Home

Grand Opera House York – until Sunday 16th October 2022

Reviewed by Michelle Richardson

5*****

The Grand Opera House in York was certainly buzzing last night, with the opening show of the phenomenon that is SIX. This is the global sensation, with excellent reviews, that everyone is raving about. Yorkshire has obviously heard of its reputation for a fabulous night out, it was a packed house, in fact every show of this York run has now sold out.

The story is a thoroughly modern retelling of the lives of King Henry VIII’s six wives. Written by Toby Marlow and Lucy Moss, it is a musical comedy presented as a pop concert. First presented at the Edinburgh Festival Fringe in 2017 it has gone on to conquer the West End and Broadway.

After an ensemble piece, “Ex Wives”, the wives of Henry VIII decide to compete, to see who has endured and suffered more at the hands of Henry. The winner will then be crowned the groups lead singer. Each Queen takes turns in telling their dramatic story, through song and dance, making digs at each other. This narrative gives The Queens a voice, a chance to tell their stories from their prospective. Who will be the ultimate winner?

Catherine of Aragon (Chloe Hart) was loyal to Henry but couldn’t produce a male heir. After over 20 years of marriage, he wanted an annulment and to ship her off to a nunnery. Divorced! Anne Boleyn (Jennifer Caldwell) complains about Henry’s infidelity, but after trying to make him jealous, is executed for her supposed infidelity. Beheaded! Jane Seymour (Casey Al-Shaqsy) dies just after giving birth to Henry’s only legitimate male offspring. Died! Anne of Cleves (Jessica Niles) is shipped over from Germany. Henry is not impressed, but still marries her before arranging an annulment, where she earns a very generous settlement. Divorced! Katherine Howard (Leesa Tulley) is very young when she catches the king’s eye. A short while after marrying she is accused of adultery. Beheaded! Catherine Parr (Alana Robinson) is the last of the wives, outliving the aged monarch. Survived!

All six queens were truly magnificent, each having a chance to shine, remarkable in their own way. Hart is a vocal powerhouse, owning the stage as she sings. Caldwell is hilarious, with her northern accent and interruptions about losing her head. Al-Shaqsy delivers an emotional, touching performance. Niles plays centre stage to the most bizarre, but glorious, Haus of Holbein, a right rave, very techno with florescent glasses and clothing, all delivered with German accents. Tulley is the pop princess, with her Scottish accent, full of 21st century sass. Robinson delivers the crowning stroke, giving a sense of female empowerment and solidarity. All the while The Queens are joined on stage by the amazing all-female band, Ladies in Waiting, they had the theatre bouncing with their explosive performances.

The costumes and hair were just spectacular, visually striking. Leather, studs, sparkles, and spikes everywhere. The costumes did have a look of Tudor but with a very contemporary twist, check out the little slots they had for their microphones, very inspired.

This show is energetic, full of sass, but poignant at the same time. At only 80 minutes long, there is no interval, it leaves a lasting impression. I learnt more about Henry VIII’s wives from this than I ever did at school, and it has encouraged me to find out more.

This is not your traditional musical, it has the feel of a concert, with amazing songs, set and costumes, with great powerful performances. An absolutely stunning show, the girls smashed it. DO NOT miss this one.

If this comes to a theatre near you make sure you book early. Like I have already mentioned, York is sold out for this tour, but it returns next June, so best be quick in buying your tickets, you will not be disappointed.

Blackpool Winter Gardens – until Saturday 15 October 2022

Reviewed by Debra Skelton

5*****

I am so glad that Willy Russell’s Blood Brothers is back in Blackpool, as I never had the chance to watch this highly acclaimed show before. Being able to attend the opening night was so exciting for me and I can truly say that I was not disappointed.

Blood Brothers is a musical about twin brothers separated at birth who grow up on opposite sides of the tracks and both never knowing the truth about their relationship until the very end. The story is set in Liverpool during the mid-eighties where working-class families struggled to make ends meet and unemployment levels were high. By presenting the way families had to live back then, this was crucial to truly understanding the life of Mrs. Johnstone and why the lives of both Mickey and Eddie differed so much. It showed the difference in schooling, their financial situations which defines their class which ultimately divides them and is a motivator for their demise.

