THE PRODUCERS ARE DELIGHTED TO REVEAL A FIRST LOOK OF
CABARET
AT THE KIT KAT CLUB
As the Kit Kat Club opens its doors in the West End for the first time, ATG Productions and Underbelly, the producers of CABARET at the KIT KAT CLUB are delighted to reveal a first look of the production starring Eddie Redmayne as ‘The Emcee’, Jessie Buckley as ‘Sally Bowles’ and Omari Douglas as ‘Cliff Bradshaw’.
The opening of the Kit Kat Club tonight completes the full reopening of the West End as the last major theatrical venue to open.
CABARET stars Eddie Redmayne as ‘The Emcee’, Jessie Buckley as ‘Sally Bowles’ Omari Douglas as ‘Cliff Bradshaw’, Liza Sadovy as ‘Fraulein Schneider’, Elliot Levey as ‘Herr Schultz’, Stewart Clarke as ‘Ernst Ludwig’ and Anna-Jane Casey as ‘Fraulein Kost’. The cast is completed by Josh Andrews,Emily Benjamin, Sally Frith, Matthew Gent, Emma Louise Jones, Ela Lisondra, Theo Maddix, Chris O’Mara, Daniel Perry, Andre Refig, Christopher Tendai, Bethany Terry, Lillie-Pearl Wildman and Sophie Maria Wojna.
One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.
CABARET is directed by Rebecca Frecknall (the Almeida’s Olivier Award winning Summer and Smoke, The Duchess of Malfi, Three Sisters), set and costume design is by Tom Scutt (A Very Expensive Poison, Constellations, King Charles III, Jesus Christ Superstar, collaborations with Sam Smith, Christine and the Queens) with choreography by Julia Cheng (founder of the House of Absolute, Philharmonia Orchestra Artist in Residence, recipient of the runner-up prize for Hip Hop Dance futures, Resident Choreographer for the Royal Academy of Dance, Judge and mentor for BBC Young Dancer and Breakin’ Convention – the UK’s biggest Hip Hop Festival, collaborations with London Fashion Week, Google and Dr Martens). Musical supervision and direction is by Jennifer Whyte (Les Misérables film, Caroline Or Change, Parade). Lighting design is by Isabella Byrd (Heroes of the Fourth Turning and Light Shining in Buckinghamshire – both in New York, Daddy – A Melodrama at the Almeida and The Flick at the National theatre) with sound design by Nick Lidster (City of Angels, Passion, Pacific Overtures and Parade at the Donmar Warehouse, Sweeney Todd and On The Town for English National Opera, A Chorus Line, Les Misérables and Miss Saigon). The casting director is Stuart Burt (& Juliet, The Drifters Girl and 2021 CDG Award for Best Casting in Theatre for Cyrano De Bergerac) and the associate director is Jordan Fein. Angus MacRae is the Prologue composer. Fight direction is by Jonathan Holby. The dialect coach is Michaela Kennen and the voice coaches are Claire Underwood and Mark Meylan.
CABARET at the KIT KAT CLUB is produced by Ambassador Theatre Group Productions and Underbelly.
Cast and creatives announced for Corn Exchange Newbury’s Christmas pantomime Cinderella Friday 26th November 2021 – Sunday 2nd January 2022 Corn Exchange Newbury, Market Place, Newbury, RG14 5BD
Corn Exchange Newbury have announced the cast for Cinderella, its Christmassy pantomime which runs throughout the festive period. Helmed once again by comedy writing team Plested and Brown, Cinderella promises to be fun for all the family with plenty of jokes, songs from across the decades and lots of magic and sparkle!
Chloe Gentles (Mamma Mia!, Beautiful – The Carole King Musical), will play the title role of Cinderella, playing opposite William Beckerleg (Madagascar, Summer Holiday) as Prince Charming. Returning to the Corn Exchange after last year’s Aladdin, Susan Harrison (Showstopper! The Improvised Musical, Peter Pan Goes Wrong) is back to give audiences plenty of opportunities to boo and hiss as she plays one of the Stepsisters alongside Ali James (Showstopper! The Improvised Musical, Tell Me On A Sunday), and Justin Brett (Million Dollar Quartet) joins the company as Lady Barbara Hardup.
