Nottingham Theatre Royal – until Saturday 4 December 2021
Reviewed by Louise Ford
3***
Mischief’s second visit to Nottingham this year with their comedy offering of Groan Ups. The story Is less slap stick then their show in September, The Play That Goes Wrong, and looks to explore some interesting ideas, loosely based on the Aristotelian idea “Give me the child until seven and I’ll show you the adult (man)”; or alternatively do we chose who we become? The play premiered in the West End in September 2019. It is written by Henry Lewis, Jonathan Sayer and Henry Shields and directed by Kirsty Patrick Ward.
The play is really one of two halves, opening with the children in year two recounting, to the unseen teacher, what I did at the weekend; followed by the unruly teenagers in year nine negotiating friendships, exams and hormones and the second half at a school reunion several years later.
The first half is a little more frantic and slap stick; the second half more thoughtful and reflective.
The play is set in the classroom all bright colours and artwork which changes over the years and helps to reflect the children growing up . The oversized chairs and tables at the beginning are morphed into tiny chairs at the reunion, to good effect. The set is designed by Fly Davis and the costumes are by Roberto Surace.
The cast is a slim seven actors,some taking on two roles for the smaller parts. Archie (Daniel Abbott), Moon (Yolanda Ovide), Spencer (Paul Brown), Katie (Holly Sumpton), Simon (Matt Cavendish), Paul /Mr White (Killian Macardle) and the glorious Chemise/Miss Murray (Jamie Burkett), all acquitted themselves well and were all enthusiastic and engaging.
It’s was an enjoyable evening although it lacked any real laugh out loud moments and the children’s journey to adulthood was sadly a little predictable, once a hamster slayer always a hamster slayer!
Following three sell-out seasons at the Sydney Opera House, multiple sold-out US and European tours and a successful opening in London’s West End, THE CHOIR OF MAN, the runaway international hit at The Arts Theatre, is now extending its booking period to Sunday 3 April 2022. Tickets are on sale now.
THE CHOIR OF MAN is the best trip to your local you’ll ever have, featuring amazing reinventions of folk, pop, Broadway and rock chart-toppers from artists including Guns ‘N’ Roses, Fun!, Adele, Avicii, Paul Simon, Sia and many more. It’s a party, it’s a concert and it’s a lock-in like no other.
The cast of nine multi-talented guys combine beautiful harmonies and foot-stomping singalongs with world-class tap dance and poetic meditations on the power of community. This is a riotously feel-good homage to that gathering place we’ve all missed so much over the past year: the pub, complete with a real working bar on stage.
The cast stars Tom Brandon as the Hard Man, Miles Anthony Daley as the Romantic, Daniel Harnett as the Joker, Alistair Higgins as the Maestro, Freddie Huddleston as the Handyman, Richard Lock as the Beast, Mark Loveday as the Barman, Ben Norris as the Poet and Tyler Orphé-Baker as the Pub Bore. Also in the cast is Matt Beveridge and George Bray.
The band features Jack Hartigan as guitarist, Zami Jamil plays the violin, Emmanuel Bonsu as drummer and Caleb Wilson as bassist.
THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with musical supervision, vocal arrangements and orchestrations by Jack Blume, movement direction and choreography by Freddie Huddleston, monologues written by Ben Norris, scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and associate scenic design by Verity Sadler, sound design by Sten Severson, casting by Debbie O’Brien.
Associate Choreographer is Rachel Chapman and Associate Musical Director is Hollie Cassar.
The show is produced by Immersive Everywhere, Nic Doodson, Andrew Kay, Wendy & Andy Barnes and AK Theatricals.
WILTSHIRE CREATIVE ANNOUNCES BELINDA LANG WILL DIRECT LUCY KIRKWOOD’S THE CHILDREN AT SALISBURY PLAYHOUSE
With the UK tour of the world première of Julian Barnes’ The Lemon Table starring Ian McDiarmid and directed by Michael Grandage recently finished, Wiltshire Creative today announce that Belinda Lang will direct a new production of Lucy Kirkwood’s The Children at Salisbury Playhouse in April 2022. Wiltshire Creative’s production of The Children will be its UK regional première, following its original run at the Royal Court Theatre in 2016. The Children opens on 8 April 2022, with previews from 7 April and runs until 23 April.
Belinda Lang said today, “I feel honoured to be directing the regional UK premiere of Lucy Kirkwood’s wonderful play at Salisbury Playhouse. She really is one of our finest young playwrights. This piece is fascinating to me in the way in which it asks such searing and timely questions about what the science of the twentieth century has given us, and how much we are prepared to give up for the sake of our children and the planet. She does this with great wit and humanity, weaving her story of love, betrayal and courage. Kirkwood opens up a conversation for us all to have with our friends and families as we leave the theatre asking: ‘What would I have done?’”
Wiltshire Creative presents
THE CHILDREN
By Lucy Kirkwood
Director: Belinda Lang; Set and Costume Design: Michael Taylor; Lighting Design: Matthew Eagland; Sound Design: Andrea J Cox; Casting Director: Gabrielle Dawes CDG
“Retired people are like nuclear power stations. We like to live by the sea.”
Two retired nuclear scientists in an isolated cottage by the sea as the world around them crumbles. Together they are going to live forever on yogurt and yoga, until an old friend arrives with a frightening request.
