Based on Sergey Fetisov’s memoir and the screenplay by Peeter Rebane and Tom Prior, Richard Hough’s play tells the story of forbidden love in the cold war.
As tensions rise between the USSR and NATO, Pte.Sergey Serebrennikov (Robert Eades) is serving his 2 years military service on a defence post in Estonia. Firm friends with 2nd Lt. Roman Matvejev (Theo Walker), a hot-headed pilot, and secretary Luisa Jannsen (Sorcha Kennedy), the play begins by showing their easy friendship and banter.
A drunken New Year’s Eve changes everything as Sergey and Roman give in to their mutual attraction. Even after warnings from Col. Alexei Kuznetsov (Nigel Hastings) about the punishment for fraternisation between officers and enlisted men, and the threat of 5 year’s hard labour for homosexual acts, the two embark on a passionate affair.
A near-fatal accident gives Kuznetsov an excuse to send Sergey back to Moscow and so he begins a new life studying, not knowing whether he’ll ever see Roman again. But Roman has other plans…
This is a brave attempt to portray this wonderful story, but adding another 30 minutes to the running time would allow some plot points that seem rushed to be fully explored and add more context and meaning to the characters’ choices. There are times when it feels a little too Hallmark. Even so, the cast work brilliantly with what they have been given. Eades and Walker have insane chemistry, heightened by most of their dialogue taking place at a distance, so each glance and touch is sizzling. Eades captures Sergey’s wit and rebellious streak, and Walker’ Roman is always sympathetic as he struggles to balance love and duty. Hastings does well with the underwritten Colonel – hard as nails commanding officer with the men, and jovial father figure to Luisa. It would be interesting to hear the tales behind some of his throwaway lines. Kennedy is wonderful as Luisa – the third wheel in the friendship trying to keep the lads out of trouble, and then full of emotion in the later scenes as she discovers the truth. Her speech about women always clearing up after men play war is worth the ticket price alone.
Owen Lewis uses Gregor Donnelly’s easily adaptable set well, keeping the play dynamic as various locations are set up. Clancy Flynn’s lighting and Jac Cooper’s sound design are atmospheric, with a firework display being a particular highlight.
A beautiful story of LGBTQ+ love under a repressive regime that could be much more than the sometimes-soapy tale. A wonderful cast makes this production one to watch.
Saana Sze’s debut full length play is a hard-hitting but humane examination of identity and conformity in education.
The school experience is described by Martha as a student and as a trainee teacher. YoungMartha (Sam Bampoe-Parry) and NowMartha (Shiloh Coke) inhabit opposite ends of the traverse stage, both recognisable as classrooms on Delyth Evans’ simple but effective set. The two actors’ stories interweave as Martha’s struggles to conform in school unfold.
While NowMartha is proudly black and non-binary, YoungMartha is becoming aware of her sexuality and identity, and this adds to her confusion and need to be part of a group. Sze’s depiction of the blatant prejudices and microaggressions shown by school staff is heartbreakingly familiar, making the shift from keen student to “problematic” to exclusion much more believable as YoungMartha realises that certain teachers ignore the actions of white students and automatically blame Martha and her friends. Martha becomes disenfranchised and joins in with malicious revenge but never loses her inner spark of hope and passion for writing – which obviously worked out well as NowMartha is qualified to train as an English teacher.
NowMartha’s enthusiasm and excitement at giving back and engaging and enthusing students just like them and their friends is palpable – even if their wife has convinced them to not wear a binder to work and answer to Miss. As a teacher, the talks from the school leadership would have seen me doing a full 180 and sprinting out of the door, but an inexperienced newcomer can’t spot the danger signs so easily. In this particular academy trust, the buzzwords of the year that are bandied about on school websites are weaponised by the many layers of managers who value ideology over pedagogy. Students are reminded that diversity, inclusion, and tolerance are important, while at the same time the students chant William Blake’s London. In a school system that follows the business model, there is no room for non-conformity – be that from student or staff. As they are rebuked for each well-meaning action and become less confident, the pain of denying their true identity each day at work becomes increasingly intolerable and NowMartha discovers that staff can act as deviously and viciously as children.
The stories overlap and intertwine, but the characters don’t acknowledge each other until both are struggling to survive and share wordless glances of despair or encouragement. Director Dadiow Lin manages the action sympathetically, balancing the laughs (YoungMartha’s incredulous reactions to what is happening around her, and descriptions of characters are very funny) and the darker moments. Arnim Friess’ lighting and Max Pappenheim’s sound design are intelligent and add to the rising tension.
Shiloh Coke is a powerhouse as NowMartha, full of optimistic enthusiasm as the training period starts, and slowly getting worn down by the immovable and uncaring position of the academy management. When NowMartha finally breaks down, the anger and pain of allowing their misgendering is portrayed beautifully. Sam Bampoe-Parry makes their professional debut, and delivers a fiery and sympathetic performance, full of wit and physicality.
The stark portrayal of the shortcomings of education – particularly the blanket approaches of academy trusts, where many schools all follow the same mission statements and aims rather than writing them based on what their students actually need – and the treatment of individuals who don’t conform is sobering, and any teachers in the audience will need a stiff drink after the show. Belly of the Beast is a fantastic debut, tackling identity, conformity, and suppression with wit and ferocity.
Hall for Cornwall, Truro – until the 18th January 2025
Reviewed by Kerry Gilbert
5*****
Hairspray is a heart warming Masterpiece. Vibrant, Funny and Uplifting!