Jade Johnson (The Book of Mormon) will be spreading a little magic as the Fairy and Billy Roberts (Nativity the Musical) will play Prince Charming’s trusty servant. Completing the cast are Jordan Benjamin (Hairspray, London Coliseum) and Rachel Breeze (The Best of the West End).
Cinderella is written and directed by Plested and Brown, who are Clare Plested, Adam Brown and Amanda Wilsher. They have had Newbury audiences in stitches for the past two years with their fresh takes on the traditional pantomime stories Sleeping Beauty and Aladdin, whose run was sadly cut short last year but lived on as a filmed performance. Joining Plested and Brown in the creative team are musical supervisor Dai Watts (The Seeker), musical director Jordan Paul Clarke (Showstopper! The Improvised Musical), choreographer Holly Hughes (Sasha Regan’s All-Male Mikado) and designer Mark Walters (Glitter Pantomimes).
Katy Griffiths, Director of Corn Exchange Newbury, says Pantomime is such a magical time of year for everyone at the Corn Exchange. Plested & Brown have really pulled out all the stops this year, and with an incredible cast to match, I know that visitors of all ages are going to have a ball(!) with us at Cinderella this year.’
Plested and Brown, say, We have a confession… Cinderella is our favourite panto; let’s face it, it’s the godfather (or Fairy Godmother) of all pantomimes! We can’t wait for you to meet our Cinders and her terrible ‘influencer’ sisters; larger than life Lady Babs; the cheeky Deldini and ridiculously handsome Prince (who made a fantastic Newbury debut last year as Joe Wicks). Oh, and not forgetting the Mrs Hinch of the magical kingdom, Fairy Liquid. We’ve had so much fun bringing these characters to life and giving them some fantastic songs to sing – there’s hits for all the family – from The Descendants to Oasis!
We have gathered a magical cast for you who bring comedy, toe tapping songs and plenty of improv surprises! We’re delighted to be working with a fantastic cast including three members of the incredible improv show ‘Showstoppers! The Improvised Musical’ – if you haven’t seen it catch them on tour in the UK or West End. When working with improvisers anything can happen and each show will be unique as they get the audience involved and to create a truly once in a lifetime performance. You’ll be coming back for more!
We also have West End musical theatre performers from hit shows including Mamma Mia and Only Fools and Horses – so be prepared for big voices and big laughs. Come join the panto gang… the clock is ticking and there’s a magical Christmas party to get to!
Guildford Fringe Theatre Company announces the cast for its 10th Adult Panto
Aladdin One Rub Too Many
at The Back Room of The Star Inn from 25 November – 31 December 2021
Guildford Fringe Theatre Company is celebrating its 10th professional Adult Panto this winter, with Aladdin One Rub Too Many playing the Back Room of the Star Inn, Guildford, from 25 November – 31 December 2021.
Announcing the cast (but without revealing their much naughtier character names in full…): Michael Pellman will play the title role of Aladdin with Dora Gee as Abanazar, Alice Mills as the Princess, Robert Rees as the Dame and Rachel Warrick-Clarke as Spirit of the Ring/Genie. They are joined by Megan Swaisland as Swing.
Aladdin One Rub Too Many the Adult Panto is written and co-directed by James Chalmers, co-directed and choreographed by Charlotte Wyschna and produced by Nick Wyschna – the creative team which was behind D!CK (2020), Pinocchio (Summer 2020) and Sinders (2019). It is cast by Denise Silvey and light and sound designed by Chris Elcocks.
