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Casting Directors honoured at the third CDG Casting Awards 

The UK’s top Casting Directors were honoured tonight, Tuesday 16 February 2021, at the third annual CDG Casting Awards presented by the Casting Directors’ Guild (CDG) in partnership with Spotlight. The Awards took place during an online ceremony, presented by actress Camille Cottin, to recognise and celebrate the artistry of casting across Film, TV, Theatre and Commercials. 

The winners of the 3^rd CDG Casting Awards are:  

• Leanne Flinn for Best Casting in a Commercial for Sport England This Girl Can – Me Again 
• Jessica Ronane for Best Casting in a Regional Theatre production for A Monster Calls (The Old Vic on tour). Casting Associate: Abby Galvin  
• Stuart Burt for Best Casting in Theatre (inside M25) for Cyrano de Bergerac (Playhouse Theatre)  
• Jessica Ronane for Best Casting in Musical Theatre for Girl from the North Country (Gielgud Theatre). Casting Associate: Abby Galvin 
• Louise Kiely and Karen Scully for Best Casting in a TV Drama Series for Normal People  
• Lauren Evans for Best Casting in a TV Comedy Series for Sex Education Series 2  
• Isabella Odoffin for Best Casting in an Independent Film for Blue Story  
• Sarah Crowe for Best Casting in a Film for The Personal History of David Copperfield. Casting Associate: Xanthe Spencer-Davidson   

Victor Jenkins, Chair of the Casting Director’s Guild commented: “It’s so exciting to be able to announce the winners for our 3^rd CDG Casting Awards. Like all walks of life, the entertainment industry is forging on under the most extraordinary circumstances. The nominations here reflect the wonderful work done pre and during the pandemic, and the theatre categories in particular are a salient reminder of the power and wonder of stage. Congratulations to the winners, and all our nominees.”   

Actress Camille Cottin presented these awards during an online ceremony. She said: “I have been so touched by the enthusiasm of the British casting community for Call My Agent and the way they have really made me feel welcome in the British industry. It was a pleasure to be able to host the awards and toast the special work they do.” 

Richard Wilson, CEO of Spotlight added: “We have always believed that the work of casting directors should be celebrated by our industry, which is why Spotlight is so proud to continue partnering with the CDG for their annual Awards. Huge congratulations to all the winners, nominees, and members of the CDG, who have continued to deliver such incredible work through one of the toughest years in memory for our industry.” 

The full list of nominees and winners is as follows:  

Best Casting in a Commercial 

WINNER: Leanne Flinn for Sport England This Girl Can – Me Again 

• Sasha Robertson for Amazon Alexa (Before Alexa)  
• Emma Stafford for Barnardos Believe in Me – Anxiety  
• Kharmel Cochrane and Martin Gibbons for Department of Education Every Lesson Shapes a Life 2 
• Emma Stafford for NHS We Are the Specialists  
• Sasha Robertson for Ovarian Cancer Action 

Leanne Flinn commented: “I am so delighted to have won a CDG award for best casting for the This Girl Can campaign. Even being nominated against other incredible casting directors is such an honour. Casting has only recently started to be recognised in the industry so when you win an award like this one it means so much. This Girl Can is a really rewarding campaign to have worked on. I was trusted to find inspiring and empowering women for the campaign that has encouraged nearly 3 million women to get more active since it began in 2015. I’ve worked on nearly all the campaigns since the start so thrilled to have won the CDG for commercial casting.” 

Best Casting in Regional Theatre (Outside of M25 includes straight Plays and Musicals) 

WINNER: Jessica Ronane for A Monster Calls (The Old Vic, on tour). Casting Associate: Abby Galvin  

• Matthew Dewsbury for King John/A Museum in Baghdad/The Whip (Royal Shakespeare Company)  
• Charlotte Sutton for Sing Yer Heart Out for the Lads (Chichester Festival Theatre, Spiegeltent)  
• Hannah Miller for The Boy in the Dress (Royal Shakespeare Company).Children’s Casting Directors: Hannah Miller and Barbara Roberts  
• Nadine Rennie for The Last King of Scotland (Sheffield Theatres)  

Jessica Ronane commented: “These shows have been career highs for me. Having been fortunate enough to work in-house at The Old Vic for the last six years I know that these productions are only made possible because of creative collaborations allowing for long developmental periods. Girl From The North Country cut to the core of human emotion. The beauty of the music combined with Conor McPherson’s story and characters transported us as only theatre can. Sally Cookson’s A Monster Calls retold Patrick Ness’s hit novel in a new and purely theatrical manner. Witnessing Sally’s imagination soar from auditions through to opening night was an enormous privilege and one I’ll never forget. I lived steps away from The Old Vic when I moved to London over 20 years ago from ballet school. I trained backstage and worked front of house. It is a precious and treasured ‘crown jewel’, loved by so many who now eagerly await the doors opening again.” 

Best Casting in Theatre (inside M25) – sponsored by Hamilton Hodell  

WINNER: Stuart Burt for Cyrano de Bergerac (Playhouse Theatre)  

• Jessica Ronane for A Very Expensive Poison (The Old Vic). Casting Associate: Christopher Worrall  
• Charlotte Sutton for Fairview (Young Vic)  
• Anna Cooper for Teenage Dick (Donmar Warehouse)  
• Isabella Odoffin for Three Sisters (National Theatre)  

Stuart Burt commented: “It’s thrilling for casting to be recognised and rewarded for the crucial and truly creative part it plays in the building of any production. Cyrano was a special project in many ways and I was honoured to play a part in its creation, be lucky enough to watch it as an audience member…so this really is the cherry on top!” 

