The Royal Exchange Theatre, Manchester- until 7 March 2020
Reviewed by Joseph Everton
4****
Andrew Sheridan’s passionate, untamed and sometimes strange interpretation of Emily Bronte’s Wuthering Heights brought a Yorkshire moor to the Royal Exchange’s stage.
Under Bryony Shanahan’s direction, a wild, uninhibited relationship between Cathy and Heathcliff formed, flourished and became an obsession, as eternal as Penistone Crags. Alex Austin’s original portrayal of Heathcliff caught the eye in a performance riddled with all of the worst characteristics of people: envy, selfishness, and unadulterated loathing.
The characters were distinctly unlikeable and, even though Hindley’s (Gurjeet Singh) jealousy and hateful bullying of Heathcliff was believable and brutal, it was difficult to feel much sympathy for him, or indeed any other character as the performance lurched from one disaster to the next. The dark and damaged script described a deep and sometimes disturbing love, bordering on obsession. The weak and neglected Edgar Linton (Dean Fagan), downtrodden by an increasingly aggressive and damaged Cathy (Rakhee Sharma), was particularly meek and manipulated as he, his sister (Rhiannon Clements) and Hindley vied for affection to no avail.
Alexandra Faye Braithwaite’s shoegaze-style musical accompaniment, performed by the excellent Becky Wilkie and Sophie Galpin, added depth to some of the more emotional moments. When things all felt rather heavy and despairing, the music brought hope and optimism.
Subtle changes to Cecile Tremoliere’s attractive staging were noticeable after the interval as the set grew with the characters. Zoe Spurr’s moveable LED strip lighting was excellent and provided a delicate glow to the stage.
Theatre Royal, Nottingham – until Saturday 15 February 2020
Reviewed by Boo Wakefield
4****
A performance I arrived at thinking it was going to be an Agatha Christie-esque “Who Dunnit” and which I left with the question of Who caused it? on my mind hours afterward. My daughter, like most of the audience, studied An Inspector Calls at GCSE level. This was her second time viewing the production and she said, “it got better and better as I watched”. I haven’t heard her talk this animatedly about a production before, just going to show what an impact this performance made on her as well as all the students in the audience.
Stephen Daldry’s 28-year-old production portrays the struggles of family and society using dramatic lighting, immersive set pieces and an incredible cast. The introductory scene had young children running around the broken and damaged street, which reflected well on the post war era the play was set and written in. Rowan O’Driscoll-Besh’s performance as a Young Boy displayed a powerful image of the innocence and curiosity of the new and vulnerable generation. In comparison, Christine Kavanagh and Jeffrey Harmer’s portrayals of the ghastly Mr and Mrs Birling where fantastic at putting across J. B. Priestley’s idea that the older generation where becoming more and more desperate and power hungry as the post war era ensued.
Kavanagh’s entrance as Sybil Birling was so impressive as she stood in a doorway, glittering in the fantastic pearl jewelry that stood out against the glorious red gown she was wearing. Huge hats off to the costume team and their fantastic work on the outfits, managing to display both the era as well as the characters positions in society. The plainly dressed housemaid Edna, shown through Emma Carter stood out. She seemed to be everywhere and nowhere all throughout the play, eavesdropping and smirking at her employer’s obvious discomfort adding a drop of humor into the more serious aspects of the play.
Beside the fantastic acting there was the incredible lighting and set that has hardly changed since the original production in 1992. Comprised of what seems to be an oversized dolls house atop cobbled streets and rubble, the set presents a post war image of a run-down world in which the Birling’s are trying to elevate themselves above. The use on bright lighting against water and mist falling from above created an acute recreation of the dreary weather of England but also produced a pathetic fallacy as it reflected and emphasized the negative and broken emotions of the Birlings in the wake of the Inspectors grueling interrogations. The ‘oversized dolls house’, as I so crudely named it, was the eye drawing aspect of the whole production. Beginning closed, the house opened quite literally as the performance ensued, baring its inhabitants to the whole audience. Its dramatic effect didn’t stop there though, later in the play accompanied by the bright lighting and rain the house tipped forward, dropping and smashing all the set pieces from inside it. To add to the effect sparks flew from the lamps inside the room, making the whole thing look just a broken as the rest of the world around it. This whole action, it is safe to say, shocked the whole audience as well as myself and really put across the idea that the characters lives were falling apart very effectively.
Overall, a play that has stood the tests of time thoroughly entertaining us all. A thought-provoking and entertaining evening.
SIR MATTHEW BOURNE CELEBRATES PLAYING TO AUDIENCES OF OVER 200,000 AT BIRMINGHAM HIPPODROME
Sir Matthew Bourne – credit: Simon Hadley
This week, Birmingham Hippodrome presented Sir Matthew Bourne with a commemorative seat plaque celebrating his productions playing to a total of over 200,000 people in Birmingham since his legendary production of Swan Lake first visited the theatre back in 1996.
Now a regular feature in Birmingham Hippodrome’s theatrical calendar, Sir Matthew Bourne has presented twenty-three productions on the Hippodrome stage over the course of twenty four years including Nutcracker!, Edward Scissorhands, Cinderella, Sleeping Beauty and The Lord of the Flies. His production of The Red Shoes is currently playing to packed houses at Birmingham Hippodrome until Saturday 15 February.
The seat plaque, situated in G26 of the Circle, reads; “Sir Matthew Bourne; pure dance magic for 200,000 Hippodrome audiences and counting!”.
A sell-out before its world premiere season opened in 2016, Matthew Bourne’s triumphant adaptation of The Red Shoes is currently running for its third season at Birmingham Hippodrome, having won two Olivier Awards and dazzled audiences across the UK and the USA.
The Red Shoes is a tale of obsession, possession and one girl’s dream to be the greatest dancer in the world. Victoria Page lives to dance but her ambitions become a battleground between the two men who inspire her passion.
Set to the achingly romantic music of golden-age Hollywood composer Bernard Herrmann, The Red Shoes is orchestrated by Terry Davies and played by the New Adventures Orchestra, with cinematic designs by Lez Brotherston, lighting by Paule Constable, sound by Paul Groothuis and projection design from Duncan McLean.
