At a time when attracting audiences is a challenge thanks to the dreaded cost of living crisis and onslaught of autumn, one can only applaud in admiration the audacity of opening a new theatre space. Even more remarkably, Marylebone Theatre debuts with a challenging political-historical drama by a long dead German writer set in 1600s Russia and Poland, about a real life figure whose name is unlikely to be recognised by your average ticket-buying punter. But here we are, with an inaugural production of Schiller’s Dmitry, as re-imagined and completed (the playwright died before finishing his original manuscript) by Peter Oswald and director Tim Supple….and it turns out to be stirring stuff.
To be fair, Oswald has form with adapting and reshaping Schiller (he fashioned a gripping Don Carlos, and his Donmar version of Mary Stuart with Janet McTeer and Harriet Walter was a massive international hit fifteen years ago) and Tim Supple has sundry classical credits under his belt at the Young Vic, the RSC and beyond, so we are in safe hands here. Once again, Oswald provides a verse text that is muscular, vivid and, crucially, never sounds like a translation. If it’s a little hard to follow at times, that’s more a fault of the original source material, but the story – the deposed Russian Tsar’s son, allegedly murdered in infancy and subsequently near-deified, turns up as an adult in early 1600s Poland to incite political and religious war, but is it really him? – is fascinating enough to repay the effort of concentration. There are shades of Martin Guerre, Anastasia and even Macbeth in this tale of violent power grabs, false, or at least unreliable, memory, and mistaken identity
Dmitry often feels more like a thriller than a bone dry history play, and Supple’s predominantly modern dress staging embraces and enhances that with almost constant underscoring – everything from Thrash metal through Hans Zimmer-style orchestral moodiness to religious choral flamboyance – and a rapid pace that enthrals but could occasionally benefit from slowing down a tad to allow us in the audience to absorb the astonishing story. And it really IS astonishing: allegiances switch in the blink of an eye, a breathtaking deceit is embarked upon, battles are fought and the push-pull of religious observance with political expedience is laid bare.
It’s engrossing material that resonates across the centuries, and it’s shot through with shards of macabre humour. Supple’s staging is heavy on the symbolism, both secular and, most strikingly, the religious, invoking the passion of Christ and other iconography in a series of tableaux depicting Dmitry’s demise, but never feels overdone.
The performances are uniformly terrific, and alive to the whiplash-inducing variations in tone and plot development. Lesser actors might struggle with rendering these flawed, intriguing figures into something consistently credible, but not Supple’s cast. Tom Byrne finds a relatable ordinariness as well as a natural authority and compelling dynamism in the young man who initially has no idea if he’s really of Tsarist lineage or not. Poppy Miller is very powerful as the former Tsarina relegated to an anonymous religious life before seeing her fury and pain devastatingly reactivated.
Daniel York Loh does thrilling, fiery work as the ruling Tsar Boris Godunov, matched by a turn of extraordinary passion and wayward energy by Piotr Baumann as a Cossack warrior. Aurora Dawson-Hunte’s Princess betrothed to Dmitry is an intriguing mixture of ferocity and acquiescence that feels refreshingly modern but not implausibly so, and Mark Hadfield invests her father with the appropriate mixture of authority and comic bafflement. In another striking performance, Clifford Samuel brings a riveting watchfulness, and a particularly strong command of the verse, to one of the few characters with a full handle on the bewildering facts surrounding the unconventional hero.
Robert Innes Hopkins’s set extends the blonde wood of the auditorium onto the stage in a sort of natural continuation that feels fitting for the first production in a brand new theatre. However, the suspended overhead grid, in similar wood, slightly impedes the directing of Jackie Shemesh’s moody lighting, leaving key figures in darkness at dramatic moments while lesser characters are fully illuminated. Max Pappenheim’s vivid, edgy and pretty much constant soundscore is quite wonderful though, almost like another character in the play.
It will be interesting to see a production at the Marylebone that seeks to transform the space a little more. As it is, the venue is attractive and comfortable, but feels like a lecture theatre and performance space hybrid. Still, it’s exciting to welcome a new central London theatre, and highly impressive that they’re opening up with a bold, grandiose, high quality production that would not look out of place on one of the National stages or at somewhere like the Donmar or the Almeida. Bravo.
Salisbury Playhouse, Salisbury – until 8 October 2022
Reviewed by Gemma Gibson
5*****
Spike Milligan was a comedy genius, inspiring the likes of Monty Python and Eddie Izzard with his witty humour, unique sketches, and hilarious one-liners.