Lucy Kirkwood is a British playwright and screenwriter whose plays include Maryland (Royal Court Theatre), The Welkin (National Theatre), Mosquitoes (National Theatre), The Children (Royal Court Theatre), Chimerica (Almeida Theatre/Harold Pinter Theatre; winner of the 2014 Olivier Award for Best New Play, the 2013 Evening Standard Best Play Award, the 2014 Critics’ Circle Best New Play Award, and the Susan Smith Blackburn Award), NSFW (Royal Court), small hours (co-written with Ed Hime; Hampstead Theatre), Beauty and the Beast (with Katie Mitchell; National Theatre), Bloody Wimmin, as part of Women, Power and Politics (Tricycle Theatre), it felt empty when the heart went at first but it is alright now (Clean Break & Arcola Theatre; winner of the 2012 John Whiting Award), Hedda (Gate Theatre) and Tinderbox (Bush Theatre). Her screenwriting credits include Skins, The Smoke, Chimerica and Adult Material. She won the inaugural Berlin Lee UK Playwrights Award in 2013 and was elected Fellow of the Royal Society of Literature in 2018.
Belinda Lang is an actor and director. Her directing credits include Present Laughter, The Reluctant Debutante (UK tours) and This Was a Man (Finborough Theatre). Her acting credits for theatre include Duet for One, Single Spies, Ladies in Lavender, A Song at Twilight, The Chalk Garden, Alarms and Excursions (UK tours), Oklahoma! (BBC Proms, Royal Albert Hall), The Constant Wife (Gate Theatre, Dublin), The Glass Menagerie (Nuffield Theatre Southampton), The Letter of Last Resort (Tricycle Theatre/ Traverse Theatre), Liberty (Shakespeare’s Globe), The School for Scandal (Park Theatre), The Killing of Sister George (Arts Theatre), Hay Fever (Theatre Royal Haymarket/Royal Exchange Theatre), Forgotten Voices (Riverside Studios), Ring Round the Moon (Playhouse Theatre), The Secret Rapture (Lyric Theatre), What the Butler Saw (Hampstead Theatre/Criterion Theatre), Life x3 (Savoy Theatre/UK tour), My Boy Jack (Hampstead Theatre), The Things We Do For Love (Duchess Theatre), Dead Funny (Savoy Theatre), Three Sisters Two, The Dark River (Orange Tree), Lulu (Almeida Theatre) and Mrs Klein (Apollo). Her television credits include 2 Point 4 Children,The Inspector Alleyn Mysteries, Justice in Wonderland, Second Thoughts, Dear John and To Serve Them All My Days.
To arrange group or access bookings please phone 01722 320 333 Tuesday – Saturday 10am – 12pm.
Thank you for your patience as we are operating with a reduced box office team.
SEE IT SAFELY -We have been granted the use of Society of London Theatre & UK Theatre’s See It Safely mark. The mark certifies that we are complying with the latest Government and industry COVID-19 guidelines, to ensure the safety of our staff and audiences. You can find out more here https://officiallondontheatre.com/see-it-safely/ about the measures we have been putting in place ready for your visit, and what you will need to know beforehand.
RUTH WILSON REUNITES WITH IVO VAN HOVE TO STAR IN HIS ADAPTATION OF
JEAN COCTEAU’S THE HUMAN VOICE FOR THREE WEEKS ONLY
BOOKING OPENS TODAY – WITH TICKETS FROM £5.00
Sonia Friedman Productions today announces that Ruth Wilson will star in Ivo van Hove’s adaptation of Jean Cocteau’s The Human Voice, which he also directs with design by Jan Versweyveld, originally produced by Internationaal Theater Amsterdam. The production opens at the Harold Pinter Theatre on 22 March, with previews from 17 March, and runs for three weeks only until 9 April.
Booking opens today, with tickets from just £5, and over 300 tickets at each performance at £25 or under.
Ruth Wilson said today, “I am absolutely thrilled to be collaborating again with Ivo and Jan on this wonderful, heartbreaking and deeply human monologue from Jean Cocteau. A woman alone with only her phone as companion, Cocteau explores the nature of intimate relations through inanimate objects. In a world in which are all addicted to and dependent on our phones, this play from the 1930s couldn’t feel more prescient. Ivo is the perfect director to bring Cocteau’s play to life as both share a love of the absurd as a mirror to truth.”
Sonia Friedman added, “It’s a privilege to begin the New Year in reuniting the extraordinary talents of two incredible theatre makers – Ruth Wilson and Ivo van Hove, bringing to London Ivo’s adaptation of Jean Cocteau’s The Human Voice, an intimate, captivating and devastatingly raw monologue.”
“We’ve never been more connected. We’ve never been more alone.
Two-time Olivier Award-winner Ruth Wilson stars in The Human Voice – the searing story of a woman’s heartbreak over the course of a final phone call with her former lover.
Reunited with groundbreaking director Ivo van Hove for the first time since their acclaimed Hedda Gabler, Ruth Wilson returns to the West End for 31 performances in this explosive reimagining of one of theatre’s greatest roles.
Jean Cocteau’s stunning monologue is more illuminating about love and loneliness than ever.”
