Jack Studio Theatre – until  6 October 2018

Reviewed by Claire Roderick

5*****

The City of Benares was hit and sunk by a German U-boat on the 17th September 1940, with an estimated loss of 258 lives. While many modern films use the targeting of the North Atlantic convoys as the driving impulse in the background as we watch intrepid code-breakers and engineers struggle in a race against time to track the German fleet, Nicola McCartney’s play is different – because City of Benares wasn’t just transporting supplies but was carrying 90 evacuee children to the safety of Canada. The tragedy meant the end of the government’s programme sending children overseas, and saw the German captain being charged, but cleared, with war crimes.

Nicola McCartney tells the story of the fateful voyage through the eyes of two teenagers, Bess Walder (Claire Bowman) and Beth Cummings (Lindsey Scott). The play opens with the girls clinging onto an overturned lifeboat, watching as the adults around them give up and let go – “Ping, ping, ping” as each finger releases its grip on their “downside up” boat. The eerie darkness lifts to sepia, sunset tones as the build-up to the sinking is revealed. The characters are straight out 1940s films: with Beth’s working-class Liverpool family keeping jolly and strong in their hardship and Bess’ middle-class family showing the stiff upper lip face of wartime Britain; even so, it is Bess’ mother’s farewell that will bring a tear to your eye. The girls bond on the ship through their love of The Wizard of Oz, and their repeated invocations of comforting lines from the film as their fear grows is a lovely touch. The innocence and wonder of childhood is captured brilliantly, with the girls’ awe at the luxurious surroundings of the ship, and their placing the alien appearance of the Indian stewards (Sinbad the Sailor) in their sheltered storybook existence. The two actors play each other’s families and the various people on board the ship, switching character rapidly and expertly, with Bowman in particular showing great comic chops with some of her characterisations.

Claire Bowman and Lindsey Scott are tremendous as the two girls, delivering McCartney’s brilliantly realised language of childhood with energy and passion. The performances grip you from the start and do justice to the brave survivors. The moments of horror and terror are described almost matter-of-factly through the girls’ eyes, but their loss and shock are portrayed brilliantly by the talented actors.

Under Kate Bannister’s assured direction, the plot unfolds naturally and fluidly, with Tom Kitney’s lighting and Jack Elliot Barton’s sound design producing an almost mystical atmosphere at times. Karl Swinyard’s set is simple but evocative, with the actors reaching under the deck to take props out of suitcases. This design and the convincing performances create the image that the girls are simply playing dress up in their attic at times, before being brought back to the stark reality of the lifeboat with a jolt.

This moving and magical story of survival is another stellar production from the Jack Studio Theatre – grab a ticket while you can.

Richmond Theatre – until 22 September2018

Reviewed by Adam Craddock

5*****

 

Having personally been hurt by the awful illness that is dementia, David Grindley’s new production of the play “Still Alice” was a very exciting prospect for me when I was cruising through the theatre listings. Based around the final years of an early onset Dementia sufferer’s life, “Still Alice” follows Alice, a Harvard professor as she declines into dementia’s ugly grasp. The play is an extremely clever and truthful portrayal of this and as a book it delivers on all fronts excellently.

Martin Marquez plays Alice’s tortured husband John to perfection, with his inner turmoil on full display to the audience in one of the most heart wrenching and emotional performances I have seen in a long time. Eva Pope was splendid as “Herself”, Alice’s inner thought manifested and vocalised. She brilliantly matched all of the mannerisms of Sharon Small as Alice and gave quite a darkly comedic turn in this role that really gave the piece as a whole a bit more of a punch in the key moments. Mark Armstrong and Ruth Ollman were strong as Thomas and Lydia respectively, with a real sense of maturity in their characters and some very emotional inter play with their on stage mother. Really well done guys! However, the standout performance of the night has to go to Sharon Small as Alice, the lady going through the living hell of dementia and trying to find out how to accept, was absolutely phenomenal. Her portrayal of a character with the vicious disease was sublime and really took on all of the nuances and little quirks that come about with someone suffering from dementia. This quite frankly was one of the finest performances that I have ever seen in my year in the theatre.

“Still Alice” is an anomaly, one of those special productions where I can’t in good mind pick a fault with it. I would recommend this production in the highest regard. If you want a solid piece of gut wrenching drama then get down to the theatre and see this, because you definitely will not be disappointed!

SOCIETY OF LONDON THEATRE ANNOUNCES LAURENCE OLIVIER BURSARIES 2018

Sixteen drama school students from across the UK have been awarded a total of £72,500 worth of bursaries by the Society of London Theatre (SOLT), to help them complete their training.

Established by SOLT in 1987 to mark the 80th birthday of Lord Olivier, the Laurence Olivier Bursaries aim to provide support to exceptional students entering their final year of drama school, and facing financial difficulties which might jeopardize their studies.

