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New photography exhibition by Vanley Burke launches at Birmingham Hippodrome using augmented reality to bring the stories behind the portraits to life

A new exhibition has launched at Birmingham Hippodrome featuring portrait photography of Birmingham’s female Black elders by renowned photographer Vanley Burke.

Presented for the first time at Birmingham Hippodrome in association with Friction Arts, Home… is an exciting new exhibition that uses augmented reality to bring the stories behind the portraits to life. Photographed in the places they feel most at home, the augmented reality app plays the female Black elder’s recorded stories and tells the viewers directly what home means to them.

Jonathon Harris, Visual Arts Producer at Birmingham Hippodrome said: “This innovative exhibition of stunning portraits shares important stories from Birmingham’s Black community. The images beautifully embody the stories of these women and we are extremely proud to display photography by Vanley Burke as part of our visual and digital arts programme.”

Vanley Burke is often described as the ‘Godfather of Black British Photography’ and his iconic images have captured the evolving cultural landscape, social change, and stimulated debate in the United Kingdom over the past four decades. From local community organisations to the Victoria & Albert Museum and Whitechapel, Vanley has exhibited widely in the United Kingdom, and as far afield as New York, South Africa and China.

Vanley Burke said: “I wanted to create an exhibition that considers the places that we call home and questions what makes a place feel like home and explored the potential of augmented reality for ethical representation of the unsung heroes of everyday life.

“I’m delighted that Birmingham Hippodrome are displaying my work. It’s been a pleasure working with them and Friction Arts to make my vision a reality and I look forward to sharing my work with the people of Birmingham”

Lee Griffiths, Lead Artist at Friction Arts who worked with Vanley Burke and Birmingham Hippodrome to create the new exhibition, commented: “Home… came into being after we’d been working with older African-Caribbean women in North Birmingham. These women had been working hard whilst raising families for decades, yet we were hearing more and more of the precarity of their sense of belonging.

“In the wake of the ongoing Windrush scandals there was a palpable sense that the right of these women to remain in their adopted, or even their birth country was being put into question. Home… seeks to celebrate the strength and resilience of these citizens of Birmingham, their contribution to its success and growth and to share their stories with the wider world.”

One of the first women photographed for the exhibition was Sandra Martin, best known for her appearances on Channel 4’s Gogglebox, and she explained why she decided to take part: “It all came about through a lady I met at West Bromwich market. At first I wanted to really dress up for the photo and Vanley made me keep it simple, and I love the final photo because I was just comfortable in my home. But I did hold my phone though as I’m never off it!”

Home… is on display in the level 2 gallery at Birmingham Hippodrome. The exhibition is free to visit from 10am Monday to Saturday until Friday 21 February.

The Vaults and Fat Rascal Theatre Announce New Magical Immersive Dining Show : Hexborn’s School Of Sorcery

Following the success of Dinner is Coming, Red Palace, Aladdin and The

Feast of Wonders, Divine Proportions and Beauty and The Feast, The Vaults

announces a spellbinding new immersive theatre dining experience:

Hexborn’s School of Sorcery, a haven for witches, wizards and magical Misfits.

A collaboration with Fat Rascal Theatre, the award-winning creators of

previous hit shows Unfortunate: The Untold Story of Ursula The Sea Witch,

Vulvarine, and Buzz: A New Musical, Hexborn’s will

open its doors in September 2020.

Journey deep beneath Waterloo station, through the abandoned tunnels and into a world of magic and mischief. This Autumn, audiences are invited to become students again, where they’ll be sorted into one of four magical houses, attend classes, and explore the twisting corridors of Hexborn’s.

Whether it’s uncovering the mysteries of this strange new world or impressing your professors with your knowledge of mythical beasts, Hexborn’s will unleash your full magical potential – and you might even earn a few house points along the way!

The cauldrons are bubbling and the tables are piled high for the Start-of-Term Feast. But there are rumours of dark forces stirring… and everything is not quite as it seems. So grab your wands, don your robes and prepare to live out your childhood dreams. A new school year is about to begin…

LISTINGS

The Vaults London

Performance dates:  15 SEPT 2020 – 10JAN 2021

Visit: www.thevaults.london

Call: 02074019603

Sonia Friedman Productions

Gavin Kalin Productions, Rupert Gavin/Mallory Factor, Patrick Gracey/Scott M. Delman, 1001 Nights Productions, Eilene Davidson Productions, Tulchin Bartner Productions

in association with

Len Blavatnik, Louise & Brad Edgerton

present

UNCLE VANYA
By Anton Chekhov

In a new adaptation by Conor McPherson

Directed by Ian Rickson

• PRODUCTION IMAGES OF UNCLE VANYA RELEASED TODAY
• TOBY JONES, RICHARD ARMITAGE, ROSALIND ELEAZAR, AIMEE LOU WOOD, ANNA CALDER-MARSHALL, DEARBHLA MOLLOY, PETER WIGHT AND CIARÁN HINDS STAR IN A NEW ADAPTATION BY CONOR MCPHERSON, DIRECTED BY IAN RICKSON  
• NOW IN PREVIEWS, UNCLE VANYA OPENS ON THURSDAY 23 JANUARY AT THE HAROLD PINTER THEATRE

