Witnessing the horrific news report of a family drowning at sea whilst fleeing war-torn Syria, Onjali Q. Raúf got busy founding ORAT (O’s Refugee Aid Team) as well as writing the novel The Boy At The Back Of The Class. I didn’t know the work before tonight but judging by the buzz in the foyer I had the feeling I’d been missing out on an important work. How right I was!
The opening set the tone perfectly by evoking the refugee’s challenge in overcoming the sea’s violence (and other impenetrable barriers) depicted in visceral fashion through music and dance. The adaptation (by Nick Ahad) wastes no time in introducing our main characters and straight away I knew this play had an empathetic loveliness at its heart.
In her introduction Alexa (Sasha Desouza-Willock) told us about losing her dad: “…I’m OK with not being OK” she said. A lesson to us all which drew my first tear of the evening. I found her portrayal to be thoroughly likable and engaging, with just the right mix of wide eyed wonder and indignation at the world that a 9 year old would have. Farshid Rokey as Ahmet (the eponymous boy) was also outstanding. He showed enormous emotional range and, like his character, he took us on a real journey.
Frankly, all the cast were amazing. I wish I had triple the word count to give each a congratulatory paragraph, all perfectly capturing those essential childlike qualities. The actor’s all doubled as adults too, with great elan. I’ll briefly mention Abdul-Malik Janneh as Stan the Taxi Man being particularly enjoyable. Also Zoe Zak and Joe McNamara in their multitudinous roles, having real fun as the nasties (Brendan the Bully and Mr Irons) but were charming too as Mr and Mrs Marbles. Gordon Millar’s Frank was hilarious, wasn’t he? Naaaaahh! Trust me, you’ll understand when you see the play. Petra Joan-Athene as Josie (a joyous ball of unstoppable energy), Adam Seridji as Mr Hart (aptly named), Ryan Rajan Mal (as off-stage swing) and Megan Grech as Mrs Sanders each gave their fabulous all and rounded out this perfect casting. Superb use of music and sound effects (from composer Giles Thomas) and an inventive set that evoked a grand scale and multiple, diverse locations (thanks to Set Designer Lily Arnold) also added enormously to the whole experience.
An inspirational play with a simple yet vital message – that kindness is a powerful force which should be deployed often and widely. This message came most prominently, loud and clear, from two of the most important adult characters in the piece; Alexa’s mum and her teacher Mrs Khan, both played by Priya Davdra in a powerhouse performance that drew its quiet authority from her commanding stage presence and beautiful acting. Wonderful!
There’s never been a more relevant social piece for our times. I can’t be the only one who thought it would be a good idea if this were to be played daily at the Houses of Parliament. Thank you to everyone in this fantastic production for introducing me to such a wonderful show. A show that you will carry with you long after you leave the theatre.
Nottingham Theatre Royal – until Sunday 24 March 2024
Reviewed by Amy V Gathercole
3***
Fun for all the family (no matter their age), as the classic alternative fairytale from DreamWorks iis brought to the stage with all the beloved favourites from Donkey (a very charismatic Brandon Lee Sears), Princess Fiona (Joanne Clifton) and of course Gingy the gingerbread man (voiced by Georgie Auckland).
For those who don’t know the film Shrek, it’s a fairytale with a fair few differences that has lots of messaging about acceptance and family. Shrek is a Scottish ogre who is very happy with life, living by himself in his swamp. One day he wakes up to find he’s been invaded by a whole host of fairytale favourites (a very talented ensemble cast featuring favourites like Pinocchio and Big Bad Wolf among many more recognisable characters) as the local Lord Farquaad (James Gillan) has evicted them all from his lovely Duloc.
In order to get rid of these unwanted guests, Shrek embarks on a hero’s quest, alongside the very chatty Donkey to rescue Princess Fiona from a tower. The stage adaptation remains true to the film’s spirit and humour, just with added theatrical flair. Which is at its best in the scenes rescuing Princess Fiona, as we meet Dragon – my favourite costume in the show and the best vocal in the show too, belonging to Cherece Richards.
I’m a huge fan of the film, Donkey being my favourite and that’s the same here. Brandon Lee Sears as Donkey was great; he really kept the energy up throughout the show and that, coupled with the dedication that Antony Lawrence as Shrek goes through each night he performs – it takes over 2 hours for him to get all of the makeup and face cast etc. on!
Interestingly, the musical is 2 hours and the 2001 film is only 90 minutes, so the show has had the opportunity to flesh out some of the characters, add in some new plotlines and in some cases this works really well. For instance, Joanne Clifton is well known as a professional dancer (she previously won Strictly Come Dancing), so Princess Fiona is given her own elongated dance number alongside the ensemble. Where it doesn’t work so well is with adding more time to Lord Farquaad, I was never quite sure how to take his character; he’s less evil than in the film but that almost takes away his agency and you don’t quite believe he’s the villain.
The show thankfully features lots of the best and most memorable lines from the film. Sadly, as is the case when a lot of films are re-created for the stage, the music doesn’t get to come along with it, so don’t expect to find Smash Mouth’s famous ‘All Star‘ in the infamous swamp scene. But there is a bit of a party at the end of the show for the audience to join in with an equally well-known song.
The set is truly modern in the sense that it’s a combination of physical set pieces and digital projection throughout our journey into this storybook fantasy world.The costumes were fun and detailed and really catered to each and every character in every colour you can imagine too.
The style of the show is a little bit panto, and the production may not consistently convey the polished feel of a professional show at all times, but it certainly has its moments where the quality and dedication shine through.
I did love that making the songs original allowed the opportunity for some more modern takes to be created, such as ‘Freak Flag’ – an ensemble number where all the fairytale characters unite and share their feelings about their unique qualities and diversity. It stood out as an anthem of acceptance, which is a great message for younger audience members especially.