Previous bursary winners have included Denise Gough, Bryony Hannah, Paterson Joseph, Ewan McGregor, Daniel Rigby, Vinette Robinson, Juma Sharkah, Michaela Coel and Michael Sheen.

Nominees, put forward by drama school principals across the UK, are auditioned on a West End stage and interviewed by a panel of theatre industry figures, led by West End producer and Chair of the Laurence Olivier Bursaries Committee, Lee Menzies. This year’s auditions took place at St Martin’s Theatre. The bursaries were formally presented during a ceremony at the SOLT offices on 20 September.

Funds awarded individually through the scheme can range from £500 to a maximum of £7,500, and are given at the discretion of the judges.

Lee Menzies, Chair of the Olivier Bursaries Committee, said:

‘Each year we are astounded by the talent and dedication of the bursary recipients – individuals who, despite financial hardship, are pushing forward to realize their potential. Many have made sacrifices to continue their studies, and without assistance we risk losing gifted performers to other industries. Drama courses require a huge amount of hard work; these bursaries give performers the freedom to focus on their studies without financial pressure. We are grateful to our partners and donors, and I urge the industry to help us secure the future of UK theatre – by supporting schemes like this, and also by continuing to make theatre tickets financially accessible to students, allowing the next generation of acting talent to be inspired by our world-class stages.’

The Clothworkers’ Foundation bursary is worth a total of £37,500 over five years with £7,500 awarded to a student annually as part of the Laurence Olivier Bursaries scheme. Funds donated by The Behrens Foundation, The Casting Directors’ Guild and by leading London theatrical agent Barry Burnett are also given in conjunction with the scheme.

The annual Society of London Theatre Bursary for Musical Theatre Dancers has been awarded to four recipients over the past year. Chosen by Dancers’ Career Development, the bursary was established to provide support for professional musical theatre dancers transitioning into post-performance careers in the creative industries.

BURSARY WINNERS

Laurence Olivier Bursary 2018

Donated by Society of London Theatre

Esme Allen – Royal Welsh College of Music & Drama

Rosie Clay – SLP College

Ruby Crepin-Glyne – Oxford School of Drama

Amesh Edireweera – Royal Welsh College of Music & Drama

Louis Ellis – Academy of Live and Recorded Arts

Jasmine Jones – Guildhall School of Music & Drama

Mirren Mack – Guildhall School of Music & Drama

Aidan Nightingale – Bodywork Company

Melissa Shirley Rose – Drama Studio London

Samuel Stafford – London Academy of Music and Dramatic Art

_________________________________________________________________________

Laurence Olivier Bursary and Doreen Jones & Mary Selway Bursary 2018

Donated by Society of London Theatre and the Casting Directors’ Guild

Samuel Adebayo – London Academy of Music and Dramatic Art

_________________________________________________________________________

Behrens Foundation Bursary 2018

Given in conjunction with the Laurence Olivier Bursary, donated by The Behrens Foundation

Ojan Genc – Drama Centre London

Aron Julius – Royal Academy of Dramatic Art

Shaofan Wilson – Oxford School of Drama

_________________________________________________________________________

Carmen Silvera Bursary 2018

Given in conjunction with the Laurence Olivier Bursary, donated by the agent Barry Burnett

Beshlie Thorp – Bristol Old Vic Theatre School

_________________________________________________________________________

The Clothworkers’ Laurence Olivier Bursary 2018

Given in conjunction with the Laurence Olivier Bursary, donated by The Clothworkers’ Foundation

Paul Kennedy – Manchester School of Theatre

__________________________________________________________

Charles Aitken and Oliver Beamish to star in
Billy Bishop Goes To War
Jermyn Street Theatre, 16b Jermyn Street, London SW1Y 6ST
Wednesday 31st October – Saturday 24th November 2018

Coinciding with the centenary of the end of World War I, Proud Haddock are reviving Billy Bishop Goes To War as part of their War Season and Jermyn Street Theatre’s Rebels Season. This striking drama is based upon the true story of young Billy Bishop, a failing military college student who became Canada’s indomitable flying ace, the most successful pilot of his generation

Billy Bishop Goes To War will star Charles Aitken (The Knick, Cinemax; Happy Death Day, Universal Pictures; King Lear, Royal Shakespeare Company) as Billy Bishop – he also plays a further 17 parts as he recounts this extraordinary tale. Oliver Beamish (Coronation Street, ITV; Blood Brothers, Lyric Theatre; War Horse, The New London Theatre), as the Older Billy Bishop, will also provide the piano and musical accompaniment

In 1914, Billy Bishop, aged only 20, signed up to fight in the Great War. A failing and bullied student, he overcame intense prejudice and astonishing danger to receive his wings and become the top fighter pilot. Through a combination of bravery and sheer luck, Billy was able to find his place and prove his worth. He became a true Canadian hero

