Trafalgar Theatre Productions, Eilene Davidson Productions and Alan Howard, in association with the Royal Shakespeare Company, present the Watford Palace Theatre & HOME Manchester production of
THE MERCHANT OF VENICE 1936
starring
TRACY-ANN OBERMAN
directed by
BRIGID LARMOUR
“The year’s most important Shakespeare production”
DAILY TELEGRAPH
★★★★★
“An astonishing, full-blooded performance.
For anyone who wonders how to produce
Shakespeare in the 21st Century, this really is it”
METRO
TRANSFERS TO LONDON’S WEST END
CRITERION THEATRE
15 FEBRUARY – 23 MARCH
TICKETS ON SALE 10:00 TUESDAY 19 DECEMBER FROM
MERCHANTOFVENICE1936.CO.UK
Following its critically acclaimed UK tour, The Merchant of Venice 1936 transfers to London’s West End for a limited season at the Criterion Theatre, from 15 February – 23 March. Tracy-Ann Oberman (EastEnders, Doctor Who, Friday Night Dinner), continues her groundbreaking portrayal of Shylock, being the first British actress to play the role. Ambition, power and political unrest explode onto the stage in this “striking and impactful” (The Guardian) production that “makes theatre history” (Daily Telegraph). This “fascinating and timely” (Daily Mail) reimagining sees Shakespeare’s classic transported to 1930s East London against the backdrop of the ‘Battle of Cable Street’. It is directed and adapted by acclaimed director Brigid Larmour from an idea by co-creator Tracy-Ann Oberman.
Tracy-Ann Oberman said: “It has been a lifelong cherished dream of mine to bring this play to the stage in a new way, reimagining Shylock as one of the tough, no nonsense Jewish matriarchs I grew up around. The love we have experienced from theatre audiences around the country for the way that this story is told has propelled us into the West End. I’m delighted that my dream has touched hearts and minds along the way. This transfer to the Criterion – which could not be more timely – will continue to spread the message that we are stronger together.”
Joining Tracy-Ann and reprising their roles are Raymond Coulthard (Emmerdale, Hotel Babylon) in the roles of Antonio and Arragon, Hannah Morrish (Antony and Cleopatra, Father Brown) as Portia, Gavin Fowler (Henry V, King Lear) as Bassanio, Jessica Dennis (The Habit of Art) as Mary and Nerissa, Grainne Dromgoole (Romeo and Juliet) as Jessica, Xavier Starr (The Mechanicals Presents… Macbeth or Julius Caesar) as Gratiano, Alex Zur (Hamlet, A Level Playing Field) as Yuval/The Duke/Balthasar/Blackshirt (member of the British Union of Fascists), and Nancy Farino (Masters of the Air) as Stefania/Blackshirt (member of the British Union of Fascists) .
With the city on the brink of political unrest, fascism sweeping across Europe and Oswald Mosley’s British Union of Fascists threatening a paramilitary march through the Jewish East End, strong-willed single mother Shylock runs a pawnbroking business from her house in Cable Street where Mosley will march. When charismatic, antisemitic aristocrat Antonio comes to her for a loan, a high-stakes deal is struck. Will Shylock take her revenge, and who will pay the ultimate price?
The Merchant of Venice 1936 creative team includes: Liz Cooke (costume and set design), Rory Beaton (lighting design) and Sarah Weltman (sound design). Erran Baron Cohen (composer), Annabel Arden (associate /movement director), Greta Zabulyte (video).
Prior to the West End run, The Merchant of Venice 1936 will be playing at the Swan Theatre, Stratford-Upon-Avon from 24 January – 10 February, following its previous five-month UK tour.
LISTINGS INFORMATION
Website: merchantofvenice1936.co.uk
Tickets: From £10
Twitter: @MOV1936 Facebook and Instagram: @merchantofvenice1936
National Theatre celebrates tenth anniversary of the Black Plays Archive with launch of new digital platform
Today the National Theatre launches a new digital platform for the Black Plays Archive, marking the tenth anniversary of the online resource. The new website contains a catalogue of the first professional production of Black British, African, and Caribbean plays produced in the UK from 1909 to today.
The digital archive includes over 850 plays and over 300 Black British, African, and Caribbean writers. Notable works include Pocomania from Jamaican writer Una Marson, Moon on a Rainbow Shawl by Errol John and works from contemporary writers including Winsome Pinnock, Roy Williams and Dipo Baruwa-Etti.
