Yvonne Arnaud Theatre, Guildford – until 30th March 2019

Reviewed by Antonia Hebbert

4****

Well, that was fun. The country might be going mad, but things aren’t completely bad when you can see a daft musical about an ogre who falls in love with a princess who turns out to be an ogre too. Guildford School of Acting students gave their all in this romp of a show, with some terrific ensemble numbers and outstanding individual performances.

The show is closely based on Shrek, the Dreamworks animated film. Aidan Cutler (Shrek) and Bradley Walwyn (Donkey) managed the tricky feat of making very familiar jokes from the film sound fresh and hilarious, with perfect comic timing. Matthew Rankcom was sheer delight as the fiendish Lord Farquaad. Jessica Bates made a funny, feisty Princess Fiona, and wowed us with nifty tap-dancing in one of the best ensemble pieces, involving the Pied Piper and wayward rats. Other ensemble highlights were What’s Up Duloc and the party-like final scene (choreography was by Amy Oxley). All the cast deserve credit: the energy never flagged as they appeared and reappeared as fairy tale characters, guard, villagers and so on in a succession of quick changes. Nick Gartland’s Pinocchio was spot on, and Anna Davey sang dazzlingly as the love-struck dragon (nicely conveyed by a giant stick puppet).

A very enthusiastic audience of fellow students probably helped, but could have been a distraction for their friends on stage. It was impressive that the performers never looked as if they were just playing to the home crowd: they were professional throughout. The set (by UK Productions) had lots of charm. Jenny Sawyer was the director, and the musical director was Michael Cotton, who led the band.

Jack Studio Theatre – 19 to 30 March

Reviewed by Claire Roderick

4****

Yard Players’ production of King Lear takes Shakespeare’s long, meandering tragedy and shapes it into a (relatively) fast-paced and thoroughly engaging story.

The tone of the play is set beautifully as the Fool manoeuvres each character onstage for the first scene, setting a tableau that signals the loyalties of each group before a word is uttered. Alan Booty’s Lear is a suitably commanding presence, and his descent into madness as he is abandoned is handled deftly and delicately. Zara Banks and Fleur de Wit are hugely impressive as Lear’s faithless daughters Goneril and Regan, and their husbands Albany (Benjamin May) and Cornwall (David Sayers) are played as weaker male shadows of the ruthless women. Recasting Edmund as Ada (Evangeline Beaven) is a masterstroke, making Gloucester’s indifference towards his bastard child seem even more cruel. Beaven is both sympathetic and repulsive as she plots her rise to power, and her non-verbal work is full of wit, in stark contrast to the initially rather wet Edgar (Daniel McCaully).

With no scenery and minimum props, the setting of each scene is scrawled in chalk on the black wall, using names of pubs, or simply “dark”, but this works brilliantly keeping the story flowing without the need for long scene breaks. The sense of injustice and the rising chaos as Lear’s authority is diminished are captured nicely, and the loyalty and love shown Lear by his true friends is never over simplified and cloying. The play’s most infamous scene, where poor Gloucester loses his eyes, is staged imaginatively, with groans from the audience as they realised that it was actually going to happen, and nervous gasps and giggles as the scene unfolded. There are a lot of laughs in this production as the cast and director James Eley bring the wicked and gleeful wordplay to the fore and throw masterful side eye to the audience.

King Lear is not my favourite Shakespeare play – I usually nod off – but Yard Players breathe new life into the old dog and have created an intelligent, invigorating and witty production that deserves a wider audience.

Greenwich Theatre – 20 to 30 March 2019

Reviewed by Claire Roderick

5*****

Lazarus Theatre’s pulsating production of Lord of the Flies returns to Greenwich Theatre and is even more exhilarating the second time round.

A plane full of British schoolboys, evacuated from an unspecified war, crashes on a remote island. No adults survive, so the boys must create their own society as they wait for a rescue that may never happen.

Nigel Williams’ adaptation loses, by necessity, lots of the philosophical content of Golding’s novel, leaving the bare bones of the plot. Director Ricky Dukes takes this even further, foregoing any backdrop of sand and sea and instead having an empty, unadorned stage, with Ben Jacobs lighting design portraying the baking island sun or the eerie trails amongst the trees stunningly.

The action begins with a hoodie Haka to pulsing dance music (the first of many as the boys descend to savagery), setting the scene of the plane crash, before the cast scatter and emerge from around the auditorium at the call of Piggy’s precious conch. The use of the entire theatre space is inspired, with an entire seating area being used as ramshackle shelters, and action taking place in the aisles (and scaring the bejeesus out of the schoolkids in the audience!).

The savagery and animal instincts of the boys seems even more pronounced this year, with simian leaps and yells that would make Andy Serkis proud, and the contrast between the hunters’ shouts and chants and Ralph’s group’s desperate clinging to the remnants and trappings of decent society is played to great effect – never more so than the reveal of what the hunters actually use as tribal markings. The boys’ sense of entitlement depending on whether they’re at a “good” school and the social pecking order inherent in that system, is bitterly relevant right now, but also ripe for a few good gags, with Jack declaring that he’ll bring strong and stable leadership to the island. The sense of childhood innocence being corrupted by freedom and fear is always palpable and the power of Golding’s novel is enhanced by the manic physicality of the production.

