Hull New Theatre – until 16th April 2022

Reviewed by Catherine McWilliams

5*****

Last night I had an utterly magical night at Hull New Theatre watching Bedknobs and Broomsticks. From the very dramatic first scene I was hooked and the performance took my breath away so many times. Bedknobs and Broomsticks has everything, a cracking storyline with superb performances plus scenery, special effects and lighting that will leave you gasping in awe.

Bedknobs And Broomsticks is based on the novels by Mary Norton and Disney Film with original music and lyrics by Richard M. Sherman and Robert B. Sherman, this musical has additional music and lyrics by Neil Bartram and the book is written by Brian Hill. The story is about the Rawlins siblings who are orphaned in World War 2 and are evacuated to the country to the home of Eglantine Price (Dianne Pilkington). Miss Price is very reluctant to take the children as she is busy making magic with the aim of making inanimate objects come to live in order to fight the invaders. The children then become involved in her search for the magic.

Having never seen the film of Bedknobs And Broomsticks I had no idea of the storyline and have to admit that I thought I was going to see a somewhat twee cosy show. This is of course nothing of the sort and this production does not shy away from the darkness of the times it is set in and the grief and loneliness of losing loved ones. The opening scene when the children’s’ home is bombed is incredible and I just held my breath at the horror that was unfolding on the stage. However, whilst the production is at times dark it has moments of great joy and humour and throughout carries the message of hope and love.

Dianne Pilkington is perfect for the role of Miss Price with an assured air and certainty about her and little time for anything else but her magic. She has a stunning voice and handled the magical elements wonderfully. The relationships she built with Emelius Browne (Charles Brunton) and the children felt very real.

Charles Brunton made a wonderful Emelius Browne the magician (verging on confidence trickster at the beginning) and “Emelius The Great” was such fun to watch. He brought a great deal of joy to the stage.

I was surprised to discover that this was Conor O’Hara’s professional debut as his performance as Charlie Rawlins was delivered with confidence and skill, as he tried to look after his younger siblings. His voice is fabulous and I suspect this is someone to watch in the future.

Huge credit should be given to Jasper Hawes as Paul Rawlins and Poppy Houghton as Carrie Rawlins, on stage from start to finish they are such a vital part of the story and played their parts with a confidence belying their age, both children have beautiful singing voices.

Bedknobs And Broomsticks is reliant on an incredible ensemble, who helped create the magic, danced, became scenery and generally made this such a wonderful show. The full company number “Portobello Road” was fast and furious and joyous to watch, and “Nopeepo Lagoon was just captivating.

The magic and illusions in this show are perplexing – I am still left wondering how that bed flew, and as to the broomstick and the other illusions, I have no idea.

The Orchestra led by Musical Director Laura Bangay was outstanding, the music fits the scenes so well and at times it seemed to fill the auditorium.

Bedknobs and Broomsticks has everything you need for a great night out at the theatre, it has a storyline with grit, simply outstanding performances from all cast members, beautiful music and stunning illusions. I would go back to see this again at the drop of a hat, this is one of those performances that you know if you see it again you will notice something new or catch a different nuance from one of the characters. Above all else you will leave the theatre filled with hope – this is a must-see show.

Alexandra Palace Theatre, London – until 30 April 2022

Reviewed by Debra Stottor

4****

You may think of a Jane Austen novel as something of an anachronism, but her analysis of love, life and the choices we make still resonates today. The manners and social conventions belong in the 19th century, the story itself anytime, anywhere. And perhaps that’s why Jeff James and James Yeatman’s unorthodox adaptation of Austen’s final novel works, brought up to date with music and dancing that’s way too modern for this writer but with dialogue true to the original.

Austen’s novels are, to an extent, precursors to the modern-day rom-com, tales of boy-meets-girl with enough plot twists to keep you guessing and plenty of wit to keep the mood light and fun. This is very much played for laughs – from the sharp dialogue to the dance scenes to frolicking in the foam at Lyme Regis.

