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The Philharmonia Orchestra announces governance restructure

• Creation of a single unified charity to govern the Orchestra through merger of Philharmonia Ltd and the Philharmonia Trust
• The Philharmonia’s self-governance model, which is retained with player majority on the Board, is enhanced through incoming expertise from the Philharmonia Trust
• The Philharmonia is delighted to welcome Lord King of Lothbury, who will become Chair of the newly constituted merged Board of Trustees during the summer of 2020
• New Development Board, chaired by Board member Julia Zilberman, will work with the Philharmonia’s Development team to focus on both near- and longer-term strategic fundraising
• Newly announced Chief Executive Alexander Van Ingen will report to the Board and work closely with the Chair and President as the leaders of the organisation

The Philharmonia Orchestra today announces a major restructuring of its governance model, implementing a plan that has been developed over the last two years, following a substantive governance review and consultation with Members of the Orchestra and Trustees of the Philharmonia Trust. Philharmonia Ltd (the orchestra) and the Philharmonia Trust (the charity which holds the Philharmonia’s endowments) have agreed to merge, following overwhelming ratification by members of both bodies. The changes went into effect on midnight on 31 March 2020. The result is a unified, streamlined structure which enhances the self-governance model that has defined the Orchestra since it became owned by its player members in 1964. Philharmonia Members will represent a majority of the newly constituted Board, and the elected leader from the player group will now become the President of the Philharmonia. The position of Chair will be held by a non-player. The Chair, President and Chief Executive will be at the core of the Orchestra’s leadership. From summer 2020, Philharmonia Ltd will be chaired by Lord King of Lothbury, Governor of the Bank of England from 2003 to 2013. Lord King said: “I am deeply honoured to be asked to serve as Chair of the Philharmonia Orchestra. Despite present uncertainties, the future of the Orchestra is bright. With a new management team and a new Principal Conductor I am confident that the Orchestra will scale even greater musical heights.
“It will be a daunting task to follow Saul Nathan, and I am very pleased that he has agreed to continue until circumstances permit us all to return to something closer to normal.”
Saul Nathan, Chair of the Philharmonia Trust and inaugural Chair of the Board commented: “In partnership with the players, over the last two years we have designed a bespoke model which marries the best elements of self-governance and stewardship. Together with the formation of a new Development Board, these changes will create enduring opportunities for alignment, resilience, diversity and innovation. I want to thank Michael Fuller, Interim Managing Director, and Victoria Irish for their ceaseless endeavour in achieving this excellent outcome.”Victoria Irish, 1st violin and the first member of the Orchestra to take up the President role, said: “A piece of history is being made with the largest structural change in the Philharmonia for over 55 years. I am genuinely proud of, and excited by, the steps we have taken to allow us to preserve our identity as a self-governing orchestra while significantly strengthening our model. I am very excited and pleased to be taking on the new role of player President.”JuliaZilberman, Board member, said: “A newly formed Development Board will work closely to support the Development Department to build on strategies for operational and tactical engagement with major donors, corporations, Trusts and Foundations. Bringing the two charities together will allow for an integrated approach to fundraising with singular clarity and purpose.” From September 2020, the management of the Philharmonia will be led by Alexander Van Ingen, who joins the Orchestra as Chief Executive from Cambridge-based period-instrument orchestra, the Academy of Ancient Music, where he has been Chief Executive since 2017. Prior to that he was an Executive Producer and A&R lead at Decca Classics for five years, working with artists including Daniel Barenboim, Nicola Benedetti, Janine Jansen and Leonidas Kavakos. Alexander Van Ingen said: “I am delighted to welcome Lord King as the Philharmonia’s new Chair, bringing with him a wealth of expertise and experience. I’m very pleased to be joining the Philharmonia within a newly aligned, strong structure; and working with an exciting, dynamic new Principal Conductor Designate in Santtu-Matias Rouvali. The challenges of the coronavirus outbreak demonstrate just how important the Philharmonia’s sector-leading digital innovation programmes are: these, along with the Philharmonia’s national footprint, make it a symphony orchestra for the 21st Century.” The Philharmonia Orchestra is committed to using these governance and leadership changes as a springboard to strengthen its long-term financial and artistic sustainability, and increase the diversity of its board of trustees, membership and workforce. Joyce Wilson, London Area Director, Arts Council England, said: “We are pleased that the Philharmonia Orchestra has completed the merger successfully and look forward to working productively with the new board, chair and CEO.”

OVER FORTY YOUNG AND ELDERS COMPANY MEMBERS AGED 14 – 82 CREATE SHOW INSPIRED BY THE WAY MUSIC CONNECTS US

A Royal Exchange Theatre World Premiere 

CONNECT FEST

Created by the Elders Company and Young Company
Director: Nickie Miles-Wildin
Writer: Testament 

11 May – 15 May 2020 – episodes released daily at 11.00am 

The Royal Exchange Theatre’s resident Young Company and Elders Company were about to head into rehearsals for their annual inter-generational show when the Government announced its lockdown measures. It was quickly decided that the ‘show would go on’ and that the Company would find a new structure for their story and new ways to rehearse together. Because of the unique way the show is now being made, it has opened-up opportunities for over twice the amount of people who were originally involved. Over forty participants aged between 14 and 82yrs have come together to make a brand-new piece of work reinvigorated by a desire to stay connected.

Carmen Fyfe Paulo – Royal Exchange Theatre, Young Company Member said,
‘With all of the craziness going on in the world right now and everyone being on lockdown, I think it’s awesome that we’re still doing this Intergen Project! We’re managing to stay connected with a huge range of people who all have different stories to tell, and we’re navigating theses weird coronavirus times together in a fun, creative way.’

