Nottingham was looking and feeling decidedly wet and wintry on Tuesday evening as we headed to the theatre for an evening of bucolic entertainment.
The Cunning Little Vixen Opera was written at the end of the First World War by Janacek. It is based on a very popular newspaper cartoon of the time. It is a story of the natural cycles of nature and life. On the one hand the animals, birds and insects gossiping and lazing in the forest on the other the dour middle-aged men full of regret and longing.
The story highlights Janacek’s love and understanding of nature and the natural world. It has stood the test of time and has some surprisingly “modern” ideas about feminism, freedom and liberation.
Whilst it is viewed as an opera the work includes dance, puppetry and spoken verse. This current production has its origins in the 1980s and was originally directed by Sir David Pountney. It has been revived for Opera North by Elaine Tyler-Hall (Associate Director and Choreographer).
The curtains draw back to show a rolling landscape (set and costume design by Maria Bjorson) with branches hanging down to create the illusion of the forest. In the branches there are suspended rocking chairs with birds watching the scenes unfold. The opening dance by the dragonfly (Stefanos Dimoulas) is light and ethereal, whereas the mosquito (Kamil Bien) is comedic with its bloodstained proboscis. The stage soon fills with all manner of animals, insects and birds. My particular favourite was the badger (Paul Gibson) all grump and whiskers.
On to the scene bounds the youthful fox Vixen Sharp Ears . Clad in red tights, black feet and russet hair. The adult role is played by Elin Pritchard . She is energetic, playful and has a wonderful voice.
The set works its way through the four seasons. The transition from winter to spring caused the audience to gasp and giggle! The set opens to reveal the dark and morose forester’s hut and the grey tavern.
The stand out scene for me was the hens and the cockerel. Vixen Sharp-Ears having dealt with the amorous advances of the dog (James Davies) turns her attention to the farmyard hens and cockerel. Their costumes and mannerisms are fantastic, comic and clever in equal measure. Sharp-Ears tries to liberate the hens. She talks to them about feminism and not being ruled by the cockerel. Sadly and all too predictably they don’t take her advice and well it doesn’t end well for the hens. A fox has to do what a fox has to do.
The three act opera follows the life of Sharp-Ears as she meets her mate, produces a whole load of cubs. Each one the spitting image of their parents, but too many to count! All the while she taunts and haunts not only the Forester (Richard Burkhard) but also the Poacher (Callum Thorpe). Eventually her luck runs out and she meets her end. However the circle of life continues with her oldest daughter emerging centre stage.
The production is supported by a full orchestra, spilling out into two of the boxes, conducted with great pace and enthusiasm by Oliver Randell.
My only disappointment is that some of the singers (in particular the younger cast members) sometimes struggled to be heard above the orchestra. This might have been because we were sitting in the stalls and consequently very close to the orchestra.
Fortunately our production had surtitles on two screens, which ensured we could pick up the lyrics.
Shaw takes a contentious subject and lays it out for all to see. Originally written in 1893, even today we find the story hard hitting. This is the story of resourceful women in a patriarchal society, that forces women to be dependent on men. 220 years later we are still battling for women’s rights with men like Shaw standing right beside us, using the medium of theatre to tell it how it is.
Caroline Quentin (Mrs Warren) takes the range of emotion in this piece in her stride. The pretence as a woman of substance eventually slipping into her native dialect, she takes you on a journey of duality, love and harsh reality. The main character Vivie (Rose Quentin) is determined to make her own way in the world, without having to marry for status or relying on her mothers money. Rose Quentin portrays the strength and vulnerability of a determined woman, when faced with the misogyny of the men she is surrounded by. The relationship between Mrs Warren (C Quentin) and her daughter (R. Quentin) has not been necessary up until now, as long as she has given Vivie the opportunities in life to better herself. Facing old age, Mrs Warren (C Quentin) now sees that she is once again in a vulnerable position, with no one to look after her. The final scenes where this comes to light spotlights the talent of Caroline and Rose Quentin in the heart breaking revelations. Simon Shepherd (Sir George Crofts) is the perfect device to accentuate the position of women of the 19th century. Shepherd flexes between affable and vicious with ease. The ensemble create the mood of the time, with pretence and outward appearance being the norm and of utmost importance. We have some glimmer of hope in Praed (Stephen Rahman-Hughes) who offers a different view to the audience, as an outsider not so much embroiled in the profession of Mrs Warren.
