tiata fahodzi and Wrested Veil in association with Leeds Playhouse, Soho Theatre and Tara Finney Productions Cast announced for seeds UK Tour Friday 21st February – Saturday 11th April 2020
Judith Jacob (Dark Heart, ITV; The Five, Sky One) will star alongside Penny Layden (Belgravia, ITV; Macbeth, National Theatre) in the new UK tour of seeds. Two mothers united in sorrow, unable to escape the tragedy of knife crime, try to protect their sons – one in life, and one in death.
On Michael Thomas’ birthday, his cake sits in his mother’s living room, its candles burning undisturbed. Jackie wants to clear her conscience, while Evelyn’s got a big speech to deliver on the 15th anniversary of Michael’s fatal stabbing. Are some things better left unsaid? This compelling piece is about motherhood, loss and what is left after the worst happens.
Sensitively written by Mel Pennant and directed by Anastasia Osei-Kuffour (Typical, Soho Theatre), seeds looks to tell the, often unexplored, stories of those who fight to keep their children safe from the world in which they grow up. According to figures released in October 2019, knife crime offences in England and Wales have reached a record high. Hate crimes have more than doubled over a seven-year period; racial hate crimes make up more than three-quarters of offences.
Osei-Kuffour comments, It’s a pleasure to have such experienced actors to work with on this powerful piece. Already just days in, it’s been a joy and it’s wonderful to see their enthusiasm for the play, to feel their humility in response to my thoughts and experience their eagerness to tackle the material.
seeds is generously supported by Arts Council England, The Foyle Foundation and The Carne Trust
The tour opens at Theatre Royal Plymouth before visiting The Lowry, Salford from Tuesday 24 November to Saturday 28 November.
The sweetest of all Matthew Bourne’s treats returns for the first time in nine years; it’s a Nutcracker! for all seasons. With family-sized helpings of Bourne’s trademark wit, pathos and magical fantasy, Nutcracker! follows Clara’s bittersweet journey from a darkly comic Christmas Eve at Dr. Dross’ Orphanage, through a shimmering, ice-skating winter wonderland to the scrumptious candy kingdom of Sweetieland, influenced by the lavish Hollywood musicals of the 1930s.
Tchaikovsky’s glorious score and Anthony Ward’s delectable sets and costumes combine with Bourne’s dazzling choreography to create a fresh and charmingly irreverent interpretation of the classic. Expect a sprinkling of delicious new surprises in this reinvented production for 2020.
Recipient of the 2019 Special Olivier Award, Sir Matthew Bourne and New Adventures have produced some of the most successful dance productions of the last two decades. A truly national dance-theatre touring company and one of Britain’s leading exporters of dance internationally, their productions include Swan Lake, Cinderella, The Red Shoes, Edward Scissorhands and most recently Matthew Bourne’s acclaimed re-imagining of Romeo and Juliet.
New Adventures is a national portfolio organisation supported using public funds by Arts Council England.
It has been announced today that Rachel Tucker, who is leaving the four-time Olivier® Award-winning West End production of Come From Away, will be joining the Tony® Award-winning Broadway production later this year.
Following an incredibly successful year in the West End, which has included receiving Best Supporting Actress nominations at the Olivier® and WhatsOnStage Awards, Rachel Tucker will be leaving the West End after her final performance on Saturday 8 February 2020. She will then go on to take over the roles of Beverley, Annette and others from Becky Gulsvig, at Broadway’s Gerald Schoenfeld Theatre, from Tuesday 3 March 2020.
Rachel Tucker’s Broadway debut came in March 2010 when she took over the role of Elphaba in Wicked, which she played for two and a half years at the Gershwin Theatre and then later reprised in 2015-2016. In between, she originated the principal character of Meg Dawson in Sting’s debut musical The Last Ship (Bank of America Theatre, Chicago/ Neil Simon Theatre, Broadway). She has toured venues in the UK and US with her own live performances and has released two solo albums.
This joyous musical tells the remarkable true story of 7,000 stranded air passengers during the wake of 9/11, and the small town in Newfoundland that welcomed them. Cultures clashed, and nerves ran high, but as uneasiness turned into trust, music soared into the night and gratitude grew into enduring friendships.
On 11 September 2001 the world stopped. On 12 September, their stories moved us all.
