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THE APOLOGISTS

3 – 8 March 2020 at Omnibus Theatre

Three stories exploring the act of public apology in the face of scandal.

By Iskandar Sharazuddin, Cordelia O’Neill and Lucinda Burnett.

A Secretary of State for Health and Social Care makes a racist comment to her attending doctor when her child is rushed into hospital; a prominent travel writer is held responsible for a suicide after a scathing review; an employee of an aid organisation demands the recompense she truly needs from the CEO after a disingenuous public apology.

The Apologists presents three topical stories which combined provide a powerful examination of the meaning of the act of apology, the complex power play at work between the giver and the receiver of an apology, and whether we are responsible for the context of our actions. Each solo story focuses on a female character, a high-profile woman, and the issues raised also shine a light on gender inequality and social justice.

The show was first piloted at the 2019 VAULT Festival and received critical acclaim and now returns to London for six nights. Performed by critically acclaimed Australian actress, Gabrielle Scawthorn (The Doctor Blake Mysteries, The Killing Fields, Village Bike) and directed by Jane Moriarty (RSC, The National, Shakespeare’s Globe). Both collaborated on the show’s development with writers Iskandar Sharazuddin (Punchdrunk, The Royal Court), Lucinda Burnett (Paines Plough) and Cordelia O’Neill (HighTide Festival).

Gabrielle Scawthorn says: “In many ways, the public apology is the ultimate act of solo performance. We see so many acts of public apologies these days. You only have to read or hear the news to find public apology, or in some cases non-apology, all the time. Prince Andrew, The Pope, Justin Timberlake. We are constantly deconstructing the authenticity of this act, the way one might deconstruct a piece of theatre. This show will be a really challenging triptych of monologues that asks a lot of questions.”

Jane Moriarty adds: “There are so many questions around the act of apology that are really ripe for drama. Who is the beneficiary of an apology? What does it change? What makes an apology successful? The pieces really delve into the complex power play that is at work between the giver and the receiver of an apology, and whether we are responsible for the context of our actions.”

The Apologists is a predominantly female-led production showcasing the work of a female working-class performer, a female director and two female playwrights, as well as the work of a South-East Asian Muslim writer to a wider audience.

Broadway World UK

“Gabrielle Scawthorn is magnificent”

Lyn Gardner

⭐⭐⭐⭐

“A vivid portrayl of emotional struggle in the face of public shame”

The Upcoming

“An hour of exceptionally high quality drama”

The Plays The Thing

Creative team

Writers and their stories

Iskandar Sharazuddin ACT 1 – Excuses

Cordelia O’Neill ACT 2 – Seven, The Sweetest Hour

Lucinda Burnett ACT 3 – New Universe

Cast Gabrielle Scawthorn

Director Jane Moriarty

Lighting Designer Saul Valiunas

Composer Robert Tripolino

Omnibus Theatre, London Mar 3 – 8, 7.30pm

£13 / £11 Concessions

www.omnibus-clapham.org or 0207 498 4699

Link: https://www.omnibus-clapham.org/the-apologists/

Too Pretty To Punch

UK Tour, February – May 2020

Edalia Day’s Too Pretty To Punch is a comedy spoken word show about gender, the media and not fitting any of the boxes, full of explosive movement, original songs and kickass video projection. They are a banjo wielding, poetry slam winning, trans warrior, taking on the world one troll at a time. Too Pretty To Punch is a hilarious and uplifting journey through what it means to be trans in 21st century Britain. It reminds all of us (regardless of who we are) of the power of celebrating our existence.

★★★★★ “a magnificent tapestry of gender expectations…a digital masterpiece” Feminist Fringe

With the growth of social media, trans people all over the world are connecting – however, there’s a huge gap in people’s understanding about the issues being talked about. In this show, Edalia plays several characters, leading the audience through a mixture of comic and serious situations. They say: “I grew up in a town where if you’re trans you don’t speak up. You keep your head down and you keep out of sight. I wrote this show for places like that, where even just being visible is an act of rebellion.”