Best Casting in Musical Theatre (inside M25) 

WINNER: Jessica Ronane for Girl from the North Country (Gielgud Theatre). Casting Associate: Abby Galvin 

• Stuart Burt for & Juliet (Shaftesbury Theatre) 
• Jill Green for Dear Evan Hansen (Noel Coward Theatre). Casting Associate: Amy Beadel, Casting Assistants: Heidi Lawry and Nicholas Hockaday  
• Paul Wooller and Felicity French for Mary Poppins (Prince Edward Theatre)  
• Jim Arnold for The Prince of Egypt (Dominion Theatre). Children’s Casting Director: Verity Naughton  

See quote from Jessica Ronane above (Winner of Best Casting in a Regional Theatre Award).  

Best Casting in a TV Drama Series – sponsored by Independent Talent Group 

WINNER: Louise Kiely and Karen Scully for Normal People (Hulu)  

• Shaheen Baig for Giri/Haji (BBC Two)  
• Kahleen Crawford and Dan Jackson for His Dark Materials (BBC One)  
• Kahleen Crawford for I Hate Suzie (Sky Atlantic)  
• Julie Harkin for I May Destroy You (BBC One). Casting Associate: Nathan Toth  

Louise Kiely and Karen Scully commented: “We are so honoured to win this CDG award. To be recognised by our colleagues who we admire so greatly is just the highest accolade. When we work on a project like NORMAL PEOPLE, we eat, sleep and drink the characters. We enjoy nothing more than imagining who is best to bring those treasured characters to life. When casting is complete, the mechanics of our work becomes beautifully invisible and we adore watching the actors work their magic on screen. We are thrilled and so very grateful.” 

Best Casting in a TV Comedy Series – sponsored by United Agents 

WINNER: Lauren Evans for Sex Education Series 2 (Netflix) 

• Tracey Gillham for Inside No 9 Series 5 (BBC Two)  
• Sarah Crowe for Motherland Series 2 (BBC Two)  
• Theo Park for Ted Lasso (Apple TV). Casting Associate: Olissa Rogers 
• Rachel Freck for Trying (Apple TV). Casting Associate: Cat Dickie, Child Casting Associate: Annelie Powell, Casting Assistant: Amy Jackson  

Lauren Evans commented: “I’m so proud to be involved in a production which champions inclusivity and upcoming talent. Particularly a show which so many take so much from. Casting plays such a major part in telling stories truthfully and authentically and I’m thrilled our place in the industry is finally getting recognised.” 

Best Casting in an Independent Film (under £3 million) – includes straight to TV – sponsored by Independent Talent Group 

WINNER: Isabella Odoffin for Blue Story 

• Shaheen Baig for Calm with Horses  
• Louise Kiely for Dating Amber   
• Kharmel Cochrane for Saint Maud   
• Dixie Chassay for Sulphur and White   

Isabella Odoffin commented: “Being part of something that had garnered so much buzz was and will always be an honour.  I met so many talented people who I might never have had the pleasure of crossing paths with on any other project. To not only see the intricacy of the craft becoming increasingly recognised, to also be able to celebrate with an award is such a warm feeling and very much testament to the magic that can happen when all creatives are operating on the same passion-fuelled vibrancy.” 

Best Casting in a Film (over £3 million) – includes straight to TV – sponsored by Eon Productions Limited 

WINNER: Sarah Crowe for The Personal History of David Copperfield. Casting Associate: Xanthe Spencer-Davidson   

• Jessica Ronane for Emma. Casting Associate: Christopher Worrall  
• Des Hamilton for Jojo Rabbit  
• Fiona Weir and Alice Searby for Judy. Casting Assistant: Sarah Wilson  
• Kharmel Cochrane for The Lighthouse  

Sarah Crowe commented: “I’m so honoured to be receiving this award for The Personal History of David Copperfield, it was quite literally my dream job. A favourite novel adapted with such style and wit by Armando Iannucci and with a brief that has quite possibly helped redefine the status quo in British film in terms of colour inclusive casting.  

The CDG have worked tirelessly to bring about change in our industry with the recognition of our work. I believe these awards not only shine a spotlight on what we do but will hopefully inspire a new generation to choose casting as a career.” 

The CDG Casting Awards are presented in partnership with Spotlight. The Awards are sponsored by Eon Productions, Hamilton Hodell, Independent Talent Group and United Agents. 

Chronic Insanity announce three shows in three months 

A trio of digital productions include an interactive show told over social media, an internet-wide treasure hunt and a real-life retelling of lockdown hit game Among Us

@CITheatre | chronicinsanity.wixsite.com/12in12

“Poetic, tense and gripping” «««« A Younger Theatre (on Myles Away)

Chronic Insanity is to host an ambitious digital programme with three new productions to be launched over the next three months. The digital-focused shows announced for February to May will showcase Chronic Insanity’s characteristically playful style as part of their 12 shows in 12 months project for 2021. Drawing on the unnerving and the unusual, the Nottingham-based company’s digital work plays with a host of different online platforms to tell stories about the digital worlds that are becoming increasingly important in our lives.

