Further casting announced for the return of smash-hit play Dear England by James Graham

The Olivier Award-winning ‘Best New Play’ returns to the National Theatre in March, followed by a 4-week run at the Lowry, Salford  

The National Theatre today announces further casting for its highly anticipated return of James Graham’s smash-hit production of Dear England as rehearsals begin on the South Bank. The Olivier Award-winning play will be staged at the Olivier theatre from 10 March to 24 May 2025, followed by a 4-week run at the Lowry in Salford from 29 May to 29 June 2025. 

Written by playwright James Graham (Punch, Young Vic; Sherwood, BBC One) and directed by the Almeida Theatre’s Artistic Director Rupert Goold (Patriots, Ink; Almeida Theatre/West End/Broadway), Dear England is an epic examination of nation and game, which has been updated following the 2024 UEFA EURO tournament to reflect Gareth Southgate’s final chapter as England manager.    

Liz White (Life on Mars) will play the role of Pippa Grange, sports psychologist and Head of People and Team Development at The Football Association from 2017 – 2019, joining previously announced cast member Gwilym Lee (SAS Rogue Heroes, Bohemian Rhapsody) who will play the role of Gareth Southgate.

The cast also includes returning performers Josh Barrow as Jordan Pickford, Gunnar Cauthery as Gary Lineker, Tony Turner as Greg Dyke, John Hodgkinson as Greg Clarke and Ryan Whittle, who is this time taking on the role of Harry Kane. They will be joined by new cast members Matt Bardock as Mike Webster, Jude Carmichael as Marcus Rashford, Gamba Cole as Raheem Sterling, Ryan Donaldson as Harry Maguire, Felixe Forde as Alex Scott, Kadell Herida as Jadon Sancho, Joshua Hill as Jordan Henderson, Martin Marquez as Sam Allardyce, Tane Siah as Bukayo Saka and Tristan Waterson as Dele Alli.

Also joining the company are Jass Beki, Courtney George, Will Harrison-Wallace, Jordan Ford Silver, Philip Labey and Ellouise Shakespeare-Hart. The cast will also be playing additional roles as part of the ensemble.

The wider creative team for Dear England includesset designer Es Devlin,costume designer Evie Gurney,lighting designer Jon Clark, co-movement directors Ellen Kane and Hannes Langolf, video designer Ash J Woodward, co-sound designers Dan Balfour and Tom Gibbons, additional music by Max Perryment,revival director Elin Schofield, casting director Bryony Jarvis-Taylor, dialect coach Richard Ryder, voice coaches Cathleen McCarron and Tasmin Newlands, associate lighting designer Ben Jacobs, revival movement associate Thomas Herron, associate sound designer Johnny Edwards, casting associate Lilly Mackie and staff director Connie Treves.

The country that gave the world football has since delivered a painful pattern of loss. Why can’t England’s men win at their own game? The team has the worst track record for penalties in the world, and manager Gareth Southgate knows he needs to open his mind and face up to the years of hurt to take team and country back to the promised land.

Dear England was originally commissioned by the National Theatre and developed with the theatre’s New Work department.  It had its world premiere in the Olivier theatre on 20 June 2023. Following a sold-out run,Dear England transferred to the Prince Edward Theatre, in London’s West End, from 9 October 2023 to 13 January 2024, where it broke box office records.  Dear England was subsequently released to cinemas through National Theatre Live on 24 January 2024 and has been screened almost 2,500 times across the UK.  The BBC has also commissioned a four-part drama of Dear England based on the stage production for BBC One and BBC iPlayer which will broadcast later this year.

Nottingham Theatre Royal – until Saturday 1 February 2025

Reviewed by Louise Ford

3***

Diversity Nirvana

The setting for this production of Coming to England is, of course, a good old fashioned analogue television. It’s the adaptation, by David Wood, of Floella Benjamin’s book about her and her family’s journey from the idyllic island of Trinidad to the, less than idyllic, Motherland, England. This production is directed by Denzel Wesley.

Whilst the story clearly references Floella’s success in children’s TV, championing children’s rights and her Parliamentary work. It doesn’t dwell on these amazing achievements. It is rather a story told from a child’s point of view of family and change. The production works perhaps best for children as it covers a lot of issues and historical events without labouring the points. It is rather a jumping off point for conversations and discussions. It is also a surprisingly short production at 1 hour 40 minutes including the interval. Which makes it ideal for schoolchildren. Having said that it is a great watch for adults too.

The story is roughly divided into three parts and is told from the perspective of Floella (Julene Robinson) who is on stage for nearly all of the production. She is in turn  joyful, brave and naive.

Joyful is her family’s island home which is full of colour, music and love. She is one of six siblings born to the dapper Dardie (Charles Angiama) and loving Marmie  (Maryla Abraham). This idyllic childhood is brought to an abrupt halt when Floella’s parents decide to take up the Motherland’s appeal to help rebuild the country’s greatness  after the Second World War. Dardie and Marmie head off with the two youngest children.