“Head-spinning, joyful, painful, funny. It’s a blast from and to the heart” Chris Thorpe

Too Pretty To Punch is a hilarious, inspiring and uplifting 60 minute journey through everything you need to know about what it means to be trans in 21st century Britain that reminds all of us (regardless of who we are) of the power of celebrating our existence.

Edalia is a transgender/non-binary spoken word artist, animator and theatre maker based in Norwich. Trained at Lecoq and Alra, their theatre is visually stunning, with physical comedy and a child like sense of play at the heart of everything they make

★★★★★ “Too Pretty to Punch is the rare queer show that I have no qualms recommending to anyone. Everyone should see this show” Broadway Baby

The first UK Tour of Friends The Musical Parody is coming to Tyne Theatre and Opera House

Sunday 1st November 2020

The New York and Las Vegas hit musical, Friends! The Musical Parody, is coming to Tyne Theatre & Opera House on Sunday 1st November 2020.

Following huge success in the US, Friends! The Musical Parody will be going on tour for the first time in the UK and Ireland.

This hilarious musical lovingly lampoons the hit TV sitcom which became a cultural institution with millions of fans across the globe.

Like the original television series, it follows the lives of six wacky 20-somethings and goes back in time to celebrate and poke fun at some of their most iconic moments as they navigate the pitfalls of work, life, and love in 1990’s Manhattan.

Led by a talented cast who nail the quirks, the mannerisms and the catchphrases of the TV Show characters. Ross, Chandler, Monica, Phoebe, Joey and Rachel, haven’t gone anywhere and are singing and dancing their way back into our hearts in a delightful musical parody that harnesses the nostalgia for the iconic TV show and takes it to hilarious new places.

Theatre Director Joanne Johnson said “We’re very excited to welcome the first UK tour of Friends – The Musical Parody onto our stage. It’s had huge success in America and the TV series still is a huge phenomenon to this day. Fans of the TV show won’t want to miss out on this.”

Tickets are priced: £30.50

Tickets on sale now at www.tynetheatreandoperahouse.uk

The York Dungeon has seen a staggering 5000,000 visitors pass through its doors since 1986.  Denise Pitts was the one to hit the jackpot when she took her mother Jeanette on a visit to York for her birthday celebrations.  Their visit to the Dungeon certainly made that day extra special.  They were given VIP treatment including coffee and cake while they waited for their tour to begin, free pictures and goody bags.

“The experience was great. We loved that the show was informative with a dash of terror and a hint of humour; also some unexpected surprises along the way! Thoroughly enjoyable. Jeanette was put into a cage for pleading insanity when accused of naked dancing and she found this absolutely hilarious. The actors were great and really got into their characters. We would highly recommend this attraction when visiting York and would like to thank everyone for making us feel so special.” Says Denise.

“The York Dungeon has been a MUST SEE since opening in 1986 and over the past 34 years we have welcomed, scared and provided amazing immersive experiences to 5 million visitors. This is a significant milestone in the history of the York Dungeon and it was great to surprise Denise and Jeanette as the visitors that hit the milestone; particularly with the help of Town Crier Ben Fry. 2020 is another exciting year for The York Dungeon with a new shows for February Half Term – ‘War of the Roses: The Bloody Battle’, Guy Fawkes in May and Séance in October for Halloween. “ says Dungeon Manager Stuart Jarman

Darlington Hippodrome – until Sunday 26 January 2020

5*****

I’ve never seen a ballet before, so I was excited to see The Russian State Ballet of Siberia’s production of Coppélia.  Whilst in Darlington they are also performing Sleeping Beauty, Swan Lake and The Nutcracker.

Set in the 19th century village of Galicia, Franz (Marcello Pelizzoni) is to marry Swanilda (Elena Svinko). Franz spots a beautiful girl sitting on a balcony and cannot take his eyes off her, Swanilda is very unhappy with Franz and the pair argue. The beautiful girl is in fact a life-like mechanical doll, Coppélia (Mariami Kuloshvili) created by Dr Coppélius the toymaker (Alexander Kuimov). Later Swanilda and her friends sneak into the workshop of Dr Coppélius, where they find the mechanical dolls and discover that Coppélia is also a doll. Franz also enters the workshop and Dr Coppélius returns, chasing the girls out and seeing his chance to use Franz’s life-force to bring Coppélia to life. However Swanilda has changed into Coppélia’s clothes and the lovers escape. Of course all ends happily with the village celebrating the marriage of Franz and Swanilda.