Kicking off the new digital season is Douglas Deans’ 24, 23, 22(available February 26^th), a gig-theatre production about what happens when you’re in the wrong place at the wrong time. Told through a variety of social media platforms, 24, 23, 22 is played out by two performers, with the audience put in charge of choosing who will perform.

From March 29^th, Flavour Textis an internet-wide narrative treasure hunt. Encouraging participants to actively piece together the story, Flavour Text takes audiences down a rabbit hole of lies as the story unfolds in reviews and comment sections across a variety of websites.

With a rise in online games over lockdown, including the hugely popular Among Us which divides friendship groups into crewmates and imposters, Joe Strickland’s There’s Something Among Us asks what happens when our video game actions have real-life repercussions. There’s Something Among Us tells a story through multiple video feeds to uncover the opening of old wounds and the revelation of unspoken truths against a backdrop of a seemingly harmless online game.   

Artistic Director Joe Strickland said, “In the same way that local theatres should tell local stories, I think digital theatre should focus on telling digital stories. This opens up so many untold stories to tell, audiences to reach, and opportunities for both creatives and audiences to make or experience theatre in innovative ways. This season for us is not only about telling those digital stories, but doing so on online platforms that make sense for those stories, all while exploring how many ways we can give audiences different options to experience the productions as possible. What happens if an audience can choose the cast of the show for themselves, experience stories over the timescale they want, or decide how much of the world of a story they want to dive into? We’re very excited to find out!”.

Led by Nat Henderson and Joe Strickland, Chronic Insanity use sustainable theatre making practices, record all performances in multiple digital formats, create new opportunities for other creatives to get their work on, and document the whole process for others to learn from. Joe Strickland combines experience as a theatre maker, magician, psychologist, and creative technologist to make original audiences experiences for traditional, found, and digital spaces.

Listings information

24, 23, 22 (Friday 26^th Feb until Fri 31^st Dec 2021)                                                       £10 (Concs £8)

A gig-theatre production about the impact people have on each other and what happens when you’re in the wrong place at the wrong time, told through a variety of social media platforms.One character moves forwards, through a seemingly normal day that takes a sudden twist, while another moves backwards, away from a life changing incident. Each character is played by two performers, with the audience being able to choose which performers perform the story for them, similar to the character selection function in some video games. This show contains strong language and references to mortality and sexual misconduct. This show will be available with captions and audio description.

Flavour Text (Monday 29^th March until Fri 31^st Dec 2021)                                                   £10 (Concs £8)

Flavour Text is the term used to describe the environmental storytelling that gives an audience extra insight into a fictional world. The written equivalent of a found footage film, Flavour Text is an internet wide, narrative treasure hunt. You find yourself looking for the number for your favourite takeaway online, when you realise that the restaurant has closed down suddenly. While looking for the reason, the audience falls into a rabbit hole of lies and deceit that they discover through review and comment sections across a variety of websites. Duration and content warnings TBC. The show will be available with audio description.

There’s Something Among Us (Monday 26^th April until Fri 31^st Dec 2021)                            £10 (Concs £8)

Games have the ability to bring us together, but also to push us apart. For every fun evening over a game of Jenga there’s a family torn apart by Monopoly. With a rise in online games over lockdown, like the popular game Among Us, a friendship group being broken apart by a game can now happen remotely. In Among Us, a player(s) is assigned the role of The Imposter and has to try and secretly murder the other players without being caught. But what if, when each avatar in the game is killed off, either by the imposter or the other players, something more immediate and serious happens to that player in real life, something the other players aren’t made aware of until it’s too late. There’s Something Among Us tells a story through multiple video feeds of the opening of old wounds, the revelation of spoken truths, and little colourful dudes killing each other on a space station. Duration and content warnings TBC. The show will be presented with captions and audio description.

These performances are supported using public funding by the National Lottery through Arts Council England.

Online from The Phoenix Arts Club

Friday’s at 7:30pm from 26^th February

The legendary Phoenix Arts Club are delighted to announce, ‘ONLINE from The Phoenix Arts Club’, a series of performances broadcast live in HD from the heart of London’s west end. Filmed from multiple angles using state-of-the-art technology and conducted under strict COVID guidelines, the shows will take place weekly on Fridays at 7.30pm from 26^th February 2021, featuring many cabaret, theatre and comedy favourites including Sarah-Louise Young, Dusty Limits, Ivy Paige, Ada Campe, and Stand Up 4 Comedy’s International Women’s’ Day fundraiser.

‘Online from The Phoenix Arts Club’ sees the organisation reach a landmark point, completing a year’s worth of digital and live activities since the start of the coronavirus pandemic, including the Lovie Award Nominated ‘Saturday Supershow’ weekly live show and the Christmas pantomime Alice in Streamingland. ‘Online from The Phoenix Arts Club’ will run weekly as the venue sets its sights on the road to reopening live performance venues, meeting a much-needed desire for high quality digital cabaret, theatre and comedy, and keeping its audiences connected.