Following the death of a much-loved husband, a group of ordinary women in a small Yorkshire Women’s Institute are prompted to do an extraordinary thing and set about creating a nude calendar to raise money for charity.
But upturning preconceptions is a dangerous business and none of the women are prepared for the emotional and personal ramifications they will face as the fabulous and funny calendar brings each woman unexpectedly into flower.
The story of the Calendar Girls launched a global phenomenon: a million copycat calendars, a record-breaking movie, stage play and now a musical written by Gary Barlow and Tim Firth which coined the term “craughing” – the act of crying and laughing at the same time!
With unforgettable songs, every performance continues to add to the millions already raised for Blood Cancer UK and prove that there is no such thing as an ordinary woman.
Calendar Girls the Musical brings together a stunning cast of music, stage, and television stars. Laurie Brett (EastEnders), Liz Carney (The Full Monty, The Mousetrap), Maureen Nolan (The Nolans, Blood Brothers), Lyn Paul (The New Seekers, Blood Brothers), Helen Pearson (Hollyoaks), Samantha Seager (Coronation Street) and Honeysuckle Weeks (Foyle’s War) star as the ladies, who turn preconceptions upside down, but are they prepared or the emotional and personal ramifications they will face as they each come in to bloom?
As I took my seat, I knew that this show would be very emotional for me, centred as it is around cancer and loss. I also have cancer, and I have never let it dominate my life so I really wanted to see this. As I held hands with my husband, the curtain rose to reveal a truly remarkable stage set which is best described as a replica of the inside of a Methodist Church Hall – the very kind that a group such as the Women’s Institute would meet. Credit straight away to the team who created it. It was beautifully lit and the backdrops were amongst the best I have ever seen, from instantly ‘creating’ the inside of a hospital ward to driving along the M1 motorway – yes folks, if someone can dream it, others can do it. It was simple but brilliant as many of the very best ideas are. Scene changes were made by the actors in a clever and seamless manner.
I am writing this review from a slightly unusual perspective. I don’t want to pick out one or two cast members as being ‘the best’ because they were all so good that each must have their fair share of the praise. The seven actresses (for that is what I still call them) not only delivered a beautiful, poignant show, they clearly loved working together, and sparked off one another, which in turn infected the audience who sat laughing and even crying (a few tears were shed) watching the story unfold.
For me it did not matter who had previously starred on what TV programme, or who has been in other plays, it was about this performance in front of me tonight. The whole show has a gorgeous gentle British humour, filled with laughter and sadness – brimming over with pathos throughout. Many of the best one-liners were delivered by the ‘older’ of the characters Jessie, played by Lyn Paul. She spoke for many of us ‘older ones’ with a wise head. Her timing was spot on. I particularly enjoyed the exchanges between Samantha Seager (Chris) and Laurie Brett (Annie) because they just looked as if they were best friends and it never felt at any moment that they were acting. Seager delivered with childlike energy and confidence, and the two seemed to inspire one another to deliver the best they could for the audience – and they did.
Liz Carney, Maureen Nolan, Helen Pearson and Honeysuckle Weeks were all equally excellent in their roles too. Nolan (Ruth) and her scene wit her ‘Russian friend’ a bottle of vodka was tremendous and all of them – the whole cast – filled the theatre with their wonderful singing voices accompanied by a first-class band (Director Jordan Alexander) and some subtle lighting effects.
There were two male players in this show. Colin R Campbell played John Clarke or ‘Clarkie’ and he, as the husband of Annie delivered a hugely thought-provoking and polished performance which would see his character perish from cancer in the first Act. The way that he described life, and his precious plants in particular was inspirational and even though this was ‘just a show, his performance was so accomplished that it felt desperate to ‘lose him’ as he finally succumbed to the disease – yet never stopped dreaming of the future, and visiting Tibet.
The audience were gripped with emotion throughout as we saw his gradual decline which the co-writers, Gary Barlow and Tim Firth found an ingenious way to reveal, which I shall leave to people to see for themselves. It felt like we (the audience) had lost a family member – that’s the best testament to his performance that I can give.
Andrew Tuton played Rod, the photographer and of course it was his job to capture the images of the ladies for the calendar. He played his part very memorably too, showing that he was initially rather shy about the idea (he photographed wildlife after all) but growing into the idea and finally capturing the images in a very imaginative manner (well done stage team) and one could see that he was trying to do his best for the ladies, his deceased friend and the Institute as a whole. We were all ‘with him’ on his quest and this was down to his excellent performance.
There are many life lessons in this story. We have to accept that grief is the price we pay for love, that time spent with friends and family is incredibly precious and that when we do lose people, life really can still go on – especially when sharing our grief with others. All of this came as a stark reminder only because of the masterful performances and delivery of the cast. As they suggested, plant a seed, then light rain and sunlight will help it grow. Let me be clear, this only worked because every single member of the cast and supporting team worked together. It is testimony to their work and brilliance that I can write this review with very mixed but positive emotional feelings, ready to face my own challenges with cancer with renewed vigour. I thank the cast and ‘crew’ for that gift.
Giving this full marks is as easy as planting a sunflower seed.
Hessle Theatre Company brought the music and magic of Gershwin to Hull last night and what a fabulous show it was. The company were formed in 1922 and since 1958 have brought many premier musicals to the New Theatre stage and last night was no exception.
Set in 1930 the story starts backstage at Bela Zangler’s (Ian Appleyard) theatre where Zangler’s Follies have performed their last show of the season. Bobby Child (Ben Bailey) has always wanted to perform on Broadway and sees auditioning for Zangler as the way in, but things don’t go to plan as stamping on Zanglers foot, at the end of his audition, gets him, not surprisingly, rejected!
