Northern Stage 50th Anniversary Season

Celebrating 50 years of Northern Stage with bold new productions made in Newcastle, transformational work with young people, support for North East theatre makers and new shows from some of the UK’s most exciting touring companies 

Spring 2020 marks the start of Northern Stage’s 50th anniversary year. At last night’s launch event five more new productions were announced for the theatre’s 50th anniversary alongside those already announced for the spring season. 

Red Ellen (17 Sept – 3 Oct) is a remarkable new play from Caroline Bird telling the inspiring and epic story of Ellen Wilkinson, Labour MP, who was forever on the right side of history, forever on the wrong side of life. Caught between revolutionary and parliamentary politics, Ellen fights with an unstoppable, reckless energy for a better world. A Northern Stage, Nottingham Playhouse & Royal Lyceum Theatre Edinburgh production, Red Ellen will premiere in Newcastle before touring and will be directed by Wils Wilson (Twelfth Night/Royal Lyceum).

Following the sell-out success of The War of the Worlds and The Hound of the Baskervilles, Northern Stage presents an electrifying new production adapted from H.G. Wells’ science fiction classic, featuring a new take on one of the most iconic characters in horror fiction The Invisible Man (10-23 September then touring).  Exploring themes of exploitation, establishment and truth, investigating the conflict between power and morality, The Invisible Man questions who is really invisible in Great Britain 2020? Directed by Anna Girvan (Our Country’s Good/Tobacco Factory Theatres) and adapted by Philip Correia (Hyem/Theatre 503), The Invisible Man is part of Northern Stage’s NORTH programme to support and develop new talent in the North East of England.

Maria Aberg ([BLANK], The White Devil) directs a vivid new production of Gatsby (7-17 October), plunging us headfirst into a seductive and murky world of love, money and glamour. A Bristol Old Vic, Northern Stage, English Touring Theatre, Royal & Derngate, Northampton, Oxford Playhouse, Lyric Hammersmith Theatre and Birmingham Repertory Theatre production. 

North East theatre makers Kitchen Zoo with another inventive production for under 6s following the success of WOLF! and The Three Bears at Christmas. The Hey Diddle Diddle Christmas Spectacular (21 November – 2 January 2021) features Kitchen Zoo’s trademark music and puppetry in a brand new show designed especially for little ones. And the team that brought you The Snow Queen, A Christmas Carol, James and the Giant Peach and Alice in Wonderland are back with another magical festive adventure, The Sorcerer’s Apprentice (28 November – 2 January 2021) – a new adaptation written by Laura Lindow (The War of the Worlds/Northern Stage, Key Change/Open Clasp).

The 50th anniversary season also includes stage premieres of Shandyland – originally developed through The Old Vic 12 scheme, written by Bruntwood Prize winning playwright Gareth Farr; a new theatrical version of The Ballad of Johnny Longstaff by BBC Radio Two Folk Award winners the Young’uns, directed by Northern Stage Artistic Director Lorne Campbell; HERE – a co-production with Northern Stage associate artists Curious Monkey written by Lindsay Rodden; Northern Stage’s Young Company presents the third part of their kaleidoscopic view of the state of our nation, asking Where Do We Go Now?; plus new shows from some of the UK’s most exciting and innovative touring companies including Frantic Assembly, Headlong and Told by an Idiot.

Speaking at the season launch, Artistic Director Lorne Campbell said, “The Ballad of Johnny Longstaff is a fitting way to open Northern Stage’s 50^th anniversary season; it is deeply personal, political and yet accessible at the same time. It sets the scene for the rest of our new work – hope is the thread running through the whole year long programme; it’s about being empowered to change the world, whoever you are and wherever you come from.”

Tickets for most shows start at £10. Tickets for the spring season are already on general sale; tickets for new shows go on sale to Northern Stage members at 10am on 24 January, and on general sale on 31 January. For full details or to book tickets see northernstage.co.uk or call the box office on 0191 230 5151.

HAVE WE GOT NEWS FOR YOU!

