(Friday 5 November, 2021) Producers Kevin McCollum and Jamie Wilson are thrilled to today announce the UK premiere of Mrs. Doubtfire, the new comedy musical based on the iconic movie.
Mrs. Doubtfire will begin performances at the Manchester Opera House on Friday 2 September 2022, with a strictly limited season through until Saturday 1 October.
Tickets for the Manchester season of Mrs. Doubtfire go on priority sale on Monday 8 November and on general sale on Thursday 11 November at www.mrsdoubtfiremusical.co.uk
Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.
A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.
Kevin McCollum and Jamie Wilson said:
“We are thrilled to announce that Mrs Doubtfire will make its UK premiere next year. Manchester is one of the great cities of theatre, and we can’t wait to bring Mrs Doubtfire to the Opera House. We hope audiences will take this hilarious and touching show to their hearts, and promise a great evening for everyone!”
Sarah Bleasdale, General Manager, Palace and Opera House Theatres, said:
“We’re incredibly excited to have another production launching in the UK from Manchester, and this time – direct from Broadway. We continue to proudly showcase the very best in new musical theatre under our Manchester gets it first banner and know that our audiences have a real treat on the way with the iconic Mrs Doubtfire. A big moment for our theatres and the city, and a production we cannot wait to open our doors to”.
Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with a book by Karey Kirkpatrick and John O’Farrell, original music and lyrics by Wayne and Karey Kirkpatrick, (the Tony Award-nominated team behind Something Rotten!, along with O’Farrell), direction by 4-time Tony winner Jerry Zaks (Hello, Dolly!), scenic design by David Korins (Hamilton), choreography by Lorin Latarro (Waitress), and music supervision by Ethan Popp (Tina: The Tina Turner Musical).
Mrs. Doubtfire is performing at the Stephen Sondheim Theatre on Broadway, having started at with a spectacular run at Seattle’s 5th Avenue Theatre in 2019. Extended by popular demand, the Seattle engagement shattered the record for the bestselling new musical in the history of The 5th Avenue Theatre, selling over $4.7M worth of tickets and playing to more than 75,000 people in just 42 performances.
Mrs. Doubtfire is produced by Kevin McCollum and Jamie Wilson and is presented by special arrangement with Buena Vista Theatrical.
TO MARK THE RE-OPENING OF DOCTOR WHO: TIME FRACTURE, FOLLOWING EXTENSIVE REPAIRS DUE TO FLOOD DAMAGE, THIS FEATURETTE TAKES YOU BACK INSIDE THE EXPERIENCE #BETHEHERO
Enter the world of Doctor Who: Time Fracture! This 4-minute featurette gives you a glimpse of some of the worlds featured in this immersive experience. Take a whirlwind tour of Unit HQ before travelling through time in your quest to #BeTheHero in this exciting adventure.
Doctor Who: Time Fracture was heading towards a busy summer before flash floods hit the Mayfair building (or UNIT HQ as the venue is called) in July. Extensive damage meant that the show had to close for major repairs. This included installing a flood defence system; but in September and October, when rain storms hit the capital once again, work towards reopening suffered severe setbacks. Now the building is finally set to re-open and welcome fans and new audiences back to the immersive adventure from Friday 26 November.
Producers, Immersive Everywhere are delighted to release a short film which takes you right back into the heart of the experience. The featurette was created by Totally Theatre Productions.
New cast members joining the Unit HQ team include Amber Blease, Myles Devonte, Harrie Dobby, Barry McStay, Khadija Sallet, Megan Shandley, Patrick Strain, Tom Telford and Simon Victor.
Doctor Who: Time Fracture puts fans at the heart of the story, plunged into a journey across space and time. Featuring amazingly realistic worlds – audiences will discover that it’s time to step up, be the hero and save the universe!
From the team behind The Great Gatsby, the UK’s longest running immersive show, Doctor Who: Time Fracture is booking through to April 2022 and tickets are available to buy now.
Olivier and Tony Award-winning producer David Pugh is delighted to announce that due to the incredible reception that the glittering West End has given the Tron Theatre Glasgow, the Royal Lyceum Theatre Edinburgh and Blood of the Young’s production of PRIDE & PREJUDICE* (*SORT OF) by Isobel McArthurafter Jane Austen, the booking period is extended to Sunday 17 April 2022 at the Criterion Theatre. Tickets go on sale today at 2:30pm.
Isobel McArthur’s unique and audacious retelling of Jane Austen’s classic love story was critically acclaimed when it played at Glasgow’s Tron Theatre. Men, money and microphones are fought over in this irreverent but affectionate adaptation, which includes pop classics such as Every Day I Write the Book, Young Hearts Run Free, Will You Love Me Tomorrow, I Got You Babe and You’re So Vain. Five actresses portray the young female servants who retell one of literature’s most famous stories, and these same five actresses play every other character, as well as singing and playing instruments.
David Pugh said “In 40 years of producing in the West End, I have never seen such a phenomenal response to every performance so far and I am delighted that the show will continue on with seat prices that everyone can afford – £9.50 – £59.50 with no premium seats.”
