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TRIO OF MADE AT CURVE PRODUCTIONS ANNOUNCED

UK premiere of

ROMAN HOLIDAY

15 Jul – 1 Aug

Tennessee Williams’s

CAT ON A HOT TIN ROOF

11 – 26 Sep

Aakash Odedra Company and Bagri Foundation

SAMSARA

20 – 21 Oct

A trio of new Made at Curve productions for 2020 have been revealed, with an enchanting musical, classic drama and brand new dance piece set to take to the theatre’s stages.

The announcements were made by Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster at Curve’s Season Preview event last night, where audiences enjoyed exclusive discussions and performances at the theatre.

Speaking about Curve’s plans for 2020 productions, Chris Stafford and Nikolai Foster said:

“Diversity and eclecticism sit at the heart of our theatre and city and we are excited to present a new slate of projects stretching across 2020.

“Alongside our already announced shows, we are thrilled to announce the return of Associate Artist Aakash Odedra with a brand new Curve co-commission, Samsara. And it’s made all the more exciting by Aakash’s collaboration with Chinese artist Hu Shenyuan.

“Musicals continue to play a huge part in our journey and Kirsten Guenther & Paul Blake’s adaptation of Roman Holiday will bring Italian chic, the great songs of Cole Porter and a bit of la dolce vita to our stage this summer.

“It’s been a joy working with Royal Theatrical Support Trust, colleagues at English Touring Theatre, Rose Theatre Kingston and Alexandra Palace and we are delighted to be working with rising star director Anthony Almeida on his bold reimagining of Williams’s magnificent play Cat on a Hot Tin Roof.”

From 15 Jul – 1 Aug, Curve will create a brand new UK premiere production of musical Roman Holiday, based on the 1953 film starring Audrey Hepburn and Gregory Peck. Directed by Nikolai Foster (West Side Story, White Christmas), the musical will feature songs from American Composer Cole Porter including Easy to Love, Just One Of Those Things and Night and Day.

Roman Holiday’s book is written by Kirsten Guenther and Paul Blake. Blake’s previous work includes the book for White Christmas. Speaking about this announcement he said:

“I, Paramount and the Cole Porter Estate are so honored that the UK premiere of Roman Holiday will be at the Curve Theatre in Leicester and that it will be directed by Nikolai Foster. Years ago I co-wrote Irving Berlin’s White Christmas and this Christmas I got to see first-hand the loving care and joy Nikolai’s direction brought to that show. I’m sure Roman Holiday is in the hands of one of England’s best directors and theatres – I couldn’t be happier.”

Adapted from the Oscar-winning film, Roman Holiday is a whirlwind 24-hour adventure of romance, European old-world glamour and royal charm, as a privileged princess escapes her diplomatic dinners and duties whilst on a tour of Europe. 

A chance encounter with an American reporter sends the royal rebel on a scooter ride through Rome. Whilst Princess Anne enjoys her first taste of freedom – his first thought is a career-changing tabloid scoop at the Princess’s expense. 

This Made at Curve musical captures the golden age of Hollywood on stage, as the Princess and her not-so-Prince Charming experience la dolce vita in one magical and unforgettable day. 

It was also announced that Anthony Almeida, winner of the 2019 RTST Sir Peter Hall Director Award, will direct a production of Tennessee Williams’s Cat on a Hot Tin Roof with set and costume design by Rosanna Vize (Hedda Gabler, Sherman Theatre). A Made at Curve, Rose Theatre Kingston, English Touring Theatre (ETT) and Alexandra Palace co-production supported by grant funding from the Royal Theatrical Support Trust (RTST), the drama will run at Curve 11 – 26 Sep. The production will then visit Alexandra Palace and Rose Theatre Kingston ahead of a UK tour.

On a sweltering Mississippi night, the lies are as stifling as the heat.

Maggie has fought up from poverty, only to find herself in a passionless, burning marriage. Her husband Brick, a former pro footballer, drinks to drown out the hurt he has bottled up inside.