Floella has to be brave as she endures this separation and the brutal treatment of the four remaining siblings at the hands of their foster parents.

After 15 months Floella’s parents have saved up enough money to pay for the children to sail to join the family in London.

There is a lovely musical vibe throughout the production and all of the cast have great singing voices. It is a joyful production which the audience really enjoyed. It was great to see a younger more culturally diverse audience.

As mentioned already the production is framed within a TV screen, the actual set design is quite minimal. An interconnecting set of two blocks are moved around to form the island home, the ship and the flat. The addition of a few props helps to augment the stage. As the story is told from a child’s point of view, Floella and her siblings are for most of the production dressed as children. They wear fancy frocks, ankle socks, t-bar shoes for the girls and shorts, shirts and sandals for the boys. The clever use of colours highlights the differences between the island and England.

Floella naively imagines that the family will be welcomed by the Motherland and live in luxury and comfort. Floella is confronted with cold  weather, grey skies, drab clothes and racist comments and messages . However under  Mamie’s guidance and loving care the young Floella is urged to turn away from anger and violence and to embrace positivity and love.

As Marmie wisely counsels Floella, winners are always smiling.

WINNERS ANNOUNCED

FOR THE INAUGURAL

STALLS TO STAGE AWARDS

The organisers of the Stalls to Stage Awards are proud to announce its inaugural cohort of winners, following an industry ceremony at the Bush Theatre, London on Sunday, 26 January 2025.

Established to celebrate the best of Theatre, the Awards saw 105 nominees across 25 categories. Shows opened between 1^st October 2023 and 30^th September 2024 were eligible for consideration by a team of creators, art makers and theatre fans, the shortlist of which were then voted upon by the general public, with 3500 votes and counting.

In the Plays and Musicals categories, ROMEO & JULIET led the Play awards with Tomiwa Edun and Freema Agyeman awarded Best Supporting Actor/Actress in a Play respectively. Andrew Scott was recognised as Best Actor in a Play for his performance in VANYA, with Denise Gough and Heather Agyepong jointly named Best Actress in a Play for PEOPLE, PLACES AND THINGS and SHIFTERS. HADESTOWN led the Musicals category with Melanie La Barrie and Dónal Finn awarded Best Supporting Actress and Best Actor in a Musical. NEXT TO NORMAL also took home two awards with Jack Wolfe and Caissie Levy winning Best Supporting Actor and Best Actress in a Musical (the former alongside Mitchell Zhangazha for MJ THE MUSICAL).

The Production awards were given to STRANGER THINGS: THE FIRST SHADOW, HADESTOWN and HAMILTON (UK & Ireland Tour) for Best Play (with Miriam Buether also winning Best Set Design for the show), Best Musical and Best Touring Production respectively. Jamie Muscato’s solo concert at Cadogan Hall, presented by FOURTH WALL LIVE and WESTWAY MUSIC,alongside the staged concert production of Spring Awakening at Victoria Palace Theatre, produced by JACK MAPLE and EVELYN HOSKINS, also received a special mention.

The Performance category celebrated lesser-known roles, underrepresented artists and emerging talent. Having just led an audience acclaimed world premiere run in WHY AM I SO SINGLE?, Jo Foster was awarded Best Non- Binary Performer, with Grace Hodgett Young (SUNSET BOULEVARD and HADESTOWN) and Francesca Amewudah-Rivers (ROMEO & JULIET) recognised for Best Graduate and Best Professional or West End Debut. The work of swings and takeover performances were also highlighted in Madeline Charlemagne and Lauren Azania’s individual performances in HADESTOWN, earning them Best Takeover and Best Performance by a Cover/Alternate respectively.

The final batch of winners paid tribute to the unsung heroes driving change in the constantly evolving theatrical landscape. Clint Dyer & Roy Williams, Lynette Linton and Jacob Sparrow were recognised for their playwriting, directorial and casting achievements earning Best Writer for DEATH OF ENGLAND, Best Director for SHIFTERS and Best Casting for HADESTOWN, THE HOT WING KING and THE BIG LIFE. Rob Madge and Amy Trigg’s advocacy efforts did not go unnoticed, as they each received the Award for LGBTQ+ Champion and Disability Champion.

Finally, in loving memory of the community spirit exemplified by individuals and organisations within the industry, the late Gavin Creel was honoured with the Special Recognition Award, renamed after the actor himself for future years moving forward.

Speaking of the memorable event, Bri O’Reilly, Founder and Director of Stalls to Stage said, ‘When I decided in September to do the Stalls to Stage Awards, I didn’t for a moment imagine it would get the response that it did when I posted nominees. The joy that it created was not something I had anticipated at all, never mind the sheer number of votes that flooded in. When I decided in October that if I’m doing it then I should really do it and put on a whole night of celebration, all I had was unmedicated ADHD and a healthy dose of delusion. I could not have fathomed the response from our guests last night. The warmth, the joy, the love, it was beyond palpable, I still feel it now. Thank you isn’t enough but it’s all I have right now. A huge congratulations to all the winners, and all the nominees, and here’s to Year 2!’

