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CAMERON MACKINTOSH ANNOUNCES

THE EXCITING NEW CAST OF

LES MISÉRABLES

THAT WILL OPEN AT THE SONDHEIM THEATRE,

SHAFTESBURY AVENUE

ON 18 DECEMBER 2019, AFTER ITS MAJOR RENOVATION

Cameron Mackintosh announced today casting for the exciting new cast of Boublil and Schönberg’s LES MISÉRABLES at the newly restored Sondheim Theatre, when the theatre re-opens on 18 December 2019 following its major renovation.

Jon Robyns will play ‘Jean Valjean’, Bradley Jaden ‘Javert’, Gerard Carey ‘Thénardier’, Carrie Hope Fletcher ‘Fantine’, Shan Ako ‘Eponine’, Josefina Gabrielle ‘Madame Thénardier’, Ashley Gilmour ‘Enjolras’ and Lily Kerhoas ‘Cosette’. Rachelle Ann Go will return to the role of ‘Fantine’ for 7 weeks in the Spring and will take over the role next Summer.

They will be joined by Kelly Agbowu, Ciarán Bowling, Richard Carson, Rodney Earl Clarke, Matthew Dale, Matt Dempsey, Harry Dunnett, Jessie Hart, Jessica Joslin, Sarah Lark, Georgie Lovatt, Ellie Ann Lowe, Luke McCall, Leo Miles, Claire O’Leary, Shane O’Riordan, Kathy Peacock, Sam Peggs, Mark Pearce, Emma Warren, Sake Wijers, Mared Williams and Samuel Wyn-Morris. 

Cameron Mackintosh said today “As Les Mis enters its 35^th year in London, I am thrilled that we have found a brilliant and exciting cast to open my new production at the Sondheim theatre , many of whom were not even born when the show first opened! I am particularly delighted that Jon Robyns will be leading the company as Jean Valjean. Jon originally  played the role of Enjolras when I first produced this new production in 2010. He also starred in Avenue Q for me in the West End and is currently having a huge success as King George in Hamilton at the Victoria Palace. His Inspector Javert will be played by Bradley Jaden, who is currently a sensational Enjolras in the sell out staged Concert version of Les Mis next door at the Gielgud Theatre having previously played Javert to great acclaim at the Queen’s. Other current stars of the Concert who will be reprising their show stopping roles at the Sondheim are Carrie Hope Fletcher as Fantine and West End newcomers Shan Ako and Lily Kerhoas as Eponine and Cosette. I am delighted to announce that Rachelle Ann Go, one of the incredible stars of both the Original and current London cast of Hamilton and a previously acclaimed Fantine, will return to this role for 7 weeks in the Spring before taking the role over from Carrie Hope Fletcher next Summer. The irresistibly grasping Thénardiers will be in the hilarious hands of Gerard Carey and Josefina Gabrielle. I last worked with Gerard when he portrayed the scene stealing photographer in my recent production of Half a Sixpence and Josefina who starred in my productions of Carousel, Witches of Eastwick and Oklahoma! opposite Hugh Jackman. Though our search for Marius continues, it’s terrific to be reunited with Ashley Gilmour as Enjolras – after his recent success playing Chris in my international tour of Miss Saigon. It is a testament to Víctor Hugo’s timeless masterpiece and Boublil & Schönberg’s brilliant musical adaptation that Les Misérables continues to attract such stellar talent to the world’s longest running musical.

Jon Robyns can currently be seen playing King George in Hamilton at the Victoria Palace Theatre. His many other credits include creating the roles of Princeton and Rod in the London production of Avenue Q. He has played Marius and Enjolras in Les Misérables on stage at the Queen’s Theatre in London and the 25^th Anniversary International Tour respectively, as well as taking part in the 25^th Anniversary Concert at the O2. His West End credits also include Spamalot at the Harold Pinter and Memphis at the Shaftesbury Theatre.  

Bradley Jaden is currently playing Enjolras in the concert of Les Misérables at the Gielgud Theatre, a role he played in the 30^th anniversary cast of the show at the Queen’s Theatre. Bradley recently played Javert in the final cast of the musical at the Queen’s Theatre. His other credits include Fiyero in Wicked at the Victoria Apollo Theatre, the UK tour of Ghost The Musical; Shrek The Musical at Theatre Royal, Drury Lane and Stiles and Drewe’s Peter Pan at the West Yorkshire Playhouse.  His TV credits include Emmerdale on ITV and Sugar Rush on Channel 4.