As previously announced, the new cast of Come From Away in the West End will start on Monday 10 February 2020, as the production enters into its second year at the Phoenix Theatre. The full company will include Jenna Boyd (Beulah and others), Tarinn Callender (Bob and others), James Doherty (Claude and others), Mary Doherty (Bonnie and others), Mark Dugdale (Kevin T/Garth and others), Alice Fearn (Beverley/Annette and others) Kate Graham (Diane and others), and Alasdair Harvey (Nick/Doug and others), Jonathan Andrew Hume (Kevin J/Ali and others), Harry Morrison (Oz and others), Emma Salvo (Janice and others) and Cat Simmons (Hannah and others) with Chiara Baronti, Ricardo Castro, Stuart Hickey, Alexander McMorran,Sorelle Marsh, Micha Richardson, Jennifer Tierney and Matthew Whennell-Clark.
Under the Musical Direction of Alan Berry (Keyboard/Accordion/Harmonium), the band includes Matt Bashford (Whistles/Irish Flute/Uilleann Pipes), Aoife Ní Bhriain (Fiddle), Oli Briant (Electric, Acoustic and Nylon Guitars), Ray Fean (Bodhrán/Percussion), Joey Grant (Electric Bass/Acoustic Bass), Justin Quinn (Acoustic Guitar/Mandolins/Bazouki) and Ian Whitehead (Drums/Percussion).
The multi award-winning musical continues sold-out, record-breaking engagements on Broadway, in Canada, in Australia and on a 60-city North American Tour. It has recently been announced that a tour of China will commence in Shanghai from May 2020, and a feature film adaptation is in the works.
Come From Away features a book, music and lyrics by Irene Sankoff and David Hein and is directed by Christopher Ashley, with musical staging by Kelly Devine, music supervision and arrangements by Ian Eisendrath, scenic design by Beowulf Boritt, costume design by Toni-Leslie James, lighting design by Howell Binkley, sound design by Gareth Owen, hair design by David Brian Brown, orchestrations by August Eriksmoen and casting by Pippa Ailion CDG and Natalie Gallacher CDG.
In addition to winning 4 Olivier Awards (London) including “Best New Musical”, Come From Away has scooped multiple awards all across North America: the Tony Award for “Best Direction of a Musical”, 5 Outer Critics Circle Awards (NYC) including “Outstanding New Broadway Musical”, 3 Drama Desk Awards (NYC) including “Outstanding Musical”, 4 Helen Hayes Awards (Washington DC) including “Outstanding Production of a Musical”, 4 Los Angeles Drama Critics’ Circle Awards, 4 Gypsy Rose Lee Awards (Seattle) including “Excellence in Production of a Musical”, 6 San Diego Critics Circle Awards including “Outstanding New Musical”, 3 Toronto Theatre Critics Awards including “Best New Musical”, 3 Dora Awards (Toronto) including “Outstanding New Musical/Opera” and “Outstanding Production”, and the 2017 Jon Kaplan Audience Choice Award (Toronto).
Come From Away was originally co-produced in 2015 by La Jolla Playhouse and Seattle Repertory Theatre, and presented in 2016 by Ford’s Theatre in Washington DC and Mirvish Productions at the Royal Alexandra Theatre in Toronto, Canada, all in partnership with Junkyard Dog Productions. Come From Away (NAMT Festival 2013) was originally developed at the Canadian Music Theatre Project, Michael Rubinoff Producer, Sheridan College in Oakville, Ontario, Canada, and was further developed at Goodspeed Musicals’ Festival of New Artists, in East Haddam CT. The Canada Council for the Arts, the Ontario Arts Council and the 5th Avenue Theatre in Seattle WA also provided development support.
Come From Away is produced in the UK by Junkyard Dog Productions and Smith & Brant Theatricals. The European premiere of Come From Away was co-produced with the Abbey Theatre, Ireland’s National Theatre.
Wes Peden’s juggling skills and the use of light and music create an exciting performance, while the comedic personality of Peden offers a refreshing touch throughout the 55 minute show.
The juggler does not limit his items at pins and balls, but uses his creativity to juggle using lamps, ropes, and other unusual objects bouncing on his body in surprising ways.
