Blood Brothers was written by Willy Russell and Directed by Bob Tomson and Bill Kenwright. This production brings a remarkable story of twin brothers separated at birth brought up on different sides of the track who become reunited unknown to one another, causing two worlds to collide. Bringing friendship, love, betrayal and consequences.
Mrs Johnstone’s (Lyn Paul) portrayal of a single mum is very impressive, powerful and believable she shows a very emotional side through her acting which she also manages to carry out in her singing with some sensational songs such as Tell Me its Not True and Marilyn Monroe.
The Johnstone Twins, Mickey (Alexander Patmore) and Eddie (Joel Benedict), have an absolutely amazing connection on stage both offering superb and authentic acting throughout showing a good contrast between the two sides. They become best friends, fall in love with the same girl causing their relationship to fall apart creating tragedy. Mickey (Alexander Patmore) plays the transition from a child amazingly well through his behaviour and simple changes in outfits. He’s energetic and playful at times and had the audience in laughter on many occasions but also finds it hard to talk or show his emotions offering some remarkable acting throughout. Eddie (Joel Benedict) played a trans-formative character that’s upper class, gentle, happy and able to show his feelings and emotions giving a believable and fantastic act.
The Narrator played by Robbie Scotcher played a distinguished, foreboding role always lurking in the shadows reminding the characters of their fate throughout for their wrong doings. He offers a sensational part without him the show would be incomplete.
The set was very detailed of a street, one side run down, the other side affluent with the back drop of the city lights shining. Props were used on stage in order to create different areas/ rooms which was very affective throughout.
This show draws upon real emotion in all respects, captivating the audience at every moment. Along side some very dramatic scenes keeping the audience at the edge of their seats. There was laughter and tears all from such great talent and a strong connection from all actors involved. They were just superb. This is by far one of the best shows I have ever seen ending in a standing ovation.
CHICHESTER FESTIVAL THEATRE ANNOUNCES FESTIVAL 2020 SEASON
WORLD PREMIERES INCLUDING FIRST PLAYS BY STEVEN MOFFAT AND KATE MOSSE, AND NEW WORK BY SUHAYLA EL-BUSHRA AND CHRISTOPHER SHINN
50:50 PLAYWRIGHT GENDER BALANCE AND 60:40 FEMALE DIRECTORS TICKETS FROZEN AT 2019 PRICES CHICHESTER SPIEGELTENT RETURNS
Chichester Festival Theatre’s Festival 2020 has today been unveiled by Artistic Director Daniel Evans and Executive Director Kathy Bourne. Five world premieres: THE UNFRIEND by Steven Moffat, with Amanda Abbington, Frances Barber and Reece Shearsmith, directed by Mark Gatiss THE LONG SONG, a new adaptation by Suhayla El-Bushra based on Andrea Levy’s novel, directed by Charlotte Gwinner, with Cherrelle Skeete heading the cast THE TAXIDERMIST’S DAUGHTER by Kate Mosse, adapted from her novel, directed by Jonathan Munby THE NARCISSIST by Christopher Shinn, directed by Ola Ince A new adaptation of PINOCCHIO by Anna Ledwich
Two musicals: Daniel Evans directs Chichester’s first production of Rodgers and Hammerstein’s SOUTH PACIFIC with Gina Beck, Julian Ovenden, Joanna Ampil and Rob Houchen ASSASSINS by Stephen Sondheim and John Weidman, directed by Polly Findlay
Major revivals of great modern dramas: Jonathan Church directs Henry Goodman in Brecht’s THE LIFE OF GALILEO, translated by David Edgar Muriel Spark’s THE PRIME OF MISS JEAN BRODIE adapted by Jay Presson Allen, directed by Rachel Kavanaugh Richard Coyle and Lisa Dillon in Tom Stoppard’s THE REAL THING, directed by Simon Evans THE VILLAGE BIKE by Penelope Skinner, directed by Nicole Charles Sarah Kane’s CRAVE, directed by Tinuke Craig
Tickets held at 2019 prices; 20,000 tickets at £10 in the Festival Theatre and over 10,000 £5 PROLOGUE tickets for 16 – 25 year olds
Daniel Evans and Kathy Bourne said: ‘We are proud to have some of the UK’s most exciting artists working with us in Chichester in 2020. This year we’re achieving a 50:50 gender balance in our playwrights, and we’re thrilled to have five world premieres – which include first plays by Steven Moffat and Kate Mosse, and new work from Suhayla El-Bushra (based on Andrea Levy’s great novel), Anna Ledwich and Christopher Shinn. We’re reintroducing repertory for two productions this autumn, with Kate Mosse’s The Taxidermist’s Daughter alongside Stephen Sondheim and John Weidman’s Assassins in the Festival Theatre. Assassins also plays opposite Christopher Shinn’s The Narcissist in the Minerva: both shedding an entertaining and probing light on American politics and psyche, as the US approaches the presidential election.
‘We extend a warm welcome to our outstanding acting company; and to our directors (seven female and five male), whether they are returning – Nicole Charles, Tinuke Craig, Rachel Kavanaugh, Jonathan Munby, Dale Rooks and, of course, former Artistic Director Jonathan Church – or working at Chichester for the first time: Simon Evans, Polly Findlay, Mark Gatiss, Charlotte Gwinner and Ola Ince.
‘The birth of the Chichester Spiegeltent was an undoubted highlight of 2019, and we are delighted to be bringing it back this autumn. Whereas last year it housed an unforgettable production of Sing Yer Heart Out for the Lads, this year we’ll introduce Sarah Kane’s work to Chichester audiences with a new staging of Crave, before another eclectic season of music, cabaret and family entertainment, to be announced later in the year.
‘Finally, our extensive work in the local community continues to thrive, through innovative and creative programmes ranging from work with refugees and primary children to dementia friendly initiatives. This year CFT will also be reaching audiences across the globe. Sharon D. Clarke will recreate her Olivier Award-winning performance in Caroline, Or Change in New York; Laura Wade’s The Watsons will be in the West End; James Graham’s Quiz tours the UK this autumn; David Haig’s Pressure visits Toronto; and Singin’ in the Rain splashes down in London, Japan and on a UK tour.’
FESTIVAL 2020 PRODUCTIONS – APRIL TO OCTOBER
Henry Goodman in THE LIFE OF GALILEO by Bertolt Brecht Translated by David Edgar Directed by Jonathan Church 24 April – 16 May, Festival Theatre
Galileo Galilei is a teacher of mathematics at the University of Padua. The establishment orthodoxy – which he’s been teaching to private pupils for years – is that the sun revolves round the earth, which is the centre of the universe. The theory confirms the scriptures and pays the bills.
