Manchester Palace Theatre – until 28 July 2018

Reviewed by Lottie Davis-Browne

3***

As part of a 30-year anniversary tour (30 years since the first stage production – Miami 1988), Fame – the well-loved 1980’s movie come-TV series – has kicked off the 2018/19 tour starting at Manchester’s Palace Theatre. Being a 80’s kid myself, this has been something I have been wanting to see a sensational performance of on stage for decades. The closest I have got so far was at the Gordon Craig Theatre, Stevenage approximately six years ago – a performance which oozed energy and brought the classic 1980’s movie to life.

This only fuelled my excitement for Selladoor Productions touring company featuring soul singer Mica Paris, Hollyoaks actress and reality TV show (Dancing on Ice and I’m a Celebrity…Get Me Out of Here!) Jorgie Porter and BBC1’s Any Dream Will Do runner up Keith Jack, sensational line up. However my excitement turned out to be short lived…..

When you think “Fame” you think all things 1980s, the leg warmers, the drama of each students individual stories and of course the fabulous dancing and the iconic ending involving a New York taxi cab and students dancing on top of it. This touring production could easily be set in any decade, as we meet the potential students of New York Performing Arts High School. The hair, makeup and costume choices lacked a feel of the early 1980s in which the story is meant to be set – despite this they still started Freshman year in 1980 and graduated in 1984 – with little development or change in appearance to the characters over that time. Surely in the space of four years the students would alter their looks slightly?? Certainly not at the Performing Arts School!

There’s no clear main character and the changing scenes from one characters story to the next seemed somewhat disorientating. Whilst each character and cast member gave a splendid performance, there was so much going back and forth between the characters it was hard to warm to or get a feel of each individuals characters highs and lows over the four years of studying at the school. Whilst anybody who has seen the original movie will know that Carmen left school to pursue fame, desperate to see her name in lights, but was met with some seedy characters and eventually dying of a drugs overdose, but this production shows very little of that side of her story which seems such as waste of Stephanie Rojas’ talents as what little of her portrayal as the fame hungry dancer determined to make it big.

Jorgie Porters’ stage debut as the poor dance student Iris Kelly (whom fellow students originally assume comes from a privileged back ground when they see her dad dropping her off in a flash car – only to learn he is employed as a chauffeur) does not disappoint – whilst it’s clear she is an established actress, her background is in ballet, being an ex-pupil of Chester’s Hammond School. Whilst I was somewhat disappointed Porter did not perform en pointé in this production, the standard of the rest of her performance outshone the rest of the cast in terms of dancing. Also her character did not feature enough in this production which seemed a waste of Porters’ talent for dance and acting.

Vocally Mica Paris gave a knock-out performance as Miss Sherman, resulting in several standing ovations, – her solo performance of “These Are My Children” being a real highlight of the show, however I felt at times her acting was somewhat wooden and that she did not represent the character in the original movie well. It is hinted in the movie that Miss Sherman is perceived to be somewhat racist for “picking on” the under-performing Tyrone – whom – despite being a talented hip-hop dancer from an under-privileged family, struggles academically due to being an un-diagnosed dyslexic.

Albey Brookes as cocky sex-mad Joe provides the laughs and injects some life into what is otherwise a lack-lustre production which despite being produced to celebrate the thirty years since the first stage production fails to bring the original movie to life. Even the usual grand finale was watered down and was the final nail in the coffin for me personally.

One thing I was impressed by was the lighting design (Prema Mehta) – which featured 80s-esque headshots including the productions cast as their characters, which changed colours etc or blacked out photos to show one or two characters at a time, for example at Carmen’s funeral only her headshot was visible.

If you’re wanting nostalgia and to go back to the early 80s dance era – my advice is – approach with caution – I only hope the touring production of Flashdance will be less disappointing than this production.

 

IT’S HOTTING UP AT HOPE MILL THEATRE IN MANCHESTER THIS SUMMER THANKS TO 5 STAR HIT SHOW

ANDREW LLOYD WEBBER’S

ASPECTS OF LOVE

 

FEATURING CLASSIC SONG ‘LOVE CHANGES EVERYTHING’

 

MUST END THURSDAY 9 AUGUST 2018

 

As temperatures soar outside, things are also hotting up inside Manchester’s Hope Mill Theatre as audiences enjoy sizzling performances on stage courtesy of the sultry new 5 star production of Andrew Lloyd Webber’s classic Aspects of Love – one of the hottest tickets in town.

But the show, which tells the tale of the lives and loves of a group of family and friends in 1940’s France and features the classic ‘Love Changes Everything’, must close on Thursday 9 August!

From Olivier Award nominees and West End regulars to young talent making their professional debuts – an exciting cast of 10 performers have brought the musical to life under the direction of Hope Mill Theatre favourite Jonathan O’Boyle.

The hotly-anticipated, intimate revival has lived up to hopes with critics and audiences alike declaring the show a 5 star ‘must see’ hit.

‘Ravishingly Good’ – 5*s

The Stage

It is the third of five in-house musicals in 2018 from the successful and ambitious collaboration between Joseph Houston and William Whelton, co-founders of Hope Mill Theatre and producer Katy Lipson, from Aria Entertainment, resident producer and co-Artistic director of Hope Mill theatre, and follows the hit revival of Spring Awakening, which played to standing ovations earlier this year.

Katy Lipson said: “We can’t believe there are only a handful of performances left of our intimate revival of Aspects of Love. We have been overwhelmed with the critical responses, which all echo this is our most ambitious production to date. Come and join us in Manchester so you can say you saw it first!”

