Christmas may have been and gone, but the festive spirit is still going strong in Brum!! The posters dotted around the Hippodrome promise “A Giant Pantomime spectacular” and they definitely deliver.
Birmingham born and bred Alison Hammond takes to the stage as ‘The Spirit of the Beans’, making the most of her first acting role at the Hippodrome. She lets the crowd know just how much the building means to her, including touching stories of her attending shows there with her late mother, who now has a seat dedicated to her memory on the front row.
Back for his tenth year is Matt Slack, who has become an integral part of the Panto season in Birmingham. As well as performing, he has co-written the show with Harry Michaels. Slack displays his comedic skills as Jack’s brother Jake. He brings all the slapstick humour and gags you expect from Panto. Slack takes a moment towards the end to reminisce on his decade at the Hippodrome, singing to the tune of Frank Sinatra’s ‘That’s Life’, alongside photographs of his many characters.
Also hailing from Birmingham, Alexanda O’Reilly plays the title role, with Billie-Kay as a feisty Princess Jill. Andrew Ryan is hilarious as the quintessentially camp Dame Trot in so many outrageous outfits I lost count. Another local, Doreen Tipton as Doreen the Cow, raises many laughs playing on her lazy internet persona. She also surprises with her vocal range, belting out a very tongue in cheek version of Les Misérables ‘I Dreamed a Dream’ or ‘I Creamed a Cream’ to be exact.
Alongside them, Samantha Womack plays the deliciously evil villain Mrs Blunderbore, the wife of the Giant. Having seen Womack performing as Sandy in Grease in London’s West End many years ago, I can confirm her singing voice is still as powerful as she belted out Steps’ ‘Scared of the Dark’. Womack revels in her character’s wicked nature and encourages the boos she gets from the audience.
Directed and produced by Michael Harrison, who has worked on many spectacular West End productions. The show is bursting with energy from the start. The lavish and colourful set designed by Mark Walters was also used at the London Palladium’s production of Jack and the Beanstalk in 2022. The special effects used to bring the beanstalk and Giants (yep, that’s plural!) to life are amazing. The huge inflatable beanstalk appearing in the middle of the auditorium drew audible gasps, especially from my daughter as it happened right by our seats! Jack (O’Reilly) climbing it all the way to the Hippodrome ceiling really did bring the first part of the show to an exciting climax.
Jack and the Beanstalk does exactly what a pantomime should, it entertains the whole family, with more than a few ‘grown up’ jokes thrown in to keep everyone happy. Even on a cold and damp January night, it still made the crowd feel the joy and excitement that only superb live theatre can bring. The show runs until 28th January so get your tickets now.
Michael Healy’s 1979 is a captivating play that delves into the political landscape of Canada during the tenure of Prime Minister Joe Clark. Through its talky narrative and energetic performances, the play sheds light on the challenges and triumphs faced by Clark during his brief time in office.
The writing of the play is commendable, although it may not be as comedic as one would expect. Nevertheless, the writer skillfully portrays the complexities of politics and the personal struggles of Joe Clark, which are aptly brought to life by the talented Joseph May. The dialogue is sharp and thought-provoking, inviting the audience to reflect on the intricacies of political life. Additionally, the rest of the cast, including Samantha Coughlan and Ian Porter, deliver solid performances, seamlessly switching between characters and even genders. However, I must admit that at times, these switches took me out of the dramatic flow.
Mim Houghton’s minimalistic set design is highly effective, allowing the audience to fully focus on the performances and the story being told. However, my biggest gripe with the production was the slide show that accompanied the play. Projected text on a black screen introduced characters and provided historical context, which I understand is helpful in a play centered around a specific political era. However, I found that it often interfered with the dramatic tension, and in my opinion, it was a bit excessive. Additionally, the volume of the music was sometimes too loud, making it challenging to hear the actors’ dialogue clearly.
Despite these minor drawbacks, 1979 is a fairly enjoyable play that was well-received by the audience, as evidenced by its sold-out status.
The National Theatre and Various Productions release today a ‘first look’ rendition by West End cast member, Samuel Jordan, performing ‘Midnight Train’ from Sheffield Theatres’ smash-hit production, Standing at the Sky’s Edge. Written as a love letter to Sheffield and the city’s iconic Park Hill Estate, this Olivier Award-winning ‘Best New Musical’, directed by Sheffield Theatres’ Artistic Director, Robert Hastie and featuring songs by the legendary Sheffield singer-songwriter, Richard Hawley with a hilarious and gut-wrenching book by Chris Bush, will make its West End premiere at the Gillian Lynne Theatre in London from 8 February 2024.
Standing at the Sky’s Edge charts the hopes and dreams of three generations over the course of six tumultuous decades, navigating universal themes of love, loss and survival. Joining Samuel Jordan (Masters of the Air, Apple TV; Sex Education, Netflix) as Jimmy, is Elizabeth Ayodele (Small Island,National Theatre; Steel Magnolias, Trafalgar Theatre Productions) as Joy, Joel Harper-Jackson (Cock, Elliot & Harper Productions; Kinky Boots, Adam Blanshay Productions) as Harry, Sharlene Hector (A Strange Loop, Trafalgar Theatre Productions/National Theatre; Hairspray, Adam Spiegal Productions/Fiery Angel) as Grace,Mel Lowe (Orlando, The Michael Grandage Company; A Billion Times I Love You, Homotopia/Liverpool Everyman and Playhouse) as Connie, Baker Mukasa (The Comedy of Errors, Royal Shakespeare Company; Tina: TheTina Turner Musical, Stage Entertainment) as George, Alastair Natkiel (Line of Duty, BBC; Strangers on a Train, Barbara Broccoli) as Marcus, Laura Pitt-Pulford (Seven Brides for Seven Brothers,Regent’s Park Open Air Theatre; Emmerdale,ITV) as Poppy, Lauryn Redding (Bloody Elle, Rebel Productions/Royal Exchange) as Nikki and Rachael Wooding(Pretty Woman: The Musical, Ambassador Theatre Group Productions; We Will Rock You, Queen Theatrical Productions/Phil McIntyre/Tribeca Theatrical Productions) as Rose. Further casting will be announced.