The result is CONNECT FEST a pioneering new show directed by Nickie Miles-Wildin and written by award-winning rapper, beatboxer and theatre-maker Testament. Created by the Company CONNECT FEST is inspired by the way in which music can transport, uplift and create incredible connections, from singing together at school or in a choir to the energy and power of a massive music festival like Glastonbury. CONNECT FEST is a theatre show, a music festival and a soap-opera rolled into one and will be made up of five individual online episodes. The first episode will be aired on 11 May at 11.00am on the Royal Exchange Theatre website with new episodes released at the same time daily.

Director Nickie Miles-Wildin said…
‘We had always planned to make a piece of interactive work about the feeling of music, the impact it can have on our lives at different times. Then lockdown happened. What became apparent was how music is used to connect people – choirs singing over Zoom, music on balconies across Italy, Spain and here in the UK communities coming together to clap, bang pots and pans for the NHS. Over Zoom we have had the opportunity to be together and create new work. From listening to various songs to developing characters and devising scenes, Testament has created a wonderful thread of stories each with connection at their heart: an 80s band wanting to reform, a family Zoom that doesn’t go according to plan and a long-lost love being found over the internet. At a time when we are all socially distanced our wonderful Inter-gen Company make us feel more connected than before.’

The stage is set and the soundchecks are happening, but the music hasn’t started yet. Five different groups of people, with different passions, tastes and different favourite bands are making their way to the festival. All heading in the same direction with one goal in mind – to make it to the gig on-time, to meet new people, listen to music they’ve never heard before and make memories that will last forever.

Testament added…
‘My work is all about connecting to others – politically spiritually, and socially. Music is one of those connectors that can transcend our backgrounds, social environment, present difficulties and perhaps even time itself. Working online is new for most of us but has given us a chance to see how theatre and music can work across digital platforms. Given the current self-quarantine that much of the world is under, even the process of making the show together has brought the very thing the show celebrates – a sense that we are not alone.’

Following on from the success of past intergenerational productions ADIEU and THE SPACE BETWEEN US the Royal Exchange Young and Elders Companies will collaborate in a uniquely inventive way to create an original piece of online work that celebrates the importance of staying connected.

CONNECT FEST is created with Associate Director: Hannah Sands, with sound and video support by the Young Company Makers and with special thanks to Alexandra Faye Braithwaite and Annie May Fletcher for their sound design and composition.

 
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NATIONAL YOUTH THEATRE, IN PARTNERSHIP WITH THE UNIVERSITY OF HULL, ANNOUNCES MAJOR THREE-YEAR ENVIRONMENTAL PROJECT MELT ON EARTH DAY

• MELT WILL FEATURE AN INITIAL CAST OF 200 RESPONDING TO THE CLIMATE CRISIS FOR A PROGRAMME OF DIGITAL AND PHYSICAL DRAMATISATIONS CULMINATING IN A LARGE-SCALE OUTDOOR PROMENADE PIECE WITH A 1000-STRONG CAST TO TAKE PLACE ACROSS COASTAL SITES IN THE EAST OF ENGLAND.

• THE PROJECT BRINGS TOGETHER NYT ARTISTIC DIRECTOR PAUL ROSEBY AS CREATIVE DIRECTOR, ASSOCIATE DIRECTOR OF THE FREEDOM THEATRE OF PALESTINE ZOE LAFFERTY, DIRECTOR AND PUNCHDRUNK ASSOCIATE ARTIST JOEL SCOTT, AND A COLLECTIVE OF YOUNG WRITERS INCLUDING 16-YEAR-OLD WRITER FREYA HANNAN-MILLS, IN PARTNERSHIP WITH THE UNIVERSITY OF HULL.
   
• REHEARSALS WILL START DIGITALLY IN MAY 2020 AND A DIGITAL SHARING OF THE WORK WILL BE LIVE-STREAMED ON 20 JUNE 2020 THE LONGEST DAY OF THE YEAR AND SUMMER SOLSTICE IN THE NORTHERN HEMISPHERE. FURTHER DATES FOR ONLINE RELEASES AND OUTDOOR PROCESSIONS TO BE ANNOUNCED.
   
• FURTHER WRITERS WILL BE COMMISSIONED FROM ON-GOING ONLINE YOUTH-CURATED EVENTS, INCLUDING RUSH ON 3 MAY, SHOWCASING SOME OF BRITAIN’S BEST YOUNG ARTISTS OF COLOUR, CURATED BY NYT MEMBER SHAKIRA NEWTON.

On Earth Day, the National Youth Theatre (NYT) in partnership with the University of Hull announces MELT, a major new three-year project exploring climate change and culminating in an outdoor processional piece with a cast of 1000 young people.

In light of current restrictions on movement, MELT will begin interactive digital research and development sessions and group rehearsals in May 2020 via video conferencing with an initial cast of 200. These sessions will inform a series of physical and digital dramatisations focusing on the flooding of coastal areas caused by climate change and will be released over the course of the next three years. On 20 June 2020, the longest day of the year and Summer Solstice in the Northern Hemisphere, a digital sharing of work created by members during the research and development phase will be live-streamed via www.nyt.org.uk/melt, and will include an invitation to young people from across the UK to join the creative conversation in response to the climate crisis. The programme finale will see a large-scale processional outdoor piece travel through cities and sites on the East Coast of England in 2021/22 to highlight the climate emergency. Dates and locations will be announced in due course.

