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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, Fighting Irish 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.”

Freckle Productions and Rose Theatre present

ZOG AND THE FLYING DOCTORS

Based on the book by Julia Donaldson and Axel Scheffler

Cast announced and new images released

Ahead of premiere at Rose Theatre, Kingston in February 2022

and Spring/Summer UK Tour

Zog and his crew are flying back to the stage with a brand-new adventure next month! Based on the bestselling sequel by Julia Donaldson and Axel Scheffler, Zog and the Flying Doctors will premiere at Rose Theatre, Kingston from Thursday 10 to Saturday 19 February 2022 prior to a Spring/Summer UK Tour.

The cast will feature Ben Raymond as Zog, Alex Bloomer as Sir Gadabout, Lois Glenister as Pearl, Sarah Freer as Mermaid/Lion, Danny Hendrix as King/Unicorn, Annie Rose Chapman as Understudy (Rose Theatre and Tour) and Lauson Kenyon as Understudy (Rose Theatre).

Zog, super keen dragon turned air-ambulance, still lands with a crash-bang-thump. With his Flying Doctor crew, Princess Pearl and Sir Gadabout, they tend to a sunburnt mermaid, a unicorn with one too many horns and a lion with the flu. But Pearl’s uncle, the King, has other ideas about whether princesses should be doctors, and she’s soon locked up in the castle in a crown and a silly frilly dress! With a bit of help from her friends, will Pearl prove princesses can be doctors too?

Zog and the Flying Doctors is brought to the stage by Freckle Productions and Rose Theatre. Freckle Productions are pioneers in imaginative storytelling for children and the team behind hits including Stick Man. Rose Theatre is the largest producing theatre in South West London and has established itself as one of the most exciting theatres in the UK.

Zog and the Flying Doctors follows their smash-hit adaptation of Zog and reunites adaptor and director Emma Kilbey with composer and lyricist Joe Stilgoe for this truly modern take on the much-loved story.

Zog is one of the best-loved creations of Julia Donaldson and Axel Scheffler, the UK’s number one picture book pair behind many modern classics including The Gruffalo which has been published in over 100 languages. Together their books have sold over 75 million copies.

First published in 2016, Zog and the Flying Doctors is the smash-hit sequel to Zog. On Christmas Day 2020, Magic Light Pictures premiered an animated film of Zog and the Flying Doctors on BBC One featuring an all-star cast including Sir Lenny Henry and Rob Brydon. Highly acclaimed, it was watched by 4.5 million and many more streamed.

Zog and the Flying Doctors is adapted and directed by Emma Kilbey with songs by Joe Stilgoe, designs by Lucy Bradridge, choreography by Tom Jackson Greaves and lighting design by Aaron J Dootson.

Age suitability: Most suitable for 3+ but all ages welcome
Running Time: Approximately 1 hour with no interval

Freckle Productions:

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Rose Theatre:

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www.ZogLive.com

#ZogLive

LISTINGS

Thursday 10 – Saturday 19 February 2022

ROSE THEATRE, KINGSTON

24 – 26 High Street, Kingston Upon Thames, London, KT1 1HL

Performances: 10.30am, 1pm, 3pm (see website for daily schedule)

Tickets: From £15

Box Office: 020 8174 0090 / www.rosetheatre.org/whats-on/zog-and-the-flying-doctors

