Home

Greenwich Theatre – until 15th July 2023

Reviewed by Ben Jolly

3***

Philip Ridley’s classic play takes another outing, this time to Greenwich Theatre, just in time for this year’s Pride celebrations.

Vincent River is not a light, easy watch; this intense two-hander is told in real time and is set in a closed environment with no interval, add a heart breaking subject matter and you’ve set yourself up for a pretty painful night of events. The beauty of this play however, is that it doesn’t allow the subject matter to swallow it, instead the masterful Philip Ridley uses elements of humour, human emotion and a strong narrative to ride the wave.

We open half way through a stark and awkward conversation between two strangers, we soon learn that Anita has recently left her Hackney home and upped sticks to Dagenham where she sees the familiar face of the man who has been following her the past few weeks. Inviting him into her home, she plans to interrogate him (unbeknown to the stalker) on his intentions and find out where this recent fascination with her has come from. Through a slow but meaty conversation between the two characters we learn of the common interest and notice that both players are hiding their true motives. This compelling use of storytelling keeps us on the edge of our seats for the 90-minute run as Ridley drip feeds us just enough to want more and more as time goes by.

The cast of two are played by Kerrie Taylor as Anita and Brandon Kimaryo as Davey. Both are showing acts of bravery as they bare their raw emotion on stage, they have impeccable chemistry and ease which mirrors the characters as they in turn grow closer. Kimaryo is a masterful physical actor and will be one to watch when he is out of drama school (he is currently studying at Guildford School of Acting). Taylor, who thus far is mostly known for her work in television, plays the role of Anita with great emotional range and flawless character work. Some work on her physicality could be given attention, at times there were long moments of statuesque standing with hands on hips, half turned toward the audience – this stood out as someone just needing that dash of theatre craft. What let the production down somewhat was the lack of direction and use of environment; from the shoulders up the show was tight, but some more work within the physical space and making use of it instead of hiding behind would have elevated this production to the next level.

Whether on purpose or accidental, I’m not sure, but a common theme in the London theatre scene recently seems to be reviving plays that are well over a decade or two old (this play was originally staged back in 2000), but the themes and lessons are still, if not more relevant to today’s world – this production of Vincent River was no exception. You’d best be warned this play, the cast and the haunting imagery Ridley conjures up linger in the mind for some time.

Shakespeare’s Globe announce Sam Wanamaker Playhouse 10th Anniversary Season

‘There’s magic in the web of it’
Othello

Marking a decade since the Sam Wanamaker Playhouse opened, Shakespeare’s Globe is thrilled to announce the 10^th Anniversary Season, running from November 2023 to April 2024. Illuminated by over 100 beeswax candles, the Playhouse is an archetype of the Jacobean indoor theatre for which plays like Shakespeare’s Othello and The Duchess of Malfi were written and performed

• Henrik Ibsen’s Ghosts runs from 10 November – 28 January, adapted and directed by Joe Hill-Gibbins.
• Ola Ince returns to Shakespeare’s Globe to direct Shakespeare’s Othello, running from 19 January – 13 April.
• Rachel Bagshawdirects John Webster’s The Duchess of Malfi,ten years after it opened the first Sam Wanamaker Playhouse season in 2014, running from17 February – 14 April.

Christmas

• A new version of Hansel and Gretel by Poet Laureate Simon Armitage runs from 8 December – 7 January in the Globe Theatre, directed by Nick Bagnall.

Special Events

• Burnt at the Stake, or The Whole of the Truth, a special night of new writing, plays in the Globe Theatre on 13 October.
• The Sam Wanamaker Playhouse hosts new writing company HighTide’s Ghost Stories by Candlelight on 23 – 25 November.
• Tim Crouch makes his Globe debut with his acclaimed solo show I, Malvolio, running 30 November – 9 December.