 

Magnificent’ – 5*s

What’s On Stage

Aspects of Love is based on the novel by David Garnett, with music by Andrew Lloyd Webber, lyrics by Don Black and Charles Hart and is directed by Jonathan O’Boyle (Hair, Pippin), and features the iconic song Love Changes Everything, which became a huge hit for Michael Ball, who starred in the original production in London and on Broadway. It tells the story of passion, love and loss across three generations of a family and their artistic companions, against a background of 1940’s France and Italy.

 

‘Truly mesmerising…an incredible production’ – 5*s

Manchester’s Finest

 

Aspects of Love was first produced at the Prince of Wales Theatre in London on 17^th April 1989, where it ran for 1,325 performances before finally closing in June 1992. Since then it has toured the UK and recent productions include the Menier Chocolate Factory (2010 and more recently in Holland (2013).

‘Sensational…an absolute must-see’ – 5*s

Opening Night

It has never been professionally produced regionally in the North West making the premiere of this production a landmark theatrical event in the region, and beyond, this summer.

Making up the cast is Kimberly Blake (Half a Sixpence, Barnum) who plays Giulietta, Jason Kajdi (Our House, Assassins), in the role of Hugo, Felix Mosse (The Rocky Horror Show) as Alex, Julia J Nagle (An American in Paris) as Elizabeth/ensemble, Minal Patel (The Secret Garden, Bend it Like Beckham) as Marcel, Jerome Pradon(Jesus Christ Superstar, Pacific Overtures – Olivier Award Nominee 2003) as George and Kelly Price (That Day We Sang, A Little Night Music – Olivier Award Nominee 2010) in the role of Rose. Making their professional debuts in the production are Rosie Cava-Beale, ensemble, Jack Churms, as Jerome/ensemble and Eleanor Walsh as Jenny/ensemble.

Director Jonathan O’Boyle’s recent credits include Pippin (Hope Mill Theatre/ Southwark Playhouse), London, Hair (Hope Mill Theatre/The Vaults, London) and Resident Director of An American in Paris (Dominion Theatre, London)

The production has musical direction by Gareth Bretherton, set and costume design by Jason Denvir, choreography by Sam Spencer-Lane, Lighting design by Aaron J Dootson, sound design by Calum Robinson and casting by Jane Deitch.

Aspects of Love is produced by Katy Lipson of Aria Entertainment, William Whelton and Joseph Houston of Hope Mill Theatre. And co-produced with Neil Eckersley and Jim Kierstead.

Following Aspects of Love at Hope Mill Theatre is The Return of the Soldier that runs from Thursday 6 to Saturday 29 September.

 

LISTING INFORMATION

Aspects of Love

Until Thursday 9 August

Hope Mill Theatre

Hope Mill, Ancoats, 113 Pollard Street

Manchester, M4 7JA

Visit www.hopemilltheatre.co.uk

WEBSITE: www.hopemilltheatre.co.uk

FACEBOOK: Hope Mill Theatre

TWITTER: @Hopemilltheatr1 @AspectsOf_Love

RICHARD WINSOR

MATTHEW BOURNE COMPANY, STREETDANCE THE MOVIE

and CASUALTY star is set to play ‘Tony’, in

A NEW PRODUCTION OF

SATURDAY NIGHT FEVER

Richard Winsor, highly acclaimed for his dance, stage and screen work, is set to play Tony Manero, the role which famously rocketed John Travolta to screen stardom, in a new stage production of Saturday Night Fever.

 

As a dancer Richard Winsor hardly needs introduction: principle dancer with Matthew Bourne for ten years, he has starred around the world, leading Bourne’s celebrated production of Swan Lake, as well as Dorian Gray, Edward Scissorhands, The Car Man and Play Without Words. He landed the lead role in cult dance movie StreetDance 3D and was snapped up by the BBC to play Caleb Knight in flagship medical drama Casualty, a role in which he gripped audiences for over three years until his dramatic exit last year, which shocked the star’s millions of fans as he lost his life in a knife fight.

 

This hotly anticipated new musical production, produced by Bill Kenwright by special arrangement with The Robert Stigwood Organisation, sees Richard Windsor take on his first leading role in a major musical, and, his first stage appearance since Casualty.

 

Ignite The Inferno. Feel The Fever. Like Never Before.

 

40 years since its famous UK cinema release, Saturday Night Fever is a reimagined and revitalised music and dance spectacular. Opening in London at the New Wimbledon Theatre on 30 August 2018, the nationwide tour includes Liverpool, Dublin, Birmingham, Bristol, Aylesbury, Glasgow, Edinburgh, Blackpool, Llandudno, Bradford and Cardiff.

 

Saturday Night Fever tells the story of Tony Manero, and his reckless, yet thrilling road to dancing success. The musical features the Bee Gees’ greatest hits including Stayin’ Alive, How Deep Is Your Love, Night Fever, Tragedy and More Than a Woman as well as 70’s favorites Boogie Shoes, Disco Inferno and for the first time will feature a group playing the Bee Gees live on stage.

 

The 70’s classic Paramount/RSO movie, with story by Nik Cohn, was an instant hit when it was released in cinemas. The album remains the best-selling movie soundtrack of all time.

Whilst paying homage to the movie, this new stage version promises more drama, more music and hot new choreography. It is directed and produced by Bill Kenwright, with choreography by Olivier Award winning Bill Deamer, designs by Gary McCaan, lighting by Nick Richings, and sound by Dan Samson. The stage adaptation is by Robert Stigwood in collaboration with Bill Oakes.