When the entire Pollitt family meet for Big Daddy’s 65th birthday, the claws are out.  As shattering truths threaten to spiral out of control, the family set out to protect themselves, and each other, from falling apart.

This bold new revival of Tennessee Williams’s lyrical Pulitzer Prize-winning masterpiece is a blazing portrayal of what it takes to survive in a society where we’re all desperate to feel free.

Curve is also co-commissioning a new major dance collaboration from Curve Associate Artist Aakash Odedra and Hu Shenyuan, two of the greatest champions of culturally-specific dance forms from their respective countries of origin, India and China. The international tour of Samsara from the Aakash Odedra Company and Bagri Foundation, co-commissioned with Birmingham Hippodrome, begins in Melbourne, Australia this March and comes to Curve 20 – 21 Oct.

Enter the world of Samsara and journey through the vast histories, philosophies and cultures of China and India.

Created and performed by Curve Associate Artist Aakash Odedra (UK/India) and Hu Shenyuan (China), Samsara merges mythological storytelling with personal anecdotes. The piece is inspired by the 16th century classic Chinese novel Journey to the West which depicts the epic journey of a monk’s travels through China and India in search of original Buddhist scripture.

Samsara is a touching story of cultural exchange, drawing upon ballet, Chinese folk, kathak and contemporary dance.

Anand Bhatt, Aakash Odedra Company’s producer, says:

“When two exceptional dancers like Aakash and Hu make a decision to work together, it really feels like you had the best day in the office. This very special project exemplifies the creative case for diversity. Aakash and Hu will work with exceptional collaborators and we are very excited by the range of international and home partners and supporters engaging with us. In particular support from London-based Bagri Foundation has enabled us to work with exceptional artistic collaborators and given us technical resources we would not otherwise have had. Our other partners in England include Arts Council England, Curve in Leicester (always special as it is where we started and we are based in the City); Birmingham Hippodrome (Aakash’s original home town) and the Royal Ballet in London.”

Curve also revealed that its hit Made at Curve production of Hairspray would be returning on 20 – 29 Aug to open a new UK tour.

Tickets for all shows go on sale to Curve Friends and Supporters Tue 14 Jan, Members Wed 15 Jan, Groups Fri 17 Jan and on general sale on 21 Jan, all at 12pm.

For more information and to book, visit www.curveonline.co.uk. Alternatively, call 0116 242 3595 or visit Curve’s Box Office.

Hull New Theatre – until 18 January 2020

Reviewed by Catherine McWilliams

3***

We Will Rock You arrived at Hull New Theatre last night and the music of Queen filled the theatre – much to the delight of the full house. We Will Rock You, with music and lyrics by Queen and the book written by Ben Elton, was first performed in 2002 and is crammed full of Queen’s biggest hits.

The action is set in a dystopian future where the Globalsoft Corporation controls the minds of all and everyone has to watch the same things and listen to the same computer generated music. Real music has been banned as have all musical instruments and only a few rebels “The Bohemians” are searching for it, but they are not quite sure what it is they are looking for. They are waiting for “The Dreamer” who is going to save real music.

The plot is full of cheesy fun and humour and doesn’t take itself seriously, the cast clearly loving every minute of it. The Bohemians are all called after rock stars, but they haven’t quite got it right and random song lyrics pop up all over the place, but the star of the piece is of course the music. We Will Rock You is clearly updated regularly, as it was full of current references.

Ian McIntosh plays the hero of the piece Galileo, who doesn’t want to conform and hears words and phrases but isn’t quite sure what is going on. He was superb and played the part to perfection. He has an incredible voice and delivered all his songs beautifully, I particularly loved “I Want to Break Free”. His relationship with Scaramouche (Elena Skye) was totally believable.

Elena Skye has to have some of the best lines in the production, her put downs of Galileo were wonderful! She was excellent as Scaramouche, feisty and quick witted and believable. The duet with Galileo of “Who Wants to Live Forever” was heart rending.

