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Royal and Derngate, Northampton – until 21 March 2020

Reviewed by Megan Raynor

4****

‘Told by an idiot’ present The Strange Tale of Charlie Chaplin and Stan Laurel, the tale of the legendary figures of comedy on their voyage overseas from the UK to The Big Apple. True is the fact that these two men did venture across the sea in 1910, as part of Fred Karno’s music hall troupe, but this company as described by director Paul Hunter values ‘fiction over fact’ – an experimental but silent recipe of two comedy icons, a boat and bucket load of play.

Fleeting moments of Chaplin (Amalia Vitale) and Laurel’s (Jerone Marsh-Reid) past and future are woven into the piece in short sketches. We meet Charlie’s vibrant but deeply suffering mother Hannah (Sara Alexander) and are shot a glimpse of her and Charlie’s doting but complex relationship, concreted by their shared joy for music. Ollie is not forgotten about, with a pillow up the shirt and a small black square of tash stuck under his nose, Nick Haverson’s transition into embodiment of Hardy was effortlessly accurate and heart-warming. These interjections of past and future make for an incoherent structure, which at times was confusing to follow particularly with the very limited spoken words, but added to the company’s sense of false reality. Each sequence is to be appreciated as a separate entity.

Amalia Vitale’s Chaplin was exquisite; the vibrancy of her facial expressions, her subdued but charming addresses to the audience and the absolute lightness and precision she brought to the choreography made her a pleasure to watch. Sara Alexander likewise brought complete precision to her piano underscore (composed by Zara Rahman), a complex score synchronised effortlessly to the complex choreography – nothing less than slick. (I can also confirm that Alexander was scoring completely without sheet music after I made my Royal and Derngate debut as piano player #2)

Ioana Curelea’s multi-platform and multi-faceted staging provided the perfect playground to the farce. Sliding down the fireman’s pole, swinging in the wooden cabin beds, tumbling over the wooden decks; it was a piece almost always in motion, allowing the chosen moments of stillness to carry greater poignancy.

The Strange Tale of Charlie Chaplin and Stan Laurel is a charming escape, a step back in time to an era of comedy that values playfulness above all else.

CASTING ANNOUNCEMENT

STRICTLY COME DANCING‘S

KEVIN CLIFTON TO STAR AS SCOTT HASTINGS IN

2020/2021 UK & IRELAND TOUR

DIRECTED BY CRAIG REVEL HORWOOD

Former Strictly Come Dancing champion Kevin Clifton is to star in the 2020/2021 UK & Ireland tour of Baz Luhrmann’s smash hit Strictly Ballroom The Musical, playing the lead role of Scott Hastings. After seven glorious years on Strictly Come Dancing, last week Kevin announced his departure from the series and now he makes a full-time move into the world of musical theatre in a role that couldn’t be more perfectly suited.

Kevin Clifton said: “I’m beyond excited to be finally fulfilling a lifelong ambition to play Scott Hastings in Strictly Ballroom The Musical. When I was 10 years old I first watched the movie that would become my favourite film of all time. This is my dream role. Plus I get to work with Craig Revel Horwood again! I really can’t wait to don the golden jacket and waltz all over the UK from September this year in what’s set to be an incredible show!

The musical is based on the award-winning global film phenomenon, ‘Strictly Ballroom’, which inspired the world to dance. Directed by Craig Revel Horwood, this all-singing, all-dancing and all-glittering show is set to dazzle audiences once more with the new 2020/21 tour. Kicking off in Nottingham on 26 September, the musical will then waltz around the UK & Ireland before culminating in Reading in June 2021. Tickets are on sale now from strictlyballroomtour.co.uk

Kevin joined Strictly Come Dancing in 2013, performing in the final five times and was crowned Strictly Champion in 2018. He’s a world-class professional dancer, former Youth World Number One and four-time British Latin Champion and has won international open titles all over the world. After making his West End musical theatre debut in 2010 in Dirty Dancing, Kevin has starred in The Wedding Singer as Robbie Hart (Wembley Troubadour Park Theatre) as well as starring in the West End production of Rock of Ages as Stacie Jaxx.

Strictly Ballroom The Musical tells the beguiling story of Scott Hastings, a talented, arrogant and rebellious young ballroom dancer. When Scott’s radical dance moves see him fall out of favour with the Australian Federation, he finds himself dancing with Fran, a beginner with no moves at all. Inspired by one another, this unlikely pair gather the courage to defy both convention and their families – and discover that, to be winners, the steps don’t need to be strictly ballroom.

Featuring a show-stopping book by Baz Luhrmann & Craig Pearce, and bringing together a sublime cast of over 20 world class performers, Strictly Ballroom brings to life iconic songs, including Love is in the Air, Perhaps Perhaps Perhaps and Time After Time with dynamic and joyous verve. This tour will also feature some amazing new songs by internationally acclaimed artists including Sia, David Foster and Eddie Perfect. The show’s scintillating singing, dazzling dancing and eye-popping costumes will combine together to bring audiences a story of heart, comedy and drama, and promises to be an unforgettable night under the glitter ball.

