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THE ADDAMS FAMILY, A MUSICAL COMEDY

NEW UK & IRELAND TOUR RESCHEDULED TO 2021

SAMANTHA WOMACK & CAMERON BLAKELY

TO REVIVE THEIR ROLES AS MORTICIA & GOMEZ

Following the UK Government shutdown of theatres in March, the producers of THE ADDAMS FAMILY, a musical comedy, have rescheduled the new UK & Ireland Tour to dates in 2021.  The Tour will now open in Cardiff on 26 January 2021.  Samantha Womack and Cameron Blakely will revive their much loved roles as Morticia and Gomez Addams, based on the characters created by Charles Addams.  THE ADDAMS FAMILY, a musical comedy, has a book by Marshall Brickman and Rick Elice, the creators of multi award-winning Jersey Boys, and music and lyrics by Andrew Lippa and is directed by Matthew White.  Further casting is to be announced.

Wednesday Addams, the ultimate princess of darkness, has grown up and has a shocking secret that only Gomez knows; she’s fallen in love with a sweet, smart young man from a respectable family! Now, Gomez Addams must do something he’s never done before — keep a secret from his beloved wife, Morticia.  Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents.  All the usual clan are present – Uncle Fester, Lurch, Pugsley et al.

Samantha Womack is best known for her long-running role as Ronnie Mitchell in BBC1’s EastEnders.  Most recently, Samantha guest starred in last year’s series of Silent Witness and she has also played Tanya Dawson for three series of the hit comedy Mount Pleasant, Ingrid in Home Again, Ruth in Babes in the Wood, Imogen in Imogen’s Face and Mandy in the hugely popular Game On.  Samantha’s film credits include the box office breaking Kingsman: The Golden Circle and Kingsman: The Secret Service.  Her stage credits include Nellie Forbush in the Lincoln Center Theater’s Tony Award-winning production of South Pacific (Barbican Theatre & UK Tour), Michael Grandage’s West End production of Guys & Dolls opposite Patrick Swayze (Piccadilly Theatre) and Peter Hall’s production of Pinter’s Betrayal (Theatre Royal Bath).  Most recently, Samantha starred in The Girl on the Train in the West End and on a UK Tour.

Cameron Blakely’s previous theatre credits include the roleof Thenardier in Les Misérables, a role he played for two years in London’s West End. Cameron was also part of the 25^th Anniversary at the O2, where he played Bamatabois. Other credits include Smee in Stiles and Drewe’s Peter Pan at the Adelphi Theatre and Fagin in Oliver! at The Watermill Theatre. He has also appeared in many productions at Regent’s Park Open Air Theatre, including A Midsummer Night’s Dream, Hamlet, Romeo and Juliet and The Taming of the Shrew.  Most recently, he played Dennis Dupree in the UK Tour of Rock of Ages, and Lex Hogan in Eugenius! at The Other Palace.

Academy Award-winner Marshall Brickman wrote or co-wrote the film screenplays for Sleeper, Annie Hall, Manhattan, Manhattan Murder Mystery, For the Boys and Intersection, and was head writer for The Tonight Show with Johnny Carson.  Rick Elice’s play, Peter and the Starcatcher, received nine nominations and won five 2012 Tony Awards.  He also wrote the book for The Cher Show, a musical based on the early life and career of Cher, which opened at the Neil Simon Theatre on Broadway in December 2018.  Andrew Lippa wrote the music and lyrics for the Broadway musical, Big Fish, the music for the Broadway production of Aaron Sorkin’s play The Farnsworth Invention and the book, music and lyrics for the Drama Desk award-winning musical The Wild Party.  He wrote the song called ‘Evil Like Me’, which was sung by Dove Cameron and Kristin Chenoweth in the 2015 Disney film Descendants.

British director Matthew White has directed the UK Tours of Mr Stink, Carousel and The Producers, the UK Tour and West End run of the multi award-winning Top Hat, and, for the Menier Chocolate Factory, The Boy Friend, She Loves Me, Candide, Sweet Charity (and West End) and Little Shop of Horrors (and West End).

THE ADDAMS FAMILY 2021 UK & Ireland Tour is produced by Katy Lipson for Aria Entertainment and Music & Lyrics Limited, and is presented through special arrangement with Theatrical Rights Worldwide.