Zebra is a show that stimulates the senses and entertains the audience throughout its duration – and Wes Peden is a juggler that should not be missed.
Salisbury Playhouse – until Saturday 25 January 2020
Reviewed by Leanne Caplis
5*****
Mind-blowing, exhilarating, breathtaking, spectacular, unmissable, electrifying, magical and outstanding are just some of the words I can use about Mame which is currently showing at Salisbury Playhouse!
Mame has not been seen on stage for decades and I cannot understand why. The performance was awesome and would not be out of place back on the West End stages.
Set in the 1920s we watch as young Patrick Dennis (tonight played by Harry Cross) moves to live with his only living relative Mame (Tracie Bennett) following the death of his Father. Agnes Gooch (Jessie May) who is the Nanny for Patrick is to ensure, along with Mr Babcock (Hugh Osborne), that Patrick is raised correctly. Is Mame the one to provide this?
With a flair for life (and alcohol) Mame raises Patrick with the saying “Life is a Banquet”. Mame exposes Patrick to what life really has got on offer but after the stock market crash, where Mame loses all her money, and when Babcock learns what is going on Patrick is enrolled at boarding school.
Supported by her faithful Butler Ito (Benjamin Wong) and Nanny Agnes we see Mame turn her hand to many different career choices in order to earn money of her own. From party girl to a career girl. From being alone to finding love and to becoming a widow – will life at 3 Beekman Place ever be filled full of gin, children’s laughter and the sound of best friends singing again?
From the opening scene to curtain call this show is non-stop action. A musical extravaganza with voices that blew me away, it was impossible not to absorbed. The dance scenes are captivating and there is so much going on, on such a small stage, that it is hard to know where to look.
Harry Cross was outstanding as young Patrick. His rendition of My Best Girl brought a lump to my throat and he seemed very at ease on stage and I look forward to seeing more of him as his theatre portfolio grows.
The staging is quite basic but that is needed – there are many scene changes. The changes are seamless and this this is probably down to the clever use of the cast to move the props. The humour within this production is first class. Comedy timing is superb with Jessie May as Gooch deserving a special mention as she particularly stood out for me. The one-liners are punchy, bang on time and are not too over the top that it makes it slapstick – perfect!
It was hard to find negatives with this production. If pushed I would say that, dependant on the theatre, those with a side view might miss some of the action and probably didn’t realise the band were on stage throughout the show. I would have also liked to have seen and heard more from Mame’s love Beauregard (Darren Day).
There is some strong talent on this stage not least Vera (Harriet Thorpe) who is the best friend of Mame. Vera keeps Mame grounded, her glass filled up and can belt out songs that leave you wanting to hear more.
I save the best to last – Tracie Bennett. She is perfect as Mame. It is clear to see why she is a double Olivier Award winner (and been nominated on a further four occasions). She has infectious energy, but most of all her voice is divine. I had to remind myself to breath as I sat in awe whilst she belted out her songs. It took all my effort not to stand and applaud her following her solos. It wasn’t a surprise when she got a standing ovation at curtain call.
This really is a must see for all those who love musical theatre. It is a shame that this short tour will soon come to an end and I can only hope more dates are released, it would be a shame to see this show leaving our stages once again.
What a delight it was to be able to watch Once the Musical (based on John Carney’s 2017 Indie Film) at the Liverpool Empire Theatre. A show which I had been looking forward to watching for such a long time, given that Once is one of my personal favourite films, and particularly as it was showing at the popular Liverpool Empire Theatre, a theatre renowned for its traditional décor, intimate seating, and as always, exceptional staff and hospitality.
Once the Musical tells the uplifting love story of Guy, played by the incredible Daniel Healy, who works in his dad’s shop as a hoover repairer, and part time as a guitarist busker in Dublin. Guy start as a cold guy, emotionally detached from society due to a broken heart as the girl he wrote songs about leaves him for America, and due to disappointment of lack of music success. By chance, this changes when he meets a young Czech single mother played in this by Emma Lucia.
The story unfolds over five days as the audience follow their journey over these days as they unexpectedly bond and fall in love with each other over a shared love of music. Despite cultural differences Girl encourages Guy to record his own music in order to mend his broken heart. With her realising slowly, along the way, that she has fallen for him herself. All this is set on stage in a traditional Dublin Bar, accompanied by joyous music and lyrics as originally sung by Glen Hansard and Marketa Irglova.