Ian Hislop and Nick Newman’s latest show ‘Spike’pays homage to just that, as we explore the inner workings of this complex comic during the booming fifties and his successful radio show – The Goon Show.
As comrades Harry Secombe and Peter Sellers become overnight celebrities, chief writer and fellow goon Spike finds himself pushing the boundaries of comedy to make The Goon Show one of the most loved features on the airwaves… albeit with a bit of resistance from the BBC. The Big Brother Corporation as he put it.
Reflecting on the life of such a unique and inspirational comic, it was a given this production had to be funny, and it did not disappoint.
Right from the start – a brief introduction to BBC sound effects from Janet (played by Margaret Cabourn-Smith), I was already laughing and hooked. Transported to the world of retro radio, I could have watched that for the two hours.
The leading comedy trio however, Spike, Harry and Peter, played by Robert Wilfort, Jeremy Lloyd, and Patrick Warner, were of course the stars of both The Goon Show and ‘Spike’.
Their physical comedy, timing for a punch line, and fun-to-watch chemistry and banter, all while staying true to character, left the audience bellowing with laughter throughout.
A subtle look to the audience here, chaotic dance moves and a trumpet there, Wilfort’s interpretation of Spike is to be truly commended. He embodied Spike’s energy, enthusiasm and unique, and sometimes satirical, humour brilliantly.
What was also great about this show was that it went beyond Spike’s fame as a goon, tapping into his war experiences and how this affected both health and humour.
This was done incredibly through flashbacks, cleverly tied into the storyline to explain Spike’s goon-like behaviour. It made the audience look deeper into his funny side and background, a moving, humanising layer to the show.
The sound and lighting of course enhanced ‘Spike’, but it truly deserves a shout out for creating the shifts between past and present.
If you enjoy fast-paced sketches, jokes, jokes, jokes, and just plain silly-ness, this show will provide just that, while helping you learn all about one of the greats that brought this style to the forefront of British radio comedy.
Two hours of explosive scenes, endless puns, a sprinkle of romance and a close encounter with a potato peeler – it’s not to be missed.
Theatre Royal Nottingham – until Saturday 8 October 2022
Reviewed by Louise Ford
4****
Oh Carole!
Before I start this review I think it is wise to confess that I don’t own a copy of Tapestry (although I have heard of it!) and who knew so many songs were written by the King/ Goffin partnership! More than 400 of their compositions have been recorded by over 1,000 artists and includes more than 100 hit singles.
Beautiful is the incredible story of singer- songwriter, Carole Klein/ King (Molly-Grace Cutler) and is told through her songs . It charts the rise of pop music from the 1960s to the 1970s. The King/Goffin songs have a depth and emotion that is a million miles away from the light pop songs in the charts of the early 1960s, as one character points out these songs (Stupid Cupid, Yakety Yak or Splish Splash) could have been written by a dolphin.
The play is book-ended by King performing solo at New York Carnegie Hall. However the story starts with King at home in Brooklyn with her mother (Claire Greenway), a music teacher who wants King to follow in her footsteps and be a teacher, rather than pursue a career as a writer. King’s early life isn’t really touched upon, her father is a largely absent figure (he never appears in the play) and is only mentioned by her mother as an adulterer, who will always be the love of her life. King is seen playing the piano and composing lyrics. Although it is mentioned how clever she is and that she skipped two grades and is in classes two years above her age, it isn’t really explored what drives her to compose.
King meets Gerry Goffin (Tom Milner) at High School and there is a mutual attraction and their song writing partnership is born. With a school friend King decides to take one of her compositions to the genial music mogul Don Kirshner (Garry Robson). He takes on her song and the rest is history. In the writers hot house there is another pair of writers Cynthia Weil (Seren Sandham-Davies) and Barry Mann (Jos Slovick) . The friendly rivalry between the pairs to produce songs and the elusive No 1 is nicely portrayed.
The story is interspersed with embryonic songs, picked out by King on the piano which then develop into full blown productions complete with sharp suits, sequins, furs and glamour (costumes by Edd Lindley)
The over arching feeling of the play is the pressure and chaos of the music industry where writers struggle to get the peace and space to write. It all seems very frenetic and pressurised.
The beauty of the play is the music. The instruments are played by all members of the cast from percussion to piano to saxophone, it’s smart and slick. The contrast between the big band glitzy sound to the quiet solo performances by King is very moving.
All in all whilst we don’t learn a great deal about the back stories of the main characters there are enough hints and clues to give an outline, it is rather a tapestry of songs and music covering the rise of pop music in the 1960s.
