Friday 2nd April – Saturday 17th April 2021 Visiting 19 Locations across the UK
Tickets on-sale 8am, Monday 22nd Feb From www.carparkparty.com starting from £39.50 (+ £2.50 booking fee)
Having already announced the unique Covid-safe production of David Walliams Billionaire Boy that will be delighting families in their cars around the country over the coming Easter holidays, CAR PARK PARTY have listened to the demands of children (and their parents) and have announced not one, but two Horrible Histories touring productions that will be joining the aforementioned Billionaire Boy in giving families a much-needed live experience at a car park near you!
Fresh from helping thousands of families plug the panto-less gap with Horrible Christmas, Birmingham Stage Company and Coalition Agency are delighted to add 25 HORRIBLE HISTORIES – BARMY BRITAINshows along with HORRIBLE HISTORIES – GORGEOUS GEORGIANS & VILE VICTORIANS, which will be playing at a smaller number of exclusive CAR PARK PARTY venues this coming Easter.
Both hilarious hit shows are a gag-filled gallop through centuries of British history with two amazing actors playing multiple historical roles!
HORRIBLE HISTORIES – BARMY BRITAIN features Queen Boudicca, King Henry VIII, Guy Fawkes, Dick Turpin, Queen Victoria and more historical characters from our barmy past!
Are you ready to swing with a Georgian king? Can you see eye to eye with Admiral Nelson? Does the Duke of Wellington get the boot? Dare you dance the Tyburn jig? Find out what a baby farmer did and be saved by Florence Nightingale with HORRIBLE HISTORIES – GORGEOUS GEORGIANS & VILE VICTORIANS.
Horrible Histories Live on Stage is based on the bestselling books written by Terry Deary, illustrated by Martin Brown and published by Scholastic. It first launched in 2005 with the world premieres of Terrible Tudors & Vile Victorians. Since then, the Birmingham Stage Company has produced eighteen different Horrible shows, performing to over three million people in the UK, including the longest running children’s show in West End history, with its record-breaking series Barmy Britain. Horrible Histories Live on Stage has also become a worldwide phenomenon, performing in Hong Kong, Singapore, Dubai, Qatar, Oman, Abu Dhabi, Bahrain, New Zealand and Australia, where it performed in the Concert Hall of the Sydney Opera House.
Terry Deary is the author of Horrible Histories which is the world’s bestselling children’s history book series. The series is illustrated by Martin Brown. There are over 80 Horrible Histories titles with sales over 30 million in 40 countries. Deary is also the author of over 300 fiction and non-fiction books for young people. ‘A cultural phenomenon. The Horrible Histories series of books have been formative experiences for anyone born since the late 1980s’ Daily Telegraph
Car Park Party know these fantastic shows will entertain all ages with its hysterical historical journey through the barmiest and horrid bits of British history! Perfect entertainment for those aged from 5 to 105!
HORRIBLE HISTORIES: BARMY BRITAIN DATES
Friday 2nd April Manchester AJ Bell Stadium (2pm & 5pm) Saturday 3rd April Harrogate Yorkshire Event Centre (2pm & 5pm) Sunday 4th April Middlesbrough Riverside Stadium (11am) Monday 5th April Leeds Harewood House (11am) Monday 5th April Carlisle Racecourse (2pm & 5pm) Tuesday 6th April Newark Newark Showground (11am) Wednesday 7th April Northampton Franklins Gardens (2pm & 5pm) Friday 9th April Chelmsford Racecourse (2pm & 5pm) Sunday 11th April Stevenage Knebworth House (2pm & 5pm) Tuesday 13th April Newbury Racecourse (2pm & 5pm) Wednesday 14th April Poole Canford Park (11am) Wednesday 14th April Coventry Ricoh Arena (2pm & 5pm) Thursday 15th April Wolverhampton Racecourse (2pm & 5pm) Friday 16th April Bath Bath & West Showground (11am) Saturday 17th April Uttoxeter Racecourse (2pm & 5pm)
HORRIBLE HISTORIES: GORGEOUS GEORGIANS & VILE VICTORIANS
Sunday 4th April Newcastle Racecourse (2pm & 5pm) Saturday 10th April Windsor Racecourse (2pm & 5pm) Monday 12th April Crawley Lingfield Racecourse (2pm & 5pm) Thursday 15th April Exeter Racecourse (11am)
The Royal Lyceum Theatre Company and Pitlochry Festival Theatre in association with Naked Productions
Casts Announced for Next Three New Sound Stage Productions
· In readiness for tickets going on public sale on 22 February, casts for John Byrne’s Tennis Elbow, Jaimini Jethwa’s Hindu Times, and Lynda Radley’s The Mother Load have been revealed
· Tennis Elbow by John Byrne (30 April – 2 May 2021) is directed by Elizabeth Newman and stars Maureen Beattie, Brian Ferguson, Jessica Hardwick, Cherylee Houston, Louise Jameson, Anne Odeke, Sally Reid, Kirsty Stuart, Samuel West, and Fiona Wood
· Hindu Times by Jaimini Jethwa (28 – 30 May 2021) is directed by Caitlin Skinner and stars Rehanna McDonald, Adam McNamara, and Daniel Portman
· The Mother Load by Lynda Radley (25 – 27 June 2021) is directed by Isobel McArthur and stars Nalini Chetty, Anna Russell-Martin, Wendy Seager, and Rosalind Sydney
· The remaining plays of The Sound Stage season, with casts still to be confirmed, include Gary McNair’s Black Diamonds and the Blue Brazil, set in Cowdenbeath and to bedirected by David Greig, and premieres from Timberlake Wertenbaker and Roy Williams
Pitlochry Festival Theatre and The Royal Lyceum Theatre Edinburgh in association with Naked Productions are delighted to announce casts for three forthcoming Sound Stage plays.
