Condragulations! Delightful Divina De Campo will be bringing the glitz and glamour to The Core at Corby Cube’s Christmas show, Sleeping Beauty!
Wakey, Wakey! The Christmas show of your dreams is just around the corner and it’s a show not to be missed, as Ru Paul’s Drag Race favourite Divina De Campo leads the cast of Corby’s first ever drag pantomime as the evil Carabosse in Sleeping Beauty from Friday 17 to Friday 31 December.
A seasoned British drag queen known for her fabulous high soprano and 4-octave vocal range, Divina has featured on national television programmes including The Voice, All Together Now and most recently a finalist on the first season of RuPaul’s Drag Race. Divina is currently touring the UK in Chicago The Musical and can’t wait to be turning on her bad girl persona for the role this Christmas.
“I am so excited to be appearing in Sleeping Beauty at The Core this Christmas. I love what the producers are doing by colliding the world of drag and pantomime in a show that celebrates the LGBTQ+ community. Drag is for everyone, and this show proves it. I am going to be wickedly fabulous so watch out Corby, DDC is coming to get you!”
Joining Divina will be drag legend Lola Lasagne, one of the most successful and popular drag queens on the UK circuit. Lola will be “whipping her hair back and forth” as Nanny Lola, looking after Princess Beauty whilst dealing with the tempers, tantrums and traumas caused by Carabosse – the most wicked fairy in the land.
And that’s not all! The show’s producers, Imagine Theatre, are thrilled to announce that joining those two fantastic queens will be hugely popular drag king and West End star (Death Drop), Don One who will be playing the deliciously dashing Prince Eric.
With fabulous sets, glamorous costumes and more sequins than Strictly, it’s going to be camp, it’s going to be glitzy and audiences will ‘sashay away’ into the night with huge smiles on their faces. With a suggested age guidance of 12+ this is a fabulously festive show with just a little more sass!
Sleeping Beauty takes place at The Core at Corby Cube from Friday 17 – Friday 31 December. Tickets start from £10, for more information and to book tickets go to ww.thecorecorby.com or call 01536 470470.
*A charge of £1.50 per-transaction applies to telephone and website bookings of £15 and over, it does not apply in person or to Friends, Groups and Disabled Patrons.
Aria Entertainment today announces they will stage a musical adaptation of KahlilGibran’s Broken Wings by Nadim Naaman and Dana Al Fardan. After multiple productions of the musical in concert form around the Middle East this will be the first full staging of the musical. The production, directed by Bronagh Lagan, opens at Charing Cross Theatre on 26 January, with previews from 21 January, and runs until 5 March 2022.
Nadim Naaman said today, “Nearly four years after our semi-staged concert debut, I am frankly ecstatic that Broken Wings is returning to London. This new Production will be the first time our musical is fully-staged. It feels particularly special to be bringing Gibran and a piece of Lebanon back to the London stage, following the many difficulties faced by the Lebanese people over the past few years. We are so grateful to Katy for her longstanding support and belief in Broken Wings, and we can’t wait to welcome audiences early next year.”
Katy Lipson, also commented, “As soon as I heard this beautiful and arresting score I became committed to bringing this story to the stage in London in a full production. I find it a unique musical set in the melting pot of the Middle East but with a familiar story of longing, loss and discovery with an incredible writing team. I hope audiences will enjoy the romance and beauty of the story and enjoy another powerful new musical which deserves to part of the cannon.”
Katy Lipson for Aria Entertainment with Bonnie Comley and Stewart F. Lane in association with Edward Prophet and People Entertainment Group presents
Kahlil Gibran’s
BROKEN WINGS Written by Nadim Naaman and Dana Al Fardan
Directed by Bronagh Lagan
21 January – 5 March 2022
New York City, 1923. Through exquisite poetry and enchanting music, an ageing Gibran narrates our tale, transporting us back two decades and across continents, to turn-of-the-century Beirut. Gibran meets Selma; their connection is instant and their love affair, fated. However, their journey to happiness is soon thrown off course, as the pair face obstacles that shake the delicate foundation of their partnership. Will their love win out or will their dream of a life together be torn apart?
Performed in-the-round, Broken Wings takes us on an unmissable musical voyage, exploring issues of gender equality, immigration, the freedom to love who we love, and what ‘home’ really means to us. Over a century later, and the themes and debates raised in Gibran’s story, remain increasingly relevant today.