LISTINGS

SATURDAY NIGHT FEVER

UK TOUR

 

New Wimbledon Theatre 30 August – 8 September	atgtickets.com/newwimbledontheatre 0844 871 7646
Liverpool Empire Theatre 11 – 15 September	atgtickets.com/liverpoolempire 0844 871 3017
Dublin Bord Gáis Energy Theatre 18 – 22 September	Bordgaisenergytheatre.ie +353 (1) 677 7999
Birmingham Alexandra Theatre 25 – 29 September	atgtickets.com/newalexandratheatre 0844 871 3011
Bristol Hippodrome Theatre 2 – 6 October	atgtickets.com/bristolhippodrome 0844 871 3012
Aylesbury Waterside Theatre 9 – 13 October	atgtickets.com/aylesburywatersidetheatre 0844 871 7607
Glasgow Kings Theatre 16 – 20 October	atgtickets.com/kingstheatre 0844 871 7648
Edinburgh Playhouse Theatre 23 – 27 October	atgtickets.com/edinburghplayhouse 0844 871 3014
Blackpool Opera House 30 October – 3 November	wintergardensblackpool.co.uk 0844 856 1111
Llandudno Venue Cymru 13 – 17 November	venuecymru.co.uk 01492 872000
Bradford Alhambra Theatre 20 – 24 November	bradford-theatres.co.uk 01274 432 000
Cardiff Wales Millennium Centre 27 November – 1 December	wmc.org.uk 029 20636464

Website: www.kenwright.com

The Royal Theatrical Support Trust and Royal & Derngate Northampton announce Nancy Medina as the winner and Josh Seymour as the runner-up of the RTST Sir Peter Hall Director Award 2018

The Royal Theatrical Support Trust (RTST) and Royal & Derngate Northampton have announcedNancy Medina as the winner of the 2018 RTST Sir Peter Hall Director Award and Josh Seymour as the runner-up. Now in its third year, and its second bearing the name of the RTST co-founder, Sir Peter Hall, the award is made to an up-and-coming director demonstrating exceptional directing skills in a rigorous competitive process.

As the winner of the 2018 award, Nancy Medina will now get the opportunity to direct a full-scale, fully funded production to open in 2019 on the Royal Stage, as part of Made In Northampton, in a co-production between Royal & Derngate and English Touring Theatre (ETT), and then tour to theatres across the UK. The RTST will make a grant of £50,000 to Royal & Derngate to be applied towards the costs of the production.

Nancy Medina and Josh Seymour were selected from 70 longlisted candidates by a panel comprising of: chair James Dacre (Artistic Director of Royal & Derngate), and judges Kwame Kwei-Armah OBE(Artistic Director of the Young Vic); multi-Tony and Olivier Award-winning director Sir Trevor Nunn CBE; Olivier Award-nominees Tanya Moodie and Samantha Bond; four-time Olivier Award-winnerPaule Constable (Associate, National Theatre); and Richard Twyman (Artistic Director of English Touring Theatre).

The Award Scheme promotes the RTST’s charitable objects in two main ways: it supports emerging talent in the theatre and it supports British regional theatres. The Award Scheme is intended to appeal to a diverse range of candidates and to play a part in promoting diversity in the theatre, onstage and offstage, and among audiences.

Chairman of the RTST, Sir Geoffrey Cass, said: “The 2018 RTST Sir Peter Hall Director Award had 8 finalists of the very highest quality, selected from a strong field of 70 candidates.  Directing workshops – held over two full days, in which the finalists had to direct actors, observed by our immensely experienced panel of judges, and then be interviewed by the panel – constituted a thorough and exacting test of their directing skills. The winner’s prize is the unique opportunity to direct a production that will premiere on the stage of the Royal in Northampton and go on a main-stage national tour with English Touring Theatre. The RTST’s collaboration with Royal & Derngate and English Touring Theatre is admirably fulfilling the RTST’s twin primary charitable objectives of encouraging emerging theatre professionals and promoting British regional theatre”.

Deputy Chairman, Mark Hawes, said: “As a result of our RTST Sir Peter Hall Director Award, we are happy and proud both to have created a gateway for Nancy’s entry into the mid-scale regional theatre scene and to be providing meaningful financial and promotional support to the hotspot of regional theatre-producing excellence that is Royal & Derngate.”

Royal & Derngate Artistic Director, James Dacre, and English Touring Theatre Artistic Director,Richard Twyman, said: “It has been inspiring to watch how Nancy and Josh showcased their industrious and sophisticated approach to conceiving and rehearsing a production and their magnetic ability to bring those around them in a rehearsal room closer to the material, throughout this competitive process. The panel were deeply impressed by both candidates’ innate understanding of narrative and the demands of producing on the mid-scale. We’d like to thank all the shortlisted candidates who took so much pleasure and pride in their work during a demanding weekend of workshops and interviews and we are thrilled to have met so many exceptional artists. We look forward to collaborating with Nancy to enable her work to be seen on the mid-scale and on tour for the first time.”

Winner, Nancy Medina said: “I feel privileged and ecstatic to have been named the RTST’s Sir Peter Hall Director Award Winner for 2018.  To get to the next step in my career, through the generous help of RTST, Royal & Derngate, and English Touring Theatre, is truly a dream come true. I cannot thank the RTST panel enough for making the process feel supportive and nurturing.”

 

The RTST ran the inaugural RTST Director Award Scheme in 2016 with Sheffield Theatres, with the winner Kate Hewitt directing the British regional premiere of Tribes by Nina Raine. The 2016 runner up was Rebecca Frecknall. The RTST ran the re-named 2017 RTST Sir Peter Hall Director Award Scheme with Nuffield Southampton Theatres resulting in the winner Chelsea Walker directing a bold contemporary version of Tennessee Williams’, A Streetcar Named Desire, in a co-production between NST, Theatre Clwyd and English Touring Theatre, which opened at NST City in Southampton in March 2018 and went on tour to seven other theatres. The 2017 runner up was Tinuke Craig.

New Wimbledon Theatre – until 28 July 2018

Reviewed by Sabrina Fancy

4****

Transferring the success of a successful animated film to the live stage has not always been a successful feat, so I was curious how the much-loved Dream Works’s film Madagascar would work on stage.

