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DIGITAL THEATRE PARTNERS WITH ORIGINAL THEATRE FOR LIVE INTERACTIVE EVENT

“THE HOUND OF THE BASKERVILLES – A DIGITAL THEATRE EXPERIENCE”

7^th May 2022 from 7.15pm

www.digitaltheatre.com/the-hound-of-the-baskervilles

Digital Theatre is delighted to announce a one off interactive live event with a streaming of Original Theatre’s critically acclaimed comedy ‘The Hound of the Baskervilles’, combined with live studio interactive hosting by BBC Radio 4 comedian Pippa Evans and guests.

Original Theatre’s hit show was co-produced with The Octagon Theatre, Bolton and was recorded at Belgrade Theatre Coventry in February of this year and sees Sir Arthur Conan Doyle’s most celebrated adventure brilliantly farcically overhauled in Lotte Wakeham’s acclaimed production, directed on tour by Tim Jackson.

World-renowned detective Sherlock Holmes and his colleague Dr Watson are asked to unravel the mystery surrounding the untimely death of Sir Charles Baskerville. With rumours of a cursed giant hound loose on the loose moors, they must act fast in order to save the Baskerville family’s last remaining heir. This ingenious adaptation combines an exhilarating collision of farce, theatrical invention and wonderfully comic performances to offer a brand-new twist on the greatest detective story of all time.

In an innovative new approach – combining live streaming with pre-filmed content, the Digital Theatre version of the show will feature unique wraparound content with pre-show and interval entertainment in the form of hi-jinx with Mischief Theatre actor Niall Ransome (who plays Dr Watson in the production), a riotous “Baskerville Bingo” and a post-show Q&A – all with live interactive hosting by Showstoppers’ Olivier Award-winning comedian Pippa Evans. 

The show stars Jake Ferretti (The Kitchen, The Curious Incident of the Dog in the Night Time, The Understudy) as Sherlock Holmes , Serena Manteghi (Welcome To Iran, To Build a Rocket, Mrs Wilson) as Sir Henry and Niall Ransome (Mischief Movie Night, The Comedy About A Bank Robbery, Fcuk’d) as Dr. Watson.

No strangers to impressive digital streaming, Original Theatre have been called “truly the connoisseurs of virtual theatre” by WhatsOnStage and were recent winners at the Critics’ Circle Theatre Awards. The Wall Street Journal called ‘The Habit of Art’ “One of the most impressive theatre webcasts” and The Telegraph called ‘Birdsong Online’ “the best online play of lockdown”.

Now “The Hound of the Baskervilles – A Digital Theatre Experience” will be broadcast on 7^th May 2022 from 7.15pm.

The event will then also be available On-Demand on Digital Theatre’s Events platform for two weeks.

www.digitaltheatre.com/the-hound-of-the-baskervilles

Mayflower Theatre Southampton – until 7th May 2022

Reviewed by Emma Barnes, Sally Lumley and Lorna Hancock

4****

If you are looking for an upbeat, energetic feel good show Footloose at the Mayflower doesn’t disappoint. Kick off your Sunday shoes and prepare to be entertained. The musical is based on the true story of a God-fearing American town in Oklahoma that had banned public dancing. The Footloose story begins when Ren McCormack,  a school boy from Chicago, moves to Bomont with his mother after his father abandons them.  With the help of the Reverend’s daughter Ren convinces the town to allow the teenagers to dance,  and inadvertently assists the towns people to heal some old wounds.

The story line is true to the 1984 film with Joshua Hawkins skilfully filling Kevin Bacon’s dancing shoes in the role of Ren McCormack. His cheeky boy charm and boundless energy captured the feeling of being a rebellious teenager with a point to prove.

Jake Quickenden was characterful and charming as Willard Hewitt, firstly bringing coyness that turned into charisma as the character developed.  The bromance between Willard and Ren was fun, natural and very enjoyable to watch.   The highlight though has got to be the all too brief showcase in Kylie-esque golden hot pants.

Lucy Munden makes her professional debut as the Reverend’s daughter Ariel Moore, and delivered a stand out performance that was vocally and visually on point,  authentic and captured just the right amount of teenage turmoil combined with girl power.  The Bonnie Tyler hit ‘Holding Out for a Hero’ led by Lucy was without a doubt the show stopping number of the night , bringing back memories of some of the 80’s best power ballads.  

Well done to Ben Barrow for covering Darren Day’s usual role of Rev. Shaw Moore.

A particular high point is the end of the first act, with the whole cast joining a brilliantly choreographed PE sequence including skipping, slow motion boxing and take your breath away dance moves, leaving me exhausted in my chair.  

The multi-talented cast in this show, don’t just sing, dance and act – they also play instruments on stage throughout. This helps brings the music to the forefront, and adds an extra dynamic to the performance.

By the end of the show every member of the audience was up and dancing, a great night out that we highly recommend.

NEW DIORAMA THEATRE & UNDERBELLY ANNOUNCE RECIPIENTS OF 2022 UNTAPPED AWARDS

The four winners of New Diorama and Underbelly’s 2022 Untapped Award, supported by Methuen Drama, can today (Wed 4 May) be revealed. All four productions will be playing at Underbelly Cowgate as part of Edinburgh Fringe 04 – 28 August.

The recipients of the award are:

Blanket Ban: Chalk Line Theatre blend physical, verbatim and multimedia theatre with cabaret-style direct address and to tell the harrowing story of Malta’s total ban on abortion based on the testimonies of those affected.