This uplifting and courageous musical originated as a stage play that Baz Luhrmann devised with a group of classmates at Sydney’s National Institute of Dramatic Art in 1984. Eight years later he made his screen directorial debut with ‘Strictly Ballroom’, the first instalment in Luhrmann’s acclaimed Red Curtain Trilogy. The vibrant film enjoyed staggering success, winning three awards at the 1993 BAFTA awards and a 1994 Golden Globe nomination for Best Picture, going on to become one of the most successful Australian films of all time, earning more than $80 million at the box office. In April 2014 Strictly Ballroom The Musical had its world premiere at the Sydney Lyric Theatre.

Baz Luhrmann’s Strictly Ballroom The Musical is a fabulous, feel-good evening full of sequins, singing and salsa. This unmissable kaleidoscope of glitz and glamour is a tonic for the soul and will send your heart soaring and toes tapping long after you leave the theatre!

STRICTLY BALLROOM THE MUSICAL – 2020 TOUR DATES

26/09/2020 – 03/10/2020 Nottingham Theatre Royal

05/10/2020 – 10/10/2020 Wolverhampton Grand

12/10/2020 – 17/10/2020 Hull New Theatre

20/10/2020 – 24/10/2020 Milton Keynes Theatre

26/10/2020 – 31/11/2020 Sunderland Empire

02/11/2020 – 07/11/2020 Bristol Hippodrome

09/11/2020 – 14/11/2020 Bromley Churchill Theatre

16/11/2020 – 21/11/2020 Edinburgh Playhouse

23/11/2020 – 28/11/2020 York Grand Opera House

30/11/2020 – 05/12/2020 Salford The Lowry

21/12/2020 – 02/01/2021 Guildford G Live

STRICTLY BALLROOM THE MUSICAL – 2021 TOUR DATES

04/01/2021 – 09/01/2021 Northampton Royal & Derngate

11/01/2021 – 16/01/2021 Southend Cliffs Pavilion

18/01/2021 – 23/01/2021 Norwich Theatre Royal – On sale soon

25/01/2021 – 30/01/2021 Llandudno Venue Cymru

01/02/2021 – 06/02/2021 Aylesbury Waterside

08/02/2021 – 13/02/2021 Darlington Hippodrome

15/02/2021 – 20/02/2021 Newcastle Theatre Royal

22/02/2021 – 27/02/2021 Wimbledon New Theatre

01/03/2021 – 06/03/2021 Bournemouth Pavilion

08/03/2021 – 13/03/2021 Dublin Bord Gais – On sale soon

15/03/2021 – 20/03/2021 Derry Millennium Forum Theatre

22/03/2021 – 27/03/2021 Aberdeen His Majesty’s Theatre

29/03/2021 – 03/04/2021 Peterborough New Theatre

05/04/2021 – 10/04/2021 Cardiff Wales Millennium Centre

12/04/2021 – 17/04/2021 Sheffield Lyceum – On sale soon

19/04/2021 – 24/04/2021 Glasgow Kings Theatre

26/04/2021 – 01/05/2021 Liverpool Empire

03/05/2021 – 08/05/2021 Canterbury Marlowe

10/05/2021 – 15/05/2021 Birmingham Hippodrome

17/05/2021 – 22/05/2021 Plymouth Theatre Royal – On sale soon

24/05/2021 – 29/05/2021 Blackpool Opera House

31/05/2021 – 05/06/2021 Bradford The Alhambra Theatre – On sale soon

07/06/2021 – 12/06/2021 Southampton Mayflower

14/06/2021 – 19/06/2021 Ipswich Regent

21/06/2021 – 26/06/2021 Reading The Hexagon

MORE TOUR DATES WILL TO BE ANNOUNCED SOON

Listings information:

Website: strictlyballroomtour.co.uk

Instagram: @strictlyballroomtouruk

Facebook: @strictlyballroomtouruk

Twitter: @sbtourUK

SOMETHING WICKED THIS WAY COMES…

ULTIMATE SHOWMAN JOHN BARROWMAN TO STAR IN THIS YEAR’S UNMISSABLE PANTOMIME AT THE BRISTOL HIPPODROME

The Bristol Hippodrome has announced that the much-loved actor, singer, presenter, author, judge and all-round showman John Barrowman will headline this year’s spectacular family pantomime as the Wicked Queen in Snow White and the Seven Dwarfs from Saturday 5 December for a strictly limited four-week season.

On television, John has presented and appeared on numerous programmes and was most recently a popular contestant on the 18th series of I’m a Celebrity…Get Me Out of Here! Having also appeared in the first ever series of ITV’s Dancing on Ice, John most recently returned to the rink as a judge alongside Jayne Torvill, Christopher Dean and Ashley Banjo, a role he will reprise when the hit show returns for its 13th series in January 2021.

The star of numerous musicals, both in the West End and on Broadway, John has appeared in legendary productions including Anything Goes opposite Elaine Paige, Sunset Boulevard with Betty Buckley, The Phantom of the Opera, Miss Saigon, Beauty and the Beast, Chicago and The Fix, for which he was nominated for a Lawrence Olivier Award for his performance. Snow White and the Seven Dwarfs will also see John return to wearing heels having also starred in the revival of La Cage aux Folles in London where he played the dual role of Albin and Zaza to great critical acclaim.

