THE VAUDEVILLE THEATRE, MONDAYS 14, 21, 28 NOVEMBER
Award winning producers Andy and Wendy Barnes from Global Musicals (Six, The Choir of Man, Pieces of String, Lift)together with Kevin McCollum from Alchemation (In The Heights, Avenue Q, Rent, Mrs Doubtfire, The Notebook)are pleased to announce a series of staged concert performances of new musical 42 Balloons by Jack Godfrey, currently in development through their sister company Perfect Pitch, an entity dedicated exclusively to creating, developing and promoting new contemporary British musicals.
The concerts will be staged at the Vaudeville Theatre, currently home to West End musical SIX, on Monday 14 November at 7.30pm, Monday 21 November at 7.30pm and Monday 28 November at 2.30pm.
42 Balloons has been in development with Perfect Pitch for the last three years and a number of music and choreography workshops have taken place during that time along with the recordings of a few of the songs, one of which – 42 Balloons and a Lawnchair – was released in 2021 on Perfect Pitch’s Rise:Up YouTube channel.
The staged performances are the culmination of this development and a chance for an audience to see the full show for the first time.
42 Balloons has been written by Jack Godfrey whose other works include This is a Love Story (Dundee Rep) and Babies (YMT:UK). The concerts are directed by Ellie Coote, who also serves as dramaturg, with choreography by Alexzandra Sarmiento, orchestrations and musical supervision by Joe Beighton, sound design by Paul Gatehouse and scenic and costume design by Libby Todd. Flynn Sturgeon will be the musical director with casting by Pearson Casting.
The cast will include Jordan Broatch, Madeline Charlemagne, Eloise Davies, Evelyn Hoskins, Melissa Jacques, Lemuel Knights, Garry Lee, Charlie McCullagh, Laura Dawn Pyatt, Travis Ross, Dillon Scott-Lewis, and Amelia Walker.
The 2nd of July 1982. Larry Walters, a truck driver, flies sixteen thousand feet above Los Angeles, using a lawn chair and 42 helium-filled weather balloons.
No, seriously.
42 BALLOONS tells the story of how Larry, with the help of his girlfriend Carol, defied gravity and FAA airspace regulations to make his lifelong dream a reality.
Inspired by a highly improbable true story, and featuring an original 80s-pop-inspired score, 42 BALLOONS is an exhilarating new musical about stupid dreams and doing whatever it takes to achieve them.
Tickets will be priced at £25 through the whole house.
Andy and Wendy Barnes said, “It is always a nerve-wracking moment when you put a brand-new musical in front of an audience for the first time, but 42 Balloons is one of the most exciting new musicals we have ever add the pleasure to develop and produce. It’s an inspiring story about real people that offers an insight into how far someone will go to achieve their ambitions and what happens if it’s not what you expected it to be, and Jack’s original music takes you right back to the 80’s when the show is set.”
Sunderland Empire – until Saturday 24 September 2022
5*****
I’ve seen Blood Brothers many times, but the show in Sunderland this week is possibly the best version I’ve ever seen.
Telling the story of the Johnstone twins, the boys, Mickey and Edward, grow up on opposite sides of the track and disaster is predicted should they ever meet … but destiny draws them together and without knowing they are siblings, they become blood brothers.
Niki Colwell Evans is phenomenal as matriarch Mrs Johnstone. Her Scouse accent is not as pronounced as it could be which gives the image of a nice convent girl gone bad after meeting a man. And having her dreams of glamour and Marilyn Monroe destroyed after never ending pregnancies. To see her visibly age with the last few scenes is amazing. The mixture of weariness and warm affection with which she regards her children is palpable throughout. And at the end, with her twin sons lying dead before her, her face is a clenched mask of grief as she sings the climactic anthem with a power and bitterness that sends shivers racing down the spine. The standing ovation as the theatre rose as one after Tell Me It’s Not True and the five curtain calls were all totally justified.
The show, overseen by Richard Munday as the narrator, is overwhelmingly emotional and extremely unique. Munday deserves a mention for looming over the proceedings, a Devil in a sharp suit with menace and a wonderful singing voice.
Sean Jones is wonderful as the cheeky, irrepressible Mickey and was hilarious in the first half as the short-trousered kid. Jay Worley plays his “twinnie” Edward. His measured tones, courtesy of a privileged upbringing, are in direct contrast to the Scouse lilt of Mickey.
Jones is a stand out performer. From his first appearance as a childish seven-year-old, “almost eight”, he had the audience laughing out loud. His portrayal of riding an imaginary horse while playing cowboys and indians with his older brother Sammy (Timothy Lucas ), resonated with the older members of the audience.
But the silliness is gradually shed as the second half gets under way as the boys grow older and become interested in girls – and in particular Linda, (Carly Burns) and their care-free naivety gives way to stark reality as Mickey gets sucked into unemployment, crime and drug addiction.