Celebrating thirty years of entertaining entertainers, The Phoenix Arts Club is the west end’s multi-award-winning, independently owned and operated entertainment club. Secreted away down the same little side street used in the opening sequence of Harry Potter and tucked beneath The Phoenix Theatre lies The Phoenix Arts Club, the charming escape from the London norm. The lively and nostalgic Theatre Bar & Restaurant is located in the original dressing and rehearsal rooms of The Phoenix Theatre where Laurence Olivier made his debut on stage in the 1930s in “Private Lives” with Noel Coward and Gertrude Lawrence.

Colin Savage, Financial Director says:

“Well, theatres probably wouldn’t have dreamed of putting a show “online” a year ago, but look how we have changed since March last year.  It’s been an incredibly exciting time for the Phoenix Arts Club too – leading the way with live-streamed cabaret from artists’ homes once a week for the whole of the first lockdown; to the weekly multicamera streamed shows going out this March.  With the help of the Arts Council providing essential camera equipment, and with our growth in knowledge for doing this for last year, we can’t wait to bring our brilliant, diverse and talented artists to you once again, moving from streamed shows to live shows in the venue in, say, April. But, do you think live streaming will fade away? We don’t think so, so we will be providing ALL our weekly shows live and online from the middle of the year onwards!”

Online Season Information:

26^th February 7.30pm: Dusty Limits & Michael Roulston: 2020 Hindsight

2020 was obviously the worst year ever, but could we have seen it coming? It turns out, Dusty Limits and Michael Roulston did, they just didn’t realise it at the time. With a selection of songs from their back-catalogue, a mix of beauty, pathos and vicious satire, they will amuse, move and possibly startle you with their Cassandra-like powers.

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5^th March 7.30pm: Stand Up 4 Women with Sikisa & Special Guests

STAND UP 4 WOMEN IS BACK FOR INTERNATIONAL WOMEN’S DAY 2021 AND STILL MAKING AN IMPACT. An evening of stand up comedy showcasing some funny women and helping to create awareness about domestic abuse, raising funds for Solace Women’s Aid. The show features some of the best female talent on the comedy circuit all hosted by Sikisa. Featuring: Alison Spittle, Leila Navabi, Kemah Bob, Janine Hauroni, Njambi McGrath, Chloe Petts, Jadye Adams and Sikisa (host).

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12^th March 7.30pm: Ada Campe: Unexpectedly Cheerful

 Tall tales! Super songs! Mischievous magic! Join award-winning variety artiste Ada Campe for a live stream spectacular that will bring some much-needed cheer to your 2021. Ada is delighted to be joined for this show by pianist extraordinaire Sarah Bodalbhai and a very special virtual guest, comedian and ventriloquist Max Fulham.

Ada Campe is a real one-off, a one-woman celebration of a bygone golden era of decorous razzmatazz, yet still hugely relevant today. Winner of the New Act of the Year at the NATYS, the Leicester Square Theatre Old Comedian of the Year, and The Stand Comedy Club’s Good Egg Award. Best Variety Act Nominee at the Chortle Awards!

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19^th March 7.30pm: Sarah-Louise Young: Cabaret Whore

Brilliant musical character comedy packed with sparkling original songs, bitingly funny stories and lighting quick-changes. From tortured French chanteuse La Poule Plombée to washed-up lounge crooner Bernie St Clair, these fantastic character creations have delighted audiences around the globe from Edinburgh to London, New York to Berlin and at the prestigious Adelaide Cabaret Festival. Written and performed by Sarah-Louise Young with music by Michael Roulston.

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“Save A Seat” raises over £15,000 for Birmingham Repertory Theatre and Birmingham Royal Ballet 

This past festive season, audiences were asked to Save A Seat as part of a new fundraising campaign by Birmingham Repertory Theatre and Birmingham Royal Ballet. Today, both Birmingham cultural institutions are pleased to announce that over £15,000 in donations were raised thanks to the generosity of audiences and the incredible support of match-funders, global law firm DLA Piper in Birmingham.  

The fundraising initiative aimed to help cover the lost income from some of the seats left empty during the run of The Nutcracker at The REP after performances in front of socially-distanced live audiences were cancelled due to local tier restrictions. All proceeds will be split equally between The REP and Birmingham Royal Ballet. 

Audiences now have the opportunity to watch another extraordinary cast of Birmingham Royal Ballet dancers in The Nutcracker at The REP streaming online until 21 February. Tickets cost just £10 per household and can be purchased at brb.org.uk. 

Trevor Ivory, Birmingham Managing Partner at DLA Piper said; “Birmingham Repertory Theatre and Birmingham Royal Ballet are two of the city’s cultural crown jewels and we are extremely proud to have supported their Save A Seat campaign during a particularly difficult time for the arts. We encourage everyone to maintain their support for these ever-important institutions when possible and look forward to a time in the not-too-distant future when the curtain can rise once again.” 

Sean Foley, Artistic Director at The REP added; “2020 proved to be an unprecedented and extremely difficult year for theatres across the country, including here at The REP. However, in these challenging times, we have been overwhelmed by the incredible support of audiences and partners – including the fantastic response from supporters to our Save A Seat campaign and the generous match-funding from DLA Piper LLP. We very much look forward to a time in the not-too-distant future when we can welcome all of those who have helped us over the course of the year back to The REP.” 