Michelle Terry, Artistic Director, says: This winter, we’re so proud and excited to be celebrating the 10th anniversary of our unique and incredible Sam Wanamaker Playhouse. For over a decade now, the warm embrace of over a hundred beeswax candles has transformed stories and transported artists and audiences to worlds elsewhere via the most compelling and necessary of plays. And this year will be no different as we put the drama of the domestic right at the heart of this candlelit imaginarium. As the nights draw in, and the days get darker, we hope these beguiling and bewitching dramas will charm, inspire, and nourish as you step into the candlelight to celebrate 10 years of our wonderful Sam Wanamaker Playhouse!

For the first time, the Globe will stage a play by Henrik Ibsen, one of the most influential dramatists of all time. A searing exploration of family secrets and forbidden desire, Ghosts runs from 10 November 2023, until 28 January 2024. Its depiction of incest, infection, and euthanasia caused a scandal when it first premiered, and now, director Joe HillGibbins, in his Globe debut, brings the first modern tragedy to the Sam Wanamaker Playhouse. Joe Hill Gibbins is a British theatre and opera director. His directing credits include The Tragedy of King Richard the Second (Almeida Theatre) and Edward II (National Theatre), The Marriage of Figaro and Powder Her Face (ENO). Between 2007 and 2013 he was Resident Director and later Deputy Artistic Director at the Young Vic Theatre, where his credits include The Changeling, The Glass Menagerie, The Beauty Queen of Leenane, and A Respectable Wedding. Other directing credits include The Village Bike, Bliss, Family Plays: The Good Family & The Khomenko Family Chronicles, A Girl In A Car With A Man (Royal Court Theatre); The Girlfriend Experience (Royal Court Theatre and Drum Plymouth, Young Vic); and A Thought In Three Parts (Battersea Arts Centre). Ghosts will be designed by Rosanna Vize.

Ola Ince directs Shakespeare’s Othello running from 19 January until 13 April 2024, following her seminal 2021 production of Romeo and Juliet in the Globe Theatre. Ola debuts in the Sam Wanamaker Playhouse with Shakespeare’s blistering tragedy of unrestrained jealousy and manipulation, confronting the destructive impact of racism and misogyny on reputation and community. Ola Ince is a theatre, film, and opera director. She has most recently directed Once On This Island (Regent’s Park Open Air Theatre). Ola was an Artistic Associate at the Royal Court Theatre from 2018-2022, and Artistic Associate at the Lyric Hammersmith and Theatre Royal Stratford East in 2016. Other theatre credits include Christmas in the Sunshine (Unicorn Theatre); Heart (Minetta Lane Theatre, NYC); Is God Is & Poet in da Corner (Royal Court Theatre); The Knife of Dawn (Royal Opera House); Viral (Headlong Theatre and Century Films); Appropriate (Donmar); The Convert, Dutchman (Young Vic); and Twilight: Los Angeles 1992 (Gate Theatre).

Ten years after opening the Sam Wanamaker Playhouse in 2014, John Webster’s timeless revenge tragedy, The Duchess of Malfi, returns to London’s only indoor candlelit theatre, running from 17 February until 14 April 2024. Director Rachel Bagshaw makes her Globe debut with this anniversary production of Webster’s violent tale of misogyny and deceit. Rachel is a stage director and incoming Artistic Director at the Unicorn Theatre. Her recent theatre credits include A Dead Body in Taos (Bristol Old Vic/Wilton’s Music Hall), Augmented (Royal Exchange/Told by an Idiot) and Philip Pullman’s Grimm Tales for Unicorn Theatre Online. Other theatre credits include The Bee in Me and Aesop’s Fables (Unicorn Theatre); Midnight Movie (Royal Court Theatre); The Shape of the Pain (China Plate/Edinburgh Fringe/BAC/UK Tour); Resonance at the Still Point of Change (Unlimited Festival, South Bank Centre); The Rhinestone Rollers and Just Me, Bell (Graeae). Film credits include Let Loose (Unicorn Theatre Online/ENB) and Where I Go (When I Can’t be Where I Am) (BBC/China Plate).

