THEATRE ROYAL STRATFORD EAST ANNOUNCES 2022-23 SEASON 

ALSO ANNOUNCED IS NEW ROYALTY SCHEME FOR EAST LONDON

THEATRE ROYAL STRATFORD EAST ANNOUNCES 2022-23 SEASON 

ALSO ANNOUNCED IS NEW ROYALTY SCHEME FOR EAST LONDON FREELANCERS, THOSE AGED 25 AND UNDER AND LOCALS

Theatre Royal Stratford East today announces its 2022/23 season.The season includes Anthony Neilson’s poignant and comical delve into the nature of mental illness, The Wonderful World of Dissocia, directed by Emma Baggott, which opens in September 2022.Then, continuing their collaboration, Stratford East’s Artistic Director, Nadia Fall directs Ramps on the Moon’s first new play, Village Idiot by Samson Hawkins, in a co-production with Theatre Royal Stratford East and Nottingham Playhouse. Following this, Stratford East presents the UK premiere of award-winning play, Tambo & Bones, a satirical interrogation of the commodification and commercialisation of Black pain, written by Dave Harris and directed by Matthew Xia, in a co-production with the Actors Touring Company.

This year’s pantomime, Cinderella by Leo Butler and Robert Hyman, is directed by one of Theatre Royal Stratford East’s Sky Arts Artistic Associates, Eva Sampson. The production opens on 19 November (Press Night: 26 November).

The season also includes work from youth companies including new play, painkiller written by Sophie Ellerby and presented by the 2022 Stratford East Young Company, and the National Youth Theatre presenting Bola Agbaje’s Olivier Award-winning Gone Too Far!.

They also welcome visiting productions including a Sheffield Theatres and Ramps on the Moon co-production of Much Ado About Nothing directed by Robert Hastie, and the ThickSkin and Traverse Theatre Company production of How Not to Drown, thetrue story of an 11-year-old unaccompanied asylum-seeker.

Priority booking for Theatre Royal Stratford East Members and customers with access requirements opens on Tuesday 24 May at 12pm. Public booking opens on Thursday 26 May at 12pm.

In addition, Theatre Royal Stratford East announce their new Royalty Scheme, including Freelance Royalty, a new free membership scheme designed to support arts freelancers living or working in East London. The Freelance Royalty scheme offers exclusive benefits, including free or discounted rehearsal space, networking events, workshops, freelance surgeries and showcase opportunities for artists.

They also launch Young Royalty, for 17-25 year olds, and Local Royalty, for those living in specific East London postcodes – with those eligible able to access £15 tickets across  Theatre Royal Stratford East productions. For full information please visit: www.stratfordeast.com/join-us

Artistic Director of Theatre Royal Stratford East, Nadia Fall said today, “This new season has a tantalising sense of mischief and the chance for a delicious collusion between the stage and the audience. From Anthony Neilson’s cult play, The Wonderful World of Dissocia, which transports us to another dimension, exploring mental health through a kind of Alice in Wonderland meets David Lynch experience, to the UK premiere of Dave Harris’ Tambo & Bones which looks at the commodification of Black lives with an actual hip-hop concert slap bang in the middle of it.

Although each production tells its own unique story, conjuring up wildly different worlds, they are all brilliantly theatrical, often addressing the audience directly. It’s certainly the opposite of staying in and watching the television, unless you have a television where the characters leap out of the box and envelop you in the story!

Village Idiot, Samson Hawkins’ debut play, invites you to a village fair where you can actually enter a meat raffle. And we’re delighted to announce Eva Sampson, one of our new Sky Arts Associates, as director for our panto Cinderella. 

We’re also excited to welcome a visit from Sheffield Theatres, with a Ramps on the Moon production of Much Ado About Nothing, directed by Artistic Director Rob Hastie. ThickSkin and Traverse Theatre Company bring us How Not to Drown, an incredible real-life story with human resilience at its heart, whilst National Youth Theatre present Bola Agbaje’s Olivier Award-winning Gone Too Far!.  Our talented Young Company take to the stage with painkiller, a new play by Sophie Ellerby. If there’s one thing that unites our next season it’s that of bold and unapologetically pure theatre.”

Eleanor Lang,Executive Director of Theatre Royal Stratford East,commented, “Freelancers are the life blood of the theatre industry, and it is our job to support them at all stages of their career. We are, therefore, excited to launch Stratford East’s Freelance Royalty Scheme. Our new scheme will provide a range of training and development opportunities, and provide freelancers who live and work in East London with a welcoming base.  

Newham was particularly affected by the pandemic and has huge challenges ahead, as the cost-of-living crisis deepens. We also know the deep effect the pandemic has had on young people. With both our local community and young people at the heart of our organisation, we are also delighted to launch two additional schemes – Local Royalty and Young Royalty. These schemes will ensure we can welcome everyone to our theatre, as we increase access to low-priced tickets here at Stratford East.”

Theatre Royal Stratford East presents

PAINKILLER

Written by Sophie Ellerby

Directed by Toby Clarke

28 – 30 July 2022

We’re at war. Firebombs blaze, families flee food shortages as cyberattacks cut the electricity supply. Whole cities face blackouts for days.

Confronted by conscription, the young are drafted in to fight the invading force, their destinies decided. These soldiers are on the frontline and the violence is escalating. It feels utterly relentless. Until a group of soldiers say no.

Downing arms, faced with the prospect of prison time for desertion, they’re offered another form of service – to enrol in a military clinical trial to test a cutting-edge gene therapy to treat pain. A treatment never yet trialled on humans. They could undergo rehabilitation and be completely pain free for the rest of their lives… but what is life without pain?

Members of the 2022 Stratford East Young Company are Grace Coulson-Harris, Taliyah Defreitas-Smith, Jade Franks, Morgan Hilaire, Junior Kapesi-Tuku, Pelé Kelland-Beau, Bibi MacDougall, Mariama Mansary, Karl Markey-Lee, David Olaniregun, Moussa Samba.