COMEDY ICON

PAUL MERTON

TO MAKE WEST END MUSICAL DEBUT IN

He will join Olivier Award winning MICHAEL BALL

who returns to his legendary role of Edna Turnblad

Casting complete with RITA SIMONS & JONNY AMIES

alongside the previously announced LIZZIE BEA & MARISHA WALLACE

By original, award-winning creative team

of director Jack O’Brien and choreographer Jerry Mitchell

Performances begin 23 April 2020 | London Coliseum

Paul Merton – one of the UK’s greatest comedians and star of the BBC’s renowned programme Have I Got News For You – is to join the new production of Hairspray the Musical.

Merton, who will be making his West End musical debut as Wilbur Turnblad, will star alongside Michael Ball, who returns to his legendary, Olivier Award winning role of Edna Turnblad, as the huge hearted, multi-award-winning smash hit musical plays at the magnificent London Coliseum for 18 weeks only, beginning performances on Thursday 23 April 2020 (Press Night: Wednesday 29 April 2020 at 7:00pm).

Lizzie Bea will star in the iconic role of Tracy Turnblad. Lizzie recently performed in the UK Tour of Kinky Boots and has just returned from Atlanta, performing in the world premiere production of Becoming Nancy (Alliance Theatre).

Acclaimed West End star Marisha Wallace will take the role of Motormouth. Marisha won rave reviews when she took over from Amber Riley in the smash hit Dreamgirls (Savoy Theatre), and also starred in the original West End cast of Waitress (Adelphi Theatre).

Rita Simons (Eastenders’ Roxy Mitchell) and Jonny Amies (Granchester on ITV; Sex Education on Netflix/Eleven Film) will also join the cast as Velma Von Tussle and Link Larkin respectively.

Paul Merton is a founder member of The Comedy Store Players, and still appears at the Comedy Store in London most Sundays. He is a resident guest on BBC Radio 4’s Just A Minute and is an established face on TV shows such as the hugely popular Have I Got News For You, Room 101, Paul Merton Looks at Alfred Hitchcock (BBC4/2), Paul Merton’s Birth of Hollywood (BBC 2) and his travel series for Channel Five, Paul Merton’s Adventures which covered his travels in India, China and Europe. His Autobiography, Only When I Laugh reached the Sunday Times bestseller Top 10.  Paul’s Anthology of funny stories, Funny Ha Ha was named Sunday Times Humour Book of the year in 2019. His first Channel 4 series, Paul Merton The Series, is due to be released on DVD this Spring.

The full company includes Georgia Anderson, Kimani Arthur, Dermot Canavan, Lori Haley Fox, Mari McGinlay, Ashley Samuels, Michael Vinsen and Imogen Bailey, Pearce Barron, Jordan Benjamin, Nicholas Collier, Joel Cooper, Luke George, Christopher Gopaul, Winny Herbert, Chris Howell, Lily Laight, Hannah Grace Lawson, Madeleine Lawton, Holly Liburd, Will Luckett, Mireia Mambo, Kody Mortimer, Robyn Rose, Tinovimbanashe Sibanda, Kibong Tanji, Amy West and Natalie Woods.

Baltimore, 1962. Tracy Turnblad is a big girl with big hair and big dreams. Can she make it on the local TV dance show, win the heart of teen heartthrob Link Larkin and bring everyone together – whatever their colour, size or hairdo? Well if you want a change, you’ve really got to shake things up!

With the original award-winning creative team of director Jack O’Brien and choreographer Jerry Mitchell, and featuring the infectiously feel-good songs “Good Morning, Baltimore”, “Big, Blonde and Beautiful” and “You Can’t Stop the Beat”, this inspirational, fun-loving and fabulously uplifting musical sensation is back and bigger than ever.

The original New York production of Hairspray won three Tony Awards, including Best New Musical, whilst the original West End production won four Olivier Awards, also including Best New Musical, as well giving Michael Ball one of his two Olivier Awards for Best Actor in a Musical.

Hairspray is produced by Adam Spiegel Productions & Fiery Angel.

Cambridge Arts Theatre, Cambridge – until 25 January 2020

Reviewed by Steph Lott

4****

I wasn’t quite sure what to expect of the production of “The Sound Of Music” by the Cambridge Operatic Society. I, like most people I’m sure, have very fond memories of watching “The Sound of Music” on television or at the cinema, as a family, as a child. It’s iconic and Julie Andrews in particular is a hard act to follow.

