Howard Assembly Room, Leeds – Saturday 5th May 2018

Reviewed By Dawn Smallwood

3.5***

Tutti Frutti, a national touring theatre company, focuses on productions specifically for children and families and is reputed for their creative imagination. A lot of their work is based on traditional stories but also contemporary ones. Their latest production, Keepy Uppy, directed by Wendy Harris, has been brought to the Howard Assembly Room in Leeds for two performances and also marks the beginning of a UK Tour.

Written by Evan Placey, Keepy Uppy is about Joey (Danny Childs) who is football mad and his life revolves around the beautiful game. The passion is also shared by his mother (Eden Dominique) and their daily routine includes an imaginary game from getting up to going to school. Football fever is not affected when both Joey and his Mum face setbacks along the way and that they are determined as ever to reach the cup final.

With the FIFA World Cup happening next month it is a perfect opportunity to bring this exciting production to many children and families. The spirit of the beautiful game begins before when there is a considerable number of children sat at the front, dressed in their football gear, and waiting for “kick-off”.

Joey and his Mum share the wonders of football to the audience with imaginative and passionate energy; slick movements including the use of a football to co-ordinate such moves and poetry and catchy rhythmic narration which is set to live music by Dom Sales. One must admire the versatile and creative staging, courtesy of Kate Bunce. The space and lighting is used effectively with the props for a variety of things and how the use of chalk is drawn to create different ones. The fast-paced interaction between the mother and son is good and it successfully keeps the children, particularly those sat on the floor at the front, engaged and entertained.

There is a carnival atmosphere with music and dance during the latter half of the performance with flags representing the many countries that play the game. This would include countries that have qualified to play at the forthcoming World Cup. Keepy Uppy with an excellent cast is no doubt an entertaining and colourful show especially for the children who are transfixed from kick off to “shoot” and ultimately the “final whistle”. It certainly celebrates the beautiful game

By Dawn Smallwood

West Yorkshire Playhouse’s history began 50 years ago on the 5th May 1968 when it was proposed for Leeds to have its own Playhouse. This was heard at a public meeting, held at the Town Hall, following a successful four year campaign lead by Doreen Newlyn and supported by Peter O’Toole (Hollywood legend), Keith Waterhouse and John Neville (then Nottingham Playhouse’s artistic director). They determinedly argued that “a city without a theatre is a city without a heart” (Source: West Yorkshire Playhouse) and their claim is very true today as West Yorkshire Playhouse prides itself as being heart of the city.

The packed public meeting on that day obviously was a sign for good things to come and the quest for a Playhouse became a reality. Funding was secured from the public and Leeds City Council towards the development. The development was in receipt of further funding, the construction began a year later, and the Leeds Playhouse opened its doors in 1970 on the University of Leeds site. The Playhouse housed productions there for 20 years until it moved to its current site at Quarry Hill in 1990.

The spirit shared by Newlyn and James Brining (West Yorkshire Playhouse’s Artistic Director) remains strongly the same. The Playhouse’s spirit and aims are to engage widely with the community and make theatre accessible to everyone in the City of Leeds. This is evident with their critically acclaimed and award winning development and engagement programmes and world class theatre productions year after year. They always offer a wide variety of productions from big scale musicals to new home grown talent.

With the success and ethos it is felt the West Yorkshire Playhouse is ready for their forthcoming major redevelopment project which is starting in July 2018 after Searching for the Heart of Leeds, such a fitting production to mark the Playhouse’s next chapter. The current building will be transformed and modernised with an addition of Bramall Rock Void,

a new studio theatre space, and the development will be funded by Leeds City Council, Arts Council and the Playhouse itself. The West Yorkshire Playhouse and SOYO will provide a temporary 350 seat theatre on site for the Autumn 2018/Spring 2019 programme.

Exciting times ahead and no doubt more special milestones will be celebrated in the West Yorkshire Playhouse’s present and future journey.

 

CARRIE HOPE FLETCHER MEETS WESTERBERG HIGH’S NEWEST GIRL BAND FOR

HEATHERS – THE MUSICAL

OPENING AT THE OTHER PALACE FOR A STRICTLY LIMITED RUN

FROM 9 JUNE – 4 AUGUST 2018

 

 

After breaking previous box office records at The Other Palace, the European premiere of HEATHERS – THE MUSICAL continues to delight, this time with the announcement of an incredible house band.