The rejoiceful ceremony was attended by distinguished guests, nominees and performers from across the performing arts industry, hosted by Marcus Collick with a roundup of presenters including Christina Bennington, Natalie Kassanga, Rolan Bell, Ronkẹ Adékọluẹ́jọ́, Sharon Rose, Dylan Wood, Ryan Reid, Reda Elazouar, Jamael Westman and Jyuddah Jaymes.

New Wimbledon Theatre, London – until 1 February 2025

Reviewed by Emily Smith

5*****

& Juliet is the untold story of what would have happened if Juliet had survived and thrived (!), instead of taking her own life after she found Romeo dead. The rewriting of this classic story is told through two narrators, Shakespeare (Jay McGuiness) and Anne (Lara Denning), who are jointly writing the new version of events, while quarrelling throughout and throwing in some twists and turns.

& Juliet is packed full of well-known, catchy pop songs, ranging from boyband classics like I Want It That Way to pop rock power ballads such as Since U Been Gone and Roar. These have all been carefully interwoven around the narrative such that there’s almost constantly someone breaking into song in each scene and they all work seamlessly. I challenge anyone to sit still and not bop along to this show – by the end of the night the whole audience were waving their arms from side to side, or on their feet dancing!

The set (Soutra Gilmour), lighting (Howard Hudson) and sound (Gareth Owen) design were all brilliant for this touring production and were on-par with the previous West End versions. No glitz and glam has been lost by bringing this production to local theatres; there were still bright flashing lights, a great sound system and various set pieces such as chandeliers descending from the ceiling!

Whilst the music and staging are brilliant, it is the stand-out cast that bring this show to life, alongside the live band. Gerardine Sacdalan was born to play Juliet! She is an absolute force, delivering flawless vocals alongside energetic choreography with a vibrance that was truly mesmerising. She looked like she was living her best life and I can’t sing her praises enough!

Lara Denning (Anne) was another standout performance, providing powerhouse vocals and incredible acting skills with perfect comedic timing. She had the audience captivated with her rendition of That’s The Way It Is and truly captured the emotion of the song. Jordan Broatch (May) also delivered beautiful vocals, especially during I’m Not A Girl, Not Yet A Woman.

Liam Morris stepped in to cover the role of Romeo at this press evening and did a great job. While his vocals were not as outstanding as his peers, he made up for that with his great comedic timing, pulling off Romeo’s inflated ego a little too well!

Ranj Singh, better known as TV’s Dr Ranj, makes his musical theatre tour debut in & Juliet as Lance, and I was pleasantly surprised at his vocal skills! That being said, his French accent (if you can call it that) could do with a little more workshopping. Jay McGuiness delivered an emotional yet comedic performance as Shakespeare, though for me he was not the strongest vocalist of the evening. Kyle Cox (François, aka Frankie The Boy) and Sandra Marvin (Angeliqué) also delivered great vocals and comedic performances, alongside the entire ensemble who helped bring the show to life.

& Juliet is a feel-good show that’s full of catchy well-known songs, delivered by an incredibly talented cast that are truly at the top of their game. & Juliet is absolutely worth a trip to the theatre – you won’t be disappointed!

DUE TO POPULAR DEMAND

NICOLE TAYLOR’S NEW MUSICAL

WILD ROSE

EXTENDS RUN AT ROYAL LYCEUM THEATRE EDINBURGH

Due to overwhelmingly popular demand, The Royal Lyceum Theatre Edinburgh, Caledonia Productions and Gavin Kalin Productions today announce a two week extension of brand-new musical Wild Rose, written by Nicole Taylor (One Day, Three Girls, The C Word, The Nest) and directed by John Tiffany (Harry Potter and the Cursed Child, Black Watch).

Wild Rose – one of the most anticipated productions to première at The Royal Lyceum Theatre, Edinburgh – will now run until 19 April 2025. Tickets for previews and weekends throughout the run, are already flying out the door, with best availability remaining on weekdays. The extension is now on sale.

The production begins its life in Scotland where the piece is set, opening at The Royal Lyceum Theatre in Edinburgh in 2025. Based on the critically acclaimed award-winning film of the same name written by Taylor, directed by Tom Harper and produced by Faye Ward (Fable Pictures), the production opens on 14 March, with previews from 6 March, and now runs until 19 April.

Released to critical acclaim in 2018, the film, blessed with an incredible soundtrack, won the BAFTA Scotland Award for Best Feature Film, Best Writer for Nicole and Best Actress for Jessie Buckley – the latter was also nominated for a BAFTA Film Award. It was nominated and won several other awards, including 10 Independent Film Award nominations, winning the Best Independent Film Award for Best Music; as well as several awards for Best Original Song for Glasgow (No Place Like Home) including the Critics’ Choice Award.