I was struck by the beautiful set created for each scene, cleverly contrived to draw the audience in. The creative team offered a glimpse into a previous world, through costume and the set. In the words of the Quentin’s, this is a piece that is ‘often hilarious and eventually deeply moving’. They have done George Bernard Shaw proud.
Mayflower Theatre, Southampton – until 18 March 2023
Reviewed by Gemma Gibson
5*****
Johan Persson
I have always been a big fan of Matthew Bourne and New Adventures, but this ballet adaptation of Sleeping Beauty has to be one of my favourites.
Once again the company has taken a tale everyone knows and loves and put its stamp on it.
Fairies, vampires, magic, romance, humour – Matthew Bourne’s Sleeping Beauty has it all.
The ballet follows the ‘good versus evil’ fairytale that everyone knows and loves – dark magic puts Princess Aurora to sleep and only true love’s kiss will wake her from slumber – but, of course, there are twists, turns and even new characters along the way.
The choreography in this supernatural tale is flawless throughout. Each routine takes us through the story clearly and with ease, and from explosive jumps to complex lifts and fluid floorwork, it’s so impressive what these dancers can do.
Ballets can be criticised for being too hard to understand but New Adventures makes it easy. Even the scenes of running around told a story, while looking balletic and beautiful.
This gothic romance was cast exceptionally well, each dancer expertly embodying their character. Princess Aurora, played by Cordelia Braithwaite, was perfection, dancing alongside Paris Fitzpatrick as Count Lilac, King of the Fairies and audience favourite, Stephen Murray, the royal gamekeeper, and Ben Brown, villain of the night.
Split into four acts, the ballet was simple to follow as it cleverly transported us through time – blasting through the Edwardian era to present day. There was the baby Aurora in 1890, Aurora coming of age in 1911, Aurora waking up in 2011, and by Act Four – ‘Yesterday’ – we’re desperate to find out if the sleeping beauty will ever find true love again.
Featuring the present day like this was something I’d never experienced in a ballet – yet another example of Matthew Bourne’s work diverting from the norm, the traditional narrative.
There are so many scenes that deserve a mention, but the introduction to the fairies has to be one of my favourite parts. Each with their own character and movement, complete with enchanting costume and make up, it was so much fun watching each fairy’s solo across the stage entertaining both us and baby Aurora.
Scenes exposing the playful and mesmerising chemistry between Princess Aurora and the gamekeeper was by far an audience favourite on opening night.
Another wonderful scene for me is the celebrations for Aurora’s 21st, as she gets swept, twirled and lifted around the stage in search for a suitor. An energetic and emotional performance, complimented by pastel colours, a stunning backdrop, and dancers dressed in regal white.
On that note, the set, music and costume throughout is simply breathtaking, enhancing the progression and magic of the story.
Matthew Bourne’s Sleeping Beauty has reawakened and is a must watch.
London, Wednesday 15 March: Michael Harrison and the Really Useful Group are thrilled to announce that Gary Wilmot, one of the all-time legends of The London Palladium and a star of the annual Palladium Panto, will play the title role in The Wizard of Oz this summer. Gary will star as The Wizard and Professor Marvel, joining the previously announced Jason Manford (the Cowardly Lion) and Ashley Banjo (the Tin Man).
Michael Harrison, the producer of the smash-hit Joseph and the Amazing Technicolor Dreamcoat, presents Curve’s brand-new production of one of the world’s most beloved musicals, beginning performances on Friday 23 June.
Gary has starred in a string of television series making him a household name as a comic-actor and singer. He has been a subject of This is Your Life, hosted the Laurence Olivier awards and won a TMA best actor nomination in his musical theatre debut as Bill Snibson in Me And My Girl.
His many theatre credits include The Wizard in Wicked (Apollo Theatre), Jethro in Prince of Egypt (The Dominion) and Badger in The Wind in the Willows (The London Palladium).
Gary’s star turn in the Christmas Palladium Pantomime – which includes as Queen Nigella in Jack & The Beanstalk, Dame Gary in Pantoland at The Palladium, Mrs Crumble in Snow White and The Seven Dwarfs and Sarah The Cook in Dick Whittington – has cemented his place as one of the legends of the iconic theatre.