Carlos Acosta, Director at Birmingham Royal Ballet added; “Birmingham Royal Ballet are so grateful for the incredible support from The Nutcracker at the REP audiences and to DLA Piper LLP for match funding the Save a Seat campaign. 2020 was a difficult year for Birmingham Royal Ballet and the arts industry, but the unwavering support from audiences has been a constant source of encouragement for the Company and we cannot wait to return to the stage as soon as we can!” 

The COVID-19 pandemic has resulted in many arts organisations being unable to open and perform in front of audiences for over seven months. Since March, over 80% of The REP’s income has come to an abrupt and unexpected halt, however, the theatre’s talented workforce has committed to finding inventive new ways of engaging a diverse spectrum of people and communities.   

The impact of the pandemic has also had a huge impact on Birmingham Royal Ballet. With so much uncertainty, it has proven difficult for the company to confirm plans and performances or to deliver its outstanding and life changing education work to the thousands of young people across Birmingham who would ordinarily benefit from this. 

Burn Bright roars in the face of injustice with
new creative opportunities
Connect: Wednesday 17th February & Wednesday 3rd March, 8pm
Hear Me Roar: Monday 22nd March, 8pm

Burn Bright have created and commissioned a unique live event to mark the anniversary of lockdown-living. Hear Me Roar is a new online experience that offers writers a chance to say the unsaid: it will showcase premiere performances alongside an interview with inspirational writer Morgan Lloyd Malcolm (Emilia, The Globe & West End). Hear Me Roar will be broadcast via Zoom on Monday 22nd March at 8pm.

Using fury as a force for positive change, Hear Me Roar shouts in the face of social injustice and champions women facing adversity. Tying in with the looming lockdown anniversary, it is a chance to come together and reflect on the highs and lows of the previous year. The event will feature seven powerhouse new plays, written and performed by Chantelle Dusette (Where de Mangoes Grow, Bunker Theatre), Gail Egbeson (Jollof Court, VAULT Festival), Sophie Galustian (Comedy: SKETCH, Soho Theatre), Tiwa Lade (RUSH, The Space), Lauren-Nicole Mayes (Coronation Street, ITV), Anna Morris (Lee and Dean, Channel 4) and Pegeen Murphy (Dreams For Our Daughters, Royal Exchange Theatre), and will be hosted by Burn Bright co-founder Tori Allen-Martin. Inspired by the company’s conception through injustice, this unmissable event exemplifies the company’s commitment to platforming new voices and opening discussions.

Tori Allen-Martin comments, So often women feel silenced, we look back at situations and wish we’d stuck up for ourselves. We’ve been conditioned to be polite, to be ‘sorry’, to doubt ourselves. With Hear Me Roar, we have created a safe space for women to say whatever it is that burns inside of them right now. Sarah and I felt so supported when we went public about our experience and so many women shared similar experiences they’d had, it showed us that we weren’t alone. I’m so excited about our brilliant line up – there are so many women ready to roar and we are ready to listen.

Burn Bright are also thrilled to continue their Connect initiative, once again bringing together a series of online talks and networking opportunities. The first peer networking event in the new programme successfully kicked off February, hosted by playwright Dawn King (Foxfinder). The upcoming instalments will focus on dramaturgy and programming during the pandemic, respectively, with esteemed panelists including playwright Katie Bonna (Dirty Great Love Story), and Artistic Directors, Tamara Harvey from Theatr Clwyd, and Traverse Theatre’s Gareth Nicholls. Aiding the personal and professional creative development for participants, the programme is an invaluable tool to connect likeminded individuals.

In 2021 Burn Bright remains committed to creating new opportunities for aspiring writers who identify as women. Alongside the digital showcases and Connect series, their Time Bank continues to operate, providing free mentorship and feedback from industry professionals. Cofounder Tori Allen-Martin is also taking to the airwaves with a brand new Burn Bright podcast where fantastic guests will share their insights into the industry, the art and the work. The first episode is available now on all streaming platforms, featuring fellow co-founder Sarah Henley. Upcoming interviews include Morgan Lloyd Malcolm and Anna Jordan (Bruntwood Prize winning Yen, Royal Court).

The full line up of events are as follows:

‘What Do Dramaturgs Do?’
Wednesday 17th February, 8pm
Tori is joined by writer Katie Bonna (Dirty Great Love Story, West End; All the Things I Lied About, UK Tour), dramaturg Sarah Dickenson (LAMDA, RSC, Globe, LAMDA) and Anastasia Osei-Kuffour (Associate Director Theatre503, Typical – Soho Theatre) to discuss what dramaturgy is and how a dramaturg can help you develop your work from concept to staged production.

‘Commissioning during Covid, Programming in a Pandemic: The Future for New Writing’
Wednesday 3rd March, 8pm
How are theatres programming in 2021 and what is the future for new writing in the UK
following the COVID-19 pandemic? Artistic Directors, including Tamara Harvey (Theatr Clwyd) and Gareth Nicholls (Traverse Theatre) discuss their plans and outlook for this year and beyond.

Hear Me Roar – hosted by Tori Allen-Martin
Wednesday 22nd March, 8pm
Roaring at things that make us angry in society – join a cathartic evening of new writing,
performance and an interview with acclaimed playwright Morgan Lloyd Malcolm (Emilia, The Globe & West End). A reflection on recent times, a meditation on wounds that need healing or just burn the whole house down!