From 30 April – 2 May Sound Stage will premiere Tennis Elbow, the new comedy from playwright and artist John Byrne, the creator of the BAFTA award-winning BBC television series Tutti Frutti and the critically acclaimed plays The Slab Boys Trilogy. The new play, which will be Byrne’s first for 13 years and is the follow up to his acclaimed 1977 debut play Writer’s Cramp, is a bittersweet comedy about the life and work of a mischievous lost artist trying to make her way in the world.
Directed by Pitlochry Festival Theatre’s Artistic Director Elizabeth Newman, Tennis Elbow’s exciting cast will feature Maureen Beattie (Deadwater Fell, ITV, Yerma, Young Vic and The Ferryman, Gielgud Theatre); Brian Ferguson (A Number, Royal Lyceum Theatre Edinburgh and Oil, Almeida Theatre); Jessica Hardwick (Barefoot in the Park, Royal Lyceum Theatre Edinburgh and Pitlochry Festival Theatre and Cyrano De Bergerac, National Theatre of Scotland); Cherylee Houston (Coronation Street, ITV and Little Britain, BBC); Louise Jameson (Dr Who and Bergerac, BBC and Winter Hill, Octagon Theatre Bolton); Anne Odeke (The Winter’s Tale, RSC and The Merry Wives of Windsor, Shakespeare’s Globe Theatre); Sally Reid (PC Sarah Fletcher in Scot Squad, BBC Scotland and Wendy and Peter Pan, Royal Lyceum Theatre Edinburgh); Kirsty Stuart (Faith Healer, Pitlochry Festival Theatre and TheDuchess [Of Malfi], Royal Lyceum Edinburgh and Citizens Theatre); Samuel West (All Creatures Great and Small, Channel 5; The Crown, Netflix, Mr Selfridge, ITV and ENRON, Chichester Festival Theatre, Headlong and the Royal Court);and Fiona Wood (The James Plays, National Theatre and the National Theatre of Scotland and Blonde Bombshells, Pitlochry Festival Theatre).
Playwright John Byrne said:
“I’m thrilled to be working with so many wonderful actors on my play. I’ve worked closely with Elizabeth on the casting of Tennis Elbow. Maureen (Beattie) has very much been in my mind since I first conceived the play so I’m delighted she’s involved. Kirsty (Stuart) playing Pamela Crichton Capers will undoubtedly be a tour de force. She is wonderful. I’m very proud of the entire company. It has some fantastic cameo roles from great actors like Sam (West), as well as an opportunity for me to work with actors like Brian(Ferguson ) and Louise (Jameson) who I’ve admired for some time. What’s also wonderful is the process is introducing me to new actors like Anne (Odeke) and Cherylee (Houston) whilst giving me the opportunity to work with people again like Sally (Reid) and Jessica (Hardwick). It’s a real privilege to have such talent involved and I hope the audience enjoy our work.”
From 28-30 May, Caitlin Skinner will direct the premiere of Jaimini Jethwa’sHindu Times, which tells the story of Hindu deities Vishnu and Brahma as they come back Dundee, to restore earth, reunite with Lakshmi, and bring back love, but end up getting right on it. The cast will feature Rehanna McDonald (Do You Love Me Yet , Oxford Playhouse and Adam, National Theatre of Scotland); Adam McNamara (Peter Gynt, National Theatre and Black Watch, National Theatre of Scotland) and Daniel Portman (Game of Thrones, HBO and The Last King of Scotland, Sheffield Theatres).
Playwright Jaimini Jethwa said:
“I’m excited to work with The Royal Lyceum and Pitlochry Festival Theatre, two leading companies with strong reputations for excellence and commitment to emerging talent. Developing my new play shows their continued dedication to artists especially in these times. I’m excited to showcase Hindu Times, which gives commentary and coincides with events in the world today, bringing the deities to Dundee, in the avatars of Dundee guys affectionately known as ‘minks’, Vishnu aka Vince and Brahma aka Barry, who come to save earth, bring balance, restore essence, spread divinity, and get Vishnu’s chick back, Lakshmi, who’s on her own mission, trapped inside a Dundee lassie Lakhi.”
In June, Isobel McArthur will direct The Mother Load by Lynda Radley. Three first-time mothers confront their expectations of pregnancy and parenthood in this funny and moving play about unlikely friendship and the messy realities of all our lives. Premiering from the 25-27 June, the cast will feature Nalini Chetty (Blessed, Traverse Theatre and Cyrano De Bergerac, National Theatre of Scotland & Traverse Theatre); Anna Russell-Martin (Nora: A Doll’s House, Citizens Theatre and Young Vic and The Panopticon, National Theatre of Scotland); Wendy Seager (Descent, Oran Mor and Rapunzel, Citizens Theatre), and Rosalind Sydney (An Appointment with the WickerMan, National Theatre and Girl in the Machine, Traverse).