Presented by Raw Material & Capital Theatres in association with the National Theatre of Scotland
Festival Theatre, Edinburgh – until 8th October then various venues around Scotland
Reviewed by Rachel Farrier
4****
This production is the fourth in ‘The James Plays‘ history cycle by Rona Munro, which brings to life the Scottish medieval court from a fascinating and fresh perspective. Based upon individuals who appear in the histories written of James IV’s court, the central characters of Ellen and Anne are ‘moorish’ women who arrive in Scotland, having escaped the plague that has killed their families in Spain. Historically they were part of a larger group of entertainers who were part of the life of the court, and the events of the play are told from their perspective. As they jostle to find their place within the court, their fortunes rise and fall according to the whims of those around them. The play brilliantly and masterfully examines both the misogyny and racism that was at work in all levels of society in that time, whilst weaving plays within the play which allows the characters to brilliantly reflect on their own place in the story.
Much of the play has a wonderful playful energy, with sharp and incisive humour – Keith Fleming as the Makar William Dunbar exemplifies this and the thread of his humour sustains and enlivens many a scene. Danielle Jam and Laura Lovemore as Ellen and Anne are strong centres of the play, and their capricious friendship is movingly portrayed with both ferocity and gentleness.
Daniel Cahill is an exceptional King James IV – by turns the charismatic and swaggering leader, as well as the frustrated and reflective monarch who longs to travel but cannot.
Sarita Gaboney brilliantly portrays the 17 year old Queen Margaret who is expected to conform and behave in a way that she finds impossible for her years, a teenager-trapped-as-Queen.
I really enjoyed and appreciated the on-stage music provided by Gameli Tordzo, which brings an unobtrusive but authentic soundscape to the production.
I came away from the play feeling that I would need to see it several times in order to appreciate it fully, as there are so many fascinating stories and perspectives to examine. There were a number of school parties in attendance at the performance last night, and I found myself envying them for the opportunity they will have to fully appreciate this play as they study it in depth.
Michael Ball to star in Andrew Lloyd Webber’s Aspects of Love, reimagined for the 21st century and directed by Jonathan Kent.
Michael Ball to star in Andrew Lloyd Webber’s Aspects of Love, reimagined for the 21st century and directed by Jonathan Kent.
Michael Ball said: “Aspects of Love holds a very special place in my heart. I am absolutely delighted to revisit Andrew Lloyd Webber’s glorious score in a re-imagined chamber production in the West End from May next year. I am so happy to be collaborating again with the brilliant director Jonathan Kent who was so inspiring when we worked together on Sweeney Todd.
We are just at the start of our journey so the big question is will I be singing my favourite song Love Changes Everything – what do you think? All will be revealed soon…”
With lyrics by Don Black and Charles Hart, and produced by Nica Burns, Aspects of Love will play at the Lyric Theatre, Shaftesbury Avenue.
Performances from 12 May 2023 Press Night 25 May 2023 Tickets go on sale 5 October 2022
Michael Harrison and David Ian are delighted to announce that Paul O’Grady will star as ‘Miss Hannigan’ in their smash hit production of the musical ANNIE when it plays Newcastle Theatre Royal (7 – 11 March 2023), Edinburgh Playhouse (21 – 25 March 2023), Mayflower, Southampton (24 – 29 April 2023), Liverpool Empire (5 – 10 June 2023), Dublin Bord Gais Energy Theatre (28 August – 2 September 2023) and Bristol Hippodrome (20 – 25 November 2023).
Casting for the role of ‘Miss Hannigan’ in other venues on the tour to be announced in due course. www.anniethemusicaltour.uk
BAFTA Award winning television, radio and stage star PAUL O’GRADY returns to Annie having first played the role of Miss Hannigan at the Victoria Palace Theatre in 1998. His other theatre credits include playing the Child Catcher in Chitty Chitty Bang Bang at the London Palladium and many pantomimes including Cinderella and Goldilocks and the Three Bears at the London Palladium. On television he is best known as the host of ITV’s Paul O’Grady: For the Love of Dogs, Paul O’Grady’s Great British Escape, The Paul O’Grady Show, Channel 4’s Blind Date and BBC One’s Blankety Blank. He is also a highly celebrated writer, having written both autobiographical and fictional books and recently completed a 14 year run as a presenter on BBC Radio 2.
Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…
With its award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.
ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.