As an actor John is best-known for his iconic role as Captain Jack Harkness in Doctor Who for the BBC, a role that proved so popular he became the leading role in its spin-off series, Torchwood, which made John a household name. He has also starred in Desperate Housewives and as Malcolm Merlyn in the acclaimed US television shows Arrow , Flash and Legends of Tomorrow, based on the DC Comic. He also appears in the feature films De-Lovely , The Producers and Zero Dark Thirty.

As a recording artist, John released numerous hit albums, including the hugely popular ‘Another Side’ and ‘Music, Music, Music’, and his most recent festive recording ‘A Fabulous Christmas’. He has also toured his albums extensively across the UK and features on several original cast recordings. John also released two autobiographies, Anything Goes and I Am What I Am, and released hugely popular works of fiction including Captain Jack and the Selkie, based on his popular Torchwood character, The Dark Archer for DC comics and the fantasy novels Hollow Earth, The Bone Quill, The Book of Beasts and Conjuror, a young adult series he writes with his sister Carole Barrowman.

This year’s pantomime marks John’s triumphant return to panto-land, having starred in numerous festive productions for producers Qdos Entertainment, including a record-breaking five years at Glasgow’s SEC and, more recently, playing the title role in Dick Whittington at Birmingham Hippodrome and Manchester Opera House.

Snow White and the Seven Dwarfs will see John strut his stilettos as panto-land’s ultimate villain, the Wicked Queen, who will dazzle in an array of stunning costumes and show Bristol his real mettle as he tries to outwit the fair Snow White and prove to the world that he is the fairest of them all.

Qdos Entertainment Managing Director Michael Harrison said: “Without any doubt, John is one of the UK’s most talented and best-loved showmen. Not only can he sing, dance and act, he’s wonderful in pantomime, and we can’t wait to work with him once again.”

John Barrowman said: “I am thrilled to be starring in Snow White this Christmas, and especially delighted and pleased to be able to perform in Bristol at the Hippodrome. I have family in Bristol and it will feel just like home. I can’t wait to dig out the heels and be a Fabulous Wicked Queen”.

Tickets for Snow White and the Seven Dwarfs are selling fast, so audiences shouldn’t leave it any longer to secure their seats for this year’s unmissable Hippodrome panto, or they won’t be able to look themselves in the mirror!

Opera House, Manchester. – until 17 May 2020

Reviewed by Sally Hopper

5*****

GREAT SCOTT! If I could give this show more than 5 stars I absolutely would do in a heartbeat! WHAT AN INCREDIBLE SHOW!

The actors in this production were all incredible! In moments I thought that they had really used the DeLorean and gone back in time to retrieve a young Michael J Fox to play Marty, Olly Dobson was amazing. He sounded, looked and even had the mannerisms of Marty, the portrayal was so well done I don’t think anyone else could have done a better job. Alongside Doc played by Roger Bart they made an incredible team, Doc who was just as mad and hilarious as he is in the movie. Leading the crowd to simultaneously howl in hysterics and chant those famous lines from the movie together as if it was a cult meeting “ROADS… WHERE WE’RE GOING WE DON’T NEED ROADS”.

For me my favourites were George Mcfly played by Hugh Coles, he was cringingly awkward but yet adorable in his own way. The gangly and puppet like dancing was both side-splitting and charming at the same time and the moment he stands up to his bully Biff had the whole crowd cheering for him. My other favourite would have to be GOLDIE WILSON!! Played by Cedric Neal his voice filled the room, the words in ‘Gotta Start Somewhere’ potentially resonating with the crowd, his performance was perfect.

Another thing that certainly needs to be mentioned would be the set itself, every last detail was considered and worked SEAMLESSLY. It was almost like a board game where everything could move, slide and spin in whatever way was necessary and the screen that dropped in front giving us the effect of drivin’ 88 and through time to the rain in the last storm scene to get Marty back to 1985, was so realistic that I thought it really was raining on stage. I can’t talk about the stage and set without mentioning the DeLorean. All talking, smoking, fiery and beautiful, there’s not much more I want to say about it apart from the ending, flipping it around 360° with both Doc and Marty inside was incredible.

As a great lover of the 50’s dresses and rockabilly style I have to address the costumes, they were all fantastic! Switching between the 80’s fashion of bright colours and big hair to the swing dresses and bouffant hair all of the actors and dancers looked the part of the decade they were in. I’m also now wanting to search high and low for the outfits in the 21st century song in Doc’s dream sequence.

Now I need to go find myself a flux capacitor and a DeLorean to go back in time and watch this show over and over again. I would recommend EVERYONE go see this show. It was OUTSTANDING!

Cambridge Arts Theatre, Cambridge – until 14 March 2020

Reviewed by Steph Lott

3***

What’s that you say? A thriller? Based on a true story? Described as “bold and haunting”, it sounded like the kind of play I would really enjoy.