Propelled by three years of interviews with anonymous contributors and their own lived experience, actors and activists Marta and Davinia interrogate Malta’s restrictions on the freedom of women.

Big Belly, Underbelly Cowgate, 17:00

Caligari: Off West End Award-winning Chewboy Productions present a stylish new adaptation of cult classic German expressionist horror film ‘The Cabinet of Dr. Caligari’ with five actor-musicians telling the story from the point of view of the victims.

Embracing the long shadows and broad brushstrokes of German expressionism, Caligari exposes parallels between post-war Weimar Germany and the UK today; an ever-widening class divide, the subconscious invitation for a tyrant to seize power, and an unwillingness to rebel against deranged authority. 

Big Belly, Underbelly Cowgate, 18:30

Good Grief: Ugly Bucket’s outrageous techno-clown-funeral uses real-life testimonies about death and mourning to create a hilarious and moving gut-punch of a physical performance.

Multi award-winning physical comedy company Ugly Bucket process the death of a friend the only way they know how: a kinetic maelstrom of outrageous clowning and personal testimony, with a thumping techno soundtrack.

Iron Belly, Underbelly Cowgate, 15:40

This is not a show about Hong Kong: Max Percy + Friends’ visually stunning dance-theatre spectacle is not about Hong Kong, its people, democracy, or human rights.

And it most certainly is not about the effects of censorship brought by the National Security Bill, nor is it about the loss of freedom in the Special Administrative Region. This is just a show about that deep, sinking, helpless feeling that we can’t quite put into words.

Big Belly, Underbelly Cowgate, 14:00

David Byrne, Artistic Director of New Diorama Theatre said:

“After two years away, we had a record number of applicants for the 2022 Untapped Award. Competition was fierce, and our national selection panel did an expert job of helping us shortlist from the wealth of strong applications.

The final four shows are as varied and diverse as the Fringe itself – with some of the UK’s best new companies tackling big topics from democracy to reproductive rights, authoritarianism to death itself. It’s going to be a truly legendary year for the award. See you there.”

Ed Bartlam and Charlie Wood, Directors of Underbelly said:

“Underbelly is delighted to once again be supporting the Untapped award alongside New Diorama and Methuen Drama. New work plays such a crucial part in the Fringe landscape, we can’t wait to showcase these four challenging, intriguing and bold pieces at this year’s festival.”

About The Untapped Award

The Untapped Award entitles each recipient company to:

Ø  A £5,000 cash grant provided by Underbelly and New Diorama

Ø  A prime venue and time slot at Underbelly for this year’s Edinburgh Fringe

Ø  An enhanced deal from Underbelly, excluding venue deposits

Ø  Free rehearsal space at NDT Broadgate

Ø  Paid for Marketing and PR support, featuring design by acclaimed graphic artist Guy J Sanders

Ø  The option to have their production published by Methuen Drama including a separate commission fee

Ø  Fully-funded captioned performances at the Festival and support for other more accessible performance formats

Ø  Support, guidance and advice from a team with extensive experience of the Edinburgh Festivals

The Untapped Award is aimed at early-mid career companies looking to take outstanding, highly original work to the Edinburgh Festival Fringe and has been run by Underbelly and New Diorama Theatre since 2018.

Previous winners include:

Breach Theatre’s Fringe First and Stage Award-winning historical drama about artist Artemisia Gentileschi, It’s True It’s True It’s True, which went on to tour nationally and internationally, was performed at the Barbican and was filmed for broadcast by the BBC.

Nouveau Riche’s Stage Award-winning Queens of Sheba which toured extensively and went on to enjoy four sold-out runs at Soho Theatre. The company’s latest show For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy has just extended its critically acclaimed run at the Royal Court Theatre.

Other winners include ThisEgg’s dressed which won a Fringe First award and went on to tour nationally, and BurntLemon’s Tokyo Rose, which after touring extensively enjoyed a successful run at the Southwark Playhouse.

TROUPE ANNOUNCES THE WORLD PREMIÈRE

OF A NEW ADAPTATION OF

CHRISTOPHER ISHERWOOD’S A SINGLE MAN

AT PARK THEATRE

Troupe today announces the world première of a new adaptation of Christopher Isherwood’s A Single Man by Simon Reade. Directed by Philip Wilson, the production opens in Park200 at Park Theatre on 21 October, with previews from 19 October, and runs until 26 November.

Troupe

in association with Park Theatre presents

the world première of a new adaptation of

A SINGLE MAN

Based on the Book by Christopher Isherwood

Adapted by Simon Reade

19 October – 26 November 2022

Park Theatre (Park200)

Directed by Philip Wilson; Designed by Caitlin Abbott;

Sound Design and Original Compositionby Beth Duke

“I make myself remember. I am afraid of forgetting. I will have to forget if I want to go on living”.

California, 1962. College professor George is grieving the death of his long-term partner Jim. As a middle-aged gay Englishman living in the Los Angeles suburbs, he is an outsider in every way. Haunted by his past and unable to move forward, we follow him on one very ordinary day. But for George, this is going to be a day like no other…

A Single Man features in the Guardian’s 100 Best Novels Written in English, where it is described as “a work of compressed brilliance”. Known to many through Tom Ford’s film, Christopher Isherwood’s masterpiece is now given a wry and compassionate retelling in Simon Reade’s new adaptation for the stage.