Now, with the help of a newly-invented telescope, Galileo is starting to look at the universe afresh. And the more he looks, the more he sees, including mountains on the moon and strange stars around Jupiter. His discoveries not only support the heretical idea that the earth moves round the sun, they give rise to urgent new questions too. What if the earth is just another star? And if the church is wrong about the heavens, might it be wrong about how things are here on earth?
Brilliant minds have been burnt alive for asking such questions. Because though this is the age of science and discovery, it is also the age of the Inquisition.
Bertolt Brecht revised his epic play about the battle between scientific reason, the power of religion, and human responsibility in response to the apocalyptic events of the middle of the twentieth century. David Edgar has revised and updated his translation for this production; his adaptations also include Nicholas Nickleby and The Master Builder, both seen at CFT.
Making welcome returns to Chichester are Director Jonathan Church, who was Artistic Director 2006–16; and Henry Goodman who plays the title role, following his appearances in Yes, Prime Minister (2010) and The Resistible Rise of Arturo Ui (2012/13).
The Life of Galileo will be designed by Simon Higlett, with lighting by Mark Henderson, music by Matthew Scott, sound by Paul Groothuis, video by Dick Straker, movement by Jenny Arnold, casting by Juliet Horsley and children’s casting by Verity Naughton.
Richard Coyle and Lisa Dillon in THE REAL THING by Tom Stoppard Directed by Simon Evans 7 May – 6 June, Minerva Theatre
Henry is a brilliantly clever playwright with a masterful grasp of language and a lot on his mind. His choices for Desert Island Discs, for a start.
His actress wife, Charlotte, is appearing in his latest play alongside their friend Max, who’s also married to an actress called Annie. Charlotte’s not convinced the part does her justice and she’s not afraid of saying so. Annie, meanwhile, is campaigning to free Brodie, a soldier who’s recently been jailed for setting fire to a wreath on the cenotaph. And Brodie isn’t Annie’s only interest…
In Henry’s world everyone is seduced by somebody or something. For some of the time at least. But are these passions more than surface deep? Are they the real thing?
An hilarious and heartfelt exploration of love and fidelity, The Real Thing is considered one of Tom Stoppard’s finest plays. His other award-winning works include modern classics Rosencrantz and GuildensternAre Dead and Arcadia.
Richard Coyle makes his Chichester debut as Henry. He recently starred in James Graham’s Ink (Almeida/West End), while his screen credits include Coupling, Covert Affairs and The Chilling Adventures of Sabrina.
Lisa Dillon returns to play Annie, following her roles as Beatrice and Rosaline in Much Ado About Nothing and Love’s Labour’s Lost (2016); her recent theatre includes Blithe Spirit (West End).
Director Simon Evans’s theatre credits include A Day in the Death of Joe Egg (West End), and The Resistible Rise of Arturo Ui and The Silence of the Sea (Donmar Warehouse).
The Real Thing will be designed by Grace Smart, with music and sound by Alex Baranowski and casting by Juliet Horsley.
THE PRIME OF MISS JEAN BRODIE by Jay Presson Allen Adapted from the novel by Muriel Spark Directed by Rachel Kavanaugh 29 May – 20 June, Festival Theatre
Edinburgh. Schoolmistress Jean Brodie prizes beauty, truth and art above the curriculum, reaching beyond the classroom to find lessons in galleries, theatres and the opera. For her favoured set of girls – Sandy, Jenny, Monica and Mary – she is a fascinating enigma.
And it’s not only twelve-year-olds who are drawn to the provocative Miss Brodie. There’s Gordon Lowther, the diffident music teacher, whom she visits every Sunday, and the raffish married art teacher, Teddy Lloyd.
But not everyone is an admirer. Brodie’s unconventional style challenges the established order at Marcia Blaine School, and a headmistress who doesn’t wish lessons to be taught in the open air and minds to be recklessly expanded.
As the girls grow up and innocence gives way to experience, trust turns to doubt about their teacher. Soon, being a woman and an iconoclast, in a turbulent political age, becomes downright dangerous.
Jay Presson Allen’s bold, searching and funny play, written in 1966, was adapted from the 1961 novel by Muriel Spark. A hit both in London and on Broadway, it successfully transferred to the screen in 1969
This new production is directed by Rachel Kavanaugh, whose many Chichester productions include Shadowlands (2019), The Winslow Boy (2018) and Half A Sixpence (2016).
It will be designed by Robert Jones, with lighting by Howard Harrison, music by Catherine Jayes, sound by Fergus O’Hare, movement by Georgina Lamb and casting by Charlotte Sutton.
THE VILLAGE BIKE by Penelope Skinner Directed by Nicole Charles 12 June – 4 July, Minerva Theatre
Becky and John have moved to a rural idyll. Their renovation is only half finished and the dodgy internal pipe-work is banging, but John loves the organic butchers and the fresh air.
His wife is less sure. Her body is changing. She’s frustrated. She has needs: startling and urgent longings and desires, which are not being satisfied by her husband, or her nosy neighbour, or the glorious countryside.
Thank goodness the local men-folk are friendly. Mike is a reliable plumber, and Oliver is the leading man of the local amateur players. He’s currently on stage in tight breeches as highwayman Dick Turpin. Both men are more than willing to help Becky settle in.
Oliver even has an old bike for sale. One he’s keen to give to restless Becky, and one she’s desperate to take for a ride. Soon the cottage plumbing is not the only thing causing disturbance deep in the English countryside.
The Village Bike spins the wheels off the old conventions around human desire. Hilarious and original, it explores impending motherhood and the need for liberation from social and gender conventions. Written by Penelope Skinner, it was a smash hit when it opened in London in 2011, winning George Devine and Evening Standard Awards.
Nicole Charles returns to Chichester to direct, following her five-star production of Sing Yer Heart Out for the Lads (2019); her other credits include Emilia (West End).
Becky is played by Esther Smith, whose television credits include Cuckoo, Uncle and the forthcoming Trying. Her short film Elephant was BAFTA-nominated; recent theatre includes Fairview (Young Vic).
Please note this play contains very strong language and scenes of a sexual nature. Recommended for ages 16+.
The Village Bike will be designed by Madeleine Girling, with lighting by Prema Mehta, sound by George Dennis and casting by Charlotte Sutton.