Gerard Carey originated the role of Robertson Ay in Mary Poppins and played James Walsingham and the Photographer in Half A Sixpence, both at Chichester Festival Theatre and the Noël Coward Theatre. His other credits include A Christmas Carol for the Royal Shakespeare Company, The Jungle at the Playhouse Theatre, Master Class at the Vaudeville Theatre and the national tour of Shrek The Musical.

Carrie Hope Fletcher is currently playing the role of Fantine in the concert of Les Misérables at the Gielgud Theatre. She previously played Eponine in the show at the Queen’s Theatre. Her many other credits include starring in Heathers at both The Other Palace and the Theatre Royal Haymarket. Carrie has also appeared in the Arena Tour of The War of the Worlds and the UK tour of The Addams Family.

Rachelle Ann Go is currently playing Eliza Hamilton in Hamilton at the Victoria Palace Theatre, a role she has played since the show opened in London. Rachelle played Gigi in Cameron Mackintosh’s new production of Miss Saigon at the Prince Edward Theatre in 2014, a role she reprised when the show opened on Broadway in 2017. She has also played Fantine in Les Misérables at the Queen’s Theatre.

Carrie Hope Fletcher will play Fantine from 18 December 2019 until 29 February 2020 and then again from 20 April 2020 until 25 July 2020. Rachelle Ann Go will play the role from 2 March 2020 until 18 April 2020 and then again from 27 July 2020.

Shan Ako is currently playing the role of Eponine in the concert of Les Misérables at the Gielgud Theatre where she made her West End debut. She recently graduated from the Brit School.

Josefina Gabrielle was most recently seen as Velma Kelly in Chicago at the Phoenix Theatre. Her many other West End credits include Olivier nominated performances in Sweet Charity, Merrily We Roll Along and as Laurey in Oklahoma! She has also played Roxie in Chicago at the Adelphi theatre, Irene Molloy in Hello Dolly! at Regent’s Park and Mrs Teavee in Charlie and the Chocolate Factory at the Theatre Royal Drury Lane.

Ashley Gilmour recently played the lead role of Chris in the International tour of Miss Saigon. He also appeared in the West End production at the Prince Edward Theatre. His other theatre credits include Link Larkin in the national tour of Hairspray.

Lily Kerhoas is currently playing the role of Cosette in the concert of Les Misérables at the Gielgud Theatre where she made her West End debut.

Since Cameron Mackintosh first conceived this acclaimed new production of LES MISÉRABLES in 2009 to celebrate the show’s 25^th anniversary it has taken the world by storm. It is the only version of the show produced by Cameron Mackintosh that has been seen around the world, in the last ten years, having enjoyed record-breaking runs in Australia, Japan, Korea, France, Spain, Dubai, Manila, Singapore, Brazil, Mexico, Broadway and two North American tours. The current American tour continues to play across the United States with dates announced up to May 2020. The show is currently on tour throughout the UK and Ireland playing to sell out business, with dates already announced until November 2020.

Boublil and Schönberg’s magnificent score of LES MISÉRABLES includes the songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more.  Seen by over 120 million people worldwide in 52 countries and in 22 languages, LES MISÉRABLES is undisputedly one of the world’s most popular musicals.

Cameron Mackintosh’s production of LES MISÉRABLES is written by Alain Boublil and Claude-Michel Schönberg and is based on the novel by Victor Hugo. It has music by Claude-Michel Schönberg, lyrics by Herbert Kretzmer and original French text by Alain Boublil and Jean-Marc Natel, additional material by James Fenton and adaptation by Trevor Nunn and John Caird. Orchestrations are by Stephen Metcalfe, Christopher Jahnke and Stephen Brooker with original orchestrations by John Cameron. The production is directed by Laurence Connor and James Powell, designed by Matt Kinley inspired by the paintings of Victor Hugo with costumes by Andreane Neofitou and Christine Rowland, lighting by Paule Constable, sound by Mick Potter, musical staging by Michael Ashcroft and Geoffrey Garratt, and music supervision by Stephen Brooker and Alfonso Casado Trigo.

Southwark Playhouse – until 12 October 2019

Reviewed by Claire Roderick

5*****

Described as a musical fantasia set in the hypnotised mind of Sergei Rachmaninoff, Dave Malloy’s weird and wonderful musical is like nothing you’ve ever seen before.

After his first symphony failed to set the musical world alight, Rachmaninoff spiralled into depression, unable to compose until his therapy with Nicolai Dahl, following which his glorious Piano Concerto no.2 was completed.

