James Cousins Company returns to Leeds with unmissable new dance show

James Cousins Company

Epilogues

Thursday 02 May

Stanley & Audrey Burton Theatre, Leeds

theatreleeds.com

Returning to Leeds for the first time since 2015, James Cousins Company is back at the Stanley & Audrey Burton Theatre next month with their latest production Epilogues. An emotive production made up of three pieces, the company will be presenting matinée and evening performances on 02 May 2019 only.

In an era when women proclaim ‘time’s up’ and misogynists win presidencies, choreographer and Artistic Director James Cousins is increasingly determined to put the stories he feels are important centre stage. Inspired by division and isolation, and looking for connection and resolution, three duetstell the stories of different relationships between lovers, friends, sisters and family.

Given new meaning as part of Epilogues, the acclaimed Within Her Eyes returns to the stage after winning the inaugural New Adventures Choreographer Award Showcase in 2012. An astonishinglyphysical work exploring loss and dependency, where the female dancer never once touches the ground, it features music by Seymour Milton and lighting by Olivier Award nominee Lee Curran.

In Between Us Is Me, the first of two new works, is an intimately formal and delicate piece of two men overcoming pressures from their respective cultures. Taking inspiration from Cousins’ own life, it combines with the dancers’ personal stories to explore the moments in life when a quiet look says it all.

A second new work, The Secret of Having It All, explores the relationship between two women dealing with the impending loss of a parent, challenging the stereotype of feuding females perpetuated by the male gaze of the media. The score is by composer Torben Lars Sylvest, and collaborating poetSabrina Mahfouz incorporates the dancers’ own stories into her accompanying text.

Tickets for Epilogues by James Cousins Company at the Stanley & Audrey Burton Theatre, Leeds are on sale now and can be booked online at theatreleeds.com or by calling the Box Office on 0113 220 8008. Tickets are priced at £15.00.

Manchester Palace Theatre – until 13 April 2019

Reviewed by Marcus Richardson

5*****

Hair The Musical is a legendary show in theatre, no matter who you talk to they probably know a few songs from the show. Iconic songs such as Age of Aquarius and Let The Sun Shine In are just two of the many songs from the show. The show to many is about hippies getting high and hating war, which in essence is exactly what the show is about; it’s a euphoric tale of how counterculture reacted to the Vietnam War, the show is just as much as an act of political rebellion as it is an entertaining show. Throughout the show you are taken on a trip exploring different characters and mainly how they reject society. Now I’m sure many people have seen the film, I being one of them, however there is a very huge contrast between the two with a wildly different ‘plot’.

The characters in the show are notable both for their comical entertainment and their individuality, Berger being one of the most notable characters in the show. Jake Quickenden took on this colourful character with a lot of spice and not a care in the world. Right from the moment that he opens his mouth he haves fun alongside the audience as he strips to a thong, something I’m sure a lot of people in the audience didn’t mind, Quickenden opens the dialogue in the show and creates a great atmosphere with the audience laughing throughout most of the show. Aiesha Pease plays Dionne, with vocals that stand out, opening the show with the Age Of Aquarius and singing the song White Boys. The character of Claude was the biggest difference from the film, many of you will remember a country boy coming to New York City and being an outsider to hippy culture, however in the show he is a long haired Aquarius himself. Played by Paul Wilkins, we are given a man torn between going to war or staying in New York to ‘fight’ against the conflict. Wilkins does an amazing job of finding the battle inside the character as well as delivering songs that pick a punch such as The Flesh Failures. Although I have only named three of the fourteen actors, everyone was absolutely stunning and I left the theatre speechless and unable to stop smiling.

When it first hit the stage it was revolutionary to both theatre and society, the style of the show being describe as a Rock Musical. I feel like watching the show is similar to a concert with a plot thrown in on the side with a bit of dialogue here and there and the songs guiding the audience. The songs were just as catchy and wacky as you remember them, being saucy and a little bit controversial. The stage was colourful to match the music and characters, the group being described as a tribe is apparent in the design of the stage and costume.