On 13 October, Burnt at the Stake, or The Whole of the Truth will anonymously showcase writers premiering new work. This evening of storytelling revolves around one provocation to these writers: If no-one knew you had said it, what would you say? If you could tell ‘the whole of the truth’ what would you tell? This celebration of bold new writing in the
Globe Theatre is co-curated by Hannah Khalil (Writer, Hakawatis: Women of the Arabian Nights; The Fir Tree, Globe) and Morgan Lloyd Malcolm (Writer, Emilia, Globe; Mum, Soho). Globe Resident Associate Directors Naeem Hayat (Associate Director, The Comedy of Errors, Globe; Assistant Director, King Lear, Globe) and Indiana Lown-Collins (Associate Director, A Midsummer Night’s Dream, Globe; Director, The Solid Life of Sugar Water, Orange Tree;) will codirect.

Celebrated new writing company HighTide bring Ghost Stories by Candlelight to the Sam Wanamaker Playhouse from 23-25 November. Contemporary ghost stories and haunting folk music from the ‘Witch Counties’ of East Anglia will be directed by Elayce Ismail, and written by Kelly Jones, Shamser Sinha and Nicola Werenowska, with music and songs by Georgia Shackleton. Ghost Stories by Candlelight is a HighTide production, in association with Theatre Royal Bury St Edmunds, Harlow Playhouse and Shakespeare’s Globe. Recent productions include Kabul Goes Pop! and When The Long Trick’s Over (2022 UK Tours). Other productions include The Last Woodwose, Collapsible, Hey Diddle Diddle!, Luke Wright: Logan Dankworth, Pops, Rust, Status, The Old House, Since U Been Gone, Pink Lemonade (Aldeburgh Festival); and The Trick (Bush Theatre).

World-renowned artist Tim Crouch makes his Globe debut in the candlelit Sam Wanamaker Playhouse this winter, with his acclaimed solo show I, Malvolio, running from 30 November – 9 December. An hilarious and often unsettling rant from an actor adrift in front of an audience, I, Malvolio re-imagines Twelfth Night from the point of view of its most
notoriously abused steward. Part abject clown, part theatre-hating disciplinarian, Malvolio asks his audience to explore the pleasure we take in other people’s suffering. A story of lost dignity, prudery, practical jokes and bullying, this oneman act of storytelling alchemy draws us deep into the madness of Shakespeare’s classic comedy, suitable for ages 11+. Following the hugely successful I, Caliban, I, Peaseblossom and I, Banquo, I, Malvolio premiered at the Brighton Festival in 2010 and has since toured throughout the world. It is designed by Olivier award-winning Graeme Gilmour and was commissioned by Brighton Festival.

Playing in the open-air Globe Theatre, Hansel and Gretel runs from 8 December 2023 until 7 January 2024, the new stage production of Poet Laureate Simon Armitage’s epic version of The Brothers Grimm’s fairy tale. Directed by Nick Bagnall (Love’s Labour’s Lost; Two Gentlemen of Verona, Globe) and filled with music, magic, songs and a sprinkling of hope, Hansel and Gretel is aimed at everyone aged 5+. Simon and Nick return to collaborate at the Globe for the first time since The Last Days of Troy in 2014. Nick’s other work for the Globe includes Edward II, Love’s Labour’s Lost, The Two Gentlemen of Verona, Henry VI parts 1, 2 and 3, The Death of King Arthur, and Sir Gawain and the Green Knight.
Nick was the Associate Director of the Liverpool Everyman and Playhouse from 2014–2019 where his directing credits included Our Lady of Blundellsands, Sweeney Todd, A Clockwork Orange, The Big I Am, The Conquest of the South Pole, Romeo & Juliet, The Odyssey: Missing Presumed Dead, A Midsummer Night’s Dream and The Electric Hills.