The casting is gender split, but the entire company play their characters as boys, meaning that the gender of each actor is soon forgotten. Alice Hutchinson impresses as Ralph, nailing the conflict between gleeful liberation and responsibility, and Tommy Carmichael captures Piggy’s pedantic, annoying but thoroughly decent character brilliantly and amusingly. Benjamin Victor as Simon is like a visitor from another world, in a beautifully judged and ethereal performance. Matt Penson is a revelation as Jack – utterly convincing in his rage and violence but always allowing glimpses of terrified little boy trying to cope in a strange new world. Darcy Willison also impresses as the odious and sycophantic Roger, prowling around the stage with terrifying bloodlust and shedding all responsibility and morality as he follows his chief’s orders.

The mounting terror on the island is handled with minimal stage effects and maximum horror and tension. The appearance of the parachutist will still make you jump out of your seat, and the deaths are terrifying. The schoolchildren behind me were still in shock, giggling nervously as we sat eating ice cream as Victor lay onstage throughout the interval after Simon’s murder (although they had calmed down enough to rank the shirtless male cast by hotness before the action resumed), and when poor Piggy’s time came the gasps and shrieks were even more vocal.

Deliciously dark and disturbing, Lord of the Flies thrills and shocks in equal measure. A must-see production.

StoryHouse, Chester – until Saturday 30th March 2019

Reviewed by Julie Noller

5*****

Back in 1982 I was an excited eight year old, I had my very first sticker book based on a much hyped upcoming film called Annie. Fast forward over 30 years and I’m now back in the very same building I first saw Annie, it’s no longer a cinema owned by a big brand but very much a local theatre putting on great shows.

Annie itself is a book written by Thomas Meehan based on an american comic strip ‘little orphan Annie’ from it’s first run on Broadway in 1977 it has remained popular with young and older audiences. There has in fact been two films produced and I was curious to see how Annie the stage musical would compare. The set and costume design by Colin Richmond is somewhat simplistic but striking, there’s bold geometric art-deco shapes from doorways to desks. The colour scheme from the dark greens of the drab, damp and somewhat depressing orphanage to the bright cheery interior of Oliver Warbuck’s 5th Avenue mansion. The costumes are all reminiscent of the era of the so called great American depression of the late 1920’s and heading into the era of Roosevelt’s New Deal which saw relief for many and brought prosperity and hope to the masses. There’s more than a hint of those big musical films that saw stars tap dancing and incredible musical numbers still played and remembered today, tap dancing sailors? Pop them in for some light relief.

Ava Smith who incidentally is on her professional debut during this current tour; is magnificent as Annie. An eleven year old orphan who despite years of hard living has remained soft at heart. In an era of depression it’s easy to lose sight of life and Annie teaches us all that there’s always Tomorrow, which is perfectly belted out. Annie has a positive effect on all whose paths she crosses. Perhaps given today’s political climate in the UK with Brexit (sorry) we should all take a dose of Annie’s realistic optimism. Ava along with fellow orphans from Team Empire State are commanding up on stage and obviously enjoying their roles greatly, Tia Grace Isaac shines as young vulnerable Molly yet to become just another statistic she just wants to have fun as all young girls do. However much the girls long for decent meals and loving homes they treat us to a rendition of Hard Knock Life, a song that has been parodied (as I note have many other songs from this musical highlighting it’s much loved popularity) in films such as Austin Powers.

Life in the orphanage is cold in more ways than temperature, run by the drunk and somewhat dippy Miss Hannigan. Anita Dobson came to fame we know playing a somewhat alcoholic pub landlady in Eastenders, so we know she is more than capable of that. She brings humour to the role and a realism that drink is quite often the way many deal with depressing times. She hates her job, she hates the girls but it also keeps a roof over her head. Miss Hannigan’s solo number Little Girls highlights this perfectly and you can’t help but chuckle at her movements. Easy Street a shared number with Rooster and Lily (Richard Meek and Jenny Gayner) highlights how the American dream of a better life turned sour so quickly with Miss Hannigan being easily manipulated by her ruthless brother.

When Grace Farrell arrives at the orphanage with a request for an orphan to spent Christmas with Oliver Warbucks, we are introduced to a person with such warmth and a desire to help by Carolyn Maitland. Business man Oliver Warbucks a man who has in his own words spent years and climbed over many people to get to where he is, is one of my favourite parts brought to life by Alex Bourne, great vocals but also a sadness that seeps through with Annie doing what Annie does best, those deep wounds slowly heal and the strikingly obvious hits me.

Annie isn’t only a story of a small orphan girls dreams for her parents to come for her, it’s about a search in us all for no matter what today brings there’s always tomorrow. Daddy Warbucks is a person who searches and truly finds himself. Annie is an absolutely smashing musical, full of big show tunes, history, characters with real depth and life. There’s sadness and happiness there’s even a dog sandy played by the lovely Amber who is returning to the role with a wagging tail and an obvious love of life on stage, which I’m sure is nothing to do with the numerous treats.