Bobby is the son of a rich banking family, and his very bossy mother Lottie (Gina Garton) needs Bobby to go to the rundown town of Deadrock, Nevada, and serve a foreclosure notice on the theatre which owes money to the bank. To get away from his mother, overbearing fiancée Irene Roth (Georgia Wormald) and his shattered dreams, Bobby flees New York and arrives in Deadrock.
Deadrock is in cowboy country and Polly Baker (Elinor Kirby) is the only woman within a fifty-mile radius and doesn’t take any nonsense from the men of the town. Her father, Everitt (Kevin Hickson) receives a letter from the bank saying that they are going to repossess his theatre and doesn’t know what he can do to save it.
After meeting Polly and seeing the theatre Bobby pulls in a few favours and gets in touch with Tess (Sarah Brodie) from Zanglers Follies to come to Deadrock to put on a show with the rest of the Follies and save the theatre. We meet the cowboys in Lank Hawkins (Richard Foot) Bar and Hotel and mayhem ensures when the Follies decide to put them in the show with them and try to teach them to sing and dance. The men of the town haven’t seen many women, especially glamorous show girls so it’s a bit chaotic! When Polly realises who Bobby is and what he is doing in Deadrock she rejects him and his plan. Can Bobby and Polly save the theatre, why are there two Bela Zangler’s and will Polly ever see Bobby for the person he really is?
The full cast of this show are outstanding, their singing, acting and dancing were first rate and their comic timing made the whole show very easy to watch. It came across that is had obviously been very well rehearsed and the cast seemed to be enjoying it as much as the audience.
The band, led by musical director Sarah Lucy Penny, were amazing and I hadn’t realised how many of the songs I actually knew. They included “Embraceable You”, “Someone to Watch Over Me”, “I Got Rhythm” and many more.
Hessle Theatre Company absolutely deserve full houses every day for this must-see production, so please go and watch it. You won’t be disappointed!!
A brief one-woman show called Karen featuring feminine rage was always going to pique my interest, but I wasn’t expected to be hit in the face with a tsunami of emotions and universal experience.
Sarah Cameron-West is our unnamed protagonist. She arrives on stage, sucking on a Calippo, as time is called on her four-year relationship by her boyfriend, Joe, on her birthday. The first five minutes are filled with her ensuing emotions as she digests this development and tries to persuade, cajole, and then becomes very, very cross. The rest of this one-hour show follows the aftermath of her break-up, as she realises Joe is leaving her for her office colleague, Karen.
Once I got over my very brief initial discomfort of Sarah Cameron-West unselfconsciously locking eyes on a member of the audience whilst enacting her side of a conversation (and for the break-up scene, that member of the audience was me), I allowed myself to be entertained. And entertained, I was. God, I laughed. I almost think Cameron-West could have done the full show with her facial expressions alone and we still would have enjoyed ourselves. Her initial hysteria at Joe moves on to a (partially true) relaying of the story to her (again, absent) friend, before coming face-to-face with Karen in the workplace. There was no need for other actors. Cameron-West has scripted and produced the show so beautifully the audience misses nothing and is fully involved in every conversation. We’ve all been there; the painful, unexpected break-up. The encounter with the office nemesis. The negative feedback from a boss. The casual but hurtful remark from a family member. So relatable is this story, and so beautiful are Cameron-West’s nuanced reactions, that the humour is there to be enjoyed in abundance. There are moving moments too. The glorious and utterly uninhibited scene of the protagonist prancing around in Karen’s lacy red thong, before screaming with rage in her own beige M&S briefs was particularly poignant.
Staging is minimal. Very few costume changes. A few sound effects, and great use of lighting to highlight the protagonist’s interior monologue as she remains (mostly) calm during an encounter with Karen about a stolen yoghurt. The minimal production leaves us mostly fixated on Cameron-West and her beautiful face. Go and see it, while you can still see it up close in a small venue like The Other Palace. You’re in for a treat.
JENNA RUSSELL, TYRONE HUNTLEY, HARRY HEPPLE & EMILY LANE
The show reunites Imelda with DOMINIC COOKE,
the director of their acclaimed production of Follies
Jerry Herman’s unforgettable score includes
Put On Your Sunday Clothes, Before the Parade Passes By,
It Only Takes a Momentand Hello, Dolly!
Performances begin at The London Palladium on Saturday 6 July 2024
Wednesday 20 March, London: Michael Harrison is thrilled to announce the complete cast for this summer’s new production of Hello, Dolly!, as one of the most iconic musicals of all time comes to The London Palladium.
With an unforgettable score by the legendary Jerry Herman, Hello, Dolly! will begin performances at The London Palladium on Saturday 6 July 2024 for a strictly limited 10-week season (Press Night: Thursday 18 July).
Multi-Olivier and BAFTA Award-winning Imelda Staunton plays meddlesome socialite turned matchmaker Dolly Levi, as she travels to Yonkers, New York to find a match for the miserly, unmarried ‘half-a-millionaire’ Horace Vandergelder. But everything changes when she decides that the next match she needs to make is for herself.
The production will also star:
Andy Nyman – who will play Horace Vandergelder – is a multi-award-winning actor, writer and director. Most recently he won unanimous acclaim for his memorable portrayal of Tevye in the celebrated production of Fiddler On The Roof at the Menier Chocolate Factory and its subsequent transfer to the Playhouse Theatre.
Nyman’s acting credits include the Royal Court production of Hangmen and the West End hit Ghost Stories, which he also created and starred in the film adaptation. His various TV roles include Winston Churchill in Peaky Blinders and he has frequently collaborated with illusionist Derren Brown, co-writing and co-directing four of his stage shows.