Supported by Arts Council England
Produced with the kind permission of the Chairman of the Comite Jean Cocteau
Ruth Wilson’s theatre credits include King Lear (Cort Theater – Tony Award nomination for Best Featured Actress in a Play), Hedda Gabbler (National Theatre – Oliver Award nomination for Best Actress), Constellations (Samuel J Friedman Theatre – Tony Award nomination for Best Leading Actress in a Play), The El Train (also director), Anna Christie – Oliver Award for Best Actress, A Streetcar Named Desire – Oliver Award for Best Supporting Actress (Donmar Warehouse), Through a Glass Darkly (Almeida Theatre), & Philistines (National Theatre) and Good. For television, her work includes His Dark Materials, The Affair (Golden Globe Award for Best Actress in a Drama Series), Luther, Mrs Wilson (also producer – nominated for 4 BAFTAs including Best Actress in a Leading Role), Small Island, Capturing Mary, A Real Summer and Jane Eyre. In 2020 Wilson set up her production company, Lady Lazarus. For the company, her first film, True Things, for which she was nominated for Best Actress at the BIFA’s, was written and directed by Harry Wootliff, and made in collaboration with BBC films and the BFI. Other film credits include Oslo, The Little Stranger, Dark River, I am the Thing that Lives in the House, How to Talk to Girls at Parties, Suite Francaise, Locke, Saving Mr Banks, The Lone Ranger and Anna Karenina. In 2020 Wilson was awarded an MBE for services to drama.
Jean Cocteau (1889 –1963) was a French poet, playwright, novelist, designer, filmmaker, visual artist and critic. His additional principal works for the stage include La Machine Infernale, Les Parents terribles, La Machine à écrire, and L’Aigle à deux têtes.
Ivo van Hove has been Artist Director of Internationaal Theater Amsterdam (formerly Toneelgroup) since 2001. From 1998 to 2004, he was Artistic Director of the Holland Festival, presenting a varied selection of international theatre, music, opera and dance. His theatre credits include the theatrical adaptation of The Glass Menagerie (Théâtre de l’Odéon, Internationaal Theater Amsterdam), West Side Story (Broadway Theatre), All About Eve (Noël Coward Theatre), Hanya Yanagihara’s A Little Life (Internationaal Theater Amsterdam), Network (National Theatre and Cort Theatre, Broadway), Hedda Gabler (National Theatre), A View from the Bridge (Young Vic/Wyndham’s Theatre/Lyceum Theatre, Broadway), The Crucible (Walter Kerr Theatre), Lazarus (King’s Cross Theatre/New York Theatre Workshop); and Visconti’s The Damned (La Comédie-Française, Paris/ The Park Avenue Armory). He is the recipient of two Olivier Awards and two Tony Awards for A View From the Bridge; two Obie Awards for More Stately Mansions and Hedda Gabler. In addition, he is also Chevalier dans l’Ordre des Arts et des Lettres in France; and King Filip of Belgium awarded him Commander of the Order of the Crown. Additional directing credits include Angels in America, Roman Tragedies, Kings of War, Opening Night, Taming of the Shrew, Scenes from a Marriage, Othello, The Miser, Mourning Becomes Electra, Long Day’s Journey into Night and The Fountainhead (all Internationaal Theater Amsterdam).
From the company behind the sold out 5 star success Sweeney Todd: The Demon Barber of Fleet Street (London/Edinburgh2018) and the “powerhouse ”Little Shop of Horrors (Edinburgh 2017): this Christmas, Ethereal Theatre guarantees hit after musical hit in our brand new musical theatre concert – that doesn’t feature James Corden, thank God!
★★★★“gothic and dark, sinister and yet fresh”
London Theatre 1, Sweeney Todd: The Demon Barber of Fleet Street
First debuting at Brighton Open Air Theatre in 2020, Ethereal Theatre have revamped The Musical That Goes Right for a brand new London run, featuring original choreography by 5 star director and choreographer Dana Hudson and original arrangements by Ben Christopher.
★★★★“a powerhouse of zany energy”
Broadway Baby, Little Shop of Horrors
Our troupe of players are putting on the musical theatre show of their lives, but it’s not going to be as easy as Breaker thinks. With Hope trying to downplay her crush on him, Duke taking the spotlight and Nova caught in her own little world, this troupe of players are one step-ball-change away from a string of musical mishaps. Not even musical maestro Fortune can always keep the show on the road. Featuring famous songs from Musical Theatre, punchy dance routines and a dose of light-hearted comedy – expect good tunes from your favourite musicals, such as Hamilton, RENT, Frozen, Chicago, The Wizard of Oz and much much more.
★★★★½ “The choreography of this show is immaculate. Stunning, faultless, and deeply thought through, without a moment out-of-step”
Lexical Lunacy Blog, Sweeney Todd: The Demon Barber of Fleet Street
Recognised for its limitless variety of genres, Ethereal Theatre has mounted productions across almost all forms of theatre including: Musical Theatre, Shakespeare, Original Work and more. Founded in 2016, Co-Founders Dana Hudson and Marc Zayat began Ethereal Theatre as a means to fuel their creativity and produce dreams. Today, the company strives to produce creative work that has its fingertip on the cusp of contemporary theatre.
★★★★“the movement and choreography by Dana Hudson is fresh and contemporary”
London Theatre 1, Sweeney Todd: The Demon Barber of Fleet Street
This show is one for any fan of musical theatre – and an alternative to Panto this Christmas, no tea, no shade, no pas debourrée! So get ready for a musical theatre extravaganza that will have you dancing in your seats and humming along. It doesn’t matter if things go right… or wrong, this will be a night we’ll never forget
Paul Taylor-Mills & Bill Kenwright, in association with Adam Bialow, by special arrangement with LIONSGATE®present But I’m A Cheerleader: The Musical, based on the LIONSGATE® motion picture, directed and story by Jamie Babbit and screenplay by Brian Wayne Peterson. First presented as part of MTFestUK 2019, this will be the first fully commissioned musical discovered at the new musical festival, to be presented on stage.