I like a thriller that chills – fiction along the lines of Susan Hill, Edgar Allan Poe, or Steven King. I prefer horror and chills that leave a lot to your imagination – the threat that is mentioned but you never see, since the fear that lurks in the imagination of the viewer or the reader is always much better that when you are explicitly shown it. I like stories which show that the world is not only what it appears to be. The mystical.

The Croft tells the story of three women from different eras who have lived in a remote dwelling in the Scottish Highlands and whose lives have been touched by tragedy.

In the 1880s, there is Enid, played by Gwen Taylor. In 2005, the croft is used as a holiday home by Ruth, played by Caroline Harker, and her husband, Tom, played by Simon Roberts. It is also where Ruth has an affair with David, played by Drew Cain. In the present day, Ruth’s daughter, Laura, played by Lucy Doyle, and partner Suzanne, also played by Caroline Harker, return to the croft and uncover the truth hidden within its walls.

The play started well – so ominously, with Enid alone, centre stage, and sound and lighting being used very effectively to set the scene for a spine tingling treat. Or so I hoped.

Sadly I ended up feeling a little confused and disappointed. I was engaged in the play the whole way through, enjoyed the dialogue and thought the whole cast gave great authentic performances. But I was expecting a grand climax, a denouement which never came. I was left feeling “oh.” As I left the theatre I couldn’t really have said what the play was about. I could tell you what happened in the play but not why Ali Milles felt compelled to tell this story.

The story lacked depth and detail in places. It’s not clear why Laura blamed her father so much (was there a connecting theme of destructive religious fervor linking Tom and Patrick? It wasn’t well enough developed in the story to know). There were elements that I enjoyed but other aspects had me lost. Why was Enid an outcast? Why would Eilene (also played by Lucy Doyle) choose to go to her to seek refuge? Why was Laura so angry at her father? I think I was left with the sensation that Ali Milles has made a good start with this play but its narrative needs further work.

However the intertwining of the 3 periods in time works well and each story of itself makes sense. I’m just not quite sure what Ali Milles us trying to say. The play needs a good editor.

Having said that I think the dialogue was well written and there was much to enjoy within the play. The sound and the scenery, as I’ve mentioned, create an atmospheric cocoon within which the story can unfold. Caroline Harker’s portrayal of a woman bravely facing death is played with grace and delicacy, as is her other role as the older lover trying to balance off leaving her family and being in love with the difficult and much younger Laura.

In summary I think this play needs work but was blessed with a very talented cast and director. Was this a play about witches and how they have always been misunderstood? Is it about how men fail to understand their women, try as they might? Was it about buildings and the history they hold within their walls? Or was it just a creepy ghostly tale, which was supposed to have been based on a true story? I was left unsure

Liverpool Empire – until 21 March 2020

Reviewed by Charlotte McWilliam

5*****

“A delightful evening of a classic musical in all it’s splendour.”

The story of Anna, an English School teacher who tries to help an Eastern King to become part of the modern world, but he is unable to resist the forces of ancient customs.

Live music under the direction of Malcolm Forbes-Peckham. A great live sound starting with a strong and buoyant overture, really adding to an enjoyable evening.

Choreography originally by Jerome Robbins and magically recreated by Christopher Gattelli,  was clean and well executed, a particular favourite moment being the ballet in Act 2. I believe that the choreography has been passed down from choreographer to choreographer all the way down to Greg Zane, US associate choreographer.

The attention to detail with the traditional and authentic set, props and clever use of lighting was incredible; a serene start with a pink sky backdrop as the boat arrives at the port, instantaneously transported us to 1860’s Siam. A particular favourite was the use of moving pillars which cleverly created the effect of walking through the Palace grounds. 22000 flowers suspended on vines from the ceiling to set the iconic garden scene was particularly impressive; each one made by hand.

Complimented by Catherine Zuber’s stunning costumery, the creative team really used all the right ingredients to produce an authentically, successful take on such a classic production.

I’ll take a moment now to praise the perfect casting of each role in the performance, we were truly shipped overseas for the evening, every accent and mannerism was perfect.

The lovely leading lady Annalene Beechey, did a wonderful job as Anna Leonowens, a beautiful soft soprano vocal, and an engaging onstage chemistry with the King of Siam, Darren Lee who had a gentle humour throughout. Comedic timings between the two were expertly delivered, under the direction of Bartlett Sher. A highlight of the duo was in Act 2 when they performed the iconic ‘Shall we Dance?’ Beechey’s voice softly soared and Lee’s endearing comical acting was felt by the audience and reflected in a rippling sea of participation clapping to the Polka. 

Neither Beechey or Lee put a foot out of place all night, and they were truly charming.

I really enjoyed the moments with Tumptim and Lun Tha, Jessica Gomez-ng and Ethan Le Phong; stunning vocals particularly during ‘We Kiss In The Shadows.’ 

Gomez-ng had great clarity and excellent presence in such a gentle and sensitive role. A strong likeness to a young Lea Salonga. 

I’d like to praise the ensemble, each and every one talented and adding something. 

A favourite moment for me was ‘The March Of Siamese Children’ featuring some extremely cute Princes and Princesses. A few were very young making their professional stage debuts. The affection shown on stage between the King of Siam and the child cast was heart warming. 