​ 

Toby Jones, Richard Armitage, Rosalind Eleazar, Aimee Lou Wood, Anna Calder-Marshall, Dearbhla Molloy, Peter Wight and Ciaran Hinds in Uncle Vanya, photographed by Johan Persson

Sonia Friedman Productions have today released production images for Conor McPherson’s (The Weir, Girl from the North Country) new adaptation of Uncle Vanya directed by Ian Rickson (Rosmersholm, Jerusalem, The Seagull) which is now in previews at the Harold Pinter Theatre.

Uncle Vanya is now in previews with Opening Night on Thursday 23rd January.

Toby Jones (The Birthday Party, Don’t Forget the Driver, Detectorists) stars in the title role of Vanya alongside Richard Armitage (The Crucible, Berlin Station, The Hobbit) as Astrov. Rosalind Eleazar (The Personal History of David Copperfield, Deep Water, The Starry Messenger) plays Yelena, with Aimee Lou Wood (Sex Education, Downstate) as Sonya, the Emmy Award-winning Anna Calder-Marshall (LOVE, Evening at the Talk House, Male of the Species) as Nana, the Olivier and Tony-award nominated Dearbhla Molloy (The Ferryman, Dancing at Lughnasa, Juno and the Paycock) as Grandmaman, Peter Wight (The Birthday Party, Hamlet, The Red Lion) as Telegin and Olivier Award-nominated Ciarán Hinds (Translations, Game of Thrones, Girl from the North Country) as Professor Serebryakov.

In the heat of summer, Sonya (Aimee Lou Wood) and her Uncle Vanya (Toby Jones) while away their days on a crumbling estate deep in the countryside, visited occasionally only by the local doctor Astrov (Richard Armitage).

However, when Sonya’s father Professor Serebryakov (Ciarán Hinds) suddenly returns with his restless, alluring, new wife Yelena (Rosalind Eleazar) declaring his intention to sell the house, the polite facades crumble and long repressed feelings start to emerge with devastating consequences.

Olivier Award-winner Conor McPherson’s stunning new adaptation of Anton Chekhov’s masterpiece, Uncle Vanya, is a portrayal of life at the turn of the 20th Century, full of tumultuous frustration, dark humour and hidden passions. Critically acclaimed director Ian Rickson returns to Chekhov for the first time since his landmark production of The Seagull in 2007, reuniting with BAFTA and Olivier Award-winner Toby Jones (The Birthday Party) alongside Richard Armitage, who returns to the UK stage six years after his Olivier Award-nominated performance in The Crucible. Uncle Vanya is the fourteenth collaboration between Ian Rickson and Sonia Friedman Productions, with previous productions including Rosmersholm, Jerusalem, Mojo, The River, Betrayal and The Children’s Hour.

Uncle Vanya is designed by Rae Smith, with lighting by Bruno Poet, music by Stephen Warbeck, sound by Ian Dickinson and casting by Amy Ball CDG.

Celebrating 2 years starring in the West End

David Julien will headline ‘Thriller Live’

in his home city at

Manchester’s Palace Theatre

February 10 – 15, 2020

Manchester-born singer David Julien is to celebrate two years starring in Thriller Live in the West End by headlining the show in his home city.

David will make his stage debut in Manchester when he stars in Thriller Live at Manchester’s Opera House 10 -15 February, 2020.

David studied Performing Arts at Winstanley College, in Wigan, Greater Manchester, performing in the musicals ‘West Side Story’, ‘Crazy For You’, ‘The Full Monty’ and ‘Blood Brothers’, and first came to public attention in 2012 as an unforgettable finalist on the very first series of ‘The Voice UK’.

He joined the West End cast of Thriller Live as a lead vocalist during its record-breaking 10th year in the West End, and performs the Michael Jackson hits ‘Dirty Diana’, ‘Bad’, “She’s Out of My Life’ and ‘Beat It’ in the spectacular concert created to celebrate the greatest music ever written.

He said: “To finally get the opportunity to perform these iconic songs in my home city is a dream come true.”

Thriller Live has to date played a staggering 7000 performances worldwide – never failing to get a standing ovation – and has been seen by over five million people in over 30 countries.