Olivier Award winner Jenna Russell will play Irene Molloy. Jenna recently starred in the UK premiere of The Bridges of Madison County. She won an Olivier Award for Best Actress in a Musical in 2006 for her performance in Sunday In The Park With George at the Menier Chocolate Factory (a performance she later reprised on Broadway) and was nominated for her work in the Menier’s 2012 revival of Merrily We Roll Along. She also appeared in the acclaimed, London premiere production of Fun Home the Young Vic.
Tyrone Huntley, who will play Barnaby Tucker. Tyrone was nominated for an Olivier Award for his performance as Judas in the widely acclaimed production of Jesus Christ Superstar at Regent’s Park Open Air Theatre. He was also previously in the original London casts of Dreamgirls and The Book of Mormon.
Harry Hepple, who will play Cornelius Hackl, has previously performed in Follies at the National Theatre and Romantics Anonymous at Bristol Old Vic.
The production today announces that Emily Lane (Frozen, Theatre Royal Drury Lane) will play Minnie Fay.
The full company includes: Leo Abad, Craig Armstrong, Lindsay Atherton, Gemma Atkins, Alan Bradshaw, Jabari Braham, Kevin Brewis, Jenni Bowden, Daisy Boyles, Samara Casteallo, Olly Christopher, Brendan Cull, Hayley Diamond, Jacqueline Hughes, Ashlee Irish, Jodie Jacobs, Shirley Jameson, Paul Kemble, Emily Langham, Michael Lin, Amira Matthews, Laura Medforth, Matt Overfield, Tom Partridge, Wendy-Lee Purdy, Edwin Ray, Phil Snowden, Kraig Thornber, Gavin Wilkinson and Liam Wrate.
With music and lyrics by Jerry Herman (La Cage aux Folles, Mack and Mabel, Mame) and book by Michael Stewart (42nd Street, Mack and Mabel, Barnum),Hello, Dolly! is one of the most iconic musicals of all time. Jerry Herman’s timeless score includes ‘Put On Your Sunday Clothes’, ‘Ribbons Down My Back’, ‘Before the Parade Passes By’, ‘Elegance’, ‘It Only Takes a Moment’ and of course, ‘Hello, Dolly!’.
This brand-new production reunites Imelda with director Dominic Cooke,following their spectacular, critically acclaimed production ofStephen Sondheim’s Follies at the National Theatre.
Hello, Dolly! also reunites Imelda Staunton with producer Michael Harrison. Their production of Gypsy at the Savoy Theatre was awarded the Olivier Award for Best Musical Revival, and for which Imelda also won the Olivier Award for Best Actress In A Musical for her acclaimed portrayal of Momma Rose.
Hello, Dolly! is produced by Michael Harrison, Gavin Kalin, Aaron Glick, Creative Partners Productions, Jonathan Church Theatre Productions, Crossroads Live and Jake Hine.
It was all just a matter of time. And finally, the wait is over.The foot-stomping new musical, THE CURIOUS CASE OF BENJAMIN BUTTON will transfer to the West End’s Ambassadors Theatre from Thursday 10 October 2024.The productioncaptured hearts last year with its sold-out Southwark Playhouserun – winning Best Musical Theatre Production at the 2024 Off West End Awards. Full cast and creative team will be announced soon.
An electrifying journey through the timeless tale of a love that defies all odds, THE CURIOUS CASE OF BENJAMIN BUTTON is an enchantingly beautiful and truly unordinary musical that reminds us to make every second count. With a breathtaking soundtrack brought to life by an extraordinary actor-musician ensemble, F. Scott Fitzgerald’s iconic short story is relocated to a fishing village on the north coast of Cornwall by writing team Jethro Compton and Darren Clark.
Under the light of a full moon, something most curious occurs… Benjamin Button is born old. Bound to the fate of growing younger each day, Benjamin wants nothing more than to live a little life. But will he ever find a place to belong? Only time and tide will tell…
The show’s director, Jethro Compton, said today: “This show has gone on the most incredible journey over the last seven years. What’s even more incredible, is the journey is only really just beginning. Button started life as a scrappy little show with a big heart, but the love it’s been shown by our audiences has allowed it to grow into something ready for the West End. We’re so unbelievably grateful for everyone’s support – and we can’t wait to continue this journey with you all.”
THE CURIOUS CASE OF BENJAMIN BUTTON is based on the short story of the same name by F. Scott Fitzgerald, author of The Great Gatsby and The Tender and the Damned. With Book & Lyrics by Jethro Compton and Music & Lyrics by Darren Clark. It is produced by ATG Productions, Gary Beestone Associates, Gavin Kalin Productions, Eilene Davidson Productions, Umeda Arts Theater, and Jethro Compton Productions.
DEAFINITELY THEATRE’S WORLD PREMIERE OF THE PROMISE COMING TO THE REP THIS APRIL
Birmingham Rep’s striking world premiere, made in association with acclaimed British theatre company Deafinitely Theatre (The Vagina Monologues, Everyday and 4.48 Psychosis) and Lyric Hammersmith Theatre will play in The Door from Saturday 6 April for a limited run only. Written by Deafinitely Theatre’s Artistic Director Paula Garfield and Melissa Mostyn. The Promise is a new play inspired by the extraordinary experiences of deaf people living with dementia. The production is also directed by Garfield in the company’s renowned highly visual style combining British Sign Language and Spoken English.
The play highlights how dementia affects those in the deaf community and their families through Spoken English and British Sign Language (BSL).
Rita is really confused.
She can’t understand why the deaf education system she’s tirelessly championed throughout her teaching career is getting worse and worse, or why there is only one care home in the whole of England that looks after people in her language. On the Isle of Wight.
She’s also confused about where her family is, and why she can’t remember where the milk goes…
Garfield, said “The idea for The Promise has been in my mind for a long time, influenced by my family’s experience with dementia. Melissa and I have dedicated over two years crafting and refining the play from our personal perspectives and working closely with the deaf community. I can’t wait to collaborate with this outstanding cast and look forward to getting stuck in to exploring family dynamics and the strength of human connections when rehearsals start in March.”