All in all a great evening at The Empire, and another success for the production team and cast. A delightful evening of a classic musical in all it’s splendour.

The Alexandra, Birmingham – until 14 March 2020, then Nationwide

Reviewed by Joanne Hodge

4****
Joe Thomas is the stand-out star of Matthieu Delaporte and Alexandra de la Patelliere’s comedy What’s In a Name. He captivates the audience from his narrative role through to that of Vincent, the slightly egotistical brother of Elizabeth (Emma Carter) and expectant father to Adolphe … or is he?

This contrived comment forms the basis of a Saturday evening dinner party, which leaves you feeling you had been on the guest list for, rather than an invited, spectator.

Rick Fisher’s lighting, with design by Francis O’Connor, perfectly captured the atmosphere and ambience of  Peckham apartment, and the only thing I felt may have added to this would have been some soft, easy-listening tunes played in the background – something I’m sure we all have in case of awkward silences when we have guests for an evening.

That said, it wasn’t a show-stopper, and the lack of this didn’t take away anything from the play.

Perfectly timed one-liners, taking you from stunned silences to raucous laughter, alongside an emotional roller coaster of emotions as opinions, friendships and relationships are tested – this show has it all. Political, satirical, egotistical, emotional and hilarious – I loved it! It seems I wasn’t alone in this opinion, which could be taken from the rapturous applause at the conclusion of the dinner party and standing ovation at the curtain-call.

RSC TO TOUR THE WINTER’S TALE IN 2021

RSC WILL TOUR THE WINTER’S TALE TO SALFORD, BRADFORD, CANTERBURY AND NEWCASTLE UPON TYNE, AND ONE MORE VENUE (DETAILS TBC)

Following its run in Stratford-upon-Avon and the Barbican Theatre in London this year, the Royal Shakespeare Company will tour The Winter’s Tale in January and February 2021. The production will visit Salford, Bradford, Canterbury, Newcastle upon Tyne, plus one further venue to be announced. Performance dates at the end of the release.

Set across a 16-year span from Mad Men to the moon landings, this new production – directed by RSC Deputy Artistic Director, Erica Whyman – tells the story of King Leontes, whose jealousy rips his family apart and has life-long consequences.

Erica Whyman said, “I am particularly excited to be directing The Winter’s Tale as it is one of my all-time favourite plays.  It is a story of a man with immense power, who abuses it in the grip of a totally consuming paranoia, but then comes to his senses on a very public platform and apologises – without limit or excuse. That seems to me an act of such rare humility, that to do justice to it Shakespeare conjures a true fairytale, in which grief, repentance, patience, love and common sense are all in the end rewarded.

“I’m setting my production in the 1950s in a monarchy that has known fascism – an imagined Spain where politics, religion and power are deeply intertwined, moving later to 1969 in the North East of England in which real labour and a deep sense of community seems gloriously healthy, loving and straightforward by comparison.

“It is a privilege to be able to share this wonderful play with audiences around the country. I am passionate about ensuring the RSC means what it says about Shakespeare being for everyone, and being invited to tour to these welcoming and ambitious theatres is a significant plank of making that a reality. I’ve been moved and encouraged by our audiences nationally: from my production of A Midsummer Night’s Dream: A Play for the Nation in 2016 to my 2018 production of Romeo and Juliet, I’ve seen firsthand what it can mean for a community to engage with our productions, and I look forward to the next chapter in that journey.”

The Winter’s Tale tour forms part of the RSC’s ongoing mission to create a nation of Shakespeare and theatre lovers around the country. Working hand-in-hand with its partner theatres, the local community, and Associate Schools, the RSC wants anybody aged 3 – 103 to have the opportunity to feel the transformative power of theatre and Shakespeare. 

In the lead up to the production arriving in Bradford, Newcastle upon Tyne and Canterbury, the RSC and those venues will work with local schools and communities who might not normally visit the theatre, to create their own responses to the play. These will be performed in and around those theatres, with more details to be announced.

The production’s music is composed by Isobel Waller-Bridge, who has previously worked with Erica Whyman on her productions of Hecuba and The Seven Acts of Mercy. Her other soundtracks include Vanity Fair (ITV/Amazon), Vita and Virginia (Protagonist Pictures), Fleabag (BBC/Amazon), Woyzeck (Old Vic) and Knives in Hens (Donmar Warehouse).

Joseph Kloska plays Leontes. His previous RSC credits include Imperium, Written on the Heart and Measure for Measure.  He also appeared in The Christmas Truce, the first production Erica Whyman directed for the RSC.  Joseph’s TV and film work includes The Crown, Foyle’s War and Made in Dagenham.

Kemi-Bo Jacobs makes her RSC debut playing Hermione. Her previous theatre credits include All My Sons (Manchester Royal Exchange), Hedda Gabler (Salisbury Playhouse), Betrayal (Derby Theatre), and Wild East (Young Vic). TV work includes Lewis and Doctor Who. 