Set in 1960’s Baltimore, bubbly teenager Tracy Turnblad and is obsessed with the ‘Corny Collins Show’, a talent search broadcast on a local TV network, and has a crush on one of its male lead dancers, Link Larkin. When one of the performers has to leave the show for a certain …. maternal amount of time, to Tracy’s joy, the show announces open auditions and Tracy desperately ties to get in, against her mothers wishes. Immediately rejected by the TV show’s ruthless producer Velma Von Tussle for how she looks, Tracy is crushed, but a chance meeting in school detention sees her meeting and befriending a group of black students who know all too well what it’s like to be judged on appearance. Friendships turn into drive for change, as the group hatch a plan to try and knock down the walls and make ‘The Corny Collins Show’ integrated so that everyone can all dance together. But Tracy learns that some minds refuse to change, and that changing while remaining true to yourself isn’t an easy road to travel.
Directors Brenda Edwards and Paul Kerryson have nailed the infectious positivity that this musical is known for, while not forgetting to show its heart. I loved the use of comedy throughout; you can see just how much craft the Directors have put into creating this masterpiece together with the stunning choreography from Drew McOnie.
From the moment the curtain rises, you’re pulled into that world of high energy choreography, strong vocals and catchy tunes. Excitement filled the theatre as the opening beat began and the curtain revealed the iconic bed on stage and Tracy belted out a tremendous rendition of ‘Good Morning Baltimore’.
The role of Tracy is as big as her trademark hair, and Katie Brace does a fantastic job leading the show, full of wide-eyed daydreaming and immense likeability, with a fantastic voice as well. Her performance was brimming with that signature Tracy charm, particularly in ‘I Can Hear The Bells’. This was made even more memorable thanks to Solomon Davy’s portrayal of Link Larkin – his puppet like movements during the scene was well-choreographed and perfectly delivered.
Penny Pingelton, the quirky and lovable best friend, was brilliantly brought to life by Freya McMahon. For someone making her professional debut, her portrayal was flawless and is a master of physical comedy – she captured Penny’s innocence and goofy charm to perfection.
Kirsty Sparks and Allana Taylor are splendidly spiteful as Velma and Amber Von Tussle and as well as being great antagonist, Taylor has a wonderful tone.
A scene that had the audience in stitches was the duet between Neil Hurst as Edna Turnblad and Dermot Canavan as Wilbur Turnblad. Their performance of ‘Timeless to Me’ was packed with comedic timing and tenderness, a real showstopper that had everyone laughing out loud. This was without a doubt the highlight of the night for me. Neil Hurst, in particular, captured that larger than life personality that made Edna such a favourite character.
When it comes to power ballads, Motormouth Maybelle played by Michelle Ndegwa stole the spotlight with her stunning rendition of ‘I Know Where I’ve Been’. Her vocals were incredible and the raw emotion in her performance made it a truly unforgettable moment.
Another high note was the ensemble cast who nailed every moment, and the beautiful vocals of Grace Anyiam and Vanessa Dumatey. Also, the scene with the three girls – Tracy, Amber and Penny – alongside their mothers was also a particular high.
The set was cleverly done with the rolling sets used for Tracy’s home and her Dad’s joke shop. During the Corny Collins show I loved how the live band was also revealed as this makes it much more personable when you can see where the love music is coming from.
The production of Hairspray is truly a feel good extravaganza. There’s so much to love about the show, with its fantastic characters and catchy songs, but it’s the heart and soul of the musical that really make it sing, and this production captures them perfectly. It thoroughly deserved the standing ovation and I’d highly recommend getting tickets while you can.
February-May 2025 season at the Finborough Theatre
The world premiere of a new adaptation of
THE PASSENGER
by Nadya Menuhin. Based on the novel by Ulrich Alexander Boschwitz.
Directed by Tim Supple. Associate Direction by Joseph Alford. Set and Costume Design by Hannah Schmidt. Lighting Design by Mattis Larsen. Sound Design by Andy Pink.
Cast: Ben Fox. Eric MacLennan. Dan Milne. Robert Neumark Jones. Kelly Price.
Presented by Toby Parsons Productions in association with Neil McPherson for the Finborough Theatre.
‘Perhaps their idea is to undress us carefully before killing us, so that our clothes won’t be bloodstained and our
banknotes ruined. Murder is carried out economically these days.’
The world premiere of a new adaptation of The Passenger by Nadya Menuhin, based on the critically acclaimed novel by Ulrich Alexander Boschwitz, and directed by the multi-award-winning former Artistic Director of the Young Vic, Tim Supple, opens at the renowned Finborough Theatre for a five-week limited season on Monday, 10 February 2025
The Passengerstars Ben Fox (Mother Courage (Southwark Playhouse), Troilus and Cressida and Bedroom Farce (Theatr Cymru), Blitz (Steve McQueen, Apple TV+); Eric MacLennan (Summer and Smoke (Duke of York’s Theatre and Almeida Theatre), Three Sisters (Almeida Theatre), Brave New World and 1984 (Creation Theatre Company)); Dan Milne (More Grimm Tales, The Jungle Book, As I Lay Dying and Twelfth Night (The Young Vic), Grimm Tales (The Young Vic and International Tour), The Comedy of Errors (Royal Shakespeare Company)); Robert Neumark Jones (One Jewish Boy (Old Red Lion Theatre and Trafalgar Studios), The Mikvah Project (Orange Tree Theatre, Richmond), A Very Royal Scandal (Amazon MGM Studios)); Kelly Price (Grantchester, Endeavour (ITV), Flowers for Mrs Harris (Riverside Studios), The Sex Party and The Secret Diary of Adrian Mole (Menier Chocolate Factory)).
