Waitress has today announced Willemijn Verkaik in the leading role of Jenna for the upcoming international tour of the Netherlands which will visit the country’s largest theatres from September 2020.
Jenna is a waitress and expert pie-maker who dreams of some happiness in her life. When a hot new doctor arrives in town, life gets complicated. With the support of her workmates Becky and Dawn, Jenna overcomes the challenges she faces and finds that laughter, love and friendship can provide the perfect recipe for happiness.
Iris van den Ende, Producer, said: “I am extremely proud that, after Broadway and West End, we received the trust of the American production company to bring this romantic comedy to the Netherlands. Waitress tells a story that a lot of women can identify with. It is full of humour and romance but it also has an edge. The music is beautiful, modern pop and I am confident that Willemijn, with her talent and international experience, is going to blow us away.”
Waitress made theatre history as the first Broadway and West End musical with an all-female lead creative team. It is led by composer Sara Bareilles, the singer-songwriter who achieved worldwide success in 2008 with the hit Love Song.
Sara Bareilles, Composer, said: “It is a dream come true to see Waitress travel around the world! To see this beautiful show have a life like this is more than I ever could have imagined! We are so proud to share the story of Jenna with a whole new audience and welcome them into the world of Waitress with open arms and plenty of pie.”
As of September 2020 MediaLane, in association with original Broadway producers Barry & Fran Weissler, bring Waitress in collaboration with the Theateralliantie to the biggest theatres across the Netherlands. For more information: www.waitressdemusical.nl.
Willemijn Verkaik said: “I saw Waitress a couple of years ago on Broadway. I was immediately impressed by the musical and the amazing music written by Sara Bareilles for which she received a Grammy Award nomination, which was well deserved. The role of Jenna is a role that challenges me, especially vocally. I am looking forward to introducing the Netherlands to this beautiful musical that has all the right ingredients.”
Brought to life by a ground breaking, female-led creative team, this four-time Tony Award®-nominated hit musical features original music and lyrics by 7-time Grammy® nominee Sara Bareilles (Love Song, Brave), and a book by acclaimed screenwriter Jessie Nelson (I Am Sam). Waitress is a musical based on the American eponymous movie by Adrienne Shelly from 2007, with Keri Russell in the leading role. For three seasons, Waitress has been a resounding success on Broadway and in London’s West End. The show has been travelling through America and Canada and will premiere in 2020 in the Netherlands. With catchy songs written by Sara Bareilles, the singer-songwriter known for her mix of blues and pop music, the musical has won the hearts of the international theatre audience.
2020 Year of Artists: A celebration of creativity in everyone
Mark Rylance to headline, joined by a host of leading theatre-makers, up-and-coming artists, and you.
Bristol Old Vic today launched its 2020 programme of work, Year of Artists – shining a spotlight on the role of artists in a changing world, and celebrating creativity in us all. Work from some of the most incredible talent in British theatre today (from Emma Rice, Sally Cookson, Joel Horwood and Maria Aberg) sits alongside dazzling new writers and artists (such as Ross Willis and Miranda Cromwell) and opportunities for everyone from across the region, regardless of age, experience or background, to get creatively involved.
The year starts with two of our Associate Companies; Kneehigh, and Bristol’s own Wise Children, sharing their astonishing story-telling skills. Emma Rice’s irresistible musical Romantics Anonymous is revived at Bristol Old Vic for its only UK date ahead of a run in the USA while Mike Shepherd and Carl Grose’s Ubu! A SingalongSatire will wow you at The Marble Factory in January.
The early part of the year is also home to some of the many productions supported by our Artist Development strand, Bristol Ferment, providing artists with support to develop their own unique voice. This includes Ferment-supported work Mid Life (presented by Diverse City) and the twice yearly Ferment Fortnight, which throws open the rehearsal room doors to show the latest work-in-progress from some of the finest talent in the region.
Returning in 2020 – The Wardrobe Ensemble company were formed through Bristol Old Vic’s Made In Bristol scheme – an apprentice training programme for older Young Company members to develop into professional theatre-makers. In February they are welcomed home to Bristol Old Vic with a special re-staging of their first production RIOT to celebrate Made In Bristol’s 10th Anniversary. In April, they’re back with TheLast of The Pelican Daughters (co-produced with Complicité and Royal & Derngate, Northampton) their latest work which was first seen at the Edinburgh Fringe Festival in 2019, coming to the Theatre as part of a UK tour.