Annie is a must see for all ages, children cheered and booed throughout even singing. Whilst adults happily remembered their own childhood, some of us joined in the singing. For such a tale set at a sad time, it’s wonderful. It ends as all stories should end happily with a flourish of glitzy streamers and a singsong. Grace gets her man, Miss Hannigan and Rooster get their comeuppance. The girls from the orphanage get decent food and little orphan Annie is no more for she finally gets her longed for family.

RECIPIENTS OF THE THIRD ANNUAL TONIC AWARDS ANNOUNCED

RECOGNISING WOMEN ACROSS THE THEATRE INDUSTRY

Recipients of the third annual Tonic Awards were announced tonight at an awards ceremony held at The May Fair Hotel hosted by Tracy Ann Oberman. The awards celebrate the achievements of game-changing women, significant organisations, projects and productions that redefine the role of women in the performing arts, both on and off stage. The recipients of this year’s awards are: Jude Kelly CBE, Alison Tickell, Open Clasp TheatreCompany, Paula Garfield, Elliott & Harper Productions for Company, Shakespeare’s Globe’s production of Emilia, The Susan Smith Blackburn Prize and Dance Umbrella.

Lucy Kerbel, Director of Tonic Theatre, said today, “It is absolutely vital there is a platform to celebrate the integral part women play in this industry and we couldn’t be prouder that the Tonic Awards return this year to recognise and champion the work of these women, both on and off stage. We’ve seen great strides forward for women in our industry and wider society over the last few years and we hope to continue to support these positive changes.”

Sita McIntosh, Chair of Tonic’s Board of Trustees, added, “I couldn’t be prouder of what the Tonic Awards have become. It is now stitched into the fabric of our industry as a legitimate, respected and inspirational ceremony that brings together the leading female lights in UK Theatre to celebrate each others successes, inspire the next generation of theatre makers and generally support each other. Tonic remains committed to pushing for further change and greater representation of women across our industry.”

This year’s recipients were:

Jude Kelly CBE for her inspirational leadership of the Southbank Centre, in particular, the creation of the Women of the World Festival – utilising the resources, creativity and expertise of an arts organisations to empower and provide a platform to women and girls.

The award was presented to Jude Kelly CBE by Lemn Sissay MBE, poet, playwright and broadcaster. 

Alison Tickell for her commitment to increasing awareness of the performing arts’ carbon footprint and implementing practical and imaginative changes to better the industry through her pioneering work for Julie’s Bicycle.

The award was presented to Alison Tickell by Sir Nicholas Serota, CH, Chair of Arts Council England.

Open Clasp Theatre Company for their efforts to engage and provide opportunity to marginalised women to engage with theatre and present stories that might otherwise go unheard.

The award was presented to Open Clasp Theatre Company’s Artistic Director Catrina McHugh MBE by Erica Whyman OBE, Deputy Artistic Director at the Royal Shakespeare Company.

Paula Garfield for her energy and unwavering commitment to opening theatre up and the artistic quality of the work she produces as Artistic Director of Deafinitely Theatre.

The award was presented to Paula Garfield by Jo Hutchison, Director of JHI Marketing.

Elliott & Harper Productions for Company, an outstanding production andground-breaking example of cross-gender casting in commercial musical theatre, breathing new life into a classic and paving the way for more cross-gender casting and reimagining of the musical theatre cannon.

The award was presented to Marianne Elliott and Chris Harper from Elliott & Harper Productions by Sarah Crompton, Theatre Critic for WhatsOnStage and culture journalist.

Shakespeare’s Globe’s production of Emilia for bringing visibility to Emilia Bassano, a female artist who had been obscured in history, in an articulate, witty and intelligent production that highlighted the situation for women in theatre and wider society.

The award was presented to playwright Morgan Lloyd-Malcolm plus various members of the team behind the production of Emilia by Sita McIntosh, Chair of Tonic’s Board of Trustees and COO of WhatsOnStage.

The Susan Smith Blackburn Prize for the impact it has had in supporting women writers over the last 40 years. Its recognition and financial support has aided generations of women pursuing careers in writing.

The award was presented to Emily Reid from The Susan Smith Blackburn Prize by Indhu Rubasingham MBE, Artistic Director of Kiln Theatre.

Dance Umbrella for shaping the landscape of modern and contemporary dance in the UK. Under the leadership of three outstanding women Dance Umbrella is a creative force that develops artists, audiences and the artform itself.

The award was presented to the three women who have in succession been Artistic Director at Dance Umbrella: Val Bourne CBE, Betsy Gregory and Emma Gladstone by Siobhan Davies CBE, Artistic Director of Siobhan Davies Dance.

Attending the ceremony tonight were senior figures from across the UK theatre industry including Nadia Fall, Haydn Gwynne, Robert Hastie, Karena Johnson, Brigid Larmour, Lynette Linton, Britannia Morton, Dame Rosemary Squire DBE and Meera Syal CBE. Tonic Awards will return in March 2020 with another cohort of recipients.

The Tonic Awards are made possible by the generosity of the headline sponsor White Light Ltd, and the following sponsors: Dewynters, JHI Marketing, The May Fair Hotel, Nick Hern Books and WhatsOnStage.