For further information, please visit www.theaddamsfamily.co.uk Twitter: @AddamsFamilyUK

LISTINGS INFORMATION

26-30 January New Theatre, Cardiff 029 2087 8889 www.newtheatrecardiff.co.uk

1-6 February The Orchard Theatre, Dartford 01322 220000 www.orchardtheatre.co.uk

9-13 February Liverpool Empire 0844 871 3017* www.atgtickets.com/venues/liverpool-empire on sale soon

16-20 February Bradford Alhambra 01274 432000 www.bradford-theatres.co.uk

23-27 February Royal & Derngate, Northampton 01604 624811 www.royalandderngate.co.uk

2-6 March Bristol Hippodrome 0844 871 3012* www.atgtickets.com/bristol on sale soon

9-13 March Festival Theatre, Edinburgh 0131 529 6000 www.capitaltheatres.com

16-20 March New Wimbledon Theatre 0844 871 7646* www.atgtickets.com/new-wimbledon-theatre on sale soon

30 March – 3 April Glasgow King’s Theatre 0844 871 7648* www.atgtickets.com/venues/kings-theatre on sale soon

6-10 April Bord Gais Energy Theatre, Dublin 0844 847 2455* www.bordgaisenergytheatre.ie

13-17 April The Alexandra, Birmingham 0844 871 3011* www.atgtickets.com/birmingham on sale soon

27 April – 1 May His Majesty’s Theatre, Aberdeen 01224 641122 www.aberdeenperformingarts.com

4-8 May Newcastle Theatre Royal 0844 811 2121 www.theatreroyal.co.uk

11-15 May The Lowry, Salford 0343 208 6000 www.thelowry.com

18-22 May Nottingham Theatre Royal 0115 989 5555 www.trch.co.uk

25-29 May Hull New Theatre 01482 300 306 www.hulltheatres.co.uk on sale soon

1-5 June Milton Keynes Theatre 0844 871 7652* www.atgtickets.com/venues/milton-keynes-theatre on sale soon

8-12 June Churchill Theatre, Bromley 020 3285 6000 www.churchilltheatre.co.uk

22-26 June New Theatre, Oxford 0844 871 3020* www.atgtickets.com/oxford on sale soon

6-10 July New Victoria Theatre, Woking 0844 871 7645* www.atgtickets.com/venues/new-victoria-theatre on sale soon

*Calls cost 7p per minute plus your phone company’s access charge

Further tour dates to be announced.

Lawrence Batley Theatre Huddersfield, The Dukes Lancaster and The Big Tiny present

A Brand-New Interactive Theatrical Experience For Families And Children

Charlotte Holmes: Adventure Box

AVALABLE NOW: WWW.THELBT.ORG and www.DUKESLANCASTER.ORG | £25

Building on the success of its digital offerings during the COVID-19 pandemic, the Lawrence Batley Theatre, Huddersfield have collaborated with Lancaster’s treasured arts venue The Dukes and theatre producers The Big Tiny to create Charlotte Holmes, a new interactive theatrical experience for 7 – 12 year olds to enjoy at home. Unfolding over seven fun-filled days, the Adventure Box is packed with games, recorded performances from actors, activities, mysteries, clues, puzzles and online content.

Set in 1940, Charlotte Holmes follows the story of a young girl who has been evacuated to Yorkshire during World War II and follows in the steps of legendary, super-sleuth, Sherlock Holmes.  The Charlotte Holmes Activity Box has been developed out of a need for creative activities for young people whose opportunities have disappeared when arts organisations were forced to close during lockdown. Offering an alternative to summer schools, which in many cases have been cancelled, this is the perfect artistic and educational gift to get children out and about during the holidays, with 10+ hours of play time.

At a time when many arts organisations went dark, the Lawrence Batley Theatre has been at the forefront of digital innovation during the cultural shift caused by the COVID-19 pandemic and has risen above many other organisations while continuing to adapt and bring original online theatre to the world, at a time when the theatre industry faces ongoing struggles. Within days of lockdown, the theatre had launched their completely free online channel, LBTV, filled with workshops and masterclasses, storytelling sessions and backstage videos – reaching over 17,500 views. Alongside their free programme, they produced two online plays; The Understudy and Nigel Slater’s Toast, which welcomed digital audiences from over 40 countries.