Michael McKell stole the show at times as Buddy, hamming it up wonderfully with a loveable cheekiness. But oh what a voice he has, “These are the Days of our Lives” is one of my favourite Queen songs and his rendition was beautiful, it left me choked up.

The choreography was incredible and particularly fabulous in the pieces involving Jenny O’Leary’s rocking Killer Queen, she definitely ruled!

The ensemble were very talented and worked very hard, as this is a high octane show, and it has to be said a satisfyingly long show. The set design was at times simply mind blowing, I loved it.

The music really is the star of this show and a big shout out must go to the band, Musical Director Bob Broad, Zachary Fils, James Barber, Simon Croft, Neil Murray and Dave Cottrell. They were simply outstanding and I was very disappointed that we didn’t see them to give them the ovation they fully deserved. I loved that the songs were performed by a variety of cast members and more importantly that this was not just about replicating the song as performed by Queen.

So why have I only given this 3 stars? This production is wonderful, full of fun and cheesiness, crammed with a talented cast, fantastic choreography and sets, and full of fabulous music, but I suspect that if you aren’t a Queen fan this will not be for you. The story line is quite light and it is Queen’s music that drives the piece.

Last night’s crowd at Hull New Theatre loved every minute of We Will Rock You, they shot to their feet at the end, a sure sign in Hull that the cast had nailed it! The buzz and the smiles of the audience at the end said it all – a great night out.

Mikron Theatre Company present

ATALANTA FOREVER

A new play by Amanda Whittington

Writer & Co-Lyricist : Amanda Whittington

Director : Marianne McNamara

Composer & Co-Lyricist : Kieran Buckeridge

Musical Director : Rebekah Hughes

Designer : Celia Perkins

Touring: 18 Apr to 24 October 2020

The Fight for Women’s Football

Mikron Theatre are aiming to score with their next theatrical offering for their 49th year of touring. They will be premiering Amanda Whittington’s new play Atalanta Forever which looks at the story of the pioneering women in football in 1920.

Atalanta Forever will kick off at The National Football Museum in Manchester on 18 April and then tour nationally by road and river until 24 October.

It’s 1920, and in post-war Britain, women’s football is big news. Across the country, all-girl teams are pulling huge crowds in fund-raising games for wounded soldiers. Huddersfield amateurs Ethel and Annie take a shot at the big time. Teammates at Atalanta AFC, they’re soon tackling new football skills, mastering the offside rule and kicking back at the doubters.

Come and cheer for Atalanta as our plucky underdogs learn how to play the game, take on the legendary teams of the era – and find the toughest opponent of all is the FA.

The play is based on the true story of one of three women’s football teams in Huddersfield in post war Britain. Told through the lives of two young women Atalanta Ladies Football Club was formed in 1920 ‘to provide games for the women of Huddersfield, to foster a sporting spirit, and a love of honour among its members.’ During the Great War several women’s football teams had sprung up around the country, usually based in factories or munitions works, and proved a great success in raising money for hospitals, war widows and so on.

A measure of the popularity of the women’s game may be measured by the estimated 25,000 crowd that packed Hillsborough, Sheffield, for their next game with the Dick, Kerrs Ladies of Preston  on May 4 which they lost 4-0 to their much more experienced opponents.

In the wider football world, the growing popularity of women’s football was now causing concern. The FA even saw it as taking support away from the men’s game and on December 5, 1921, they banned women’s teams from using FA affiliated grounds.

The pioneering Huddersfield Atalanta Ladies FC raised more than £2,000 for various charities before they folded in 1924.

Atalanta Forever is directed by Mikron Theatre’s Artistic Director Marianne McNamara , designed by Celia Perkins, music composed and lyrics by Kieran Buckeridge with the music directed by Rebekah Hughes. Casting will be announced in the coming months.