Elena Svinko shines as Swanilda, the beauty and elegance of her movement as Swanilda grab your focus. Her exceptional expression creates a character full of depth and personality, which is portrayed throughout her whole body with every move. She is sweet and flirtatious yet cheeky and playful, and her movement reflects all elements of her character.

The final pas de deux between Svinko and Marcello Pelizzoni’s Franz is ravishing and bursting with passion – it’s a real beauty to watch. They make a sensational pair and the delicacy of their movement is breathtaking. Pelizzoni exudes the charming nature of Franz and his movement is impressive as every leap and pirouette appear effortless. Although not a huge dancing role, Alexander Kuimov’s role of Dr Coppélius uses exaggerated movement to create phenomenal humour.

Coppélia is really elevated by the company that create all the joyous dance around the action happening between Franz and Swanilda. As the dancers fill the village square with colour, the character style of dance brings vibrancy to the piece.

This beautiful ballet has been in the company repertoire for many years and it is easy to see why it is such a firm favourite. It has a ravishing score by Delibes, played beautifully by the Russian State Ballet Orchestra. This is an enchanting family-friendly ballet that is easy to understand, joyous and witty from start to end. 

Northern Stage 50th Anniversary Season

Celebrating 50 years of Northern Stage with bold new productions made in Newcastle, transformational work with young people, support for North East theatre makers and new shows from some of the UK’s most exciting touring companies 

Spring 2020 marks the start of Northern Stage’s 50th anniversary year. At last night’s launch event five more new productions were announced for the theatre’s 50th anniversary alongside those already announced for the spring season. 

Red Ellen (17 Sept – 3 Oct) is a remarkable new play from Caroline Bird telling the inspiring and epic story of Ellen Wilkinson, Labour MP, who was forever on the right side of history, forever on the wrong side of life. Caught between revolutionary and parliamentary politics, Ellen fights with an unstoppable, reckless energy for a better world. A Northern Stage, Nottingham Playhouse & Royal Lyceum Theatre Edinburgh production, Red Ellen will premiere in Newcastle before touring and will be directed by Wils Wilson (Twelfth Night/Royal Lyceum).

Following the sell-out success of The War of the Worlds and The Hound of the Baskervilles, Northern Stage presents an electrifying new production adapted from H.G. Wells’ science fiction classic, featuring a new take on one of the most iconic characters in horror fiction The Invisible Man (10-23 September then touring).  Exploring themes of exploitation, establishment and truth, investigating the conflict between power and morality, The Invisible Man questions who is really invisible in Great Britain 2020? Directed by Anna Girvan (Our Country’s Good/Tobacco Factory Theatres) and adapted by Philip Correia (Hyem/Theatre 503), The Invisible Man is part of Northern Stage’s NORTH programme to support and develop new talent in the North East of England.

Maria Aberg ([BLANK], The White Devil) directs a vivid new production of Gatsby (7-17 October), plunging us headfirst into a seductive and murky world of love, money and glamour. A Bristol Old Vic, Northern Stage, English Touring Theatre, Royal & Derngate, Northampton, Oxford Playhouse, Lyric Hammersmith Theatre and Birmingham Repertory Theatre production. 

North East theatre makers Kitchen Zoo with another inventive production for under 6s following the success of WOLF! and The Three Bears at Christmas. The Hey Diddle Diddle Christmas Spectacular (21 November – 2 January 2021) features Kitchen Zoo’s trademark music and puppetry in a brand new show designed especially for little ones. And the team that brought you The Snow Queen, A Christmas Carol, James and the Giant Peach and Alice in Wonderland are back with another magical festive adventure, The Sorcerer’s Apprentice (28 November – 2 January 2021) – a new adaptation written by Laura Lindow (The War of the Worlds/Northern Stage, Key Change/Open Clasp).

