Setting the stage with an eerie atmosphere, the wooden set sticking out in a menacing way gave an intriguing insight to what was to come. Starting with a powerful scream into the dark the show began captivating the audience from the get go.
The use of live sound and music played by the cast absorbed the audience into a world of horror. The cast took on multiple roles making the troop of five feel like twenty. Most notably was Max Gallagher whose main part was Henry Clerval but gave all other parts he played such individual character which was a joy to watch.
The use of puppetry was fantastic and really gave the story a depth that made you want to see more. Though at times scenes where slightly drawn out, the cast brought back focus to the plot smoothly. Overall a very enjoyable adaptation of Mary Shelley’s Frankenstein.
IN A NEW REIMAGINED PRODUCTION PERFORMED IN THE ROUND
AT LONDON’S TROUBADOUR WEMBLEY PARK THEATRE
STRICTLY LIMITED SEASON FROM 28 NOVEMBER 2022
Producer Runaway Entertainment is delighted to announce that Disney’s NEWSIES, the award-winning Broadway musical with music by Alan Menken, lyrics by Jack Feldman and book by Harvey Fierstein, will have its UK premiere at London’s Troubadour Wembley Park Theatre, where the strictly limited season will run from 28 November 2022.
Based on a true story, NEWSIES is set in New York City at the turn of the 19th century. It’s the rousing tale of a ragged band of teenage newspaper sellers, who dream of a better life far from the hardship of the streets. After newspaper magnate Joseph Pulitzer hikes up the prices for his papers charged to the newsies, Jack Kelly rallies his fellow newsboys in an attempt to protest the change, falling in love with young reporter Katherine along the way. These young newsies from across the city come together and rise up against the exploitation of wealthy publishing tycoons and fight for justice using the only power they have – solidarity.
The original production of NEWSIES opened on Broadway in 2012 and was slated to play only 100 performances but went on to play over 1,000 performances before touring and winning two Tony Awards®, including Best Original Score. The original production was filmed live on stage and released in cinemas in 2017.
Now for the very first time, audiences in the UK have a chance to enjoy the thrill of one of the biggest Broadway hits of recent years. In an innovative and brand new immersive production ‘in the round’ at Troubadour Wembley Park Theatre, theatregoers will be thrust right inside the action as the newsies dance, sing, jump and fly around the streets of a booming 19th century New York City.
Alan Menken said: “I am OVER THE MOON about Newsies opening in London!! I’ve been wishing and waiting for this for soooo long. I truly cannot wait!”
Matt Cole, Director & Choreographer, said: “As a huge fan of the original Disney film and the Broadway production, I am extremely honoured and thrilled to be reimagining this brand new version for London and the UK. With an incredible score by the legendary Alan Menken and book by Harvey Fierstein we will bring this all-singing, all-dancing show to Troubadour Wembley Park Theatre. This site-specific version of the show provides an exciting opportunity to present the piece in a non-traditional format. Set in the round, the audience will be thrust into turn-of-the-century New York, where the action and choreography will weave its way in and out of the audience. I cannot wait to work with this talented creative team on delivering this wonderful and exciting show to the UK.”
This new production of NEWSIES will be following on the recent successes of large scale shows at Troubadour Wembley Park Theatre such as the National Theatre’s productions of War Horse and The Curious Incident of the Dog in the Night-Time.
Oliver Royds, CEO of Troubadour Theatres, said: “We are thrilled to be hosting the UK Premiere of Disney’s much loved musical in Wembley and look forward to showing audiences just how versatile and flexible our venues are. We are sure this will be one of the theatrical events of the year.“
Casting is to be announced.
Tickets will be going on sale in May 2022. To receive priority booking sign up at www.newsiesthemusical.co.uk
NEWSIES will be Directed and Choreographed by Olivier nominee Matt Cole, with Set Design by Morgan Large, Musical Supervision, Dance Arrangements & Musical Direction by Nigel Lilley, Costumes by Natalie Pryce, Lighting by Mark Henderson, Sound by Tony Gayle, Performer Flying by John Maddox for Suspended Illusions Ltd, Casting by Lucy Casson, Children’s Casting by Jo Hawes, Fight Directors Rachel Bown-Williams & Ruth Cooper-Brown for RC Annie, Associate Choreographer Jane McMurtrie, Associate Musical Director Chris Ma and Production Management by Lee Batty and Andy Fox for Setting Line.