Northern Broadsides production of Much Ado About Nothing to open prestigious Shakespeare Festival in Germany

Northern Broadsides are delighted to announce that their acclaimed co-production with the New Vic Theatre, Newcastle-under-Lyme of William Shakespeare’s glorious tale of antagonistic romance and chaotic comedy Much Ado About Nothing will be opening this year’s Shakespeare festival at The Globe Theatre in the German city of Neuss from the 14-16 June.

The prestigious festival– now is in its 29th year – will run in from 14 June to 13 July and will stage 33 performances of fifteen productions from France, Poland, Hungary, England and Germany. As well as the productions, there will be a Shakespeare Day for children, workshops for school pupils and teachers, and introductory presentations for the seven premieres scheduled to take place in Germany and on NRW radio.

Northern Broadsides Artistic Director Conrad Nelson said:

“As we career into continued uncertainty I take some solace in the knowledge that Arts organisations across European and the words of a 400 year old play can still form the foundations for an effective and enjoyable artistic partnership. I’m absolutely delighted to be returning to the International Shakespeare festival in Neuss, with our critically acclaimed production of Much Ado about Nothing. Under the enthusiastic leadership of producer Dr Rainer Wiertz The Globe Theatre continues to flourish. My last visit in 2000 was playing the reluctant lover, ‘Benedick’ in the same play – the memories of which are vivid. In 2019 I return as Director and despite of all, I have no reluctance in hoping that our future cultural liaisons with Europe could be equally as bright.”

Dr. Rainer Wiertz, Artistic Director of the Festival added:

“The start of our festival is always a very special event, and we all are eagerly and curiously looking forward to your vibrant, explosive and dashing Much Ado About Nothing. We are very proud that you will participate in this year’s program!”

The Shakespeare Festival, which takes place annually in the early summer, is unique of its kind. Fans of Shakespeare’s dramatic, turbulent, witty plays make the journey to the Rhine from all over Germany and are inspired by the atmosphere. It’s relaxed and uncomplicated and the theatre companies from all four corners of the world contribute to this, bringing international flair to Neuss for four weeks of the year in June and July.

The Globe Neuss on the Rennbahn is a small-scale replica of Shakespeare’s 1599 theatre. The intimate horseshoe design brings the audience really close to the action, whether their seats are in the stalls or on one of the two raised tiers. A unique atmosphere is created by the lovingly designed ambiance, with its “(Shakes)beer garden” and its inviting foyer contributing to the festival’s veryspecial quality.

The Northern Broadsides and New Vic Theatre co-production is currently on a national tour and will be visiting in the coming weeks Derby Theatre (26-30 March); Theatre Royal Bury St Edmunds (2-6 April); Lawrence Batley Theatre, Huddersfield (16-20 Apr), Viaduct Theatre, Halifax (25 Apr-4 May), The Lowry Salford (7-11 May); York Theatre Royal (14-18 May) and Harrogate Theatre (21-25 May).

For more information visit www.northern-broadsides.co.uk andwww.shakespeare-festival.de

Pulse Records Limited in association with Bill Elms present

‘A BIG SWEEPING STORY WITH REAL EMOTION’

THE STAGE

MAJOR UK TOUR FOR

HELEN FORRESTER’S

BY THE WATERS OF LIVERPOOL

National dates revealed for new show from the team behind Helen Forrester’s beloved Twopence To Cross The Mersey

Following on from its highly acclaimed run at the Liverpool Empire Theatre last autumn, By The Waters Of Liverpool is set to embark on a major UK tour in Spring 2020 it has been revealed today.

The production follows the smash-hit success of Forrester’s Twopence To Cross The Mersey and is being brought to audiences by the team behind both the musical and stage play versions of the award-winning true story.

By The Waters Of Liverpool is a period drama set in the 1930s. The story opens in 1935. Helen Forrester is sixteen years old and fighting a bitter battle with her parents for the right to educate herself and go out to work.

During the Great Depression, Helen’s father lost his fortune when the stock market and the family were suddenly thrown into poverty. Leaving behind the nannies, servants and comfortable middle-class life in the South West of England, the Forrester’s chose Liverpool as the place to start over. They were in for a terrible shock. Taken out of school to care for her younger brothers and sisters while her parents struggled to re-build their shattered lives, Helen is treated as an unpaid slave and desperate to escape.

By 1939, now aged twenty and with Britain on the brink of war, she has never been kissed by a man. But things start looking up for Helen when she meets a tall strong seaman and falls in love.

And in celebration of what would have been Helen Forrester’s 100th Birthday, the 11-week tour will open at Wirral’s, New Brighton Floral Pavilion from March 3-8, 2020, just a few miles from where she was born.

The tour will then move on to the Stockport Plaza from March 10-12, Warrington Parr Hall on March 14-15, St Helens Theatre Royal from March 17-21, Lancaster Grand on March 23-24, Crewe Lyceum on March 25-26, and Southport Theatre on March 27-28.

It continues with dates at Rhyl Pavilion Theatre from March 31 to April 4, Swansea Grand Theatre on April 6-7, Darlington Hippodrome from April 9-11, and Malvern Theatres on April 14-15.