 

Musical director SIMONA BUDD will lead five sensational musicians in performing Olivier Award winner LAURENCE O’KEEFE’S kick ass score.

 

Made up of amazing musicians from hit West End and touring productions, the band includes draws on some of the most experienced talent around as well as introducing some exciting up and coming musicians: Becky Brass(Our Ladies of Perpetual Succour) on Drums; Robyn Brown on Bass; Roseanne Duckworth (Wicked, Les Misérables)on Trumpet; Emily Linden (Our Ladies of Perpetual Soccour) on Guitar; and Katie Punter (La Cage Aux Follies, Sister Act, Shrek The Musical) on Reeds.

 

Carrie Hope Fletcher said: “I am beyond thrilled to get to sing each night alongside such a fierce group of musicians and love the fact that this will be the first ever all female band at The Other Palace. Look out Westerberg High; this girl band is going to bring the house down this summer”.

 

Following a rapturous response to its sell-out 2017 workshop, 80s cult classic HEATHERS – THE MUSICAL is back in class this summer with new songs, new material and new classmates. Produced by Bill Kenwright and Paul Taylor Mills, who produced the award winning Carrie together in 2015, the musical premieres at The Other Palace on 9 June and runs for a limited 8 week season.

 

Based on one of the greatest teen films of all time, the 1988 classic starred Winona Ryder and Christian Slater. The award-winning writing team, Laurence O’Keefe (Legally Blonde, Bat Boy) and Kevin Murphy’s (Reefer Madness,Desperate Housewives), hit musical adaptation has enjoyed successful runs in Los Angeles and New York, and finally arrives in the UK for its European Premiere.

 

Accomplished musical theatre star, Carrie Hope Fletcher, will play Veronica Sawyer in this twisted tale of teen drama, friendship and deadly obsession. Fresh from winning the WhatsOnStage Award for ‘Best Actress in a Musical’ for her stint as Wednesday Addams in The Addams Family (UK Tour), Carrie previously played Éponine inLes Misérables in the West End for three years. She has also just released her debut album When the Curtain Falls.

 

Greetings, salutations. Welcome to Westerberg High, where popularity is so very a matter of life and death, and Veronica Sawyer is just another of the nobodies dreaming of a better day.

 

But when she’s unexpectedly taken under the wings of the three beautiful and impossibly cruel Heathers, her dreams finally start to come true.

 

Until JD turns up, the mysterious teen rebel who teaches her that it might kill to be a nobody, but it’s murder being a somebody…

 

Heathers – The Musical features a sensational book, music and lyrics by Kevin Murphy and Laurence O’Keefe, with brand new material exclusively written for this production whilst the team are in London.  The musical is directed by acclaimed screen and stage director Andy Fickman with electrifying choreography by Gary Lloyd (Thriller Live, Carrie, 20^th Century Boy), design by David Shields (Chess, Ice Age Live, End of the Rainbow), lighting by Ben Cracknell (Young Frankenstein, Annie, La Cage Aux Folles), sound by Dan Samson (Evita, Cilla, Joseph) and casting by Will Burton (Everybody’s Talking About Jamie, Matilda, The Wild Party).

 

A limited number of £21 tickets for those under the age of 21 will be available at every performance. For more information please visit The Other Palace’s website.

 

TICKETS ON SALE NOW: www.theotherpalace.co.uk

 

 

LISTINGS

HEATHERS – THE MUSICAL

THE OTHER PALACE

09 JUNE – 04 AUGUST 2018

 

Performances:           

Tuesday – Saturday at 7.30pm

Thursday & Saturday at 2.30pm    

Sunday at 4.30pm    

 

Ticket Prices: From £25

 

Address: 12 Palace Street, London, SW1E 5JA

 

Box Office: 02070877900

 

Website: www.theotherpalace.co.uk

 

Facebook/Twitter/Instagram: @TheOtherPalace

BEAUTIFUL

Interview with Bronte Barbe – ‘Carole King’

What are you most enjoying about playing Carole King in the UK tour of Beautiful: The Carole King Musical?

The songs! The music is amazing; it’s just the best. I haven’t played a part like this in my career so far. I also love how everyone in the company on tour with us is so nice; it’s a big family feel, which is lovely.

Have you always wanted to be on stage and had the performing bug?