NEWSIES is produced by Tristan Baker & Charlie Parsons for Runaway Entertainment with Kater Gordon and Dianne Roberts, by permission of Disney Theatrical Productions.
Canterbury’s JGH Academy of Theatre Arts are thrilled to present their first season of live performances from their 2022 cohort featuring a mixture of continuing and graduating students. The Academy will present SHOUT! the Mod Musical and their 2022 Musical Theatre Showcase at Canterbury’s stunning Malthouse Theatre, from 30 March – 1 April.
JGH Academy opened its doors in Canterbury last September (2021) to provide exceptional full-time vocational training in musical theatre performance in Kent, led by theatre producers Joseph Hodges and Jay Gardner and an incomparable faculty of performing arts professionals and boasts a whopping 45 hours of practical training per week!
From September 2022 they have three courses on offer for students aged 16+, a One-Year Intensive Course, a Two-Year Sixth Form Course (accompanied by a level 3 extended diploma) and a Three-Year Diploma Course (accompanied by a Level 6 Diploma.
Their patrons are Strictly Come Dancing Winner, Joanne Clifton, and Olivier Award-Winning Actress, Jenna Russell, both of whom have scholarships named after them. Layton Williams, who is a friend of the academy, also has a full scholarship named after him which is still available to one lucky male identifying student for September 2022 admission. All scholarships are awarded via their free application / audition process which can be found on their website, www.jghacademy.co.uk/apply.
Tickets for SHOUT! and their Musical Theatre Showcase are available via the Malthouse Theatre website, www.malthousetheatre.co.uk. Industry tickets can be booked by emailing [email protected].
You can find JGH Academy on Twitter, Instagram and Facebook at @JGHCanterbury.
Ellen Kent operas are known for their outstanding productions and tonight’s Madama Butterfly is no exception. It was way beyond superb!
Set in 1904 in Nagasaki, an American naval officer enters into a marriage of convenience with a young Japanese girl. He intends to divorce her when he finds an American wife and shortly after sails off on his naval ship…. She, meanwhile, devotes herself entirely to her new husband in the expectation of a new American life, waiting dutifuly for his return. Because of this she is disowned by her Japanese friends and family.
Both the principles (Elena Dee as Butterfly and Vitalii Liskovetskyi as Pinkerton) had gorgeous tone and strong projection, conveying the libretto with impactful assurance. They particularly shone together during their scenes at the end of act one, in anticipation of the wedding night with all it’s attendant hopes and fears. A lushly romantic piece of writing from Puccini. In fact his entire score has a lovely languid sensuality.
Dee has an effortless mastery of sustain and quiet notes and her anguished outpourings (those massive high notes that Italian opera is famous for) were spine tingling. The aria “One Fine Day” was especially moving. A masterful performance.
All the cast were fantastic but special mention should go to mezzo soprano Katerina Timbaliuk (playing Butterfly’s maid, Suzuki) whose acting, tone and vocal power were especially thrilling. She and Dee have a wonderful onstage presence and were utterly convincing in their roles. Their acting in the final scene was incredible, producing heartbreakingly sensitive performances from both!
The set was a sumptuous Japanese garden complete with running water and a house which was particularly well employed with backlighting to display some key moments in silhouette, an effect that was highly effective. The female chorus made a beautiful, mellifluous sound that was very beguiling, especially seeing them resplendent in their antique wedding kimonos, which were a real treat for the eyes.
Opera isn’t just music of course; it’s musical drama. This is the Italian verismo style where the composers wished to convey the realism of the situation, with all its consequences, hurt and pain. Powerful stuff. There is none of the English G&S nicety where abandonment ends well, in a return of love and a happily ever after. The orchestra (conducted by Vasyl Vasylenko) sounded rich and full, equally impressive in the subtle, romantic sections as the more strident harrowing ones, transporting us faithfully to the inner turmoil of the characters, through their sonorous playing.