The Royal Lyceum Theatre Edinburgh, Caledonia Productions and Gavin Kalin Productions present 

WILD ROSE

A NEW MUSICAL

By Nicole Taylor

Director John Tiffany; Choreography Steven Hoggett & Vicki Manderson; Set Design Chloe Lamford;

Costume Design Katrina Lindsay; Lighting Design Jessica Hung Han Yun; Sound Design Tony Gayle;

Music Supervision, Orchestration and Arrangements Sarah Travis & Davey Anderson;

Video Design: Lewis den Hertog; Casting Director Charlotte Sutton CDG and Children’s Casting Director Kahleen Crawford Casting

Executive Producers: Faye Ward of Fable Pictures and Nia Janis of Playful Productions

6 March – 19 April

SING YOUR OWN SONG.

There is only one thing in Rose-Lynn’s life that has ever made sense: country music. 

Fresh out of jail for past mistakes, and bursting with incredible raw talent, charisma and cheek, the free-spirited Rose-Lynn dreams of escaping Glasgow to make it as a singer in Nashville. 

But her mother Marion has had a bellyful, insisting that she settle down, ditch the fantasy, and focus on raising her two young kids. 

Rose-Lynn reluctantly agrees to take a cleaning job and finds an unlikely champion in her new boss Susannah, bringing her dream closer than ever. Now Rose-Lynn must decide if risking everything will really pave the road to Nashville.

From Nicole Taylor, BAFTA-winning writer of the original film and global sensation One Day, and renowned director John Tiffany (Harry Potter and the Cursed Child, Once), Wild Rose is an uplifting and heartwarming new musical about motherhood, dreams and finding your three chords and the truth.

This world premiere production will feature songs from country music legends including Dolly Parton, Carrie Underwood, Wynonna Judd, Chris Stapleton, Caitlyn Smith, The Chicks, and Patty Griffin, alongside the film’s award-winning original song Glasgow (No Place Like Home).

Based on the film written by Nicole Taylor, directed by Tom Harper and produced by Faye Ward for Fable Pictures.

Dawn Sievewright returns to The Royal Lyceum Theatre, where she previously appeared in Twelfth Night (also Bristol Old Vic). Sievewright received critical acclaim and an Olivier Award nomination for her role in Our Ladies of Perpetual Succour – an NTS production which also played at Live Theatre, National Theatre and in the West End at the Duke of York’s Theatre. Her other theatre credits includes A Midsummer Night’s Dream (RSC), No Love Songs (Dundee Rep and Traverse Theatre), The Welkin (National Theatre), Spuds (A Play, A Pie and A Pint), My Left/Right Foot (NTS), Pinocchio (National Theatre), The A-Z of Mrs P (Southwark Playhouse), Glasgow Girls (Theatre Royal Stratford East, National Theatre of Scotland, Citizens Theatre), Legally Blonde (Savoy Theatre) and Quadrophenia (UK tour). Her television credits include The Undertow, Shetland and Star Wars: Andor; and for film Man & Witch and Never Seen the Sea.

Acclaimed screenwriter Nicole Taylor’s credits for television include Three Girls (which won five BAFTAs including for Best Writer and Best Mini Series), The C Word and The Nest.  She most recently adapted David Nicholls’ novel One Day into a critically acclaimed smash-hit 14-part series for Netflix. For film, Nicole wrote the multi-award-winning Wild Rose. 

John Tiffany studied Theatre and Classics at Glasgow University. He trained at the Traverse Theatre and has been an Associate Director at the National Theatre of Scotland and the Royal Court. For his work on Harry Potter and the Cursed Child, John received Tony and Olivier Awards. He directed Once at NYTW and on Broadway, for which he received a Tony Award. For the Royal Court, his work includes Road, Hope, and The Pass. For the National Theatre of Scotland his work includes Black Watch, for which he received an Olivier Award, Let the Right One In (also West End and international tour),Macbeth (also Broadway), Enquirer, The Missing, Peter Pan and The Bacchae. Other credits include The Glass Menagerie at American Repertory Theater (also Broadway, EIF and West End) and The Ambassador at BAM. Tiffany was a Radcliffe Fellow at Harvard University in the 2010-11 academic year.

SELF ESTEEM

ANNOUNCES THE LIMITED WEST END SEASON

A COMPLICATED WOMAN LIVE

16-19 APRIL AT DUKE OF YORK’S THEATRE

NEW ALBUM A COMPLICATED WOMAN DUE 25 APRIL VIA POLYDOR RECORDS

Self Esteem AKA Rebecca Lucy Taylor today announces A Complicated Woman Live – a unique and theatrical presentation of her forthcoming new album at the intimate Duke Of York’s Theatre in London for a strictly limited and unmissable season this April.

Created by Rebecca Lucy Taylor and Tony award-winning Designer Tom Scutt, who also directs here, A Complicated Woman Live is an ambitious quasi-theatrical experience that harnesses the power and energy of a gig but presents it through a theatrical format. Fans pre-ordering the album before 10am on 3 February will be eligible for a limited pre-sale of tickets; tickets for all shows go on general sale at 10am on 5 February.