FARRAH STORR APPOINTED TO NATIONAL THEATRE BOARD 

Sir Damon Buffini, Chair of the Board of the National Theatre, announced today that Farrah Storr is to join the NT Board.  

Farrah Storr is an award winning Editor-in-Chief of fashion, style and luxury brand ELLE UK. She was previously Editor-in-Chief of Cosmopolitan, which led the magazine to become the best-selling young women’s title in the UK. Prior to Cosmopolitan, Farrah was the launch Editor of Women’s Health, where under her leadership it became the most successful women’s magazine launch of the decade. Farrah is a board member for the UK Government’s Social Mobility Commission and is the author of The Discomfort Zone which looks at how challenge and change can unlock creativity and human potential. 

Speaking about Farrah’s appointment Damon said: “I am delighted to be welcoming Farrah to the National Theatre Board. As a journalist and writer, she is an incredibly creative individual who understands the importance of compelling storytelling. The experience she has gained through her work in social mobility will be hugely valuable to the NT as we continue our mission to create work with and for communities from all backgrounds, right across the UK. As the NT continues to expand and develop its digital output Farrah’s insight in how to reach and engage new audiences will also be extremely helpful. I’m excited to welcome her as part of the team.” 

Farrah Storr added: ‘The National Theatre has always celebrated the very best of British creative talent and I’m therefore delighted to be joining the board at this exciting and crucial time. I hope that my background as a journalist, editor and social mobility commissioner will help further support the incredible job the National does.’   

Farrah Storr 

Farrah Storr is a multi-award-winning editor and journalist. She is the current Editor-in-Chief of ELLE UK, as well as having formerly edited Cosmopolitan and Women’s Health magazine, which she launched in 2012. Most recently, Farrah was cited as one of the UK’s most influential Asians in the GG2 Power List, as well as one of Walpole Luxury’s 50 most influential people in British luxury. She is also cited as one of the only 36 BAME people on the Guardian’s list of the 1,000 most powerful people in Britain. She is the author of The Discomfort Zone (Piatkus) and a member of the Social Mobility Commission. 

Live streamed from Applecart Arts – 15 to 17 February 2021 – book via https://applecartarts.com/

3***

Reviewed by Claire Roderick

Lorna Wells’ semi-autobiographical play about living with an invisible chronic illness (ICI) is both a sobering reminder of the lack of understanding of these conditions and an uplifting celebration of the human spirit.

Over 4 emotional days, Liberty Jones (Corinne Walker) waits for, receives and deals with the aftermath of the long-awaited diagnosis of her illness. Amongst the dramas of her relationships with her mother Alberta and boyfriend Preston, the one constant comfort to Liberty is Bob – her cello. But as the effects of her symptoms get worse, she is losing her ability to play and has had to give up her life as principal cellist in a prestigious orchestra.

Wells’ account of the years of increasingly debilitating symptoms, and their effects on Liberty’s life and relationships, and the exploration of Alberta’s and Preston’s feelings and fears about Liberty’s future are searingly honest. Wells and director Aisling Gallagher manage to squeeze every single factor that Liberty must struggle against in one scene where Liberty meets the consultant for her diagnosis and must endure her smiling casual racism. Her mother’s attitude and their relationship are finally explained after subtle hints throughout the play, and we leave Liberty knowing that her illness will never be cured, but with hope for her future.

Meera Priyanka Raja plays the cello onstage demonstrating exactly what Liberty is losing, and Corinne Walker portrays each character brilliantly with a wonderful eye for detail, keeping you glued to the screen throughout. Alberta seems a little caricatured and OTT at first, but as the play progresses, you begin to understand that she is also pretending to be well and overcompensating. Transitions between characters are mostly smooth and enjoyable, and there is a lovely vocal introduction to each day. The inclusion of quotes from ICI sufferers about their daily struggles and the obstacles they face is a bittersweet touch, echoing and expanding the words of the play’s characters.

Illusions of Liberty darkly funny and moving story reminds us that society hasn’t really moved on from the days of “Yuppie flu” in our understanding and sympathy for those with invisible illnesses. With a percentage of proceeds being divided between ME Association, Lupus UK and Ehlers-Danlos Support UK, this heartfelt production is well worth a look.

SISTER ACT THE MUSICAL

AT LONDON’S EVENTIM APOLLO

POSTPONED UNTIL JULY 2022

Due to the current and ongoing pandemic restrictions and the knock-on effect this has had to the international production’s schedule, Jamie Wilson and Whoopi Goldberg, the producers of Sister Act The Musical, have sadly come to the decision that it is impossible to open the show in London this summer and have postponed performances at the Eventim Apollo until 2022. The new dates for the production in London are 19 July 2022 – 28 August 2022.

This necessary change of date now means that Whoopi Goldberg will no longer be able to appear in the role of Deloris Van Cartier.

Goldberg says, “SISTER ACT is near and dear to my heart and I’m disappointed that I will be unable to perform in this production under the circumstances.  However, my producing partners and I will continue to work towards mounting a fantastic production, with an amazing new cast and we look forward to presenting it when it can be done safely for everyone onstage, behind the scenes and in the audience.”