When asked about what I thought of the show I was unable to describe how I felt, I still find it hard to articulate how much I loved the show. I knew I was going to love it, but I didn’t know I was going to be this struck but the show. One way of showing how much I loved it was how the three hour travel time it took me to get to Manchester just to watch the show, and I’ll gladly do it again. I think everyone, over a certain age, should go and see this show whilst it’s on tour. If I didn’t get the chance to see it I would be devastated, now I want everyone else to watch the Tale of Peace and Happiness as it goes across the UK. Go and see this show, you’ll be high just from the energy and thrill of the show. 

The Lowry, Salford- until Saturday 13 April 2019.

Reviewed by Joseph Everton.

5*****

Blood Brothers, the creation of Willy Russell, is undoubtedly the show that kindled my love of theatre. With humble beginnings as a school play in the early 80’s, Blood Brothers continues, nearly forty years on, to perfectly tell a tale of the crippling unfairness of class in this country and the social problems inextricably linked with living in poverty. Last night at the Lowry, twenty years after my first Blood Brothers experience, I laughed and inevitably, I cried, but I loved each and every minute of the performance which closed with an audience wiping away tears and climbing to their feet in appreciation.

The well-known story follows Mickey (Alexander Patmore) and Eddie (Joel Benedict), twins separated after their birth because of a struggling mother’s inability to support them both financially. When their mother, Mrs Johnstone (Linzi Hateley) is asked – some would say coerced – to give one of her twins away to well-to-do employer, Mrs Lyons (Paula Tappenden), who cannot bear children, she reluctantly accepts for the good her family. What follows is a harrowing tale of a forbidden friendship between two boys who do not know that they are brothers and the differences in their upbringing that eventually lead to tragedy. However, the show is by no means depressing or maudlin. It inspires a powerful emotional response by being relatable, believable, endearing and often laugh-out-loud funny.

In a time of austerity, job losses and with television openly mocking those on welfare with shows like ‘Benefit Street’, Willy Russell’s writing helps its audience to empathise with the plight of Mrs Johnstone and her family, stuck on the bread line, struggling to make ends meet and, eventually and almost inevitably, turning to crime and struggling with mental health issues. When Mrs Johnstone orders more than she can afford in from the catalogue in a bid to treat her children, you are made to feel angry at the system that has failed her, not at her poor decision making. When Mickey makes life-changing mistakes and struggles with depression, you can, again, empathise with him because of brilliant writing and the excellent character development in scene one, where her children and their friends play in the streets around their home.

Both Patmore and Benedict play their parts so endearingly that you are made to feel genuine frustration at their plight. Alexander Patmore is a stand out performer, playing a convincing seven-year-old Mickey and then later, a chronic depressive struggling with the effects of unemployment, poor mental health and a seven-year prison sentence. Benedict switched between entirely different characters with ease and class.

For me, Blood Brothers is a five star show with an increasingly relevant story that does far more than just entertain. It is and was brilliant.

B E H I N D   T H E   C U R T A I N

PORTRAITS OF THE VISITING PROFESSORS OF THE

CAMERON MACKINTOSH CHAIR OF CONTEMPORARY THEATRE AT ST CATHERINE’S COLLEGE, OXFORD

BY FRANCES HAMEL

VICTORIA AND ALBERT MUSEUM 24 APRIL – 19 MAY 2019

The Victoria and Albert Museum will host an exhibition of portraits by Francis Hamel celebrating the visiting professors of the Cameron Mackintosh Chair of Contemporary Theatre at St Catherine’s College, Oxford.

Running from 24April – 19 May 2019 the exhibition will feature 28 new portraits of the visiting professors to be shown in the Prince Consort Gallery including Richard Attenborough, Alan Ayckbourn, Michael Boyd, Michael Codron, Stephen Daldry, Richard Eyre, Michael Frayn, Stephen Fry, Thelma Holt, Nicholas Hytner, Phyllida Lloyd, Cameron Mackintosh, Patrick Marber, Ian McKellen, Arthur Miller, John Napier, Trevor Nunn, Tim Rice, Diana Rigg, Simon Russell Beale, Claude-Michel Schönberg, Peter Shaffer, Stephen Sondheim, Kevin Spacey, Patrick Stewart, Tom Stoppard and Meera Syal.