James Chalmers, writer of Aladdin One Rub Too Many the Adult Panto, previously said: “I’m absolutely thrilled to be returning for a fifth outing writing the script for the Adult Panto – it truly is the highlight of my year (oh yes it is!). I have been very fortunate to have been connected to Guildford Fringe and the annual tradition of the Adult Panto since 2015. I feel very privileged to be part of a company of pathfinders that produced not only one but two Adult Pantos, both online and live, during the COVID crisis. Whilst it may not be a panacea, the incredible reaction to the shows proved that at a time like this the arts are vital for providing levity and light. Expect nothing less for Christmas 2021!”
Producer Nick Wyschna said: “We are back! Our yearly adult panto returns with a bang after well over a year which has been lacking in happiness! This is, without doubt, the highlight of my year, seeing audiences howl with laughter. Thankfully it isn’t just me and the team who are excited about the return of our naughty panto as we have already sold out 17 shows of the run with many other close to being full. Come on down for the smuttiest panto in the South!”
To book for Aladdin One Rub Too Many the Adult Panto, strictly for over 18s only, visit www.GuildfordFringe.com or telephone the Box Office on 01483 361101. Please note: Sunday 5 December at 5pm will be a socially distanced performance. All other performances will be sold at full capacity.
LISTINGS
Show: Aladdin One Rub Too Many the Adult Panto
Dates: 25 November – 31 December 2021. *Sunday 5 December @ 5pm will be a socially distanced performance. All other performances will be sold at full capacity.
Times: Varies – see website or call the Box Office
Running Time: 1 hour (no interval)
Venue address: The Back Room of The Star Inn, Quarry Street, Guildford GU1 3TY
THEATRE ROYAL BRIGHTON IS HOSTING A GALA NIGHT ON 15 NOVEMBER TO CELEBRATE REOPENING AFTER 16 MONTHS AND TO THANKS ITS SUPPORTERS
After 16 months of being closed, Theatre Royal Brighton is delighted to be safely welcoming its audiences back this Autumn, with a top line up of star-studded shows on the bill for the months ahead. To celebrate the milestone moment and to thank its supporters, the theatre is hosting a Gala Night on Monday 15 before the opening night show of the Olivier Award winning box office hit comedy The Play That Goes Wrong.
THEATRE ROYAL BRIGHTON IS HOSTING A GALA NIGHT ON 15 NOVEMBER TO CELEBRATE REOPENING AFTER 16 MONTHS AND TO THANKS ITS SUPPORTERS
After 16 months of being closed, Theatre Royal Brighton is delighted to be safely welcoming its audiences back this Autumn, with a top line up of star-studded shows on the bill for the months ahead. To celebrate the milestone moment and to thank its supporters, the theatre is hosting a Gala Night on Monday 15 November with a pre-show drinks reception before the opening night show of the Olivier Award winning box office hit comedy The Play That Goes Wrong.
Theatre Royal Brighton’s Theatre Director John Baldock said: “Situated in the heart of Brighton’s cultural sector, our theatre, normally buzzing with life, stood dark for 496 days, the longest time in its history. So we are absolutely delighted to have our doors open again and what better way to celebrate than with a glittering gala night for The Play That Goes Wrong – a show that will delight our guests and leave them crying with laughter. We are so pleased to be safely welcoming our audience members back and doing what we do best – bringing the West End to Brighton.”
Following three previously sold out tours, The Play That Goes Wrong, returns to Theatre Royal Brighton from Monday 15 – Saturday 20 November. The play features the (fictional) Cornley Drama Society who are putting on a 1920s murder mystery, ‘The Murder at Haversham Manor’, 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! Winning multiple awards including the 2015 Olivier Award for Best New Comedy and a Tony Award for the Broadway transfer, The Play That Goes Wrong isnow in its seventh year in the West End and has become a global phenomenon with productionsin over 35 countries and across 6 continents. It has played to an audience of over two million worldwide.
For more information about The Play That Goes Wrong and the forthcoming season at Theatre Royal Brighton, visit: www.atgtickets.com/brighton.