Alongside the extensive database of plays, the archive also contains a vast range of resources including over 70 video and audio recordings of play extracts, a bibliography of essays on Black British theatre and video interviews with leading practitioners and academics in the field. The database can also be used to search for cast and creative teams for each production, the theatre they were first staged at, and which archives hold more information.
The Black Plays Archive uncovers a wealth of theatrical history and records the development and cultural influence of Black British theatre. The resourceaims to support practitioners, teachers, students and academics to discover lesser-known scripts, encourage the commissioning or restaging of these works and support the teaching of more diverse texts on the syllabus.
Clint Dyer, Deputy Artistic Director at the National Theatre said, “The Black Plays Archive is such a valuable resource that heralds work from Black British, African and Caribbean playwrights in Britain. The range of resources offered not only makes us aware of the history and cultural influence of Black British theatre but can also enable users to find ways to programme more global majority work. The National Theatre is delighted to be celebrating the tenth anniversary of the Black Plays Archive with the launch of this new platform, making it even easier to explore and access the range of brilliant work available.”
The Black Plays Archive is available to access now online.
Crossroads Pantomimes presents Cinderella The Fairy Godmother of all Pantos, written by Alan McHugh with additional material by Neil Hurst and Matt Slack.
Last night, at Hull New Theatre we were treated to an absolutely brilliant night of theatre. This is probably the best panto I have seen, it had everything you could possibly want, it was hilariously funny, it had the baddies, risqué jokes that went over the children’s heads for the adults, gorgeous sets and costumes and a fabulous cast … we even had ponies!!
Cinderella (Rebekah Lowings) lives with the truly awful Hernia (Peter Peverley) and Verruca (Jack Land Noble) in Hardup Hall who treat Cinderella really badly, making her do all the work. Buttons (Neil Hurst) is Cinderellas best friend he tries to cheer her up and but really, he is just a bit in love with her. One day Cinderella is in the forest and meets Prince Charming (Lee Mead) and he’s assisted by his Royal liege Dandini (Spin), who decide to pretend to be each so Cinderella meets who she thinks is Dandini and falls in love with him. The Prince then decides to hold a ball so he can find a princess and true happiness. What follows is the ball at the Prince’s palace but will Cinderella go? Will Verruca and Hernia try and stop her … you bet they will! With the help of Cinderellas Fairy Godmother (Olivia Mitchell) and Buttons Cinderella does go to the ball, but does she live happily ever after…?
Everything about this production deserves the 5 stars I’ve given it. All the cast in this production are amazing from the leads to the very talented ensemble. The sets and costumes are stunning. The band (Lisa Featherston, Mark Knight and led by musical director Jon Chamberlain) were so good.
I would really recommend you try and go and see Cinderella, it would make a brilliant after Christmas treat. It is everything a panto should be and more!
The Almeida Theatre announces the full cast of Yaël Farber’s production of King Lear
Joining the previously announced Danny Sapani are Hugo Bolton, Oliver Cudbill, Edward Davis, Fra Fee, Michael Gould, Akiya Henry, Geoffrey Lumb, Alec Newman, Gloria Obianyo, Faith Omole, Clarke Peters, Steffan Rizzi and Matthew Tennyson.
Following her Olivier Award-nominated The Tragedy of Macbeth, Yaël Farber directs Shakespeare’s poignant, morally ambiguous, and subversive epic, King Lear. The production opens on Thursday 15 February 2024, with previews from Thursday 8 February, and runs until Saturday 30 March.
KING LEAR
by William Shakespeare
Director: Yaël Farber;Set Designer: Merle Hensel;Costume Designer: Camilla Dely;Lighting Designer: Lee Curran; Sound Designer: Peter Rice; Composer: Max Perryment; Movement Director: Imogen Knight; Fight Director: Kate Waters; Casting Director: Julia Horan CDG
Thursday 8 February – Saturday 30 March 2024
Nothing shall come of nothing.
We all must face the moment of truth that we won’t live forever.
Lear, father and king of unquestioned power, must divide his realm between his three daughters. The first two quickly declare the love he is desperate to hear, yet his favourite Cordelia shuns the performative circus. “Nothing” she answers, when asked to speak. And towards that nothing Lear’s world begins to slide.