Playwright Lynda Radley said:
“It’s always a joy to connect with an audience but in these times this opportunity is especially treasured. The Sound Stage project asks us to listen to plays, not alone but together, in a live setting. That’s exciting, and I’m fascinated to find out how that feels. My hope for The Mother Load is that we’ll laugh together, tell and hear truths together, and be a little less judging of ourselves and each other.”
David Greig, Artistic Director of The Lyceum and director of Black Diamonds and the Blue Brazil,and Elizabeth Newman, Artistic Director of Pitlochry Festival Theatre and director of Tennis Elbow, said:
“We’re so pleased to share this news about the next three Sound Stage plays. Every one is a new work, each writer has their own unique voice, but all the plays explore big ideas and offer hope, humour, warmth and wit. We think they’re terrific. Were also proud that so many great people are involved in making and developing the plays. Exceptional established artists working alongside exciting new talent; actors, directors, designers, composers, assistant directors and audio experts all coming together to make sure these plays are shown off with the highest production quality. At a time when we all crave the togetherness of performance, we hope these stories will delight audiences in Scotland and beyond.”
Angela by Mark Ravenhill – 26 March to 28 March 2021 Tennis Elbow by John Byrne – 30 April to 2 May 2021 Hindu Times by Jaimini Jethwa – 28 May to 30 May 2021 The Mother Load by Lynda Radley – 25 June to 27 June 2021 Black Diamonds and the Blue Brazil by Gary McNair – 23 July to 25 July 2021 Sophia by Francis Poet – 27 August to 29 August 2021 A New Play (Title TBC) by Timberlake Wertenbaker – 24 September to 26 September 2021 A New Play (Title TBC) by Roy Williams – 29 October to 31 October 2021
Every Sound Stage performance will be accompanied by a post-show event, hosted on Sound Stage, inviting audiences to engage further with these exciting new plays.
Further announcements for the second half of the Sound Stage opening season will be made in the coming months.
Tickets for Sound Stage productions are currently on sale and can be purchased through Pitlochry Festival Theatre and Royal Lyceum Theatre Edinburgh websites priced from £10 per play across the season.
45North and Ellie Keel Productions’ Written on the Waves series of audio plays continues with Recognition, the story of the experiences of two black classical musicians a century apart.
Co-created by Amanda Wilkin (writer) and Rachael Nanyonjo (director), the struggles of Song (Shiloh Coke) to finish her composition and meet her college deadline is interwoven with the story of Samuel Coleridge Taylor (Obioma Ugoala), a composer and musician she had never heard of, but whose life story resonates with and inspires her as she learns of his legacy and the impact it had on the music industry.
Finding a letter written by Samuel Coleridge Taylor in 1912 and wondering at the eloquence and confidence as he declares himself the equal of any white man, Song is amazed when he mentions other notable creatives – Dumas and Pushkin – of African descent, and questions why she was unaware of this fact.
Even after 100 years, Song’s experience at music college is the same as Samuel’s as she is usually the only black person in the room, although nobody has tried to find out if her hair will burn. As she should be completing her composition, Song cannot move on from exploring Samuel’s life, wondering why there is so little to be found in his own voice, and relying on the recollections of his contemporaries.
After being isolated for so long in England, Samuel’s experiences in the US open his eyes and he finally feels a sense of belonging, and longs to include the soul and spirit of his people in his new compositions, leading to his greatest successes. This contrasts with the well-meant but ill-judged advice Song receives from a tutor to not make every composition about her identity as she feels huge pressure to represent her community and deals with the cost of black excellence as she yearns for the opportunity to collaborate and create with other black musicians in an education system with such a whitewashed curriculum and history.
Ugoala’s smooth tones are believably Victorian, and the contrast with Coke’s modern language and intonation, along with the varying lengths of each section creates a fantastic rhythm and musicality. Cassie Kinoshi’s original music, Deschanel Gordon on piano, Fra Rustumji on violin and Zara Hudson-Kozdoj on cello layer even more emotion and atmosphere onto the play.
The beauty of Amanda Wilkin’s writing does not detract from the huge frustration and anger at the inequalities and injustices that are still prevalent today, and even as Song acknowledges that every attempt to shine still comes at a price, she finally finds her inspiration thanks to Samuel and loses herself in her music – as the listener has been lost in this lyrical and poignant play.
Gabrielle MacPherson’s Outside is unsettling and unmissable. Willa hasn’t left her home for 30 years, as her parents have kept her safe from the bad outside. Surrounded by papers, books and boxes, Willa searches for “evidence” while an unknown man questions her at intervals over a tannoy system. On a wall above Willa a projection of her searching the room plays, not matching her current movements as she talks of the old house, the new house and “this place”, which is eventually confirmed to be a question room for children and vulnerable adults.
Written and performed by Gabrielle MacPherson, Willa’s a grown woman but has the energy and emotional outlook of a child after constant abuse and gaslighting in her family home, still keeping her kit ready for when she needs to be safe in the dark. She talks of the marks on her skin, always in places covered by clothes during the short time she attended school, almost poetically, and clings pitiably and desperately to the memory of art classes and making her teacher laugh. The “people with clipboards” who came to inspect their home when the school raised its concerns only trigger a swift move and an even more isolated life for Willa, and her narrative flits, birdlike across the years. Her instinct to hide when we hear knocks on the door is shocking, as MacPherson instantly switches from childlike glee recalling a memory, to sheer terror cowering under the table.