Carmen, is an exciting opera that unlike other operas of its age is more realistic and takes a more mundane take on love and departs from rigid or overly romantic depictions of love and desire, fermenting the story in raw lust and mischief. Opera North’s take on Carmen puts the heroine in the middle of the spotlight, making her an irresistible character who does not shy away in the presence of the main male characters, Don José and Escamillo, who are both overflowing with classic masculine energy. While caring for her daughter, Carmen navigates working as an exotic dancer toying with the men’s desires and separating herself from the idea of a tame woman.
The story unfolds in an ever changing set that is fascinating and unravels in many layers with every inch of the stage very carefully and in great detail designed. Crystal E. Williams is brilliantly casted for the role of Carmen, from the moment she enters the stage on a swing wearing a pink satin leotard, to her scheming and plotting, she is oozing with sexyness and cunningness and every second she is on stage she is impossible to look away from. Her initial love interest Don José, played by Erin Caves, is easy to manipulate and mold to her liking with him ending up being madly and vehemently in love with her. Escamillo, played by Phillip Rhodes, is the typical flirtatious man who charms the audiences and Carmen but fails to protect her from her choices and ultimately herself.
Behaviours of male characters depict an older time especially when it comes to claiming the women, which is shown blatantly when Micaela enters the stage, where even though obviously pregnant she is approached crudely by the soldiers. Similar images take place many times on stage, which is showing an uncomfortable truth of what was acceptable at the time when the opera was written. Nevertheless, Carmen, and other female characters, are depicted as strong women who can stand their own ground, are assertive and make their decisions based on their own ambitions and motivations.
Although the show is very entertaining throughout, there are times when scenes are not executed in the most elegant manner. The use of cocaine creates a bit of an awkward frenzy with the actors almost choking themselves in it. Furthermore dance scenes seem to be disjointed and do not blend well with the rest of the story while at times it feels like the connections between characters are feeble.
Overall, giving a stunning performance, the cast does not miss a single opportunity to showcase their vocal precision with each song being beautifully accompanied by an exceptional orchestra. Although there are moments when the depiction of the story falls short, Carmen invites audiences to an escape filled with energetic and engaging performances, lively scenery and an all over captivating venture on this beloved opera.
Set in Mexico in the 1990’s and sung in English this modern take on Bizet’s Carmen was entrancing from start to finish. With some hilarious moments to its gory denouement the show kept us transfixed. Watching Bizet’s Carmen in English was surprisingly engaging, removing the need to keep an eye on subtitles whilst trying to concentrate on the act on stage, it was easy to get lost in the performance.
And the performance had everything you’d expect of a modern-day version of Bizet’s Carmen, action, surprising comedic interludes (there was twerking), and denim a plenty to remind us we were in the 1990’s. From the moment Shakira Tsindos’s haughty, fickle, gypsy girl Carmen clad in denim hotpants, sang the famous aria ‘Love is a rebellious bird’ (l’amour est un oiseau rebelle) with attitude the tone of the Opera was set.
A special mention must go to Thomas Isherwood’s Escamillo, playing a famous footballer in this version of the Opera. His entrance and rendition of ‘Vivat, vivat le ‘Toréador’’ raised the roof, with his powerful baritone he would not be misplaced at the Royal Opera House, small wonder he seduces the fickle flirtatious Carmen out of the arms of Don José.
On the night we saw the performance Andrew Rawlings Don José was suffering from pharyngitis necessitating his performance be mimed whilst sung by a stand in. Resulting in a at times, a slightly disorienting effect when Don José was on one end of the room and the voice was singing from the other! But the venue was small enough for it not to matter so much, and the performers rallied around for it to be barely noticeable.
As an overall, if you get an opportunity to see a performance by Opera Loki, I’d urge you to seize it. The company is both a great introduction to the world of Opera in an accessible way but also surprisingly engaging for seasoned Opera fans more used to Glyndebourne. A great night out.