Amanda Whittington is one Britain’s most consistently popular dramatists. Her plays include Be My Baby (originally produced by Soho Theatre and subsequently staged throughout the UK), Ladies Day and its sequel Ladies Down Under (Hull Truck/UK Tours), Kiss Me Quickstep (New Vic Theatre),  Mighty Atoms (Hull Truck Theatre). Other stage productions include The Thrill of Love (New Vic Theatre/St James Theatre), My Judy Garland Life (adapted from the Book by Susie Boyt, Nottingham Playhouse, Bollywood Jane, (Leicester Haymarket/West Yorkshire Playhouse). Amanda is currently an Associate Artist at Nottingham Playhouse.

Playwright Amanda Whittington said about her new play:

“ I was an 11-year old footballer in the 1980s, the only girl who played in the boy’s village tournament and I vividly remember being ‘advised’ to stop because it wasn’t appropriate.  I still feel the injustice, and the sense of shame for wanting to do something I wasn’t meant to.  It brings joy to my heart to see football’s now the biggest team sport for girls in Britain.  I wanted to write about the battle the women’s game has fought to survive and prosper – and perhaps to tell the 11-year-old me she was right?”

Marianne McNamara, Mikron’s Artistic Director and Director of this show, explains why they chose to tackle this subject:

“Women’s football is making a comeback and not before time. We are thrilled to pay homage to the trailblazing Huddersfield women that paved the way against all odds.”

Just like the great game itself this will be an action-packed play of two halves full of live music fun and laughter with no plans for extra time!

In 2020, Mikron Theatre Company will embark on their 49th year of touring.  Based in the village of Marsden, at the foot of the Yorkshire Pennines, Mikron Theatre Company The company are like no other. For starters, they tour for most of the year on board a vintage narrowboat, secondly, they put on their shows in places that other theatre companies wouldn’t dream of; a play about growing-your-own shown in allotments, a play about bees performed next to hives, a play about chips to audiences in a fish and chips restaurant, as well as plays about hostelling in YHA Youth hostels and the RNLI at several Lifeboat stations around the UK.

Atalanta Forever will be touring nationally in the Summer alongside Poppy Hollman’s new play  A Dog’s Tale which celebrate canines past and present and explores the enduring love between people and their dogs.

For further information and tour dates for Atalanta Forever please visit https://mikron.org.uk/shows/atalanta-forever  

Malvern Theatres – until 18 January 2020

Reviewed by Vanessa Gibson

4****

With Mary Shelley (Eilidh Loan) at the centre of this production, the audience see’s the story of Frankenstein evolve within the mind of a young woman. The audience see Mary bring to life her own nightmare, a creature whom it is said ‘will never be a man’. We flit between Mary visibly working out her story, the next twist, the next murder and Frankenstein (Ben Castle Gibb) a man obsessed with creating life, then facing the consequences of doing so and rejecting his own creation. The story and characters progress and develop in front of the audiences eyes making compelling viewing.

Characterisation within this production is strong with Eilidh Loan portraying Shelley as a passionate, compelling, quick thinking and humorous woman, whom the audience is drawn to. At times Loan addresses the audience directly with well-timed quips and asides giving rise to some laughter from the small audience. This depiction is counterbalanced by Ben Castle Gibb who shows Frankenstein as a man increasingly tortured by his creation, desperately trying to protect those he loves and undo his own mistake in creating and rejecting the monster- his performance is full of the emotion and passion one would expect of a man in this position. The monster is truly a monster, brought to life by Michael Moreland who gives a strikingly powerful performance of a creature in torment and seeking both love and fearful revenge. He is at times both something to pity and fear.

This is a gothic production with swirling mist, an atmospheric set (Becky Minto) and lighting (Grant Anderson) drawing the audience into a world of shadows and swirling emotions. A small cast work hard to bring this story to life, the only minor issue being sound quality which at times made hearing all the dialogue difficult, hence the four star rating

Hope Mill Theatre in Manchester is looking for its Cinderella!

Venue announces details for auditions to find a star for the UK theatrical premiere of the 2013 Broadway version of Rodgers + Hammerstein’s Cinderella

Saturday 9^th May – Saturday 6^th June 2020

Will the slipper fit? Hope Mill Theatre in Manchester is looking for the star of its 2020 production of Rodgers + Hammerstein’s Cinderella – and has announced details of how performers can apply for forthcoming auditions at the venue.