Brought to life with songs of the period, Billy Bishop Goes To War vividly transports the audience across the landscape of World War I, from the thick mud of No Man’s Land to the drawing rooms of the British aristocracy. This compelling and darkly comic drama interrogates the nature of heroism and its cost while shining a light on the often-neglected complexities of Britain’s colonial past during the War

Written by John MacLachlan Gray in collaboration with Eric Peterson, the play returns to London for the first time in over 35 years. Billy Bishop Goes To War is the deceptively moving and totally gripping account of one man’s life in World War I

Director Jimmy Walters comments, Proud Haddock’s War Season continues with Billy Bishop Goes To War. This is a true story with lots of heart. Billy wasn’t the most academic student, was bullied at school and faced prejudice when he arrived in England during the First World War yet he overcame all of this to become the greatest fighter pilot of his generation. It’s an inspiring story that is a
privilege to revive

CREATIVE TEAM ANNOUNCED FOR THE FUNERAL DIRECTOR –

WINNER OF THE 10^TH ANNUAL PAPATANGO NEW WRITING PRIZE

 

Papatango presents

THE FUNERAL DIRECTOR
By Imam Qureshi

Southwark Playhouse

31 October – 24 November

 

Papatango today announce the creative team for The Funeral Director by Iman Qureshi – winner of the 10^thannual New Writing Prize. The creative team includes Artistic Director and co-founder of Damsel Productions, Hannah Hauer King (Director), 2017 winner of Best Design at the Wales Theatre Awards, Amy Jane Cook (Designer), WhatsOnStage Award and two time Off West End Award nominee for Best Lighting Design, Jack Weir (Lighting Designer) and Max Pappenheim (Sound Designer) who has extensive credits across London and Broadway and is currently working on Hogarth’s Progress at Rose Theatre Kingston.

The Funeral Director, an exploration of a gay Muslim woman coming to terms with her identity, makes its world premiere in a four-week run at Southwark Playhouse opening on 2 November, with previews from 31 October; and running until 24 November.

 

This year’s Papatango New Writing Prize received a record-breaking number of submissions from across the UK and Ireland – 1,384. This means the Prize continues to attract more annual UK/Irish submissions than any other playwriting platform – and is unique in giving feedback to all entrants.

“I just thought it would be a secret I’d have to die with. And now – I think it’ll be what kills me.”

Life as the director of a Muslim funeral parlour isn’t always easy, but Ayesha has things pretty sorted. She and Zeyd share everything: a marriage, a business, a future.

Until Tom walks in to organise his boyfriend’s funeral. A snap moral decision, informed by the values of Ayesha’s community and faith, has profound consequences.

Forced to confront a secret she has hidden even from herself, Ayesha must decide who she is – no matter the cost.

The Funeral Director is an incisive and heartfelt story of sexuality, gender and religion in 21st-century Britain.

Iman Qureshi will make her full-length debut with The Funeral Director. Born in Pakistan and raised in Saudi Arabia, she has had short plays or limited runs commissioned or produced by Tamasha, Kalí Theatre, Purple Moon Drama and the BBC. As a member of Tamasha Playwrights and Soho Theatre’s Writers Lab her short playHis and Hers was produced as part of Tamasha’s New Muslim Voices. Iman has also written for the Guardian, Independent, Time Out and the Huffington Post, been writer in residence at various schools, and been shortlisted for the Muslim Writer’s Award in 2011.

Hannah Hauer-King directs. She is the Artistic Director and co-founder of all-female theatre company Damsel Productions. Hauer-King started her London directing career acting as Resident AD at Soho Theatre in 2014. She now works as a freelance theatre director alongside directing for Damsel Productions, and as a theatre, comedy and cabaret programmer for Fane Productions. Recent productions include Fabric (Soho Theatre), The Swell (Hightide Festival), Grotty and Breathe (Bunker Theatre), Fury and Brute (Soho Theatre), Clay (Pleasance Theatre), Dry Land (Jermyn Street Theatre), Witt ‘n Camp (Assembly Studios, Edinburgh Fringe) andHypernormal (Vaults Festival). Associate/Assistant work includes Romeo & Juliet (Shakespeare’s Globe), Radiant Vermin (Soho Theatre) and Daytona (Theatre Royal Haymarket).

Amy Jane Cook (Designer) was the winner of Best Design at the Wales Theatre Awards 2017. Theatre credits include Jellyfish (Bush Theatre), Not Talking (Arcola Theatre), Lava (Nottingham Playhouse), Our Blue Heaven (New Wolsey Theatre), The Rise and Fall of Little Voice, St Nicholas (Theatr Clwyd), Insignificance (Theatre Clwyd/Langham Place, New York), Up N Under (UK tour), The 8th (Barbican), Mydidae (Soho Theatre/Trafalgar Studios), 66 Books (Bush/Westminster Abbey),Mudlarks (Bush/HighTide Festival), Medea (Gate Theatre), 65 Miles, Once Upon a Time in Wigan (Hull Truck), Hamlet (Young Vic/Maria Theatre), The Water Engine (Old Vic Tunnels), Glory Dazed (Soho Theatre), The Mobile Phone Show (Lyric Hammersmith), Almost Maine (Park Theatre), The Separation (Project Arts Centre, Dublin/Theatre503), Where the Mangrove Grows (Theatre503), To Dream Again (Clwyd/Polka), The Giant Jam Sandwich (Trafalgar Studio/Derby Live/Polka) Thumbelina’s Great Adventure (Cambridge Arts Centre) and I (heart) Peterborough (Pleasance/Tour).