The music, of Glen Hansard and Marketa Irglova are frequently on my personal playlist at home, and within this production; Daniel, Emma and the rest of the cast performed the Irish inflicted songs/music faultless with beautiful tones and passion; it really did come from the heart. Emphasised by the variety of musical instruments, expertly played by the cast breathing refreshing life into both the instruments and characters – all shining at some part or another.
The chemistry between Daniel and Emma on the stage was sensational, and very real, developing from the first encounter with their likeability, warmth and humour, not to mention the hair-raising vocals which left me with a tear in my eye, particularly during the duet of “Falling Slowly”. Francesca Jayne’s thoughtful choreography expands to the music but does not overwhelm and is a great contribution to the atmosphere of the production.
Dan Bottomley scores repeated laughs as the music shop owner Billy with a knack for karate and the seductive manipulator Reza played by Ellen Chivers which has the audience in stitches laughing with the innuendo’s and humour.
I do not think I have ever seen a musical production quite like Once the Musical; which was realistically elegant, with the music binding the story together beautifully, leaving me with a refreshed perspective on priorities. It was emotive, and left me with a tear trickling down my cheek, and a lump in my throat due to the emotion in the room.
I fell completely head over heels in love with the film Once, and now, I have fallen in love with Once the Musical, I am sure it will unlikely be my only time watching, as now I want to see it over and over again.
Once the Musical is playing at the Liverpool Empire Theatre until Saturday 25th January 2020, and will continue touring.
Francesca Moody Productions Sonia Friedman Productions in association with Bush Theatre present BABY REINDEER Written, performed and conceived by Richard Gadd Directed by Jon Brittain
FOLLOWING AWARD-WINNING, SELL OUT RUNS AT THE EDINBURGH FRINGE FESTIVAL AND THE BUSH THEATRE, RICHARD GADD’S TOUR DE FORCE ONE-MAN SHOW WILL PLAY A STRICTLY LIMITED SEASON AT THE AMBASSADORS THEATRE IN THE WEST END
A HARROWING STORY OF HOW ONE ACT OF KINDNESS PLUNGED RICHARD GADD INTO SIX YEARS OF RELENTLESS STALKING AND HARASSMENT
TICKETS GO ON SALE FOR THE PRODUCTION TODAY WITH OVER 500 TICKETS PER WEEK PRICED AT £25 OR LESS
“I did question whether I deserved it. Where did my wrongdoing stop and hers begin?”
When award-winning comedian Richard Gadd offers a stranger a free cup of tea, he has no sense of the nightmare to come. One act of kindness. Six years of torment.
The sell-out smash hit of last year’s Edinburgh Fringe, Baby Reindeer is the “blistering” debut play (The Daily Telegraph) from Richard Gadd (Monkey See Monkey Do, Netflix’s Sex Education). Directed by Olivier Award-winner Jon Brittain (Rotterdam), this is a chilling personal account of compulsion, delusion and obsession. Some admirers simply won’t be shaken off. “A haunted, haunting hour.” (The Guardian).
Baby Reindeer will play a strictly limited London run at the Ambassadors Theatre ahead of a New York transfer to BAM in May 2020.
Richard Gadd said: “Baby Reindeer has been one of the most challenging, yet rewarding experiences of my life. With an incredible team behind me, I have pushed myself to ridiculous limits in a show I find incredibly hard to say and do. The show is about the past six years of my life. An incredibly complicated, messy, confusing, and ultimately challenging period of time at the hands of a serial stalker hell-bent on ruining my life. It is a period of my life that I still look back on to this day with much unease. How did it get as bad as it did? How was it allowed to go on for so long? Why was there no help for me? I feel a moral duty to let people know the terrifying reality of going through something like this. I am absolutely delighted to be in the West End at such a prestigious venue like the Ambassadors. It is all a dream come true.”
Francesca Moody said: “It has been truly incredible to watch the success of Richard’s remarkable theatrical debut in Edinburgh and then at the Bush Theatre. Baby Reindeer is one of the most original and brilliant pieces of theatre I have ever seen and I passionately believe that it should be experienced by as many people as possible. I am thrilled to be partnering with Sonia Friedman Productions to bring Baby Reindeer to the West-End and a wider audience.”
