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Nominations announced for Olivier Awards 2020 with Mastercard

• New British musical & Juliet leads the field with nine nominations
• Eight nominations for Trevor Nunn’s revival of Fiddler On The Roof, with seven for Broadway transfer Dear Evan Hansen
• The most nominated plays, with five each, are Death Of A Salesman,  Rosmersholm and Cyrano De Bergerac
• Best Actress nominations for Hayley Atwell, Sharon D. Clarke, Juliet Stevenson and Phoebe Waller-Bridge
• Toby Jones, James McAvoy, Wendell Pierce and Andrew Scott nominated for Best Actor

Watch the full nominations announcement video here

The nominations have been announced for this year’s Olivier Awards, which take place on Sunday 5 April at the Royal Albert Hall.

& Juliet, a new British musical using the pop songs of Swedish hitmaker Max Martin to retell Shakespeare’s classic love story, has nine nominations – including Best New Musical, Best Actress in a Musical, Best Set Design and Best Costume Design.

Trevor Nunn’s revival of the 1964 musical Fiddler On The Roof, which opened at the Menier Chocolate Factory before transferring to the West End last year, is nominated eight times, with a Best Director nod for Nunn, as well as acting nominations for Andy Nyman and Judy Kuhn. There are also seven nominations for new musical Dear Evan Hansen, which opened on Broadway in 2016, and six for the Richard Eyre-directed revival of Mary Poppins currently running at the Prince Edward Theatre.

Leading the nominations for plays with five each, including Best Revival, are the Young Vic production of Death Of A Salesman and Rosmersholm at the Duke of York’s Theatre and Cyrano De Bergerac at the Playhouse Theatre. Uncle Vanya at the Harold Pinter Theatre and Present Laughter at The Old Vic each have four nominations.

This year’s Best New Play nominees include A Very Expensive Poison by Lucy Prebble, based on a book about the murder of Alexander Litvinenko, and Tom Stoppard’s Leopoldstadt, the epic story of a Viennese Jewish family at the start of the 20^th century.

In the Best Actor category, Toby Jones is nominated for his performance in Uncle Vanya, James McAvoy for Cyrano De Bergerac (his fourth nomination), Wendell Pierce for his West End debut in Death Of A Salesman, and Andrew Scott for Present Laughter.

In the Best Actress category, Hayley Atwell is nominated for Rosmersholm, Sharon D. Clarke (who has now been nominated six times across all four acting categories) for Death Of A Salesman, and Juliet Stevenson (also now a six-time nominee) for The Doctor, an Almeida Theatre production coming to the West End in April. Phoebe Waller-Bridge receives her first acting nomination for Fleabag, which was Olivier nominated in 2014 for its run at the Soho Theatre.

Petula Clark, last Olivier-nominated in 1981, receives a Best Supporting Actress in a Musical nomination for her role as the Bird Woman in Mary Poppins. She is joined in the musical acting categories by several first-time nominees, including Miriam-Teak Lee for & Juliet, Zizi Strallen for Mary Poppins, Sam Tutty for Dear Evan Hansen and Jac Yarrow for Joseph And The Amazing Technicolor Dreamcoat.

Julian Bird, Chief Executive of Society of London Theatre and Executive Producer of the Olivier Awards,said:

‘2020’s nominations demonstrate the range of productions, talent and enterprise on our stages over the last year, with a mix of breadth and diversity that showcases the modern British theatre landscape. We look forward to celebrating all this incredible, world-leading talent on Sunday 5 April.’

The Nominees’ Celebration will take place on Friday 13 March at The May Fair Hotel (part of Edwardian Hotels London, official hotel partner for the Olivier Awards), in association with Olivier Awards partner Cunard.

The Olivier Awards ceremony will be hosted by Jason Manford, and broadcast via official media partners ITV and Magic Radio. Further details to be announced soon.

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Full list of Olivier Awards 2020 nominations:

Best Actor in a Supporting Role in a Musical                                          

• David Bedella for & Juliet at Shaftesbury Theatre                                   
• Stewart Clarke for Fiddler On The Roof at Playhouse Theatre              
• Jack Loxton for Dear Evan Hansen at Noël Coward Theatre                             
• Rupert Young for Dear Evan Hansen at Noël Coward Theatre                          

Best Actress in a Supporting Role in a Musical

• Lucy Anderson for Dear Evan Hansen at Noël Coward Theatre            

• Petula Clark for Mary Poppins at Prince Edward Theatre                                   
• Cassidy Janson for & Juliet at Shaftesbury Theatre                               
• Lauren Ward for Dear Evan Hansen at Noël Coward Theatre                