It continues to Moonwalk around the world, taking audiences on an electrifying audiovisual journey through an unparalleled catalogue of non-stop hits from pop to rock, soul to disco as the cast pay homage to a musical legacy and iconic choreography executed with flair, precision and passion.

The latest UK tour coincides with the release of ‘My Life with Michael’, a revealing autobiographical look at director Gary Lloyd’s journey working with the legacy of Michael Jackson and 10 years of Thriller Live in the West End.

Thriller Live first Moonwalked into the Lyric Theatre on Shaftesbury Avenue in 2009 and it holds the record as the longest ever run of a show since the theatre opened in December 1888.

On Sunday April 7, 2019, the 4,625th West End performance of Thriller Live saw it overtake Miss Saigon to become the 13th Longest Running West End Musical of all time!

Now in its 11th year, Thriller Live is a non-stop playlist featuring highlights from Michael Jackson’s 45-year career, from his time with the Jackson 5 to ‘Thriller’, the world’s best-selling album, with an estimated 66 million copies sold to date.

Originally scheduled from January 2009 to May of the same year, Thriller Live’s run has been extended numerous times since and it continues to draw pop fans to sold out shows at the Lyric Theatre.

Thriller Live is unlike other West End musicals. There is no script or story, it is instead an eye-popping celebration of the Jacksons’ music legacy, bringing to life on stage distinctive high-energy dancing and the pulsating sound of many of pop’s greatest hits.

The show changes each year with new numbers added, and features specially created video footage and effects and dazzling choreography by the show’s award-winning director/choreographer, Gary Lloyd.

FULL CAST ANNOUNCED FOR BIBLE JOHN

AT VAULT FESTIVAL

THESE GIRLS present

Bible John 

Written by Caitlin McEwan

Vault Festival – Forge

12 February – 16 February

Director: Lizzie Manwaring; Lighting & Video Designer: Rachel Sampley; Sound Designer: Rachael Murray; Movement Director: Laurie Ogden

THESE GIRLS today announce the full cast of Bible John, written by Caitlin McEwan. Lizzie Manwaring directs Renée Bailey, Carla Garratt and Louise Waller alongside playwright Caitlin McEwan. The production opens at Vault Festivalon 13 February, with previews from 12 February, running until 16 February.

1969 at the Barrowlands Ballroom in Glasgow, three women are murdered by an Old Testament-quoting serial killer, later nicknamed Bible John. He has never been caught.

In 2019, four temps discover they share a morbid obsession with true crime, and with one podcast in particular: a reinvestigation into the Bible John murders by American journalist Carrie LaRue. As their fascination takes hold, they immerse themselves into the world of 1960s Glasgow, in an attempt to solve the case once and for all.

Partly a retelling of one of Scotland’s darkest unsolved crimes, and partly an interrogation into the ethics of true crime as entertainment, Bible John is a riotous, furious, joyful exploration into violence and gender.

Renée Bailey’s previous theatre credits include Unknown Rivers (Hampstead Theatre) and Killing Nana (The Hen & Chickens Theatre).

Carla Garratt’s previous theatre credits include A Womb of One’s Own (Edinburgh Festival Fringe/ The Pleasance, Islington). Film credits include House of Bricks.

Caitlin McEwan’s previous acting credits include Bible John, The Cherry Orchard (Edinburgh Festival Fringe), As You Like It (UK tour), A View From a Bridge (Royal Lyceum Theatre Edinburgh) and DisGo (Traverse Theatre, Edinburgh). Her writing credits include Harry (Kings Head, Underbelly Cowgate) and Thick Skin – for which she won the Samuel French New Play Award 2017 (New Diorama Theatre, Paines Plough Roundabout). In 2018, she was longlisted for The Old Vic 12, shortlisted for the Adopt A Playwright Award, and received a bursary from Paines Plough as part of The Big Room. Harry and Thick Skin have both been published by Oberon Books, who will also publish Bible John in 2020. She currently has a TV drama series, The Push, optioned by Studio21, and is participating in an invitational writers’ group at the Royal Court Theatre, led by Leo Butler. 

Louise Waller’s previous theatre credits include Orangutan (Vault Festival), Just William’s Luck (UK and European tour) and Floaters (Old Red Lion Theatre).

Lizzie Manwaring directs. Her previous credits include The Woman Who Gave Birth To A Goat (Camden People’s Theatre) and WAGGO (Edinburgh Festival Fringe). Previous assistant directing credits include Unknown Rivers (Hampstead Theatre), A New and Better You (The Yard) and Femage A Trois (Loquitur Theatre). She is currently Resident Assistant Director at Hampstead Theatre where she is being mentored by Roxana Silbert as part of her MFA in Theatre Directing at Birkbeck.