NATIONAL THEATRE ANNOUNCES UPCOMING PROGRAMMING INCLUDING THREE NEW PRODUCTIONS, SHAKESPEARE IN SCHOOLS AND A US TOUR
– Simon Stone makes his National Theatre debut in the Lyttelton theatre with his new play Phaedra, with a cast that includes Janet McTeer (Ozark), Assaad Bouab (Call My Agent) and Mackenzie Davis (Station Eleven)
– Award-winning musical Standing at the Sky’s Edge has its London premiere in the Olivier theatre, directed by Sheffield Theatres’ Artistic Director Robert Hastie
– Romeo and Julie, a new play by Gary Owen and a co-production with Sherman Theatre, opens in the Dorfman theatre in February with Callum Scott Howells (It’s a Sin) and Rosie Sheehy (King John, RSC) in the title roles
– Full cast announced to join Fay Ripley in Kerry Jackson, a new play by April De Angelis, playing in the Dorfman theatre from November
– Hamlet for younger audiences, originally directed by Tinuke Craig and adapted by Jude Christian, returns to the Dorfman theatre in March and will embark on a six-week tour to state schools across England
– Emma Rice’s Wuthering Heights, a co-production with Wise Children, Bristol Old Vic and York Theatre Royal, in association with Berkeley Repertory Theatre, will run at St Ann’s Warehouse in New York this October before touring the US
Simon Stone (Yerma, Young Vic) makes his National Theatre debut in the Lyttelton theatre in February, directing his striking new play Phaedra after Euripides, Seneca and Racine. After years of fierce focus on her political career, Phaedra turns her attention to her personal life. The reappearance of her stepson shakes the foundations of her house and the beliefs that have underpinned her power. As buried lust and loneliness surge to the surface, Phaedra’s actions threaten to destroy everything she has built. Janet McTeer (Ozark) takes the title role alongside Assaad Bouab (Call My Agent) and Mackenzie Davis(Station Eleven) who both make their UK stage debuts.
Set design is by Chloe Lamford, costume designer and associate set designer is Mel Page, lighting designer is James Farncombe, composer and sound designer is Stefan Gregory and associate director is Nimmo Ismail.
Standing at the Sky’s Edge, a co-production with Sheffield Theatres in association with Various Productions, will transfer to the Olivier theatre in February 2023 as it makes its London premiere following a return to the Crucible Theatre this winter. A love letter to Sheffield and ode to the iconic Park Hill Estate, Standing at the Sky’s Edge charts the hopes and dreams of three generations over the course of six tumultuous decades. Directed by Sheffield Theatres’ Artistic Director, Robert Hastie, featuring songs by Richard Hawley and with book by Chris Bush, it is a heartfelt exploration of the power of community and what it is we call home.
The cast includes Darragh Cowley, Ahmed Hamad, Samuel Jordan, Bobbie Little, Robert Lonsdale, David McKechnie, Maimuna Memon, Baker Mukasa, Alastair Natkiel, Faith Omole, Adam Price, Nicola Sloane, Jake Small, Deborah Tracey, Rachael Wooding and Alex Young.
Set and costume designer is Ben Stones, with choreography by Lynne Page, music supervisor, arranger and orchestrator is Tom Deering, lighting design by Mark Henderson, sound design by Bobby Aitken, wigs, hair & make-up design by Cynthia De La Rosa, music director is John Rutledge, the associate choreographer is Thomas Herron, assistant music director is Ehsaan Shivarani, staff directors are Thomas Herron and Elin Schofield and casting by Stuart Burt CDG.
Romeo and Julie, a new play by Gary Owen and a co-production with Sherman Theatre, opens in the Dorfman theatre in February. Two Welsh teens raised a few streets apart – but from entirely different worlds – crash into first love and are knocked off their feet. But at the crossroads to the rest of their lives, Julie’s family fears the worst in a world of unequal opportunity. Following their critically acclaimed productions Iphigenia in Splott and Killology, director Rachel O’Riordan reunites with Gary Owen to deliver his new play inspired by Romeo and Juliet. The cast includes Catrin Aaron, Paul Brennen, Anita Reynolds, Callum Scott Howells and Rosie Sheehy.
Set and costume designer is Hayley Grindle, with lighting design by Jack Knowles, sound design by Gregory Clarke and staff director is Kwame Owusu.
Tickets for Phaedra, Standing at the Sky’s Edge and Romeo and Julie go on sale to the public on Thursday 20 October.