Powerful and sexy, A Single Man is a darkly amusing study of grief, love and loneliness from the celebrated writer of Goodbye to Berlin, the inspiration for Cabaret. 

Christopher Isherwood (1904-1986) was among the most celebrated writers of his generation. He left Cambridge without graduating, worked as a tutor and a secretary, briefly studied medicine and then published his first novels, All the Conspirators and The Memorial. Between 1929 and 1939, he lived mainly abroad, including four years in Berlin, which inspired his novels Mr. Norris Changes Trains and Goodbye to Berlin, on which the musical Cabaret is based.  He also wrote four plays and a travel book with the poet W. H. Auden. In 1939, Isherwood moved to America, where he settled in Hollywood, became a Hindu and wrote for the film studios. He took US citizenship in 1946. In America, he wrote five more novels, including Prater Violet, Down There on a Visit and A Single Man, and kept prodigious diaries. He collaborated with his spiritual teacher Swami Prabhavananda on a translation of the Bhagavad Gita and produced another travel book and a biography of the Indian mystic Ramakrishna. In the late 1960s, he turned to autobiography; in Kathleen and Frank, Christopher and His Kind and My Guru and His Disciple, Isherwood openly articulated the gay identity he had only implied in his fiction. Amongst his last work is October, one month of his diary with drawings by his partner from 1953 onward, American painter Don Bachardy.

Simon Reade’s work for theatre includes Private Peaceful (Garrick Theatre, Nottingham Playhouse, Hamburg Kammerspiele, 59E59 Theaters and TBG Theater, New York City and UK tour), David Copperfield (Barn Theatre, Cirencester), An Elephant in the Garden (Poonamallee Productions), A Pure Woman (Dorchester Arts), Sherlock Holmes: The Final Curtain, A Room With a View, Moon Tiger (Theatre Royal Bath and UK tours), Bliss/Mutluluk (Arcola Theatre), Pride and Prejudice (Sheffield Theatres, Open Air Theatre, Regent’s Park, Guthrie Theater, Minneapolis, Theatre Royal Bath and UK tour), Twist of Gold (Polka Theatre), Strindberg’s Apartment (New Diorama Theatre), Toro! Toro! (Salisbury Playhouse), Midnight’s Children (Royal Shakespeare Company and Theater Trier), The Scarecrow and His Servant (Southwark Playhouse), Not the End of the World, The Mozart Question, Aladdin and the Enchanted Lamp, The Owl Who Was Afraid of the Dark (Bristol Old Vic), Alice’s Adventures in Wonderland (TMA Award, Bristol Old Vic and Polka Theatre), Epitaph for the Official Secrets Act (Royal Shakespeare Company), and Tales from Ovid (Royal Shakespeare Company and The Young Vic). Film and television includes Journey’s End, Private Peaceful and What You Will. Books include Dear Mr. Shakespeare: Letters to a Jobbing Playwright and Cheek by Jowl. He was previously Literary Manager at the Gate Theatre and the Royal Shakespeare Company, Artistic Director at Bristol Old Vic, Producer at Theatre Royal Bath Productions and Filter Theatre and Development Producer at BBC Television, Tiger Aspect Productions and Stolen Picture.

Director Philip Wilson’s work in theatre includesStarcrossed (Wilton’s Music Hall), The Boy with the Bee Jar (Hope Theatre), Perfect Nonsense,After the Dance (Theatre by the Lake), The Star, The Norman Conquests, Noises Off, Doctor Faustus, The Astonished Heart, Still Life (Liverpool Playhouse), As You Like It (Storyhouse, Chester), Beacons (Park Theatre), his own adaptations of Philip Pullman’s Grimm Tales (Oxo Tower Bargehouse and Shoreditch Town Hall), The Three Lions (St. James Theatre and UK tour), How Many Miles to Babylon? (Lyric Theatre, Belfast), Toro! Toro! (UK tour), Twist of Gold(Polka Theatre),Sixty-Six Books (Bush Theatre and Westminster Abbey), The Importance of Being Earnest, Travesties (Birmingham Rep), If Love Were All, In Praise of Love (Minerva Theatre, Chichester), The Found Man (Traverse Theatre, Edinburgh), Un Uomo Trovato (Teatro della Limonaia, Florence), Ain’t Misbehavin’ (Sheffield Theatres) and Breaking The Code (Northampton Theatre Royal). He was Artistic Director of Salisbury Playhouse from 2007-2011 where he directed The Game of Love and Chance, The Constant Wife, The Picture, Private Lives, Arsenic and Old Lace, The Winslow Boy, his own adaptation of J. L. Carr’s A Month in the Country, What the Butler Saw, People at Sea, Alphabetical Order and Corpse!; and directed and designed Blackbird, Faith Healer and Toro! Toro! – TMA Award nomination.