MELT is led by NYT Artistic Director Paul Roseby as Creative Director, working with Zoe Lafferty, Associate Director of The Freedom Theatre, Palestine and Joel Scott, Artistic Director at Goat and Monkey and Associate Artist with Punchdrunk. They are joined by award-winning 16-year-old writer Freya Hannan-Mills, who is the first of a collective of young writers to be commissioned from NYT’s on-going online youth-curated events during lockdown, which include RUSH a showcase for Britain’s best young artists of colour curated by Shakira Newton on 3 May (www.nyt.org.uk/rush). Hannan-Mills successfully auditioned for the NYT in 2019 as part of the free Auditions Access Fund, supported by Patron and alumnus Hugh Bonneville.

MELT will be created in collaboration with leading climate scientists from the University of Hull’s Energy and Environment Institute, alongside experts in human geography, and other specialisms who will work with creative talent from the National Youth Theatre over the coming months to help bring the show to life. The University is committed to help combat climate change and its impacts through research, education and by mobilising the power of communities. It brings together world-leading flood and flood resilience specialists within the Energy and Environment Institute helping society adapt to climate change, the collaborative power of Aura addressing the causes of climate change through innovation in offshore wind and low carbon technologies with a rich heritage and expertise in the humanities and creative arts.

MELT is the fourth major environmental work at NYT in the last decade, following S’warm which saw hundreds of young actors swarm iconic London sites in 2010, SLICK in response to plastic in our oceans at Sheffield’s Park Hill Estate in 2011 and FLOOD in partnership with Hong Kong Youth Arts Foundation in 2018. 

Paul Roseby OBE said: “I hate to be the voice of doom at a time when we’re all stuck in the world of Zoom and isolation but we can not let our creative hearts and minds ignore the critical issue that is the Climate Crisis. A year on from Extinction Rebellion and its resulting awareness and division, MELT will seek to galvanize hundreds of Britain’s best young creative voices from across the UK to animate a series of stories founded in scientific fact but told in imaginative bold.  Equally important, is how MELT is being designed with thanks to our collaboration with the University of Hull to drive positive social and environmental change. This unique partnership will focus not only on the impact of rapid melting polar ice caps and the consequences of increased flooding and famine, but also on how to directly inspire and connect young people to long term careers in sustainable local industries in and around the East Coast of England.”

Associate Director Zoe Lafferty said: “As the devastating effects of the climate crisis destroys people’s lives across the world, young people are leading the fight for the right to life. It is an honour to collaborate with the National Youth Theatre and their young artists across Britain, and through culture demand that younger generations not only have a right to a future but reimagine a world with equality and justice at its core.”

Louise Smith, Director of Aura, University of Hull: “Now more than ever before, we need to work together to transform the way we live and work, to find solutions to the challenges brought about by climate change. Through the University of Hull’s Aura partnership in the Humber, we are shaping the future of offshore wind and low carbon energy through collaboration and innovation. We are delighted to be partnering with NYT in Melt. Through this creative approach we want to inspire the brightest, creative young minds to join a new green energy industry; to be part of a smart, skilled, diverse workforce – helping us to make brilliant ideas come to life, to bring the region together to shape a sustainable future for all the community.”

Professor Dan Parsons, Director of the Energy and Environment Institute, University of Hull “With a focus on the challenges associated with climate change, the priorities and aims of the Energy and Environment Institute at the University of Hull chime very closely with the objectives of the production. The aims of MELT, in communicating the impacts of climate change and sea-level rise, very closely align with the University of Hull vision that seeks a brighter, fairer, carbon neutral future for our global society – alongside our target of becoming the first net zero university campus in Europe.”

GEMMA ARTERTON, ERIN DOHERTY, LENNIE JAMES, RORY KINNEAR, ALEX LAWTHER,  ALISON STEADMAN AND MEERA SYAL TO STAR IN HEADLONG AND CENTURY FILMS’ UNPRECEDENTED: THEATRE FROM A STATE OF ISOLATION

• PATRICIA ALLISON, ARTHUR DARVILL, MONICA DOLAN, JULIAN BARRATT, SUE JOHNSTON, ARCHIE MADEKWE, JAMES NORTON, ABRAHAM POPOOLA, KIRUNA STAMELL, RHASHAN STONE, FENELLA WOOLGAR AND OLIVIA WILLIAMS HAVE ALSO BEEN CAST

• UNPRECEDENTED WILL FEATURE WORLD PREMIERES OF OVER 10 NEW SHORT, DIGITAL PLAYS FROM CELEBRATED PLAYWRIGHTS, WRITTEN IN RESPONSE TO THE COVID-19 PANDEMIC, REHEARSED AND PERFORMED IN ISOLATION

• CREATING NEW WORK FOR THE PROJECT ARE CELEBRATED PLAYWRIGHTS APRIL DE ANGELIS, JOSH AZOUZ, DEBORAH BRUCE, JOHN DONNELLY, JAMES GRAHAM, CHARLENE JAMES, MATILDA IBINI, JASMINE LEE-JONES, DUNCAN MACMILLAN, ANNA MALONEY, NATHANIEL MARTELLO-WHITE, CHLOË MOSS, PRASANNA PUWANARAJAH AND TIM PRICE  

• NED BENNETT, TINUKE CRAIG, BLANCHE MCINTYRE, DEBBIE HANNAN, CAITLIN MCLEOD, JEREMY HERRIN, OLA INCE , BRIAN HILL AND HOLLY RACE ROUGHAN ARE AMONG THE DIRECTORS WORKING ON THE PROJECT

• UNPRECEDENTED: THEATRE FROM A STATE OF ISOLATION WILL BE BROADCAST BY THE BBC IN MAY AS PART OF BBC ARTS’ CULTURE IN QUARANTINE INITIATIVE

Headlong and Century Films have today announced a cast of over 50 UK actors taking part in Unprecedented: Theatre from the State of Isolation. A series of new digital plays written in response to the current Covid-19 Pandemic, Unprecedented will be broadcast across the nation during lockdown as part of BBC Arts’ Culture in Quarantine initiative.