Malloy splits Rachmaninoff into two separate entities – the calm composed pianist performing centre stage (Tom Noyes – superb) and Rach (Keith Ramsey – astonishingly raw), the tormented soul who is struggling to find music or joy in his life. Rach is wild-eyed, big-haired and looks like he’s escaped from the Bat out of Hell cast – completely out of time and place in his isolated mental state. Natalya (Georgia Louise), his fiancée/cousin, and Chaliapin (Norton James), his opera singer friend and constant supporter are shown to be present at pivotal moments in Rach’s composing career through flashbacks/therapy, alongside the ominous presence of The Master (Steven Serlin), who takes on the personas of Rach’s (and Russia’s) heroes, always disappointing Rach, and never giving him the affirmation he so desperately needs. Watching all this, hawk-like, is Dahl (Rebecca Caine – just wait until she sings!).

Director Alex Sutton, Rebecca Brower (set design), Christopher Nairne (lighting design) and Andrew Johnson (sound design) have created a nightmarish dreamscape for Rach. A set of concentric trapezoid frames light and pulse with appropriate colour and pulse as Rach’s self-doubt and psychosis ebb and flow. Keyboard players Jordan Li-Smith and Billy Bullivant sit either side of the stage with Rachmaninoff’s grand piano an oasis of calm in the centre (This is where Rach retreats when things get too much – curled up under the piano.) Rachmaninoff’s music is performed as solos by Noyes on the piano, but also overlain with electronic keys and electro beats depending on Rach’s mental state. Some of the arrangements are beautiful, making your heart soar, while others set your teeth on edge and are very uncomfortable to listen to, accompanied by disturbing light effects and surreal performances that make you question your own sanity.

Rach’s journey back to self-belief and peace after such public failure isn’t easy to watch, it is horrifying, frustrating, repetitive and unsettling, but also uplifting, life-affirming and simply beautiful. Just like life itself. Malloy has managed to distil so much familiar trauma and emotion into this show that it can speak to everyone who is lucky enough to see it. One of this Autumn’s must-see shows.

• THIS WEEK PRODUCERS HAVE HELD A WORKSHOP FOR A BRAND-NEW MUSICAL BASED ON THE LIFE OF GLOBAL ICON BOB MARLEY
   
• PROVISIONALLY TITLED BOB MARLEY THE MUSICAL THE SHOW WILL GO INTO FULL PRODUCTION IN 2020 WHICH MARKS WHAT WOULD HAVE BEEN MARLEY’S 75TH BIRTHDAY

Producers, theatre owners and investors gathered today to watch a workshop production of a brand-new musical based on the life of the global icon Bob Marley. The musical which features the singer’s greatest hits and has the full backing of the Marley family is written by Lee Hall and will be directed by Dominic Cooke. The producing team is Playful Productions, Stage Play and Kwame Kwei Armah.

The workshop was held over a fortnight in London and presentations of the show were given to invited audiences over two days. The producers are planning to mount a full production of the new show in 2020 which marks what would have been Bob Marley’s 75th birthday.   
 

Bromley Churchill Theatre – until 14 September 2019

Reviewed by Adam Craddock

4****

JB Priestley’s classic thriller An Inspector Calls is one of the all time literary classics. Combining suspense and intrigue with the occasional bit of comedy and lightheartedness, this play is one of the best to come out of the 20th century. I was initially a bit apprehensive about picking up this review as I have seen a couple of productions of this play staged before and they have missed the ball, however this new production from Stephen Daldry well and truly hits the mark. Daldry has assembled a cast of some of Britain’s best natural actors and they deliver quite possibly the best performance of this text that I have seen!

Alasdair Buchan is strong as Gerald Croft, with a great command of the stage and a beautiful sense of his heightened state. Chloe Orrock was brilliant as Sheila Birling. She had an amazing youthful energy that really shone out on stage and her performance really captured me. Ryan Saunders was good as Eric Birling, with some beautiful acting at the end of the show, although I did struggle to hear him sometimes at the beginning. Christine Kavanagh was fair as Sybil Birling, portraying her as brilliantly awful and really hitting a good spot with this awful character. Jeffrey Harmer was strong as Arthur Birling, with some brilliant control over his space on show and a real sense of status with his character. Bravo! However my absolute highlight in this show was Liam Brennan as Inspector Goole. Brennan was absolutely captivating in this performance, beautifully teetering on the edge of clinical and madman. His performance was one of those where from now on I can only imagine one man in this role.