Nadim Naaman is the book writer and co-composer. His credits include Rumi: The Musical – released by Broadway Records as a Concept Album. His credits as an actor include A Little Night Music (Holland Park Opera), The Phantom of the Opera (Her Majesty’s Theatre/Greek tour), By Jeeves (The Old Laundry), Sweeney Todd (Tooting Arts Club), One Man, Two Guvnors (Theatre Royal Haymarket), and The Sound of Music (London Palladium). As a soloist, he has performed concerts in venues including The Hong Kong Philharmonic, Birmingham Symphony, Concertgebouw Amsterdam, RTE Concert Orchestra Dublin, Liverpool Philharmonic, The John Wilson Orchestra, London Symphony and BBC Proms at The Royal Albert Hall. His 2016 studio album, Sides, topped the iTunes UK Vocal Chart, and is available on iTunes and Spotify. Naaman is also an associate at The Royal Academy of Music.
Dana Al Fardan is a Qatari composer, songwriter and symphonic artist. Her credits include Rumi: The Musical – released by Broadway Records as a Concept Album. She is the official composer of Qatar Airways and also Brand Ambassador of Qatar Philharmonic Orchestra, with whom she has recorded two albums: Layla and Sandstorm – the latter has been performed by The London Metropolitan Orchestra at Theatre Royal Haymarket in London.
Bronagh Lagan directs. Her theatre credits include Cruise (Duchess Theatre), Rags The Musical (Lyric Theatre/Park Theatre), Umm Kulthum (London Palladium), Putting It Together, Little Women (Hope Mill Theatre), A Winter’s Tale (Rose Theatre Kingston), Brexit the Musical (Edinburgh Festival Fringe), Promises, Promises (Southwark Playhouse), tick, tick… BOOM! (Park Theatre), As You Like It (Jackson’s Lane), The Adventures of Pinocchio (Ambassadors Theatre), The Rise and Fall of Little Voice (Chipping Norton Theatre), The Pajama Game, A Man of No Importance (Pleasance Theatre), Heart of Winter, The Stationmaster (Tristan Bates Theatre), James and The Giant Peach (UK/international tour), Portia Coughlan (The Old Red Lion), Girlfriends (Union Theatre), A Day in the Death of Joe Egg (Greenwich Theatre), The Mistress Cycle (Landor Theatre), Expectations (Arcola Theatre), Blood Wedding (Courtyard Theatre), Newsrevue (Canal Café Theatre), Henry VIPart 1 (Rose Theatre), Erris (Theatre503), Julius Caesar (The Scoop) and The Madness of Sweeney (Lyric Theatre, Belfast). Lagan is also part of the From Page To Stage Literary department for Aria Entertainment.
FUTURE OF HISTORIC LIVERPOOL THEATRE SECURED AS EXPERIENCED
TEAM COLLABORATE TO TAKE OVER HANOVER STREET VENUE
Liverpool’s much-loved Epstein Theatre is entering a brand new chapter with a new management team at the helm.
Epstein Entertainments Ltd is a joint venture between Liverpool producers Bill Elms, Chantelle Nolan, and Jane Joseph, who have taken over the historic Hanover Street venue this week.
The creative team’s exciting plans already include a Christmas pantomime this festive season, which will be announced and on sale this week.
The theatre will retain the same name and continue to run as a variety venue with a mixed programme of entertainment.
Bill Elms has more than 30 years’ experience in the entertainment industry, both regionally and nationally. He is director of leading Liverpool based arts PR company Bill Elms Associates, and a theatre producer under Bill Elms Productions, whose previous shows have included Jerry Springer – The Opera, Swan Song, Judy & Liza, and Something About Simon.Last year, he also created Liverpool Theatre Festival, of which he is Artistic Director – the festival has just enjoyed a successful second year. Bill will become the venue’s Artistic and Communications Director.
Chantelle Nolan, who is currently General Manager at St Helens Theatre Royal, is the new Artistic and Operations Director at The Epstein Theatre. Along with her mother Jane Joseph, she is one half of the hugely successful Regal Entertainments Ltd which has run St Helens Theatre Royal for the past 20 years, as well as producing top quality drama, comedy, and panto productions which have toured extensively.
Chantelle also directs and produces St Helens’ three annual pantomimes. Regal Entertainments Ltd will now produce three in-house pantomimes a year at The Epstein Theatre.
Bill Elms Productions, Liverpool Theatre Festival, St Helens Theatre Royal, and Regal Entertainments Ltd will continue to run as normal.
The Epstein is a 108-year-old, 380-seat proscenium arch theatre. It was originally opened as Crane’s Music Hall in 1913 and was a popular location for recitals and performances. It was renamed Crane Theatre in 1938. In 1967 the theatre was purchased from the Cranes by Liverpool Corporation, who decided that it should be run by local people for local people and was named The Neptune Theatre. The Neptune also became a comedy club and, after many years of uncertainty about the future of the theatre, it eventually closed in 2005.