The 50th anniversary season also includes stage premieres of Shandyland – originally developed through The Old Vic 12 scheme, written by Bruntwood Prize winning playwright Gareth Farr; a new theatrical version of The Ballad of Johnny Longstaff by BBC Radio Two Folk Award winners the Young’uns, directed by Northern Stage Artistic Director Lorne Campbell; HERE – a co-production with Northern Stage associate artists Curious Monkey written by Lindsay Rodden; Northern Stage’s Young Company presents the third part of their kaleidoscopic view of the state of our nation, asking Where Do We Go Now?; plus new shows from some of the UK’s most exciting and innovative touring companies including Frantic Assembly, Headlong and Told by an Idiot.

Speaking at the season launch, Artistic Director Lorne Campbell said, “The Ballad of Johnny Longstaff is a fitting way to open Northern Stage’s 50^th anniversary season; it is deeply personal, political and yet accessible at the same time. It sets the scene for the rest of our new work – hope is the thread running through the whole year long programme; it’s about being empowered to change the world, whoever you are and wherever you come from.”

Tickets for most shows start at £10. Tickets for the spring season are already on general sale; tickets for new shows go on sale to Northern Stage members at 10am on 24 January, and on general sale on 31 January. For full details or to book tickets see northernstage.co.uk or call the box office on 0191 230 5151.

HAVE WE GOT NEWS FOR YOU!

COMEDY ICON

PAUL MERTON

TO MAKE WEST END MUSICAL DEBUT IN

He will join Olivier Award winning MICHAEL BALL

who returns to his legendary role of Edna Turnblad

Casting complete with RITA SIMONS & JONNY AMIES

alongside the previously announced LIZZIE BEA & MARISHA WALLACE

By original, award-winning creative team

of director Jack O’Brien and choreographer Jerry Mitchell

Performances begin 23 April 2020 | London Coliseum

Paul Merton – one of the UK’s greatest comedians and star of the BBC’s renowned programme Have I Got News For You – is to join the new production of Hairspray the Musical.

Merton, who will be making his West End musical debut as Wilbur Turnblad, will star alongside Michael Ball, who returns to his legendary, Olivier Award winning role of Edna Turnblad, as the huge hearted, multi-award-winning smash hit musical plays at the magnificent London Coliseum for 18 weeks only, beginning performances on Thursday 23 April 2020 (Press Night: Wednesday 29 April 2020 at 7:00pm).

Lizzie Bea will star in the iconic role of Tracy Turnblad. Lizzie recently performed in the UK Tour of Kinky Boots and has just returned from Atlanta, performing in the world premiere production of Becoming Nancy (Alliance Theatre).

Acclaimed West End star Marisha Wallace will take the role of Motormouth. Marisha won rave reviews when she took over from Amber Riley in the smash hit Dreamgirls (Savoy Theatre), and also starred in the original West End cast of Waitress (Adelphi Theatre).

Rita Simons (Eastenders’ Roxy Mitchell) and Jonny Amies (Granchester on ITV; Sex Education on Netflix/Eleven Film) will also join the cast as Velma Von Tussle and Link Larkin respectively.

Paul Merton is a founder member of The Comedy Store Players, and still appears at the Comedy Store in London most Sundays. He is a resident guest on BBC Radio 4’s Just A Minute and is an established face on TV shows such as the hugely popular Have I Got News For You, Room 101, Paul Merton Looks at Alfred Hitchcock (BBC4/2), Paul Merton’s Birth of Hollywood (BBC 2) and his travel series for Channel Five, Paul Merton’s Adventures which covered his travels in India, China and Europe. His Autobiography, Only When I Laugh reached the Sunday Times bestseller Top 10.  Paul’s Anthology of funny stories, Funny Ha Ha was named Sunday Times Humour Book of the year in 2019. His first Channel 4 series, Paul Merton The Series, is due to be released on DVD this Spring.