As you can see I absolutely loved this production, however I do have one criticism. When they mentioned they were setting the production in Bromley (the town it is currently showing in) it was a nice little nod to the audience and got a good reaction. However proceeding to mention it multiple times thereafter felt like it was forcing this down my throat and really just felt a little bit silly in the end, as if it was almost a pantomime. A shame because otherwise I could not fault this production. An Inspector Calls closes in Bromley on 14th September 

Ovation is delighted to present the London Fringe premiere of
           
    THE HIT BROADWAY MUSICAL

Music by HARRY WARREN  Lyrics by AL DUBIN
Book by MICHAEL STEWART & MARK BRAMBLE

Based on the Novel by BRADFORD ROPES

Original Direction and Dances by GOWER CHAMPION

Originally Produced on Broadway by DAVID MERRICK

42^nd Street…  the all-singing, all-dancing Broadway musical. 

One of show business’s most classic and beloved tales, 
42^nd Street tells the story of Peggy Sawyer, a talented young performer with stars in her eyes.
She arrives in New York City from Allentown, Pennsylvania, armed with her tap shoes and big dreams.
When the leading lady drops out of the show, Peggy gets her big break on Broadway.

 Musical numbers include: ‘We’re in the Money’, ‘Lullaby of Broadway’,

‘You’re Getting to be a Habit with Me’ and the title song, ‘42nd Street’.

Casting details to be announced

11^th December 2019 – 26^th January 2020

Gutted by Sharon Byrne: An Irish black comedy

Touring October 2019

Gutted, an Irish black comedy by Sharon Byrne, opens in Canterbury on 3 October and will visit the Irish Cultural Centre, Hammersmith (Fri 11 Oct), The Maud, Walthamstow (Wed 16 Oct), The Dugdale Centre, Enfield (Fri 25 Oct) and Omnibus Theatre, Clapham (Tue 29 & Wed 30 Oct) as part of its 15-venue Autumn tour. Set in a 1980’s Dublin fish-factory, Gutted explores the lives of three strong women, played by Eleanor Byrne, Niamh Finlay and Sarah Hosford, with dark humour and tenderness. Gutted is directed by Chris White.

Sharon Byrne (Charlie’s Wake, Finborough Theatre) draws on her Dublin upbringing to present the lives of three women working in a fish factory in the 1980’s. Through comic monologue, the women give us a snapshot of the characters and challenges in their lives at the time. Exploring themes of family, trust, love and loss, Gutted touches on issues of domestic violence and abortion, which remain as relevant today as they were over 30 years ago.

Sharon Byrne explains: “Growing up close to a fish factory in Dublin, I was intrigued by the charismatic and resilient women who I’d see travelling to and from work there. They were tough, hard-working women, but they never stopped chatting and laughing. Life as a woman in Ireland still has its – often suppressed – challenges, and I felt compelled to raise awareness of these issues and help break the silence.”

“An exhilarating experience and a wonderful life affirming play”. Mark Everett, Former Director, The Marlowe, Canterbury.

Director Chris White leads Soho Theatre’s Writer’s Lab and is an RSC Associate, directing a production of Henry IV at the Houses of Parliament and leading residencies and projects in China, India and the United States. Most recently he directed Booby’s Bay by Henry Darke.

This production is made possible with the support of Arts Council England, Producer Vivienne Foster, writer Sharon Byrne, The Marlowe Canterbury and First Degree East.

Disney’s The Lion King begins second UK and
Ireland tour at The Bristol Hippodrome

The Walt Disney Company UK and Ireland began their UK and Ireland tour of the landmark musical THE LION KING at The Bristol Hippodrome last night, Thursday 12 September. The tour will continue on to Edinburgh, Bradford, Cardiff and Southampton with further dates to be announced in due course.  

The tour coincides with THE LION KING celebrating 20 years at London’s Lyceum Theatre. Since the UK premiere in London on Tuesday 19th October 1999, THE LION KING has entertained over 16 million theatregoers and remains the West End’s best-selling stage production and the sixth longest-running West End musical of all time. THE LION KING is produced by Disney Theatrical Productions, under the direction of Thomas Schumacher. 

THE LION KING includes Dashaun Young, Josslynn Hlenti and Thandazile Soni in the roles of Simba, Nala and Rafiki. The company also includes Steve Beirnaert, Matthew Forbes, Jean-Luc Guizonne, Richard Hurst, Alan McHale, Rebecca Omogbehin, Carl Sanderson, and Simon Trinder.