Shot through with Hitchcockian tension, The Passenger is the terrifyingly absurd story of Otto Silbermann, a criminal on the run who hasn’t committed a crime.
Kristallnacht, Berlin, November 1938. The streets of Germany are an orgy of state-sanctioned violence.
As Nazi storm troopers batter down his door, respected businessman Otto flees his home and finds himself plunged into a new world order, his life dissolved overnight.
Betrayed by family, friends and colleagues, and desperately trying to conceal his Jewish identity, he takes train after train across Germany in a race to escape his homeland that is no longer home…
23 year old Ulrich Alexander Boschwitz wrote The Passenger at breakneck speed in 1938 in the immediate aftermath of Kristallnacht. Rediscovered 70 years later, The Passenger became an international hit, was translated into over twenty languages and was a Sunday Times Top Ten bestseller more than 80 years after it was originally published.
Playwright Nadya Menuhin makes her full-length debut at the Finborough Theatre.She studied languages at University College London, and currently works as a literary agent. She was part of the Royal Court Theatre Writers’ Group, mentored by Stef Smith, and BBC Writersroom London Voices cohort. Her previous plays include I, Mother (Fuel Residency at Druid Theatre, Galway), The Second Rule (Mercury Theatre, Colchester) and Tremors, starring Tamsin Greig (Online for Bitter Pill Theatre).
Novelist Ulrich Alexander Boschwitz (1915-1942) was born in Berlin. In 1935, Boschwitz’s uncle, the lawyer Alexander Wolgast, was murdered in the street after criticizing the Nazi’s anti-semitic Nuremberg Laws. Shortly thereafter, Boschwitz and his mother fled Germany for Norway; his sister, Clarissa, had already left Germany for Palestine when the Nazis came to power. In Norway, Boschwitz wrote his first novel Menschen neben dem Leben (People Alongside Life), which was first published in Swedish, under the pseudonym John Grane, in 1937. From Sweden, he and his mother moved to Luxembourg, France, and Belgium, before fleeing to Britain in 1939. Boschwitz wrote The Passenger (Der Reisende) in 1938, and it was published in French, Swedish and English. At the outbreak of the Second World War, Boschwitz and his mother were interned as ‘enemy aliens’ on the Isle of Man. In July 1940, Ulrich was deported to Australia, where he was interned at a camp in New South Wales. On the voyage there, a crew member threw the only draft of his latest work, Das Grosse Fressen (The Big Feast), into the ocean. In Australia, Boschwitz worked on revising a second edition of The Passenger and began a new novel, Traumtage (Dream Days).In 1942, he was freed and allowed to return to Britain. On 29 October 1942, the vessel he was on, MV Abosso, was torpedoed and sunk by the German submarine U-575. Boschwitz, aged 27, was one of the 362 people onboard who died. His last works died with him.
Director Tim Supple’s awards and nominations include Olivier, BAFTA, Evening Standard, Time Out, TMA, Herald Angel, Dora Mavor Moore Award in Toronto, and Yapi Krede Afifi in Istanbul. He was the former Artistic Director of The Young Vic where he directed A Servant to Two Masters (also West End, National and International Tours), As I Lay Dying, Twelfth Night, Blood Wedding, The Jungle Book, Grimm Tales (also International Tour), More Grimm Tales (also Broadway), The Slab Boys Trilogy and Oedipus. For the Royal Shakespeare Company, he directed Midnight’s Children (Barbican, National Tour and Apollo Theatre, New York), Love in a Wood, Tales from Ovid (The Young Vic), The Comedy of Errors (The Young Vic, National and International Tours) and Spring Awakening (Barbican Theatre). For the National Theatre, Haroun and the Sea of Stories, The Epic of Gilgamesh, Billy Liar (also National Tour), Accidental Death of an Anarchist (also National Tour), Whale, Romeo and Juliet, and The Villains Opera. For the Donmar Warehouse, The Cosmonauts Last Message… For Kenneth Branagh’s Renaissance Theatre Company, Coriolanus and John Sessions’ Traveling Tales. Other theatre includes A Midsummer Night’s Dream and One Thousand and One Nights (Dash Arts and Edinburgh Festival), Freedom on the Tyne (Tyne Bridge), TheTempest (National Centre for Performing Arts, Beijing), Dmitry (Marylebone Theatre), What We Did To Weinstein (Dash Arts and Menier Chocolate Factory), As You Like It (Dash Arts and Curve Leicester), Beasts and Beauties, Too Clever By Half (Norwegian National Theatre, Bergen), Much Ado About Nothing (Maxim Gorki Theatre, Berlin), The Comedy of Errors (BBT, Istanbul), Oh What a Lovely War, Guys and Dolls (Haymarket Theatre, Leicester) and Billy Budd (Crucible Theatre, Sheffield). He has directed, adapted, researched and taught theatre across the world in a wide range of languages – including in Europe, India, North Africa and the near East, Iran, Turkey, China, Japan, South Korea, Australia, Russia and the post-Soviet States, and North and South America. Tim is the recipient of a NESTA Invention and Innovation Award for experiments in film.