I was therefore intrigued as to how it would translate from the silver screen to the stage.

I was not disappointed. I found the whole experience charming and thoroughly enjoyed the performance. It was a sweetly nostalgic evening, with splendid renditions of familiar songs.

I have already used the word “charming” and I may have to use it again or find suitable synonyms for the term! The highlight of the play for me was the Von Trapp children, played in the production I saw, by Team Mountains, consisting of Ekaterina Rah-Bohr, Oliver, Lily, Bruce, Beatrice, Isabel and Amalie. I was completely caught up by their wonderful singing and their chemistry as a family. Simply gorgeous and so endearing to watch. I also want to mention Ursula, played by Alice Barlow, who delivered her comedic part with wonderful timing, causing appreciative chuckles in the audience.

I attended first night and there are some points in the production that do need a little attention. When Maria (Christine Poole) first came on stage she seemed a little static and frozen which completely disappeared however once she was with the children.

There is also some chemistry that doesn’t work, for example between Maria (Christine Poole) and Von Trapp (Matt Gregory). I think the restraint and formality of Von Trapp conceals a deep passion for his family, his country and ultimately for Maria, but it came over as slightly stilted. I’m also not sure of staging which has 2 characters (Maria and Von Trapp) which, when they declare their love for each other, has them facing the audience and not looking at each other. The other incident which made me smile was when Elsa Schraeder (played by Sally Goldsmith) and Von Trapp decided to part company – neither party seemed particularly bothered by the prospect!

I am not surprised that it would be the acting and staging, if anything, that would require a bit of finessing when a musical is presented by an Operatic Society; the singing and the music, however, most certainly did not – it was glorious! Worthy of special mention is of course Christine Poole’s wonderful performance as Maria – she certainly gave Julie Andrews a run for her money! I also loved Caroline Dyson’s depiction of the Mother Abbess and I found the scenes between Maria and the Mother Abbess truly touching.

In summary I would thoroughly recommend seeing this production of “The Sound of Music”. It was charming (there’s that word again!) and funny and I loved hearing all those wonderful songs that I remember so well, sung and played so beautifully. Although it was a stage production it managed to capture the spirit and charm of the film.

And of course there are nuns. Wonderful nuns. Don’t forget those!

Southwark Playhouse – until 22 February 2020

Reviewed by Claire Roderick

4****

Every Wednesday morning, between 12 and 4 a.m., 4 people man the phone lines of Brightline, fielding calls from people who need to talk through their problems, as well as a few perverts. Connecting with strangers who are in despair is hard enough, but Sam Steiner’s bittersweet comedy takes place in a world that is nearing the end. The characters wear gasmasks to go outside, and snippets of information about the toxic state of the ocean and lack of trees are included, as well as descriptions of bridges and places that “went down”.

In this world where there is obviously no long term future, seventeen year old Joey (Andrew Finnigan) still has to do work experience, and determinedly upbeat Frances (Jenni Maitland) takes him under her wing. Also on the shift are sardonic Jon (Andy Rush) and sweet but manic Angie (Lydia Larson). The sense of impending doom outside the shabby room, which gradually becomes a flooded wreck is inescapable, but the four very different people seem to find purpose and community in their time together.

Amy Jane Cook’s set is a triumph, with tatty “inspirational” posters, clichéd word of the week boards and a jumble of furniture and technology from different eras. It could be a dismal office in any industrial park.

The first act is a little meandering, but it sets up the characters beautifully, dropping hints about their own lives and problems to explain why they turn up every week. Listening to just one side of their conversations is intriguing and Steiner often has all four on the phone creating an overlapping rhythm. There are some hilarious one liners and reactions from the talented cast, with Lydia Larson stealing every scene as wide eyed Angie. Her innocent excitement as she waxes lyrical about a tissue box makes her reaction to a devastating call even more heart wrenching. Jenni Maitland is wonderful as the warm but brittle Frances, spouting jargon and clichés as she keeps the centre running, but finally cracking her mask of cheerful efficiency as she talks about her pregnancy. Andy Rush gives a fantastic nuanced performance as frustrated Jon, with his eventual outburst, and trombone recital, leaving you laughing and sobbing. Andrew Finnigan is wonderfully still and awkward as Joey, with the characters warmth and naive wisdom gradually shining through.