The Chair of Contemporary Theatre was founded in 1990 through a grant from the Mackintosh Foundation at St Catherine’s College, and aims to promote interest in, and the study and practice of, contemporary theatre. The post is currently held by Deborah Warner.

Francis Hamel lives and works at Rousham in Oxfordshire and divides his time as a painter working for exhibitions and undertaking commissions.  He studied at The Ruskin School of Fine Art and Drawing in Oxford while at Magdalen College.

V&A South Kensington, Cromwell Road, London, SW7 2RL

https://www.vam.ac.uk/

https://www.cameronmackintosh.com/

Yvonne Arnaud – until 13th April

Reviewed by Heather Chalkley

5*****

Barney Norris’ adaptation of this piece is distinctly different from the film and book, although he stays true to author Ishiguro’s storyline. In essence a tale of unrequited love. In complexity, a menagerie of wrong decisions that lead to broken hearts, failed political careers and complete loss of faith in your own beliefs.

All this told through the memories of a quintessential English butler called Mr Stevens (Stephen Boxer). Stevens lives through a time when his profession is dying out and he is beginning to wonder if he has given his life to it for nothing. Particularly when considering his undying love and admiration for Miss Kenton (Niamh Cusack).

Steven’s previous employer Lord Darlington (Miles Richardson) earned the reputation of the Appeaser, through his efforts to broker good relations between England and Germany, just before the Second World War.

In an iconic scene where Lords and politicians are holed up at Darlington Hall in negotiations, Sir David (Stephen Critchlow) bullies Stevens (Boxer) to prove to his fellow Lords there is little point in consulting the plebites on such matters. Although a line directly out of the original script, the resonance with our present political storm is not lost on the audience, creating a ripple of laughter.

It takes a while to get used to the fluid transition between years, with scenes from different decades transposing on one another. Although you have to concentrate you soon tune in to Stevens train of thought.

We were treated to the Creative Team’s clever use of skims and sliding wall sections, coupled with the delightful rhythm of the ensemble as they move the set around.

The poignant final scene between Stevens (Boxer) and Kenton (Cusack) is delivered from the heart, creating a palpable yearning in the auditorium for a happy ending. I am so glad Norris stuck to the original story!

The quality of this piece reflects the calibre of the cast, the creativity of the Director (Christopher Haydon) and the skilled craft of both author (Ishiguro) and playwright (Barney Norris).

Northern Stage – until 13 April 2019

Reviewed by Andrew Bramfitt

5*****

A long time favourite 80’s movie gets the stage treatment and is even better than the original.

The story of Charlie Babbitt, wannabe big shot luxury car dealer and his brother Raymond is as classic and timeless as the 80s soundtrack that accompanies this Classic Screen to Stage production. Charlie (played by Chris Fountain with great frustration, a big ego an even bigger chip on his shoulder) is desperate to raise some cash to head off the loan sharks and save his failing business. All he cares about is himself, so when his estranged father dies, he expects to inherit the family fortune and all his worries will be gone. Sadly (for him) the estate is left to a 3rd person, someone whom Charlie has never known existed yet has been linked to all is life – his brother Raymond.

Raymond is a savant, initially ‘held’ in an institution by a doctor who believes that isolation is the only way to protect Raymond from the world. Adam Lilley plays Raymond and, if Dustin Hoffman received the Oscar for Best Supporting Actor, then Adam should equally be feted in acclaim and awards. His portrayal of Ray is both sensitive and dynamic, immediately exposing the vulnerability of someone for whom the world is a confusing and scary place and yet, throughout, he bestows Ray with a strength of not needing to conform.

Through an attempt to get access to the family fortune by taking Raymond on a road trip, Charlie realises that life has far more purpose when you care about someone other than yourself.

Backed by some innovative set design, wonderful use of 80’s pop music and great pacing this transfer from screen to stage makes for a brilliant evening. Northern Stage, with its wide stage, very comfy seats and great hospitality is an ideal venue for a night out.