Michael Harrison said: “I’m delighted today to announce that Gary Wilmot will join Jason Manford and Ashley Banjo in the thrilling new production of The Wizard of Oz. Gary has been one of the stars of The Palladium panto for the last 6 years, and audiences have loved his natural sense of comedy and mischief. I know he will bring these qualities to The Wizard, and his casting only adds to the magic in store at The London Palladium this summer.”
Further star casting is to be announced.
Join Dorothy and Toto on an unforgettable adventure as they are swept over the rainbow to the merry old land of Oz.
Featuring the iconic original score from the Oscar-winning MGM film, including Over The Rainbow,Follow The Yellow Brick Road and We’re Off To See the Wizard – with additional songs from Andrew Lloyd Webber and Tim Rice – this spectacular production will be a magical experience for all the family.
Directed by Nikolai Foster (Billy Elliot The Musical, A Chorus Line) The Wizard of Oz has choreography by Shay Barclay, Set Designer is Colin Richmond, Projection Designer is Douglas O’Connell,Costume and Puppet Designer is Rachael Canning, Lighting Designer is Ben Cracknell, Sound Designer is Adam Fisher, Creative Consultant is Mark Kaufman, Musical Director and Musical Supervisor is George Dyer, Casting Director is Kay MagsonCDG, Props Supervisor is Marcus Hall Props and Wigs, Hair and Makeup Designer is Elizabeth Marini.
Follow the yellow brick road next summer to The London Palladium!
Michael Harrison, Gavin Kalin with David Mirvish, Crossroads Live, Tulchin Bartner Productions, Rupert Gavin & Mallory Factor by arrangement with The Really Useful Group Limited, present the Curve production of The Wizard of Oz.
What makes a serial killer tick? And are there ever tell-tale signs?
Scottish detective David Swindle presents a chilling, thrilling, night at the theatre as he explores famous murder cases from the detective’s perspective – and the clues behind The Makings of a Murderer.
“Serial Killers are cunning, conniving, controlling, careful and – I hate to say it – clever,” says David. “They live apparently normal lives and get away with their crimes for years… until eventually detected.”
Hear about the Britain’s most infamous serial killers, including Jack the Ripper, Peter Tobin, Harold Shipman, Peter Sutcliffe and the ‘killer couples’ – Fred & Rose West and Moors Murderers Ian Brady & Myra Hindley.
With more than 34 years experience as a senior detective, David Swindle shares his unique insight into the mind of a murderer, the famous cases that were never solved, and how murderers got away with it… from someone on the inside.
David, whose ground-breaking Operation Anagram uncovered the activities of Peter Tobin, paints an often-dark picture of how these monsters come to be in a gripping, fully-interactive, audio-visual first.
David also looks at the connections to the local area of the most famous murder cases.
The Makings of a Murderer is a chilling, thrilling, night at the theatre not to be missed.
David Swindle
David Swindle
With over 34 years police service mostly within the Criminal Investigation Department (CID), David has been involved in hundreds of murder investigations and was at the forefront of implementing change and developing innovative national crime investigation processes
His work as Senior Investigating Officer (SIO) saw him managing high profile and challenging UK cross border investigations including the Glasgow Airport Terrorist Investigation and the murder of Polish student Angelika Kluk in Glasgow. He also formed Operation Anagram to investigate serial killer Peter Tobin’s involvement in other crimes.
This activity attracted high profile media comment with extensive online coverage and a Chief Constable’s Commendation:
“Following the terrorist attack at Glasgow International Airport on 30 June 2007, you provided drive and inspiration to members of the enquiry team working under incredibly intense difficult circumstances. Under the immense pressure of worldwide media scrutiny, you ensured that the excellent investigative reputation of the Force was upheld.”
As Head of Strathclyde Police Public Protection and SIO, David was responsible for overseeing the investigation of crimes, mitigating risks and formulating policy regarding dangerous offenders, rape and serious sexual assault, vice and human trafficking, child protection and vulnerable persons. As a high profile senior police detective, he was involved in the innovative use of TV, online and social media regarding serious crime investigations; in particular, investigations of the serial killer Peter Tobin, which included creation of the groundbreaking BBC Crimewatch Operation Anagram website.