The story remains the same as the film. Set in a New York zoo, the story follows four zoo animals – Alex the Lion, Marty the Zebra, Melman the Giraffe and Gloria the Hippo who escape and by accident find themselves on the African island of Madagascar. Surrounded by a horde of wild animals, Alex the Lion finds his more primitive instincts return.

Matt Terry who was the winner of X Factor 2016, made his acting debut as the lead role of Alex the Lion. He was energetic and showcased exactly why he won the coveted X Factor title.

Timmika Ramsay also delivers a solid performance as Gloria, while Antoine Murray-Straughan’s rapping, reminded me so much of Chris Rock’s character of Marty from the film and had great comedic timing.

We particularly enjoyed Jo Parsons’ who played the hilarious lemur King Julien with his brilliant performance of ‘I like to move it move it,’ which was made more contemporary by the use of flossing which the audience went wild for.

The costumes were absolutely brilliant and the set design, bright and enchanting. The use of puppetry for the penguins, monkey and lemurs contributed to the comic mood and magic of the evening.

The cast must be commended for such an energetic performance with aplomb, considering the costumes they were in and the fact that it was the hottest evening of the year.

My biggest critique of the show was that it lasted only 100 minutes including a 20 – minute interval, which left my children and I wanting more!

I give Madagascar the Musical 4 stars and highly recommend it, because of its appeal for children and adults. It’s a perfect evening out during the summer break.

Madagascar The Musical is at the New Wimbledon Theatre until 28th July, then touring.

Theatre N16 @ The Styx – until 2 August

Reviewed by Claire Roderick

3***

The Ballad of Reading Gaol isn’t Oscar Wilde’s most cheerful work, and Proforca’s new production explores the darkness and inhumanity of prison life with a stark and stylish flair.

The audience are led into the theatre and stand for a mock role call as the 5 prisoners are called forward and then sit around the bleak concrete stage in near darkness. As the play develops, the sense of being in the prison yard or cells is created by expertly designed lighting effects, with the cast using torches to evoke prison bars, chinks of light and campfires. The slamming of doors and random disturbing sounds also add to the claustrophobic atmosphere.

Director David Brady keeps the cast of five moving as they recite Wilde’s poem, portraying the monotonous exercise and labour of Victorian prisons to the simple balladeer rhythm, but the words are most affecting when they sit amongst the audience and recite – those moments of stillness allowing the despair and beauty of Wilde’s words to soar through the darkness as he contemplates the dehumanisation and brutality of prison. The additional material written by Catrin Keeler, Simon Marshall, James Lewis and Erin Read break up the tale of the Wilde’s soldier waiting for execution with monologues from prisoners. Monster (James Vincent), Guardian (Malcolm Jeffries), Human (Nic James), Innocent (Miles Parker) and Hero (Nick Cope) all explore themes from Wilde’s poem with a 21st century sensibility. The cast all impress, but the writing is variable, with standout moments from Malcolm Jeffries’ disjointed and desperate pleading for human company as he collects the names of fellow prisoners on his body, and Miles Parker’s devastating portrayal of a simple country lad imprisoned for a crime he didn’t commit. Nic Cope’s monologue is a final howl into the darkness full of defiance and hope for a future free from oppression that Wilde would applaud.

There is a lot to admire in this atmospheric production, with some great performances and exciting new writing. Reading Gaol is powerful and thought-provoking, and well worth a look.

DINBURGH BINGE

DELIVEROO ANNOUNCES FOOD DELIVERIES WITH A SIDE OF SOLILOQUY

 

• Trained actors will perform “Ham-let: To Eat or Not To Eat”
• Customers simply need to add #edinburghbinge to their order notes
• Activity will be raising money for Bedlam Theatre Company

Edinburgh – July 2018: During this year’s Edinburgh Festival Fringe, diners’ doorsteps will be transformed into stages for the very first time.

Deliveroo orders will be manned in the Scottish capital by actors who will perform a Shakespearean inspired monologue – written by Scotland-based actor Adam Butler – HAM-let’s To Eat or Not to Eat.

Simply by writing #EdinburghBinge within the notes of their order, diners are in with a chance of receiving a personal performance of the specially commissioned play – at no extra cost.

The production will be performed by the Bedlam Theatre Company – a unique, entirely student run theatre in the centre of Edinburgh. Any tips given to the actors will go towards supporting the group in putting on over 40 shows a year.

An excerpt from To Eat or Not to Eat:* “It’s just too much to bear, /  To grunt and sweat under a hungry mouth, /
But then the dread I fear with bated breath, / The undiscovered offer, 2 for 1 /
No extra topping charge, puzzles the will / And makes us rather bear those bills we have / Than fly to others that we know not of?”

 

Joe Groves at Deliveroo said: “Edinburgh is known for its sell out shows across the city during Fringe and we don’t want anyone to miss out. Immersive dining is so popular, we thought why can’t we deliver drama as well as mouth-watering meals to enhance the dining experience for our customers.”

Live Theatre’s season until March 2019 announced and on sale

 

New plays by writers including Roddy Doyle, Paul Sirett, Ishy Din and Alex Oates

 

Live Theatre has announced its new season through to March 2019. Highlights include the British Premiere of Two Pints, a hilarious and provocative play by Irish writer Roddy Doyle. Having started as a conversation on Facebook that gained a large following, Roddy Doyle brought the two characters to life in a play, in which two men meet in a pub for a pint, chew the fat, and set the world to rights.

Roddy Doyle said

“When I wrote Two Pints, I didn’t envisage it being performed in a pub, but it is part of the adventure. This new play is being put on in a context that is unfamiliar to me – that excites me.”