But I’m A Cheerleader: The Musical, has book and lyrics by Bill Augustin, music by Andrew Abrams, direction by Tania Azevedo, choreography by Alexzandra Sarmiento and lighting by Martha Godfrey, and will run at The Turbine Theatre from 18 February – 16 April, with press night on 23 February 2022. The musical follows MTFestUK 2022, which runs at the Turbine until 12 February 2022
But I’m A Cheerleader: The Musical is the story of Megan, an all-American high school cheerleader who has the perfect life.
That is, until she finds out her friends and family suspect her of being a lesbian and send her packing to ‘True Directions,’ a rehabilitation camp to set her straight. It is at this camp, under the strict tutelage of headmistress Mary Brown that Megan meets Graham, a sexy tomboy who shows her exactly what her ‘true direction’ is. Hilarious, irreverent and full of heart, But I’m A Cheerleader: The Musical is a quirky coming-of-age comedy about sexual awakening and self-realization.
Paul Taylor-Mills (Artistic Director, The Turbine Theatre) said,“The premiere of But, I’m a Cheerleader at The Turbine Theatre is special for many reasons. Firstly, it is the first fully produced musical that I will stage that started life at our first MTFestUK 3 years ago. This is our annual festival that shines the spotlight on the development and creation of musicals. Secondly, it will also be the first brand-new musical to premiere at The Turbine which was always our driving ambition at the theatre.
The musical explores themes around conversion therapy and coming out and the complications some teenagers face trying to be their authentic selves. Conversion therapy is still legal in the UK and most of America and is very much still in play. This important work feels absolutely in line with the type of stories that we want to tell at The Turbine and I couldn’t be prouder that we are able to present this as our first musical of 2022. I’m delighted to welcome Tania Azevedo and Alexzandra Sarmiento to the project to bring this important story to life.”
Tania Azevedo(Director) said, “I am thrilled to be working on the musical adaptation of this LGBTQ+ Cult Classic. I think it’s crucial for our community to see ourselves in pieces of theatre that are comedic, that celebrate Queer joy and “But I’m a Cheerleader” is exactly that.”
Adam Bialow (Producer)said,“We’re honoured that But I’m a Cheerleader: The Musical is the first fully commissioned musical to come out of MTFEST and are extremely thrilled to collaborate with Paul Taylor-Mills as the musical takes its next steps. In light of the subject matter – conversion therapy- being debated in both the United Kingdom and United States, I believe that this story is more necessary and sadly more relevant than ever. The writers have further developed the characters from the original motion picture, making them more accessible to a wider audience without detracting from their true essence in a way that is both entertaining and transformative in the process.”
In celebration of the 20th Anniversary of the motion picture, LIONSGATE® has released But I’m a Cheerleader: Director’s Cut with special features that include never before seen deleted scenes, an audio commentary, Jamie Babbit’s student film Discharge, and three new featurettes, including the “But I’m a Cheerleader Class Reunion” reuniting the cast for the first time in 20 years. The motion picture cast included RuPaul Charles, Clea DuVall, Natasha Lyonne, Cathy Moriarty and Michelle Williams. The Director’s Cut is available on Blu Ray and video on demand for rent or purchase (UK rating of 15 and US rating of Not Rated).
Bill Augustin(Book & Lyrics) lives in New York City where he attended NYU and the BMI Musical Theatre Workshop. He met Andrew Abrams at BMI where they developed Cheerleader, which went on to be part of the ASCAP Musical Theatre Workshop and NY Musical Theatre Festival. Bill produced the award-winning short documentary “Marie’s Crisis”, about NYC’s legendary piano bar, which is currently being developed into a feature length doc. Other projects in various stages of development include the screenplays Gay WingMan and Ghostlight and pilot Living History (written with PJ Griffith) and the plays X / Y and The Wrong Son.
Andrew Abrams (Music) received his Master of Arts in Musical Theatre Writing from Goldsmiths-University of London in 2012 and is a graduate of the Advanced BMI Musical Theater Writing workshop in NYC. Some of his musicals include Some Snap, Delilah, The Death and Life of Mary Shelley and numerous standalone songs. He has also worked in London, Off-Broadway, regionally and on tour in the U.S. as a professional musical director, director, conductor, and Equity actor. He currently serves as Artistic Director of Capital City Theatre, an Equity Theatre Company in Madison, WI.
Tania Azevedo(Director) is a theatre maker, director and dramaturg who graduated from Mountview Academy of Theatre Arts, the King’s Head Theatre and Royal Opera House’s Opera Directors Training Programme led by Katie Mitchell. She received an Off-West-End Award nomination for Best Director for the London run and international tour of the new musical Paper Hearts and recently was Assistant Director on Heathers the Musical for the West End and on tour. She specialises in development of new work and has been part of the UK’s leading New Musical Theatre festivals, including BEAM, From Page to Stage and MTFest.
Adam Bialow(Producer) Producer and Lionsgate Consultant, is a consultant for United Kingdom and United States entertainment companies and previously held executive positions with Lionsgate and Shine International, the sales and distribution arm of Shine Group, known for such programs as MasterChef and The Biggest Loser, (previously a 21st Century Fox company), in the areas of theatrical stage productions and business and legal affairs. His consulting for Lionsgate in the area of theatrical stage productions previously included Dirty Dancing – The Classic Story on Stage (West End, North American and U.K. Tours and other productions worldwide). Since 2015, Adam has also been an Executive Producer of the British Academy Britannia Awards telecast and since 2015, he has also been a member-elected Board Member, Board of Directors, British Academy of Film and Television Arts, Los Angeles.