UK TOUR

Thursday 24 – Sunday 27 February 2022

Warwick Arts Centre

Box Office: www.warwickartscentre.co.uk / 024 7652 4524

Tuesday 1 – Wednesday 2 March 2022

Chesterfield Pomegranate Theatre

Box Office: 01246 345 222 / www.chesterfieldtheatres.co.uk

Thursday 3 – Sunday 6 March 2022          

Northern Stage, Newcastle

Box Office: 0191 230 5151 / www.northernstage.co.uk

Tuesday 8 – Wednesday 9 March 2022

The Place, Telford

Box Office: 01952 382 382 / www.theplacetelford.com

Friday 11 – Sunday 13 March 2022

New Theatre, Peterborough

Box Office: www.newtheatre-peterborough.com / 01733 852 992

Monday 14 -Tuesday 15 March 2022

New Theatre Royal, Lincoln

Box Office: www.newtheatreroyallincoln.co.uk / 01522 519 999

Friday 18 – Sunday 20 March 2022

The Capitol Horsham

Box Office: www.thecapitolhorsham.com / 01403 750220

Thursday 24 – Saturday 26 March 2022

Churchill Theatre, Bromley

Box Office: www.churchilltheatre.co.uk / 020 3285 6000

Thursday 31 March – Friday 1 April 2022

Leeds Playhouse

Box Office: www.leedsplayhouse.org.uk / 0113 213 7700

Saturday 2 – Sunday 3 April 2022

Lawrence Batley Theatre, Huddersfield

Box Office: www.thelbt.org / 01484 430528

Wednesday 6 – Thursday 7 April 2022

The Orchard Theatre, Dartford

Box Office: www.orchardtheatre.co.uk / 01322 220 000

Friday 8 – Sunday 10 April 2022

Southbank Centre, London

Box Office: www.southbankcentre.co.uk

Monday 11 – Tuesday 12 April 2022

St David’s Hall, Cardiff

Box Office: www.stdavidshallcardiff.co.uk

Saturday 16 – Sunday 17 April 2022

Worthing Pavilion Theatre

Box Office: www.wtm.uk / 01903 206 206 

Tuesday 19 – Sunday 24 April 2022

Bristol Old Vic

Box Office: www.bristololdvic.org.uk / 0117 987 7877

Tuesday 26 – Wednesday 27 April 2022

The Forum, Barrow-In-Furness

Box Office: www.theforumbarrow.co.uk / 01229 820000 

Friday 29 April – Sunday 1 May 2022

Gaiety Theatre, Isle of Man

Box Office: www.villagaiety.com / 01624 600555

Wednesday 11 – Thursday 23 May 2022

Derby Theatre

Box Office: www.derbytheatre.co.uk / 01332 59 39 39

Saturday 14 – Sunday 15 May 2022

Harrogate Theatre

Box Office: www.harrogatetheatre.co.uk / 01423 502 116

Wednesday 25 – Thursday 26 May 2022

Theatre Severn, Shrewsbury

Box Office: www.theatresevern.co.uk / 01743 281 281

Saturday 28 – Sunday 29 May 2022

The Lowry, Salford

Box Office: www.thelowry.com / 0343 208 6000

Tuesday 31 May – Wednesday 1 June 2022

St George’s Hall, Bradford

Box Office: www.bradford-theatres.co.uk / 01274 432000

Thursday 2 – Saturday 4 June 2022

Liverpool Playhouse

Box Office: www.everymanplayhouse.com / 0151 709 4776

Saturday 11 – Sunday 12 June 2022

Mercury Theatre, Colchester

Box Office: www.mercurytheatre.co.uk / 01206 573948

Friday 17 – Sunday 19 June 2022

Gala Theatre, Durham

Box Office: www.galadurham.co.uk / 03000 266 600

Wednesday 22 – Thursday 23 June 2022

Hull City Hall

Box Office: www.hulltheatres.co.uk / 01482 300 306 

Friday 24 – Saturday 25 June 2022

York Theatre Royal

Box Office: 01904 623568 / www.yorktheatreroyal.co.uk

Tuesday 28 – Wednesday 29 June 2022

The Gulbenkian, Canterbury

Box Office: www.thegulbenkian.co.uk / 01227 769075

Friday 1 – Sunday 3 June 2022

Exeter Northcott Theatre

Box Office: 01392 726363 / www.exeternorthcott.co.uk

Wednesday 6 – Friday 8 July 2022

Whitehall Theatre, Dundee

Box Office: www.dundeebox.co.uk

Sunday 9 – Wednesday 13 July 2022

King’s Theatre, Edinburgh

Box Office: www.capitaltheatres.com / 0131 529 6000

Friday 15 – Sunday 17 July 2022

Wycombe Swan Theatre, High Wycombe

Box Office: 01494 512 000 / www.wycombeswan.co.uk

Tuesday 19 – Thursday 21 July 2022

Princess Alexandra Auditorium, Stockton-on-Tees

Box Office: 01642 792587 / www.thepaaonline.org

Friday 22 – Sunday 24 July 2022

Darlington Hippodrome

Box Office: 01325 405405 www.darlingtonhippodrome.co.uk

Friday 29 – Sunday 31 July 2022

Sheffield City Hall

Box Office: www.sheffieldcityhall.co.uk / 0114 2 789 789

Tuesday 2 – Thursday 4 August 2022

Venue Cymru, Llandudno

Box Office: www.venuecymru.co.uk / 01492 872000

Friday 5 – Saturday 6 August 2022

Swansea Grand Theatre

Box Office: www.swanseagrand.co.uk / 01792 475715

Tuesday 16 – Wednesday 17 August 2022

De La Warr Pavilion, Bexhill

Box Office: www.dlwp.com

Friday 19 – Sunday 21 August 2022

Oxford Playhouse

Box Office: www.oxfordplayhouse.com / 01865 305305

Tuesday 23 – Sunday 28 August 2022

Birmingham Town Hall