The three motherless Elliot sisters exemplify the different roles played by women – Elizabeth (Matilda Bailes), desperate to marry at any cost; Mary (Helen Cripps), married but disenchanted with her lot; and Anne (Sasha Frost), persuaded not to marry eight years earlier but thrown into turmoil by the reappearance of her erstwhile suitor, the now very eligible Captain Wentworth (Fred Fergus). The interactions between them and the other characters are believable and absorbing, making this a story that moves along at a good pace, keeping the audience engaged.

The staging is deceptively simple, so the audience concentrates on the interaction between the characters rather than being distracted by props. There are juxtapositions aplenty – characters in tracksuits speak in period dialogue, for example. And then there’s the music. Banging dance tunes – the soundtrack features Frank Ocean, Dua Lipa and Cardi B – accompanied by well-choreographed routines performed by the cast bring a surreal twist to an otherwise relatively straight adaptation of a 200-year-old tale (though I’m not sure what Austen would have made of the attraction between Elizabeth and Penelope (Caroline Moroney), a subject that would have been unspoken in the early 1800s).

At its heart this is a story about integrity and self-discovery, learning to trust our deepest feelings and not give in to the persuasion of others. In a world where everyone has an opinion, being certain of your own is as important now as it has ever been.

James’s adaptation brings Austen’s central themes into the 21st century in a light-hearted, accessible way for those unfamiliar with her work. This play stands alone in its own right – a fun night out for those of a romantic disposition.

LYCEUM, SHEFFIELD – UNTIL 16 APRIL 2022

Reviewed by Alison Beaumont

5*****

Jamie is a musical inspired by the 2011 television documentary Jamie: Drag Queen at 16 directed by Jenny Popplewell. The musical follows a 16 year old teenager as he overcomes prejudice, beats the bullies and steps out to become a drag queen. The musical is set in the city of Sheffield, South Yorkshire.

This show is funny and also quite emotional as sadly many people encounter this type of prejudice. The language and one liners may not be for the prudish but these all add to the reality of this musical. There were times especially in the first act where it was difficult to tell what was being said but that aside this musical still deserves the 5*****. With it being based in Sheffield and watching it in Sheffield also added to the enjoyment especially as you could understand the dialect.

Jamie is played by Layton Williams and did a brilliant job. In this performance his vocals weren’t the strongest which is slightly surprising after listening to clips of his performance on YouTube, where he did an outstanding job. However, this didn’t detract from the performance he delivered. I would struggle to walk in Jamie’s heels let alone dance in them.

Pritti Pasha (Sharan Phull) is Jamie’s best friend and encourages him to follow his dreams and not to hide away. Pritti for me had the best vocals and was outstanding, I particularly enjoyed “It Means Beautiful”.

I also felt that Jamie’s mum, Margaret (Amy Ellen Richardson) also had particularly good vocals and gave a faultless performance. Her best friend Ray (Sasha Latoya) was very funny.

Shane Ritchie (famously known as playing Alfie Moon in Eastenders) joined the performance as Hugo/Loco Chanelle. It was very different to see Shane playing a northerner. In my opinion I felt that he played Loco Chanelle better than he did Hugo.

There was a cast change in this performance, Dean was played by Ryan Hughes and he played the part of the bully very well and true to life.

Amazing performances by everyone and the dancing was out of this world with great choreography.

A full standing ovation by the audience at the end was very much deserved. I would recommend anyone to go and watch this musical and would definitely go and see this again

Charing Cross Theatre – until 28 May 2022

Reviewed by Claire Roderick

4****

Zorro is a fabulous fiesta of fun with tongue firmly in cheek.

Zorro has always been one of the cheesiest and campest masked heroes – and this production gleefully acknowledges the ridiculous story but Stephen Clark’s book and lyrics still manage to include emotive moments. 

In this version, it is Zorro’s own brother that he must battle to free the pueblo of Los Angeles. A brief glimpse of their childhood shows Don Alejandro (Pete Ashmore) will never win Father of the Year as he plays favourites with his sons, sending the youngest, Diego (Benjamin Purkiss) to military school in Spain as preparation for leadership instead of his firstborn Ramon (Alex Gibson-Giorgio). Diego ditches school and spends his time wildly with the gypsies until he is told of his father’s death and Ramon’s cruel rule by old friend Luisa (Paige Fenlon). The gypsies, led by Inez (Phoebe Panaretos) sail to Los Angeles with Diego and Luisa. As he foppishly fawns on Ramon, Diego secretly Don’s the black mask and cape to become el Zorro (although he lobbies hard for el Puma) and thwart Ramon’s despotic orders.