The cast of the original Tron Theatre production have been reunited. Writer and director Isobel McArthur (Wendy and Peter Pan, Alice’s Adventures in Wonderland, The Lyceum; Cyrano de Bergerac, The Lyceum, National Theatre of Scotland, Citizens Theatre; Daphne Oram’s Wonderful World of Sound, Blood of the Young, Tron Theatre, Scottish Tour; Robin Hood, Manhattan Children’s Theatre; Avoidable Climbing, Take Me Somewhere, Citizens Theatre) once again plays Darcy and Mrs Bennet. Also in the cast are Tori Burgess (Alice’s Adventures in Wonderland, The Lyceum; Bear Pit, Blood of the Young; Secret Show 1, Blood of the Young & Tron Theatre; Margaret Saves Scotland, Oran Mor, Traverse, Lemon Tree, Marilyn Imrie) as Lydia and Mr Collins, Christina Gordon (Glory on Earth, The Lyceum; The Cheviot, The Stag and the Black, Black Oil, National Theatre of Scotland, Dundee Rep; Mancub, Cumbernauld Theatre; Rocket Post, National Theatre of Scotland) as Lady Catherine de Bourgh and Jane, Hannah Jarrett-Scott (Glory on Earth, The Lyceum; The Taming of the Shrew, Sherman Theatre, Tron Theatre; The Wolves, Theatre Royal Stratford East; A Bottle of Wine and Patsy Cline, Gilded Baloon) as Charlotte Lucas and Charles Bingley and Meghan Tyler (A Streetcar Named Desire, Lyric Theatre Belfast; Medicine, Off the Middle with The Hope Theatre; The Persians, Oran Mor, Traverse Theatre; Look Back in Anger, Cumbernauld Theatre; Two Gentlemen of Verona, A Midsummer Night’s Dream, Guildford Shakespeare Company; Shetland, BBC) as Lizzie Bennet.
PRIDE & PREJUDICE* (*SORT OF) is directed by Isobel McArthur and Simon Harvey, with comedy staging by Jos Houben, design by Ana Inés Jabares-Pita, lighting by Colin Grenfell, musical supervision by Michael John McCarthy, sound design by Michael John McCarthy and Luke Swaffield for Autograph and choreography by Emily Jane Boyle.
David Pugh presents Tron Theatre Company, the Royal Lyceum Theatre Edinburgh and Blood of the Young’s production of PRIDE & PREJUDICE* (*SORT OF) with co-producers Birmingham Repertory Theatre, Bristol Old Vic, Leeds Playhouse, Northern Stage and Oxford Playhouse.
HAMPSTEAD THEATRE ANNOUNCES FULL CAST AND CREATIVE TEAM FOR ALAN PLATER’S PEGGY FOR YOU, DIRECTED BY RICHARD WILSON, FROM 10 DECEMBER UNTIL 29 JANUARY 2022
Hampstead Theatre is delighted to announce the full cast and creative team for Alan Plater’s raucously funny Peggy For You, directed by Richard Wilson and starring Tamsin Greig in the title role, from 10 December until 29 January 2022.
Greig will be joined in the cast by Josh Finan (The Responder, BBC One; Shook, Papatango Theatre Co – Southwark Playhouse/UK tour), Trevor Fox (My Brilliant Friend, National Theatre; TheJungle, New York/San Francisco/Playhouse Theatre/Young Vic), Danusia Samal (Maryland, Royal Court; The Great, Hula) and Jos Vantyler (King Lear, Old Vic; Love’s Labour’s Lost, Shakespeare’s Globe) in this Olivier-nominated play, which received its world premiere at Hampstead Theatre in 1999.
Wilson will be joined by designer, James Cotterill; lighting designer, Johanna Town;sound designer, Tingying Dong; casting director, Robert Sterne CDG and associate director, Dadiow Lin.
‘If any of my clients is rich, it’s entirely by accident.’
Agents are not supposed to be more famous than their clients – unless, of course, you are the formidable, outrageous and hilarious Peggy Ramsay…
Peggy For Youis based on the life of Alan Plater’s former agent, the legendary Peggy Ramsay. It received its world premiere at Hampstead Theatre in 1999 and was Olivier nominated for Best New Comedy (2001). Plater’s raucously funny play is peopled with characters who fall under the spell of this unlikely heroine, who believed infinitely more in art than she did in money – or in good manners.
Alan Plater wrote extensively for the stage, screen and radio from the 1960s to the 2000s. Starting out on the seminal police drama Z Cars, his 200+ full length TV dramas include The
Beiderbecke Trilogy and the BAFTA winning A Very British Coup.
Richard Wilson will bedirecting his sixth Hampstead production, Previous work includes Terry Johnson’s Imagine Drowning (1991), Simon Burke’s The Lodger (1994)and Antony Sher’s Primo, which transferred from the National Theatre in 2005. A former Associate of the Royal Court Theatre, Wilson directed many new plays there including Mr Kolpert (2000), The Woman Before (2005) and Rainbow Kiss (2006).