The details of Willa’s abuse are horrific, but never described in gratuitous detail, and this feels completely appropriate for Willa’s state of mind, brushing over them as she tries to prove “it wasn’t her fault” – her satisfaction when her abuser harms the parent that always looked the other way. As Willa complains about unheard noises, the creeping sense that not everything in the chaotic room is real, but part of Willa’s fantasy world, builds – and although the ultimate reveal about why Willa is in the room feels inevitable, the gory details will give you a jolt.
Gabrielle MacPherson is magnetic as Willa – portraying her damaged soul and mental instability brilliantly without ever becoming a caricature. Her writing is equally sympathetic and dynamic, and Karis Crimson’s astute direction allows the dark tale to become increasingly disjointed and claustrophobic, even onscreen (it would probably set your skin crawling if we were actually watching inside The Space) with the creepiness of Laura Howard’s sound design and Ica Niemz’s set adding to the weird atmosphere.
Curve’s 2019 production of The Color Purple was a huge success, and this concert version with most of the original cast is a triumph.
Staged in the round with Ben Cracknell’s inspired lighting and minimal props, the company shines under Tinuke Craig’s deft direction. The cast sit around the perimeter of the stage when not performing, and cameramen are visible as they set up the shots, reminding us of the skilled teams needed to put on a production – with the lovely touch of every person involved having their own moment on camera as the credits roll.
Marsha Norman’s book does justice to Alice Walker’s novel. Even with such short scenes between musical numbers, the characters and their stories are coherent and sympathetic – even the abusive men scarred by the legacy of slavery. Celie’s abuse at the hands of the man she thinks is her father, her life with her husband Mister – whose name she doesn’t learn for years – and the violence the women encounter are front and centre, with some dark moments, but Celie’s unwavering faith that she will be reunited with her children in heaven is the melody of hope and love throughout, and you may jump off your sofa and cheer at her growing self-belief and gradual empowerment after she meets and falls in love with the selfish but passionate Shug Avery.
T’Shan Williams is phenomenal as Celie – passionate in the big numbers, but even more impressive in her quieter moments, capturing Celie’s both childlike innocence and her steely strength with the subtlest facial expressions. Her version of I’m Here is astonishing and What About Love with Carly Mercedes Dyer as Shug is spine tingling. Dyer is captivating as Shug and Karen Mavundukure is a force of nature as Sofia. Ako Mitchell impresses as Mister, making his painful path to redemption believable.
Brenda Russell, Allee Willis and Stephen Bray’s music full of blues, jazz and spiritual influences, is a joy under Alex Parker’s direction, and the company’s vocals are sublime, with fantastic, energising choreography from Mark Smith. The gossiping church ladies will never fail to make me laugh, and the powerful rendition of Africa is magnificent.
Unsolved Online Productions launch new initiative THE LOLLIPOP MAN? A new online, interactive investigation series with video suspect interviews, live clues and roundup articles, we need YOU to help us solve #WhoKilledTheLollipopMan?
Three suspect interviews have been released, 145 people have signed up to be jury members and £735 has been raised. There is one question on everybody’s lips – #WhoKilledTheLollipopMan. Martin Morris, the local lollipop man, was found dead on January 1st 2000 and the case was closed unsolved. 21 years later, the case has been re-opened for the public to help solve who killed the lollipop man.
Since the first national lockdown back in March 2020, John O’Neill (Creative Director and founder of Up Ere Productions, writer, actor, producer) and Stacey Harcourt (Doctors (BBC), Emmerdale (ITV), Kayleigh’s Love Story) have been working hard to #KeepTheatreAlive by creating The Breakfast Club and raising thousands of pounds for the theatres and creatives of Greater Manchester. When the third national lockdown was announced, they knew they needed to do more and wanted to create an interactive, ongoing, web series to keep people entertained whilst being stuck in their homes. The Lollipop Man? Has already helped to keep family and friends in touch away from Zoom quizzes and awkward video calls. Between them, they have created and produced this whole project with John taking control of the writing and creating the story and script.
Every Tuesday and Thursday, a new suspect interview (filmed by Nicky Jones – Digital Executive The Lowry Theatre, Salford) is released on YouTube at 7:30pm with each video ranging from 5-15 minutes which gives you the chance to meet each suspect. New clues are released throughout the week with all interviews, clues, evidence and round up articles uploaded to our blog (https://unsolvedonline.blogspot.com/), Facebook (https://www.facebook.com/whokilledthelollipopman) and Twitter (@OnlineUnsolved) page.
There is still plenty of time to sign up and join us on our quest to find out #WhoKilledTheLollipopMan?. Once you have signed up, you will receive your detective pack which holds all the information you need to join us. We are also fundraising for this project through our JustGiving page (https://www.justgiving.com/crowdfunding/unsolvedonline) on a pay what you can basis with a recommended donation of £5-£10 which will be used to split between all creatives involved to value them for their work involved in creating The Lollipop Man?.
LIVE STREAMED STAGED REHEARSED READING OF GIRL ON AN ALTAR – A NEWLY COMMISSIONED WORK BY MARINA CARR
FREE PANEL DISCUSSION SERIES KILN COLLABORATIONS
NEW ASSOCIATE DESIGNER TOM PIPER ANNOUNCED AS KILN RESIDENT ASSISTANT DESIGNER SCHEME LAUNCHED TODAY
Artistic Director of Kiln Theatre, Indhu Rubasingham, today announces programming for Spring 2021, including a live stream of the staged rehearsed reading of Girl on an Altar – a newly commissioned work by Marina Carr, and Kiln Collaborations, a series of online panel discussions from leading industry figures. Also announced today, Tom Piper joins Kiln Theatre as Associate Designer and recruitment is live for brand new scheme Kiln Resident Assistant Designer which sees the creation of two opportunities for early career designers.
