Trafalgar Studios – until 2 February 2019

Reviewed by Claire Roderick

4****

The King’s Head Theatre’s production of Kevin Elyot’s first play transfers to Trafalgar Studios, and the intimate space of Studio 2 is the perfect fit. It feels like we are all sitting in Tony and Greg’s cramped little flat. Even before the action starts, Amanda Mascarenhas’s brilliantly authentic set design whisks you back to the 1980s.

It is 1982, and Tony and Greg live together in Kentish Town. They have been together for five years, and have an open relationship, with the unspoken rule that they don’t sleep with the same man twice. When Tony hires actor Robert as a cleaner, their relationship is put to the test.

I can’t speak knowledgably about gay relationships in the 80s, but I am sure this play will resonate with many of that generation. Replace the discos and bars where Tony and William go cruising with modern social media, and Coming Clean is still topical, with the sexuality of the characters irrelevant to the emotional core of the story. Fidelity and monogamy, love or sexual gratification, domestic bliss or exciting and possibly dangerous encounters – what choices and compromises would you make in the name of love? Elyot’s writing still feels fresh, and even the darkest moments in the play are shot through with wit and warmth.

Adam Spreadbury-Maher’s direction is spot on, with superb sound and light design choices, and brings out the best from a fine cast, with superb timing and chemistry – especially between best mates Tony and William. Lee Knight’s Tony and Elliot Hadley’s William are a scream together, with a wonderfully written relationship that provides the biggest laughs of the night. Hadley steals the show as William, revelling in the flirtatious and outrageous role, but allowing the underlying vulnerability to trickle through, and Knight is fantastic as catty but sensitive Tony. Tom Lambert is suitably wide eyed and seemingly innocent as Robert, and Stanton Plummer-Cambridge is imposing in the difficult role of Greg. At first it is very unclear what Tony sees in the gruff and slightly staid Greg, but Plummer-Cambridge reveals his softer, almost paternal side – ensuring that he doesn’t become the villain of the play, just a man who can’t give Tony the relationship he longs for.

Coming Clean just works on every level – a fascinating and very funny story about relationships with superb writing and acting in a brilliant production that will enthral audiences, whatever their age, gender or sexuality.

Old Red Lion Theatre – until 2 February 2019

Reviewed by Claire Roderick

3***

Liv Warden’s debut play examines the media’s (and public’s) seemingly insatiable appetite for salacious details when the abusive behaviour of powerful men is exposed. We never see Phillip Preston, an internationally-known film producer. Instead the scandal unfolds through the eyes of his three daughters, focussing much more intriguingly on their family dynamic. As soon as any news like this breaks, fingers are pointed at the women close to the abuser, accusing them of betraying their sex, moralising and speculating about how much they knew, and their motive for protecting such a vile man, without considering the dynamics and intricacies of their relationships.

Warden slowly unpicks and reveals the three women’s experiences with their father through a series of monologues that gradually explain their public reaction to the scandal. The daughters are stereotypical mogul offspring: the oldest, Piper (Natasha Cowley) is Preston’s business heir, running the company and dealing with family problems with a cool head at the expense of her own marriage. Middle daughter Penny (Katherine Samuelson0 is a successful film actor, playing the Hollywood publicity game, and youngest daughter Polly (Alice Handoll) is the family disaster, described by the press as a mentally unstable cokehead.

The sisters’ resigned reaction to their father being arrested for GBH soon changes when they hear that his victim is their mother. With photos splashed over the media, this is one scandal that can’t be covered up or the victim paid off, and the family are set adrift by former allies and protectors. The women all talk of their parents’ mantra of family first and learning about loyalty and resilience – “weathering the storm”. The damage this loyalty has done to the women is shown in flashes as Piper’s no-nonsense professionalism melts into frightened isolation and Penny’s Hollywood smile can’t hide her tears. The sexism the two women face daily is shown brutally and succinctly in two short scenes in the boardroom and a TV chat show, and highlight their inner strength and resilience clearly, even though their damaged childhoods have coloured their choices. Polly talks openly in her monologues about a long list of affairs and abuse with sardonic resignation and gleeful disdain for the media circus.

Unfortunately, the three women never interact physically, instead speaking to characters that we only hear. This heightens their isolation in the glare of the media to great effect, but the sisterly dynamic is sadly missing. Although that is possibly what Warden and director Adam Small are aiming for, to show the damage done by a father like that. The stark white set, with a slash of blood red newsprint scarring the floor adds to the uncomfortable feeling of voyeurism and the final scene leaves the audience craving to see what happens next, making us complicit in the insensitive clamour for details of other people’s misery that fuels, and is fuelled by, the media.

Anomaly is a fine debut – uncomfortable viewing, but engaging and perceptive

New Diorama Theatre – until 9 February 2019

Reviewed by Antonia Hebbert

3***

Soon after 8pm on Sunday October 30th, 1938, Americans tuning into the Columbia Broadcasting radio network were startled to hear of a strange object landing at Grover’s Mill, New Jersey. A panicky reporter described aliens emerging from it, and then the line went ominously dead.