And at the very beginning of their own imaginative journey – our award-winning Young Company continue to develop their own creative voices with a powerful new translation of Antigone by Anne Carson, taking place in The Weston Studio in January. This is just one of the many ways we are engaging with young people across the city, helping to develop creativity and confidence while also having fun.
Because creative opportunities are for everyone, we’re supporting that creative spark in every adult in Bristol through our Adult Company, and our community and business partnerships, and using those opportunities to strengthen the most vulnerable members of our communities too. More details will be announced on 4 December of how everyone can participate and how we’ll be reaching into our communities through the year.
In March, we welcome back Headlong (People, Places and Things; Acts of Resistance) in a co-production with the Lyric Hammersmith Theatre, and in association with Birmingham Repertory Theatre, with Faustus: That Damned Woman. This astonishing re-imagining of the myth of Doctor Faustus is from award-winning playwright and theatre-maker, Chris Bush, directed by Caroline Byrne, and will visit Bristol Old Vic as part of a UK tour which begins at the Lyric Hammersmith in January 2020.
There is also the welcome return of Bristol’s biennial festival Mayfest. Mayfest began here in 2003 and has exploded into a city-wide festival of international renown. Produced by our Associate Company MAYK, Mayfest welcomes Bryony Kimmings back to the theatre with her rapturously-received autobiographical show I’m a Phoenix, Bitch, following a sell-out run at the 2019 Edinburgh Fringe. Mayfest will also host the first visit to Bristol from the one-man phenomenon, Le Gateau Chocolat with his brand-new show Pandora.
On Bank Holiday Monday (25 May), the theatre’s annual celebration of the creative magic and madness found in every Bristolian is back with Open Stage. For one day, we hand over the stage to anyone who wants to show the world what they’ve got. Open Stage began in 2016 to celebrate the Theatre’s 250th birthday and is now a firm part of our year’s programme, open to absolutely everyone.
In June, Mark Rylance will make his Bristol Old Vic debut in Semmelweis,a powerful world premiere based on the true story of Dr Ignaz Semmelweis. Semmelweis was a radical creative of the medical profession whose rejection of received wisdom dared him to look at the world differently and held the potential to save countless lives. Based on an original idea from Mark Rylance, Semmelweis is written by Stephen Brown in collaboration with Tom Morris and Mark Rylance. It is presented in association with Sonia Friedman productions, The National Theatre and Shakespeare Road.
This is followed by another new production, Gatsby, from Bristol Old Vic in co-production with Northern Stage, English Touring Theatre, Royal & Derngate, Northampton, Oxford Playhouse, Lyric Hammersmith Theatre and Birmingham Rep. Originally commissioned and developed by Royal & Derngate, Birmingham Rep and English Touring Theatre, Gatsby is adapted by Maria Aberg and Joel Horwood, and directed by Maria Aberg ([BLANK], The White Devil). A vivid and unique reinterpretation of F. Scott Fitzgerald’s classic novel, Gatsby premieres at Bristol Old Vic in September.
In October, the first main stage production to come from the Writers Department premieres. Olivier-winning director Sally Cookson directs Wonder Boy, a new play selected for development through Bristol Old Vic’s annual “Open Session” for West Country writers. Bristol-based writer Ross Willis teams up with Sally Cookson to bring this powerful coming-of-age story to the Theatre.
Wonder Boy was first seen in March 2019 as part of New Plays in Rep which showcased some of the Open Session-developed work in a series of fully-staged and workshop productions powered by the talents of the Bristol Old Vic Theatre School. New Plays in Rep will return in June 2020 with a new selection of the freshest new writing in plays and musicals.
Next Christmas, former Bristol Old Vic Young Company director Miranda Cromwell, co-director of this year’s West End sensation Death of a Salesman, will be returning to Bristol to direct The Little Mermaid with a narrative championing environmental messages about us all being able to make a difference no matter how little we are.
We’re also committed to celebrating the shows audiences have loved with the return of Sally Cookson’s Olivier Award-winning A Monster Calls (an Old Vic production, in association with Bristol Old Vic) and the smash-hit Pride and Prejudice* (*sort of) (co-produced with Royal Lyceum Theatre Edinburgh, Tron Theatre Company and Blood of the Young). Also returning is our increasingly celebrated dance programme (this year including Laberinto, Rambert2, Candoco and Akram Khan) alongside OperaUpClose with Madam Butterfly after their successful La Boheme in 2019.