Alexzandra Sarmiento(Choreographer) is a trailblazing performer/choreographer originally from New York City. Known for her association with the Drew McOnie Company and for her role as dance captain in the original London cast of Hamilton. She has appeared on stage in Jekyll and Hyde (The Old Vic); as dance captain for Strictly Ballroom (Princess of Wales Theatre); and the Olivier Award-winning production of In The Heights (King’s Cross Theatre). More recently, Alexzandra can be seen in the feature films Everybody Is Talking About Jamie (20th Century Fox) and Cinderella (SONY Pictures).
LIONSGATE® (Producer) Combining the STARZ premium global subscription platform with world-class motion picture and television studio operations, Lionsgate (NYSE: LGF.A, LGF.B) brings a unique and varied portfolio of entertainment to consumers around the world. Its film, television, subscription and location-based entertainment businesses are backed by a 17,000-title library and the largest collection of film and television franchises in the independent media space. A digital age company driven by its entrepreneurial culture and commitment to innovation, the Lionsgate brand is synonymous with bold, original, relatable entertainment for the audiences it serves worldwide. www.Lionsgate.com
Paul Taylor-Mills is the Artistic Director of both The Other Palace Theatre and The Turbine Theatre at The Battersea Power Station, London. He has worked as Advisory Producer to Andrew Lloyd Webber and The Really Useful Group.
Recent credits include: At the Turbine Theatre – My Night with Reg, My Son’s A Queer, But What Can You Do, MTFestUK 2021, Cinderella: The Socially Distanced Ball,Hair (part of the Turbine on the Jetty Season), Torch Song, High Fidelity and Cat In The Hat.
Elsewhere, Heathers the Musical at the Theatre Royal Haymarket and The Other Palace (winner of the WhatsOnStage Best New Musical Award) and currently on national tour, Murder For Two at the Watermill Theatre and The Other Palace, The Wild Party at The Other Palace, European Premiere of Disney’s Peter and the Starcatcher at the Royal & Derngate, Northampton, Side Show at Southwark Playhouse, The Last Five Years at the St. James Theatre (winner of the WhatsOnStage Award for Best Off-West End Production) End of The Rainbow on UK Tour, In The Heights at Kings Cross Theatre and Southwark Playhouse (winner of three Olivier Awards), Casa Valentina at Southwark Playhouse, Carrie The Musical at Southwark Playhouse (winner of The WhatsOnStage Off West End Award), and Associate Producer on The Importance of Being Earnest starring David Suchet on UK Tour and the Vaudeville Theatre.
THE TURBINE THEATRE
GENERATING NEW WORK. POWERING PREMIERES. RE-ENERGISING CLASSICS.
The Turbine Theatre is a brand-new theatre on the banks of the Thames next to the iconic Battersea Power Station, presented by Bill Kenwright and founded and led by Artistic Director Paul Taylor-Mills.The theatre is located under the Grosvenor Bridge railway arches at Circus West Village, the first chapter of the iconic Battersea Power Station’s regeneration, which is already a thriving riverside destination with exciting restaurants, bars and cafés already open, located at the foot of the iconic Grade II* listed landmark.
The Turbine Theatreis an intimate theatre with big ambitions. Everything we do revolves around one simple idea: powering the imagination.
New energy drives everything we do, from festivals of brand-new works, world premieres of new productions and classic stories reimagined for contemporary audiences.
Every story is a journey andThe Turbine Theatreaims to be just the first stage for every idea, risk and labour of love that is brought to life in this electric new environment. We want to be the spark for the most talented and diverse voices that theatre has to offer.
We’re also passionate about playing a vital role at the heart of the emerging local Battersea community, offering a dynamic public space by day, and a ground-breaking theatre by night.
LISTINGS
BUT I’M A CHEERLEADER: THE MUSICAL
THE TURBINE THEATRE
18 FEBRUARY – 16 APRIL 2022
PRESS NIGHT – 23 FEBRUARY 2022
The Turbine Theatre:
Address: The Turbine Theatre, Arches Lane, Circus West Village, London, SW11 8AB
Performances: Tues – Sat at 7.30pm, Sat at 3pm and Sunday at 4pm
Bristol Old Vic today announces the full cast for the world première of Dr Semmelweis, based on an original idea by Mark Rylance, and written by Stephen Brown with Rylance. Tom Morris directs the previously announced Rylance (Ignaz Semmelweis), who is joined by Jackie Clune (Anna Müller), Sandy Grierson (Jakob Kolletschka), Felix Hayes (Ferdinand von Hebra), Enyi Okoronkwo (Franz Arneth), Clemmie Sveaas (Lisa Elstein), Thalissa Teixeira (Maria Semmelweis), Alan Williams (Johann Klein) and Daniel York Loh (Karl von Rokitanksy) with dancers Roseanna Anderson, Joshua Ben-Tovim, Megan May Cameron, Megumi Eda, Suzy Halstead and Millie Thomas and musicians Haim Choi, Coco Inman, Kasia Ziminska and Shizuku Tatsuno, who play together as the Salomé Quartet. The production opens on 26 January, with previews from 20 January and runs until 12 February 2022.
Dr Semmelweis is one of three world première productions in Bristol Old Vic’s spring season, with award-winning local writer Ross Willis’ Wonder Boy, which follows the experience of a young boy with a stammer, examining the challenges of communication, the joy in friendship and the power of finding your own way of being heard. Directed by Sally Cookson, the production runs 5 – 26 March 2022. This is followed by The Meaning of Zong, written by and starring Giles Terera, which tells the story of pioneer abolitionist Olaudah Equiano and his response to a massacre aboard the slave ship Zong. The production, responding to the social upheaval the world has witnessed in recent years is directed by Terera and Tom Morris, and runs 2 April – 7 May 2022.