Sophie Ellerby is a writer and theatre maker. Her career began at 15, starring in This is England (directed by Shane Meadows). She went onto study Drama at Manchester University, specialising in Theatre in Prisons. In 2016 she was awarded a place on HighTide’s First Commission scheme, where she wrote her debut play Lit, co-produced in 2019 by HighTide and Nottingham Playhouse, with a sell-out run and rave reviews. Other theatre includes Three (Arcola Theatre) and Function (Criterion Theatre). Most recently she was Lead Artist for a site-specific piece around the Royal Docks in London, Arrival (2021, directed by Matthew Dunster). Last year she was Head Writer on SeaView, a six-part web-series, produced by Belgrade Theatre. Her BFI funded debut short film The Walk, inspired by a true story of a man who had to make a 24-mile round pilgrimage each week to sign on at the Job Centre due to a lack of public transport, is currently in pre-production.

Toby Clarke has had an extensive career in theatre, TV and film as a director, playwright and acting coach, spanning over 20 years. He directed the Olivier Award-nominated Warheads at Park Theatre, is currently Resident Director at Theatre Peckham, Young Company Director at Stratford East and Head Acting Coach of the Young Vic’s new Over 25 Acting Company. As a Playwright, Toby has been shortlisted and longlisted for the Bruntwood Playwriting Award. He is currently Acting Coach on HBO/Channel 4 Series Get Millie Black.

Theatre Royal Stratford East presents

THE WONDERFUL WORLD OF DISSOCIA

Written by Anthony Neilson

Directed by Emma Baggott

16 September – 15 October 2022

What would you do if you lost an hour from your day? How far would you go to rescue what you’ve lost?

In search of a lost hour that that has tipped the balance of her life, Lisa Jones is on a quest through a surreal world, filled with insecurity guards, flying cars, singing polar bears and wild-goose chases. The inhabitants of Dissocia are a curious blend of the funny, the friendly and the downright brutal.  

Anthony Neilson’s cult play is a poignant and comical delve into the nature of mental

illness. 

Anthony Neilson is a ground-breaking playwright and director known for his collaborative way of writing and workshopping plays, characterised by their formal playfulness and often dark themes and humour. Writing and Directing credits include The Tell-Tale Heart, The Menu (National Theatre), The Séance (National Theatre Connections), The Prudes, Unreachable, Narrative, Get Santa!, Relocated, Penetrator (also Edinburgh Festival), The Lying Kind, The Censor (Royal Court), The Wonderful World of Dissocia (Royal Court, Tron, Edinburgh Lyceum, Theatre Royal Plymouth, UK tour), Alice’s Adventures in Wonderland, Realism (Edinburgh Lyceum), The Haunting of Hill House (Liverpool Playhouse), God in Ruins (Soho Theatre), Edward Gant’s Amazing Feats of Loneliness (Theatre Royal Plymouth, UK tour), Stitching (Traverse, Bush). Directing credits include Marat/Sade, The Drunks (RSC), The Big Lie (Latitude Festival), The Death of Klinghoffer (Scottish Opera, Edinburgh International Festival).

Emma Baggott trained at Goldsmiths College and Young Vic. She is an Associate Artist at National Youth Theatre and a Mentor Director for National Theatre Connections. Recent credits include Face the Music: The Social Care Workers Play (Almeida Theatre), Neville’s Island, Misfits, Stiletto Beach (Queens Theatre Hornchurch), The Things We Leave Behind (Lyric Hammersmith), Mr Burns, X, The Christians (LAMDA), She is Fierce (The Swirl, RSC), Leaving, How To Kill Your Mother, Copper & Steel (The Bunker) and Normal (Styx). Credits as an Associate and Assistant Director include As You Like It (RSC), This House (Headlong/National Theatre), The Village (Theatre Royal Stratford East), The Sound of Yellow, Victoria Station, One for The Road (Young Vic) and McQueen (Theatre Royal Haymarket). Emma is a Guest Director at LAMDA, RWCMD and Theatre Academy London and taught and directed at the Brit School for six years. She facilitates regular workshops for organisations such as Cardboard Citizens, National Theatre, Young Vic, RTYDS, Arts Ed, University of Kent and Goldsmiths College.

Sheffield Theatres and Ramps on the Moon present

William Shakespeare’s

MUCH ADO ABOUT NOTHING

Adapted and directed by Robert Hastie

01 – 05 November 2022

‘I do love nothing in the world so well as you. Is not that strange?’

Besotted young couple Claudio and Hero have fallen fast and are quickly engaged. Not everyone finds romance so straightforward – Benedick balks at the very thought of it and Beatrice agrees with him, on that if nothing else. But somewhere in this world, there’s someone for everyone, even if they’re right under your nose.

Shakespeare’s raucous comedy is directed by Robert Hastie (Coriolanus, A Midsummer Night’s Dream, Sheffield Theatres). Every performance features the use of integrated creative sign language, audio description and captioning. Ramps on the Moon is the pioneering initiative committed to putting D/deaf and disabled artists and audiences at the centre of their work.

Robert Hastie is Artistic Director of Sheffield Theatres. For Sheffield Theatres, credits include She Loves Me, The Band Plays On, Coriolanus, Guys and Dolls, Standing at the Sky’s Edge, A Midsummer Night’s Dream, The York Realist (co-produced with the Donmar Warehouse), The Wizard of Oz, Of Kith and Kin (co-produced with the Bush Theatre) and Julius Caesar. Other theatre credits include Macbeth (Shakespeare’s Globe), Breaking the Code (Manchester Royal Exchange), Henry V (Regent’s Park Open Air Theatre), Cat on a Hot Tin Roof (Theatr Clwyd), My Night with Reg, Splendour (Donmar Warehouse), Carthage, Events While Guarding The Bofors Gun (Finborough Theatre), Sixty-Six Books (Bush Theatre) and A Breakfast of Eels (Print Room). Television includes Sex Education – Romeo and Juliet stage direction (Netflix).

Theatre Royal Stratford East presents

CINDERELLA

Book and Lyrics by Leo Butler
Music and Lyrics by Robert Hyman

Directed by Eva Sampson

19 November 2022 – 07 January 2023

Each year, Stratford Panto tears up the rulebook and turns a classic story on its head to make it relevant to our local community and beyond.