Best Original Score or New Orchestrations                                                         

• & Juliet – New Orchestrations by Bill Sherman and Dominic Fallacaro at Shaftesbury Theatre                                   
• Amélie The Musical – Musical Supervisor and Arrangements by Barnaby Race at The Other Palace                        
• Dear Evan Hansen – Music and Lyrics by Benj Pasek and Justin Paul, Orchestration by Alex Lacamoire at Noël Coward Theatre                                   
• Fiddler On The Roof – New Orchestrations by Jason Carr at Playhouse Theatre
• Waitress – Music and Lyrics by Sara Bareilles at Adelphi Theatre                                                         

Best New Dance Production

• La Fiesta by Israel Galván at Sadler’s Wells
• Ingoma by Mthuthuzeli November for Ballet Black at Barbican Theatre and Royal Opera House – Linbury Theatre
• MÁM by Michael Keegan-Dolan for Teaċ Daṁsa at Sadler’s Wells 
• Vessel by Damien Jalet & Kohei Nawa at Sadler’s Wells

Outstanding Achievement in Dance

• Sara Baras for her choreography and performance in Ballet Flamenco – Sombras at Sadler’s Wells 
• Anne Teresa De Keersmaeker for her performance in Mitten Wir Im Leben Sind/Bach6Cellosuiten at Sadler’s Wells 
• Gisèle Vienne for her choreography of Crowd, presented by Dance Umbrella at
  Sadler’s Wells

Noel Coward Award for Best Entertainment or Comedy Play

• Emilia at Vaudeville Theatre                                   
• Fleabag at Wyndham’s Theatre                             
• Magic Goes Wrong at Vaudeville Theatre                        
• The Upstart Crow at Gielgud Theatre                               

Best Theatre Choreographer                                 

• Fabian Aloise for Evita at Regent’s Park Open Air Theatre                    
• Matthew Bourne and Stephen Mear for Mary Poppins at Prince Edward Theatre
• Jerome Robbins and Matt Cole for Fiddler On The Roof at Playhouse Theatre
• Jennifer Weber for & Juliet at Shaftesbury Theatre                                

Magic Radio Best Musical Revival           

• Evita at Regent’s Park Open Air Theatre                          
• Fiddler On The Roof at Playhouse Theatre                                  
• Joseph And The Amazing Technicolor Dreamcoat at The London Palladium
• Mary Poppins at Prince Edward Theatre                          

Best Actor in a Musical                   

• Andy Nyman for Fiddler On The Roof at Playhouse Theatre
• Charlie Stemp for Mary Poppins at Prince Edward Theatre
• Sam Tutty for Dear Evan Hansen at Noël Coward Theatre                                 
• Jac Yarrow for Joseph And The Amazing Technicolor Dreamcoat at The London Palladium                                   

Best Actress in a Musical

• Audrey Brisson for Amélie The Musical at The Other Palace                             
• Judy Kuhn for Fiddler On The Roof at Playhouse Theatre         
• Miriam-Teak Lee for & Juliet at Shaftesbury Theatre                              
• Zizi Strallen for Mary Poppins at Prince Edward Theatre                       

Cunard Best Revival                                                             

• Cyrano De Bergerac at Playhouse Theatre                                  
• Death Of A Salesman at Young Vic and Piccadilly Theatre                               
• Present Laughter at The Old Vic                            
• Rosmersholm at Duke of York’s Theatre                          

Best Family Show

• Mr Gum And The Dancing Bear – The Musical! at National Theatre – Dorfman
• Oi Frog & Friends! at Lyric Theatre
• To The Moon And Back at Barbican Theatre
• The Worst Witch at Vaudeville Theatre 

Outstanding Achievement in an Affiliate Theatre

• Baby Reindeer at Bush Theatre
• Blues In The Night at Kiln Theatre
• Our Lady Of Kibeho at Theatre Royal Stratford East
• Seven Methods Of Killing Kylie Jenner at Jerwood Theatre Upstairs at the Royal Court Theatre
• Warheads at Park Theatre

White Light Award for Best Lighting Design                                              

• Neil Austin for Rosmersholm at Duke of York’s Theatre
• Paule Constable for The Ocean At The End Of The Lane at National Theatre – Dorfman
• Howard Hudson for & Juliet at Shaftesbury Theatre                               
• Bruno Poet for Uncle Vanya at Harold Pinter Theatre                             

Royal Albert Hall Award for Best Sound Design

• Gregory Clarke for Rosmersholm at Duke of York’s Theatre
• Emma Laxton for Emilia at Vaudeville Theatre
• Ben and Max Ringham for ANNA at National Theatre – Dorfman                       
• Ben and Max Ringham for Cyrano De Bergerac at Playhouse Theatre

Best Costume Design                                 

• Hugh Durrant for Goldilocks And The Three Bears at The London Palladium
• Jonathan Lipman for Fiddler On The Roof at Playhouse Theatre         
• Joanna Scotcher for Emilia at Vaudeville Theatre           
• Paloma Young for & Juliet at Shaftesbury Theatre                                 