The Cast of The Passenger is:
Ben Fox | Gustav Becker, Franz Theatre includes The Commitments (Palace Theatre), Backbeat (Duke of York’s Theatre), Dirty Rotten Scoundrels (Savoy Theatre),Guys and Dolls (National Tour), Mother Courage (Southwark Playhouse), Troilus and Cressida and Bedroom Farce (Theatr Cymru), Judgement Day (Almeida Theatre), A Trip to Scarborough and Awaking Beauty (Stephen Joseph Theatre, Scarborough). Ben has appeared in many pantomimes including in Catford, Liverpool, Bolton, Hornchurch, Ipswich, Clwyd and Salisbury. Film includes Blitz, Detective Pikachu, Beauty and The Beast, Muppets Most Wanted and Robin Hood. Television includes Star Wars Andor, The Living Dead, Les Misérables, Pennyworth, The Crown, Game Of Thrones and Silent Witness.
Eric MacLennan | Theo Findler, Schwartz Trained at Ecole Jacques Lecoq.
Theatre includes Summer and Smoke (Duke of York’s Theatre and Almeida Theatre), Three Sisters (Almeida Theatre), Brave New World and 1984 (Creation Theatre Company), A Tale of Two Cities (Chung Ying Theatre Company, Hong Kong), One Snowy Night (Slot Machine), Government Inspector and Annie Get Your Gun (The Young Vic), Backwards (Station House Opera), Henry V (Southwark Playhouse), Sirens of Titan, The Odyssey, Alice Through the Looking Glass, The Wolf, Mother Goose and… The Wolf, You Can’t Say You Can’t Play, Cinderella, Pericles, Sleeping Beauty and The Wolf, Red Riding Hood and The Wolf,(London Bubble Theatre), Salt (Ruhrtriennale Festival and Theatre-Rites), Beachcomber/Strandjutter (Boilerhouse and Waterlanders, Netherlands), Cyrano de Bergerac (Royal Exchange Theatre, Manchester), Gormenghast (David Glass Ensemble), Half Life (National Theatre of Scotland), Get Carter (Red Shift Theatre Company), Here’s What I Did With My Body One Day (National Tour), The Most Excellent and Lamentable Tragedy of Romeo and Juliet, Private Lives and TalkSexShow (Volcano Theatre), The Night Shift and A Wing and A Prayer (Battersea Arts Centre and Oxford Playhouse) and The Caucasian Chalk Circle (Orange Tree Theatre, Richmond).
Film includes Mary Queen of Scots, Darkest Hour, Rogue One, Mindhorn and Anna Karenina. Television includes The Inside Man, The Last Bus, The Night Manager and The Borgias.
Dan Milne | Fritz, Lilienfeld Trained at Drama Studio London. Theatre includes More Grimm Tales, The Jungle Book, As I Lay Dying and Twelfth Night (The Young Vic), Grimm Tales (The Young Vic and International Tour), The Comedy of Errors (Royal Shakespeare Company), He Who Saw Everything and From Morning Till Midnight (National Theatre) and Lionboy (National and International Tour for Complicité). Television includes Eastenders, Murder Most Horrid, In a Land of Plenty, The Nevers and Star Wars: The Acolyte. Direction includes Big Space and Small Space (Battersea Arts Centre). Associate Direction includes A Servant to Two Masters (New Ambassadors Theatre, Duke of York’s Theatre and International Tour). In New York, he helped create the storytelling performance piece, Two Men Talking, and directed this for ten years as it played off-Broadway, around the US, at the Edinburgh Festival and at Trafalgar Studios in London. As a film producer, he works with US writer/director Camille Thoman, and produced her documentary feature The Longest Gameand narrative feature Never Here, starring Sam Shepard and Mireille Enos. In the UK, he produced Widow’s Walk starring Miranda Raison, David Caves and Virginia McKenna with writer/director Alexandra Boyd. He is currently developing another feature with Camille Thoman and Tobias Menzies, entitled The Gate. As Co-Director with Jane Nash, Dan runs the storytelling consultancy Narativ London.
Robert Neumark Jones | Otto Silbermann Trained at Drama Centre London. Theatre includes One Jewish Boy (Old Red Lion Theatre and Trafalgar Studios), The Mikvah Project (Orange Tree Theatre, Richmond),The Tempest (London Theatre Workshop), Bang Bang (Mercury Theatre, Colchester), Kiss Me and You Will See How Important I Am (Pleasance London) and The Seagull, The Threesome, The Deep Blue Sea and Twelfth Night (Drama Centre London). Television includes A Very Royal Scandal, Spotless and Grange Hill. Radio includes Les Anti-Mythes and Yentl The Yeshiva Boy.
Kelly Price | Elfriede, Ursula Productions at the Finborough Theatre include Perchance to Dream.Theatre includes Flowers for Mrs Harris (Riverside Studios), The Sex Party and The Secret Diary of Adrian Mole (Menier Chocolate Factory), Passion and Aspects of Love (Hope Mill Theatre, Manchester), What’s New Pussycat? (Birmingham Rep), Peter Pan (Troubadour Theatre), Othello (English Touring Theatre), All The Angels: Handel and the First Messiah (Shakespeare’s Globe Theatre), Little Shop of Horrors, The Day We Sang and Zack (Royal Exchange Theatre, Manchester), One Man Two Guvnors (National Theatre Tour), Company and Boeing Boeing (Crucible Theatre, Sheffield), Stepping Out (Salisbury Playhouse), The Misanthrope (Comedy Theatre), A Little Light Music (Menier Chocolate Factory and Garrick Theatre), Chicago (Cambridge Theatre), Desperately Seeking Susan (Novello Theatre), The Rise And Fall Of Little Voice (The Watermill, Newbury), Guys and Dolls (Donmar Warehouse and Piccadilly Theatre), It’s A Wonderful Life (Avalon), Mamma Mia (Prince Edward Theatre) and The Woman in White (The Really Useful Group).