William Whelton, Executive Director of Hope Mill Theatre, said: “Moving forward Hope Mill Theatre is committed to holding open auditions for all of our in-house productions. As a Northern venue it is important to us that we nurture and develop northern talent in the regions by providing opportunities. We are all very excited about welcoming new talent through our doors for our production of Rodgers + Hammerstein’s Cinderella, and hope to find the stars of tomorrow.

“So if you are a talented young performer, newly-trained or currently studying musical theatre then we’d love to hear from you. You could be our Cinderella!”

Applicants need to be available from Monday 13^th April to Saturday 13^th June and must be 17 or over on the 13^th April.

Cinderella will be cast by Jane Deitch. Anyone interested can register for the chance to attend auditions at Hope Mill Theatre on Sunday 2^nd February by sending a cv and a brief note about yourself to hopemillcasting@gmail.com. Applicants will be notified by Friday 24^th January if they have a place. Applicants will also be considered for other roles.

Cinderella will be the first musical produced by A Factory of Creativity – the charity recently formed to take over the running of Hope Mill Theatre. Co-founders of Hope Mill Theatre Joseph Houston and William Whelton will direct and choreograph Cinderella, respectively.

The production will run at Hope Mill Theatre from Saturday 9^th May to Saturday 6^th June 2020 and then at Clonter Opera Theatre, Cheshire the following week.

Cinderella is the only musical written for the television by legendary duo Richard Rodgers & Oscar Hammerstein II (South Pacific, Carousel, The Sound of Music). Originally broadcast live in 1957 starring Julie Andrews, the broadcast was watched by more than 100 million people, before subsequently being remade for TV again in 1965 and 1997 (starring Whitney Houston).

This new Broadway version with a Tony-nominated book by Douglas Carter Beane premiered in 2013 featuring several fresh characters and songs. The show features songs including “In My Own Little Corner”, “Impossible”, “Ten Minutes Ago” and “Stepsister’s Lament.”

This will be the first time a fully-staged version of the 2013 Broadway version of the show has been performed in the UK.

The smart and beautiful young Ella lives in the care of her wicked, self-absorbed stepmother Madame and her two stepsisters Charlotte and Gabrielle. In another part of the kingdom, Prince Topher is trying to find himself and learn his place in the world. When his scheming advisor Sebastian suggests throwing a ball so the Prince can meet potential brides, Ella and Topher’s different worlds come together. Expect the unexpected in this clever retelling of the beloved fairy tale.

Produced by A Factory of Creativity for Hope Mill Theatre, director Joseph Houston, associate director and choreographer William Whelton, set and costume design Elly Wdowski, orchestrations Jason Carr, projection design George Reeve, LX design Aaron Dootson and casting by Jane Deitch.

LISTINGS

Rodgers + Hammerstein’s Cinderella

Hope Mill Theatre, Pollard Street, Manchester

Saturday 9^th May to Saturday 6^th June 2020

To book visit: www.hopemilltheatre.co.uk

Clonter Opera Theatre, Trap Road, Congleton

Tuesday 9^th to Saturday 13^th June 2020

To book visit: www.clonter.org/whats-on/

Park Theatre – until 1 February 2020

Reviewed by Claire Roderick

4****

Shackleton’s ill-fated Imperial Trans-Antarctic Expedition is more extraordinary than many fictional adventure stories, and Andy Dickinson’s two-hander focusses on the relationship between Shackleton and the 18 year old Welsh teenager who wouldn’t take no for an answer and stowed away on board the Endurance.

With a minimalistic set that becomes more and more convincing representing different parts of the ship, and just two actors, there needs to be a lot of exposition to keep the audience abreast of where the explorers are and what has happened, with Shackleton’s contributions resembling a captain’s log and the stowaway’s a long list of complaints. But Dickinson keeps these passages light and interesting, interspersing them with glimpses of Shackleton’s love and inherent need to explore the polar region as he waxes lyrical about the light and waves.