The Red Shoes runs at Birmingham Hippodrome until Saturday 15 February 2020. To book visit birminghamhippodrome.com or call 0844 338 5000 (4.5p per minute plus your phone company’s access charge).
THE BOULEVARD THEATRE PRESENTS THE EFFECT By Lucy Prebble Directed by Anthony Neilson
CASTING IS TODAY ANNOUNCED FOR THE FIRST LONDON REVIVAL OF LUCY PREBBLE’S THE EFFECT, DIRECTED BY ANTHONY NEILSON
THE CAST WILL BE ERIC KOFI ABREFA, CHRISTINE ENTWISLE, TIM MCMULLAN AND KATE O’FLYNN
THE PLAY RUNS AT THE BOULEVARD THEATRE FROM 19 MARCH UNTIL 30 MAY, WITH PRESS NIGHT ON 25 MARCH
The Boulevard Theatre today announces casting for the first London revival of The Effect, written by award-winning writer Lucy Prebble (A Very Expensive Poison, ENRON, The Sugar Syndrome, Succession and Secret Diary of a Call Girl) and directed by Anthony Neilson (The Tell-Tale Heart, The Prudes and Unreachable). Eric Kofi Abrefa plays Tristan Frey, Christine Entwisle will play Lorna James, Tim McMullan will play Toby Sealey and Kate O’Flynn will play Connie Hall.
Winner of the Critics’ Circle Award for Best New Play when it opened at the National Theatre in 2012, The Effect places modern medicine under the microscope, examining the fallout from a collision between love and science.
Connie and Tristan meet; symptoms develop. Racing hearts. Lost appetites. Erratic emotions. Is this the frenzy of falling in love, or simply side effects from the new anti-depressant drug they’re testing? Addiction comes hard and fast. But have the clinicians running the trial lost control?
Eric Kofi Abrefa most recently starred in the film Blue Story, directed by Rapman. Other films include Jurassic World and Fury alongside Brad Pitt. On stage, Eric played Jean opposite Vanessa Kirby in Julie at the National Theatre where his credits also include A Taste of Honey alongside Kate O’Flynn. Other theatre credits include ear for eye at the Royal Court and One Love: Bob Marley Musical at the Birmingham REP. Eric has also featured in a number of television shows including a leading role in Channel 4’s Humans and appearances in Amazon’s Jack Ryan and Hulu’s Harlots.
Christine Entwisle’s recent theatre credits include The Monstrous Heart (Stephen Joseph Theatre), The Twits, Hope and Primetime (all Royal Court), as well as a number of plays at the RSC, including Romeo and Juliet. Her TV credits include Vera (ITV), Doctors (BBC) and Holby City (BBC).
Tim McMullan has appeared in a number of shows at the National Theatre including Antony & Cleopatra, Common, Twelfth Night, Man vs Superman, The Cherry Orchard amongst many others. Other credits include King Charles III in the West End. TV and film credits include Netflix’s The Crown, Shakespeare in Love and The Fifth Element.
Kate O’Flynn is currently appearing in all of it at the Royal Court, where her credits also include Blank, The End of History, and Anatomy of a Suicide. At the National Theatre she has performed in Port, for which she won the Critics’ Circle Award for Most Promising Newcomer, and A Taste of Honey. TV and film highlights include Mike Leigh’s Happy Go Lucky and Mr. Turner, BBC’s Wanderlust, and Channel 4’s Brexit.
The Effect will play at the Boulevard Theatre from March 19 to May 30, with press night on March 25.
Phoenix Dance Theatre makes a welcome return to the Leeds Playhouse with their world premiere of Black Waters. Working in collaboration with Rythmosaic, an Indian Dance Company, they present this anticipated and awaited work. An excerpt of what was to come had been featured in last autumn’s Phoenix at Home programme.
This contemporary work tells the two stories; firstly, the Zong massacre in the late 1700s where the Zong ship owners who, at the expense of 130 slaves’ lives, attempted to claim insurance and Hula Pani, a century later, is about the Indian freedom fighters who were incarcerated for exposing the British colonial’s regime.
Two very poignant and yet provocative narratives are presented and they are told with combined dance, movements and body language which tells in parallel the horrific plights the slaves and prisoners endured under the clutches of British colonialism. Black Waters is a testimony to how vulnerable individuals were amid historic accounts of prejudice and violence among difference races and ethnicities. Poignancy reigns from this emotional retelling of those narratives and how future opportunities including multiculturalism can give people individuality and belonging along with optimism and self worth.
The company perform evocatively and in synchronisation with a combination of drama, movement and dance representing a range of emotions which the affected victims of those events experienced. Under the creative choreography of Sharon Watson, Shambik Ghose and Dr Mitul Sengupta and set to Dishari Chakraborty’s diverse music, Black Waters captures the retelling of the less well known narratives and what they can be learnt from them and also shape the present and the future.
Phoenix Dance Theatre has an incredible track record for interpreting and sharing stories, some known and some not as well known, that are so relevant today. Black Waters is an excellent, powerful and provocative production which underlines the emotive and soulful yearnings which can be interpreted for past and present human plights.
A brand new production of the classic thriller, Dial M for Murder, tours the UK in 2020, having opened at Richmond Theatre on January 14th 2020. The genre-defining thriller – based on Frederick Knott’s stage and screen play, made world-famous by Hitchcock’s iconic 1954 film is directed by Anthony Banks.Samantha Womack takes over the role of Margot from Sally Bretton from the 14th April, in Milton Keynes where she tours with the company to Birmingham, Cardiff, Leicester, Sheffield, Liverpool, Mold, Brighton, Shrewsbury and Salford. Her run concludes in Northampton on June 27th.
TV and stage favourite, Tom Chambers, (Top Hat, Strictly Come Dancing) stars as the charismatic and manipulative Tony Wendice, a jaded ex-tennis pro who has given it all up for his wife Margot, played by Samantha Womack *(The Girl on the Train, The Addams Family, Eastenders). When he discovers she has been unfaithful his mind turns to revenge and the pursuit of the ‘perfect crime’. Christopher Harper(Coronation Street, Strangers on a Train) performs in the dual roles of Captain Lesgate and Inspector Hubbard and Michael Salami (Hollyoaks) as Max Halliday, Margot’s lover.