Jack Weir (Lighting Designer) trained at The Guildhall School of Music and Drama and won the ETC award for Lighting Design in 2014. He is a WhatsOnStage award and two time Off West End Award nominee for Best Lighting Designer. Weir’s recent lighting design credits include Hanna (Papatango at Arcola Theatre and UK tour), Rain Man (UK tour), The Boys In The Band (Vaudeville Theatre), Dust (Trafalgar Studios), Rothschild & Sons (Park Theatre), George’s Marvellous Medicine (Leicester Curve, Rose Theatre and UK tour), Judy! (The Arts Theatre), Assata Taught Me (Gate Theatre), The Plague (Arcola Theatre), Out Of Order (Yvonne Arnaud Theatre & UK tour), Pray So Hard For You (Finborough Theatre), Laronde (The Bunker Theatre), Four Play (Theatre503),Summer In London (Theatre Royal Stratford East), Pyar Actually (Watford Palace & tour), Talk Radio (Old Red Lion), Holding The Man, Beautiful Thing, Grindr The Opera and Maurice (Above The Stag), West Side Story (Bishopsgate Institute) and Hunch/Velvet (Pleasance/Assembly Edinburgh).

Max Pappenheim (Sound Designer). He previously worked with Papatango on Coolatully (Finborough Theatre). Other theatre credits include The Habit of Art (York Theatre Royal/Original Theatre), One For Sorrow (Royal Court), The Way of the World (Donmar Warehouse), A View from the Bridge, Macbeth (Tobacco Factory), Dry Powder, Sex with Strangers, Labyrinth (Hampstead Theatre), The Children (Royal Court/Manhattan Theatre Club), Humble Boy, The Lottery of Love, Sheppey, Blue/Heart, Little Light, The Distance (Orange Tree), Ophelias Zimmer (Schaubühne, Berlin/Royal Court), Miss Julie (Theatre by the Lake/Jermyn Street), The Gaul (Hull Truck), Cookies (Theatre Royal Haymarket), Teddy, Fabric, Invincible (UK tour), Toast (Park Theatre/59E59 Theaters, New York), Jane Wenham (Out of Joint), Waiting for Godot (Sheffield Crucible), My Eyes Went Dark (Traverse, Edinburgh), Cargo (Arcola Theatre), CommonWealth (Almeida Theatre), Creve Coeur (Print Room), Wink (Theatre503), Spamalot, The Glass Menagerie (English Theatre, Frankfurt), The Cardinal, Kiki’s Delivery Service, Fiji Land (Southwark Playhouse), Mrs Lowry and Son (Trafalgar Studios), Martine, Black Jesus, Somersaults (Finborough Theatre) and The Hotel Plays (Langham Hotel).

 

www.papatango.co.uk

Twitter: @PapaTangoTC

Facebook: PapaTango Theatre Company

JOHN PARTRIDGE LEADS AN ALL-STAR CAST IN

THE CASE OF THE FRIGHTENED LADY

AT RICHMOND THEATRE

Following the huge success of its premiere in January 2018, THE CASE OF THE FRIGHTENED LADY makes its way to Richmond Theatre from Monday 12 – Saturday 17 November. John Partridge leads an all-star cast as Inspector Tanner in Edgar Wallace’s spine-chilling murder mystery. 

 

Inspector Tanner is called to investigate a ruthless murder at the grand ancestral home of the Lebanon family. Navigating a bloodline-obsessed patriarch, a groundskeeper with a grudge and two unsettling footmen, Inspector Tanner discovers nothing is quite as it seems. As Tanner moves closer to the heart of the mystery he uncovers a shocking and closely-guarded secret…

John Partridge is best known to TV audiences as the suave and charismatic Christian Clarke in EastEnders and is celebrated as one of musical theatre’s most respected leading men, having starred in major West End hit musicals such as Cats, Starlight Express, and Chicago. John has also been announced to star in the upcoming BBC series of Celebrity MasterChef.

He will be joined by Deborah Grant (Not Going Out, Bergerac), Robert Duncan (Drop The Dead Donkey), Phillip Lowrie (Coronation Street), Scarlett Archer (Emmerdale) and Matt Barber (Downton Abbey).

