I love Country music. I love cowboy hats and boots, fiddles, pedal steel guitars and… well, everything about it. So, an evening of classic country tunes at my favourite theatre promised more fun than several shots of Bourbon & Branch before riding a mechanical bull whilst wearing an “I shot J.R.” t-shirt.
The curtain rose to the strains of “Deep In The Heart Of Texas”. Nailing their colours to the mast early on, it was immediately apparent that the band – Sophy Ball (fiddle), Tim Howard (pedal steel, lead guitar and banjo), Tony Davis (piano), Paul Griffiths (bass) and Trevor Brewis (drums) – were as tight as a pair of Daisy Dukes. Virtuosic playing all around, I was particularly taken with Sophy’s fantastically joyous tone on that fiddle.
The set was dressed like a typical downtown Nashville bar. A backdrop and some well placed props like a liquor jug, some barrels featuring well known alcohol manufacturers names and some stools. The “show” was kept simple: the band, the set and the songs – and was all the more powerful for it as it focused the attention on the whip-cracking music.
Country songs are all about the stories: those universal themes we can all relate to (loss, heartbreak, hope for better times ahead and coping during the rough times). In short, the full gamut of human emotions (no matter what side of the pond). And to tell those stories of course you need lyrics and singers to deliver them. So, after the instrumental opening our compere, Middi Murphy (also on lead vocals and guitar) came on and the vittles really got cooking.
Middi and fellow lead vocalist Sarah Boulter both had fantastic voices, full of colour, passion and that authentic country twang. They also had surprising range too – considering the diverse artists the set list presented, they conveyed each song’s emotion to its fullest extent. An impressive vocal display from all involved – including the band who contributed throughout on backing vocals.
Most eras of country music were covered with tons of classic tunes such as “On The Road Again”, “Ring Of Fire”, “Jolene” and “Rhinestone Cowboy” interspersed with some I wouldn’t have thought of including like “Take Me Home Country Roads” (but which made perfect sense) and more modern classics like “Friends In Low Places” and “Man! I Feel Like A Woman!”. Truly something for everyone.
There was a self-deprecating (though respectful) seam of comedy running through the show too, especially from our very personable singers and Sophy and Tim performing “Dueling Banjos” was a particular highlight. No exploration of Country would be complete without some Bluegrass, so “Foggy Mountain Breakdown” was also a very welcome addition.
This show is a toe-tapping jamboree that only the most determined of grouch’s could resist the charms of. With so much wonderful packed into the two hours we were given, from the Deep South to the Midlands, it’s been an absolute pleasure and the crowd showed their appreciation vociferously. I highly recommend hitching your cart to this wagon train. See y’all next time you’re ridin’ through town.
Production images released for The Odyssey: The Underworld at the National Theatre
The National Theatre today releases production photography for The Odyssey: The Underworld, the epic finale of the NT’s landmark multi-location production celebrating national community, written by Olivier award-winning playwright Chris Bush, with music by Jim Fortune and directed by Director of Public Acts Emily Lim.
Staged as a full-scale musical production, The Odyssey: The Underworld features a 160-strong company of people from across the nation alongside a cast of professional actors, musicians and cameo performance groups to celebrate the fifth anniversary of Public Acts, the NT’s nationwide programme to create extraordinary acts of theatre and community.
This fifth and final episode of the multi-location production brings together community participants from the first four episodes of The Odyssey including those from Restoke in Stoke-on-Trent, Cast in Doncaster, Trowbridge Town Hall in Trowbridge, The Fire Station (for Sunderland Culture in partnership with Sunderland Empire) in Sunderland as well as Public Acts founding theatre partner Queen’s Theatre Hornchurch, and Trybe House Theatre in London.
The full professional cast includes Amy Booth-Steel(Blue Jean) as Calypso, Tarinn Callender (Hamilton) as Telemachus, Sharon Duncan-Brewster(Dune) as Odysseus, Victoria Hamilton-Barritt (Hex) as Poseidon, Emma Prendergast(Eastenders) as Athena, and Zubin Varla(Tammy Faye) as Hades.
Cameo performances will also be featured from The London Bodhrán Band, Haringey Vox Choir, Impact Dance Group, and South Wales Gay Men’s Chorus.
The creative team also includes set designer Sadeysa Greenaway-Bailey, movement director Dan Canham, costume designer Fly Davis, music supervisor and musical director Tarek Merchant, lighting designer Joshua Pharo and sound designer Paul Arditti.
Playwright Chris Bush, said ‘It’s been a pleasure to weave together this epic story of endurance, love and humanity. Assembling our own mini pantheon for world-class artists, performers and communities from across the nation has been a joy. There isn’t anything else quite like it out there.’
The Odyssey: The Underworld plays in the Olivier theatre from 26th to 28th August.
All performances of The Odyssey: The Underworld are audio-described, captioned and chilled. A British Sign Language interpreted performance will take place on Monday 28 August at 2pm.
For further information and to book tickets, please visit the NT Website.
Candy is a wonderful and touching story, told by Will (Michael Waller), about his struggles after falling in love at first sight, at a bar where his friend’s band are performing, with a woman wearing a red dress with curly blonde hair, who goes by the name Candy.
The majority of the play takes place in a bar, made obvious by the few bar tables around the edge of the stage which a few incredibly lucky audience members are invited to sit at during the performance. This setting is excellent, as it creates a much more intimate space between actor and audience, especially in the very well-suited small theatre, which really allows the audience to become fully immersed in the story, feeling as though they are almost in conversation with Will.