Producer Jamie Wilson says “This new version of Sister Act The Musical has been in development for several years now and both Whoopi and I are committed to launching this celebratory, joyous and life affirming production with audiences in the UK. We can’t wait for everyone involved in the show to get back to doing what they love. We are now in the process of putting together a star-studded cast and will be able to share this news with you soon. We look forward to us all supporting and celebrating theatre when we return to the stage. It will be worth the wait”.

Casting for the role of Deloris Van Cartier and all other roles for the London performances of Sister Act in 2022, together with an announcement in regards to the UK tour of the show along with casting for the UK tour, will be made soon.

All patrons who have booked for Sister Act at London’s Eventim Apollo will be contacted directly by their point of sale/ticket provider shortly and do not need to contact the Box Office directly themselves. All existing ticket holders have been moved in to the same seats for equivalent performances by day of week for the 2022 run, with the option for a refund for patrons who would prefer this.

CATHERINE MALLYON, EXECUTIVE DIRECTOR – ROYAL SHAKESPEARE COMPANY

LEADING THEATRE NAMES HOPEFUL FOR OUTDOOR SPRING CONCERTS AND THEATRE

THINK TANK ‘OUT TO PERFORM’ AND THE COALITION FOR OPEN AIR THEATRE

DELIVER OPEN LETTER TO SECRETARY OF STATE

REQUEST TO ALLOW NATION TO ALLOW SOCIALLY-DISTANCED OUTDOOR

CONCERTS AND THEATRE SHOWS TO SPEARHEAD THE UK’S POST-LOCKDOWN CULTURAL REVIVAL

AT THE EARLIEST OPPORTUNITY

ANNILESE MISKIMMON, ARTISTIC DIRECTOR                – ENGLISH NATIONAL OPERA

NEIL CONSTABLE – CHIEF EXECUTIVE – SHAKESPEARE’S GLOBE

OLIVER MEARS              – DIRECTOR OF OPERA – ROYAL OPERA HOUSE

MICHELLE CAWARDINE-PALMER – EXECUTIVE DIRECTOR – KNEEHIGH

ALONG WITH 60 OTHER NAMES FROM ARTS COUNCIL FUNDED ORGANISATIONS WITH £100M TURNOVER TO MICRO-SCALE PRODUCERS JOIN THE CALL

As the nation waits anxiously for the forthcoming lockdown-exit announcement on the 22^nd February, think tank OUT TO PERFORM and the COALITION FOR OPEN AIR THEATRE delivered a letter on Friday to the Secretary of State Oliver Dowden making a request on behalf of performing arts of all kinds, to allow the outdoor performing arts to spearhead the sector’s return at the earliest opportunity, due to the inherently Covid-safer environment of the rapid dispersal of aerosols outside.

Last year’s decision to allow live outdoor performance to restart on 11^th July, followed the Coalition for Open Air Theatre’s recommendations. Out to Perform estimates the impact of this decision allowed 500k people able to experience the joy of attending small-scale live performances last year, generating c. £7m in revenue.

The government’s policies also enabled outdoor carol singing in England to take place after 2^nd December following Out To Perform’s Save Carol Singing campaign giving an estimated 100k people the pleasure of singing together safely for the first time since March.

The collective has requested that as the government continues to manage the difficult balance of unlocking of the economy whilst protecting public health, it should consider allowing the segment of the performing arts with the lowest Covid risks to lead the national cultural revival and reopen after lockdown ends.

Whilst the public narrative focuses on the big-ticket outdoor summer festivals, which are unlikely to operate this year due to their scale, style and long lead-times, OTP and COAT believe that focusing on smaller scale and more local outdoor events can more than fill their place, kickstarting the cultural renaissance of the UK.

THE BENEFITS

The collective says that this would:

·         Be an economically-valuable and mentally-uplifting element of the British staycation 2021

·         Be an international showcase for how life can get closer to normality, in advance of the G7 summit;

·         Help sustain the workforce, build audiences and cultural momentum in the lead up to indoor entertainment’s re-opening later in 2021 and FestivalUK*2022.

They also asked the government to consider how ‘outside’ doesn’t just mean summer. Case studies from Out To Perform, The Minack Theatre and data from Indigo Audience research suggests people are more prepared to attend outdoor performances in all seasons and weather than in previous years due to cultural starvation.

WHAT WOULD SPRING PERFORMANCES LOOK LIKE?

The signatories to the letter, who have amassed vast experience in being able to apply rigorous Covid-prevention protocols, are hopeful that they can provide the government with advice and support, which leads to setting out a roadmap which will lead to earlier national revival of performing arts, by focusing on the part of the sector most easy to make safe. To that end it hopes that the government will consider events that are initially:

·         Outdoors: where the air is Covid-safer

·         Local: where audiences will, initially, be primarily from the local area

·         Small-scale: under c.500 people

·         Controlled seating: where social distancing can be much more easily managed between bubbles

Stuart Barr, Founder/CEO, Out To Perform and past musical director for Dame Shirley Basseysaid: “We believe this is the earliest safe route for the nation to enjoy the uplift that only live entertainment can bring, as well as supporting jobs across the country. Covid is a terrible disease, and the government is right to do everything it can to reduce risk of serious illness. But DCMS guidance already states that outdoor performances are much safer than indoors due to the quick dispersal of aerosols.”