Yes absolutely I have. My mum’s always performed – she’s done a lot of amateur dramatics and my Auntie is a singer so it was always in the family. I first started dancing when I was three in baby ballet, and I took dance lessons for years and years but I didn’t actually want to be a dancer. In fact I was always singing, and I think my Mum’s told me that I would be in the park and singing The Little Mermaid to other kids on the swings! I also used to sing Titanic down the phone to my Grandma and she used to cry, all that sort of thing! So yes, I’ve always wanted to perform really. I started doing drama at a young age and doing shows with my Mum where I would play the child and things like that. There’s nothing else I’ve wanted to do really, I’ve been so firm and set on it. The first time I was on stage was when I played the littlest angel in the Nativity play at primary school, and I’ve loved it ever since.

Were you familiar with Carole King’s work prior to joining the show?

Yeah I was. I’ve had Tapestry for years actually. When I first got a record player I bought it because my Mum said, “you have to get this album it’s amazing”, but I didn’t realise until listening to it just how many songs that I already knew were actually written by Carole King. Then I saw the show in the West End and realised there are loads and loads of songs I was pleasantly surprised to know, but had no idea were written by her. So many of her songs have filtered into my head without me knowing through the TV or radio.

Was there something in particular that drew you to the role of Carole King, or do you identify with her at all?

Totally, she is so determined, particularly as a woman starting out in the time she did, working in the industry she did. She knew what she wanted, so worked hard and went out and got it, which makes her very inspirational. However, she is also a very relatable character I think.

What kind of differences did you encounter in developing your performance of a real person rather than a fictional character?

It was all very different to anything I’ve ever done before. I was listening to her music constantly obviously, but I didn’t want to do an impression. I wanted to work on an interpretation of her because there’s no way to impersonate her, she’s so iconic and her sound is so lodged in people’s minds. So I wanted to stay as true to her as possible but without doing an impression. Obviously there was the accent – trying to perfect her speaking voice and getting it as close as I could. I constantly watch videos to try and keep it fresh and accurate. I researched the time period and places she was working in at the time.

Whilst Carole King’s music will be familiar to many people, her life story may not be. What do you think makes it so engaging and perfect for the stage?

I think because it’s so relatable really. Everybody knows a Carole essentially, or is a Carole maybe and wants things she wanted – like to have a family and be successful in her career. She never set out to become famous but her talent and ambition meant that whilst she might be quite ordinary in some ways, she has an extraordinary story. There’s a big draw to it.

Beautiful follow’s Carole King’s story across a number of years in the early part of her long career, what is it like to portray a character through so many moments throughout their life?

There’s so much depth to it you know, as she’s a real person. We meet her in the show at age 16 and go up to 29 and it’s been interesting because you want to be bouncy and young at the start but you don’t want to be playing her as a stereotypical teenager. Physically it can be a bit of a challenge as you have to grow and mature in your performance each night, but you have 2-hours to do it. It’s a lot in the body, and in the voice to give her that maturity. I’m almost at the age she is at the end of the show, and as you grow older your voice changes but also the weight of what was going on in her life at the time affects you in so many different ways so I try to bear that in mind in my performance.

Do you have a favourite number to perform?

I do. Beautiful, I love it so much it’s my absolute favourite. Even if I’m really tired I get to Beautiful and I’m filled with energy again. I love the way it’s set and orchestrated with the band and then building the backing vocals. It’s such an empowering moment on stage and you can’t beat it. I feel like a bit of a rock star! I think sometimes it can take the audience by surprise as a lot of people might not know it as well as some of her other songs, but the lyrics are so great and it is so uplifting I can see almost an intake of breath and people instantly warm to it.

What is life on the road like? Is there one thing you absolutely couldn’t be without?

My favourite thing in the world is Lush so every town or city we visit I find a Lush because it makes me feel very calm. Most of the time I try and tour with my little dog so that helps. Lots of little things like putting pictures up in my dressing room and having a certain type of tea before the show help me to feel calm and ready to perform. We aren’t in each venue for long but it’s nice to feel a little bit settled.

Do you have any particular rituals for pre or post-show?

I just drink tons and tons of water. I always have an interval orange as well like a football match. I always have one, as it’s so good for energy and no matter how I’m feeling I just feel great after an interval orange, it’s very helpful.