As the new generation unleashes the consequences of their father’s choices, Lear takes us into the eye of the storm and its trail of destruction.
Following her Olivier Award-nominated The Tragedy of Macbeth, Yaël Farber directs Danny Sapani (Killing Eve; Hymn) as King Lear in Shakespeare’s poignant, morally ambiguous, and subversive epic.
THE GIRLS ARE BACK! GARY BARLOW AND TIM FIRTH’S CALENDAR GIRLS THE MUSICAL RETURNS TO THE LOWRY IN JANUARY
The Girls are back! With even more laughter, more songs, and bigger iced buns! Calendar Girls the Musical makes a welcome return to The Lowry, Salford from Tuesday 16th to Saturday 20th January.
Presented by Bill Kenwright Ltd, Gary Barlow and Tim Firth’s production sees this incredible story continue to bloom with a reimagined book and new music.
Calendar Girls the Musical brings together a stunning cast of music, stage, and television stars. Baring it all in 2024 are Laurie Brett (EastEnders), Helen Pearson (Hollyoaks), Samantha Seager (Coronation Street), Maureen Nolan (The Nolans, Blood Brothers), Lyn Paul (The New Seekers, Blood Brothers), Honeysuckle Weeks (Foyle’s War). They are joined by Liz Carney,Colin R Campbell,Andrew Tuton, Jayne Ashley, and Victoria Hay.
Calendar Girls follows a group of extraordinary women in a small Yorkshire Women’s Institute, prompted to create a nude calendar following the death of a much-loved husband, to raise funds 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 true story of the Calendar Girls launched a global phenomenon: a million copycat calendars, a record-breaking movie, now celebrating 20 years since its release, the fastest-selling stage play in British theatre history, and now a hit musical. 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 is at The Lowry, Salford from Tuesday 16th to Saturday 20th January 2024. For more information and tickets visit www.thelowry.com.
Luke Adamson’s bittersweet love letter to theatre is fantastic Christmas fare – a behind the scenes peek at panto full of camp, bitchy backstabbing and humour that charms but has a deep sense of melancholy.
It’s the last show in the annual panto run in a provincial theatre and the two actors playing the ugly sisters in Cinderella have shared a dressing room for weeks. The pair acknowledge their routines are dated and getting less laughs, but gamely soldier on as their tolerance of each other nears breaking point. We see their backstage bickering about missed cues, premature pickups and overacting between scenes escalate to Shakespearean tragedy.
As well as the personal barbs, there is musing on the state of theatre and how the industry treats artists, the use of “names” rather than skilled actors and the sustainability of panto as the price of visiting the theatre once a year to see the same old routines performed in different costumes becomes untenable. Matthew Parker’s Chancery is a jobbing actor, falling into parts and the beds of company members. His “It’s only panto” attitude riles Worth (Bryan Pilkington) who insists he should respect panto as an art form.
Adamson’s writing is smart and witty, with his love for theatre shining through the angry observations. The characters are sketched nicely with just enough information to make their actions understandable and endear them to the audience in 70 minutes. Kate Bannister directs with her usual flair and Karl Swinyard’s dressing room set is a delight. The removal of a dressing rack and swift lighting change transports the actors “onstage” to perform delightfully cliched routines – there is even the traditional singalong competition.
Matthew Parker delights in the showier, more physical role of Chancery, gruesomely OTT as the ugly sister and seemingly constantly on the verge of slapping Worth backstage. Bryan Pilkington’s Worth is quieter but exquisitely portraying the character crumbling both on and offstage in a memorable performance. Together they are a brilliant double act – with a sparkling chemistry even in the quieter scenes and a joy to watch. Fantastic Christmas fun.
Tom Stoppard’s 2006 play still sparks in the hands of director Nina Raine. Jam packed with wordy arguments about free speech, politics – and music, the play spans the decades between the Soviet invasion of Czechoslovakia and the Velvet Revolution.
Die-hard Marxist Max (Nathaniel Parker) is appalled when his student Jan (Jacob Fortune-Lloyd) returns to Czechoslovakia. Jan appears wide-eyed and naïve about the reality of the situation in Czechoslovakia, and his collection of LPs he’s brought over from England is his main priority. As the oppression of inconvenient voices begins to impact on Jan and his work, he still rails against the moral exhibitionism of his friends open letters criticising the regime. When The Plastic People of the Universe (look them up – fascinating stuff) are arrested, he finally understands that these letters are the people’s only weapon, and the authorities’ repercussions for his actions are aimed at his greatest love.