Tamsin Greig will star as the legend that held complete sway over the theatre world in a career that spanned thirty years. The Olivier Award-winning actress makes a highly anticipated return to Hampstead following Tony Kushner’s The Intelligent Homosexual’s Guide to Capitalism and Socialism with a Key to the Scriptures in 2016 and William Boyd’s Longing (2014). Recent stage credits include Twelfth Night (National Theatre) and Labour of Love (West End). Screen credits include Friday Night Dinner, Episodes and Green Wing.
Hampstead Theatre is currently staging the astonishing Pulitzer Prize-winning play ‘night, Mother by Marsha Norman. Featuring Stockard Channing and Rebecca Night, with direction by the theatre’s Artistic Director, Roxana Silbert, ‘night, Mother is running until 4 December 2021.
The world premiere of little scratch, by Rebecca Watson, in an adaptation by Miriam Battye, directed by Katie Mitchell, will be staged at Hampstead Theatre Downstairs from 5 November until 11 December. little scratchis a fearless and exhilarating account of a woman’s consciousness over the course of 24 hours, with sound score by Melanie Wilson, featuring Morónkẹ́ Akinọlá, Eleanor Henderson, Eve Ponsonby and Ragevan Vasan.
This fabulous musical revolves around the struggle of a 16 year old boy who is faced with a fear of growing up and feeling confused where he fits in. The build up to the year 11 leavers’ prom demonstrates a variety of backgrounds, not just Jamie New wearing a dress for prom. It’s much more than that. This makes this production much more relatable for any audience member.
This true story, based on a 2011 documentary really does make you think of your own journeys through life. Especially through songs such as “Wall In My Head”, “If I Met Myself Again” and “He’s My Boy”. These beautiful songs have such a deeper meaning to anything I have ever heard of before. Maybe it’s thanks to Amy Ellen Richardson for her outstanding performance of Margaret, Jamie’s mum? Maybe it’s thanks to the composer and songwriter? Or both? Either way the tears start!
Putting the emotional blubbery to the side, I need to add how fabulous this production really is! The ensemble makes this musical much more relatable as it takes you back to how you felt when at school. The “it” girls, the “Nerd” who is genuinely a lovely person who is clearly going to do well in life! The one teacher who you struggle with. I remember the “Dean” in my class…. The ensemble brought Sheffield on stage, their accent was on point and their dance technique was floorless. We can’t forget Mr George Sampson of course when it comes to dancing. However, the ensemble did match him, which is what we want!
The cast was a perfect match with recognisable stars such as Shane Richie as Loco Chanelle. He really does pull off a dress! Shobna Gulati as Ray. Shobna brought hilarity and realism to this role. I’m sure we all have an Aunty Ray in the family. George Sampson as Dean and Layton Williams playing the role of Jamie. Layton was perfectly cast for this role. My expectations were to refer to his role from Bad Education; however , I’m so pleased he brought realism, sassiness and love to this character. The legs on him are fantastic!
Referring to Jamie’s journey to becoming a drag queen and attending prom, Layton Williams’ performance throughout is like a roller-coaster with lots of highs and lows. As much as the emotional value is strong throughout, the comedy value is constantly there which is a perfect amount to keep on track with the story. The set was minimal but very clever with use of tracks and school tables creating a lit up wall and projection to give a bit more detail to the setting of each scene. The lighting design gives this musical a much more vogue feel with its artistic ways, especially during “Don’t Even Know It” and “Work Of Art”.
The messages throughout, particularly acceptance, relationships within the family and growing up pull you into this musical which makes you forget you are watching something on stage. It has been an absolute joy to experience this musical as one of the firsts after returning to the theatre and what a pleasure to share this at Leeds Grand Theatre. Thanks for our “ice cream in a tiny tub, with a built in spoon” what a bonus!
RUBEN ÖSTLUND’S AWARD-WINNING COMEDY FILM FORCE MAJEURE
WithLove and Other Acts of Violencecurrently running at the theatre, following the completion of essential building works, Michael Longhurst, Artistic Director, and Henny Finch, Executive Director of the Donmar Warehouse, today announce the full cast for Tim Price’snew stage adaptation of Ruben Östlund’s award-winning comedy film Force Majeure. Joining the previously announced RoryKinnear (Tomas) is Nathalie Armin (Charlotte), Holly Cattle (Female Skier), Raffaello Degruttola (Photographer/Man/Cleaner), Siena Kelly (Jenny), Lyndsey Marshal (Ebba), Kwami Odoom (Brady/Male Skier), Sule Rimi (Mats) and Arthur Wilson (Receptionist). Bo Bragason and Florence Hunt share the role of Vera, and Henry Hunt and Oliver Savell share the role of Harry. The production, directed by Longhurst, opens on 16 December, with previews from 10 December, and runs until 5 February 2021.
The season continues with Kit Harington starring in Shakespeare’s Henry V, directed by Donmar Associate Director Max Webster, 11 February – 9 April 2022; and concluding withMarys Seacole byJackie Sibblies Drury, and directed by Nadia Latif, 15 April – 4 June 2022.