Bible John                                                                                                                                               Listings

Vault Festival – Forge

Leake St, Lambeth, London, SE1 7NN

Box Office: 0208 050 9241

vaultfestival.com

12 February – 16 February

Tickets £13.50, with £12.50 previews

Performances are at 9pm, with a 4:30pm matinee on Saturday 15February

Instagram @ThzGirlsTheatre

Twitter @thesegirlstheatre

#BibleJohn

ABOUT THESE GIRLS

THESE GIRLS is an award-winning, female led theatre company producing new writing that focuses on the messy, complex, unresolvable questions that womxn face. Our work is defiant, collaborative, funny, and seeks to speak to as many people as possible about the things that matter to us all.

Previous work from THESE GIRLS includes: Bible John (Pleasance Charlie Hartill Theatre Reserve Recipient), Thick Skin (Samuel French New Play Award 2017) and Harry.

A tiny hero, back to the egg by huge demand!

Snow Mouse

Until Sunday 2 February

There’s still time to catch Bath’s favourite mouse, back at the egg theatre by huge popular demand for an incredible fifth year!

In this enchanting tale for the very young, winter has arrived in the woods, and the world is covered in white. A child hurries to put on their winter clothes so they can run outside and play in a sparkly new world. Just when they’re beginning to feel a bit lonely, they find a sleeping mouse buried under the soft white flakes. Sliding, tumbling and laughing, they explore the winter wonderland together and keep each other safe and warm from the winter freeze.

★★★★ “Delightful” The Stage

★★★★ “Lovely and big-hearted” Time Out

“Amazing, the perfect production for younger children, my son sat entranced throughout” Bath & Wiltshire Parent

This production is once again co-produced by the egg and the highly acclaimed Travelling Light, the team behind the original Snow Mouse. Since first appearing at the egg theatre in 2015, Snow Mouse has toured the country, delighting audiences of all ages. This production is directed by Nik Partridge, who also directed this year’s egg Christmas production, Rapunzel.

Join the two new friends on their adventures in a magical forest full of play, puppetry and music, in the Roper Room at the egg theatre from until Sunday 2 February.

Tickets are on sale now from the egg reception on 01225 823409 or online at www.theatreroyal.org.uk

MENIER CHOCOLATE FACTORY ANNOUNCES

SPRING SEASON FOR 2020

With the critically acclaimed production of The Boy Friend currently running at the theatre, the Menier Chocolate Factory today announce the forthcoming two productions – the European première of Paula Vogel’s Tony Award-winning play Indecent, directed by Rebecca Taichman; and Alan Bennett’s Habeas Corpus directed by Patrick Marber, who returns to the Menier following his smash-hit production of Tom Stoppard’s Travesties.

In addition, also this season, the company’s production of The Boy Friend transfers to The Princess of Wales Theatre in Toronto, with Kelsey Grammer as Lord Brockhurst; and its co-production with Chichester Festival Theatre of Laura Wade’s acclaimed The Watsons will open for a limited season at the Harold Pinter Theatre in May.

Booking for Indecent for supporters of the Menier opens on 20 January, with public booking opening on 27 January at 9am. Booking opens for Habeas Corpus in March.

The Menier Chocolate Factory presents

The European première of

INDECENT

By Paula Vogel

Director: Rebecca Taichman

13 March – 9 May

A seminal work of Jewish culture or an act of traitorous libel? Indecent explores the origins of the highly controversial play The God of Vengeance by Sholem Asch. We follow the path of the artists who risked their careers and lives to perform it in this deeply moving play accompanied by a small live klezmer band.

Indecent reunites Vogel and director Rebecca Taichman who co-created and directed the original production. Indecent had its world première production at Yale Repertory Theatre in October 2015. The play had its New York première Off-Broadway at the Vineyard Theatre in May 2016, and transferred to Broadway in April 2017. It was nominated for the Tony Award for Best New Play received the Tony Awards for Best Direction of a Play for Taichman and Best Lighting Design of a Play for Christopher Akerlind (who will also light the Menier production).

Paula Vogel is a Pulitzer Prize-winning playwright whose other plays include How I Learned to Drive (Broadway production set for spring 2020; Pulitzer Prize for Drama, the Lortel Prize, OBIE Award, Drama Desk Award, Outer Critics Circle and New York Drama Critics Awards for Best Play), The Long Christmas Ride Home, The Mineola Twins, The Baltimore Waltz, Hot’n’Throbbing, Desdemona, And Baby Makes Seven, The Oldest Profession and A Civil War Christmas. Her plays have been produced across the US and worldwide.