Melissa Mostyn adds “I feel privileged to be working with Deafinitely Theatre as co-writer of The Promise, a heartfelt story about a deaf family grappling with the effects of dementia. Their standards are high, and the cast they’ve just announced are exemplary. Having seen the actors at work, I’m beyond excited to see them bring The Promise to life.”
Garfield directs James Boyle, Erin Hutching, Louis Neethling and Anna Seymour. Completing the creative team are Paul Burgess (Set & Costume Design), Holly Ellis (Lighting Design), Marie Zschommler (Sound Design) and Ben Glover (AV Design).
The Promise opens here at The Rep from Sat 6 to Sat 13 May. Tickets are on sale from £10, to book tickets visit Birmingham-rep.co.uk or call 0121 236 4455.*
DONMAR WAREHOUSE ANNOUNCES FULL CAST FOR CHEKHOV’S THE CHERRY ORCHARD
IN A NEW VERSION ADAPTED AND DIRECTED BY
BENEDICT ANDREWS
The Donmar Warehouse today announces the full cast for Chekhov’s The Cherry Orchard, in a new version and directed by Benedict Andrews. Joining the previously announced Nina Hoss (Liubov Ranevskaya), and Adeel Akhtar (Ermolai Lopakhin), are Sarah Amankwah (Charlotta), Nathan Armarkwei Laryea (Yasha), David Ganly (Boris Simeonov-Pishchik), Michael Gould (Gaev), Éanna Hardwicke (Semyon Epikhodov), Daniel Monks (Pyotr Trofimov), Marli Siu (Varya), Sadie Soverall (Anya), Posy Sterling (Dunyasha), and June Watson (Firs).
The production opens on 2 May, with previews from 26 April, and runs until 22 June.
THE CHERRY ORCHARD
by Anton Chekhov
in a new version by Benedict Andrews
26 April – 22 June 2024
Director: Benedict Andrews; Designer: Magda Willi; Costume Designer: Merle Hensel; Lighting Designer: James Farncombe; Sound Designer: Dan Balfour; Composer: May Kershaw of Black Country, New Road; Voice Coach: William Conacher; Assistant Director: Neetu Singh; Casting Director: Anna Cooper CDG
Can anyone persuade Ranevskaya and her aristocratic household that the world is changing, and they must too?
Following internationally acclaimed productions of The Seagull (Belvoir St Theatre, Sydney) and Three Sisters (Young Vic, London), director Benedict Andrews has a reputation as one of the world’s leading interpreters of Chekhov.
For the Donmar Warehouse he stages the great writer’s final play. It’s a work that predicted and captured the end of an era, but is timeless in its humanity, prescience, humour and pathos. The Cherry Orchard is Chekhov’s masterpiece.
Adeel Akhtar plays Ermolai Lopakhin. His theatre credits include A Christmas Carol (West End), Hamlet (Young Vic), Satyagraha (Improbable), Wuthering Heights (Tamasha), In My Name (Old Red Lion/Trafalgar Studios) and Zero (Theatre Absolute).His television credits include Showtrial,Sweet Tooth,Sherwood, Killing Eve, Back to Life, Les Misérables,Ghosted,Counterpart,Fairy Job, Unforgotten, Apple Tree Yard, The Night Manager, Capital, River,The Job Lot, Utopia, Trollied, and Angelos Epithemiou’s Moving On; and for film Murder Mystery 2, Enola Holmes 2, Save The Cinema, The Electrical Life of Louis Wain, Ali & Ava, Everybody’s Talking About Jamie, Enola Holmes, The Nest, The Show, Murder Mystery, Swimming with Men, Victoria and Abdul, Hampstead, The Big Sick, Pan, War Book, Convenience, Jadoo, The Dictator, Stranger Things, Four Lions, Traitor, The Last Dragonslayer, The Circuit, Murdered by My Father and Let’s Roll: The Story of Flight 93.
Sarah Amankwah plays Charlotta. Her theatre credits include Possession (Arcola Theatre), Henry V, Henry IV, Parts 1 & 2, Richard III, Doctor Faustus (Shakespeare’s Globe), Amadeus, The Threepenny Opera, Death and the King’s Horsemen (National Theatre), The Crucible, Skriker (Royal Exchange Theatre), The Lion King (Lyceum Theatre), De Gabay (National Theatre of Wales), Tiata Tamba Tamba (Tiata Fahodzi), Shakespeare 365 (Orange Tree Theatre), Six Characters in Search of an Author, A Midsummer Night’s Dream (Aquila Festival/US tour), Fair Trade (Latitude/Rich Mix) and 24 Hour Plays (The Old Vic). For television, her work includes Doctor Who, Black Earth Rising and Marcella; and for film, Dungeons and Dragons and World War Z.
Nathan Armarkwei Laryea plays Yasha. His theatre work includes A Strange Loop (Barbican), Women, Beware the Devil, Spring Awakening (Almeida Theatre), Hamlet, Faith, Hope and Charity, Tartuffe (National Theatre), Homo Sacer (The Old Vic 12), Her Naked Skin (Salisbury Playhouse), The 306 (National Theatre of Scotland), Vernon God Little (The Space/Burn Bright Theatre), Romeo and Juliet (Exeter Northcote), The Lion King (Lyceum Theatre), and Whistle Down the Wind (West End). For television, his work includes The Witcher and Doctor Who; and for film, In Darkness.