Written by celebrated playwrights and curated by Headlong, Century Films and BBC Arts, Unprecedented explores our rapidly evolving world, responding to how our understanding and experiences of community, education, work, relationships, family, culture, climate and capitalism are evolving on an unprecedented scale. The series will ask how we got here and what the enduring legacy of this historic episode might be.

The cast for Unprecedented includes;

Sadia Ahmed

Kae Alexander (Deep State; Fleabag),

Esh Alladi (Ordinary Love; A Confession),

Patricia Allison (Sex Education),

Gemma Arterton (Summerland; Their Finest),

Julian Barratt (The Mighty Boosh; Flowers)

Paul Chahidi (This Country; The Death of Stalin),

Ines De Clercq (Broadchurch),

Risteárd Cooper (Quiz; Delicious),

Arthur Darvill (Doctor Who; Broadchurch),

Natalie Dew (Sandylands; Peter Rabbit),

Erin Doherty (The Crown; Junkyard)

Monica Dolan (Official Secrets; W1A),

Michael Elwyn (Stella; Coronation Street),

Denise Gough (People, Places and Things; Angels in America),

Frances Grey (Ordeal by Innocence; Home Fires),

Kathryn Hunter (Timon of Athens; Harry Potter and the Order of the Phoenix),

Saoirse-Monica Jackson (Derry Girls),

Geraldine James (Back To Life; 45 Years),

Lennie James (The Walking Dead; Save Me),

Sue Johnston (The Royle Family; Downton Abbey), 

Rory Keenan (Long Day’s Journey into Night; Versailles),

Lisa Kerr (Top Girls),

Rory Kinnear (Years and Years; Brexit: The Uncivil War),

Laurie Kynaston (The Son; How to Build a Girl),

Alex Lawther (The End of the F***ing World; Howards End),

Archie Madekwe (See; Midsommar),

Anna Madeley (Deadwater Fell; Patrick Melrose), 

Marcello Magni (Fragments; Arlecchino),

Lucianne McEvoy (Crocodile Fever; Ulster American),

Jodie McNee (Faustus: That Damned Woman; Britannia),

Cecilia Noble (Nine Night; Downstate),

James Norton (Happy Valley; The Trial of Christine Keeler),

Enyi Okoronkwo (Noises Off; Giri/Haji),

Abraham Popoola (Party Time; Julius Caesar), 

Boadicea Ricketts (Bartholomew Fair),

Golda Rosheuvel (Lady Macbeth; A Pacifist’s Guide to the War on Cancer),

Sid Sagar (White Teeth; The Starry Messenger),

Rochenda Sandall (Line of Duty; Pomona), 

Gyuri Sarossy (The Absence of War; The Two Noble Kinsmen), 

Kiruna Stamell (The New Pope; Cyrano de Bergerac),

Rebekah Staton (Raised by Wolves; Home),

Alison Steadman (Gavin & Stacey; Care),

Rhashan Stone (Keeping Faith; All About Eve),

Meera Syal (Noises Off; The Kumars at No. 42)

Stuart Thompson (A Taste of Honey), 

Amy Trigg (The Taming of the Shrew; Measure For Measure), 

Dickon Tyrell (Labour of Love; Anatomy of a Suicide),

Olivia Williams (Tartuffe; Counterpart),

Gabby Wong (Rogue One; Troilus and Cressida)

Fenella Woolgar (Handbagged; Call the Midwife) and

Sargon Yelda (Strike; Anthony and Cleopatra).

They will join the previously announced directors and playwrights working on the project. 

Using digital conferencing technology to rehearse and film each play, these intimate new works will give an immediate insight into this extraordinary communal experience. Unprecedented: Theatre from a State of Isolation will be broadcast by the BBC as part of the BBC Arts’ Culture in Quarantine initiative and made available to stream online from May.

FULL CAST ANNOUNCED FOR THE SHOW MUST GO ONLINE LIVESTREAMED READING OF TITUS ANDRONICUS

The Show Must Go Online today announce the full cast for their upcoming livestreamed reading of William Shakespeare’s Titus Andronicus. Rob Myles directs Tiffany Abercrombie (Lavinia), Clark Alexander (Martius/Attendant), Jack Baldwin (Lucius), Michael Bertenshaw (Titus Andronicus), Mark Holden (Aaron), Khuyen Le (Bassianus), Wayne Lee (Saturninus), Joanna Lucas (Quintus/ Third Goth), Tricia Mancuso Parks (Tamora), Emily Millwood (Young Lucius), Shamiso Mushambi (Aemilius), Matthew Rhodes (Chiron), Charles Sloboda-Bolton (Demetrius), and Julia Walker Wyson (Marcus Andronicus). The ensemble consists of Toni Benedetti-Martin, Natalie Harper, Ross Martin, and Sophie Max, with Mark Hammersley and Tamara Ritthaler as swings.