Rebecca Taichman directs. Her credits include Sing Street (New York Theatre Workshop and forthcoming Broadway run at Lyceum Theatre), Time and the Conways (Roundabout Theatre Company at the American Airlines Theatre),  School Girls; Or, The Mean African Girls Play (MCC), This Flat Earth, Familiar, Stage Kiss, Milk Like Sugar (Playwrights Horizons), How To Transcend a Happy Marriage (Lincoln Center), Rappaccini’s Daughter, Dark Sisters (Gotham Chamber Opera), Luck of the Irish (LCT3), Orlando (Classic Stage Company), Orpheus (New York City Opera), The Scene (Second Stage), Menopausal Gentleman (The Ohio Theatre).

Indecent is being presented in association with Daryl Roth, Elizabeth I McCann and Cody Lassen.

The Menier Chocolate Factory presents

HABEAS CORPUS

By Alan Bennett

Director: Patrick Marber

15 May – 4 July

The antics of the Wicksteed home are a darkly satirical merry-go-round in Alan Bennett’s Habeas Corpus.  Family, friends and the quest for sexual pleasures of the body (“corpus”) are the ruling passions in this farcical comedy of ill-manners. Through an escapade of mistaken identities and carnal encounters, one motto holds fast: “He whose lust lasts, lasts longest.”

Multi-award-winning playwright Alan Bennett is also a screenwriter, actor and author. His other works for the stage include The History Boys, The Habit of Art, The Lady in the Van, Talking Heads, The Madness of George III, Kafka’s Dick, Enjoy, The Old County and A Cuckoo in the Nest.

As a director, Patrick Marber’s work includes Leopoldstadt (Wyndham’s Theatre), Travesties (Menier Chocolate Factory, Apollo Theatre, Roundabout Theatre Company’s American Airlines Theatre), Steve Coogan/John Thompson in Characters (Edinburgh/Purcell Room/Touring), and his own plays Dealer’s Choice (National Theatre/Vaudeville Theatre), Closer (National Theatre/Lyric Theatre/Broadway), Howard Katz and Three Days In the Country (both National Theatre).  Other productions include ‘1953′ (Almeida Theatre), Blue Remembered Hills (National Theatre), The Old Neighborhood (Royal Court at Duke of York’s Theatre), The Caretaker (Comedy Theatre) and I Remember (devised piece at Royal Court). For television, he directed After Miss Julie and The Curator (both for the BBC). As a writer, his other work includes The Musicians (NT Connections) After Miss Julie, Don Juan in Soho (Donmar Warehouse and Wyndham’s) and The Red Lion (National Theatre). For television, his work includes: co-writer of The Day Today, Knowing Me Knowing You with Alan Partridge, Paul Calf Video Diaries, The Curator, Natural Born Quizzers (all BBC); for film, Closer (dir. Mike Nichols), Notes on a Scandal (dir. Richard Eyre) and Love You More (dir. Sam Taylor-Wood); and for radio, Hoop Lane (BBC Radio 3) and Bunk Bed with Peter Curran (BBC Radio 4).

MENIER ELSEWHERE:

WEST END:

Chocolate Factory Productions and Sonia Friedman Productions present

The Chichester Festival Theatre and Menier Chocolate Factory production of

THE WATSONS

A new play by Laura Wade

Adapted from the unfinished novel by Jane Austen

Director: Samuel West; Designer: Ben Stones; Lighting Designer: Richard Howell

Sound Designer: Gregory Clarke; Movement: Mike Ashcroft; Music: Isobel Waller-Bridge

Casting Director: Charlotte Sutton

8 May – 26 September

Following sold-out runs at both Chichester Festival Theatre and the Menier Chocolate Factory, Laura Wade’s The Watsons transfers to the West End. The production opens at the Harold Pinter Theatre on 19 May, with previews from 8 May, and runs until 26 September.

“Laura Wade triumphs spinning Jane Austen into major theatrical gold” Variety

“Excellent. Jane Austen has never been quite so much fun.” The Times

Nineteen and new in town, Emma Watson’s been cut off by her wealthy aunt. She needs to marry, and fast, or be faced with a life of poverty and spinsterhood stuck in her humdrum family home.

Luckily, she has plenty of prospective suitors asking to dance, from dashing socialite Tom Musgrave to the stinking rich, socially awkward Lord Osborne. Which partner to pick?

So far, so familiar, but that’s when Jane Austen stopped writing. Two hundred years on, her forgotten heroine’s happy ending still hangs in the balance.

Picking up an unfinished novel, Olivier Award-winner Laura Wade’s ‘ingenious and triumphant’ (Evening Standard) new comedy pops the bonnet on Jane Austen’s world and asks: what happens when a writer loses the plot and fictional characters take control of their tale?