Blue-i Theatre Technology Award for Best Set Design                   

• Bob Crowley for Mary Poppins at Prince Edward Theatre                                 
• Soutra Gilmour for & Juliet at Shaftesbury Theatre                                
• Rae Smith for Rosmersholm at Duke of York’s Theatre                         
• Rae Smith for Uncle Vanya at Harold Pinter Theatre                               

Best Actor in a Supporting Role

• Arinzé Kene for Death Of A Salesman at Young Vic                                
• Colin Morgan for All My Sons at The Old Vic                               
• Adrian Scarborough for Leopoldstadt at Wyndham’s Theatre                          
• Reece Shearsmith for A Very Expensive Poison at The Old Vic            

Best Actress in a Supporting Role

• Michele Austin for Cyrano De Bergerac at Playhouse Theatre              
• Sophie Thompson for Present Laughter at The Old Vic                          
• Indira Varma for Present Laughter at The Old Vic                       
• Josie Walker for The Ocean At The End Of The Lane at National Theatre – Dorfman     

Best New Opera Production

• Berenice at Royal Opera House – Linbury Theatre
• Billy Budd at Royal Opera House
• Hansel And Gretel by ENO at Regent’s Park Open Air Theatre
• Noye’s Fludde by ENO at Theatre Royal Stratford East

Outstanding Achievement in Opera

• Jette Parker Young Artists for their performances in Berenice, Death In Venice and Phaedra at Royal Opera House
• The Children’s Ensemble for their performance in ENO’s Noye’s Fludde at Theatre Royal Stratford East
• Martyn Brabbins and James Henshaw for their conducting of ENO’s The Mask Of Orpheus at London Coliseum

Best Actor                                        

• Toby Jones for Uncle Vanya at Harold Pinter Theatre                            
• James McAvoy for Cyrano De Bergerac at Playhouse Theatre             
• Wendell Pierce for Death Of A Salesman at Young Vic and Piccadilly Theatre
• Andrew Scott for Present Laughter at The Old Vic                                  

Best Actress

• Hayley Atwell for Rosmersholm at Duke of York’s Theatre                                
• Sharon D. Clarke for Death Of A Salesman at Piccadilly Theatre                      
• Juliet Stevenson for The Doctor at Almeida Theatre                               
• Phoebe Waller-Bridge for Fleabag at Wyndham’s Theatre

Sir Peter Hall Award for Best Director                        

• Marianne Elliott and Miranda Cromwell for Death Of A Salesman at Young Vic and Piccadilly Theatre                                  
• Jamie Lloyd for Cyrano De Bergerac at Playhouse Theatre                               
• Trevor Nunn for Fiddler On The Roof at Playhouse Theatre                              
• Ian Rickson for Uncle Vanya at Harold Pinter Theatre                                                   

American Airlines Best New Play                      

• A Very Expensive Poison at The Old Vic  
• The Doctor at Almeida Theatre      
• Leopoldstadt at Wyndham’s Theatre                                
• The Ocean At The End Of The Lane at National Theatre – Dorfman

Mastercard Best New Musical    

• & Juliet at Shaftesbury Theatre                             
• Amélie The Musical at The Other Palace                          
• Dear Evan Hansen at Noël Coward Theatre                                 
• Waitress at Adelphi Theatre 

NEW ADVENTURES ANNOUNCES

EXTENSIVE TOUR DATES FOR

MATTHEW BOURNE’S

NUTCRACKER!

MUSIC BY TCHAIKOVSKY

TOURING TO 17 VENUES IN THE UK AND IRELAND

AHEAD OF AN INTERNATIONAL TOUR

New Adventures is delighted to announce extensive dates for 2020/21 UK and Ireland tour of Matthew Bourne’s Nutcracker!. International tour dates for 2021 to be announced shortly.

The tour opens at Theatre Royal Plymouth on Monday 16 November 2020 ahead of a Christmas Season at Sadler’s Wells, London from Tuesday 8 December 2020 to Sunday 24 January 2021. The tour then continues until May 2021, visiting a total of 17 venues across the UK and Ireland. Full listings below.

The sweetest of all Matthew Bourne’s treats returns for the first time in nine years; it’s a Nutcracker! for all seasons. With family-sized helpings of Bourne’s trademark wit, pathos and magical fantasy, Nutcracker! follows Clara’s bittersweet journey from a darkly comic Christmas Eve at Dr. Dross’ Orphanage, through a shimmering, ice-skating winter wonderland to the scrumptious candy kingdom of Sweetieland, influenced by the lavish Hollywood musicals of the 1930s.

Tchaikovsky’s glorious score and Anthony Ward’s delectable sets and costumes combine with Bourne’s dazzling choreography to create a fresh and charmingly irreverent interpretation of the classic.  Expect a sprinkling of delicious new surprises in this reinvented production for 2020.