Get ready to experience Stratford East’s unique twist on this classic tale, set in the ancient home of Sphynx cats, pharaohs and the empress Cleopatra.

This year’s panto will feature all the right ingredients. You can expect our much-loved mix of show-stopping original music and laugh-out-loud comedy alongside magical sets and costumes in this perfect festive treat for all ages. Come along and find out if Cinderella will make it to the ball after all.

Leo Butler is an award-winning UK playwright. His plays include Boy (Almeida Theatre), All You Need Is LSD (Birmingham Rep/Told by an Idiot), I’ll Be The Devil (RSC) and Redundant, Lucky Dog, Made of Stone (Royal Court Theatre). He also wrote music and lyrics for Alison! A Rock Opera with Dan Persad, and has released a number of alternative rock albums.

Robert Hyman was born down the road in East Ham, and is a composer, lyricist, musical director and performer. Robert has been associated with the Theatre Royal Stratford East panto for the last 24 years, ever since being the Musical Director of Cinderella in 1998, sometimes as Musical Director, sometimes as Composer/Lyricist and often as both. Highlights include writing the music and lyrics for Cinderella (2007) which was the first pantomime ever to be nominated for an Olivier Award and Rapunzel (2017) which won him a Great British Pantomime Award. Robert was also Musical Director for hit musicals The Big Life (Theatre Royal Stratford East/West End), Reasons To Be Cheerful (Theatre Royal Stratford East/UK tour), Come Dancing with Ray Davies of The Kinks and the UK tour of Tommy produced by Ramps on the Moon. Other projects include composing a new version of A Tale of Two Cities, which reached the finals of the Vivian Ellis Awards, conducting a choir of 4000 at the O2, and musical directing the inaugural performance of the World Children’s Ensemble at the Royal Albert Hall involving young people from 37 different countries. He writes songs and lyrics as Resident Composer for Image Musical Theatre Co. Robert also works extensively in the training of young people as Musical Director of Theatretrain. 

Eva Sampson trained on the National Theatre Studio Directors’ Course and at the University of Birmingham. She is the Co-Artistic Director of How It Ended theatre company and is an Associate of NYT. Eva is currently Sky Arts Artistic Associate for Theatre Royal Stratford East. Her credits as a Director include The Ultimate Pickle (Roundabout/Paines Plough), Wild (How It Ended/Unicorn Theatre), More Than We Can Bear (Almeida Theatre/Clean Break), Heart of Hammersmith (Lyric Hammersmith), Maryland, Meet Mo, Ribena, Jack and the Beanstalk (Theatre Royal Stratford East), At the Statue of Venus (Royal Opera House), The Little Gardener (Kew Gardens), Last Nine Months (Vaults), Sticky (Southwark Playhouse), The Tide (Young Vic), The Scarecrows’ Wedding (Watford Palace Theatre), A Peter Rabbit Tale (Singapore Repertory), Rudolf (Leeds Playhouse), Decades (Brixton House). For TV/Radio: Keep the Home Fires Burning (The Culture Trust Luton), That’s How It Feels: REED TVC Campaign (MYNT/Kingdom Creative). As Associate/Assistant Director Four Quartets (West End), Noye’s Fludde (Theatre Royal Stratford East/ENO), Twelfth Night (Young Vic), Father Christmas (Lyric Hammersmith), Unprecedented (Headlong/Century Films/BBC Four). As Resident Assistant Director This is My Family, 8 Hotels (Chichester Festival Theatre). As Staff Director at The National Theatre TheVisit, Downstate (co-production with Steppenwolf Theatre).

ThickSkin and Traverse Theatre Company supported by Theatre Royal Stratford East present

HOW NOT TO DROWN

Written by Nicola McCartney and Dritan Kastrati 

Directed by Neil Bettles

26 January – 11 February 2023

Award-winning theatre company, ThickSkin, returns to the stage with an action-packed, highly visual production telling the painful yet uplifting true story of an 11-year-old unaccompanied asylum-seeker. 

“I don’t know why my Dad let me go, especially when he knew how dangerous, how hard it was… I was too young, too weak to make this journey. I wouldn’t have sent me… He wouldn’t have sent me unless there was a reason.” 

In 2002, in the turmoil after the end of the Kosovan War, Dritan is sent on the notoriously perilous journey across the Adriatic with a gang of people smugglers to a new life in Europe. He relies on his young wit and charm to make it to the UK. But the fight for survival continues as he clings to his identity and sense of self when he ends up in the British care system.  

How Not to Drown shares a story of endurance for a kid who wasn’t safe or welcome anywhere in the world, performed by an ensemble cast starring Dritan Kastrati himself.  

Commissioned by ThickSkin and Lawrence Batley Theatre. 

Theatre Royal Stratford East and the National Youth Theatre present

GONE TOO FAR!

Written byBola Agbaje

24 March – 1 April 2023

Bola Agbaje’s Olivier Award-winning remarkable debut GONE TOO FAR! returns to the London stage in 2023 for the first time since becoming a GCSE set text. 

When two brothers from different continents go down the street to buy a pint of milk, they lift the lid on a disunited nation; a world where everyone wants to be an individual, but no one wants to stand out from the crowd, and where respect is always demanded but rarely freely given.

Agbaje’s comic and vibrant drama examining identity and heritage is the first co-production between Theatre Royal Stratford East and the National Youth Theatre. 

Starring some of Britain’s best young talent from the illustrious NYT REP Company in its 10th anniversary season, the production follows the NYT’s collaboration with Agbaje on Bitches at the Finborough Theatre in 2016. Gone Too Far!’s premiere at the Royal Court Theatre in 2007 starred NYT Patron and alumnus Zawe Ashton. It was adapted for the big screen to critical acclaim in 2013. 

Graduates of the NYT REP Company include Seraphina Beh (Top Boy), Ellise Chappell (Yesterday), Sope Dìrísù (Gangs of London), Chinenye Ezeudu (Sex Education), Kate Kennedy (Halo) and Lauren Lyle (Outlander).  