Hastie is joined by set and costume designer, Ben Stones; choreographer, Lynne Page; orchestrator and arranger, originating music supervisor, Tom Deering; lighting designer, Mark Henderson; sound designer, Bobby Aitken; wigs, hair and make-up designer, Cynthia De LaRosa and casting director,Stuart BurtCDG.
Standing at the Sky’s Edge is a recent recipient of the internationally recognised ‘Made in Sheffield’ ® accolade. This multi-award-winning new British musical won ‘Best New Musical’ at the 2023 Olivier Awardsearlier in the year with Sheffield singer-songwriter, Richard Hawley and Tom Deering also winning ‘Best Original Score and New Orchestrations’. Previously it has won the 2020 South Bank Sky Arts Award for Theatre and ‘Best Musical Production’ at the UK Theatre Awards in 2019.
First commissioned by Sheffield Theatres and Various Productions,Standing at the Sky’s Edge had its world premiere at the Crucible Theatre in 2019. Following a hugely successful, sold-out run, it returned to the Crucible Theatre in December 2022, selling out again, before making its London premiere in the National Theatre’s Olivier theatre in early 2023 where it continued to sell out and receive standing ovations.
Revealing the history of modern Britain, through the stories of this iconic housing estate, Standing at the Sky’s Edge, is a heartfelt exploration of the power of community and what it is we all call home.
Richard Hawley has recently released Now Then: The Very Best of Richard Hawley, his first ever best of collection. This 36-track deep dive into his hugely successful career to date includes his original versions of songs from the musical including Open Up Your Door, Tonight the Streets Are Ours, Coles Corner and the production’s title track, Standing at the Sky’s Edge. He has also announced a UK and Ireland tour with live performance dates from May 2024.
Standing at the Sky’s Edge, the original live cast recording is available to stream via Spotify and purchase online from major music retailers.
Tickets for the musical are available from £20 at SkysEdgeMusical.com. Assisted performances are available throughout the run.
DIRECTED BY TONY AWARD® WINNER JOHN BENJAMIN HICKEY
ROHIT GOKANI, ERIC SIRAKIAN, CHARLIE OSCAR,
NICK BARCLAY, CAROLINE SHEEN,
JAMIE COYNE AND HANNAH MORRISON
JOIN
TWO-TIME TONY AWARD® WINNER & TWO-TIME EMMY AWARD® WINNER
MATTHEW BRODERICKSARAH JESSICA PARKER
AT THE
SAVOY THEATRE FOR A STRICTLY LIMITED SEASON FROM 17 JANUARY TO 31 MARCH 2024
£40 DAILY LOTTERY TICKET DETAILS ALSO CONFIRMED
Full casting is announced today for the forthcoming West End transfer of Neil Simon’s hit comedy PLAZA SUITE which will run at the Savoy Theatre from 17 January – 31 March and is directed by Tony Award® winner John Benjamin Hickey.
Matthew Broderick photographed at Theatre Row Studios in New York City on January 20, 2017.
Joining the previously announced two-time Tony Award® winner Matthew Broderick as Sam Nash/Jesse Kiplinger/Roy Hubley and two-time Emmy Award® winner Sarah Jessica Parker, who makes her West End debut, as Karen Nash/Muriel Tate/Norma Hubley will be Rohit Gokani as The Waiter, Charlie Oscar as Jean McCormack/Mimsey Hubley and Eric Sirakian as Bellhop/Boden Eisler. The company will also include Nick Barclay (Standby Sam Nash/ Jesse Kiplinger/Roy Hubley), Caroline Sheen (Standby Karen Nash/Muriel Tate/Norma Hubley), Jamie Coyne (Understudy Bellhop / The Waiter / Boden Eisler) and Hannah Morrison (Understudy Jean McCormack / Mimsey Hubley).
Details for the previously announced £40 daily lottery are also now confirmed. At every performance, ten tickets – normally located on the front row of the stalls – will be exclusively available for purchase by lottery winners. Winners will be randomly selected every Monday for all of the performances in the following week (with the exception of the first draw on Monday 15 January, which will cover all performances in both weeks commencing 15 and 22January). Winners will be sent a unique booking link (maximum 2 tickets per person) and have 24 hours to pay for their tickets. To enter the lottery, visit www.plazasuiteuk.com/lottery from midday on Wednesday 10 January.
In PLAZA SUITE, Matthew Broderick and Sarah Jessica Parker play three different couples in one famous hotel room. Karen and Sam are a long-married pair whose relationship may be headed for an early checkout. Muriel and Jesse are former high school sweethearts who seem destined for an extended stay. And Norma and Roy are the mother and father of the bride, ready to celebrate their daughter’s nuptials – if only they can get her out of the bathroom.
In New York, PLAZA SUITE became the must-have ticket for Broadway audiences. The production played to sold-out houses and shattered multiple box-office records at the Hudson Theatre, becoming the third-highest grossing play revival in Broadway history during its limited 19-week engagement.
The creative team includes two-time Tony Award® winner John Lee Beatty (Set Design), Tony Award® winner Jane Greenwood (Costume Design), five-time Tony Award® winner Brian MacDevitt (Lighting Design), Tony Award® winner Scott Lehrer (Sound Design), Tony Award® winner Marc Shaiman (Original Music), and Jim Carnahan (Casting Director).
PLAZA SUITE is produced by Ambassador Theatre Group Productions, Gavin Kalin Productions, Hal Luftig, with Douglas L. Meyer, Elizabeth Armstrong, Hunter Arnold, Caitlin Clements, Eilene Davidson Productions, Jeffrey Finn, Terry Schnuck, Smith and Brant Theatricals, Craig Haffner & Sherry Wright Theatricals and Mike Isaacson.
AWARD WINNING MUSICAL TO VISIT NEWCASTLE THEATRE ROYAL
The legendary, award-winning production of the international smash hit musical, Blood Brothers, known for sell-out houses across the country, returns to Newcastle for one week only (Tue 30 Jan – Sat 3 Feb 2024).