What they were hearing was a live broadcast of Orson Welles’s play The War of the Worlds. Updating the novel by H.G. Wells, it reports a Martian invasion as breaking news, and became famous because it caused mass panic among listeners… or did it? The boring reality is that not many people thought Martians had invaded. It’s just such an entertaining idea that it developed a life of its own.

This tangle of fact and fiction-making is the starting point for Rhum and Clay Theatre Company’s exploration of fake news, written by Isley Lynn and developed, we are told, by the whole creative team. Matthew Wells and Julian Spooner direct and also act, together with Mona Goodwin and Amalia Vitale. The cast of four take us straight back to the original broadcast, with minimal props (a radio, a microphone, and pipes, as smoked by Orson Welles). They then take on multiple roles as the story moves to the present day, with a would-be influencer going to Grover’s Mill to make a podcast about a child abandoned in the alleged panic. She finds a town where fact and fiction are blurred, and while claiming to seek the truth, she tells lies to trick her way into a family that isn’t as straightforward as it seems. All the cast are fun to watch, and Amalia Vitale has an especially lovely flexible voice for this kind of shapeshifting show. Fake news, it seems, isn’t just something that’s imposed on people – we reinforce and believe the stories we want to hear. A cool grey mesh-like backdrop (Bethany Wells) and hazy lighting add to the sense of blurred boundaries.

This is a play about ideas rather than an emotionally engaging piece – somehow it was difficult to care very much about any of the characters. There is a sort of reconciliation at the end, but one of the characters is virtually a stranger to us, so it doesn’t have much impact. A clever, energetic and entertaining show nonetheless.

Southwark Playhouse – until 9 February 2019

Reviewed by Alex Sykes

4****

There are aspects of a success with this new production from the very successful Aria Entertainment. After enjoying a run at Hope Mill in Manchester, the show is now at Southwark Playhouse for a limited run

Set over 17 years in France, Aspects of Love tells the story of Alex (Felix Mosse) as he falls in love with Rose (Kelly Price).

The entire plot is sung through, with the well-known Love Changes Everything the first song in the show.

The set is simple, with tables and chair being moved around to represent different places such as Paris and Pau, the front row of the audience are on stage due to layout of the theatre and the little tables being used as props for the cast. The costumes are simple yet appropriate and the casts ability to change quickly is impressive, I think Kelly Price has a different outfitting every scene.

The aspects of love the title refer to are the love between Alex and Rose – constantly falling in and out of love with each other. The love Rose has for George when she is both his mistress and his wife, Jerome Pradon however plays a wonderful George and earned his standing ovation. The love of a family between Rose, George and their daughter Jenny and the forbidden love between Alex and Jenny. A special mention must be given to Madalena Alberto for her portrayal of Giulietta Trapani, George’s Italian “friend” who helps Alex see the light in regards to his love for 15 year old Jenny.

The show finishes with Mosse once again singing Love Changes Everything as the audience are brought up to date with the story and Alex leaving with Giulieta after George’s funeral.

One of Andrew Lloyd Webber’s lesser shown works, its had a breath of fresh air breathed into it by Katy Lipson. See it at Southwark while you can

Hull New Theatre – until 19th January 2019

Reviewed by Catherine McWilliams

5*****

Wow, wow, wow! How lucky am I (and the other members of the packed audience) to have seen such an amazing performance of The Bodyguard at Hull New Theatre last night. Inevitably the audience was on their feet at the end to give Alexandra Burke (Rachel Marron) and the rest of the stunning cast a standing ovation but something I have never heard is the volume of cheering when the curtain went down for the interval. Choose a superlative, dazzling, glorious, brilliant or magnificent, no make that all of these, one would just be inadequate for this show. It has everything, a cracking story line, superb performances, stunning scenery and lighting, fabulous dancing, and of course amazing music.

The story follows the hiring of a bodyguard (Benoît Maréchal) to protect a Grammy award winning singer Rachel Marron (Alexandra Burke) from a stalker who is threatening her and her family. He is a fish out of water in this world but gradually falls for the singer resulting in him not concentrating on his job as well as he should. The songs (and what an amazing list of songs) are used very cleverly to add to and enhance the storyline.

Alexandra Burke is outstanding as Rachel Marron showing the tender side of the character as well as the singer as diva. Every one of her songs was beautiful whether the upbeat I Wanna Dance with Somebody or the slower ballad Greatest Love of All. I constantly changed my mind about which was my favourite, and if pushed would say – all of them! Her costumes were superb and so many costume changes carried out so quickly – a good job backstage.

However Alexandra Burke could only dazzle us because of the immensely talented supporting cast.

Benoît Maréchal made a very convincing introverted bodyguard and he played beautifully against Alexandra Burke. His karaoke rendition was er…different! I can’t have been the only one at the end of the show willing him not to walk away.

Micha Richardson was excellent as Nicki Marron, Rachel’s sister, her voice is beautiful and the duets with Alexandra Burke were heartbreaking.