DEAFINITELY THEATRE AND BIRMINGHAM STAGE COMPANY

ANNOUNCE LONDON VENUE AND NEW TOUR DATES FOR

HORRIBLE HISTORIES – DREADFUL DEAF – DEAFINITELY NOT FOR THE FAINT-HEARTED!

Deafinitely Theatre and Birmingham Stage Company today announce a London venue and additional tour date for the world première tour of Horrible Histories – Dreadful Deaf – Deafinitely not for the faint-hearted!. The production will additionally play at Stratford Circus Arts Centre on 16 June, and at Derby Theatre on 21 June.

Dreadful Deaf has a special school’s performance at Heathlands School in St Albans on 24 May before opening at Bristol Old Vic Theatre on Wednesday 29 May. The show then tours to York Theatre Royal, Stratford Circus Arts Centre and The North Wall in Oxford before completing its run at Derby Theatre on Sunday23 June.

The cast is Fifi Garfield, Naomi Gray, and Nadeem Islam, directed by Paula Garfield.

We all want to meet people from history. The trouble is everyone is deaf dead!

So it’s time to prepare yourselves for Horrible Histories live on stage as it delves into the dreadful, dangerous and deluded stories of the deaf! From groovy Greeks to gorgeous Georgians, ruthless Romans to vile Victorians, come with us into this incredible world to discover the extraordinary people and amazing stories you simply won’t believe!

Deaf or hearing, this bilingual production – in spoken English and British Sign Language – is a truly frightful treat for all the family! 

About Deafinitely Theatre

Deafinitely Theatre is the UK’s first professional deaf-launched and led theatre company, creating bilingual productions of classic and contemporary plays for deaf and hearing audiences that combine the visual storytelling of British Sign Language with the immediacy of spoken English.

Established in 2002, the company’s vision is a world where deaf people are a valued part of the national theatre landscape, recognised for the excellence of their work. Deafinitely challenges barriers to training and opportunities, working hard to nurture the next generation of deaf theatre makers and audiences through its continuing programme of productions, consultancy work and education and training activities for young people and adults.

The company’s most recent productions include 2018’s sold-out run of 4.48 Psychosis by Sarah Kane, which was shortlisted for Best Director by Broadway World UK 2018, at New Diorama Theatre and Derby Theatre and 2017’s award-winning production of Contractions by Mike Bartlett at ND2 (New Diorama Theatre) – winner of the 2018 Off West End Award for Best Production. Artistic Director, Paula Garfield has recently been awarded a 2019 Tonic Award for her work with Deafinitely Theatre.

About Birmingham Stage Company

Birmingham Stage Company is the award-winning producers of David Walliams’ Gangsta Granny and Awful Auntie. The company produce all the Horrible Histories shows live on stage including the West End productions of Barmy Britain. The company also performs internationally, including David Almond’s Skellig on Broadway, and Horrible Histories at The Sydney Opera House.

Neal Foster is Actor/Manager of Birmingham Stage Company which since its foundation in 1992 has staged over eighty productions. The company has become one of the world’s leading producers of theatre for children and their families, including Horrible Histories Live on Stage for thirteen years in the UK, Dubai, Qatar, Bahrain, Hong Kong, Singapore, New Zealand and Australia. Foster has written and directed all of the most recent Horrible Histories shows including Barmy Britain – Parts One, Two, Three & Four (Garrick Theatre, Apollo Theatre and Sydney Opera House); Groovy Greeks and Incredible Invaders for a national tour and Wicked Warwick at Warwick Castle. His first fictional adaptation was David Walliams’ Gangsta Granny,which transferred to the Garrick Theatre and then the Harold Pinter Theatre and was nominated for a Best Entertainment and Family Olivier Award.  His adaptation of David Walliams’ Awful Auntie enjoyed an 18 month national tour and his next David Walliams’ show will be Billionaire Boy in autumn 2019.

This production is made possible by the generous support of:

Arts Council Strategic Touring Fund, Autograph Sound Recording, Edwardian Hotels London, The Garfield Weston Foundation, Old Diorama Arts Centre and White Light Ltd.