Blood Brothers tells the captivating and moving tale of twins separated at birth, who grow up on opposite sides of the tracks, only to meet again with tragic consequences.
Niki Colwell Evans and Sean Jones play the iconic roles of Mrs Johnstone and Mickey Johnstone respectively, with Gemma Brodrick reprising her role of Linda, and Joe Sleight as Eddie. Also returning to the 2024 production are Timothy Lucas (Sammy), Josh Capper (Neighbour), Sarah Jane Buckley (Mrs Lyons), Tim Churchill (Mr Lyons), Jess Smith (Brenda), Graeme Kinniburgh (Postman/Bus Conductor), and previous cast members Chloe Pole (Donna Marie) and Alex Harland (Policeman/Teacher) with further casting to be announced.
Award-winning playwright Willy Russell’s epic tale of Liverpool life started as a play performed at a Liverpool comprehensive school in 1981, before opening at the Liverpool Playhouse in 1983. The musical has since triumphed across the globe. Bill Kenwright Ltd.’s production surpassed 10,000 performances in London’s West End, one of only three musicals ever to achieve that milestone.
Few musicals have been received with such acclaim as the multi-award-winning Blood Brothers, scooping up four awards for Best Musical in London and seven Tony Award nominations on Broadway, it is considered ‘one of the best musicals ever written’ (Sunday Times).
When Mrs Johnstone, a young mother, is deserted by her husband and left to her own devices to provide for seven hungry children she takes a job as a housekeeper to make ends meet. It is not long before her brittle world crashes around her when she discovers herself to be pregnant yet again – this time with twins! In a moment of weakness and desperation, she enters a secret pact with her employer which leads inexorably to the show’s shattering climax.
Blood Brothers plays Newcastle Theatre Royal Tue 30 Jan – Sat 3 Feb 2024. Tickets can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.
Blackpool Grand Theatre put female empowerment in the spotlight with this year’s magical family pantomime Aladdin when it featured an all-girl backstage crew!
All the creative ladies took centre stage behind the scenes at Blackpool Grand Theatre this Christmas as top theatre industry roles were taken up by talented women for this year’s magical pantomime, Aladdin, including the show’s Director, Stage Manager, Stage Technicians, Choreographer and Company Manager.
Female backstage panto crew – L to R – Assistant Stage Manager Elin Isebäck, Head of Wardrobe/Costume Design – Elizabeth Dennis, Wardrobe Assistant Eleanor Birchenough, Stage Technician Kerry Sale, Director Kylie Butler, Stage Manager Ashleigh Allcroft, Deputy Stage Manager Laura Catlow and Wardrobe Mistress Emily Sanderson.
Historically, theatre staging, and collaborations have been very male dominated, with a significant lack of female representation in key leadership roles within the theatre industry, from Directing and Stage Management roles right through to Sales and Marketing positions.
The Grand joined top pantomime producers, UK Productions Ltd, to challenge traditional gender roles and narratives and pave the way for a high level of female representation within the staging and running of this year’s fabulous festive production. This gave women within the theatre world the opportunity to showcase their immense talent, skill and passion for live theatre and offered much more diverse and inclusive stories.
All female backstage panto crew and panto staff
In this year’s production of Aladdin, Stage Manager (Ashleigh Allcroft), Deputy Stage Manager (Laura Catlow) and Assistant Stage Manager (Elin Isebäck) took the helm backstage for the first time, while panto Director Kylie Butler and Lead Choreographer Katie Hill returned to reprise their top roles as audiences gave Blackpool’s No. 1 pantomime rave reviews!
Blackpool Grand and UK Productions continued to ensure a more balanced presentation throughout panto, as also behind the scenes in lead roles were: Elizabeth Dennis – Head of Wardrobe/Costume Design; Emily Sanderson – Wardrobe Mistress; Eleanor Birchenhough -Wardrobe Assistant; Hannah Mitchell – Bass Player; Kerry Sale – Stage Technician; Saffron Pye – Duty Manager; Lauren Craig – Technical Swing; Amy Atkinson – Stage Technician; Emily Wheeler – Theatre Assistant; Helen Booth – Administrator (Contracts); Helen Naylor – Deputy Head of Audience, Marketing and Sales; Amy Brailsford – Sales and Customer Engagement Manager; Sarah Jane Wright – Marketing & Sales Officer (Press/PR), and Lorraine Hill – Company Manager!
All female backstage panto crew and panto staff with Blackpool Grand Theatre Chief Executive Adam Knight and UK Productions Artistic Producer & General Manager Damian Sandys.
Aladdin Stage Manager, Ashleigh Allcroft, said of her role this year: “I love my job. It’s so great that women are now starting to be seen as equals in our industry after many years of being offered roles that were often seen as more appropriate for us. Yes, we have to work hard to prove our worth and to gain respect, but so do a lot of people starting out in theatre.”
Grand Theatre Sales and Customer Engagement Manager, Amy Brailsford, said: “Pantomime is our busiest time of the year in the theatre Box Office, but it’s also my favourite. It’s a huge responsibility making sure that every single person who books panto with us has a magical experience and I love being able to do that for them. I have also really enjoyed overseeing the team as we put next year’s pantomime Cinderella on sale, which required a huge amount of administration and time management, which I think women excel in.”
Female backstage panto crew – L to R – Assistant Stage Manager Elin Isebäck, Head of Wardrobe/Costume Design – Elizabeth Dennis, Wardrobe Assistant Eleanor Birchenough, Stage Technician Kerry Sale, Director Kylie Butler, Stage Manager Ashleigh Allcroft, Deputy Stage Manager Laura Catlow and Wardrobe Mistress Emily Sanderson.
Aladdin Company Manager, Lorraine Hill, added: “This is my 20th year as Company Manager and it’s a job I look forward to so much each Christmas. I look after every aspect of the pantomime cast – from running their schedules; liaising between the cast, the show producer and theatre; and looking after their general wellbeing. Being a female brings an important sense of empathy and organisation to the role. I’m the cast mum!”