Recipient of the 2019 Special Olivier Award, Sir Matthew Bourne and New Adventures have produced some of the most successful dance productions of the last two decades. A truly national dance-theatre touring company and one of Britain’s leading exporters of dance internationally, their productions include Swan Lake, Cinderella, The Red Shoes, Edward Scissorhands and most recently Matthew Bourne’s acclaimed re-imagining of Romeo and Juliet.

New Adventures is a national portfolio organisation supported using public funds by Arts Council England.

For more information please visit: www.new-adventures.net

Facebook /MBNewAdventures    Twitter @New_Adventures     Instagram @MBNewAdventures

Sheffield Lyceum – until 7 March 2020

Reviewed by Lottie Davis-Browne

4****

It has been twenty-five years since Priscilla, and the Queens who rode in her, came out into the world, prominently and proudly – pointing the way for everything that would follow. As one Drag Queen (“Everybody’s Talking About Jamie”) departs Sheffield’s Lyceum Theatre following a successful long run, a bus load of Queens have arrived for one week only – expect sequins, glitter, feathers, bright colours and of course – utter camp-ness!

This screen-to-stage adaptation of one of the most iconic movies to come out of the 1990s first hit the West End in 2009, since then there’s been several cast changes and touring productions – I’ve managed to catch at least three of these productions and four or five different casts – I’ve seen the good, the bad, and the just plain ugly.

The last touring production (2015) didn’t live up to magical, colourful West End production and I was left wondering why they’d gone with certain cast members. Hence my hesitation about this current tour, staring Holby City’s Joe McFadden as Tick/Mitzi – the Drag Queen with the secret love child he’s yet to meet.

Along with young flamboyant Drag Queen Felicia/Adam, Tick, and the recently bereaved Bernadette (a transgender woman), travel across the Australian desert in the beaten down bus that Adam fondly christens “Priscilla”, spending four weeks on the road to reach Alice Springs, where Tick has promised his estranged wife Marion (who is a Manager at a Casino Resort) that him and the Queen’s will perform at the venue.

The journey doesn’t go as smoothly as the trio envisaged, as they face homophobic abuse, violence and vandalism but when they meet kind-hearted Bob (Daniel Fletcher) who offers to join them on the rest of their journey in order to protect them and ensure rusty Priscilla gets them to their destination on time for the show.

It’s a story of self-acceptance and embracing the Diva within. Packed with outrageously flamboyant colourful costumes, killer heels and glitter, Priscilla is a heart warming musical filled with non-stop club classic floor-fillers – it’s impossible not to leave the theatre on a high! From “Hot Stuff” to “Venus” (imagine the Bananarama music video but with blokes in skimpy leather – this will always be my ultimate favourite part of this musical!), PSB’s “Go West” and CC Penistone’ “Finally” – you’ll walk into the theatre but leave dancing like you’re at a 1970s discotheque. Imagine Eurovision on acid and you’re half way there!

This current tour and cast outshine all previous productions in my opinion. Where other leads have been disappointing to say the least with the set and costumes feeling cheesy (but not in the good way), this current tour feels fresh, polished and perfected. Whilst I don’t recall me having seen Joe McFadden in anything else prior to tonight, his face was certainly familiar and it wasn’t long into the show that he had won me over with his portrayal as Tick – the middle-aged Drag Queen who is very much in touch with his emotions. Of the three friends, Tick is the least flamboyant (out of Drag) often having to act as the Ring Master when Felicia/Adam provokes Bernadette – the eldest of the three friends with his bitchy comments and sarcastic remarks. I love seeing understudies step in to cover roles; tonight we had a few cast changes with Felicia/Adam being covered by Justin-Lee Jones (Ensemble & Assistant Dance Captain) – who gave an outstanding performance to the point where I’d give anything to see him reprise the role again soon. Having the audience in stitches to the 1979 M track “Pop Muzik” was another understudy – Natalie Chua as Bob’s wife Cynthia.

Often with touring productions that feature a large piece of set (such as the car in Chitty Chitty Bang Bang on the last tour at Sheffield Lyceum), they’re are teething problems on opening night having moved the large prop hundreds of miles to a different venue. Unfortunately there was some technical glitch prior to tonight’s performance and after wondering why the 7:45pm start hadn’t happened at just gone 7:50pm, we had the dreaded announcement. My fear at these announcements aren’t the theatre goers but rather the cast and crew, wondering how they must feel if a show is at risk of not going ahead as planned. But shortly after 8pm another announcement was made and the show went on with no other issues.

Having previously had my Priscilla bubble burst by the disappointment of the last touring production, tonight’s production had me once more embracing my own inner diva. This production has reinstated my love of Simon Phillips stage adaptation of the cult classic 90s movie. Grab your platforms, bright red lippy and sequinned hot pants and hitch a ride across the Australian desert on this glitter clad bus – Priscilla!

15 year dream fulfilled: New musical about an extraordinary forgotten Yorkshire genius set to tour.

· At the start of this century, two men with with no experience of professional theatre, embarked on a bold dream to bring a unique forgotten story to the professional stage. 15 years later their show, No Horizon is set to tour.

