CONSUMED BY KARIS KELLY ANNOUNCED AS THIS YEAR’S WINNER OF THE WOMEN’S PRIZE FOR PLAYWRITING

Consumed by Karis Kelly is today announced as the winning script for The Women’s Prize for Playwriting 2021. The Prize, now in its second year, is produced by Ellie Keel and Paines Plough, with Principal Partner 45North and in association with Sonia Friedman Productions.

The competition opened on 7 April 2021 and received over 850 entries which were judged by Arifa Akbar, Mel Kenyon (Chair), Lucy Kirkwood, Jasmine Lee-Jones, Winsome Pinnock, Indhu Rubasingham, Jenny Sealey, Nina Steiger, Nicola Walker, and Jodie Whittaker. From 8 finalists, Karis Kelly was awarded the prize of £12,000 at a ceremony held today at The London Library, with whom The Women’s Prize for Playwriting is entering a new partnership.

The winning playwright, Karis Kelly, is currently on attachment with the Lyric Theatre, Belfast, and Consumed is set to be programmed in 2023.

On winning the award, Kelly said today “I’m absolutely blown away to be the Winner of the 2021 Women’s Prize for Playwriting. In today’s theatre ecology, we really do need programmes that highlight female and female identifying voices. I’m so proud to be a part of its legacy. Like many others in the arts, during the pandemic, I had a complete crisis of faith, and was considering a complete career change! So, to go from that point, to receiving recognition from such an amazing prize and panel of judges is genuinely a dream come true.”

Also announced today Artistic Director of Kiln Theatre, Indhu Rubasingham, will take on the role of Chair of Judges for the third annual Women’s Prize for Playwriting, with submissions opening in the summer.

Ellie Keel, Founder Director of The Women’s Prize for Playwriting, today said, “To say that I’m delighted with this outcome would be an understatement – I’m so thrilled that this warm, funny, deft, sharply observed play has won the Prize in our second year. We’ve got a long way still to go in terms of parity between male and female writers on major stages and I hope that the exceptional plays brought together under the banner of this Prize demonstrates that there’s no shortage of talent: only, in some places, a reluctance to recognise it or give it a chance. It is time for the theatre industry to make sure it’s putting as much faith in female writers as they have to put in themselves to get plays written. It’s an exciting time – we can’t wait to produce Consumed in 2023, along with all the other producing activity that’s planned for the prize this year and next.”

Katie Posner and Charlotte Bennett, joint Artistic Directors of PainesPlough,added, “We distinctly remember calling each other after we first read Consumed to share that we had both been howling with laughter, moved and shocked all within the first 10 pages – we love the unpredictability of this script, the metaphor that sits at the heart of the story and the way it centralises women’s stories across four generations. Karis is a bold and thrilling theatrical voice who we are privileged to now be working with at Paines Plough.”

Jessica Rose McVay, Emily Carewe and Charlie Lees-Massey from 45North said, “The incredible scope of the finalist plays this year once again show the depth and breadth of the work women are writing. Each of these plays are rich in their storytelling; personal and touching in their characters; and bold in their theatricality. Consumed speaks to generational trauma and love, and at its heart is theatrically thrilling – we cannot wait to see it on stage!”

CONSUMED

By Karis Kelly

Four generations of Northern Irish Women: a house full of hungry ghosts, with more than one skeleton in the closet.

Bangor, Northern Ireland. It’s Eileen’s 90^th birthday, and her neurotic daughter Gilly is fussing, trying to organise her impending party. Gilly hasn’t finished unpacking the shopping when her high-flying daughter Jenny arrives from London with her worryingly thin daughter Muireann in tow. That makes four generations of Gillespie women in one room, and you could cut the tension with a knife. As the women prepare for a party that no one seems to want, the atmosphere turns decidedly sinister as deep-rooted recriminations and accusations fly out of the women like weapons. Obsessions and compulsions have spread through the lineage like poison. This is a house full of hungry ghosts and there’s definitely a few skeletons in the closet…

Karis Kelly is a playwright, theatre maker and educator. She has previously been the Literary Assistant at the Bush Theatre and Literary Associate at Theatre503 and has been awarded the 2022 Peggy Ramsay Bursary to be the writer in residence at The Lyric, Belfast. Her short plays have been performed at Hampstead Theatre, Gate Theatre and Arcola Theatre, and presented by Hightide Theatre and Headlong.