Film includes The Sense of an Ending and A Bunch of Amateurs. Television includes Grantchester Series 7,The English Game, Endeavour, Midsomer Murders, Waterloo Road, Doctors, Accused – Helen’s Story, Massive and Kombat Opera.
The press on the novel The Passenger “Gripping.” The Telegraph “Extraordinary.” The Sunday Times “A story that is part John Buchan, part Franz Kafka and wholly riveting.” The Guardian “Vibrating with fury…a highly accomplished work, filled with vivid characterisation, sharp dialogue and intensely observed scenes.” Financial Times“All too chillingly real…a deserving bestseller.” Daily Mail “A riveting, noirish, intensely filmic portrait… a jewel of a rediscovery.” Wall Street Journal “By turns claustrophobic, dizzying and symbolic, The Passenger is a work with sufficient pace to be a thriller, yet possessed of enough nuance and psychological depth to be of real literary weight.” The Spectator “This brilliant rediscovered thriller is up there with the best Second World War novels.” David Mills, The Sunday Times
The press on director Tim Supple “The leading storyteller in British Theatre” Financial Times for 1001 Nights. “A production that’s already entered the annals of theatrical history” Time Out on A Midsummer Night’s Dream.
“An evening full of wonder and delight.” Time Out on A Servant to Two Masters.
“A triumphant recreation of Goldoni’s comedy. One of the gems of the season.” The Sunday Times on A Servant to Two Masters.
“An enthralling production – one hangs on these tales as if they had never been told before.” Financial Times on Tales from Ovid.
“This dark, beautiful show offers more rough magic than any in living memory… One of the most gripping and exciting productions of the year.” Daily Telegraph on More Grimm Tales.
“Not a single line feels familiar…everything feels new, but also true. A lesson to all London theatre.” Financial Times on Twelfth Night.
“The National Theatre should be very proud of this enchanting, beautiful production.” The Sunday Times on Haroun and the Sea of Stories.
“Challenging, tough minded and dramatically thrilling, this is the kind of show that restores one’s faith in the power of theatre…I left the theatre in a state of awe.” The Daily Telegraph on The Jungle Book.
“A complete triumph…The best demonstration all year of the living power of theatre.” The Observer on Spring Awakening.
Finborough Theatre, 118 Finborough Road, London SW10 9ED
Book online at www.finboroughtheatre.co.uk
Box Office 020 7244 7439
No booking fees
Performance Length: Approximately 90 minutes.
Monday, 10 February – Saturday, 15 March 2025
Monday, 10 February at 7.30pm. Tuesday to Saturday evenings at 7.30pm. Saturday and Sunday matinees at 3.00pm.
Prices for Week One – Tickets £20, £18 concessions. Previews £15 all seats. £10 tickets for Under 30s for performances from Monday to Saturday of the first week when booked online only. £15 tickets for residents of the Royal Borough of Kensington and Chelsea and the London Borough of Hammersmith and Fulham on the first Saturday evening of each run, when booked online only. Prices for Weeks Two and Three – Tickets £23, £20 concessions, except Tuesday evenings £20 all seats. Prices for Week Four and Five – Tickets £25, £23 concessions. No concessions on Friday or Saturday evenings.
Group Bookings for all performances – 1 free ticket in every 10 purchased.
Covid Safe performance – Masks are mandatory at the first Sunday matinee performance.
ROSE THEATRE, CHICHESTER FESTIVAL THEATRE AND ETT ANNOUNCE UK PREMIERE OF MARIE AND ROSETTA STARRING BEVERLEY KNIGHT
A ROSE THEATRE, CHICHESTER FESTIVAL THEATRE AND ETT CO-PRODUCTION
Rose Theatre, Chichester Festival Theatre and ETT today announce the UK premiere of George Brant’s (Grounded) critically acclaimed Marie and Rosetta, the roof-raising play with music telling the true story of American singer and songwriter Rosetta Tharpe and her protégé Marie Knight. Directed by Monique Touko (The Boy at the Back of the Class; School Girls; Or, The African Mean Girls Play), this production featuring gospel and blues hits is an electrifying portrait of the godmother of rock ’n’ roll.
Celebrating her professional play debut as Rosetta, is multi award-winning singer and actress Beverley Knight, whose many West End performances include Memphis, The Drifters Girl, Sylvia (for which she won an Olivier Award) and Sister Act. Full cast and creative team to be announced.
Marie and Rosetta runs at the Rose Theatre in Kingston 2 – 24 May before transferring to Chichester Festival Theatre 25 June – 26 July.
Beverley Knight, said: “It is a great honour to be cast in the role of Sister Rosetta Tharpe, one of the unsung architects of rock ‘n’ roll. I am and have always been a storyteller, whether it be in a purely music form or in a theatrical setting. I’m excited to be able to tell the Sister Rosetta story in this important play about her life, trailblazing career and her relationship with the legendary gospel singer Marie Knight. This will be my first role in a professional play; I have performed many times in plays at an amateur level and I’m so thrilled that I get to tell HERstory as my debut. Sister Rosetta Tharpe, with her powerful expressive voice, her electrifying guitar and her Gospel message laid the foundations on which Chuck Berry, Ike Turner, Elvis Presley and literally everyone else has walked. The Godmother of rock ‘n’ roll deserves to be celebrated and remembered”.