The show covers themes from superstition to social class and the very different lives the two brothers were set to lead. Throughout the show, the Narrator (Richard Munday) remains on stage, watching and lurking in the background and keeps reminding the characters of the awful fate if the brothers ever discovered the truth. As the start of the show, we see the bodies of the two men being covered and a mother crying which forewarned the audience from the start that something forbidding is going to happen.

Niki Colwell Evans (from The X-Factor) played the role of Mrs Johnstone to perfection showing how she coped as a single mother with little money and the love and affection for her children. Her amazing voice and presence on the stage was a true pleasure to watch.

Both Sean Jones (Mickey) and Jay Worley (Eddie) provided an entertaining performance of acting like children shooting guns, pulling their sweaters over their knees, and burying worms, to becoming adults which was truly believable.

The whole cast of this production are incredibly talented and showed their ability to be versatile by playing different characters.

The show also needs special thanks to Andy Walmsley for creating such an adaptable set, Dan Samson for the wonderful sound, Nick Richings for the lighting and Matt Malone for the marvellous music.

Hull New Theatre, Hull – until 12th October 2022

Reviewed by Anne Walker

5*****

For those of you who may be unfamiliar with this all-male, cross-dressing ensemble, The Trocks, as they are affectionately known, were founded by a group of professional dancers in 1974. The New-York based company is dedicated to presenting off-kilter but technically sound comic interpretations of ballet classics and modern favourites. To date, they have performed in more than 30 countries and 500 cities worldwide.

From the moment I sat down, before the curtain rose, I was chuckling to myself whilst looking through the program. The performers names and back stories were hilarious and gave us a glimpse of what was to come. The lights dimmed and a voice informed us, with some tongue in cheek humour, of some cast changes and reasons for these. They also reassured us that ‘all of our ballerinas are in a very, very good mood’. This show certainly did the same for me and I went away in a very, very good mood.

I have been lucky enough to have seen Swan Lake a few times, by different companies and was certainly interested to see The Trocks version. They did not disappoint. Tchaikovsky’s beautiful music started, the costumes and the choreography were not all that different. However, the expressions exaggerated, the comedy timing impeccable, the steps sometimes over done and subtle trips and stumbles are what gave this ballet its humour and comedy. Queen of the Swans, Vavara Laptopova (Takaomi Yoshino) was beautifully hilarous and Prince Siegried, Jacques d’Aniels (Joshua Thake) let us all know just how in love he was whilst also showing us how handsome and grand he was.

A highlight for us had to be ‘The Dying Swan’ played by Olga Supphozova (Robert Carter) performed with all the skills of a great clown. A few minutes of comedy genius, an aged ballerina with ego, drama, belching and the ability to be able to moult feathers at every step gave us a belly laughing, unique performance.

What a great evening of tutus, tantrums and technical brilliance that left us aching with laughter as well as in awe of the technical brilliance of these fabulous performers.

Lyric Theatre, The Lowry – until 15th October 2022

Review by Rebecca Hampson

3***

Based on the award winning novel by Alice Walker, this adaptation of The Colour Purple uses music and song to tell the story of two sisters Cecile and Nettie.

The vocals of both the actors and actresses in this musical were spectacular and their vocal range and harmonies sent chills down the spines of everyone in the audience.

Although based on the novel which explores dark themes including: rape, domestic abuse and violence, the musical dealt with these themes sensitively. I do feel that in some points of the story the emotion which I felt reading the novel did not transfer in this stage adaptation, however this could have just been me as others around me did get emotional during some dark scenes.

The Greek chorus style singers who narrated in quick snappy scene changes added comedy which was much needed in a play that explores such dark yet important topics.

I was mesmerised by Aaliyah Zhané who played the role of Nettie, and during the second act when Cecile began to read the letters from Nettie her vocals paired with the choreography of the ensemble made us believe we were seeing the very words of the letter and everything she was describing.

I did enjoy the musical but perhaps not as much as I enjoyed reading the book. The cast were outstanding and I do feel this is a musical that you should watch at least once in your life. Please do ensure you read all warnings before attending this musical as the subject may be difficult for some.