BIRMINGHAM HIPPODROME – UNTIL SATURDAY 26TH MARCH 2022

REVIEWED BY NADIA DODD

5*****

Most people will know this classic fairytale story of Belle who finds herself captured in an enchanted castle by the Beast, who has to find his true love to break the spell, turning himself back into a handsome Prince and his staff back into real people, but this show by Disney Theatrical Productions is just simply magical.

The show opens with a recorded prologue by Angela Lansbury, the narrator who sets the scene and introduces the audience to the Beast. The stage is very cleverly switched with effects from the enchanted castle, Belle’s home with her father, Maurice (Martin Ball) and a very dark scary wood where there were some great scenes of a ‘wolf attack’ accompanied by the live orchestra who were amazing throughout the evening.

There were time when I felt I was watching a movie with such creativity and invention behind the video production on such a great set that has really seen Disney shine when it comes to bright visuals and some amazing special effects.

Our Belle during this performance was played by the very talented Grace Swaby-Moore, who looking in the programme would usually be part of the ensemble. Her voice was so angelic and pitch perfect that it really does show how important ensemble and swing performers are when they take over a lead role as Grace proved tonight.

The Beast played by Shaq Taylor also had a stunning voice, he played the role perfectly, making the audience feel almost sorry for him when he was trying to win over Belle to see him for who he really is inside.

The cast have polished their dance scenes to a tee, seeing the male cast performing acrobatics to the whole ensemble tap dancing it was a delight for all to see so much colour and vibrancy taking place before your eyes.

My favourite part was the song ‘Be our Guest’ where it was almost like a Hollywood dance number from years ago. Bright and colourful to cheer up a dark March evening in Birmingham !

Lumiere played by Gavin Lee had the audience in stitches with his presence on the stage – he was cast perfectly for this role and had a fabulous French accent.

If I could rate this show more than 5 stars I would, this truly is what Disney does best, creates a magical, spellbinding atmosphere and truly deserved the standing ovation at the Hippodrome tonight.

Bristol Old Vic – until 12 March 2022

Reviewed by Lucy Hitchcock

3***

Award winning actor Jung Sun den Hollander and Kwong Loke star in David Lanes expertly written ‘What Remains of Us’, Depicting the first meeting for 50 years between a North and South Korean Father and Daughter, we witness 3 days of pure emotion as this true event is brought to the stage.

Jung Sun den Hollander as ‘Seung Ki’ is superbly cast, displaying raw emotion and encapsulating the audience perfectly. Together with Kwong Loke as her father ‘Kwan-Suk’ this brilliantly emotive piece will show you the horrors and reality of life on either side of Korea. This pairing is fantastic, with such a beautiful rapport that you could cut the tension with a knife and laugh with them in the same breath. Over the course of 3 days, we watch the pair get closer, unravelling their lives to each other and how they have both been affected by the war. David Lane and Sita Calvert-Ennals, writer and director, have been exceptionally sensitive to the subject matter and have told the story perfectly.

In the midst of the 90 minute piece, there was artistic movement, choreographed by Dan Canham. Whilst I understand what was intended to be achieved, I felt that this movement broke up what was a highly emotive performance, leaving me confused and then having to get back into the story once it was over.

This is a great piece that should definitely be watched as we remember the horrors of the past, and is exceptionally poignant with the currant climate of the world. There was also, a donation bucket at the end of the piece for Ukraine action, however I would have liked to have seen a bit more about this on social media-please take a few pennies if you can!

This compelling show is a treat, that you should try and see before it closes the borders for good.