The 2nd leg of the tour and full casting will be announced in the coming weeks.

Millions of people know Helen Forrester’s life story told through her best-selling volumes of autobiography, Twopence to Cross the Mersey, Liverpool Miss and By The Waters Of Liverpool.

Writer and friend of Helen Forrester, Rob Fennah has written both the stage play versions of Twopence To Cross The Mersey and By The Waters Of Liverpool. The new touring production is again produced by Pulse Records Limited in association with Bill Elms, and is directed by Gareth Tudor Price.

Rob Fennah said: “We had an amazing response when we premiered By The Waters Of Liverpool last autumn. Helen Forrester’s books resonate with millions of people across the UK and many more around the world.

“This adaptation of By The Waters Of Liverpool features a sizeable chunk from Liverpool Miss, Helen’s second volume of autobiography, together with flashbacks to Twopence To Cross The Mersey, so newcomers to Helen’s story will get a complete picture of her life.

“This June marks the centenary of Helen’s birth and, although she is no longer with us, she’ll be in our thoughts at this very special time. Last year her son Robert Bhatia made the journey from Canada to see the production at the Liverpool Empire and loved it. Now, with Robert’s full backing, we can’t wait to share his mother’s story with audiences across the UK.”

By The Waters Of Liverpool by Helen Forrester has sold more than a million books. Now this is your chance to see it come to life in this exciting new stage play adaptation.

Adapted by Rob Fennah   ·   Directed by Gareth Tudor Price

Produced by Pulse Records Limited in association with Bill Elms

Fully endorsed by the Helen Forrester Estate

Website:         www.bythewatersofliverpool.com

Facebook:       www.facebook.com/ByTheWatersThePlay

LISTING INFORMATION

BY THE WATERS OF LIVERPOOL

FLORAL PAVILION

Tuesday 3-Sunday 8 March 2020

Marine Promenade, New Brighton, CH45 2JS

Tickets from £22 plus booking fee

Website:          www.floralpavilion.com

Box Office:      0151 666 0000

STOCKPORT PLAZA

Tuesday 10-Thursday 12 March 2020

Mersey Square, Stockport, SK1 1SP

Tickets from £22 plus booking fee

Website:          www.stockportplaza.co.uk

Box Office:      0161 477 7779

PARR HALL

Saturday 14-Sunday 15 March 2020

Palmyra Square, Warrington, WA1 1BL

Tickets from £22 plus booking fee

Website:          https://parrhall.culturewarrington.org/whats-on

Box Office:      01925 442345

ST HELENS THEATRE ROYAL

Tuesday 17-Saturday 21 March 2020

Corporation Street, St Helens, WA10 1LQ

Tickets from £22 plus booking fee

Website:          www.sthelenstheatreroyal.com

Box Office:      01744 756000

LANCASTER GRAND THEATRE

Monday 23-Tuesday 24 March 2020

St Leonardgate, Lancaster, LA1 1QW

Tickets from £22 plus booking fee

Website:          www.lancastergrand.co.uk

Box Office:      01524 64695

CREWE LYCEUM

Wednesday 25-Thursday 26 March 2020

Heath Street, Crewe, CW1 2DA

Tickets from £22 plus booking fee

Website:          www.crewelyceum.co.uk

Box Office:      01270 368242

SOUTHPORT THEATRE

Friday 27-Saturday 28 March 2020

The Promenade, Southport, PR9 0DZ

Tickets from £22 plus booking fee

Website:          www.waterfrontsouthport.co.uk/events/whats-on

Box Office:      01704 500036

PAVILION THEATRE RHYL

Tuesday 31 March-Saturday 4 April 2020

East Parade, Rhyl, LL18 3AQ

Tickets from £22 plus booking fee

Website:          www.rhylpavilion.co.uk

Box Office:      01745 330000

GRAND THEATRE SWANSEA

Monday 6-Tuesday 7 April 2020

Singleton Street, Swansea, SA1 3QJ

Tickets from £22 plus booking fee

Website:          www.swansea.gov.uk/swanseagrandtheatre

Box Office:      01792 475715

DARLINGTON HIPPODROME

Thursday 9- Saturday 11 April 2020

Parkgate, Darlington, DL1 1RR

Tickets from £22 plus booking fee

Website:          www.darlingtonhippodrome.co.uk

Box Office:      01325 405405

MALVERN THEATRES

Tuesday 14-Wednesday 15 April 2020

Grange Road, Malvern, WR14 3HB

Tickets from £22 plus booking fee

Website:          www.malvern-theatres.co.uk

Box Office:      01684 892277

Selladoor Productions, Matthew Townshend Productions, Belgrade Theatre Coventry and Perth Theatre at Horsecross Arts present

NEW UK TOUR ANNOUNCED FOR

UK Tour 5 September – 30 November 2019

A new theatrical adaptation of Mary Shelley’s seminal 1818 gothic horror novel Frankenstein is set to depict Shelley onstage, as she unfolds her monstrous tale of creature and creator. Adapted by award-winning writerRona Munro and co-produced by leading company Selladoor (in the company’s tenth anniversary year),Matthew Townshend Productions, Belgrade Theatre Coventry, and Perth Theatre at Horsecross Arts, the production will tour nationwide from 2 September – 30 November 2019. Further dates and casting are yet to be announced.