Jones’ amazing portrayal of the spiral into depression is matched only by Mrs Lyons’ descent into madness. Paula Tappenden as the desperate Mrs Lyons is outstanding. Her desire to have a baby leads her to make the pact with Mrs Johnson for one of the twins, and the guilt for what she has done shapes her life and causes the inevitable mental breakdown. But Mrs Lyons plays the final fatal part in telling Mickey about Linda and Eddie’s friendship and planting the seeds of doubt in Mickey’s fragile brain. She might as well have shot the gun herself for the part she plays in this terrible tragedy.
This show is an emotional roller coaster, funny, joyous and emotional – do not attempt to see it without a stack of tissues. In Sunderland until Saturday 24th September and on tour around the UK
WISE CHILDREN ANNOUNCES CAST FOR THE USA PREMIÈREOF EMMA RICE’S WUTHERING HEIGHTS
★★★★★
“Emotionally epic entertainment from Emma Rice” The Times
Wise Children today announce full cast alongside tour dates for the USA tour of Emily Brontë’sWuthering Heights, adapted and directed by Emma Rice. The co-production with the National Theatre, Bristol Old Vic and York Theatre Royal, in association with Berkeley Repertory Theater, makes its US première at St Ann’s Warehouse, New York, on 14 October, before touring to Berkeley Repertory Theater, the Wallis Annenberg Center for the Performing Arts and Chicago Shakespeare Theater, with more dates to be announced.
For the New York leg of the tour, Rice directs Sam Archer (Lockwood/Edgar Linton), Steph Elstob (understudy), Nandi Bhebhe (The Yorkshire Moor), Katy Ellis (swing), Lloyd Gorman (Mr Earnshaw/Robert), TJ Holmes (Dr Kenneth), Jordan Laviniere (Zillah), Lucy McCormick (Catherine), Katy Owen (Isabella Linton/Linton Heathcliff), Tama Phethean (Hindley Earnshaw/Hareton Earnshaw), Eleanor Sutton (Frances Earnshaw/Young Cathy), and Liam Tamne (Heathcliff), with music performed by Sid Goldsmith, Pat Moran and Jeevan Singh.
Joining the cast from Berkeley Rep onwards are Georgia Bruce (Isabella Linton/Linton Heathcliff), Leah Brotherhead (Catherine), Ricardo Castro (Jonathan) and Katy Ellis (Zillah), with Jordan Laviniere taking on the role of The Yorkshire Moor.
★★★★★
““a wildly imaginative, exhilarating piece of theatre” Daily Mail
The Yorkshire moors tell an epic story of love, revenge and redemption.
Rescued from the Liverpool docks as a child, Heathcliff is adopted by the Earnshaws and taken to live at Wuthering Heights. He finds a kindred spirit in Catherine Earnshaw and a fierce love ignites. When forced apart, a brutal chain of events is unleashed.
Shot through with music, dance, passion and hope, Emma Rice transforms Emily Brontë’s masterpiece into a powerful and uniquely theatrical experience. Lucy McCormick leads the company of performers and musicians in this intoxicating revenge tragedy for our time.
“I am Heathcliff! Whatever our souls are made of, his and mine are the same.”
With set and costume design by Vicki Mortimer; sound and video by Simon Baker; composition by Ian Ross; lighting design by Jai Morjaria; movement and choreography by Etta Murfitt.
Sam Archer returns to the company to play Lockwood/Edgar Linton – he previously appeared in Wise Children (The Old Vic/UK tour).His other theatre credits include An Ideal Husband (Vaudeville Theatre/Oscar Wilde Season), Wonderland (National Theatre/Châtelet Theatre, Paris), La Bohème (Royal Albert Hall), We Will Rock You (Dominion Theatre), and The Red Shoes, Lord of the Flies, Swan Lake, Cinderella, Edward Scissorhands (Matthew Bourne’s New Adventures Company).
Nandi Bhebhe returns to the company to play The Yorkshire Moor – she recently appeared in Bagdad Cafe (The Old Vic). Her theatre credits include A Monster Calls (The Old Vic), Fela! (National Theatre/Al Hirschfeld Theatre), Season in the Congo (Young Vic), A Midsummer Night’s Dream, Twelfth Night, 946 The Amazing Story of Adolphus Tips (Shakespeare’s Globe), Boy Breaking Glass (Sadler’s Wells), The Tin Drum (Bristol Old Vic), Ubu! A Singalong Satire (Shoreditch Town Hall).
Georgia Bruce plays Isabella Linton/Linton Heathcliff. Their theatre credits include Fisherman’s Friends (UK tour) and Bruce: Just a Pretty Face (Edinburgh Fringe). They are also a writer and their play Time, Like the Sea was shortlisted for the 2022 Papatango Prize.
