Channing Tatum and his co-producers are delighted toannounce a new booking period for Magic Mike Live at The Theatre at the Hippodrome Casino in London. Patrons will be able to book performances through to Sunday 1 January 2023. Tickets for the new booking period are on sale at 12noon today, Thursday 27 January 2022.
The cast for Magic Mike Live in London includes Daniel Blessing, Jake Brewer, Harry Carter, Ellie Clayton, Hannah Cleeve, Matt Jordan, Charlie Knight, Mark Lace, Sophie Linder-Lee, Jack Manley, David Morgan, Theophillus ‘Godson’ Oloyade, Ross Sands, Josie Scamell, Manny Tsakanika and Aaron Witter.
Conceived and co-directed by Channing Tatum, Magic Mike Live, which has already wowed over 250,000 people in London alone and over 1,000,000 worldwide, is a large-scale, live production show based on the hit films Magic Mike and Magic Mike XXL, which opened at The Theatre at the Hippodrome Casino in London’s Leicester Square in November 2018. Magic Mike Live has inspired a new television series on HBO Max, Finding Magic Mike, currently airing in the United States. Magic Mike’s Last Dance, the third installment of the Magic Mike franchise, will be released this autumn.
From the bespoke entrance off Cranbourn Street, to the specially curated lounge and bar experience, to the cast of world-class performers, Magic Mike Live is a complete evening of unparalleled entertainment for guests aged 18 and up. Audience members enter Magic Mike’s mythical club and marvel as a group of extraordinary artists from around the world perform a 360-degree dance and acrobatic spectacular in front of, behind, and above them. Sexy dance routines intertwined with one-of-a-kind acts, are presented by a diverse cast of performers from around the world.
Magic Mike Live in London is co-directed by Channing Tatum and Alison Faulk, with Luke Broadlick as associate director, and choreography by Alison Faulk, Teresa Espinosa and Luke Broadlick.The Executive Producer is Vincent Marini with General Management by Crossroads Live. The production designer is Rachel O’Toole, with scenic design by Rob Bissinger and Anita LaScala (Arda Studio), costume design by Marina Toybina, lighting design by Philip Gladwell and video design by Luke Halls. Musical supervisor is Jack Rayner, with sound design by Nick Kourtides. Dreya Weber is aerial choreographer & aerial apparatus designer.
Magic Mike Live has become an international sensation since opening in Las Vegas in April 2017. In addition to breaking box office records and performing to sold-out audiences in Las Vegas and London, the show premiered in Berlin in 2020 and the Australia national tour opened in Sydney in December 2020.
Magic Mike Live is produced in London by Channing Tatum, Reid Carolin, Greg Jacobs, Peter Kiernan, Steven Soderbergh, Nick Wechsler and United Talent Agency in association with Warner Bros., Vincent Marini, The Hippodrome Casino, Bruce Robert Harris and Jack W. Batman, TSG Entertainment & Ashley DeSimone, Richard Winkler and The Creative House.
No performances: Sunday 17 April, w/c 11 May, w/c 5 September or w/c 12 September
Christmas 2022/23 Performance Schedule
Monday 19 December No Performance
Tuesday 20 December 7 pm & 10pm
Wednesday 21 December 7 pm & 10pm
Thursday 22 December 7 pm & 10pm
Friday 23 December 7pm & 10pm
Saturday 24 December 4pm
Sunday 25 December No Performance
Monday 26 December No Performance
Tuesday 27 December 7 pm & 10pm
Wednesday 28 December 7 pm & 10pm
Thursday 29 December 7 pm & 10pm
Friday 30 December 7 pm & 10pm
Saturday 31 December 7pm
Sunday 1 January 4pm & 7pm
Covid Safety: Channing and the entire creative team have developed a plan to make sure the show is not only more fun than it’s ever been, but also safe for the cast, crew and the audience. To ensure they are able to provide a comfortable and safe experience for everyone, there are a few things they need ticket holders to do and know ahead of their visit. Please visit the website for more information: www.magicmikelondon.co.uk
Magic Mike Live guests must be at least 18 years to attend – appropriate photo ID will be requested on arrival at the venue – begambleaware.org
Based on the stories of P.L. Travers and the original Walt Disney film, Cameron Mackintosh and Disney are delighted to announce an extension to booking for their Olivier award-winning production of Mary Poppins with tickets now on sale until 10 July 2022 at the Prince Edward Theatre.
The cast comprises Zizi Strallen as Mary Poppins and Charlie Stemp as Bert, Charlie Anson as George Banks, Amy Griffiths as Winifred Banks, Petula Clark as Bird Woman, Liz Robertson as Miss Andrew, Claire Machin as Mrs Brill, Jack North as Robertson Ay and Paul F. Monaghan as Admiral Boom and Bank Chairman.
Katie Cox, Rose Dawson, Megan Donovan, Megan Judge,Shayla McCormack and Maddison Thew currently alternate the role of Jane Banks with Logan Clark, George Hamblin, Charlie Murphy, Gabriel Payne, Noah Swer-Fox and Frankie Treadaway alternating the role ofMichael Banks.
The ensemble comprises Yves Adang,Angeline Bell, Lydia Boulton, Alison Connell, Adam Davidson, Danielle Delys, Joseph Dockree, Charlie Donnelly, Stan Doughty, Glen Facey, Davide Fienauri, Harry Francis, Lyndsey Gardiner, Ian Gareth-Jones, Maria Garrett, Mark Goldthorp, Jacqueline Hughes, Emma Hunter, Jason Kajdi, Sam Lathwood, Jordan Livesey,Tania Mathurin, Laura Medforth, Alex Pinder, Ben Redfern, Clare Rickard, Lucie-Mae Sumner, Scott Waugh and Monique Young.