Sheffield Lyceum – until 15th October 2022

Reviewed by Sal E Marino

4****

High drama started a day before Derren’s show at the beautiful and always welcoming Lyceum theatre, Sheffield, with a cryptic message he sent via email and linked to social media.  This could have been missed by some if they do not have access to above but was certainly intriguing for those who do.

Without revealing any content of the show, I can say that it was full of intensity and there were some truly wow moments!  The audience were full of fun and up-for-a-laugh and ready to play any game or challenge that Derren suggested.   Personally, I found it a little confusing that certain restrictions and requirements were made on the volunteers who came up on stage and rather unnecessary in our current climate, especially when we all sat very happily together in a fully packed-out theatre.  Perhaps I missed the point and it was part of the ‘story’?   

Mr Brown’s delivery was slick, clear and amusing at times.  His use of a camera to share the ‘action’ so that we, the audience, felt nothing was hidden from us was genius and certainly gave more credibility to most tricks / acts.  Some audience members were invited up on to the stage to perform with Derren more than once which didn’t work for me –  as it seemed they were getting more susceptible and influenced by the ‘magic’ each time –  making it less genuine.  However, using the same people could mean they are more in rhythm with Derren’s energy and the story-line so that it makes it better for all.

I definitely recommend Derren Brown’s Showman tour to anyone from teenage years up as it  certainly does get the old grey cells working and the cogs turning if you enjoy mystery, drama and intrigue.  A really great night out – highly-entertaining!

Nottingham Theatre Royal – until Saturday 15 October 2022

Reviewed by Amy

5*****

If you want to see a show where the vocals are as powerful as the storytelling, then you’ve found the one to see, with ‘Girl from the North Country‘. Nominated for countless awards since it was first performed in 2017 and the winner of many more, including a double Olivier award for Best New Musical.

It’s certainly not your typical jukebox musical, as it switches up glittered costumes for gritty surroundings and murky emotions.

The scene is set in 1934 in Duluth, Minnesota, in what we soon learn is a struggling guest house full of lost souls and their long lost dreams. The rundown and struggling business is run by Nick (Colin Connor) and Elizabeth Laine (Frances McNamee) and their older children, troubled Marianne (Justina Kehinde) and Gene (Gregor Milne) who has developed a dangerous drinking habit. The key problem that they all face is debt and a looming foreclosure of their home and livelihood!

Much like the leaking and broken boarding house, Nick and Elizabeth’s marriage/relationship is suffering too. She’s tragically losing her mind and Nick, her kids and some guests struggle to look after her… when she allows it.

Frances McNamee as Elizabeth was a standout performance for me vocally and physically. She gets to take on some of Dylan’s best known songs throughout her complicated portrayal of a woman battling with dementia and confusion and she evokes a whole array of intense emotions throughout.

The depression era is well and truly alive as both long-term and short-term guests of the guest house squabble, brawl and drink their way through their own sets of problems. The setting brings together folks from different realms of society and reveals their problems, as it shows us brief and significant interactions within the group, thrown together due to difficult circumstances and many secrets.

The ‘action’ darts speedily between one potential disaster, to the next with the story not placing emphasis on one set person or couple for too long.

Strung together by brief monologues from Chris McHallem’s Dr Walker, a morphine addicted GP who has a soft spot for the ailed Elizabeth and her plight.

Happily the show features the band on stage throughout as Bob Dylan classics and lesser known songs of his are crooned and belted out, with various cast members switching lead on the vocals and drums.

Unlike with most musicals using songs from an artist, where they often advance the plot or let us glimpse into the soul and hope of a character…here they often feel jarring and out of place.

The set is stark and deliberately quite minimal, with a downtrodden look like the hope of the majority of the show’s characters. It echoes the story perfectly.

I did enjoy the show and it did move me to tears, but I can’t say I left the theatre with a smile on my face or in my heart. But it’s a show that deserves to be seen due mainly to its unique style and originality.

Filled with some utterly spellbinding performances that bring a new attitude to Dylan’s lyrics – a must see if you are a fan of the loneliness and longing his music provides.