Since retiring from the police and setting up David Swindle Crime Solutions in June 2011, his skills and strategic vision have been very much in demand by a variety of public and private sector organisations for investigative, advice and case review issues abroad and in the UK.
Entertainers (Producers) Entertainers have 20 years experience producing popular entertainment across the UK. Their new Canvey Island HQ, built since lockdown, houses all aspects of production from set building and maintenance to a recording studio and full-size rehearsal space and a fleet of 36 vehicles.
Entertainers stage more than 1,500 separate performances each year, selling over one million seats, with 25 lavish productions that include: ‘Lost in Music’, ‘Fastlove’, ‘The Magic of Motown’, ‘Cirque: The Greatest Show’, ‘Thank You for the Music’, ‘The Rocket Man’, ‘An Evening of Burlesque’, ‘Don’t Stop Believin’’, ‘80s Live!’, ‘90s Live!’, ‘Radio Gaga’, ‘Sweet Caroline’, and ‘Islands in the Stream’,
New shows ‘Do You Believe in Ghosts?’ and ‘The Makings of a Murderer’ mark a move away from music to scripted theatrical productions, and they will both make their West End debut at the Adelphi Theatre in 2023.
LISTINGS INFO
The Makings of a Murderer Tuesday 18 April at 7.30pm
It was announced today that Paul Kaye and Matthew Tennyson will join the cast of Martin McDonagh’s electrifying and savagely funny Olivier Award-winning The Pillowman to play Ariel and Michal, respectively. They join the previously announced Lily Allen as Katurian and Steve Pemberton as Tupolski.
Lily Allen plays a writer in a police state who is interrogated about the content of her short stories and their similarities to several murders occurring in the town. The production will run at the Duke of York Theatre in London from 10 June to 2 September 2023, with a press night on 21 June. This West End premiere of The Pillowman is directed by Matthew Dunster.
Paul Kaye’s previous stage work includes originating the role of the Mr Wormwood in Matilda The Musical for the RSC, for which he was Olivier nominated, and The Suicide and Our Country’s Good for the National Theatre. His extensive TV credits include Game of Thrones, Afterlife, The Stranger, The Third Day, I Am Kirsty,Three Girls, Terry Pratchett: Back in Black, Jonathan Strange & Mr Norrell, Spaced, Pulling, Chewing Gum, Lillyhammer and Sexy Beast. Films include the multi award-winning It’s all Called Pete Tong, Woody Allen’s Match Point, Catherine Called Birdy and Nandor Fodor and The Talking Mongoose.
Matthew Tennyson most recently appeared as Wilfred Owen in Terence Davies’ film Benediction and made his screen debut in Pride directed by Matthew Warchus. His theatre includes Sally Cookson’s A Monster Calls at The Old Vic, Cleansed for the National Theatre and Making Noise Quietly at the Donmar Warehouse. TV credits include A Midsummer Night’s Dream and Humans.
Lily Allen, who made her West End debut in 2:22 – A Ghost Story at the Noel Coward Theatre in a role for which she was awarded Best Female-Identifying Role in a Play at the Whatsonstage Awards and Olivier nominated, will play Katurian, the first time the role has been played by a woman. Up next, Allen will star in the new Sky original comedy Dreamland which will premiere this year. Lily is also an internationally renowned singer and songwriter.
Steve Pemberton is a member of The League of Gentlemen with Reece Shearsmith, Mark Gatiss and Jeremy Dyson. He co-wrote and appeared in Psychoville and Inside No. 9 for which he won the BAFTA for Best Male Comedy Performance in 2019. His other television credits include: Killing Eve, Good Omens, Worzel Gummidge, Doctor Who, Benidorm, Blackpool, Shameless, Whitechapel, Happy Valley and Mapp and Lucia. His stage work includes playing Mr Hardcastle in She Stoops to Conquer at the National Theatre. Steve will play Tupolski.
Further casting is to be announced.
Martin McDonagh recently won the Best British Film BAFTA award for his critically-acclaimed movie The Banshees of Inisherin, which also won the Best Screenplay Award at the Venice Film Festival and is nominated for nine Academy Awards. He is also the multi-Olivier, BAFTA and Academy Award-winning playwright and screen-writer responsible for Three Billboards Outside Ebbing, Missouri, In Bruges, Seven Psychopaths and Six Shooter.