Laura Wade is an award-winning playwright and screenwriter. Her credits include Home, I’m Darling (Theatr Clwyd, National Theatre, Duke of York’s Theatre and UK tour – Olivier Award for Best New Comedy), Tipping the Velvet (Lyric Theatre, Hammersmith, adapted from the novel by Sarah Waters), Posh (Royal Court Theatre and West End), Alice (Sheffield Theatres), Kreutzer vs. Kreutzer (Sydney Opera House and Australian Tour, Sam Wanamaker Playhouse, Royal Festival Hall and UK tour), Other Hands (Soho Theatre), Colder Than Here (Soho Theatre and MCC Theatre New York), Breathing Corpses (Royal Court Theatre), Young Emma (Finborough Theatre), and 16 Winters (Bristol Old Vic Basement).  Film credits include The Riot Club and Britain Isn’t Eating.  

Samuel West directs. His directorial work includes After Electra (Tricycle Theatre), Close The Coalhouse Door (Northern Stage), Waste (Almeida Theatre) and Dealer’s Choice (Menier Chocolate Factory/Trafalgar Studios). As Artistic Director of Sheffield Theatres he directed the first revival of The Romans in Britain by Howard Brenton, and As You Like It for the RSC’s Complete Works Festival. He also directed Money by Edward Bulwer-Lytton for BBC Radio. As an actor, work includes the title roles in Hamlet and Richard II for the RSC, Jeffrey Skilling in Lucy Prebble’s Enron (Chichester/Royal Court/Noel Coward theatres), three series of Mr Selfridge, the film Howards End, Jonathan Strange and Mr Norrell, Suffragette and On Chesil Beach. He is currently filming All Creatures Great and Small.

This production is based on the original Chichester Festival Theatre production which had its world première at the Minerva Theatre on 3 November 2018.

www.thewatsonsplay.com

Twitter and Instagram: @TheWatsonsPlay

Facebook: /TheWatsonsPlay

TORONTO:

The Menier Chocolate Factory presents

THE BOY FRIEND

Book, Music and Lyrics by Sandy Wilson

Director: Matthew White; Choreographer & Associate Director: Bill Deamer

Designer: Paul Farnsworth; Lighting Designer: Paul Anderson; Sound Designer: Gregory Clarke

Hair & Wig Designer: Richard Mawbey; Musical Supervisor & Director: Simon Beck

Orchestrator: David Cullen

The Princess of Wales Theatre, Toronto

31 March – 3 May

Following a critically acclaimed sell out run at the Menier Chocolate Factory, Matthew White’s revival of Sandy Wilson’s all-singing all-dancing love letter to 1920s, The Boy Friend, transfers to The Princess of Wales Theatre in Toronto, with Kelsey Grammer making his Canadian stage debut as Lord Brockhurst. The full cast for the production, which runs from 31 March to 3 May, will be announced shortly.

We plead to have/We need to have/In fact our poor hearts bleed to have/

That certain thing called ‘The Boy Friend’

Set in Madame Dubonnet’s finishing school in the south of France, these perfect young ladies burst into song at the least provocation, and forbidden boy friends are forever popping through the French windows to sing and dance with them. Since its premiere in 1953, this light-hearted soufflé of a show has delighted audiences worldwide and has become one of the most well-loved British musicals of all time. 

The Boy Friend opened in London in 1953, before a West End run in 1954, and ran for more than 5 years. The subsequent Broadway run in 1954 made a star of the then-unknown Julie Andrews. Ken Russell adapted it into a 1971 film with Twiggy who won two Golden Globes for her performance.

Matthew White returns to the Menier – he previously directed She Loves Me, Candide, Sweet Charity (also Haymarket Theatre), Little Shop of Horrors (also Duke of York’s Theatre), and The Last Five Years for the company. His other theatre work includes The Addams Family (Festival Theatre, Edinburgh and UK tour), Kiss Me Kate, West Side Story (Kilworth House), The Producers (UK tour), Top Hat (also adapted for the stage, UK tour and Aldwych Theatre – Olivier Award for Best New Musical), Maria Friedman – By Special Arrangement (Donmar Warehouse), Closer than Ever (Jermyn Street Theatre), and Mr Stink (also adapted, Curve and UK tour).

LISTINGS INFORMATION                                                                                MENIER CHOCOLATE FACTORY

53 Southwark Street, London, SE1 1RU

INDECENT

13 March – 9 May

HABEAS CORPUS

15 May – 4 July

Box Office:                         020 7378 1713 (£2.50 transaction fee per booking)

Website:             www.menierchocolatefactory.com (£1.50 transaction fee per booking)

Tickets:                               Prices vary, as below from discounted preview tickets to premier seats. With the emphasis on ‘the sooner you book, the better the price’:

A meal deal ticket includes a 2-course meal from the pre-theatre menu in the Menier Restaurant as well as the theatre ticket.