Edinburgh Festival Theatre – until Saturday 15th October 2022

Reviewed by Ellen Searle

4****

Cher is an icon of the modern music era, with a unique voice and dozens of super high quality hits that really do stand the test of time.  She is critically acclaimed actor, with movies from Moonstruck to Mamma Mia Here We Go Again enjoyed by millions. But a crucial ingredient for any kind of biographical production to work and endure is a life story that is genuinely interesting. Cher’s most certainly is!

Add to all of this the talents of Jersey Boys writer Rick Elice, the directing and choreography of household names Arlene Phillips DBE and Oti Mabuse respectively, and you have a sure fire hit on your hands.

The show stars three West End stars as Cher in different periods of her life:  Millie O’Connell (Babe), Danielle Steers (Lady), and the Olivier Award-nominated Debbie Kurup (Star).

Three leads playing the lead is a neat device for a narrative where the focus is squarely on one person.  It not only expresses literally how different Cher is at the different stages of her life, but also, as each of the Chers comment and advise the others, reveals her reflections and internal conflicts as she develops from a geeky, shy teenager to a global megastar.

Special mention must be made of the way in which Cher’s close relationships are portrayed, be it with her mother (Tori Scott), or her lovers, musician Greg Allman and aspiring actor Rob Camilletti (both played by Sam Ferriday) and of course Sonny Bono (at this performance played by understudy Guy Woolf).  The combination of quality writing and highly skilled acting beautifully depicts the complexity of those relationships, which brings an authenticity and sensitivity to the piece overall. And, by the way, they can all hold a tune brilliantly.

Although the dark, minimalist set provides a contrast to the lighting show elements and glittery outfits worn by the main cast, it is rather odd, a gloomy and somewhat cavernous backdrop to the more intimate scenes in particular. The generally monochrome costumes and props of the ensemble cast do little to relieve this. And while the feminist angle to Cher’s story is one of its most interesting and distinctive features, the material highlighting it could have been more subtle.

Any such quibbles will be far from your mind however by the finale, when you’ll be on your feet, feeling moved by Cher’s story,  uplifted by her absolute belters of songs, and exhilarated by great performances from a highly talented cast.

Theatre Royal Brighton  – until Saturday October 15 2022

Reviewed by Sue Bradley

4****

The writing team of Nick Newman and Ian Hislop first had the idea for this show when they realised that there is a generation of people who are entirely unaware of The Goons and, although perhaps aware of Spike Milligan via his later TV work, they do not know of his pivotal contribution to changing the nature of British comedy.

The comedy revolution that was The Goon Show started in 1953, still very much in he era of Radio as the prime source of entertainment for the public. Although this was now 8 years post-war,  Spike could not let go of ‘The War’ as a source of material, with constant lampooning of military characters and behaviour.

The Goons were viewed by the BBC as two ‘Talents’; Peter Sellers and Harry Secombe, and a ‘Writer’; Spike Milligan. If this show did nothing else (and it does do so much more) it helps us to see the visionary contribution that Spike made to what became a national institution. Effectively, no Spike – no Goon Show.

The term ‘Madcap’ often has a slightly derogatory connotation but in Spike’s case, it is entirely appropriate. His time as a soldier during the Second World War left him with what we would now recognise as PTSD and his experiences with the horrors of war and the ‘Officer’ classes left him with a fundamental disregard for authority and, indeed, organisation of any kind. Newman and Hislop have walked a fine line to allow us to see something of Spike’s mental health challenges without making it a show about a miserable funny man. This is a very funny show about a man who struggled not to be miserable.

If there is a stillness around which the storm of Spike whirls, it is Robert Mountfords’ Head of Comedy; an exasperated and exasperating character who couldn’t stand The Goons nor could he understand this new style of comedy. Robert Wilfort as Spike is engagingly eccentric with strong support from Jeremy Lloyd as Harry Secombe and Patrick Warner as Peter Sellers. Special mention too to Margaret Cabourn-Smith, playing the Sound Effects technician who opens both halves of the the show with entertaining demonstrations of the creation of various sound effects, which were an important part of the show.

Fast-paced and ever-changing, the show gives something of the sense of barely controlled chaos that underpins Spike’s work and relationships with those that worked, lived with and loved him. Even in the darker moments when we see something of Spike’s internal troubles, the laughs are never far away and we need never feel guilty about laughing along with him.