As always, our year is full of inspiring visiting work from some of the most exciting artists and work made and premiered in association with homegrown talent, showcasing a plurality of creative voices and offering something for everyone in the city. Visiting work includes: The Political History of Smack and Crack, winner of Summerhall’s Lustrum Award in 2018; RUSH: A Joyous Jamaican Journey, telling the story of Reggae music from the arrival of the Windrush generation; I Think We Are Alone, a brand-new production from Frantic Assembly who celebrate their 25th anniversary this year (written by Sally Abbott, co-directed by Kathy Burke and Scott Graham). We will showcase new work in association with some of the region’s brightest talents: the Bristol Old Vic Theatre School with The Laramie Project directed by Nancy Medina; What Remains of Us (in association with Bath Spa productions) from playwright David Lane, directed by Sita Calvert-Ennals, looking at a Korean family divided by one of the world’s most militarised borders; and Patrick Marber’s The Red Lion, exploring the passions and conflict that run deep in non-league, semi-pro football, starring Bristol’s Joe Sims (Broadchurch).
And because first encounters with theatre are often through our work for young children, we have a host of options for families – from the smallest toddlers (Zog and The Very Hungry Caterpillar Show) to work for primary-aged live-wires (Shlomo’s Beatbox Adventure for Kids and the return of Le Navet Bete’s The Three Musketeers: A Comedy Adventure). For brave children who like their tales a little more spooky, we are co-producing Neil Gaiman and Dave McKean’s modern classic TheWolves in the Walls with Little Angel Theatre and York Theatre Royal.
Speaking today, Tom Morris said: “Great artists can see round corners. Their view of the world is unique and their gift is the ability to communicate that view to the rest of us. That’s why we love the work of Bob Dylan, or Picasso; Stormzy, Shakespeare or Sarah Kane. But our 2020 Year of Artists isn’t just about them. Because exactly that same creative spark is in the rest of us; every child in school, every professional in the workplace, every patient in hospital, every citizen in a healthy society. The evidence of this year’s Durham Report is that creative opportunity is transformative for every child in every school, and our contention is that it’s equally valuable for all of us throughout our lives. This year is a celebration of the creativity in us all, and a clarion call for increased investment in creative opportunity for everyone.”
We’ve also looked at our ticket pricing and listened to audiences to improve access for our studio work. Beginning in January, a flat £12 Weston Studio ticket price will be available for everyone, while Ferment Fortnight, Studio dance piece Laberinto and the new “Student Rush” tickets are all still under £10.
Tickets for the full 2020 season go on sale to Artists Circle on 15 Nov at 10am, to Friends on Mon 18 Nov and on general sale at 10am on Thu 21 Nov.
The audience was instantly on its feet and cheering very loudly at the end of last night’s fabulous performance of Kinky Boots. I have seen it said recently that standing ovations are the norm now, please take note, the Hull New Theatre’s audiences only give a standing ovation when they have been well earned and this was certainly one of the best shows we have seen. Another important fact is that Hull New Theatre is the last stop for this UK tour of Kinky Boots, so you have only a few days to catch the show.
Kinky Boots is directed and choreographed by Jerry Mitchell; book by Harvey Fierstein and music and lyrics by Cyndi Lauper. This is the story of Charlie Price who doesn’t want to go into the family shoe business Price and Son, but wants to escape “boring” Northampton. His Father’s sudden death means he returns to Northampton to find that the business is in trouble. A chance meeting with a drag queen, Lola, leads to a whole new venture for Price and Son and a lot of fun for the audience.
David Rockwell’s stage design is very clever and provides a wonderful backdrop for the action. The action starts in the factory, which is very drab, brown and really rather depressing, which makes for a wonderful contrast when the drag queens arrive on stage. The choreography is superb and I particularly loved the performance of Everyone Say Yeah and Raise You Up/Just Be at the finale. Greg Barnes’ costume designs for the drag queens are stunning. Cyndi Lauper’s music is refreshingly varied in genre from rock to ballad to the advertising jingles for the factory. Musical Director Richard Anderson had a wonderful orchestra, and what a surprise it was to me to suddenly hear the poignant notes of an oboe at one point.
Kayi Usher was a triumph as Lola, providing fun and sassiness but oh so much poignancy, he has a beautiful voice. His performance of Not My Father’s Son left me and I suspect much of the audience totally breathless, simply superb. His full on drag performances were a riot and so much fun, but I almost preferred the quieter moments. He has such a talent to be able to switch moods so effectively and believably.
Joel Harper-Jackson’s Charlie was played beautifully, whether he was feeling sorry for himself, ineffectually trying to sack his work force or struggling to come to terms with what life had thrown at him. His relationship with Lola was totally believable. I loved his rendition of Soul of a Man, another beautiful voice. As to the finale, I strongly suspect he enjoyed it as much as the audience!