Pleasance announces Edinburgh Transfer
Festival: The Caledonian Express
Tuesday 18th September – Sunday 23rd December 2018
Pleasance Theatre, Carpenters Mews, London N7 9EF

Bringing the hottest and most exciting work from Edinburgh to London, Pleasance’s new Edinburgh transfer festival The Caledonian Express has arrived. The Caledonian Express crosses genre and form to stage the most innovative pieces fresh from the Fringe. From solo performances to ensemble physical theatre, from immersive installations to cabaret, the Pleasance continues to programme bold work making it the place for incredible stories.

Director of Pleasance, Anthony Alderson comments, This exciting transfer festival brings the buzz of the Edinburgh Festival Fringe to our London home. I’m delighted that we can extend our work with so many of these talented companies. The Festival will take over the whole of our London space bringing the diversity of our Fringe programme to new and wider audiences.

Giving London audiences the chance to enjoy the best theatre and comedy from the Fringe this year, the Caledonian Express festival is an opportunity for companies to be bold in the development of their work for new venues and spaces. Staying true to its mission of providing a platform for the talent of the future, the Pleasance remains committed to discovering, nurturing and presenting the best UK theatre-makers

The incredible programme is as follows:

Build A Rocket
Tuesday 18 – Sunday 23 September, 7.30pm, 2.30pm and 5.30pm
Opening the festival is Build a Rocket which followed in the footsteps of Flesh and Bone to win the Holden Street Theatres Award that will see them transfer to the Adelaide Fringe. A onewoman show directed by the Stephen Joseph Theatre’s Artistic Director Paul Robinson, Build a Rocket is the story of a young mother determined to get the best out of life for herself and her son.

Killymuck
Tuesday 2 – Friday 5 October, 8pm
Shortlisted for the Filipa Bragança Award and longlisted for Amnesty International Freedom of Expression Award, Killymuck by award-winning writer Kat Woods shines a light on how social and psychological behaviours impact and shape who we become. Inspired by real events, Killymuck tells of a housing estate built on a paupers graveyard in 1970s’ Ireland. This powerful exploration of survival is about those who strive to work against the stereotype and break free, projecting the benefit class in a positive light, away from the stereotype perpetuated by the media.

In Loyal Company
Friday 5 October, 7.30pm
The sell-out production In Loyal Company will come to Pleasance London allowing those who missed out a chance to catch this incredible true story. Declared missing after his ship sunk during the Battle of Singapore in 1942, this is the epic untold tale of the survival of missing World War II soldier, Arthur Robinson. Longlisted for Favourite Theatre Show at the 2018 Broadway World Edinburgh Fringe Festival Awards, this one-man powerhouse performance
comes from the team behind Trashed in 2017, David William Bryan and Sasha Moore.

We’ve Got Each Other
Saturday 6 October, 7.30pm
Modern jukebox musicals often involve a multi-talented cast, an orchestra, opulent sets, decadent costumes, extravagant routines and dramatic key changes. We’ve Got Each Other is the Bon Jovi musical with none of these things, but theatre maker Paul O’Donnell conjures up an all-singing, all-dancing spectacle simply using the power of imagination, glitter balls and one incredibly catchy ‘80s tune.

John Partridge: Stripped
Sunday 7 October, 7.30pm
John Partridge’s acclaimed career has seen him perform on the big stage at the Palladium and on the small screen in Albert Square. Stripped is his semi-autobiographical musical theatre show which explores his life from the Royal Ballet student aged nine to his role in the original cast of Cats and Starlight Express to the loss of his mother last year. Covering sexuality, success, hedonism, sobriety, love and loss through film, music, poetry, song and dance, Stripped is
Partridge’s attempt to say goodbye to who he was as he becomes someone new.

A Clown Show About Rain
Monday 8 – Tuesday 9 October, 8pm
Silent Faces were back at the Fringe this year with the heart-warming A Clown Show About Rain. Highlighting the unpredictable nature of our mental health, they were shortlisted for the 2018 Mental Health Fringe Award. Fusing together clowning with beautiful visuals and physical theatre, Silent Faces see what it is to try to battle the elements when your weatherproofing is failing.

Sod’s Law
Tuesday 9 – Thursday 11 October, 7.45pm
Cabaret star Lord Hicks presents a musical romp through queer history in Sod’s Law. Armed with his instrument, rapier wit and lashings of sass, his Lordship will recount the laws, legends and liaisons that have shaped what it is to be gay. Born with a silver spoon in his mouth and educated on the mean streets of Soho, this lyrical sensation has travelled the world serenading audiences from Paris to Reykjavik with classic anthems and original songs.

The Search for a Black-Browed Albatross
Friday 12 October, 7.30pm
The Search for a Black-Browed Albatross is a beautiful, joyous, handmade adventure with puppetry, music and a girl that just really wants to see a bird. The winner of the NSDF Festgoer’s Award, The Sunday Times Playwriting Award and The Buzz Goodbody Director Award, The Backpack Ensemble’s sincere and moving new piece is about offering tribute to lost loved ones.