Jesse Oniha is a young man with amazing talent, playing Rachel’s son Fletcher with skill. What a singer and dancer and such maturity.

Now to The Stalker played with sufficient creepiness by Phil Atkinson, a nasty piece of work. I was a little alarmed though that some of the audience couldn’t initially see the evilness beyond the six-pack, but the enormous boo he received at the end of the show told of a part well performed!

The ensemble cast of singers and dancers were a very talented bunch producing some jaw dropping routines.

Scenery and lighting took us from nightclubs to a mansion to bedrooms to a log cabin, with often amazing speed and such incredibly realistic sets.

Lastly the music, the Musical Director Michael Riley did a fabulous job leading his orchestra well. It made a lovely change at the end of the show when a shot of all the musicians playing was projected onto the backdrop of the stage – good to see who these talented guys were.

I doubt there are many seats to be had for the remaining performances – but if you have to, buy yourself a single seat and sit next to a stranger rather than missing simply the best show ever at Hull New Theatre.

FULL CAST ANNOUNCED FOR

HOWARD BRENTON’S THE SHADOW FACTORY

A Nuffield Southampton Theatres production

THE SHADOW FACTORY

by Howard Brenton

Director: Samuel Hodges;Associate Director: Anthony Lau; Designer: 59 Productions

Casting: Annelie Powell CDG

Nuffield Southampton Theatres – NST City

30 January – 2 March 2019

Director of Nuffield Southampton Theatres, Sam Hodges today announces the full cast for his production ofHoward Brenton’s The Shadow Factory which returns to celebrate NST City’s first anniversary after opening the space with a sell-out run last year. The cast includes Denise Black (Lady Cooper/Ma Dimmock), Bethan Cullinane (Jackie Dimmock), Joe Tracini (Len Gooch) and Michael Fenton Stevens (Lord Beaverbrook) joining returning cast members David Birrell (Fred Dimmock/Hugh Downing), Catherine Cusack (Lil Dimmock/Sylvia Meinster) and Shala Nyx (Polly Stride). The production opens on 1 February, with previews from 30 January, and runs until 2 March.

Autumn 1940. The Battle of Britain rages.

Southampton is home to our only hope of victory: the Spitfire.  But when the Luftwaffe drops 2,300 bombs in three devastating raids, the city goes up in flames and the Woolston Supermarine Spitfire factory is destroyed.

Jackie is the third generation of Dimmock at her family-run laundry.  Polly is the first and only draughtswoman in the Spitfire design office.  How will each woman forge her own path in this evolving landscape?

From the ashes, a story of chaos, courage and community spirit emerges.

One of Britain’s greatest living playwrights, Hampshire-born Howard Brenton tells the remarkable and little-known story of how Southampton stepped up when the chips were down.

Critically acclaimed, this sell out smash hit features a stellar cast supported by a 25-strong community company made up of Southampton residents. The Shadow Factory returns to celebrate the first birthday of Southampton’s brand-new theatre NST City.  

Howard Brenton has written over 50 plays. His most recent credits include Miss Julie (Theatre by the Lake/Jermyn Street Theatre), Paul, Never So Good (National Theatre), In Extremis (Shakespeare’s Globe and tour retitled Eternal Love), Anne Boleyn (Shakespeare’s Globe, plus revival and tour, winner of the WhatsOnStage Best Play Award and UK Theatre Awards Best Touring Production), 55 Days, #aiww: The Arrest of Ai Weiwei, Drawing The Line, Lawrence After Arabia (Hampstead Theatre), The Guffin (one act play, NT Connections), Doctor Scroggy’s War (Shakespeare’s Globe), Ransomed (one act play, Salisbury Playhouse) and The Blinding Light (Jermyn Street Theatre). Versions of classics include The Life of Galileo and Danton’s Death(National Theatre) and Goethe’s Faust (RSC). Other adaptations include The Ragged Trousered Philanthropists(Liverpool Everyman/Chichester Festival Theatre) and Dances of Death (Gate Theatre). For television, he wrote 13 episodes of the first four series of the BBC Television Drama Spooks (winner of the BAFTA Best Television Drama Series 2003).

David Birrell returns to play Fred Dimmock/Hugh Downing. His theatre credits include Describe the Night(Hampstead Theatre), The Death of King Arthur (Sam Wanamaker Playhouse), Peter Pan, A Midsummer Night’s Dream, Ragtime (Regent’s Park Open Air Theatre), The Last Days of Troy (Royal Exchange Theatre/Shakespeare’s Globe), A Little Night Music (Yvonne Arnaud Theatre/Palace Theatre),Company (Sheffield Theatres), Passion, Grand Hotel (Donmar Warehouse), Spamalot (Palace Theatre),  Oh! What A Lovely War (National Theatre), The Gates of Paradise, The Jewess Of Toledo, The Venetian Twins, Love’s Labour’s Lost, Moby Dick, The Tempest, Murder in the Cathedral, Hamlet, Columbus and Romeo and Juliet (RSC); and for television, Holy Flying Circus, Buried and Angels.