The Fringe at Prestonfield announces an extra date for Janey Godley

 and a new show Julian Clary in conversation with Christopher Biggins 

The Fringe at Prestonfield is delighted to announce that following the sell-out success of Janey Godley’s forthcoming show Not Dead Yet on 18 August, the much-loved Scottish comedian has added a further date of 21 August to her Edinburgh Festival Fringe run at Prestonfield House hotel. The 500-seat venue has also added Julian Clary in conversation with Christopher Biggins to its star-studded line-up, taking place on 20 August. Booking is now open for both shows: www.fringeatprestonfield.co.uk / www.edfringe.com.  

‘Still alive, by popular demand’, Janey Godley opens the venue’s Edinburgh Festival Fringe programme after her record-breaking Scottish tour. She can’t wait to be back doing what she does best! Expect more hilarious anecdotes, straight from ‘the woman that wouldn’t die and shut up’. Janey, whose BBC Radio 4 show Janey Godley: The C Bomb is currently receiving rave reviews, said: “I can’t wait to be at this end of the town for the Festival. Unlike Mary, I certainly belong in a stable!” 

Julian Clary will join his friend Christopher Biggins for an evening of fun, chat…and who knows what!  The evening is part of The Fringe at Prestonfield: Hosted by Christopher Biggins series of events, with other confirmed guests including Dame Arlene Phillips and Stephanie Beacham. Sir Cliff Richard will also appear in conversation with Gloria Hunniford.  

Producers Denise Silvey, Christopher Biggins and Jane Compton (CDJ Entertainment), along with Prestonfield House hotel, are running the new Edinburgh venue, The Fringe at Prestonfield (venue 105), from 18-27 August 2023.  The 500-seat Fringe venue at Edinburgh’s prestigious and beautiful Prestonfield House will host an illustrious line-up which also includes Michael and Hilary Whitehall, The Barricade Boys, The Celtic Tenors and An Afternoon of Gilbert and Sullivan with further shows to be announced. 

THE LOWRY, SALFORD – UNTIL SATURDAY 1ST JULY 2023

REVIEWED BY MIA BOWEN

5*****

Strictly Ballroom danced its way into Salford last night and on opening night there was barely a spare seat in The Lowry as young, old, families and friends enjoyed two and half hours of exceptional singing, dancing and fun.

Strictly Ballroom The Musical is a musical theatre adaptation of the highly rated and critically acclaimed 1992 film, written and directed by Baz Luhrmann. Luhrmann is an Australian film director, producer, writer and actor, with projects spanning film, television, opera, theatre, music and recording industries. On the big screen he is best known for projects including William Shakespeare’s Romeo and Juliet (1996), Moulin Rouge (2001), Australia (2008) and Elvis (2022).

If you are a devotee of, Strictly Come Dancing you will be very familiar with Craig Revel Horwood, his precise and over-fastidious nature but mostly his love and passion for the amateur ballroom dance championships. Horwood played an integral part in the direction and choreography of this musical, along with co-choreographer Jason Gilkison, they are a match made in ballroom heaven, bringing together traditional musical theatre performances and ballroom dancing.

The musical follows the story of Scott Hastings (Kevin Clifton) a rebellious young ballroom dancer, who refuses to stick to regulation ‘federation steps’ in a competition and stands to ruin his chances of winning the prestigious Pan Pacific Championships. He struggles to find a partner to help break conformity but then meets Fran (Faye Brookes), who is full of enthusiasm but a beginner at the dance school.

Kevin Clifton is best known for being a professional dancer on BBC One’s Strictly Come Dancing, he has also proven himself again and again as an accomplished musical theatre performer. He is joined by Faye Brookes best known for her role as Kate Connor in ITV1’s Coronation Street and being a contestant in the 2021 series of Dancing on Ice.