An eighteen year-old girl, Mary Shelley, dreams up a monster whose tragic story will capture the imaginations of generations to come.

A young scientist by the name of Frankenstein breathes life into a gruesome body. Banished into an indifferent world, Frankenstein’s creature desperately seeks out his true identity, but the agony of rejection and a broken promise push him into darkness. Dangerous and vengeful, the creature threatens to obliterate Frankenstein and everyone he loves, in a ferocious and bloodthirsty hunt for his maker.

Rona Munro’s brilliant new adaptation of Mary Shelley’s Gothic masterpiece places the writer herself amongst the action as she wrestles with her creation and with the stark realities facing revolutionary young women, then and now.

Rona Munro said of the new production: “This story has been told and retold in hundreds of different versions since it was first written. But it remains the dark and rebellious roar of its adolescent author. Mary Shelley was only eighteen when she wrote the novel and she’d already broken every social rule that should have shaped her life. That’s the version of Frankenstein I’ve returned to, the version of the novel. The story is told in the voice of that defiant and passionate young girl accusing her elders, the culture of her age and intent on terrifying the whole world.”

Anna Fox, Head of New Work at Selladoor Creation, said: “Selladoor Creation are delighted to be working with Rona to create a dramatic reinvention of this classic story. We relish the work we do with writers, so we are proud to be a part of a production that will examine the writers’ process in such an innovative way. It has been a fascinating journey to go on with the piece, and we are excited for this bold new take on a beloved gothic horror to be brought to life for audiences of today.”

The production will be directed by Patricia Benecke, with composition and sound design by Simon Slater, lighting design by Grant Anderson and designed by Becky Minto.

Rona Munro has written extensively for stage, radio, film and television. Her recent theatre credits include Lucy Barton, adapted from the novel by Elizabeth Strout and performed by Laura Linney at the Bridge Theatre London in 2018-19. Other credits include The James Plays: a trilogy of award-winning plays produced by the National Theatre of Scotland, the National Theatre UK and Edinburgh International Festival, Scuttlers (Royal Exchange Theatre, Manchester), Little Eagles (Royal Shakespeare Company) and Iron (Traverse Theatre, Royal Court Theatre) for which she won the John Whiting Award in 2003.

Her television credits include the BAFTA-nominated Bumping the Odds (BBC Scotland) and Rehab (BBC Two), and her films include Ladybird Ladybird and Oranges and Sunshine. Her work for radio includes several dramas for The Stanley Baxter Playhouse. Rona is the only writer so far to have contributed episodes to both the classic and contemporary series of Doctor Who (BBC One).

Director Patricia Benecke directs in the UK and Europe. For her company Dialogue, she has directedScorched (Old Vic Tunnels), The Furies/Land of the Dead/Helter Skelter (Bush Theatre and UK tour), Monsieur Ibrahim and the Flowers of the Qu’ran (Bush Theatre, Assembly Rooms and UK Tour), Wedding Day at the Cro-Magnons (Soho Theatre), Top Dogs (Southwark Playhouse and UK Tour), Merlin (Riverside Studios),Heroes Like Us (Edinburgh Festival/NXT) and The MC of a Striptease Act Doesn’t Give Up (international tour). Patricia is Creative Associate at Belgrade Theatre Coventry, where her shows include Cougar the Musical andNora. Patricia also directed Stop Blaming, Start Loving for the Old Vic’s 24 Hour Plays Gala.

Designer Becky Minto has designed over 100 productions for companies including National Theatre Scotland, The Royal Lyceum, Grid Iron, Perth Rep, Visible Fictions, Vanishing Point, Scottish Dance Theatre, Lung Ha, All Or Nothing, 7:84, The Byre, The Citizen’s Theatre, Upswing Aerial Theatre Company, Fire Exit, Walk The Plank, Mark Murphy, Dundee Rep and Pitlochry Festival Theatre. She was awarded the Silver medal for Space Design for the National Theatre Scotland’s production of The 306:Dawn at the World Stage Design exhibition in 2017. She has been nominated for 3 CATS awards and a Manchester Evening News Award for Best Design.

Simon Slater is an Olivier Award-nominated composer, and has composed original music for over 300 theatre, film, television and radio productions. His recent theatre credits include: Amadeus (National Theatre), Killology(Sherman Theatre/Royal Court Theatre) and Constellations (Duke of York’s Theatre, Royal Court Theatre) for which he was nominated for an Olivier Award, Cost of Living (Hampstead Theatre), Build a Rocket, Thirty Nine Steps, The Rise and Fall of Little Voice (Stephen Joseph Theatre), Foxfinder (The Ambassadors Theatre), The Crucible (Storyhouse), The Rivals (The Watermill Theatre), King Lear (The Globe Theatre), Sand In The Sandwiches (UK Tour), Carmen Disruption(Almeida), The Cherry Orchard, Doll’s House (Sherman Theatre),Talking Heads (UK Tour) and Tis Pity She’s A Whore, The Broken Heart & A Winter’s Tale (Sam Wanamaker Playhouse).