Do you have a dream role that you’d love to take on?

This is absolutely a dream role, being able to play Carole King every night and sing her songs. I would also quite like to be in a period drama. I love to play inspiring women and there aren’t that many fully female led shows out there so playing Carole King is wonderful.

Carole King is an icon of the singer songwriter world and an idol to many. Do you have any idols that you look up to?

Oh yeah totally. I would probably say Julie Walters and Victoria Wood. My idols are lots of female comedy geniuses. However, playing Carole King every night is great, she’s definitely iconic!

The tour stops in Leeds, does this venue have any significance for you?

Oh I love Leeds. I was there with Shrek and it’s such a great city. I’ve got a lot of family in Yorkshire so hopefully I’ll be able to see my family whilst we are there.

NEW CAST ANNOUNCED FOR

 

SUSAN HILL’S

THE WOMAN IN BLACK

AT THE FORTUNE THEATRE

 

FROM TUESDAY 22 MAY 2018

 

RICHARD HOPE TO STAR AS

‘ARTHUR KIPPS’

 

MARK HAWKINS TO STAR AS

‘THE ACTOR’

PW Productions are delighted to announce that from Tuesday 22 May 2018, Susan Hill’s THE WOMAN IN BLACK at The Fortune Theatre, London will star Richard Hope as ‘Arthur Kipps’ and Mark Hawkins as ‘The Actor’.

Richard Hope’s theatre credits include: “Queen Anne”; “The Park”; “The History Boys”; “Orlando”; “King Lear”; “Much Ado About Nothing”; “Don Juan”; “Hamlet” and “Hitchhiker’s Guide to the Galaxy” among others. Richard’s television credits include: “Poldark”, “Broadchurch”, “Midsomer Murders”; “Doctor Who”; “Poirot”; “Brideshead Revisited”; “Foyles War” and “Tipping the Velvet”. He has recently helped to research and develop new work for the National Theatre Studio, RSC, Globe Theatre and Old Vic Theatre.

Mark Hawkins trained at The Central School of Speech and Drama. His theatre credits include: “The Railway Children”; “Muted”; “A Midsummer Night’s Dream”; “Richard III”; “The Night Before Christmas”; “The Strange Case of Dr Jekyll and Mr Hyde”; “Julius Caesar” and “Pills Thrills and Automobiles”, and also “The Woman in Black” on tour. His short film credits include: “Day 703”;, “Amnesiac”; “Spoons”; “Anamnesis”; “George Eliot’s Silas Marner” and “The Ash Can”.

In June this year THE WOMAN IN BLACK will enter its 30^th year in London’s West End. Stephen Mallatratt’s adaptation of Susan Hill’s best-selling novel tells the story of a lawyer obsessed with a curse that he believes has been cast over his family by the spectre of a ‘Woman in Black’. He engages a young actor to help him tell his story and exorcise the fear that grips his soul. It begins innocently enough, but as they delve further into his darkest memories, they find themselves caught up in a world of eerie marshes and moaning winds. The borders between make-believe and reality begin to blur and the flesh begins creep.

THE WOMAN IN BLACK is directed by Robin Herford, with designs by Michael Holt, lighting by Kevin Sleep and sound by Gareth Owen.

LISTINGS

THE FORTUNE THEATRE

Russell Street, London, WC2B 5HH

Performance Times:     Tuesday to Saturday at 8.00pm; Tuesday and Thursday at 3.00pm and Saturday at 4.00pm

Tickets:                         Prices are from £21.50 to £52.00 (Premium Seats are also available)

Box Office:                   0844 871 7626*

Currently booking until 26 January 2019

www.thewomaninblack.com

@WomaninBlack_UK

*Calls cost 7p per minute, plus your phone company’s access charge.

NOW IN ITS RECORD BREAKING 33^rd YEAR

CAMERON MACKINTOSH

ANNOUNCES MAJOR CAST CHANGES FOR

THE WEST END PRODUCTION OF

 

“LES MISÉRABLES”

AT THE QUEEN’S THEATRE

 

FROM MONDAY 11 JUNE 2018

 

From Monday 11 June 2018, there will be major cast changes at the West End production of “LES MISÉRABLES” at the Queen’s Theatre, which is now in its record breaking 33^rd year.