The standout moment of the show for me came at the end of act 1, when Scott visits Fran’s family gathering in the bar. Jose Agudo, as Fran’s father Rico, teaches Scott to dance from the heart. Agudo puts on a jaw dropping (literally) and commanding display of the Paso Doble. He was phenomenal and stole the show. I felt the energy raise in the build up to the entire cast putting on a powerful routine, offering us quite the spectacle.

A special mention must go to Mark Walters for his spectacular set and costume design. As soon as the lights came on, you were transported to the world of glitz and glamour of ballroom dancing. The costumes were bright, cheesy and an array of colours with sequins and not forgetting the hideously fitted wigs (true to the film) across many of the cast.

Strictly Ballroom is a lot of fun with some superb performances, strictly brilliant! You will be foxtrotting your way home.

Yvonne Arnaud – until 1^st July 2023

Reviewed by Heather Chalkley

5*****

The collaboration between playwrights Nesrin Alrefaai and Matthew Spangler and the author Christy Lefteri, is clearly evident in this poignant play. Based on the lives of a family in war torn Syria, this is a story of humanity and the impact of lived experience on our relationships with one another. More importantly, our relationship with self.

Alfred Clay (Nuri) carries you with him through his journey right from the start with this powerful performance. You are taken on a roller coaster of emotion from contentment with family life in Aleppo through to displacement, grief and broken minds in the UK. Roxy Faridany (Afra) plays Nuri’s wife and mother to their dead son Sami, providing context and insight along their journey. You can find humour in every dark situation in life, if you look for it. On this occasion it is provided by Elham Mahyoub (Mohammed/Sami), conjured up from the depths of Nuri’s broken mind. There is a strength in female solidarity portrayed by the connection Afra makes with Angeliki (Nadia Williams) a refugee from Somalia – another story of loss, another broken mind. Nuri’s cousin played by Joseph Long (Mustafa) gives hope and light to the piece, a calm, loving warmth carried in the tone of his voice.

The clever staging and effects catch your eye as soon as you walk in. The set turns from comfortable home to war torn Aleppo, a small boat at sea and several refugee camps – no mean feat!

In all of this, the human condition is seen to have more strength and endurance than we can ever imagine in our relatively safe and protected lives in the UK. Through the play you see that the minds coping mechanisms and how they manifest are individual to each person.

This play is compulsory viewing for anyone who has forgotten that every asylum seeker is a person, everyone with a story you wouldn’t want to have lived.

Full cast announced for

Andrew Lloyd Webber’s

‘Love Never Dies in Concert’

at Theatre Royal Drury Lane

on 21 & 22 August 2023

The full cast has been announced for Andrew Lloyd Webber’s iconic Love Never Dies which makes its West End return at Theatre Royal Drury Lane on 21 and 22 August 2023.

Taking on the role of Raoul is Matthew Seadon-Young (Death of a Salesman, Company) with Courtney Stapleton (Beauty and the Beast) as Meg and Sally Dexter (Emmerdale, Billy Elliot the Musical) as Madame Giry. Completing the cast are Nic Greenshields as Squelch, Charles Brunton as Gangle, Lucie-Mae Sumneras Fleck, with the ensemble made up of Chloe Campbell, Alex Christian, Courtney George, Aoife Kenny, Alex Pinder and Emily Ann Potter. They will be joining the previously announced Celinde Schoenmaker (Guys and Dolls, The Phantom of the Opera) as Christine Daeé and Broadway’s first African-American Phantom, Norm Lewis, as The Phantom.

Love Never Dies in Concert is directed by Shaun Kerrison with musical supervision by Simon Lee, musical direction by Freddie Tapner, choreography by Joanna Goodwin, sound design by Adam Fisher, lighting design by Tim Deiling, set and costume design by Rebecca Bower and casting by Sarah-Jane Price. The concert will be performed by the London Musical Theatre Orchestra & Chorus, conducted by Freddie Tapner.