In this bar, Will (Michael Waller) tells the story of his friendship with old school friend Billy, who was in a band. Will had been invited to a performance by his friend, only when he arrives instead of it being Billy performing with the band as Will had expected, he instead ends up enchanted by the performance of Candy, Billy’s drag persona. This causes a lot of internal struggles for Will, including multiple sexual fantasy fuelled dreams that leave him rather surprised and confused, which has a huge impact on his entire life. This results in him revealing a lot of his past struggles, and he even takes out his built-up frustrations on his seemingly lonely, love-deprived great aunt ‘Toadface’. It isn’t until a little later in the play that he realizes that ‘Toadface’ wasn’t actually as loveless and empty as she first seemed, and he learns a huge lesson about the complicated concept known as ‘love’. The ending of this play is fantastic, and leaves the audience on a cliffhanger, wishing for more.
Captivating and compelling, full of brilliant moments of comedy and heartbreak, Candy is probably the best piece of theatre I have ever seen. Michal Wallers performance as Will was outstanding. He really brought the story to life through a combination of portraying every character in the story through multirole and just pure talent. You would be a fool to miss this magnificent work of art.
There’s a specific thrill when something happens in theatre and you realise that you could only experience that particular moment ‘live’, as opposed to being at the cinema or watching it on telly. Jeremy Herrin’s hair-raising staging of Sam Holcroft’s darkly funny new play A Mirror at the Almeida is full of such moments. It’s a veritable cornucopia of coups de theatre, culminating in a real jawdropper, and it’s ultimately as exhilarating as it is deeply disturbing and dislocating.
For this production, the beloved Islington playhouse has been transformed into a wedding venue, all pastel coloured balloons, chocolate box-y floral displays and an abundance of fairy lights, while half of the stalls seating has been replaced with the sort of buttock-challenging plush-covered metal structures we’ve all endured at hotel and civic hall ceremonies. It’s kitschy but enchanting (designer Max Jones, lighting by Azusa Ono); look closely at the walls though and between the fake ferns and roses you’ll see disturbing signage. “Do you know how to report illegal cultural activities?” demands one, while another invites us to participate in helping to “stamp out treason in the Motherland”. The ante of unease is further upped when an almost unrecognisable Jonny Lee Miller takes the mic and thanks us all for being here, and acknowledging that we’re putting ourselves at risk, before asking us to stand to welcome the bride and groom. What’s going on?
What’s going on is an act of social, political and artistic rebellion that interrogates the nature of free speech and the liberty of artistic freedom, and by being present, we are all complicit. Holcroft, Herrin and team have created an all-too-recognisable alternative universe where creative voices are silenced if they don’t fall in line with the values and opinions of the ruling regime, and it’s not hard to find parallels in the UK at the moment (remember when the arts organisations that received government hand-outs during Covid lockdowns were required to express their thanks across all social media platforms?). The othering of people who don’t look and think like us is a theme here with another unwelcome resonance.
The play’s title, A Mirror, might suggest a reflection of our own society, or at least where it could be heading, but also invokes a hall of mirrors, as scenes play out then get discussed, discarded or expanded upon, and you find yourself questioning what is real and what isn’t. It’s tricky to describe without spoiling it for anybody who already has tickets (the Almeida run is sold out, but this screams West End transfer as long as they can retain a similar intimacy in a central venue) but if you can envision a swirling together of Pirandello, Kafka, Orton and Pinter, with maybe a sprinkling of current West End smash The Pillowman, you’ll have some idea of the tone.
Herrin manages it all brilliantly, giving the humour and the nastiness full measure, but also honouring the humanity pulsing under the fear and lunacy. The entire performance is punctuated by Miriam Wakeling’s live cello playing, beautiful but unsettling, another character in itself.
Holcroft’s dialogue is wonderful: elegant, witty, on edge and, when it needs to go there, absolutely brutal. From a dramaturgical point of view, the play and the whole concept are so unusual that it’s hard to work out if the storytelling is ingenious or a bit messy. I’m inclined to give it the benefit of the doubt as, like the aforementioned The Pillowman, part of the point of A Mirror is the power and importance OF storytelling, and this mostly feels like world class creatives at the absolute top of their games.
This especially extends to the acting. Jonny Lee Miller is terrific as the government man, trying his best to stick rigidly to the rules while unable to fully contain an innate humanity and child-like enthusiasm for theatrics. He’s simultaneously sinister and sympathetic, all mirthless laugh, uncomfortable body language and fragile pomposity. Micheal Ward as the writer who appears to be the major thorn in his side is compelling and disarmingly natural. Geoffrey Streatfeild nails unerringly the preening flamboyance of another writer far more in sync with State thinking, but gives him an intriguing marbling of kindness and decency.
A glorious Tanya Reynolds excels as a new recruit to the sinister ministry, who becomes an unexpected, unwilling epicentre for the male machinations. When she claps back, it’s extremely potent: she points out that when a woman is listening, wrapt, to a much more powerful man, it’s usually due to fear rather than adoration. Reynolds is an extraordinary stage presence, gawky yet in control, vulnerable but tough. Aaron Neil appears only briefly at the end but is a funny, troubling figure who focuses and revitalises everything we’ve already seen.