Cameron Mackintosh is delighted to announce that Dean Chisnall will star as ‘Jean Valjean’; Toby Miles as ‘Marius’; Elena Skye as ‘Eponine’; Vivien Parry as ‘Madame Thénardier’ and Amara Okereke as ‘Cosette’.

Continuing in their roles are Steven Meo as ‘Thénardier’ and Carley Stenson as ‘Fantine’.

David Thaxton continues to play the role of ‘Javert’ until Saturday 21 July, with Bradley Jaden starring as‘Javert’ from Monday 23 July.

Further casting to be announced soon.

From Monday 11 June 2018 the company will be: Tegan Bannister; Emma Barr; Adam Bayjou; Ciarán Bowling; Oliver Brenin; Dean Chisnall; Grace Farrell; Sophie-May Feek; Adam Filipe; Antony Hanson; Sam Harrison; Barnaby Hughes; James Hume; Ciaran Joyce; Katie Kerr; Rebecca Lafferty; Sarah Lark, Hannah Grace Lawson; Jessica Lee; Jo Loxton; Anna McGarahan; Steven Meo; Toby Miles; James Nicholson; Amara Okereke; Vivien Parry; Carley Stenson; Elena Skye; David Thaxton; Ben Tyler; Joe Vetch; Raymond Walsh and Andrew York.

Dean Chisnall’s most recent theatre credits include the UK tour of “Blood Brothers” “The Secret Diary of Adrian Mole Aged 13 ¾ The Musical” at the Menier Chocolate Factory; “Working” at the Southwark Playhouse; “Shrek” at the Theatre Royal Drury Lane and UK tour; “Love Never Dies” at the Adelphi Theatre; “La Cage Aux Folles” at the Playhouse Theatre and “Never Forget” at the Savoy Theatre.

Bradley Jaden is currently appearing as ‘Fiyero’ in “Wicked” at the Victoria Apollo Theatre.  He returns to “Les Misérables” at the Queen’s Theatre having originally played ‘Enjolras’ in the 30^th Anniversary cast. His other theatre credits include: the UK tour of “Ghost The Musical”; “Shrek The Musical” at Theatre Royal, Drury Lane; “The Blues Brothers” at the Edinburgh Festival and Stiles and Drewe’s “Peter Pan” at the West Yorkshire Playhouse.  His TV credits include “Emmerdale” on ITV and “Sugar Rush” on Channel 4.

Toby Miles has recently graduated from Arts Educational Schools, London and will be making his professional and West End debut in the role of ‘Marius’.

Elena Skye has just finished playing the role of ‘Lauren’ in “Kinky Boots” at the Adelphi Theatre having made her West End debut in the production in 2016.

Vivien Parry’s most recent theatre credits include: “Half A Sixpence” at the Noël Coward Theatre, “A Christmas Carol”, “Twelfth Night”, A Midsummer Night’s Dream”, and “The Shoemaker’s Holiday” for the Royal Shakespeare Company; “The Girls” UK tour and “Top Hat” at the Aldwych Theatre. Other previous West End credits include: “Mamma Mia!” at the Prince of Wales Theatre; “Fame” at the Cambridge Theatre and “Blood Brothers” at the Phoenix Theatre. Her film credits include Disney’s “Beauty and the Beast” in 2017.

Amara Okereke trained at Arts Educational Schools, London and The National Youth Music Theatre.  Her theatre credits for the National Youth Music Theatre include: “The Hired Man” at The Other Palace; “West Side Story” at Manchester Warehouse and “13 The Musical” at the Apollo Theatre.

Carley Stenson’s West End credits include ‘Elle Woods’ in “Legally Blonde”, ‘Princess Fiona’ in “Shrek The Musical” and ‘Lady of the Lake’ in “Spamalot”. Carley also starred as ‘Christine Colgate’ in the tour of “Dirty Rotten Scoundrels”. She is probably best known for playing the regular role of ‘Steph Cunningham’ in Channel 4’s Hollyoaks, for which she was nominated for several awards during her 10 years with the show.

Steven Meo’s previous theatre credits include “Pride & Prejudice” at Regent’s Park Open Air Theatre and on UK tour; “The Taming of the Shrew”, “Boeing Boeing”, “Portrait of the Artist as a Young Dog” all for Theatre Clwyd; “The Distance” for Sheffield Crucible/Orange Tree Theatre and “Flesh and Blood” for Hampstead Theatre and on tour.