It is the ultimate cheese fest, and joyously so – the cast play it straight with the glorious exception of Marc Pickering as the tragi-comic Sergeant Garcia wooing Inez while the brothers play their dangerous game of cat and mouse.

Gibson-Giorgio gets to chew the scenery as the tortured but dastardly villain, Benjamin Purkiss is an impish Zorro and an excellent romantic foil for Fenlon’s strong and charming Luisa, while Panaretos is full of dry one-liners as she guides Zorro in between burning up the stage with her dance moves.

There are some well choreographed sword fights and stage magic, but it is the music and dancing that make this show so special. The music of The Gypsy Kings, along with John Cameron, is performed brilliantly by the extraordinary cast of actor/musicians. The flamenco dancing is passionate and uplifting, especially when unaccompanied. The energy of Bamboleo and Djobi Djoba is off the charts, and you can’t help but be swept along. The vocal skills of the cast are impressive, with the women’s laments guaranteed to give you goosebumps.

A blast from start to finish, Zorro is escapism at its best.

Grand Theatre, Leeds – until 16^th April 2022

Reviewed by Katie Goldsbrough

5*****

The Curious Incident of the Dog in the Night-time tells us of Christopher Boone who has a mind unlike anyone else, taking a maths A-Level at just 15 he is extremely intelligent, but struggles with day-to-day life and social situations. After his neighbours dog is mysteriously killed overnight Christopher comes under suspicion and takes it upon himself to solve the case. As he investigates Christopher uncovers secrets, resulting in him having to step outside of his comfort zone, we see his struggles as he tries to function alone in a world many take for granted.

This often humorous play, based on the book by Mark Haddon has won countless awards including a Tony award for best play. Embarking on it’s 10^th anniversary tour it has been enthralling audiences for the last decade and it’s clear to see why. It gives a deeper understanding to what people go through when they don’t fit in and how it affects their families, with Christophers parents struggling with his behaviour and how to deal with it despite their clear love for their son.  

The star of the show is David Breeds playing Christopher, he does a great job of letting the audience see what life can be like for people with these kind of difficulties. The rest of the characters including his mum, Judy (Kate Kordel) and dad Ed (Tom Peters) care about Christopher but often struggle with how to approach his difficult behaviour with Siobhan (Rebecca Root), his teacher seemingly the only one who really understands Christopher. Siobhan, often acts as narrator reading extracts of Christopher’s book he’s writing about his detective work and offering him her help and advice throughout, we see Christopher and his parents grow through the play resulting in Christopher believing he can do anything. 

The staging is wonderful, with interactive projections on the floor and around the stage giving us an insight into the workings of Christopher mind and making us feel part of the story. It’s an extremely unique set up, with lots of strobe light, visual effects and holes in the wall which I’ve never seen in another play. This is an extremely heart warming story, you truly feel for Christopher and want him to be happy. Be sure to stick around after the curtain call to witness Christopher’s maths genius in action. This really is a wonderful play and must see for everyone. 

New Wimbledon Theatre – until 16^th April 2022

Reviewed by Carly Burlinge  

5***** 

Based on the novel by C.S Lewis, The Lion, the Witch and the Wardrobe tells the story of four children, Lucy (Karise Yansen) slightly shadowed by her other siblings but plays a very compassionate part. Edmund (Shaka Kalokoh) who’s easily persuaded and tends to come across very distant at times. Susan (Robyn Sinclair) a very independent young lady, clever, confident and offers reassurance to those around her and finally Peter (Ammar Duffus) who is vigilant and plays by the rules. All offering an impressive and striking performance that was fascinating to watch throughout.