‘Love Never Dies in Concert’ is produced by Fourth Wall Live and the London Musical Theatre Orchestra and arranged with the permission of Andrew Lloyd Webber’s Really Useful Group, with a score by Andrew Lloyd Webber, lyrics by Glenn Slater, and a book by Lloyd Webber, Slater, Ben Elton and Frederick Forsyth.

Love Never Dies returns to the story of The Phantom of the Opera 10 years after the Phantom’s disappearance from the Paris Opera House. Escaped to a new life in New York, he has finally found a place for his music to soar. All that is missing is his love – Christine Daaé. In a final bid to win her back, the Phantom lures Christine, her husband, and their young son Gustave to America to perform one final time. As old wounds are reopened and forgotten memories unlocked – The Phantom sets out to prove that, indeed, Love Never Dies. This concert comes as The Phantom of the Operain London’s West End continues to break records at the box office, 36 years after opening at the recently-renamed His Majesty’s Theatre on Haymarket.

Theatre Royal Drury Lane is owned and operated by LW Theatres. The venue reopened in June 2021 following a total, £60m, 2-year restoration

Leeds Grand Theatre – until 1st July 2023

Reviewed by Alex Sykes

5*****

There are few occasions in life where you can go to the theatre in fancy dress and heckle the cast but when seeing Rocky Horror Show it seems almost compulsory. It might have been cold and wet outside but in the theatre it was warm and the people in costume outnumbered those not in costume.

The opening number, Science Fiction/Double Feature is sung by Suzi McAdam, in her role as the Usherette, who deserves a special mention as she also plays Magenta and her quick changes are amazing. Reece Budin is brilliant in his role as the narrator as he receives the most heckles from from the audience but responds to them brilliantly, whether or not these replies are scripted remains unknown but the timings and the responses are spot on, Budin is possibly the best narrator I have seen. 

Sweet and innocent Brad and Janet are played by Richard Meek and Haley Flaherty who have amazing on stage chemistry. The pair also take the heckles well, although at times you could tell Meek was trying not to laugh, especially during the scene with the cocktail shaker. Joe Allen brings both Eddie and Dr. Scott to life but is better in the role as Eddie as Dr. Scott has a strange accent that isn’t the same from one line to the next. Ben Westhead is wonderful in his role of Rocky, using his looks to charm the audience. Stefania Du Toit tap dances her way into the role of Columbia, although the role should be bigger as her talents are not used as well as they should be. Stars of the show though are Stephen Webb and Kristian Lavercombe who play Frank N. Furter and Riff Raff respectively. The pair have a brilliant connection and use each other to work out how to play the scene, and Lavercombe has racked up over 2000 performances as Riff Raff.

All in all a brilliant night out which would make Richard O’Brien proud and will make fans of the Rocky Horror Show keep coming back to do the Time Warp again and again.

Blackpool Grand Theatre – Sunday 02/07/23 at 19:30

“A show where you will be saying “I’m Still Standing” at the end”

From Soul Street Productions Ltd, The Elton John Show is a thrilling new tribute show to hit the UK stages to celebrate over 50 years of the “Rocket Man” himself.

Sir Elton John is the most successful singer-songwriter of his generation selling over 300 million records with “Your Song” being his first big hit. Known as a flamboyant mega-star we can thank him for incredible songs from “Goodbye Yellow Brick Road” to “Tiny Dancer” and many more.

The Elton John Show brings “Young Elton” back to stage at his energetic best and you will disappoint if you miss this performance.

Theatre Royal Haymarket – until 9th September 2023

Reviewed by Ben Jolly

4****

Flying into the Theatre Royal Haymarket this explosive new production of Dario Fo’s classic play fires on all cylinders.

Adapted by Tom Basden, Accidental Death of an Anarchist was first seen in Sheffield and after a sell-out run at the Lyric Hammersmith has transferred to London’s West End. Fo’s original play, billed as a “political farce” is based on the untimely death of Giuseppe Pinelli who died while in police custody for questioning over the 1969 Piazza Fontana bombing. The play made its debut in 1970 and it is a chilling thought to consider that despite over half a century having passed, the issues and themes the play brings up are even more relevant today.