Denise Black plays Lady Cooper/Ma Dimmock. Her theatre credits include Machinal (Almeida Theatre), The Cherry Orchard, The Mistress (Sherman Theatre), Pack (Finborough Theatre), Sisters (Sheffield Theatres),Bedroom Farce (West Yorkshire Playhouse), The Long Road (Soho Theatre), Aristo (Chichester Festival Theatre),The Seagull (Royal Court Theatre), Who’s Afraid of Virginia Woolf? (Liverpool Playhouse), Yerma, Mrs Warren’s Profession (Royal Exchange Theatre) and The Woman Who Cooked Her Husband (Nottingham Playhouse/Theatre Royal Plymouth). Her television credits include as series regular Denise Osbourne inCoronation Street, Joanie Wright in Emmerdale and Hazel Tyler in Queer as Folk. Other television appearances include Bad Girls, Small Island, To the Ends of the Earth, No Angels, Peak Practice and The Vice; and for film,Last Orders. 

Bethan Cullinane plays Jackie Dimmock. Her theatre credits include Scarlett (Hampstead Theatre), Cymbeline, Hamlet, The Rest is Silence (RSC), Twelfth Night (Rose Bankside), Othello, King Lear, The Merchant of Venice(Shakespeare’s Globe) and Ladybird (New Diorama Theatre).

Catherine Cusack returns to play Lil Dimmock/Sylvia Meinster. Her theatre credits include Judith: A Parting From The Body, Fragile, The Factory Girls (Arcola Theatre), Ghosts (The New Vic), All That Fall (Arts Theatre/ 59E59 New York), Bingo (Chichester Festival Theatre/Young Vic), The Two Character Play (Jermyn Street Theatre), The Early Bird, The Gigli Concert (Finborough Theatre), What Fatima Did, Bold Girls (Hampstead Theatre), Uncle Vanya (Wilton’s Music Hall), The Venetian Twins (The Watermill Theatre), Bronte, Mrs Warren’s Profession (Lyric Hammersmith), Our Lady Of Sligo (National Theatre) and Prayers Of Sherkin (The Old Vic). Her television credits include Jonathan Creek; Ballykissangel and Cadfael; and for film, Finding Neverland, Conspiracy of Silence, Boxed and The Lonely Passion of Judith Hearne. 

Shala Nyx returns to play Polly Stride. Her theatre credits include Cookies (Theatre Royal Haymarket), Every You Every Me (Oxford Playhouse/Reading Rep), Her (Half Moon Theatre), Bollywood Jack (Tara Arts Theatre), As You Like It (UK tour), Henry VI (Wales Millennium Centre), Stoning Mary (Criterion Theatre) and Love for Love and The Heresy of Love (Bristol Old Vic).

Michael Fenton Stevens plays Lord Beaverbrook. His theatre credits include 100 Hearts (Adelphi Theatre), Radio Active (UK tour), Queen Anne (Swan Theatre/Theatre Royal Haymarket), Yes Prime Minister (Gielgud Theatre/Apollo Theatre), Stand (Battersea Arts Centre), It’s a Wonderful Life (New Wolsey Theatre) and English Tragedy (Watford Palace Theatre). His television credits include Action Team, The Crown, Benidorm, New Tricks, Josh, Mrs Biggs, Not Going Out, My Family, Only Fools and Horses, Mr Bean, Outnumbered and KYTV; and for film, Lady Godiva – Back in the Saddle.

Joe Tracini plays Len Gooch. His theatre credits include Spamalot (UK tour) and Sexual Perversity in Chicago(Landor Theatre), His television credits include series regular Dennis Savage in Hollyoaks, DK in Coming of Age and Spike Bannon in My Spy Family. Other television credits include The Great Outdoors, Inn Mates and Two Pints of Lager and a Packet of Crisps and as a presenter on The Dengineers.

Samuel Hodges is Director of The Shadow Factory and of Nuffield Southampton Theatres (NST). His productions for NST includes Dedication – Shakespeare and Southampton, following The Glass Menagerie in 2015. Previously he founded the HighTide Festival Theatre in 2007 and was the Artistic Director for five years, during which time he produced over 25 new plays, co-producing with the National Theatre, The Old Vic and the Bush Theatre, amongst others. Between 2012 and 2014, he ran the Criterion Theatre in London’s West End, for whom he curated a late-night programme and a one-off summer season of new work to celebrate the London Olympics.

Anthony Lau returns as Associate Director. His directing credits include A Better Man, The Cherry Orchard (Young Vic), Juicy and Delicious (Nuffield Southampton Theatres), The Common Land (Rose Theatre Kingston), Dreaming America (Shoreditch Town Hall), Still Life/Red Peppers (Old Red Lion), The Taste of Us (HighTide) and I Am A Camera (Southwark Playhouse). His Associate/Assistant Director credits include Ink (Duke of York’s), The Glass Menagerie (Nuffield Southampton Theatres), First Light, Canvas (Chichester Festival Theatre), The Hudsucker Proxy (Liverpool Playhouse/Nuffield Southampton Theatres), King Lear (Chichester Festival Theatre/BAM), Mint (Royal Court Theatre), Bingo (Young Vic) and Hungry Ghosts (Orange Tree Theatre).