The story continues as they are evacuated during World War II and get taken to the Scottish countryside. Where they are placed with Professor Kirk (Johnson Willis) who plays a slightly eccentric professor that seems to take everything in his stride. He was a pleasure to watch and played the role of his character extremely well. As the children begin to explore their new surroundings, they come across a wardrobe that leads them to another world introducing them to all things different, strange and mystical. Where new adventures arise that will take them on a journey through Narnia. Along their travels they will encounter many obstacles such as the White Witch (Samantha Womack) who plays her character outstandingly well she has a cold, cruel and malicious persona. She left the audience transfixed as she soars above all, luring you in with fascination as the snow fell around her across the stage and her dress was majestically flowing. A very powerful and extraordinary scene to watch.  Then there was the Lion (Chris Jared) who gives a powerful performance and worked alongside the puppeteer’s (Oliver Bingham, Oliver Grant, Shaun McCourt) they create so many beautiful movements and dynamic puppetry for all to see across the stage as well as creating a fierce and at times scary atmosphere, this enabling the audience to feel many different emotions throughout the production. This was done exceptionally well and took my breath away on many occasions.  

The transitions of this play were extraordinary and done with so much flare. For instance, as the children boarded the train their suitcases were adjoined together with lights appearing on the front of the cases as the windows. Forming the body of the train and a miniature engine up front. The jiggling and bobbing of each character involved showed a great expression of movement as riding the train line. The whole thing was extremely impressive and artistic to watch as well as the choreography, alongside the many lighting skills and instrumental genius that was brought to you live on stage. The costumes for this show were just extraordinary and cleverly designed bringing creativity, enjoyment and fun to the stage. 

Everything from start to finish was just mesmerising, luring and fascinating to watch very theatrical and mind blowing. I could watch this production over and over again and it would still leave a smile on my face, just amazing and phenomenal. 

Theatre Royal, Brighton – until 16^th April 2022

Reviewed by Sue Bradley

4****

When the lead actors in a production are as familiar as Nigel Havers and Patricia Hodge, there are good odds that you are in for a classy evening and, tonight, our bets were well placed.

A divorced couple, newly re-married to new partners, find that their respective honeymoon suites are in adjoining rooms at a hotel on the French Riviera. Despite a perpetually stormy relationship, they realise that they still have feelings for each other. This, despite their both opining, separately, that they are “two nasty acids bubbling around in a matrimonial bottle”.

Nigel Havers (Coronation Street, Chariots of Fire) is Elyot and Patricia Hodge (Downton Abbey, Calendar Girls etc.) is Amanda. 

Dugald Bruce-Lockhart brings Victor, Amanda’s uptight and dull new husband, to life and provides a fine foil for Sybil (Elyot’s new wife), played skilfully by Natalie Walter, who starts as sweetly naïve but eventually shows her mettle. Aïcha Kossoko played the much put-upon Louise, the French Maid, with impeccable language skills and humour.

For the first half, a simple and elegant set located us firmly in an old-style luxury seafront hotel whilst Acts 2 and 3 take us to the restrained opulence of a Paris flat.  The cast – all seeming perfectly at home in their roles – carried us through the barbs, jokes and recriminations with a confidence that made the time fly by.

In this classic Coward ‘Comedy of Manners’ we have all the sharp, and sometimes scathing, wit we have come to expect and, although written in the 1930’s, the observations on how couples interact are as fresh and relevant today as they were nearly 90 years ago. Interestingly, Coward himself took the lead role of Elyot, now played by Nigel Havers, in the original Edinburgh King’s Theatre production which then transferred to a successful run in the West End.

Although very definitely a comedy and Patricia Hodge’s comic timing, in particular, is immaculate, this is also a masterclass in flippancy as a mechanism to mask and avoid serious and passionate feelings.

This is the first offering from Nigel Havers’ newly formed eponymous theatre company and, if tonight was anything to go by, future productions will be keeping us similarly entertained.

Currently, the world of theatre is somewhat dominated by musicals and it is a real pleasure to enjoy an evening where all the drama is in the dialogue – you will need to keep your wits about you as the dialogue zips along at top speed, but it will more than repay the effort of your attention and concentration.

I suspect most couples will go home with smiles of wry recognition and there will be more than a few “isn’t that a bit like us?” moments.

The Malvern Theatres Trust – until 16th April 2022

Reviewed by Kathie Hodges

5*****

Can I give this show six stars?