To celebrate Shakespeare’s birthday alongside the livestreamed reading, The Show Must Go Online is also producing online guides for viewers to dress up like the characters from the show at home, make a themed cocktail, or bake a macabre pasty to eat along with Tamora and the rest in the final banquet. For more information on the party theme, please visit Facebook, Twitter, and Instagram, and set a reminder for the show using the bell icon on YouTube. 

The livestreamed reading of Titus Andronicus can be watched live on Wednesday 22 April at 7pm BST here. Previous readings from the series are also available here.

Members of the cast have previously performed at the RSC, Shakespeare’s Globe, Alabama Shakespeare Festival, Nebraska Shakespeare, and previous credits include Pretty Woman (Piccadilly Theatre), The Play That Goes Wrong (Duchess Theatre), and The Comedy About A Bank Robbery (Criterion Theatre).

#ShowMustGoOnline

#ConnectedAndCreative

CONTENT WARNING: Contains violence and scenes that may be upsetting – not suitable for children; contains potentially distressing content including mutilation, racism and references to sexual violence.

FULL SCHEDULE

All performances will be streamed live from 7pm BST on Wednesdays.

22 April 2020	Titus Andronicus (1591–1592)
29 April 2020	Richard III (1592–1593)
06 May 2020	The Comedy of Errors (1594)
13 May 2020	Love’s Labour’s Lost (1594–1595)
20 May 2020	“Love’s Labour’s Won”
27 May 2020	Richard II (1595)
03 June 2020	Romeo and Juliet (1595)
10 June 2020	A Midsummer Night’s Dream (1595)
17 June 2020	King John (1596)
24 June 2020	The Merchant of Venice (1596–1597)
01 July 2020	Henry IV, Part 1 (1596–1597)
08 July 2020	The Merry Wives of Windsor (1597)
15 July 2020	Henry IV, Part 2 (1597–1598)
22 July 2020	Much Ado About Nothing (1598–1599)
29 July 2020	Henry V (1599)
05 August 2020	Julius Caesar (1599)
12 August 2020	As You Like It (1599–1600)
19 August 2020	Hamlet (1599–1601)
26 August 2020	Twelfth Night (1601)
02 September 2020	Troilus and Cressida (1600–1602)
09 September 2020	Measure for Measure (1603–1604)
16 September 2020	Othello (1603–1604)
23 September 2020	All’s Well That Ends Well (1604–1605)
30 September 2020	King Lear (1605–1606)
07 October 2020	Timon of Athens (1605–1606)
14 October 2020	Macbeth (1606)
21 October 2020	Antony and Cleopatra (1606)
28 October 2020	Coriolanus (1608)
04 November 2020	The Winter’s Tale (1609–1611)
11 November 2020	Cymbeline (1610)
18 November 2020	The Tempest (1610–1611)
25 November 2020	Henry VIII (1612–1613)

CAMERON MACKINTOSH IN ASSOCIATION WITH

UNIVERSAL PICTURES HOME ENTERTAINMENT CONTENT GROUP PRESENTS

L E S   M I S É R A B L E S   –  T H E   S T A G E D   C O N C E R T

STARRING MICHAEL BALL, ALFIE BOE, MATT LUCAS AND CARRIE HOPE FLETCHER

FILMED AT THE GIELGUD IN THE WEST END

IS NOW AVAILABLE FOR THE FIRST TIME AS A DIGITAL DOWNLOAD

IN THE UK AND AUSTRALIA AND WILL RAISE FUNDS FOR

ACTING FOR OTHERS, THE MUSICIANS UNION CORONAVIRUS HARDSHIP FUND

AND CAPTAIN TOM MOORE’S NHS FUND

THE MACKINTOSH FOUNDATION MAKES £100,000 DONATION

TO START THE FUNDRAISING

Cameron Mackintosh today (19 April 2020) announces the planned debut of the hugely successful Les Misérables –The Staged Concert on digital download in the UK and Australia, which will also raise much needed funds for performers, musicians and the NHS.  For every digital download, available from Monday 20 April 2020 RRP £9.99, The Mackintosh Foundation will separately donate £5.00 to be shared amongst the charity Acting for Others, the Musicians Union Coronavirus Hardship Fund and Captain Tom Moore’s Walk for the NHS fund.  In addition, Mackintosh has launched the fundraising today by donating £100,000 from his Foundation.  Anyone who purchases the download will also have the opportunity to donate.  

www.lesmis.com/concert

Cameron Mackintosh said: “I am delighted that UPHE Content Group is releasing Les Misérables –The Staged Concert as a digital download at this time of crisis as it also allows my Foundation to help raise much needed funds for particular charities that are under such pressure at the moment.  Alongside the concert we will also be releasing a specially created mini documentary “Bringing it Home” which includes footage of the stars at their homes talking about their experiences both of live theatre and the show plus never seen before backstage footage that wonderfully captures the humour, camaraderie and thrill of performing to live audiences in these hauntingly beautiful and exciting historic buildings. In these extraordinary times we hope that fans and everyone who loves the theatre will be reminded of how special a theatrical experience can be, going to the very heart of our British culture, which make our nation so special and unique.  I am exceptionally proud of everyone involved in the making of the Concert and very much hope my Foundation will be able to help a raise a considerable amount of money for these deserving charities.”

The spectacular sell-out staging of this legendary concert, with a company of over 65, ran last year at the intimate Gielgud Theatre while the home of Les Misérables at the re-named Sondheim Theatre was undergoing major refurbishments in time for a thrillingly acclaimed re-opening that took place in December last year.  Plans are in place for Les Misérables to re-open in the West End in the Autumn once the Government lockdown has ended and the social distancing regulations relaxed, continuing its world record-breaking 35 year run.