Additionally, the Dukes has played a huge part during the COVID-19 Pandemic and have been working digitally since lockdown with their channel the Digital Dukes. They have launched five participatory online creative programmes reaching 43,000 and commissioned ten artists to create online content reaching 43,500 online over the lockdown period.

Henry Filloux-Bennett, Chief Executive and Artistic Director of the Lawrence Batley Theatre comments, “ We are thrilled to be working alongside our friends at The Big Tiny and the Dukes in Lancaster. Charlotte Holmes builds on the success of our digital programme which has now reached over 20,000 views through our ticketed online plays and free platform LBTV – allowing us to reach new audiences by keeping young people and their families entertained and educated during the summer holidays”.

The Big Tiny are theatrical imagineers specialising in family entertainment.  From their workshops in Greater Manchester they manufacture all things show related from puppets to pantomimes and sets to scripts.  The Big Tiny’s co-founders and producers Ben Richards and Will Cousins said: “We are big believers that theatre should be entertaining and relevant for modern audiences. We’re very proud to be working with our partners at the LBT and the Dukes to create Charlotte Holmes.  It’s exciting to be able to bring something so innovative and creative to family audiences across the country”. 

Karen O’Neill, Director of The Dukes, comments “The Dukes is excited to bring the interactive theatrical adventure of Charlotte Holmes to families across Lancashire and beyond. In partnership with the Lawrence Batley Theatre this unique at home experience is fun for all the family. Working through the clues with help from Charlotte and her new friends to solve the mystery is a must for any young sleuth. The Dukes is committed to high quality family theatre and finding new ways to connect with our audiences during this time through our digital programme.  We hope you will join in adventure“.

Available to purchase from www.thelbt.org or www.dukeslancaster.org, one adventure box has everything needed for a whole family to play along, including: toys, activities, access to online performances, posters, puzzle books plus all the clues to solve four different mysteries.

Coronation Street’s Maureen Lipman to star
in digital revival of Olivier-nominated play
Streaming worldwide: 10th, 11th & 12th September 2020
Thomas Hopkins & Michael Quinn for Ginger Quiff Media and Hope Mill Theatrein association with Julian Stoneman for MPSI Ltd

Award-winning stage and screen actress Maureen Lipman (Coronation Street, ITV; Celebrity Gogglebox, Channel 4; The Pianist) will star in an online revival of Martin Sherman’s Rose this September. The new production will be filmed and made available to download and stream online for three days only, in collaboration with the Hope Mill Theatre.

This sharply drawn portrait of a feisty Jewish woman blends the personal with the political as it traces Rose’s story from the devastation of Nazi-ruled Europe to conquering the American dream. Rose reflects on what it means to be a survivor. Her remarkable life began in a tiny Russian village, took her to Warsaw’s ghettos and a ship called The Exodus, and finally to the boardwalks of Atlantic City, the Arizona canyons, and salsa-flavoured nights in Miami beach

This powerful one-woman tour-de-force by Martin Sherman (Bent, 1979) was nominated for an Olivier when it first premiered at the National Theatre in 1999. This new production, directed by Scott Le Crass (Country Music, Omnibus Theatre; Elmer, UK and International tour), in close collaboration with Sherman, is a moving reminder of some of the harrowing events that shaped
the century. It remains sadly relevant today as racial tensions escalate, and allegations of antisemitism are rife

Taking on the role made famous by Olympia Dukakis, Lipman is Rose, a woman shaped by her history. She offers an intimate and, at times, humorous account of the 20th century, and the ultimate triumph of humanity. This thought-provoking production acts as a caution, highlighting the importance of unity in the face of adversity, and the need to recognise and empathise with the suffering of others

Maureen Lipman comments, I always wanted to play Rose in Martin Sherman’s play but this is the first time I have been available -if you call working on Coronation Street at the same time as learning forty five pages of stunning dialogue, availability. It gives me a thrill to think I will be doing it for a cause as great as the future of the Hope Mill Theatre

The production is pleased to be streaming in support of three wonderful charities: Age UK, The Fed, and UK Jewish Film

CAMBRIDGE JUNCTION ANNOUNCES

DIGITAL THEATRE PRODUCTION OF RACHEL MARINER’S RECOVERING MISOGYNIST

Cambridge Junction today announces the experimental digital production Recovering Misogynist written and read by Rachel Mariner will be available to watch from12 August at 7pm.Thisdeeplyautobiographical readinghas been set to moving images by Fourth Culture Films Ltd and Twoflix,withmusic by Michel Csanyé-Wills and dramaturgy by Hannah Jane Walker and Caroline Horton. The production is followed by a post-show discussion and will then be available to stream until 26 August here on a pay what you want basis –  www.junction.co.uk/recovering-misogynist

Recovering Misogynist is a magical realist #metoo story.