Nuffield Southampton Theatres is one of the UK’s leading professional theatre companies. The company is led by Samuel Hodges, supported by a team of associates: directors Blanche McIntyre, Natalie Abrahami and Michael Longhurst, playwright Adam Brace, choreographer Drew McOnie and poet Inua Ellams. NST develops and produces work with some of the UK’s most exciting and dynamic regional theatres. NST’s awards include Best Director at UK Theatre Awards 2013 for The Seagull, Regional Theatre of the Year at The Stage Awards 2015, Best Design at UK Theatre Awards 2015 for The Hudsucker Proxy and the 2017 Renee Stepham UK Theatre Award for Best Presentation of Touring Theatre for Fantastic Mr Fox. In 2018 NST was nominated for three awards in the UK Theatre Awards 2018; Best Design for The Shadow Factory; The Renee Stepham Award for Best Presentation of Touring Theatre for A Streetcar Named Desire and Achievement in Marketing and Audience Development for the NST City opening campaign. 

NST City is Nuffield Southampton Theatres brand new venue which opened in Southampton’s city centre in 2018. The new theatre’s programme runs alongside NST Campus situated on the Highfield Campus at the University of Southampton.

Nuffield Southampton Theatres is an Arts Council National Portfolio Organisation and a registered charity, receiving additional core funding from the University of Southampton and Southampton City Council.

www.nstheatres.co.uk

@NSTheatres

FULL CASTING ANNOUNCED 

FOR THE WEST END TRANSFER OF THE SELL-OUT 

ALMEIDA THEATRE & RON FOGELMAN PRODUCTION 

BASED ON STORIES BY ROD SERLING, CHARLES BEAUMONT & RICHARD MATHESON

ADAPTED FOR THE STAGE BY ANNE WASHBURN &

DIRECTED BY THE MULTI AWARD-WINNING RICHARD JONES

OPENING AT THE AMBASSADORS THEATRE FROM 4 MARCH 2019

★★★★★

METRO, ARTS DESK 

★★★★

TIME OUT, EVENING STANDARD, INDEPENDENT, THE STAGE, MAIL ON SUNDAY

You are about to enter another dimension, a dimension not only of sight and sound but of mind. A journey into a wondrous land of imagination. Next stop, The Twilight Zone.

Full casting has been announced for the highly anticipated West End transfer of the Almeida’s sell-out production of The Twilight Zone, which transfers to the Ambassadors Theatre from 4 March 2019. 

Reprising their highly praised performances from the Almeida run are Oliver Alvin-Wilson, Adrianna Bertola and Neil Haigh, who will be joined for the West End premiere by Alisha Bailey, Natasha J Barnes, Nicholas Karimi, Dan Crossley, Dyfan Dwyfor, Lauren O’Neill and Matthew Steer.

Adapted by Anne Washburn (Shipwreck, Mr. Burns) and directed by the multi award-winning director (winner of 7 Olivier Awards), Richard Jones, this production of the acclaimed classic CBS television series The Twilight Zone is an ingenious mixture of morality tales, fables and fantasy that are as relevant today as when audiences first encountered them. 

The Twilight Zone has design by Paul Steinberg, with costume design by Nicky Gillibrand, movement direction by Aletta Collins, lighting design by Mimi Jordan Sherin, and D.M Wood, composition and sound by Sarah Angliss, sound by Christopher Shutt, casting by Julia Horan, and illusions by Richard Wiseman and Will Houstoun. 

The Twilight Zone is based on original stories by Rod Serling, and two of the most frequent and celebrated contributors, Charles Beaumont and Richard Matheson from the CBS television series. It is one of television’s most revered and influential science-fiction fantasy shows and ran on American network CBS from 1959 to 1964, winning 3 Emmy Awards during its 156-episode run. Its incisive parables explore humanity’s hopes, despairs, prides and prejudices. The programme has had a seminal influence on popular culture; from Stephen King to Lin-Manuel Miranda, Breaking Bad creator Vince Gilligan to Steven Spielberg, The Simpsons to Black Mirror. 

With the original series celebrating its 60th Anniversary Year, a new version of The Twilight Zone recently began production and is coming to CBS All Access in 2019 with Jordan Peele serving as host and narrator. The upcoming new series is produced by CBS Television Studios in association with Jordan Peele’s Monkeypaw Productions and Simon Kinberg’s Genre Films. Jordan Peele and Simon Kinberg serve as executive producers along with Win Rosenfeld, Audrey Chon, Carol Serling, Rick Berg and Greg Yaitanes.

The Twilight Zone stage production is presented under license by CBS Consumer Products and produced by Ron Fogelman for Your Next Stop Limited and the Almeida Theatre. Kenny Wax is executive producer.