Jim Cartwright’s classic piece tells the story of LV, played by Christina Bianco, a young introverted girl who is desperately mourning the death of her late father, with an undiscovered talent for musical impersonations – Judy Garland, Monroe, Bassey, Cilla Black, you name it ~ she can mimic it.

It’s a talent that has been not only ignored but criticised greatly by her usually drunk mother Mari, played brilliantly by Shobna Gulati, but when Mari’s new fling arrives on the scene in the shape of talent manager Ray Say played by Ian Kelsey, the voice is about to be set free. Ray hears LV sing for the first time and is blown away by her extraordinary talent. Seeing pound signs in his eyes Ray easily manages to assure Mari that LV is their ticket to the big time, their chance to leave behind the rickety house, which never contains any food, and possesses dangerous electrics, Mari is thrilled and soon changes her tune about her daughters gift.

Shobna Gulati receives many laughs in the role of Mari, she gives it her all, there is nothing she could of done any better. The character is as hilariously funny as she is shocking. Ranting and raving to best friend Sadie played by Fiona Mulvaney who only manages one word throughout the entire show , ‘okay’ because she simply can not get a word in! Pun after pun, ‘I did it my Ray’ they roll from Mari’s tongue and the outfits leave little to be desired. Tottering about in high heels, uncontainable bosoms and makeup to rival a drag Queen Mari, is full of energy and shares it with any one who will give her half a chance, while continually shouting at LV for being so quiet and ‘not being swivel’ to her new love, it was a joy to watch this incredible actress in this role. I felt exhausted just watching her drunken antics and frolics with Ray. It’s actually quite hysterical.

Ian Kelsey plays Ray Say brilliantly, Ray appears to be a harmless but rather desperate character, desperate to find that one huge star, who will propel him to the big time. Though there’s a nasty side to Ray, which we see in the second half, utter desperation turns him from quite a likeable character to a sleazy rogue, receiving a huge gasp from the audience with one of his actions.

It’s in scene two that the ultra shy LV performs a multitude of numbers, flawlessly. Though you have heard snippets of her voice in the first half, the excitement when you hear it in full is very real. The talent that Christina Bianco possesses is breathtaking, I could only watch in awe.

I admit I hadn’t heard of her before last night, but having now discovered her on YouTube I’m completely hooked. You must take a look for yourself. Singing aside I believed wholeheartedly that LV was the result of years of abuse from her mother, and what a joy it was to see her break free, and find her own voice.

The show was late starting, clearly there were technical issues but it didn’t matter, for as soon as the curtain went up I knew I was in for a treat. It should be said, that though there were clear issues with staging, the set itself was brilliantly done.

The Rise and Fall of Little Voice by Jim Cartwright did not disappoint. Don’t walk run to get your tickets

FULL CASTING ANNOUNCED FOR

MARINA CARR’S GIRL ON AN ALTAR

With Chinonyerem Odimba and Ben and Max Ringham’s Black Love currently running at the theatre, Kiln Theatre, in a brand-new partnership with the Abbey Theatre, today announces the full cast for Marina Carr’s Girl on an Altar. Annabelle Comyn directs Nina Bowers (Cassandra), Daon Broni (Aegisthus), Jim Findley (Tyndareus), Kate Stanley Brennan (Cilissa), David Walmsley (Agamemnon) and Eileen Walsh (Clytemnestra). The production opens at Kiln Theatre on 25 May, with previews from 19 May, and runs until 25 June.

Kiln Theatre in partnership with the Abbey Theatre presents

GIRL ON AN ALTAR

by Marina Carr

19 May – 25 June 2022

Cast: Nina Bowers (Cassandra), Daon Broni (Aegisthus), Jim Findley (Tyndareus), Kate Stanley Brennan (Cilissa), David Walmsley (Agamemnon) and Eileen Walsh (Clytemnestra)

Director Annabelle Comyn;Designer Tom Piper; Lighting Designer Amy Mae; Composer and Sound Designer Philip Stewart; Video Designer Will Duke; Casting Director Julia Horan CDG; Movement Director and Intimacy Director Ingrid Mackinnon; Voice & Dialect Coach Daniele Lydon; Costume Supervisor Isobel Pellow; Assistant Director Jessica Mensah

Clytemnestra’s world is torn apart when her husband, Agamemnon, sacrifices their daughter for the sake of war. Ten years on from this unthinkable tragedy, the couple are reunited. What follows is a dangerous battle of love, grief and power. 