The magical story of the world’s favourite Nanny arriving on Cherry Tree Lane has been triumphantly and spectacularly brought to the stage with dazzling choreography, incredible effects and unforgettable songs. The stage version of Mary Poppins, brilliantly adapted from the wonderful stories by PL Travers and the original beloved Walt Disney film, continues to be a smash hit around the world since its opening in London 17 years ago.
Zizi Strallen’s previous theatre credits include Strictly Ballroom The Musical at the Piccadilly Theatre, Follies at the National Theatre, Mary Poppins on tour in the UK, Ireland and in Dubai, Matthew Bourne’s The Car Man and Cinderella at Sadler’s Wells and on tour, Cats and Scrooge at the London Palladium, Hairspray and Chicago at Leicester Curve, Merrily We Roll Along at the Harold Pinter Theatre, Rock of Ages at the Shaftesbury Theatre and The Music Man for Chichester Festival Theatre. Her film credits include Cats and Cinderella.
Award-winning Charlie Stemp was previously seen in his critically-acclaimed performance as Arthur Kipps in Half a Sixpence at the Nöel Coward Theatre, a role he first performed at Chichester; and in his Broadway debut as Barnaby Tucker opposite Bette Midler and Bernadette Peters in Hello, Dolly!. At the London Palladium, he has starred in Dick Whittington, Snow White, and Pantoland at the Palladium; as well as in Lloyd George Knew My Father in Windsor, the UK tour of Rough Crossing, the international tour of Mamma Mia! and Wicked at the Apollo Victoria.
Petula Clark became a star in the UK at nine years old singingfor the troops stationed in England during World War II. Many years later she moved to France and soon became a European star recording in English, French, Italian, German and Spanish. While still living in Paris, English songwriter Tony Hatch presented her with his new composition, Downtown, which became a worldwide hit and led to a string of top ten records, winning her two Grammy awards and making her an international star. She later met with Charlie Chaplin who penned one of her further major hits This Is My Song. She has performed in her own TV shows in the UK, the US and France and has starred in the iconic films Finian’s Rainbow with Fred Astaire and Goodbye Mr. Chips with Peter O’Toole. Her recent releases are A Valentine’s Day Concert at the Royal Albert Hall, Starting All Over Again and New Flag as well as the Mary Poppins Cast Album. She has been seen on stage in West End and on Broadway, as well as in a triumphant US tour. During her extensive career spanning eight decades she sold over 70 million records. Clark was made a Commander of the Order of the British Empire in 1998 and was installed as a Commander of the Ordre des Arts et des Lettres in France in 2012.
Charlie Anson’s theatre credits include A Room with a View and Portrait of a Lady both at the Theatre Royal Bath, American Psycho at the Almeida, Arcadia at the Manchester Library Theatre and the Lowry, Pains of Youth at the Belgrade Theatre, The Triumph of Love at the Manchester Royal Exchange and Richard II at the Old Vic. His television credits include The Long Call, Goldie’s Oldies, Get Even, The Mallorca Files, The Rook, London Kills, Riviera, Collateral, Reg, X Company, Downton Abbey, Peaky Blinders, Doctor Who, Any Human Heart and The Borgias. His film credits include Death on the Nile, Misbehaviour, The Little Stranger, Pride & Prejudice & Zombies and Tarzan.
Amy Griffiths’ theatre credits include The Twilight Zone at the Almeida, Once in a Lifetime at the Young Vic, Chitty Chitty Bang Bang for West Yorkshire Playhouse, Everyman, An Oak Tree, Medea and The Magistrate for the National Theatre, Stephen Ward at the Aldwych Theatre, The Pajama Game for Chichester Festival Theatre, Crazy for You at the Novello Theatre and Regent’s Park Open Air Theatre, Into the Woods also for Regent’s Park Open Air Theatre and Singin’ in the Rain and The Producers both on UK tour. Her film credits include Nocturnal, The Princess Switch, London Road and Les Misérables. Her television credits include The Accident, Spotless and The Trials of Jimmy Rose.
Liz Robertson is an Olivier Award nominated West End and Broadway star. She made her West End debut in A Little Night Music, directed by Hal Prince, followed by Cameron Mackintosh’s first international hit Side By Side By Sondheim which she subsequently took to Toronto. Robertson was then chosen by Mackintosh to star as Eliza Doolittle in his revival of the iconic musical My Fair Lady, for which she received an Olivier Award nomination for Best Actress in a Musical, and a Variety Club of Great Britain Award. Her other London credits include I Love My Wife, Song and Dance, The Music Man, The Sound of Music and The Phantom of the Opera. She created the role of Madame Giry in the world premiere of Andrew Lloyd Webber’s Love Never Dies, played Velma Von Tussle in the hit musical Hairspray at the Shaftesbury Theatre, and was most recently seen as Cheryl Gillan in Committee at the Donmar Warehouse. In America, Robertson could be seen on Broadway in Dance a Little Closer and Jerome Kern Goes to Hollywood (which she originated at the Donmar Warehouse), and the US Tour of The King and I alongside Rudolph Nureyev. She has also performed at the Kennedy Centre Honors before President and Mrs Reagan. She has made many concert and cabaret appearances on both sides of the Atlantic and has recently be seen guest starring as Frances in two episodes of the US TV series Speechless.