Box Office: www.bmusic.co.uk / 0121 289 6333

The Alexandra, Birmingham – until 29th January 2022

Reviewed by Joanne Hodge

5* * * * *

“Murder, greed, corruption, exploitation, adultery and treachery … all those things we hold near and dear to our hearts.” And so begins Chicago, a tale of life in 1920’s USA where prohibition had been introduced, and as a result, a criminal underworld had developed in the Illinois city, with mobsters having the public’s guardians in their pockets. I guess you can see why audiences in 2022 can relate!

Considering this is one of the longest running musicals in history, it is timeless. John Lee Beatty’s simplistic set is dramatically changed by just the repositioning of a chair, with the mood heightened by Ken Billington’s use of lighting. Alongside the almost uniformly classically black costumes, we find a story woven with scandal, sensuality and a sequin or two.

Our protagonist, the fame-hungry femme-fatale Roxie Hart [Faye Brooks] shoots her lover, Fred Caseley [Joel Benjamin] and as result of a failed attempt at getting her affable husband Amos [played with perfect humility and hilarity by Joel Montague] to take the blame, she ends up in the Cook County Jail under the watchful eye of Matron ‘Mama’ Morton [Sinitta Malone].

Roxie immediately jars with another of her murderess cellmates, Velma Kelly [Djalenga Scott], whose thunder she has stolen both with the attention of the Chicago press, and the charming, yet ruthless lawyer, Billy Flynn [Darren Day].

Those unfamiliar with Chicago may at first be confused with what is reality, and what is fantasy, but it really doesn’t matter. Every lyric and line carries the story to its conclusion, with the added bonus of the orchestra being part of the set throughout. Even interacting with the cast to make a formidable ensemble.

Ann Reinking’s adaptation of Bob Fosse’s original choreography is outstanding. If only people appreciated how hard a cast have to work in order to move seamlessly together with such small, iconic motions! It really is astounding.

I have to say for me, despite some of the more well-known names on stage, the outstanding contributor was without a doubt Djalenga Scott’s Velma. She’s got it all, the voice, the body, the face … and all that jazz!

15th January live, recording available online

A Bit Lit launched their new events and courses with this wonderful webinar about early modern theatre. Hosted by Andy Kesson and Jimmy Tucker, there was a very well-balanced mixture of academic research, performance and chat about life in 1600 – with, of course, Shakespeare himself (Ralph Bogard) turning up to compere.

The organisers ensured that the event was accessible, with BSL interpretation, onscreen captions and audio description available. The academics presenting did so with a welcoming and friendly atmosphere that meant viewers were more than willing to contribute to the online chat.

A charming and slightly batty opening section where Simon Russell Beale and Emma Smith imagined themselves on a theatre date in 1600 – Simon’s reaction to Emma wondering whether missing the first 10 minutes of the play would be that bad is priceless! – sets the tone for the event. Sarah Dustagheer, B.K. Adams and Elizabeth Tavares then discuss the impact of the acting companies setting up permanent playhouses on the area, the differences having a permanent base made to the companies themselves, and what sort of people would have attended the theatres. These brief but engaging talks are fantastic taster sessions to inspire and interest future learning.

Vox pops with Mark Hadfield, Katy Stephens and Michelle Tiwo giving authentic accounts from neighbours of misbehaving actors, continental visitors and god-fearing Londoners convinced that the theatre was the work of the devil are a delight, alongside a very dramatic Shakespearean weather forecast from Bea Webster (thunder is bad) and a weird and wonderful traffic report from Emma Frankland – the M25 isn’t really that bad, at least there aren’t bears!

Callan Davies and Heather Knight explored the Curtain playhouse virtually, with Heather explaining how her archaeological findings changed the way we viewed early modern theatres. Holly Dugan took us on a smell tour of early modern London – to make it immersive, a list of objects to have at hand is supplied – and the associations we have with various smells in modern times and 1600 was explored in a thought-provoking but thoroughly enjoyable way.