JUST ANNOUNCED: FULL CAST TO JOIN KATHARINE McPHEE & JACK McBRAYER 
FOR THE UK PREMIERE OF

Music and lyrics by six-time Grammy Award-nominee Sara Bareilles
Book by Jessie Nelson
Based upon the motion picture written by Adrienne Shelly
Directed by Tony Award-winner Diane Paulus

·    Shaun Prendergast joins the company as Old Joe opposite the already announced Katharine McPhee as Jenna and 30 Rock’s Jack McBrayer

·     Also starring Laura Baldwin, Peter Hannah, David Hunter and Marisha Wallace, Waitress will play at London’s Adelphi Theatre from 8 February 2019

​

Full casting information for the West End premiere of Sara Bareilles’ Waitress has been released today, featuring Shaun Prendergast as Old Joe. As previously announced, US star Katharine McPhee (Smash) will reprise the role of Jenna having played her on Broadway in 2018 and will appear alongside Emmy-nominated film and TV actor Jack McBrayer, who is best known for playing Kenneth in the multi-award winning US comedy series 30 Rock and will be making his West End debut in the role of Ogie.

Rehearsals are now underway ahead of performances beginning on 8 February and an official opening night on 7 March at London’s Adelphi Theatre. Currently playing its third hit year on Broadway, Waitress will bring with it an all-female lead creative team – a West End musical first.

The full company includes Kelly Agbowu, Laura Baldwin, Piers Bate, Nicole Raquel Dennis, Michael Hamway, Peter Hannah, David Hunter, Stephen Leask, Jack McBrayer, Chris McGuigan, Katharine McPhee, Olivia Moore, Nathaniel Morrison, Sarah O’Connor, Leanne Pinder, Shaun Prendergast, Charlotte Riby and Marisha Wallace.

Meet Jenna, a waitress and expert pie-maker who dreams of a way out of her small town and rocky marriage. Pouring her heart into her pies, she crafts desserts that mirror her topsy-turvy life such as “​The Key (Lime) to Happiness Pie” and “Betrayed By My Eggs Pie.” When a baking contest in a nearby county — and a satisfying run-in with someone new — show Jenna a chance at a fresh start, she must find the courage to seize it. Change is on the menu, as long as Jenna can write her own perfectly personal recipe for happiness.

Shaun Prendergast (Old Joe) has had many notable roles across film, television, theatre and radio. He is well known to television audiences for roles such as DS Holt in EastEnders, Robert Bain inWaterloo Road and Greg Doland in Emmerdale as well as frequent guest appearances in The Glee Club, The Bill, Holby City, Doctors, Coronation Street and Heartbeat. He also appeared in Kay Mellor’s A Place of Safety which won a New York Critic’s Choice Award. Shaun’s stage career began as a founder member of Kenneth Branagh’s Renaissance Theatre Company in which he appeared as Don John in Much Ado About Nothing (directed by Judi Dench at the Phoenix Theatre), Fabian in Twelfth Night (directed by Kenneth Branagh at Riverside Studios) As You Like It (UK tour and Phoenix Theatre) and Hamlet (directed by Derek Jacobi). He also starred as Ray in the world premiere of A Going Concern (Hampstead Theatre) and as Macduff in Tom Morris’ production of Macbeth (BAC). Recent stage work includes playing MC in Terry Johnson’s revival of Oh! What a Lovely War (Theatre Royal Stratford East), Mr Boo in The Rise and Fall of Little Voice (Park Theatre), Geordie the Musical(Customs House) and Cinderella (Theatre Royal Windsor). Shaun is also a writer for stage, screen and radio whose work has been translated into six languages. Awards include a Sony Award, a Time Out Award, Five NSDF Awards and a Writer’s Guild Award.

Jack McBrayer (Ogie) was Emmy-nominated for his portrayal of Kenneth Parcell on the multi-award winning and critically acclaimed series 30 Rock for NBC. He is also known for his work on The Jack and Triumph Show for Universal/Adult Swim, Adult Swim’s first half hour comedy straight to series pickup, which Jack executive produced and starred opposite Robert Smigel. He can be seen inCooties opposite Elijah Wood and Rainn Wilson for Lionsgate which premiered at Sundance. Jack also starred in Forgetting Sarah Marshall opposite Jason Segel, directed by Nicholas Stoller and produced by Judd Apatow for Universal. His other credits include Talladega Nights: The Ballad Of Ricky Bobby, directed and written by Adam McKay and produced by Judd Apatow for Columbia Pictures;The Campaign opposite Will Ferrell and Zach Galifianakis, directed by Jay Roach for Warner Bros; opposite Bill Hader in The To Do List for CBS Films; and They Came Together opposite Paul Rudd and directed by David Wain for Lionsgate.

Jack can also be seen appearing on ABC’s The Middle, Comedy Central’s Drunk History opposite Derek Waters and USA’s Playing House opposite Lennon Parham and Jessica St. Clair. He can be heard voicing the lead role of Fix-It Felix in Wreck-It Ralph, directed Rich Moore and produced by John Lasseter for Disney. His other animated film voice credits include Despicable Me for Universal,The Simpsons on Fox and Archer on FX.         