Grant Anderson’s lighting design credits include: The Broons (Selladoor), Miss Julie (Horsecross Arts), We’ll Live And Die In These Towns (Belgrade Theatre). Currently he is designing shows for The National Theatre of Scotland as well as internationally for Unigram in Miami. Other selected credits include: Alan Cumming Sings Sappy Songs, Light on the Shore (Edinburgh International Festival), Cuttin’ A Rug, Simon’s Magical Christmas Socks, Panic Patterns (Citizens Theatre), One Mississippi, Submarine Time Machine, To Begin (National Theatre of Scotland & NTS Learn), Snow Queen, A Christmas Carol, Love Song, In My Father’s Words, Hecuba, Promises Promises and Baby Baby (Dundee)

TOUR DATES

TOUR DATES 2019

5 – 21 September (performances vary)                                                       Box Office: 01738 621031

Perth Theatre, Perth                                                                                         Website: horsecross.co.uk

24 – 28 September                                                                                            Box Office: 01227 787787

Marlowe Theatre, Canterbury                                                                        Website: marlowetheatre.com

1 September – 12 October                                                                              Box Office: 024 7655 3055

Belgrade Theatre, Coventry                                                                            Website: belgrade.co.uk

14 – 19 October                                                                                                   Box Office: 0844 871 7650

Brighton Theatre Royal, Brighton                                                                  Website: atgtickets.com 

28 October – 2 November                                                                               Box Office: 029 2087 8889

New Theatre, Cardiff                                                                                         Website: newtheatrecardiff.co.uk

4 – 9 November                                                                                                  Box Office: 01483 440 000

Yvonne Arnaud Theatre, Guildford                                                                Website: yvonne-arnaud.co.uk

11 – 16 November                                                                                             Box Office: 0151 709 4776

Liverpool Playhouse, Liverpool                                                                       Website: everymanplayhouse.com

25 – 30 November                                                                                              Box Office: 0844 871 7647

Theatre Royal Glasgow, Glasgow                                                                  Website: atgtickets.com 

Birmingham Repertory Theatre and Northern Stage in association with Nuffield Southampton Theatres present the

EUROPEAN PREMIÈRE of

A THOUSAND SPLENDID SUNS
By Ursula Rani Sarma
Based on the book by Khaled Hosseini

·         The European première opens at Birmingham Repertory Theatre with dates also at Northern Stage, Nuffield Southampton Theatres and Hackney Empire.

·         Khaled Hosseini’s book has been adapted by Ursula Rani Sarma and will be directed by Artistic Director, Roxana Silbert, her last as Artistic Director of Birmingham Repertory Theatre.

·         The cast includes Waleed Akhtar, Pal Aron, Sujaya Dasgupta, Munir Khairdin, Naveed Khan, Mollie Lambert, Shala Nyx, Liza Zahra and Amina Zia.

A Thousand Splendid Suns, Khaled Hosseini’s spiritual sequel to The Kite Runner will have its European première at Birmingham Repertory Theatre from 2 – 18 May before playing at partner venues Northern Stage (30 May – 15 June) and Nuffield Southampton Theatres (25 June – 6 July). The show will also tour to Hackney Empire (22 -25 May).

The cast features Waleed Akhtar (Salmon Fishing in the Yemen/ Lasse Hallström; What Shadows / Birmingham Repertory Theatre and The Kite Runner/Nottingham Playhouse & Liverpool Everyman);Pal Aron (Behind the Beautiful Forevers/National Theatre; Stella/ Sky One); Sujaya Dasgupta (Death of a Salesman/Royal & Derngate, Press/BBC);  Munir Khairdin (Whitechapel/ITV); Naveed Khan(Tamburlaine and Tartuffe /RSC); Mollie Lambert (The White Devil/Shakespeare’s Globe); Shala Nyx (Miss Prue/Bristol Old Vic; The Shadow Factory/Nuffield Southampton Theatres) and Liza Zahra(The Kite Runner/Wyndham’s) and Amina Zia (Tartuffe/RSC).

Khaled Hosseini’s international best-selling novel is the powerful story of three generations of women discovering strength in unity and finding hope in the unlikeliest of places. Set in 1992 in an Afghanistan ravaged by war, an orphaned Laila is left alone in an increasingly threatening world.  Her older neighbour Rasheed is quick to open his home and takes Laila as his second wife.

Rasheed’s first wife Mariam has no choice but to accept her younger, and now pregnant, rival. As the Taliban take over, life for all of them becomes a desperate struggle against starvation, brutality and fear, and the two women find themselves unlikely allies.  In A Thousand Splendid Suns, love grows and sustains the human spirit even during the hardest of times.

Roxana Silbert directs A Thousand Splendid Suns, her final show as Artistic Director of Birmingham Repertory Theatre. She said:

“In Khaled Hosseini’s A Thousand Splendid Suns we are given a rare glimpse into 30 years of contemporary Afghan history and thanks to Ursula Rani Sarma’s emotionally stirring adaptation audiences will be able to bear witness to the extraordinary story of two radiant women who struggle to survive the terrifying political situation they find themselves in. I can’t wait to bring this inspiring and enlightening story to the stage.”