Itrips through Bluebeard, Mary Beard, Evangelical Christians, Occupy activists, lawyers in Washington, mums in Cambridge, the possibility of justice and you, the audience, as a kind of jury. Tarana Burke started #metoo to create empowerment through empathy. Can that really be a kind of power? Now? For us all?

Rachel Mariner today said, “When Ronan Farrow broke the Harvey Weinstein story I felt sorry for Harvey Weinstein and this play is me figuring out what the hell was wrong with me. Recovering Misogynist attempts to uncover my own unconscious bias against women – including myself – for an audience. It is, amusingly, the least flattering work I can imagine. It was written for an actor to perform on stage but has been adapted for now into a digital theatre offering after my local artist collective – Troop — enjoyed the confessional quality of the playwright’s voice in a Zoom reading. Fourth Culture and Twoflix added images of Cambridge in lockdown. It asks the audience to be a kind of jury. See what you decide.”

Rachel Mariner is an American playwright living in Cambridge. Her previous theatre credits include Bill Clinton Hercules (Edinburgh Festival Fringe/ Adelaide Fringe/ Park Theatre), Treason Play (Cambridge Junction), and Wedding at Cana (OneWheaton). She is working on a television series about the women behind the Magna Carta. She is a former trial lawyer and the debate coach at her kids’ school.

@rachelmariner

www.rachelmariner.net

Caroline Horton is a writer and theatre-maker. Her theatre credits include All of Me (The Possibility of Future Splendour), Muckers (UK tour), Mess (Traverse Theatre) and You’re Not Like Other Girls Chrissy (Edinburgh Festival Fringe).

Hannah Jane Walker is a poet and theatre-maker. Her performance credits include Highly Sensitive (UK tour), I Wish I Was Lonely, The Oh Fuck Moment (Edinburgh Festival Fringe) and This Is Just To Say (Brighton Fringe).

Recovering Misogynist has been supported by Catherine Willmore and Troop, the Cambridge Junction Artist collective, Cambridge Junction, Park Theatre, and Josie Dale-Jones. The production has funding from Arts Council England.

YELLOW EARTH THEATRE ANNOUNCES RECIPIENTS OF THE PROFESSIONAL WRITERS PROGRAMME COMMISSION

Yellow Earth Theatre today announces that Rogelio Braga, Lao Lee, Nemo Martin and Marie Yan have been awarded £2000 seed commissions to develop new plays as part of the Professional Writers Programme 2020-22. Under the mentorship of director and dramaturg Ng Choon Ping, the seed commission comprises of one-to-one dramaturgy meetings and development workshops with actors and directors over two years. They were selected out of 17 writers participating in Phase 1 of the Programme, and all will continue to meet and attend masterclasses from industry professionals.

Yellow Earth’s Professional Writers Programme is a two-year programme for writers of East and Southeast Asian descent, supporting those writers with their play development, ideas and craft. Previous commission recipients include Julie Tsang, whose play Fix ran at The Pleasance in January 2020; Kyo Choi, whose play The Apology is forthcoming at the Arcola Theatre; Amy Ng, who recently adapted Miss Julie for Chester Storyhouse in February 2020; and Joanne Lau, who has just been selected for the Sphinx 30 female playwrights programme.

Rogelio Braga todaysaid, “Miss Philippines is a play that explores the themes of loss, violence, beauty, and the power of collective resistance to a patriarchal fascist regime in the present Philippines. Imagine you are provided the opportunity to tell this story without the fear of state persecution, harassment and intimidation? This is not just victory; this is human life for someone who fled his country because he was just doing what he was made to do: writing”. 