Audience votes decided how we got to the curtain and where to sit before director Stephen Purcell asked us to choose what sort of play the actors would improvise, along with the protagonist and title. The world premiere of the early modern tragicomedy “A Parliament of Bees” starring Small Ability was then screened, with further suggestions from the audience being adopted as the plot unfolded. Monica Gaga, Francesca Reid and Lisa Ronaghan delivered a political comedy (there was obviously wine and nibbles in the council meetings), with a ghost, unrequited love, murder, witches, bees and even some dodgy rhyming couplets that was ridiculous fun and a joyful way to end the stimulating event.

As an introduction to future events, A Day Out at Shakespeare’s Theatre is a brilliant beginning. The inclusivity, friendliness, enthusiasm and love for early modern theatre shines through and would encourage anyone to sign up for new courses and events.

A recording of A Day Out at Shakespeare’s Theatre is available for £15 by contacting ABitLitContact@gmail.com

For those interested in learning more about Shakespearean theatre, you can also join A Bit Lit for a 4-week course, How to Make an Elizabethan Theatre. Find out more and book your tickets here: https://www.eventbrite.com/e/how-to-make-an-elizabethan-theatre-tickets-198132237857.

Casting announced for Agatha, a new
production fusing original music, spoken
word and personal experience
The Pleasance, Carpenters Mews, North Road, London N7 9EF
Tuesday 1st – Saturday 5th March 2022

Casting has been announced for Agatha, a bold new production based on real life events that combines spoken word, original music and dialogue to bring personal experience to the stage. West End theatre, film and TV star Olivia Carruthers (Life, BBC; Life After George, Duchess Theatre; Four Weddings and a Funeral, MGM TV) will play Agatha alongside Suzanna Hamilton (Nineteen Eighty-Four, Virgin Films; EastEnders, BBC; The Strike, BBC) as Rose, and awardwinning writer and actor Gemma Barnett (Goggles, ThisEgg; A Hundred Words for Snow, Trafalgar Studios; Dr Korczak’s Example, Leeds Playhouse) as Jo. Agatha will be directed by Martha Geelan (The Shark is Broken, Ambassadors Theatre; Fiddler on the Roof, The Playhouse Theatre; Indecent, Menier Chocolate Factory). Originally programmed as part of VAULT Festival 2022, where Gemma Barnett was part of the inaugural Vault Five, Agatha has been rehomed to Pleasance Downstairs this Spring.

Jo has a decision to make. Stuck in the car, she needs someone to tell her what to do; what she wants; why she’s here. Agatha is dead and living her dream life running a blues bar in the afterlife. Set across three generations of women in the same family, this moving production portrays the spikiness of mother-daughter relationships and the most intense love that can be intertwined amongst the thorns.

Based on real life events, Agatha tells an intergenerational story of women battling lost dreams, coping mechanisms and each other. Writer and performer Gemma Barnett draws on her own family relationships with incredible honesty to present this production.

First written as spoken poetry, Agatha developed for the stage as Barnett reflected on the awkwardness and discomfort surrounding women’s desires, dreams and truths. This was further driven by heated debates on abortion laws in America, seeing protesters at BPAS clinics harrass women and the death of a Polish woman from sepsis 22 weeks into pregnancy. Following research with the charity Alliance for Choice, this production pulls together different issues, including the continued misogyny in medicine, with Gemma’s own family memories.

Agatha is not a show that debates the ethics of abortion. It is a nuanced representation of what happens to three generations of women when one has been denied the choice. Composer Katy Hustwick (This Beautiful Future, Jermyn St Theatre; HOLE, Jermyn St Theatre) cleverly fuses music with spoken word and dialogue to underscore the beat of Agatha, while Lucy Adams (Ordinary Miracle, National Youth Theatre; dressed., ThisEgg; Art Heist, Underbelly/New Diorama) also brings her talents as Lighting Designer

Director Martha Geelan comments, What strikes me most about this extraordinary piece that Gemma has written, is how deeply it speaks to the complexities of female identity. The trauma, love and expectation that women pass down through generations – it shapes who we are and what we feel we are supposed to want. How do we know how we are making the right decisions? Who do we base our choices on? How do we learn to be the best versions of ourselves?