Donmar Warehouse presents
The World Première of
FORCE MAJEURE
From the film by Ruben Östlund
Adapted for the stage by Tim Price
Director: Michael Longhurst; Designer: Jon Bausor; Lighting Designer: Lucy Carter
Sound Designer: Donato Wharton; Movement Director: Sasha Milavic Davies
Casting Director: Anna Cooper CDG
10 December 2021 – 5 February 2022
“Stop it. Stop it! Everyone! We’re on holiday, we’re meant to be having a nice time. What the hell is wrong with you?”
Tomas and Ebba are determined to have quality family time with their children, so they head to the Alps on a skiing trip.
But when disaster strikes, their family unit is tested to breaking point with hilarious and tragic consequences.
Ruben Östlund’s award-winning comedy premièred at Cannes Film Festival in 2014, where it won the Jury Prize. In the Swedish Film Institute’s Guldbagge Awards it won six awards including Best Film, and was nominated for Best Foreign Language Film at the 72nd Golden Globe Awards.
Tim Price is a playwright and screenwriter. His previous credits for the company include Salt Root and Roe. His other credits include Isla (Royal Court Theatre/Theatr Clwyd), How To Ruin Someone’s Life From The Comfort of Your Own Beanbag and Demos (Traverse Theatre), I’m With the Band (Traverse Theatre/Wales Millennium Centre), Elevenses (Somerset House), The Insatiable and Inflatable Candylion (National Theatre Wales), Teh Internet is Serious Business (Royal Court Theatre), Protest Song (National Theatre), Praxis Makes Perfect (National Theatre Wales/Barbican tour), The Radicalisation of Bradley Manning – winner of the James Tait Black Prize (National Theatre Wales) and For Once (Pentabus Theatre/Hampstead Theatre).
Nathalie Armin plays Charlotte. Her theatre credits include Ralegh: The Treason Trial (Shakespeare’s Globe), Machinal (Almeida Theatre), Limehouse (Donmar Warehouse), Another World: Losing Our Children to Islamic State, The Motherf**ker with the Hat, Dara, Behind the Beautiful Forevers, Anna (National Theatre), The Complaint (Hampstead Theatre), On the Record (Arcola Theatre), The Tempest (Barbican) and Arabian Nights and Othello (RSC). Her television credits include Home, Marcella, Unforgotten, Humans, Derailed, William and Mary and The Jury; and for film, Final Score, Denial and Grow Your Own.
Bo Bragason plays Vera. Her television credits include Creeped Out, Moving On and Three Girls, and for film, Censor.
Holly Cattle makes her professional stage debut as Female Skier.
Raffaello Degruttola plays Photographer/Man/Cleaner. His theatre credits include The Talented Mr. Ripley (Watford Palace Theatre). His television credits Ted Lasso, Avenue 5, Jabberwock, Drop Dead Gorgeous, Thief Takers and Press Gang; and for film, Transference: A Love Story, The Hustle, Burning Men, Mute, Unlocked, Heartbeat, Guns for Hire, Seeking Dolly Parton, Blood Moon, Flim: The Movie, Diana, Rush, MoniKa, West of Thunder, Quantum of Solace, Sasquatch Mountain, House of 9, Dot.Kill, Wing Commander, Saving Private Ryan and In Love and War.
Florence Hunt plays Vera. Her theatre credits include Chitty Chitty Bang Bang (UK tour) and Sleeping Beauty (Lichfield Garrick). Her television credits include Bridgerton and Cursed.
Henry Hunt plays Harry. His theatre credits include Handle With Care (Dante or Die). His television includes Ridley Road; and for film, Letters From The Blue and Bump.
Rory Kinnear returns to the Donmar Warehouse to playTomas – he previously appeared in Mary Stuart. Other theatre includes Macbeth, Threepenny Opera, Othello – Olivier Award for Best Actor and Evening Standard Award for Best Actor, The Last of the Hausmans, Hamlet – Evening Standard Award for Best Actor, Burnt By The Sun, The Revenger’s Tragedy, Philistines – Ian Charleson Award, Man of the Mode – Olivier Award for Best Supporting Actor, Southwark Fair (National Theatre), Young Marx (Bridge Theatre), Measure For Measure (Almeida Theatre – Evening Standard Award for Best Actor), Hamlet (The Old Vic), Cymbeline, The Taming of the Shrew (RSC), The Tempest (Theatre Royal Plymouth) and The Seagull (Theatre Royal Northampton). His television credits includeRidley Road, Penny Dreadful: City of Angels, Years and Years, Catherine the Great, Brexit, Watership Down, Guerrilla, Quacks, The Casual Vacancy, Lucan, Count Arthur Strong, Southcliffe, Edwin Drood, Lennon Naked, The First Men in the Moon, Vexed, The Curse of Steptoe, Messiah: The Rapture, Margaret Thatcher: The Long Walk to Finchley, Mansfield Park and Five Days; and for film, No Time To Die, Peterloo, iBoy, Spectre, Trespass Against Us, Man Up, The Imitation Game, Cuban Fury, Skyfall, Broken – British Independent Film Award for Best Supporting Actor, Wild Target and Quantum of Solace.