The Grand also encouraged the emergence of women-centric productions this year and recent standout productions on the Grand stage included the RSC’s exciting new production of Julius Caesar – which explored important questions of gender in leadership and power, and whose crew included Associate Director, Lucy Waterhouse; Associate Music Director, Helen Washington; Composer, Jasmin Kent Rodgman, and Music Director, Lindsey Miller. Comedy drama Quality Street from Northern Broadsides featured a predominantly female cast (Alice Imelda, Paula Lane, Alicia McKenzie, Louisa-May Parker, and Gilly Tompkins), and the Olivier Award winning ‘Best Comedy’ – Pride and Prejudice* (*Sort Of) was written and directed by Isobel McArthur, choreographed by Emily Jane Boyle and starred Lucy Gray, Dannie Harris, Leah Jamieson, Emmy Stonelake, Megan Louise Wilson, Ruth Brotherton in its fabulous all-female cast.
The past decade has witnessed a gradual shift towards greater gender equality in theatre. Initiatives such as gender-blind casting, diversity programs, and increased awareness have contributed to positive changes. Anecdotal evidence suggests an increase in the presence of women in various roles in theatre. This includes a higher percentage of female directors, writers, and actors in prominent productions.
The future for women in theatre looks encouraging. Ongoing efforts to address gender disparities, coupled with a changing societal landscape, are likely to lead to increased opportunities, recognition, and representation for women in all aspects of theatre.
Adam Knight, Blackpool Grand Theatre Chief Executive, said: “The theatre industry across the UK has seen positive shifts in gender dynamics over the past decade, with increasing efforts to address historical imbalances. While challenges persist, the momentum toward greater inclusivity and diversity bodes well for the future of women in theatre. Blackpool Grand is proud to challenge these stereotypes and provide a platform for women to explore and excel in these critical behind-the-scenes roles and we are thrilled to work with UK Productions and other partners on ensuring level access and openness.”
Martin Dodd, UK Productions producer, added: “Continued advocacy, awareness, and support for gender equality initiatives are crucial in ensuring a more equitable and diverse theatrical landscape both locally, regionally, and nationally, and here at UK Productions we fully support that. We believe in fostering an inclusive environment where everyone, regardless of gender, can contribute their unique talents to the world of theatre.”
For further information on Blackpool Grand Theatre and all its amazing live shows please visit www.blackpoolgrand.co.uk or call the Box Office on 01253 290190
LISTINGS
Grand Theatre, 33 Church Street, Blackpool FY1 1HT
New York, NY (January 4, 2024) – Nicole Scherzinger will bring her “unmistakably triumphant” (Telegraph) performance as ‘Norma Desmond’ to Broadway this year in director Jamie Lloyd’s new production of Andrew Lloyd Webber’s Sunset Boulevard. The production was hailed as London’s 2023 “best show of the year” (Time Out) and features book and lyrics by Don Black and Christopher Hampton, based on the Billy Wilder film.
Joining Scherzinger on Broadway will be her acclaimed London co-stars: Tom Francis as ‘Joe Gillis’, Grace Hodgett-Young as ‘Betty Schaefer,’ and Olivier Award® winner David Thaxton as ‘Max Von Mayerling.’
Production dates, theater, and additional casting for Sunset Boulevard on Broadway will be announced shortly.
To sign up to receive the latest news about Sunset Boulevard on Broadway, please visit www.sunsetblvdbroadway.com.
When The Jamie Lloyd Company’s new production of Sunset Boulevard began performances in September, it immediately grabbed the attention of theatergoers worldwide as an extraordinary reimagination of Lloyd Webber’s iconic musical. Scherzinger’s performance was hailed as “soul-baring and roof raising” (Daily Mail) and Lloyd’s “tour de force of a show” (Evening Standard) became the talk of both sides of the Atlantic, winning Evening Standard Theatre Awards for Scherzinger and Lloyd, and recently receiving nine WhatsOnStage Award nominations. In the U.S., it has already been included in Best of 2023 lists from the Washington Post, Town & Country, and Theatrely.
Lloyd Webber’s thrillingly atmospheric Sunset Boulevard features an iconic score including the songs “With One Look,” “The Perfect Year,” and “As If We Never Said Goodbye.”
Haunted by her memories and dreams, movie star Norma Desmond (Scherzinger) yearns to return to the big screen. A struggling screenwriter (Francis) who can’t sell his scripts to the Hollywood studios may be her only hope, until their dangerous and compelling relationship leads to disastrous circumstances. Drenched in champagne and cynicism, Sunset Boulevard scrutinizes the ambitions and frustrations of its characters and their intoxicating need for fame and adoration.
The creative team for Sunset Boulevard includes Soutra Gilmour (set and costume design), Fabian Aloise (choreography), Alan Williams (music supervisor and musical director), Jack Knowles (lighting design), Adam Fisher (sound design), Nathan Amzi and Joe Ransom (video design and cinematography), Jim Carnahan CSA and Jason Thinger CSA (U.S. casting director), and Stuart Burt CDG (U.K. casting director). 101 Productions, Ltd. serves as the General Manager for Sunset Boulevard.
Sunset Boulevard is produced by The Jamie Lloyd Company, Ambassador Theatre Group Productions, Michael Harrison for Lloyd Webber Harrison Musicals, and Gavin Kalin Productions by arrangement with The Really Useful Group Ltd and based on the original Paramount film by Billy Wilder.
BIOGRAPHIES
Grammy® Award nominated, Nicole Scherzinger (Norma Desmond) is a multi-award-winning, platinum-selling singer, songwriter, actress, and dancer. The multi-hyphenate was formerly a member of one of the world’s best-selling music groups of all time, The Pussycat Dolls, firmly cementing herself as a global pop icon. Scherzingerhas previously starred on the West End in Andrew Lloyd Webber’s Cats, for which she was nominated for an Olivier Award for Best Supporting Actress. On screen, she recently led a critically acclaimed cast in the NBC musical television special, “Annie Live!” and performed at Windsor Castle – headlining the entertainment at King Charles III Coronation Concert in London. The Hawaiian native has graced screens worldwide for over a decade in movies such as Disney’s Moana and ABC’s remake of fan favorite Dirty Dancing, and as a judge on shows such as “X Factor,” “Australia’s Got Talent,” and “The Masked Singer.”