Leah Brotherhead plays Catherine. Her theatre credits include Gulliver’s Travels (Unicorn Theatre), As You Like It (The Lamb Players), Lands, The Kitchen Sink (Bush Theatre), Two Gentlemen of Verona (Shakespeare’s Globe/Liverpool Everyman), Wolf Hall (The Winter Gardens/Aldwych Theatre/RSC), Another Place (Theatre Royal Plymouth), People Like Us (Pleasance Theatre), Dr Faustus (West Yorkshire Playhouse/Glasgow Citizens Theatre), Pride and Prejudice (Regent’s Park Open Air Theatre), DNA (UK tour), Product Placement (Nabokov Theatre Company), Victory Street and Eyes/Balls (Soho Theatre). Recent television credits include Whitstable Pearl, Hullraisers, Bridgerton, White Gold, Zomboat, Drifters, and Vera.
Ricardo Castro plays Jonathan. His theatre credits include Fame – The Musical (Tyrone Jackson Theatre), The Prodigals and Luv Esther (Inspire Arts Trust).
Katy Ellis returns to the company as a swing and plays Zillah – she previously appeared in Malory Towers. Other theatre credits include The Scarecrows Wedding (Leicester Square Theatre/UK tour) and Metamorphosis (Tristan Bates Theatre).
Steph Elstob is an understudy. Her theatre credits include Edward Scissorhands (Sadler’s Wells), La Boheme (Royal Albert Hall) and Amadeus (Chichester Festival Theatre). Her television credits include Mr Selfridge, The Hour and for film; Beauty and the Beast, Snow White and the Huntsman and Anna Karenina.
Lloyd Gorman plays Mr Earnshaw/Robert. His theatre credits include Whistle Down The Wind (Watermill Theatre), Arthur/Merlin (Irish Theatre), Once (UK tour), One Man, Two Guvnors (New Wolsey/Nuffield Theatre), The Hired Man (Queen’s Theatre Hornchurch and UK tour), The Snow Queen (Liverpool Everyman), The Jungle Book (UK tour) and Worst Wedding Ever (Salisbury Playhouse).
TJ Holmes plays Dr Kenneth. His theatre credits include One Man, Two Guvnors (UK tour), The Hired Man, Love, Lies and Lust (Queen’s Theatre Hornchurch), Mother Courage (Leeds Playhouse), Two Gentleman of Verona (Shakespeare’s Globe/Liverpool Everyman), La Strada (The Other Palace), Hansel and Gretel (Kneehigh), The BFG, I Was A Rat (Birmingham Rep), The Jungle Book, The Threepenny Opera (UK tour), Spend Spend Spend!, Some Like It Hotter (The Watermill Theatre), As You Like It (Curve), Cider with Rosie, Merchant of Venice (Theatre Royal Bury St Edmunds) and What To Do When You Find A Dinosaur (Oxford Playhouse).
Jordan Laviniere plays Zillah, and then The Yorkshire Moor. His theatre credits include All That (King’s Head Theatre), Everybody’s Talking About Jamie (Apollo Theatre), Bugsy Malone (Lyric Hammersmith), The Life (The English Theatre, Frankfurt) and We Will Rock You (European tour).
Lucy McCormick plays Catherine. Her previous theatre credits include Life: LIVE! (Battersea Arts Centre), Triple Threat and Post Popular (Edinburgh Fringe Festival/Soho Theatre/UK and international tours), Roller Diner, First Love is the Revolution (Soho Theatre), Dear Elizabeth, Effigies of Wickedness (Gate Theatre), Collective Rage (Southwark Playhouse), Cinderella (Oxford Playhouse), The Naked Truth (UK tour), Splat! (Barbican), and The House of Bernada Alba (Tristan Bates Theatre). Her television credits include This Time with Alan Partridge; and for film, Fast and Furious Presents: Hobbs & Shaw, and Uncle David 2.
Katy Owen returns to the company to play Isabella Linton/Linton Heathcliff – she previously appeared in Wise Children (The Old Vic/UK tour). Her other theatre credits include UBU Karaoke!, Rebecca (Kneehigh), The Little Matchgirl and Other Happier Tales (Bristol Old Vic/Shakespeare’s Globe/UK tour), Twelfth Night, A Midsummer Night’s Dream (Shakespeare’s Globe), 946: The Amazing Story of Adolphus Tipps (Kneehigh/Shakespeare’s Globe/UK tour), The World of Work, The Night Before Christmas (Chapter Arts Centre), Apparitions of Spirits with the Forsythe Sisters (Gaggle Babble), Maudie’s Rooms, Plum – and Me, Will!, Cinders (Sherman Theatre), Ill Met by Moonlight (Wales Millennium Centre), The Tempest (Theatr Iolo) and The Moon Dragon & The Wounded Angel (Theatr Gwent). Her television credits include The Story of Tracy Beaker.
Tama Phethean plays Hindley Earnshaw/Hareton Earnshaw. His theatre credits include The Great Christmas Feast (The Lost Estate), Man Muck (Etcetera Theatre) and Night of the Living Dead Live (Pleasance Theatre).