Agatha is a resonating reflection of familial relationships and the impact of inherited trauma, bitterness, pride and awe.

BETHANY COOPER PRODUCTIONS ANNOUNCES

THE WORLD PREMIÈRE OF

KATIE REDFORD’S TAPPED AT THEATRE503

Bethany Cooper Productions today announces its inaugural production is the world première of Katie Redford’s debut play Tapped, in a co-production with Theatre503. Directed by Piers Black, the production opens at Theatre503 on 12 April, with previews from 5 April, and runs until 23 April 2022.

Katie Redford, said today, “The first short play I ever wrote was on at Theatre503, so to have my debut professional play there is really exciting. Tapped is a play about eating too many Club biscuits, never getting round to fixing the shower and reminiscing about the days of SMTV Live. But fundamentally, it’s also about feeling stuck and fiercely longing for human connection. Even if we do share different opinions on which is the best Club biscuit. (The green one. Always the green one.)”

Bethany Cooper Productions and Theatre503 present

The world première of

TAPPED

By Katie Redford

Directed by Piers Black

Theatre503

5 – 23 April 2022

Ever wanted more from life? These three have.

Tapped is a heart-warming comedy that explores the importance of acceptance, fulfilment and (lack of) hope. In Stapleford, Nottingham, aka Stabbo, we meet Gavi, Jen and Dawn at an amateur self-help group who all share one commonality; they’re desperate for escapism.

A play about fears, hopes, having big dreams in small places and how the idea of change is far easier said than done.

Katie Redford is a writer and performer. She’s a BAFTA Rocliffe TV Comedy Winner and was also part of the BBC Comedy Writersroom. Her short film Ghosted starring Alison Steadman, which she co-wrote, produced and performed in, was supported by BFI Network in association with Film Hub Midlands. Her debut drama Yellow Lips recently aired on BBC Radio 4, which she also plays the lead in. As an actor her television credits include Alma’s Not Normal, Still Open All Hours and Mount Pleasant.

Piers Black is a director, writer and dramaturg. He is Artistic Director of Ransack Theatre, was previously Resident Director at the Almeida Theatre, and trained on the National Theatre Directors’ Course where he went on to be a Staff Director. 

Supported by Arts Council England, The Gane Trust and Unity Theatre Trust.

TAPPED

LISTINGS

Theatre503

503 Battersea Park Road, London, SW11 3BW

Box Office: www.theatre503.com/ 020 7978 7040

5 – 23 April 2022

Writers Night: Tuesday 5 April at 7.30pm

Parent & Baby performance: Wednesday 20 April at 12pm

Relaxed Performance: Wednesday 20 April at 7.30pm

Captioned Performance: Wednesday 20 April at 7.30pm

Tickets:

£5 – £18 (£12 concessions)

£10 previews

Saturday matinee performances are Pay What You Choose

Five £5 tickets are on offer for every show after previews

Age guidance: 14+

MERCURY THEATRE ANNOUNCES

FULL CAST FOR MARK RAVENHILL’S BLACKMAIL

Mercury Theatre today announces full cast for Mark Ravenhill’s Blackmail, a new version of the classic thriller originally written by Charles Bennett. Anthony Banks directs Gabriel Akuwudike (Harold Webber), Jessie Hills (Alice Jarvis), Patrick Walshe McBride (Ian Tracy), and Lucy Speed (Ada Jarvis). The production, produced in association with Simon Friend Entertainment opens on 9 March, with previews from 4 March, and runs until 19 March.

Originally produced in the West End in 1928, Blackmail then became a pioneering early sound film directed by Alfred Hitchcock in 1929. Bennett subsequently worked with Hitchcock on the screen adaptation of The 39 Steps before a long career in Hollywood as a screenwriter. With the blessing of Bennett’s son, Mark Ravenhill has adapted this play for it to premiere on the Mercury stage

Ryan McBryde, Creative Director of Mercury Theatre, said today “We’ve been working with producer Simon Friend on this adaptation for the Mercury for over a year and I’m so looking forward to seeing this classy thriller finally come alive on stage. Mark Ravenhill’s adaptation of Blackmail elevates a classic 1920’s thriller to something that powerfully resonates with contemporary audiences. Direction by Anthony Banks completes the recipe for an edge-of-the seat evening that audiences will be talking about long after they’ve left the building.”