Andrew Lloyd Webber (Composer) has written the scores of some of the world’s most famous musicals, beginning with Joseph and the Amazing Technicolor Dreamcoat in 1969. When Sunset Boulevard joined School of Rock, Cats, and The Phantom of the Opera, he equaled Rodgers & Hammerstein’s extraordinary record of having four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar, and Tony Awards. Lloyd Webber owns and operates six London theaters, including the iconic London Palladium and Theatre Royal, Drury Lane. Reopened in July 2021, the latter was completely restored and renovated at a cost of over $76 million – one of the biggest projects ever undertaken by a private theater owner in recent times. His mantra is that every penny of profit made from his theaters is put back into the care of the buildings. Lloyd Webber is passionate about the importance of musical education and diversity in the arts. In Britain, The Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need and supports a range of projects, such as the Music In Secondary Schools Trust and commissioning research into diversity in theater. In the United States, The Andrew Lloyd Webber Initiative, administered through the American Theatre Wing, helps under-served, diverse students overcome barriers to pursuing a career in theater. The Initiative provides public school drama teachers with the resources they need to nurture young talent in their schools, and gives training and university scholarships to students, especially those from groups that are underrepresented in the theater industry. Lloyd Webber has composed anthems for the 1978 World Cup in Argentina and for two Olympic ceremonies, including “Amigos Para Siempre,” the official song of the 1992 summer games in Barcelona. He wrote “Let Us Love in Peace” for the aftermath of the attacks on 9/11 and wrote and performed “Sing” with Gary Barlow at Queen Elizabeth II’s Diamond Jubilee in 2012. Most recently, he composed the anthem performed at the Coronation of King Charles III. With his musicals continuing to be staged around the world, a unique interpretation of Cats(Cats: The Jellicle Ball) will premiere at the Pearlman Arts Center in New York and an all-new production of Starlight Express will premiere in London this summer.
Don Black (Book & Lyrics) received two Tony Awards for Best Book and Lyrics of a Musical for his work (with Christopher Hampton) on Sunset Boulevard, which marked his third collaboration with Andrew Lloyd Webber. They first joined forces to write the song cycle Tell Me On A Sunday, which developed to form the basis of the stage show Song and Dance. They were reunited again for Aspects of Love. He also wrote the lyrics for the Andrew Lloyd Webber produced Bombay Dreams. Awards include an Oscar for his song “Born Free;” five Academy Award nominations; two Tony Awards and three Tony Award nominations; six Ivor Novello Awards; a Golden Globe; and many platinum and gold discs. He has written a quintet of James Bond theme songs: “Thunderball,” “Diamonds Are Forever,” “The Man With The Golden Gun,” “Surrender” from Tomorrow Never Dies, and “The World Is Not Enough.” Among his many popular songs are two U.S. Number Ones – “Ben” for Michael Jackson and “To Sir With Love” for Lulu. He was inducted into the Songwriters Hall of Fame in 2008. In the recent King’s Honors List, he received the Commander of the British Empire Award. In 2020, he was awarded an Olivier Award for his outstanding services to theater. Most recently he wrote his critically acclaimed memoir The Sanest Guy in The Room, which featured in the Sunday Times of London bestsellers list. His musical of Bonnie and Clyde had a successful West End run at the Garrick Theatre and his next project which he wrote with Christopher Hampton and George Fenton is a musical version of the classic film The Third Man.
Christopher Hampton (Book & Lyrics) became involved in theater while studying French and German at Oxford University and wrote a play in his first year. The Royal Court’s subsequent production was so successful that it transferred to the Comedy Theatre while he was still a student, making him the youngest writer ever to have a play performed in the West End – a record which still stands. He said at the time that he also hoped to become the oldest writer to have a play in the West End, an ambition he has yet to achieve. His plays, musicals, and translations have so far garnered four Tony Awards, three Olivier Awards, four Evening Standard Awards, and the New York Theatre Critics’ Circle Award. Prizes for his film and television work include two Oscars; three BAFTAs, a Writer’s Guild of America Award, the Prix Italia, a Special Jury Award at the Cannes Film Festival, Hollywood Screenwriter of the Year, and the Collateral Award at the Venice Film Festival for Best Literary Adaptation. His musicals include Sunset Boulevard, Dracula The Musical, Stephen Ward, and most recently The Third Man, all with Don Black. Many translations include the German musical based on Daphne du Maurier’s Rebecca. Hampton’s screenplays include The Son, The Father, Perfect Mothers, A Dangerous Method, Chéri, Atonement, Imagining Argentina (which he also directed), The Quiet American, The Secret Agent (which he also directed), Mary Reilly, Total Eclipse, Carrington (the first film he also directed), and Dangerous Liaisons.