The deceptively simple set provided a constantly changing backdrop with full use of the stage – there are no centre stage soliloquies and the story keeps on moving.

One note of caution: Spike was very fond of explosions – it was almost a signature sound effect to close many many Goon Show episodes so it should come as no surprise that this production makes liberal use of them along with sudden black-outs and flashing lights. There is nothing gratuitous about this but those of a very nervous disposition might do well to be aware. But please do not deny yourself this very funny show! We loved it.

Yvonne Arnaud , Guildford – until 15 October 2022

Reviewed by Heather Chalkley

5*****

Award winning author Malorie Blackman’s story sadly remains as relevant now as when she wrote it over 20 years ago. Gladly it remains just as impactful. Writer Sabrina Mahfouz and Director Esther Richardson take the Romeo and Juliet story to another level, with a true to life presentation that the impact of prejudice and social injustice has universally. Its appeal to younger audiences does not diminish the complexity of the tale and amplifies the modern day reality that our present generation of young people are experiencing. Blackman and Richardson’s respect for their integrity is clear.

Effie Ansah (Sephy) and James Arden (Callum) are front and centre of the production, maintaining a profound intensity that holds you until the curtain comes down. The quick changes of scene are clearly delineated by the creative team, with lighting and scrims, however it is Ansah and Arden that duck out and straight back into different times and places with ease. The cast are a well-oiled machine, moving between scenes, smoothly and effortlessly, including moving the scenery!

Bringing racial segregation, capital punishment and systemic oppression within an insular community on to the stage, brings its challenges and must be incredibly hard for the cast who, no doubt, have some lived experience. All the characters were believable and embodied characteristics of people we all know, however uncomfortable that may be to admit.

The importance of this play to our young people can not be under rated. It gives the opportunity for an open and honest dialogue about love, hate and oppression, particularly between older and younger generations in our own close knit communities. A performance worth all the awards it has attracted.

KILN THEATRE ANNOUNCES FULL CAST FOR THE RETURN OF

ZADIE SMITH’S AWARD-WINNING PLAY

THE WIFE OF WILLESDEN

Kiln Theatre today announces the full cast for the return of Zadie Smith’s The Wife of Willesden, directed by Artistic Director Indhu Rubasingham. Clare Perkins reprises her role as Alvita, The Wife of Willesden, alongside Marcus Adolphy as Winston/Mandela/Black Jesus, George Eggay as Pastor/Eldridge, Andrew Frame as Ian/Socrates/Bartosz, Troy Glasgow as Darren/Young Maroon, Claudia Grant as Polly/Sophie, Nikita Johal as Asma/Kelly, Scott Miller as Ryan/Colin, Jessica Murrain as Author/Zaire/Queen Nanny and Ellen Thomas as Aunty P/Old Wife. The production runs at Kiln Theatre from 14 December to 28 January, ahead of its US transfer in February where it will play at the American Repertory Theater (A.R.T.) in Cambridge, Massachusetts, from 25 February – 18 March 2023.

Kiln Theatre presents

THE WIFE OF WILLESDEN

Adapted by Zadie Smith

From Chaucer’s THE WIFE OF BATH

Kiln Theatre: 14 December 2022 – 28 January 2023, Opening Night 20 December

Directed by Indhu Rubasingham; Designed by Robert Jones; Lighting Design by Guy Hoare;Composition and Sound Design by Ben and Max Ringham;Associate Director Hannah Hauer-King; Associate Costume Designby Kinnetia Isidore; Casting by Julia Horan CDG; Movement Direction by Imogen Knight; Fight Direction by Kev McCurdy; Voice &DialectCoach Hazel Holder

‘Zadie Smith and Indhu Rubasingham have concocted a stunning piece of freewheeling stagecraft.’

★★★★★  Times

After a sold-out, critically acclaimed run in 2021, Alvita, The Wife of Willesden returns for one more round at the bar.

A proper local legend. Married five times. Mother. Lover. Aunt. Friend. Alvita will tell her life story to anyone in the pub – there’s no shame in her game. The question is: are you ready to hear it?