In the Dorfman theatre from November, Indhu Rubasingham will direct the previously announced world premiere of April De Angelis‘ biting new comedy, Kerry Jackson. Fay Ripley plays Kerry, owner of a new restaurant in fashionable Walthamstow. Wearing her working-class roots as a badge of honour, Kerry navigates the local characters in a bid to make the tapas restaurant a success – without losing herself in the process. Madeline Appiah, Michael Fox, Michael Gould, Kitty Hawthorne and Gavin Spokes complete the company.
Set and costume design is by Richard Kent, lighting design by Oliver Fenwick, composer and sound design by Nicola T Chang, movement director is Lucy Hind and casting director is Juliet Horsley CDG.
An energetic retelling of Shakespeare’s most well-known tragedy, Hamlet will return to the Dorfman theatre in March and as part of a tour to 5,000 pupils in state schools in six areas including Knowsley, Lincolnshire and Essex. Introducing young audiences to the world of Shakespeare, this version is adapted for audiences aged 8–12 years old by Jude Christian (Dick Whittington, National Theatre) and originally directed by Tinuke Craig (The Colour Purple, Vassa). The revival will be directed by Ellie Hurt. Last year Hamlet was watched by over 5,600 pupils from 50 schools across England. Education packages to support teaching of the production are available for primary schools and include workshops, training and teacher resources.
Set and costumes designs by Frankie Bradshaw with lighting designed by Paul Knott. Sound is designed by Clark Henry-Brown and Dom Coyote. Music is composed and directed by Dom Coyote and the fight director is Jeremy Barlow.
National Theatre nationwide
Neil Gaiman’s The Ocean at the End of the Lane is touring the UK and Ireland from December, direct from the West End, visiting 29 towns and cities for a total of 40 weeks. Directed by Katy Rudd (Camp Siegfried, Eureka Day) and adapted by Joel Horwood (Skins, I Want My Hat Back), the first major stage adaptation of Neil Gaiman’s work is a thrilling adventure of fantasy, myth and friendship, which blends magic with memory in a tour-de-force of storytelling that takes audiences on an epic journey to a childhood once forgotten and the darkness that lurks at the very edge of it.
Returning to his childhood home, a man finds himself standing beside the pond of the old Sussex farmhouse where he used to play. He’s transported to his 12th birthday when his remarkable friend Lettie claimed it wasn’t a pond, but an ocean – a place where everything is possible…
Plunged into a magical world, their survival depends on their ability to reckon with ancient forces that threaten to destroy everything around them.
Featuring an ensemble cast of 17, the tour will open at The Lowry in Salford where it will play over Christmas (12 December 2022–7 January 2023), before visiting a further 28 venues up to September 2023. Casting is to be announced. Check oceanonstage.com for full touring schedule and to book tickets.
Bill Kenwright presents a Theatr Clwyd and National Theatre production of Home, I’m Darling. This new production begins an extensive national tour opening at Theatre Royal Windsor on 25 January 2023, with further venues to be announced.
Starring BAFTA award winner Jessica Ransom (Doc Martin, Armstrong and Miller, Horrible Histories) as Judy, this sparkling, thought-provoking comedy by Laura Wade (Posh, The Riot Club) is about one woman’s quest to be the perfect 1950s housewife. Further casting to be announced.
Home, I’m Darling received its world premiere at Theatr Clwyd in 2018, before playing at the National Theatre and then transferring to the Duke of York’s Theatre in the West End, winning the 2019 Olivier Award for Best New Comedy. This production reunites the entire original creative team, led by Theatr Clwyd Artistic Director and Co-Director Designate of the Royal Shakespeare Company, Tamara Harvey. It is co-directed by Hannah Noone, with design by Olivier Award winner Anna Fleischle, lighting by Lucy Carter, sound design by Tom Gibbons and choreography by Charlotte Broom.
National Theatre in the West End
A co-production with Neal Street Productions, The Lehman Trilogy is returning to London’s West End, playing at the Gillian Lynne Theatre from 24 January to 20 May 2023 for a strictly limited season. The Lehman Trilogy won a total of five 2022 Tony Awards – including Best Play and Best Director – making it the most awarded play on Broadway this season.
Written by Stefano Massini and adapted by Ben Power, the story of a family and a company that changed the world is directed by Sam Mendes. The Lehman Trilogy features a cast of three playing the Lehman brothers, their sons, and grandsons, in an extraordinary feat of storytelling told in three parts on a single evening.