Marina Carr’s (Blood Wedding, By the Bog of Cats) new re-telling of the infamous Greek myth brings Clytemnestra’s story to the forefront and asks is it possible to forgive the unforgiveable?

Marina Carr’s work for the stage includes iGirl, On Raftery’s Hill, Anna Karenina, 16 Possible Glimpses, MARBLE, Ariel (Abbey Theatre), Portia Coughlan (Abbey Theatre and Royal Court Theatre), Blood Wedding (Young Vic), Woman and Scarecrow (Irish Repertory Theatre), Mary Gordon (National Concert Hall), By The Bog Of Cats (Abbey Theatre & West End), Hecuba (RSC), new contemporary translation of Verdi’s opera Rigoletto (Opera Theatre Company, Irish National Tour), Phaedra Backwards (McCarter Theatre, Princeton), The Giant Blue Hand (Ark Theatre Commission), Impossible Things Before Breakfast: Quartet (Traverse Theatre), The Cordelia Dream (RSC at Wilton’s Music Hall); Woman And Scarecrow (Royal Court Theatre), On Raftery’s Hill (Town Hall Theatre Galway, Royal Court Theatre Downstairs, Kennedy Center Washington DC), The Mai (Peacock Theatre, Dublin – Winner of Best New Irish Play at Dublin Theatre Festival), Low In The Dark (Projects Arts Centre, Dublin) and Ullaloo (Dublin Theatre Festival, Abbey Theatre). Carr was awarded the 2017 Windham-Campbell Prize. Marina Carr is an Associate Playwright of the Abbey Theatre. Most recently hosted a major revival of one of her best-known plays, Portia Coughlan, directed by Caroline Byrne with Denise Gough playing the title role.

Annabelle Comyn is artistic director of Hatch Theatre Company and Director in Residence at The Lir, National Academy of Dramatic Arts, Ireland. Her theatre credits include Ravens: Spassky vs. Fischer (Hampstead Theatre), Asking For It (Landmark Productions, Everyman Cork, Abbey Theatre), Look Back in Anger, The Vortex (The Gate, Dublin), Crestfall, Helen and I (Druid, The Mick Lally Theatre), The Wake, Hedda Gabler, Major Barbara, The House – Irish Times Theatre Award for Best Director, Pygmalion, A Number, Blue/Orange (Abbey Theatre), Dancing at Lughnasa (Lyric Theatre Belfast), The Sit (Dublin Theatre Festival), Whereabouts (Fishamble in a co-production with Temple Bar Cultural Trust and Good-Bye Roy and Rough Road to Survival (Royal Court Theatre). For Hatch Theatre, her work includes The Talk of the Town (Landmark Productions and Dublin Theatre Festival), Love and Money, Further Than The Furthest Thing, Cruel and Tender, Pyrenees, Blood, and The Country (in association with Project Arts Centre).

Nina Bowers plays Cassandra. For theatre, her credits include Shakespeare’s History Cycle (Shakespeare’s Globe, Sam Wanamaker Playhouse), Dear Elizabeth, Twilight: Los Angeles, 1992 (Gate Theatre), The Wolves (Theatre Royal Stratford East), The Magic Flute (Aix-en-Provence Festival for Complicité), Crave (The Pit, Barbican), Tomorrow I’ll Be Twenty (UK tour for Complicité). For television, her credits include the forthcoming Lockwood & Co and Panic.