A Complicated Woman Live performance dates

Wednesday 16th April – 7.30pm

Thursday 17th April – 7.30pm

Friday 18th April – 7.30pm

Saturday 19th April – 3pm

Saturday 19th April – 7.30pm

A Complicated Woman Live credits

Created by Rebecca Lucy Taylor & Tom Scutt

Direction & Design: Tom Scutt ​​​

Choreography: Stuart Rogers

Musical Direction: Mike Park

Lighting Design: Matt Daw​​​​

Sound Design: Max & Ben Ringham

Associate Direction and Movement: Jenny Ogilvie

Associate Costume: Lucy Martin
 

Self Esteem will release her eagerly anticipated new album A Complicated Woman on 25 April in digital, CD, cassette and vinyl formats – including limited editions – via Polydor Records. The album is the follow up to the hugely acclaimed BRIT and Mercury Prize-nominated 2021 album Prioritise Pleasure – an album of the year everywhere from the Guardian to the Sunday Times.

Pre-order / pre-save A Complicated Woman

Described by the Guardian as “her best yet”, A Complicated Woman contains all Taylor’s musical thumbprints – complex thought processes unfolding in real time, an effortless knack of exposing the feelings women are required to labour under – but set on a larger, brighter landscape that is nothing short of exhilarating. Running through the album is a jubilant choir constructed of dozens and dozens of mostly female voices – “a community of people. I want you to hear and feel the connection” – including close friends, her band and collaborators, that includes – but is not limited to – singer-songwriters Nadine Shah, Moonchild Sanelly and Sue Tompkins from Life Without Buildings; a personal hero, the drag queen Meatball and a bona fide Lancaster legend, the actress Julie Hesmondhalgh.

A Complicated Woman is about taking control of your life, summed up in the astonishing first single ‘Focus Is Power’. Inspired by words Taylor wrote on a sticker, working from her mum and dad’s shed in the pandemic – “You see, it wasn’t up to me but now it could be / But now I see it clear with every passing of each year / I deserve to be here…” – the lyrics become an incantation when shared between the choir, something the accompanying music video (shot by long time collaborator Piers Dennis) echoes in its community hall performance.

Listen / watch ‘Focus Is Power’



A Complicated Woman tracklisting

1.⁠ ⁠I Do And I Don’t Care

2.⁠ ⁠Focus Is Power

3.⁠ ⁠Mother

4.⁠ ⁠The Curse

5.⁠ ⁠Logic, Bitch! ft Sue Tompkins

6.⁠ ⁠Cheers To Me

7.⁠ ⁠If Not Now, It’s Soon

8.⁠ ⁠In Plain Sight ft Moonchild Sanelly

9.⁠ ⁠Lies ft Nadine Shah

10.⁠ ⁠69

11.⁠ ⁠What Now

12.⁠ ⁠The Deep Blue Okay



About Self Esteem

One of the UK’s most exciting breakout stars of the past decade, Rebecca Lucy Taylor, AKA Self Esteem emerged from cult favourite status to mainstream hero following the huge success of her empowering, truth-telling 2021 single ‘I Do This All The Time’. The song resonated intensely as a perfect example of Taylor’s affectionately termed ‘trojan horse’ or ‘salad and chips’ approach, fearlessly packing important, emotive messages into witty, resonant pop music.

Self Esteem’s wildly acclaimed second album Prioritise Pleasure quickly followed, tackling the hypocrisies and joys found in her experiences of modern day womanhood across dating, friendship, comparison culture, self love, women’s safety and sexual assault and much more. Prioritise Pleasure received Mercury Prize, BRIT Award, Sky Arts and NME Award nominations, was crowned The Guardian and Sunday Times Culture’s Album of the Year, and ‘I Do This All The Time’ was also named The Guardian’s #1 song of 2021.

Quite the opposite of an overnight success, Taylor spent a decade as one half of indie duo Slow Club before adopting the pop star persona she’d always dreamed of. She released her first Self Esteem album Compliments Please in 2019, featuring fan favourite singles ‘The Best’, ‘Girl Crush’ and more.

Gathering a passionate and vast legion of fans ever since, Taylor has appeared on The Graham Norton Show, Celebrity Gogglebox, Friday Night Live, performed three times on Jools Holland including the NYE Hootenanny, graced the covers of magazines from Grazia to NME to Sunday Times Style, and is one of a handful of artists to have been playlisted across BBC Radio 1, 2 and 6 Music simultaneously.

Having reached new heights of acclaim, Taylor has continued to grow, diversify, and create in 2024. Branching out into the world of acting, Taylor starred in a regular role in the Sky series Smothered, before completing a run playing Sally Bowles in the multiple Olivier Award-winning production of ‘Cabaret at the Kit Kat Club’ in London’s West End. Starring alongside Jake Shears (lead singer of Scissor Sisters) as Emcee, the pair’s time on stage was extended due to popular demand, and showcased the sheer range of talent in Taylor’s repertoire. A one-off collaborative single with Moonchild Sanelly, ‘Big Man’, was released in the summer of 2024.