Eleanor Sutton plays Frances Earnshaw/Young Cathy. Her theatre credits include Jane Eyre (Stephen Joseph Theatre/New Vic), Hungry (Soho Theatre), Black Love, Really Big and Really Loud (UK tour), The Wizard of Oz (Leeds Playhouse), The Crucible, A Little Night Music (Storyhouse Chester), Amadeus (National Theatre), Windows (Finborough Theatre), As You Like It (UK tour), The Master Builder and Future Conditional (The Old Vic).
Liam Tamne plays Heathcliff. His theatre work includes The Prince of Egypt (Dominion Theatre – Grammy nomination for Original Cast Recording), Bonnie and Clyde (Theatre Royal Drury Lane), The Light in the Piazza (Royal Festival Hall/LA Opera), Spamilton (Menier Chocolate Factory), Mack and Mabel (concert – Hackney Empire), Working (Southwark Playhouse), The Rocky Horror Show (UK tour), The Phantom of the Opera (Her Majesty’s Theatre), Les Miserables (Queen’s Theatre), Departure Lounge — the Musical (Perfect Pitch), HAIR (Gielgud Theatre), Hairspray (Shaftesbury Theatre) and Wicked (Apollo Victoria Theatre). For television, his work includes Doctors.
Emma Rice is the proud and excited Artistic Director of her company, Wise Children. She adapted and directed the company’s Bagdad Cafe (The Old Vic) Angela Carter’s Wise Children (The Old Vic/UK tour) and Enid Blyton’s Malory Towers (Bristol Passenger Shed/UK tour). For the ENO she directed Orpheus in the Underworld. As Artistic Director of Shakespeare’s Globe (2016/18), she directed Romantics Anonymous, Twelfth Night, A Midsummer Night’s Dream and The Little Matchgirl (and Other Happier Tales). For the previous 20 years, she worked for Kneehigh as an actor, director and Artistic Director. Her productions for Kneehigh include The Flying Lovers of Vitebsk, Tristan & Yseult, 946: The Amazing Story of Adolphus Tips, The Wild Bride, The Red Shoes, The Wooden Frock, The Bacchae, Cymbeline (in association with RSC), A Matter of Life and Death (in association with National Theatre), Rapunzel (in association with Battersea Arts Centre), Brief Encounter (in association with David Pugh and Dafydd Rogers Productions), Don John (in association with the RSC and Bristol Old Vic), Wah! Wah! Girls (in association with Sadler’s Wells and Theatre Royal Stratford East for World Stages), and Steptoe and Son. Other work includes the West End production of The Umbrellas of Cherbourg, Oedipussy (Spymonkey), The Empress (RSC), and An Audience with Meow Meow (Berkeley Repertory Theatre). In 2019 Rice received the UK Theatre Award for Outstanding Contribution to British Theatre.
Created and led by Emma Rice, Wise Children launched in April 2018 and is an Arts Council England National Portfolio Organisation. Based in Bristol, we make ground-breaking work with exceptional artists, and tour across the world. In the dark days of 2020, we led the field in livestreaming, becoming the first UK company to broadcast a full staged production, without social distancing, from a UK theatre after lockdown. Alongside our shows, we run a unique professional development programme, The School for Wise Children, training a new and more diverse generation of theatre practitioners.
Striking rehearsal images released for Rambert and Birmingham Hippodrome’s
Peaky Blinders: The Redemption of Thomas Shelby
IMAGE: Benoit Swan Pouffer and Steven Knight, photo by Johan Persson
Rambert and Birmingham Hippodrome today release a striking first look into rehearsals for Peaky Blinders: The Redemption of Thomas Shelby, a dance theatre show written and adapted for the stage by Peaky Blinders’ creator Steven Knight and choreographed and directed by Rambert’s Artistic Director Benoit Swan Pouffer, inspired by the TV series produced and owned by Caryn Mandabach Productions.
PEAKY BLINDERS by Knight, , Writer – Steven Knight, Choreographer and Director – Benoit Swan Pouffer, Music – Roman Gianarthur, Designer – Moi Tran, Lighting – Natasha Chivers, Costumes – Richard Gellar, Rambert, 2022, Credit: Johan Persson/
The show will have its world premiere at co-producing partner venue Birmingham Hippodrome on 27 September, followed by a London premiere at Troubadour Wembley Park on 12 October before embarking on a UK tour in 2023.
Guillaume Quéau and Prince Lyons alternate the role of Thomas Shelby, with Naya Lovell and Seren Williams alternating the role of Grace, and the production features the permanent Rambert dance company on stage. Birmingham-born writer and poet Benjamin Zephaniah who played street preacher Jeremiah Jesu in the TV series, provides pre-recorded narration for the production.