THE LOWRY, QUAYS THEATRE, SALFORD – UNTIL 13 NOVEMBER 2021
REVIEWED BY MIA BOWEN
4****
It’s New Years Eve in the 1960’s, a young woman sits silently at a wooden table in what we learn to be a police interrogation room. It soon transpires that she has information about a recently discovered body. The woman is Mina Harper (Riana Duce), a young lady who disappeared in 1905, yet the woman in the room is in her 20s, fresh faced and youthful. But why? We were soon to find out.
The play unfolds with only three characters on stage, Mina Harper and two interrogating officers, WPC Williams (Adela Rajnović) and DS Donaldson (Matt Prendergast). A simple stage set is suddenly transformed into a graphic novel, where three cameras capture the actor’s faces and translate them into line drawings that are projected onto the back screen. The use of this media, ingenious camera angles, simple props and green screens bring the novel to life most dramatically.
The three actors change characters seamlessly; with clever lighting, media use and slight costume changes to highlight different roles, the drama is cleverly told. The additional use of other languages (Italian, French, Spanish, Russian, German) interwoven in the script adds further emphasis to the plot.
The face paced story has clever twists and keeps the audience captivated throughout. The famous story of Dracula is known by most however this adaptation gives a new untold perspective.
Dracula, The Untold Story was performed in the smaller Quays Theatre situated within the Lowry Theatre complex. The smaller Victorian feel of this venue only added to the atmosphere of the story.
The Lowry theatre complex is situated right in the middle of the Salford Quays development. One of the many bars has impressive views of the Manchester Ship Canal, MediaCity UK and the Imperial War Museum North.
The Alexandra, Birmingham- until Sunday 14th November 2021
Reviewed by Amarjeet Singh
5*****
Bedknobs and Broomsticks had me bewitched from the go with its wordless exposition. I was drawn into Blitz Britain. The stage pulled apart with the sound of sirens, and with every sense alight I was taken on a train journey into Pepperinge Eye and then on into the wonderful world of imagination and pure eccentric joy. The simple but sumptuous sets seamlessly showed us the serendipitous meeting between the Rawlins children and the enigmatic and enchanting Miss Eglantine Price.
The plot sees three Rawlins children evacuated during the Blitz and placed in the care of Miss Eglantine Price, who happens to be learning witchcraft, remotely, through a renowned Professor, with hopes of using her spells in the war effort against the Nazi’s. Before she can complete her course, disaster strikes when the Professor sends news that the school has closed. The story then follows their adventures to find the Professor and the final spell which could change the course of history. Armed with an enchanted bedknob, a bewitched broomstick and a magical flying bed what could possibly go wrong?
Bedknobs and Broomsticks is based upon the books ‘The Magic Bedknob’ (1943), ‘Bonfires and Broomsticks’ (1947) and the Disney production, Bedknobs and Broomsticks (1971) with songs written by the Sherman Brothers, including ‘Portobello Road’, ‘The Age Of Not Believing’ and ‘The Beautiful Briny’. It also contains some new catchy and emotive songs by Neil Bartram. These, and the production, were brought to life by the dazzling sets that are indescribable. No elaborate special effects, just a mixture of lights, colours and a dream like fluidity as an ensemble of actors brought them on to the stage with dance like choreography. Endearing and beautiful like a child’s imagination, I was completely entranced, and I haven’t even got to the bed or the broomstick yet.
Without giving too much of the magic away, there is a land of no people, puppetry, flying shirts, battling suits of armour, a broomstick with a mind of its own, a pescatarian Lion, a glowing bedknob and oodles of spells, but they only work if you have absolute faith and truly believe. I have absolute faith that you will be as spellbound by this charming and heart-warming production of Bedknobs and Broomsticks as I was and I know that after the experience, there will be a part of you that will believe there is magic in the world. Treguna Mekoides Trecorum Satis Dee.
Please find below a link to exclusive footage of Ryan Anderson (Merrill Osmond), Jamie Chatterton (Alan Osmond), Alex Lodge (Jay Osmond), Danny Nattrass (Wayne Osmond) and Joseph Peacock (Donny Osmond) singing The Osmonds hit song Love Me For A Reason. THE OSMONDS: A New Musical will tour the UK and Ireland from 3 February 2022 and will run through to 3 December 2022.