Tom Chambers plays Tony Wendice. Tom’s theatre creditsinclude: Crazy For You (UK tour); Private Lives (UK tour); White Christmas (Dominion); Top Hat (Aldwych); White Christmas (Sunderland Empire); The Rover (Young Vic Studio); Journey’s End (Courtyard Theatre); Bloody Poetry (Brockley Jack Theatre); Pendragon (City Theatre Broadway NYMT and Sadler’s Wells); October’s Children (NYMT and Hammersmith Lyric); Cyrano De Bergerac and Macbeth (Derby Rep Theatre); Damn Yankees (Yvonne Arnaud Theatre); The Innocents (Derby Playhouse) and Stepping Out (Electric GSA).Film includes: Fakers and Great in Britain: the Movie. Television includes: Midsomer Murders, Emmerdale, Casualty, Father Brown, The Great Train Robbery, Waterloo Road and Holby City. Radio includes: Mellow Magic every Saturday 10am-1pm.
Samantha Womack appears as Margot Wendice. Samantha Womack is best known for playing Ronnie Mitchell in BBC1’s EastEnders.
Her television credits include the leading roles of: Tanya in three series of Mount Pleasant, Ingrid in Home Again, Ruth in Babes in the Wood, Imogen in Imogen’s Face and Mandy in the hugely popular Game On. Samantha has also starred in Forgiven, The Last Detective, Strange, Judge John Deed, Liverpool 1, Pie in the Sky and The Grimleys. She also appeared in Silent Witness on BBC1. Samantha’s film credits include the box-office-breaking Kingsman: The Golden Circle, Kingsman: The Secret Service, One Night in Istanbul, Dead Man’s Cards, Lighthouse Hill, The Baby Juice Express, Up N Under and Breeders. Theatre credits include: The Girl on the Train (UK tour); The Addams Family (UK tour); Hope (Royal Court Liverpool); The Lincoln Centre’s production of South Pacific in the lead role of Nellie Forbush (Barbican and UK tour); Michael Grandage’s Guys and Dolls alongside Patrick Swayze (Piccadilly Theatre); Earth & Sky (UK tour) and Peter Hall’s production of Harold Pinter’s Betrayal (Theatre Royal Bath).
Christopher Harper performs as Captain Lesgate and Inspector Hubbard. Christopher’stheatre credits include: Strangers on a Train (UK tour); Much Ado About Nothing (Shakespeare’s’ Globe); Slipping (Stephen Joseph Theatre, Scarborough); The Wind in the Willows,Man of the Moment and Private Fears in Public Places (Royal & Derngate); I Know How I Feel About Eve (Hampstead Downstairs); The Night Before Christmas (Different Breed); The Village Bike (Sheffield Crucible Studio); A Kid Like Jake (Old Vic New Voices); OurCountry’s Good and Journey’s End (Original Theatre Company); Persuasion, After Miss Julie and People at Sea (Salisbury Playhouse); Saturn Returns (Finborough Theatre); Light Shining in Buckinghamshire and Lie of the Land (Arcola). Television includes: Holby City, Endeavour, Coronation Street, The Suspicions of Mr Whicher,Doctors, Upstairs Downstairs, The Bill, Heartbeat, The Roman Mysteries, Housewife 49,Life on Mars and Rosemary and Thyme. Chris also produced and voiced the award-winning charity animation The Mouse.
Michael Salami is Max Halliday. Michael Salami is a multi-award-winning actor. Born in America and raised in London, Salami discovered his passion for acting in 2007. Salami made his first on stage appearance at Oval Theatre in 2010 and has since then performed at The Old Vic, Soho Theatre, Lyric Hammersmith, Southwark Playhouse and Theatre503. Salami studied at Stella Adler Studio of Acting in New York graduating in 2016 and since then has appeared in Hollyoaks; Catastrophe; The Temple and Magic Hour. His leading role in Just A Couple has landed him a number of nominations and awards such as a Screen Nation Award for Best Actor. Just A Couple is now in full development with Channel 4.
Anthony Banks directs Frederick Knott’s Dial M For Murder,adding to credits that recently includeGaslightandStrangers on a Train. His production of the hit thriller, The Girl on the Train, continues to tour the UK. The creative team is completed by David Woodhead, Designer; Katy Osborne, Resident Director; Lizzie Powell, Lighting Designer; Ben & Max Ringham, Sound Design; Betty Marini, Wigs Supervisor; Siobhan Boyd, Costume Supervisor, Luke Child as Production Manager and Alison de Burgh as Fight Director.
Dial M For Murder is produced by Simon Friend and Gavin Kalin.
DIAL M FOR MURDER 2020 TOUR DATES
*Sally Bretton performs as Margot Wendice until Sat 11th April
Blood Brothers was written by Willy Russell and Directed by Bob Tomson and Bill Kenwright. This production brings a remarkable story of twin brothers separated at birth brought up on different sides of the track who become reunited unknown to one another, causing two worlds to collide. Bringing friendship, love, betrayal and consequences.
Mrs Johnstone’s (Lyn Paul) portrayal of a single mum is very impressive, powerful and believable she shows a very emotional side through her acting which she also manages to carry out in her singing with some sensational songs such as Tell Me its Not True and Marilyn Monroe.
The Johnstone Twins, Mickey (Alexander Patmore) and Eddie (Joel Benedict), have an absolutely amazing connection on stage both offering superb and authentic acting throughout showing a good contrast between the two sides. They become best friends, fall in love with the same girl causing their relationship to fall apart creating tragedy. Mickey (Alexander Patmore) plays the transition from a child amazingly well through his behaviour and simple changes in outfits. He’s energetic and playful at times and had the audience in laughter on many occasions but also finds it hard to talk or show his emotions offering some remarkable acting throughout. Eddie (Joel Benedict) played a trans-formative character that’s upper class, gentle, happy and able to show his feelings and emotions giving a believable and fantastic act.
The Narrator played by Robbie Scotcher played a distinguished, foreboding role always lurking in the shadows reminding the characters of their fate throughout for their wrong doings. He offers a sensational part without him the show would be incomplete.
The set was very detailed of a street, one side run down, the other side affluent with the back drop of the city lights shining. Props were used on stage in order to create different areas/ rooms which was very affective throughout.