McDonagh’s Olivier Award-winning Hangmen ran successfully in the West End and on Broadway. His other plays include The Beauty Queen of Leenane, A Skull in Connemara, The Lonesome West, The Lieutenant of Inishmore, The Cripple of Inishmaan, A Behanding in Spokane and A Very Very Very Dark Matter.
Matthew Dunster is a theatre and film director and writer. He has directed or written over sixty shows, often with major national companies (including RSC, NT, Royal Court, Young Vic, Royal Exchange, Shakespeare’s Globe, The Bridge), as well as directing in the West End, on Broadway and internationally. He has been the Associate Director of The Young Vic and Shakespeare’s Globe. Matthew has been nominated for three Olivier Awards and his Broadway production of Hangmen was nominated for five Tony’s.
Joining Martin and Matthew on the creative team are: Production Designer Anna Fleischle, the Lighting Designer is Neil Austin, Sound Designer, Ian Dickinson for Autograph and Casting is by Amy Ball.
The Pillowman is produced by Empire Street Productions, the same company that brought the hugely successful Prima Facie starring Jodie Comer to the West End last year, and which went on to break audience records when it was subsequently released in cinemas by NT Live. The production opens on Broadway in 2023. As with Prima Facie, accessibility to The Pillowman is fundamental to the producer, and there will be a Pay What You Can scheme, with 20 tickets per performance for the week, released the Wednesday beforehand.
The smash hit show 2:22 A Ghost Story is currently in its fifth run in the West End, at its 4th, and biggest, theatre yet. Fans and newcomers alike have just 6 weeks to see Cheryl (Jenny), Jake Wood (Ben), Louise Ford (Lauren) and Scott Karim (Sam) in the critically acclaimed show at its current location. A UK tour was announced earlier this year which will begin in September at Bath Theatre Royal running through until May 2024 in venues all over the UK with cast to be announced.
www.helenmurrayphotos.com
The production began its life in the summer of 2021 with a record-breaking run at the Noel Coward Theatre starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood. It then transferred to the Gielgud Theatre for 10 weeks from 4 December 2021. The production there, starring Stephanie Beatriz, James Buckley, Elliot Cowan and Giovanna Fletcher, completed its run on 12 February 2022. The first cast at the Criterion Theatre featured Tom Felton, Mandip Gill, Beatriz Romilly and Sam Swainsbury and the second Criterion Theatre cast including Tamsin Carroll as Lauren; Felix Scott as Sam, Matt Willis as Ben and Laura Whitmore as Jenny, ended its run on 8 January 2023. The US premiere of 2:22 A Ghost Story at the Ahmanson Theatre, Los Angeles opened on 29 October and ended its run on 4 December 2022. The current cast have been in the show since 21 January 2023 and the Lyric run ends on 23 April.
Helen Murray www.helenmurrayphotos.com
2.22 – A Ghost Story is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist and it is directed by Matthew Dunster. Intriguing, funny and scary, it takes audiences into one adrenaline-fueled night where secrets will emerge and ghosts may appear….What do you believe? And do you dare to discover the truth?
“There’s something in our house. I hear it every night, at the same time.”
Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and her new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they are going to stay up… until 2.22am… and then they will know.
Helen Murray www.helenmurrayphotos.com
2:22 – A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, casting by Matilda James, CDG, illusions by Chris Fisher, and associate direction by Matt Hassall.
Helen Murray www.helenmurrayphotos.com
2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon.
Society of London Theatre seeks to support future industry leaders with ‘Associate membership’ pilot programme
Society of London Theatre have announced their plans to launch a new category of membership. The ‘Associate Membership’ will be designed to identify producers and future theatre industry leaders in London who would not be eligible for other categories of SOLT membership.
The aim of the new membership is to reflect a broader group of future theatre industry leaders in the early-mid-stages of their careers. SOLT are encouraging applications from groups who have historically been under-represented within their membership over the last 114 years, to ensure that the membership becomes more inclusive and representative of society in its broadest sense and reflects the people of London.
SOLT are looking to identify 6 individuals to become Associate Members for a period of 2 consecutive years. After the first cohort have completed their first 12 months, they will recruit a further 6 individuals. Associate Membership, which will be free of charge, is designed to support career progression for aspiring theatre leaders and to provide experience and access to best working practices. All Associate Producers will be offered a mentor from the wider SOLT membership.