Joe Douglas, Artistic Director, Live Theatre, said:

“We are delighted to host the British debut of Roddy Doyle’s comedy Two Pints, that has been a sell-out success across Ireland. We look forward to bringing it to audiences in Newcastle and Sunderland, in partnership with Sunderland Culture and as part of the Culture Ireland GB programme. The show is usually performed in pubs, so at Live Theatre, the bar is returning into the main theatre space. Audiences can get a pint, pull up a chair and listen in to the conversation at the bar. In Sunderland, we are delighted to have the perfect pub-setting ready-made in the beautifully restored Peacock pub on Keel Square. Wherever you see Two Pints expect big laughs and good craic.”

 

Following its second tour performing in pubs across Ireland, this Abbey Theatre Production comes to Live Theatre (Wednesday 12 to Sunday 23 September), and The Peacock Pub, Sunderland (Tuesday 25 to Friday 28 September).

This autumn see the World Premiere of Clear White Light, a modern gothic story, and the first play at Live Theatre to be directed by it’s new Artistic Director, Joe Douglas. Written by Olivier Award nominated writer Paul Sirett, Clear White Light is a modern retelling of Edgar Allan Poe’s The Fall of the House of Usher and set against the backdrop of cuts to the 70-year-old NHS, with the songs of Lindisfarne. Inspired by Alan Hull’s time working at psychiatric nurse at St Nicholas’ hospital in Gosforth, the play features many of the hit songs he wrote at that time, including Winter Song, Lady Eleanor and Clear White Light played by a live band. The show’s musical directors are Billy Mitchell and Ray Laidlaw, also of the band Lindisfarne.

Ray Laidlaw said:

‘’We’ve been working with the wonderfully creative team at Live Theatre for a long time, searching for the perfect vehicle for Alan’s great songs which doesn’t rely on cliché. Clear White Light is just that – it’s fresh and inventive, and I’m sure it’ll introduce Alan’s music to a whole new audience.”

Billy Mitchell added:

“Alan was profoundly touched by his time at St. Nick’s, caring for people with mental health issues. The music he wrote around then – often while on duty – has stood the test of time. Unfortunately the NHS hasn’t fared so well, something Clear White Light addresses head-on.”

The play was originally commissioned by Max Roberts, Live Theatre’s Emeritus Artistic Director, and Max and Joe will work closely together to bring the show to life. Clear White Light premieres at Live Theatre from Saturday 18 October to Saturday 10 November.

Live Theatre’s collaboration with Open Clasp continues with the World Premiere of don’t forget the birds, the follow up to the award-winning Key Change, telling the true story of a mother and daughter after release from prison. The mother was one of the original collaborators on Key Change, now released, and this first-hand account written by Catrina McHugh MBE and directed by Laura Lindow, picks up on their story and tells how prison took a mother from a daughter and their heart lifting journey to find each other again. Featuring both women as themselves, don’t forget the birds is at Live Theatre from Tuesday 20 to Saturday 24 November before touring nationally.

Christmas Crackers is Live Theatre’s alternative Christmas offering, of four new plays in one evening celebrating this special time of year, with a wry twist. Written up by and coming writers Tamsin Daisy-Rees, Olivia Hannah, Henry Lawrence and Jamie Morren who have been selected as Live Theatre’s Associate Artists this year. Catch Christmas Crackers from Thursday 13 to Saturday 22 December.

Graeme Thompson, Creative Producer, Live Theatre said

“Tamsin, Olivia, Henry and Jamie will all give their individual take on a Christmas play. Don’t expect a traditional nativity or a panto, but be prepared for laughter, turkey, tears and sarcasm. They will follow in the footsteps of Nina Berry who wrote her hit play The Terminal Velocity of Snowflakes when she was a Live Theatre Associate Artist, which debuted in its original form as a short play in Live Theatre’s alternative Christmas show in 2015.”

Set in the North of England in the aftermath of Margaret Thatcher’s death, two old friends go into the taxi business together in Approaching Empty written by Stockton based writer, and former cab driver, Ishy Din. This brand new co-production between Live Theatre, Tamasha and Kiln Theatre is at Live Theatre from Wednesday 6 to Saturday 23 February 2019.

Five performers from across the globe challenge notions of ‘home’ in Where We Began on Thursday 20 and Friday 21 September.

Bismillah! (an Isis Tragicomedy) which follows Dean who joins the Army and Danny who joins the Islamic State, comes to Live Theatre for two performances on Saturday 29 September following critically acclaimed sell-out runs in Edinburgh and London.

Inspired by real music fan confessions, Fans (Wednesday 3 to Saturday 6 October) written by Nina Berry, is part gig and part theatre crammed full of classic hits and original tunes. Also from company The Six Twenty there are two Mixtape shows, which mix sketch show with music quiz, Mixtape Timehop (Thursday 30 August to Saturday 1 September) and Mixtape Xmas (Wednesday 5 to Saturday 8 December).

It’s Different For Girls, a brand new musical inspired by Mandy & The Girlfriends, Hull’s own 1960s girl band, comes to Live Theatre from Tuesday 13 to Thursday 15 November.

Alex Oates’s hit play Silk Road (How To Buy Drugs Online) returns to Live Theatre from Tuesday 27 November to Saturday 1 December following its sell out run earlier this year, and a West End transfer.

Theo Ancient (Albus Potter in Harry Potter and the Cursed Child) stars in The Shy Manifesto, a bittersweet comedy drama about a boy who is fed up of being told to come out of his shell, on Tuesday 28 and Wednesday 30 January 2019.

Mark Thomas takes a comedic look at the NHS at 70 based on a series of interviews with leading experts in Check Up: Our NHS@70 from Tuesday 5 to Thursday 7 March 2019.

Sparkplug, written by David Judge, is an exploration of family, race, identity and love performed between Thursday 14 to Saturday 16 March.