Artistic Director of Kiln Theatre, Indhu Rubasingham said today, “As we continue to work on reopening it is important we keep finding ways to connect with our communities. It is wonderful to have the opportunity to embed Tom into the organisation, advocating for freelancers and to add a Resident Assistant Designer into our team. These are firsts for Kiln and we couldn’t do it without the support of Backstage Trust. It is vital in these difficult times that we continually look at how to support and engage with the pathways into theatre careers.
“The play-reading of Girl on an Altar is an opportunity for audiences to have an insight into a process of play to stage. They will be watching a commissioned play before it’s first production and will witness a part of the process rarely seen by the public.
“The Collaborations series will create much needed conversations about how we want to collaborate and how we want to move forward as a whole industry.”
The cast of Girl on an Altar includes Adjoa Andoh (Clytemnestra), Ayesha Antoine (Cassandra), Sharon Duncan-Brewster (Cilissa), Finbar Lynch (Aegisthus), Joseph Mydell (Tyndareus), Patrick O’Kane (Agamemnon). The reading will be live streamed for free online on 5 March at 7pm.
With many freelancers and theatre workers facing isolation and uncertainty, Kiln Theatre has created Kiln Collaborations – a series of online panel discussions where theatre creators come together to share experiences, approaches and advice on how to navigate the theatre industry by sticking together and working collaboratively. The initial panels will take place on 24 Feb 2021 and 11 March at 6.30pm, and will feature discussions from creatives Ayesha Antoine, Polly Bennett, Kinnetia Isidore, Tony Jayawardena, Shelley Maxwell, Coral Messam, Tom Piper, Kiln Associate Directors Taio Lawson and Susie McKenna and Artistic Director Indhu Rubasingham. The panels will also discuss current difficulties facing freelancers and how to plan and prepare for the future. Both events are free and will be via Zoom.
Tom Piper joins Kiln Theatre as the first Associate Designer and has been integral to the creation of a brand new scheme to support and diversify opportunities for early careers designers in the face of the uncertainties facing the industry and those attempting to forge careers in theatre design specifically. The scheme will see the creation of two 9 month full-time roles over the next 18 months, and will involve training, mentoring and the opportunity to work alongside Piper to support opening up pathways into theatre design for those of all backgrounds. This has been made possible by the generous support of Backstage Trust. For more information and to apply, visit https://kilntheatre.com/our-story/jobs/
Piper has a longstanding relationship with Kiln Theatre Artistic Director Indhu Rubasingham and has designed numerous shows for the company including Red Velvet, The House That Will Not Stand, The Wolf in Snakeskin Shoes and most recently White Teeth. He also supported the redesign and refurbishment of Kiln Theatre in 2018.
Tom Piper today said “I am passionate about design education and early career opportunities, and the status of freelancers within the arts. I hope that this will be the first in a number of opportunities to help diversify and give those wanting to pursue a career a valuable start.”
Jean Chan, a theatre designer who was previously part of the RSC trainee designer which Piper set up, said today “the [RSC] scheme gave me one of the best starting opportunities to learn first-hand how theatre productions are put together in the real world. The scheme helped me grow in knowledge and confidence to become the designer that I am today, I am sure the new Kiln Theatre scheme will offer the same great opportunities.”
GIRL ON AN ALTAR
By Marina Carr
Available at Kiln Player on 5 March 2021, 7pm
A re-telling of the ancient myth of Clytemnestra and Agamemnon.
A girl child is sacrificed on an altar for the wind to change so the Achaeans can sail to Ilium. Her father Agamemnon is to blame. Following his return ten years later, his wife Clytemnestra wants justice for her daughter.
Marina Carr’s new telling of the infamous Greek myth brings Clytemnestra’s story to the forefront and shows us the true strength of a mother’s love.
Kiln Player brings you the unique opportunity to see a rehearsed reading of this newly commissioned work live streamed for free. Ticket bookers will have the opportunity to make a donation to Kiln Theatre as part of the checkout process. Donations will go towards the Kiln Community Appeal, supporting Kiln Theatre’s many communities through new and existing projects. Read more at https://kilntheatre.com/kiln-community/.
Marina Carr’s work for the stage includes Blood Wedding (Young Vic), Anna Karenina (Abbey Theatre), Mary Gordon (National Concert Hall), Hecuba (RSC), new contemporary translation of Verdi’s opera Rigoletto (Opera Theatre Company, Irish National Tour), 16 Possible Glimpses (The Abbey Theatre), Phaedra Backwards (McCarter Theatre, Princeton), The Giant Blue Hand (Ark Theatre Commission), Impossible Things Before Breakfast: Quartet (Traverse Theatre), MARBLE (Abbey Theatre), The Cordelia Dream (RSC at Wilton’s Music Hall), Woman And Scarecrow (Royal Court Theatre), By The Bog Of Cats (Abbey Theatre, Wyndham’s Theatre), Ariel (Abbey Theatre), On Raftery’s Hill (Town Hall Theatre Galway, Royal Court Theatre Downstairs, Kennedy Center Washington DC), Portia Coughlan (Abbey Theatre, Royal Court Theatre), 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.