Grand Opera House York – Wednesday 9th March 2022

Reviewed by Michelle Richardson

3***

Peppa Pig’s Best Day Ever! is based on the well-loved children’s television series. There have been other Peppa Pig tours, this is the latest, but the first I have seen. Accompanying me was my 3-year-old grandson, who especially loves George and his dinosaur. This is the first time he’s been to a live theatre and was so excited.

Guided by a very perky Daisy, Peppa’s human friend, the story follows Peppa, her brother George, Mummy and Daddy Pig, all looking forward to a special day out in the families red car. It promises to be their best day ever, full of all sorts of adventures.

Off they go, only to be thwarted at their first hurdle by roadworks and a burst watermain, but they do eventually get on their merry way. A visit to some caves and a castle ensues and we get to meet a variety of characters, the enormous dragon receiving the most attention, after the initial sighting of Peppa that is.

Mummy and Daddy Pig were played by adults in costumes, with Peppa and George as puppets, with actors operating their actions from behind. They all looked just like the characters on television, was very effective and put to best use. When the dragon came out it was a definitive wow from us, but occasionally, as he was moving around on stage, you could see the actor controlling him. It would have been better to have him always covered up, just to keep the illusion going. The set was very cartoonish and just what you would expect from Peppa Pig.

Our favourite bit was getting wet through the burst watermain. We spied water guns being fired from the grand circle onto the audience. My little man was full of it when he got home, full of tales about George getting him wet, it wasn’t George but that is his favourite character.

The show is 1 hour 20 minutes long, which includes a 20-minute interval. The interval was unnecessary, it would have worked a lot better with running straight through. The story is a bit lacking though and didn’t fully engage, certainly not the best day out. I found it quite repetitive really and padded out with a lot of unforgettable songs. The actors did what they could with what they had.

It is still a joy to watch the expressions on the children’s faces when they first see their favourite cartoon characters, and it’s great that they are experiencing live theatre, long may it continue. We have a few more outings planned and can’t wait!

DREAMBOATS AND PETTICOATS:
BRINGING ON BACK THE GOOD TIMES – PRODUCTION IMAGES

PHOTOS BY JACK MERRIMAN

BILL KENWRIGHT AND LAURIE MANSFIELD

PRESENT

DREAMBOATS & PETTICOATS:

BRINGING ON BACK THE GOOD TIMES

WITH SIXTIES POP SINGING HEARTTHROB MARK WYNTER
JOINING THE CAST FOR THE THIRD MUSICAL INSTALMENT

BOOK BY LAURENCE MARKS & MAURICE GRAN

Bobby & Laura, Norman, Sue & the gang get back together for the follow-on musical inspired by the million selling albums.

Hit recording star of Venus in Blue Jeans, Go Away Little Girl, It’s Almost Tomorrow and many more, Mark Wynter will be joining a company of established Dreamboats and Petticoats favourites from the past fifteen years.

Elizabeth Carter and David Ribi, Dreamboats and Petticoats’ most successful ever co-stars, lead the cast in the third musical inspired by the latest release in the series of smash-hit, multimillion selling Dreamboats & Petticoats albums, Bringing On Back The Good Times is filled with wit, charm and songs from the golden era of Rock ‘n Roll.

The production opens at Theatre Royal Windsor this February and will tour throughout the year.

Bringing on Back the Good Times finds Laura (Elizabeth Carter) with a successful solo career but her partner on their number one hit record Dreamboats and Petticoats’ Bobby (David Ribi) has left the spotlight and decided to re-join his former group Norman and The Conquests at St Mungo’s Youth Club.

The adventures that Bobby and Laura and of course Norma and Sue, and Donna and Luke (the group’s manager) go through together, include a season at Butlins, and an appearance at The Eurovision Song Contest – but most of all leads them straight back into each other’s arms and bringing on back the good times indeed.