MENIER ELSEWHERE:

THE WATSONS

Harold Pinter Theatre, Panton St, London SW1Y 4DN

Box Office: 0844 871 7622 / www.atgtickets.com

Tickets from £15

THE BOY FRIEND:

Tickets will go on sale at 00:01am Saturday January 18, 2020 at www.mirvish.com. 

Tickets can also be purchased at the Princess of Wales Theatre during regular box office hours.  Group orders of 15 or more receive reduced rates.

31 March – 3 May

www.menierchocolatefactory.com

Twitter: @MenChocFactory

Instagram: @menierchocolatefactory

Yvonne Arnaud – until 18th January 2020

Reviewed by Heather Chalkley

5*****

God of Carnage is a dissection of the middle classes familiar in Yasmina Reza’s work, presenting the characters in a farcical light that is so tragically funny. Christopher Hampton’s translation somehow gives the script a quintessentially English feel, mirroring the timeless reality of the middle classes.

The audience laughed out loud as each character evolved from civilised, decent parent into an alcohol fuelled caricature, hell bent on defending their child. A playground scuffle resulting in broken teeth and a fat lip, is physically absent but very present on the stage at all times. In true Reza style, family becomes the important 5th player.

Elizabeth McGovern (Veronica) and Nigel Lindsay (Michael) interact as a believable liberal, middleclass couple, trying their hardest to show how very modern and civilized they are. From the get go McGovern (Veronica) presents a smile and welcome for her invited guests, with a simmering undercurrent of seething that surfaces now and again when discussing the scuffle. Lindsay (Michael) is great as the father full of pride when he discovered his son is part of a gang, just like he was. Even greater when he caught himself showing it!

Simon Paisley Day (Alan) starts as a cynical, pompous, man full of self-importance, stating that his son is a thug and asking for some parenting pointers, with complete disingenuity. His inability to express emotions hilariously comes out in his clumsy attempts to be affectionate towards his wife, at one point patting her on the head! Samantha Spiro (Annette) plays the wife. She cleverly winds her character up into a frenzy as she is simultaneous ignored by the other characters, finally projectile vomiting across the stage!

Director Lindsay Posner creates a free-flowing piece, putting each character in the spotlight as the play ramps up the comedy volume in each scene. The use of the stage and movement of props is clearly carefully thought about to gain maximum impact, highlighting the comedic or tragic value. The creative team produce a set with an air of sophistication, wealth and bourgeois chintz. All of which blends together for an effortless performance by the cast.

We have always loved a good farce in the UK and the middle classes have always been easy pickings. God of Carnage is a fine example and well worth a watch.

ICONIC SWAN LAKE GLIDES INTO

CHESTER THIS JANUARY WITH

SAINT PETERSBURG CLASSIC BALLET

Four performances and featuring full live orchestra

Show runs Thursday 30 January to Saturday 1 February 2020

Saint Petersburg Classic Ballet returns to Storyhouse in Chester this January to entertain audiences with one of the most iconic ballets of all time, Swan Lake.

The dance company draws on the heritage of centuries of classical dance to deliver traditional productions of the best loved Russian ballets. A relative newcomer to the UK, Saint Petersburg Classic Ballet has already built a following of audiences who appreciate the artistry and technique of this company of exquisite young dancers and stars of the future.

Saint Petersburg Classic Ballet presents Swan Lake at Storyhouse from Thursday 30 January to Saturday 1 February 2020 for four performances, including one matinee. Tickets are on sale.

Under the expert direction of Marina Medvetskaya, this acclaimed company combines classical training and technique with outstanding soloists to entertain audiences in breathtaking style.

There are no gimmicks or flashy stage sets, this is strictly ballet. A pageant, a tradition, a true celebration of the art form – and an ideal introduction to ballet to anyone who has never experienced it first-hand before.

A full orchestra complements the classical purity of the dancing and traditional staging, to bring a taste of imperial Russia to the UK.

Touring a traditional repertoire of Tchaikovsky favourites, which features principal dancers Natalia Romanova, Evgeny Silakov and Yassaui Mergaliyev (seen on BBC’s The Greatest Dancer early in 2019) – the ballets will certainly enchant dance fans.

Swan Lake is Tchaikovsky’s masterpiece – the tragic tale of the fateful love between Prince Siegfried and Odette, Queen of the Swans, has an instantly recognisable score. 

While hunting, Prince Siegfried catches sight of a stunning swan. As he draws his bow to shoot, the swan transforms into a beautiful woman, Odette. She tells him that she is a princess who has been cursed by an evil sorcerer to spend her days in the form of a swan and swim in a lake of tears. At night, she becomes a human again. The spell can only be broken if a prince swears his eternal fidelity to her, otherwise she and the other maidens must remain swans forever. Tricked by the evil Rothbart into declaring his love for another, Siegfried pays the ultimate price for his betrayal.