Adjoa Andoh returns to Klin Theatre to play Clytemnestra. Her theatre credits includeRichard II (Shakespeare’s Globe),Troilus and Cressida (RSC),Leave Taking (Bush Theatre), Assata Taught Me (Gate Theatre), Soul (Royal & Derngate/Hackney Empire), Les Liaisons Dangereuses (Donmar Warehouse), A Wolf in Snakeskin Shoes (Tricycle Theatre), Great Expectations (Bristol Old Vic), Julius Caesar (RSC/Noël Coward Theatre/BAM), Or You Could Kiss Me, The Revenger’s Tragedy, His Dark Materials, Stuff Happens (National Theatre), Sugar Mummies, Breath Boom (Royal Court Theatre), Nights At The Circus, Pericles (Lyric Hammersmith) and Joe Turner’s Come and Gone (Young Vic). For television, her credits include as series regular Lady Danbury in Bridgerton, as DI Nina Rosen in Silent Witness, Acceptable Risk, Cucumber and The Awakening. For film her credits include Brighton, Fractured and Brotherhood.
Ayesha Antoine returns to the theatre to play Cassandra – she previously appeared in White Teeth and Red Velvet (Garrick Theatre), A Wolf in Snakeskin Shoes and The House That Will Not Stand. Her other theatre work includes Hamlet (Garrick Theatre), Life of Galileo, Trade (Young Vic), Dirty Great Love Story (Arts Theatre), The Suicide (National Theatre), The Ghost Train (Royal Exchange/Told By An Idiot), We Are Proud to Present… (Bush Theatre), Tartuffe (Birmingham REP), Absurd Person Singular, My Wonderful Day, Surprises (Stephen Joseph Theatre/ 59E59), One Monkey Don’t Stop No Show (Sheffield Crucible/Eclipse Theatre Company tour), Carrot (Theatre503), The Mountaintop (Derby Playhouse), Blue/Orange (Tiata Fahodzi/Arcola Theatre), Madblud, Family Man, Cinderella, Red Riding Hood (Theatre Royal Stratford East), Big White Fog (Almeida Theatre) and The Firework Maker’s Daughter (Lyric Hammersmith/Told By An Idiot tour). For television her work includes Thunderbirds are Go!, Chewing Gum, Pompidou, Doctor Who, Holby City, Bellamy’s People, Mongrels, Mouth to Mouth, and Grange Hill.
Sharon Duncan-Brewster returns to Kiln Theatre to play Cilissa – she previously appeared in Not Black and White season. Her theatre credits include Victory Condition (Royal Court Theatre), Meet Me at Dawn, Swallow (Traverse Theatre), The Almighty Sometimes (Royal Exchange Theatre, Manchester) and A Midsummer Night’s Dream (Liverpool Everyman). For television, her work includes Intergalactic, Sex Education, Years and Years, The Long Song, Top Boy, The Bible, Cucumber, The Mimic, Bad Girls – as series regular Crystal Gordon, Doctor Who and EastEnders – as series regular Trina Johnson; or for film, Dune, The Intent 2: The Come Up, Rogue One: A Star Wars Story and Three and Out.
Finbar Lynch plays Aegisthus. His extensive theatre work includes Indecent (Menier Chocolate Factory), Girl From the North Country (Noel Coward Theatre, Gielgud Theatre and Toronto), The Lady From the Sea, Hecuba, To the Green Fields Beyond, Fool for Love, Translations (Donmar Warehouse), Richard III (Almeida Theatre), Ma Rainey’s Black Bottom, Antony and Cleopatra, Not About the Nightingales (National Theatre), Antigone (Barbican and world tour), Desire Under the Elms (Lyric Hammersmith), The Fairy Queen (Glyndebourne, Paris, New York), The Duchess of Malfi (The Old Vic), Faith Healer (Bristol Old Vic), The Big Fellah (Out of Joint), The Raggered Trousered Philanthropist (Chichester Festival Theatre), as well as for the RSC, A Midsummer Night’s Dream, Measure for Measure, Amphibians, and A Woman Killed with Kindness. For television, his work includes Treasdstone, The Mallorca Files, The Feed, Foyle’s War, DCI Banks, Breathless, Game of Thrones, Silk and Proof; and for film, Adventures of a Mathematician, The World We Knew, Property of the State, Departure, Suffragette, To Kill a King and The Scold’s Bride.
Joseph Mydell plays Tyndareus. His theatre credits include The Visit, Evening at the Talk House, The Comedy of Errors, Edmond, Alice’s Adventures Underground, Angels In America – for which he won Olivier Award for Best Supporting Actor (National Theatre), Death Of A Salesman (Young Vic/Piccadilly Theatre), A Season in the Congo, Elektra (Young Vic), The Tragedy of King Richard II, Richard III (Almeida Theatre), Hamlet (RSC), Cat on a Hot Tin Roof (Novello Theatre), Mother Christmas and Anna in the Tropics (Hampstead Theatre). His television credits include Mrs. Wilson, Homeland, The Missing and Space Precinct; and for film, The Eternal Daughter, Seven and Me, Woman in Gold, Tonight You’re Mine, Mammoth and Manderlay.