The Tony Award-winning set design is by Es Devlin, with costume design by Katrina Lindsay, video design by Luke Halls, and Tony Award-winning lighting design by Jon Clark. Composition and sound design are by Nick Powell, the co-sound designer is Dominic Bilkey, with music direction by Candida Caldicot and movement by Polly Bennett. The West End director is Zoé Ford Burnett. Casting is by Jessica Ronane CDG CSA. Casting is to be announced. Tickets, including information about assisted performances, can be booked via thelehmantrilogy.com
International
Emma Rice returns with Wise Children’s Wuthering Heights, adapted from Emily Brontë’s legendary novel. Interspersed with music, dance, passion and hope, Emma Rice catapults Brontë’s brooding love story into an intoxicating revenge tragedy for our time. A co-production with Wise Children, Bristol Old Vic and York Theatre Royal, in association with Berkeley Repertory Theatre.
This production will run at St Ann’s Warehouse, Brooklyn, New York from 14 October to 6 November 2022, before continuing to tour the US; playing at Berkeley Rep, California 18 November–2 January 2023, Wallis Annenberg, California 11–22 January 2023 and Chicago Shakespeare Theater 25 January–28 February 2023, with further dates and venues soon to be announced.
National Theatre Digital
Coming next on National Theatre Live is riotous summer comedy, Jack Absolute Flies Again, co-written by Richard Bean (One Man, Two Guvnors) and Oliver Chris (Orsino in the National Theatre production of Twelfth Night), based on Sheridan’s The Rivals. Emily Burns (The Comeback) directs this spectacularly entertaining new version of the play, with the cast including Caroline Quentin (Jonathan Creek), Laurie Davidson (Guilty Party), Natalie Simpson (Three Sisters) and Kelvin Fletcher (Emmerdale), available in cinemas worldwide from 6 October.
Anton Chekhov’s classic tale of love and loneliness, The Seagull, is broadcast to cinemas in this uniquely modernised new adaptation by Anya Reiss for The Jamie Lloyd Company. Featuring Emilia Clarke (Game of Thrones) in her West End debut, the full company includes Jason Barnett, Robert Glenister, Tom Rhys Harries, Mika Onyx Johnson, Gerald Kyd, Daniel Monks, Sara Powell, Indira Varma and Sophie Wu. Jamie Lloyd directs following his Olivier Award-winning production of Cyrano de Bergerac. Captured live on stage in London’s West End, The Seagull is set for release in cinemas around the globe from 3 November.
In the new year, Arthur Miller’s The Crucible, directed by Lyndsey Turner (Hamlet) with set design by Tony Award-winner Es Devlin (The Lehman Trilogy), is broadcast to cinemas. This captivating parable of power includes Erin Doherty (The Crown) as Abigail Williams and Brendan Cowell (Yerma) as John Proctor and will be released in the UK and Ireland from 26 January and internationally from 2 March.
Shakespeare’s most enduring tragedy, Othello, comes to cinema screens in an extraordinary new production directed by Clint Dyer (Death of England: Parts 1, 2 and 3). Giles Terera (Hamilton) is Othello, Rosy McEwen (The Alienist) is Desdemona and Paul Hilton (The Inheritance) plays Iago. Broadcast to cinemas in the UK and Ireland from 23 February and internationally from 27 April.
On our streaming platform, National Theatre at Home, new productions available from 11 October include recent National Theatre Live broadcasts, The Book of Dust – La Belle Sauvage, a gripping adaptation of Philip Pullman’s prequel to His Dark Materials trilogy, adapted by Bryony Lavery for the Bridge Theatre. Audiences in the UK can also watch the National Theatre’s 2011 production of Frankenstein adapted by Nick Dear, based on the novel by Mary Shelley, and directed by Danny Boyle. There are two versions of this production available, with Benedict Cumberbatch and Jonny Lee Miller sharing the roles of Victor Frankenstein and the Creature.
The hit production TINA – THE TINA TURNER MUSICAL today (4 October 2022) announces that Kristina Love will join the West End production to share the title role with Elesha Paul Moses from 12 October 2022. Love joins the Company having previously played the title role in Hamburg to great critical acclaim. TINA – THE TINA TURNER MUSICAL continues at the Aldwych Theatre and has recently extended booking to 3 September 2023. Caleb Roberts continues as Ike Turner.
Kristina Love said: “I am so excited and humbled to revisit such a wonderful role, having previously played Tina in the Hamburg production. After having met her on my birthday in 2018, performing with her and receiving her blessing at the Hamburg opening, I count it a great honour to be entrusted with performing her life story. I am grateful to be continuing my Tina journey at the same time as making my West End debut, and I can’t wait to join such an amazing and talented cast at the Aldwych Theatre.”