Lao Lee today today said, “I’m thrilled and so grateful for the support and opportunity to work on a full-length play with Yellow Earth. More so than ever, it’s crucial for marginalised voices to be heard and I hope to champion queer East Asian stories being told on our stages.”  

Nemo Martin today said, “zaazaa is about something I care a lot about: my friends and support systems, and so I’m very glad to continue writing this play with the PWP, and to continue building it into something that hopefully vindicates fellow angry queers of colour as much as it does myself.”

Marie Yan today said, “I believe writing is as much about talent as about environment. We grow like plants do. Receiving the Yellow Earth Theatre seed commission for A Tidal Home is very much the promise of a rich environment to thrive on and deliver my best writing. I am deeply thankful for their trust.”

Artistic Director of Yellow Earth Theatre, Kumiko Mendl today said “I’m immensely excited to be working with all four of these incredible writers, each has a vital story to share with the world, each in their own distinctive way. I feel privileged to be part of this journey and grateful for a programme that can give sustained development and support time specifically to BESEA writers.”

Ng Choon Ping is a director. His theatre credits include Tamburlaine (Arcola Theatre), Crocodiles (Royal Exchange Theatre), Collision/Carla’s Puppet (National Theatre), Snap (Young Vic), A Magical Place (Old Red Lion Theatre), Pufferfish (Vaults Festival), Sellotape Sisters, Golden Child (New Diorama), 10 Steps 2 Heaven (Tristan Bates Theatre), and The Truth (Singapore Repertory Theatre). His credits as an assistant director includes Troilus and Cressida (RSC), Cyprus Avenue (Public Theatre/Royal Court Theatre), Bakersfield Mist (Duchess Theatre), Nut (National Theatre) and Chimerica (Harold Pinter Theatre/Almeida Theatre).

This programme is supported by Esmée Fairbairn Foundation, Arts Council England and Soho Theatre.

The REP becomes the first theatre in the UK to partner with Open Kitchens – 

providing 9,000 meals for children in poverty in Birmingham 

Birmingham Repertory Theatre has become the first theatre in the UK to partner with national food solution organisation, Open Kitchens, providing 1,500 nutritional meals per week for children in poverty across the city over an initial 6 week period, totalling over 9,000 freshly prepared meals.  

The REP, and its popular restaurant Marmalade, remain temporarily closed due to the ongoing restrictions as a result of COVID-19. However, recent Government advice that allows theatres to open their doors on the condition of no live performances has enabled the venue to gain access to its kitchens once again.

The theatre will receive 1 tonne of surplus food each week from across the food industry including supermarkets, manufacturers and the hospitality sector.Meals will be prepared in The REP’s kitchens by volunteers from the theatre’s bar and restaurant team lead by Head Chef Dario Pinho, Sous Chef Marc Scott-Smith and Chef de Partie Matt Smith, working 3 days per week over an initial 6-week period. Meals will then be distributed free of charge by Open Kitchens partner organisation Fareshare, the UK’s national network of charitable food redistributors. The food will be chilled for transportation and, once delivered, can be heated up easily in a microwave or oven.

Adam Roberts, Founder and CEO of Open Kitchens commented; “We are delighted that The REP is the first theatre in the UK to join Open Kitchens at a time when, according to End Child Poverty (2019), Birmingham has one of the highest percentages of children in the Midlands living in poverty after housing costs, amounting to over 130,000 vulnerable children.”

Jules Raikes, Catering Director at The REP added; “It’s fantastic to be able to open up our kitchens for such a worthy cause during a time when a lot of families will be struggling financially. Thousands of children in the city have been schooled at home during the pandemic, which also means for some that they have been missing out on vital access to free school dinners. Thanks to our partnership with Open Kitchens and our incredible team of REP volunteers, we are now preparing meals from food that would otherwise go to waste, providing vulnerable children with a regular free nutritional meal during these unprecedented times.” 

It is estimated that 8.4 million people in the UK, or the equivalent to the entire population of London, are currently struggling to afford to eat. 2 million tonnes of food is wasted by the food industry in the UK annually with 250,000 tonnes of the food that goes to waste each year still being edible, totalling a potential 650 million meals. 