Gina Beck, Julian Ovenden, Joanna Ampil and Rob Houchen in SOUTH PACIFIC Music by Richard Rodgers Lyrics by Oscar Hammerstein II Book by Oscar Hammerstein II and Joshua Logan Adapted from the Pulitzer Prize-winning novel Tales of the South Pacific by James A. Michener Directed by Daniel Evans 6 July – 29 August, Festival Theatre
On an archipelago in the South Pacific Ocean, US troops are kicking their heels amid the cacao groves while restlessly waiting for the war to reach them.
Nellie Forbush, a navy nurse from Arkansas, finds herself falling for the French plantation owner, Emile de Becque – a man with a mysterious past. The scheming sailor Luther Billis runs a makeshift laundry to earn a quick buck, but he’s no match for the Polynesian Bloody Mary who’s intent on exploiting these foreigners.
When young Princeton graduate Lieutenant Joe Cable is flown in on a dangerous reconnaissance mission, love and fear become entwined as the island’s battle for hearts and minds begins.
This much-loved, Tony and Pulitzer Prize-winning musical opened in 1949 to huge success, becoming one of Broadway’s longest running hit shows. It boasts one of Rodgers and Hammerstein’s most memorable scores, featuring songs such as Some Enchanted Evening, I’m Gonna Wash That Man Right Outa My Hair and Bali Ha’i.
This new production is directed by Artistic Director Daniel Evans whose previous Chichester productions include This Is My Family, Quiz and Fiddler on the Roof.
Making their Chichester debuts are Gina Beck (Matilda, Show Boat, Wicked, Phantom of the Opera) as Nellie, Julian Ovenden (Merrily We Roll Along, Grand Hotel, BBC Proms, Downton Abbey) as Emile, Joanna Ampil (Avenue Q, Les Misérables, Miss Saigon) as Bloody Mary, and Rob Houchen (Les Misérables, The Light in the Piazza) as Cable.
The set and costume designer is Peter McKintosh, and the choreographer and movement director, Ann Yee. Musical supervision is by Tom Murray, musical direction by Cat Beveridge, orchestrations by David Cullen, lighting design by Howard Harrison, sound design by Paul Groothuis and casting by Charlotte Sutton.
There will be a Dementia Friendly performance of South Pacific on 19 August at 2.30pm, welcoming individuals living with dementia, as well as their friends, families and carers.
Amanda Abbington, Frances Barber and Reece Shearsmith in THE UNFRIEND A new play by Steven Moffat Directed by Mark Gatiss 17 July – 22 August, Minerva Theatre
After twenty years of marriage, Peter and Debbie are enjoying a cruise as a break from their annoying teenagers. Peter can’t resist exchanging views on Donald Trump with an American fellow passenger. There’s something slightly unsettling about the eagerly friendly Elsa Jean Krakowski – but there’s no point in rocking the boat when you’re about to get off it.
Back home, an email arrives from Elsa, followed by Elsa herself. And when Debbie googles their house guest and turns up some hair-raising evidence, their good nature is challenged as never before. What kind of danger have they allowed to take up residence in their spare room? And can they bring themselves to say anything about it? Sometimes, the truth is just too impolite.
The Unfriend takes a hugely entertaining and satirical look at middle-class England’s disastrous instinct always to appear nice. Manners can be murder.
Steven Moffat is an award-winning writer, whose hit television series include Doctor Who, Sherlock and Dracula – the latter two co-written with the actor and writer Mark Gatiss, who makes his directorial debut.
Gatiss is also a member of the sketch comedy team The League of Gentlemen alongside Reece Shearsmith, who plays Peter. Last seen at Chichester in The Dresser, Reece’s recent work also includes Hangmen (Royal Court) and TV’s Inside No 9.
Amanda Abbington, whose credits include TV’s Sherlock and Mr Selfridge, and The Son in the West End, makes her Chichester debut as Debbie.
Frances Barber, last seen here in Uncle Vanya (1996) returns as Elsa; her extensive screen work includes Silk and Film Stars Don’t Die in Liverpool.
The Unfriend will be designed by Robert Jones, with lighting by Mark Henderson and casting by Charlotte Sutton.
Cherrelle Skeete in THE LONG SONG A new adaptation by Suhayla El-Bushra Based on the novel by Andrea Levy Directed by Charlotte Gwinner 28 August – 26 September, Minerva Theatre
‘You do not know me yet but I am the heroine of this drama. I am told that here I must give a taste of what is to unfold. I am to convey that this tale is set in Jamaica during the last turbulent days of slavery and the early years of freedom.
‘I was born a slave upon a sugar plantation named Amity. I was there when the Baptist War raged in 1831, and when slavery was declared no more. It tells of my mama Kitty, of the negroes enslaved, of Caroline Mortimer the woman who owned me. I am to say that it is a true and thrilling journey through that unsettled time.
‘Cha, I say, what fuss-fuss. Come, let them just see it for themselves.’
Miss July is born into slavery in Jamaica and is brutally parted from both her mother, and her name. But what she retains is resilience, charisma and a subversive, spirited wit. This ebullient and life-affirming play finds humanity, resistance and hope in the darkest of times.
The Long Song is adapted from Andrea Levy’s award-winning novel by Suhayla El-Bushra, formerly writer in residence at the National Theatre Studio and whose work includes The Suicide (NT), Arabian Nights (Lyceum, Edinburgh), and Channel 4’s Hollyoaks and Ackley Bridge.
Cherrelle Skeete plays July; her theatre credits include Fun Home (Young Vic), Harry Potter and the Cursed Child (West End) and Three Days in the Country (National Theatre), while screen work includes the forthcoming Hanna series 2.
The cast also includes Maggie Service, whose recent TV credits include Good Omens, Life and Quiz, as Caroline Mortimer.
Director Charlotte Gwinner was Associate Director at the Bush Theatre, Liverpool Everyman & Playhouse and Sheffield Theatres 2014-16, where her productions included Waiting for Godot, the Sarah Kane season and The Distance.
The production will be designed by Alex Lowde, with lighting by Mark Doubleday, musical direction, vocal arrangements and additional composition by Michael Henry, sound by Helen Skiera, video by Dick Straker, movement by Rachael Nanyonjo and casting by Charlotte Sutton with Chandra Ruegg.