PEAKY BLINDERS by Knight, , Writer – Steven Knight, Choreographer and Director – Benoit Swan Pouffer, Music – Roman Gianarthur, Designer – Moi Tran, Lighting – Natasha Chivers, Costumes – Richard Gellar, Rambert, 2022, Credit: Johan Persson/
Peaky Blinders: The Redemption of Thomas Shelby will feature live musicians performing a score written by RomanGianArthur and led by Musical Director Yaron Engler and as well as a new track by LauraMvula. GianArthur worked with music consultant D.J. Walde to create the soundtrack for the production which will feature iconic songs from the television series.
PEAKY BLINDERS by Knight, , Writer – Steven Knight, Choreographer and Director – Benoit Swan Pouffer, Music – Roman Gianarthur, Designer – Moi Tran, Lighting – Natasha Chivers, Costumes – Richard Gellar, Rambert, 2022, Credit: Johan Persson/
Author Simon Sinek and Robin Saunders have also boarded the Peaky Blinders: The Redemption of Thomas Shelby as Executive Producers, alongside a creative team which includes Moi Tran (set design), Richard Gellar (costume design) and Natasha Chivers (lighting design), with dramaturgy by Kaite O’Reilly. Also working with the cast is acting director Kim Pearce, illusions director Filipe J. Carvalho, fight director Adrian Palmer, props supervisor Lily Mollgaard, and intimacy director Yarit Dor, with sound design by Moshik Kop.
Through dance theatre Peaky Blinders: The Redemption of Thomas Shelby picks up the story of the Peaky Blinders at the end of World War One, following Tommy Shelby and Grace Burgess through their passionate love affair. While Tommy is building his empire, Grace is operating as an undercover agent for Special Branch on a mission to get close to the heart of Tommy’s gang. As the story unfolds, many hearts are broken.
PEAKY BLINDERS by Knight, , Writer – Steven Knight, Choreographer and Director – Benoit Swan Pouffer, Music – Roman Gianarthur, Designer – Moi Tran, Lighting – Natasha Chivers, Costumes – Richard Gellar, Rambert, 2022, Credit: Johan Persson/
Dazzling, athletic dance and stunning dramatisation with an iconic eclectic Peaky soundtrack from live on-stage musicians.
Tommy and the Peaky Blinders fought together at Flanders and the show opens in the trenches. Bound by this experience, a very personal story unfolds as the Shelby family navigate the decisions that determine their fate and Tommy is intoxicated by the mysterious Grace.
PEAKY BLINDERS by Knight, , Writer – Steven Knight, Choreographer and Director – Benoit Swan Pouffer, Music – Roman Gianarthur, Designer – Moi Tran, Lighting – Natasha Chivers, Costumes – Richard Gellar, Rambert, 2022, Credit: Johan Persson/
Peaky Blinders: The Redemption of Thomas Shelby will perform at Birmingham Hippodrome on 27 September, running until 2 October, followed by a London Premiere at Troubadour Wembley Park Theatre between 12 October – 6 November before embarking on a UK tour in 2023.
The 2023 UK tour will visit Norwich Theatre Royal (17-21 January), Alhambra Theatre, Bradford (25-28 January), Hull New Theatre (31 January-4 February), Mayflower Theatre, Southampton (7-11 February), Royal and Derngate, Northampton (21-25 February), Festival Theatre Edinburgh (28 February-4 March), The Lowry, Salford (14-18 March), Wales Millennium Centre, Cardiff (21-25 March) and Theatre Royal Plymouth (28 March-1 April), before returning to Birmingham Hippodrome from 23-27 May.
PEAKY BLINDERS by Knight, , Writer – Steven Knight, Choreographer and Director – Benoit Swan Pouffer, Music – Roman Gianarthur, Designer – Moi Tran, Lighting – Natasha Chivers, Costumes – Richard Gellar, Rambert, 2022, Credit: Johan Persson/
Tickets for Birmingham Hippodrome can be booked at birminghamhippodrome.com or by calling 0844 338 5000*(*calls cost 4.5p per minute plus your phone company’s access charge).
Tickets for all touring venues can be booked at peakyblindersdance.com
Peaky Blinders: The Redemption of Thomas Shelby, is a Rambert production in association with Birmingham Hippodrome, co-produced with The Lowry, Executive
PRODUCTION SHOTS OF THE NEW CAST OF THE ROYAL SHAKESPEARE COMPANY’S MATILDA THE MUSICAL ARE NOW AVAILABLE TO DOWNLOAD
IMAGES INCLUDE THE NEW ADULT PRINCIPALS LAUREN BYRNE AS MISS HONEY, AND RAKESH BOURY & AMY ELLEN RICHARDSON AS MR AND MRS WORMWOOD
THE AWARD-WINNING MUSICAL HAS EXTENDED THE BOOKING PERIOD TO 17 DECEMBER 2023
Elliot Harper
To celebrate the new cast beginning performances at the Cambridge Theatre, the Royal Shakespeare Company’s Matilda The Musical has released production images
A tonic for audiences of all ages, this anarchic production about a strong and determined heroine with a vivid imagination is now booking through to 17 December 2023 with tickets for the new dates now on sale at www.matildathemusical.com
Amy Ellen Richardson
A new video featuring some of the new cast taking part in a ‘show and tell’ game in the rehearsal room is also available to view https://www.youtube.com/watch?v=7VWIlTn30L8
As previously announced, Victoria Alsina, Laurel Sumberg and Heidi Williams have joined Maisie Mardle in the title role of Matilda, with their first performances having started from 13 September.