Connect with Self Esteem

Website /Instagram /Facebook / X / TikTok

Sebastian Faulks’s epic story of love and loss

Birdsong

starring Max Bowden, James Esler and Charlie Russell
will play Alexandra Palace Theatre from

27 February – 8 March 2025

Marking the 30th anniversary of Sebastian Faulks’s international best-selling novel, the new touring production of Birdsong will play a limited run this Spring at London’s Alexandra Palace Theatre from Thursday 27 February to Saturday 8 March 2025.  

This epic First World War story of love and loss, starring Max Bowden (EastEnders) as Jack Firebrace, alongside James Esler (Litvinenko) as Stephen Wraysford and Charlie Russell (The Goes Wrong Show, And Then There Were None (BBC)) as Isabelle Azaire, has been touring the UK to packed houses and resounding critical acclaim since September 2024.  The tour coincides with Original Theatre’s current 20th anniversary celebrations.

The Alexandra Palace Theatre run, which marks the culmination of Birdsong’s tour, has particular significance; the 150-year-old London venue was requisitioned by the Government during WW1, becoming both a Belgian refugee camp and an internment camp for around 3,000 Germans, Austrians and Hungarians. There is also evidence that the auditorium was used as a wartime hospital. Cast members Max Bowden, Charlie Russell and James Esler visited the building to find out more about its history – watch a video of their visit here: youtu.be/screGLf1Mhs

Birdsong tells the story of one man’s journey through an all-consuming love affair and into the horror of the First World War. In pre-war France, a young Englishman, Stephen Wraysford, embarks on a passionate and dangerous affair with the beautiful Isabelle Azaire that turns their world upside down. As the war breaks out over the idyll of his former life, Stephen must lead his men through the carnage of the Battle of the Somme and through the sprawling tunnels that lie deep underground. Faced with the unprecedented horror of the war, Stephen clings to the memory of Isabelle as his world explodes around him.

Alongside Max Bowden, James Esler and Charlie Russell, the production stars Joseph Benjamin Baker as Evans/Levi, Raif Clarke as Tipper, James Findlay as Brennan, Dave Fishley as Turner, Gracie Follows as Lisette, Sulin Hasso as Marguerite, Tama Phethean as Shaw/LeBrun, Natalie Radmall-Quirke as Jeanne, Roger Ringrose as Bérard/Barclay and Sargon Yelda as René Azaire/Gray. 

Birdsong was adapted for the stage by Rachel Wagstaff, and is directed by Original Theatre’s Artistic Director, Alastair Whatley. Design is by Richard Kent, Lighting by Jason Taylor, Music Composition by Sophie Cotton, Sound by Dominic Bilkey, Fight & Intimacy Direction by Yarit Dor and Enric Ortuño and with Casting by Ellie Collyer-Bristow (CDG).

Birdsong is produced by Original Theatre & JAS Theatricals in association with Joshua Beaumont

& Huw Allen, Tiny Giant Entertainment, Birdsong Productions & Wiltshire Creative.

The producers of Birdsong are working in partnership with the Royal British Legion.

For more information about Birdsong at Alexandra Palace Theatre, visit: www.alexandrapalace.com/whats-on/birdsong 

For further details of Alexandra Palace’s First World War history, visit: www.alexandrapalace.com/blog/the-theatre-and-the-war 

THE ADDAMS FAMILY

THE MUSICAL COMEDY

TO RUN IN

BIRMINGHAM, LEICESTER,SALFORD & CANTERBURY

FROM 7 JULY 2025

Katy Lipson for Aria Entertainment, John Stalker Productions and Bill Kenwright Ltd with co-producers ADAMA Entertainment and Guy James are delighted to announce that following two hugely successful UK and Ireland tours and sold out concerts at The London Palladium last year, THE ADDAMS FAMILY, The Musical Comedy will run at Birmingham Hippodrome from 10 – 12 July 2025, Curve, Leicester from 15 July – 10 August, Lowry, Salford from 12 – 16 August 2025 and Marlowe Theatre, Canterbury from 19 – 23 August.

THE ADDAMS FAMILY has a book by Marshall Brickman and Rick Elice (writers of the multi award-winning hit musical Jersey Boys), with music and lyrics by Tony Award-nominated Andrew Lippa, based on the characters created by Charles Addams.

Casting is to be announced.

Wednesday Addams, the ultimate princess of darkness, is all grown up and has a shocking secret that only Gomez knows. She’s fallen in love with a sweet young man from a respectable family. With his cherished Morticia in the dark will Gomez manage to keep his daughter’s secret until the two families meet for a fateful dinner with hilarious consequences?

Join them, plus Uncle Fester, Lurch, Pugsley, Grandma and more for a heart-warming story of love, family and friendship… with a twist!