Bristol Old Vic in association with Sonia Friedman Productions, the National Theatre and Shakespeare Road present
The World Première of DR SEMMELWEIS By Stephen Brown with Mark Rylance Based on an original idea by Mark Rylance
Directed by Tom Morris; Set and Costume Design by Ti Green; Lighting Design by Richard Howell Choreography by Antonia Franceschi; Music by Adrian Sutton; Sound Design by Jon Nicholls
Voice and Dialect work by Martin McKellan; Associate Director: Claire O’Reilly
Assistant Director: Victor Lirio
Bristol Old Vic
20 January – 12 February 2022
Confronted by the terrible death toll of childbed fever in 19th century Vienna, maverick Doctor Semmelweis makes a discovery that could save hundreds of thousands of new mothers. But when the medical establishment questions his methods, rejects his theory and doubts his sanity, the controversial surgeon finds that being a pioneer is not enough.
Years later, he is haunted by the ghosts of the women he failed to save. Is it too late to convince the medical establishment to see the truth? And if he tries what will be the cost?
Jackie Clune plays Anna Müller. Her theatre credits include [BLANK] (Donmar Warehouse/Clean Break), Measure for Measure, The Vote (Donmar Warehouse), The Tempest, Henry IV, Julius Caesar (Donmar King’s Cross/St. Ann’s Warehouse), Emilia (Vaudeville Theatre), Utility (Orange Tree Theatre), Candide (Menier Chocolate Factory), Mogadishu (Lyric Hammersmith), The Belle’s Stratagem (Southwark Playhouse), Mamma Mia! (Prince of Wales Theatre/International tour), Billy Elliot (Victoria Palace Theatre), Showstopper (Arts Theatre), and Julie Burchill is Away (Soho Theatre). For television, her credits include Motherland, Stephen, Too Close, Borderline and Three Girls; and for film, Denial, Jawbone and Breathtaking.
Sandy Grierson plays Jakob Kolletschka. His theatre credits include Dido, Queen of Carthage, Dr. Faustus, The Tempest, Comedy of Errors, Twelfth Night, The 13 Midnight Challenges of Angelus Diablo (RSC), Charlie Sonata, The Lion, The Witch and the Wardrobe, The Wizard of Oz (Royal Lyceum Edinburgh), Anything That Gives Off Light, The Beautiful Cosmos of Ivor Cutler, Dunsinane, Little Otik, Home (National Theatre of Scotland), Lanark (Edinburgh International Festival/Citizens), The Nutcracker, Mr Holgado (Unicorn Theatre), Grit (Pachamama), Arabian Nights (Tricycle Theatre), Saturday Night, Lost Ones, Mancub, Stars Beneath the Sea, The Invisible Man (Vanishing Point), Tonight Sandy Grierson Will Lecture, Dance and Box, Rhetoric, My Arm, A Prayer (Greyscale), A Midsummer Night’s Dream (Headlong), Monsters (Arcola Theatre), Gagarin Way (Bath Theatre Royal), Cherry Blossom (Traverse Theatre) and The Soul of Chien-Nu Leaves Her Body (Young Vic). For television, his credits include Murder Island and Legit; and for film, Victoria and Abdul.
Felix Hayes plays Ferdinand von Hebra. His theatre credits include A Christmas Carol (Bristol Old Vic), A Monster Calls (The Old Vic), Winter Solstice (Actors Touring Company/UK tour), Vice Versa, The Tempest, Comedy of Errors, Twelfth Night, A Midsummer Night’s Dream, City Madam, Cardenio (RSC), Jane Eyre (National Theatre/Bristol Old Vic), Romeo and Juliet (Rose Theatre Kingston), 101 Dalmatians, The Adventures of Pinnochio, The Tempest, A Midsummer Night’s Dream, A Christmas Carol (Tobacco Factory), Ali Baba and the 40 Thieves (Traveling Light/Tobacco Factory), The Gruffalo’s Child, The Gruffalo (Tall Stories) and The Unsinkable Clerk, The Pickled King (Network of Stuff). For television, his credits include Three Girls, A Gert Lush Christmas, Drunk Histories and Friday Night Dinner.
Enyi Okoronkwo plays Franz Arneth. His theatre credits include Haystack (Hampstead Theatre), Noises Off (Lyric Hammersmith), Tartuffe, Ostalgie, The Visit, Wonder.land (National Theatre), The Model Apartment (Ustinov Studio), The Meaning of Zong, The Cherry Orchard (Bristol Old Vic), Junkyard (Headlong/Bristol Old Vic/Theatr Clwyd/Rose Theatre Kingston), Boy With Beer (King’s Head Theatre), Food for Thought (Figs in Wigs), Shock (REC Theatre) and Arthur’s World (SPID Theatre Company). For film, his credits include A Midsummer Night’s Dream.