Daon Broni returns to Kiln Theatre toplay Aegisthus – he previously appeared in Holy Sh!t and One Under. Other theatre credits include Two Horsemen (Jermyn Street Theatre), Women Beware Women, Bedlam, Henry IV Parts 1&2 (Shakespeare’s Globe), Macbeth (Royal Exchange Manchester), Slaves of Solitude (Hampstead Theatre), In Blood: The Bacchae (Arcola Theatre), The Observer (National Theatre), The Wedding Dance (Nitro), The Changeling (ETT), Shakespeare’s R+J (Bath Theatre Royal), The Canterbury Tales (Royal Shakespeare Company), Them and Us (Bigfish Theatre), Blue/Orange (Duchess Theatre), Blood Wedding (Manchester Youth Theatre), Head On (West Yorkshire Playhouse), and Common Threads (Gwent Theatre Co). For television, his work includes Holier Than Thou, Waterloo Road, Teachers Eyes Down and Serious & Organised; and for film, A Passion Night’s Bloom, Now What?, Breaking and Entering, Lives of Saints, Dead Cool.

Jim Findley returns to the Kiln to play Tyndareus – he previously appeared in Playboy of The West Indies, Lonely Cowboy, and Beef, No Chicken. His other theatre credits include Antigone (Storyhouse Theatre, Chester), Moon on a Rainbow Shawl (Almeida Theatre), The Tempest, For Services Rendered, 14 hour Odyssey (Jermyn St Theatre), Our Town (Regent’s Park Open Air Theatre), The Meeting (Minerva, Chichester),The Lady From The Sea (Donmar Warehouse), A Midsummer Night’s Dream (Plymouth Theatre Royal), The Tempest (The Dukes, Lancaster Open Air Season), Twelfth Night (Birmingham Rep), Watership Down (Lyric Hammersmith), Mr Puntila and his Man Matti (Almeida Theatre/Albery Theatre), A River Sutra (Indosa/Three Mills Island Studios), Inside Out Of Mind (Meeting Ground/Lakeside Arts), and The Cherry Orchard, A Flea in Her Ear, Macbeth, Of Mice and Men (Nottingham Playhouse).  He co-adapted and performed V.S Naipaul’s novel Miguel Street for Edinburgh’s Theatre Workshop, Andrew’s Lane, Dublin, and Latchmere Theatre – the critically acclaimed one man show was the first time any of Naipaul’s work had been brought to the stage.

For television, his work includes Pitching In, Silent Witness, Livin’ It, Doctor Who – Resurrection Of The Daleks, and Johnny Jarvis; and for film, Cry Freedom, Socrates, Inside Out Of Mind, Playing Away.

Kate Stanley Brennan plays Cilissa. Her theatre work includes SH*T, Conversations after Sex, Riot (THISISPOPBABY), Treaty (Fishamble), her self-penned show Walk For Me (Project Arts Centre), Restoration (Shaun Dunne), Evening Train (Everyman Palace), The Plough and the Stars (Lyric Hammersmith/ Abbey Theatre, Dublin), Crestfall  – ITTA nomination Best Ensemble(Druid Theatre), The White Devil (Shakespeare’s Globe), Hedda Gabler, The Risen People, Terminus, Saved, Playboy of the Western World (Abbey Theatre, Dublin), The Night Alive (Lyric Theatre Hammersmith /Gaiety), Wuthering Heights, Salome (Gate Theatre), Witness, Best Man, ‘Tis Pity She’s A Whore, The Last Days of Judas Iscariot – Irish Times Theatre Award nomination for Best Supporting Actress, Love and Money – ITTA nomination for Best Actress (Project/ Everyman), Yerma (West Yorkshire Playhouse), and The Sanctuary Lamp (Arcola Theatre). For television, her credits include, Kin, Inspector Jury, Chasing Green, Raw, Fair City and The Tudors; and for film, Burn It All, Cherry – short, also directorial debut, Fly Like a Butterfly, Fading Away, and Doll House – winner of Best Ensemble Acting Odessa Film Festival. She makes music under the name “MissKate”, and has directed her last three music videos, Took The Life, Get Me and a collaboration with Lux Alma In The Place due for release later this year.

David Walmsley plays Agamemnon. For theatre, his work includes Blood Wedding (Young Vic), Our Town (Almeida Theatre), War Horse (New London), and The London Merchant (Theatre Royal, Bury St Edmunds). For television, his work includes Slow Horses (Embankment), The Terror, Of Kings and Prophets, Banished, Anne, The Smoke, Crimson Fields, In The Flesh, and Belme Sweet Belme; and for film, Peterloo, To Walk Invisible, and Ben Hur.