Saint Petersburg Classic Ballet was formed in 1996 by Marina Medvetskaya, who is a disciple of Vakhtang Chaboukiana and was the Prima Ballerina of the Tbilisi State Academic Opera and Ballet Theatre. Since the formation of the company, Medvetskaya has been able to attract some of the finest ballet artists from the mature companies of the City of St Petersburg, including the Kirov, The Maly and the St. Petersburg Ballet of Askold Makarov (formerly ‘Choreographic Miniatures’).

Their repertoire consists of works by iconic choreographers such as Petipa, Ivanov, Vainonen, St. Leon, Bournonville, Gorsky, Vaganova, Yakobson, and the company owns costumes and decorations (set pieces) made by the craftsmen of the legendary Mariinsky Theatre Workshops.

Artistic Director Marina Medvetskaya said: “Since our first tour in 2015, we have been welcomed by UK audiences who have embraced the beauty, skill and dedication of our dancers. These dates are now an integral part of our touring calendar, we adore bringing these iconic ballets to such appreciative fans.”

Tickets for Saint Petersburg Classic Ballet: Swan Lake are on sale now priced from £22.50. Each ticket is subject to a £1.50 booking fee.

Website:         www.pmbpresentations.com

LISTING INFORMATION

SAINT PETERSBURG CLASSIC BALLET: SWAN LAKE

Thursday 30 January – Saturday 1 February 2020

STORYHOUSE

Hunter Street, Chester, CH1 2AR

Thursday 30 January 2020 at 7.30pm

Friday 31 January 2020 at 7.30pm

Saturday 1 February 2020 at 2.30pm

Saturday 1 February 2020 at 7.30pm

Tickets from £22.50 – each ticket is subject to a £1.50 booking fee

Running time approximately 2 hours 40 minutes

Act 1: 1 hour 40 minutes and 20-minute interval

Act 2: 35 minutes and 15-minute interval

Act 3: 25 minutes

HOW TO BOOK

Online:            Visit www.storyhouse.com

By Phone:       Call 01244 409 113

In person:       Visit the Ticket Kiosks at Storyhouse, Hunter Street, Chester, CH1 2AR

Website:         www.storyhouse.com

Facebook:       www.facebook.com/storyhouselive/

Twitter:           @StoryhouseLive

Park Theatre – until 8 February 2020

Reviewed by Claire Roderick

3***

The experiences of Jewish immigrants in New York take centre stage in this schmaltzy but charming show. Despite the stellar creative team of Joseph Stein, Charles Strouse and Stephen Schwartz, the 1986 Broadway production closed after only 4 days. Stein’s vision of telling the stories of the Jewish people who had fled the pogroms for a new life in the new world is brought together by David Thompson’s revised book, but never reaches the soaring emotional heights of Fiddler on the Roof, even with the powerhouse performance of Carolyn Maitland as Rebecca. Perhaps in trying to capture the spirit of the different musical styles in 1910 New York, the musical never quite finds cohesion.

After fleeing the Cossacks who killed her husband, Rebecca and her son David arrive penniless in New York. Taken in by Bella, a young girl they met on the ship to America, Rebecca’s sewing skills are recognised by Bella’s uncle Jack – a tailor doing piecework for factory owner Bronfman. With six people living in a tiny tenement, the clashes between the old ways and the new propel most of the first act. Rebecca’s ambition sees her entering into an unequal partnership with Bronfman, but as she becomes more successful, the factory workers are so desperate that they begin a strike, led by firebrand Italian neighbour Sal. The eventual choice she makes between the two men is not a surprise, as Sal (Alex Gibson-Giorgio) has all the man-of-the-people heroic numbers and Bronfman is dressed like a silent movie villain (Sam Attwater) must make do with much more forgettable songs. Dave Willetts is full of gravitas and despair as Bella’s father Avram, with his scenes with hopeful widower Rachel (the hilariously dour Rachel Izen) a highlight of the show, but even this can’t save the story from drowning under a sea of clichés.

Director Bronagh Lagan keeps the episodic plot ticking along nicely with the 4-piece klezmer band smoothing out the scene changes nicely. The actor musicians make the most of their moment in the spotlight with their Yiddish Theatre production of Hamlet bringing the biggest laughs of the night.

The huge pile of suitcases in the Ellis Island museum is referenced in the set design with stacks of suitcases representing the skyline and tenement buildings of New York, but the piles of belongings seen in Holocaust memorials are never far from your mind, especially as the prejudice against and exploitation of the hopeful immigrants is a recurring musical theme.

A fine cast and a few memorable songs ensure a lively and entertaining production, but the production has more of a difficult second album feel than a successful “sequel” to Fiddler.