THE TAXIDERMIST’S DAUGTHER Adapted for the stage by Kate Mosse A new play based on her novel Directed by Jonathan Munby Playing in repertoire, 12 September – 30 October, Festival Theatre
In the isolated Blackthorn House on Sussex’s Fishbourne Marshes, Connie Gifford lives with her father. His Museum of Avian Taxidermy was once legendary, but since its closure Gifford has become a broken man, taking refuge in the bottle
Robbed of her childhood memories by a mysterious accident, Connie is haunted by fitful glimpses of her past. A strange woman has been seen in the graveyard; and at Chichester’s Graylingwell Asylum, two female patients have, inexplicably, disappeared.
As a major storm hits the Sussex landscape, old wounds are about to be opened as one woman, intent on revenge, attempts to liberate another from the horrifying crimes of the past.
The Taxidermist’s Daughter is a thrilling Gothic mystery set in and around historic Chichester. This world premiere is written by Cicestrian Kate Mosse, based on her best-selling novel.
Kate Mosse’s novels include The Languedoc Trilogy (Labyrinth, Sepulchre and Citadel) and her new historical series, The Burning Chambers. She is Founder Director of the Women’s Prize for Fiction and Professor in Contemporary Fiction & Creative Writing at the University of Chichester.
Award-winning director Jonathan Munby returns to Chichester where his work includes King Lear with Ian McKellen (2017, also West End) and First Light (2016). His credits elsewhere include Frozen (West End) and Wendy and Peter Pan (RSC).
The Taxidermist’s Daughter will be designed by Jon Bausor, with lighting by Peter Mumford, sound by Christopher Shutt, movement by Charlotte Broom, fight direction by Kate Waters and casting by Juliet Horsley.
ASSASSINS Music and lyrics by Stephen Sondheim Book by John Weidman Directed by Polly Findlay Playing in repertoire, 29 September – 31 October, Festival Theatre
A surreal fairground attraction, where a motley crew of visitors gather to try their luck at winning prizes. They have one thing in common: the American dream has twisted their lives into an American nightmare. Each of them will take aim at the highest seat of power in the land.
Some succeed, some fail. But there’s a prize for them all: a place in the history books.
John Wilkes Booth. Lee Harvey Oswald. Leon Czolgosz. Lynette “Squeaky” Fromme. John Hinckley. Charles Guiteau. Sara Jane Moore. Giuseppe Zangara. Samuel Byck. Men and women whose fervour took them to the very edge.
Stephen Sondheim and John Weidman’s Tony Award-winning musical takes us on a daring, darkly comic, time-bending journey through American history.
This new production marks Sondheim’s 90th birthday year. A giant of contemporary musical theatre, celebrated for the inventive sophistication of his melodies and lyrics, his landmark works also include Company, Follies and Sweeney Todd, produced at Chichester in 2011. John Weidman’s Tony-award winning works include Contact as well two further collaborations with Sondheim, Road Show and Pacific Overtures.
Director Polly Findlay makes her CFT debut. Her recent productions include A Number (Bridge Theatre), Rutherford and Son, Beginning (NT and West End) and The Prime of Miss Jean Brodie (Donmar Warehouse).
The designer will be Lizzie Clachan, with casting by Charlotte Sutton.
THE NARCISSIST A new play by Christopher Shinn Directed by Ola Ince 2 – 24 October, Minerva Theatre
Everyone needs Jim. His mother. His best friend. His brother. His new lover. A hopeful future President.
But can Jim really help anyone, when he isn’t sure who he is any more, or what he actually believes? An expert in electoral strategy, he’s forged a successful career by advising politicians how to communicate with voters. But following a seismic shift in the political landscape, he’s disillusioned. And his marriage is in crisis. As he juggles the demands on his life through his smartphone, will the lure of success and fame prove irresistible?
The Narcissist is a gripping, inventive and witty take on personal and political communication in the internet age.
Christopher Shinn is a celebrated American playwright whose work has been produced to huge acclaim on both sides of the Atlantic. His first play, Four, premiered at the Royal Court in 1998 and, in 2008, his play Dying City was a finalist for the Pulitzer Prize for Drama.
Ola Ince directs. Winner of the 2016 Genesis Future Director Award, and currently Artistic Associate at the Royal Court, her credits include Appropriate (Donmar Warehouse) and The Convert (Young Vic).
Please note the play contains strong language; recommended for ages 14+.
The Narcissist was initially commissioned by Fictionhouse. The casting director is Amy Ball.
CRAVE by Sarah Kane Directed by Tinuke Craig 16 – 31 October, The Spiegeltent
In the darkness of a damaged world, four characters search for the light.
Angry, funny, defiant, kind and cruel, Crave is a deeply personal meditation on the meaning of love. It pulses with loss and longing.
Sarah Kane is considered to be one of the most influential playwrights of the 20th century. She came to prominence in 1995 with her seminal first play, Blasted. Over her short career she wrote five plays and a film. Crave premiered in August 1998 at the Traverse Theatre in Edinburgh. Today, her plays are performed around the world.
Crave will be staged in the Spiegeltent, which returns to Chichester following the success of 2019’s Sing Yer Heart Out for the Lads. It will be directed by Tinuke Craig, whose production of random/generations was a highlight of Festival 2018; since then, her work includes The Color Purple (Curve Leicester), Vassa (Almeida) and the forthcoming Jitney (Headlong/Leeds Playhouse).
Crave contains strong language; recommended for ages 16+.
It will be designed by Alex Lowde, with sound by Anna Clock and casting by Charlotte Sutton.
Chichester Festival Youth Theatre PINOCCHIO by Anna Ledwich From the original novel The Adventures of Pinocchio by Carlo Collodi Directed by Dale Rooks 12 – 31 December, Festival Theatre
Geppetto the boatmaker tosses aside a piece of wood; it’s only good for the fire. To his amazement, a voice answers him back. Geppetto picks up the wood and begins to carve – and a small wooden boy is revealed. A puppet, which he names Pinocchio.
And that’s when the mayhem begins. Pinocchio can’t stop getting into trouble, despite the best efforts of the Blue Fairy and the Cricket to keep him on track. His intentions may be good – he truly wants to go to school like real boys and girls – but the temptation to discover the wonders of the world and make his fortune keep getting in the way.
Pinocchio encounters a host of fascinating characters, from Punch and Judy to the wily Fox and Cat and the strange Sea Monster, as he journeys to Wonderland and the world beneath the sea. But he discovers that it isn’t easy hiding the truth – especially when your nose gets longer with every lie you tell…
Chichester Festival Youth Theatre present a brand new version of this classic tale, written especially for them by CFT’s Writer-in-Residence Anna Ledwich. Her previous work at Chichester includes The Butterfly Lion (2019), Crossing Lines (2019) and Beauty and the Beast (2018).