Moments of manic intensity radiate off the stage right from the get-go as we are introduced to our ally and emcee for the evening, The Maniac – the conductor of chaos who ensures that we are entertained and provoked throughout. The Maniac is being questioned by Inspector Burton, where, seizing a brief moment of opportunity, he conjures a plan to escape to the infamous fourth floor of the police station, where the recent death of an anarchist took place. It is here when the farcical elements really take stride as The Maniac begins to unravel the tangled web of lies that have been reported on the moments leading to the death.

Daniel Rigby leads the pack with his commanding performance of The Maniac, a tour de force with heightened energy that is unparalleled to anything we’ve witnessed onstage in a longtime. His range, vocal and physical elasticity while holding the captive audience in the palm of his hand is a wonder to behold. There are, however, times when it is almost too much to handle and I think that the phrase “once is funny, twice is enough” should have been considered by Daniel Raggett who helmed the direction of this production.
This production has many other strong core elements holding it together, a timely and relevant script that comes to life throughout, a fantastic supporting cast with Tony Gardner, Tom Andrews and Mark Hadfield delivering just the right amount of absurdness to compliment The Maniac’s tomfoolery, and a superb set designed by Anna Reid who has created a canvas that enables the chaos to take place within these walls.

The play fully succeeds in what it sets out to accomplish; it entertains with humour and through this, provokes uncomfortable feelings with the message of the rising stats in state related deaths while in police care. It is hilarious, loud, chaotic and messy, – a recipe for a beautiful disaster.

Sonia Friedman Productions presents
LYONESSE
Written by Penelope Skinner
Directed by Ian Rickson

• KRISTIN SCOTT THOMAS AND LILY JAMES STAR IN THE WORLD PREMIERE OF ‘LYONESSE’ BY PENELOPE SKINNER, DIRECTED BY IAN RICKSON.

• THIS GRIPPING AND ATMOSPHERIC NEW PLAY WILL RUN AT THE HAROLD PINTER THEATRE FROM 17 OCTOBER –23 DECEMBER 2023.
   
• TICKETS WILL GO ON SALE AT MIDDAY ON THURSDAY 29 JUNE AT WWW.LYONESSEONSTAGE.COM.

Sonia Friedman Productions (SFP) is delighted to announce that Kristin Scott Thomas (Electra, Darkest Hour) and Lily James (All About Eve, Pam & Tommy) will star in the world premiere of Lyonesse, a searingly funny and passionate new play by Penelope Skinner (The Village Bike, Fresh Meat) directed by Ian Rickson (Jerusalem, Uncle Vanya).  Lyonesse will play a strictly limited season from 17 October – 23 December 2023 at the Harold Pinter Theatre. Tickets go on sale at midday on Thursday 29 June at www.lyonesseonstage.com.

Elaine (Kristin Scott Thomas) a reclusive and talented actress, disappears in mysterious circumstances. 30 years later, she finally feels ready to tell her story – summoning Kate, a young film executive (Lily James), to her remote Cornish home to assist with her glorious comeback.

But who really controls the stories we tell, and how we get to tell them? Will these women own their narrative, or will it be swept away from them at any given moment?

Lyonesse is a powerful story for our times by Penelope Skinner, winner of the George Devine Award for Most Promising Playwright for The Village Bike, and whose other works for stage include Angry Alan, Meek, Linda, The Ruins of Civilisation, Fred’s Diner, Eigengrau and F*cked.  For screen, she was a writer on four seasons of Fresh Meat (Channel 4), wrote the film How I Live Now and, along with her sister Ginny Skinner, has created and written the upcoming TV thriller The Following Events Are Based On A Pack Of Lies (Sister/BBC1).