There’s another great line-up of live music presented by Jumpin’ Hot Club plus the chance to get involved with new creative opportunities, including the Introduction to Playwriting Course and Write Here, Write Now writing course for young people of colour aged 16-25 both led by Live Theatre’s new writer in residence Chinonyerem Odinba, and for young people aged 11 to 25 to join Live Theatre’s award-winning Live Youth Theatre as its prepares for its 21^st birthday year in 2019.

For more information and tickets call Live Theatre’s Box Office on (0191) 232 1232 or seewww.live.org.uk.

NATIONAL YOUTH THEATRE
ANNOUNCES FULL 2018 SEASON

• NYT TODAY ANNOUNCES ITS SUMMER/AUTUMN 2018 SEASON
  WHICH INCLUDES WORK IN LONDON, ACROSS THE UK AND
  INTERNATIONALLY
  
• A NEW AUDITION ACCESS FUND, SUPPORTED BY NYT ALUMNUS
  AND PATRON HUGH BONNEVILLE, WILL PROVIDE FREE SUPPORT
  FOR SCHOOLS AND YOUTH GROUPS WHICH HAVE LOST DRAMA
  PROVISION
  
• THE NYT REP COMPANY RETURNS FOR A SIXTH YEAR THIS AUTUMN
  WITH THE WORLD PREMIERE OF VICTORIA’S KNICKERS DIRECTED
  BY NED BENNETT AND PRODUCTIONS OF EVAN PLACEY’S
  CONSENSUAL AND A GENDER FLUID MACBETH AT THE SOHO
  THEATRE AND GARRICK THEATRE RESPECTIVELY
  
• SUMMER PROGRAMME AT THE CRITERION THEATRE SEES
  FACEBOOK SCANDAL EXPLORED IN NEW PLAY F-OFF, DIRECTED BY
  PAUL ROSEBY, AND PREMIERE OF SOPHIE ELLERBY’S FUNCTION
  
• CRITICALLY ACCLAIMED ADAPTATION OF MOHSIN HAMID’S MAN
  BOOKER SHORTLISTED NOVEL THE RELUCTANT FUNDAMENTALIST
  DIRECTED BY PRASANNA PUWANARAJAH WILL RUN AT
  EDINBURGH FESTIVAL IN AUGUST AFTER BRADFORD LITERATURE
  FESTIVAL RUN
  
• SOCIAL INCLUSION COURSE ‘PLAYING UP’ TO STAGE TORTOISE BY
  MARK WEINMAN AT THE BUNKER THEATRE, DIRECTED BY MATT
  HARRISON FROM 11-14 JULY
  
• NEW COMMISSIONS BY PLAYWRIGHTS ASIF KHAN, RACHEL DELAHAY,
  LUKE BARNES AND NESSAH MUTHY TO BE DEVELOPED AND
  PREMIERED AROUND THE UK INCLUDING IN BIRMINGHAM AND
  SKELMERSDALE
  
• KAREN TURNER ANNOUNCED AS NEW EXECUTIVE DIRECTOR
  
• NYT CONTINUES TO EXPAND ITS OUTREACH INTERNATIONALLY IN
  WORLD PREMIERE OF FLOOD CO-PRODUCED WITH THE HONG
  KONG YOUTH ARTS FOUNDATION
  
• LAUNCH OF FIRST DIGITAL STORYTELLING COURSE IN
  PARTNERSHIP WITH CENTRAL SAINT MARTINS AND NEW
  ALTERNATE REALITY SHOW IN DEVELOPMENT AT MEGAVERSE XR
  THEATRE LAB IN SHEFFIELD
  
• TICKETS GO ON-SALE AT WWW.NYT.ORG.UK FROM 11 JULY

Paul Roseby OBE, Artistic Director and Chief Executive of the National Youth Theatre of Great Britain (NYT) has today announced the summer and autumn season of work for 2018

Founded in 1956, the NYT is the UK’s leading youth arts organisation and is recognised as the leading provider of free alternatives to formal theatre training, with alumni including Dame Helen Mirren, Daniel Craig, Chiwetel Ejiofor CBE, Rosamund Pike and Sir Daniel Day Lewis. Paul Roseby has been at the helm of the organisation for the past 15 years and last month received the OBE in recognition of services to drama and young people in the Queen’s 2018 Birthday Honours. Throughout his tenure he has facilitated over 150,000 creative educational opportunities for young people, established financial sustainability for thecharity, championed diversity and launched numerous new programmes to successfully support and showcase the best young talent in the arts. As part of the NYT’s ongoing commitment to outreach and access, today also marks the launch of NYT’s new Auditions  Access Fund, supported by NYT Alumnus and Patron Hugh Bonneville, which will grant £37,500 over three years to fund free preparation workshops, auditions and bursaries at 30 schools and youth groups around Great Britain which have cut drama provision

Paul Roseby OBE said:

“As opportunities for young people to engage in drama in schools have sadly decreased, the demand for National Youth Theatre opportunities are up and we’re responding to that by working in more venues around the country than ever before this year. Whilst this puts increased pressure on fundraising, we’re grateful to all those enabling this expansion, not least our generous Patron and alumnus Hugh Bonneville who is supporting a new free auditions initiative around Great Britain. At far reaching venues from King’s Lynn to Edinburgh, we’ll also be developing and staging wide-reaching new content, responding directly to the #MeToo movement, disenfranchised working-class northern voices and the impact of social media on mental health, all wrapped up with a dob of wit, grit and brave storytelling.”

NYT Patron and alumnus Hugh Bonneville said:

“The chance for young people to explore their creative talents is essential for their development. For some, taking part in drama can inspire a career in the creative industries; for all, it provides invaluable skills, building confidence in communication and self-expression. The decline of drama in schools and cuts to local youth theatre groups is a reality, which is why I am establishing the NYT Audition Access Fund. This initiative will give young talent in specially selected areas of the country where access to drama is under threat the chance to audition for and experience the National Youth Theatre for free. Becoming a member of the NYT changed my life and I’m delighted to be playing my part in
giving the next generation a similar opportunity.”