In July 2011, a £1million refurbishment of the theatre was completed which saw the Hanover Street venue brought up to 21st Century standards and renamed The Epstein Theatre inhonour of former Beatles manager Brian Epstein, who guided the Fab Four from popular cellar act to global superstardom. The opening season show at the venue was the premiere of Epstein: The Man Who Made The Beatles, which was also produced by Bill Elms.
The former operator went into administration in December 2017 and has been run by administrators until this time, continuing to showcase a programme of music, comedy, drama, and children’s entertainment. The venue closed its doors in March 2020 as part of the Government national Covid-19 lockdown, and will now reopen under the management of the new team.
Bill Elms, Artistic and Communications Director at Epstein Entertainments Ltd, said: “I’m absolutely delighted to have been successful in the joint tender for the lease of The Epstein Theatre. This is a venue I have loved with a passion for so many years and is one of Liverpool’s leading historical and cultural gems. I’m excited to play a part in both strengthening and reaffirming its future, with a vision to establish the venue among the most prolific theatres in the industry – we’ll be showcasing established favourites, revivals and new works; working with both local and national producers and production companies; and exploring some mid-scale UK tours that currently tend to bypass the city.”
Chantelle Nolan, Artistic and Operations Directorat Epstein Entertainments Ltd, said: “The Epstein holds a very special place in people’s hearts, myself included. My mother Jane produced the annual panto for many years in the theatre’s previous incarnation as The Neptune, and I appeared in her first show there as a child. Performing there helped fuel my love of theatre, but little could I have known then that I’d be running the venue one day. The Epstein has amazing potential, and we’re absolutely committed to presenting a quality programme of music, comedy, and children’s shows, as well as building on the family pantomime and exploring longer running shows for Epstein audiences.”
Regal Entertainments Ltd Company Director Jane Joseph added: “This is a very special moment for me. I produced my first ever pantomime, Aladdin, at the then Neptune in 1994. I’m incredibly excited that 25 years later, to be coming full circle and returning to the theatre where it all started for me – this time as part of the team running the venue. The Epstein is a theatrical jewel and I’m looking forward to helping it continue to sparkle.”
The theatre management are welcoming enquires from local and national production companies to programme from January 2022, producers can email [email protected]
FULL CAST ANNOUNCED FOR WEST END PREMIERE OF SPELLBINDING SHOW
Dazzling show based on Yann Martel’s Man Booker Prize-winning novel
to begin performances in West End on 15 November 2021
Wyndham’s Theatre, London
Rehearsals began this week for the highly anticipated West End premiere of Life of Pi, Lolita Chakrabarti’s dazzling stage adaptation of Yann Martel’s award-winning book. It will begin performances at the Wyndham’s Theatre in London on Monday 15 November 2021.For the first time ever, the historic Wyndham’s Theatre will be transformed to fully accommodate the magnificent elements of the production that left audiences mesmerised.
Simon Friend, the producer of the acclaimed Life of Pi, is thrilled to announce the full cast of the celebrated and multi-award winning Sheffield Theatres production.
Hiran Abeysekera makes a welcome return to the show in the central role of Pi, alongside Mina Anwar as Ma, Nicholas Khan as Father, Payal Mistry as Rani, Tom Espiner as Father Martin and Commmander Grant-Jones, Raj Ghatak as Mamaji and Pandit-Ji, Syreeta Kumar as Mrs Biology Kumar and ZaidaKhan, David K.S. Tse as Mr Okamoto, Kirsten Foster as Lulu Chen, Habib Nasib Nader as Cook and Voice of Tiger.
They are joined by: Fred Davis (Tiger Head), Daisy Franks (Tiger Heart), Romina Hytten (Tiger Heart), Tom Larkin (Tiger Head), Scarlet Wilderink (Tiger Heart), and Tom Stacy (Tiger Hind).
Nuwan Hugh Perera is Pi alternate, and understudies are Alex Chang and Deeivya Meir.
Simon Friend commented: “I am delighted to announce the cast for this show – most of whom were in the original production in Sheffield, alongside some brilliant new cast members who have joined us on our journey. After an incredibly difficult year for so many people I hope this truly captivating production about how we deal with life’s toughest challenges will particularly resonate with audiences.”
The production is directed by Max Webster, Set and Costume designer is Tim Hatley, the Puppet and Movement Director is Finn Caldwell, the Puppet Designers are Nick Barnes and Finn Caldwell, the Video Designer is Andrzej Goulding, the Lighting Designer is Tim Lutkin, theSound Designer is Carolyn Downing, the Composer is Andrew T Mackay, Dramaturgy is by Jack Bradley, the Casting Director is Polly Jerrold, the Associate Director is Hannah Banister, the Associate Set Designer is Ross Edwards, the Costume Supervisor is Sabrina Cuniberto and the Props Supervisor is Ryan O’Connor.
