinees 2.30pm No performances 24 Dec – 1 Jan
TICKET PRICES
Private Lives, When Winston went to War with the Wireless, Clyde’s
£60 / £55 (£50) / £41 (£38) / £21 (£19)
£10 standing tickets
*Preview discounts apply to the first four performances only
Next to Normal
£65 / £60 (£55) / £45 (£41) / £23 (£21)
£10 standing tickets
*Preview discounts apply to the first four performances only
Macbeth
£69 (£64) / £48 (£43), £25 (£23)
£15 standing tickets
*Preview discounts apply to the first four performances only
For Macbeth, standing tickets will be released for purchase online from 12pm on the day of the performance. Please note you will not be able to purchase standing tickets in person or over the phone.
*Bookers of Under 30s £10 tickets will be required to show photo ID to collect their tickets at Box Office and must be aged under 30 at the date of attendance.
Every booking made online, via telephone or in person is subject to a £1.50 transaction fee
YOUNG+FREE
YOUNG+FREE tickets for 16-25 year olds released by ballot. Sign up atwww.donmarwarehouse.com.
Generously supported by IHS Markit.
DONMAR DAILY
New tickets on sale every day at the Donmar. Allocations of tickets will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band.
ACCESS
The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters.
Wheelchair space prices vary across all price bands, check the website for details
ASSISTED PERFORMANCES
If you require a companion to attend the Donmar, their ticket will be free. To book call 020 3282 3808 or email access@donmarwarehouse.com.
For all other access enquiries or bookings call 020 3282 3808.
CAPTIONED PERFORMANCES (captioned by Stagetext)
Private Lives: Monday 22 May 7.45pm
When Winston went to War with the Wireless: Monday 17 July 7.30pm
Next to Normal: Monday 25th September 7.30pm
Clyde’s: Monday 20 November 2024 7.30pm
Macbeth: Monday 29 January 2024, 7.30pm
AUDIO DESCRIBED PERFORMANCE – 2.30pm (audio-described by VocalEyes)
Private Lives: Saturday 27 May
When Winston went to War with the Wireless: Saturday 8 July
Next to Normal: Saturday 30th September
Clyde’s: Saturday 25 November
Macbeth: Saturday 27 January 2024, 2.30pm
BRITISH SIGN LANGUAGE INTERPRETED PERFORMANCES
Private Lives: Saturday 13 May 2.30pm
When Winston Went to War with the Wireless: Saturday 22 July 2.30pm
Next to Normal: Saturday 23rd September 2.30pm
SEASON AT A GLANCE:
PRIVATE LIVES
Until 27 May 2023
Captioned: Monday 22 May 7.45pm
Audio-Described: Saturday 27 May 2.30pm
British Sign Language Interpreted: Saturday 13 May 2.30pm
WHEN WINSTON WENT TO WAR WITH THE WIRELESS
2 June – 29 July 2023
Captioned: Monday 17 July 7.30pm
Audio-Described: Saturday 8 July 2.30pm
British Sign Language Interpreted: Saturday 22 July 2.30pm
NEXT TO NORMAL
12 August – 7 October 2023
Press night: Tuesday 22 August
Captioned: Monday 25 September, 7.30pm
Audio-Described: Saturday 30 September, 2.30pm
British Sign Language Interpreted: Saturday 23 September, 2.30pm
CLYDE’S
13 October – 2 December 2023
Captioned performance: Monday 20 November 2024, 7.30pm Audio described performance: Saturday 25 November, 2.30pm
MACBETH
8 December – 10 February 2024
Captioned performance: Monday 29 January 2024, 7.30pm Audio described performance: Saturday 27 January 2024, 2.30pm
Blackpool Grand Theatre – until Saturday 6 May 2023
Reviewed by Debra Skelton
5*****
Spring has certainly sprung so come join in this riotous celebration of Jane Austen’s classic, brought up to date and thrust firmly into the modern consciousness with total hilarity.
A unique and audacious retelling of one of the most iconic love stories opened this week to rapturous applause and a full house standing ovation. Blackpool Grand Theatre is currently playing host to the Oliver Award-winning comedy Pride & Prejudice* (*sort of) and it was an absolute blast.
Continuing on its whistle-stop tour, the multi-award-winning Pride & Prejudice* (*sort of) by Isobel McArthur (and in a small way, Jane Austen) first graced regional theatre at Northern Stage in 2019 where it attracted critical acclaimed and five star reviews. Since then, it has been to Edinburgh, won a host of awards and left audiences up & down the land in the throes of hilarity.
Re-telling the intertwined love stories of Mr Darcey, Mr Bingham, Mr Whickham and the Bennet family, it is packed with in-jokes, observations and more innuendo than you can shake a feather quill at. The cast of 5 uber-talented actresses play all the parts, making for some wickedly imaginative portrayals, fabulous costume changes and tonnes of off-the-cuff witticisms.
Men, money and microphones are fought over in this irreverent but affectionate adaptation where the stakes couldn’t be higher when it comes to romance. If you’re any sort of fan of the original (which is pretty good on its own merits) then you will LOVE this version. With similar feelings to the first forays of Mischief Theatre and their ‘Goes Wrong’ catalogue, this is sure to become a modern comedy classic, sought after and re-watched time and time again.