David Thaxton previously played ‘Javert’ in 2014, and has also played the role of ‘Enjolras’ in “Les Misérables” at the Queen’s Theatre. His additional theatre credits include ‘Giorgio’ in “Passion” at the Donmar Warehouse, for which he won an Olivier Award for Best Actor in a Musical, ‘Pilate’ in “Jesus Christ Superstar” at Regent’s Park Open Air Theatre, ‘Raoul’ in “Love Never Dies” at the Adelphi and ‘Major John Howard’ in “Only The Brave” at Wales Millennium Centre.

Tickets for “LES MISÉRABLES” are priced £15 – £80

Currently booking until March 2019

Box Office: 0844 482 5160

Performances: Monday – Saturday at 7.30pm

Matinees – Wednesdays and Saturdays at 2.30pm

www.lesmis.com

AN ECLECTIC SEASON OF ENTERTAINMENT COMES TO MANCHESTER’S PREMIER THEATRE VENUES

The Palace Theatre and Opera House, Manchester are set to present a diverse range of special events this May and June. From top-name comedy to music icons, there is enough variety to satisfy every cultural palate and a wealth of well-known stars.

At the Palace Theatre, fresh from his appearance on the latest Strictly Come Dancing, multi-talented performer Brian Conley brings his brand-new variety show Still The Greatest Entertainer (In His Price Range)to Manchester in June as part of a 27-date UK tour. The show will feature brand new comedy, sketches and songs, alongside some of his best-loved material from the screen and onstage. A former employee of the Palace Theatre, comedian Joe Lycett returns to his old workplace for the first time since hitting the big time with two nights of his latest tour I’m About To Lose Control And I Think Joe Lycett on 2^nd and 6^th June, with limited tickets still available.

TV star Jake Quickenden (Winner of Dancing on Ice 2018, I’m a Celebrity Get Me Out Of Here, The X Factor) is also set to perform at the Palace Theatre, taking to the stage on 19^th June with The Dreamboys. For music fans, there’s first-class performers on show playing homage to chart-toppers including Fastlove – A Tribute to George Michael (7^th June), Signed Sealed Delivered – A Tribute to Stevie Wonder (8^th June) and The Carpenters Story (9^th June). In addition to this, Radiohead front man Thom Yorke will play an already sold-out gig on Sunday 10^th June as part of his new acoustic European tour.

Meanwhile, at the Opera House, the team behind the smash hit podcast My Dad Wrote A Porno will take to the stage on 11^th May with their first live show. Watch in incredulity as Jamie Morton reads a ‘Lost Chapter’ from his dad’s notoriously brilliant Belinda Blinked saga. There’s also more on the music front, with popstars and heartthrobs Shane Filan from Westlife and Wet Wet Wet’s Marti Pellow appearing later this month as part of their first ever solo tours.

For full listings for both theatres, or to book tickets, visit www.atg.com/Manchester.

LISTING INFORMATION

My Dad Wrote A Porno Live – Friday 11 May 2018, Opera House

Shane Filan – Love Always Tour – Saturday 12 May 2018, Opera House

Marti Pellow – The Private Collection Tour – Saturday 19 May 2018, Opera House

Brian Conley – Still The Greatest Entertainer (In His Price Range) – Friday 1 June 2018, Palace Theatre

Joe Lycett: I’m About To Lose Control And I Think Joe Lycett – Sat 2 & Wed 6 June 2018, Palace Theatre

Fastlove – A Tribute to George Michael – Thursday 7 June 2018, Palace Theatre

Signed Sealed Delivered – A Tribute to Stevie Wonder – Friday 8 June 2018, Palace Theatre

The Carpenters Story – Saturday 9 June 2018, Palace Theatre

The Dreamboys – Tuesday 19 June 2018, Palace Theatre

Palace Theatre, Manchester – 0844 871 3019
Opera House, Manchester – 0844 871 3018
www.atgtickets.com/manchester

WINNERS ANNOUNCED FOR ACTING FOR OTHERS GOLDEN BUCKET AWARDS 2018

The winners were today announced for theatrical charity Acting For Others’ Golden Bucket Awards 2018. The ceremony took place at the Prince of Wales Theatre and was hosted by musical theatre star, Carl Mullaney. The awards celebrate the most supportive and successful fundraisers who have helped the charity raise in excess of £390,000 in the last twelve months.