Based on one of the best-loved works of fiction – winner of the Man Booker Prize, selling over fifteen million copies worldwide – Life of Pi is a breath-taking new theatrical adaptation of an epic journey of endurance and hope.
After a cargo ship sinks in the middle of the vast Pacific Ocean, there are five survivors stranded on a single lifeboat – a hyena, a zebra, an orangutan, a sixteen year-old boy and a 450-pound Royal Bengal tiger. Time is against them, nature is harsh, who will survive?
Award winning writer Yann Martel’s works include The Facts Behind the Helsinki Roccamatios (1993), Self (1996), We Ate the Children Last (2004), Beatrice and Virgil (2010) – a New York Times Bestseller and a Financial Times Best Book, 101 Letters to a Prime Minister (2012) – a collection of letters to the prime minister of Canada; and The High Mountains of Portugal (2016).
Lolita Chakrabarti OBE is an award-winning playwright and actress. Her writing credits include: RedVelvet which opened at the Tricycle Theatre in London in 2012, returning in 2014 before transferring to New York and the West End; Red Velvet was nominated for nine major awards including two Olivier Awards. Lolita won the Evening Standard Theatre Award for Most Promising Playwright, The Critics Circle Award for Most Promising Playwright and the AWA Award for Arts and Culture; She adapted Italo Calvino’s Invisible Cities for MIF in 2019 a collaboration with 59Productions and Rambert; her play Hymn was live streamed in February 2021 from the Almeida, before opening to audiences later in July; she was dramaturg on Message in a Bottle for ZooNation and Sadler’s Wells; she curated The Greatest Wealth for Old Vic, a series of monologues marking the 70th birthday of the NHS. Acting credits include: Vigil, The Casual Vacancy (BBC), Riviera, Delicious (Sky), Born to Kill, My Mad Fat Diary (Ch4), Criminal (Netflix), Fanny and Alexander (The Old Vic), Hamlet (RADA). She can soon be seen in Showtrial for the BBC and Wheel of Time for Amazon Prime.
Max Webster was the inaugural Baylis Director at the Old Vic and is now an Associate Director at the theatre where his work includes Fanny and Alexander, Cover My Tracks and Dr. Seuss’s The Lorax. Selected other stage work includes the forthcoming The Merry Widow (ENO), The Jungle Book (Northampton/Fiery Angel UK tour), The Winter’s Tale (Lyceum, Edinburgh), and King Lear (Royal and Derngate, Northampton/UK tour).
The extraordinary animals are brought to life by Puppet & Movement Director Finn Caldwell, who began his career in the original company of the National Theatre’s international phenomenon War Horse. He is the Artistic Director of his own company Gyre & Gimble, for whom work includes: co-director/puppet designer of The Four Seasons: A Reimagining (Shakespeare’s Globe), The Hartlepool Monkey (UK tour) and The Elephantom (National Theatre & West End). His other work includes: director of puppetry/movement for Angels in America (National Theatre & Broadway), The Light Princess (National Theatre), War Horse (West End & Internationally) and Groundhog Day (Old Vic & Broadway).
Life of Pi is produced by Simon Friend in association with Playing Field and Tulchin/Bartner.
Edwardian Hotels London is proud to be the official hotel partner of Life of Pi in the West End.
RSC TO BECOME FIRST PERFORMING ARTS COMPANY TO BE GIVEN INDEPENDENT RESEARCH ORGANISATION STATUS
First Associate Scholars announced and a commitment to being a Teaching Theatre
The Royal Shakespeare Company has been awarded Independent Research Organisation (IRO) status by the Arts and Humanities Research Council (AHRC), part of UK Research and Innovation (UKRI). The RSC is the first performing arts organisation to receive the award. It will enable the Company to conduct crucial research, from exploring the role of immersive technologies in performance, to engaging a more diverse talent base in the performing arts.
In moves that echo founder Peter Hall’s original vision for the RSC to become ‘a teaching and research institution’, the newly acquired IRO status will allow the Company to broaden its research capacity and develop its role as a national centre for Shakespeare and performance, teaching, training, learning and research.
The IRO status recognises the economic and social contribution of the cultural sector and is designed to support research in the UK’s major culture and heritage organisations. The RSC will expand its research into a range of subjects including immersive technologies in performance, the impact of theatre-led approaches in education, audience engagement, developing a diverse talent base, considering organisational structures for the 21st Century and ensuring fairer access to and representation across the performing arts sector.
The RSC also announced the Company’s first Associate Scholars, Professor Ayanna Thompson, Professor James Shapiro and Professor Emma Smith, who will work with the RSC to guide, advise and inform its work in person, online and across all locations.