Ben Caplan also makes his RSC debut playing Camillo.  Well known for his role as Sergeant Peter Noakes in the BBC’s Call The Midwife, Ben’s other TV credits include Silent Witness, Midsomer Murders, and the BAFTA award winning, The Lost Honour of Christopher Jeffries.  Recent stage work includes The Exorcist (Bill Kenwright productions), Describe The Night (Hampstead Theatre) and The Knowledge (Charing Cross Theatre).

Amanda Hadingue plays Paulina.  Her previous RSC credits include Miss Littlewood (directed by Erica Whyman), The Fantastic Follies of Mrs Rich, The Duchess of Malfi, The Merchant of Venice, The Taming of the Shrew and The Tragedy of Thomas Hobbes.  Other theatre work includes Top Girls and A Small Family Business (National Theatre).

Andrew French plays Polixenes. Andrew’s previous RSC credits include Erica Whyman’s production of Romeo and Juliet, and Julius Caesar. TV work includes A Very English Scandal, EastEnders, Marvin Can’t Fail and Holby City.

Further cast includes: Alice Blundell (Dorcas), Alfred Clay (Archidamus), Colm Gormley (Antigonus), William Grint (Young Shepherd), Vicky Hall (Mopsa), Avita Jay (Cleomenes), Zoe Lambert (Shepherdess),Georgia Landers (Perdita), Mogali Masuku (Dion), Dyfrig Morris (Mariner), Baker Mukasa (Lord), Anne Odeke (Autolycus), Bea Webster (Emilia) and Assad Zaman (Florizel).

Joining Erica Whyman on the creative team are Tom Piper (Set Designer), Madeleine Girling (Costume Designer), Prema Mehta (Lighting), Isobel Waller-Bridge (Music), Jeremy Dunn (Sound), Kate Waters (Fights), and Anna Morrissey (Movement).

China Plate announces Spring 2020 Season

• A fresh, modern and playful adaptation of Wuthering Heights, created by Inspector Sands, tours across the UK this spring and autumn
• Caroline Horton’s multi-award-winning ALL OF ME (the possibility of future splendour) embarks on an extensive UK tour from late April onwards
• International tour dates for critically acclaimed shows The Shape Of The Pain and Status
• New shows in development include the final part of a trilogy by Chris Thorpe and Rachel Chavkin, plus a new musical about Civil Rights in Britain by Christopher Haydon, Roy Williams and Tim Sutton 
• China Plate continues its artistic development work with a Digital Discovery Day exploring the possibilities of the online world for theatremakers, and their first Young Producers programme at Warwick Arts Centre

Innovative producing studio China Plate today announces its latest body of touring theatrical productions, in-development work and wider industry engagement for spring 2020 and beyond. The centrepiece of the new season is Wuthering Heights, a new co-production with Inspector Sands, Nuffield Southampton Theatres and the Royal & Derngate in Northampton in association with Oxford Playhouse.

Conceived by Inspector Sands Co-Artistic Director Lucinka Eisler (who will direct) and Ben Lewis (who has written the script), the production is the company’s first mid-scale show. Channelling Emily Brontë’s piercing wit and fierce emotion, it promises a retelling of this classic story of obsessive love and revenge in a thrilling new version for our times.

Another highlight of the season, Caroline Horton’s acclaimed ALL OF ME (the possibility of future splendour) returns to the stage with a string of dates across the UK this spring. Winner of The Stage Award for Excellence and The Mental Health Fringe Award when it premiered at the Edinburgh Fringe in August 2019, the honest, intimate work considers the cyclical and difficult nature of ongoing recovery, looking specifically at the tension between wanting to live and wanting to die.

It follows Horton’s celebrated Mess, in which the protagonist Josephine celebrated her imperfect recover from anorexia, a condition shared by the writer. In ALL OF ME, Horton confronts the question of what happens after the final curtain call. A collaboration Alex Swift (Mess, How To Win At History) and sound designer Elena Peña (Mess, Misty), the work was created with the assistance of Professor Matthew Broome (Director of the Institute for Mental Health), Dr Alexandra Pitman (Senior Clinical Lecturer at University College London), and STOP Suicide, an award-winning Mind campaign based in Peterborough and Cambridge.

China Plate’s two previous hit shows, The Shape Of The Pain and Status, also announce international touring dates for the summer. Created by Rachel Bagshaw and Chris Thorpe, The Shape of the Pain is a Fringe First award-winning show solo show about trying to communicate the experience of chronic pain and desire to another person. The show will headline a festival at the Sophiensaele in Berlin in July. Status, by Thorpe and director Rachel Chavkin, is another Fringe First-winner about national identity in a time of national crisis. It will be performed in Paris, France and Mannheim, Germany in May, plus Porto, Portugal in September – October 2020.

The midlands-based production company are also pleased to be developing a new musical about the fight for Civil Rights in 1960s Britain and the third show in the trilogy by Chris Thorpe and Rachel Chavkin. Created by Christopher Haydon, Roy Williams and Tim Sutton, The Bus Boycott captures an often-forgotten chapter in the fight for civil liberties in the UK. Set in the 1960s, this uplifting show featuring Ska and Calypso has much to teach us about how we live today. Show 3 (working title) is the third part in a celebrated trilogy of works by playwright Chris Thorpe and Rachel Chavkin. The first part, Confirmation, considered how the individual accumulates and processes information, including internalised confirmation bias. The follow-up, Status, looked at the creation of nationally-accepted narratives and who accepts or rejects these. Show 3 ties together these two strands by looking at how different nations, all with their different national stories, co-exist. Chris and Rachel’s starting point for the show was a visit to the United Nations in New York to meet a woman tasked with overseeing negotiations for a nuclear arms non-proliferation treaty in the 1990s.