The full company includes Georgia Anderson, Kimani Arthur, Dermot Canavan, Lori Haley Fox, Mari McGinlay, Ashley Samuels, Michael Vinsen and Imogen Bailey, Pearce Barron, Jordan Benjamin, Nicholas Collier, Joel Cooper, Luke George, Christopher Gopaul, Winny Herbert, Chris Howell, Lily Laight, Hannah Grace Lawson, Madeleine Lawton, Holly Liburd, Will Luckett, Mireia Mambo, Kody Mortimer, Robyn Rose, Tinovimbanashe Sibanda, Kibong Tanji, Amy West and Natalie Woods.

Baltimore, 1962. Tracy Turnblad is a big girl with big hair and big dreams. Can she make it on the local TV dance show, win the heart of teen heartthrob Link Larkin and bring everyone together – whatever their colour, size or hairdo? Well if you want a change, you’ve really got to shake things up!

With the original award-winning creative team of director Jack O’Brien and choreographer Jerry Mitchell, and featuring the infectiously feel-good songs “Good Morning, Baltimore”, “Big, Blonde and Beautiful” and “You Can’t Stop the Beat”, this inspirational, fun-loving and fabulously uplifting musical sensation is back and bigger than ever.

The original New York production of Hairspray won three Tony Awards, including Best New Musical, whilst the original West End production won four Olivier Awards, also including Best New Musical, as well giving Michael Ball one of his two Olivier Awards for Best Actor in a Musical.

Hairspray is produced by Adam Spiegel Productions & Fiery Angel.

Cambridge Arts Theatre, Cambridge – until 25 January 2020

Reviewed by Steph Lott

4****

I wasn’t quite sure what to expect of the production of “The Sound Of Music” by the Cambridge Operatic Society. I, like most people I’m sure, have very fond memories of watching “The Sound of Music” on television or at the cinema, as a family, as a child. It’s iconic and Julie Andrews in particular is a hard act to follow.

I was therefore intrigued as to how it would translate from the silver screen to the stage.

I was not disappointed. I found the whole experience charming and thoroughly enjoyed the performance. It was a sweetly nostalgic evening, with splendid renditions of familiar songs.

I have already used the word “charming” and I may have to use it again or find suitable synonyms for the term! The highlight of the play for me was the Von Trapp children, played in the production I saw, by Team Mountains, consisting of Ekaterina Rah-Bohr, Oliver, Lily, Bruce, Beatrice, Isabel and Amalie. I was completely caught up by their wonderful singing and their chemistry as a family. Simply gorgeous and so endearing to watch. I also want to mention Ursula, played by Alice Barlow, who delivered her comedic part with wonderful timing, causing appreciative chuckles in the audience.

I attended first night and there are some points in the production that do need a little attention. When Maria (Christine Poole) first came on stage she seemed a little static and frozen which completely disappeared however once she was with the children.

There is also some chemistry that doesn’t work, for example between Maria (Christine Poole) and Von Trapp (Matt Gregory). I think the restraint and formality of Von Trapp conceals a deep passion for his family, his country and ultimately for Maria, but it came over as slightly stilted. I’m also not sure of staging which has 2 characters (Maria and Von Trapp) which, when they declare their love for each other, has them facing the audience and not looking at each other. The other incident which made me smile was when Elsa Schraeder (played by Sally Goldsmith) and Von Trapp decided to part company – neither party seemed particularly bothered by the prospect!

I am not surprised that it would be the acting and staging, if anything, that would require a bit of finessing when a musical is presented by an Operatic Society; the singing and the music, however, most certainly did not – it was glorious! Worthy of special mention is of course Christine Poole’s wonderful performance as Maria – she certainly gave Julie Andrews a run for her money! I also loved Caroline Dyson’s depiction of the Mother Abbess and I found the scenes between Maria and the Mother Abbess truly touching.

In summary I would thoroughly recommend seeing this production of “The Sound of Music”. It was charming (there’s that word again!) and funny and I loved hearing all those wonderful songs that I remember so well, sung and played so beautifully. Although it was a stage production it managed to capture the spirit and charm of the film.