This show draws upon real emotion in all respects, captivating the audience at every moment. Along side some very dramatic scenes keeping the audience at the edge of their seats. There was laughter and tears all from such great talent and a strong connection from all actors involved. They were just superb. This is by far one of the best shows I have ever seen ending in a standing ovation.
CHICHESTER FESTIVAL THEATRE ANNOUNCES FESTIVAL 2020 SEASON
WORLD PREMIERES INCLUDING FIRST PLAYS BY STEVEN MOFFAT AND KATE MOSSE, AND NEW WORK BY SUHAYLA EL-BUSHRA AND CHRISTOPHER SHINN
50:50 PLAYWRIGHT GENDER BALANCE AND 60:40 FEMALE DIRECTORS TICKETS FROZEN AT 2019 PRICES CHICHESTER SPIEGELTENT RETURNS
Chichester Festival Theatre’s Festival 2020 has today been unveiled by Artistic Director Daniel Evans and Executive Director Kathy Bourne. Five world premieres: THE UNFRIEND by Steven Moffat, with Amanda Abbington, Frances Barber and Reece Shearsmith, directed by Mark Gatiss THE LONG SONG, a new adaptation by Suhayla El-Bushra based on Andrea Levy’s novel, directed by Charlotte Gwinner, with Cherrelle Skeete heading the cast THE TAXIDERMIST’S DAUGHTER by Kate Mosse, adapted from her novel, directed by Jonathan Munby THE NARCISSIST by Christopher Shinn, directed by Ola Ince A new adaptation of PINOCCHIO by Anna Ledwich
Two musicals: Daniel Evans directs Chichester’s first production of Rodgers and Hammerstein’s SOUTH PACIFIC with Gina Beck, Julian Ovenden, Joanna Ampil and Rob Houchen ASSASSINS by Stephen Sondheim and John Weidman, directed by Polly Findlay
Major revivals of great modern dramas: Jonathan Church directs Henry Goodman in Brecht’s THE LIFE OF GALILEO, translated by David Edgar Muriel Spark’s THE PRIME OF MISS JEAN BRODIE adapted by Jay Presson Allen, directed by Rachel Kavanaugh Richard Coyle and Lisa Dillon in Tom Stoppard’s THE REAL THING, directed by Simon Evans THE VILLAGE BIKE by Penelope Skinner, directed by Nicole Charles Sarah Kane’s CRAVE, directed by Tinuke Craig
Tickets held at 2019 prices; 20,000 tickets at £10 in the Festival Theatre and over 10,000 £5 PROLOGUE tickets for 16 – 25 year olds
Daniel Evans and Kathy Bourne said: ‘We are proud to have some of the UK’s most exciting artists working with us in Chichester in 2020. This year we’re achieving a 50:50 gender balance in our playwrights, and we’re thrilled to have five world premieres – which include first plays by Steven Moffat and Kate Mosse, and new work from Suhayla El-Bushra (based on Andrea Levy’s great novel), Anna Ledwich and Christopher Shinn. We’re reintroducing repertory for two productions this autumn, with Kate Mosse’s The Taxidermist’s Daughter alongside Stephen Sondheim and John Weidman’s Assassins in the Festival Theatre. Assassins also plays opposite Christopher Shinn’s The Narcissist in the Minerva: both shedding an entertaining and probing light on American politics and psyche, as the US approaches the presidential election.
‘We extend a warm welcome to our outstanding acting company; and to our directors (seven female and five male), whether they are returning – Nicole Charles, Tinuke Craig, Rachel Kavanaugh, Jonathan Munby, Dale Rooks and, of course, former Artistic Director Jonathan Church – or working at Chichester for the first time: Simon Evans, Polly Findlay, Mark Gatiss, Charlotte Gwinner and Ola Ince.
‘The birth of the Chichester Spiegeltent was an undoubted highlight of 2019, and we are delighted to be bringing it back this autumn. Whereas last year it housed an unforgettable production of Sing Yer Heart Out for the Lads, this year we’ll introduce Sarah Kane’s work to Chichester audiences with a new staging of Crave, before another eclectic season of music, cabaret and family entertainment, to be announced later in the year.
‘Finally, our extensive work in the local community continues to thrive, through innovative and creative programmes ranging from work with refugees and primary children to dementia friendly initiatives. This year CFT will also be reaching audiences across the globe. Sharon D. Clarke will recreate her Olivier Award-winning performance in Caroline, Or Change in New York; Laura Wade’s The Watsons will be in the West End; James Graham’s Quiz tours the UK this autumn; David Haig’s Pressure visits Toronto; and Singin’ in the Rain splashes down in London, Japan and on a UK tour.’
FESTIVAL 2020 PRODUCTIONS – APRIL TO OCTOBER
Henry Goodman in THE LIFE OF GALILEO by Bertolt Brecht Translated by David Edgar Directed by Jonathan Church 24 April – 16 May, Festival Theatre
Galileo Galilei is a teacher of mathematics at the University of Padua. The establishment orthodoxy – which he’s been teaching to private pupils for years – is that the sun revolves round the earth, which is the centre of the universe. The theory confirms the scriptures and pays the bills.
Now, with the help of a newly-invented telescope, Galileo is starting to look at the universe afresh. And the more he looks, the more he sees, including mountains on the moon and strange stars around Jupiter. His discoveries not only support the heretical idea that the earth moves round the sun, they give rise to urgent new questions too. What if the earth is just another star? And if the church is wrong about the heavens, might it be wrong about how things are here on earth?
Brilliant minds have been burnt alive for asking such questions. Because though this is the age of science and discovery, it is also the age of the Inquisition.
Bertolt Brecht revised his epic play about the battle between scientific reason, the power of religion, and human responsibility in response to the apocalyptic events of the middle of the twentieth century. David Edgar has revised and updated his translation for this production; his adaptations also include Nicholas Nickleby and The Master Builder, both seen at CFT.
Making welcome returns to Chichester are Director Jonathan Church, who was Artistic Director 2006–16; and Henry Goodman who plays the title role, following his appearances in Yes, Prime Minister (2010) and The Resistible Rise of Arturo Ui (2012/13).
The Life of Galileo will be designed by Simon Higlett, with lighting by Mark Henderson, music by Matthew Scott, sound by Paul Groothuis, video by Dick Straker, movement by Jenny Arnold, casting by Juliet Horsley and children’s casting by Verity Naughton.