As the expedition travels further and further into danger until the ship is trapped in the ice pack, the contrasting personalities of the two men are a regular source of conflict and comedy, although the Stowaway is a little reminiscent of the deferential “comedy” Welshman in Dad’s Army at first. The play is energised as soon as the voyage stalls, with much more focus and jeopardy. In fact, the first act could easily be cut by a good half hour to get us to this point faster, without losing any vital information or characterisation to create a much tighter and even more engaging play.

Enrique Munoz Jimenez’s evocative video design, coupled with the subtleties of Pablo Baz’s lighting and Dominic Brennan’s sound, create a wonderfully chilly atmosphere that transports you to the sharpness of the Southern Ocean. Under Simone Coxall’s direction, the actors convey the struggle of movement over heaving decks, ice floes and mountains effortlessly with just simple ropes and tension cords.

Richard Ede’s Shackleton is straight out of Ripping Yarns, arrogant and utterly convinced of his ability to succeed but never losing that romantic sense of adventure. Elliot Ross is lots of fun, even if he comes across as the ship’s Jonah as the problems of the voyage are mostly described by him. A word of warning to any Welsh attending – grit your teeth and ignore the accent. The stowaway is from Newport, but his accent visits every Welsh region, often during one word. Fair play, it’s a tough accent to crack, and Ross’ attempt pleased the English in the room. The two actors make a fine double act and the second act in particular is a triumph of storytelling, with the other members of the expedition always being mentioned to remind us of their endeavours and hardships.

This evocative account of ridiculous bravery and comradeship is a fascinating and thrilling tribute to these extraordinary men.

Fiery Angel and Ambassador Theatre Group Productions present the Bristol Old Vic, Royal Lyceum Theatre Edinburgh, Royal & Derngate, Northampton, and Fuel production of
TOUCHING THE VOID
Based on the book by Joe Simpson
Adapted by David Greig

• TOUCHING THE VOID AND SAMARITANS TO HOST PANEL ON MENTAL WELLBEING WITH ALEX ZANE, KAT FARMER, DYLAN JONES AND SIMON YATES ON MONDAY 20TH JANUARY
   
• LAST CHANCE TO SEE THE SMASH HIT PRODUCTION AT THE DUKE OF YORK’S THEATRE IN LONDON’S WEST END, MUST END 29th FEBRUARY 2020

The critically acclaimed production of Touching The Void, currently running at the Duke of York’s Theatre in London’s West End, is set to host a pre-show event with Samaritans on 20th January, discussing mental wellbeing, resilience and weathering the storm.  The line-up will include: Blogger Kat Farmer; Dylan Jones OBE, Editor of GQ and mountaineer Simon Yates who scaled Siula Grande with Joe Simpson. The frank and thoughtful discussion will be hosted by presenter Alex Zane. The event forms part of Samaritan’s’ ‘Brew Monday’ campaign, encouraging people to get together and connect over a cup of tea. All proceeds will go to the charity and the production will continue to collect for them daily for two weeks after the event. The announcement comes as the production enters the final weeks of its hit run at the theatre where it must end on 29th February.

This production of Touching The Void marks the 30th anniversary of the publication of Joe Simpson’s best-selling memoir, charting his extraordinary struggle for survival on the perilous Siula Grande mountain in the Peruvian Andes. It is a powerful story and in 1985, was an extraordinary human feat. David Greig’s adaptation explores the mental resilience it must have taken Joe to descend, alone, with a broken leg, frostbite, dehydration and starvation, as well as the moral quandary of Simon, to leave him behind. Touching The Void looks at the drive to climb; the number of climbers who never make it back, and what “the void” may actually be referring to.

Ruth Sutherland, Samaritans CEO said: “We know that some people face their own obstacles – their own mountains and feats of survival – every single day. For all kinds of reasons this winter, it might be difficult to get out of bed and face the day ahead. But Joe proved that survival beyond insurmountable odds is possible. David’s show, Touching The Void in the West End has proved that “anything is possible in the theatre”*. And Samaritans’ message is that together, we can make a future feel possible, even when it feels like everything is stacked against you. This Blue Monday, remember to take time and check in – on yourself and on each other. It can really help us weather the ups and downs of life.”