Yorkshire family portrait photographer
The IRO status and Associate Scholars are an important part of the RSCs commitment to being a Teaching Theatre. The Company is uniquely placed to bring together teaching, research, and theatre practice as all three are interwoven into the RSC’s work on and off stage, online, in classrooms and communities.
This announcement builds on a successful legacy of collaboration between the RSC and AHRC. Most recently, this includes the UKRI-funded Dream, a pioneering collaboration exploring how audiences could experience live performance in the future.
Commenting on the award, Erica Whyman, Acting Artistic Director, said:
‘Peter Hall’s vision for the RSC to be a producing theatre as well as a world-class teaching and research specialist still inspires us today. We’ll be a different kind of IRO as our work is already rooted in research-based practise. From our artistic process and output, our superb archives and Collection which detail performance history, to understanding the significant impact of arts-rich schools on the development of children and young people, a spirit of enquiry runs through every aspect of the organisation’.
‘Some of our latest research around Dream as part of the Audience of the Future initiative, is discovering the role of immersive technologies and virtual production in live and digital performance, looking at how audiences may experience live performance in the future. The new IRO status will enable us to build on this and ensure the performing arts plays a critical role in setting and leading the research agenda alongside existing IROs’.
The Company’s first research project as an IRO is funded by Paul Hamlyn Foundation and expands on the findings of the 2018 Time to Listen study. This captured the enormous value that young people place on creativity and arts learning in their education. It also confirmed the importance of RSC approaches to teaching Shakespeare and the positive impact they have on learning outcomes for young people. This next major research project will provide a deeper insight into why this is and what works most effectively, with the findings informing RSC practice and influencing the work of wider cultural and education sectors and key policy and decision-makers for the benefit of future generations.
Professor Christopher Smith, AHRC Executive Chair, said:
‘For over fifty years the RSC has challenged audiences to ask important questions about our society, our culture and ourselves through the power of performing arts.
Its new status as an Independent Research Organisation will enable the RSC to work with AHRC to fully explore these questions on and off the stage.
‘The research undertaken by the RSC as an Independent Research Organisation will help all of us to imagine an exciting future for the performing arts, and shape a more dynamic, resilient and inclusive cultural ecosystem.’
The RSC will establish a dedicated Research Board, chaired by RSC Trustee and newly appointed Associate Scholar, Professor, Ayanna Thompson to oversee the delivery of a new Research Strategy. One of the Company’s aims is to oversee the co-ordination and development of research projects that will contribute to building a stronger performing arts sector.
Ayanna Thompson, RSC Board and Regents Professor of English at Arizona State University, said:
‘The RSC is uniquely poised to change the way we encounter Shakespeare in the 21st century. It is exciting to plan and design new research projects that are performance-based, education focused, and technologically informed. The RSC’s new teaching theatre model will advance the way we think about Shakespeare and social justice.’
Priorities for RSC research include:
Analysing the impact of Shakespeare’s work and language on the learning outcomes and development of cultural capital in children, young people and adults
Tracking the detailed and specific advancements required to develop and implement inclusive practise and behaviours
Assessing the civic impact and place-shaping role of arts and cultural organisations
Building on our leadership of Audiences of the Future
Developing a cohort of doctoral level researchers within the RSC
Engaging with the Company’s collections and archives to illuminate theatrical, literary and adaptation histories
Based on Susan Hill’s book of the same name, the story has been adapted many times over the years, but theatre removes the barriers that can sometimes impede horror. You can put down the book, you can switch off the TV. In a theatre however, the threat of the Woman in Black cannot leave you.
So that’s one reason why the play has lasted so long, why else? Well, the cast is superb and at the top of their game. Past productions have starred Martin Freeman and Joseph Fiennes, and the UK tour is no exception. Both Robert Goodale as Arthur Kipps and Antony Eden as the Actor draw the audience in this unnerving tale, simultaneously creating two worlds without effort: Arthur Kipps’ story of his encounter with the Woman in Black in the past, and his present-day efforts to ‘exorcise’ his trauma by sharing it with others. The premise of these two worlds is simple: Kipps, now an old man, is determined to ‘exorcise’ his past and has written down his bone-chilling tale in order to share with his family. He has hired the Actor to help him deliver his story, to bring some much-needed life into what would otherwise be five hours of an old man droning through a manuscript. The Actor, keen to do his best for this traumatised gentleman, slowly encourages Kipps to enliven his delivery, making way to a full performance. After a few edits and directorial notes, the Actor plays a young Kipps, while the man himself takes on the roles of everyone he met in the haunted town of Crythin Gifford.