Jamie Lloyd (Director). For The Jamie Lloyd Company: The Effect (National); A Doll’s House (Hudson, Broadway; six Tony Award nominations including Best Director and Best Revival of a Play; Drama League Award for Outstanding Revival of a Play and nomination for Outstanding Direction of a Play); The Seagull (Playhouse/ Harold Pinter; Evening Standard Award nomination for Best Director); Cyrano de Bergerac (Playhouse/Harold Pinter/Glasgow Theatre Royal/Brooklyn Academy of Music, New York; Drama League Award nominations for Outstanding Revival of a Play and Outstanding Direction of a Play; Olivier Award for Best Revival; Evening Standard Award nomination for Best Director; WhatsOnStage Award nomination for Best Director); Betrayal (Harold Pinter/Bernard B. Jacobs, Broadway; Tony Award nominations for Best Director and Best Revival of a Play; Critics’ Circle Award for Best Director; Evening Standard Award nomination for Best Director; Drama League Award nomination for Outstanding Revival of a Play; Outer Critics’ Circle Award nominations for Best Director and Best Revival of a Play; WhatsOnStage Award for Best Play Revival); One for the Road, The New World Order, Mountain Language, The Lover, The Collection, Landscape, A Kind of Alaska, Monologue, Party Time, Celebration, A Slight Ache, The Dumb Waiter (Harold Pinter); Doctor Faustus (Duke of York’s); The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse, Macbeth (Trafalgar Studios). Other theater credits: Evita (Regent’s Park Open Air; Evening Standard Award for Best Musical Revival; Critics’ Circle Award for Best Director; Olivier Award nomination for Best Revival of a Musical; WhatsOnStage Award nominations for Best Director and Best Musical Revival); The Pride (Royal Court; Olivier Award for Outstanding Achievement in an Affiliate Theatre); Inadmissible Evidence (Donmar); Passion (Donmar; Evening Standard Award for Best Musical; Olivier Award nomination for Best Musical Revival); Piaf (Donmar, Vaudeville, Teatro Liceo, Buenos Aires and Nuevo Teatro Alcalá, Madrid; Olivier Award nomination for Best Musical Revival, Hugo Award for Best Director, Clarin Award for Best Musical Production; ADEET Award for Best Production); The Little Dog Laughed (Garrick); Three Days of Rain (Apollo; Olivier Award nomination for Best Revival; WhatsOnStage Award nomination for Best Revival); The Lover and The Collection (Comedy); Salome (Headlong); Eric’s (Liverpool Everyman); The Caretaker (Sheffield Crucible/Tricycle). Radio credits include: “Heart of Darkness” (BBC Radio 4). @jamielloyd.
Tom Francis (Joe Gillis). Theater credits include: & Juliet (Shaftesbury), What’s New Pussycat? (Birmingham Rep), Rent (Hope Mill); Hair – The Concert (London Palladium), I Could Use A Drink (Gartland Productions). Workshop credits include: If/Then and What’s New Pussycat? Training: Arts Educational School. @realtomfrancis.
Grace Hodgett-Young (Betty Schaefer). Theatre credits include: The Little Mermaid, Bare, Made in Dagenham (Mountview Academy of Theatre Arts); Sister Act (Nottingham Playhouse). Training: Mountview Academy of Theatre Arts. @gracehodgettyoung.
David Thaxton (Max Von Mayerling). Theater credits include: Les Misérables (Sondheim/ Queen’s); Come From Away (Phoenix); The Phantom of the Opera (Her Majesty’s); Passion (Donmar Warehouse; Olivier Award for Best Actor in a Musical); Camelot (London Palladium); Love Never Dies (Adelphi); West End Men (Vaudeville); She Loves Me (Sheffield Crucible); Candide (Menier Chocolate Factory); Roller Diner (Soho); Only The Brave, The Rake’s Progress (Wales Millennium Centre); The Sorcerer’s Apprentice (Southwark Playhouse); The Cunning Little Vixen (Sherman, Cardiff); Trial by Jury (BBC National Orchestra of Wales/ St David’s Hall/ Chandos).
Concerts include: Jesus Christ Superstar – The Concert (Regent’s Park Open Air); Broadway to the Bay (Wales Millennium Centre); “Welsh Guards Centenary Celebration” (Cardiff Principality Stadium); “Friday Night is Music Night” (BBC Radio 2); Bond with the Royal Northern Sinfonia (Sage Gateshead); Bring Them Home (Cardiff Castle). Training: Royal Welsh College of Music and Drama. @youngthacko
WORLD PREMIÈRE OF ONE LAST PUSH BY CHRIS CHIBNALL AT SALISBURY PLAYHOUSE
Wiltshire Creative today announces the cast for their upcoming world première of Chris Chibnall’s new comedy One Last Push, as part of their spring 2024 season. Gareth Machin directs Sam Alexander, Valerie Antwi, Sherry Baines, James Gaddas, David Partridge and BBC Call the Midwife’sLaura Main.
Chris Chibnall is best known for creating and writing the award-winning crime drama Broadchurch and also worked as showrunner on Doctor Who between 2018 and 2022. Chris returns to Salisbury Playhouse having previously debuted The Worst Wedding Ever in 2014 which was revived in 2017 at Salisbury Playhouse before its subsequent national tour. Also returning areSam Alexander and Sherry Baines having previously performed in How the Other Half Loves and David Partridge who performed in The Tempest for Salisbury International Arts Festival in summer 2023. The production opens on 20 February 2024 at Salisbury Playhouse, with previews from 15 February, and runs until 9 March.
Gareth Machin, Artistic Director of Wiltshire Creative, said: “What a fabulous cast we’ve managed to bring together for this world première of Chris Chibnall’s brilliant comedy One Last Push. I am delighted to welcome back Sam Alexander, Sherry Baines, and David Partridge to Salisbury Playhouse. With Valerie Antwi, James Gaddas and Laura Main completing the company – I’m very much looking forward to working with them here in Salisbury and know that our audience are in for a treat.”
SALISBURY PLAYHOUSE
A Wiltshire Creative Production ONE LAST PUSH By Chris Chibnall
15 February 2024 – 9 March 2024
Cast: Sam Alexander (Mark), Valerie Antwi (Alize), Sherry Baines (Eileen), James Gaddas (David), Laura Main (Jen) and David Partridge (Paul).
Director: Gareth Machin; In-House Producer: Alice Bezant; Designer: Simon Kenny; Lighting Designer: Johanna Town; Sound Designer: Andrea Cox; Video Designer: Dan Light; Costume Supervisor: Teri Buxton; Casting Director: Gabrielle Dawes CDG
One Last Push is the world premiere of a new original comedy about the unexpected and often hilarious dramas of childbirth written by Chris Chibnall, creator of Broadchurch and the showrunner of Doctor Who. Chibnall’s new play hilariously depicts what happens when one of life’s most magical events gets hijacked… by life itself.
Jen and Mark have done the NCT classes.
They’ve written the birth plan, in precise detail.