Patrick O’Kane plays Agamemnon. His theatre credits include Macbeth, War Horse, Scenes From The Big Picture, Closing Time, Peer Gynt, Romeo and Juliet, The Playboy of the Western World (National Theatre), Woyzeck in Winter (Black Box, Barbican, Dublin Theatre Festival), Red, The Crucible (Lyric Theatre Belfast), Quietly (Abbey Theatre, Public Theater Irish Repertory, Soho Theatre, Traverse Theatre), Seven Acts of Mercy, Macbeth (RSC), Antigone (Barbican, Theatre de la Ville, BAM), Sixteen Possible Glimpses (Abbey Theatre), Titanic: Scenes From The British Wreck Commissioners Inquiry (MAC Belfast) and Doctor Faustus (Royal Exchange Theatre, Manchester). His television credits include Doctor Who, Come Home, DCI Banks, The Secret, Jamaica Inn, Strike Back, The Borgias, The Fall, Game of Thrones, Wire in the Blood, Five Days, If…, Waking the Dead, Gunpowder, Treason & Plot, Any Time Now, As The Beast Sleeps, In Deep and Liverpool 1; and for film, Female Human Animal, The Last Jedi, Boat, The Music Room, Prometheus, Exorcist – The Beginnings, Octane and Stealing Rembrandt.
Kiln Collaborations 1 – Designer, Costume Supervisor and Actor
24 Feb 2021 – 6.30pm
Kiln Theatre Associate Director Taio Lawson hosts an evening with Designer Tom Piper, Costume Designer Kinnetia Isidore and Actors Ayesha Antoine and Tony Jayawardena.
Girl on an Altar
5 Mar 2021 – 7pm
Marina Carr’s new telling of the infamous Greek myth brings Clytemnestra’s story to the forefront and shows us the true strength of a mother’s love.
Kiln Collaborations 2 – Choreographer, Movement Director and Director
11 Mar 2021 – 6.30pm
Kiln Theatre Associate Director Susie McKenna hosts an evening with Artistic Director Indhu Rubasingham, Movement Directors / Choreographers Polly Bennett, Shelley Maxwell and Coral Messam.
Girl on an Altar is supported by Jon and NoraLee Sedmak.
Kiln Collaborations are funded by the Kiln Community appeal.
Tom Piper and the new Resident Assistant Designer have been appointed due to generous funding from the Backstage Trust.
Rose Bruford College, one of the UK’s leading theatre and performance institutions, is delighted to announce the appointment of their new Vice Principal (Academic). Mary Oliver will take up the role on 1 June 2021, following the departure of the previous Vice Principal, Dr Andrew Walker. She joins as Bernardine Evaristo OBE begins her role as President of the College.
Mary Oliver is coming to Rose Bruford from her role as Professor and Dean at the Arts University Bournemouth where she has been leading the School of Media and Performance and has helped take the university to its recent success as the top specialist art and design university in the UK.
A pioneer of immersive and digital performance as writer, performer and producer, her extensive portfolio of original devised theatre work has been performed internationally. Mary Oliver’s previous academic posts include Head of Media at Manchester Metropolitan University, where she was instrumental in the creation of the new School of Digital Arts at the Manchester School of Art. She was awarded a National Teaching Fellowship in 2013 for Innovative Pedagogy in the teaching of contemporary performance and has led learning and research developments across a range of subject disciplines relevant to Rose Bruford’s current portfolio.
A key part of Mary’s academic leadership has been to develop strong industry partnerships; future proofing learning to ensure graduates are gaining skills which are shaping the future of the creative sector. A drive for innovation, particularly in the digital space, are also key elements of the training currently being undertaken at Rose Bruford College.
Mary Oliver said, “I am delighted to have the opportunity to join the progressive leadership team at Rose Bruford and bring my innovative approach to the teaching of theatre and performance. With the recent launch of the Centre for Digital Production, as well as the new BA in Theatre and Social Change, Rose Bruford are actively enhancing their portfolio offer and reaching out to new and diverse communities of learners and I am excited to be part of these developments”.
Principal Clarie Middleton, who joined Rose Bruford in 2018 from her previous role of Chief Executive of Hackney Empire, is spearheading the College’s mission to create the change-makers of the future.
Clarie Middleton said “our goal is to achieve social as well as cultural impact through delivering the highest quality vocational training and education and shaping graduates who are creative, empowered, employable, inclusive and diverse, ethical and intercultural in outlook. Mary Oliver’s appointment is a key part of that vision, and we’re thrilled that she will help drive our strategic transformation in the years to come, both in terms of the growth and development of the curriculum, and in student numbers at all levels.”
Chair of the Rose Bruford College Board of Governors, Monisha Shah, said, “The Board of governors are delighted to welcome Mary Oliver to this key appointment, which will enhance and strengthen the existing team led by Clarie Middleton. Our priority for Bruford is a focus on consistently high academic quality with strong student outcomes, widening participation and supporting good mental health and wellbeing. We know that Mary brings brilliant and highly relevant experience and insight from her academic and creative work, and we are excited about the next phase of growth and development of this great College”.
World premiere of highly-anticipated new musical Vanara at Hackney Empire Hackney Empire, 291 Mare Street, Hackney, London E8 1EJ Friday 22nd – Sunday 31st October 2021
The world premiere of the highly-anticipated new musical Vanara will take place at Hackney Empire this October. Following two workshop performances, and an acclaimed concept album featuring some of the biggest names in musical theatre, the ground-breaking production will open in London for a strictly limited season before embarking on a UK-wide tour in 2022. Casting will be announced in due course.