Since finding international fame as a captivating singer on American Idol – Season 5, Katharine McPhee (Jenna) has become a successful recording artist, landing numerous songs and albums on Billboard’s pop, jazz, holiday and adult-contemporary charts in her native US. Her latest album of timeless American standards “I Fall In Love Too Easily” was released by BMG in 2017. As an acclaimed actress, she was the breakout star of the 2013 NBC-TV musical series Smash, Executive Produced by Steven Spielberg with music and lyrics by Marc Shaiman and Scott Wittman (Hairspray). She recently starred in the hit CBS dramatic series Scorpion.

Laura Baldwin (Dawn) trained at Bird College. Her recent stage work has included the roles of Janey in Eugenius!, Story Sandra in Big Fish and Sam in The Little Beasts (all at The Other Palace). Laura has also played Wendy in Peter Pan (The Gordon Craig Theatre), Teen Fiona/Red Riding Hood in Shrek (UK Tour), Veronica/Ensemble in Betty Blue Eyes (UK Tour) and Alice in Alice in Wonderland (The Lichfield Garrick).

Peter Hannah (Earl) graduated from the Royal Academy of Dramatic Art (RADA) in 2013 and has gone on to play roles such as The Devil in The Strange Undoing of Prudencia Hart (National Theatre of Scotland, Spoletto Festival, and McKittrick, New York – Drama Desk Award winner 2017 for unique Theatrical Experience), Captain Ridley in Cockpit (Royal Lyceum Theatre), Mac in the Greater Game(Southwark Playhouse) and Thomas Highgate in The 306 (National Theatre of Scotland). Peter’s other theatre roles include Shakespeare in Love (Noel Coward Theatre), Four Play (Theatre503), A Clockwork Orange (Nottingham Playhouse), One Arm (Southwark Playouse) and Mock Tudor(Pleasance Courtyard). Film and television Credits include Alex in Above The Clouds (Third Light Films), Lucas in Mr Turner (Thin Man Films), Newton in Mary Gloster (Short Film) and Police Constable Stanmore in Doctor Who (BBC).

David Hunter (Dr. Pomatter) trained at The Liverpool Institute of Performing Arts (LIPA). He is currently playing the lead role of Charlie Price in Kinky Boots (Adelphi Theatre) and previous West End credits include Once (Phoenix Theatre), One Man, Two Guvnors (Adelphi Theatre, National Theatre and UK Tour), Seussical (Arts Theatre) and The Who’s Tommy (Prince Edward Theatre). Other theatre credits include The Hired Man (Leicester Curve and Colchester Mercury), Pub (The Royal Exchange) Spinach (The Royal Exchange) and The Mayor Of Zalamea (Liverpool Everyman). In 2012 David reached the semi-finals of ITV’s Superstar, competing to play the role of ‘Jesus’ in Jesus Christ Superstar. Screen credits include the film Nativity 3 and he has recently filmed an episode ofHolby City for BBC1. As the frontman of pop/rock band ‘Reemer’, David has recorded with the producers responsible for The Rolling Stones and The Who, before earning support slots for artists such as The Feeling, Scouting for Girls and finally McFly on their UK Arena Tour. In April 2018 David released his first Solo EP, Silver Linings, featuring five original songs.

Marisha Wallace (Becky) recently made her West End debut playing Effie White in Dreamgirls(Savoy Theatre) after playing the role at the Tony-winning regional theatre Dallas Theater Center. Since landing in London she has performed in numerous concerts at The Royal Albert Hall, the London Palladium, and she’s a part of Broadway and West End Divas. She recently performed the role of Celie in The Color Purple in Concert at Cadogan Hall and had two sold out nights at Zedel. Marisha’s Broadway credits include the original Broadway productions of Something Rotten and Disney’s Aladdin, and she also appeared in the first US national tour of The Book of Mormon. Other stage credits include Sistas!, Aladdin (Toronto), Oklahoma!, for which she won the Drammy for Best Actress, One Night With Janis Joplin, Rent and Hair. Screen credits include Aladdin (the forthcoming live action film), Disney’s Frozen Fever, The Tony Awards, Good Morning America, The View and Macy’s Thanksgiving Day Parade.

Waitress also recently announced the first of its “Cast Album Karaoke” nights in London, meaning that theatre lovers who have always dreamt of singing on the West End stage will soon be able to make their dream a reality. The first ever karaoke nights will be held post-show on Tuesday 19 Februaryand Monday 18 March 2019. For the chance to sing one minute of any song from the show – live on stage and accompanied by the show’s musical director Katharine Woolley – interested audience members just need to sign up in the theatre before the performance.

Waitress opened on 24 April 2016 at Broadway’s Brooks Atkinson Theater. Based on the 2007 motion picture written by Adrienne Shelly, Waitress was the first Broadway musical in history to have four women in the four top creative team spots, featuring original music and lyrics by 6-time Grammy®​ ​nominee Sara Bareilles (“Love Song”, “Brave”), a book by acclaimed screenwriter Jessie Nelson (​I Am Sam​), direction by Tony Award winner Diane Paulus (​Pippin​, ​Finding Neverland​) and choreography by Lorin Latarro. The production is currently touring the US and has also announced it will have its Australian premiere in 2020 at the Sydney Lyric Theatre.