Playwright Ursula Rani Sarma said:

“This play is about the immense strength and endurance of women and how they can survive tremendous suffering to keep those they love alive. It is also about how even in the darkest of times and places, love can grow and sustain the human spirit beyond all pain and hard-ship. It’s about friendship and loyalty, courage and selflessness, grief and violence. What the play has to say about love, endurance, and survival is very much worth listening to for a contemporary audience. There is beauty and strength at the heart of A Thousand Splendid Suns, and I feel so proud to be part of its evolution from novel to stage.”

Ursula Rani Sarma is a scriptwriter for stage and screen. Her previous credits include Delicious(Sky), the award-winning film Anywhere But Here, Yerma (West Yorkshire Playhouse) and The Dark Things (Traverse Theatre).

Khaled Hosseini is one of the most widely read and beloved novelists in the world, with over 38 million copies of his books sold in more than seventy countries. The Kite Runner was a major film and was a Book of the Decade, chosen by The Times, Daily Telegraph and Guardian. A Thousand Splendid Suns was the Richard & Judy Best Read of the Year in 2008. Hosseini is currently a Goodwill Envoy to the United Nations High Commissioner for Refugees, the UN Refugee Agency and the founder of The Khaled Hosseini Foundation, a not-for-profit organisation which provides humanitarian assistance to the people of Afghanistan. He was born in Kabul, Afghanistan, and lives in northern California.

A Thousand Splendid Suns will have set and costume designs by Ana Inés Jabares-Pita, lighting design by Simon Bond, composition by Mahmood Kamen, sound design and co-composition byDave Price with Ben Hart as magic consultant.

Listings Information

2 – 18 May
Birmingham Repertory Theatre
Box Office: 0121 236 4455 / birmingham-rep.co.uk

22 – 25 May

Hackney Empire

Box Office: 020 8985 2424/hackneyempire.co.uk

30 May – 15 June
Northern Stage
Box Office: 0191 230 5151 / northernstage.co.uk

25 June – 6 July

Nuffield Southampton Theatres

Box Office: 023 8067 1771 / nstheatre.co.uk

24 HOURS; 48 PERFORMERS; TWO HUNDRED THOUSAND WORDS – NEIL BARTLETT’S NEW NATIONAL ARTWORK

Acclaimed Writer and Director NEIL BARTLETT is travelling across the UK interviewing and recording a hundred remarkable people to create an extraordinary new national public artwork titled 24 HOURS OF PEACE – a twenty-four-hour-long performance dedicated to the work of peace. Taking place at the Royal Exchange Theatre on Remembrance Sunday the theatre will keep its doors open for the full twenty-four hours of the performance of this unique and free event.

The interviewing process has already started and Neil has met with and recorded the voices of some remarkable people, from an 84-year-old Greenham Common veteran to a young volunteer recently returned from a Syrian refugee camp; from a trans activist to an imam; from an ex-sniper who served in Afghanistan to an IRA bomb survivor, all of these one hundred people have one thing in common – they have all committed themselves to working for peace. In creating 24 HOURS OF PEACE Neil will edit the transcripts from the interviews into a single, marathon monologue that will be delivered live on Remembrance Sunday by a company of 48 performers, a relay-team of voices featuring members from Greater Manchester’s diverse communities as well as professional performers.

Launching the project Neil said,

“Every year, the two-minute silence on Remembrance Sunday asks us all to look back, but it also asks us to look forward. Last year, as the amazing moment of the silence ended, I found myself wondering about what the word ‘peace’ that is so often mentioned on the day really means to us all these days. In particular, I started wondering about all the people who go to work every morning to try and turn that powerful little word into some kind of daily reality. So, what I’m trying to do with this performance is to make a space in which some of those very special peoples’ voices can be heard. Whether you choose to come to the centre of Manchester and join the crowd at the Royal Exchange Theatre on Remembrance Sunday for this event – or whether you go online to hear their words as part of the live national twenty-four hour broadcast , I hope people all over the country will take this chance to listen to some of these stories of peace. Trust me, they are amazing.”

Some interviewees include:

Emma Sky OBE – author and activist who served in Iraq as the political advisor to US General Ray Odierno, after acting as the Governorate Coordinator of Kirkuk for the Coalition Provisional Authority. She is currently Director of the Yale University World Fellows program and a Senior Fellow at Yale’s Jackson Institute for Global Affairs.

Nigel Bromage – founder of Small Steps, an organisation of former members of far-right organisations who have rejected violence and far-right narratives and are now committed to exposing and eradicating far-right extremism in the UK.

Cllr Tommy Judge – Manchester City Councillor, former serviceman and chair of Moss Side Fire Station boxing club.

Audrey Layton – 84 year old former Greenham Common women’s camp resident.

24 HOURS OF PEACE will be performed live on the main stage of the ROYAL EXCHANGE THEATRE starting at 11.02 on Sunday November 10th – Remembrance Sunday. It will also be broadcast live in its entirety on national digital radio station RESONANCE FM. It is produced by Thomas Carter Projects, in partnership with Royal Exchange Theatre and Resonance FM.

You can follow the project here @24HoursPeace.