As disaster threatens to destroy the world they know, two tribes are locked in an age-old battle. One young woman must make a choice: protect the traditions of her people or challenge everything she has been taught. With total devastation bearing down on them, will the two tribes reunite before it’s too late?
Vanara will once again bring together the acclaimed international creative team, with a soaring score by Gianluca Cucchiara, lyrics by Andrew James Whelan, and book by Michael Conley. Produced by Giovanna Romagnoli, the production will be co-directed by Adam Lenson and Eleesha Drennan, who will also take on the roles of Dramaturg and Choreographer, respectively.
With a prevailing message of hope and call for unity, the production resonates with the chaos of today’s society and the earth ravaged by natural disasters. This fiery phenomenon has gained cult status among fans throughout its development process. With its blend of theatre, contemporary dance, and technical innovation, Vanara is crafting a new language for musical theatre. It is an excitingly modern musical like nothing before
Producer Giovanna Romagnoli comments, I am delighted to reunite our creative team and we are extremely excited to bring the world premiere of Vanara to London’s Hackney Empire this Autumn. We look forward to welcoming audiences to discover the thrilling world we have created. A new musical legend is waiting for you!
All tickets for the preview performance, Friday 22nd October, will be £20 (plus booking fee).
Following the live and on demand stream of The Nutcracker at The REP, Birmingham Royal Ballet continues to find creative ways of keeping audiences entertained with the release of Carlos Acosta’s first major digital commission for the Company: Empty Stage.
Empty Stage is a poignant, hope-filled response to COVID’s impact on live performance and demonstrates the Birmingham Royal Ballet’s deep-rooted desire to keep ballet alive during difficult times. Directed by Roseanna Anderson and Joshua Ben-Tovim and named after the whimsical, heartstring-tugging song by Benjamin Scheuer, the film features a host of Birmingham Royal Ballet dancers as well as some of the Company members who all work behind the scenes to make performances possible, in a tribute to the industry.
An initial melancholic tone reflecting on what has been lost transforms into a message of hope as the lights go up and magic re-enters the theatre. The applause we hear is not just an encouragement but recognition of a shared live experience that nourishes all involved. This unique concept from Carlos Acosta, realised in collaboration with up-and-coming directors Roseanna Anderson and Joshua Ben-Tovim of award-winning company Impermanence and decorated singer songwriter Benjamin Scheuer, is another indication of his ambition to expand the creative horizons of the Company.
Birmingham Royal Ballet looks towards the future with hope that at some point this year, the full production of Cinderella will fill the empty stages with dancers, and theatres with audiences as planned. But as uncertainty continues to build for the spring, we can only wait to see what might be possible. Watch this space!
Director of Birmingham Royal Ballet Carlos Acosta said ‘Everyone has been focused on creating digital content recently. We have been fortunate to have performed live on stage whether for audiences in the theatre or in their homes but this project is something else. I wanted to make a film that told the story of the past 9 months in a hopeful and optimistic way and to make it a work of art in its own right rather than a version of a live experience or a promotional vehicle. I find the ideal collaborators for this in Benjamin, Joshua and Roseanna.’
‘We felt it was important to start the new year on as positive a note as possible, whatever the situation regarding our plans looked like. As has been the case throughout 2020, Birmingham Royal Ballet’s focus has been on what is possible rather than what is not.’
The collaboration between Acosta, Impermanence and Scheuer came together serendipitously: In May 2020 when Carlos was featured in BBC Arts: Dance on Film, he came across a film by Impermanence. In September 2020, Scheuer wrote Empty Stage on a public piano in London, and sent the track to Nick Finney from NB Studio, (the design-firm behind Birmingham Royal Ballet’s 2020 rebrand). Finney introduced Carlos to Scheuer’s music – it was love at first listen. Thus the collaboration was born. Working with artists from different disciplines is a deep rooted desire for Acosta; whilst continuing to nurture and highlight the world class talent in his own company, there is also a strong pull to do the same though cross-art collaborations.
Says Scheuer: ‘In September 2020, I went for a walk in London, thinking about all the closed theatres. The phrase “all that’s left is an empty stage” was going round in my head. I spied a public piano, sat down, and wrote the song Empty Stage. The song has now blossomed into a joyful collaboration of song, dance, costume, film-making, and recording technology. It is a pleasure and honor to work with Carlos Acosta and Birmingham Royal Ballet; with the Royal Ballet Sinfonia, their marvellous conductor Paul Murphy and the extraordinary orchestral arranger Paul Davies; with Grammy Award-winning pianist Matt Rollings; with my co-producer of the song, Grammy Award-winning Robin Baynton; and with the brilliant Joshua Ben-Tovim and Roseanna Anderson, the directors of the film. They all bring the song to life in a way I could only have dreamed.’
Roseanna Anderson and Joshua Ben-Tovim of Impermanence said: ‘Carlos Acosta has an enthusiasm and drive to create and connect. That energy became part of this film which has been an amazing thing to be involved in. BRB is about entertainment, craft, skill, beautiful costumes; it’s about light and scale, and it’s about audiences. We wanted the film to show all that. Benjamin has an incredible song-writing ability and his history of performing in the theatre gave the whole project a feeling of genuine sentiment, which is so important. There was a big team involved and everyone went above and beyond to make this film happen.’
Whilst things remain in flux and plans continue to be revisited, Birmingham Royal Ballet proves once again that they are an agile and creative company and under Carlos Acosta’s directorship who knows where the road will take them.