Theatre Royal Stratford East, Nottingham Playhouse and Ramps on the Moon present

VILLAGE IDIOT

Written by Samson Hawkins

Directed by Nadia Fall

13 April – 06 May 2023

“If I were an animal there would be legislation to protect my home, but because I’m just a bloody human they can do whatever the f**k they like.”

Townies have decided they want a lie in, so they’re building a new high-speed railway. Issue is, it’s going right through Barbara Honeybone’s house, and she ‘ent having none of it. Barbara’s grandson Peter works for the townies and it’s his job to convince the village that having a two-tonne bullet hurtling through the cabbage patches will actually be for the best.

Then there’s Harry, Barbara’s younger grandson, he ‘ent that bothered about trains, he’s only got eyes for Debbie Mahoney. But the only thing Barbara hates more than townies is the Mahoneys.

Welcome to Syresham, South Northamptonshire. It’s not quite the Cotswolds, not quite one of those posh villages Americans have in movies but it does have Syresham’s Got Talent, the headline event of the village fair. There’ll be songs, dancing, magic, drag, a bit of wrestling, and Kevin’s doing a meat raffle (vegetarian option two tins of Strongbow).

Village Idiot is an audacious comedy, where family feuds kick off around a country fair that you townies are all invited to.

We hope it’s a bit like the other plays you’ve seen here, but less s**t.

Ramps on the Moon is the pioneering initiative committed to putting D/deaf and disabled artists and audiences at the centre of their work.

Samson Hawkins is a playwright and theatre director. He’s from Northamptonshire, but he now lives on a boat. This is Samson’s debut full-length play. Other writing includes audio play Oh for F*ck’s Sake (I’m in love with you) which received In Good Company’s Take Off award and was produced by The Nottingham Playhouse, a comedy puppet ballet Swan Bake (Brighton Fringe, Edinburgh Fringe, Soho Theatre), short play The Unremarkable Adventures of Prozac Man & his Kind of Friend Low Self-esteem Boy (The Bunker), TIE show Rainbow Rex which workshopped at Leicester Curve and adaptations of Moby Dick, The Hobbit and Animal Farm which were performed in schools. Samson has been a member of The Royal Court Writers Group, Soho Writers Lab, BBC Arts and Rural Media New Creatives, New Perspectives New Associates, Graeae Beyond member and is currently a Leicester Curve Resident Artist. Samson has also been the trainee theatre director of the Orange Tree Theatre, Resident Director of The Oxford Playhouse and Resident Director of Eton College.

Nadia Fall trained at Goldsmiths College, University of London (MA Directing) and on the NT Studio’s Directors programme. Nadia directed The Village and King Hedley II as her first shows as Artistic Director of Theatre Royal Stratford East.

In May 2020 she directed The Outside Dog for BBC One as part of London Theatre Company’s Talking Heads monologue series. In September 2020 she directed NO MASKS for Sky Arts, a one-off drama based on testimonials from key workers. Nadia wrote and directed Welcome To Iran, which was broadcast on BBC Radio 3 as part of the Lockdown Theatre Festival.  

She recently directed Shining City and The Sun, The Moon, And The Stars at Stratford East. Her other directing credits include Three Sisters, The Suicide, Our Country’s Good, Dara, Chewing Gum Dreams, Home, Hymn, The Doctor’s Dilemma (National Theatre), Hir, Disgraced (Bush Theatre), R and D (Hampstead Theatre), Way Upstream (Chichester Festival Theatre), Hobson’s Choice (Regent’s Park Open Air Theatre), How Was It For You? (Unicorn Theatre), Sticks & Stones (Polka Theatre), The Maids (Lyric Hammersmith), Miss Julie (Croydon Warehouse Theatre) and Wild Turkey (Site Specific).

As Associate Director The Curious Incident of the Dog in the Night-Time (Gielgud Theatre), Collaborators and The Habit of Art (National Theatre), and as Staff Director, Rocket to the Moon, Really Old, Like Forty Five, Phèdre and Much Ado About Nothing (National Theatre). Fall has directed at Guildhall School of Music and Drama and led participation initiatives with partners such as the Young Vic, Clean Break, Soho Theatre and the Royal Court.

Theatre Royal Stratford East and Actors Touring Company present

The UK premiere of

TAMBO & BONES

Written by Dave Harris

Directed by Matthew Xia

16 June – 15 July 2023

Tambo & Bones are trapped in a minstrel show. It’s mad hard to feel like a real person when you’re trapped in a minstrel show. Their escape plan: get out, get bank, get even.

So, accept our invitation, if you will, to step from the heart of the crumbling Empire into an America at the epicentre of the global Black Lives Matter movement.

Part distorted clown-show, part spectacular hip-hop concert, part absurdist Afro-futuristic lecture (with robots!), Tambo & Bones interrogates the commodification and commercialisation of Black pain in a satirical roller coaster of a show.

Dave Harris is a poet and playwright from West Philly. Selected plays include Tambo & Bones (Playwrights Horizons, Center Theatre Group, 2022), Exception to the Rule (Roundabout Theatre Company, 2022), Incendiary (Woolly Mammoth 2023) and Everybody Black (Humana Festival, 2019). His first feature film, Summertime premiered at the 2020 Sundance Film Festival. Dave is currently writing the feature adaptation of The Fortress of Solitude for Amazon, and an original television project at FX, ABC Studios and Goddard Textiles. Selected honours include the Ollie Award, The Lorraine Hansberry Award and Mark Twain Award from The Kennedy Center, The International Commendation for The Bruntwood Prize and a Cave Canem poetry fellowship, amongst others. 

Matthew Xia is Artistic Director of Actors Touring Company where he has directed Amsterdam, Rice and the Alfred Fagon Award-winning play Family Tree. He is a former Associate Artistic Director of Royal Exchange Theatre, Manchester, Director in Residence at Liverpool Everyman & Playhouse and Associate Director of Theatre Royal Stratford East (where he started in the youth theatre in 1993!). 