Mark Rylance plays Ignaz Semmelweis. His theatre credits include Othello (Shakespeare’s Globe), Farinelli and the King (Shakespeare’s Globe/Duke of York’s Theatre/Belasco Theatre), Nice Fish (Harold Pinter Theatre – also co-writer with Louis Jenkins), Twelfth Night (Shakespeare’s Globe/Apollo Theatre/Belasco Theatre – Tony Award for Best Actor in a Play, Richard III (Shakespeare’s Globe/Apollo Theatre), Jerusalem (Royal Court Theatre/Duke of York’s Theatre – Olivier Award for Best Actor and Tony Award for Best Actor in a Play), La Bête (Comedy Theatre), Boeing-Boeing (Apollo Theatre/Cort Theatre – Tony Award for Best Actor in a Play) and Much Ado About Nothing (Queen’s Theatre – Olivier Award for Best Actor). Rylance was the Artistic Director of the Shakespeare’s Globe for 10 years (1996-2006). His television credits include Wolf Hall – BAFTA Award for Best Actor and an Emmy nomination. His film credits include Bridge of Spies – Academy Award and BAFTA for Best Supporting Actor, Dunkirk, The Trial of the Chicago 7, The BFG and Ready Player One.
Clemmie Sveaas plays Lisa Elstein. Her theatre credits include Here We Are (The Place), Othello, Lightning Child (Shakespeare’s Globe), Pinocchio, Everyman, Medea (National Theatre), Stepmother/Stepfather, Three and Four Quarters (HeadSpaceDance), Les Enfants Terribles (Barbican Theatre), Macbeth (Young Vic), The Last Mermaid (Wales Millennium Centre), Collapse (Southbank Centre), LOL (Lots of Love) (Protein Dance Company), TheWind in the Willows (Duchess Theatre), Nest (New Movement Collective), Hexenhatz (Bern Ballet), Doctor Dee (London Coliseum/Manchester International Festival), Aida (Royal Opera House) and The Most Incredible Thing (Sadler’s Wells). For film, her credits include Cats and London Road.
Thalissa Teixeira plays Maria Semmelweis. Her theatre credits include Julie (National Theatre), Othello, The Broken Heart, The Changeling (Shakespeare’s Globe), The Unknown Island (Gate Theatre), Yerma (Young Vic), The Night Watch (Royal Exchange), BU21 (Theatre503) and Electra (The Old Vic). For television, her credits include Press and The Musketeers; and for film, Take Down.
Alan Williams plays Johann Klein. His theatre credits include Faith, Hope and Charity, As You Like it, Here We Go, Light Shining in Buckinghamshire, Every Good Boy Deserves Favour (National Theatre), War Horse (National Theatre/West End), Three Sisters, Mary Stuart, The Jew of Malta (Almeida Theatre), Gundog, Mint, The President Has Come To See You, Talk Show, Stoning Mary, Lucky Dog, Crave, Local, (Royal Court Theatre), The Crucible (West Yorkshire Playhouse), Krapp’s Last Tape (Hull Truck Theatre), A Thousand Stars Explode in the Sky, The Birthday Party (Lyric Hammersmith), Comfort Me With Apples (Hampstead Theatre), The Scarlett Letter, The Sea (Chichester Festival Theatre), The Rib Cage (Royal Exchange Theatre) and Kiss the Sky (Bush Theatre). His television credits include The Long Call, Father Brown, The Capture, Chernobyl, SunTrap, The Guilty, Starlings, Luther, Rome, Life Begins, Always and Everyone; and for film, I Was at Home, But…, Sometimes always Never, Peterloo, Trespass Against Us, The Dreamed Path, Run for your Wife, London Boulevard, Grow Your Own, Bright Young Things, Heartlands, Elephant Juice, Among Giants and The Cockroach That Ate Cincinnati.
Daniel York Loh plays Karl von Rokitanksy. His theatre credits include Before the Wall (Edinburgh Fringe Festival), Pah-La (Royal Court Theatre), The Shadow Factory (Nuffield Theatre Company), Dido, Queen of Carthage, Snow in Midsummer (RSC), King Lear (RSC/Shanghai Dramatic Arts Centre), Hitler (The Finger Players), The Scar Test (Untold Theatre), Welcome Home Captain Fox (Donmar Warehouse), Our American Cousin, P’yongyang, We Know Where You Live, The Wallace (Finborough Theatre), The Importance of Being Earnest (National Library of Singapore), Turnadot (Hampstead Theatre), Branded (The Old Vic), IntheBag (Traverse Theatre) FiveTanks (Hackney Empire Theatre), DougLucieDoubleBill (Courtyard Theatre), The World of Extreme Happiness (National Theatre), Freud’s Last Session (Esplanade Theatre Studio) and The Changeling (Southwark Playhouse). For television, his credits include White Dragon and Jade Dragon; and for film, Scarborough.
A Bristol Old Vic and The Wardrobe Ensemble co-production ROBIN HOOD: LEGEND OF THE FORGOTTEN FOREST 29 November – 8 January
A Bristol Old Vic production in association with Sonia Friedman Productions, the National Theatre and Shakespeare Road DR SEMMELWEIS 20 January – 12 February 2022
A Bristol Old Vic production WONDER BOY 5 – 26 March 2022
A Bristol Old Vic production Originally co-commissioned by the National Theatre THE MEANING OF ZONG 2 April – 7 May 2022
Newcastle Theatre Royal – until Sunday 9 January 2021
Reviewed by Jess Bramfitt
5*****
It’s Panto time again and this year’s spectacular at the Theatre Royal Newcastle is Snow White and the Seven Dwarves – a 5 star show.
Carrying on with the long tradition and pedigree of panto at the Royal, the latest offering is packed full of brilliant costumes, wonderful dancing and lots of silliness for both kids and adults alike. I took my niece Emilia (5) to what was only her 2nd panto ever so her anticipation was massive from the moment we walked into the auditorium. The atmosphere was of high excitement and wonder; flashing wands, spinning globes and lots of candy ensured the audience (especially the younger ones) were already flying high before the curtain rose.