David Ganly returns to the Donmar to play Boris Simeonov-Pishchik, having previously appeared inAristocrats. His other theatre includes On Blueberry Hill (Trafalgar/59E59 Theatre), Girl from the North Country (Toronto, Gielgud Theatre/Noël Coward Theatre), A Midsummer Night’s Dream, Cinderella (Lyric Hammersmith), The Velveteen Rabbit (Unicorn Theatre), Lonesome West (Tron Theatre), The Plough & the Stars (Abbey Theatre/US tour), Once (Landmark Productions), Shadow of a Gunman (Abbey Theatre/Lyric Theatre, Belfast), Uncle Vanya (West Yorkshire Playhouse/ETT), Shakespeare in Love (Noël Coward Theatre), Drum Belly; The Cavalcaders, Observe the Sons of Ulster Marching Towards the Somme, Philadelphia Here I Come (Abbey Theatre, Dublin), King Lear (Theatre Royal Bath), The Threepenny Opera; The Weir (Gate Theatre, Dublin), Macbeth (Sheffield Theatres), Of Mice and Men (The Watermill Theatre, Newbury), The Beauty Queen of Leenane, The End of the Beginning (Young Vic), TheWizard of Oz (West Yorkshire Playhouse), The Field; John Bull’s Other Island; The Cavalcaders (Tricycle Theatre), Translations (National Theatre),The Quare Fellow; Americans The Contractor (Oxford Stage Company), The Lonesome West (Broadway Lyceum Theatre), Dancing at Lughnasa (Salisbury Playhouse), Chicago (Cambridge Theatre), The Full Monty (Prince of Wales Theatre)The Talented Mr Ripley (Watford Palace Theatre), The Leenane Trilday – The Lonesome West (Royal Court Theatre); The Merchant of Venice (Belfast Lyric Theatre), and The Risen People (Dublin Gaiety Theatre). For television, his work includes Say Nothing; Breathtaking, Moon Knight, The Crown, Ridley Road Citizen Charlie and Upwardly Mobile; and for film, The Dead from the Sea, Gladiator 2, Body of Lies, Dorothy Mills, Hippie Hippie Shake and Spacetruckers.
Michael Gould plays Gaev. His theatre credits includes King Lear, The Writer, Vassa (Almeida), Pygmalion (The Old Vic), A View from the Bridge, Hamlet, The Jungle; A Midsummer Night’s Dream (Young Vic), Kerry Jackson, All of Us, Anna, Our Class, Women of Troy, Attempts on Her Life, Waves, The Seagull, Earthquakes in London, The Oresteia, Pillars of the Community (National Theatre), The Audience (West End), The Merchant of Venice, Swive, ’Tis Pity She’s a Whore, King Lear, The Winter’s Tale, In Extremis (Shakespeare’s Globe), The Ugly One (Royal Court), Othello (ETT/ Great Theatre of China, Shanghai/ Dubai Opera House), Dealing with Clair (Orange Tree Theatre), Othello, The Phoenician Women, Hamlet, The Theban Trilogy (RSC), Pericles (Lyric Hammersmith), Pressure Drop (Wellcome Collection), The Lesson (Arcola), Other Hands (Soho), Cruel and Tender (Young Vic and tour), The Crucible (Sheffield Crucible). Television includes: There She Goes, I Am Maria; Showtrial, You Don’t Know Me, Sister Boniface, Manhunt, Black Earth Rising, Man Down, Into the Badlands, The Trial: A Murder in the Family, Decline and Fall, The Conversation, Lucan, Silk, Silent Witness, Mr Sloane, Coup, The Bletchley Circle, Secret State, Getting On, Wallander, Free Agents, Ashes to Ashes, Grandma’s House, The Long Walk to Finchley, Waking the Dead, David Kelly, Green Wing, Wire in the Blood, EastEnders, State of Play. Film includes One Life, Darkest Hour, Jitterbug, Rogue One: A Star Wars Story, Undergods, The Duke, Room 8 (BAFTA for Best Short Film).
Éanna Hardwicke plays Semyon Epikhodov. His theatre work includes Attachment (Dublin Theatre Festival), Druid Debuts: The Mouth of the Birch (Druid Theatre Company), The Misfit Mythology (Cork Arts Theatre), and Macbeth (Mill Productions). His television work includes A Very Royal Scandal, The Doll Factory, The Sixth Commandment, Smother, Fate: The Winx Saga, and Normal People.
Nina Hoss plays Liubov Ranevskaya. Her theatre credits include Notes from the Underground (Ruhrtriennale), Returning to Reims (Manchester International Festival/Schaubühne Berlin/St Ann‘s Warehouse, New York), Bella Figura, The Little Foxes (Schaubühne Berlin), at the Deutsches Theater Berlin: Tape, Children of the Sun, Der Einsame Weg, Die Präsidentinnen, Die Fledermaus, Groß und Klein, Medea (she won the prestigious Eysoldt Ring prize for her performance), Faust II, Minna Von Barnhelm, Emilia Galotti, Don Carlos, Verratenes Volk, Twelfth Night or what you will (Schauspielhaus Zürich); and at the Berliner Ensemble: Leonce und Lena/Robert Wilson, Unerwartete Rückkehr, ZigarrenJedermann (Salzburg Festival). TV includes: Jack Ryan, The Defeated, Shadow Play, Criminal: Germany, Homeland (Screen Actors Guild Award for Outstanding Performance by an Ensemble in a Drama Series), Bloch, Leonce und Lena, Something to Remind Me, A Girl Called Rosemary. Films include: Langue Etrangere, Tár, My Little Sister, Barbara, Phoenix, A Most Wanted Man, Yella (Berlin International Film Festival Silver Bear Award for Best Actress), The Contractor, Violence of Action, Pelican Blood, The Audition, Return to Montauk, Gold, Summer Window, We Are the Night, Jerichow, The Downfall of Berlin: Anonyma, The Anarchist’s Wife,The Heart is a Dark Forest, The White Massai, Wolfsburg, Naked, Der Vulkan. Nina Hoss received the Order of Merit of the Federal Republic of Germany (2013) and was also appointed a Chevalier de l’Ordre des Arts et des Lettres in France (2015).