Claire Machin’s theatre credits include Amour at the Charing Cross Theatre, Flowers for Mrs Harris for Chichester Festival Theatre, Titanic for Charing Cross Theatre and on UK tour, Mamma Mia! at the Limassol Pattihio Municipal Theatre, The Girls at the Phoenix Theatre, Made in Dagenham at the Queen’s Theatre, Memphis at the Shaftesbury Theatre, The Pajama Game for Chichester Festival Theatre and the Shaftesbury Theatre, Betty Blue Eyes at the Novello Theatre, Oliver! at the Theatre Royal Drury Lane, Salad Days at the Riverside Studio, First Lady Suite at the Union Theatre, High School Musical at the Churchill Theatre and on UK tour and Les Misérablesat the Palace Theatre. Her television credits include Vanity Fair and film credits include Les Misérables.
Jack North’s previous theatre credits include Guys and Dolls at Theatre Marigny, West Side Story for the BBC Proms, The Country Wife, Gypsy and Barnum for Chichester Festival Theatre, Pinocchio for the National Theatre, Harry Potter and the Cursed Child at the Palace Theatre, Sweeney Todd for English National Opera, Peter Pan in Concert at the Adelphi Theatre, Bernstein Prom for the BBC, Kings of Broadway at the Palace Theatre, Kiss Me Kate at the Royal Albert Hall, 42nd Street at the London Palladium and The Lion, the Witch and the Wardrobe at Kensington Gardens. His television credits include Chasing Shadows and the BBC Proms and on film, Breathe.
Paul F Monaghan’s theatre credits include The Bridges of Madison County for the Menier Chocolate Factory, Man of La Mancha at the London Coliseum, La Cage Aux Folles on UK tour, Cats at the London Palladium and on international tour, A Man of No Importance at the Union/Arts Theatre, Fame on tour in Ireland, Les Misérables at the Palace Theatre, on UK tour and 10th Anniversary Concert, Sweeney Todd at NCH Dublin, The Phantom of the Opera at the Opera House Manchester, Playhouse Theatre Edinburgh and 25th Anniversary Concert, Jesus Christ Superstar at the Olympia Theatre Dublin, Cameron Mackintosh: A Tribute for the Summer Proms RTE and Les Misérables in Concert on tour. His television credits include The Late Late Show and Make Mine Music and on film, Les Misérables and Mary Queen of Scots.
Mary Poppins was the winner of Best Musical Revival at the 2020 Whatsonstage Awards and Best Set Design and Best Theatre Choreographer awards at the 2020 Olivier Awards.
The original music and lyrics by Richard M. Sherman and Robert B. Sherman include the classic songs Jolly Holiday, Step in Time, Feed the Birds and Supercalifragilisticexpialidocious. New songs and additional music are by the Olivier award-winning British team of George Stiles and Anthony Drewe.
Book is by Academy Award®-winning screenwriter and Downton Abbey creator, Julian Fellowes and this production is co-created by Cameron Mackintosh. The producer for Disney Theatrical Productions is Thomas Schumacher. This production of Mary Poppins has orchestrations by William David Brohn with dance and vocal arrangements by George Stiles. Sound design is by Paul Gatehouse and lighting is by Hugh Vanstone and Natasha Katz. Co-choreography is by Stephen Mear. The reimagined set and costume designs are by Bob Crowley. Co-direction and choreography is by Matthew Bourne and direction by Richard Eyre.
The stage production of Mary Poppins originally opened in the West End in December 2004, running for over 1,250 performances. During this time, the production won two Olivier Awards and an Evening Standard Award. Subsequently the Tony Award®-winning Broadway production ran for over six years.
Not even a slight technical hitch could taint this tale as old as time, and what a magical tale it was. For me, this was Disney theatricals at its best and I’m sure all the yellow dressed little girls in the audience around me agreed.
Where to begin with the plaudits? From the voice of Angela Lansbury narrating the opening you knew it was going to be special. Stanley A. Meyer’s scenic design and Natasha Katz’s lighting gave the show life from the beginning. With a bright and beautiful village and a dark and scary forest and castle. Wolves, rain and lightning mean this production has the wow factor before we even begin to mention the cast
I’ve heard great things about Courtney Stapleton’s Belle, but on press night we were treated to Grace Swaby’s Beauty and Alyn Hawke’s Beast. Jim Steinmeyer’s illusion design turning Prince to Beast and Beast back to Prince again being truly magical. Swarby and Hawke possessed great stage presence and Swaby’s triple threat singing, dancing and acting is of the highest standard.
Stealing every scene are the Prince’s staff, once human but now cursed household objects. Cogsworth (on press night Thomas Lee-Kidd), Mrs Potts (Sam Bailey impressively channeling her inner Angela Lansbury), Madam (Samantha Bingley), Babette (Emma Caffrey) and Lumiere (a truly magnificent, over the top Gavin Lee) all helped the romance on its way. Back in the village, Maurice (Martin Ball) tries to get help to rescue Belle but Gaston (Tom Senior and his amazing biceps, that quite frankly deserve a programme listing of their own) mocks him while Le Fou (on press night Liam Buckland) and the villagers stoke his already massive ego.
Alan Menken’s music, Howard Ashman and Tim Rice’s lyrics and the live band lead by Jonathan Gill give a rich sound to Linda Woolverton’s book. The outstanding, show stopping, Be Our Guest not only gives Gavin Lee a chance to completely show off his talents but is a huge showcase for Ann Hould-Ward’s beautiful costumes and Nick Winston’s incredible choreography.