· Writer, Andy Platt has twice given up his job as a Deputy Headteacher and then a Headteacher to pursue the goal.

· Now, success at the Edinburgh Fringe and funding from the Arts Council and Foyle Foundation have finally opened the door and the musical, No Horizon will tour this March and April

· No Horizon tells the astonishing forgotten story of blind Yorkshire genius, Nicholas Saunderson. With no eyes, before Braille, no qualifications and coming from a rural backwater, he became the Stephen Hawking of his age – Lucasian Professor of Mathematics at Cambridge University, celebrated across Europe and sought out by Kings and Queens. This man with no eyes ended up lecturing on Newton’s light and colour!

· Musical described as a ‘Yorkshire Les Mis’ by Chris Evans (Radio 2) and ‘One to watch out for’ by Elaine Paige, herself a star of West End musicals and a Radio 2 broadcaster.

· No Horizon stars visually impaired actor, Adam Martyn in the title role.

No Horizon was born in 2003 as a community musical. Buoyed by a wonderful audience response, writer and then Deputy Headteacher, Andy Platt and partner, businessman Max Reid set up right Hand Theatre and embarked on their dream of taking the story to a national audience. Their goal; restoring the forgotten protagonist, Nicholas Saunderson to his rightful position as a national icon. Andy left his job as a Deputy Headteacher and Max put his other business interests on the back burner and, for a year, the pair promoted the work to theatrical producers. That eventually proved fruitless and the project lay dormant until 2016 when Right Hand Theatre took the production to the Edinburgh Fringe.

“The run at Edinburgh was really significant. We saw the power of No Horizon to entertain, inspire and move people. We also noticed it had a particular impact on people with similar life challenges to Saunderson – and we simply had to pursue it,” said Max.

During the run at Edinburgh, audiences grew from 30 to 200 and really strong reviews, piqued interest from the Arts Council who funded Research and Development work on No Horizon. A nationally recognised creative team was assembled, including director, Andrew Loretto (Hat Fair), Sally Egan (Opera North) and Lucy Cullingford (RSC) in order to create the show for its forthcoming tour. Andy, who had since gone back into education as a Headteacher, left his job for a second time in order to concentrate full time on the show.

No Horizon is no ordinary musical. It is inspired by the remarkable story of Nicholas Saunderson. Saunderson embodied the typical characteristics of Yorkshire grit and determination. Born into relatively humble rural origins he was blinded as a one year old after losing his eyes through smallpox. This was in 1683, long before braille was invented. Legend has it that he taught himself to read, using the gravestones in the local churchyard, subsequently learning to write. He had a hunger for knowledge and seized on any opportunity to answer the questions that his enquiring mind threw at him. In particular a genius for mathematics and science evolved. By the end of his life, Saunderson was and early day Stephen Hawking – Lucasian Professor of Mathematics at Christ’s College, Cambridge; this blind man was lecturing on Isaac Newton’s theories on light and colour. Yet he had not a single qualification. His story has sadly been airbrushed by history.

“No Horizon is a story of inspiration and aspiration. Saunderson’s achievement simply shouldn’t have happened, yet it did. In many ways, his story has been an inspiration to Max and I. He refused to accept the limitations he had to deal with and would always seek to find a solution. It’s been an example to us in our own journey with the show,” said Andy.

The lead role of Nicholas is to be played by the hugely talented Adam Martyn, a graduate of Paul McCartney’s Liverpool institute of Performing Arts in Liverpool. Adam is himself visually impaired.

No Horizon is touring from March 19th to April 15th 2020, including dates at:

The Civic, Barnsley March 19th – 21st

The Viaduct Theatre – Dean Clough March 26th – 28th

City Varieties – Leeds March 31st –April 1st

CAST Doncaster April 2nd – 4th

Harrogate Theatre April 7th – 8th

York Theatre Royal April 9th and 11th

Millgate April 15th

No Horizon – The Astonishing story of a Forgotten Yorkshireman

Two Royal & Derngate Made in Northampton productions gain Olivier nominations

Royal & Derngate is thrilled that two of its Made in Northampton productions which transferred to London last year have been nominated for the 2020 Olivier Awards.

The theatre’s much-loved 2018 Christmas show The Worst Witch, which enjoyed a six week summer season at the Vaudeville Theatre in London’s West End, has been nominated for Best Family Show.

In addition, Royal & Derngate’s production of Katori Hall’s Our Lady of Kibeho, which had its acclaimed UK debut in Northampton as part of the theatre’s Made in Northampton season in January and February 2018, has been nominated in the category for Outstanding Achievement in an Affiliate Theatre for its transfer to the Theatre Royal Stratford East last Autumn. The production was directed by Royal & Derngate’s Artistic Director James Dacre.