Sonia Friedman said: “In the early 2000s, I produced, programmed and oversaw dozens of productions at the Ambassadors Theatre. It occupies a special place in my heart as the venue where I learned to push the boundaries of what is possiblein commercial theatre. SFP is thrilled to be returning with this extraordinary play featuring a truly break-out performance from Richard Gadd. Baby Reindeer is the first of several remarkable works my creative development team and I have sought out to bring to this beautiful and intimate venue. We are excited to present this original, vital, small-scale work which demands to be seen by a wider audience in London’s West End.”
***** ‘A haunting, unsettling monologue about the nature of obsession’ – Evening Standard
**** ‘…tightens its grip with terrible inexorability’ – The Guardian
***** ‘A majestic performance – a reckoning, an exorcism’ – The Stage
**** ‘A master narrator full of intelligent insight and sheer descriptive power.’ – The Scotsman
***** ‘Utterly compelling’ – WhatsOnStage.com
**** ‘Baby Reindeer will follow you all the way home.’ – Financial Times
WINNER Fringe First 2019
WINNER Stage Edinburgh Award 2019
FINALIST Offwestend Award for performance and video design
FINALIST Sit Up Award
FINALIST Mental Health Edinburgh Award
Baby Reindeer will play at the Ambassadors Theatre from April 2nd – May 2nd 2020. Over 500 tickets each week will be priced at £25 or less.
Joseph and the Amazing Technicolor Dreamcoat was first performed back in 1968 with the music by Tim Rice and Andrew Lloyd Webber this time directed by Bill Kenwright .
Joseph and the Amazing Technicolor Dreamcoat is the biblical Story of Joseph (Mark McMullan) and his 11 brothers who despise him and are all very jealous because he is their father Jacobs (Harry Metcalfe) favourite son causing great jealousy throughout the brotherhood. When he receives a beautiful Technicolor Dreamcoat from his father this just makes them more angry, along with his many dreams that he talks about that can sometimes down put his brothers. They decide that they just want Joseph to disappear along with his dreams. Together they hatch a plan to grab Joseph and sell him on never to be seen again telling their father that he had died protecting the rest of them in order for a happier life. But what if joseph’s dreams that made them all so angry were right all along? This is a story of jealousy, betrayal, forgiveness, redemption, love and brotherhood.
This was an outstanding production offering absolutely everything from very impressive detailed costumes bursting with colour. An abundance of singing where every song sounded spectacular with strong and professional voices along with superb energy and enthusiasm from every performer on stage.
The sound and lighting worked extremely well giving the show more depth. This show was just spectacular from start to finish with the audience joining in at any given moment singing away to all the tunes as well as standing and joining in with the performance and feeling apart of it all.
Joseph (McMullan) – what a performance and what an magnificent voice, he had the audience gripped on many occasions wanting more. Jacob (Henry Metcalfe) played some scenes with great emotion along with some fabulous singing.
Pharaoh (Henry Lawes) had the whole audience up singing and dancing to his Elvis inspired performance.
The Narrator played by Alexandra Doar was very into her character had a great voice whilst telling an amazing story.
All in all this is definitely not a show to be missed and without fail will make you have the biggest smile on your face from start to finish.
The Cat and the Canary by John Willard first appeared on Broadway back in 1922 and had been previously adapted over the years this time by Carl Grose and directed by Roy Marsden.
20 years after the death of Mr West and a rather large inheritance left to be claimed, his greedy descendants show up to his mansion to be welcomed by Mrs Pleasant (Britt Ekland) the housekeeper of many years for his will to be read out by solicitor Roger Crosby (Eric Carte). They discover that his niece Annabelle West (Tracy Shaw) gets it all! The family then discover that a second will has been put in place in case she loses her mind and goes crazy! Once revealed, mysterious thing start happening around the house that seem to place her in danger will it lead her to insanity or perhaps even a murder within the house!!!!!! With many twist all is not as it seems.
Mrs Pleasant (Britt Ekland) gives a precise performance of an old lady as the housekeeper of Mr West for years, frequently on the go with great appreciation for her deceased master and very happy to discuss him at any given moment. She has as a voice to be heard about the evil in the house and how it took her master and the many secrets that it holds along with her slightly disjoined walk conveying a slightly frightening part.