The cast for the concert stars Michael Ball as Javert, Alfie Boe as Jean Valjean, Matt Lucas as Thénardier, Carrie Hope Fletcher as Fantine, Rob Houchen as Marius, Bradley Jaden as Enjolras, Katy Secombe as Madame Thénardier, Shan Ako as Éponine, Lily Kerhoas as Cosette andJohn Owen-Jones who also played Jean Valjean a certain performances.  The Company also includes Rosanna Bates, Adam Bayjou, Ciarán Bowling, Oliver Brenin, Earl Carpenter, Vinny Coyle, Samantha Dorsey, Tamsin Dowsett, Nicola Espallardo, Celia Graham, Holly-Anne Hull, Oliver Jackson, Christopher Jacobsen, Gavin James, Will Jennings, Ciaran Joyce, Katie Kerr, Sarah Lark, Joanna Loxton, Craig Mather, Stephen Matthews, James Nicholson, Rosa O’Reilly, Claire Parrish, Sophie Reeves, Grainne Renihan, Leo Roberts, Niall Sheehy, Raymond Walsh, Gemma Wardle and Andrew York. 

Les Misérables‘’ legendary score includes numerous classics including I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many many more. 

Les Misérables, produced on stage and screen by Cameron Mackintosh, is conceived by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo.  It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel with additional material by James Fenton and adaptation by Trevor Nunn and John Caird.

Headquartered in London, UPHE Content Group is a repertoire centre of Universal Pictures Home Entertainment, acquiring and producing multi-genre entertainment for distribution across theatrical, home entertainment, television and digital platforms on a worldwide basis.  UPHE Content Group is part of Universal Pictures Home Entertainment is a unit of Universal Filmed Entertainment Group (UFEG).

UFEG is part of NBCUniversal, one of the world’s leading media and entertainment companies.

The Mackintosh Foundation was formed in 1988.  The objects of the Foundation are to advance the education of the public both in the United Kingdom and elsewhere in the arts and in particular the performing arts of music drama and the theatre in all their forms; to assist in the relief of hardship or distress and to relieve sickness and to protect and preserve the health of all persons; to promote the conservation protection, enhancement in the United Kingdom of nature, buildings of architectural scientific historic or public interest.  Such other charitable objects in the United Kingdom with particular regard to the theatre, children, the poor, the sick and the homeless.

Meet Shibby – a reviewer in Scotland

Favourite show? The best show I have ever seen is Jersey Boys the range the gents all have is phenomenal. My all time favourite is Annie which I have seen live over 10 times.

Favourite theatre? I love traditional theatres but seeing Wicked in Victoria Theatre was the most amazing experience. As soon as you walk into the foyer you are immediately stepping into the land of Oz and it transports you ready for the performance.  

What role you would like to play? Miss Hannigan in Annie has always been my dream role. 

How I Began Reviewing? A Lady that used to work with my mum reviewed for FPP. I got asked to help out when she suggested me, as she had 2 shows scheduled on 1 night. I have LOVED reviewing for over a year since then and cannot wait for this current situation to be over to get back to the theatres. 

About Me? I’m an ex officer in the Merchant Navy and switched shore side a year after my other half came out of the Army. I still work in shipping but based in my home city of Glasgow now. In the last 18 months I have gotten engaged, got married in secret and surprised our engagement party that it was actually a wedding reception. We also moved house and we are expecting our first child in the summer – a boy. I love all things Disney and I love anything live; sports, concerts and theatre shows to name but a few.  I am a huge Newcastle United fan and try to get down to see them at least once a year.  

THE SHOW MUST GO ONLINE AT CURVE WITH

PROGRAMME OF DIGITAL ACTIVITY

Leicester’s Curve theatre has announced a host of online initiatives to bring theatre into audiences’ homes during lockdown. A full list of content, which will be regularly updated, can be viewed here.

The theatre, which has announced it will not open any sooner than Monday 1^st June, has created a range of new online content for audiences, as well as sharing past work digitally.

This activity sits alongside a recent campaign launched by Curve, Rainbows of Curve, which calls upon people around the world to share their Rainbows of Hope images with the theatre by emailing [email protected]. These images will form part of the set design for Curve’s Christmas production of The Wizard of Oz.

Speaking about the online initiatives, Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“In these extraordinary and unprecedented times, we are more mindful than ever of the role we play in our community. Our purpose, as ever, is to entertain, educate and inspire and even though the doors to our amazing building may be closed, we remain committed to connecting with our audiences and Curve community.

“It’s thrilling to know thousands of people across the globe are now enjoying archive recordings of our Made at Curve productions, learning from leading theatre-makers and are taking part in our activities online. All of this content is available for free, but as a registered charity, any support people are able to give would be gratefully received and hugely appreciated.

“We cannot wait to welcome our communities back into our building, but until then, we’re proud Curve ensures the show must go online!”

Since lockdown began, Curve has led the way for regional theatre with online screenings of many critically acclaimed productions. Previously released screenings of Made at Curve productions of Memoirs of an Asian Football Casual and The Importance of Being Earnest (co-produced with Birmingham Repertory Theatre) will now be available throughout the period of time the venue is closed. These archive recordings have already been viewed by almost 17,000 people across six continents.

The next production to be released online is Curve’s production of Joe Orton’s What The Butler Saw (co-produced with Theatre Royal Bath) which will be available online on Sunday 19^th April from 7pm. More titles will be announced in the coming weeks, including highlights from Hanif Kureishi’s My Beautiful Laundrette (co-produced with Belgrade Theatre Coventry, Everyman Theatre Cheltenham and Leeds Playhouse). Curve will also be releasing videos of its popular Curve Season Previews.