Director Dale Rooks, whose work at Chichester includes The Butterfly Lion, The Midnight Gang and Running Wild, will bring her trademark visual flair and gift for storytelling to this darkly magical reinvention.
The set will be designed by Simon Higlett, with costumes by Ryan Dawson Laight, lighting by James Whiteside, music by Tom Brady, sound by Gregory Clarke and movement by Lauren Grant.
Recommended for ages 7+. There will be a Relaxed performance of Pinocchio on 28 December at 4pm, and a Polish-translated performance on 21 December at 7pm.
FESTIVAL 2020 EVENTS A lively programme of talks and activities will complement Festival 2020. Highlights include interviews with Kate Mosse, Steven Moffat and Mark Gatiss; an evening of conversation and performance with David Suchet; writers Arifa Akbar, Sara Collins and Ade Solanke discussing Andrea Levy’s legacy; and a concert with Daniel Evans to celebrate Sondheim, Sunday in the Park with Daniel.
Free Pre- and Post-Show Discussions, with the director and cast members, are held for each production
THE SPIEGELTENT In October 2020 the Chichester Spiegeltent returns, situated next to the Festival Theatre on Oaklands Park. As well as housing Sarah Kane’s Crave, it will play host to an eclectic mix of cabaret, music, circus, theatre, comedy and family fun. The full programme will be announced later in the year at chichesterspiegeltent.com.
BOOKING INFORMATION Priority booking for Friends of Chichester Festival Theatre opens: Saturday 22 February (online and booking forms only) Tuesday 25 February (phone and in person)
Booking for Groups and Schools opens: Thursday 27 February
General booking opens: Saturday 29 February (online only) Tuesday 3 March (phone and in person)
cft.org.uk Box Office 01243 781312
Tickets from £10 and 20,000 tickets at £10
Prologue: £5 tickets for 16 – 25s Over 10,000 £5 tickets are available for 16 to 25 year-olds for all productions throughout Festival 2020; sign up for free at cft.org.uk/prologue. Members also have access to a range of exclusive events.
Festival 2020 sponsors The Life of Galileo is sponsored by Reynolds Fine Furniture The Real Thing is sponsored by Genesis Town Planning The Prime of Miss Jean Brodie is sponsored by Lancing College The Village Bike is sponsored by ITD Consultants South Pacific is sponsored by Noble Caledonia and R.L. Austen The Unfriend is sponsored by Jones & Tomlin The Long Song is sponsored by Ashling Park The Taxidermist’s Daughter is sponsored by Henry Adams and Seaward Assassins is sponsored by Oldham Seals Group The Narcissist is sponsored by Wiley Crave is sponsored by Genesis Town Planning Pinocchio is sponsored by Henry Adams and Mercer
THE RETURN OF TWO CLASSIC MUSICALS AT THE ALHAMBRA THEATRE IN AUTUMN 2020 FOOTLOOSE Monday 7 – Saturday 12 September 2020 Alhambra Theatre Tickets £41.50 – £18 BLOOD BROTHERS Tuesday 29 September – Saturday 3 October 2020 Alhambra Theatre Tickets £41.50 – £18 On sale NOW to Bradford Theatres Friends – and on general sale from Monday 17 February!
Call the Box Office on 01274 432000 or visit bradford-theatres.co.uk All prices shown include booking fees but are subject to postage charge if applicable. Bradford Theatres usual terms and conditions apply.
FOOTLOOSE is back! Better than ever with the incredible Gareth Gates, following two critically acclaimed tours and a West End run! We are delighted that Footloose is coming back to the Alhambra Theatre in 2020.
Gareth Gates (ITV’s Pop Idol, Joseph and the Amazing Technicolour Dreamcoat, Les Miserables, Loserville, Legally Blonde) stars as loveable cowboy Willard with a ‘faultless’ (Manchester Evening News) performance.
Based on the 1980s film, Footloose sizzles with spirit, fun and the best in UK musical talent. With cutting edge modern choreography, you’ll enjoy classic 80s hits including Holding Out for a Hero, Almost Paradise, Let’s Hear It For The Boy and of course the unforgettable title track Footloose. Recommended age 12+
BLOOD BROTHERS, the legendary musical by Willy Russell, tells the captivating and moving tale of twins who, separated at birth, grow up on opposite sides of the tracks, only to meet again with fateful consequences.
Few musicals have received quite such acclaim as the multi-award winning Blood Brothers. Bill Kenwright’s production surpassed 10,000 performances in London’s West End, one of only three musicals ever to achieve that milestone. It has been affectionately christened the ‘Standing Ovation Musical’, as inevitably it ‘brings the audience cheering to its feet and roaring its approval’ (The Daily Mail).
The superb score includes Bright New Day, Marilyn Monroe and the emotionally charged hit Tell Me It’s Not True. Recommended age 12+
All shows on sale NOW to Bradford Theatres Friends and on general sale from Monday 17 February. Bradford Theatres Friends scheme prices start from just £15. For more details go to https://www.bradford-theatres.co.uk/friends
Showing at Yeadon Town Hall (where one always receives the warmest of welcomes) – Macbeth, directed by Eric Richard and uniquely performed by only three actors (Rob Goll, Louise Faulkner and Ryan Phillpot) was a most thrilling and delightfully well-crafted production. If ever there was a good example of pathetic fallacy, this week’s treacherous weather really did mirror the haunting madness that was staged inside this well-loved local community hub.
Raw and intense, The Dickens Theatre Company (DTCo), brought a refreshing take on one of ‘The Bard’s’ most popular tragedies. Seeing the intrinsically riveting play unfold, really does remind one that Shakespeare certainly knew how to pen a gripping tale and why it will never lose its appeal.
Right from the get go, strong moments captured and entranced the audience as the depraved Weird Sisters (one actress and two puppets) spouted cryptic babble, foreshadowing the disturbing events that were about to transpire. Through taunting heckles, the deranged ‘trio’ conveyed an essence of danger and unearthly passions.
Falling for the enchanting prophecies, Macbeth, our once ‘brave’ and ‘valiant’ warrior, through a skillful execution of character by Rob Goll, begins to transform into the psychotic paranoid murderer – who we all know is doomed after committing the dreadful deed of genocide.