Mark Ravenhill commented “Charles Bennett constantly revised and rewrote his play Blackmail throughout his life. It was one of the first plays he wrote as a young actor in the early 1920s. He revised it before and after the 1928 West End production and participated in Hitchcock’s 1929 film reworking. He was working on a new version for a potential Hollywood film shortly before his death in 1995. I’ve had the great good fortune of being given access by his estate to the various manuscripts. Working from these, I’ve created a new version of Blackmail for a contemporary audience. The plot is all Bennett’s, about half the dialogue is mine. My aim has been to make the joins ‘invisible’, to imagine as best I can what Bennett would do if he had another go at shaping the play for a production in 2022”.

Lucy Speed added “I knew from reading the first scene of Blackmail that I had to play it. It’s the kind of joyful genius that you cannot let pass you by. The script immediately thrilled and enthralled me. Delicious dialogue and visceral characters drive the forever twisting plot. The searingly relevant themes resonate today, several ringing so loudly in my ear: the mother-daughter relationship; the challenges of youth; the desperation of losing vitality and control that ageing throws at us; the timing politically that threw the world into emotional frenzy. It bounces gleefully along, moments of playfulness and superb reflection of self.”   

Mercury Theatre

in association with Simon Friend Entertainment presents

Charles Bennett’s

BLACKMAIL

A new version by Mark Ravenhill

Director: Anthony Banks; Set and Costume Designer: David Woodhead;

Lighting Designer: Howard Hudson; Sound Designers: Ben Ringham and Max Ringham;                   Fight Director: Alison de Burgh; Casting Director: Helena Palmer;

Assistant Director: Michael Cottrell; Choreographer: Arielle Smith

4 – 19 March 2022

Who has murdered a famous artist in his Chelsea studio? Who removed a vital clue from the scene of the crime?

Blackmailer Ian Tracy thinks he knows the answers, and that shop worker Alice and her policeman fiancé Harold are the perfect victims. Alice’s fearsome mother Ada is determined to find out the truth. A long night of secrets and lies awaits them all – and before morning comes, one of them will be dead.

Charles Bennett (1899-1995) was a British playwright and screenwriter. His playwriting credits include The Return, The Last Hour, The Danger Line and After Midnight. For screenwriting, his credits include Mannequin and Matinee Idol; and as co-writer, Gay Love, The Man Who Knew Too Much, The 39 Steps, Secret Agent, Sabotage, Young and Innocent, Foreign Correspondent, Kind Lady, Night of the Demon, The City Under the Sea, The House of Trent Hawley’s of High Street, The Secret of the Loch, Number, Please, Deadlock and Two Way Street.

Mark Ravenhill’s playwriting credits include The Cane (Royal Court Theatre), Galileo, The Boy in The Dress (RSC), The Cut (Donmar Warehouse), Pool No Water (Frantic Assembly/Lyric Hammersmith), Mother Clap’s Mollyhouse, Citizenship (National Theatre), Faust Is Dead, Handbag (UK tours), Some Explicit Polaroids (Out of Joint/Ambassadors Theatre) and Shopping and F*cking (Royal Court Theatre/West End/UK and international tour). His work in musical theatre includes the lyrics for a song cycle for Marc Almond, Ten Plagues (Traverse Theatre), a new English version of Monteverdi’s The Coronation of Poppea (King’s Head Theatre) and libretto for Elysium (Norwegian National Opera). He was recently appointed Artistic Director of the King’s Head Theatre, sharing the role with Hannah Price.

Gabriel Akuwudike plays Harold Webber. His theatre credits include Either (Hampstead Theatre), Time is Love (Finborough Theatre), Dealing with Clair (Orange Tree Theatre), A Gym Thing (Small Things Theatre) and Troilus and Cressida (Shakespeare’s Globe). His television credits include Hanna, War of the Worlds, Ridley Road, Cursed, Brexit: The Uncivil War and Informer. His film credits include The Beautiful Game and 1917.

Jessie Hills plays Alice Jarvis. Her theatre credits include The Judas Kiss (Brooklyn Academy of Music/Ed Mirvish Theatre, Toronto). For television, her credits include Eastenders, The Feed and Call the Midwife; and for film My First and Vodka Diaries.