The awards were attended by nominees and friends of the charity. Presenters include Dame Maggie Smith, Ben Forster, Hannah Waddingham, Cleve September, John Patridge, Danielle Hope, Tracie Bennett and Sir Derek Jacobi.

FULL LIST OF WINNERS

IT STARTS WITH A SPEECH

This award is for those that made the speech night after night and made a huge impact during the Bucket Collections in 2017.

Winner: Ashley Day for An American In Paris

 

TOUR DE FORCE

This award goes to the theatre group or touring production that have excelled in fundraising across the country and for encouraging their companies to participate and make our all-important speech.

Winner: ATG

 

FABULOUS FUNDRAISING AWARD

This award is for the most inventive way of fundraising for Acting for Others.

Winner: Sophie Simms for West End Bake Off

 

TTT TOP TWEETER AWARD

This award goes to someone that has gone wild on social media with selfies, images, videos, boomerangs, live streaming and always a making noise about our campaigns.

Winner: Harriet Thorpe

 

WHERE WOULD WE BE WITHOUT YOU AWARD

So many people in the industry help to ensure the theatre collections are successful and they actively promote the collections throughout their companies – they are Acting For Others’ ‘go to’.

Winner: Steve Hayes at The National Theatre

 

SUPERSTAR AWARD

This is the award for someone that has gone above and beyond with their support for Acting for             Others.

Winners: David O’Reilly and Alex Lodge from The Book of Mormon

 

THE REGIONAL GOLDEN BUCKET AWARD

This is the regional theatre that raised the most in the 2017 Theatre collections.

Winner: The Wipers Times and The Yvonne Arnaud Theatre

 

THE GOLDEN BUCKET AWARD LONDON

This is the London theatre that raised the most in the 2017 Theatre collections.

Winner: The Book of Mormon raising over 40K

IAN HISLOP AND NICK NEWMAN RETURN WITH NEW SATIRICAL PLAY

TRIAL BY LAUGHTER

 

THE PRODUCTION WILL OPEN AT THE WATERMILL THEATRE, NEWBURY FROM 17^THSEPTEMBER – 27^TH OCTOBER 2018, BEFORE HEADING ON A UK TOUR

Following the sell-out success of The Wipers Times in the West End and across the country, Ian Hislop and Nick Newman have once again taken inspiration from real life events for their new play Trial by Laughter, based on their critically acclaimed original BBC Radio 4 drama of the same name. The production will be developed with The Watermill Theatre before playing at the venue for six weeks from 17^th September – 27^thOctober 2018. Following this, it will be heading on a UK tour visiting Guildford, Ipswich, Cheltenham and Brighton, with further venues to be announced.

In 1817 bookseller, publisher and satirist William Hone stood trial for parodying religion, the despotic government and the libidinous monarchy. The only crime he had committed was to be funny. In 2018, the satirists Ian Hislop and Nick Newman rediscover this forgotten hero of free speech, and ask if just over two hundred years later our press has any greater freedom.

Satirist, writer and journalist Ian Hislop has been the editor of Private Eye since 1986. He has frequently appeared on Question Time (BBC One), and since 1990 has been team captain on BBC’s Have I Got News For You. At Private Eye he works alongside life-long friend Nick Newman, an award-winning cartoonist and writer, who alongside his role at Private Eye, has been pocket cartoonist for The Sunday Times since 1989. As a scriptwriting duo, Ian and Nick’s work includes five years on Spitting Image (ITV), Harry Enfield and Chums (BBC Two), and My Dad’s The Prime Minister (BBC One), as well as the film A Bunch of Amateurs and The Wipers Times, which won the Broadcast Press Guild Award for single drama, and was nominated for a BAFTA. Trial By Laughter is Ian and Nick’s third play to be developed with The Watermill Theatre, with an adaptation of A Bunch of Amateurs and The Wipers Times playing there in the last few years.

Ian Hislop and Nick Newman said:

“In an age of ‘fake news’ and increased censorship, free speech and press freedom are still under threat as they were 200 years ago when William Hone took on the might of Royalty and a bullying Tory government. Hone dared to ask ‘Is laughter treason?’ – raising issues which are as relevant now as they were then. It’s a tale of lawyers, lechers and libel – with added sedition and blasphemy. It is immensely exciting to bring this world to life on stage, with this funny, inspiring and true story of a satirical David versus Goliath.”