Monique Touko, Director, said: “It is truly an honour to stage the UK premiere of Marie and Rosetta by George Brant. Returning to both Rose and Chichester with this needed and powerful story feels very timely. This play allows us to not only celebrate the incredible lives of two trailblazing Black female musicians, but to immerse ourselves in their world, blending song and spectacle to bring their legacy to life. We’ll zoom in on the moments of their lives, big and small, and amplify their voices—both literally and metaphorically. It’s a privilege and a responsibility to depict these women in their full glory, ensuring they receive the recognition they so deeply deserve for their monumental contributions to music and culture.”
Christopher Haydon, Artistic Director of Rose Theatre, said: ”I have been passionate about Marie and Rosetta ever since I first read it eight years ago. Both women are icons who deserve far greater recognition than they have today. I knew immediately that Monique Touko was the right person to direct it – she brings such passion, style and integrity to everything she does. And there simply is no better performer in the country than Beverley Knight to bring the remarkable Rosetta Tharpe to life. This is a show that will delight and move anyone who sees it and I cannot wait to share it with our audience.”
Justin Audibert, Artistic Director of Chichester Festival Theatre, said: “We are delighted to be co-producing this wonderful play, and welcoming the incomparable Beverley Knight and director Monique Touko to Chichester. It’s a joy to renew our relationship with Rose Theatre, with whom we’ve recently co-produced Headlong’s A View from the Bridge, and also hosted Monique’s superb production The Boy at the Back of the Class. We know that Chichester audiences will relish this remarkable story, and can’t wait to fill the Minerva Theatre with Beverley’s renditions of this glorious music.”
Marie and Rosetta is a co-production between Rose Theatre, Chichester Festival Theatre and ETT.
Rose Theatre priority booking opens for new and current Rose Circle and Members (Friends, Family, and 30 & Under) from Tuesday 14 January at 9.00am. Tickets will be available to general audiences from Monday 20 January at 10.00am via www.rosetheatre.org.
The Chichester Festival Theatre run will be part of Festival 2025, full details of which will be announced on 13 February (priority booking from Saturday 22 February, general booking from Saturday 1 March).
Public tickets now available for the Olivier Awards 2025 with Mastercard
· The Olivier Awards 2025 with Mastercard will take place on Sunday 6 April at the Royal Albert Hall
· Tickets are available exclusively for Mastercard cardholders via priceless.com
Be in the room where it happens – the Olivier Awards 2025 with Mastercard returns to the majestic Royal Albert Hall with unique performances from the best new shows, a dazzling array of the biggest and brightest stars and plenty of surprises.
See it live and take your seat on Sunday 6 April. Experience unforgettable moments as they happen and be the first to celebrate this year’s winners.
First established in 1976, this year marks the 40th Olivier Awards since celebrated actor Sir Laurence Olivier gave his name to the ceremony in 1984. We will be celebrating this milestone with special moments leading up to and on the night.
Get ready for a night to remember. Tickets for the Olivier Awards 2025 are available to Mastercard cardholders only via priceless.com.
THE SIX ORIGINAL QUEENS REUNITE FOR A SPECIAL, ONE-OFF PERFORMANCE SCREENED IN CINEMAS 6 APRIL
London, U.K.– Universal Pictures Content Group (UPCG) announces today it has acquired UK theatrical rights for box office smash-hit and double TONY award-winning, SIX the Musical Live! The performance, filmed at London’s Vaudeville Theatre, features the Original Queens returning to reprise their roles and will release widely in cinemas via Universal Pictures (UK) on 6 April.
Watched by audiences of over 3.5 million, SIX the Musical, has become a global theatre phenomenon since it’s 2017 debut at Edinburgh Festival Fringe, where it has redefined the boundaries of musical theatre. The show tells the extraordinary story of the six wives of King Henry VIII, who step out of the shadow of their infamous husband and reclaim their own narratives.
Written by Toby Marlow and Lucy Moss, the pop-inspired musical brings the queens – Catherine of Aragon (Jarnéia Richard-Noel), Anne Boleyn (Millie O’Connell), Jane Seymour (Natalie Paris), Anna of Cleves (Alexia McIntosh) , Katherine Howard (Aimie Atkinson), and Catherine Parr (Maiya Quansah-Breed) — right into the 21st century with infectious, empowering performances, accompanied by the on-stage band, the Ladies in Waiting.
The UK theatrical rights have been secured by Universal Pictures Content Group, who are widely known as an industry leader in the live event cinema space. The UPCG back catalogue includes some of the biggest live event cinema releases of all time such as The Phantom of the Opera, Les Misérables- The Staged Concert, Billy Elliot the Musical Live and Miss Saigon 25th Anniversary Gala Performance, as well as record-breaking comedy titles such as Kevin Bridges: The Overdue Catch-Up and Rhod Gilbert: The Book of John. The slate currently stands at a collective BO of over $10m in the UK alone.
Helen Parker, EVP – Universal Pictures Content Group said: ““As pioneers of the theatrical event cinema model, Universal Pictures Content Group enjoyed the privilege of working with outstanding leading producers from the world of musical theatre on their globally successful highly acclaimed live shows, from Sir Cameron Mackintosh, Lord Andrew Lloyd Webber and Stephen Schwartz and many more. We can’t wait to bring UK cinema goers across the country a chance to sing their hearts out to the exceptional SIX the Musical Live! this April”.