Siena Kelly returns to the Donmar Warehouse to play Jenny – she previously appeared in Teenage Dick. Other theatre credits include Cat on a Hot Tin Roof (Curve/UK tour), Describe the Night (Hampstead Theatre), A Christmas Carol (The Old Vic), On the Town (Regent’s Park Open Air Theatre). Her television credits include Hit & Run, Adult Material – BAFTA nomination for Best Supporting Actress, Temple and Vanity Fair.
Lyndsey Marshal returns to the Donmar Warehouse to play Ebba – she previously appeared in Absurdia and Boston Marriage (and New Ambassadors Theatre). Other theatre credits include The Wild Duck, Blood Wedding (Almeida Theatre), Diminished (Hampstead Theatre), The Oresteia (HOME, Manchester), Othello, Greenland, A Matter of Life and Death (National Theatre), Three Days of Rain (Apollo Theatre), The Pride, Fire Face, Redundant (Royal Court Theatre), Sleeping Beauty (Young Vic/Barbican/ The New Victory Theater), The Crucible (Sheffield Theatres), A Midsummer Night’s Dream (Bristol Old Vic), Bright (Soho Theatre) and Top Girls (New Vic). Her television credits include Agatha and The Curse of Ishtar, Dracula, Hanna, Trauma, From Darkness, Inside No.9, That Day We Sang, Blackout, Titanic,Garrows Law, The Cricklewood Greats, Being Human, A Short Stay in Switzerland, Kiss of Death, Green, Rome,The Shadow in the North, The Young Visitors, Sons & Lovers and The Gathering Storm; and for film, 1,2,3,4, Trespass Against Us, The Forgotten, Hereafter, Festival, Frozen, The Calcium Kid and The Hours.
Kwami Odoom plays Brady/Male Skier. His theatre credits include Hunger (Arcola Theatre), The Liquid Earth (Royal Court Theatre), The Half God of Rainfall (Kiln Theatre/Birmingham Repertory Theatre), BOYS (The Vaults), A Christmas Carol (RSC), Queen Margaret (Royal Exchange Theatre), and Barber Shop Chronicles (National Theatre). His television credits include Ladhood, Home, The Rook and The Athena.
Sule Rimi returns to the Donmar Warehouse toplay Mats – he previously appeared in Sweat and Measure for Measure. Other theatre credits include Jitney (Leeds Playhouse), Three Sisters, The Suicide (National Theatre) Glass! Kill! Bluebeard! Imp! (Royal Court Theatre), All My Sons, The American Clock (The Old Vic), Love and Information, Desire Under the Elms (Sheffield Theatres) Barber Shop Chronicles (National Theatre/Australia and New Zealand tour), Mary Stuart, They Drink it in the Congo (Almeida Theatre), The Rolling Stone (Royal Exchange Theatre/West Yorkshire Playhouse/Orange Tree Theatre), The Odyssey: Missing Presumed Dead (ETT/Liverpool Everyman), Bordergame (National Theatre of Wales), Othello (Fluellen Theatre Company), Muscle (Shock N Awe) and Serious Money (Waking Exploits). His television credits include Manhunt: The Night Stalker, Black Earth Rising, Strikeback, Unforgotten, Stella and DNN: Definitely Not Newsround; and for film, Ear For Eye, Ashens and the Polybius Heist, Ashens and the Quest for the Gamechild, Bad F*cking, The Adventurer: The Curse of the Midas Box,The Machine,Elfie Hopkins: Cannibal Hunter and Starter for Ten.
Oliver Savell returns to Donmar Warehouse to play Harry – he previously appeared in Appropriate. His film credits include The Piper and Belfast.
Arthur Wilson plays Receptionist. His theatre credits include The Tempest (US tour), She Ventures and He Wins (Young Vic), Genesis Inc (Hampstead Theatre), Persuasion (Royal Exchange Theatre), The Crunch (Look Left Look Right), Richard II (Shakespeare’s Globe), Man and Superman (National Theatre), Comedy of Errors, A Midsummer Night’s Dream, The Taming of the Shrew and Twelfth Night (Propeller), Hard Times, If I Were You, Tom’s Midnight Garden (Library Theatre Company), Resurrection (Òran Mór), A Hole in the Fence (White Bear Theatre), Home – Edinburgh (National Theatre of Scotland), Amid the Clouds (Tron Theatre) and The Borrowers (Citizens Theatre). His television credits includeCall The Midwife, The Academy: Special, Law & Order: UK, and Sea of Souls.