Patrick Walshe McBride plays Ian Tracy. His theatre credits include Great Expectations (West Yorkshire Playhouse), The Winter’s Tale (Sheffield Crucible), Harold and Maude (Charing Cross Theatre), Present Laughter (Theatre Royal Bath and UK tour) and Almost Maine (Park Theatre). His television credits include Shakespeare & Hathaway: Private Investigators as series regular Sebastian Brudenell, Dracula, Pixies, Giri/Haji, Lake of Death and Lewis.

Lucy Speed plays Ada Jarvis. Her theatre credits include Be My Baby (Soho Theatre), Vagina Monologues (Wyndham’s Theatre), Soap (Royal Theatre, Northampton) and Girls’ Night (UK tour). Her television credits include Eastenders as series regular Natalie Evans, Jericho, The Bill as series regular DC Stevie Moss, Love Soup, Lewis, Cradle to Grave, Marcella, After Life, Liar, Unforgotten, Dodgem, Rides, National Treasure and Jamie Johnson.

Anthony Banks directs. His theatre credits include My Cousin Rachel (Theatre Royal Bath), The Girl on the Train (Duke of York’s Theatre/UK tour), Games for Lovers (The Vaults), Hogarth’s Progress (Rose Theatre Kingston), Dial M for Murder, Strangers on a Train, Gaslight, DNA (UK tours), Twilight Song (Park Theatre), After Miss Julie (Theatre Royal Bath/UK tour), Raz (Trafalgar Studios/Assembly Edinburgh/UK tour), Cesario, More Light, The Eternal Not, Prince Of Denmark (National Theatre), Pignight (Menier Chocolate Factory), The Experiment (Soho Theatre/Berliner Ensemble), Herding Cats (Theatre Royal Bath/Hampstead Theatre/Digital transatlantic production/Soho Theatre), Bassett (Bristol Old Vic), ReWrite (Westminster Hall/National Theatre) and The Hotel Plays (Grange and Langham Hotels, London). He was also Associate Director at the National Theatre 2004 – 2014 where he commissioned and developed a hundred new plays for NT Connections.

Mercury Theatre

Listings

Balkerne Gate, Colchester CO1 1PT

Box Office:

www.mercurytheatre.co.uk / 01206 573948

SEASON AT A GLANCE:  

BLACKMAIL

4 – 19 March 2022

Touch Tour: 17 March at 1pm

Audio Described: 17 March at 2.30pm

Captioned Performance: 18 March at 7.30pm

THE BONE SPARROW

29 March – 2 April 2022

THE BONE SPARROW – UK TOUR

York Theatre Royal 25 February – 5 March 2022

Theatre Royal Bury St Edmunds 8 – 12 March 2022

Derby Theatre 15 – 19 March 2022

Belgrade Theatre Coventry 22- 26 March 2022

Theatre Peckham 7 – 23 April 2022

THE COMEDY OF ERRORS

13 – 28 May 2022

Post-show Q&A: 24 May, 7.30pm

Relaxed: 26 May at 2.30pm

Captioned Performance: 27 May at 7.30pm

Touch Tour: 28 May at 1pm

Audio Described: 28 May at 2.30pm

CAST ANNOUNCED FOR JAMES MCDERMOTT’S EAST ANGLIAN “RELOCATION” OF MARK CRAWFORD’S THE BIRDS AND THE BEES 

EAST OF ENGLAND 2022 TOUR

PRESS NIGHT AT NEW WOLSEY THEATRE, IPSWICH ON 29 MARCH

NEW WOLSEY THEATRE, IPSWICH:  25 MARCH – 9 APRIL

NORWICH THEATRE: 20 – 30 APRIL

THEATRE ROYAL BURY ST EDMUNDS: 3 – 7 MAY

The full cast have today been announced for the upcoming East of England tour of James McDermott’s new East Anglian “relocation” of the hit Canadian comedy The Birds and the Bees by Mark Crawford.

The New Wolsey Theatre in Ipswich will be partnering with Norwich Theatre, Theatre Royal Bury St Edmunds and John Stalker Productions for the tour, which will mark the first professional UK production of any version of Mark Crawford’s play as well as the first co-production between the three East Anglian based theatres.

Commissioned by John Stalker Productions, James McDermott’s new version of the 2016 Canadian play relocates the play’s setting from modern-day Canada to North Norfolk in England’s East Anglia. Set in an East Anglian farm, the hilarious comedy romp tackles topics of sex, love, science, family, and the artificial insemination of turkeys.