Richard Coyle and Lisa Dillon in THE REAL THING by Tom Stoppard Directed by Simon Evans 7 May – 6 June, Minerva Theatre
Henry is a brilliantly clever playwright with a masterful grasp of language and a lot on his mind. His choices for Desert Island Discs, for a start.
His actress wife, Charlotte, is appearing in his latest play alongside their friend Max, who’s also married to an actress called Annie. Charlotte’s not convinced the part does her justice and she’s not afraid of saying so. Annie, meanwhile, is campaigning to free Brodie, a soldier who’s recently been jailed for setting fire to a wreath on the cenotaph. And Brodie isn’t Annie’s only interest…
In Henry’s world everyone is seduced by somebody or something. For some of the time at least. But are these passions more than surface deep? Are they the real thing?
An hilarious and heartfelt exploration of love and fidelity, The Real Thing is considered one of Tom Stoppard’s finest plays. His other award-winning works include modern classics Rosencrantz and GuildensternAre Dead and Arcadia.
Richard Coyle makes his Chichester debut as Henry. He recently starred in James Graham’s Ink (Almeida/West End), while his screen credits include Coupling, Covert Affairs and The Chilling Adventures of Sabrina.
Lisa Dillon returns to play Annie, following her roles as Beatrice and Rosaline in Much Ado About Nothing and Love’s Labour’s Lost (2016); her recent theatre includes Blithe Spirit (West End).
Director Simon Evans’s theatre credits include A Day in the Death of Joe Egg (West End), and The Resistible Rise of Arturo Ui and The Silence of the Sea (Donmar Warehouse).
The Real Thing will be designed by Grace Smart, with music and sound by Alex Baranowski and casting by Juliet Horsley.
THE PRIME OF MISS JEAN BRODIE by Jay Presson Allen Adapted from the novel by Muriel Spark Directed by Rachel Kavanaugh 29 May – 20 June, Festival Theatre
Edinburgh. Schoolmistress Jean Brodie prizes beauty, truth and art above the curriculum, reaching beyond the classroom to find lessons in galleries, theatres and the opera. For her favoured set of girls – Sandy, Jenny, Monica and Mary – she is a fascinating enigma.
And it’s not only twelve-year-olds who are drawn to the provocative Miss Brodie. There’s Gordon Lowther, the diffident music teacher, whom she visits every Sunday, and the raffish married art teacher, Teddy Lloyd.
But not everyone is an admirer. Brodie’s unconventional style challenges the established order at Marcia Blaine School, and a headmistress who doesn’t wish lessons to be taught in the open air and minds to be recklessly expanded.
As the girls grow up and innocence gives way to experience, trust turns to doubt about their teacher. Soon, being a woman and an iconoclast, in a turbulent political age, becomes downright dangerous.
Jay Presson Allen’s bold, searching and funny play, written in 1966, was adapted from the 1961 novel by Muriel Spark. A hit both in London and on Broadway, it successfully transferred to the screen in 1969
This new production is directed by Rachel Kavanaugh, whose many Chichester productions include Shadowlands (2019), The Winslow Boy (2018) and Half A Sixpence (2016).
It will be designed by Robert Jones, with lighting by Howard Harrison, music by Catherine Jayes, sound by Fergus O’Hare, movement by Georgina Lamb and casting by Charlotte Sutton.
THE VILLAGE BIKE by Penelope Skinner Directed by Nicole Charles 12 June – 4 July, Minerva Theatre
Becky and John have moved to a rural idyll. Their renovation is only half finished and the dodgy internal pipe-work is banging, but John loves the organic butchers and the fresh air.
His wife is less sure. Her body is changing. She’s frustrated. She has needs: startling and urgent longings and desires, which are not being satisfied by her husband, or her nosy neighbour, or the glorious countryside.
Thank goodness the local men-folk are friendly. Mike is a reliable plumber, and Oliver is the leading man of the local amateur players. He’s currently on stage in tight breeches as highwayman Dick Turpin. Both men are more than willing to help Becky settle in.
Oliver even has an old bike for sale. One he’s keen to give to restless Becky, and one she’s desperate to take for a ride. Soon the cottage plumbing is not the only thing causing disturbance deep in the English countryside.
The Village Bike spins the wheels off the old conventions around human desire. Hilarious and original, it explores impending motherhood and the need for liberation from social and gender conventions. Written by Penelope Skinner, it was a smash hit when it opened in London in 2011, winning George Devine and Evening Standard Awards.
Nicole Charles returns to Chichester to direct, following her five-star production of Sing Yer Heart Out for the Lads (2019); her other credits include Emilia (West End).
Becky is played by Esther Smith, whose television credits include Cuckoo, Uncle and the forthcoming Trying. Her short film Elephant was BAFTA-nominated; recent theatre includes Fairview (Young Vic).
Please note this play contains very strong language and scenes of a sexual nature. Recommended for ages 16+.
The Village Bike will be designed by Madeleine Girling, with lighting by Prema Mehta, sound by George Dennis and casting by Charlotte Sutton.
Gina Beck, Julian Ovenden, Joanna Ampil and Rob Houchen in SOUTH PACIFIC Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Oscar Hammerstein II and Joshua Logan Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by James A. Michener Directed by Daniel Evans 6 July – 29 August, Festival Theatre
On an archipelago in the South Pacific Ocean, US troops are kicking their heels amid the cacao groves while restlessly waiting for the war to reach them.
Nellie Forbush, a navy nurse from Arkansas, finds herself falling for the French plantation owner, Emile de Becque – a man with a mysterious past. The scheming sailor Luther Billis runs a makeshift laundry to earn a quick buck, but he’s no match for the Polynesian Bloody Mary who’s intent on exploiting these foreigners.
When young Princeton graduate Lieutenant Joe Cable is flown in on a dangerous reconnaissance mission, love and fear become entwined as the island’s battle for hearts and minds begins.
This much-loved, Tony and Pulitzer Prize-winning musical opened in 1949 to huge success, becoming one of Broadway’s longest running hit shows. It boasts one of Rodgers and Hammerstein’s most memorable scores, featuring songs such as Some Enchanted Evening, I’m Gonna Wash That Man Right Outa My Hair and Bali Ha’i.