Matthew’s acclaimed productions include The Wiz (Hope Mill), Into the Woods, Frankenstein (Manchester Royal Exchange), Wish List (Royal Court), Blue/Orange, Sizwe Banzi is Dead (Young Vic), Shebeen, One Night in Miami (Nottingham Playhouse). Other work of note includes Blood Knot (Orange Tree), The Blacks, Sleeping Beauty (Theatre Royal Stratford East) and Suckerpunch Boomsuite (Barbican). At 19, Matthew became the first DJ to join BBC 1Xtra as hip-hop specialist DJ Excalibah. He has played most major festivals and clubs in the UK and Europe including Glastonbury, Ministry of Sound, and Fabric. Excalibah performed for a global audience of over 1 billion as a headline DJ at the London 2012 Paralympic Opening Ceremony. Matthew has worked with renowned writers as a director and dramaturg, including Joe Penhall, Arinzé  Kene, April De Angelis, Katherine Soper and Mojisola Adebayo. In 2019 Matthew was awarded an Honorary Doctorate from the University of the Arts London for “indefatigably working to make theatre universally accessible by working to promote minority groups as theatre leaders, makers and consumers.”

Venue Cymru – until 28th May 2022

Reviewed by Carla Whittaker

5*****

Last night I had the pleasure of seeing the 80s return to Llandudno at Venue Cymru for the return of Footloose as the cast open there six-day stint at Venue Cymru as part of the UK tour.

Footloose is a production based on the 1980s true story film based in Oklahoma that had banned dancing following a tragic accident five years earlier. The story starts when Ren McCormack (Joshua Hawkins) from Chicago and his mother Ethel (Geri Allen) move to Bomont after being abandoned by his father. Sourcing help from the Reverends daughter Aerol (Lucy Munden) Ren decides to uphold the law and get the town back on their dancing feet.

Joshua Hawkins plays the part of Ren beautifully; a boy with a heart of gold, full of energy, charisma and charm with stunning vocal performances and nonstop show of his impressive dancing moves with plenty of bravado.

The fabulous Jake Quickenden who rose to fame in winning Dancing on Ice in 2018 and has become a theatre star took on the role of country boy Willard within the production who was full of character and very charming! His vocals were sensational and his one liners had the audience in stitches. A think a highlight for me (and others) when we stripped down to his golden hot pants – the audience went wild!

Lucy Munden has made her professional debut in this tour of Footloose, she plays the part of the Reverend’s feisty daughter Ariel brilliantly portraying the turmoil of teenage years with multiple stands out / fault free vocal performances. My particular favourite was her performance of the Bonnie Tyler power ballad classic “Holding out for a Hero” which received a standing ovation.

I was so excited to see that Darren Day was performing in this tour of Footloose so, when I saw the notice within the theatre that Darren Day was not performing and instead for this performance was replaced with Ben Barrow playing Rev. Shaw Moore.  I was slightly disappointed initially; however, I did not need to be as Ben played this role amazingly, and did not come across as the understudy.

A special mention needs to be made to the choreographer Matt Cole for the outstanding choreographed dance performances which were uplifting, full of energy and exciting which were executed perfectly. In addition to the fantastic light sets, musical instruments and seamless set changes throughout the show.

An absolutely amazing night so if you want to relive your 80s and see a show full of excitement, which gets you on your feet then this is the show for you. The energy of the cast throughout the whole show was superb and provided a night of fun and laughter. Footloose is playing at the Venue Cyrmu until the 28^th May 2022 and tickets are still available to purchase.  I would also like to mention that I have not been to this venue in about 8 years and it was so lovely, with the most friendliest of staff.

Lyceum Theatre, Sheffield – until 28 May 2022

Reviewed by Kirsty Thomson

5*****

Could it have been Mrs White in the study with the revolver? Or could it have been Colonel Mustard in the kitchen with the candlestick?

This show, based on the 1985 film Clue by Jonathon Lynn, brings to life the well-known board game Cluedo, leaving the audience constantly guessing, who did it, and why?

The play is set in an old eerie manor in the middle of a thunderstorm. The guests, Miss Scarlett (Michelle Collins), Professor Plum (Daniel Casey), Colonel Mustard (Wesley Griffith), Mrs White (Etisyai Philip), Mrs Peacock (Judith Amsenga) and Reverend Green (Tom Babbage), each arrive one by one, greeted by the Butler, Wadsworth (Jean-Luke Worrell), dressed in the colour of their piece from the board game. Each of these guests carry an invitation from their anonymous blackmailer Mr Boddy, who in turn leaves them each a coloured box containing a weapon. From here the slapstick-comedy style murders begin, leaving the audience questioning who can be trusted.

The set and staging were particularly impressive. The board game contains an extensive variety of rooms, hard to display through one stage. David Farley’s set design allowed for walls to be pulled open to reveal new rooms, permitting the chaos of the characters to be observed moving from room to room very seamlessly.

The performance of Jean-Luke Worrell particularly stood out to me as Wadsworth. He displays incredibly high levels of energy and captivating facial expressions creating an unsettling but comical sensation for the audience. His monologue, which recaps the events of the evening was also notably impressive and received a round of applause from the audience.

This play truly brings the boardgame Cluedo to life and I would recommend it to anyone wanting an evening of fun and mystery.

CAST ANNOUNCED FOR BIRMINGHAM STAGE COMPANY’S

WEST END PREMIERE OF HORRIBLE HISTORIES – TERRIBLE TUDORS

Birmingham Stage Company today announces the cast for Horrible Histories – Terrible Tudorswhich make its West End premiere at the Garrick Theatre this summer as part of the company’s 30^th anniversary programme. Birmingham Stage Company’s Neal Foster directs Benedict Martin and Emma Swan. The show opens on 2 August, with previews from 28 July and runs until 3 September.

This brand-new production marks the company’s tenth year in the West End, which happily coincides with the Birmingham Stage Company’s 30^th anniversary. As part of the anniversary programme the company will also be taking to the water with Horrible Histories – Terrible Thames running in tandem.