It’s a plot point that many in the audience I suspect were not prepared for, especially if they came expecting a re-telling of the film version with Daniel Radcliffe. But the purpose of this first half hour of story-telling is clear – we see these two men, one weary and frail, the other energetic and enthused, come together, bond, and we see the care the Actor has for the older Kipps, even if the odd moment of theatrical ambition shines through. This is an extravagant therapy session for Kipps, and the Actor is determined to see it through. By the time all this set-up is complete, the true ghost story begins.
Sound gradually creeps in, enveloping us in the world of Crythin Grifford and the vendetta of the Woman. Jump-scares are rare in this production. Instead, the long, slow, dread of what might happen creeps into your mind, making the fear that much worse. Towards the end of the first act, the stage is overwhelmed in sea-mist, and all sight is obliterated. What is in the mist? What might we see when the fog clears? Some effects might have been lost in the transition to a touring production, but that does not lessen the tense atmosphere that both actors create onstage.
Both actors weave the tale before us magnificently, with empathy, fear, and just the right touch of humour – just enough to make you settle into your seat and lull you into a false sense of security, before the Woman in Black emerges from the shadows once again.
‘The Woman in Black’ is a tense, nerve-wracking horror, which will have you jumping at shadows the whole way home.
It was heavily publicised during the most recent lockdowns that one of the industries that were most affected by the stay at home restrictions were the theatre industry. Actors, stage crew, box office personal (among others) were all out of work with no guaranteed return date. This lasted for just over two years and I can’t imagine how tough it must have been for people who have worked for years to get into the industry to not be able to actually work. Luckily, theatre in Wales has just begun reopening which is why the Sherman Theatre in Cardiff have decided to organise a mini-festival that showcase Welsh creativity but also the possible future theatre we may see. Their Back In Play series (which runs from the 8th to the 30th October) is a way of the theatre celebrating the return of live audience into their premise. They selected four, very distinctive welsh theatre creatives to write a short thirty-minute piece that was inspired by a classic play or book. I was able to watch the first two of these unique performances which both focused mostly of Shakespeare and bringing his work into the twenty-first century.
Hamlet is a F&£$boi
I have to admit that when I first heard the title “Hamlet is a F&£$boi” I instantly cringed. For those who are not familiar with this phrase ‘F&£$boi,’ dictionary.com defines it as someone who is “self-absorbed, does stupid things, and f**ks with others’ emotions” usually with no respect for women or potential lovers. With all this in mind, I anticipated an extremely cringy retelling of Shakespeare’s ‘Hamlet’ where the titular character was an over-the-top, caricature who wears a backwards cap with sagging jeans etc. Luckily this was not what was performed for which I am extremely thankful for! The story however follows the narrator as they discuss their unsuccessful partner searching and after a booze-filled night decides to revisit some of Shakespeare most famous male characters. She opens up an anthology of all Shakespeare’s (which fun fact I also own) and is suddenly greeted by a spirit called Gemma. Gemma introduces the narrator to a series of the male suitors in Shakespeare’s work that the narrator used to have a crush on when they were younger and highlights the dangers of falling in love with fictional characters. Firstly they meet Paris from Romeo and Juliet who turns out to be too passionate and loving which causes a lot of uncomfortableness and frustration from the narrator. Then they encounter Hamilton who is famously known for his disrespect towards women and this is where the label ‘f&£$ boi’ is bestowed to him during the story. Finally, they met John Proctor from The Crucible who seems like the perfect guy but after a while becomes too controlling and reinforces the classic idea of a women’s role which we in the twenty-first century no longer agree with!
From my very limited experience, writing and performing original pieces of work is extremely difficult. Being able to flip between writer and performer mindset was very difficult but I had a team of actors working alongside me so they were able to take on some of the pressure. I can only imagine the stress that Lowri Jenkins was under during this performance as not only did she write and perform it herself, but it was a one-person play. This meant that she, and she alone, had to keep the audience entertained throughout the whole performance which is difficult on its own at the best of times however this did not seem to phase Lowri at all! Her performance within this play was incredible as it flipped from critiques of modern dating, comedy, supernatural elements and self-love flawlessly. I was surprised initially when I entered the theatre as all the seats were sat around a table with three smaller stages across the centre of the room. This was a very unusual set-up for a play but it was used perfectly through this satirical play. Due to how imitate the audience was, Lowri was able to give eye contact to the majority of audience members which really helped to pull them into the centre of the story and helped everyone to be able to relate to her story. I do think that this is a play for a more mature audience due to the sexual references, strong language and the fact that it is built on the idea of crushes from classic literature that many young people may not be able to relate to. It also managed to cleverly integrate classic Shakespearean quotes (which I personally would struggle to remember) which again showcased the tales of Lowri while also being a nice reference that the fans of classical literature would really enjoy!