Dreadful Deaf – Deafinitely not for the faint-hearted!                                                                     Listings

On tour: 29 May – 23 June 2019               

www.deafinitelytheatre.co.uk 

Twitter:                @DeafinitelyT

Facebook:           deafinitelytheatre

Dreadful Deaf – Deafinitely not for the faint-hearted is suitable for ages 5+

Tour Dates 

Bristol Old Vic 

29 May – 1 June

Box Office: 0117 987 7877

www.bristololdvic.org.uk

York Theatre Royal

7 June – 8 June 

Box Office: 01904 623 568

www.yorktheatreroyal.co.uk

Stratford Circus Arts Centre

16 June

Box Office: 020 8279 1080

www.stratford-circus.com

The North Wall

18 June

Box Office: 01865 319 450

www.thenorthwall.com

Derby Theatre

21 June – 23 June 

Box Office: 01332 59 39 39

www.derbytheatre.co.uk

REGENT’S PARK OPEN AIR THEATRE ANNOUNCE FULL CASTING FOR OUR TOWN:

• NATALIE KLAMAR TAKES THE CENTRAL ROLE OF STAGE MANAGER
• ARTHUR HUGHES AND FRANCESCA HENRY PLAY GEORGE GIBBS AND EMILY WEBB
• KARL COLLINS AND PANDORA COLIN PLAY DR AND MRS GIBBS
• TOM EDDEN AND THUSITHA JAYASUNDERA PLAY MR AND MRS WEBB

Regent’s Park Open Air Theatre have today announced full casting for Thornton Wilder’s Pulitzer Prize-winning play, Our Town. Directed by The Gate Theatre’s Artistic Director, Ellen McDougall, the cast is led by Natalie Klamar in the central role of Stage Manager.

As the Stage Manager introduces another ordinary day in Grover’s Corners, the townsfolk go about their daily business: newspapers are delivered; people go to work; gardens are tended to. And a boy and girl fall in love. The boy, George Gibbs is played by Arthur Hughes, and the girl, Emily Webb byFrancesca Henry.

But, as life’s events unfold and a community comes together, one question remains: “do any human beings ever realise life as they live it? Every, every minute?”

George and Emily’s parents are played by Karl Collins and Pandora Colin (Dr and Mrs Gibbs) andTom Edden and Thusitha Jayasundera (Mr and Mrs Webb). Nicola Sloane takes the role of Mrs Soames, and Garry Robson, Constable Warren.

Completing the cast are: Phil Adele (Sam Craig), Jim Findley (Joe Stoddard), Peter Hobday (Simon Stimson), Terique Jarrett (Si and Joe Crowell), Louis Martin (Howie Newsome), Miriam Nyarko(Rebecca Gibbs) and Cleo Sylvestre (Professor Willard). The role of Wally Webb will be shared byTumo Reetsang and Tyrell Russell-Martin.

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Natalie Klamar (Stage Manager) has recently been seen in Keith? (Arcola), Richard II (Almeida) andProm Kween (Edinburgh Fringe). Other theatre credits include: Cleansed, I Want My Hat Back(National Theatre), Future Conditional (Old Vic), The Cherry Orchard (Young Vic), All’s Well That Ends Well, As You Like It, Hamlet, King John (RSC), and as Desdemona in Othello (Shakespeare’s Globe).

Arthur Hughes (George Gibbs) has most recently been seen in the supernatural drama, The Innocents (Netflix). Recent theatre credits include: Saint Joan (Donmar Warehouse), The Solid Life of Sugar Water (Graeae Theatre Company/National Theatre) and Romeo and Juliet (Taking Flight Theatre Company). Extensive radio credits include Home Front (BBC Radio 4).

Francesca Henry (Emily Webb) recently made her professional debut in The Wolves at Stratford East, also directed by Ellen McDougall.

Karl Collins (Dr Gibbs) most recently appeared in Nine Night (Trafalgar Studios). Other theatre credits include: Chimerica (Almeida/Pinter), One Monkey Don’t Stop No Show (Eclipse Theatre/Tricycle), The 11^th Capital (Royal Court) and Fuente Ova Juna (National Theatre). On television Karl appeared in the BAFTA Television Award-winning mini-series This is England 90 and as Louis Loveday in Hollyoaks, and film credits include Twentyfourseven and the BAFTA winning The Unloved.