Horrible Histories – Terrible Tudors is directed by Neal Foster, designed by Jacqueline Trousdale, lighting by Jason Taylor, music by Matthew Scott, sound by Nick Sagar, with choreography by Kenn Oldfield.

Birmingham Stage Company presents

Horrible Histories – TERRIBLE TUDORS       

Garrick Theatre

28 July – 2 September

We all want to meet people from history. The trouble is everyone is dead!

So it’s time to prepare yourselves for Terrible Tudors live on stage!

From the horrible Henries to the end of evil Elizabeth, hear the legends (and the lies!) about the torturing Tudors. Find out the fate of Henry’s headless wives and his punch up with the Pope. Meet Bloody Mary and see Ed fall dead in his bed. Survive the Spanish Armada as they launch their attack!

It’s history with the nasty bits left in!

Terry Deary is the creator of Horrible Histories and one of Britain’s best-selling authors of the 21st Century. He’s also the tenth most-borrowed author in British libraries. There are around 50 Horrible Histories titles with total sales of 25 million in 40 countries. Deary is also the author of over 200 fiction and non-fiction books for young people including his series of books Dangerous Days.

Emma Swan renews her collaboration with Birmingham Stage Company, having previously appeared in Horrible Christmas. Her other theatre credits include The Merchant of Venice (Royal Shakespeare Company), I Am No Bird (Stute Theatre), the title role in Sparky the Elf and the Secret Toyshop (Queen’s Theatre Hornchurch), and Some Place Better (Red Rose Chain). For television, her work includes Doctor Who: The Diary of Riversong, Doctor Who: Ghost, A Midsummer Night’s Dream and Me and My 10 Kids; and for film, Sweet Sue. Her musical comedy duo ‘Hadfield and Swan’ were awarded Best Newcomer at the Musical Comedy Awards 2019. Recently, she was nominated for Audible’s audiobook narrator of the year. 

Benedict Martin’s extensive work for Birmingham Stage Company includes Billionaire Boy, Gangsta Granny, James and the Giant Peach, George’s Marvellous Medicine, The Dice House, The Jungle Book and various Horrible Histories – including Barmy Britain. His other theatre credit includes A Midsummer Night’s Dream, Much Ado about Nothing, Romeo and Juliet (Principal Theatre), Round the Horne (UK tour), The Tempest (Bilimankhwe), Othello (Oxford Union), and as member of the European Players, performing various plays in Rome and Paris; a founding member of Loose Change Company at the Battersea Arts Centre, and pantomimes in Barking, Sheringham, Tewkesbury and Chipping Norton. For television, his work includes Bleak House, Doctors, East Enders, Jekyll, Lipstick on your Collar, The Alan Clark Diaries, Devices and Desires, White Goods, Bunny Town, The Bill and Rosamunde Pilcher – Ways of the Heart; and for film, Shadows in The Sun, The Disappeared, and Love is the Devil.

Neal Foster is Actor/Manager of Birmingham Stage Company which since its foundation in 1992 has staged over one hundred productions. The company has become one of the world’s leading producers of theatre for children and their families, including Horrible Histories Live on Stage for seventeen years in the UK, Dubai, Abu Dhabi, Qatar, Bahrain, Hong Kong, Singapore, New Zealand and Australia. Foster has written and directed all of the most recent Horrible Histories shows including Barmy Britain – Parts One, Two, Three, Four and Five (Garrick Theatre, Apollo Theatre and Sydney Opera House); Groovy Greeks and Incredible Invaders for a national tour and Wicked Warwick at Warwick Castle. His first fictional adaptations were David Walliams’ Gangsta Granny and Billionaire Boy, both of which transferred to the Garrick Theatre and have been nominated for an Olivier Award. He has also co-written Horrible Histories – Terrible Thames with Deary.

Horrible Histories shows are recommended for ages 5 to 105 (106 year olds may not like them!)

https://www.birminghamstage.com/
Twitter: @HHLiveOnStage
Facebook: birminghamstage 

Horrible Histories- Terrible Tudors

Listings

Garrick Theatre
2 Charing Cross Rd, London WC2H 0HH

Box Office:  0330 333 4811
https://nimaxtheatres.com/

Tickets from £16.50

28 July – 2 September

Running time: 70 minutes

SOLT & UK Theatre partner with Baker Richards to develop new ‘Evidence Centre’ providing deeper insight into data and analysis for the theatre sector 

The UK theatre industry’s two leading membership associations, Society of London Theatre and UK Theatre, today announced a unique partnership with data and insight specialists Baker Richards to develop a new ‘Evidence Centre’.

This Evidence Centre will utilise the latest technology to aggregate data from a range of sources, including theatre box office/CRM systems, and will provide the ability for SOLT and UK Theatre to analyse this data at a granular level, to help make the case for theatre to national and local governments. 

Working in partnership with Baker Richards, SOLT and UK Theatre will, through the Evidence Centre, be able to identify trends in sales and audiences, evaluate economic impact of theatre, classify theatre workforce data and demographics and more, and proactively communicate these trends to their membership and the media, to give people a sense of the health of the sector, and identify any areas which may require deeper attention. 

Eleanor Lloyd, SOLT President, said: ‘SOLT has always gathered sales and audience data, but it is so exciting to think that as the Evidence Centre develops, we will have more sophisticated data and business intelligence, to assist our members with their marketing campaign planning and budgeting. This is going to be a fantastic resource for our members to access’.

Stephanie Sirr, UK Theatre President, said: ‘During the pandemic we made a robust case to government for ongoing support. It was clear that there were some gaps in what we evaluate in order to make a well-rounded and informed case for theatre in a way that corresponds with government evaluation tools. This new Evidence Centre will give us access to sales and economic data at a deeper level which will help our members make the strongest argument yet for supporting UK theatres as key strategic partners in their many communities.’

Robin Cantrill-Fenwick, Chief Executive, Baker Richards, said: ‘Over nearly two decades, Baker Richards has developed a rich understanding of the UK’s ever-changing theatre industry, promoting and creating measures and metrics which have been widely adopted. In creating the Evidence Centre, our team of analysts will use sophisticated data warehousing and big data analysis to support the work of SOLT/UK Theatre’s members in more ways than ever before.’