James Dacre said: “We are absolutely delighted to hear that two of our productions, which started life here in Northampton, have been honoured by nominations in this year’s Olivier Awards. I’d like to thank everyone involved – our staff, co-producing partners and the fantastic companies – who made these productions such a success.”

Royal & Derngate Chief Executive Jo Gordon added: “We are absolutely thrilled for the teams here at Royal & Derngate. It’s brilliant recognition for all the passion and craft they put into each and every production created under our Made in Northampton banner.”

Royal & Derngate’s Made in Northampton season is sponsored by Michael Jones Jeweller.

WAITRESS CELEBRATES OLIVIER AWARD NOMINATIONS, INCLUDING BEST NEW MUSICAL AND BEST ORIGINAL SCORE OR NEW ORCHESTRATIONS

• NOMINATIONS FOR BEST NEW MUSICAL AND BEST NEW ORIGINAL SCORE OR NEW ORCHESTRATIONS FOR MUSIC AND LYRICS BY SARA BAREILLES
   
• AS GRAMMY AWARD WINNER SARA BAREILLES AND OLIVIER AND TONY AWARD WINNER GAVIN CREEL HEAD INTO THE FINAL TWO WEEKS OF THEIR RUN, WAITRESS IS TODAY CELEBRATING BEING NOMINATED FOR TWO OLIVIER AWARDS.

Waitress has been nominated in two different categories in this year’s Olivier Awards including Best New Musical and for Sara Bareilles’ music and lyrics for Best New Original Score or New Orchestrations.

Waitress audiences have just over 2 more weeks to see 2020 Grammy Award winner Sara Bareilles and Olivier and Tony Award-winning actor Gavin Creel as new performance dates have been added following a rapturous critical and public reception at the Adelphi Theatre. Sara Bareilles, who wrote the music and lyrics for Waitress, is making her West End debut in the lead role of Jenna with Gavin Creel as Dr Pomatter having previously performed together on the Broadway run.  They will be extending for a further two weeks, now appearing through to 21 March 2020.

Waitress celebrated its official opening night at the Adelphi Theatre on 7 March 2019 and the Tony-nominated musical is now booking until 4 July 2020. The show has also just announced a new UK and Ireland tour which will open in Dublin in November 2020.

Sara Bareilles first achieved mainstream critical praise in 2007 with her widely successful hit Love Song, which reached No. 1 in 22 countries around the world from her debut album Little Voice. Since then, Sara has gone on to receive seven Grammy® nominations, two Tony nominations and three Emmy nominations.  Her book, Sounds Like Me: My Life (So Far) in Song, was released in the fall of 2015 by Simon & Schuster and is a New York Times bestseller. Making her Broadway debut, Sara composed the music and lyrics for Waitress, and made her Broadway acting debut in 2017 by stepping into the shows lead role.  Recently, Sara teamed up with Apple as an executive producer for Little Voice a 10-episode series, which she will create the original music for. On April 5, 2019 Sara released her fifth full-length and first album of original material since 2013, entitled Amidst The Chaos, to rave reviews.  For this latest body of work, she joined forces in the studio with legendary Academy® Award-winning producer T Bone Burnett.  As a result, the album spotlights her voice as a singer and storyteller like never before, while making an enduring statement. She recently completed her Amidst The Chaos North American tour.

Gavin Creel received a Tony Award for his performance as Cornelius Hackl in Hello, Dolly! starring Bette Midler and David Hyde Pierce. He made his Broadway debut originating the role of Jimmy Smith in Thoroughly Modern Millie, for which he received his first Tony Award nomination. He has since created such memorable performances on Broadway as Claude in Hair, which earned him a second Tony Award nomination, Jean-Michel in La Cage Aux Folles, and Stephen Kodaly in the Roundabout Theater Company’s production of She Loves Me, which was filmed live and is available on BroadwayHD. No stranger to London audiences, Gavin most notably originated the role of Elder Price in the West End production of The Book of Mormon, for which he received the Olivier Award for Best Actor in a Musical. He also starred as Bert in Disney’s Mary Poppins and reprised his performance as Claude in Hair. As well as starring opposite Sara Bareilles in the Broadway production of Waitress, his other stage credits include The Book of Mormon (on Broadway and originating the First National Tour), and the world premieres of Stephen Sondheim’s Bounce (at The Goodman Theatre and The Kennedy Center) and Prometheus Bound at A.R.T. On television, Gavin co-starred alongside Julie Andrews in ABC’s Eloise at the Plaza and Eloise at Christmastime. He has released three original albums GoodTimeNation, Quiet (which landed on Billboard’s Top Heat Seekers) and Get Out, and his single Noise raised money and awareness for marriage equality. Creel was a co-founder of Broadway Impact, the first and only grassroots organization to mobilize the nationwide theater community in support of marriage equality. A native of Findlay, Ohio, he is a proud graduate of University of Michigan School of Music, Theatre and Dance.