THE ADDAMS FAMILY, The Musical Comedy will be directed by Matthew White, with choreography by Alistair David, production design by Diego Pitarch, orchestrations by Richard Beadle, lighting design by Ben Cracknell, sound design by Richard Brooker and casting by Jane Deitch

THE ADDAMS FAMILY is produced by Katy Lipson for Aria Entertainment, John Stalker Productions and Bill Kenwright Ltd, with co-producers ADAMA Entertainment and Guy James and is presented through special arrangement with Theatrical Rights Worldwide.

Website: theaddamsfamily.co.uk

X: @AddamsFamilyUK

Instagram: @theaddamsfamilyuk

Facebook: @TheAddamsFamilyUK

TikTok : @TheAddamsFamilyUK

2025 LISTINGS INFORMATION

10 – 12 July                            Birmingham Hippodrome                              0844 338 5000

                                                www.birminghamhippodrome.com                  On sale 29 January

15 July – 10 August                Leicester Curve                                             0116 242 3595

                                                www.curveonline.co.uk                                  On sale 5 February                   

12 – 16 August                       Salford Lowry                                                 0161 876 2000                                                               

                                                 www.thelowry.com                                         On sale 29 January

19 – 23 August                        Canterbury Marlowe Theatre                        01227 787787                                                                       

www.marlowetheatre.com                              On sale soon

FULL DATES ANNOUNCED AND

TICKETS NOW ON SALE FOR
STEREOPHONIC

THE ACCLAIMED, RECORD-BREAKING

HIT PLAY BY DAVID ADJMI

DIRECTED BY DANIEL AUKIN

WITH ORIGINAL SONGS BY

ARCADE FIRE’S WILL BUTLER

WILL RUN AT THE DUKE OF YORK’S THEATRE

FROM 24 MAY TO 20 SEPTEMBER 2025

FOLLOWING A SMASH HIT EXTENDED RUN ON BROADWAY

“The play, Adjmi’s best so far, is as rich and lustrous as they come.

You could even call it platinum”

New York Times

Following the production announcement earlier this month, Stereophonicis confirmed to run at the Duke of York’s Theatre from 24 May to 20 September 2025, with a gala night on 12 June 2025. Tickets go on sale from midday today, Tuesday 28 January, so click here to book your tickets; www.stereophonicplay.com

Last year, Stereophonic became the most Tony Award-nominated play ever and the most Tony Award-winning show of 2024. It completed its Broadway run on 12 January 2025, after extending twice and recouping its investment.

Original cast members reprising their highly lauded performances from Broadway include Andrew R. Butler as Charlie, Eli Gelb as Grover and Chris Stack as Simon. Further casting to be announced in due course.

Please click HERE for a video of the song Masquerade with the original Broadway cast and
please click HERE for the West End Stereophonic Trailer.

Stereophonic mines the agony and the ecstasy of creation as it zooms in on a music studio in 1976. Here, an up-and-coming rock band recording a new album finds itself suddenly on the cusp of superstardom. The ensuing pressures could spark their breakup — or their breakthrough.

In Stereophonic, Adjmi invites the audience to immerse themselves—with fly-on-the-wall intimacy—in the powder keg process of a band on the brink of blowing up.

Stereophonic became the most Tony-nominated play ever after receiving a record-breaking 13 nominations. The full list of nominations is:

Best Play – David Adjmi
Best Director – Daniel Aukin
Best Score – Will Butler
Best Orchestrations – Will Butler and Justin Craig

Best Featured Actor in a Play – Will Brill
Best Featured Actor in a Play – Eli Gelb
Best Featured Actor in a Play – Tom Pecinka
Best Featured Actress in Play – Juliana Canfield

Best Featured Actress in a Play – Sarah Pidgeon

Best Scenic Design of a Play – David Zinn

Best Costume Design of a Play – Enver Chakartash

Best Lighting Design of Play – Jiyoun Chang
Best Sound Design of a Play – Ryan Rumery

The play won five of these awards Best Play, Best Performance by a Featured Actor in a Play for Will Brill, Best Direction of a Play for Daniel Aukin, Best Scenic Design of a Play for David Zinn and Best Sound Design of a Play for Ryan Rumery.

Stereophonic originally had its World Premiere at Playwrights Horizon’s before transferring to Broadway on 3 April 2024. The hit play will also embark on a US tour from October 2025.

The Stereophonic creative team includes David Zinn (scenic designer), Enver Chakartash (costume designer), Jiyoun Chang (lighting designer), Will Butler (orchestrations), Justin Craig (orchestrations and music director), Ryan Rumery (sound designer) and Robert Pickens & Katie Gell (hair & wig design). UK Casting is by Julia Horan CDGwithUS Casting by Alaine Alldaffer CSA, Lisa Donadio CSA and Taylor Williams CSA.

Stereophonic is produced by Sonia Friedman Productions, Sue Wagner, John Johnson, Seaview, Linden Productions and Ashley Melone & Nick Mills, and Playwrights Horizons: Adam Greenfield, Leslie Marcus and Carol Fishman.