They’ve even got the birth pool ready in the living room of their new flat. Almost.
Everything is set for the perfect, calm, idyllic home birth.
Except they’ve reckoned without intrusive family, nosy neighbours, uninvited guests and a new flat full of unwelcome surprises.
Chris Chibnall is aBAFTA, Royal Television Society, Broadcasting Press Guild and Peabody award-winning screenwriter, executive producer, and playwright whose work has been seen, translated and remade all around the world. He is the recipient of the prestigious FIPA Prix D’Honneur, and honorary doctorates from Edge Hill University and Sheffield Hallam University. His theatre work includes Worst Wedding Ever (Salisbury Playhouse, 2014 & 2017 and national tour), Gaffer! (Southwark Playhouse, York Theatre Royal, 2005), Kiss Me Like You Mean It (Soho Theatre 2002, Théâtre de L’Oeuvre 2004). His television work includes Broadchurch (Imaginary Friends/ITV) — remade as Gracepoint in the US and Malaterra in France; The Great Train Robbery: A Robber’s Tale and A Copper’s Tale (BBC One/World Productions)’ United (BBC Two/World Productions); Law & Order UK (Kudos/ITV); Doctor Who, Torchwood, Life on Mars and Born and Bred (BBC).
Sam Alexander returns to Salisbury Playhouse to play Mark – he previously appeared in How the Other Half Loves. His other theatre work includes TheMachinal (Ustinov Bath), The Ghost Train (Royal Exchange Theatre), Lawrence After Arabia (Hamstead Theatre), Much Ado About Nothing, Love’s Labour’s Lost (Royal Shakespeare Company/West End), Racing Demon, The Lady in the Van (Theatre Royal Bath), The Outsider (The Print Room), The Watsons (Chichester Festival Theatre), Cat on a Hot Tin Roof (ETT), and The Homecoming (UK tour).For television, his credits include Say Nothing, Trail by Jury, Doc Martin, Call the Midwife, Wolf Hall, and Quick Cuts; and for film, The English, Misbehaviour, 45 Years, Hamlet, A Perfect Life and An American Haunting.
Valerie Antwi plays Alize. Her theatre credits include Quiz: The Coughing Major Scandal (UK tour), The Comedy of Errors – More of Less (A Musical Farce) (Stephen Joseph Theatre, Shakespeare North Playhouse), Harry Potter and the Cursed Child (Palace Theatre London), Rebel (Estuary Festival), The Rebellious Women of Wimbledon (Attic Theatre Company), The Merchant of Venice (Orange Tree Theatre), Mary Stuart (Duke of York’s Theatre), Coriolanus, Julius Ceasar, King Lear (RSC), Our Country’s Good, The Recruiting Officer (Theatre by the Lake), Romeo and Juliet (National Theatre), Jenufa (Arcola Theatre), Blood Wedding (Lion and Unicorn Theatre), Clybourne Park (Bridgewell Theatre), The Toad in the Hole (Tristan Bates Theatre), The Last Days of Judas Iscariot (Barons Court Theatre), Nell Gwynn (Bridewell Theatre), Anna Karenina (Putney Arts Theatre), The Government Inspector (Edinburgh Festival), Macbeth (Cheef Productions), The Winter’s Tale, The Blacks: A Clown Show, Blue Room (Capitol Theatre), and Sweet Charity (Cockpit Theatre). For television, her credits include Di Ray; and for film, Kapital, Sofia’s Diary, and The Joy of Text.
Sherry Baines as Eileen. She has previously performed in How the Other Half Loves and Before the Party at Salisbury Playhouse. Her other theatre credits include Henceforward (Derby Playhouse), Absurd Person Singular (Bolton Octagon Singular), I Want That Hair (Theatre Royal York), Honeymoon Suite (New Victoria Theatre), A Small Family Business (Theatr Clwyd), I am a Camera (Southwark Playhouse) Much Ado About Nothing (Stafford Festival Shakespeare), Other People (St James Theatre), and The Mousetrap (St Martins Theatre). For television, her credits include Breathless, Call the Midwife, The A Word, and Ralph & Katie; and for film, Jungle Cry and Testimony.
James Gaddas plays David. His theatre credits include Fisherman’s Friends: The Musical,Spamalot (UK tour), Billy Elliot, Mamma Mia!, The Girls, Art (West End), Jackie (Queen’s Theatre), This House (National Theatre), Peter Pan (Leicester Curve), Hedda Gabler (Octagon, Bolton), and The Messiah (West Yorkshire Playhouse). For television, his credits include Coronation Street as Vinny Sorrell, Hollyoaks as Cormac Ranger,Medics, Backup, Tracy Beaker, Jonathan Creek, Outlander, Waterloo Road, Dogtown, Vincent, Grafters, Peak Practice and The Camomile Lawn; and for film Starter for Ten, Girl’s Night, The Human Bomb, The Pied Piper, and A Hazard of Hearts.
Laura Main plays Jen. Her theatre credits include Steel Magnolias, Shrek (UK tour), Cinderella (Her Majesty’s Aberdeen), Robin Hood (Queen’s Theatre), Company (Southwark Playhouse), Romeo and Juliet (Regent’s Park Open Air Theatre), As You Like It (Regent’s Park Open Air Theatre) and Alice In Wonderland (Royal Shakespeare Company). For television, her credits include Call the Midwife as Shelagh Turner, The Mill, Murder City and Father Brown; and for film Dead Cat.
David Partridge returns to the venue to play Paul. He has previously performed in The Tempest (Salisbury International Arts Festival), The Recruiting Officer and Bedroom Farce at Salisbury Playhouse. His other theatre credits include The Secret Theatre (Sam Wanamaker Playhouse, Shakespeare’s Globe), All My Sons (Rose Theatre, Kingston), Barefoot in the Park (Yvonne Arnaud Theatre, Guildford), The Mummy (Coventry Belgrade), Charley’s Aunt (Theatre Royal Bath), The Comedy of Errors (Northcott Theatre, Exeter), The Taming of the Shrew (Regent’s Park Open Air Theatre), You Can Still Make a Killing, Superior Donuts (Southwark Playhouse), Round and Round the Garden (Devonshire Park Theatre, Eastbourne), The Safari Party (Library Theatre, Manchester), The Taming of the Shrew (Nottingham Playhouse), Measure for Measure (Riverside Studios), Stone Cold Murder (Vienna’s English Theatre), and The Gentlemen (Jermyn Street Theatre). UK tours include The Mirror Crack’d, See How They Run, Twelfth Night, Travels with my Aunt and Murder on Air. For television, his credits include Colosseum, There She Goes, Always and Everyone; and for film, The Lost and Young and High and Dead.