This new production is directed by Artistic Director Daniel Evans whose previous Chichester productions include This Is My Family, Quiz and Fiddler on the Roof.
Making their Chichester debuts are Gina Beck (Matilda, Show Boat, Wicked, Phantom of the Opera) as Nellie, Julian Ovenden (Merrily We Roll Along, Grand Hotel, BBC Proms, Downton Abbey) as Emile, Joanna Ampil (Avenue Q, Les Misérables, Miss Saigon) as Bloody Mary, and Rob Houchen (Les Misérables, The Light in the Piazza) as Cable.
The set and costume designer is Peter McKintosh, and the choreographer and movement director, Ann Yee. Musical supervision is by Tom Murray, musical direction by Cat Beveridge, orchestrations by David Cullen, lighting design by Howard Harrison, sound design by Paul Groothuis and casting by Charlotte Sutton.
There will be a Dementia Friendly performance of South Pacific on 19 August at 2.30pm, welcoming individuals living with dementia, as well as their friends, families and carers.
Amanda Abbington, Frances Barber and Reece Shearsmith in THE UNFRIEND A new play by Steven Moffat Directed by Mark Gatiss 17 July – 22 August, Minerva Theatre
After twenty years of marriage, Peter and Debbie are enjoying a cruise as a break from their annoying teenagers. Peter can’t resist exchanging views on Donald Trump with an American fellow passenger. There’s something slightly unsettling about the eagerly friendly Elsa Jean Krakowski – but there’s no point in rocking the boat when you’re about to get off it.
Back home, an email arrives from Elsa, followed by Elsa herself. And when Debbie googles their house guest and turns up some hair-raising evidence, their good nature is challenged as never before. What kind of danger have they allowed to take up residence in their spare room? And can they bring themselves to say anything about it? Sometimes, the truth is just too impolite.
The Unfriend takes a hugely entertaining and satirical look at middle-class England’s disastrous instinct always to appear nice. Manners can be murder.
Steven Moffat is an award-winning writer, whose hit television series include Doctor Who, Sherlock and Dracula – the latter two co-written with the actor and writer Mark Gatiss, who makes his directorial debut.
Gatiss is also a member of the sketch comedy team The League of Gentlemen alongside Reece Shearsmith, who plays Peter. Last seen at Chichester in The Dresser, Reece’s recent work also includes Hangmen (Royal Court) and TV’s Inside No 9.
Amanda Abbington, whose credits include TV’s Sherlock and Mr Selfridge, and The Son in the West End, makes her Chichester debut as Debbie.
Frances Barber, last seen here in Uncle Vanya (1996) returns as Elsa; her extensive screen work includes Silk and Film Stars Don’t Die in Liverpool.
The Unfriend will be designed by Robert Jones, with lighting by Mark Henderson and casting by Charlotte Sutton.
Cherrelle Skeete in THE LONG SONG A new adaptation by Suhayla El-Bushra Based on the novel by Andrea Levy Directed by Charlotte Gwinner 28 August – 26 September, Minerva Theatre
‘You do not know me yet but I am the heroine of this drama. I am told that here I must give a taste of what is to unfold. I am to convey that this tale is set in Jamaica during the last turbulent days of slavery and the early years of freedom.
‘I was born a slave upon a sugar plantation named Amity. I was there when the Baptist War raged in 1831, and when slavery was declared no more. It tells of my mama Kitty, of the negroes enslaved, of Caroline Mortimer the woman who owned me. I am to say that it is a true and thrilling journey through that unsettled time.
‘Cha, I say, what fuss-fuss. Come, let them just see it for themselves.’
Miss July is born into slavery in Jamaica and is brutally parted from both her mother, and her name. But what she retains is resilience, charisma and a subversive, spirited wit. This ebullient and life-affirming play finds humanity, resistance and hope in the darkest of times.
The Long Song is adapted from Andrea Levy’s award-winning novel by Suhayla El-Bushra, formerly writer in residence at the National Theatre Studio and whose work includes The Suicide (NT), Arabian Nights (Lyceum, Edinburgh), and Channel 4’s Hollyoaks and Ackley Bridge.
Cherrelle Skeete plays July; her theatre credits include Fun Home (Young Vic), Harry Potter and the Cursed Child (West End) and Three Days in the Country (National Theatre), while screen work includes the forthcoming Hanna series 2.
The cast also includes Maggie Service, whose recent TV credits include Good Omens, Life and Quiz, as Caroline Mortimer.
Director Charlotte Gwinner was Associate Director at the Bush Theatre, Liverpool Everyman & Playhouse and Sheffield Theatres 2014-16, where her productions included Waiting for Godot, the Sarah Kane season and The Distance.
The production will be designed by Alex Lowde, with lighting by Mark Doubleday, musical direction, vocal arrangements and additional composition by Michael Henry, sound by Helen Skiera, video by Dick Straker, movement by Rachael Nanyonjo and casting by Charlotte Sutton with Chandra Ruegg.
THE TAXIDERMIST’S DAUGTHER Adapted for the stage by Kate Mosse A new play based on her novel Directed by Jonathan Munby Playing in repertoire, 12 September – 30 October, Festival Theatre
In the isolated Blackthorn House on Sussex’s Fishbourne Marshes, Connie Gifford lives with her father. His Museum of Avian Taxidermy was once legendary, but since its closure Gifford has become a broken man, taking refuge in the bottle
Robbed of her childhood memories by a mysterious accident, Connie is haunted by fitful glimpses of her past. A strange woman has been seen in the graveyard; and at Chichester’s Graylingwell Asylum, two female patients have, inexplicably, disappeared.
As a major storm hits the Sussex landscape, old wounds are about to be opened as one woman, intent on revenge, attempts to liberate another from the horrifying crimes of the past.
The Taxidermist’s Daughter is a thrilling Gothic mystery set in and around historic Chichester. This world premiere is written by Cicestrian Kate Mosse, based on her best-selling novel.
Kate Mosse’s novels include The Languedoc Trilogy (Labyrinth, Sepulchre and Citadel) and her new historical series, The Burning Chambers. She is Founder Director of the Women’s Prize for Fiction and Professor in Contemporary Fiction & Creative Writing at the University of Chichester.