The dark humour and ridiculous normality found in extreme circumstances lifts Steiner’s play out of the darkness, and the warm glow of candlelight as the play ends is matched by the warm glow of compassion and community the characters embody. The explanation of the play’s title can’t fail to bring a nostalgic smile, and even if some people find this a little trite, we all need a little light in dark times.

Hilarious and moving in equal measure, You Stupid Darkness! is a must see production

GIMME! GIMME! GIMME! MAMMA MIA! RETURNS TO LEEDS GRAND THEATRE

• GENERAL PUBLIC ONSALE WEDNESDAY 29 JANUARY

The West End and global phenomenon MAMMA MIA! returns to Leeds Grand Theatre from Tuesday 24 November to Saturday 5 December 2020as part of a UK and International Tour celebrating 20 years since MAMMA MIA! premiered in London in April 1999.

With music and lyrics by Benny Andersson and Björn Ulvaeus, MAMMA MIA! is Judy Craymer’s ingenious vision of staging the story-telling magic of ABBA’s timeless songs with a sunny, funny tale of a mother, a daughter and three possible dads unfolding on a Greek island idyll.

To date, it has been seen by over 65 million people in 50 productions in 16 different languages.  In 2011 it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China.  MAMMA MIA! became the eighth longest running show in Broadway history, where it played a record-breaking run for 14 years. MAMMA MIA! continues to thrill audiences in London’s West End at the Novello Theatre where it celebrated its 20^th Anniversary on 6 April 2019.

Produced by Judy Craymer, MAMMA MIA! The Movie became the highest grossing live action musical film of all time upon its release in 2008.  A second film, MAMMA MIA! HERE WE GO AGAIN, opened in July 2018 and is the most successful live musical movie sequel of all time.

MAMMA MIA! is at Leeds Grand Theatre from Tuesday 24 November to Saturday 5 December 2020

Book online at leedsgrandtheatre.com or call Box Office on 0844 848 2700

Playhouse Theatre, Edinburgh – until 18 April 2020

Reviewed by Hannah Plumb

5*****

Since announcing its return to the capital Edinburgh audience has awaited the arrival of The Lion King with much excitement. I am glad to say that the show lives up to that expectation. The 1997 West End showstopper feels just as alive today as when it first opened. There is always a fear with big brassy shows that they will lose some of their magic when taken out of their home theatre but this is not the case with this production. 

Following the classic story of everyone’s favourite mischievous lion cub Simba as he journeys to follow his destiny and become King of the Pride Rock. A timeless tale of bravery, friendship, love and family. 

From the moment the lights go down the colourful scenery, spectacular performers and breathtaking score transport the audience into the African Savannah. There are very few theatrical experiences that can match seeing “Circle of Life” performed live in front of you. No matter how ‘grown-up’ you think you are I defy anyone to not turn back into a little kid when the theatre floods with giraffes, antelope and rhinos. The puppets are beautiful and the puppeteers are phenomenal using their bodies to bring the animals alive. I particularly enjoyed the baby elephant. The entire cast on The Lion King is so impressive, whether it’s the spot-on movement which convinces you there is a herd of buffalo galloping towards you. Or the vocals that create the atmosphere of Pride Rock and belt out the well-loved score. 

While all the performances in The Lion King are of an astonishingly high standard the physicality and vocal characterisation of Thandazile Soni’s Rafiki deserve a particular mention. From the word go her animated depiction of everyone’s favourite baboon tells the audience they are in for something special. Another standout performance was Jean-Luc Guizonne as Mufasa. His strong voice and powerful physicality made him a presence that captured your attention every time he was on stage. 

The entire production is well balanced and provides moments tailored for both adults and children. Making this a really family-friendly show. It combines clever comedy and vibrant pictures which make it enjoyable for everyone. The live music, led by conductor Jonathan Gill is nothing short of spectacular. The combination of the orchestra and singers means this is a show that you could go to close your eyes and enjoy the music alone.