Overall this is a very engaging and contemporary play that was influenced by some classic male characters that most people would know of. It goes from comedy to more heartfelt moments beautifully while keeping the audience engaged despite their only being one performer throughout the whole show. I would rate this original play 4 out of 5 stars and would recommend it to anyone who has ever said “I wish men in real life were like the men in my books!”
The Messenger
The Messenger written and performed by Seiriol Davies however was an almost complete contrast. I knew as soon as I spotted Seirol in his bejewelled monk’s outfit that we were in for an extremely camp time and that’s exactly what we were given. This play tells the story of a delivery boy who is tasked with delivering the letter to Romeo which outlined Juliet’s plan for a staged death. If you have read or seen ‘Romeo and Juliet’ by William Shakespeare before, you will know that the two-character tragically end their respective lives after thinking that the other was already dead. What I really enjoyed about this mini-musical performance was that it did in fact fill a gap in Shakespeare’s original story and stuck a lot more closely to the original source material. In this play, however, the messenger and Romeo have shared a brief romance so when the latter is tasked with delivering a letter that outlines the plan of Juliet’s fake death he has a change of heart and decides not to hand over the plan. Again this was another one-person show which means that praise needs to be given for Seirol to be able to keep the audience attention throughout the whole performance!
This show was extremely camp and gave off very drag Shakespeare (now there’s an idea for any drag performers out there!) which was very entertaining. There were points where the performer weaved through the audience, spoke to viewers and used every inch of the auditorium to create a unique theatre experience. As stated earlier this was a musical retelling so not only did Seiriol had to write and perform this show on his own but he also had to sing live. This really showcased their many talents with the lower sections in the vocals being the place in which they were most comfortable and sounded incredible! A highlight during this performance for me was the rendition of “What’s in a Name” which saw the performer sit down at a piano and play their own accompaniment which was amazing to watch. Seiriol appeared to put everything he had into this performance which made for a very powerful and emotional song.
THE PHANTOM OF THE OPERA celebrated its 35th Anniversary at Her Majesty’s Theatre on Monday 11 October with guests in attendance including Boy George, Max Whitlock, Dr. Ranj, The Vivienne, Melanie Blatt, Chris Moyles, Amy Hart, Jeremy Vine and Matt Richardson.
THE PHANTOM OF THE OPERA stars double Olivier Award nominee Killian Donnelly as ‘The Phantom’, Lucy St Louis as ‘Christine Daaé’ and Rhys Whitfield as ‘Raoul’.
The cast also includes Saori Oda as ‘Carlotta Giudicelli’, Matt Harrop as ‘Monsieur Firmin’, Adam Linstead as ‘Monsieur André’, Greg Castiglioni as ‘Ubaldo Piangi’, Francesca Ellis as ‘Madame Giry’ and Ellie Young as Meg Giry. At certain performances the role of ‘Christine Daaé’ will be played by Holly-Anne Hull.
THE PHANTOM OF THE OPERA is produced by Cameron Mackintosh and The Really Useful Group Ltd. Music by Andrew Lloyd Webber, Lyrics by Charles Hart, and Additional Lyrics by Richard Stilgoe. Book by Richard Stilgoe and Andrew Lloyd Webber, based on the novel ‘Le Fantôme de l’Opera’ by Gaston Leroux, with Orchestrations by David Cullen and Andrew Lloyd Webber. Musical Supervision is by Simon Lee. The Production Design is by Maria Björnson and the Set Design is adapted by Matt Kinley with Associate Costume Design by Jill Parker, Lighting is by Andrew Bridge with Associate Lighting Design by Warren Letton, Sound is by Mick Potter. The Musical Staging and Choreography is by Gillian Lynne, recreated and adapted by Chrissie Cartwright. Originally Directed by Harold Prince, this production is Directed by Seth Sklar-Heyn.
Multi award-winning company, Carrot Productions is thrilled to announce the return of The Snowman tour.
This December the enchanting, animated film of The Snowman will be accompanied by a liveprofessional orchestra creating the perfect Christmas treat.
Carrot Productions is the world’s leading performers of both Wallace and Gromit and The Snowman film with live orchestra and have been voted as one of the ‘Top Family Things to Do at Christmas’ by The Guardian, The Sunday Times and The Telegraph.
The Snowman, adapted from author and creator Raymond Briggs’ iconic children’s book, follows the adventures of a young boy and a truly remarkable Snowman. This big screen presentation will be accompanied by a live professional orchestra bringing the chart-topping music to life. This magical performance will be full of charm, humour and warmth and a perfect treat for the whole family.
With musicians drawn from the UK’s top orchestras including the BBC Philharmonic, Hallé, BBC Scottish and London Symphony Orchestra, families across the country will have the chance to enjoy a Christmas classic whilst in a stunning setting making the most of the beautiful music.