Lauren Byrne
Lauren Byrne, playing Miss Honey, Rakesh Boury and Amy Ellen Richardson as Mr and Mrs Wormwood join current cast members Elliot Harper as Miss Trunchbull and Landi Oshinowo as Mrs Phelps.
Felipe Bejarano, Angeline Bell, Oliver Bingham, Thea Bunting, Michael Gardiner, Aaron Jenkins, Sam Lathwood, Dianté Lodge, Kira McPherson, Alistair So and James Wolstenholme will join the existing adult cast which includes Liberty Buckland, Kate Kenrick, Connor Lewis and Gemma Scholes.
Elliot Harper
The other young performers previously announced who have joined the London company in the roles of Bruce, Lavender, Amanda and the rest of the pupils at Crunchem Hall are as follows: Mia Atkinson, Leo Babet, Florence Burt, Poppy Caton, Zuri-Michel Charalambou, Brodie Edwards, Jude Farrant, Riotafari Gardner, Finley Harlett, Lily Hanna, Tia Isaac, Miley Kayongo, Shayla McCormack, Isabelle Mullally, Jasmine Nyenya, Raphaella Philbert, Jack Philpott, Riley Plummer, Jasmine Pottinger-Scott, Ashton Robertson, Leon Saunders, Andrei Shen-U Shen, Noah Swer-Fox and Lucia Wratten. Kylan Denis will continue as one of the actors who shares the role of Bruce.
Celebrating 10 years since the multi award-winning production opened in London, this iconic British musical has won 99 international awards including 24 for Best Musical and has been seen by 11 million people across more than 90 cities worldwide. Written by Dennis Kelly, with music and lyrics by Tim Minchin and developed and directed by Matthew Warchus, the production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and special effects and illusions by PaulKieve.
Rakesh Boury
Together with the upcoming film adaptation from the same core creative team (direction by Matthew Warchus, adapted for the screen by Dennis Kelly, with the music and lyrics of Tim Minchin), Roald Dahl’s themes of bravery and standing up for what you believe in will continue to inspire young audiences all over the world. Sony Pictures U.K. and Tristar Pictures will release Matilda across the U.K. and Ireland exclusively in cinemas on 25 November 2022.
Three Short Ballets, performed by the Northern Ballet company at the Leeds Playhouse, positively stunned and astonished the audience last week in what was a truly contemporary and cultural phenomenon to behold. My guest and I, both non-dance connoisseurs but avid live performance enthusiasts, were simply blown away by the spectacular skill, energy and pure-genius of every single dancer. Each ballet had the ability to sent one on a soulful journey and I’m sure it depends on the individual as to where that takes you but will involve: the joys and struggles of mankind, community, support, love, death and the light / dark moments we face during life’s milestones.
The first ballet,’Wailers‘, magnificently choreographed by South African-born Mthuthuzeli November, took us on an emotional rites of passage quest. What unfolded was a coterie of people joining together in what I interpreted as ritual ceremonies, healing one another and honouring those ancestors in other realms. It felt spiritual, of the heart, tribal and rich in the true essence of what it means to belong and to love one’s fellow sister and brother. The end, solo part was an exhilarating dance and felt like this leading character was transcending into a higher frequency as she appeared to electrically charge in the light. It was unique and simply magical.
Stina Qugebeur’s,’Nostalgia‘, was as equally dramatic and emotionally effective as ‘Wailers‘ but centred around a couple’s relationship and their entrapment of the programmes and patterns of life. We witnessed their times of jubilation, love and connection when the pair were free from a programmed sequences (the mundane tasks in life and drudgery that we sometimes get caught up in) and when free, the dancers conveyed a sparkling feeling of unfettered joy! You could feel your own heart swell with each lift and turn but also, one could sense the darkness and the sadness when the light left. It was a very powerful the piece as it made one reflect and think: most poignant in today’s society when we can sometimes feel slaves in our own life’s due to the pressures of work and materialism.
The final ballet of the trio was ‘Ma Vie‘, choreographed by award-winning Hip-Hop dance artist Dickson Mbi and explored the life of Giacomo Casanova – his push for love, his relationship with the church and his eventual downfall. In my lifetime so far I haven’t seen anything like it – it was outstandingly creative and the fusion of hip-hop and ballet was explosively brilliant. Casanova’s covert passions and rich ambitions were all revealed through the Machiavellian energy driving him. This cunning and scheming energy was magically weaved by an unscrupulous character that was astounding in how they captured what felt like evil,dark spells being cast. The visuals of a pair of hands hovering over the stage acting like those of a puppeteer literally sent shivers down the spine and allured one further into the eventual doom of Casanova’s fate.