This isn’t just a show, it’s spectacular on an epic scale. Everyone concerned with the show, the superb ensemble, the brilliant band and hardworking back stage and technical crew make this a show not to be missed. In Sunderland until 19 February and then on tour around the UK. Miss and miss out
Please find footage of the cast of Jim Steinman’s BAT OUT OF HELL – The Musical paying tribute to the late Meat Loaf during the curtain call on Friday 21 January. The tour is currently performing at New Wimbledon Theatre until this Saturday 29 January, before moving on to Stockton
BAT OUT OF HELL – The Musical stars Glenn Adamson (American Idiot) as Strat, Martha Kirby (Grease, Rags the Musical) as Raven and the original leading cast members Rob Fowler (Mamma Mia!, Bat Out of Hell) as Falco and Sharon Sexton (Mamma Mia!, Bat Out of Hell) as Sloane.
The UK & Ireland Tour of BAT OUT OF HELL – The Musical has book, music and lyrics by Jim Steinman, direction by Jay Scheib, choreography adapted by Xena Gusthart, with musical supervision and additional arrangements by Michael Reed. BAT OUT OF HELL – The Musical dedicates this tour to the memory of Jim Steinman and Meat Loaf.
A statement from the Yvonne Arnaud Theatre on Guildford Borough Council’s decision to cut funding to the theatre from April.
The Yvonne Arnaud Theatre is deeply disappointed and frustrated to learn that our grant of £310,220 per annum will be cut by Guildford Borough Council to £273k in April this year, with continued cuts over the coming years, reducing the theatre’s funding to £200,000 by 2024/25.
Joanna Read, Director and Chief Executive of the theatre, which is a charity housed in a listed building said: ‘The theatre has just come through the worst period of operation in its history. Thanks to the support of our audiences and the immense efforts of our staff, we are now rebuilding our organisation as pandemic restrictions are lifted. The Covid emergency is not over for the arts and creative industries. The coming year will be extremely difficult for the theatre as live events take time to return to pre-Covid attendance levels. We are projecting a deficit for the theatre in the coming year of £327k; with the Council’s decision this will now increase to £364k. To receive this cut now, this lack of support, at such a critical time, is deeply demoralising.
The Council have pointed to the one-off Cultural Recovery Funds received by the theatre from DCMS (Department for Culture Media and Sport) and Arts Council England as a demonstration of the theatre’s financial health. These were one-off emergency grants used to pay wages and core overheads during the closure periods of the last two years, and losses directly related to Covid. The grants are not ongoing and will not compensate for GBC’s decision last night.
We are very surprised that no mention has been made by the council of the three-year rolling funding agreement the theatre has in place. We had expected any potential cut to be instigated in a manner that might enable us to plan accordingly. To ignore this agreement and unilaterally announce a cut just weeks away from a new financial year is irresponsible.
A recent economic impact study undertaken by the University of Surrey showed the theatre brings an average of 130,000 people into Guildford who directly contribute at least £1. 5 million to the local economy. 87% of the audience would not have come to Guildford if they had not been coming to the theatre. Those people pay for parking, shop before the theatre, and patronise restaurants and bars in town during their visit, supporting the local economy and bringing footfall to the town. To put the theatre’s future existence at risk is not good medium-term economic governance.
The theatre has undertaken many money-saving decisions in the last financial year including moving to volunteer ushers, reviewing core overhead costs, re-tendering contracts to improve value for money and cutting all non-essential expenditure.
In the light of town’s bid to become a city in 2022 it is difficult to see how the council will achieve this ambition if it does not value and invest in the cultural organisations that serve the borough. The theatre improves the health and well-being of Guildford residents, enhances the profile of the borough and brings economic benefits to the town.
We would like to thank those councillors who spoke of the town’s love and value of the theatre, and who understand its immeasurable value to our communities. We look forward to urgent discussions with the council on how to mitigate or amend this unilateral decision.’
The West End hit production of TINA – THE TINA TURNER MUSICAL is currently booking at the Aldwych Theatre to 18 December 2022
This musical reveals a comeback story like no other, of a woman who dared to defy the bounds of racism, sexism and ageism to become the global Queen of Rock n’ Roll. TINA – THE TINA TURNER MUSICAL is a celebration of resilience and an inspiration of triumph over adversity.
Sharing the role of Tina are Aisha Jawando and Chanel Haynes with Jammy Kasongo as Ike and Madeline Appiah as Tina’s mother Zelma, Joe Evans as Record Producer Phil Spector and Lyricist Terry Britten, Irene Myrtle Forrester as Tina’s Grandmother GG, Alice Bailey Johnson as Ike and Tina’s manager Rhonda Graam, Rhianne-Louise McCaulsky as Tina’s sister Alline Bullock, Matt Mills as Tina’s father Richard Bullock, Posi Morakinyo as Tina’s first love Raymond Hill, Garmon Rhys as Tina’s Manager Roger Davies and Joseph Richardson as record company Marketing Manager Erwin Bach.
Ensemble members are Lori Barker and Daniella Bowen,Chris Grahamson who plays Carpenter, Paul Mukembo who plays Tina’s son Craig and Alex Okoampa who plays Tina’s son Ronnie, the Ikettes are played by Samara Casteallo, Mia Musak and Anu Ogunmefun and swings Derek Aidoo, Joshua Da Costa, Livvy Evans, Raquel Jones, DeeArna McLean,Michael Thomas, Saran Webb and Samuel J Weir.
The children’s cast from 26 January 2022 comprises Maiya Eastmond, eleven years old from Lewisham, Zian Desole, twelve years old from Newham and Maya Parks, ten years old from Bromley, who share the role of Young Anna Mae; Chenai Broadbent, ten years old from West Sussex, Amor Querico, eleven years old from Surrey and Tia Roche, eleven years old from Bedfordshire, share the role of Young Alline; Spencer Salami, eight years old from Lambeth, Jhobe Duncan, nine years old from Waltham Forest and Elias Agbodan George, ten years old from Havering share the role of Young Craig.