Those few who were not already on their feet for a standing ovation were up when the Ukrainian flag came out and the cast sang the Ukrainian National anthem, complete with messages of support for the people of Ukraine on the surtitle screens! I don’t think I’ve ever been so moved during a night out.
A highly charged, emotional performance that deserved double the 5 stars I have to give it! I cannot wait to see their next production at this fine theatre.
RSC ACTIVITIES ON SHAKESPEARE’S BIRTHDAY WEEKEND, 23-24 APRIL
The Royal Shakespeare Company is offering visitors to Stratford-upon-Avon a wide range of activities to help celebrate Shakespeare’s Birthday over the weekend of Saturday 23 and Sunday 24 April.
Free events include a performance of Out of the Deep Blue, a family friendly outdoor show about the environment featuring a 13-foot-tall puppet, and the opportunity to enjoy the RSC’s new Dell Forest Garden, a space for reflection which also aims to improve the area’s biodiversity.
There will also be the chance to see the final two parts of the Henry VI trilogy, Henry VI: Rebellion (1.15pm) and Wars of the Roses (7.15pm) on Saturday 23 April, and to be part of the live audience for an edition of the popular podcast, The Guilty Feminist, at 7.30pm on Sunday 24 April. All three performances will take place in the Royal Shakespeare Theatre.
Prior to the birthday weekend, on 21 April, a newly revised second edition of The Complete Works of Shakespearewill be published, the perfect gift for all Shakespeare lovers.
SATURDAY 23 APRIL
Out of the Deep Blueperformedby Autin Dance Theatre 3.30pm, starts in the Swan Gardens outside The Swan Theatre Free, just turn up on the day
Autin Dance Theatre will perform Out of the Deep Blue, an outdoor spectacle ideal for children and families featuring Eko, a 13-foot-tall Sea Giant puppet, operated by five world-class puppeteers, and the character of Violet, played by a female contemporary dancer.
Waves wash Eko, a Sea Giant onto the shore. There he encounters vulnerable Violet. These two beings – an ancient creature and a young girl – offer us their stories: an impactful dialogue around our earth’s climate emergency, told through dance, movement and masterful puppeteering. A story about the power of understanding that speaks to the world at large.
The performance will start at 3.30pm in the Swan Gardens outside the RSC’s Swan Theatre, with the audience following Eko to The Dell gardens by Holy Trinity Church, before returning to the Swan Gardens for the final part of the show.
There will also be a free puppet workshop, suitable for ages 6+ between 12noon – 1.30pm taking place in the Swan Theatre foyer.
Pre-recorded Audio Description files are available for blind and visually impaired audiences to listen to, either prior to a performance and/or during the performance.
The Dell Forest Garden Free, just turn up on the day
Throughout March and April the RSC and Forest of Hearts – a Stratford-based organisation which aims to produce ‘gardens for good’ – will work with members of the local community to create The Dell Forest Garden which will be open to all from Saturday 23 April.
The Dell, located by the Holy Trinity Church, is a quiet outdoor space which includes a number of memorial plaques. The aim of the Forest Garden is to make an area for health and wellbeing activities, for personal reflection, and to increase biodiversity. In the lead up to 23 April, the community participants will plant a number of flower beds in both The Dell and Avonbank Gardens, including a section featuring flowers mentioned in Shakespeare’s plays.
Inspired by the memorials in The Dell, the RSC has commissioned artist Faye Claridge to create an outdoor art exhibition, Room for the Soul launching on 23 April. Faye is working with volunteers from Forest of Hearts and local residents to create a magical outdoor lounge where plants and flowers overwhelm furniture, while lampshades and family portraits flutter in the trees overhead.
Forest of Hearts will lead free drop-in sessions between 12-3.30pm on 23 April in The Dell, sharing how everyone can increase biodiversity. Participants involved in developing the Forest Garden will be on hand to talk about the experience and how people can take part in future projects.
Henry VI: Rebellion (1.15pm) and Wars of the Roses (7.15pm) Royal Shakespeare Theatre Tickets available from rsc.org.uk or 01789 331111
Henry VI: Rebellion, a fresh new take on Henry VI: Part Two, hurtles through one of the most turbulent periods in English history, asking the question: can the people ever really decide their own future?