Eleanor Lloyd, independent producer and President of SOLT, commented:
“I hope this pilot programme will give upcoming producers, venue operators and programmers who we hope will become future industry leaders, earlier access to the benefits of SOLT membership such as networking, training and advice.
“With particular focus on those who will diversify our industry, we hope this programme will allow Associate Members to build relationships, develop their knowledge and understanding of how the industry works, and be a steppingstone towards future full membership of SOLT, which will in turn strengthen the theatre community.”
From 11am today, tickets will be released for the extra week of performances for Streetcar, alongside an online lottery for tickets, drawn every Wednesday for the following week, and day seats which are won via a game of chance, in person, on the day of the performance. All details are listed below:
ENTER THE ONLINE LOTTERY A limited number of £25 tickets are reserved for lottery winners at each performance. The lottery will be drawn every Wednesday for all performances in the following week. Winners will be sent a unique link and have 24 hours to pay for their tickets. To maximise your chances, you will be automatically entered into the draw every week once you sign up but can unsubscribe at any time. To enter the lottery sign up HERE.
DAY SEATS Day seats are located in the front rows of the stalls and cost just £10 each. Day Seats are sold in person from the box office at 4.30pm (evenings) or 11.30am (matinees). The opportunity to buy these seats is allocated via a game of chance that takes place in-person outside the Phoenix Theatre. There are 10 Day Seats in total and 5 winners will have the opportunity to buy a pair. For safety and security, the ticket draw is limited to no more than 30 people.
The full cast for Streetcar is Eduardo Ackerman (Pablo), Alexander Eliot (Steve), Patsy Ferran (Blanche), Gabriela García (Mexican Woman),Cash Holland (Eunice), Paul Mescal (Stanley), Tom Penn (Doctor/Drummer), Jabez Sykes (Young Collector), Anjana Vasan (Stella)Dwane Walcott (Mitch)alongside understudies Rob Dempsey, Francesca Knight, Zach Parkin and Constanza Ruff.
A Streetcar Named Desire runs at The Phoenix Theatre from 20 March to 06 May 2023.
The smash-hit production has received six Olivier nominations including:
Sir Peter Hall award for Best Director – Rebecca Frecknall Best Actress in a play – Patsy Ferran Best Actor in a play – Paul Mescal
Best Supporting Actress in a play – Anjana Vasan Best Lighting Design – Lee Curran Best Revival – A Streetcar Named Desire
★★★★★
The Times, The Sunday Times, The Observer, The i
“How pretty the sky is! I ought to go there on a rocket that never comes down.”
On a street in New Orleans, in the blistering summer heat, a sister spirals.
When Blanche unexpectedly visits her estranged sister Stella, she brings with her a past that will threaten their future. As Stella’s husband Stanley stalks closer to the truth, Blanche’s fragile world begins to fracture. Reality and illusion collide and a violent conflict changes their lives forever.
Almeida Associate Director Rebecca Frecknall’s “heart-stopping” (The Telegraph)revival of Tennessee Williams’ masterpiece runs in the West End from 20 March 2023.
Paul Mescal (“tremendous” The Times)stars as Stanley alongside Patsy Ferran (“astonishingly good” Time Out) as Blanche DuBois and Anjana Vasan (“outstanding” New York Times) as Stella in this “mesmerising” (The i) production.
A Streetcar Named Desire is presented by special arrangement with The University of the South, Sewanee, Tennessee.
A Streetcar Named Desire’s creative team is as follows: Director: Rebecca Frecknall; Set Designer: Madeleine Girling; Costume Designer: Merle Hensel; Lighting Designer: Lee Curran; Sound Designer: Peter Rice: Composer: Angus MacRae and Casting Director: Julia Horan CDG.
A Streetcar Named Desire is produced by Ambassador Theatre Group Productions the Almeida Theatre, Gavin Kalin productions, Wessex Grove, GGRS and Los Angeles Media Fund.