And of course there are nuns. Wonderful nuns. Don’t forget those!

Southwark Playhouse – until 22 February 2020

Reviewed by Claire Roderick

4****

Every Wednesday morning, between 12 and 4 a.m., 4 people man the phone lines of Brightline, fielding calls from people who need to talk through their problems, as well as a few perverts. Connecting with strangers who are in despair is hard enough, but Sam Steiner’s bittersweet comedy takes place in a world that is nearing the end. The characters wear gasmasks to go outside, and snippets of information about the toxic state of the ocean and lack of trees are included, as well as descriptions of bridges and places that “went down”.

In this world where there is obviously no long term future, seventeen year old Joey (Andrew Finnigan) still has to do work experience, and determinedly upbeat Frances (Jenni Maitland) takes him under her wing. Also on the shift are sardonic Jon (Andy Rush) and sweet but manic Angie (Lydia Larson). The sense of impending doom outside the shabby room, which gradually becomes a flooded wreck is inescapable, but the four very different people seem to find purpose and community in their time together.

Amy Jane Cook’s set is a triumph, with tatty “inspirational” posters, clichéd word of the week boards and a jumble of furniture and technology from different eras. It could be a dismal office in any industrial park.

The first act is a little meandering, but it sets up the characters beautifully, dropping hints about their own lives and problems to explain why they turn up every week. Listening to just one side of their conversations is intriguing and Steiner often has all four on the phone creating an overlapping rhythm. There are some hilarious one liners and reactions from the talented cast, with Lydia Larson stealing every scene as wide eyed Angie. Her innocent excitement as she waxes lyrical about a tissue box makes her reaction to a devastating call even more heart wrenching. Jenni Maitland is wonderful as the warm but brittle Frances, spouting jargon and clichés as she keeps the centre running, but finally cracking her mask of cheerful efficiency as she talks about her pregnancy. Andy Rush gives a fantastic nuanced performance as frustrated Jon, with his eventual outburst, and trombone recital, leaving you laughing and sobbing. Andrew Finnigan is wonderfully still and awkward as Joey, with the characters warmth and naive wisdom gradually shining through.

The dark humour and ridiculous normality found in extreme circumstances lifts Steiner’s play out of the darkness, and the warm glow of candlelight as the play ends is matched by the warm glow of compassion and community the characters embody. The explanation of the play’s title can’t fail to bring a nostalgic smile, and even if some people find this a little trite, we all need a little light in dark times.

Hilarious and moving in equal measure, You Stupid Darkness! is a must see production

GIMME! GIMME! GIMME! MAMMA MIA! RETURNS TO LEEDS GRAND THEATRE

• GENERAL PUBLIC ONSALE WEDNESDAY 29 JANUARY

The West End and global phenomenon MAMMA MIA! returns to Leeds Grand Theatre from Tuesday 24 November to Saturday 5 December 2020as part of a UK and International Tour celebrating 20 years since MAMMA MIA! premiered in London in April 1999.

With music and lyrics by Benny Andersson and Björn Ulvaeus, MAMMA MIA! is Judy Craymer’s ingenious vision of staging the story-telling magic of ABBA’s timeless songs with a sunny, funny tale of a mother, a daughter and three possible dads unfolding on a Greek island idyll.

To date, it has been seen by over 65 million people in 50 productions in 16 different languages.  In 2011 it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China.  MAMMA MIA! became the eighth longest running show in Broadway history, where it played a record-breaking run for 14 years. MAMMA MIA! continues to thrill audiences in London’s West End at the Novello Theatre where it celebrated its 20^th Anniversary on 6 April 2019.

Produced by Judy Craymer, MAMMA MIA! The Movie became the highest grossing live action musical film of all time upon its release in 2008.  A second film, MAMMA MIA! HERE WE GO AGAIN, opened in July 2018 and is the most successful live musical movie sequel of all time.

MAMMA MIA! is at Leeds Grand Theatre from Tuesday 24 November to Saturday 5 December 2020

Book online at leedsgrandtheatre.com or call Box Office on 0844 848 2700