It’s unusual to see a piece of theatre that is simultaneously deeply serious, maybe a warning, but also a lot of fun. A Mirror exists to be both. The wedding set-up felt like a bit of a gimmick initially but by the end of a two hour interval-free performance, intense but also intensely entertaining, it felt like an absolute essential part of the overall experience. Chilling, thrilling stuff: it’ll be worrying me for a long time I suspect.
Also, everything I’ve just told you could be a lie, and you won’t know unless you see A Mirror. That’s not a spoiler. Or is it?
in your blood and poetry in your soul.” – Welsh Proverb
Former Hollyoaks star Charlie Clapham and award-winning actress Rakie Ayola join the principal cast in the West-End concert premiere of For Tonight at the Adelphi Theatre on the 5 September.
Rakie (Harry Potter And The Cursed Child, Bear Ridge, National Theatre Wales, Royal Court) who wiil play Mrs. Parry and Charlie who will play Durriken Deram, join the previously announced principal cast led by Amy Di Bartolomeo (SIX, We Will Rock You), Jacob Young (Mamma Mia, Heathers), Dale Evans (Jesus Christ Superstar) and BAFTA award-winning actress Emily Burnett (CBBC’s So Awkward, The Dumping Ground) on the first day of rehearsals this week. Also announced in featured roles are Leo Andrew (West End productions of Chess, Evita, Jesus Christ Superstar, Joseph, Phantom of the Opera, Now And Then and Groundhog Day at Old Vic Theatre) as Mr. Parry, Joey Cornish (Jersey Boys) as Wyn Lewis, Charlotte-Hannah Jones as Mali Llewellyn (Hairspray, Magic At The Musicals), and Otilia Panainte as Syeira Deram.
The ensemble of For Tonight includes Emily Bull, Cassius Hackforth, Ediz Ibrahim, Jay Jobarteh, Nathan Kiley, Sophia McAvoy, Mared Williams and Celeste Williamson.
The cast are also accompanied in the concert premiere by the Trinity Laban Choir who include Grace Clifford, Lois Odell, Mali Wen, Nadia Harper, Jasmine Cole, Matthew Waters, Aidan Cross, Joseph Birch-Scanlan, Evangelos Papadimitriou and Zach Lillis.
This new musical uniquely blends, for the first time on stage, the rich and distinct traditions, language and culture of the Welsh and Romani peoples in a stirring journey exploring the power and meaning of home.
Inspired by true events, with its origins in the writer Spencer Williams’ own third great-grandfather’s handwritten journal, For Tonight’s timeless love story, one of difference and divide, is propelled by a riveting, foot stomping, atmospheric score incorporating traditional Welsh choral, indie-pop, folk, and Romani style melodies and rhythms.
Set in 1832, the story begins at the Parry farm in Trelawnyd, a small town in North Wales where a Romani family find shelter and friendship, but soon after their arrival, an unknown disease brings tragedy. Blame falls on the Romani travellers who are forced to flee and the three Parry children, Tomos, Haydn and Nettie, have to grow up fast after losing their parents.
Tomos, Haydn and Nettie’s lives twist and turn along different paths but fate reunites them with the traveller community from long ago. The Parry siblings encounter love, joy and friendship, as well as pain, prejudice and struggle before finally being forced to face their past, and their biggest fears.
This one-night only concert will be the first opportunity for UK audiences to see the full show following the release of the concept album in 2021 which has had over 100k streams to date, and a UK development workshop in 2022. Prior to this, For Tonight has been in development at New York Musical Theatre Festival, New York Theatre Barn, Queensbury Theatre, Goodspeed Musicals, Michigan State University and Isle of Man’s Gaiety Theatre.
The team behind For Tonight come with solid musical theatre and theatre credentials including Tony award-nominated producer Blair Russell, who brought Slave Play by Jeremy O. Harris to Broadway, Sweeney Todd, the critically-acclaimed immersive show to off-Broadway and Lizard Boy from the Hope Mill Theatre in Manchester and the Edinburgh Fringe to Off-Broadway. Welsh Director Nick Evans whose musical theatre credits include Mary Poppins, Bat Out of Hell, Billy Elliot, Mamma Mia, Rock of Ages and Jesus Christ Superstar joins forces with Welsh musical director and musical supervisor lestyn Griffiths (Bat Out of Hell – World Tour), West End choreographer Kevan Allen (Jesus Christ Superstar – World Tour) and writers Shenelle Salcido and Spencer Williams. Award-winning poet and playwright Raine Geoghegan provides cultural script consultancy.
Co-writer Spencer Williams says: “This musical is rooted in my Welsh family history, but like the Romani peoples has journeyed far and wide in the course of its development. I can’t wait for UK audiences to experience this timeless tale that showcases the distinct music, movement, and language of the Welsh and Romani cultures.”