With book by Laurance Marks and Maurice Gran and musical supervision by Keith Strachen, Bringing on Back the Good Times is packed with some of the greatest songs ever written, from Roy Orbison, Eddie Cochran, Elvis Presley, The Walker Brothers and many, many more, and will once again have audiences all over the country jiving in the aisles and singing along with their memories.

THE FEEL-GOOD MUSICAL CONTINUES…

Alhambra Theatre, Bradford – until 19^th March 2022 

Reviewed by Katie Goldsbrough  

5***** 

Jersey Boys has become one of the best and most well-known musicals in recent years and it’s easy to see why. Telling the story of ‘Frankie Valli and the Four Seasons’, Jersey Boys starts at the beginning, with four ordinary young men from Jersey. Unlike other jukebox musicals it doesn’t shy away from the hardships faced by the band, being in and out of prison, having money problems and suffering personal losses. We also share in their triumphs of finding the perfect fourth member, having hit after hit and eventually being inducted into the ‘Rock and Roll Hall of Fame’. With classic hits including ‘December 1963 (Oh What a Night)’, ‘Can’t Take My Off You’ and ‘Big Girls Don’t Cry’ it’s clear to see why Jersey Boys has become such a phenomenon.  

With each of the four leads bringing something different to their performance they work fantastically well together. Making his theatre debut Luke Suri shone as Frankie Valli having no problem hitting those high notes Frankie Valli was so famous for and having an excellent stage presence. Dalton Wood as petty criminal and gambler, Tommy DeVito has all the confidence and showmanship needed for his character giving an excellent portrayal. Lewis Griffiths as Nick Massi is a humorous and quiet member of the group finally expressing his true thoughts in the second act.  Finally, Blair Gibson as Bob Gaudio fit the role excellently, completing the quartet and truly finding the perfect ‘Four Seasons’. 

Whether you grew up hearing about ‘Frankie Valli and the Four Seasons’ or you’ve just discovered their music you’re in for a treat. The story is intertwined perfectly with the music and the opportunity to see ‘Jersey Boys’ is one not to be missed.  

Love Your Local Theatre 2-for-1 ticket campaign extends into April with 100s of new shows at participating venues nationwide

Search for 2-for-1 tickets available now for National Lottery players via www.loveyourlocaltheatre.com

Love Your Local Theatre, a campaign run by leading theatre membership body UK Theatre and made possible by the support of The National Lottery, has announced it is extending until 30 April. Over 100,000 tickets have already been sold through the promotion, made possible by £1m of National Lottery subsidy. Due to huge demand, an additional 50,000 2-for-1 tickets have been made available for April performances – with thousands of tickets still available for March at theatres UK-wide.

From Bristol and Birmingham to Newcastle and Nottingham, National Lottery players can get their hands on a bargain for participating shows, as a thank you for the £30 million they raise every week for Good Causes, including support for the performing arts and theatres during the pandemic.

Thousands of people have already booked and seen shows at their local theatre as part of this promotion in March. By extending Love Your Local Theatre into April, UK Theatre and the National Lottery want to give even more people the chance to experience the magic of live entertainment for less this spring. And thanks to support from the National Lottery, there’s still up to £1 million available to subsidise 2-for-1 tickets in this promotion. 

The huge variety of shows just added to the promotion includes everything from dance spectaculars Akram Khan’s The Jungle Book at Curve in Leicester and Remembering the Oscars at Dartford’s Orchard Theatre, to acclaimed plays Private Peaceful at Salisbury Playhouse, The Rise And Fall Of Little Voice at Exeter Northcott Theatre and Kes at Theatre by the Lake in Keswick – not to mention hit musicals like Dreamboats And Petticoats at Newcastle Theatre Royal and Beautiful – The Carole King Musical at Southampton’s Mayflower Theatre.

To find out which theatres and shows are part of Love Your Local Theatre, visit www.loveyourlocaltheatre.com

NEW ADVENTURES ANNOUNCE ITS

EMERGING ARTIST APPRENTICES

FOR 2022/23

New Adventures is delighted to announce its next two Emerging Artist Apprentices, Hannah Kremer and Perreira Franque.