Tom Morris directs the stage version of Touching the Void, adapted by The Lyceum’s David Greig (The Events, The Suppliant Women, Charlie and the Chocolate Factory) from the award-winning memoir by Joe Simpson, which also became a BAFTA-winning film. They are joined by Designer Ti Green, Sound Designer and Composer Jon Nicholls, Lighting Designer Chris Davey, Movement Director Sasha Milavic Davies and casting by Jill Green CDG.

PRESS STATEMENT 
Please find below a statement from Stephanie J. Block regarding her concerts at Cadogan Hall in London on Sunday 12 April:

“Dear London,
The last few days have been a whirlwind of unexpected events and, sadly, I must reschedule my Sunday, April 12th 2020 concerts. HOWEVER, within those last 48 hours, the producers, Cadogan Hall and I have worked hard to secure another date this season. So hold onto those tickets because I’m comin’ for you this summer! Everyone who has purchased seats will be automatically transferred to the corresponding matinee or evening performance for August 30th, 2020.

I recognize that a switch in schedule is inconvenient (and sometimes disappointing) but I am VERY grateful for your understanding and I VERY much look forward to spending the last days of summer in London and seeing you all at Cadogan Hall on Sunday, August 30th, 2020. 
Until then, much joy,
SJB”

A statement from the producers, Darren Bell for Club 11 London and Jack Maple and Brian Zeilinger for Take Two Theatricals:

“Club 11 London and Take Two Theatricals are excited to present Stephanie J. Block in London on Sunday 30 August 2020. We are sorry for the inconvenience of rescheduling the concert on Sunday 12 April but rather than cancel it in its entirety we are really happy that Cadogan Hall and Stephanie have worked with us to move it to August. After a ten-year wait we are thrilled to have this phenomenal Tony Award-winning Broadway star come back to London.”

REHEARSAL IMAGES RELEASED FOR FRANTIC ASSEMBLY’S
I THINK WE ARE ALONE

A Frantic Assembly and Theatre Royal Plymouth Production,
co-produced with Curve

Frantic Assembly have today released rehearsal images for I Think We Are Alone a major new play by Sally Abbott (The Coroner, Vera), co-directed by Kathy Burke (Lady Windermere’s Fan, The Retreat) and Scott Graham (Fatherland, Things I Know to be True).

The work will premiere at Theatre Royal Plymouth on 3^rd February before touring to venues including Liverpool Playhouse, King’s Theatre Edinburgh, Theatre Royal Stratford East, Leicester Curve, Nuffield Southampton Theatre, Yvonne Arnaud Theatre Guildford, Northern Stage Newcastle, Bristol Old Vic, Oxford Playhouse and The Lowry Salford. The production sits at the centre of a year of programming celebrating 25 years of Frantic Assembly.

Chizzy Akudolu (Edmond De Bergerac, Holby City), Charlotte Bate (On The Other Hand We’re Happy, Daughterhood), Polly Frame (Solaris, After Edward & Edward II), Caleb Roberts (She Ventures and He Wins, Richard III), Simone Saunders (Hang, Jane Eyre) and Andrew Turner (Fantastic Beasts: The Crimes of Grindelwald, Coronation Street) will perform in this delicate and uplifting new play about our fragility, resilience and need for love and forgiveness.

Two sisters (Charlotte Bate & Polly Frame) are estranged and bicker over text. Their brittle and aggressive language is pushing them further apart when what they really want is to meet, clear the air and talk about the events that happened when they were young girls and haunt them still.

Josie (Chizzy Akudolu) is not allowing grief to get in the way. All of her focus is on what is best for her son, Manny (Caleb Roberts). She desperately wants him to fly but can she let him go?

There is a person shaped hole in Graham’s heart (Andrew Turner) and it is driving him to some dark places. When a stranger returns an act of kindness both find themselves opening up and connecting in a way that might just bring a bit of light in.