The full company includes: Lwandolwethu Dennis Bam, Khanyisani Beato, Nigel Brown, Rushand Chambers, Tau-En Chien, Javier Cid, Jorrell Coiffic-Kamall, Tevin Daniel, Tim Driesen, Matthew Elliot-Campbell, Willians Ferreira, Oraine Frater, Brian Gilligan, Daniel Griffith, Alicia Hayward, Zalika Henry, Caleaf Hensen, Olivia Jones, Melvin La Blanc, Jochebel Ohene MacCarthy, Zanele Mazibuko, Daniel De Jesus Mejia Garcia, Zanele Ndlovu, Buhle Nkomo, Brianna Ogunbawo, Paige Peddie, Tara Price, Charlotte Samaroo, Cristiane Santos De Jesus, Mamido Bomboko Souchu, Sherry Tay, Francesca Thompson, Connor Pele Williams, Maria Yim and Bukiwe Zinganto.

The previous tour of THE LION KING broke attendance records across the nation. With a cast of over 50 actors, singers and dancers, the story of THE LION KING is miraculously brought to life using masks, puppets and striking costumes to tell the story of Simba’s epic adventure as he struggles to accept the responsibilities of adulthood and becoming king.

The stunning artistry of THE LION KING is the work of a team of designers which drew on diverse cultural influences to recreate the rich colours and vast expanses of the African savanna in this daring and inspiring reinvention of one of the most successful animated films of all time.

Julie Taymor’s internationally-celebrated stage adaptation opened on Broadway in 1997 and 25 global productions have now been seen by more than 100 million people. The show has been performed in nine different languages (English, Japanese, German, Korean, French, Dutch, Spanish, Mandarin and Portuguese). Productions of THE LION KING can be seen on Broadway; London’s West End; Hamburg; Tokyo; Madrid; on tour across the UK & Ireland, Japan and North America, with a separate production touring internationally, for a total of nine productions running concurrently across the globe.

Having played over 100 cities in 20 countries on every continent except Antarctica, THE LION KING’s worldwide gross exceeds that of any film, Broadway show or other entertainment title in box office history.   

Julie Taymor, one of the world’s most innovative directors, brought a vast array of disciplines to THE LION KING, including extensive experience staging epic theatre and opera productions, exploring classic myths through ritualised puppetry, mask, and movement. THE LION KING was the first musical she directed in the commercial theatre, and Taymor made Broadway history by becoming the first woman to win the Tony Award® for Best Director of a Musical.  

The show’s full creative team, which won five Tony Awards® for its work on THE LION KING, reunited in 1999 to recreate the show in London. Julie Taymor and Michael Curry created hundreds of masks and puppets. Scenic design is by leading British designer Richard Hudson and lighting is by Donald Holder. Costume design is by Julie Taymor, and choreography by Garth Fagan. The book was adapted by Roger Allers, who co-directed the animated feature, and Irene Mecchi, who co-wrote the screenplay.

The original score from the animated film was expanded for the stage and now features 15 musical numbers.  

As well as writing completely new songs, South African composer Lebo M created an evocative blend of African rhythms and chorales, with additional material by Julie Taymor and Mark Mancina. Sir Elton John and Sir Tim Rice have added three new numbers to the five that they wrote for the award-winning score of the animated film. The resulting sound of THE LION KING is a fusion of Western popular music and the distinctive sounds and rhythms of Africa, including the Academy Award®-winning Can You Feel The Love Tonight and the haunting Shadowland.

Theatre Tokens wins Most Innovative Technology Product or Service at the UK Gift Card and Voucher Association’s Hall of Fame Awards

Theatre Tokens has been recognised by the UK Gift Card and Voucher Association at their annual Hall of Fame Awards.

The award was given for the launch of Theatre Tokens’ innovative online redemption solution and the brand’s ability to issue change to customers redeeming fixed denomination paper vouchers. The judges noted that Theatre Tokens’ use of new technology was significantly improving the customer experience and positively impacting and changing the gift card industry.

Picking up the Award, Head of Theatre Tokens Nathan Naylor said:

‘We are delighted to be commended by our peers in the gift card and voucher industry, who recognised our commitment to significantly improving the customer experience and positively impacting the gift card industry. Our introduction of an online redemption solution that is able to digitally issue change for unspent value on paper vouchers is revolutionary. Alongside no expiry date, this ensures the best experience for consumers, who can spend the remaining balance at over 260 theatres nationwide and underlines our commitment to delivering audiences to theatres across the UK.’