The Three Short Ballet’s had standout moments constantly, throughout and from start to finish. Each ballet was an innovative masterpiece performed through world-class dance and I can’t wait to see then next one!
Winners announced for The Stage Debut Awards 2022 in association with ATG 8 Northumberland Avenue, London WC2N 5BY Sunday 18th September 2022, 6pm
During a star-studded evening celebrating the best emerging theatre talent in the UK, the winners of The Stage Debut Awards 2022 have been announced.
Elisabeth Gunawan (c) Alex Brenner
Jodie Comer (Killing Eve, Doctor Foster) is among this year’s winners, receiving the Best West End Debut Performer award for her blistering performance in Prima Facie at the Harold Pinter Theatre. The entire ensemble of For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy have received the award for Best Performer in a Play, the first time the award has ever been presented collectively to a group of performers. Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh and Kaine Lawrence were honoured for their moving performances at the New Diorama and the Royal Court, alongside Elisabeth Gunawan for Unforgettable Girl at Voila! Europe Theatre Festival. Elijah Ferreira took home the Best Performer in a Musical award for Hedwig and the Angry Inch at Leeds Playhouse, and Best Director was awarded to Monique Touko for Malindadzimu at Hampstead Theatre
TK Hay (c) Alex Brenner
Further ground-breaking debut work honoured at this year’s awards includes the Best Writer award to Tyrell Williams for Red Pitch at the Bush Theatre and TK Hay’s Best Designer win for the set and costume for An Adventure at the Octagon Theatre, Bolton. John Patrick Elliott took home the Best Composer, Lyricist or Book Writer award for Cruise at the Duchess Theatre, and the Best Creative West End Debut award went to Julia Cheng for her choreography for Cabaret at the Playhouse Theatre
Jacob Jackson and Elijah Ferreira (c) Alex Brenner
Winners were announced at an awards ceremony on Sunday 18th September at 8 Northumberland Avenue, with the ceremony live streamed via Facebook. The ceremony featured performances from Samuel Thomas (The Last Five Years) and Shan Ako (Hamilton), Frances Mayli-McCann (Bonnie & Clyde) and Natalie Paris (Six the Musical), and was hosted by BAFTA Award-winning actor Susan Wokoma
Alistair Smith, Editor of The Stage, commented, Congratulations to all our winners. Looking at this extraordinary array of emerging artists – and a couple of more established names – we can all be confident that the future of theatre in the UK is in incredibly exciting hands. I cannot wait to see what all these supremely talented theatremakers do next.
The Winners in Full
Best Performer in a Play: • Elisabeth Gunawan for Unforgettable Girl at Voila! Europe Theatre Festival • Ensemble of For Black Boys Who Have Considered Suicide When the Hue Gets Too Heavy at the New Diorama and Royal Court, London (Mark Akintimehin, Emmanuel Akwafo, Nnabiko Ejimofor, Darragh Hand, Aruna Jalloh, Kaine Lawrence)
Best Performer in a Musical – sponsored by Carnival Cruise Line • Elijah Ferreira for Hedwig and the Angry Inch at Leeds Playhouse
Best Director – sponsored by Theatredor • Monique Touko for Malindadzimu at the Hampstead Theatre, London
Best Designer • TK Hay (set and costume) for An Adventure at the Octagon Theatre, Bolton
Best Writer – sponsored by Sonia Friedman Productions • Tyrell Williams for Red Pitch at the Bush Theatre, London
Best Composer, Lyricist or Book Writer • John Patrick Elliott for Cruise at the Duchess Theatre, London
Best West End Debut Performer • Jodie Comer for Prima Facie at the Harold Pinter Theatre, London
Best Creative West End Debut – sponsored by Trafalgar Entertainment • Julia Cheng (choreographer) for Cabaret at the Playhouse Theatre
Based on a true story, Kinky Boots tells the story of Charlie (Damien Poole), who after his dad passes away finds himself in charge of his struggling family shoe factory. A chance encounter results in him meeting Lola (Samuel Lewis), a drag queen who loves fabulous shoes they form a friendship and work together to save the struggling factory, beginning to manufacture ladies boots with stiletto heels for men which will hold the weight of a grown man. Based on the 2005 film of the same name Kinky Boots has been a hit worldwide.
We see how people can overcome prejudice and embrace people for who they are. Despite being a feel good and inclusive musical, we see some of the hardships Lola has been through, with their dad being unable to accept them. And as Lola arrives at the factory for work as Simon, they try to fit in only to be ridiculed and bullied by Don (Finn East) and his cronies. Resulting in a conversation about what it means to be a real man, Kinky Boots doesn’t shy from discussing topics which are important.
York stage’s adaption of this much-loved musical is wonderful, the production company combines local and professional talent and they have become a company well known for their fantastic productions. The set design is excellent quickly changing from a Northampton factory to a London cabaret club and finally a runway show in Milan.