Waitress tells the story of Jenna, a waitress and expert pie-maker who dreams her way out of a loveless marriage. When a hot new doctor arrives in town, life gets complicated. With the support of her workmates Becky and Dawn, Jenna overcomes the challenges she faces and finds that laughter, love and friendship can provide the perfect recipe for happiness.

Brought to life by a ground breaking, female-led creative team, Waitress features an original score by seven-time Grammy® nominee Sara Bareilles (Love Song, Brave), a book by acclaimed screenwriter Jessie Nelson (I Am Sam) and direction by Tony Award® winner Diane Paulus (Pippin, Finding Neverland) and choreography by Lorin Latarro. The production is also currently touring the US and Canada and has announced an Australian premiere in 2020 at the Sydney Lyric Theatre with further productions to open in Holland next year and Japan in 2021.

Waitress premiered on Broadway in March 2016 and has since become the longest running show in the history of the Brooks Atkinson Theater. The production is also currently touring the US and has announced an Australian premiere in 2020 at the Sydney Lyric Theatre with further productions to open in the Netherlands in September 2020, the UK and Ireland in November 2020 and in Japan in 2021.

On its Broadway opening, Waitress was nominated for four Outer Critics’ Circle Awards, including Outstanding New Broadway Musical; two Drama League Award Nominations, including Outstanding Production of a Broadway or Off-Broadway Musical; six Drama Desk Nominations, including Outstanding Musical; and four Tony Award Nominations, including Best Musical.

That’s Rich! A New Production of David Walliams’
BILLIONAIRE BOY
Alhambra Theatre, Bradford
Tuesday 31 March – Saturday 4 April 2020
Signed performance: Thu 2 April 10.30am
*Tickets: £21 – £19
Concessions & Family Tickets Available
Call the Box Office on 01274 432000 or visit bradford-theatres.co.uk
*All prices shown include booking fees but are subject to postage charge if applicable.
Bradford Theatres usual terms and conditions apply.

The bestselling children’s author David Walliams and the award-winning Birmingham Stage Company have teamed up again for a brand-new production of Billionaire Boy.

This will be their third collaboration after the Olivier Award nominated Gangsta Granny and acclaimed Awful Auntie productions. Billionaire Boy started life as a David Walliams novel for children in 2010, published by HarperCollins Children’s Books, and was filmed for the BBC in 2016. As part of a major national tour the stage adaptation is coming to the Alhambra Theatre, Bradford from Tuesday 31 March to Saturday 4 April.

Billionaire Boy tells the story of Joe Spud, who is twelve years old and the richest boy in the country. He has his own sports car, two crocodiles as pets and £100,000 a week pocket money. But what Joe doesn’t have is a friend. So he decides to leave his posh school and start at the local comp. But things don’t go as planned for Joe and life becomes a rollercoaster as he tries find what money can’t buy!

David Walliams said: “What a magnificent show! If this production as on Britain’s Got Talent, I’d be giving it the Golden Buzzer! It couldn’t be better!”

David Walliams has become one of today’s most influential writers. Since the publication of his first novel, The Boy in the Dress (2008), illustrated by the iconic Sir Quentin Blake, David Walliams has celebrated more than ten years of writing success with global sales exceeding thirty-two million copies, and his books have been translated into fifty-three languages. David’s titles have spent 138 weeks (non-consecutive) at the top of the children’s charts – more than any other children’s author ever. He closed 2018 as the UK’s biggest-selling
author for the second year running. In addition to his fiction, David has worked with Tony Ross on six picture books as well as three bestselling short-story collections, The World’s Worst Children.

Neal Foster is the adapter and director of Billionaire Boy. He is the Actor/Manager of The Birmingham Stage Company which since its foundation in 1992 has staged over eighty productions. The company has become one of the world’s leading producers of theatre for children and their families, including Horrible Histories Live on Stage for fourteen years in the UK, Dubai, Abu Dhabi, Qatar, Bahrain, Hong Kong, Singapore, New Zealand and Australia.

Neal has written and directed all of the most recent Horrible Histories shows including the Barmy Britain series seen in the West End, across the UK, and abroad. Billionaire Boy will be his third David Walliams stage show after Gangsta Granny and Awful Auntie. In 2019 he directed the world premiere of Tom Gates which he also adapted alongside author of the books, Liz Pichon.

Billionaire Boy is adapted and directed by Neal Foster, designed by Jackie Trousdale, lighting by Jason Taylor, sound by Nick Sagar and music by Jak Poore.

Billionaire Boy is suitable for ages 5 +

Yvonne Arnaud Theatre, Guildford – until 7 March 2020

Reviewed by Terry Genis

3***

On a cold and damp evening the comings and goings of this farce provided a warming glow with quick-fire dialogue.  The story switches between the elegant French home of a lawyer, Monsieur Duchotel, and his wife Leontine, and the love nest  in a Parisian apartment rented by the family friend Doctor Moricet. These provide the settings for the revelation that Duchotel’s hunting trips away are not so innocent and that the ‘bang, bangs’ are not aimed at rabbits and hares, but another ‘prey’.  The deceits are exposed in a sequence of wardrobe-hiding, door-slamming and trouser-losing, by a cast of characters that include a spurned husband, a maid, an investigating policeman, an abandoned countess, and a young nephew seeking money to support his student life. 