Gareth Machin directs. Machin is the Artistic Director of Wiltshire Creative. Previously, he was studio associate at the National Theatre, Artistic Director of Southwark Playhouse and associate director at Bristol Old Vic.
The National Theatre and Wales Millenium Centre today announce the full cast for Nyeas the company begins rehearsals. Tim Price’s (Teh Internet is Serious Business) new play directed by Rufus Norris (Small Island), charts the life of Aneurin ‘Nye’ Bevan and his battle to create the NHS. Michael Sheen is cast as Nye in this co-production between the National Theatre and Wales Millennium Centre.
Matthew Bulgo, Dyfan Dwyfor, Ross Foley, Daniel Hawksford, Bea Holland, Michael Keane, Nicholas Khan, Oliver Llewellyn-Jenkins, Mark Matthews, Ashley Mejri, Lee Mengo, David Monteith, Mali O’Donnell and Sara Otung join the previously announced cast of Remy Beasley, Roger Evans, Jon Furlong, Stephanie Jacob, Kezrena James, Tony Jayawardena, Rebecca Killick, Rhodri Meilir, Michael Sheen and Sharon Small.
Director Rufus Norris leads a creative team including set designer Vicki Mortimer, costume designer Kinnetia Isidore, lighting designer Paule Constable, co-choreographers Steven Hoggett and Jess Williams,composer Will Stuart,sound designer Donato Wharton, projection designer Jon Driscoll, company voice work Cathleen McCarron and Tamsin Newlands, staff director Francesca Goodridge,associate set designer Matt Hellyer, dialect coach Patricia Logue and casting by Alastair Coomer CDG and Chloe Blake.
From campaigning at the coalfield to leading the battle to create the NHS, Aneurin ‘Nye’ Bevan is often referred to as the politician with greatest influence on our country without ever being Prime Minister.
Confronted with death, Nye’s deepest memories lead him on a mind-bending journey back through his life; from childhood to mining underground, Parliament and fights with Churchill in an epic Welsh fantasia.
Nye is playing in the Olivier theatre from 24 February until 11 May, with press night on 6 March 2024.
Following its world premiere in the Olivier theatre, Nye will play at the Wales Millennium Centre. Michael Sheen will continue his role as Nye Bevan in this strictly limited run from 18 May until 1 June 2024
Tickets are available from £20 and are on sale now via the National Theatre website. For further information, including details about assisted performances, please visit nationaltheatre.org.uk.
Justice, friendship, and drama – based on a true Hull story!
The search for stories from the fish factory floor
Did you work in the fish factories in Hull during the 1980’s? Or know somebody who did? If so, Hull Truck Theatre and Hull Maritime need your help…
Their brand-new community production of Guts! The Musical – The Story of the Hull Fish Packers, is set to take to the stage at Hull Truck Theatre in Summer 2024 (Sat 29 June – Sat 6 July). Following Union Rep Peter Allen and 15 women from a fish packing factory in Hull, audiences are invited to enjoy this whirlwind retelling of the ground-breaking case which changed the equalities act in UK, forever.
To make this iconic local maritime story as authentic as possible, Hull Truck Theatre are seeking to connect with past fish factory workers to gather as many stories as possible. They’d like to hear from people who worked in the fishing packing factories in Hull, specifically during the 1980’s.
Any contributions, insights or lived experiences shared will be explored and considered for inclusion in the play. Local playwright, Maureen Lennon, will use local stories as a basis for the story alongside some artistic license, to create a fun retelling of the iconic Hull Fish Packers.
Maureen Lennon, Writer of Guts! The Musical, said:
“When Hull Truck Theatre commissioned me to write their Community production, following a maritime theme, I immediately agreed! I was keen to write a play based on true events, which would resonate with local people. The fishing industry is a huge part of Hull’s rich maritime history, and I knew there would be so many untold stories out there just waiting to be uncovered. I stumbled across the story of Union Rep Peter Allen and the equalities act and was instantly hooked!
“It’s really important that local voices contribute towards the creation of the play – which is based on a true story. We’d love to hear from anyone who can help tell us what it was like to work in the fish factories in Hull, during this key time.”
The public can submit their stories, encounters and recollections via a digital form which is available to access from the Hull Truck Theatre website. Stories are being accepted up until the 31st January 2024.
Tom Saunders, Director of Guts! The Musical, said:
“Our Community production is always a highlight in the Hull Truck Theatre calendar and this one feels extra special as it’s based on a local story which so was revolutionary, it made history! We think audiences are really going to enjoy this fast-paced farcical drama which will retell the story of demanding equal pay for equal work, but with lots of hilarity and musical joy thrown in for good measure.
“We’ll soon be looking to recruit for our Community Cast, so watch this space for details if you’d like to be involved on stage, too!”
Hull Truck Theatre are really excited to be working in partnership with Hull Maritime project, using the power of theatre to tell the city’s rich history.
Councillor Rob Pritchard, Portfolio Holder for Leisure and Culture at Hull City Council, said:
“It is great to join forces with Hull Truck Theatre to get more people involved in the Hull Maritime project in a creative and fun way.
“The play will highlight one of the most important but lesser-known parts of Hull’s maritime heritage and we’re excited that local people will have the opportunity to be part of telling this story.”
For more details about how to submit your story, please visit: www.hulltruck.co.uk
Tickets for Guts! The Musical are now on sale from Hull Truck Theatre’s Box Office, starting from £10.