Manipulating and encouraging our bedevilled fallen hero is Lady Macbeth, played by Louise Faulkner, who beguiles and seduces her husband through unscrupulous suggestions that she expresses with a direct and controlled calm. Lady Macbeth’s slithering manoeuvres of deep desires push Macbeth into a fatal journey of no return and one which can only promise death as it’s final destination. All three actors gave well timed and tuned dramatic portrayals of each and every character they played to a high standard. Every verse and soliloquy was delivered with crystal-clear diction and offered physically committed representations.
This Macbeth (adapted by Ryan Phillpott with music by Paul Higgs) is a sharp, neat and clever version as it had no scenery, just a few hand-made props and costumes – yet the smart direction reached the core and black heart of William Shakespeare’s ‘Scottish’ play. Amusing and witty, the narration and introduction of scenes from ‘The Porter’ made it perfect for schools and a younger audience to access. Ambition, greed, doom and downfall all centre in this marvelously mesmerising psychological study of one man’s debasement, due to his foolish meddling with supernatural evil forces.
Salisbury Playhouse – until Saturday 22nd February 2020.
Reviewed by Leanne Caplis
4****
A Wiltshire Creative and Up in Arms Production brings to the stage Lorca’s Blood Wedding retold by Barney Norris.
Barney Norris has cleverly adapted the play to bring it up to modern day and set in the well-known towns of Wiltshire. For those local to the area they will most definitely be able to recognise the areas spoken about throughout; Shipton Bellinger, Durrington and Imber to name but a few.
Young loves Rob (Reece Evans) and Georgie (Lily Nichol) have not been together long enough or know each other well enough to be getting married so quickly. Or at least that is what Rob’s overprotective mother Helen (Teresa Banham) thinks. Not to be deterred they book a dated, but cheap, hall to hold their reception and it is around this hall that Blood Wedding unfolds.
Will the past of Georgie catch up with her? Has she got something to hide? Georgie bumps into an old school ‘friend’ Danni (Eleanor Henderson) but perhaps this was a relationship best left in the past. With a history kept secret from Rob, he invites Danni along with her husband, also Georgie’s old flame, Lee (Emmet Byrne) to the wedding reception. Will the party go without a hitch or will blood be shed?
The play is all based around the back of Edington Village Hall which is run by the widowed Brian (Jeff Rawle). With no scene changes throughout it might be hard to envisage how a two-hour production can work; but it does!
Whilst the first half did introduce all the characters, I couldn’t make my mind up whether it was a tragic love story or a comedy. With over the top local accents, expletives and teenage tantrums it was hard to take it seriously in some areas. However, the second half is tense, emotional, serious and in some areas very sombre. Watching the audience whilst Rawle tells stories of the past and unfortunately the tragedy that unfolds it is clear to see all are engrossed. It is hard not to be touched by the telling of the story and the tragedy is probably relatable to many; not a pin-drop could be heard.
It was hard to choose the stand-out actor from a small cast of six, but Byrne does deserve a mention. He played his part of a traveller well. His Irish accent, mannerisms and his talk of finding plenty of paid work is relatable to our idea of a traveller.
The script for this play does not lend itself to a younger audience but I would recommend it for adults who like to see lots of plot twists. Whilst the title suggests there will be tragedy at a wedding, I would never have guessed what was to unfold.
It would have been nice to have seen more seats filled but there is still plenty of time for people to book and I expect this was partly due to my review being mid-week. I will not give too much away about the ending but would urge you to book a ticket before this show ends.
Curve has announced its Made at Curve 2020 Christmas musical, the regional premiere production of Andrew Lloyd Webber’s The Wizard of Oz.
Based on the classic 1939 MGM film, The Wizard of Oz includes the iconic songs Somewhere Over The Rainbow, If I Only Had A Brain and Follow The Yellow Brick Road, as well as new music and songs from Andrew Lloyd Webber and Tim Rice.
Running 28 Nov 2020 – 16 Jan 2021 at Curve this Christmas, the magical family musical will be directed by Curve’s Artistic Director, Nikolai Foster, whose previous productions include West Side Story, White Christmas – which ran at Curve and in London’s West End – and Scrooge the Musical.
Speaking about the announcement, Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:
“It’s thrilling to be working with Andrew Lloyd Webber and his team on the regional premiere of Andrew’s extraordinary version of The Wizard of Oz.
“Christmas at Curve is always a special time, but feels even more magical this year as we bring these much loved characters to life in our spectacular Made at Curve production of this classic.”
This Christmas, there’s no place like Curve!
Join the Scarecrow, Tinman, Lion, Dorothy and her little dog Toto as they follow the Yellow Brick Road to the Emerald City in search of a way back home – but in the technicolour wonderland of Oz, nothing is quite as it seems!
The Wizard of Oz is directed by Nikolai Foster (West Side Story, White Christmas, Scrooge the Musical) and features a live orchestra playing music and songs from Andrew Lloyd Webber and Tim Rice, as well as the classics you know and love from the iconic MGM film.
Rediscover the true meaning of home and the value of friendship this festive season at Curve!
Tickets for The Wizard of Oz at Curve will be on sale to Curve Friends and Supporters Mon 17 Feb, Members Wed 19 Feb, Groups Thu 20 Feb and on general sale on Mon 24 Feb, all at 12 noon. To find out more and purchase seats, visit www.curveonline.co.uk, call Curve’s Box Office on 0116 242 3595 or visit the theatre in person.
The Wizard of Oz
Music by Harold Arlen • Lyrics by E.Y. Harburg • Additional Music by Andrew Lloyd Webber Additional Lyrics by Tim Rice • Adaption by Andrew Lloyd Webber and Jeremy Sams
From the Book by L. Frank Baum
Based upon the Classic Motion Picture owned by Turner Entertainment Co. and produced with the permission of Warner Bros. and EMI Music Publishing
News flash – Broadway has relocated to Hull New Theatre! Everything about The Lincoln Centre Theater Production of Rodgers and Hammerstein’s The King and I (directed by Bartlett Sher) is quite simply stunning, a visual extravaganza, with lavish sets, wonderful music and an incredibly talented cast. It is a long performance, being nearly three hours with the interval, but trust me that time will be gone in a heartbeat and you will be left wanting more of this perfection.