Raine Geoghegan, cultural script consultant adds: “This musical is really like no other. In both the Welsh and Romany culture there is an abundance of story, song, music that touches the soul, nowhere is that more apparent than in the title song ‘For Tonight’, I love the balance of word, music and song, not forgetting dance and movement. These are ancient cultures that carry voices from the past, there is something for everyone. “
For Tonight’s 2021 concept album has already hit 100k streams and is available to download on all major platforms HERE
CAST
MIRELA DERAM Amy Di Bartolomeo
HAYDN PARRY Jacob Young
TOMOS PARRY Dale Evans
HENRIETTA PARRY Emily Burnett
DURRIKEN DERAM Charlie Clapham
MRS ANNE PARRY Rakie Ayola
MR JOSEPH PARRY Leo Andrew
SYERIA DYREM Otillia Panainte
WYN LEWIS Joey Cornish
MALI LLEWLLYN Charlotte-Hannah Jones
RHYS/DANCE HAYDN Ediz Ibrahim
TALIESIN Cassius Hackforth
MRS LEWIS/LANDLADY Mared Williams
LAVINIA DERAM/DANCE MIRELA Sophia McAvoy
ALFRED DERAM Nathan Kiley
RUTH DERAM Celeste Williamson
IESTYN/FOREMAN Jay Jobarteh
MRS JONES Emily Bull
CREATIVE TEAM
Writers Shenelle Salcido & Spencer Williams
Producer Blair Russell
Director Nick Evans
Choreographer Kevan Allen
Orchestrator Jen Green
Musical Director & Musical Supervisor Iestyn Griffiths
Set & Costume Designer Stewart J Charlesworth
Lighting Designer Jai Morjaria
Video Designer Dan Light & Andrea Scott
Sound Designer Aidan Jones
Casting Director HJB Casting
Production Manager Gareth Edwards
Musical Assistant Sioned Evans
Fixer Dave Danford for Absolute Music Services Ltd
The Tom Kitt and Brian Yorkey Pulitzer Prize winning musical, Next to Normal has finally landed in London. After years of speculation, rumours and appearing on countless “Shows that need to transfer to London” wish lists, the theatre Gods have listened and graced us with a brand-new production of this modern classic.
Without giving too much of the plot away (its unravelling layers are pinnacle to the storytelling), we witness a seemingly normal, middle-class nuclear family who also happen to be dealing with the mother’s declining mental health as she plummets further down the rabbit hole of the bipolar disorder that she has been diagnosed with. We grieve with Diana as she journeys her way through the past while clinging on to her life in the present in a highly medicated manner. Add a rocking score and you’re in for just the juxtaposition the doctor ordered… or prescribed.
Broadway and West End alum Caissie Levy has made the trip across the pond yet again, this time to bring life into the role of Diana and bring it she does. With the utmost humanity Levy brings buckets of warmth, maternal instinct, and emotional depth; she always delivers and is not only in total vocal command throughout but is also giving arguably the best performance of her career. That being said, there is room for more. With a character like Diana, we need to see her danger, toxicity, and impulsiveness in order to feel scared for what she might be capable of. While Levy did lean into this, it was a struggle to see this side through the slightly more composed characterisation that we had. There is something there, and I would be very intrigued to see this production further along or in another life to see if this spark has ignited.
Levy is joined by a strong supporting cast to tackle the load of this heavy hitting drama. Jamie Parker is the definition of a generous performer onstage. In a role that relies heavily on the reaction to his wife’s ongoing harrowing episodes he plays doting husband Dan with empathy and strength while portraying a complex study of emotions that are attached to the situation and family dynamics. There was a slight hesitancy to his own musicality at times throughout the performance which again I hope will iron out as the run plays on. Jack Wolfe as teenage son, Gabe gives a haunting performance; there is something other worldly about his physical movement and on stage Wolfe leans into this and uses it to maximum effect. Meanwhile, Trevor Dion Nicholas in the roles of Dr. Madden and Dr. Fine brings a much needed respite to the show in between the dramatic family drama. With humour and flair Nicholas plays with ironic realism as he lists the never-ending medications he is prescribing to numb Diana down to nothing.
This show is direct and packs a hard punch. However, the narrative in both acts had a tendency to meander and while there were some obvious moments in the book that that could allow for light and humour, they seemed to be flattened by the intensity of the performances; some more attention here would have helped the material to become more palatable. Both score and band are the heartbeat of the show, with wonderful orchestrations by Michael Starobin and Tom Kitt, who is responsible for the tasty score. A great score like this one deserves some fine lyrics (and vice-versa) which Brian Yorkey as both lyricist and book writer does not fail to deliver.
The set is a painfully realistic modern middle-class style kitchen with the somewhat hidden band on top by designer, Chloe Lamford. With video design by Tal Rosner and lighting by Lee Curran, the mediums are used to highlight the moments when Diana is spiralling or the sporadic surrealist segments which are mirrored in an efficient way. The ultimate effect here however needed to go hard or go home as a mere suggestion of it comes across as neither here nor there. We wouldn’t have missed it but if you’re going there, commit.
Again, without giving too much away, this show ends on a note of hope and how the idea of living next to normal might just be the key to survival for some of us out there. As the show draws to a close we’re given a brief shining moment to reflect on the rollercoaster ride we’ve been on and hope we’ve learnt some lessons along the way.
REHEARSAL IMAGES RELEASED FOR THE 2023-24 UK & IRELAND TOUR OF AWARD-WINNING HIT MUSICAL
EVERYBODY’S TALKING ABOUT JAMIE
LAUNCHING AT THE LOWRY, SALFORD NEXT MONTH
New rehearsal images have been released for Everybody’s Talking About Jamie, the smash-hit and critically acclaimed musical, which launches a new 2023-24 UK Tour at The Lowry, Salford from 7th to 17th September 2023.