Wars of the Roses is the thrilling climax to the Henry VI trilogy. The tussle for the English crown escalates to the battlefield and the families of Lancaster and York drench their brutal conflict in sweat and blood. As power is shunted back and forth, there is deceit, betrayal and murder at every turn. The scene is set for the final chapter as we get our first glimpse of the villainous Duke of Gloucester – soon to become Richard III.
Both productions are directed by Owen Horsley, and feature Mark Quartley and Minnie Gale as, respectively, Henry VI and Margaret.
Henry VI: Rebellion runs 1 April – 28 May, and Wars of the Roses runs 11 April – 3 June.
Henry VI Unwrapped: an onstage demonstration 10.15-11.15am Tickets £5-£8 available from rsc.org.uk or 01789 331111 Suitable for ages 12+
There will also be an opportunity to find out more about the Henry VI productions from actors and members of the creative team as part of Henry VI Unwrapped. This session will offer a peek into the rehearsal room, with the Assistant Director and members of the cast looking at moments from the play. They will give an insight into how a scene is taken off the page and onto the stage, and reveal the type of exercises and discussions that took place during rehearsals.
SUNDAY 24 APRIL
Show and Tell with AEG presents in association with United Talent Agency The Guilty Feminist Royal Shakespeare Theatre Sunday 24 April, 7.30pm Tickets from £12.50 available from rsc.org.uk or 01789 331111
Less of a podcast and more of a global phenomenon, The Guilty Feminist is part comedy, part deep-dive discussion and part activism. Hosted by Deborah Frances-White and featuring a different array of world class guests each night, together, they examine our noble goals as 21st century feminists – and our hypocrisies and insecurities that undermine those goals.
With over 95 million downloads in six years, this is the show that proves you don’t have to be perfect to be a force for meaningful change.
The Complete Works of William Shakespeare, Second Edition
A new edition of the RSC Complete Works of William Shakespeare will be published on 21 April 2022. Developed in a partnership between the RSC and Bloomsbury Academic, this revised second edition combines exemplary textual scholarship with beautiful design. Curated by expert editors Sir Jonathan Bate and Professor Eric Rasmussen, the text in this collection is based on the iconic 1623 First Folio: the first and original Complete Works assembled by Shakespeare’s fellow actors, and the version of Shakespeare’s text preferred by many actors and directors today.
This edition presents Shakespeare’s plays as they were originally intended – as living theatre to be enjoyed and performed on stage. Along with new colour photographs from a vibrant range of RSC productions, and a foreword by RSC Artistic Director, Gregory Doran, a new Stage Notes feature documenting the staging choices in 100 RSC productions showcases the myriad ways in which Shakespeare’s plays can be brought to life.
The Complete Works of William Shakespeare will be available to buy in the RSC’s shop in the Royal Shakespeare Theatre and online from 21 April. It is available to pre-order now from shop.rsc.org.uk
‘Persuasion’, based on the novel of the same name by Jane Austen, is an absolute theatrical masterpiece. Adapted by Jeff James to combine 19th century literature with modern day music and clothing, this show takes two things that seem like polar opposites and smashes them together, creating a work of art.
The story focuses on Anne (Sasha Frost) as she decides to stay with her sister, Mary (Helen Cripps) and her husband Charles (Dorian Simpson) and son Samuel (Daniel Aiden Matembe) when her father is forced to move to Bath, and let out their house to make money. Helen Cripps is fantastic at portraying Mary as a stubborn, self-contradicting permanently angry wife, and Dorian Simpson perfectly contrasts with her character, as the more light-hearted, relaxed husband. Annes father (Emilio Doorgasingh) takes with him Anne’s other sister, Elizabeth (Matilda Bailes) who is absolutely desperate to find a husband, because she is almost thirty years of age and still not married. Matilda Bailes portrays this character in such a comical way that it is quite difficult to feel sad for her, especially with some of the comments made by other characters about her need to be married soon. Back in her hometown, Anne soon discovers that the family who are staying in the house includes somebody from her past, who she hasn’t seen in ten years. She discovers that Captain Wentworth (Fred Fergus) is back on land from his travels with the navy, and is still bitter about his history with Anne. By the end of the play, Anne has changed her view on marriage, as she realises in hindsight that she should have accepted a marriage proposal years beforehand.