Harry Blythe (Gary Webster) a cheeky member of the family has a way with words is very charismatic but at times can also be impatient and somewhat argumentative. He has a strong dislike to Charlie Wilder (Ben Nealon) who plays an actor quite full of himself and also very charming but they constantly seem to be at each other’s throats due to their attraction to Annabelle West (Shaw) who plays her part extremely well as a glamorous attractive chatty and vibrant author who plays a big part in both the men wanting to constantly argue and get in a fight.
Another family member Susan Sillsby played by the understudy in this performance (Briony Rawle) plays a excellent strong part as being very sharp, somewhat opinionated regarding the family and also dislikes being told what to do but likes to be heard.
Mr Paul Jones (Jordon) who plays the vet of the family, is very clumsy hesitant with his constant dithering playing the part with great enthusiasm which is great to watch.
The set was spectacular as a old eerie room with a large self portrait of Mr West himself hanging on the wall of a dark panelled room looking down on the family. Complete with a writers desk in the corner the room was filled with skulls, taxidermy, old books and jars making it a very detailed set which was interesting and mysterious giving it a ghostly look.
With great sound and creepy noises coming from around the house and intense lighting making the show more dramatic and scary throughout.
The show had lots to offer as a thriller comedy with lots of laughs from the audience during the production as well as exceptional acting throughout, well worth a watch definitely not one to miss.
All Quiet on the Western Front VAULT Festival, Crescent – The Vaults, Waterloo, SE1 7NN Tuesday 3rd – Sunday 8th March 2020
“We were eighteen years old, and just learning to love the world and being in it, and then we had to shoot it to bits.”
Following an international tour, the multi-award nominated and award winning Incognito Theatre Company returns to VAULT Festival with their critically celebrated sell-out adaptation of Erich Remarque’s tale, All Quiet on the Western Front, which delves into the harrowing reality of trench warfare in the First World War.
A group of young friends voluntarily join the German army, with their hearts fuelled by driving patriotism and youthful naivety. But after training is over and the threat of the front looms, these young men soon realise that the ideals of national glory are nothing more than empty echoes, drowned out by the sound of bombs and raining shrapnel. In a world wrought with pain and suffering, the boy soldiers desperately cling onto the camaraderie between them, which has become their only source of hope.
This thrilling adaptation is gripping and unyielding in its treatment of the visceral reality of war. With a focus on the vulnerability of human experience, merged with Incognito Theatre’s unapologetically explosive physical style, All Quiet on the Western Front highlights the punishing conditions and disorientating chaos of this violent world. Exploring raw humanity and the power of brotherhood in the face of total bleakness, Incognito’s adaptation exposes the personal sacrifices that were made for the sake of the Great War.
With the centenary of the end of WWI in 2018, the 75th anniversary of D-day commemorated in June 2019 and VE Day approaching on the 8th May 2020, All Quiet on the Western Front is as important to perform now as it was in its debut in Remembrance of troops’ suffering, and the exposition of the mindlessness of war is as poignant as ever. Told from the perspective of German forces, Incognito’s refusal to shy away from the emotional turmoil of the boys that went off to fight allows an audience to experience how people struggle to cling to hope and to each other when faced with unerring destruction. Incognito’s unique theatrical bombast will confront and transport an audience for 60 minutes. It is entertainment and it is educational.
Writer and performer Charlie MacVicar comments, Incognito Theatre Company’s adaptation of ‘All Quiet on the Western Front’ was developed in 2016, as remembrance for World War One permeated public consciousness more than ever before. The centenary of the Battle of the Somme and many other major WWI events inspired us to investigate the lives of the men who served on the front line. Erich Maria Remarque’s heart wrenching and widely loved novel offered the perfect framework for us to investigate the shocking pain and the beauty of the friendships formed by those who fought in a war which was vaster and further flung than anything the world had ever seen.
★★★★★ “Enthralling, moving and fundamentally, beautifully human.” ThreeWeeks
★★★★★ “Skilfully directed by Roberta Zuric, this production should be at the very top of your must-see list and richly deserved the standing ovation… Kill for a ticket.” British Theatre Guide