The show stars Ivano Turco (Get Up, Stand Up!, Cinderella) as Jamie New, Rebecca McKinnis (Everybody’s Talking About Jamie West End, Dear Evan Hansen, We Will Rock You, Les Misérables) as Margaret New, Shobna Gulati (The Rise and Fall of Little Voice, Everybody’s Talking About Jamie West End and Film, Coronation Street, Brassic) as Ray, Talia Palamathanan (Everybody’s Talking About Jamie Tour and film) as Pritti, with John Partridge (Eastenders, The View Upstairs, La Cage Aux Folles, Chicago, A Chorus Line, CATS) as Hugo/Loco Chanelle, and Hayley Tamaddon (Coronation Street, Emmerdale, Chicago) as Miss Hedge.
Completing the cast are KY Kelly (Anthony Gyde) (Laika Virgin), Garry Lee (Sandra Bollock), David McNair (Tray Sophisticay), Akshay St Clair (Dad), Jordan Ricketts (Dean), Liv Ashman (Vicki), Rhiannon Bacchus (Fatimah), Geoff Berrisford (Sayid), Jessica Daugirda (Bex), Finton Flynn (Young Loco Chanelle / Jamie New cover), Annabelle Laing (Becca), Luca Moscardini (Levi), Joshian Omana (Cy), Thomas Walton (Mickey), Takayiah Bailey (Swing) and Georgina Hagen (Understudy Margaret / Ray / Miss Hedge).
Following a record-breaking three-year West End residency, sold out UK & Ireland Tour and Amazon studios award-winning film the show opens at The Lowry on 7 September 2023 before visiting Sunderland, Nottingham, Bromley, Birmingham, Cardiff, Brighton, Leeds, Blackpool, Llandudno, Oxford, Southampton, Newcastle, Wolverhampton, Woking, London, Bristol, Plymouth, Sheffield, Liverpool, Eastbourne, Portsmouth, Glasgow, Aberdeen, Northampton, Milton Keynes, Hull and Leicester.
Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation. Supported by his brilliant loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight.
This ‘Funny, outrageous, touching’ (Daily Telegraph) musical sensation is to be experienced by all the family and not to be missed!
Set to an original score of catchy pop tunes that will ‘blow the roof off the theatre’ (Mail on Sunday) by lead singer-songwriter of The Feeling, Dan Gillespie Sells and writer Tom MacRae (Doctor Who). Choreographed by Sadler’s Wells Associate Artist Kate Prince (Into The Woods, Some Like It Hip Hop, SYLVIA, Message In A Bottle). This ‘sparkling coming-of-age musical’ (The Times) will have everybody talking about Jamie for years to come.
Sixteen: the edge of possibility. Time to make your dreams come true.
Watch the Everybody’s Talking About Jamietrailer here.
Music by Dan Gillespie Sells
Book and Lyrics by Tom MacRae
From an idea by Jonathan Butterell
Directed by Matt Ryan from original direction by Jonathan Butterell
Design by Anna Fleischle
Choreography by Kate Prince
Lighting design by Lucy Carter
Sound design by Paul Groothuis
Video Design Luke Halls
Casting by Will Burton
Musical Supervisor Theo Jamieson
Everybody’s Talking About Jamie is at The Lowry, Salford from 7th to 17th September 2023. For more information and tickets visit www.thelowry.com.
NOMINEES ANNOUNCED FOR THE STAGE DEBUT AWARDS 2023
Picture caption for main press image composite L-R Paul Mescal, Rob Madge, Samira Wiley, Michael R Jackson, Maisie Smith, Lenny Henry, Rose Ayling-Ellis
The Stage Debut Awards today reveals the much-anticipated nominees for its annual awards ceremony celebrating the best emerging theatre talent in the UK. This year’s 45 nominations across 8 categories celebrate an array of talented individuals from performers to composers and designers through to writers, lyricists and directors
Among this year’s shortlist, the hotly contested Best West End Debut Performer category, the only one where the winner is voted by the public, will see stars including Olivier Award-winner Paul Mescal for A Streetcar Named Desire; Netflix’s Orange is the New Black’s Samira Wiley for Blues for an Alabama Sky, Star Trek’s Zachary Quinto for Best of Enemies and Netflix Bodies actor Gabriel Howell for The Unfriend in the mix along with A Strange Loop’sKyle Ramar Freeman. Also in the running are both Brokeback Mountain stars Emily Fairn and Mike Faist who are recognised for their magnetic performances in @sohoplace’s production, as well as As You Like It’sRose Ayling-Ellis, winner of the TV talent show Strictly Come Dancing. A second former show contestant Maisie Smith is also a nominee for Best Performer in a Musical for her role in Strictly Ballroom the Musical.
The full shortlist celebrates the breadth of emerging talent across the UK with shows from Wales fairing especially well this year with three nominations including Jennifer Lunn for Best Writer for Es & Flo at Wales Millenium Centre, Cardiff, Richard Mylan for Sorter at the Swansea Grand Theatre and Elan Davies for Best Performer in a Play for the Welsh speaking production Imrie, at Sherman Theatre, Cardiff.
Performers and creatives whose work traversed the length and breadth of the country in touring shows are recognised in the shortlist including two nominations from the production of The Importance of Being Earnest for Denzel Westley-Sanderson and Rilwan Abiola Owokaniran for Best Director and Best Performer in a Play respectively. Richard the Second’s Daniel Rock has also been nominated and musical theatre performer Drew Hylton who toured Unexpected Twist: An Oliver Twisted Tale is also nominated. Further upcoming names in the Best Performer in a Musical category include Jessica Lee who made her first starring role in The Crucible’s Miss Saigon, while hit show Newsies at Troubadour Wembley Park Theatre has two outstanding performers recognised with Josh Barnett and Arcangelo Ciulla.