The set is made up of a tall platform, which appears slightly catwalk-like, and is lit up with lights around the edge. This platform is in two halves, and the top half rotates at certain points during the play. This set works brilliantly with a lot of the scenes, such as each time Anne physically pushes somebody off the side because she doesn’t like what they are saying, symbolizing how her character is pushing them away. This also allows the more serious moments of the play to work really well.
This play is brilliant at representing how the issues from the 19th century, as shown in Austen’s works, are still relevant today, as the scenes all use the same language as the novels, but are set in modern settings, with modern music. It should not be missed by anybody.
Royal & Derngate, Northampton – until 5 March 2022
Reviewed by Ely King
4****
If you’re looking for a night of light-hearted fun, this is the show for you.
For this performance, the cast were two people down, including puppeteer Aya Nakamura, so the performing actors were a crew of only five.
These five were Niall Ashdown, Ruth Bratt, Adam Courting, Janet Etuk and Josie Lawrence.
Advertised as ‘theatre as live as it gets’, I’d say this musical truly lives up to that claim.
As inferred, this musical is entirely improvised and lead by words and phrases given by you, the audience, meaning that there is an entirely new show every single night.
So why not go see it a few times?
The prompts given to the crowd were as follows:
– An area by your home that is meaningful to you
– A word that, when you say, makes you happy
– If you were writing a book, what would be the gripping first sentence?
The crowd didn’t disappoint and gave the answers ‘A Lake, because it has water, and is away from the hustle and bustle of life’ then ‘chocolate’ as the happy word, before ending on ‘the house is on fire, and this time it wasn’t my fault’.
After not even two minutes of contemplation, the crew were straight into it, with Josie Lawrence launching into a storyline featuring a lake that the rest of the cast were quick to join in with, grabbing props and adding harmonies as if they all had one shared thought.
Having seen The Showstoppers! On the West End, also featuring Ruth Bratt, I had a rough idea of what to expect from The Improbable Musical yet still, it undoubtedly impressed.
Improbable are icons in the improvised theatre scene and have captivated audiences across the world with their unrivalled improv skills.
With Ruth also being featured in other improv shows, it was no surprise that she was a standout actor in this performance, effortlessly flicking between age ranges and accents on a split second’s notice without any hesitation.
Though Ruth was the star of the show, every actor has their own merits and worked perfectly in tandem with each other. What any actor may have lacked in conventional vocal skills, they more than made up for in acting skills and comedic value.
It was particularly enjoyable to see performers add to the storyline and name characters in such a ridiculous manner to try and trip each other up. One instance including naming a child’s adult friend Andrew… if you know, you know. Some cast members almost broke character at that, but it just made it all the more fun.
The musicians in the company are also extremely talented, finding the perfect rhythm and timing to play along with the actors, never mind the fact they got pulled into storylines, some played as many as three instruments so had to choose which instrument was best too.
As quite a lot of their humour includes euphemisms or jabs at the news, it would definitely be recommended for over 13’s, as any younger might miss some of the jokes and wonder why all the adults are laughing. Though, if this isn’t a problem then go ahead!
From using teapots to represent ducks to using binbags to represent water, these performers are true geniuses and masters at thinking on the spot – we could all do with a bit of their imagination.
Far Gone is one-man show, written and performed by John Rwothomack, who was nearly kidnapped from his home in Northern Uganda by Joseph Kony’s rebel group, the Lord’s Resistance Army. The 1980’s were a time of great trouble and turmoil in Uganda and through his abduction of hundreds of thousands of child soldiers and religious extremism, Joseph Kony managed to seize power in the northern region of Acholiland and still remains at large today.
From the minute the audience enters the studio, they are charmed by the innocence of a squeaky voiced boy called Okumu who asks them to come on a journey with him. Very quickly, the audience is also introduced to the character of the commander who requires them to answer when he speaks to them and throughout the play cues are given to which the audience must answer as a chorus. The entire experience is mesmerising– for 60 minutes you are with Okumu and you join him as you feel his joy and naivety turn to despair and desperation.