Max continues to defend Communism, despite the Stalin blip, even when he witnesses the suppression of free speech in his visits to Prague. His materialistic views are a constant itch in his relationship with his wife Eleanor (Nancy Carroll) a classics scholar whose tutorials on Sappho are a perfect opportunity for Max to argue and flirt with her students when discussing the mind and body.
Nathaniel Parker is fantastic as the loud and bullish Max, while Jacob Fortune-Lloyd captures the changes in Jan through age and experience with a nuanced and engaging performance. Nancy Carroll is brilliant as Eleanor – spitting out her lines about cancer with fire and desperation and stealing every scene – and her daughter Esme in the second act.
The debates are often wordy, but zip back and forth with wonderful dashes of humour. Staged in traverse, the entrances and exits can sometimes be a little clumsy and noisy offstage, but Nina Raine’s direction keeps the pace from flagging. Scene changes are accompanied by a cracking soundtrack from Jan’s collection, with the cast dancing along with a slightly self-conscious energy that feels like an office party. The appearances of Pan/Syd Barrett during musical interludes are a puzzling but enchanting touch. Some of the arguments appear prescient, some feel very dated, but they all grab your attention in the hands of this magnetic cast. Of course, like Jan, you could just sit back and enjoy the music.
Rock’N’Roll will thrill Stoppard fans and is a real meaty, musical treat of a production.
Upstairs at the Gatehouse, London – until 14th January 2024
Reviewed by Mitzi Luck
4****
You’re A Good Man, Charlie Brown is a fun-filled musical which will fulfil the need for whimsy and laughs with Charles M. Schulz’s classic characters over the holiday season. Fans of the ‘Peanuts’ comics will be well-versed in the funny traits of the main characters and this musical succeeded in creating a series of familiar ‘Peanuts’ vignettes with a musical flair.
We first meet Charlie Brown, played by Jordan Broatch, as he decides which part of the day is his least favourite with the most heart-warming optimism. He pines for his kite to fly, the attention of the Little Red-Haired Girl (an unseen character) and for more than just peanut butter sandwiches for lunch.
All the characters face their trials and tribulations of a day in childhood, juxtaposed often with the astute wisdom of one much older and wiser. Linus Van Pelt, played by Jacob Cornish, brings this to the fore by being both adorable and wise. This really shines through in the song ‘My Blanket and Me’ with Jacob Cornish bringing some sass to Linus’ character that has the audience laughing.
A ‘Peanuts’ themed musical wouldn’t be complete without a Snoopy character, played by Oliver Sidney. I particularly loved his song ‘Suppertime’ in which Snoopy, played by Oliver Sidney, transforms into a tap-dancing songster. The highlight was his sudden transformation back into a goofy dog in his own little world humming away at the appearance of Charlie Brown, and then back into a star for his final notes!
The whole cast is full of energy and their vocals create a fun and dynamic musical. The set, designed by Ruby Boswell-Green, is created with 2d illustrations and they are so reminiscent of a ‘Peanuts’ cartoon that I would have loved to have seen more or for them to take up more of the stage. The characters all immerse themselves in the set in clever and amusing ways, such as popping up behind a school bus illustration or waving clouds in the air.
The musical wouldn’t be complete without an excellent performance from the band, directed by Harry Style. The timing and backing music were always spot on and created a wonderful atmosphere. All the music is catchy, uplifting, and sure to keep the audience coming back to this classic musical with much-loved characters.