Open Kitchens brings together organisations who volunteer to work for free to cook meals for those in need in their community. Funded by community donations, pledging restaurants work to a budget of £1.85 per meal to cover costs with Open Kitchens contributing to energy usage. The project has been made possible thanks to generous donations direct to Open Kitchens. 

The REP’s team of volunteers will be working to strict government guidelines. PPE will be issued, and strict social distancing will be in place. Temperature checks and steam cleaning will be carried out on a regular basis and staff will be working in bubbles to ensure safety and to allow work to continue should someone become ill. 

For further information about Open Kitchens go to openkitchens.co.uk. 

I am sharing a statement in response to Oliver Dowden saying that theatres will not find out before November when they can reopen without social distancing.

Jon Morgan, director of Theatres Trust, comments:

Theatres Trust is disappointed to learn that the government will not be setting a date for theatres to reopen without social distancing before November. We appreciate the difficulty and the need for caution, but this means the vast majority of theatres will have no choice but to cancel their pantomime or Christmas show that generates the income to sustain them through the rest of the year, as November will not be sufficient notice to prepare productions and sell tickets.

This means that more theatres will need to be supported through the government’s £1.57bn rescue package. We are pleased to see that Arts Council England’s criteria for its £500m share of the £880m grants element is broad enough to include most theatres, but we are concerned that this will not be enough to save all theatres. We urge funding bodies to consider and prioritise the circumstances of theatres that rely on pantomime for a significant proportion of their turnover (as much as 40% in some cases). If the funds do not reach enough of these theatres, particularly with the furlough scheme ending in October, we will see more theatres closing their doors permanently.

VAULT Festival postpones until 2022

VAULT Festival have made the difficult but necessary decision to postpone the next full, live version of VAULT Festival until 2022. In consideration of the significant financial and safety risks brought about by COVID-19 and that each festival takes ten months to create, the organisers believe this decision is in the best interests of its artists, staff, and collaborators.

VAULT Festival is a celebration of the most exciting and boldest independent and grassroots artists, from all backgrounds, across all live performance styles. The team do not want to ask the artists to begin expending time, money, and energy in creating new shows when the risks remain so unpredictable in an already precarious industry.

As a non-funded, independent organisation, 100% of VAULT Festival’s income comes from ticket sales, food & drink, and fundraising. As such, the Festival doesn’t have the margins to be able to ride out a less-than-great festival, to implement social distancing effectively, and to protect their artists from exposure to increased financial and safety risks

Founders Mat Burt and Andy George intend to use this time to restructure and reorganise the Festival to better serve everyone involved. They are using this chance to re-engage with the Festival’s purpose and interrogate its place in the industry. They will be working dynamically to generate live and digital opportunities for their artists, staff, and audiences throughout 2021. They
will also be making big plans for the 10th Anniversary of VAULT Festival in 2022.

Festival Directors Mat Burtcher and Andy George comment, The prospect of not doing a festival in 2021 is daunting but our mission is now more important than ever. Our commitment is to continue working to provide an accessible platform that best serves our artists, audiences, and staff throughout 2021. We want to make our community, industry, and world more accessible, more inclusive, and more sustainable

We’re grateful to the wonderful artists, audiences, our team, and the collaborators who’ve made the Festival what it is so far – thank you for your continuing support. We’ll be back, better, soon.

Bristol Old Vic commences consultation process with staff

In the wake of the COVID-19 crisis, Bristol Old Vic has embarked on a consultation process with affected staff in the face of a significant reduction in the work it can undertake and the income it can generate. This follows similar announcements from theatres across the regions. It is anticipated that over 20 roles from its full-time workforce of 60 could be at risk

Bristol Old Vic’s Chair, Liz Forgan, said:

“It is with enormous regret that Bristol Old Vic has begun a consultation process to reduce the size of its workforce due to the COVID-19 crisis. The last 5 years have brought astonishing success for Bristol Old Vic and the Board are very clear that these successes have been achieved through the skills and dedication of our wonderful workforce. Nonetheless, by taking these steps now, we are putting ourselves in a position to emerge flexible, solvent, and fighting fit to meet the challenges of the post-COVID world.”

Executive Director Charlotte Geeves added:

“The unprecedented circumstances of this crisis, forcing all theatres to close and taking away 75% of our income at a stroke has left us in an extremely vulnerable position. The Government’s Job Retention Scheme has kept us alive, as it has kept businesses alive in every part of the economy, and we are hopeful that the Government’s Cultural Investment will support our survival further as we prepare to reopen the theatre gradually over the coming 18 months. The theatre plans to make further announcements about the programme shortly.