Eileen Walsh plays Clytemnestra. Her theatre credits include The Same (Irish Arts Centre, NY), Aristocrats (Donmar Warehouse), Absolute Hell, Broad Shadow, Liola (National Theatre), The Unknown, The Internet is Serious Business, Sand, Crave (Royal Court Theatre), The Same, Request Programme, The Merchant of Venice (Corcadora), Little Eyolf (Almeida Theatre), The Plough and the Stars, Macbeth, The Playboy of the Western World, Saved, Portia Coughlan, Ariel (Abbey Theatre, Dublin), Lippy (Dead Centre/Young Vic), The Tempest (Northern Stage/Improbable), Medea, Beginning, Crestfall (Gate Theatre, Dublin), The Believers (Frantic Assembly/Theatre Royal  Plymouth), Quiz Show, The Drowned World (Traverse Theatre, Edinburgh), The Seagull, How’s Life, Conversations, Whistle in the Dark, Famine, The Gigli Concert (Druid Theatre), Image of an Unknown Woman (Gate Theatre), Hamlet (Young Vic), Medea (Siren Productions), Terminus (Traverse Theatre, Edinburgh/Public, NY/Abbey Theatre, Dublin), Splendour (Paines Plough/Traverse Theatre, Edinburgh), Troilus and Cressida (Oxford Stage Company), Boom Town (Rough Magic Theatre), Disco Pigs (Bush Theatre/Arts Theatre), Danti Dan (Rough Magic Theatre/Hampstead Theatre), and The Entertainer (Liverpool Playhouse). For television, her credit include Modern Love, The South Westerlies, Women on the Verge, Catastrophe, Patrick Melrose; Pure Mule, and Delicious; and for film, 13 Hours, Wolf, Made in Italy, The Children Act, Gold, The Ballad of Kid Kanturk; Triage, The Maid of Farce, Eden (Tribeca Film Festival Award for Best Actress), 33x Around the Sun, The Magdalene Sisters (Venice Festival Golden Lion Award), When Brendan Met Trudy, Miss Julie, Janice Beard, The Last Bus Home, Spaghetti Slow, and The Van.

KILN THEATRE                                                                                                                                          Listings

Kiln Theatre

269 Kilburn High Road, London, UK, NW6 7JR

Box Office: 020 7328 1000

www.KilnTheatre.com

BLACK LOVE

Until 23 April 2022

Post Show Q&A 12 April 2022, 7.30pm

Audio Described Performance 14 April 2022, 7.30pm

Captioned Performance 21 April 2022, 7.30pm

GIRL ON AN ALTAR

19 May – 25 June 2022

Press night:  25 May 2022, 7pm

Post Show Q&A 7 June 2022, 7.30pm

Captioned Performance 9 June 2022, 7.30pm

Audio Described Performance 16 June 2022, 7.30pm

THE DARKEST PART OF THE NIGHT

14 July – 6 August 2022

Press night:  21 July 2022, 7pm

Post Show Q&A 26 July 2022, 7.30pm

Captioned Performance 1 August 2022, 7.30pm

Audio Described Performance 4 August 2022, 7.30pm

Relaxed Performance 6 August 2022, 2.30pm

Tickets to all productions now available

Tickets from £15

All tickets for first preview £15

Under 26 – £10 (subject to availability), Access, Over 65, Local, Student and Group rates available, for further details, please see the website

Subsidised tickets

We offer free tickets and exclusive discounts to those who can’t afford to come. If you fit any of the below criteria, get in touch and we can help you get a ticket.

If you are homeless, out of work or receive Housing Benefits, Income Support, Jobseeker’s Allowance or Employment and Support Allowance (valid ID, statements or proof universal tax credit will be required when collecting tickets).

Or, if you are an employee of the NHS, Police Force, Fire Brigade, Armed Forces, The Coastguard, RNLI, Prison Officers or Social Care Workers (valid ID payslip and name badges will be required when collecting tickets).

Email FreeTickets@KilnTheatre.com