The critically acclaimed production of TINA – THE TINA TURNER MUSICAL which is based on the life of legendary artist Tina Turner and produced in association with Tina Turner herself, received its world premiere in April 2018 in London and subsequently broke all Box Office records at the Aldwych Theatre. The New York, German, Madrid and Utrecht productions have all now opened.
Having originally played Tina’s sister Alline Bullock, Aisha Jawando, who has been with the company since its world premiere in Spring 2018, and Chanel Haynes share the title role. JammyKasongo, who also was a member of original company and then played the roles of Richard and Raymond, has stepped up to play the role of Ike.
Aisha Jawando’s London theatre credits include the title role in Cinderella at the Hackney Empire, The Life at Southwark Playhouse, Martha Reeves in the original London cast of Motown The Musical at the Shaftesbury Theatre, Beautiful – The Carole King Musical at the Aldwych Theatre, The Book of Mormon at the Prince of Wales Theatre, Fela at the National Theatre, The Lion King at the Lyceum Theatre and Soul Sister at the Savoy Theatre.
Chanel Haynes, who made her London stage debut performing as Tina, was discovered by Quincy Jones while she was still a teenager and went on to become an original member and lead singer of the New Orleans-based group Trin-i-tee 5:7 selling over 2.5 million albums worldwide and earning two Grammy nominations. At the 2008 Grammy Awards, she was part of the line-up with her band Trin-i-tee 5:7, which also included performances from Tina Turner, Beyoncé and Aretha Franklin. She made her musical theatre debut in 2014 at the Zach Theatre in Austin, Texas, where, in 2018, she won the B. Iden Payne Award for Best Leading Actress in a Musical for her role as Billie Holiday in Lady Day at Emerson’s Bar and Grill.
Jammy Kasongo’sother theatre credits include Grand Hotel at the Southwark Playhouse, Beautiful – The Carole King Musical at the Aldwych Theatre and Hair at The Vaults.
Directed by Phyllida Lloyd and written by Katori Hall with Frank Ketelaar and Kees Prins, TINA – THE TINA TURNER MUSICAL is choreographed by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet,sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations by Ethan Popp.
TINA – THE TINA TURNER MUSICAL is produced in the West End by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.
A CAST OF 120 PEOPLE FROM ACROSS THE COUNTRY TO TAKE PART IN RSC’S HENRY VI: REBELLION
Full casting announced for RSC productions of Henry VI: Rebellion and Wars of the Roses.
25 professional actors, including nine recent drama school graduates to perform alongside 95 members of the Royal Shakespeare Community in Henry VI: Rebellion including: 74 adults from Blackpool, Bradford, Canterbury, Cornwall, Norwich and Nottingham, and 21 young performers aged 13-17 from the RSC’s Next Generation Act young acting company
Mark Quartley and RSC Associate Artist, Mariah Gale return as Henry VI and Margaret in both Henry VI: Rebellion and Wars of the Roses.
RSC ringfences nine roles for drama graduatesin 2020 and 2021 following an intensive programme of text and fight workshops, attended by over 100 graduates.
Casting is announced for the Royal Shakespeare Company’s (RSC) forthcoming productions of Henry VI: Rebellion and Wars of the Roses running in the Royal Shakespeare Theatre, Stratford-upon-Avon between Friday 1 April and Saturday 4 June 2022.
This epic journey through The Wars of the Roses tells the vivid and enthralling story of the brutal struggle for the English crown.
As part of the RSC’s commitment to be a theatre company for everyone, Henry VI: Rebellion will include a cast of 120 people, including professional actors, adults from community groups from six English towns and cities, and members of the RSC’s young acting company.
Following their previous collaboration on the King & Country cycle of plays, and having most recently worked together to co-direct the Henry VI Part One: Open Rehearsal Project, directors Gregory Doran and Owen Horsley reunite to continue their journey through the final two parts of the Henry VI trilogy. Henry VI: Rebellion is directed by both Greg and Owen, and Wars of the Roses directed by Owen.
HENRY VI: REBELLION,1 April-28 May 2022 Directed by Gregory Doran and Owen Horsley
Henry VI: Rebellion, a fresh new take on Henry VI: Part Two, hurtles through one of the most turbulent periods in English history, asking the question: can the people ever really decide their own future?
This play has the most characters of any Shakespeare play, and this production will feature, in total, a cast of 120 people. 25 professional actors (who will also appear in Wars of the Roses), including nine recent drama school graduates, will be joined by 95 members of the Royal Shakespeare Community gathered from across England: 74 adults from Blackpool, Bradford, Canterbury, Cornwall, Norwich and Nottingham who are part of the RSC’s Shakespeare Nation community participation programme, and 21 young performers aged 13-17 from the RSC’s Next Generation Act young acting company.
At each performance one of the six regional Shakespeare Nation groups and one of three Next Generation Act groups will perform alongside the professional acting company.
Owen Horsley, director, said: “Out of the 37 plays in the canon Henry VI Part Two – or as we are calling it, Henry VI: Rebellion – has more characters than any other play. There are 85 characters on the cast list, which may explain why these plays are rarely done. One of the reasons for this wide array of characters is a series of scenes that Shakespeare writes concerning the people of England, who in various ways interact with the royal family.
“This gave us an idea! For many years the RSC has built incredible relationships across the UK with partner theatres through Shakespeare Nation and our youth programme, Next Generation Act. After 18 months of developing these links online this production seemed the perfect opportunity to be ambitious. So, for the people of England, we have cast the people of England. This is an extremely exciting project as it allows this history play, written over 400 years ago, to respond directly to the state of the nation – and at points put over 50 people on the RSC stage.