With the ethos of Carrot Productions being that orchestral music should be accessible and welcoming to everyone The Snowman will be a particularly special festive treat after the last year. All musicians in the orchestra are not only there because of their incredible musical skills but also for their fun, friendly nature; important when performing to a young audience who may have never seen or heard a live orchestra before.
Rachel Whibley, Managing Director of Carrot Productionssaid “We’re delighted to be back on tour again this Christmas, spreading our Snowman magic across the UK. Our shows are always special, but this year’s performances are going to be especially poignant, with families finally able to share events together again. Add in the extra sparkle of Walking in the Air sung by a local soloist or chorister, and I doubt there will be a dry eye in the house.”
And as if the excitement of the fantastic film and magical music aren’t enough there will even be a visit from The Snowman himself who cannot wait to welcome everyone back inside venues this Christmas.
Alongside The Snowman film, these magical performances will include a toe-tapping Christmas Medley, a fun musical tour of the orchestra and an additional animation – The Bear and the Piano (with narration recorded by Joanna Lumley), The Nutcracker Suite, or We’re Going on a Bear Hunt – ensuring perfect entertainment for the whole family.
Tickets for The Snowman are on sale now.
Listings
Buxton
The Octagon
Wednesday 1 December – 1.45pm (Schools) and 6.30pm (Public)
Thursday 2 December – 10.45am (Relaxed) and 1.30pm (Schools)
New Adventures is delighted to announce their Overture dance artist cohort for 2021/2022. Established in 2016, Overture is the annual New Adventures professional development programme for dance artists and dance teachers from a variety of genres who have been working in community or education settings for less than five years. Each year, the group of artists are chosen for their diverse range of work and experience within the community dance sector that spans a full scope of settings from across England.
Found through an open call and through our dance networks, this year’s 16 talented community dance artists are:
Charlotte Arnold, Leeds
Nya Bardouille, Enfield, London
Poppy Barnes, Roehampton, London
Emilie Barton, Wimborne, Dorset
Emily Cooke, East Cowes, Isle of Wight
Pippa Fisher, Chalfont St Peter, London
Martina Ghinetti, Fulbourn, Cambridge
Natalie Haslam, Lichfield, Staffordshire
Megan Jansen, Higham Ferrers, Northamptonshire
Kath McGuire, Withington, Gloucestershire
Hannah Miles, Forest Hill, London
Emily Orme, Coxbridge, Glastonbury
Kate Stanforth, Stocksfield, Northumberland
Christopher Tendai, Erith, London
Hannah Wintie-Hawkins, York
Tom Withington, Norfolk
Facilitated by Resident Artist Kerry Biggin and Community Dance Practice Educator and Artist Director of UNIT,Tom Hobden, the cohort of dance artists participate in tworesidential weekends at the Company’s base in Farnham Maltings, Surrey over an eight-month period, alongside digital sessions and a visit to the current New Adventures production on tour.Each residential comprises of practical workshops, discussions and skills-sharing as well as inspirational guest teachers from a variety of dance backgrounds. With workshops in areas such as personal development, coaching and networking, New Adventures aim to provide the cohort with a range of skills to support them in reaching the next level of their careers as community dance artists. This year guest tutors include among others Isabel Mortimer, a personal and executive coach and director of Coaching at Dancers Career Development; and Kane Husbands, Artistic Director of ThePappyShow, Performance Design and Practice lecturer at Central Saint Martins and Overture alumnus.
Kerry Biggin said today. ‘It is always wonderful to be part of the journey and development of the dance artists and teachers that we work with each year on Overture and is continually inspiring to see how each cohort grow, build their network, confidence and aspirations throughout the programme and beyond. I am so excited to be continuing this valuable support for freelancers across England, especially at this time of transition as we seek to re-connect and strengthen our community which was so affected by the pandemic. Sending out inspired artists, confident to forge their way in the industry brings real hope for the future of dance and I’m excited to follow their stories’.
This year’s cohort bring the total to 106 freelance artists and teachers who have worked with New Adventures on the Overture professional development programme. The Overture alumni continue to work across the dance industry: Grace Black, a member of the first cohort, is now working as a support artist on Cygnet School with New Adventures; Emily Jenkins is founder of Move Dance Feel, an organisation who facilitate dance for people affected by cancer; Jenny Reeves is the Artistic Director of Lancaster based heritage dance company, About Time; Kane Husbands is founder and artistic director of The Pappy Show; and Hilary Seaton was the 2020 Ryde Academy Winner of One Dance UK Award for outstanding secondary dance teaching.
New Adventures and the Overture Programme is supported using public funds from Arts Council England.