The story is set in Bangkok in 1862 as the King of Siam (Darren Lee) needs a governess to teach the royal children and Anna Leonowens (Annalene Beechy) arrives to take up the role. In a sense this is a classic east meets west, clash of cultures story, as Anna is shocked by the King’s attitudes (especially towards women) and the King feels that Anna is a difficult woman. However this is a King worried about his country as Cambodia is lost to the French, a King who wants to bring “that which is good in western culture” to his country but still retain traditional values. The story revolves around Anna and the King, but there is also a sub plot in the love story of Tuptim (Jessica Gómes-ng) and Lun Tha (Ethan Le Phong) and of course the constant backdrop of court life and the school room.
Rodgers and Hammerstein’s music is wonderful and full of songs that are so well known, “Getting to know you”, “Hello Young Lovers” and “Shall we dance”. But actually every song is wonderful and is perfect for that point in the story. The instrumental piece “The March of the Siamese children” is also instantly recognisable and as the orchestra strikes up with The Overture at the beginning of the show, you will recognize so many tunes. The orchestra, led by Malcolm Forbes-Peckham, was superb.
Darren Lee is the King of Siam, he is totally believable, he exudes power and arrogance and yet he manages to show flashes of insecurity and doubt in his ability to get things right. His rendition of “A puzzlement” was brilliant and the connection with Anna just outstanding. He really gave us a full range of emotions and whether we were irritated with him like Anna or horrified, he drew us into his character.
From the moment Annalene Beechy (Anna) started singing “I whistle a happy tune” I was hooked, she has a wonderful voice and made a perfect Anna. For me, “Hello young lovers” was beautifully heart felt, full of emotion and with the most wonderful phrasing. Her relationships with the King’s wives and children were wonderful to see. We see all her frustrations with the situation and “shall I tell you what I think of you?” is superbly performed. Just fabulous.
Cezarah Bonner played Lady Thiang, the Queen, to perfection. Her upright posture and sense of dignity and royalty never wavered. “Something wonderful” was heart wrenching, as she sang about her King. She then led the wives in the wonderfully funny “western people funny”
Jessica Gómes-ng and Ethan Le Phong were perfect as the doomed lovers Tuptim and Lun Tha. Jessica Gómes-ng has an incredible voice.
The entire cast was superb, from the royal children to the dancers, each and every one added their bit to this utter spectacle.
The original choreography by Jerome Robbins has been updated and adapted by Christopher Gatteli and is wonderful. The ballet “The small house of Uncle Tom” within act 2 is breathtakingly beautiful and frankly worth the price of the theatre ticket.
The costumes and scenery are stunning. The costumes are opulent from Anna’s western dresses to the palace costumes. The scenery is spectacular, when you enter the theatre there is a shimmering curtain, which the programme told me was covered with 250 square metres of gold leaf, no expense has been spared in this production.
This is a flawless production, at times utterly breathtaking, sumptuous and lavish, yet full of emotion and ultimately thought provoking.
The King and I is the best thing I have ever seen at the theatre, and I do not have the words to convey how incredible it is.
The best thing to do is to go and see for yourself, this really is one not to be missed.
New Victoria Theatre, Woking – until 15 February 2020
Reviewed by Becky Doyle
4****
“Once” and for all this was a beautiful love story with an upbeat vibe. From the moment we entered the theatre, early, to the sound of Irish, jig worthy music I was sold. Daniel Healy and Emma Lucia (Guy and Girl) played their parts fantastically, with amazing chemistry you understood and could feel their emotions and yearning.
But… what is a love story without a twist? Whether it be family, ex-girlfriends or a spouse that stands in the way, this story was destined to have tears, turns and laughs along the way.
The music throughout was enjoyable and a definite toe tapper, Ellen Chivers (Reza) in particular, had the most beautiful voice, reaching notes above expectations. Again though, Emma Lucia’s solo towards the end of the show was a stand out for me with its touching nature and again her voice incredible, I was a little sad when the song ended abruptly.
The set and space were well used, with minimal props other than tables and chairs, though used to its potential and optimised when needed through extensions and single items.
The music in this show was fantastic, each and every actor/actress had an unbelievable musical talent, playing whilst dancing and singing with the upmost energy, this really was the key part of the show, they genuinely looked like they loved what they do.
I would highly recommend this show to anyone who likes a bit of music, a bit of humour and ultimately someone who loves a love story!
Birmingham Hippodrome have announced that Australian actor, singer and much-loved personality Jason Donovan will make his pantomime debut in this year’s long-awaited pantomime, Goldilocks and the Three Bears from Saturday 19 December alongside previously announced returning favourite Matt Slack.
Jason Donovan said: “I’m absolutely honoured to have been asked to take part in the Hippodrome panto, and to work with Michael Harrison once again is going to be a lot of fun. As one of the biggest and best pantomimes in the country I cannot wait to get started with Matt Slack and the team.”
A stalwart of British popular culture for over thirty years, Jason Donovan burst onto British television screens as Scott Robinson on the hugely popular Australian soap Neighbours in 1986, a role which saw him dominate soap land and be involved in some of the most iconic storylines in the show’s history. While still appearing on the show Jason signed a record contract with 80s hit makers Stock Aitken Waterman and raced to the top of the UK charts with his hit singles Nothing Can Divide Us, Too Many Broken Hearts and the duet Especially For You, with his Neighbours co-star Kylie Minogue.
In 1989 Jason released his debut studio album, Ten Good Reasons, which rose to the top of the charts in the UK and his native Australia, leading to extensive world tours and featured vocals on Band Aid II’s Do They Know its Christmas.
Jason made his stage debut in 1991, performing in the lead role of Andrew Lloyd Webber’s Joseph and the Amazing Technicolor Dreamcoat at the world-famous London Palladium, which led to his third UK number one single, Any Dream Will Do. Since then he has starred in Chitty Chitty Bang Bang (again at the London Palladium), held the title role in the UK tour of Stephen Sondheim’s Sweeney Todd, played Tick in Priscilla Queen of the Desert at the Palace Theatre (a role which he also reprised on its first UK tour) and played Captain Von Trapp in The Sound of Music.
On television Jason came third in the sixth series of ITV’s I’m a Celebrity…Get Me Out of Here!, and the ninth series of BBC1’s Strictly Come Dancing, where he reached the final. In 2012 Jason released the album Sign of Your Love, became a DJ on Heart Radio and Heart 80s and most recently co-produced the current UK tour of Priscilla Queen of the Desert.
In the summer of 2019 Jason returned to the London Palladium in the celebrated revival of Joseph and the Amazing Technicolor Dreamcoat, this time playing the Pharaoh opposite Jac Yarrow and Sheridan Smith. Due to overwhelmingly popular demand, Jason will reprise the role at the London Palladium this summer for producer Michael Harrison.