We are also enormously grateful for the support we have received so far and the donations made to our Reopening Fund. Donations such as these are hugely important and will directly fund our work as we emerge from the COVID crisis.

However, there is no avoiding the fact that the current circumstances mean that we will be unable to recover the income levels we’ve built up over the last decade with any speed or predictability. Therefore, in order to ensure Bristol Old Vic survives and is able to emerge, we have to reshape our business.”

Artistic Director Tom Morris said:

“Over the last 10 years, the team at Bristol Old Vic has worked with a rare passion to create inspiring work and to share this beautiful building with more and more people from Bristol and the region. This has been achieved through colossal hard work in the face of steadily declining subsidy and increasing commercial pressure. Our successes are entirely due to the generosity, skill and dedication of our wonderful staff, who have again and again achieved miracles with decreasing resource, and the talent and skill of the freelance artists who have worked with equal brilliance to create the programme which has rebuilt our reputation. Around this work, Bristol Old Vic staff have also worked tirelessly to reinvent our business as we completed the refurbishment of the site and reopened so joyfully in 2018.

Such a brilliant team does not deserve this process, which is caused by the unprecedented impact of the COVID-19 disaster and the forced contraction of our economy that has followed it. We are fighting to protect as many jobs as we can, but of course have to support and implement the Board’s decision to prioritise the survival of the theatre so that we can regrow it healthily and once again entertain our loyal, generous and growing audiences as soon as circumstances allow.”

A rarely-performed Samuel Beckett monologue, a brand new play and something for all the family inspired by a classic song – all performed on and around a park bench in a COVID-Secure outdoor theatre season in York

engine house theatre presentsPARK BENCH THEATRERowntree Park, York, 12 August – 5 SeptemberFirst Love by Samuel Beckett / Every Time a Bell Rings (premiere) by Matt Aston / Teddy Bears’ Picnic (premiere) co-created by Cassie Vallance and Matt Aston

Park Bench Theatre brings live theatre back to York with an outdoor season of monologues for all ages in the city’s Rowntree Park from 12 August to 5 September.

The productions will be presented in carefully laid out and spacious gardens, allowing audiences to keep socially distanced from each other.

Matt Aston, artistic director of engine house theatre, says: “I used to do my daily lockdown exercise in Rowntree Park where I had the idea of someone sitting on a park bench and thinking about what they are going through. The isolation and the fact that she might actually have been isolated for many years. I then remembered First Love was also set on a park bench and the idea rolled on from that.

“It’s so exciting to be able to get to present some actual live theatre. A rarely-performed Samuel Beckett, a brand new play and something for all the family inspired by a classic song. All performed on and around a park bench.”

Matt directs First Love and Teddy Bears’ Picnic (of which he is co-creator) and is the author of Every Time a Bell Rings. Matt’s adaptations of the Benji Davies children’s books Grandad’s Island and The Storm Whale both proved big hits in the Studio at York Theatre Royal last Christmas.

Every Time a Bell Rings is directed by Tom Bellerby, who has directed work across the UK and Europe. He has been Resident Assistant Director at the Donmar Warehouse, Associate Artist at Pilot Theatre and was Associate Director at Hull Truck Theatre 2016-18, a key part of the team who delivered the theatre’s programme for the 2017 UK City of Culture.

The Park Bench Theatre performers are Lisa Howard, whose has worked extensively with both Northern Broadsides and Slung Low; Chris Hannon, pantomime dame at Theatre Royal Wakefield for over a decade and known to Cbeebies viewers as Dad in Topsy and Tim; and Cassie Vallance, who appeared in The Storm Whale in York Theatre Royal Studio last Christmas.

First Love by Samuel Beckett A man, a woman, a recollection. One of Samuel Beckett’s most masterful stories, First Love is awash with Beckett’s signature balancing of comedy and tragedy. Performed by Chris Hannon, directed by Matt Aston.

Running time 45 minutes approx. Contains very strong language.Wed 12 – Sat 22 August, 7pm. 8 & 15 August, 4pm matinee.