Pandora Colin (Mrs Gibbs) most recently appeared as Titania in A Misdummer Night’s Dream(Sheffield Crucible). Other recent theatre credits include: Julius Caesar (Sheffield Crucible), The Vote(Donmar Warehouse), Cornelius – Brits off Broadway (59E59 Theatre, New York), The Dark Earth and the Light Sky, The House of Bernarda Alda (Almeida) and After the Dance (National Theatre). On film credits include: Aftermath, Film Stars Don’t Die in Liverpool and The Lady in the Van.

Tom Edden (Editor Webb) recently appeared as part of the Pinter at the Pinter season directed by Jamie Lloyd. Other theatre credits includes: Mr Wormwood in Matilda (Camrbridge), The Resistible Rise of Arturo Ui (Donmar Warehouse), Amadeus (National Theatre), Doctor Faustus (Duke of Yorks), Peter Pan Goes Wrong (Apollo), Thénardier in Les Misérables and Fagin in Oliver! (Sheffield Crucible). On film, credits include: Star Wars Episode VII – The Force Awakens, Disney’s Cinderellaand Mr Turner.

Thusitha Jayasundera (Mrs Webb) recently appeared in Stories (National Theatre). Other theatre credits include: Behind The Beautiful Forevers, Crime and Punishment, War Horse (National Theatre),The Vertical Hour (Park Theatre) and Tiger Country (Hampstead), and on television, credits includeHumans, Doctor Foster and Broadchurch.

Nicola Sloane (Mrs Soames) recently appeared in Flowers for Mrs Harris (Chichester Festival). Theatre credits also include: Frankenstein, To Kill a Mockingbird (Royal Exchange Manchester), Love in Idleness, A Little Night Music (Menier), London Road (National Theatre), My Fair Lady, Me and My Girl (Sheffield Crucible). Film credits include Red Joan, The Danish Girl, The Theory of Everything,Les Misérables and London Road.

Garry Robson (Constable Warren) was most recently seen in Kiss Me Quickstep (Queen’s Theatre, Hornchurch/New Wolsey/Theatr Clwyd). Other recent theatre credits include: White Christmas(Curve, Leicester), Our Country’s Good (Ramps on the Moon/Nottingham Playhouse and touring),Blanche and Butch (Birds of Paradise), Mother Courage (Tron), The Who’s Tommy (New Wolsey Theatre/Ramps on the Moon), Reasons to be Cheerful and The Threepenny Opera (both with Graeae Theatre Company). He is Artistic Director of the disability led national organisation, Fittings Multimedia Arts.

Joining Director Ellen McDougall are Rosie Elnile (Designer), Sasha Milavic Davies (Movement Director), Orlando Gough (Composer), Lizzie Powell (Lighting Designer), Tom Gibbons (Sound Designer) and David Ridley (Musical Director). Casting is by Jacob Sparrow and Barbara Houseman is Season Associate Director (Voice and Text).

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The 2019 season at Regent’s Park Open Air Theatre also includes the opera Hansel and Gretel (14 – 22 June) in a co-production with English National Opera, Shakespeare’s A Midsummer Night’s Dream (28 June – 27 July) and Evita (2 August – 21 September), lyrics by Tim Rice and music by Andrew Lloyd Webber. Their award-winning production of Jesus Christ Superstar plays a 60-performance season at the Barbican Theatre (4 July – 24 August)

Theatre Royal York – until 10th 2019

Reviewed by Sally Richmond

5*****

The Heart of Darkness is presented in a unique and unusual way – in that the audience is given an insight as to how the play is going to be put together as we are exposed to something that isn’t quite finished, as the cast openly discuss the problems posed with Conrad’s novella. The scenes are wonderfully crafted to a fascinating set design presentation which is practically bare, but with a few suspended screens where the action takes place.