Troupe’s latest production was The Sweet Science of Bruising by Joy Wilkinson at Southwark Playhouse, which transferred to Wilton’s Music Hall, and was nominated for an Off West End Award for Best New Play. Other recent work includes Rasheeda Speaking by Joel Drake Johnson at Trafalgar Studios, which starred Tanya Moodie, Elizabeth Berrington, Sheila Reid and Bo Poraj and was nominated for five Off West End Awards, including Best Production. Other productions at Southwark Playhouse include the centenary year revival of Dear Brutus by J. M. Barrie and The Cardinal by James Shirley, which starred Stephen Boxer and Natalie Simpson for which she won the Ian Charleson Award. It was supported by an inaugural MGCfutures Bursary Award. Troupe’s previous rediscoveries at the Finborough Theatre – Rodney Ackland’s After October, Robert Bolt’s Flowering Cherry and R. C. Sherriff’s The White Carnation, which transferred to Jermyn Street Theatre – have been nominated for a total of five Off West End Awards.

www.troupetheatre.co.uk

PARK THEATRE

Park Theatre presents exceptional theatre in the heart of Finsbury Park, boasting two world-class performance spaces: Park200 for predominantly larger scale productions by established talent, and Park90, a flexible studio space, for emerging artists. In nine years, it has enjoyed eight West End transfers (including Daytona starring Maureen Lipman, The Boys in the Band starring Mark Gatiss, Pressure starring David Haig and The Life I Lead starring Miles Jupp), two National Theatre transfers, twenty-five national tours, six Olivier Award nominations, has won multiple OffWestEnd Offie Awards and won a Theatre of the Year award from The Stage. Park Theatre are grateful to all those who have donated to the Park Life fund, supporting the venue through the pandemic.

A Single Man

Listings

Park Theatre, Park 200

Clifton Terrace, Finsbury Park, London N4 3JP

Nearest Tube:Finsbury Park

Wednesday 19 October – Saturday 26 November 2022

Monday to Saturdays at 7.30pm
Thursday and Saturday matinees at 3pm
Audio described Sat 12 Nov 3pm, touch tour 2pm

Box Office: 020 7870 6876*

www.parktheatre.co.uk
*Telephone booking fee:10% per ticket, capped at £2.50

Twitter:

@Troupe_Theatre

@ParkTheatre

#ASingleMan

Instagram:

@troupetheatrecompany

@parktheatrelondon

#asingleman

Facebook:

@TroupeTheatreCompany

@ParkTheatreLondon

Ticket Prices

Previews (19 and 20 October): £18.50

Mon & Tue: £27.50, £22.50, £19.50

Wed, Thu, Sat mat: £29.50, £25, £22.50

Fri & Sat: £32.50, £29.50, £24.50

Concessions available – for further information, please see the website

York Grand Opera House – until Saturday 7th May 2022

Review by Zoe Giles

3***

This Stage production is directed by Loveday Ingram, written by James Dearden and based on the classic paramount film starring Glenn Close alongside Michael Douglas.

The main trio this time are played by Oliver Farnworth of Coronation Street fame and Hollyoaks who takes on the roll of Dan – father, husband and cheat, Susie Amy plays Alex the temptress or is she just vulnerable and lonely? Her work includes Footballers Wives and Hollyoaks. Finally Louise Redknapp originally from the band Eternal this time plays Dan’s wife Beth the homemaker and betrayed woman.

Act one starts with Dan, played by Oliver Farnworth, talking to the audience (something he does throughout the production on several occasions) about how his life has changed since meeting Alex the temptress and how she has set out to destroy him.

The set is basic but extremely clever as it is in part see through so can be used to set a different scene at the same time so for example when they are supposed to be talking to
each other in different buildings – this see through set works extremely well, it also uses visual displays throughout the production to help us identify where we are i.e., trees to
show we are in the park, company names to show we are at work etc. I thought this was a clever and imaginative set design and again only basic props were used but somehow
worked well.

The love scenes were cleverly portrayed, and other than a fleeting glimpse of Oliver’s very peachy bottom we do not see any nudity and nor did we need to we all got the idea of what
was meant to be happening or had happened.

Unfortunately, Dan’s wife Beth played by Louise Redknapp could not always be heard – I’m not sure if this was down to the sound department or her not being able to throw her voice as it were to fill the theatre.

I admire both Susie Amy playing Alex and Oliver Farnworth playing Dan as they both had such long scripts to learn but to be honest on several occasions, I felt the sections were too
long and it became a bit boring in parts.

Several scenes could have and should have carried much more emotion – the famous bunny boiling scene especially could have been re-in acted with much more tension and
build up. Even Beth’s (Louise Redknapps) scream when finding the pot bubbling away was so pathetic and underwhelming.

They moved the production forward from the book and film in terms of time to include mobile phones and mentions to social media etc. which were obviously not readily available back when the film was made. I felt another good change would have been to set it in London as the American accent was somewhat unbelievable and very often unrealistic,
setting the production in London may well have helped?

The whole production for me personally was lacking that special something, the love scenes, fight scenes everything was just lacking that polished, finished, je ne Sais quoi, I left
feeling somewhat disappointed and deflated. I had hoped for more passion, more drama, more something.

World-renowned Amici premiere One World: Wealth
of the Common People for 40th anniversary
Lyric Hammersmith Theatre, Lyric Square, King Street,
London, W6 0QL
Monday 27th June – Saturday 2nd July 2022

The renowned Amici Dance Theatre Company, the world’s first disability-inclusive professional dance company, will celebrate their 40th anniversary with the world premiere of One World: Wealth of the Common People. After delaying the much-anticipated premiere from 2020 due to the pandemic, this pioneering dance-theatre company are bringing together an 80 strong cast of disabled and non-disabled performers. Many of the performers and companies have been invited by Amici from across the globe for a timely exploration of unity and tolerance amidst the ongoing global refugee crises.