Headlining is the stella Joe McElderry, local lad turned singing superstar who plays the Man in the Mirror. Part narrator, part stalwart to the evil queen, Joe brings some serious superstar quality to an already impressive cast.
Ever present for the Theatre Royal pantos are double act Danny Adams and Clive Webb – this time playing Danny the court jester and Odd Job, his father. You know whenever these two are on the bill you are guaranteed lots of laughs, plenty of silliness and no small amount of double entendres; there seemed to be as much aimed at the adults as there was the kids although many of the younger audience just laughed at the parents laughing, rather than the jokes themselves. Adams takes a great, twisted, delight in trying to get the other cast members to laugh and it is a great testament to their professionalism that they manage to stay on track.
For this production we have 2 ‘dames’ – Steve Arnott playing the traditional Mrs Nelly Nightnurse complete with the usual over the top dame costumes, and Chris Hayward playing Queen Dragonella – the wicked element to the Snow White story.
The leading couple; Kirsty Ingram as Snow White and Wayne Smith as Prince William of Wallsend complete the traditional story parts save for the Magnificent Seven; Josh Bennet, Simeon Dyer, Scott English, Jamie John, Blake Lisle, Andrew Martin and Fergus Rattigan, and ensured there was time to breathe in-between the chaotic madness being served up by Messrs Adams and Webb.
How the production company, Crossroads Pantomimes and Michael Harrison manage to fit so much into this show is a feat of theatrical magic itself – there is EVERY element one could hope from a panto and so much more.
It was a cold night as we walked away from the theatre. Emilia (5) was tired but the excitement and adrenaline was still evident as she sang songs and recounted her favourite parts, still clutching her flashing wand. As she fell asleep in the car she leaned over and said, “Thank you, that was brilliant” – a perfect review of a perfect panto if ever there was one.
THE DEFINITIVE RAT PACK COMES TO LONDON’S CADOGAN HALL
“Stephen Triffitt is the best, the greatest, because he captures the soul of my father” – Frank Sinatra Jr. “If he wasn’t Mark Adams, he would be Dean Martin” – BBC “George Daniel Long is an uncannily convincing Sammy Davis Jr” – Daily Mail
What happens in Vegas goes on tour this Christmas. The rebellious, rambunctious spirit of the iconic 1960s medley crew arrives at Cadogan Hall on the 18th December 2021, as The Definitive Rat Pack brings the party to London as they embark on their festive tour.
The Rat Pack were no strangers to London: when Frank Sinatra hit the Palladium in London he performed in venues big and small until his last show at the Royal Albert Hall in 1992. Audiences are invited to rekindle their love of these iconic performers as they join The Definitive Rat Pack at Cadogan Hall.
Seasoned West End stars Stephen Triffitt, Mark Adams and George Daniel Long, star as Frank Sinatra, Dean Martin and Sammy Davis Jr. They previously starred together in The Rat Pack: Live from Las Vegas, breaking box office records and receiving a nomination for an Olivier Award, before going on to later tour globally, with two years in Vegas.
The boys will bring Vegas spirit with a touch of Tinsel Town this December, with a festive programme including the ever-popular White Christmas, Baby It’s Cold Outside, The Christmas Song and Let It Snow, plus all-time favourites including Mack the Knife, That’s Amore, Mr Bojangles and New York, New York.
Joined onstage by acclaimed West End performers The Golddiggers and the internationally renowned Manhattan Swing Orchestra, all costumes, instruments and stage setting is authentically recreated to capture the magic of a live Rat Pack concert, which promises to be the ultimate experience for any big band fan the world over.
SHOW: The Rat Pack at Christmas VENUE: Cadogan Hall DATE: 18th December 2021 TIME: 2.30pm and 7.30pm
The lives of Anne Bonny and Mary Read and the story of how they became pirates is full of fire, passion and adventure, all sadly lacking in this production.
With very few cold hard facts to draw on, apart from the trial records of the pirate crew, writer Claire Novello could have gone to town with the narrative and created an exciting portrayal of the women’s stories. The approach taken has more of the feel of an enthusiastic teacher’s jazzed up history lesson.
The reasons behind Read’s (Justine Marie Mead) living as a man and Anne Bonny’s (Eliza Shea) deception to join her husband Calico Jack (Duncan Drury) on board his ship are explained by the women describing their childhoods and youth, and the freedom and adventure both find in the world of men is, almost, celebrated. The joy and exhilaration that both the talented actors could easily portray is muted through a stilted script and insipid lyrics. The play is written in rhyme, and this leads to torturous sentences and rhythms that begin to grate. Narrator Mark Nicolson at least adds a panto vibe to his delivery with nods and winks at the audience and tongue firmly in cheek.
Musically, Frederick Appleby’s songs all follow the same coherent theme, but this means there is no light and shade, and they all blend into one. Lyrically, they add nothing to the production, repeating or pre-empting the actors’ speeches, and all feeling at least one chorus too long. Described as a musical play, there is very little action, with most songs and scenes involving a slow saunter across the stage at most. The love songs are passionless and the all-important battle scene when the pirates are captured is very low key. A cast of four means there cannot be huge crowd scenes, but four actors can do a lot to provide dynamic visuals. Director Kenneth Michaels’ choice to have only the person speaking or singing mobile during most scenes misfires hugely. It’s all very well-meaning and educational, but there’s no heart.
These fearless women’s story should be portrayed with a defiant roar – this production whispers politely.