Daniel Monks returns to the Donmar to play Pyotr Trofimov – he previously appeared in Teenage Dick – Winner of Best Performer in a Play at The Stage Debut Awards 2020. His other theatre credits include The Seagull (Harold Pinter Theatre), The Normal Heart (National Theatre), Teenage Dick (Donmar Warehouse), Lord of the Flies (Sydney Theatre Company) and The Real and Imagined History of The Elephant Man (Malthouse Theatre, Sydney – for which he was nominated for a Helpmann Award and Green Room Award for Best Lead Actor in a Play). His television work includes Dead Hot, Kaos, Silent Witness and The Split; and for film, Ricky Stanicky, In the Room Where He Waits, Sissy, Marley, and Someone. Also for film, he wrote, produced, edited and starred in Pulse – which won the Busan Bank Award at the Busan International Film Festival 2017 and for which he was nominated for the Australian Academy Award (AACTA) for Best Lead Actor in a Film.
Marli Siu plays Varya. Her theatre work includes The Ocean at the End of the Lane (National Theatre), Misalliance (Orange Tree Theatre), Much Ado About Nothing, Little Red and the Wolf, and The Witness for the Prosecution (Dundee Rep Theatre). For television, her work includes Everything I Know About Love, Alex Rider – as series regular Kyra, The Irregulars, Grantchester and Still Game; and for film, Apartment 7A, Our Ladies, Run and Anna and the Apocalypse.
Saide Soverall by Pip
Sadie Soverall plays Anya. Her theatre credits include Still Life (Edinburgh Fringe). Her television credits include Fate: The Winx Saga and The Gathering; and for film, Saltburn, Arcadian, and Little Bone Lodge.
Posy Sterling plays Dunyasha. Her theatre work includes Dixon and Daughters, Faith, Hope and Charity (National Theatre), The Taxidermist’s Daughter (Chichester Festival Theatre), Sweatbox (Royal Court Theatre), and Belong (Arcola Theatre, Lyric Hammersmith). For television her work includes World on Fire; and for film, Lollipop and The Outrun.
Veteran of the stage and screen, June Watson returns to the Donmar to play Firs – she previously appeared in A Doll’s House, Part 2. Her extensive theatre credits include Sea Creatures, Uncle Vanya, Good People (Hampstead Theatre); As You Like It (@Sohoplace); After Life,The Welkin, John, Scenes from the Big Picture, The Good Hope, Our Lady of Sligo, Cardiff East, The Prince’s Play, Le Cid, Rutherford and Son, Machinal, Billy Liar, Whale, Garden of England, As I Lay Dying, The Beggar’s Opera, Lark Rise, The Passion, The World Turned Upside Down, The Long Voyage Home, Il Campiello,State of the Revolution (National Theatre); Road, Kosher Harry, Beside Herself, Saved, Small Change, Life Price, Glasshouses (Royal Court Theatre); Escaped Alone (Royal Court Theatre/ BAM/ UK tour); The Father, Mrs Lowry and Son (Trafalgar Studios); The Cripple of Inishmaan – Clarence Derwent Award (Noël Coward Theatre/ Broadway); Before the Party, Hippolytus (Almeida Theatre); Uncle Vanya (Vaudeville Theatre); Calendar Girls (UK tour); Another Door Closed (Theatre Royal Bath); Aristo (Chichester Festival Theatre); The Children’s Hour (Royal Exchange Theatre); Smaller, Middle Aged Spread (Lyric West End) and Mary Stuart (Apollo Theatre). Her television work includes Whitstable Pearl, The Cockfields, All Creatures Great and Small, The Midnight Gang, Chernobyl, Call the Midwife, To Walk Invisible, Agatha Raisin, Thirteen, Unforgotten, A Song for Jenny, The Café, Wallander, Coming Up and Above Suspicion; and for film, Your Christmas or Mine, The Bike Thief, The Death of Stalin, The Lady in the Van, Ghost Hunter, 102 Dalmatians, Highlander IV: Endgame, The Last Yellow, The Knowledge and Bloody Kids.
Benedict Andrews is a multi-award winning playwright, director, filmmaker and poet. His directing work includes: Ellen B / Ex (Þjóðleikhúsið, Reykjavik), Cosi fan Tutte (Bayerische Staatsoper, Munich), Cat on a Hot Tin Roof (Young Vic), Medea (Komische Oper Berlin), A Streetcar Named Desire (Young Vic and St Ann’s Warehouse), The Maids (Sydney Theatre Company and Lincoln Centre), Fiery Angel (Komische Oper, Berlin), Macbeth (Þjóðleikhúsið, Reykjavik), Three Sisters (Young Vic), La bohème (ENO and Dutch National Opera), Every Breath (Belvoir Street Theatre), Groß und Klein (Sydney Theatre Company and Barbican), The Seagull (Belvoir Street Theatre), King Lear (Þjóðleikhúsið, Reykjavik), Measure for Measure (Belvoir Street Theatre), Saved (Schaubühne, Berlin), The City (Sydney Theatre Company), The War of the Roses (Sydney Theatre Company), Moving Target (Sydney Opera House), Drunk Enough to Say I Love You (Schaubühne, Berlin), The Ugly One (Schaubühne, Berlin), Who’s Afraid of Virginia Woolf? (Belvoir Street Theatre), Blackbird (Schaubühne, Berlin), Cleansed (Schaubühne, Berlin), Julius Caesar (Sydney Theatre Company), Fireface (Sydney Theatre Company), La Dispute (Sydney Theatre Company.) Plays include Like a Sun, Every Breath, The Stars, Geronimo and Gloria. He has written new versions of The Seagull and Three Sisters, and a version of Jean Genet’s The Maids, with Andrew Upton. Film work includes Una and Seberg. In 2012 Benedict won the London Critics’ Circle Best Director Award for his production of Three Sisters at the Young Vic. His directing work over the years has won him several Gríman Awards, Helpmann Awards, Sydney Theatre Awards and Melbourne Green Room Awards, amongst others.