Because this woman’s got the gift of the gab: she can rewrite mistakes into triumphs, turn pain into parables, and her love life’s an epic poem. They call her The Wife of Willesden…

A play that celebrates the human knack for telling elaborate tales, especially about our own lives.

Critically acclaimed, multi-award winning, best-selling author Zadie Smith‘s ‘irresistably rambunctious’ (The Telegraph) The Wife of Willesden transports Chaucer’s The Wife of Bath to 21st Century North West London.

Director Indhu Rubasingham invites you to take your seat at the bar, order a pint or two, and listen to this bawdy, beautiful comedy up close, and very, very personal.

The Kiln Theatre auditorium will be transformed into a local London pub, complete with pub tables in the stalls.

The Wife of Willesden was originally produced in 2021 by Kiln Theatre in association with Brent20020, London Borough of Culture.

Marcus Adolphy returns to the roles of Winston/Mandela/Black Jesus. His theatre credits include Signal Fires (Eastern Angles/Hightide), One Man Two Guvnors (Wolsey Theatre), War Horse, The Comedy of Errors, The Suicide (National Theatre), The Convert (Gate Theatre), Backseat Drivers (The London Theatre), Keeler (Charing Cross Theatre), Macbeth (The Last Refuge Theatre), The Chicago Cowboy (Rosemary Branch Theatre), Twelfth Night (Nursery Theatre), Keeping Mum, 1867, A Christmas Carol (Brockley Jack Theatre) and The Children of Salt (Alma Theatre Bristol). His television credits include The Sandman, Scott and Bailey and Father Figure.

George Eggay returns to the roles of Pastor/Eldridge, and also appeared in Starstuck at the Kiln. His other theatre credits include Archbishop, The Last King of Scotland (Crucible, Sheffield), A Streetcar Named Desire, Frozen, The Power Book and The Wind In The Willows (National Theatre), The Firm (Hampstead Theatre), Ear for Eye (Royal Court Theatre), King Lear (The Old Vic), The Tiger’s Bones (New Perspectives), Arabian Nights (New Vic Theatre), Dishoodbe on TV (Hackney Empire), Passage to Freedom, This Accursed Thing (Andrew Ashmore Associates), The Ramayana (Birmingham Rep/ National Theatre), Servant Of Two Masters (Nottingham Playhouse), Crossfire (Paines Plough), The Robbers (Gate Theatre), The Meeting (Riverside Studios) and Love of the Nightingale (Theatre Melange). His television credits include Finding Alice, Black Earth Rising, Hugo Blick, The Love of Books, Shoot the Messenger and Between the Lines; and for film: All You Need is Kill and Final Passage.

Andrew Frame returns to the roles of Ian/Socrates/Bartosz. His recent theatre credits include Small Island, This House, Macbeth, Market Boy and Royal Hunt of The Sun (National Theatre), Mumburger (Old Red Lion Theatre), Twelve Angry Men (Garrick Theatre), Responsible Other (Hampstead Theatre), Sixty-Six Books (Bush Theatre), Wittenberg (Gate Theatre), The English Game and Rough Crossings (UK tours) and Festen (Lyric Theatre, Hammersmith). His television credits include EastEnders (as series regular, P.C. Hargreaves), Jewels, White House Farm, Save Me, Class, Inspector George Gently, Trial & Retribution, Wire in The Blood and Touching Evil.

Troy Glasgow plays Darren/Young Maroon. His theatre credits include DNA, Babygirl, The Miracle, Harper Regan (National Theatre), There’s Only One Wayne Matthews (Sheffield Crucible), A Streetcar Named Desire (Young Vic/St Ann’s Warehouse, New York) and Fatal Attraction (UK tour). His television credits include The Bill (as series regular Ashley Morgan), The Day of the Triffids, Adulthood, London’s Burning, M.I.High, Mr Harvey Lights a Candle, Shoot the Messenger, Piggy and World War Z.