The immense talent of Rwothomack is a sight to behold – with a bare stage, minimal costume and only a handful of props, Rwothomack still manages to transport the audience to Okumu’s world and paints an imaginary set in thin air. Through the use of every muscle in his body he is able to change character in a matter of seconds and each portrayal is more believable than the last. The fight scenes are the most breath taking and special mention should also go to the director, Mojisola Elufowoju and the movement directors, Akeim Toussaint Buck and Lilac Yosiphon. Without their careful consideration of each snapshot of each scene, the picture would not have been so clear to the minds eye.
Lee Affen, the music and sound designer, should also be congratulated for his perfect use of sound to match Rwothomack’s movements. Particularly in the scene where the commander is loading a gun – there is no physical gun to be seen on stage but the magazine is loaded and the shots are fired with real credibility.
The subject matter of this play is undoubtedly heart wrenching but Rwothomack still manages to include humour and it really is true that he takes the audience on a journey with him. From start to finish you cannot help but be possessed by the story and performance. Far Gone is an educational, emotional and entertaining experience and I’d recommend it in a heartbeat.
I’d like to end with the following poignant quote from ‘The Night Wanderers: Uganda’s Children and the Lord’s Resistance Army’ by Wojciech Jagielski: “The youngest ones are best suited to it, like him, eight…nine years old, not more. They are already independent and strong enough to understand and do what they are told. And at the same time, they are still too young to tell the difference between good and evil.”
Rwothomack has written this play for the lost children of Joseph Kony’s regime and asks for anyone who is moved by the narrative to support the work of the Women’s Advocacy Network (WAN) who are committed to supporting the thousands of people affected by the unrest in northern Uganda.
The highly anticipated Leeds Playhouse production of Macbeth is staged at the Playhouse’s Quarry Theatre. Directed by Amy Leach, the Shakespeare tragedy explores the how power can be obtained at cost along with exploring the physical, mentally, emotional, and psychological impacts.
Hayley Grindle’s staging is unique where the use of space is the main emphasis. The staging does have a dark structural feel with the metal scaffolding with a retractable ramp where the narrative takes place centrally. The space is used innovatively and creatively where movements of the characters are maximised. The costumes are traditional however the production has a contemporary twist particularly with the simplified dialogues, though not compromising the integrity of the text.
Supernatural is one the main themes in Macbeth and the atmospheric stage presence connects to this particularly and the characters of the three witches, played by Charlotte Arrowsmith, Karina Jones and Ashleigh Wilder, add essence to this. The use of obscured and key lighting, particularly representing the murderous activities and the soundscapes are well used and add suspense to this tragedy’s plots.
The Leeds Playhouse has a proud record making their productions inclusively accessible. Macbeth is no exception as this production includes integrated audio description and aural storytelling which ensures inclusivity for all audience members particularly from the blind, visually impaired and deaf communities.
Excellent portrayals from the cast particularly the ones from Tachia Newell as Macbeth and Jessica Baglow as Lady Macbeth and performances from Arrowsmith and Adam Bassett who both are proactive in the BSL arts and theatre communities.
It is nice to see an almost full audience where many are returning to the theatre and reconnecting with it after the Pandemic. It is encouraging to see school groups in the audience whose studies of Macbeth are crucial for their English Literature knowledge and learning.
“What’s done cannot be undone” and what is done is an excellent and unmissable production and performance from both the cast and creative team. Everyone can draw something from Macbeth whether by text or stage.
BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044
Full casting and creative team have been announced for OUR MAN IN HAVANA, the world premiere musical adaptation of Graham Greene’s iconic novel, opening at Newbury’s The Watermill on Thursday 7 April – Saturday 21 May, with a press night on Monday 11 April.
A roller coaster comedy full of colourful characters and uplifting Cuban inspired songs, this new musical is based on Graham Greene’s iconic novel that cleverly satirises the fine line between truth and lies. The production was originally programmed as part of The Watermill’s Spring 2020 season but had to be postponed by the pandemic, and now Artistic Director Paul Hart, Executive Director Claire Murray and the whole team are thrilled to welcome the show to The Watermill for a new run of the show this spring.