Baker Richards will develop the Evidence Centre using enterprise-grade technology, adopting innovative approaches to analysis including experimentation with machine learning and AI. Data will come from multiple sources, including automatically extracted ticket transactions, demographics data, infrastructure data, attitudinal survey data, and open government data.

Development has already begun on the Evidence Centre, with a view to the first iteration of the data tool being ready for usage at the end of 2022. 

FULL CASTING ANNOUCED

FOR

PEAKY BLINDERS: THE RISE

AT THE CAMDEN GARRISON

OPENING

FRIDAY 24 JUNE 2022

Producers Immersive Everywhere, in association with Caryn Mandabach Productions and Steven Knight, announce the full cast for PEAKY BLINDERS: THE RISE, at the Camden Garrison opening on Friday 24 June 2022. www.immersivepeakyblinders.com

The show will star Phil Aizlewood (Speaking in Tongues, One Nine Two Seven, How To Solve A Problem Like Murder) as Walter McDonald, Roxana Bartle (The Hound of the Baskervilles, Sophia)as Grace Burgess/Zilpha Lee, Isaac Beechey (The Laramie Project) as John Shelby, Sam Blythe (Doctor Who: Time Fracture for Immersive Everywhere and Secret Cinema’s Stranger Things, Casino Royale, 28 Days Later and Star Wars: The Empire Strikes Back) as Alfie Solomons, Angus Brown (Doctor Who: Time Fracture for Immersive Everywhere and Secret Cinema’s Casino Royale) as Charles Sabini, James Bryant (Doctor Who: Time Fracture and The Wolf of Wall Street for Immersive Everywhere) as an American Businessman, Craig Hamilton (Doctor Who: Time Fracture and The Great Gatsby for Immersive Everywhere and Secret Cinema’s Casino Royale) as Tommy Shelby, Kat Johns-Burke (There May Be A Castle, Sleepover) as Pearl St. Clair, Daniel Mackenzie-Carter making his professional debut as Michael Gray, Kieran Mortell (Doctor Who: Time Fracture for Immersive Everywhere, Madagascar! The Musical, The Comedy About A Bank Robbery) as Arthur Shelby, Reece Richardson (Human, 1984) as Georgie Sewell, Elliot Rodriguez (Doctor Who: Time Fracture for Immersive Everywhere, The Gruffalo) as Isiah Jesus, Megan Shandley (Doctor Who: Time Fracture for Immersive Everywhere) as Lizzie Stark, Emma Stansfield (Coronation Street, The Salisbury Poisonings, Eastenders) as Polly Gray, Lucinda Turner (The Great Gatsby for Immersive Everywhere, Persuasion and Class Mates) as Ada Thorne, Hannah Victoria (Princess and the Pea, Madagascar! The Musical)as Maggie Hill, Daisy Winter-Taylor (Doctor Who: Time Fracture for Immersive Everywhere, Runway) as Phyllis Robbins.

PEAKY BLINDERS: THE RISE is an immersive theatrical show that places audiences in the heart of one of the world’s most popular TV series. Presented in collaboration with Peaky Blinders creator Steven Knight and Caryn Mandabach Productions, you are invited to get dressed up and fully immersed in Tommy Shelby’s world. As the story unfolds you will experience live sets, unmissable character interactions, competitive game play and ultimately determine whether Tommy Shelby and his family succeed in their ambition to take London.

1921, London. Tommy has taken the northern racecourses and eliminated his opponent, Billy Kimber. He now has his sights set on a London expansion… 

With the approval of north London kingpin, Alfie Solomons, Tommy personally invites you to a family meeting at the Shelbys’ Camden warehouse. Tommy has a plan that could prove lucrative for everyone, and it promises to be a night of celebration. 

Whether you kick back in the Camden Garrison Pub with Arthur, advise Tommy on his business affairs in his office, or conspire with the Italians in the Eden Club, how the family meeting goes is for you to decide. However, you must keep your eyes open and your ear to the ground, Tommy’s enemies are closer than you think, and they may want to make you an offer you’ll find hard to refuse. 

But before you choose where your loyalties lie, get suited and booted ready for a night with the Peaky Blinders at the Camden Garrison. With three possible narrative outcomes, your decisions have consequences and directly affect the rise or the fall of the Shelby family.   

PEAKY BLINDERS: THE RISE is directed by Tom Maller, who is also Creative Director, set and costume designs are by Rebecca Brower, with a script by Katie Lyons, music by Barnaby Race, lighting design by Terry Cook for Woodroffe Bassett, sound design by Luke Swaffield for Autograph, dramaturgy by Raphael Martin, the Associate Director is Elena Voce and the Vocal and Accent Coach is Sarah McGuinness.

Peaky Blinders, the TV series, was created and written by Steven Knight (Dirty Pretty Things, Eastern Promises and Locke) and recently returned for its final season, receiving five-star reviews and enjoying record viewing figures. The multi award-winning BBC One/iPlayer and Netflix series is owned and produced by Peaky Blinders’ official series and brand owner, Caryn Mandabach Productions and the television series is co-produced with Banijay Group’s Tiger Aspect Productions.

Peaky Blinders® © Caryn Mandabach Productions. All rights reserved. Licensed by Caryn Mandabach Productions.

Underbelly, Cavendish Square – until 3 June 2022

Reviewed by Donna Easton 

4**** 

Oh La Clique, La Clique, you make me happy! 

Like a crispy Cider in the sunshine or a 99 with a flake, I love that ‘summer’s coming’ feeling that a trip to Underbelly brings. 

The Spiegeltent always gives that atmospheric nostalgic circus vibe I loved from childhood although La Clique adds a big dash of sauce that makes this technicolor cabaret show a purely grown up affair. 

As a lover of cabaret, La Clique appeals to my very soul with smooth transitions, just the right amount of audience interaction and great use of space … what a giggly, engaged and happy audience were we! 