We are absolutely delighted to announce the winner of the Aurora Award 2023 is SpitLip and their wonderful productionOperation Mincemeat
Our reviewers nominated them because “the incredible success that Operation Mincemeat has become since it’s transfer to the West End. It is impossible to pick out a single member, as it is such a team effort” and “SpitLip – Operation Mincemeat – 100 votes from me please and thank you”
You can find the review for their 5* show, Operation Mincemeat here :
“This brilliant and bonkers show about one of the most brilliant and bonkers operations of WW2 is one of the best productions to hit the West End in years.” Fortune Theatre review
“SplitLip’s lyrics are fast and funny, cramming more laughs into one song than some productions manage in an entire show” Southwalk Playhouse review
So a huge congratulations to SpitLip and Operation Mincemeat and thank you for their amazing contribution to keeping us entertained during 2023
The National Theatre and Various Productions announce today that Sheffield Theatres’ smash-hit production, Standing at the Sky’s Edge, has been awarded the internationally recognised ‘Made in Sheffield’ ® accolade ahead of it making its West End premiere at the Gillian Lynne Theatre in London from 8 February 2024. Originally created to protect the city’s unique reputation for world leading manufacturing, this is the first time a theatre production has received this registered trademark.
Standing at the Sky’s Edge is a multi-award-winning production, winning ‘Best New Musical’ at the 2023 Olivier Awards earlier this 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.
Written as a love letter to Sheffield and the city’s iconic Park Hill Estate, Standing at the Sky’s Edgeis directed by Sheffield Theatres’ Artistic Director, Robert Hastie and features songs by the legendary Sheffield singer-songwriter, Richard Hawley. With a hilarious and gut-wrenching book by Sheffield playwright, Chris Bush, 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.
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, singer-songwriter, said:
“I’m just a musician and to be connected in any way to Made in Sheffield®is just an honour for me – it’s mind blowing”
Robert Hastie, director and Artistic Director of Sheffield Theatre, said:
“To receive the Made in Sheffield® mark is a true honour. On behalf of everyone who contributed to the creation of Standing at the Sky’s Edge, we are thrilled that the production is the first of its kind to receive this accolade. I’d like to pay particular tribute to the craft and dedication of our in-house teams at Sheffield Theatres, who year-round turn ideas from brilliant artists into the highest quality work on stage. We are incredibly proud of Standing at the Sky’s Edge, for the way it has been received by audiences at home and now in London, and are delighted to have it recognised amongst Sheffield’s celebrated makers.”
Chris Bush, playwright, said:
“Etymologically, playwrights have more in common with cartwrights or shipwrights than authors or poets – we aren’t just abstract storytellers, but makers of things. Nowhere makes things better than Sheffield, and it’s a huge honour to see our work of artistic creation acknowledged alongside the city’s proud industrial heritage.”
Charles Turner, Master Cutler, Chair to Made in Sheffield, MD of Durham Duplex, said:
“Standing at the Sky’s Edge is as Made in Sheffield ® as my knives, it’s created here, its music comes from here, it’s about the heart and soul of Sheffield and tells the story of Sheffield to the world. We’re an export city and to have something like this going to London as a cultural export item is absolutely brilliant – why wouldn’t we give it the Made in Sheffield ® mark?!”
Rupert Lord, Producer, Various Productions said:
“Our musical is a wholly Sheffield-made show. Conceived, written and first performed in Sheffield deploying the enormous talents of a Sheffield born and bred writer, Chris Bush and songwriter, Richard Hawley and directed by a Yorkshireman, Rob Hastie, who is Artistic Director of Sheffield Theatres, this production is truly a love letter to this great city. I couldn’t be more delighted and proud that it has now been awarded the honour of using the iconic Made in Sheffield ® mark. Like great Sheffield cutlery, we believe Standing at the Sky’s Edge is of the highest quality and built to last, and this award is a fitting tribute to the creative energies that the city embodies.”
Kate Varah, Executive Director, National Theatre said:
“Standing at the Sky’s Edge is a uniquely special musical, deeply grounded in its specificity to Sheffield and, one that beautifully transformed our Olivier stage into the city’s iconic Park Hill Estate earlier this year. All at the National are thrilled to be part of the show created in Sheffield and are delighted that such a unique honour has been bestowed upon it.”
Standing at Sky’s Edge will make it West End premiere at the Gillian Lynne Theatre from 8 February 2024. Joining the cast for this new production are, 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, Laura Pitt-Pulford (Seven Brides for Seven Brothers, Regent’s Park Open Air Theatre; Emmerdale, ITV) as Poppy and Lauryn Redding (Bloody Elle, Rebel Productions/Royal Exchange) as Nikki.
Returning to reprise their roles are, Samuel Jordan (Masters of the Air, Apple TV; Sex Education, Netflix) as Jimmy, 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 Marcusand 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.
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 also has a UK and Ireland tour with gig 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.