Comedian and performer Lenny Henry gets a first time writer nomination for August in England, the hit solo show he starred in honouring the 75th anniversary of the Windrush Generation at the Bush Theatre, alongside Anoushka Lucas who is also in the running for Elephant. The venue also originates the most The Stage Debut Awards nominees this year with a total of four including 2019 BAFTA Rising Star Award winner Bukky Bakray, who made her name in Rocks and now has strong theatre credentials for her role in Sleepova, and Emily Ling Williams for directing A Playlist for the Revolution.
Broadway sensation A Strange Loop not only has performer Kyle Ramar Freeman nominated, but creator Michael R Jackson is shortlisted for two awards for Best Composer, Writer or Lyricst and Best Creative West End, which also sees Rob Madge recognised for their ground-breaking writing in My Son’s a Queer, (But What Can You Do?). Composers SpitLip, who already hold The Stage Debut Award from 2019 for Operation Mincemeat, one of the most recent West-End transfers, return to the awards for a second time but in the Best Creative West End category.
Commenting on his ambitions for this year’s Debut Awards, The Stage editor Alistair Smith, says: “We have another superb shortlist this year, full of extraordinarily talented newcomers. It’s particularly thrilling to see the huge geographical spread of the work recognised – with three nominees from Wales, including our first ever nomination for a Welsh language performance – as well as high profile commercial shows from the West End and beyond.
“I look forward to celebrating with our nominees and our fabulous host Divina De Campo on the night.”
Mark Cornell, Chief Executive Officer of ATG Group commented, “ATG is proud to be supporting British theatre’s emerging talent through The Stage Debut Awards for the second year. At ATG we know that people are at the heart of successful theatre and that new ideas and voices are essential to bringing great live experiences to new audiences.
We look forward to being part of an exceptional night celebrating professional debuts at these awards in October.”
Votes for The Best West End Debut Performer can be cast online at www.thestage.co.uk/vote-2023. This award celebrates a performer’s first time in London’s West End and voting closes at midday on September 17.
The winners will be announced at The Stage Debut Awards 7th awards ceremony, hosted by legendary drag artist, performer and singer Divina De Campo, on October 1 2023 at 8 Northumberland Avenue, London in association with headline sponsor Ambassador Theatre Group (ATG).
The line-up of Guest Presenters and Performers will be revealed in September.
THE FULL LIST OF 2023 NOMINEES ARE…
Best Performer in a Play (Sponsored by Cabbells):
● Bukky Bakray for Sleepova at Bush Theatre, London
● Rita Bernard-Shaw for Trouble in Butetown at Donmar Warehouse, London
● Natalie Blair for Spring and Port Wine at Octagon Theatre, Bolton
● Rhian Blundell for Let the Right One In at Royal Exchange Theatre, Manchester
● Elan Davies for Imrie at Sherman Theatre, Cardiff
● Rilwan Abiola Owokoniran for The Importance of Being Earnest at Leeds Playhouse and touring
● Daniel Rock for Richard the Second at Omnibus Theatre, London and touring
● Isobel Thom for I, Joan at Shakespeare’s Globe, London
Best Performer in a Musical (Sponsored by Carnival Cruise Line):
● Liv Andrusier for Ride at Charing Cross Theatre, London
● Josh Barnett for Newsies at Troubadour Wembley Park Theatre, London
● Arcangelo Ciulla for Newsies at Troubadour Wembley Park Theatre, London
● Carla Dixon-Hernandez for Mrs Doubtfire at Shaftesbury Theatre, London
● Drew Hylton for Unexpected Twist: An Oliver Twisted Tale at Royal and Derngate, Northampton and touring
● Jessica Lee for Miss Saigon at Crucible Theatre, Sheffield
● Maisie Smith for Strictly Ballroom the Musical, Churchill Theatre, Bromley and touring
Best Director (Sponsored by Arts Council England):
● Daniel Blake for Bones at Park Theatre, London
● Indiana Lown-Collins for The Solid Life of Sugar Water at Orange Tree Theatre, London
● Denzel Westley-Sanderson for The Importance of Being Earnest at Leeds Playhouse and touring
● Emily Ling Williams for A Playlist for the Revolution at Bush Theatre, London
Best Designer (Sponsored by Wimbledon College of Arts, UAL):
● Carly Brownbridge (set & costume) for Agatha at Theatre503, London
● Peter Butler (set & costume) for The Shape of Things at Park Theatre, London
● Andrea Scott (video) for My Neighbour Totoro at Barbican Theatre, London
Best Writer (Sponsored by Sonia Friedman Productions):
● Sasha Hails for Possession at Arcola Theatre, London
● Lenny Henry for August in England at Bush Theatre, London
● Anoushka Lucas for Elephant at Bush Theatre, London
● Jennifer Lunn for Es & Flo at Wales Millennium Centre, Cardiff
● Richard Mylan for Sorter at Swansea Grand Theatre
● Zak Zarafshan for The Boys Are Kissing at Theatre503, London
Best Composer, Lyricist or Book Writer (Sponsored by Crossroads Live):
● Gerel Falconer for Alice in Wonderland at Brixton House, London
● Michael R Jackson for A Strange Loop at Barbican Theatre, London
● Jenny Moore for Robin Hood: The Legend. Re-written at Regent’s Park Open Air Theatre, London
● Lilly Pollard for Sugar Coat at Southwark Playhouse, London
Best West End Debut Performer:
● Rose Ayling-Ellis for As You Like It at @sohoplace
● Emily Fairn for Brokeback Mountain at @sohoplace
● Mike Faist for Brokeback Mountain at @sohoplace
● Kyle Ramar Freeman for A Strange Loop at Barbican Theatre
● Gabriel Howell for The Unfriend at Criterion Theatre
● Paul Mescal for A Streetcar Named Desire at Phoenix Theatre
● Zachary Quinto for Best of Enemies at Noël Coward Theatre
● Samira Wiley for Blues for an Alabama Sky at National Theatre
Best Creative West End Debut: (Sponsored by Trafalgar Entertainment)
● Joe Bunker (Musical Director) for Operation Mincemeat at Fortune Theatre
● SpitLip (David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts) for Operation Mincemeat at Fortune Theatre
● Tingying Dong for The Crucible at National Theatre and Gielgud Theatre
● Michael R Jackson for A Strange Loop at Barbican Theatre
● Scott Le Crass for Rose at Ambassadors Theatre
● Rob Madge for My Son’s a Queer, (But What Can You Do?) at Garrick Theatre and Ambassadors Theatre
For further information about tickets please click HERE
With thanks to our sponsors ATG, Arts Council England, Cabbells, Carnival Cruise Line, Crossroads Live, Sonia Friedman Productions, Trafalgar Entertainment and Wimbledon College of Arts, UAL.