NYT REP SEASON 2018

The 2018 summer and autumn programme includes the sixth annual REP season, featuring the world premiere of Victoria’s Knickers by NYT alumnus Josh Azouz (Buggy Baby) directed by Ned Bennett (An Octoroon, Pomona, Buggy Baby, Yen). The play was developed as part of NYT’s 2017 summer Epic Stages course. Following its 2015 premiere, the REP also stages Writer’s Guild Award winner Evan Placey’s Consensual directed by Pia Furtado exploring teenage testosterone, teacher-pupil relationships and the age of consent in the UK. Victoria’s Knickers and Consensual will this year take place at Soho Theatre (22 October – 10 November) following five successful seasons at the Ambassadors Theatre. The REP Company will then perform a gender fluid version of Macbeth, at the Garrick Theatre abridged by Moira Buffini and directed by Natasha Nixon, running from 20 November to 7 December. In January the REP will present a fourth production, directed by the newly appointed 2018 Bryan Forbes Bursary Director Meghan Doyle (coDirector of The Letter Room and recently Assistant Director for East is East – Northern Stage/Nottingham Playhouse and James and the Giant Peach – Northern Stage)

The NYT REP is inspired by the traditional repertory theatre model and was set up by Paul Roseby in 2012 to provide a much-needed free alternative to expensive formal training whilst  embracing the best and diverse young talent to work with leading institutions culminating in three productions in London theatres. This year, 56% of the REP Company are actors of colour and over half come from low-income backgrounds. 25% of actors in this year’s REP Company are Asian, two of whom are from East Asian backgrounds

REP alumni include Sope Dirisu, recently seen in the Young Vic’s The Brothers Size and in the title role of the RSC’s Coriolanus for which he was nominated for the 2018 Ian Charleston Award alongside fellow REP alumna Hannah Morrish, nominated for her portrayal of Lavinia in the RSC’s Titus Andronicus

Meghan Doyle, 2018 Bryan Forbes Bursary Director, said: “As a working-class female director living in the North East you can imagine that opportunities to work in theatre are scarce, and so it is without exaggeration that this Bursary is life-changing for me.”

SUMMER PROGRAMME

The NYT’s summer and autumn programme follows a successful spring season attracting large young audiences for James Fritz’s The Fall and Dennis Kelly’s DNA at Southwark Playhouse, and The Host by Nessah Muthy at St James’s Church Piccadilly. In London, the 2018 summer programme at the Criterion Theatre sees the Facebook generation put the social network on trial in F-Off a new part-devised/ part-scripted play created by NYT’s Artistic Director Paul Roseby, writer Tatty Hennessy and the NYT Company. A cast of 30 will interrogate the highs and lows of Facebook, acting as judge and jury as they delve into the darkest depths of social media (20 August). This will be followed by Function (17 September) a new play about female liberation by up-and-coming writer Sophie Ellerby whose debut play Three was commissioned by NYT at the Arcola Theatre last year and who has since had new work staged at the 2017 HighTide Festival in Walthamstow. It will be directed by Lynette Linton, who was nominated for Best Director at the Stage Debut Awards in 2017

This year NYT have launched a new partnership with Diverse City, focussing on its programme to become more accessible to young disabled actors. The programme includes new initiatives, with every pupil at Highshore School, a special educational needs school in Southwark, taking part in a free NYT workshop. NYT Associate Artists will also receive free training from Diverse City on best inclusive practices

On 10 and 11 August NYT members will take to the National Theatre’s River Stage with the UK’s leading professional circus company, Extraordinary Bodies, (a partnership between Diverse City and Cirque Bijou). Thirty NYT members and Associate Artists will perform with 15 young disabled actors from Highshore School as part of the Community Choir of Extraordinary Bodies’ ground breaking new show, What Am I Worth?

In 2019 the programme will see the NYT deliver relaxed accessible auditions with partners including Highshore School in Southwark and Diverse City in Dorset

PLAYING UP – SOCIAL INCLUSION COURSE

NYT’s social inclusion course ‘Playing Up’ returns in 2018 with the brand new play Tortoise by Mark Weinman, which delves into virtual reality and escapism and the pressures to succeed, at the Bunker Theatre from 11-14 July and directed by 2014 Bryan Forbes Assistant Directors Bursary recipient Matt Harrison (The Fall, Southwark Playhouse)

Now in its tenth year, the course, for 19 – 24 year olds not in full time education, employment or training, creates productions and commissions new work. It has an 85% success rate of moving young people into higher education, further training or employment

Recent alumni of Playing Up include Ria Zmitrowicz, one of the leads in the BBC’s Three Girls which won best mini-series at the 2018 BAFTAs, as well as Seraphina Beh who won Best Emerging Actress Award at the IARA Awards 2017

NATIONAL PROGRAMME

This year, NYT expands nationwide with a series of new play commissions, free workshops and festival appearances. Having received its world premiere in 2016, followed by a critically acclaimed run at The Yard in 2017, Mohsin Hamid’s The Reluctant Fundamentalist will be performed at Edinburgh Festival (14 – 26 August) following its recent appearance at the Bradford Literature Festival. Adapted by Stephanie Street (Sisters) and directed by Prasanna Puwanarajah (recently seen in Doctor Foster and Patrick Melrose) the production looks at the ironies of prejudice and representation in a post 9/11 New York