Bottom
Friday 12 – Saturday 13 October, 7.45pm
Bottom is all about bums… Beyoncé and burnt fish fingers. Locked in his bathroom during a tragic third date, Willy asks, ‘Are you a top or a bottom?’ Willy Hudson welcomes us to a queer coming-of-age remix, as he questions if ‘bottom’ in the bedroom means ‘bottom’ in life.  Shortlisted for The Brighton Fringe Award for Excellence at Edinburgh 2018, his funny, honest and open-hearted storytelling yanks the lid off the queer experience. This is for those who hate making the first move, who think they are unlovable or have tried to be someone they’re not.

Lights Over Tesco Car Park
Saturday 13 – Sunday 14 October, 7.30pm
From the New Diorama Graduate Emerging Company 2018, Poltergeist Theatre, Lights Over Tesco Car Park is the critically acclaimed totally true story about an alien sighting over a supermarket. An absurdist docu-comedy, Lights Over Tesco Car Park, tries to decide who to believe with the aid of historical abduction stories, a bucket of flying saucer sweets, dance numbers, some speedily Googled conspiracy theories, and an audience.

Freeman
Tuesday 16 – Sunday 21 October, 7.30pm, 2.30pm and 5.30pm
Freeman was created by the first black-led company to receive the Charlie Hartill Special Reserve Fund. Nominated for SIT-UP social consciousness awards and the Amnesty Freedom of Expression Award, Freeman threads together true stories to examine the unspoken link between mental health and systemic racism. It features a mix of high-energy physical theatre, gospel singing, shadow puppetry and powerful drama to evoke an extraordinarily moving experience.

It’s Not A Sprint
Wednesday 17 – Saturday 20 October, 8pm
In NOVAE Theatre’s It’s Not A Sprint, Maddy is marking her thirtieth birthday with a marathon – she has 26.2 miles to make a decision. As a woman, she is worn down. As a marathon runner, she is unprepared. The race is the first true test of endurance Maddy has ever undertaken, but her escalating battle with the voice in her head makes it a more gargantuan challenge than even she could ever have imagined. Maddy is sent into a spiral of self-doubt, forcing her to confront her deeper anxieties of fidelity, children, career and body image.

Ad Libido
Thursday 18 – Saturday 20 October, 7.45pm
Sometimes girls just want a good natter about their sex lives. But what is ‘normal’? In Ad Libido we join Fran on a hilarious quest, with songs, as she pursues a ‘normal’ sex life. Expect toetapping tunes, a magic penis and a visit to sex camp; Ad Libido explores Fran’s own experience of Female Sexual Dysfunction (which covers problems with sexual response, desire, orgasm or
pain during sex), a condition affecting at least 43% of women.

The Archive of Educated Hearts
Wednesday 24 – Sunday 28 October, 6.45pm and 7.45pm
Fringe First winner The Archive of Educated Hearts is an intimate storytelling installation crafted from true stories of families facing breast cancer. The audience is surrounded by relics and keepsakes that allow a glimpse into these stories of kindness and courage, fragments of absolute joy, and incomprehensible heartbreak. The Archive is full of the moments that make up a lifetime and, after the show, the audience is invited to archive their own personal histories.

Tom Brace: Brace Yourself (It’s Magic Time!)
Thursday 25 October, 11am and 2pm
With boundless enthusiasm, Tom Brace bamboozles his audience with his brand-new variety show, Brace Yourself (It’s Magic Time). Fresh from the Fringe, Brace is full of laughs and classic magic tricks for all the family. His natural exuberance and harmless mischief charms the audience with a little help from his virtual assistant Trixby

Narcissist in the Mirror
Friday 2 – Wednesday 7 November, 8pm
In contrast, Narcissist in the Mirror offers a dark comedy about life, ambition and millennial expectation: Narcissus is a love addict, a starving artist and a lost soul searching for self-worth. Winner of Best New Play at the 2018 Manchester Theatre Awards, the sell-out production Narcissist in the Mirror is laced with acerbic wit, punchy dialogue and intricate spoken word. It’s an honest account of self-exploration as rip-roaring as it is poignant and heartfelt.

Enter the Dragons
Tuesday 6 – Saturday 10 November, 7.45pm
Combining comedy and frank sincerity, Enter the Dragons is a hilariously sublime comment on modern womanhood. Written and performed by École Philippe Gaulier alumni Abigail Dooley and Emma Edwards, this award-winning production mixes elements of clowning, puppetry and physical comedy with a narrative that expertly skewers the pressures surrounding women as they pass the age of fifty. Dooley and Edwards present a comedic call to arms, marrying a wry exploration of the tribulations of ageing with a delightfully dark surrealism.