Theatre Tokens is powered by the Eagle Eye Air platform and partnered with Reuben Digital to deliver this unique solution.

This award comes soon after Theatre Tokens began selling in 800 Tesco stores nationwide, as part of a partnership to further promote the theatre industry and encourage theatre attendance.

To buy and register Theatre Tokens, top up a gift card or eGift, check your balance or find out how and where Theatre Tokens can be used, go to www.theatretokens.com

Yvonne Arnaud Theatre, Guildford – until 14th September 2019

Reviewed by Antonia Hebbert

4****

It’s a dinner party, so sit back, hold on tight and expect excruciating revelations as alcohol loosens the lids on all those cans of worms. The hosts are Elizabeth (Laura Patch) and Peter (Bo Poraj), the harassed parents of small children. Their guests are Elizabeth’s outrageous and much richer brother Vincent (Joe Thomas, best known as Simon in The Inbetweeners), his glamorous, high-powered and pregnant partner Anna (Summer Strallen), and classical musician Carl (Alex Gaumond), who is a longstanding family friend.

There’s plenty of comic scope here as hidden resentments emerge, and playwrights Alexandre de la Patelliere and Matthieu Delaporte clearly enjoy poking fun at the middle class world that they themselves inhabit. The play premiered in Paris as Le Prenom in 2010, and this translation by director Jeremy Sams not only moves the action from Paris to Peckham but also strives to make the whole feel of it more English. The first half initially feels more like a French dinner party, as everyone engages in a philosophical argument about the rights and wrongs of the name proposed for Anna’s baby. But this is England, so it all gets rather out-of-control and emotional. Academic, liberal-minded Peter becomes thuggish, and everyone reveals opinions they have politely been keeping hidden. The second half ratchets up the comedy as more surprises emerge and the characters have to adjust to a new reality.

Comic timing is razor sharp throughout. Joe Thomas shines as the wonderful/awful Vincent, who seems in control of the situation but is in for a shock of his own. Summer Strallen carries off the role of Anna with style, convincing you that she is just the sort of woman who could keep Vincent under control with a single look. The contrasting frumpiness of Laura Patch and Bo Poraj is maybe slightly overdone (would she really wear those shoes with that dress?), but they convey an all too realistic picture of a tired relationship, which gives the play a rather dark tone under the comedy. Alex Gaumond is a benign Carl, whose long friendship with the other characters feels real. Francis O’Connor’s set design seems spot-on – a bare brick, Peckham warehouse conversion where edgy stylishness is losing the battle with family life.

UK Theatre and SOLT offering sessions to prepare for Brexit

UK Theatre and SOLT have been working closely with members and with Government on Brexit preparations since the referendum result announcement in 2016.

Now, in addition to our broad range of support for the theatre sector to prepare for Brexit, we have successfully applied for a Government Brexit Business Readiness Grant, which we are able to use to help the theatre sector prepare for a possible No-Deal Brexit scenario.

In the lead-up to 31 October, UK Theatre and SOLT will be running a series of free, open sessions delivered by expert teams, with the aim to:

• Equip attendees to plan for their business to exit the EU under a No-Deal
• Provide an overview of the broader impact of exiting the EU
• Give attendees an opportunity to ask questions of experts and share information with each other
• Signpost attendees to other relevant sources of information to help them prepare

Held in Manchester, London, Newcastle, Edinburgh, Cardiff, Bristol and Birmingham, the sessions are free to attend and open to everyone working across the theatre sector – including those who do not belong to any association or membership body.

We are working with organisations including OneDanceUK, the Independent Theatre Council, the Association of British Theatre Technicians and the Federation of Scottish Theatres to reach out to a wide network of theatre professionals, organisations and sole traders across the UK, inviting them to attend.

Sessions will cover key areas identified from the results of four Brexit surveys conducted by UK Theatre and SOLT over the last two years. The topics that will be covered are: 

• Movement of people (short term and longer term, including immigration)
• Movement of freight (sets, equipment etc.)
• Supply Chain (Fast-Moving Consumer Goods)
• IP (copyright and trademarks) and Data
• Q&A with panel

Two additional specialist sessions (Preparing for a No-Deal Brexit: Touring in and out of the EU – movement of people and equipment) have also been programmed to help companies whose business involves importing and exporting work and workforce to and from the EU.

For anyone interested in attending a session, booking opens soon via the UK Theatre website.

This funding is only available for No-Deal planning and we are following current Government advice on how to prepare as a sector.