SEASON AT A GLANCE:
THE HUMAN BODY
Until 13 April 2024
Audio Described performance Saturday 13 April at 2.30pm
THE CHERRY ORCHARD
26 April – 22 June 2024
Audio Described performance Saturday 1 June at 2.30pm
Captioned performance Monday 3 June at 7.30pm
SKELETON CREW
28 June – 24 August 2024
Audio Described performance Saturday 17 August at 2.30pm
Captioned performance Monday 12 August at 7.30pm
DONMAR WEST END:
NEXT TO NORMAL
WYNDHAM’S THEATRE
18 June – 21 September 2024
PERFORMANCE TIMES
Evenings Mon – Sat 7.30pm
Thursday & Saturday matinees 2.30pm
TICKET PRICES*
The Human Body
£60 (£55) | £41 (£38) | £21 (£19) | £15 standing
The Cherry Orchard/Skeleton Crew
£55 (£50) | £41 (£38) | £21 (£19) | £15 standing
Preview discounts apply to the first four performances. Standing tickets are only released when all seats are sold.
*Tickets are subject to a £1.50 transaction fee, waived for Members
BARCLAYS UNDER 30s £10 TICKETS
A limited number of £10 tickets are available for people aged under 30 thanks to generous support from Associate Sponsor Barclays.
YOUNG+FREE
YOUNG+FREE tickets for 16-25 year olds released by ballot. Sign up at www.donmarwarehouse.com.
YOUNG+FREE is generously supported by S&P Global.
DONMAR DAILY
New tickets on sale every day at the Donmar. Allocations of tickets will be made available every day for performances 7 days later. Tickets will be available across the auditorium at every price band.
ACCESS
The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters.
ASSISTED PERFORMANCES
If you require a companion to attend the Donmar, their ticket will be free. To book call 020 3282 3808 or email [email protected].
For all other access enquiries or bookings call 020 3282 3808.
DONMAR OPENHOUSE
Donmar OpenHouse is a long weekend of free performances and events for groups with which the Donmar has extended and deepened its ties during Michael Longhurst’s five years as Artistic Director. These include schools and community groups in Camden and Westminster, early career and emerging theatre artists, and young people. The event is delivered in partnership with Open Door.
Since 2019 the Donmar has doubled the reach of its schools and community work, including twice touring full scale productions to schools in its local boroughs in response to declining arts provision in schools.
The company has also significantly expanded its talent development work, launching CATALYST, our training programme that creates paid training opportunities for those historically underrepresented in the sector. Since 2019 the programme has helped launch the careers of 31 early career artists and administrators, 90% of whom continue to work in the sector.
Thousands of young people each year get to see the Donmar’s world-class productions through audience development programmes providing heavily discounted or free tickets. These include £10 tickets for under 30s, supported by Barclays for the current, sold-out productions of Clyde’s and Macbeth and the upcoming season, as well as the ongoing Young+Free ticket lottery programme for 16-25 year olds, supported by S&P Global.
Donmar OpenHouse takes place during the run of Skeleton Crew, from 11-13 July 2024
Louise Gold stars in premiere of simmering family drama A Word For Mother by Tim McArthur Upstairs at The Gatehouse, Highgate Village, London N6 4BD Wednesday 1st May – Sunday 26th May 2024
Tim McArthur’s newest play A Word For Mother premieres this spring with an all-female cast and creative team. This simmering family drama, inspired by McArthur’s upbringing, revolves around the intertwined history of four women, sisterly relationships and motherly love. Reunited by their mother’s unexpected passing, the bond between three sisters begins to strain: emotions boil over and childhood lies are revealed. How far does the apple fall from the tree?
Puppeteer, singer and star of screen and stage, Louise Gold, plays matriarch Pru in this exploration of family dynamics. Gold is best known for her West End career and performances in multiple Muppets’ productions. Further credits include The Dark Crystal: Age of Resistance (Netflix), Fiddler on the Roof (The Playhouse) and Botticelli in the Fire (Hampstead Theatre).
Gold is joined by a powerful cast of Abigail Moore (Kiss Me Quickstep, New Vic Theatre; Honour, ITV), Heather Johnson (The Widowing of Mrs Holroyd, The Orange Tree Theatre; Horrible Christmas, Birmingham Stage Company), and Melaina Pecorini (Harry Potter and the Cursed Child, Palace Theatre; The Big Red Bath, UK tour) as the trio of sisters Charity, Faith and Hope.
Having gathered in the kitchen of their family home after the passing of their mother, three grief-stricken daughters must learn to navigate a new family dynamic. The play unravels a family history, moving from the present day to complex childhoods. Each sister reflects on their own relationship with their mother as secrets, rivalries and hidden feelings come bubbling to the surface. Will the sisters’ bond survive the emerging emotions and unfolding tensions?
Writer Tim McArthur is a local Highgate resident and performed in Upstairs at The Gatehouse’s first ever Christmas production in 1999. He comments, The play explores many emotions including forgiveness, but at the end of the day it’s a play with heart and a celebration of the female dynamic. I have asked myself what do I want people to take away from the play. I think for an audience to chat about grief as we don’t in this country. It’s still a taboo subject and yet when someone has a baby, we all go nuts for it. But if someone dies, we feel we all have to be sad, hide away and not express our emotions – that terrible British stiff upper lip scenario.
A Word For Mother is produced by Helen and Paul Matthews.