NYT has also commissioned four acclaimed playwrights to develop work which reflects the issues facing different areas of the country. In Bradford, Asif Khan’s new comedy Imaan Imran will follow the story of an actor-turned-Imaan; in Birmingham Rachel De-Lahay will develop The Hole, a new play about taboo; in Skelmersdale, Luke Barnes will write Lost Boys New Town a play about masculinity in post-industrial towns directed by Zoe Lafferty (The Host) and Nessah Muthy has written new play The Cure which explores issues around disability

INTERNATIONAL PROGRAMME

As one of the pioneering organisations for youth arts globally, NYT will continue to expand its international outreach working with Hong Kong Youth Arts Foundation (HKYAF) on the world premiere of Flood by Rory Mullarkey, directed by NYT Associate Artist Joel Scott. NYT makes its Hong Kong debut with the dystopian work Flood, a NYT commission staged in a collaborative production with HKYAF and ArtisTree. A bold and visceral telling of what happens when land turns to water, the performance featuring young talent from HKYAF combines elements of contemporary physical theatre, music and voice, Cantonese song, and video imagery.

Performances will run from 20 to 22 September 2018

PILOT DIGITAL STORYTELLING SCHEME AND MEGAVERSE XR THEATRE
LAB IN SHEFFIELD

NYT will also be launching a brand new Digital Storytelling course this summer, in collaboration with Central Saint Martins. The course, led by NYT Digital Associate Ben Carlin, will explore the ways in which virtual reality and digital technologies can be utilised for theatrical storytelling. The one-week London-based programme aims to discover and develop a new generation of digital theatrical talent.

The course is open to 15 to 25 year olds and runs from 27 August – 1 September.

A new production exploring the relationship between artificial and emotional intelligence will be developed with Digital Associate Ben Carlin and director Sean Hollands (DNA) at the MEGAVERSE XR Theatre Lab in Sheffield, as part of a R&D project exploring how to extend the corporeal immediacy and humanity of live performance through burgeoning immersive technology

FUNDING

As well as the NYT Audition Access Fund supported by Hugh Bonneville, the last 12 months has seen major supporters the David Pearlman Charitable Foundation and the Andrew Lloyd Webber Foundation increase their support. New major supporters from the last year include the Pureland Foundation who are supporting NYT’s new writing for three years and the L&Q Foundation, a major new supporter of the Playing Up programme and its tour of Snakes and
Ladders by Rebecca Manley to London schools. NYT’s annual fundraising gala dinner Putting On the Blitz Kids in association with EON Productions will take place on Monday 26 November at Café De Paris. NYT’s President Barbara Broccoli will chair the event committee

 

 

The Great Gatsby becomes the longest
running immersive production in the UK
Gatsby’s Drugstore, 84 Long Lane, Borough, London SE1 4AU
Now running until Monday 31st December 2018

This summer, The Great Gatsby has become the longest running immersive production in the UK. The Guild of Misrule’s extraordinary retelling of F. Scott Fitzgerald’s iconic novel continues to invite audiences into the decadent world of 1920s jazz and excess. It has now extended to run until the end of the year

This unique immersive theatrical experience has proved immensely popular and, by public demand, has continually extended since it first opened Gatsby’s Drugstore on 1st June 2017. This longevity has seen the show encounter new challenges, maintaining a strong presence at the forefront of the development of immersive theatre, and becoming one of the industry leaders in finding ways to
allow this ever-changing genre to continue to grow

First conceived in 2015 when director Alexander Wright and producer Brian Hook were running The Fleeting Arms – a pop arts and community pub in an abandoned building in York – the journey of this production has been remarkable. The following year the show ran again in York with a parallel
production in Sheffield in partnership with Theatre Deli. The Great Gatsby first came to London as part of VAULT Festival in 2017 and sold out before the show opened. Since then the show has run in Wales in co-production with Theatr Clwyd, at Halifax’s Square Chapel, and the august surroundings of Castle Howard in North Yorkshire. All while the show has played night after night in London,
inviting audiences in to the hedonistic world of F Scott Fitzgerald’s extraordinary tale

With this long run has come some incredible facts. Since first opening its doors, The Great Gatsby cast and audiences have: said 11,076,000 scripted words in the drugstore, served 52,555 shots of gin, used 2114 meters of cable, said ‘Old Sport’ 9,088 times, drunk 2,176 bottles of champagne, held 284 performances in the drugstore and 525 performances worldwide, been watched by 38,000 plus people and 75,000 plus people worldwide, contributed £303,323.67 in taxes to the economy by London run, spent 598.5 hours of stage time at Gatsby’s Drugstore, been on stage for 1,102.5 hours in total, employed 64 people (32 female, 32 male)

The Great Gatsby allows audiences to fully immerse themselves into the world of Jay Gatsby and the glamour of the Roaring 20s. With cocktails, dancing and scandal, this heart-racing adaptation of this seminal jazz-age story puts the audience at the heart of the action

Producer Brian Hook comments, Whenever we make a show at The Guild of Misrule, we look tell a story in the most exciting and visceral way possible. With our iteration of The Great Gatsby, the plan was simple: take the rich fusion of dancing, sex, lust, hate, passion and greed, hot jazz and a never quenched thirst for excess, and then explode that narrative over an entire building. Gatsby has proved itself to be a phenomenon, inviting our audiences directly in to an experience, something they can get dressed up and throw themselves into, and we are damn proud of every audience member who accepts Mr Gatsby’s invitation to join his little parties. For us, creating work is always about how to best tell incredible stories, and how to invite our audiences in to the heart of that world. The Great Gatsby has proved to be an incredible invitation

Since opening its secret door in December 2015, across the roof of an empty pub in York, the Gatsby phenomenon has kept growing and growing, and shows no sign of slowing down

[…] the conviction of the acting, the quality of the music and the frenetic explosions of flapper dancing distil the spirit of the book like liquor in a prohibition-era teapot. (Guardian, ★★★★)