Show creators Toby Marlow & Lucy Moss said: “We had SO much fun making this film with the most incredible team of filmmakers and creatives, and it was so special to be reunited with the exceptionally talented and ICONIC original West End queens. We’re so grateful that we had opportunity to film the show, and that we get to share SIX with a wider audience in this new and exciting way. We hope you enjoy it as much as we enjoyed making it!!!”
SIX the Musical Live! was recorded at the Vaudeville Theatre, London with the original cast reprising their roles. The show was directed for stage by Lucy Moss & Jamie Armitage and directed for film by Liz Clare, and produced by Kenny Wax, Wendy & Andy Barnes, George Stiles and Dione Orrom.
Hosted by Grace Mouat with Special Musical Theatre Star Guests
Musical Theatre Performers | Live Music | Cocktails & Pizza
Mrs Riot, Covent Garden’s iconic technicolour punk, pop, cocktail bar and restaurant, is excited to re-launch Musical Mondays – a riotous, dazzling night packed with KILLER vocals from your favourite Musical Theatre performers, chats, games, and endless stagey fun, hosted by West End Star Grace Mouat (Original West End Casts of SiX, & Juliet, Mean Girls the Musical & more!), with a lineup of some of the biggest names in Musical Theatre.
The event will launch to a star-studded audience on Monday January 27 from 6.30pm featuring performances special guests Natalie May Paris(Original Jane Seymour in SiX, and live vocalist on Strictly Come Dancing) and Billy Luke Nevers(Currently Aaron Burr in Hamilton’s UK & Ireland Tour), then continue take place on the last Monday of every month. This is a unique opportunity for fans to see their favourite Musical Theatre performers perform up close and personal like never before, then hit the stage for free open mic after the show!
Following in the footsteps of Kitty Clive (London’s first legendary stage performer and the inspiration behind the venue), Mrs Riot will become the new showbiz hot spot for West End performers, future performers and fans.
Alongside the riotous entertainment, guests will be able to enjoy Mrs Riot’s iconic cocktails and pizza.
First Musical Monday/ Launch Event – Monday 27th January 6.30pm with Special Musical Theatre Star Guests- Natalie May Paris (Original Jane Seymour in SiX, live vocalist on Strictly Come Dancing) and Billy Luke Nevers (Currently Aaron Burr in Hamilton’s UK & Ireland Tour)
Dates: Last Monday of every month Monday 27 January (launch night!), 24 February, 31 March, 28 April, 26 May & 30 June
MAYFLOWER IS PROUD TO ANNOUNCE TRANSPORT BURSARY IN PARTNERSHIP WITH XELABUS
THOUSANDS OF LOCAL SCHOOL PUPILS TO BE PROVIDED WITH SUBSIDISED TRANSPORT TO THEATRE THANKS TO NEW PARTNERSHIP BETWEEN MAYFLOWER AND XELABUS
Mayflower are excited to today announce their new Transport Bursary Scheme in partnership with Xelabus. The new bursary scheme will help fulfil the belief that every person has the right to attend the theatre and experience the joy and opportunity this can bring. The bursary will support schools as well as community groups funding their transport to both Mayflower venues. In 2023, UK Theatre’s Theatre for Every Child campaign was introduced to amplify national voice about the importance of theatre visits for schools and the new bursary scheme is just one way in which Mayflower supports this national campaign.
Mayflower recognises that many schools’ finances act as a blocker to children attending live theatre and already have schemes in place to help those most disadvantaged schools including subsidised ticket schemes for schools above the national average Free School Meals percentage, free schools theatre concerts with Welsh National Opera and a partnership with Theatre Works offering free tickets to most disadvantaged schools
Outside of ticketing initiatives, the other major pressure on schools is the cost of transportation to theatre which is a national issue. Whilst schools may be able to afford the discounted ticket prices, they cannot afford the transportation costs to get to the venue. Many of the costs of theatre trips are also cascaded through to parents and result in many disadvantaged children not able to partake, which results in schools deciding not to commit.
A recent report from the Sutton Trust states that since last year “reports of cuts to trips and outings have more than doubled, now standing at 50%, up from 21% – a proportion that is even higher in schools with the most disadvantaged intakes, at 68%, compared to 44% in the least deprived schools”
The Transport Bursary Scheme has been created to alleviate some of the financial pressures that schools and community groups face to enable more people to attend theatre and experience live arts. The bursary will be a 100% subsidy of the transport cost. The bursary will be awarded on an application basis to schools that meet the following criteria:
Are a state-funded primary, secondary school, or further education college.
Are above the national average Free School Meal Percentage of a given year or are located in a designated Levelling Up for Culture area.
Demonstrate how the theatre trip will benefit their school.
Are applying for a show that is not already discounted lower than the school rate.
A school can only be funded once per academic year.
Are new to Mayflower or have not attended recently
Mayflower also recognises that many community groups face similar blockers and barriers to accessing live theatre and will also be offering the Transport Bursary to community groups that they already engage with through their participation department.
During a successful pilot of the bursary, Mayflower had 470 engagements of young people across nine different schools and the feedback has been positive with comments including:
It was lovely to see children, who are often disengaged at school, be so excited about the whole experience. Their laughter, the smiles on their faces and the questions throughout showed their engagement in the production.