Award-winning director Jonathan Munby returns to Chichester where his work includes King Lear with Ian McKellen (2017, also West End) and First Light (2016). His credits elsewhere include Frozen (West End) and Wendy and Peter Pan (RSC).
The Taxidermist’s Daughter will be designed by Jon Bausor, with lighting by Peter Mumford, sound by Christopher Shutt, movement by Charlotte Broom, fight direction by Kate Waters and casting by Juliet Horsley.
ASSASSINS Music and lyrics by Stephen Sondheim Book by John Weidman Directed by Polly Findlay Playing in repertoire, 29 September – 31 October, Festival Theatre
A surreal fairground attraction, where a motley crew of visitors gather to try their luck at winning prizes. They have one thing in common: the American dream has twisted their lives into an American nightmare. Each of them will take aim at the highest seat of power in the land.
Some succeed, some fail. But there’s a prize for them all: a place in the history books.
John Wilkes Booth. Lee Harvey Oswald. Leon Czolgosz. Lynette “Squeaky” Fromme. John Hinckley. Charles Guiteau. Sara Jane Moore. Giuseppe Zangara. Samuel Byck. Men and women whose fervour took them to the very edge.
Stephen Sondheim and John Weidman’s Tony Award-winning musical takes us on a daring, darkly comic, time-bending journey through American history.
This new production marks Sondheim’s 90th birthday year. A giant of contemporary musical theatre, celebrated for the inventive sophistication of his melodies and lyrics, his landmark works also include Company, Follies and Sweeney Todd, produced at Chichester in 2011. John Weidman’s Tony-award winning works include Contact as well two further collaborations with Sondheim, Road Show and Pacific Overtures.
Director Polly Findlay makes her CFT debut. Her recent productions include A Number (Bridge Theatre), Rutherford and Son, Beginning (NT and West End) and The Prime of Miss Jean Brodie (Donmar Warehouse).
The designer will be Lizzie Clachan, with casting by Charlotte Sutton.
THE NARCISSIST A new play by Christopher Shinn Directed by Ola Ince 2 – 24 October, Minerva Theatre
Everyone needs Jim. His mother. His best friend. His brother. His new lover. A hopeful future President.
But can Jim really help anyone, when he isn’t sure who he is any more, or what he actually believes? An expert in electoral strategy, he’s forged a successful career by advising politicians how to communicate with voters. But following a seismic shift in the political landscape, he’s disillusioned. And his marriage is in crisis. As he juggles the demands on his life through his smartphone, will the lure of success and fame prove irresistible?
The Narcissist is a gripping, inventive and witty take on personal and political communication in the internet age.
Christopher Shinn is a celebrated American playwright whose work has been produced to huge acclaim on both sides of the Atlantic. His first play, Four, premiered at the Royal Court in 1998 and, in 2008, his play Dying City was a finalist for the Pulitzer Prize for Drama.
Ola Ince directs. Winner of the 2016 Genesis Future Director Award, and currently Artistic Associate at the Royal Court, her credits include Appropriate (Donmar Warehouse) and The Convert (Young Vic).
Please note the play contains strong language; recommended for ages 14+.
The Narcissist was initially commissioned by Fictionhouse. The casting director is Amy Ball.
CRAVE by Sarah Kane Directed by Tinuke Craig 16 – 31 October, The Spiegeltent
In the darkness of a damaged world, four characters search for the light.
Angry, funny, defiant, kind and cruel, Crave is a deeply personal meditation on the meaning of love. It pulses with loss and longing.
Sarah Kane is considered to be one of the most influential playwrights of the 20th century. She came to prominence in 1995 with her seminal first play, Blasted. Over her short career she wrote five plays and a film. Crave premiered in August 1998 at the Traverse Theatre in Edinburgh. Today, her plays are performed around the world.
Crave will be staged in the Spiegeltent, which returns to Chichester following the success of 2019’s Sing Yer Heart Out for the Lads. It will be directed by Tinuke Craig, whose production of random/generations was a highlight of Festival 2018; since then, her work includes The Color Purple (Curve Leicester), Vassa (Almeida) and the forthcoming Jitney (Headlong/Leeds Playhouse).
Crave contains strong language; recommended for ages 16+.
It will be designed by Alex Lowde, with sound by Anna Clock and casting by Charlotte Sutton.
Chichester Festival Youth Theatre PINOCCHIO by Anna Ledwich From the original novel The Adventures of Pinocchio by Carlo Collodi Directed by Dale Rooks 12 – 31 December, Festival Theatre
Geppetto the boatmaker tosses aside a piece of wood; it’s only good for the fire. To his amazement, a voice answers him back. Geppetto picks up the wood and begins to carve – and a small wooden boy is revealed. A puppet, which he names Pinocchio.
And that’s when the mayhem begins. Pinocchio can’t stop getting into trouble, despite the best efforts of the Blue Fairy and the Cricket to keep him on track. His intentions may be good – he truly wants to go to school like real boys and girls – but the temptation to discover the wonders of the world and make his fortune keep getting in the way.
Pinocchio encounters a host of fascinating characters, from Punch and Judy to the wily Fox and Cat and the strange Sea Monster, as he journeys to Wonderland and the world beneath the sea. But he discovers that it isn’t easy hiding the truth – especially when your nose gets longer with every lie you tell…
Chichester Festival Youth Theatre present a brand new version of this classic tale, written especially for them by CFT’s Writer-in-Residence Anna Ledwich. Her previous work at Chichester includes The Butterfly Lion (2019), Crossing Lines (2019) and Beauty and the Beast (2018).
Director Dale Rooks, whose work at Chichester includes The Butterfly Lion, The Midnight Gang and Running Wild, will bring her trademark visual flair and gift for storytelling to this darkly magical reinvention.
The set will be designed by Simon Higlett, with costumes by Ryan Dawson Laight, lighting by James Whiteside, music by Tom Brady, sound by Gregory Clarke and movement by Lauren Grant.
Recommended for ages 7+. There will be a Relaxed performance of Pinocchio on 28 December at 4pm, and a Polish-translated performance on 21 December at 7pm.
FESTIVAL 2020 EVENTS A lively programme of talks and activities will complement Festival 2020. Highlights include interviews with Kate Mosse, Steven Moffat and Mark Gatiss; an evening of conversation and performance with David Suchet; writers Arifa Akbar, Sara Collins and Ade Solanke discussing Andrea Levy’s legacy; and a concert with Daniel Evans to celebrate Sondheim, Sunday in the Park with Daniel.