Michael Longhurst is Artistic Director of the Donmar Warehouse. His multicast revival of Nick Payne’s Constellations broke box office records at the Vaudeville this Summer whilst the Donmar completed essential building works. Constellations previously ran on Broadway (Samuel J Freidman Theater, for MTC), West End (Duke of York’s, Evening Standard Award Best Play), UK tour, originating at the Royal Court. His Chichester Festival Theatre production of Tony Kushner and Jeanine Tesori’s Caroline, or Change just reopened Studio 54 for Roundabout Theater on Broadway with Sharon D Clarke reprising her Olivier Award-winning performance (also West End and Hampstead). Other theatre includes Midnight Your Time, Teenage Dick, Europe, Belleville (Donmar Warehouse), Amadeus (National Theatre/NTatHome), The Son (Kiln Theatre/Duke of York’s Theatre), Gloria (Hampstead Theatre), Bad Jews (Theatre Royal Haymarket/Theatre Royal Bath/UK tour), They Drink It In The Congo and Carmen Disruption (Almeida Theatre), ‘Tis Pity She’s A Whore, The Winter’s Tale (Shakespeare’s Globe), If There Is I Haven’t Found It Yet (Off-Broadway for Roundabout), Linda, The Art of Dying, Remembrance Day (Royal Court Theatre), A Number (Nuffield Southampton Theatres/Young Vic), Cannibals (Royal Exchange Theatre), The History Boys (Sheffield Theatres), Dealer’s Choice (Royal & Derngate), The World of Extreme Happiness (NT Shed), Stovepipe (site-specific promenade with the National Theatre, HighTide and Bush Theatre), Midnight Your Time (HighTide), On The Beach (Bush Theatre), On The Record, Gaudeamus (Arcola Theatre), dirty butterfly (Young Vic – winner of the Jerwood Directors Award) and Guardians (Pleasance/Theatre503 – Fringe First Award).
Force Majeure is supported by Cockayne Grants for the Arts, a donor advised fund at London Community Foundation, Adam Kenwright and Ian & Beth Mill.
FORCE MAJEURE
LISTINGS
Donmar Warehouse, 41 Earlham Street, Seven Dials, London WC2H 9LX
10 December 2021 – 5 February 2022
Captioned: 24 January at 7.30pm
Audio-Described: 29 January at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 31 January at 7.30pm
YOUNG+FREE tickets for 16-25 year olds released by ballot. Sign up at www.donmarwarehouse.com.
Generously supported by IHS Markit.
DONMAR DAILY
New tickets on sale every day at the Donmar. Allocations of tickets from £10 will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band.
STANDING TICKETS
£10 standing tickets available from two weeks in advance 10am online, by phone and in person. (Except Press Nights. Subject to availability)
ACCESS
The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters.
ASSISTED PERFORMANCES
If you require a companion to attend the Donmar, their ticket will be free. To book call 020 3282 3808 or email [email protected].
For all other access enquiries or bookings call 020 3282 3808.
SEASON AT A GLANCE:
LOVE AND OTHER ACTS OF VIOLENCE
Until 27 November 2021
Captioned: 8 November at 7.30pm
Audio-Described: 6 November at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 15November at 7.30pm
FORCE MAJEURE
10 December 2021 – 5 February 2022
Captioned: 24 January at 7.30pm
Audio-Described: 29 January at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 31 January at 7.30pm
HENRY V
11 February – 9 April 2022
Captioned: 28 March at 7.30pm
Audio-Described: 2 April at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 26 March at 2.30pm
MARYS SEACOLE
15 April – 4 June 2022
Captioned: 23 May at 7.30pm
Audio-Described: 21 May at 2.30pm, touch tour at 1pm
British Sign Language Interpreted: 30 May at 7.30pm
The season is presented in partnership with Wessex Grove.
The Cultural Coven Podcast returns for series two with a stellar line up of star guests to reveal all
After the success of the first season which saw guests such as Sam Heughan, Ian Rankin, Elaine C Smith, Liz Lochhead and more chatting to actress Nicola Roy about Scottish arts and culture, The Cultural Coven podcast is returning for series two.
The fortnightly series will kick off with a scintillating interview with superstar Alan Cumming on 10 November, followed by episodes starring Maureen Beattie (24 November), Grant Stott (8 December), Karen Dunbar (22 December), Sanjeev Kohli (5 January), Jackie Kay (19 January) and Len Pennie (2 February), before the season finishes with an extra special guest.
The Cultural Coven is a fortnightly podcast series that explores the lives of some of Scotland’s leading arts and cultural figures through conversation (and a bit of banter) with podcast host, actress Nicola Roy. It delves into the creative and life journeys of guests from backgrounds in music, theatre, TV and literature. With conversations covering life journeys, politics, arts and culture in Scotland, and fun green-room gossip and creative challenges along the way, the podcast connects the public with the artists, most of whom Nicola Roy has either worked with as an actress or has crossed paths with in the industry.
This season is produced by Li Kennedy, with music by kind permission of Cameron Barnes of The Red Hot Chilli Pipers. It is presented in association with the Stephen Dunn Theatre Fund and the Lyceum Theatre, and is based on an idea by Stephen Dunn and Nicola Roy. With strong ties to the Lyceum herself, many of Nicola’s guests will all have an association with Scotland’s leading producing theatre.