The cast includes Leah Jamieson as Anne, Mary Bennet, Lydia Bennet and Mr Gardiner, Lucy Gray who reprises her role as Tillie, Charlotte Lucas, Charles Bingley and Miss Bingley, Emmy Stonelake as Effie and Elizabeth Bennet, Megan Louise Wilson as Clara, Jane Bennet, and Lady Catherine de Burgh and Dannie Harris as Flo, Mrs Bennet and Fitzwilliam Darcy.
The show features a string of pop classics including ‘Young Hearts Run Free’, ‘Will You Love Me Tomorrow’ and ‘You’re So Vain’, all played and sang by the cast and making for some hilarious yet surreal interludes. Austen-style prose is interjected with some pretty ‘modern day’ language (if only the original was written this way, I’m sure more students would have paid attention in English Literature) all sat under the duvet of familiarity which makes it feel like the whole audience is at a sleep-over watching their favourite movie.
It’s the 1800s. Its upper-class England and there’s romance in the air (or is it pine fresh flash?). Grab your tickets and hold your sides, it’s party time.
WHATSONSTAGE ANNOUNCES THE TOP 100 FAVOURITE MUSICALS
AS VOTED FOR BY THE PUBLIC –
LES MISÉRABLES TAKES THE TOP SPOT
WhatsOnStage today announces the top 100 musicals as voted for by the theatregoing public, who have been voting across the month of April.
The poll see Les Misérables crowned the number 1 most popular musical, with The Phantom of the Opera, Wicked, Hamilton and West Side Story making up the top 5, with only the latter not currently running in the West End.
Stephen Sondheim proves the most popular composer/lyricist with 11 entries in the top 100 – West Side Story, Company, Into the Woods, Merrily We Roll Along, A Little Night Music, Follies, A Funny Thing Happened on the Way to the Forum, Sweeney Todd, Sunday in the Park with George, Gypsy and Assassins. He is closely followed by Andrew Lloyd Webber (who shares Sondheim’s birthday of 22 March) with The Phantom of the Opera, Cats, Evita, Starlight Express, Joseph and His Technicolor Dreamcoat, Aspects of Love, Sunset Boulevard and Jesus Christ Superstar.
Alex Wood from WhatsOnStage said today, “Musicals are the lifeblood of theatre, and readers have voted in droves to anoint Les Misérables their favourite musical of all times. Not a critic favourite when it opened, it has proved a solid gold hit with audiences, and remains the longest running musical in the West End.”
the Sheffield Theatres and Lyric Hammersmith Theatre production of
Accidental Death of an Anarchist
Written by Dario Fo and Franca Rame in a new adaptation by Tom Basden
Directed by Daniel Raggett
IRRESISTIBLE PRODUCTION OF DARIO FO AND FRANCA RAME’S RIOTOUS FARCE STORMS THE THEATRE ROYAL HAYMARKET FOR THE SUMMER SEASON
THIS ADAPTATION BY TOM BASDEN, DIRECTED BY DANIEL RAGGETT, TAKES RUTHLESS AIM AT THE UK’S POLICE FORCE AT A TIME WHEN THE MET’S REPUTATION IS IN TATTERS
BAFTA AWARD-WINNING DANIEL RIGBY RETURNS IN A SCINTILLATING, SHOW-STOPPER OF A PERFORMANCE
PREVIEWS BEGIN ON 12 JUNE, WITH A PRESS NIGHT ON 26 JUNE. THE RUN MUST END ON 9 SEPTEMBER
TICKETS ARE ON SALE NOW FROM WWW.ANARCHISTWESTEND.COM, WITH ALL PREVIEWS PRICED FROM JUST £15 – £55
Credit and copyright: Helen Murray www.helenmurrayphotos.com
Playful Productions is delighted to announce that Daniel Raggett’s production of Accidental Death of An Anarchist will transfer to the West End, following a critically acclaimed, sell out season at Lyric Hammersmith Theatre.
Tom Basden’s razor sharp adaptation of Fo’s classic farce is directed by Daniel Raggett. The production will star Daniel Rigby and Tony Gardner. Full casting will be announced soon.
The production will open in preview at the Theatre Royal Haymarket, which is owned by Access Entertainment, on 12 June and play a strictly limited season until 9 September. Press night will be 26 June and will be in partnership with the charity Inquest.
Given a bang up to the minute reworking by Tom Basden, the production takes laser targeted aim at the ineptitude of the police force, ruthlessly exposing the corruption and incompetence of the institution. Rigby’s central performance is a comic tour de force, creating an hilarious lightning rod around which the rest of the company spin in ever more ridiculous circles. Audiences are left breathless at the comedy and speed with which the play eviscerates the police force, judiciary and metropolitan elite.
An Anarchist has fallen to his death from a police station window. The question is: did he jump or was he thrown?
As the police attempt to avoid yet another scandal, a mysterious imposter is arrested and brought in for questioning.
Seizing the chance to put on a show, he leads the officers in an ever more ridiculous reconstruction of their official account, hilariously exposing the cover-ups, corruption and profound idiocy at the heart of the police.