The theatre is also launching Curve In Conversation, which sees Artistic Director Nikolai Foster hosting in-depth interviews with leading creatives and performers. These will be released every Wednesday and Friday and will be available as videos and podcasts. The first of these interviews is already live, with Nikolai interviewing writer Hanif Kureishi. Today (Friday 17^th April), an interview with legendary West End actress Jodie Prenger will be uploaded. Future interviewees include Anita Dobson, Stephen Mear, Lesley Joseph, Akram Khan, Sarah Travis, Ben Cracknell, Michael Harrison, Kay Magson, Grant Olding, Arlene Phillips, Dakota Blue Richards, Catherine Russell, Colin Richmond and Cathy Tyson. Artistic Director Nikolai Foster and Chief Executive Chris Stafford will also be interviewing each other, giving audiences an insight into what it is like to run a regional powerhouse like Curve.

Conversations will also extend to social media, with audiences given the opportunity to ask leading figures in the industry questions via Instagram Live Q&As. These will be hosted at 4pm every Friday (Thursday on Bank Holiday weekends) and upcoming guests include Jonny Fines and Djalenga Scott, Sheep Soup, Lucie Jones, Carly Mercedes Dyer and Jamie Muscato.

Keeping in contact with its Curve Young Company performers and community members, the theatre is calling on people to get creative and send videos of drama, dances, music and more they’re making at home for Curve to share with audiences online.

There will also be a wealth of content for children and families during these challenging times. As well as re-releasing past education packs to support learning around its Made at Curve productions, Curve will be launching Bedtime Stories read by actors such as Cathy Tyson and Mark Peachey. These videos will include readings of classic and new children’s stories to assist with home schooling. Curve has also created a Children’s Activity Pack, inspired by previous Made at Curve family shows such as Roald Dahl’s George’s Marvellous Medicine, Dr. Seuss’ The Cat In The Hat and Giles Andreae and Guy Parker-Rees’ Giraffes Can’t Dance.

Whilst all these initiatives are free, as a registered charity, if audiences would like to support Curve, and all the work they do both on and off stage, and so they can continue to thrive in the future, a discretionary donation can be made here.

Freedom Studios to release live steam and radio play of their  production North Country

“If your whole world was destroyed…What would you do next?

The acclaimed Bradford theatre company Freedom Studios (Black Teeth and a Brilliant Smile) are set to release next week a livestream and an audio drama – that will be accessible for free to community radio stations around the UK – of their 2016 production of Tajinder Singh Hayer’s play North Country which explored the lives of three young people from Bradford as they dealt with the aftermath of a devastating plague.

North Country told the story of the survival of three Bradford teenagers – Harvinder, Nusrat and Jason – after a plague that has hit the planet. Together and separately they struggle to survive, each bringing together their people and their communities as they try to remake their world. But their biggest challenge doesn’t come from starvation, or zombie like cannibals. It comes from within.

After the play’s successful run in 2016 the Bradford theatre company piloted their first ever live stream on Facebook. The popular live cast piloted a new way of producing theatre and Freedom Studios have continued to explore this technology including most recently their recent production of BD Stories  which was broadcast from a hotel in Bradford on 18 March, just before the UK lockdown came into place.

Rather than simply live casting a stage show, North Country was directed and performed specifically with and for mobile devices, with a solely online audience.  BD Stories, which featured two short plays by Asma Elbadawi and Aina J Khan, developed that technology further in an specially designed app for live digital performance funded by XR Stories who push forward the potential of immersive and interactive technologies for digital storytelling. 

Freedom Studios’ Co-Artistic Director Alex Chisholm said

“When we and CARBON: Imagineering started on the project of making digital live performance via mobile phones easy and low cost, we had no idea how urgent that might feel right now. This might not be the answer to theatres closing during the crisis, but if it can be part of the answer, we want to make it work & share all we have learnt as soon as we can.”

North Country will available to watch online for free at  https://www.freedomstudios.co.uk/production/north-country/    via YouTube from Thursday 23 April till Thursday 7 May. An audio version of the play with the same cast will also premiered on Bradford based radio station BCB Radio at 3pm on Thursday 23^rd April and will be  released to local community radio stations to broadcast during the two weeks. To coincide with the release online Freedom Studios will be broadcasting a  podcast which will give listeners an insight into the production was put together and which also looks into the development of the technology now available including new streaming apps.

For more information about the work of Freedom Studios visit www.freedomstudios.co.uk

A GOOD NEWS STORY

THE NIGEL HAVERS THEATRE COMPANY LAUNCHES

WITH THE INAUGURAL PRODUCTION OF

NOEL COWARD’S CLASSIC COMEDY

PRIVATE LIVES

STARRING PATRICIA HODGE & NIGEL HAVERS

David Pugh and Theatre Royal Bath Productions are delighted to present The Nigel Havers Theatre Company in Noel Coward’s gloriously entertaining PRIVATE LIVES.  This will be the inaugural show for The Nigel Havers Theatre Company, which will be touring the country with a wonderful line-up of theatrical gems.  The plan is that the UK Tour of PRIVATE LIVES will begin at Theatre Royal Bath on 1 October 2020.

Award-winning theatre producer David Pugh said of the new company, “Nigel Havers is one of the biggest stars who likes to tour and in the past we have had some incredibly successful partnerships, from Art through to Frank McGuinness’s adaption of Rebecca.