The critically acclaimed production of TINA – THE TINA TURNER MUSICAL which is based on the life of legendary artist Tina Turner and produced in association with Tina Turner herself, received its world premiere in April 2018 in London and subsequently broke all Box Office records at the Aldwych Theatre. The Broadway production recently completed its run and as well as the West End, the show is currently playing across Europe in Utrecht and Madrid, with a North American Tour recently launched. The production will open in Stuttgart in March next year and Australia in May.
Discover the heart and soul behind the Queen of Rock ‘n’ Roll at TINA – THE TINA TURNER MUSICAL, the undeniable mega hit in London’s West End. Set to the pulse-pounding soundtrack of her most beloved hits, experience Tina Turner’s triumphant story live on stage as this exhilarating celebration reveals the woman that dared to dream fiercely, shatter barriers, and conquer the world—against all odds.
Kristina Love was born in Cincinnati, Ohio and raised in Houston Texas. At the age of two, she began singing gospel in her church and at the age of eleven her family moved to Houston Texas where she began studying classical music. She received a Bachelors of Fine Arts in Musical Theatre Performance from the University of Oklahoma, and upon graduation, relocated to Germany where she has had the privilege of working in the ensembles of Dirty Dancing, Rocky the Musical, Sister Act, Disney’s Aladdin and The Hunchback of Notre Dame. Her breakout role came when she played the title role in the first non-English version of TINA – THE TINA TURNER MUSICAL in Hamburg Germany.
Elesha Paul Moses has had a career in the music industry for over 25 years. She was mentored by Matthew Knowles, as well as Will.I.Am and Tom Jones while appearing on The Voice. She has written and performed with the likes of house production duo Ku De Ta, superstar Lionel Richie and industry steadfast Nicky Graham and has backed Andy Abraham on his Eurovision performance. She recently led the two touring shows Whitney: Queen Of The Night and Tina: What’s Love Got To Do With It and has completed a successful tour in Denmark.
Caleb Roberts studied at The Brit School and Guildhall School of Music and Drama, graduating in 2017. He made his professional debut playing The King of France opposite Sir Ian McKellen in King Lear at Chichester Festival Theatre and in the West End. His other theatre credits include Cinderella at the Gillian Lynne Theatre for which he won a Black British Theatre Award; I Think We Are Alone for Frantic Assembly, She Ventures and He Wins for the Young Vic Theatre and Richard III for Headlong. His television and film credits include Stephen Frears’ A Very English Scandal and Petrichor.
Paula Kay plays Tina’s mother Zelma Bullock, Charis Alexandra playsTina’s sister Alline Bullock,George Jennings plays Tina’s Manager Roger Davies, Irene Myrtle Forrester plays Tina’s Grandmother, Kelly Hampson plays Ike and Tina’s manager Rhonda Graam, Gregory Haney plays Tina’s father Richard Bullock, Cordell Mosteller plays Tina’s first love Raymond Hill, Chris Grahamson plays Record Producer Phil Spector and Lyricist Terry Britten and Joseph Richardson plays record company Marketing Manager Erwin Bach.
Ensemble members are Megan Armstrong and Vanessa Dumatey,Thomas Sutcliffe who plays Carpenter, Turrell Barrett-Wallace who plays Tina’s son Ronnie and Joey James plays Tina’s son Craig, the Ikettes are played by Karis Anderson, Marie Finlayson and Natorii Illidge and swingsare Lauren Allan, Richard Appiah-Sarpong, Joshua Da Costa, Miles Anthony Daley, Amber Sylvia Edwards, Livvy Evans,Imogen Rose Hart,Jaz Robinson, Brad Veitch, Saran Webb and Samuel J Weir.
The children’s cast currently comprises Isabella Francis, nine years old from Bromley, Tia Roche, twelve years old from Bedfordshire and Maya Parks, eleven years old from Bromley, who share the role of Young Anna Mae; Cece Somolu, ten years old from Richmond, Kizzy Murrell, eleven years old from Surrey and Eden Butcher, ten years old from Barking, share the role of Young Alline; Spencer Salami, nine years old from Lambeth, Jhobe Duncan, nine years old from Waltham Forest, and Cohen March, eight years old from Lambeth, share the role of Young Craig.
Directed by Phyllida Lloyd and written by Pulitzer Prize-winner Katori Hall with Frank Ketelaar and Kees Prins, TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations by Ethan Popp.
TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.