“Another drive that is very close to the heart of the RSC is the training of young actors as they enter the industry. Over the last two years recent graduates have suffered immensely with classes and productions being taken online and/or they have entered an industry on pause. For these productions we met with over 100 graduates from across the country to deliver workshops and fight training, and from this have cast nine graduates into our company of 26 for Henry VI: Rebellion and Wars of the Roses.”
Mark Quartley and Mariah Gale return to the RSC
Following their appearance in the Henry VI Part One Open Rehearsal Project, Mark Quartley and RSC Associate Artist, Mariah Gale will return to play, respectively, Henry VI and Margaret in both Henry VI: Rebellion and Wars of the Roses.
Mark playedAriel in the RSC’s live motion-capture production of The Tempest in 2016, Other RSC credits include Maydays, Measure for Measure and Written on the Heart.
Mariahlast appeared at the RSC playing Wendy in the 2015 production of Wendy and Peter Pan.Other RSC credits include Morte D’Arthur, The Comedy of Errors, As You Like It, Love’s Labour’s Lost, Hamlet, A Midsummer Night’s Dream, Julius Caesar and The Tempest.
The professional cast for Henry VI: Rebellion includes: Oliver Alvin-Wilson (York), Lucy Benjamin (Eleanor, Duchess of Gloucester), Richard Cant (Gloucester/Lord Saye), Daniel J Carver (Clifford/Horner), Angelina Chudi (Hume), Paola Dionisotti (Winchester/Humphrey), Felixe Forde (Bevis), Mariah Gale (Margaret), Ashley D Gayle (Smith), Conor Glean (Dick), Ben Hall (Suffolk), Jack Humphrey (Clerk), Nicholas Karimi (Warwick), Al Maxwell (Bolingbroke/ Holland), Georgia-Mae Myers (Margaret Jourdain), Peter Moreton (Salisbury), Sophia Papadopoulos (Suffolk’s Messenger), Mark Quartley (Henry VI), Aaron Sidwell (Jack Cade), Yasmin Taheri (Neighbour), John Tate (Captain/Stafford), Ibraheem Toure (Whitmore), Emma Tracey (Spirit), Daniel Ward (Buckingham) and Benjamin Westerby (Somerset).
Recent drama school graduates make their RSC debut
Henry VI: Rebellion and Wars of the Roses will feature nine actors who graduated from drama school in 2020 or 2021. The RSC is passionate about encouraging new acting talent to engage with classical work and the Company, and often casts graduating actors in its productions. However the RSC recognised that those leaving in 2020 and 2021 were working in a period like no other, with the pandemic creating particular difficulties for them both during their training and by entering a deeply wounded industry.
Consequently the RSC decided to ringfence nine of the 26 roles in these productions for new graduates. Following the RSC’s casting team’s continual engagement with the work of these students throughout the last two years, over 165 graduates were invited to a series of text and fight workshops. A smaller group then attended one to one auditions, and the nine graduates from 2020/2021 who make their RSC debuts are:
Felixe Forde (Royal Conservatoire of Scotland, 2020), Jack Humphrey (National Youth Theatre 2021), Al Maxwell (Bristol Old Vic Theatre School, 2020), Georgia-Mae Myers (Royal Central School of Speech and Drama 2021), Sophia Papadopoulos (LAMDA, 2021), John Tate (Royal Welsh College of Music and Drama 2020), Ibraheem Toure (East 15, 2021), Emma Tracey (Royal Central School of Speech and Drama, 2020) and Benjamin Westerby (RADA, 2021).
Adults and young people join the Rebellion
74 adults from Blackpool, Bradford, Canterbury, Cornwall, Norwich and Nottingham, will appear alongside the professional cast in Henry VI: Rebellion. They are part of Shakespeare Nation, a community participation programme run by the RSC and its partner theatres, aimed at engaging with people who have little or no experience of Shakespeare, either as a theatre-goer or performer.
Through their involvement in Shakespeare Nation and Henry VI: Rebellion, the hope is that they will develop a passion and enthusiasm for theatre and Shakespeare, and build their confidence and self-esteem. Some of the groups also include local Shakespeare Champions, who will work with the other participants to achieve these aims.
They will play the roles of working people who take part in the rebellion led by the character of Jack Cade against Henry VI, and townsfolk in a scene where Henry VI is out hunting.
Initially they will rehearse in their local theatres – The Grand Theatre Blackpool, The Alhambra Theatre Bradford, The Marlowe Theatre Canterbury, Hall for Cornwall Truro, Norwich Theatre and Theatre Royal & Royal Concert Hall Nottingham – before taking to the Royal Shakespeare Theatre stage from April, with each group appearing in around 4 performances. A list of participants is below.
They will be joined by 21 young people, split into three groups, from the RSC’s young acting company, Next Generation Act. Aged between 13-17 they are drawn from the RSC’s nationwide network of 222 Associate Schools, all with a talent for acting but from backgrounds that might restrict their chances of getting into the profession.
These young actors will play tradespeople and apprentices bringing their complaints to the King and court. They will also take part in the previously mentioned rebellion scene, led by Jack Cade.
The young people come from Barrow-in-Furness, Birmingham, Blackpool, Bradford, Canterbury, County Durham, Hull, Launceston (Cornwall), London, Middlesbrough, Northampton, Nottingham, Stoke-on-Trent and York.
The three groups will take part in different performances during the production’s run. A list of the young people taking part is below.
WARS OF THE ROSES, 11 April to 4 June 2022 Directed by Owen Horsley
Inspired by Henry VI Part Three, director Owen Horsley will present the dramatic conclusion to Shakespeare’s three-part Henry VI saga, Wars of the Roses.