Continuing the company’s commitment to artistic development and engagement, they are also holding two Digital Discovery days. Held at the New Theatre Royal Plymouth on 20 March and Birmingham Hippodrome of 1 April, the free day-long sessions will help theatremakers at all stages of their careers explore how to unlock the digital potential of their work. The company are also hosting the last day of their innovative training programme The Optimists on 21 March, aimed at tutoring theatremakers in creating work in a professional context and building their professional networks. Alongside this, China Plate have been supporting Rhum and Clay on their first midscale touring show, War of the Worlds, which embarks on a UK tour throughout the spring.  

Finally, the company are happy to announce they’ve just finished recruiting for their new Young Producers programme. In partnership with Warwick Arts Centre, the free training initiative is designed to give Coventry-based 16-21 year olds an introduction into producing arts events with the combined support of an independent producing company and one of the country’s leading arts venues. The project aims to give them an insight into all aspects of producing from managing a budget to project evaluation. They’ll meet producers and other professionals in the sector, see arts events and also put their skills into practice through creating Warwick Arts Centre’s first Youth Takeover Festival in June 2020. Young Producers is supported by Coventry City of Culture Trust, ESF Community Fund, Arts Council England, Arts Connect and Baron Davenport’s Charity.

Speaking about the spring programme, Directors Ed Collier and Paul Warwick said: “Spring 2020 is an extremely important moment for China Plate with the launch of our first full middle scale show, Wuthering Heights, a huge tour of Caroline Horton’s award-winning All Of Me and a busy international season with Status and The Shape of The Pain touring across Europe. We’re also thrilled to be embarking on our Young Producers scheme in partnership with Warwick Arts Centre inspiring the next generation of producers in Coventry in the lead up to Coventry City of Culture next year. Finally, don’t miss our free Digital Discovery Days aimed at theatre makers looking for great hacks to broaden their digital reach!”

Established in 2006, China Plate is one of the UK’s most prolific and respected independent producers of contemporary theatre, producing work that engages 35,000 audience members annually. The company’s central mission is to ‘challenge the way performance is made, who it’s made by and who gets to experience it.’ China Plate has worked with some of the UK’s most talented artists, including Caroline Horton, Inspector Sands, David Edgar, Chris Thorpe, Rachel Chavkin, Rachel Bagshaw, Urielle Klein-Mekongo and Contender Charlie. They are Resident Producers at Warwick Arts Centre, partners in the Rural Touring Dance Initiative (RTDI) founded to bring contemporary dance to rural venues around the UK, partners in the ACE Ambition for Excellence funded Musical Theatre Development Consortium led by Royal and Derngate Theatres, Northampton and Derby Theatre’s Performing Arts Producing Hub.

@YourOldChina | www.chinaplatetheatre.com

For information on Wuthering Heights, please contact Arabella Neville-Rolfe at [email protected]

Listings information

Wuthering Heights

11 – 23 May                   Nuffield Southampton Theatres
142-144 Above Bar Street, Southampton, SO14 7DU
Various times | From £10www.nstheatres.co.uk | 023 8067 1771

27 May – 6 June            Royal and Derngate, Northampton
19 – 21 Guildhall Rd, Northampton, NN1 1DP2pm and 7:45pm | From £11www.royalandderngate.co.uk | 016 0462 4811

17-21 November          Oxford Playhouse
Beaumont Street, Oxford, OX1 2LWTimes | Priceswww.oxfordplayhouse.com | 018 6530 5305

24-18 November –        Warwick Arts Centre
University of Warwick, Coventry, CV4 7ALTimes | Priceswww.warwickartscentre.co.uk | 024 7652 4524

ALL OF ME (the possibility of future splendor)

20 April                        Bloomsbury Theatre
University College London, Gower Street, London, WC1E 6BT
7pm | £10
www.ucl.ac.uk/culture | 020 7679 2000

22 April                        Norwich Playhouse
42-58 St Georges St, Norwich, Norfolk NR3 1AB7.30pm | £12www.norwichplayhouse.co.uk | 01603 598598

24 April                        The Barbican, Plymouth
Castle Street, Plymouth, PL1 2NJ 7.30pm | £13.50 (£11.50 concs)
www.barbicantheatre.co.uk | 01752 267131

26 April                        Tolmen Centre, Cornwall

Fore Street, Constantine, Falmouth TR11 5AA
7.30pm | £10
Tolmencentre.co.uk | 01326 341353

30 April            The Hub at St Mary’s Lichfield
Market Street, Lichfield, WS13 6LG8pm | £15www.thehubstmarys.co.uk | 01543 256611 

2 May               Harlow Playhouse       
Playhouse Square, Town Centre CM20 1LS
7.45pm | Pay what you can
www.playhouseharlow.com | 01279 431945