As the podcast grew out of the pandemic, it aims to keep artists and the public connected. From hard-hitting subjects to custom creative challenges, the podcast is an accessible celebration of arts and culture in Scotland and a window into the lives of the fascinating folk who feature on it.
Episodes will be released every two weeks and will again be freely available on all major podcast platforms. Season one is currently available in its entirety on Apple Podcasts, Amazon,Google,and Spotify.Listeners can subscribe now to be notified when new episodes are released fortnightly beginning with Alan Cumming’s episode on 10 November, where Nicola and Alan discuss topics such as safety on film sets, bullying in the industry, and Alan’s friendship with Monica Lewinsky.
Nicola Roysaid: “I am delighted to build on the lovely success of the first series and give listeners more top chat from fascinating folk for series two. It’s fantastic to celebrate our rich cultural landscape and our much-loved Arts and Cultural figures, many whom amplify Scotland’s creativity across the world, at a time when Scotland is questioning her identity. I have been very lucky to work and cross-paths with the type of people my 12 year old-self daydreamed about meeting. People with brilliant stories, humour and insight. Who wouldn’t want to know more about them? This project was born out of lockdown with the aim of keeping the public and artists connected. I love bringing people together, and this podcast is another way of doing that”
David Greig, Artistic Director of Lyceum Theatre, said: “Cultural Coven is a chance to celebrate and hear another, backstage, side of the people who make Scottish Culture. Nicola’s a warm, funny interviewer who brings out the best in her guests. The conversations are recorded in The Lyceum and I’m really proud that Nicola’s producing this work in association with us. Her wide ranging conversations make a piquant, illuminating pairing with the work we do on stage.”
First Minister Nicola Sturgeon in a tweet about the first series on 30.04.21, said: “If you like podcasts I highly recommend @CulturalCoven – brilliant interviews of really interesting people by @NicolaMRoy”
Alan Cumming said: “I had a lovely, lovely chat with Nicola, and I’ve never wanted to be a witch before but I really enjoyed being a part of The Cultural Coven.”
Maureen Beattie said: “We laughed a lot when we were recording my contribution to The Cultural Coven, but Nicola isn’t afraid to ask the deeper, more serious questions as well. She’s a brilliant interviewer – we could have gone on for hours!”
Karen Dunbar said: “The Cultural Coven was really enjoyable to record. Nicola’s chat, insights and questions helped take the interview in a refreshing direction. Give it a listen (or I’ll come round to your house and put a bat up your nightdress)“
Every so often a little show comes along pretty much unheralded and without star casting that strike a chord with audiences and critics alike, and end up sticking around in the West End for years: think The Play That Goes Wrong, Six, Stones In His Pockets, The 39 Steps, Reduced Shakespeare Company (the last two of these were of course long term occupants of the Criterion on Piccadilly Circus, where Pride & Prejudice* (Sort Of) looks likely to remain for the foreseeable future). Yes folks, here’s another to add to that illustrious populist list. Despite a somewhat unwieldy title (which makes total sense once you see the show, which you absolutely must),this is the sort of joyful comic romp that will appeal to all ages (although be aware there is some swearing, if you’re planning to bring youngsters) and is likely to get a lot of repeat business from patrons curious to see what they missed while their heads were thrown back in mirth on their previous visit.
Written by Isobel McArthur “after Jane Austen”, it’s one of the most cheeky and charming examples of having your theatrical cake and eating it that I’ve ever encountered; for the brilliant McArthur, who co-directs (with Simon Harvey), plays Mrs Bennet AND Mr Darcy, and also plays piano and accordion because, well, why not…, has created a skilful spoof of Austen’s beloved novel and the sober-sided ways it’s often dramatised, as well as a remarkably complete rendering of the actual story itself. It’s very clear that, for all their hysterically funny mucking about with it, McArthur, Harvey and their team have a great deal of affection for, as well as a formidable working knowledge of, Pride & Prejudice the novel.
What they bring to it is crazy comic invention, phenomenal energy, raucous anachronisms (“Darcy wouldn’t piss on you if you were on fire!”), genuine wit …and karaoke. The all female quintet who roar through this life-enhancing spectacle playing multiple roles are sensational physical and vocal comics who miraculously still find the kernels of truth in what they are doing, thereby sending the already highly amusing up into the comedy stratosphere. It’ll be a long time before I forget Hannah Jarrett-Scott’s fantastically arch, screamingly funny Caroline Bingley trying to woo Darcy while discrediting Meghan Tyler’s glorious Northern Irish Elizabeth Bennet, or the sight of Christina Gordon’s lovely Jane Bennet on a full size horse gamely pretending that the water pistol repeatedly fired at her by Tori Burgess’s hysterical younger sister is an unexpected rain shower. The five performers are just magic together, and “Comedy Staging” specialist Jos Houben should probably get an honorary Olivier award for this work on this.