‘And all around them, the night comes alive with the music of Havana…’
It’s 1958 and Havana is on the brink of revolution. All day and night, the streets are filled with dancing and the shadows are filled with criminals. In the midst of the warm tropical air, an English vacuum cleaner salesman lives a quiet life running a modest business, raising his teenage daughter Milly and collecting miniature whisky bottles.
Just as Milly’s love of shopping reaches new heights, James Wormold receives an offer from the British Secret Intelligence Service that is too good to refuse. What Wormold lacks in sleuthing experience, he makes up for with imagination. Nothing stays quiet for long in Havana and his life is soon turned upside down when the fictional events of his intelligence reports start to come true!
Nigel Lister (The Secret Adversary – The Watermill and Footloose – UK tour) will play ‘James Wormold’, Daniella Agredo Piper (Electrolyte – The Watermill, The Secret Garden – Barn Theatre) will play ‘Milly Wormold’, Paula James (Beauty and the Beast – Rose Theatre, Gin Craze! – Royal & Derngate) will play ‘Beatrice / Maria’, Alvaro Flores (ClubMex – Hope Mill Theatre, Time of Our Lies – Park Theatre) will play ‘Segura / Hawthorne / Marco’, Adam Keast (The Sound of Fury – Liverpool Everyman/Playhouse, The Rise and Fall of Little Voice – Bolton Octagon) will play ‘Hasselbacher/Chief’ and Antonio Sanchez (Mamma Mia! – Sala Joaquin Turina; Seville, Beauty and the Beast: The Musical – Asociacion de Teatro La Ribera; Seville) will be the Onstage Musical Director.
Directed by Watermill Associate Director Abigail Pickard Price, designed by Kat Heath, with Eliane Correa and Ben Morales Frost as co-orchestrators, OUR MAN IN HAVANA has music & lyrics by Ben Morales Frost, book by Richard Hough, sound design by Adam Fisher, lighting design by Robbie Butler and choreography by Andrea Pelaez, with Chris Cuming as Associate Choreographer.The Stage Management team consists of Rose Burston (DSM), Natalie Toney and Fern Bamber (ASMs) with Katie Crump on ASM placement.
Richard Hough said, “The greatest honour of my career, the acme of my story so far, is being given the chance to transpose the finest writer of the 20th century from the printed page to the Watermill stage. Graham Greene has been an inspiration to me since I first read Our Man in Havana at university, a thousand years ago. The thought of bringing his world to life, of planting my feet in the soil of a little bit of Greeneland, makes me happier than I can say, and quite frankly, more excited than is seemly. To be working with such a superb company and crew is a privilege, and to do it in Newbury a pleasure.”
Ben Morales Frost said, “It was an irresistible challenge: a story half set in 1950s Havana, half in London; a father-daughter relationship wrapped up in a tale of intrigue and international espionage; a cast of 6 who have to act, sing, dance, play instruments, and still operate a vacuum cleaner convincingly…
Working with Eliane to create authentic Cuban orchestrations has been a real treat, and has helped us create a gloriously jarring contrast to the buttoned-up atmosphere of England in the mid-20th Century. We hope you enjoy the result.”
Abbigail Pickard Price said,“The heat and heart of Cuba perhaps feels somewhat far away from the rolling hills of Bagnor but on first reading of Ben and Rich’s new telling of Graham Greene’s Our Man in Havana I felt immediately transported. I have loved getting to delve further into this as the team has come together; seeing the brilliantly bright snapshot of Havana that Designer Kat Heath is creating and hearing Eliane and Ben’s Cuban orchestrations. I look forward to joining this wonderful team in rehearsals and hope that the audiences of Newbury will enjoy being transported across the globe and back in time to the world of Our Man in Havana as much as I did the first time I set eyes on this script.”
The Watermill continues to follow measures to control the risk of Covid-19 and to ensure the safety and confidence of its audience members, staff, actors and creative teams. The wearing of face coverings continues to be requested in the auditorium. Enhanced cleaning procedures, including regular fogging of the auditorium, and an efficient ventilation system supplying conditioned and filtered fresh air also remain in place.
To help audience members to book with confidence, The Watermill are operating a flexible booking policy. In the event that their booking is affected by Covid-19, audience members will be offered a ticket exchange, account credit or refund.