Qdos Entertainment Managing Director Michael Harrison said: “Without doubt Jason is going to be an absolute natural in pantomime thanks to his undeniable showmanship and quick wit. Having worked with him on the recent revival of Joseph I have seen first-hand just what a star he is and I can’t wait for him to experience the magic of a Hippodrome audience.”
Fiona Allan, Birmingham Hippodrome Artistic Director and Chief Executive added; “Every year we strive to bring Birmingham audiences a spectacular pantomime featuring some of the biggest and best names in entertainment. Jason Donovan’s pantomime debut is a huge coup for Birmingham and the theatre, we look forward to welcoming audiences this festive season for what is sure to be the greatest show on earth.”
Goldilocks and the Three Bears marks Jason’s first ever pantomime role, where he will play the Evil Ringmaster, the rival circus owner who threatens to bring down Dame Betty Barnum’s Big Top and steal the loveable three bears. This year’s production marks the first time the circus-themed pantomime will have been performed at the Hippodrome since 1997, with set, scenery and special effects from Palladium last Christmas’ London Palladium production.
Goldilocks and the Three Bears will be produced once again by Qdos Entertainment, the team behind Birmingham’s annual festive production, in a production packed full of jaw-dropping special effects and circus skills, stunning song and dance and the usual hallmark of Hippodrome hilarity.
With tickets already on sale, and with further casting to be announced, audiences should roll up, roll up to join the circus, and be swept away by the spectacular family pantomime that’s just right at Birmingham Hippodrome!
Goldilocks and the Three Bears runs at Birmingham Hippodrome Saturday 19 December 2020 – Sunday 31 Jan 2021. To book visit birminghamhippodrome.com or call 0844 338 5000 (4.5p per minute plus your phone company’s access charge).
A miracle of wit, invention and intelligence.” ★★★★★ Guardian
★★★★★ Metro ★★★★★ The Stage ★★★★★ Observer ★★★★ Times ★★★★ Financial Times ★★★★ Telegraph ★★★★ Evening Standard ★★★★ Time Out ★★★★ Daily Express
Chocolate Factory Productions, Sonia Friedman Productions, Playing Field
Evan Sacks, David Mirvish
present
The Chichester Festival Theatre and Menier Chocolate Factory production of
THE WATSONS
A new play by Laura Wade
Adapted from the unfinished novel by Jane Austen
Director: Samuel West; Designer: Ben Stones; Lighting Designer: Richard Howell
Sound Designer: Gregory Clarke; Movement: Mike Ashcroft; Music: Isobel Waller-Bridge
Casting Director: Charlotte Sutton
Initial casting is announced today for the West End transfer of Laura Wade’s The Watsons, following sold-out runs at both Chichester Festival Theatre and the Menier Chocolate Factory. Samuel West directs Sam Alexander (Robert Watson), Sally Bankes (Nanny), Jane Booker (Lady Osborne), Elaine Claxton (Mrs Edwards), Ralph Davis (Lord Osborne), Tim Delap (Mr Howard), Sophie Duval (Mrs Robert), Louise Ford (Laura), John Wilson Goddard (Mr Watson), Rhianna McGreevy (Margaret Watson), Grace Molony (Emma Watson – she was Evening Standard Award nominated for her performance), Elander Moore (Bertie), Paksie Vernon (Elizabeth Watson) and Cat White (Miss Osborne), who reprise their roles. Full casting will be announced shortly.
The production opens at the Harold Pinter Theatre on 18 May, with previews from 8 May, and runs until 26 September. Public booking now open.
“Laura Wade triumphs spinning Jane Austen into major theatrical gold” Variety
Directed by Samuel West, The Watsons played to critical acclaim at Chichester Festival Theatre in 2018, and completed its run at the Menier in November 2019.
“Excellent. Jane Austen has never been quite so much fun.” The Times
Nineteen and new in town, Emma Watson’s been cut off by her wealthy aunt. She needs to marry, and fast, or be faced with a life of poverty and spinsterhood stuck in her humdrum family home.
Luckily, she has plenty of prospective suitors asking to dance, from dashing socialite Tom Musgrave to the stinking rich, socially awkward Lord Osborne. Which partner to pick?
So far, so familiar, but that’s when Jane Austen stopped writing. Two hundred years on, her forgotten heroine’s happy ending still hangs in the balance.
Picking up an unfinished novel, Olivier Award-winner Laura Wade’s ‘ingenious and triumphant’ (Evening Standard) new comedy pops the bonnet on Jane Austen’s world and asks: what happens when a writer loses the plot and fictional characters take control of their tale?
Laura Wade is an award-winning playwright and screenwriter. Her credits include Home, I’m Darling (Theatr Clwyd, National Theatre, Duke of York’s Theatre and UK tour – Olivier Award for Best New Comedy), Tipping the Velvet (Lyric Theatre, Hammersmith, adapted from the novel by Sarah Waters), Posh (Royal Court Theatre and West End), Alice (Sheffield Theatres), Kreutzer vs. Kreutzer (Sydney Opera House and Australian Tour, Sam Wanamaker Playhouse, Royal Festival Hall and UK tour), Other Hands (Soho Theatre), Colder Than Here (Soho Theatre and MCC Theatre New York), Breathing Corpses (Royal Court Theatre), Young Emma (Finborough Theatre), and 16 Winters (Bristol Old Vic Basement). Film credits include The Riot Club and Britain Isn’t Eating.
Samuel West directs. His directorial work includes After Electra (Tricycle Theatre), Close The Coalhouse Door (Northern Stage), Waste (Almeida Theatre) and Dealer’s Choice (Menier Chocolate Factory/Trafalgar Studios). As Artistic Director of Sheffield Theatres he directed the first revival of The Romans in Britain by Howard Brenton, and As You Like It for the RSC’s Complete Works Festival. He also directed Money by Edward Bulwer-Lytton for BBC Radio. As an actor, work includes the title roles in Hamlet and Richard II for the RSC, Jeffrey Skilling in Lucy Prebble’s Enron (Chichester/Royal Court/Noel Coward theatres), three series of Mr Selfridge, the film Howards End, Jonathan Strange and Mr Norrell, Suffragette and On Chesil Beach. He will appear later this year as Siegfried Farnon in the new series of All Creatures Great and Small.
This production is based on the original Chichester Festival Theatre production which had its world premiere at the Minerva Theatre on 3 November 2018.