The Emerging Artist Apprenticeship is a two-year talent development scheme that supports dancers as they transition from professional training to working in the industry, with a particular focus on developing those who are underrepresented. The first level of the programme takes place during the final year of professional training. The dancers are mentored by New Adventures dance artists throughout the year and take part in company classes, residencies as well as dedicated studio time with principal dancers and dance artists. In the second year their development takes place through a performing apprenticeship contract with a New Adventures touring production.

The apprenticeship is led by New Adventures Resident Artist Kerry Biggin who said: “I’m so proud and excited to lead the Emerging Artist Apprenticeship programme. We are providing pathways into the industry and aim to send out inspired artists, confident to forge their way in the sector. We hope to address the imbalance of representation across our industry and opportunities like these feel vital to support and impact the change we want to see. I’m so excited to be part of the dancers’ journeys and see what the future holds for them”

Hannah Kremer, currently in her third year at Rambert, and Perreira Franque currently in his last year at Performers College, will both make their professional debuts in Matthew Bourne’s “SLEEPING BEAUTY”, opening at Theatre Royal Plymouth on 12 November 2022 ahead of a seven-week Christmas season at Sadler’s Wells, London.

Hannah Kremer first performed with New Adventures as part of the local cast in Matthew Bourne’s “ROMEO AND JULIET” at Sadler’s Wells in August 2019. Since then, she has taken part in Swan School and a number of other residencies within their Talent Development programme.

Perreira Franque’s first involvement with New Adventures was through a mock audition day, designed to support second and third years in training with their audition technique and a deeper understanding of the demands of a professional dance company. He then went on to take part in Swan School in 2021.

They follow in the footsteps of the inaugural apprentice, Enrique Ngbokota who is currently wowing audiences on tour in Matthew Bourne’s “NUTCRACKER!” as ‘Cupid’; having made their professional debut in the role last year. Enrique first worked with New Adventures in “LORD OF THE FLIES”. They were also in the local cast of “ROMEO AND JULIET”.

Enrique’s journey beautifully encapsulates what Matthew Bourne and New Adventures have been championing for so long by providing different opportunities to young dancers and professional dancers. Their path from “LORD OF THE FLIES” to “ROMEO AND JULIET”, to Emerging Artist Apprentice and making their professional debut in “NUTCRACKER!” is testament to New Adventures vision.

Throughout the apprenticeship, Hannah and Perreira will be mentored by New Adventures Associate Artist and principal dancer Glenn Graham: “I’m delighted to be mentoring a new generation of dancers because it’s something I never had. We hope the programme offers rigor and resilience, helping dancers to connect with company members giving them the opportunity to learn all that touring life and company environment has to offer.”

Enrique Ngbokota’s and Perreira Franque’s apprenticeships are supported by the Archie Lloyd Foundation. 

“We are delighted to be supporting the Emerging Artist Apprenticeship Programme. Our involvement with New Adventures over the past four years has enabled us to follow the development of a number of young performers and our sponsorship of Enrique Ngbokota, the inaugural beneficiary of this particular project, has resulted in amazing support for them, their well-being and their development as a young artist. We now look forward to working with our second apprentice, Perreira Franque knowing that he is in very good hands, receiving the best possible mentoring, training and career opportunities.”

Hannah Kremer’s apprenticeship is supported by Romeo and Juliet Legacy Funds, put in place to continue developing the talent from the 2019 production.

For more information about all of the apprentices please see Notes to Editors.