I Think We Are Alone is a bittersweet and funny take on our ache to connect with those voices we need to hear again, those arms we need to feel around us and those faces we need to see again. It is about letting go and holding on to what we love the most.

The production is designed by Morgan Large with lighting by Paul Keogan, sound by Ella Wahlstrom and casting by Will Burton.

THE INAUGURAL LONDON CLIMATE CHANGE FESTIVAL

TAKES PLACE AT CHARING CROSS THEATRE IN 2020

The inaugural London Climate Change Festival will take place at Charing Cross Theatre, London from 23 March until 16 May 2020, in conjunction with the London transfer of Christopher Durang’s Tony Award-winning play Vanya and Sonia and Masha and Spike starring two time Olivier Award-winner Janie Dee, Rebecca Lacey and Michelle Asante, directed by Tony Award winner Walter Bobbie.

Contributors from the arts, science and business will come together before and after performances to talk, entertain and explore ways to live in better harmony with our planet. Proceeds from the events will be split between City to Sea, Greenpeace, Friends of the Earth, and to put towards further activities for the London Climate Change Festival.

“The Festival is to inform, inspire and bring hope.  We as individuals can make a huge difference if we have help and focus. The Charing Cross Theatre is a perfect intimate venue with its cafe/restaurant, bar and gorgeous theatre – a great place to safely have some possibly difficult, but always fascinating conversations and move forward with knowledge. Together – we’re all responsible.” said Janie Dee one of the producers. “Watching my son marching last year through the streets of London shouting ‘Save our Planet’ was all I needed to want to encourage this.”

For eight weeks the Charing Cross Theatre will provide a home for real education with joy. During the day, Wild Geese will provide workshops for school groups encouraging them through games and scenes to write their own one act play on the subject of our planet, and explore other creative ideas. These workshops will also enable the children to share their thoughts and ideas for lowering carbon emissions and eradicating the use of plastic.

In addition, the Victoria & Albert Museum has kindly donated some of their recent, inspirational FOOD: Bigger than the Plate exhibition; and there will be displays of key information on Climate Change and how to individually reverse it.

Artists from across the board will be speaking, performing and attending, along with activists, scientists and journalists. There will be ecologically sound food available, discussions, talks, performances, cabaret, stand-up and accurate information.

On Wednesdays and Thursdays across the festival, there will be discussions with audience Q&As with leading scientists, environmentalists, psychologists and psychotherapists including Bella Lack (30 March), Caroline Hickman from Climate Psychology Alliance, John Sauven from Greenpeace (31 March), Tessa Clarke from Olio (1 & 29 April), and from the Grantham Institute, Prof Martin Siegert, Dr Audrey De Nazelle, Dr Ajay Gambhir and Dr Neil Jennings; with a ‘warm up’ at 7pm with 20 minutes of stand-up comedy followed by the performance of Christopher Durang’s play Vanya and Sonia and Masha and Spike.

Post show in the bar on Monday and Tuesday evenings from 10pm there will be ‘cool down’  cabaret from talent including Angus Barr (23 March), Natalie Fee (24 March), Cantabile (14 April), Joe Stilgoe (28 April), Rob Brydon (5 May), Jay Rayner (4 May), Sumudu (11 May), Guy Barker (12 May), Issy van Randwyck, Giles Terrera and Alistair McGowan.

A full schedule and line up of participants will be announced shortly. Please note artists appear subject to availability.

www.londonclimatechangefestival.com

Facebook: /LondonClimateChangeFestival

Twitter: @LDNClimateFest

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www.charingcrosstheatre.co.uk / Box Office: 08444 930 650

Tickets for the London Climate Change Festival are available from 13 January at 1pm. Please note some events will go live at a later date

Tickets for the discussions are free of charge

Tickets for the ‘warm up’ are included in the price of the ticket to the production, with a donation being made

Tickets for the ‘cool down’ cabarets, are £20, with all profits being donated

For further information on the school workshops, please contact: londonclimatechangefestival@gmail.com