Every Time a Bell Rings, premiere by Matt Aston.Lockdown. Easter Sunday 2020. Cathy emerges from her own isolation and searches for solace on her favourite park bench in her favourite park. A touching, funny and poignant look at how the world is changing through these extraordinary times. Performed by Lisa Howard, directed by Tom Bellerby

Contains very strong language. Running time 50 minutes approx.Wed 19 Aug – Sat 5 Sept, 7pm. 22 Aug & 5 Sept, 4pm matinee

Teddy Bears’ Picnic, premiere inspired by the song and based on an original idea by Julian Butler. Co-created and performed by Cassie Vallance, co-created and directed by Matt Aston.Every year Jo’s family used to have a big family gathering – a teddy bears’ picnic. It was brilliant. Then she got too old and too cool for that sort of thing. So she stopped going. But now she’s grown up … she wishes she could have them all over again.

Running time 30 mins approx. Suitable for everyone aged 3 and over. Audiences are invited to bring along their favourite teddy and a picnic.

11.30am & 1.30pm on 19-22, 27-29, 31 August & 1-5 September

Helen Apsey, Head of Culture and Wellbeing at Make It York, said: “This is a fantastic initiative to bring live theatre back to York in the beautiful surroundings of Rowntree Park. It is a great addition to the city’s summer offering – providing a safe outdoor theatre experience designed for families and people of all ages.”

Abigail Gaines, Friends of Rowntree Park trustee, said: “We are thrilled to have open air theatre in Rowntree Park. The park has been a lifeline to many during lockdown, and hearing it inspired the writing of one of the plays makes hosting the performance even more meaningful. The park is a key place for families and we know they will love the family performances. The Friends of Rowntree Park always support Arts in the Park and are very much looking forward to the shows”.

In conversation with York City Council, and in line with current government guidance, Park Bench Theatre has implemented a range of measures to ensure the health and safety of audiences and staff. The measures are under constant review, and apply across all performances throughout the season.  

The performance area: The Friends Garden in Rowntree Park in York. There is a pay and display car park located in Terry Avenue with some disabled bays. As this car park is small, audiences are advised to park in Castle Car Park and enjoy the short walk along the river to the site.

Headphones will be required to hear the dialogue, sound effects and music in performances. All audience members will be given a receiver on entry which headphones can be plugged into. Audiences are encouraged to bring their own (no wireless or Bluetooth ones – they must be ‘plug in’ headphones or earphones). You can purchase takeaway headphones for £1 when you book your ticket online, which can be collected when you visit. 

Seating. People are encouraged to bring blankets in the first few rows and chairs in the back few rows. 

Ticketing policy. If you have any symptoms of COVID-19, have been diagnosed with the virus or have been in direct contact with a diagnosed individual in the past 14 days, you must not attend the event. If unable to attend due to other illness, please contact the box office to arrange ticket transfer. Tickets can only be refunded if the booked performance has sold out. 

HEALTH AND SAFETY MEASURES
Arriving. Gates will open an hour before each performance before the show start time to allow everyone to arrive at their leisure and avoid large queues. All tickets will be digital, and checked without contact at a social distance at the entrance to the performance area. There will be a one-way system to enter and exit the performance area.

Social distancing. Each household or social, bubble will be seated at a safe distance from other households or social bubbles. Volunteer stewards will direct audience members to their designated bubble.

Food and refreshments. Bring your own food and drink to all performances but note that no alcohol is allowed to be consumed in Rowntree Park. 

Departure. Stewards will manage the departure so large crowds don’t all leave at the same time.

Toilets. All performances take place without an interval. The Rowntree Park toilets will be open before and after all performances.

Full details can be found on Park Bench Theatre website park bench theatre.com

LISTINGS INFORMATION
First Love7pm on 12-15, 17-22 Aug2pm on 15 & 22 Aug
Every Time a Bell Rings7pm on 26-29 and 31 Aug & 1-5 Sept2pm on 29 Aug & 5 Sept
Teddy Bears’ Picnic11.30am & 1.30pm on 19-22, 27-29, 31 Aug & 1-5 Sept
Tickets are unreserved and cost £10 for First Time and Every Time a Bell Rings, and £5 for Teddy Bears’ Picnic.
You can find Park Bench Theatre on

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