The inaugural The Stage Debut Awards took place in 2017 and recipients of these awards have gone on to star in and create West End shows, television series and films. Notable award winners include Shan Ako (Hamilton), Tyrell Williams (Red Pitch), Sam Tutty (Dear Evan Hansen), Miriam-Teak Lee (& Juliet), Jac Yarrow (Joseph and the Amazing Technicolour Dreamcoat), Bush Theatre Artistic Director Lynette Linton, and Composers Femi Temowo (Death of a Salesman) and Dan Gillespie Sells (Everybody’s Talking About Jamie).
If this is the concert version of Death Note, the mind boggles at what a full scale production would be. The atmosphere in the Palladium for the European English language premiere of this incredible show was electric – with many fans in cosplay and screams of appreciation when beloved characters first appeared onstage.
Based on the bestselling manga, which has been adapted into anime, live-action films and a TV series, a musical version could have been a step too far, but Frank Wildhorn’s rock and pop infused score is the perfect match for the darkly humorous plot. Die-hard fans will be a step ahead, but Ivan Menchell’s book and the fantastic performances make the plot clear for those completely unfamiliar with the world of Death Note. When high school student Light (Joaquin Pedro Valdes) chances upon a mysterious notebook – the Death Note – and reads that simply writing a name in the book will kill that person, he begins a campaign of justice. Naively believing that he can create a better, safer world, Light kills many criminals, becoming a hero to the masses, who call their mysterious anonymous vigilante Kira. The authorities view Kira as a dangerous murderer but, unable to track him down, they must turn to the brilliant and enigmatic L (Dean John Wilson) – imagine a hybrid Sherlock Holmes/boyband member/cult leader – leading to a thrilling cat and mouse game between Light and L before their final confrontation. Watching over the drama, like a malevolent crow is Ryuk (Adam Pascal), a Shinigami and original owner of the Death Note. The gritty moral questions about differences between justice and law, and the perversion caused by power are tackled with sincerity but are all offset by the bored and sarcastic interjections of the Shinigami observing – reminding us of humanity’s fragility and futility in their universe.
Justin Williams’ set design and Ben Cracknell’s lighting conjure up the atmosphere of manga panels and pop concerts, and the differentiation between locations is never confusing. Nick Winston’s choreography and direction is incredible for a concert version, a tantalising teaser of what is possible on a full set. Frank Wildhorn’s music, with lyrics by Jack Murphy, is nuanced and exciting with a score jam-packed with memorable songs that suit the characters perfectly. There are some killer duets/duels between Light and L that showcased the amazing vocals of Joaquin Pedro Valdes and Dean John Wilson magnificently, while Frances Mayli McCann creates magic with “Borrowed Time” and Aimie Atkinson’s ethereal rendition of “When Love Comes” is gorgeous. The cast all impress, with Valdes and Wilson both keeping the audience on their toes with their intense portrayals of the complex young men, causing your sympathies to shift from one to the other constantly. Adam Pascal and Aimie Atkinson are great fun as the two Shinigami with fantastical costumes that never outshine their characterisation of the light and shade of death. Frances Mayli McCann’s doesn’t have much stage time, but McCann makes every second count as the tragic Misa.
The twists and turns of the plot and the variety of musical styles used keep the audience enthralled and I cannot wait to see what happens next in this show’s evolution. As it stands, this concert version is a spectacular and dynamic production bringing a fresh new audience to the West End and hitting the stage with an unforgettable impact.
KILN THEATRE ANNOUNCES DUJONNA GIFT AND SAM TUTTY FOR TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK)
A NEW MUSICAL BY JIM BARNE AND KIT BUCHAN
Kiln Theatre today announces casting for new musical Two Strangers (Carry a Cake Across New York) –Dujonna Gift(Hamilton)and Sam Tutty (Dear Evan Hansen – Olivier Award for Best Actor in a Musical).
This new production, which will complete Kiln’s current season, is written by Jim Barne and Kit Buchanand directed byTim Jackson. The production opens on 16 November, with previews from 9 November, and runs until 23 December.