HAMPSTEAD THEATRE EXTENDS RUBY THOMAS’ CRITICALLY ACCLAIMED THE ANIMAL KINGDOM, DIRECTED BY LUCY MORRISON, AT HAMPSTEAD DOWNSTAIRS UNTIL 2 APRIL 2022

★★★★ ‘A thrilling portrait of a family in collapse.A coiled-spring production…Pure theatre.’ The Guardian

★★★★ ‘Fast, furious drama with note-perfect performances’ The Times

Hampstead Theatre is delighted to announce that it is extending Ruby Thomas’ The Animal Kingdom,directed by Lucy Morrison, until Saturday 2 April 2022.  Staged in Hampstead Downstairs, this critically acclaimed new play is an observation of family dynamics featuring Paul Keating, Martina Laird, Jonathan McGuinness, Ashna Rabheru and Ragevan Vasan.  Tickets are on sale now.

The Animal Kingdom’s extension follows the news that Folk, which ran at Hampstead Downstairs prior to The Animal Kingdom, is nominated in the Outstanding Achievement in Affiliate Theatre category at this year’s Olivier Awards. 

“We’re bonobos, in our family.  A hundred percent… They can be pretty aggressive actually.”

Sam is struggling.  Being a human has never been simple for him.  He just feels like a different kind of creature.  Sam’s family don’t understand.  But then they barely understand themselves.  Now, trapped in a stuffy inpatient clinic undergoing family therapy, they must find new ways to communicate with each other so that, one way or another, Sam can be released from captivity.

Ruby Thomas returns to Hampstead Theatre, following the premiere of her first full-length play Either in 2019.  In 2020 she was on attachment at the theatre with the Channel 4 Playwrights’ Scheme.  She has recently received a Jerwood Commission from the Royal Court (2021), wrote a piece for the Royal Court’s Living Newspaper (2020), and had short plays performed at the Old Red Lion, Platform Southwark, the White Bear and Theatre503.

Lucy Morrison makes her Hampstead debut.  An Associate Director at the Royal Court, her credits include Scenes with girls (Royal Court), The Woods (Royal Court) and Little on the inside (Almeida Festival/Clean Break).

The Animal Kingdom has been kindly supported by the Godwin family.

TIME LORDS TO TOP OF THE POPS:

A CELEBRATION OF BBC TELEVISION MADE AT RIVERSIDE STUDIOS

Riverside Studios today announces a brand-new photographic exhibition: Time Lords to Top of the Pops: A celebration of BBC Television made at Riverside Studios, running between 21 April and 24 July 2022.

Marking one hundred years of the British Broadcasting Corporation and sixty-five years since The BBC Riverside Television Studios were opened by Queen Elizabeth The Queen Mother, the exhibition celebrates the long and illustrious history of BBC television production at Riverside Studios.

In collaboration with BBC History, Riverside Studios presents a stunning collection of photographs taken behind-the-scenes of the most iconic BBC programmes made in their original building, from Doctor Who and Hancock’s Half Hour to Blue Peter and Top of the Pops.

Complementing the photographic exhibition, Riverside Studios will host a variety of related special events including the unveiling of a BBC Heritage Trail blue plaque and a screening in tribute to the founding producer of Doctor Who, Verity Lambert. Other activities will include special events for children in the May half term break and additional screenings of television from the archive. More details of the event programme will be announced shortly on the Riverside Studios website and via social media.

Rachel Tackley, Creative Director of Riverside Studios, says today:

“I am so excited to be hosting this exhibition. The team here have been working with the BBC for over a year and it is such a delight to see it all finally come together. I have loved choosing the ‘behind-the-scenes’ images, most of which have never been seen before, as well as discovering all the amazing programmes that were made at Riverside.  Now all we need is for the Dalek to get here and I can finally lay my childhood fears to rest!”

Robert Seatter, Head of BBC History, says today:

“In the year of the BBC’s centenary, it’s great to be working with Riverside to showcase some of the iconic and much loved programmes made – and continuing to be made – in these studios. They are revealed in carefully restored images from the BBC Photography Archive, which we know audiences will love seeing in Riverside’s glorious new public spaces, along with a shiny blue plaque as a permanent memento!”

Riverside Studios

LISTINGS 

101 Queen Caroline Street, Hammersmith W6 9BN

Thursday 21 April – Sunday 24 July

Box Office: 020 8237 1010