Here’s a world where the catering at a society party includes Wagon Wheels and Irn Bru (the production originated in Scotland), or where characters emerge from a modern day rubbish skip in full Regency dress and brandishing percussion which they then play, where Mr Bennet can occupy quite a lot of stage time but is never actually seen, or where Elizabeth can suddenly produce a mic and start berating Darcy with a rather terrific version of Carly Simon’s “You’re So Vain”. Despite all the fun (and there is a heck of a lot of that), there emerges a very strong sense that in Austen’s world the men had the power but it was the women who drove things.
It looks good too: the costumes are nicely mock-lavish, and Ana Inés Jabares-Pita’s gorgeous set, a circular book-festooned staircase climbing into the flies, mirrors the colour scheme and patterns of the Criterion’s own dust-pink and cream auditorium and even features a replica of the theatre’s own chandelier.
The second act falters a bit, almost as though the creators had realised that they were so busy showing us a good time that they’d forgot there was still quite a bit of the plot to cram in, and could probably lose about twenty minutes. By the end though, the audience is spontaneously on their feet, galvanised by an unexpected but entirely delightful rendition of the Candi Staton disco classic “Young Hearts Run Free” from the junior Bennet sister who has hitherto been banned from singing at family parties (the fabulous Burgess again).
This show is nuts: Austen as the adorable love child of Mischief Theatre and Our Ladies of Perpetual Succour, with a large dash of Laura Wade’s The Watsons and the National Theatre of Brent. It takes you to that smashing place where you just can’t stop laughing. Is it perfect? Well, no. But is it the funniest show currently in the West End? Absolutely.
THE ALEXANDRA THEATRE, BIRMINGHAM – UNTIL SATURDAY 6 NOVEMBER
REVIEWED BY NADIA DODD
4****
Having been a fan of the film, I was more than delighted to accept the invitation to go along to the press night of the theatre production. I first saw Grease on the stage back in the 90’s in the West End and tonight’s excitement and anticipation started to build once entering the theatre seeing some audience members dressed as the ‘Pink Ladies’, I had my fingers crossed for a great few hours ahead.
The performance started with the stars main characters Danny Zuko (played by DanPartridge) and Sandy Dumbrowski (played by alternate Sandy, Ellie Kingdon) setting the scene of their summer romance coming to an end before heading to back to school for the start of the new term. Ellie (Sandy) is making her professional debut in this performance of Grease and she does not disappoint, she has such a powerful voice, perfect for the iconic song ‘Summer Nights’.
Cast perfectly for the comical role of Jan, Maeve Byrne was such a delight to watch as one of the Pink Ladies, not as popular with the boys as some of the others. Yes, Danny was the president of the Burger Palace Boys but for me it was Kenickie (played by Paul French) who stood out as such a strong character and fantastic performer. The scenes with the boys dancing as group were astounding!
I have to admit it was Vince Fontaine /Teen Angel (played by Peter Andre) who stole the show and the audience’s hearts, showing that even though his music career hit a peak in the 1990’s he could still hold a note and a few cheeky hip thrusts that certainly entertained majority of the crowd…..
Costumes, props and scenery were on point set back to the 50’s, the iconic car ‘Grease Lightening’ obviously also featured heavily. There are some additional songs in this production compared to previous shows and the original film, and don’t expect the show to mirror the exact flow of the film, it has to be adapted for the stage remember.
The Pink Ladies and Burger Palace Boys, as they were originally known (T-Birds in the film) put on such a colourful, vibrant and energetic performance for the whole show, it really was difficult not to join in, although the whole theatre were encouraged to take to their feet and join in along the whole cast in such a joyful ensemble of all the favourite songs at the end of the show.
Atlantic City always appears to be a sadder, less impressive version of Las Vegas in films, and this musical set in Atlantic City has the same disappointing aura. Based on Jack Engelhard’s novel rather than the tweaks made in the movie screenplay, the characters and plot are one dimensional and unengaging.
Married couple Jonny (Norman Bowman) and Rebecca (Lizzy Connolly) are both working multiple jobs to get by in Atlantic City. Rebecca catches the eye of millionaire Larry (Ako Mitchell) who offers the couple one million dollars to spend one night with Rebecca. Act two shows the effects of their decision on their relationship, but the shouty songs begin to grate. Perhaps the arguments should have been spoken.
There is so much that could be said about capitalism, sex workers, and a multitude of other problematic issues the characters deal with. But Michael Conley’s book and lyrics just brush over everything and move the plot along with clunky dialogue and repetitive lyrics that add nothing to the story or character development. Dylan Schlosberg’s music is catchy with a few standout numbers, but nothing very memorable, despite the musicians’ talent and energy.
Bowman and Connolly do the best they can with the dull script, and both have great voices, but there is nothing they can do to make you care about these characters. The only truly memorable moments come from Jacqueline Dankworth as lounge singer Annie. She has most of the funny lines and gets to work the audience in character and nails the two best songs in the show – exuding melancholy singing Atlantic City, and sublime singing Will You Remember.
A talented cast wasted in a musical that doesn’t find it’s voice – a proposal that is easy to turn down.