Claudia Grant plays Polly/Sophie. Her recent theatre credits include Harry Potter and The Cursed Child (original West End cast, Palace Theatre), The Noble Nine (Tewl Theatre), The Tempest and Much Ado About Nothing (Grosvenor Park Open Air Theatre), Swallows and Amazons (ChesterStoryhouse), Juicy and Delicious (Nuffield Theatre), Spring Awakening (West Yorkshire Playhouse/Nuffield Theatre), Scarborough (White Bear Theatre), A Beautiful Recitation of Pi (Whitechapel Theatre), Knives in Hens (Camden People’s Theatre) and The Lover (Finborough Theatre). Her television credits include An Adventure in Space and Time.

Nikita Johal plays Asma/Kelly. Her recent theatre credits include The World Goes ‘Round (Yvonne Arnaud Theatre, Guildford), Princess Caraboo (Finborough Theatre), Children of Eden (Union Theatre), Spring Awakening (Hope Mill Theatre), The Snow Queen (Liverpool Everyman), Broken Wings (Charing Cross Theatre), Aladdin (Newbury Corn Exchange) and What the Ladybird Heard (The Palace/UK tour).

Scott Miller returns to the roles of Ryan/Colin. His recent theatre credits include War Horse (National Theatre), Dragon (National Theatre of Scotland) and Don Quixote (Òran Mór, Glasgow). His film credits include The Outrun, The Road Dance, Balance Not Symmetry and The Strange Case of Dr Jekyll and Mr Hyde.

Jessica Murrain plays Author/Zaire/Queen Nanny. Her recent theatre credits include Macbeth (Shakespeare’s Globe), A Christmas Carol (RSC), Peter Pan (National Theatre), The Last Dinosaur (The Herd Theatre, Hull), When the Daffodils (Orange Tree Theatre), King Lear (Duke of York’s Theatre), Messiah (Bristol Old Vic), The Wind in the Willows (Sherman Theatre), The Long Trick (WardrobeTheatre), Treasure Island (Hull Truck Theatre) Skate Hard Turn Left (Battersea Arts Centre), DIGS (Edinburgh Fringe), Butter and PLAY 15 (VAULT Festival), Richard III (Leeds Playhouse), Cinderella; A Fairytale (Unicorn Theatre/Tobacco Factory), Maybe I Should Freeze My Eggs (New Wimbledon Studio) and Off (Arcola Theatre). Her television credits include The Sandman and The Baby; and for film: I Used to Be Famous, Blonde.Purple and Romeo & Juliet.

Clare Perkins returns to the role of Alvita, The Wife of Willesden. She is currently shooting BODIES for Netflix, and recently wrapped WOOL for AMC studios and feature film EMBERS, directed by Christian Cooke. She was recently seen in Amazon fantasy series The Wheel of Time, The Offenders on the BBC and Apple’s Suspicion. She was previously seen in Netflix series Young Wallander as well as guest roles in The Crown and Flack. In theatre, she starred as the title role in Emilia, which played at the Vaudeville Theatre. Other extensive theatre work includes Welcome to Thebes at the National Theatre, Little Revolution at the Almeida Theatre, The Convert for the Gate Theatre, Mules with the Royal Court and Genesis Inc at the Hampstead Theatre. She is well known for playing series regular, Ava Hartman in BBC’s EastEnders. Other television credits include BBC’s Death in Paradise, Damned for Channel 4, Netflix’s Been So Long. In film, she can be seen in Ken Loach’s Ladybird, Secrets and Lies directed by Mike Leigh and Saul Dibb’s Bullet Boy. She’s also in Censor which has just been released in cinemas. She has been a member of BBC Radio Drama Company and played Mel in Westway which ran for 8 years on the BBC World Service.

Ellen Thomas returns to the roles of Aunty P/Old Wife. Her recent theatre credits include Moon on a Rainbow Shawl, Egusi Soup and Tiata Delights (Almeida Theatre), Statement of Regret, The American Clock and Fuente Ovejuna (National Theatre), The Estate (Soho Theatre), Blest Be the Tie (Royal Court Theatre), Twelfth Night (Royal Exchange, Manchester), A Bitter Herb (Bristol Old Vic), Amen Corner (Tricycle Theatre/Nottingham Playhouse), Sisters (Riverside Studios) and Twelfth Night (Birmingham Rep). Thomas is most well known for playing series regular Claudette Hubbard in Eastenders and series regular Liz Webbe in Teachers. Her other television credits include Casualty (as series regular Omo Masters), Mount Pleasant, Rev. and Coming of Age, Outnumbered, Critical, Humans, Losing It, Trial and Retribution, The Play’s The Thing, Active Defence; and for film: Johnny English Reborn, Mrs. Harris Goes to Paris and Golden Years.