It’s no wonder that The Lion King has extended its stay in Edinburgh between the standing ovations and the roof-raising cheers I have no doubt that every audience member is going home and spreading the word that The Lion King is not to be missed. 

Tyne Theatre and Opera House celebrates
five years of independence

The Tyne Theatre and Opera House are celebrating five years since becoming an independent venue in January 2015. In the five years whilst operating independently, the Theatre has seen significant and growing success which will serve as a firm foundation to build upon into the next decade and beyond.

The Grade 1 listed Theatre was built in 1867 by industrialist and politician Joseph Cowen who envisioned ‘a Theatre for everyone’ during a time of heavy industry when life was hard. The warmth, light and escapism of the Theatre answered a major need for working people.

Over 150 years later, the Tyne Theatre & Opera House continues to hold Cowen’s vision of ‘a Theatre for everyone’ at the heart of their ethos.

Joanne Johnson, Theatre Director, said “We work to create a warm and welcoming space with a varied events programme that offers something to appeal to all. We can’t wait to continue to welcome new and returning audiences to the Tyne Theatre and Opera House in 2020.”

After years of private ownership, the Theatre is now its own charity which took the brave step to set up its own operating company in 2015, with the objective that all funds generated by the operations are now reinvested back into the heritage asset.

The last five years has seen a significant growth in the success of the Theatre with the number of events increasing from 148 in the first year of independence to an average of 224 events per year from 2017 to 2019.

Over the last five years the Theatre has welcomed household names such as; Dame Joan Collins, Sir Roger Moore, John Carpenter, Anthony Joshua, Alan Shearer, Michael Palin, Joe McElderry, Seth Lakeman, Sharon Van Etten, productions from Russian State Ballet & Opera House, the Season 1 cast of RuPaul’s Drag Race UK and the podcast No Such Thing As A Fish.

The comedy programme in particular has seen great success with; Sarah Millican, Chris Ramsey, Romesh Ranganathan, Dylan Moran, Katherine Ryan, Ed Byrne, Count Arthur Strong, Ben Elton and James Acaster all having taken the Tyne Theatre stage over the last five years.

Upcoming events continue to showcase the diversity of the programme and include; the sell out An Evening With Vic and Bob, poet and songwriter Satinder Sartaaj, Status Quo’s Francis Rossi, writer and podcaster Adam Buxton, Strictly Come Dancing favourite Giovanni Pernice, stand-up superstar John Bishop and the annual Tyne Theatre Productions show The Full Monty.

Income from theatre hire has also more than doubled during the five years of independence, as has the number of core staff, from 6 in 2015 to the current 12.

This measurable and significant growth has been made possible by the hard work of the permanent, part-time and casual staff, and the dedicated trustees and volunteers. However, these efforts would be fruitless without the support of first-time and returning audiences. If not for their visits, donations and feedback, the growing success of the Theatre would not be possible.

Demonstrating a commitment to restoration of the listed building, the Theatre has introduced Name a Seat and a Friends’ Club scheme to raise money for refurbishment. Along with a small levy on some tickets and theatre-goer donations, the Trust has been able to refurbish many areas of the Theatre including over 60% of the seats in the stalls and grand circle. Plans are in place to complete the seat refurbishment and refurbish the toilets.

The Trust also runs a very popular Theatre Tours programme and works closely with local community groups, schools, colleges and universities.

Looking ahead, the Theatre hopes to build on its success and continue to run a warm and welcoming venue for the people of Newcastle upon Tyne and surrounding areas.

Michael Wilmot, Chairman of the Trust, has said “These are exciting times for the Tyne Theatre and Opera House which is unique for its lavish auditorium, its world class acoustics and its complete Victorian wooden stage machinery. We are proud to be an independent venue employing our own staff, that now generates sufficient annual surpluses to allow us to reinvest and gradually restore one of Newcastle’s most loved buildings. We are looking forward to continuing to grow our audiences and participation with our beautiful Theatre over the next decade.”