I particularly loved the two roller skaters even though I had to watch through my fingers and the two rope aerial guy … even though I had to watch through my fingers! 

La Clique is basically a banger of a fun night out. We absolutely loved it and if you want to escape the real world crazy, this is a whacking great dollop of the best sort of entertainment, scantily, sexy as hell, cabaret-filled, lolly-fied crazy they gave me all the good feelings in my tummy and lit the sequins of my heart! 

Sunderland Empire – until 22 May 2022

Reviewed by Lyall Mum and Son

4****

Billionaire Boy is a wonderful, family fun show with a great lesson behind the story. We are introduced to the billionaire boy “Joe” played by Matthew Gordon and fascinated by the HUGE screen he uses to play his games console. A perfect way to reel the children in to get to know him. The billionaire dad, played by Matthew Mellalieu is introduced as a stereotypical money making “snob” due to his brilliant loo roll invention! Throughout, we continue to love him and his humour. It’s sad to see the relationship between them both revolve around money when in fact we learn very quickly that Joe is only wanting to feel loved and special. His journey to a new comprehensive school is intriguing but very relatable due to the variety of stereotypes and teachers. “Walk, don’t run” is the perfect number where you hear the adults chuckling! We remember those days!

Whilst keeping his fortune and fame a secret, Joe starts his new comprehensive school. We meet the most lovable character “Bob” played by Jake Lomas who becomes Joe’s best friend. They become the perfect duo, a friendship your grandma always wants for their grandson! We love Bob almost right away due to his adorable background helping his mum with it being just the two of them.

Other characters we meet along the way are The Grubbs twins who are the school bullies, Raj the typical corner shop owner, a bazaar and wild dinner lady, annoying school teachers and a gold digger. All are characters we have met in the real world but with a humorous twist.

We learn that Dad and Joe are quite similar due to the helicopter appearance from Dad, buying out a friend and using money to defend another (Go see, you’ll see what I mean!) All leading to failure…. But is it really?

Little Lyall really enjoyed this one and said “This is one of the best shows we have seen Mum!”. And that’s coming from an eight year old boy who dreams of all the consoles in the world, the money in the world and popularity. Little Lyall especially enjoyed the new kid who we meet in act 2. I could hear him “spitting rhymes” in my left ear…….thanks for that. Billionaire Boy created a great conversation between Little Lyall and Mum. “Money really doesn’t mean everything, does it mum?” and if that comes out from a young child then thank you David Walliams for writing a meaningful and entertaining piece!

Chichester Festival Theatre – until 4 June 2022

Reviewed by Gill Gardiner

5*****

A hugely entertaining adaptation of Agatha Christie’s novel for theatre by Ken Ludwig; a masterly performance by Henry Goodman as Poirot with a superb supporting cast including Patrick Robinson (Monsieur Blanc), Samuel Collins (Hector MacQueen), Laura Rogers (Countess Andrenyi) and Sara Stewart (Helen Hubbard).

This is the first time the novel has been adapted for stage in Europe. From a book very heavy on detail, the play manages to successfully condense the plot whilst maintaining the sense of mystery as well as the quirkiness of the characters.

For me, Henry Goodman was the perfect Poirot for a stage adaptation. He manages to infuse humour into the character adding to the theatrical entertainment without losing the sense of the seriousness of the crime he is trying to solve or the moral dilemma that he faces as he gets closer to the solution. A stand out performance.

The set is also impressive. The opulence of an Istanbul restaurant in the opening scenes contrasts sharply with the chill of a broken down train in a snowstorm where an impressive huge train at the back of the stage allows for more flexible staging at the front. The impression of the train is never lost incorporating the geographical relationship between the compartments essential for the plot. Snow falling around the borders of the stage helps to set the scene. Never before in the theatre have I experienced spontaneous applause for the scenery. 

First class entertainment, mystery, intrigue, and stand out performances. A memorably murderous evening out, highly recommended  whether you are a fan of Agatha Christie or not . 

London Coliseum – until 27 August 2022

Reviewed by Claire Roderick

3***

The Lincoln Center’s production of My Fair Lady attempts to be a sumptuous affair but feels a little lost in the Coliseum. It has been 21 years since the show has been in the West End, and Bartlett Sher’s production is a safe bet for the summer season.

Lerner and Loewe’s magnificent music and lyrics stand the test of time, with many overheard interval chats about forgetting how many wonderful songs there are in the show. Lerner’s book, with the archaic and pompous arrogance of English gentlemen remaining true to Shaw’s play and highlighting the comedic immaturity of the men. Bartlett Sher’s reverence of the original musical means that there is no change to any character – a missed opportunity to make Freddy less of a lapdog and present Eliza with the choice of a loving relationship of equals instead of being a piece of property or mothering a man-child? Any change to Freddy would be welcome, as here he is a buffoonish, empty headed toff stalker.

The sets vary from an over-detailed study (leaving me wondering if the cast can actually be seen against the busy backdrop from the balcony) as part of a revolving house set to minimalist street scenery that appears to be from a different production, making it feel as if all the money was spent on Higgins’ house and the rest was an afterthought. Perhaps this choice reflects Higgin’s busy mind and self-centredness, but even then, it feels a bizarre decision. The Ascot and ball scenes begin promisingly enough, but soon become bland and static imitations of the film. This will probably delight the audience members who want to see a live version of their favourite film, but makes you wonder whether the acclaim for the New York production was driven by nostalgia.

Disappointment in the direction aside, there are some stellar performances from the cast. Amara Okereke makes her mark as Eliza – her beautiful vocals soaring in I Could Have Danced All Night and showing great comedic chops in the Ascot scene. Harry Hadden-Paton is wonderful as Higgins, becoming ever more frenetic as his world and beliefs are threatened by Eliza and managing to make Higgins more vulnerable without diluting his unlikability. Malcolm Sinclair is a delight as Colonel Pickering and Vanessa Redgrave has a ball as a physically fragile but VERY sharp Mrs Higgins.

One for the nostalgists, this My Fair Lady is… fair – professional, some amazing performances, but lacking that magical touch.