Andrew R. Butler, Eli Gelb and Chris Stack are appearing with the support of Equity UK incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and Equity UK.

LISTINGS

STEREOPHONIC

WRITTEN BY DAVID ADJMI

WITH ORIGINAL SONGS BY WILL BUTLER

DIRECTED BY DANIEL AUKIN

DUKE OF YORK’S THEATRE FROM MAY 2025

Performance schedule: Monday to Saturday performances at 7pm. Thursday and Saturday matinee performances at 1pm.

Gala Night: Thursday 12 June

Ticket Prices: from £20

Address: Duke of York’s Theatre, St Martin’s Lane, London, WC2N 4BG

Website: https://stereophonicplay.com/

Social Media:
Facebook/Instagram/X: @StereophonicLDN  

Theatres Trust announces Theatres at Risk
Register 2025
Five council-owned theatres added to the list as pressures on
local authority budgets hit home

Theatres Trust, the charity that campaigns to protect the UK’s theatres, has published its annual Theatres at Risk Register, which highlights theatres across the UK under threat of closure, redevelopment or severe decay, but which all have the potential to be revived for their local communities with the right support. This year’s list comprises 43 buildings, which all have strong architectural merit, cultural heritage or value to the local community as a performance venue.

Theatres Trust has added five more theatres to the list, all local authority owned, mid to small scale venues located outside of major cities. Oswaldtwistle Civic Arts Centre and Theatre and Prince of Wales Theatre in Cannock are both at risk due to pressures on local authority budgets, leading to councils seeking savings by closing their theatres, cuts in subsidy and/or a lack of ability to pay for crucial maintenance and repair work.

The other three new additions, The Brunton in Musselburgh, The Harlequin in Redhill and Motherwell Concert Hall and Theatre are all theatres that have been closed for more than a year due to the presence of the crumbling concrete Reinforced Autoclaved Aerated Concrete (RAAC). The Bruton and Motherwell Concert Hall and Theatre have been recommended for demolition due to the high costs of repairs, and a decision on the future of The Harlequin is imminent

Theatres Trust Director Joshua McTaggart comments, We understand that local authorities are faced with making tough decisions, but the savings made in the short term will leave communities without vital facilities. Buildings were RAAC is present are particularly tricky, but it is important that communities are not left without theatre provision. Theatres Trust wants to work with local authorities and theatre operators to explore all possible options and find solutions to put theatres like this on a firmer footing.

Now in its 19th year, the Theatres at Risk Register calls the public’s attention to these important buildings, their challenges, and the significant cultural opportunities they can bring to local communities. Since the list began in 2006, more than 80 theatres have been restored, revived or had a suitable replacement built. Theatre Royal Hyde has been removed from the 2025 Theatres at Risk Register, as although it has not returned to theatrical use, it is being maintained and used by its current owners so the threat of harm to the building has been greatly reduced.

There has been steady progress with other theatres on the list in particular at Morecambe Winter Gardens where the capital project has advanced enough for its ‘risk rating’ to be lowered. There have also been positive signs at other theatres that Theatres Trust is giving increased support to through its Resilient Theatres: Resilient Communities programme of grants, training and expert advice, including Burnley Empire and Leith Theatre.

Assessment criteria for each theatre is available via www.theatrestrust.org.uk/howwehelp/theatres-at-risk/theatres-at-risk-assessmentcriteria and full case studies on each can be seen on the Theatres Trust website.

The theatres featuring on the 2025 list are:

Abbeydale Picture House

Amulet Theatre, Shepton Mallet

Borough Hall, Greenwich

Brighton Hippodrome

Brunton Theatre – NEW

Burnley Empire

Clair Hall, Haywards Heath

Co-op Hall, Ramsbottom

Conwy Civic Hall (Cube)

Derby Hippodrome

Doncaster Grand

Epstein TheatreGarrick Theatre, Southport

Garston Empire

Globe Theatre, Plymouth

Groundlings Theatre, Portsea

Harlequin Theatre – NEW

Hulme Hippodrome

Imperial Theatre, Walsall

Intimate Theatre

Joe Longthorne Pavilion, Blackpool

King’s Theatre Dundee

King’s Theatre, Kirkcaldy

Leith Theatre

Mechanics Institute, Swindon

Motherwell Concert Hall &Theatre – NEW

Netherton Arts Centre

Oswaldtwistle Civic Arts Centre & Theatre – NEW

Plymouth Palace

Prince of Wales, Cannock Chase – NEW

Regent Theatre, Great Yarmouth

Roundhouse Theatre, Dover

Spilsby Sessions House

Streatham Hill Theatre

Tameside Theatre, Ashton-under-Lyne

Thameside Theatre, Grays

Theatr Ardudwy, Harlech

Theatre Royal Margate

Theatre Royal, Manchester

Tottenham Palace Theatre

Victoria Theatre, Salford

Winter Gardens Morecambe

Winter Gardens, Blackpool Pavilion