More information on the Theatre and upcoming shows at:
www.tynetheatreandoperahouse.uk

VAULT Festival, Leake Street, London SE1 7NN
Tuesday 3rd – Sunday 8th March 2020

V&V tells the iconic love story of literary treasure Virginia Woolf and esteemed socialite Vita Sackville-West, alongside a modern narrative of Lottie from Tunbridge Wells and love cynic Mia. Shortlisted for the Charlie Hartill Theatre Reserve 2019, V&V now makes its debut at VAULT Festival 2020 exploring communication then and now.

Through carefully crafted letters that were anticipated with relish, Vita Sackville-West and Virginia Woolf began an exquisite romance almost a century ago. They conquered each other’s hearts with wit and elegance inked onto a page. Luckily, their husbands didn’t mind.

Today, in the overwhelmingly tangled world of dating apps, Mia and Lottie meet online, flirting through the beam of a phone screen. When an emoji can change not just the tone of the conversation but its entire meaning, reading between the lines becomes a whole new challenge.

Examining the importance of communication in a relationship and how it can fall prey to misinterpretation, the piece interrogates the life-changing impact of technology. The contemporary story explores the sending of messages in the heat of the moment and the regret that can follow. The letters of Vita and Virginia reveal two women engaging in a beautiful but sometimes fraught relationship, as they are frequently physically separated. Hurtful messages sent instantly without thought can become immortalised in a screenshot; messages unsent can haunt a person forever.

Writer and director Misha Pinnington comments, It’s fascinating to explore how communication has changed over time, especially now in our global landscape of technological immediacy. I was lucky enough to hear Juliet Nicholson (descendant of Vita Sackville-West) speak about the physical and epistemological relationship between Vita Sackville-West and Virginia Woolf, which inspired this play. We have two actors who will explore how women communicated romantically both in the early 20th Century and in the modern day. Have we lost the passion that old fashioned letter writing facilitated, or is this new dating app culture equally as romantic?

CAMBRIDGE AUDIENCES RAISE OVER
£18,000 FOR SELECTED CHARITIES

Audiences for Cambridge Arts Theatre’s spectacular family pantomime, Cinderella, raised over £18,000 – an outstanding £3,000 more than the year prior – for several selected charitable causes through bucket collections.

The charities that benefited from the audiences’ generosity are: Cambridge Joint Playschemes, The Laughter Specialists, Headway Cambridgeshire, Macmillan Cambridge, Addenbrooke’s Hospital Paediatric Music Therapy, Prostate Cancer UK, Royal Society for Blind Children, and the Theatre’s inhouse charity Panto Wheels scheme, which enables students from disadvantaged areas and those with special educational needs to experience a trip to the pantomime.

Kat Collins, Head of Sales and Marketing at Cambridge Arts Theatre: “We are all delighted with the amount of money our audiences have raised this year, particularly as funds managed to surpass last year’s total. The selected charities will benefit immensely and are extremely grateful of our audiences’ generosity; from the Theatre staff and the Cinderella company, we extend a huge thank you to everyone who donated across the pantomime season.”

Money raised by the Theatre’s in-house charity Panto Wheels enabled 4,353 school children to come and see Cinderella, subsidising both travel expenditure and ticket cost. This year a total of 50 schools from Cambridgeshire attended the pantomime.

The play opened at Everyman Theatre, Cheltenham on 22 January, and will continue to tour the UK until 18 April 2020.

THE CROFT is set in the remote Scottish Highlands village of Coillie Ghille, where we encounter three women from different eras whose lives are intertwined by the croft’s dark history. In the 1880’s, we have Enid, the last person left in the village – she’s resilient, a survivor, who takes in the Laird’s pregnant daughter, Eilene. In 2005, Ruth occupies the croft, which she and her husband Tom bought as a holiday home and where Ruth has her affair with local man, David. In the present day, Laura returns with her friend Suzanne to her parent’s croft after her mother Ruth’s death. They discover the terrifying truth that lurks within the croft. In this bold and haunting play, the present interweaves with the past, as these women search for love in the midst of great danger. As we watch their stories intertwine and ancient tales surface, can the present heal the past?

Starring Gwen Taylor, Caroline Harker, Drew Cain, Lucy Doyle and Simon Roberts.

THE CROFT is directed by the award-winning director Philip Franks and produced by The Original Theatre Company.