The play is an adaptation of ‘Monsieur Chasse’ by George Feydeau in 1892, and John Cleese’s stage writing debut gives us a touch of Basil and Manuel. The direction by Daniel Buckroyd is fast and Tessa Peake-Jones as Leontine and Tony Gardner as Duchotel exchange lines at a cracking pace.

Wendi Peter is the abandoned Countess, Madame Latour,  and as she sings her story, the set is transformed from the drawing room of the Duchotel house to the art nouveau apartment of the Belle Epoch. Stay in your seat in the interval to see the transition in reverse and the magic of the changes.

In real life, infidelity can have bad consequences, but this is a farce after all, and all those ridiculous things occurring are quite good fun.

TICKETS GO ON SALE FOR
HELLO AND GOODBYE AT BOULEVARD THEATRE

• YAËL FARBER WILL DIRECT HELLO AND GOODBYE BY ATHOL FUGARD, RUNNING FROM 4 JUNE – 25 JULY 2020
   
• £12 TICKETS AVAILABLE FOR ALL PERFORMANCES

Tickets for Hello and Goodbye, the third show in Artistic Director Rachel Edwards’ 2020 season for the Boulevard Theatre, will go on sale today at 11am to priority members. Tickets will go on sale to the general public 24 hours later. Online booking can be accessed here.

Written by Tony Award-winning playwright Athol Fugard, Hello and Goodbye is a searing exploration of the claustrophobic hold the past can have on the present. Multi award-winning director Yaël Farber (Blood Wedding, Young Vic; The Crucible, Old Vic; Mies Julie, Riverside Studios) will direct the show, and Soutra Gilmour, winner of the 2020 WhatsOnStage awards for Best Set Design, will be designing the set.

It’s been fifteen years since Johnny and Hester Smit have seen one another – not since the day Hester fled to Johannesburg in search of a different life. While Hester’s world has expanded – not always for the better – Johnny’s life has been reduced to the four walls of the rundown family home, and his role caring for their infirm father.

Suddenly Hester returns one night to claim the inheritance she believes to be rightfully hers. What begins as the siblings’ search for their legacy quickly becomes a desperate pursuit for truth, understanding and a future free from the shackles of their shared heritage.

Hello and Goodbye follows productions of Cormac McCarthy’s The Sunset Limited and Lucy Prebble’s The Effect, which opens on the 25 March and runs from 19 March to 30 May 2020.

Performances for Hello and Goodbye run at the Boulevard Theatre from 4 June until 25 July, with press night on 12 June 2020.

Casting to be announced.

Aylesbury Waterside Theatre- until 7 March 2020

Reviewed by Annie Hughes

4****

Mary Shelley’s Gothic masterpiece Frankenstein, dubbed the first ever classic horror story, the first “science fiction”, has been reinvented once again. So when I sat down in my seat last night to watch this latest adaptation by Rona Munro at Aylesbury Waterside Theatre, I could not help thinking sceptically, what could they possibly add to this version that has not already been done before?

Enter Mary Shelley the writer herself played by Eilidh Loan. Portrayed as a fiery, sharp-witted, creative and intelligent woman, this adaptation places the female writer herself at the very centre of her own story. Literally positioned centre stage writing her prose in the opening scene of the play, this is without doubt what I loved most and find most exciting about this adaptation. During the age of Romanticism and Enlightenment in which Frankenstein was written, society was still patriarchal and men dominated largely the arts and science. And even after Shelley’s work was published in 1818 to enormous acclaim, it was still her male protagonists that have been remembered. So how refreshing as a new adaptation, and particularly in today’s modern society, to allow the eighteen year-old female writer Shelley herself to recreate her masterpiece and narrate it in front of our eyes.

And I do not think if the real Mary Shelley had been watching this adaptation, she would have been disappointed. After all, Shelley wrote Frankenstein with the intention of unsettling and horrifying audiences, and that is what this production achieved. The entire cast created this chilling atmosphere with their excellent character portrayals, in particular Ben Castle Gibb as Frankenstein and Michael Moreland as the Monster. Credit should also go to the set and costume designer, Becky Minto, and the lighting designer, Grant Anderson, who together created a chilly, wintery set of whites and greys, which created a sense of dread from the start.

At times I felt that the play would have benefited from longer moments of silence and less shouting from the main characters as this would have increased the level of chill even further across the audience.

That said, Frankenstein offers a night of thought-provoking themes, a powerful nod to female writers and above all a highly entertaining night that will send chills down your spine as Shelley intended it to.