Choreographed by acclaimed Wolfgang Stange (Director, Founder and Principal Choreographer at Amici) and devised by the performers themselves, One World is a vital and moving production that looks through the eyes of those who have experienced first-hand what it’s like to be marginalised by difference. This ambitious spectacle masterfully mixes projection, dance, spoken word and live music in an explosive celebration of joy, life, protest and the beauty of uniting people from different cultures across the globe. Amici’s stunning work continues to subvert stereotypes and challenge conventional attitudes to disability and the arts breaking both barriers and new ground. Alongside One World, there will be a programme of performances from the invited companies and artists, as well as workshops and films from Amici’s repertoire

Amici will be inviting guest performers from Sri Lanka, New Zealand, Scotland, Wales and the USA. Welsh dance company Dragon’s Heart & Dragon’s Soul will present two pieces; Casanau Du (Black Kisses), which tells the stories of Welsh coal mining communities; and T4, which tells of the harrowing start of Berlin’s ‘final solution’, when they euthanised people with disabilities, and displays the humanity of the people considered imperfect by the Third Reich. Jolt Dance from New Zealand will present a talk and their work Takiwatanga. Sri Lankan dancer Eluwana Mudiyanselage Pushpasiri will perform and present a talk about being a dancer in Sri Lanka. Scottish company Indepen-dance will show a short film and facilitate a creative movement and exploration workshop. From America, Brio Theatre will present The Real Me, including a monologue by a British actress and a poem performed by an Amici member. Wolfgang Stange and Amici members will run an open workshop for people to learn their innovative methods and practises.

Wolfgang Stange comments, Two years ago I was pushed to make work that raised awareness of the atrocities that are plaguing our planet after the Easter Sunday bombings in Sri Lanka and the current refugee crisis on Europe’s shores. The conflict zones with wars raging in far away places have arrived in Europe and bring the horrific suffering of ordinary people into our living rooms via the TV screens. Like most people I have been deeply affected by the innocent lives that have been lost and the tragic exodus of mothers trying to escape the onslaught protecting their children seeking refuge in foreign countries. It is more important than ever to remind ourselves that in order to change things, we must relive some of those horrors, but we must not lose sight of hope. Without hope we would be very lost indeed. Amici shows that sharing and celebrating each other’s differences is the only way forward.

Amici are a unique integrated-arts company that have, over the years, inspired thousands of people to look at art (and the world) from a new and magical perspective. With a focus on individual talent regardless of ability, they help performers to realise their latent gifts as artists. They run weekly classes for its 40+ members, organise open-workshops, residencies, and student placements and stage performances throughout the year including their biennial full company show, performed in the Lyric Hammersmith Theatre’s Main House, where they are a Lyric Partner Company.

Amici are totally and utterly inspiring (The Guardian)

I count my evenings spent watching the work of Amici among the most rewarding in a year’s dance-viewing. Amici affirms life, creativity and the power of compassion (Clement Crisp, The Financial Times)

Poet Simon Mole and musician Gecko 

announce their Your Words, Your World initiative for young people 

including a 2022 tour for their Poetry Picnic show 

Poet Simon Mole and Musician Gecko are launching Your Words, Your World – a new project supporting young people to express themselves and helping them to understand that their words have the power to shape the world around them. The duo hopes to connect with children and their families by throwing poetic parties at theatres and libraries whilst also continuing to build their creative community online.  

As part of Your Words, Your World, Simon Mole and Gecko’s snack-heavy celebration of music and poetry Poetry Picnic returns this summer after its successful premiere last year. The 2022 tour dates are The Big Bristol Poetry Picnic (4 June, Wardrobe Theatre, Bristol), The Big Spork! Poetry Picnic (5 June, Exeter Phoenix), Sheffield Rivelin Co Poetry Picnic (9 July, The Pavilion, Hillsborough Park, Sheffield), The Big Booktastic Poetry Picnic (10 July, The Place, Bedford) and The Norwich Poetry Picnic (27 July, Norwich Theatre Royal).   

At Poetry Picnic, with fun (and quite silly) games Simon and Gecko build kids’ confidence and skill with words to help them unlock their poetry powers. Audience members will be supported to pen a poem from their picnic blanket and hear some Beatles-meets-the-Beastie-Boys style bangers from the duo themselves. Participants will also have the chance to share the stage and perform their poems with the show’s professional performers for the grand finale. On the day, every child will receive a Your Words, Your World notebook and Simon and Gecko can’t wait to see the wonders with which they will fill them up. Poetry Picnics are ideal for ages 6yrs+. Just remember to BYOB – bring your own biscuits! 

Also, as part of Your Words, Your World, Simon Mole will again partner with leading poetry organisation, Apples and Snakes, to mentor a collective of six up and coming poets, giving them the opportunity to write for – and more importantly WITH – children. Top poets Kate Wakeling and John Hegley will be the guest facilitators. 

Simon Mole is an acclaimed children’s poet, National Poetry Day Ambassador, and sleep deprived dad. He writes books, makes shows, and runs workshops for children and families. The tutorial videos at his YouTube channel are used by hundreds of thousands of children and teachers each year (www.youtube.com/simonmole). Simon runs two live online poetry workshops a month (https://www.simonmole.com/participate).

Gecko is a Singer, Storyteller and Musician. His playful lyrics cover the big things in life; think iPhones, libraries and Guanabana fruit juice to name but a few. Gecko’s previous appearances include Glastonbury, Latitude, BBC Radio 1, Sky Arts, 6 Music and the Edinburgh Festival Fringe. His 2017 debut album Volcano was the Morning Star’s ‘album of the year’. In 2020, Gecko released his second album Climbing Frame crowd funded by his audience in just 48 hours. In 2021 his song Rapunzel went viral on Tik Tok (https://geckoofficial.com). 