THE OSMONDS: A New Musical with story by Jay Osmond tells the true story of the five brothers from Utah who were pushed into the spotlight as children and went on to create smash hits, decade after decade. From their star residency on The Andy Williams Show from 1962 to 1969, to pop stars and ‘Osmondmania’ from 1971 to 1975, to the arrival of The Donny & Marie Show, a popular variety TV show, from 1976 to 1979, The Osmonds lived a remarkable life recording chart-topping albums, selling out vast arena concerts and making record-breaking TV shows – until one bad decision cost them everything. The musical features a list of 1970s anthems, including One Bad Apple, Down by the Lazy River, Crazy Horses, Let Me In, Love Me for a Reason, (We’re) Having a Party, Puppy Love, Long Haired Lover From Liverpool, Paper Roses and many more.
HAMPSTEAD THEATRE ANNOUNCES THREE WORLD PREMIERES FOR 2022, FEATURING NEW PLAYS BY FLORIAN ZELLER (TRANSLATED BY CHRISTOPHER HAMPTON), ALEXIS ZEGERMAN AND ROY WILLIAMS
Hampstead Theatre is delighted to announce three world premieres for its Main Stage in 2022.
The Forest by Florian Zeller, translated by Christopher Hampton, with direction by Jonathan Kent, will run from 4 February until 12 March.
The Fever Syndrome by Alexis Zegerman, directed by Hampstead Theatre’s Artistic Director, Roxana Silbert, will run from 18 March until 23 April.
The Fellowship by Roy Williams, directed by Paulette Randall, will run from 17 June until 23 July.
Priority Booking opens today at 10.30am. Public Booking opens on Friday 19 November at 10.30am. Further details are available via hampsteadtheatre.com.
Roxana Silbert, Artistic Director of Hampstead Theatre, said:
“I am delighted to be announcing three world premieres today for 2022. Since its inception, Hampstead Theatre has been a home for dramatists and a centre for presenting new plays in front of audiences for the first time. I’m very excited to be welcoming some incredible artists to our Main Stage. Each has a rich and unique story to share about family, love and relationships. I’m especially delighted to be welcoming Roy and Alexis back to Hampstead, and deeply honoured that Florian has chosen Hampstead for his new play – the first to receive its world premiere outside of France.
It will have been two years since we offered a new play on the Main Stage and it is a profound joy to be able to do so for our amazing audiences who have remained so loyal during difficult times.”
***
The Forest is an uncompromising and mysterious new play by the multi-award-winning French novelist, playwright, theatre director, screenwriter, and film director, Florian Zeller. It is translated by his long-time collaborator, Christopher Hampton and directed by Jonathan Kent, who re-unites with Zeller after his production of The Height of the Storm, which was critically acclaimed in London (2018) and on Broadway (2019).
“He can’t help himself and he plunges into the forest…until the moment it dawns on him: night has fallen and he is completely lost.”
At this turning-point of his life, Pierre finds himself tormented by the conflicting demands of family, career and sexual desire. His struggle to resolve this crisis, without fracturing his marriage or compromising his moral code, is explored in unsettling ways.
I’m telling you a story, if that’s all right by you. Apparently, you’ve no objection to telling stories yourself.Am I right?
Florian Zeller’s play The Father (Wyndham’s) has the status of a modern classic and the screen adaptation won the 2021 Academy Award for Zeller and Christopher Hampton. His recent plays in London include The Son (Duke of York’s), The Height of the Storm (Wyndham’s), The Mother (Kiln Theatre), The Truth (Wyndham’s) and The Lie (Menier Chocolate Factory).
Multiple-award winning playwright and screenwriter Christopher Hampton won an Academy Award for his screen adaptation of his play Les Liaisons Dangereuses (as Dangerous Liaisons). He was also nominated for adapting Ian McEwan’s novel Atonement in 2007. Hampton has previously adapted Zeller’s The Father, The Mother and The Truth.