“My suggestion last year to Nigel to form The Nigel Havers Theatre Company was met with a wry smile, but he warmed to the idea and finally agreed that he would take 18 weeks out each year to tour a play, ‘as long as the play is entertaining and, most importantly, ticket prices are accessible to as many people as possible.’”

David continued, “Little did we know last year that this now seems to be more important than ever and, when we are allowed again to safely open theatres, we have to realise theatre can no longer be the luxury item it so often is; theatre should be able to be seen by and be for everybody. Ticket pricing and ticketing charges have become ridiculous.  I believe our job is simply to entertain and to as many people as possible and now, out of this crisis, let’s hope we can address this and do just that.”

Coward’s dazzling comic masterpiece is both a scintillatingly witty and scathingly vitriolic study of the rich and reckless in love.  Elyot and Amanda, who were once married, find themselves in adjoining rooms in the same hotel on the French Riviera, both on honeymoon with their new partners. Their initial horror quickly evaporates and soon they’re sharing cocktails and a romantic serenade. 

The Olivier Award-winning Patricia Hodge OBE, one of the country’s most loved actresses, plays Amanda. Nigel Havers, ever suave and thoroughly charming, plays Elyot, the role taken by Noël Coward himself in the original production in 1930. Astonishingly, it is the first time Nigel Havers has appeared in a Coward play on stage.  Dugald Bruce-Lockhart plays Victor and Natalie Walter plays Sibyl.

Patricia Hodge’s many theatre credits include A Day in the Death of Joe Egg (Trafalgar Studios), Copenhagen (Chichester Festival Theatre), Travels With My Aunt (Minerva, Chichester), Relative Values (Harold Pinter), Calendar Girls (Noel Coward Theatre), The Country Wife (Theatre Royal Haymarket), His Dark Materials (National), Noises Off (National), Money (National, for which she won the Olivier for Best Supporting Actress) and A Little Night Music (National).  Her recent television credits include Ursula Thorpe in A Very English Scandal (BBC), Mrs Pelham in Downton Abbey (ITV) and Penny in Miranda (BBC).

Nigel Havers’s television credits include the soon to be seen Roger in Finding Alice (ITV) and General Ransom in the new remake of All Creatures Great & Small (Channel 5).  Other recent television credits include Lewis Archer in Coronation Street (Granada), Stanley Keen in Benidorm (ITV) and Lord Hepworth in Downton Abbey (ITV).  Theatre includes Serge in the UK Tour and West End productions of Art, Algernon Moncrieff in the UK Tour of The Importance of Being Earnest and Maxim de Wynter in the UK Tour of Rebecca.  His film credits include playing David Niven in The Life and Death of Peter Sellers, Hofstadter in Paradise Lost, Dr Rawlins in Empire of the Sun and Lord Andrew Lindsay in Chariots of Fire.

Dugald Bruce-Lockhart most recently appeared as Michael Gove in The Last Temptation of Boris Johnson at Park Theatre.  He has also played David Cameron in The Three Lions (St James Theatre and Edinburgh Festival), for which he was nominated for Best Actor in The Stage Awards.  Other theatre credits include Bill Austin in Mamma Mia! (Novello), David Hart in Wonderland (Hampstead), Richard Hannay in The 39 Steps (UK Tour) and, for Ed Hall’s Propeller Theatre Company, he has played the title role in Henry V, Antipholus of Syracuse in Comedy of Errors and Ratcliffe in Richard III.

Natalie Walter’s most recent theatre credits include Pack of Lies (Menier Chocolate Factory), Jerusalem (Watermill Theatre), Smash (Menier Chocolate Factory), 50 Ways to Leave Your Lover (Bush), 39 Steps (Criterion), Hay Fever (Chichester Festival Theatre) and, for the RSC, A Midsummer Night’s Dream and Love’s Labour’s Lost.  Natalie was a regular performer in the CBBC series Horrible Histories.

PRIVATE LIVES will be directed by Christopher Luscombe, with set and costume designs by Simon Higlett, lighting design by Tim Mitchell and casting by Sarah Bird.

The Nigel Havers Theatre Company’s PRIVATE LIVES is produced by David Pugh and Theatre Royal Bath Productions.

Facebook:  nigelhaverstheatrecompany

Twitter:  nigelhaversco

TOUR SCHEDULE 2020

Theatre Royal Bath

Thursday 1 – Saturday 10 October

01225 448844

theatreroyal.org.uk

Norwich Theatre Royal

Tuesday 13 – Saturday 17 October

01603 630000

norwichtheatre.org

Everyman Theatre Cheltenham

Tuesday 20 – Saturday 24 October

01242 572573

everymantheatre.org.uk

Tickets on sale soon

Newcastle Theatre Royal

Tuesday 27 – Saturday 31 October

0844 811 2121

theatreroyal.co.uk

Cambridge Arts Theatre

Tuesday 3 – Saturday 7 November

01223 503333

cambridgeartstheatre.com

Tickets on sale soon

Richmond Theatre

Tuesday 10 – Saturday 14 November

0844 871 7651

atgtickets.com/Richmond

Malvern Theatres

Tuesday 17 – Saturday 21 November

01684 892277

malvern-theatres.co.uk

Tickets on sale soon

Leeds Grand Theatre

Tuesday 16 – Saturday 20 March 2021

0844 848 2700

www.leedsgrandtheatre.com   

Tickets on sale soon

Further dates to be announced.

Booking fees may apply. Calls to 0844 numbers cost up to 7p per minute plus your phone company’s access charge.