Kristin Scott Thomas and Lily James join forces for the first time on stage for Lyonesse after appearing together in the Oscar and BAFTA winning film Darkest Hour (Working Title Films/ Universal) and screen adaptation of Daphne De Maurier’s Rebecca (Netflix/ Working Title).  The play also reunites long-time collaborators Ian Rickson and Scott Thomas following their work together on The Seagull (Royal Court/ Broadway – for which Scott Thomas won an Olivier for her performance), Electra (Old Vic) and West End productions of Betrayal and Old Times (both produced by SFP).  This will be Rickson’s twelfth collaboration with SFP including celebrated West End productions such as Jerusalem, Rosmersholm, Walden, The Children’s Hour and The Birthday Party. James last appeared on stage in the SFP production of All About Eve (West End).

Lyonesse will be designed by Georgia Lowe, with lighting by Jessica Hung Han Yun, music by Stephen Warbeck and sound by Tingying Dong.

Penelope Skinner said: ‘I am thrilled to be working with Ian Rickson to bring this story to life, alongside such a remarkable cast and creative team. I’m a huge admirer of both Kristin Scott Thomas and Lily James, and am so grateful for Sonia Friedman’s faith and vision in giving this new play a home in the West End. I was inspired to write Lyonesse after wondering what would happen if the dramatic action of a traditional revenge tragedy was flipped, so that the story instead became about the person upon whom revenge had been sworn. Themes of creativity, purpose, isolation, violence, magic and mothers rushed to join in with this central provocation, and the characters of the story came into being.’

Kristin Scott Thomas said: ‘Working with Ian is one of the great joys of my professional life.  And a new play is such an adventure. Penelope Skinner’s writing had me gripped from the first page. I love the questions the story raises.  Acting with Lily is starting to become a habit. Luckily it’s good for everyone!’ 

Lily James said: ‘I am thrilled to be joining this wonderful company. I have always wanted to work with Ian Rickson. When I received Penelope Skinner’s brilliant play, I read it in one sitting and adored it – I was utterly gripped by these strong, original characters.  To work with Sonia Friedman again is an absolute dream but most importantly, I am so happy to be reunited with my friend, Kristin Scott Thomas.’

BAFTA and Olivier winning actor Kristin Scott Thomas has extensive credits across stage and screen including the films The English Patient (for which she was Academy Award and Golden Globe nominated), Four Weddings and a Funeral (for which she won a BAFTA and Evening Standard British Film Award), Darkest Hour (for which she was nominated for a BAFTA), Nowhere Boy (for which she was BAFTA and BIFA nominated), Il y a longtemps que je t’aime (for which she was Golden Globe, BAFTA and César nominated), A Handful of Dust, Angels and Insects and Partir (for all of which she won Evening Standard British Film Awards and for Partir was also César nominated) and Gosford Park. On television she was nominated for an Emmy for her role in Fleabag and also recently starred in Talking Heads (BBC) and two series of Slow Horses (Apple TV) with the third soon to be released. Her debut feature film as a director, North Star, in which she also stars, will also be released soon. On stage, she won the Olivier for Best Actress for her performance in The Seagull (Royal Court/ Broadway) and was nominated for her roles in Electra (Old Vic), Three Sisters, Betrayal and Old Times (all West End). Other notable stage roles include playing Queen Elizabeth II in The Audience (West End).

Lily James is best known for her roles in films such as Baby Driver, Cinderella, The Dig, Yesterday, Mamma Mia: Here We Go Again, Darkest Hour, What’s Love Got To Do With It and TV dramas including Pam & Tommy (for which she was nominated for a Golden Globe and Emmy Award), War and Peace, Rebecca, The Pursuit of Love and Downton Abbey.  Upcoming films released later this year include Relay, The Iron Claw and Finalmente l’alba.  On stage she most recently appeared in All About Eve (West End).  Other theatre credits include Romeo and Juliet (Kenneth Branagh Season, West End) and Vernon God Little (Young Vic).