The cast all work together effortlessly and talent is excellent. Samuel Lewis as Lola truly stole the stage, when Lola and her Angels (Lola’s back-up drag queens) were on stage you were unable to take your eyes off them resulting in them being met with a tumultuous applause during the final bow. With catchy music by Cyndi Lauper you’ll leave the theatre wanting more and believing a good pair of shoes really are ‘The Most Beautiful Thing in the World’.
Danny Robins’ nerve-jangling ghost story never fails to make me jump, even on my third viewing.
While Jenny’s husband Sam was away, terrifying things began happening at 2:22 each morning, centring around baby Phoebe. Sam’s condescending reactions on his return make her determined to prove that there are supernatural forces present in their house. Dinner guests Lauren and Ben are along for the ride as strange things begin to happen while the clock ticks relentlessly towards 2:22.
Robins’ peerless writing builds tension from the start, with exquisite design by Anna Fleischle (Set), Ian Dickson (Sound), Lucy Carter (Lighting) creating spine-tingling moments. The couple’s newly renovated terraced house in a gentrified area of London has a character of its own, with layers of partly removed ancient wallpaper sharing a space with stark modern doors and skylights. The presence of Ben, a builder who grew up in an area like this but makes his living remodelling for families like Sam and Jenny, exposes the classism and intellectual snobbery of Lauren and Sam as scientist Sam tries to rationalise every mysterious event. Through arguments and “quizzes” the characters explore ideas of what ghosts are and why they return, all the while badgered by Sam’s unceasing certainty in scientific explanations. Jenny’s conviction that the house, or its past owners are reacting to them ripping the soul out of the building as windows open, objects move, lights flicker, and their Alexa rebels leads to a brilliant séance scene that swerves from nervous laughter to gasps of terror in the blink of an eye.
Under Matthew Dunster’s assured direction, this latest cast are a joy. Tamsin Carroll is brilliant as Lauren, drinking her way through the evening and capturing the underlying sadness of her life as she clings on to unrequited love. Felix Scott is fantastic as Sam, full of love and concern for his wife, but also snarky and patronising and hilarious as his frustration with events grows. Laura Whitmore is excellent as Jenny, defiantly protective of her child and increasingly angry at Sam without going over the top and making the character hysterical and unsympathetic. Matt Willis steals the show as Ben. The character has all the best lines, but Willis adds a wonderful wild-eyed, sometimes manic sense of disbelief when confronting Sam’s attitude towards him.
It is a testament to Danny Robins’ work that many people go back for a second viewing – this is lots of fun as you try to spot what is going on and notice foreshadowing. But you will still jump out of your seat! There are more jumps in this play than a trampoline competition, and it is glorious to be scared silly by such clever writing
Maureen Lipman’s extraordinarily raw performance is magnificent, but even she cannot make the sometimes-clunky narrative of Martin Sherman’s play great.
It is 1999, Rose is 80 and is sitting shivah for a 9-year-old girl who has been shot – the exact circumstances are not revealed until the last scene of the play. As she sits, she remembers her life and muses on God and belonging. What follows is the harrowing story of her early life in a shtetl in Ukraine, moving to Warsaw and the arrival of the Nazis. Rose tells us about life in the Warsaw ghetto and the death of her daughter. There is fatalism, realism, delightfully banal details, and lots of deadpan humour, expertly performed by Lipman and you really want to learn more about this strong woman. Sherman’s Rose evades the Nazis and isn’t sent to the concentration camps, but what happened to her in those years of hiding is something she will not talk about – and this woman can talk! – leaving the horrors of surviving in the sewers up to the listener’s imagination. Rose travels to Palestine on the Exodus ship and is detained by the British, but escapes to marry a kind American who was on the ship. Life in Atlantic City and later Miami Beach brought success, but Rose’s sense of being an outsider never diminishes. Her pride in her son and grandchildren settling in Israel becomes confused as these modern Israelis distance themselves from Rose’s European heritage and Yiddish language and embrace armed conflict. The history of the Jewish people in the 20th century is something we must never forget, and this narrative from a mother’s viewpoint could be brilliant. Sherman’s touch is devastating but light when tackling issues of historic weight and importance, but then sledgehammers in moments of reflection and revelation that jar in tone. Rose’s stories about her first husband’s possession of her and her trip to Arizona belong in another play. I am not sure if Sherman is wanting to portray the healing power of memory or the deterioration of mental faculties with age, but Rose’s character has been shown delightfully with simple asides throughout and this feels like overkill.
With Lipman sitting on a bench throughout in a beautifully contained performance, director Scott Le Crass employs subtle lighting changes as the mood alters, and Lipman has the audience in the palm of her hand. From silliness to abject grief, cynicism to girlish wonder, Lipman is a force of nature in this role and lifts the play to a higher level.
A flawed but well-intentioned play with an unforgettable stellar performance from Maureen Lipman.