Poetry Picnic is created by Simon Mole, Gecko and Peader Kirk. It is produced by Rua Arts and funded by Arts Council England.  https://www.simonmole.com/events 

LISTINGS 

Category: Poetry, Children’s, Family, Outdoor events 

For ages: 6+ 

Running time: 75 mins 

Check with individual venues for COVID-19 guidelines. 

Show: The Big Bristol Poetry Picnic 

Date/Time: 4 June, 11am and 2pm 

Venue: Wardrobe Theatre, The Old Market Assembly, 25 West Street, Old Market, Bristol, BS2 0DF 

Tickets: £9 

Box Office: https://thewardrobetheatre.com/livetheatre/the-big-bristol-poetry-picnic/ 

Show: The Big Spork! Poetry Picnic 

Date/Time: 5 June, 2pm 

Venue: Exeter Phoenix, Gandy Street, Exeter, Devon EX4 3LS 

Tickets: £10* adults | £7* under 18’s 

Box Office: https://exeterphoenix.org.uk/events/the-big-spork-poetry-picnic/ 

Show: The Big Booktastic Poetry Picnic 

Date/Time: Sun 10 July, 1pm 

Venue: The Place, Bradgate Rd, Bedford MK40 3DE 

Tickets: Adult £5 | Child £8 | Family Blanket £28 (2 adults + up to 3 children) 

Box Office: on sale soon 

Show: Sheffield Rivelin Co Poetry Picnic 

Date/Time: Saturday 9 July, 1pm and 3pm 

Venue: The Pavilion, Hillsborough Park, Sheffield S6 4HB 

Tickets: £7 

Box Office:  www.gatheringground.uk. For more info visit www.rivelinco.org 

Show: The Norwich Poetry Picnic 

Date/Time: Wednesday 27 July, 1pm and 3pm 

Venue: Norwich Theatre Royal, Theatre St, Norwich NR2 1RL 

Tickets: Family Blanket £30 

Box Office: https://norwichtheatre.org/whats-on/norwichs-poetry-picnic/ 

BARRY CRYER: A CELEBRATION AT THE LYRIC THEATRE ANNOUNCED

Glittering array of stars gather to remember iconic talent in special one-off show on 13^th June including Stephen Fry, Judi Dench, Bill Bailey, Harry Hill, Maureen Lipman, Barry Humphries and Stewart Lee, plus recorded tributes from the likes of Stephen Merchant, Sandi Toksvig, Emma Thompson & Lee Mack

A special, one-off tribute show to iconic comedy writer Barry Cryer, who died earlier this year, has been announced today. Barry Cryer: A Celebration, which will feature a string of stars, will go on sale on Friday 6^th May, available from nimaxtheatres.com, with all profits going to The Royal Variety Charity, helping performers in need

Join family and friends of the late Barry Cryer in celebrating his unique comic spirit, in a show put together by Barry’s son Bob Cryer. Baz had a gift for making everyone feel welcome and this night of tributes will do the same. He spent his life making people laugh and left behind him a legacy of fun, joy, love, and silliness that this show will celebrate.

Baz regularly told fantastic stories and anecdotes about others – the many brilliant and fascinating people he’d worked with and knew – but as he was loved and admired by so many, now is the perfect time for the great and the good of the comedy world to come together to share some stories about him.

The line-up (subject to change) in alphabetical order includes:

·                     Bill Bailey

·                     Gyles Brandreth

·                     Pauline Daniels

·                     Stephen Fry

·                     Andy Hamilton

·                     Harry Hill

·                     Barry Humphries

·                     Stewart Lee

·                     Maureen Lipman

·                     Ronnie and The Rex

·                     Arthur Smith

·                     Michael Palin

So, let’s celebrate his brilliant and mischievous life and career – come and join us on June 13th to #celebratebaz!

Listings information:

Show name: Barry Cryer: A Celebration
When: 7.30pm, Monday 13^th June 2022
Where: Lyric Theatre, Shaftesbury Avenue, London W1D 7ES
Box office: nimaxtheatres.com / 0330 333 4812
Age rating: 14+

ROYAL SHAKESPEARE COMPANY ANNOUNCES FULL CASTING FOR RICHARD III

FIRST LOOK VIDEO OF ARTHUR HUGHES AS RICHARD III RELEASED & FURTHER CASTING ANNOUNCED

Thursday 23 June – Saturday 8 October 2022

Royal Shakespeare Theatre

https://www.rsc.org.uk/richard-iii

The Royal Shakespeare Company (RSC) has today announced further casting details for its upcoming production of Richard III, which runs from 23 June – 8 October 2022 in the Royal Shakespeare theatre. The production will be directed by Gregory Doran, whose decision to step down as Artistic Director after 35 years with the Company and ten years in post, was announced last month.

Gregory Doran, Director of Richard III said: “It’s a real thrill to be back in the rehearsal room at last working with this fantastic company of actors which includes several familiar faces from current double-bill of Henry VI Rebellion and The Wars of the Roses alongside returning company members from across the years and those making their debut with the RSC this Summer.