Zadie Smith is the author of the novels White Teeth, The Autograph Man, On Beauty, NW, and Swing Time, as well as three collections of essays, Intimations, Changing My Mind and Feel Free and the collection of short stories, Grand Union. Her novels have won multiple literary awards and been translated into many languages. White Teeth was adapted for the stage at the Kiln Theatre in 2018. She is a professor of fiction at New York University and writes regularly for the New Yorker and the New York Review of Books.

Indhu Rubasingham is Artistic Director of Kiln Theatre. Her work for the company includes The Invisible Hand, Pass Over, When the Crows Visit, Wife, White Teeth, Holy Sh!t, Red Velvet (which transferred to New York and later to the Garrick Theatre as part of the Kenneth Branagh Season) and Handbagged (winner of Outstanding Achievement in an Affiliate Theatre – also West End, UK tour, Washington DC and New York). Other productions for Kiln Theatre include A Wolf in Snakeskin Shoes, Multitudes, The House That Will Not Stand, Paper Dolls, Women, Power and Politics, Stones in His Pockets, Detaining Justice, The Great Game: Afghanistan, Fabulation and Starstruck. Other theatre credits include The Father and The Assassin, The Great Wave, Ugly Lies the Bone, The Motherf**cker with the Hat (Evening Standard Award for Best Play), The Waiting Room (National Theatre), The Ramayana (National Theatre/ Birmingham Rep), Belong, Disconnect, Free Outgoing, Lift Off, Clubland, The Crutch and Sugar Mummies (Royal Court Theatre), Ruined (Almeida Theatre), Yellowman and Anna in the Tropics (Hampstead Theatre), Secret Rapture and The Misanthrope (Minerva, Chichester Festival Theatre), Romeo and Juliet (Chichester Festival Theatre), Pure Gold (Soho Theatre), The No Boys Cricket Club and Party Girls (Theatre Royal Stratford East), Wuthering Heights (Birmingham REP), Heartbreak House (Watford Palace Theatre), Sugar Dollies and Shakuntala (Gate Theatre), A River Sutra (Three Mill Island Studios), Rhinoceros (UC Davis, California) and A Doll’s House (Young Vic).

Kiln Theatre                                                                                                                                              Listings

269 Kilburn High Road, London, UK, NW6 7JR

Box Office: 020 7328 1000

www.KilnTheatre.com

Tickets from £15

All tickets for first preview £15

Kiln Theatre: 14 December 2022 – 28 January 2023, Opening Night 20 December

A.R.T.: 25 February – 18 March 2023 (Press Night 1 March)

FUNDRAISING EVENING IN AID OF KILN THEATRE – Thursday 19 January, 7.30pm

Please join us at this special fundraising night in aid of Kiln Theatre. Tickets are £30-£80, and include a donation to our work. As a registered charity, we rely on donations from audience members and our community of supporters. All proceeds from the evening are in aid of Kiln Theatre. Your support helps us to create internationally renowned, innovative productions, to make theatre available to our local community and to connect everyone, whatever their background, through the power of storytelling.

Post Show Q&As Tue 10 Jan and Fri 27 Jan

Captioned Performance 23 January

Audio Described Performance 12 January

Under 26 – £10 (subject to availability).

Access, Over 65, Local, Student and Group rates available, for further details, please see the website.

Subsidised tickets

We offer free tickets and exclusive discounts to those who can’t afford to come. If you fit any of the below criteria, get in touch and we can help you get a ticket.

If you are homeless, out of work or receive Housing Benefits, Income Support, Jobseeker’s Allowance or Employment and Support Allowance (valid ID, statements or proof universal tax credit will be required when collecting tickets).

Employees of NHS, Police Force, Fire Brigade, Armed Forces, The Coastguard, RNLI, Prison Officers or Social Care Workers (valid ID payslip and name badges will be required when collecting tickets).

Email FreeTickets@KilnTheatre.com