On Sarah’s East Anglian farm the honeybees are dropping like flies – just like her love life. Her husband bolted twenty years ago and she hasn’t slept with anyone since. Her middle-aged daughter Gail’s marriage is going up in smoke just like her turkey farm and neighbour Earl is fighting a losing battle with his sugar beet yield and his ‘no strings’ relationships.

Then along comes city-dwelling bio-student Ben to study those pesky poorly performing pollinators. He could probably also have a look at Sarah’s turkeys, which can’t seem to mate without a human helping hand. Perhaps some local mead and the annual Turkey Day’s Dance will sort everything out – and not just for the birds.

As the consequences of that momentous night unfold Sarah, Gail, Earl and Ben discover the best way out of a crisis is to commit to those closest to you – just watch out and don’t get stung

The cast of the UK premiere will be: Laura Doddington (The Midwich Cuckoos)as Sarah, Louise Gold (Gypsy, Fiddler on the Roof) as Gail, Richard McIver (Half-Full)as Ben and Sion Tudor Owen (Carrie’s War, White Christmas)as Earl.

The Birds and the Bees will be directed by the New Wolsey’s Artistic Director Peter Rowe with design by Dawn Allsopp, lighting design by Richard G Jones and casting direction by Debbie O’Brien.

Mark Crawford said of the UK debut of his play, “I’m very excited for The Birds and the Bees to have its UK premiere this spring. This production transplants the play from rural Canada to East Anglia. An ocean divides us, but there’s so much we have in common—turkey farming, bee colony collapse, and a love of characters running round in their knickers. I can’t wait for audiences to experience this new version of the play set closer to home. No matter where it takes place, some things are universal: sex is funny, families are complicated, and despite our best intentions, things don’t go according to plan.”

James McDermott said of adapting the play, “I’m very excited to be relocating Mark’s hilarious heart-warming relationship comedy to North Norfolk. It’s my first adaptation and I really connected with the themes of the play as in my work I’ve always been obsessed with exploring sexuality, intergenerational relationships and the natural world. I’m sure audiences will connect with this timely tale and the four hilarious lovable characters at the heart of it”

Peter Rowe, Artistic Director of New Wolsey Theatre and Director of The Birds and the Bees said, “Mark’s big-hearted comedy translates perfectly to a Norfolk setting and I’m looking forward to directing this story of four quirky characters who discover that the way to survive a global crisis is to commit to those close to home.”

Stephen Crocker, Chief Executive of Norwich Theatre, commented “We are so excited about this first-ever co-production with New Wolsey Theatre and Theatre Royal Bury St Edmunds of Birds and the Bees, allowing us to pool the expertise and creativity of three of the East of England’s best-loved theatres. It forms another important step in our aspiration to produce and co-produce more original work, re-affirming Norwich Theatre’s commitment to giving a platform for new, different and local voices to be heard. The spirit of determination and love for theatre unites all three venues, and The Birds and the Bees will offer audiences good light-hearted fun, which is just what is needed right now.”

Owen Calvert-Lyons, Artistic Director & CEO of Theatre Royal Bury St Edmunds, said “Theatre Royal is delighted to be co-producing The Birds and The Bees. This is a hugely exciting collaboration, bringing together three of the biggest theatres in our region to create a play which will entertain audiences across East Anglia. We want our audiences to love this play and feel that it speaks to them, so we have employed brilliant local playwright, James McDermott, to transpose the story from its original setting in Canada to East Anglia. The Birds and The Bees is a real laugh-out-loud comedy and I’m sure that audiences all across this region are going to love it.”

John Stalker said, “The Birds and the Bees is one of the funniest plays I have come across in a long time. After the two years we have experienced I want to give audiences the chance and permission to laugh out loud in the company of other theatregoers and I am delighted to have teamed up with East Anglia’s three power house theatres to create this UK premiere.”

The production will run at the New Wolsey Theatre, Ipswich from 25 March – 9 April (press night: 29 March) before heading on tour to Norwich Theatre from 20-30 April and Theatre Royal Bury St Edmunds from 3-7 May. The production will also be livestreamed for four performances during its run at the New Wolsey Theatre from 7-9 April.

Tickets for tour dates at New Wolsey Theatre, Ipswich and Theatre Royal Bury St Edmunds are now on sale via their respective websites and box offices with tickets for Norwich Theatre’s run going on sale on Friday 28^th January.