Toby Thompson: For the Record
Thursday 8 – Friday 9 November, 8pm
Toby Thompson’s brilliant, beguiling wordsmithery takes us on a warm and uplifting journey as For the Record gently spirals through life’s absurdities. Interweaving Toby Thompson’s singular  poetic voice with some outrageously good songs, this show won the 2018 Pleasance Indie for Best Theatre or Family Show at the Edinburgh Festival Fringe. Toby Thompson’s For the Record offers an opportunity to watch a uniquely musical and enigmatic poet, described by Kate
Tempest as ‘the future’.

Tobacco Road
Tuesday 13 – Saturday 17 November, 8pm
Winner of the Les Enfants Terribles 2018 Greenwich Partnership Award, Incognito Theatre Company bring their explosive physical style to London, telling a unique gangster story of the murky underworld of the 1920s. Tobacco Road is a magnified examination of the people who forged a life for themselves in a world that ignored them. All the characters are in some way based on real people and the show explores issues including the struggle of being a female gangster in a male-dominated world and the complex standards of masculinity.

Ladykiller
Friday 30 November – Sunday 2 December, 8pm
Ladykiller is a blood-soaked jet-black comedy about social responsibility, zero-hour contracts and gender expectations. The chambermaid considers herself to be a pretty normal person. She reads books. She goes to the cinema. She even pretended to read the party manifestos at the General Election. She just wishes that people would be nicer to those who work in customer services. A chambermaid, a hotel room and a dead woman – it’s not what it looks like, really, it’s not

Woyzeck
Saturday 22 – Sunday 23 December, 8pm
Longlisted for Favourite Theatre Show at the 2018 Broadway World Edinburgh Fringe Festival Awards, the award-winning Spies Like Us present their version of Woyzeck. Born out of the Young Pleasance, the company breathe new life into Buchner’s classic tale with their trademark inventive physical style. In this kaleidoscopic dreamscape, nothing is as it seems and no one can be trusted.

(NO) LEAVES ON MY PRECIOUS SELF AT THE
KING’S HEAD THEATRE IN OCTOBER 2018

October 8th-13th 2018, 9:30pm at The King’s Head
Theatre

The show takes the audience through the mind and daily life of an emerging actor. It explores the fascinating touch of madness a career in performing arts often offers, as well as its challenges and pitfalls. Beautifully moving between physical theatre, musical theatre and spoken word pieces, the show offers a lighthearted
but deep and thought-provoking night of
entertainment

‘What a crazy paradox there is. The industry that is based on pure beauty, whether it is the beauty of people’s minds, if one writes; people’s hands, if one paints, or plays a musical instrument; people’s selves, souls, thoughts, talents, auras, energies, makes you yourself feel so ugly. Creating that beauty in any way, serving it to others, you crush your own soul, spit on it, mould it, destroy it with mind-eating doubts, hesitations, and self-beating. It celebrates flaws and imperfections, but almost never forgives you your own.’

After graduating in BA (Hons) Theatre Studies, Kate, a firm believer in creating her own career opportunities, collaborated with a British director Dan Pickard on turning her final degree performance into a short film, named ‘The Allure de Moi’. The film was received very well, and got good reviews.

(No) Leaves On My Precious Self is Kate’s debut in playwriting, and as a theatre director, and transfers to the King’s Head Theatre following a successful production at The Drayton Arms Theatre.

Tickets are £15/ £12 conc, and are on sale online at:

https://system.spektrix.com/kingsheadtheatre/website/eventdetails.aspx?WebEventId=noleaves

ANNOUNCED TODAY:

T H E  M U S I C  O F

H A R R Y   P O T T E R   A N D   T H E   C U R S E D   C H I L D

IN FOUR CONTEMPORARY SUITES BY IMOGEN HEAP

WILL BE RELEASED 2 NOVEMBER 2018

AVAILABLE NOW TO PRE-ORDER

AWARD-WINNING SCORE FEATURED IN A NEW ALBUM OF MUSIC

BY GRAMMY & IVOR NOVELLO AWARD-WINNING

COMPOSER & INNOVATOR IMOGEN HEAP

 

Today, 20 September 2018, Producers Sonia Friedman and Colin Callender are proud to announce that The Music of Harry Potter and the Cursed Child, an album of music from the internationally acclaimed stage production, will be released on 2 November 2018.

The Music of Harry Potter and the Cursed Child is written, composed, performed and recorded by Grammy and Ivor Novello Award-winner Imogen Heap.  It is presented as four contemporary musical suites, each showcasing one of the play’s theatrical acts.  This unique new album format from Imogen Heap chronologically features the music heard in the stage production, further reworked to transport listeners on a sonic journey through the world of Harry Potter and the Cursed Child.