Performance schedule: Monday – Saturday at 7.30pm, matinees on Thursday and Saturdays at 2.30pm (N.B no matinee on 23 March)
Ticket Prices: From£15
Running Time: Approx. 2 hours 45 minutes including a 20-minute interval
Age Recommendation: Recommended for ages 14+. This production contains xenophobic language, domestic violence, alcoholism, mental health difficulties including anxiety and depression as well as references to suicide and sexual assault. It also includes sudden loud noises, haze and the smoking of herbal cigarettes.
with tickets now on sale for the West End awards ceremony
on Tuesday 11 April 2023
The UK Pantomime Association has announced the nominations for The Pantomime Awards 2023 in association with Butlin’s, ahead of the awards ceremony at the Trafalgar Theatre, in London’s West End, on Tuesday 11 April 2023 at 7pm, hosted by Christopher Biggins.
During the 2022/23 pantomime season, the second year in which the Awards have taken place, the UK Pantomime Association’s 64 judges attended over 240 venues to see over 700 performances, far and wide across the United Kingdom.
Founded in 2021, the UK Pantomime Association is a charity that explores, shares and celebrates pantomime by investigating the genre’s rich past, engaging with contemporary practice and inspiring the future. The Special Awards, which celebrate productions representing the values that the Association seeks to promote, as well as the Outstanding Achievement Awards, are to be announced at the ceremony on 11 April.
This year, for the first time, there are no gendered categories as Principal Boy and Principal Girl become Principal Lead, such as Cinderella and Dick Whittington, and Secondary Lead, such as Prince Charming and Alice Fitzwarren.
The full list of nominations for the 2022/2023 Pantomime Awards in association with Butlin’s are:
Best Choreography
Eddie Slattery – Beauty and the Beast, Swansea Grand Theatre, Swansea (Imagine Theatre)
Josie Lee – Dick Whittington, Octagon Theatre, Yeovil (Evolution Productions)
Karen Bruce – Jack and the Beanstalk, London Palladium, London (Crossroads Pantomimes)
Kerry Blaskett-Weatherall – Peter Pan, Regent Theatre, Ipswich (Enchanted Entertainment)
Stillie Dee – Jack and the Beanstalk, Alhambra Theatre, Bradford (Crossroads Pantomimes)
Best Comic sponsored by Santa Himself
Adam C Booth – Cinderella, Grand Opera House, Belfast (Crossroads Pantomimes)
Adam Colbeck-Dunn – Cinderella, Palace Theatre, Newark (Jordan Productions)
Gavin Jon Wright – Sleeping Beauty, The Gaiety, Ayr (In-House)
Matt Slack – Dick Whittington, Birmingham Hippodrome, Birmingham (Crossroads Pantomimes)
Ruby Ablett – Dick Whittington, Cambridge Arts Theatre, Cambridge (In-House)
Best Costume Design
Adrian Gee – Robin Hood, Theatr Clwyd, Mold (In-House)
Becky Minto – Jack and the Beanstalk, Perth Theatre, Perth (In-House)
Dawn Allsopp – The Legend of Robin Hood, Theatre Royal Bury St Edmunds, Bury St Edmunds (In-House)
James Button – Cinderella, Salisbury Playhouse, Salisbury (In-House)
Jasmine Swan – Beauty and the Beast, Mercury Theatre, Colchester (In-House)
Best Dame sponsored by Trafalgar Entertainment
Ben Roddy – Sleeping Beauty, Marlowe Theatre, Canterbury (Evolution Productions)
Brian James O’Sullivan – Maw Goose, Macrobert Arts Centre, Stirling (In-House)
Clive Rowe – Mother Goose, Hackney Empire, London (In-House)
JP McCue – Cinderella, Royal Spa Centre, Leamington Spa (Imagine Theatre)
Phylip Harries – Robin Hood, Theatr Clwyd, Mold (In-House)
Best Director
Darren O’Sullivan – Cinderella, South Holland Centre, Spalding (Polka Dot Pantomimes)
Estelle van Warmelo – Beauty and the Beast, The Courtyard, Hereford (In-House)
Kathryn Rooney – Beauty and the Beast, King’s Theatre, Glasgow (Crossroads Pantomimes)