Kiln Theatre presents
TWO STRANGERS
(CARRY A CAKE ACROSS NEW YORK)
By Jim Barne & Kit Buchan
Directed by Tim Jackson
9 November – 23 December
Cast: Dujonna Gift (Robin) and Sam Tutty (Dougal)
Designer Soutra Gilmour; Lighting Designer Jack Knowles; Sound Designer Tony Gayle; Musical Director Sean Green; Orchestrated by Lux Pyramid; Casting Director Julia Horan CDG; Voice & Dialect Coach Daniele Lydon; Associate Director Claira Vaughan; Kiln-Mackintosh Resident Assistant Director Jessica Mensah
Dougal is a naive, impossibly upbeat Brit, flying to New York for his Dad’s second wedding. The Dad he’s never known.
Waiting for him at the airport is Robin, the sister of the bride. She’s a native New Yorker, she’s late for work, and she doesn’t have time to stop and see the sights.
Instant attraction? Definitely not.
But with an extravagant wedding approaching and the city at their feet – anything could happen.
A new British musical from writers Jim Barne and Kit Buchan.
An earlier version of the musical was first produced by Royal & Derngate, Northampton and New Wolsey Ipswich when it was called The Season. Excerpts from that version were presented at BEAM2018, supported by Mercury Musical Developments and Musical Theatre Network.
Dujonna Gift plays Robin. For theatre, her work includes Hamilton (Victoria Palace Theatre), Motown: The Musical (Shaftesbury Theatre), Dear Evan Hansen (Noël Coward Theatre), and Caroline, Or Change (Playhouse Theatre). For film, her credits include the forthcoming Snow White.
Sam Tutty plays Dougal. For theatre, his work includes the title role in Dear Evan Hansen (Noël Coward Theatre – Olivier Award for Best Actor in a Musical), and Once on This Island (Southwark Playhouse). His television work includes Hollyoaks; and for film, Four Minutes Warning and Romeo and Juliet.
Jim Barne is a composer and orchestrator. He has written music for films including Oscar-nominated Living (2022), The Ghost Trap (2023) and Worth (2021). He has won the London Chamber Orchestra’s young composer competition, and Best New Score at the Horrorhaus Film Festival.
Kit Buchan is a poet and journalist. His poems have been commended in the Poetry London and Ware Poets competitions and the Best British Poetry anthology. He works for the Observer New Review and the Woodland Trust.
Together they have won The Stage Debut Award and the Stiles & Drewe prize for new musical theatre. Their second musical Catastrophe Bay was performed at Bristol Old Vic in 2022. They also write songs for their pop band, I Said Yes.
Tim Jackson is a Director and Choreographer, and former Creative Associate of The Queen’s Theatre, Hornchurch. As a director, work includes the first UK revival of Kinky Boots (New Wolsey Theatre), The Hound of the Baskervilles (UK tour), Treasure Island (Bolton Octagon), The Season (Royal and Derngate and New Wolsey Theatre), The Oliviers in Concert (Royal Festival Hall). As an Associate Director, work includes High Society (The Old Vic), A Little Night Music (Tokyo), From Hackney to Hollywood (UK tour). As a choreographer, work includes Merrily We Roll Along (New York Theatre Workshop/National Theatre Tokyo/Huntington Theatre/Harold Pinter Theatre/Menier Chocolate Factory), A Christmas Carol (Dominion Theatre), Cat On A Hot Tin Roof (Apollo Theatre), Stepping Out (Vaudeville Theatre), Saturday Night (Arts Theatre), Mouthful (Trafalgar Studios), Little Shop of Horrors (Manchester Royal Exchange), La Périchole (Garsington Opera), The Secret Diary of Adrian Mole Aged 13¾ (Curve Theatre), Parade (Southwark Playhouse), Dusty (Bath Theatre Royal/UK tour), and La Bohème (Middle East tour). Choreography for television includes four Olivier Awards Ceremonies, Doctor Who, Let’s Sing and Dance for Comic Relief, and BBC’s New Year’s Eve midnight celebration. Jackson is currently in New York choreographing Merrily We Roll Along on Broadway, with Daniel Radcliffe, Jonathan Groff and Lindsay Mendez.
TWO STRANGERS (CARRY A CAKE ACROSS NEW YORK): 9 November – 23 December 2023 Opening Night: 16 November Access Perfs:
Audio Described – Thu 30 November, 7.30pm, preceded by Touch Tour
Relaxed – Sat 09 December, 2.30pm
Captioned – Mon 18 December – 7.30pm
Post show Q&A: Tues 28 November
Monday – Saturday, 7.30pm (Wed mats following press night)
All tickets to first preview £15 Tickets £15-£40
Under 26 – £10 (subject to availability)
Access, Over 65, Local, Student and Group rates available, for further details, please see the website.
Subsidised tickets
We offer free tickets and exclusive discounts to those who can’t afford to come. If you fit any of the below criteria, get in touch and we can help you get a ticket.
If you are homeless, out of work or receive Housing Benefits, Income Support, Jobseeker’s Allowance or Employment and Support Allowance (valid ID, statements or proof universal tax credit will be required when collecting tickets).
Employees of NHS, Police Force, Fire Brigade, Armed Forces, The Coastguard, RNLI, Prison Officers or Social Care Workers (valid ID payslip and name badges will be required when collecting tickets).