 

The Music of Harry Potter and the Cursed Child will be released by Sony Music Masterworks, and available in stores as well as digitally on 2 November 2018, with pre-orders available now at https://HarryPotter.lnk.to/HARRYPOTTERANDTHECURSEDCHILDPR

 

Imogen Heap said “This album is like nothing I’ve ever attempted before. It’s four suites containing music from each of the four acts of the play, Harry Potter and the Cursed Child. With over 100 moments of music in the play, the challenge was how to weave them together, and I think it has manifested into a really enjoyable listen, with memories for those who’ve seen the play, musical accompaniment to those with the script of the play or simply just to enjoy the music as a stand-alone album. It is crafted to be listened to in its entirety, taking the listener through different worlds within each suite. I don’t know another album like it. I hope others enjoy listening to it as much as I’ve enjoyed making it.”

 

Mark Cavell, COO, Sony Music Masterworks said “It’s an absolute pleasure to work with Imogen Heap and the team at Sonia Friedman Productions on this amazing album. The album represents many months of dedication from Imogen to ensure that the music of Harry Potter and the Cursed Child is as magical in album form as it is on stage. Together with producers Sonia and Colin and the creative team, led by John Tiffany and Steven Hoggett, their collective vision and execution is second to none, and we are honoured to be the partner to bring Imogen’s exquisite music to the Harry Potter universe. I can only recommend that anyone, whether they have seen the show or not, should put the album on and travel through platform 9 ¾!”

 

Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child is a new play by Jack Thorne, directed by John Tiffany with movement by Steven Hoggett, set by Christine Jones, costumes by Katrina Lindsay, music & arrangements by Imogen Heap, lighting by Neil Austin, sound by Gareth Fry, illusions & magic by Jamie Harrison, music supervision & arrangements by Martin Lowe.

Harry Potter and the Cursed Child received its world premiere in July 2016 at the Palace Theatre in London and earlier this week more tickets were released for performances through to 28 July 2019.

It is also now playing at the Lyric Theatre on Broadway, with an Australian production beginning performances at Melbourne’s Princess Theatre on 16 January 2019.  A further North American production will open at San Francisco’s Curran in Autumn 2019 and, in spring 2020, a German language version of the play – marking its first non-English language production – will open at the Mehr! Theater am Großmarkt in Hamburg, Germany.

For the Broadway production, 100,000 tickets will be released at 11am on 27 September for performances through to 9 June 2019. Tickets for the forthcoming Melbourne production are now also on sale. Details of all productions of Harry Potter and the Cursed Child’ can be found at www.HarryPotterthePlay.com

 

Harry Potter and the Cursed Child is produced by Sonia Friedman Productions, Colin Callender and Harry Potter Theatrical Productions.

 

Imogen Heap is a self-produced British recording artist. She has written and produced four solo albums, one as one half of Frou Frou, and has collaborated with countless and varied artists including Jeff Beck, Taylor Swift, Mika and Josh Groban. She has two Grammys, one for engineering and another for her contribution to Taylor Swift’s ‘1989’, and is also the recipient of the Ivor Novello Award, The Artist and Manager Pioneer award, the MPG Inspiration Award and an honorary Doctorate of Technology for her MI.MU Gloves work. Earlier this year she won a Drama Desk Award for Outstanding Music in a Play for Harry Potter and the Cursed Child.

In 2014 she envisioned a music industry ecosystem through Mycelia and released ‘Tiny Human’, the first song to use smart contracts on a blockchain. This month, Heap embarks on a year-long music and technology world tour.

Sony Music Masterworks comprises the imprints Masterworks, Sony Classical, OKeh, Portrait and Masterworks Broadway. Our artists range from icons to newly developing talents in classical, crossover and adult alternative music, plus new and legendary jazz artists. Our vast catalogue of musical theatre recordings features classic shows and original cast albums of today’s Broadway hits including; The Prom, SpongeBob SquarePants, Hello, Dolly! starring Bette Midler, Groundhog Day,Charlie and the Chocolate Factory, On Your Feet!, Kinky Boots, Once, If/Then and An American in Paris.

LINKS

www.HarryPotterthePlay.com

www.pottermore.com

@HPPlayLDN

facebook.com/HPPlayLDN

instagram.com/hpplayldn

NEW GROUP FOR THEATRE LOVERS IN DARLINGTON

Darlington Hippodrome introduces a brand new group for theatre lovers aged 55 and over.

If you are aged 55 and over and have a love of the theatre then you could become one of Pepi’s People. This new group, named after the Hippodrome’s founding Managing Director Signor Rino Pepi, will meet on Fridays through October and into November at Darlington Hippodrome to get involved in theatre talks, movement taster sessions, script-writing workshops, learning about theatre direction and discussing all things theatre with people who share the same passion.

Sessions will be taken by guest speakers and performers from the region. Tickets for the full 6 week course of events are just £30. Each session will run from 10am to 12.30pm. For more detailed information please contact the theatre’s Audience Development and Participation Officer, Chris Wellings on 01325 405510.

To book your spaces visit www.darlingtonhippodrome.co.uk or call 01325 405450