Paul Hendy – Sleeping Beauty, Marlowe Theatre, Canterbury (Evolution Productions)
Tamara Harvey – Robin Hood, Theatr Clwyd, Mold (In-House)
Best Ensemble sponsored by Stagecoach
Briana Craig, Ediz Ibrahim, Grant Thresh, Demi Leigh Foster, Megan Louch, Maxwell Trengove, Belle Kizzy Green, Ciro Lourencio Meulens, Zinzile Tschuma, Sally Jayne Hind, Alexandra O’Reilly, Jaydon Vijn, Emma Hunter, Andrew Lyle-Pinnock, Luke Woollaston and Lauren Stroud – Jack and the Beanstalk, London Palladium, London (Crossroads Pantomimes)
Grace Faulkner, Jack Trafford, Lucy Stewart, Molly Thorpe Franklin, Callum Fairfield, Lucy Deakin and Georgia Murray – Goldilocks and the Three Bears, Epstein Theatre, Liverpool (Regal Entertainments)
Kieran Lynch, Caitlin Mae and Charlotte Jean Moore – Snow White, Palace Theatre, Kilmarnock (Imagine Theatre)
Leo Burke, Nick Pack, Sophie Spencer, Daisy Ewing and Adam Russell-Owen – Cinderella, The Arts Centre, Hounslow (The Arts Centre Hounslow with Ashby Pantomimes)
Mairi Barclay, Adam Brown, Gabriel Fleary, Becca Francis, Shailan Gohil, Richard Leeming, Genevieve Nicole and Laura Tyrer – Mother Goose, Duke of York’s Theatre (Ambassador Theatre Group)
Best Lighting Design sponsored by Production, Light & Sound
Ben Cracknell – Cinderella, Grand Opera House, Belfast (Crossroads Pantomimes)
Bev Paskell – Cinderella, South Holland Centre, Spalding (Polka Dot Pantomimes)
Jamie Corbidge – Beauty and the Beast, Swansea Grand Theatre, Swansea (Imagine Theatre)
Kathryn Monkton – Dick Whittington, Octagon Theatre, Yeovil (Evolution Productions)
Sally Ferguson – Dick Whittington, Nottingham Playhouse, Nottingham (In-House)
Carmen Silvera Award for Best Magical Being
Danielle Jam – The Pantomime Adventures of Peter Pan, His Majesty’s Theatre, Aberdeen (Crossroads Pantomimes)
Jo Osmond – Beauty and the Beast, Theatre Severn, Shrewsbury (Evolution Productions)
Joe McElderry – Cinderella, Newcastle Theatre Royal, Newcastle upon Tyne (Crossroads Pantomimes)
Lauren Azania – Cinderella, Lighthouse, Poole (In-House)
Leonardo Vieira – Aladdin, Devonshire Park Theatre, Eastbourne (Jordan Productions)
Best Contribution to Music sponsored by Howden Insurance Brokers
Emma Fraser – Dick Whittington, Octagon Theatre, Yeovil (Evolution Productions)
Miles Russell – Jack and the Beanstalk, The Hexagon, Reading (Imagine Theatre)
Philip Shute – Cinderella, Grand Opera House, Belfast (Crossroads Pantomimes)
Rob Green – Red Riding Hood, Everyman Theatre, Liverpool (In-House)
Tayo Akinbode – Robin Hood, Theatr Clwyd, Mold (In-House)
Best Early Career Newcomer sponsored by Staffordshire University
Eliza Walker – Peter Pan, Regent Theatre, Ipswich (Enchanted Entertainment)
Ewan Grant – The Legend of Robin Hood, Theatre Royal Bury St Edmunds, Bury St Edmunds (In-House)
Katsie Fong Frydenberg – Jack and the Beanstalk, The Hexagon, Reading (Imagine Theatre)
Nay-Nay – Snow White and the Seven Dwarfs, New Theatre, Cardiff (Crossroads Pantomimes)
Simon Sladen, Chair, of the UK Pantomime Association said: “After what for many venues was a record breaking pantomime season in 2022/2023, we can’t wait to celebrate the wide array of excellence in the genre at The Pantomime Awards this April. Pantomime is one of the most exciting, vibrant forms of theatre, entertaining millions of people each festive season. Thank you to everyone who brings the pantomime magic to the stage and good luck to all of this year’s nominees!”
Butlin’s is the principal sponsor for the UK Pantomime Awards 2023. Entertainment Director Mike Godolphin said “Congratulations to everyone that’s been shortlisted for an award. Panto is a huge part of our entertainment offering at all three Butlin’s resorts and we’re very happy to be sponsoring the awards again this year. We’re looking forward to seeing who the winners will be next month.”