LISTINGS INFORMATION
Theatre: Aldwych Theatre, Aldwych, London WC2B 4DF
Dates: Currently playing to 3 September 2023
Performances:Tuesday at 7pm, Wednesday, Thursday, Friday and Saturday at 7.30pm, Thursday and Saturday at 2.30pm and Sunday at 3pm
A Sheffield Theatres and National Theatre co-production In Association With Various Productions
SHEFFIELD THEATRES ANNOUNCE CAST FOR THE RETURN OF STANDING AT THE SKY’S EDGE
By Chris Bush Music and Lyrics Richard Hawley Director Robert Hastie Designer Ben Stones Choreographer Lynne Page
Sat 10 Dec 2022 – Sat 21 Jan 2023
Sheffield Theatres’ award-winning musical Standing at the Sky’s Edge, a co-production with the National Theatre in association with Various Productions, returns to the Crucible this Christmas ahead of its transfer to the Olivier theatre in February 2023.
Returning to the Crucible, having performed in Standing at the Sky’s Edge in 2019 are: Darragh Cowley, Robert Lonsdale, Maimuna Memon, Alastair Natkiel, Faith Omole, Deborah Tracey, Rachael Wooding and Alex Young.
Joining the production are: Ahmed Hamad, Samuel Jordan, Bobbie Little, David McKechnie, Baker Mukasa, Adam Price, Nicola Sloane and Jake Small.
Poppy wants to escape her old life. Joy and Jimmy want to spend the rest of their lives together. Rose and Harry want the new life they’ve been promised.
Winner of the Best Musical Production at the UK Theatre Awards and the 2020 South Bank Sky Arts Award for Theatre, Standing at the Sky’s Edge is a celebration of strength and solidarity across six decades, set to the irresistible sounds of Richard Hawley.
Written by Chris Bush (ROCK / PAPER / SCISSORS) and directed by Sheffield Theatres’ Artistic Director, Robert Hastie (Guys and Dolls), the production is a love letter to Sheffield and ode to the iconic Park Hill Estate. Captivating audiences during its sell-out 2019 debut, Standingat the Sky’s Edge makes its return to the Crucible stage this Christmas, before transferring to the Olivier theatre in London in February 2023.
Tickets for Standing at the Sky’s Edge are on sale now. Tickets can be booked through the Box Office in person, over the phone on 0114 249 6000 or at sheffieldtheatres.co.uk.
FUN-FILLED FESTIVE PROGRAMME COMES TO ALLY PALLY THIS WINTER
This Christmas, swap the north pole for north London and head up the hill for a fun-filled festive season for all the family!
A jam-packed programme runs from 28 November until 15 January 2023 including Bugsy Malone, Santa’s Grotto, festive Skate Sessions and the Cazoo World Darts Championships!
Alexandra Palace is all set for a festive spectacular kicking off this November with activities on offer for all ages including ice skating, theatre, pantomime and Santa’s Grotto, plus the world famous darts!
Enter the Palace’s beautiful Victorian Theatre and be transported to New York 1929, a city full of mobsters, showgirls and dreamers. That’s right, splurge guns at the ready because Bugsy Malone The Musical (3 Dec-15 Jan) is coming to town! Packed with instantly recognisable songs from Oscar-winner Paul Williams including My Name is Tallulah, You Give A Little Love and Fat Sam’s Grand Slam, this fun-filled and riotous musical comedy offers the perfect festive treat for all the family.
As you make your way to the theatre, festive lights, decorations, and carol singing will transform our East Court. Here you will find our Santa’s Grotto (2-23 Dec) where children can meet, receive a gift from and have their photos taken with the big man in red.
Skating is a year-round activity at Ally Pally, but the ice rink feels particularly merry at Christmas time and gives an opportunity for a full-on festive day out. Book onto one of our Christmas Skate Sessions or Christmas Club de Fromage Discos and enjoy whizzing around the rink to your favourite Christmas tunes, followed by a mulled wine, Baileys hot chocolate, and mince pie in our festive East Court Café.
Our beloved annual pantomime on ice is back and this year Ally Pally Amateur Productions presents a magical re-telling of the story of Rapunzel (5-12 December) by the Brothers Grimm put on by a cast of home-grown talent of all ages and Disney on Ice professionals.
On the west side of the Palace we welcome back the raucous Cazoo World Darts Championships (15 Dec-3 Jan) for the 29th staging of this prestigious event. Although tickets are well and truly sold out, we couldn’t talk about Christmas without mentioning the darts and look forward to another star-studded field and some ridiculous fancy dress!
We’re delighted to say that Christmas at Ally Pally has something for everyone. Make a day of it, make a night of it, make a day and night of it, Ally Pally looks forward to welcoming you back for a Christmas celebration to remember.