In this thrilling climax to The Wars of the Roses, the tussle for the English crown escalates to the battlefield and the families of Lancaster and York drench their brutal conflict in sweat and blood. As power is shunted back and forth, there is deceit, betrayal and murder at every turn. The scene is set for the final chapter as we get our first glimpse of the villainous Duke of Gloucester – soon to become Richard III.
The cast includes: Oliver Alvin-Wilson (York), Lucy Benjamin (2nd Keeper/ Tutor), Richard Cant (Lieutenant/ King Lewis), Daniel J Carver (Clifford), Angelina Chudi (Lady Bona), Paola Dionisotti (Exeter), Felixe Forde (Richmond) Mariah Gale (Margaret), Ashley D Gayle (Edward), Conor Glean (Young Clifford), Ben Hall (George Clarence), Arthur Hughes (Richard, Duke of Gloucester), Jack Humphrey (Rivers), Nicholas Karimi (Warwick), Al Maxwell (Vernon), Peter Moreton (Salisbury/Father), Georgia-Mae Myers (French Messenger), Sophia Papadopoulos (Prince Edward), Mark Quartley (Henry VI), Aaron Sidwell (The Son), Yasmin Taheri (Elizabeth), John Tate (Hastings), Ibraheem Toure (Mob Leader), Emma Tracey (Rutland), Daniel Ward (Buckingham) and Benjamin Westerby (Somerset).
Henry VI: Rebellion and Wars of the Roseswill feature Set Design by Stephen Brimson Lewis. He will be joined by Costume Designer Hannah Clark. Lighting Designis by Simon Spencer, RSC Associate Artist Paul Englishby returns to compose the music, with Sound Design by Steven Atkinson. Movementby Emily Jane Boyle, with fights by Rachel Bown-Williams & Ruth Cooper-Brown.
SHAKESPEARE NATION PARTICIPANTS PERFORMING IN HENRY VI: REBELLION
BLACKPOOL working with The Grand Theatre, Blackpool
Philip Avenell, Stephen Coughlan, Liz Curran, Stephen Foster, Seamus Graeme, Beccy Hands, Ross Hewitt, Mickey Horrocks, Roger Lloyd Jones, Wendy Stevenson, Martyn Woodcock and Jeananne Young
BRADFORD working with The Alhambra Theatre, Bradford
Rachel Brewin, Angela Buffham-Wheeler, Bradley Cook-Pattison, Kelly Harris, Ben Hopwood, Georgina Jovanovic, Elizabeth Lancaster, Ron Norman, Anthony Priestley, Diana Reed, Qaraman Saidzada and Corin Ward
CANTERBURY working with The Marlowe Theatre, Canterbury
Philip Baston, Debbie Christie, Caroline Clark,Sasha Douglas, Graeme Forbes, Matilda Jovanovic, Mary Onions,Wayne Rhodes,Chrissy Swain,Sarah Thurstan, Harrison Todd andLynne Wright
CORNWALL working with Hall for Cornwall
Darcey Ball, Kate Barden, Simon Bennett, Adam Bowkett, Lily Burton, Tori Cannell, Lucie Dowling, Jonathan Groves, Guy Hanson, Emily Harrison, Kate Maciver-Redwood and Rosie Maciver-Redwood
Richard Jarmy Photography – @richardjarmy
NORWICH working with Norwich Theatre
Saint Ananda, Ed Cairns, Georgia Dimopoulou, David Fung, Etta Geras, Olli Gillo, Gina Irving, Mark Markham, Julian Newton, Aamer Raza, Helen Simpson, Katie Smith, Helen Wells and Jaime Willimott
NOTTINGHAM working with Theatre Royal and Royal Concert Hall Nottingham
Neil Brocklehurst, Julieanne Ford, Gavin Gordon, Anne Jennings, Yasmin Khan, Sally Maddison, Kathryn McAuley, John Merchant, Paul Robinson, Penny Shields, Diana Sule and Becky Valentine
NEXT GENERATION ACT PARTICIPANTS PERFORMING IN HENRY VI: REBELLION
Aaliya (15, Birmingham), Bailey (13, Blackpool), Callum (16, Stoke on Trent), Dee (17, Launceston, Cornwall), Emerode (14, Bradford), Harli (16, Nottingham), Olly (16, Launceston, Cornwall), Oscar (15, Birmingham),
Adam (14, Bradford), Lily (14, York), Jerminah (17, County Durham), Kay (17 Hull), Kingston (13, Barrow-in-Furness), Paige (16, Middlesbrough), Scout (17, Bradford)
THE PLAY THAT GOES WRONG IS BACK ON TOUR! CRASHING INTO THEATRES NATIONWIDE FROM 20 APRIL 2022
The Play That Goes Wrong, the Olivier Award-winning box office hit that continues to entertain audiences on a global scale, will return to its touring roots and embark on its fifth UK tour this spring. The production will open at Theatre Royal Bath on 20 April before visiting Mold, Southend, Leicester, Birmingham, Liverpool, Manchester, Newcastle, Plymouth, Bristol, Sheffield, Hull, Milton Keynes and Dartford, with further dates to be announced.
Awarded the 2014 WhatsOnStage Award for Best New Comedy, the 2015 Olivier Award for Best New Comedy and a Tony Award for the Broadway transfer, The Play That Goes Wrong is now booking into its ninth year in the West End and continues to delight audiences around the world. The show’s success is a testament to the hard work and determination of a group of drama school graduates who became friends, set up a company under the name ‘Mischief’ and created an extraordinary body of work. The Play That Goes Wrong shows no signs of slowing down since its first performance at a London fringe venue with only four paying customers. Since then, it has played to an audience of over two million and now has productions in over 30 countries.