Jonathan Kent returns to Hampstead Theatre, having previously directed Good People (2014) and The Slaves of Solitude (2017). Kent’s recent credits include Talking Heads (BBC and Bridge Theatre), The Height of the Storm (Wyndham’s), A German Life (The Bridge), Long Day’s Journey into Night (Broadway) and Peter Gynt (National Theatre).
The full cast and creative team of The Forest will be announced in due course.
***
The Fever Syndrome, Alexis Zegerman’s vivid, new play directed by the theatre’s Artistic Director, Roxana Silbert, is a thrilling portrait of a brilliantly dysfunctionalfamily.
“You have to ignore the dissenters… You have to be a god, or the heart transplant would never have happened.”
Dr Richard Myers, the great IVF innovator, is virtually a secular saint because of the thousands of babies he has created throughout his career. Now, his family gather to see him receive a lifetime achievement award.
This fractious group are more accustomed to debate than empathy, so it’s not long before the family home in the Upper West Side of Manhattan is once again alive with dispute: conflicting Thanksgiving memories, polarised opinions on investment banking, and how best to care for their ailing father. And crucially, who will inherit Richard’s wealth and Richard’s prestigious science institution?
Alexis Zegerman was Pearson Writer-in-Residence at Hampstead Theatre in 2007, where her play Lucky Seven premiered in 2008. A Susan Smith Blackburn Prize finalist for The Steingolds (2011),her other plays include I Ran The World (2003), Killing Brando (2004) and Holy Sh!t (2018). Zegerman also wrote the screenplay for The Honeymoon Suite.
Hampstead Theatre’s Artistic Director Roxana Silbert directs her third Main Stage production, following Al Blyth’s espionage thriller The Haystack (2020) and Masha Norman’s Pulitzer Prize-winning play ‘night, Mother (2021). Downstairs, she has recently directed Deborah Bruce’s tender new play Raya (2021) and her production of Nell Leyshon’sFolk, inspired by a true story and featuring live folk song, will debut from 18 December until 5 February.
The full cast and creative team of The Fever Syndrome will be announced in due course.
***
The world premiere of Roy Williams’ The Fellowship, directed by Paulette Randall, is, by turns, an electrifying, hilarious, gripping tale set in modern Britain.
“Where’s the glory Mum? Where’s that perfect world for us, your kids?”
Children of the Windrush generation, sisters Dawn and Marcia Adams grew up in 1980s London and were activists on the front line against the multiple injustices of that time. Decades on, they find they have little in common beyond family… Dawn struggles to care for their dying mother, whilst her one surviving son is drifting away from her. Meanwhile, high-flying lawyer Marcia’s affair with a married politician might be about to explode and destroy her career. Can the Adams sisters navigate the turmoil that lies ahead, leave the past behind, and seize the future with the bond between them still intact?
Roy Williams OBE is one of the UK’s leading dramatists. His plays include The Firm, Wildefire (Hampstead Theatre), Sucker Punch (Royal Court)and Death of England and Sing Yer Heart Out For The Lads (National Theatre). In 2020, his play Death of England: Delroy reopened the National Theatre and he received both a BAFTA Nomination (Best Short Form Drama) and an RTS nomination (Best Writer, Drama) for his contribution to BBC4’s Soon Gone, A Windrush Chronicle. Williams is also mentor of the theatre’s year-long writers’ programme Inspire.
Associate Director of London’s 2012 Olympic Opening Ceremony and a former Artistic Director of Talawa Theatre Company, Dr. Paulette Randall MBE makes her Hampstead Theatre debut. Other directing credits include Doctor Faustus (Shakespeare’s Globe), Gem of the Ocean (Kiln) and Fences with Lenny Henry (Duchess Theatre).
The Fellowship is a T.S. Eliot Foundation commission.
The full cast and creative team of The Fellowship will be announced in due course.
***
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, is currently running at Hampstead Theatre Downstairs 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.