The trip had an amazing impact on a child with additional needs who had never been to the theatre before. She was so excited and in awe through the whole show. Despite her having speech and language difficulties, she was able to talk animatedly about her favourite part of the show the next day which was a great achievement for her.
One of our children who is a young carer, is very shy and they thoroughly enjoyed the show. We have had emails from parents to say thank you and that they could see a big difference in their child’s personality when they got home and told their grown-ups about the show!
We are so grateful to have had this opportunity today, thank you all so much. We have brought 76 children today and 75 of them have never been inside a theatre. All of our school trips we had booked this year have been cancelled due to the cost of coach travel. The transport bursary has enabled us to bring these children today but just imagine if we could bring the whole school!
Michael Ockwell, Chief Executive at Mayflower, said “Our mission for Mayflower is to offer inspiring experiences to all, and we are delighted that we will now be able to offer our Transport Bursary Scheme in partnership with Xelabus which will help contribute to removing the barrier of transportation
costs to schools and community groups. Our role, as a charity, is to ensure that as many people in our community as possible are able to experience live theatre and the arts within their local area.”
Partick O’Sullivan, Head of Participation at Mayflower, said “For many schools and community groups, the cost of coach hire prevents them from accessing live theatre. We are delighted to work with Xelabus to remove this barrier, so more children, young people and community groups can access our rich programme across both our venues.”
Phil Blair, Commercial Manager of Xela Group, said “We at Xelabus recognise the importance of educating children and community groups with the opportunity to visit theatres and we are delighted to be working with Mayflower to achieve this especially during our 15th year of operation. Mayflower’s themed bus will be seen throughout the area and hopefully attract more theatregoers promoting the diverse range of shows on offer.”
The Transport Bursary Scheme will be in partnership with Xelabus, which is one of the longest running independent passenger transport providers within Hampshire, with over 15 years’ experience
MARTIN SHAW AS SIR THOMAS MORE AND GARY WILMOT AS THE COMMON MAN
WITH EDWARD BENNETT AS THOMAS CROMWELL, ABIGAIL CRUTTENDEN AS ALICE MORE AND NICHOLAS DAY AS CARDINAL WOLSLEY
Malvern Theatres Tuesday 4th to Saturday 8th February
PRESENTED BY THEATRE ROYAL BATH PRODUCTIONS AND JONATHAN CHURCH THEATRE PRODUCTIONS
Casting is announced for Robert Bolt’s award-winning play, A MAN FOR ALL SEASONS. One of the greatest, most powerful and dangerous figures who shaped English history is brought vividly to life at Theatre Royal Bath from 16 – 25 January 2025, before touring to Chichester, Malvern, Cheltenham, Oxford, Guildford, Canterbury, and Richmond.
The cast is led by Martin Shaw (Sir Thomas More), and Gary Wilmot (The Common Man), with Edward Bennett (Thomas Cromwell), Abigail Cruttenden (Alice More), and Nicholas Day (Cardinal Wolsey). Completing the cast is Huw Brentall, Calum Finlay (Richard Rich), Orlando James (Henry VIII), Hari Kang (Attendant to Signor Chapuys), Asif Khan (Signor Chapuys), Annie Kingsnorth (Margaret More), Andrew McDonald, Sam Parks (Archbishop Thomas Cranmer), Sam Phillips (William Roper), Louisa Sexton (A Woman), and Timothy Watson (Norfolk).
One of the UK’s best-loved actors on stage and screen, Martin Shaw is known to millions for his television roles in Judge John Deed, Inspector George Gently and The Professionals. His recent West End stage appearances include Hobson’s Choice, The Best Man and Twelve Angry Men.
Gary Wilmot’s career as one of the UK’s best- loved entertainers has seen him take on iconic West End roles in Me & My Girl, Chitty Chitty Bang Bang, Dirty Rotten Scoundrels and Wicked.
Leading actor of the Royal Shakespeare Company, Edward Bennett’s stage credits include major productions of Hamlet, Love’s Labour’s Lost, A Midsummer Night’s Dream and Macbeth as well as many other non-classical roles.
On television Abigail Cruttenden is known for BBC’s Not Going Out as well as Sharpe and Benidorm on ITV. She has many other stage and film credits to her name.
Nicholas Day has enjoyed a long career on stage and screen. He is best known for roles in ITV’s Minder as well as BBC’s New Tricks and Goodnight Sweetheart.
Martin Shaw stars as Sir Thomas More – scholar, ambassador, Lord Chancellor and friend to King Henry VIII. Above all, he is a man of integrity, loved by the common people and his own family.
When Henry demands a divorce from Catherine of Aragon, clearing the way for him to marry Anne Boleyn, the staunchly Catholic Thomas is forced to choose between his loyalty and his own conscience, committing an incredible act of defiance for which he eventually pays the ultimate price…
Playwright Robert Bolt won an Oscar for the 1966 screen adaptation of A MAN FOR ALL SEASONS, Other notable credits include Lawrence of Arabia and Doctor Zhivago.
A MAN FOR ALL SEASONS will be directed by Jonathan Church’s whose credits include a ten-year period as artistic director of Chichester Festival Theatre. He last directed Martin Shaw in the acclaimed West End transfer of Hobson’s Choice.
The creative team is completed by Simon Higlett (Set & Costume Designer), Mark Henderson (Lighting Designer), Paul Groothuis (Sound Designer), Matthew Scott (Composer) and Gabrielle Dawes (Casting Director).
A MAN FOR ALL SEASONS is presented by Theatre Royal Bath Productions and Jonathan Church Theatre Productions.