 

Trial By Laughter is a Trademark Touring and Watermill Theatre production and is directed by Caroline Leslie. Casting will be announced in due course.

The Play That Goes Wrong, the West End’s Olivier Award winning box office hit, is coming to Hull as part of a major UK tour. Following the phenomenal success of its sell-out 2017 tour, The Play That Goes Wrong is now in its fourth year in the West End, whilst enjoying its new status as Broadway’s longest running play (currently!).

We spoke to one of the co-writers Jonathan Sayer ahead of the show coming to Hull.

How would you describe the show to someone who hasn’t seen it?

It’s a comedy all about a drama university group who are putting on a play and everything that could possibly go wrong…goes wrong. There’s a big cast, there’s lots of jokes and it pretty much does what it says on the tin.

Who are Mischief Theatre?

Mischief Theatre started off in 2008 as a group that specialised in improvised comedy but now we create new comedy for theatre and television. We began performing in Edinburgh and London and are now bringing our work to lots of different places all over the world!

Where did you get the idea for The Play That Goes Wrong?

There are three writers so there are a few different answers. I suppose we have all worked in theatre and have experiences of things going awry in shows we have been in. Some of my favourite moments watching theatre has been where things have gone dreadfully wrong and the actors are forced to deal with the mistake and try to keep the show on track.

On top of that a huge influence for us is a man called Michael Green who wrote The Art of Coarse Acting and actually taught one of the writers, Henry Lewis, at youth theatre. Then there’s a huge amount of physical comedy which is definitely a nod to Chaplin and Keaton.

How did you create the script?

The three of us were living together at the time in a pretty run down flat in Gunnersbury. We were all working in bars and call centres and restaurants and, in the evenings, we’d come home and we’d write until the early hours. The initial script I think took about a month to put together and we then workshopped the script with the rest of the Mischief team. Everyone’s done a lot of improv so we try and take those principles into the writing room and into rehearsal where if someone has an idea you accept it and you build on it.

We all made a pact together a long time ago that if something isn’t funny we’d just say it isn’t funny. I think writing comedy is like plumbing – if a guy comes round to fix your taps and they’re still leaking, you say it’s still leaking. He won’t be upset, it’s just a practical thing and I think you’ve got to try and approach this work in the same way. It’s subjective and you’ve got to have personal distance. As long as you’re always scrutinizing in a positive way, that’s only going to make the work better.

You can be honest. Are the unfortunate actors depicted based on anyone in real life?

Haha! Nobody is being directly spoofed! The characters were all found in rehearsal and through performing in front of an audience.

That said we’ve all been part of productions that have gone wrong and we’ve all made mistakes on stage (although hopefully nothing as catastrophic as in this play!) so there’s a lot of experience to draw on for finding who the characters are and how they respond to embarrassment.

Some of the events in the play seem like an actor’s worst nightmare! Have you had any feedback from actors themselves?

Lots of actors come up to us at the end of shows, be they professional or amateur, with some fantastic stories of things that have happened to them in different productions. I think the show has quite a cathartic effect for them. But it’s not just actors, I think the idea of making a fool of yourself in front of a huge number of people is something that everyone can relate to. Everyone has felt that feeling where they want the ground to open up and swallow them, so they get on side with the characters in the play and they really want them to get to the end of the show!

This show’s journey has been a rags to riches story. Has the success of the show surprised you?

Absolutely. I remember about six years ago performing in our improv show and there were more people on stage than there were in the audience so of course it’s a surprise! We’ve been totally blown away by the response. We’re so thrilled that people enjoy the work and the characters and that we’ve been able to make so many different people laugh. The show began in such a small way performing in a 60-seater pub theatre so for it now to be being enjoyed in huge venues all around the world is very humbling and wonderful.

By the end of 2017, 35 countries worldwide had performed a Mischief Production. We went to Budapest and watched a replica of The Play That Goes Wrong where everything was exactly the same other than it was being performed in Hungarian. So many things have been born out of this very tiny thing, and that’s amazing.

The Play That Goes Wrong is at Hull New Theatre from 21 – 26 May, 2018. Tickets on sale now. Book at the City Hall Box Office, call 01482 300 306 or visit our website www.hulltheatres.co.uk.