The Heart of Darkness is often regarded as one of the greatest twentieth century stories in which the protagonist, Marlow, goes on a journey into the world of darkest Africa. However in this production Marlow goes to Europe, bringing the story up to date and of our time – where there has been a cataclysmic war and the West is literally at breaking point. Another twist is that Charles Marlow becomes Charlotte Marlow and it works well!

The brilliant cast is made up of five and the central character, Keicha Greenidge as Marlow, is outstanding as she takes total control and command of the stage, alongside her is the brilliant Matt Prendergast (as Beresdorf her driver and later Kurtz himself). Supporting various roles are Morgan Bailey, Laura Atherton and Morven Macbeth – who bring authentic and purposeful portrayals of various characters.

Director Andrew Quick is quoted as saying: “Maybe we have exhausted our white, male hero. Maybe there’s not a lot left to say about that, and maybe it’s much more interesting to rethink them, re-imagine them and then see what the consequence is”. He achieves this by using live technology, an amazing young cast and a fusion of live performance with recorded historical footage.

The Heart of Darkness is thought provoking, ambitious and bold – it leaves you thinking and wanting more.

Royal & Derngate announces world premiere of The Pope by Anthony McCarten as part of Made in Northampton 2019 season

• World premiere of The Pope by 2019 Golden Globe and BAFTA-winning and 2019 Oscar-nominated writer Anthony McCarten to open in Northampton in June
• Anton Lesser returns to the stage for the first time in a decade to play Pope Benedict
• Original music by BRIT, Oscar and Grammy Award-winning composer Anne Dudley
• @RoyalDerngate / #MadeInNorthampton / @AnthologyTheatr / #ThePopePlay

A Royal & Derngate, Northampton co-production with Anthology Theatre
in association with Tara Finney Productions

Saturday 8 to Saturday 22 June 2019

Royal & Derngate Northampton has announced that Artistic Director James Dacre will direct the world premiere of The Pope this June as part of its Made in Northampton 2019 season. This new play from Anthony McCarten, the 2019 Golden Globe and BAFTA-winning, and 2019 Oscar‑nominated writer of Bohemian Rhapsody, The Theory Of Everything and Darkest Hour, will star Anton Lesser (Game Of Thrones, The Crown, Wolf Hall) as Pope Benedict and will feature original music composed by BRIT, Oscar and Grammy-winning composer Anne Dudley (Elle, American History X, The Full Monty, Poldark).

This original play is the inspiration for a major motion picture of the same name that has been adapted by Anthony McCarten to premiere on Netflix later this year. Now based in London, The Pope marks his UK stage debut, although in his home country of New Zealand, his acclaimed plays include Ladies Night, which remains New Zealand’s most commercial popular play.

The production will be designed by 2018 Tony nominee Jonathan Fensom (Our Lady of Kibeho, Farinelli and the King) with lighting design by Charles Balfour (Mojo, West End, Ma Rainey’s Black Bottom, National Theatre) and is co-produced by Anthology Theatre (The Entertainer, The Wipers Times and Cat On A Hot Tin Roof) in association with Tara Finney Productions.

Six years ago Pope Benedict XVI stunned the world by quietly announcing he would resign, the first pope in 700 years to do so. What drove this arch-conservative to break with sacred tradition and cede the way for Cardinal Bergoglio – a tango-dancing, football-loving reformer with the common touch – to become Pope Francis, one of most powerful men on earth?

Together, Pope Benedict and Cardinal Bergoglio grapple with their complex pasts and uncertain futures. From coming of age under dictatorships in Germany and Argentina, to the scandal of sexual abuse by the clergy – they offer two opposing visions for the Church today. Shining a light into one of the world’s most secretive institutions, The Pope is at once a candid portrayal of two men testing the limits of their faith and an exploration of the role of religion in an age of social and political upheaval. At its heart lies a timeless question: in moments of crisis, should we follow the rules or our conscience?

Further Made in Northampton 2019 productions will be announced shortly.

Made in Northampton is sponsored locally by Michael Jones Jeweller.

For more information about any of these productions, visit www.royalandderngate.co.uk. Shows can be booked online or by calling Box Office on 01604 624811.