Zoe Curnow, Executive Director, The Minack Theatre said: “We are optimistic that, as long as events comply with protocols such as the well-established social distancing measures, the government will consider allowing the legion of experienced arts professionals to begin preparing for outdoor performances to resume.”

Adam Nichols, Artistic Director, OVO and The Maltings Theatre, St Albans said: “Following our successful campaign to get open air theatres reopened in 2020, the Coalition for Open Air Theatre is encouraged by recent indications that the government may consider ensuring their roadmap for coming out of lockdown allows for open air live performance to restart at the earliest safe date. We look forward to engaging in ongoing dialogue with the DCMS to make this a reality.”

ORANGE TREE THEATRE’S ANNUAL EDUCATION PROJECT SHAKESPEARE UP CLOSE TO BE PRESENTED ONLINE –

WITH PRODUCTIONS OF ROMEO AND JULIET AND MACBETH

Orange Tree Theatre today announce that their annual education project Shakespeare Up Close, which offers secondary school students the opportunity to see Shakespeare’s plays performed, will go ahead this year, taking place online with new abridged productions of Romeo and Juliet and Macbeth made available to schools digitally. The project marks the first Orange Tree Theatre productions in almost a year.

Bec Martin, Education & Participation Director said today, “I am so thrilled to be directing the Orange Tree’s first production in nearly a year. And I am even more thrilled that this production is for young people. Participation and Engagement is becoming even more vital as we reckon with a world without live theatre. The events of the last year have disproportionally affected our young people and it feels significant that while we can’t offer this production in person as we would normally, we are able to provide an accessible and engaging production in a digital medium.”

Paul Miller, Artistic Director, also commented “Education and Participation has long been at the centre of the OT’s work, and not being able to connect with the more than 10,000 young people that we regularly engage with has been agonising. So I am delighted that Bec Martin’s brilliantly imaginative new versions of two plays at the heart of the curriculum will be made available to schools, to GCSE students and more widely too. It’s the start of the OT’s return to making work, and it couldn’t be more fitting that this is where we begin: I can’t wait.”

Bec Martin directs Zena Carswell, Cat Kolubayev, Enoch Lwanga, Jordan Turner and Jazmine Wilkinson in both productions. All rehearsals and filming will be conducted in a Covid secure environment in line with current government guidelines.

Both productions feature design by Jessica Staton, lighting design by Chris McDonnell, sound design by Nicola Chang and movement by Laura Dredger.

Bec Martin has beenEducation & Participation Director of the Orange Tree since January 2020. She has been a producer, director, actor and co-founder of award-winning Australian theatre company pantsguys Productions. She was previously Participation Manager at the Arcola Theatre and Head of Theatre and Performance at VAULT Festival. As a director, she has directed for Arcola Theatre, Southwark Playhouse, RSC Education, The Shakespeare Institute, independently and internationally. She trained at Actors Centre Australia and the National Institute of Dramatic Art, and has a Masters in Shakespeare Studies from the Shakespeare Institute. She has taught in the UK, Australia, Ireland and the USA.

Zena Carswell’s theatre credits includePericles (Gatehouse Theatre, Zamek Valtice), Macbeth (Young Shakespeare Company), The Importance of Being Earnest (Immersion Theatre), I Know You of Old, A Midsummer Night’s Dream (RSC), Tomorrow Creeps, Butter, There’s a Monster in the Lake (VAULT Festival), Othello (The English Theatre of Hamburg), Painting (White Bear Theatre), Romeo and Juliet, A Midsummer Night’s Dream, Henry V (Merely Theatre), After All This, Paved with Gold, Are We Okay? (Ovalhouse), Conflict Tourism (Baron’s Court Theatre), The Colouring Book (Bush Theatre), Walking (The Space), and A Cairo Classroom (Etcetera Theatre). 

Cat Kolubayev’s theatre credits include The Pitmen Painters (New Vic Theatre), Read My Lips (Colony Theatre LA, Jerry Orback Theatre NY), The Duchess of Malfi (Shakespeare’s Globe), and Dracula (Lion and Unicorn Theatre). For television, her credits include The Last Kingdom and Downton Abbey. 

Enoch Lwanga’s previous credits for the Orange Tree Theatre include The Merchant of Venice as part of Primary Shakespeare. Other theatre credits include How We Love (Vaults Festival, Airlock Theatre), Philip Pullman’s Grimm Tales, Othello (Unicorn Theatre), and Tomorrow I’ll Be Twenty (Complicite). 

Jordan Turner’s theatre credits include Emily Brown and the Thing, Alfie White: Space Explorer (Tall Stories), We’re Going on a Bear Hunt (Lyric Theatre), 12 Million Volts, The Mission (The Outbound Project), Now You See Me, Now You Don’t (Immediate Theatre). The Selfish Giant (Arcola Theatre) and Animal Farm (Tree Folk Theatre).
 

Jazmine Wilkinson’s theatre credits include The Border (Theatre Centre, UK tour), Shakespeare In Love (Theatre Royal Bath, UK tour), Gilgamesh (White Bear Theatre), Shadow Games (UK tour), Christmas at Kew (The Walking Theatre Company), and Threeway (Edinburgh Festival Fringe). For television, her credits include Surprise Surprise.

How to access: both productions will be available online through orangetreetheatre.co.uk to schools to watch by purchasing for a one-off fee from late March. A public performance will be made available at a later date.