Free Pre- and Post-Show Discussions, with the director and cast members, are held for each production
THE SPIEGELTENT In October 2020 the Chichester Spiegeltent returns, situated next to the Festival Theatre on Oaklands Park. As well as housing Sarah Kane’s Crave, it will play host to an eclectic mix of cabaret, music, circus, theatre, comedy and family fun. The full programme will be announced later in the year at chichesterspiegeltent.com.
BOOKING INFORMATION Priority booking for Friends of Chichester Festival Theatre opens: Saturday 22 February (online and booking forms only) Tuesday 25 February (phone and in person)
Booking for Groups and Schools opens: Thursday 27 February
General booking opens: Saturday 29 February (online only) Tuesday 3 March (phone and in person)
cft.org.uk Box Office 01243 781312
Tickets from £10 and 20,000 tickets at £10
Prologue: £5 tickets for 16 – 25s Over 10,000 £5 tickets are available for 16 to 25 year-olds for all productions throughout Festival 2020; sign up for free at cft.org.uk/prologue. Members also have access to a range of exclusive events.
Festival 2020 sponsors The Life of Galileo is sponsored by Reynolds Fine Furniture The Real Thing is sponsored by Genesis Town Planning The Prime of Miss Jean Brodie is sponsored by Lancing College The Village Bike is sponsored by ITD Consultants South Pacific is sponsored by Noble Caledonia and R.L. Austen The Unfriend is sponsored by Jones & Tomlin The Long Song is sponsored by Ashling Park The Taxidermist’s Daughter is sponsored by Henry Adams and Seaward Assassins is sponsored by Oldham Seals Group The Narcissist is sponsored by Wiley Crave is sponsored by Genesis Town Planning Pinocchio is sponsored by Henry Adams and Mercer
THE RETURN OF TWO CLASSIC MUSICALS AT THE ALHAMBRA THEATRE IN AUTUMN 2020 FOOTLOOSE Monday 7 – Saturday 12 September 2020 Alhambra Theatre Tickets £41.50 – £18 BLOOD BROTHERS Tuesday 29 September – Saturday 3 October 2020 Alhambra Theatre Tickets £41.50 – £18 On sale NOW to Bradford Theatres Friends – and on general sale from Monday 17 February!
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.
FOOTLOOSE is back! Better than ever with the incredible Gareth Gates, following two critically acclaimed tours and a West End run! We are delighted that Footloose is coming back to the Alhambra Theatre in 2020.
Gareth Gates (ITV’s Pop Idol, Joseph and the Amazing Technicolour Dreamcoat, Les Miserables, Loserville, Legally Blonde) stars as loveable cowboy Willard with a ‘faultless’ (Manchester Evening News) performance.
Based on the 1980s film, Footloose sizzles with spirit, fun and the best in UK musical talent. With cutting edge modern choreography, you’ll enjoy classic 80s hits including Holding Out for a Hero, Almost Paradise, Let’s Hear It For The Boy and of course the unforgettable title track Footloose. Recommended age 12+
BLOOD BROTHERS, the legendary musical by Willy Russell, tells the captivating and moving tale of twins who, separated at birth, grow up on opposite sides of the tracks, only to meet again with fateful consequences.
Few musicals have received quite such acclaim as the multi-award winning Blood Brothers. Bill Kenwright’s production surpassed 10,000 performances in London’s West End, one of only three musicals ever to achieve that milestone. It has been affectionately christened the ‘Standing Ovation Musical’, as inevitably it ‘brings the audience cheering to its feet and roaring its approval’ (The Daily Mail).
The superb score includes Bright New Day, Marilyn Monroe and the emotionally charged hit Tell Me It’s Not True. Recommended age 12+
All shows on sale NOW to Bradford Theatres Friends and on general sale from Monday 17 February. Bradford Theatres Friends scheme prices start from just £15. For more details go to https://www.bradford-theatres.co.uk/friends
Showing at Yeadon Town Hall (where one always receives the warmest of welcomes) – Macbeth, directed by Eric Richard and uniquely performed by only three actors (Rob Goll, Louise Faulkner and Ryan Phillpot) was a most thrilling and delightfully well-crafted production. If ever there was a good example of pathetic fallacy, this week’s treacherous weather really did mirror the haunting madness that was staged inside this well-loved local community hub.
Raw and intense, The Dickens Theatre Company (DTCo), brought a refreshing take on one of ‘The Bard’s’ most popular tragedies. Seeing the intrinsically riveting play unfold, really does remind one that Shakespeare certainly knew how to pen a gripping tale and why it will never lose its appeal.
Right from the get go, strong moments captured and entranced the audience as the depraved Weird Sisters (one actress and two puppets) spouted cryptic babble, foreshadowing the disturbing events that were about to transpire. Through taunting heckles, the deranged ‘trio’ conveyed an essence of danger and unearthly passions.
Falling for the enchanting prophecies, Macbeth, our once ‘brave’ and ‘valiant’ warrior, through a skillful execution of character by Rob Goll, begins to transform into the psychotic paranoid murderer – who we all know is doomed after committing the dreadful deed of genocide.
Manipulating and encouraging our bedevilled fallen hero is Lady Macbeth, played by Louise Faulkner, who beguiles and seduces her husband through unscrupulous suggestions that she expresses with a direct and controlled calm. Lady Macbeth’s slithering manoeuvres of deep desires push Macbeth into a fatal journey of no return and one which can only promise death as it’s final destination. All three actors gave well timed and tuned dramatic portrayals of each and every character they played to a high standard. Every verse and soliloquy was delivered with crystal-clear diction and offered physically committed representations.
This Macbeth (adapted by Ryan Phillpott with music by Paul Higgs) is a sharp, neat and clever version as it had no scenery, just a few hand-made props and costumes – yet the smart direction reached the core and black heart of William Shakespeare’s ‘Scottish’ play. Amusing and witty, the narration and introduction of scenes from ‘The Porter’ made it perfect for schools and a younger audience to access. Ambition, greed, doom and downfall all centre in this marvelously mesmerising psychological study of one man’s debasement, due to his foolish meddling with supernatural evil forces.