Richard III has a quartet of extraordinary women’s roles and I am delighted that we have enticed RSC veteran Claire Benedict back, (having taken a few years out) to play The Duchess of York; Kristy Bushell (The White Devil) to play Queen Elizabeth; Rosie Sheehy (King John) to play Lady Anne, and of course Mariah Gale returning in the role of Queen Margaret.

Richard III completes the bloody cycle of plays covering the War of the Roses, one of the most turbulent periods in English history. It’s the story of Richard, Duke of Gloucester’s unscrupulous climb to power and I’m delighted to be working with Arthur Hughes, whose own particular lived experience’will, I’m sure, bring a new urgent and unexpected perspectiveto the role of Richard.

Past productions of Richard III at the RSC have included many memorable performances of this role, from Ian Holm to Jonathan Slinger and of course, Antony Sher. Nearly 40 years on from his celebrated performance as Shakespeare’s ‘bottled spider’, I’m delighted to be putting disabled talent centre stage in this savage analysis of tyranny and the dangers of letting it go unchecked.”

The RSC has also released new video footage of Arthur Hughes in the title role of Richard following his RSC debut in Wars of the Roses this Spring which was described as a performance of ‘hypnotic, snarling intensity’ (The Telegraph) and as ‘a brilliance of intensifying evil’ (The Observer).

“Arthur Hughes puts down a hell of a marker for his forthcoming Richard III.”

Financial Times, Wars of the Roses

“Arthur Hughes makes a gripping Richard, a charismatic and physically forceful presence”

The Stage, Wars of the Roses

Joining Arthur on stage in the role of Anne is Rosie Sheehy, who last performed at the RSC in 2019, playing the title role in King John, directed by Eleanor Rhode.

Rosie’s other theatre credits include Oleanna (Bath Theatre Royal & The Arts Theatre West End), Anna X (The Vaults), The Wolves (Theatre Royal Stratford East), The Whale (Theatre Royal Bath), Uncle Vanya (Theatre Clwyd/Sheffield Theatres), Escape the Scaffold (Theatre 503), Strife (Chichester Festival Theatre), Bird (Royal Exchange Manchester), The Hairy Ape (The Old Vic) and Chicken (Paines Plough).

Returning to the company following Henry VI: Rebellion and Wars of the Roses are Minnie Gale, Ashley D Gayle and Ben Hall who will reprise their roles as Margaret, Edward and Clarence respectively. Also returning is Conor Glean who will play the role of Murderer having played the roles of Dick and Young Clifford in Rebellion and The Wars of the Roses.

They will be joined by Nicholas Armfield (Richmond) who was last at the RSC playing Clodius/Agrippa in Imperium, a stage adaptation of the Cicero trilogy of novels by Robert Harris adapted by Mike Poulton for the RSC, which premiered in The Swan Theatre in 2017 before transferring to the Gielgud Theatre, London in the Autumn of 2018. Also returning is Micah Balfour (Hastings), who re-joins the company following his role as Don John in Roy Alexander Weise’s afro-futuristic production of Much Ado About Nothing in 2022 and Claire Benedict (Duchess of York), whose previous RSC credits include The Canterbury Tales, Tamburlaine the Great, Antony and Cleopatra, The Odyssey and Eastward Ho. They will be joined by Kirsty Bushell (Elizabeth) who was last seen in the RSC’s 2014 production of The White Devil directed by Maria Aberg and whose recent theatre credits include The Tempest (Jermyn Street Theatre); King Lear (Duke of York’s Theatre); The Cherry Orchard (Royal Exchange/Bristol Old Vic) and Romeo & Juliet (Shakespeare’s Globe).

Making his RSC debut this season this Springis Callum Coates (Brackenbury), whose extensive screen credits include the hit BBC series Life After Life (BBC) and Gentleman Jack, The Crown (Netflix), Outlander (Sony/Starz), Emmerdale (ITV), Eastenders (BBC) and The Witcher (Netflix). Callum’s stage credits include award winning A Very Expensive Poison (Old Vic), A Case of the Frightened Lady (UK Tour), Henry V (Antic Disposition), Fallen Angels (Salisbury Playhouse), Propaganda Swing (Coventry Belgrade/Nottingham Playhouse) and A View from the Bridge (Liverpool Playhouse, E&P).

Also making their debut with the company are Oscar Batterham (Rivers), Sophie Cartman (Keeper), Matthew Duckett (Catesby) Will Edgerton (Tyrell)Olivia Onyehara (Dorset/Citizen 2), Thom Petty (Ratcliffe)and Joeravar Sangha (Murderer).

Completing the cast are Simon Coates (Stanley), Eloise Secker (Mistress Shore/Citizen 1) and Jamie Wilkes (Buckingham). Simon’s previous productions for the RSC include Coriolanus, The Merry Wives Of Windsor, Loveplay, Luminosity, The Taming Of The Shrew and The Comedy Of Errors. Eloise Secker played the roles of Clodia & Fulvia in Imperium. Eloise’s other RSC credits include The Two Noble Kinsmen, The Rover, and The Seven Acts of Mercy. Jamie Wilkes last appeared at the RSC playing the role of Charles, the Dauphin in Gregory Doran and Owen Horsley’s 2021 production of Henry VI: Part One Open Rehearsal Project. Jamie was one of the Two Noble Kinsmen in the RSC’s 2016 production of the same name directed by Blanche McIntyre, and appeared in The Rover in 2016, as well Oppenheimer, and The Shoemaker’s Holiday.