5 May               Hull Truck Theatre, Hull

50 Ferensway, Hull, East Riding of Yorkshire HU2 8LB
7pm | Prices TBC
www.hulltruck.co.uk | 01482 323638

7 May               Cornerstone Arts Centre, Didcot
25 Station Rd, Didcot OX11 7NE7.30pm | £12.50 (Concs £10.50 – £5)                 www.cornerstone-arts.org | 01235 515144

9 May               The Gulbenkian, Canterbury
University of Kent, Canterbury, Kent CT2 7NB
7.30pm | £13 (Concs £12 – £9
www.thegulbenkian.co.uk | 01227 769075

11 May             University of York Theatre
Heslington, York YO10 5DD
Times and prices TBC
www.york.ac.uk/tfti | 01904 320000

13 May             The Ustinov, Theatre Royal Bath

Sawclose, Bath BA1 1ET
8pm | £17.50 (Concs £14.50)                     
www.theatreroyal.org.uk | 01225 448844

15 May             Aberystwyth Arts Centre, Wales
Aberystwyth University, Aberystwyth, Ceredigion SY23 3DE
7.30pm | Prices TBC
www.aberystwythartscentre.co.uk | 01970 62 32 32

18 – 20 May      Assembly Roxy, Edinburgh
2 Roxburgh Place, Edinburgh, EH8 9SU7pm | £10 (Concs £8)www.assemblyfestival.com | 0131 623 3030

21 – 23 May      Tron Theatre, Glasgow
                        63 Trongate, Glasgow, G1 5HB                        7.45pm | £15/£17                        www.tron.co.uk | 0141 552 4267                        

27 May             Nottingham Playhouse
Wellington Circus, Nottingham, NG1 5AF8pm | £12.50www.nottinghamplayhouse.co.uk | 0115 941 9419

28 May             The North Wall, Oxford

South Parade, Oxford OX2 7JN
8pm | £13 (Concs £11)
www.thenorthwall.com | 01865 319450

5 June              The Hat Factory, Luton

65 – 67 Bute St, Luton LU1 2EY
7.30pm | £12
www.lutonculture.com/hat-factory | 01582 878100

9 June              Brewhouse Arts Centre, Burton
Duke St, Burton upon Trent DE14 1EB
7pm | £10
Brewhouse.co.uk | 01283 508100

11 June            Corn Exchange Newbury
Market Pl, Newbury, West Berkshire RG14 5B
7.45pm and prices TBC
www.cornexchangenew.com | 0845 5218 218

14 June            The Holbeck Working Men’s Club
Jenkinson Lawn, Holbeck, Leeds, LS11 9QX
Times and prices TB9
www.slunglow.org | 0113 226 0808

18 June            Pound Arts Centre
The Pound, Pound Pill, Corsham, SN13 9HX
7.30pm | Prices TBC
poundarts.org.uk | 01249 701628

Young Producers

WAC Youth Takeover Festival
Warwick Arts Centre
Fri 26 and Sat 27 June (times tbc, not on sale yet)
https://www.warwickartscentre.co.uk/

TIM LEVY JOINS NICHOLAS HYTNER AND NICK STARR

AT THE LONDON THEATRE COMPANY

www.bridgetheatre.co.uk

On 30 March 2020 Tim Levy will join the leadership of London Theatre Company as co-director alongside founding co-directors Nicholas Hytner and Nick Starr.

The London Theatre Company opened in October 2017 at the Bridge Theatre, the first wholly new commercial theatre of scale to be built in London for 50 years.  They open their second theatre in spring 2022 at King’s Cross. 

Tim Levy said:  “I’m thrilled to join Nick and Nick as their partner at the London Theatre Company. They are inspiring theatre makers and it’s an honour to continue our association which dates back to the start of their tenure at the National Theatre. The Bridge is one of the most thrilling, flexible stages in the world (soon to be joined by Kings Cross) and I’m excited to work with the widest array of artists to further unleash the potential of these spaces and to produce our work in London, New York and beyond.”

Nicholas Hytner and Nick Starr said:  “Tim’s joining us means we can open up and extend the range and scale of what the company does. We have long admired his taste and skills and it’s a coup for us that he has decided that London Theatre Company is the right vehicle for the big future that lies ahead.”

John Booth, Chair of the London Theatre Company Board, said: “This is clearly exciting for London Theatre Company and for Tim. With this leadership structure, I’m excited by the potential for growth and broadening of horizons in our own theatres and beyond.”

Tim Levy was the Founding Director of National Theatre America. He was co-lead producer of the Tony award winning productions of Angels in America and The Curious Incident of the Dog in the Night-Time. He also produced Network, People, Places & Things and The Effect in New York.  As Producer for Boyett Theatricals, productions include War Horse, One Man, Two Guvnors, Sleep No More, South Pacific, The Light Princess, 13 and Sunday in the Park with George.  Previously in the UK, he worked at the National Theatre and the Donmar Warehouse.  On Broadway he recently produced the Bridge Theatre production of My Name is Lucy Barton and isExecutive Producer of the Broadway transfer of Company.