On its Broadway opening, Waitress was nominated for four Outer Critics’ Circle Awards, including Outstanding New Broadway Musical; two Drama League Award Nominations, including Outstanding Production of a Broadway or Off-Broadway Musical; six Drama Desk Nominations, including Outstanding Musical; and four Tony Award Nominations, including Best Musical.

The Duchess of Sussex announced as new Royal Patron of the National Theatre

The National Theatre is honoured to announce that Her Royal Highness The Duchess of Sussexhas become its Royal Patron. The patronage reflects Her Royal Highness’s belief in using the arts to bring people from different backgrounds and communities together.

Her Majesty The Queen has passed on the Royal Patronage to The Duchess of Sussex having held the role for the last 45 years and has been associated with the organisation since its earliest days at the Old Vic in the 1960s.  Her Majesty last visited the National Theatre in 2013, as part of its 50^thanniversary celebrations, where she officially opened the building after major redevelopment and watched some rehearsals before being reunited with Joey from War Horse.

The Duchess has spent decades championing the arts and feels that she can use her position to focus attention on and make a particular difference to the sector. Whilst Her Royal Highness spent ten years working in television, her training is in theatre. As well as a double major in theatre and international relations from Northwestern University, which is renowned for its drama programme, Her Royal Highness volunteered at a performing arts after school programme for children in underprivileged school districts in Los Angeles.

Rufus Norris, Director of the National Theatre said: “I would like to thank The Queen for Her Majesty’s long and unwavering support and service to the National Theatre. We were honoured when The Queen became our Patron in 1974 and have celebrated many moments together including, in recent years, the Diamond Jubilee and the marking of our 50th anniversary. It is a privilege to welcome The Duchess of Sussex as our new Patron. The Duchess shares our deeply-held conviction that theatre has the power to bring together people from all communities and walks of life. I very much look forward to working closely with Her Royal Highness in the years to come”.

Her Royal Highness met with Rufus Norris last year and conducted a private visit to the theatre. The Duchess is expected to carry out a public visit to the NT in the coming weeks.

Call Me Vicky
Pleasance Theatre, Carpenters Mews, North Road, London N7 9EF
Tuesday 19th February – Saturday 9th March 2019

For the last time, it’s not Martin… it’s Vicky!

Written by sisters Nicola and Stacey Bland, Call Me Vicky is a debut play based entirely on a true story. This hard-hitting, comic production charts Vicky’s transition from male to female in a time that was far less understanding than the world we live in today. This poignant play stars
Wendi Peters (Coronation Street, ITV; Hetty Feather, BBC; Quartet, UK Tour; Hatched ‘n’ Dispatched, Park Theatre; White Christmas, Dominion Theatre) as Sylvie

It’s 1980 in Elephant and Castle. Martin and best friend Debbie are getting ready for another night out at Martin’s favourite night spot, The Golden Girl – one of Soho’s premier drag clubs. However, tonight is not a regular night out. Tonight is the night that will change Martin’s life forever

Directed by Victoria Gimby, Call Me Vicky is an honest, frank and revealing insight into an important struggle that has been relevant for generations. Having grown up on a council estate in South London and worked in the back streets of Soho, drinking, drugs and violence were common place when Vicky was overcoming all the adversity and ostracism that surrounded her transitioning. Will the love of Vicky’s friends, family and drag queens be enough to get her through the toughest of times?

Stacey and Nicola comment, Call Me Vicky is very personal to us and we are thrilled that this incredible true story is being told. We like to think it has something for everyone. It will make you laugh, cry and gasp in disbelief. In the 1980s it was almost unheard of for someone to transition yet Vicky’s story is still so relevant, and we feel it is important to see how her struggles paved the way for the 21st Century Trans Community.

Completing the cast are: Stacey Victoria Bland (Aladdin, Thameside Theatre; Don’t Dress for Dinner, UK Tour; Home Theatre, Theatre Royal Stratford East), Nicola Bland (Pickles, ITV; Tits/Teeth, Soho Theatre; Casualty, BBC One), Matt Greenwood (Bohemian Rhapsody, 20th Century Fox; The A Word, BBC/Sundance TV; Voya & Goliath, National Youth Theatre), Ben Welch (Mythic, Charing Cross Theatre; Jack Rooke’s Happy Hour, Soho Theatre; The Leftovers, Curve Theatre) and Adam Young (Two For Joy, Blonde to Black Productions; No Quarter, Soho Theatre; Sex Education, Netflix).

Call Me Vicky charts Vicky’s journey to become the person she knows herself to truly be. This powerful production will be part of Pleasance Theatre’s #YouWillKnowTheirNames season which is a game changing line-up of new writing, showcasing the most daring and original new voices.