The play features the (fictional) Cornley Drama Society who are putting on a 1920s murder mystery, but as the title suggests, everything that can go wrong… does! As the accident prone thesps battle against all the odds to reach their final curtain call, hilarious results ensue!
Mischief’s other West End successes include Magic Goes Wrong, Groan Ups, Peter Pan Goes Wrong, Mischief Movie Night and A Comedy About A Bank Robbery.Magic Goes Wrong and Groan Ups are also currently touring the UK. The second series of their award-winning television comedy, The Goes Wrong Show, launched on BBC One in September 2021. The five-part series was broadcast weekly and is currently available on BBC iPlayer. The company is owned and controlled by its original members and is led by a creative group and its directors Henry Lewis and Jonathan Sayer.
The Play That Goes Wrong is co-written by Mischief company members Henry Lewis, Jonathan Sayer and Henry Shields. The tour is directed by Sean Turner, originally directed by Mark Bell, with set designs by Nigel Hook, costumes by Roberto Surace, lighting by Ric Mountjoy and sound design by Andy Johnson. Casting for the 2022 UK tour is yet to be announced. The Play That Goes Wrong is produced by Kenny Wax Ltd and Stage Presence Ltd.
Royal Concert Hall Nottingham – until Wednesday 26 January 2022
Reviewed by Amarjeet Singh
5*****
Sat in the beautiful Concert Hall Nottingham, we knew we were in for a treat. The room was alive with the hum of people excitedly taking their seats and the enchanting sounds of the orchestra warming up, We were set to watch The Russian State Ballet of Siberia accompanied by the Russian State Ballet Orchestra who were bringing us the beauty of Prokofiev’s Cinderella.
Larger than life, conductor Anatoliy Chepurnoy, encouraged the audience to clap and cheer as the ballet began, setting the tone, letting us know that this interpretation of the well-known fairy tale would be a bit different, upbeat and have elements of humour. We were not disappointed.
The choreography, by Sergei Bobrov, along with the sumptuous costumes and digital screen scenery was a feast for the eyes. Staying true to traditional ballet, it also added elements of contemporary dance, movement and flow to bring it up to date and make the production relatable to all ages. There was not a moment when my eyes were not pulled in all directions, trying to take it all in, accompanied by the stirring and moving music.
The Prince and Cinderella, Natalia Bobrova and Georgii Bolsunovskii had us mesmerised with seamless sequences, solos and duets, they didn’t seem to break a sweat. Effortless, skilful and stunning, they kept us enthralled. The Stepmum and Stepsisters, played by Maksim Ikonostasov, Yaroslava Bolsunovskaya and Anastasiia Osokina brought oodles of humour which balanced perfectly with the romance of the lovers.
However, and quite unusually, it was the ensemble who stole the show for me, in particular the Timekeepers, who, dressed in red and black, warn us of the impending time constraints which are integral to the story. Waving hand movements, exaggerated stompy steps and bringing an air of panic, accompanied by pounding percussion, they are a joy to behold.
Cinderella was simply gorgeous. The Russian State Ballet of Siberia and The Russian State Ballet Orchestra know how to bring the house down. I would urge you to go see this and allow yourself to become immersed in this flawless fairy tale
Belgrade Theatre presents the world premiere of Fighting Irish this spring
As Coventry UK City of Culture 2021 enters its final four months, the Belgrade Theatre is thrilled to be producing the world premiere of Fighting Irish. The new drama based on a true story from Coventry writer Jamie McGough runs in B2 from Sat 2 – Sat 16 April.
Co-Directed by the Belgrade’s Creative Director, Corey Campbell, and former Artistic Director, Hamish Glen – who stepped down in December 2021 following an 18-year tenure – Fighting Irish will see the flexible B2 auditorium presented in-the-round for the first time ever.
Set in Dublin in 1979, Fighting Irish follows Jarlath McGough, Coventry’s newest light-heavyweight champion, as he returns to Ireland to defend his title. Prejudice, corrupt officials and warring factions in Ireland mean that Jarlath faces more than one fearsome challenger to his crown. The remarkable fight for identity pushes the McGough family unity to the brink.
The debut play from Coventry writer Jamie McGough, FightingIrish tells the true story of McGough’s own family, inspired by his family’s retellings of the historic events.
Writer Jamie McGough said: “I was lucky to have the story of Fighting Irish in my family and I wanted to pay tribute to them while contributing to Coventry’s City of Culture programme. I’m very grateful that the Belgrade have seen the potential in my story – I think we’re making something people can be very excited by.”
Co-Director Corey Campbell said: “I’m very excited to be working on Fighting Irish with Jamie, a local writer with a bright future ahead of him. My personal mission is to put local stories on stage and create a dynamic space for those stories and the local community. I’m also excited to learn what I can from Hamish in our handover show. He’s got a lot of experience and welcomed me into this organisation almost five years ago. I’m very grateful, very passionate about the work and very excited to make it happen.”
Co-Director Hamish Glen said: “I’m very excited about my last production for the Belgrade, and having always believed that theatres are local places, I’m delighted to be part of Fighting Irish. Throughout my time at the Theatre, I’ve been looking for a local piece of work to engage with the Irish community in the city.
“It will be a real pleasure to work with Corey. The show cries out for a strong, expressive, physical production – all the hallmarks of Corey‘s work. I am proud to be contributing to the Belgrade’s City of Culture programme with a new, local play by a first-time writer, telling an extraordinary true story.”