Arthur Hughes is best known for his roles as Ryan McDaniel in supernatural Netflix series The Innocents and as Ruairi Donovan in the hit BBC Radio 4 series The Archers. Most recently, Arthur appeared Jack Thorne’s Channel 4 care-home drama Help with Jodie Comer and Stephen Graham and played the co-lead in the ground-breaking BBC civil-rights drama Then Barbara Met Alan (2022) alongside Ruth Madeley, also directed by Jack Thorne, with script by award-winning actor-turned-writer Genevieve Barr. The film tells the story of two disabled cabaret performers, Alan Holdsworth (Arthur) and Barbara Lisicki (Ruth Madeley) who met at a gig in 1989 and would go on to become the driving force behind DAN – the Direct-Action Network, whose fearless and coordinated protests pushed the campaign for disabled rights into the spotlight.

Arthur’s previous stage credits include La Cage Aux Folles (Park Theatre), Our Town (Regent’s Park Open Air Theatre, London) The Solid Life of Sugar Water (NT/Graeae Theatre Company), Saint Joan (Donmar Warehouse), Vassa (Almeida), Julius Caesar and One Flew Over the Cuckoo’s Nest (Sheffield Crucible).

Richard III is directed by Gregory Doran, whose first production as Artistic Director at the RSC was Richard II (2013) where he was reunited with David Tennant in the title role. The acclaimed production transferred to the Barbican Theatre, London and was the first RSC production to be seen live in cinemas around the world. In 2015, his productions of Henry V (2015), Henry IV Parts I & II embarked on an international tour to Beijing, Shanghai and Hong Kong prior to a month-long residency at New York’s Brooklyn Academy of Music, joined by Richard II. Gregory directed King Lear in 2016 with Antony Sher, a revival of his celebrated puppet Masque Venus and Adonis in 2017 and a ground-breaking production of The Tempest (2016/7) with Simon Russell Beale as Prospero, created with Intel and in association with Imaginarium Studios. 

In 2016 Gregory directed Shakespeare Live! broadcast on the BBC and which marked the 400th anniversary of Shakespeare’s death. Many RSC alumni joined the line-up including Judi Dench, Paapa Essiedu, Ian McKellen, Helen Mirren and David Tennant, alongside the Company’s President HRH The Prince of Wales. The performance was nominated for a 2017 BAFTA for Best Live Event.

In his 2018 production of Troilus and Cressida, he collaborated with virtuoso percussionist Dame Evelyn Glennie in a staging which featured the RSC’s first equally gender-balanced cast in a on the main stage, and the first disabled actor to play a leading Shakespeare role for the Company with deaf actor Charlotte Arrowsmith as Cassandra.

Other productions include the world stage premiere of David Walliams’ The Boy in the Dress in 2019, Death of A Salesman with Antony Sher and Harriet Walter and The Witch of Edmonton with Eileen Atkins in the title role.

Richard III features Set and Costume design by Stephen Brimson Lewis with Lighting by Matt Daw. Music is by Paul Englishby and Sound Design by Claire Windsor. Movement is by Sian Williams with Fights by Rachel Bown-Williams and Ruth Cooper-Brown. The Associate Director is Aaron Parsons.

King’s Theatre, Edinburgh – until Saturday 7th May

Reviewed by Ellen Searle 

5*****

When you buy a ticket to see an Agatha Christie on stage, you know what you want. You want clipped English accents, perfectly crafted early to mid century costumes and stage design, and enough twists and turns to keeps you guessing, but delivered at a pace in keeping with a time of gramophones, antimacassars, and tweed skirts. This Middle Ground Theatre production, adapted for the stage by Leslie Darbon, and designed and directed by Michael Lunney, stars a host of familiar faces of the stage and screen, and it does not disappoint.

In the local newspaper of the charmingly named Chipping Cleghorn, someone has placed a small ad to announce that at 6.30pm that evening, a murder will be committed at Little Paddocks, the home of the warm, refined Letitia Blacklock (Barbara Wilshere). With an extended household of distant family and old friends living in and visiting Little Paddocks, there is a host of potential victims and perpetrators.  But as we know, the most cunning of criminals will be no match for the mighty Miss Marple (Sarah Thomas), who happens upon the action while staying with her nephew at the village Vicarage.  And so the scene is set for a most pleasing evening of entertainment.

While classic Agatha Christies may be the theatrical equivalent of the culinary world’s Sunday roast, the plots retain the power to absorb their audience. Here, we are expertly misdirected so that the big reveal when it comes surprises as much as delights its audience.  The excellent costume and set design is matched by the apparently effortlessly expert acting by the entire cast, and from the very first moment we know we are in the safest of hands.

The writing is just right. It keeps us on track without patronising us, and provides enough humorous moments to avoid becoming too camp, a trap lesser Agatha Christie productions have fallen into. The nods to contemporary issues elevate the script, such as single mother Phillipa Haymes (Emma Fernell) lamenting that despite the progress made for women’s rights, there is still so much to be done. And indeed, on the issue of feminism, it is great to see a production with so many strong and often older female characters.

In an ever faster paced modern world, where we can feel bombarded with images and information through omnipresent screens, to enter the world of this bygone era is to be provided with the most charming of respite.  All in all, this super whodunnit from the undisputed 20th century queen of crime fiction is brought brilliantly to life and oozes with charm, with simple but highly effective staging, superb costumes and stage design, great writing, and the very highest standards of acting throughout. This is an absolute gem of a production.