Paula Lane was excellent as the slightly kooky Lauren and I loved The History of Wrong Guys, a cracking song, wonderfully performed.
Lola’s angels, Connor Collins, Daniel Downing, Damon Gould, Joshua Lovell, Chileshé Mondelle and Toyan Thomas-Browne rocked the stage. What beautiful drag queens, elegant but feisty and their dance routines were jaw dropping at times.
Kinky Boots is very much the sum of all its parts, Kayi Ushe shines throughout as Lola, but this is only possible with the support of a superb cast, cracking music, wonderful choreography, fab costumes, great scenery and an engaging story. The action zips along at a pace and the audience was rapt, totally engaged in what was going on on the stage. Sadly it was over far too soon.
Just being yourself is one of the main themes of Kinky Boots, but I rather wonder if there is not more of a message for parents about letting their children be themselves…
Finally I really must mention those boots. Ooh those boots, I can’t have been the only woman in the audience wanting to take a pair home!
You will bounce your way out of the theatre after a performance of Kinky Boots. Price and Son manufacture joy and exuberance, as well as boots!
SARAH FRANKCOM’S FINAL SEASON: STUNNING NEW WRITING, FRESH IMAGINATION & A BOLD LOOK AT THE PAST
This Spring/Summer season is an inspiring collection of work programmed under the leadership of former Artistic Director Sarah Frankcom. It embraces the energy and power of new writing, staging plays from established, award-winning writers alongside supporting early career playwrights to realise their work for the stage. Dynamic new directors, who are making waves across the industry, will create fresh and ambitious pieces of theatre for today, tackling both new plays and turning their attention to bold interpretations of classic texts. This spring/summer is a powerful and energetic programme of work for audiences in Manchester and beyond.
• ROCKETS AND BLUE LIGHTS is an astonishing new play from the award-winning playwright Winsome Pinnock. Winner of the 2018 Alfred Fagon Award, this stunningly crafted play moves seamlessly between the past and the present and unveils the impact of Great Britain’s role in the Trans-Atlantic slave trade. Confronting an ugly history head on ROCKETS AND BLUE LIGHTS is performed in the Royal Exchange, once one of the world’s largest cotton exchanges. This powerful play asks…who is it that gets to tell our stories? Straight from the acclaimed Young Vic production of DEATH OF A SALESMAN, the exceptional director Miranda Cromwell brings this epic play to life. A Royal Exchange debut for both writer and director the production previews on 12 March and runs in the Theatre until 4 April.
• Following its sold-out run in spring 2019 Sarah Frankcom’s smash-hit WEST SIDE STORY, with choreography from Aletta Collins, returns to the Royal Exchange. Loved by critics and audiences alike this infamous Broadway musical is back in Manchester for 2020. With the return of Andy Coxon as Tony and Gabriela García as Maria and remounted by Associate Director Atri Banerjee this stunning musical is in the Theatre from 18 April – 30 May.
• Alongside remounting WEST SIDE STORY, Stage Debut Award-winning director Atri Banerjee returns to the Exchange to direct Tennessee Williams’ autobiographical classic THE GLASS MENAGERIE. This memory play pulls apart the complex dynamics of a suffocating family life, and shows how unpredictable, painful and volatile memory can be. This bold new interpretation from a brilliant young director opens in the Theatre on 5 June and runs until 4 July.
• A 2017 Bruntwood Award-winning play Tim Foley’s ELECTRIC ROSARY is a funny and moving exploration of faith and humanity. Set in a time where nuns are scarce and robots are commonplace, this new play explores how artificial intelligence influences what we choose to believe in. Directed by Elizabeth Freestone this is a play about what it means to be human. ELECTRIC ROSARY can be seen in the Studio from 15 June – 4 July.
• Enchanting and brutal, chilling and beautiful Jack Thorne’s adaptation of LET THE RIGHT ONE IN is directed by Royal Exchange Joint Artistic Director Bryony Shanahan. In a world where adults are failing them, two teenage outsiders are drawn to each other. Separated by centuries and rejected by society they find salvation in a unique friendship and their palpable need for someone to love. This unforgettable vampire story has gained cult status across the world, it is a sharp and reflective coming-of-age story that asks its audience to recognise and value the humanity in us all. LET THE RIGHT ONE IN runs in the Theatre from 9 July – 8 August.
• Having a baby is the Most Important Thing you can do. If you have one. If you don’t, something else can be the Most Important Thing. Following the award-winning THREE SISTERS, RashDash and their mums explore having and becoming mothers. OH MOTHER, runs from 16 July – 1 August in the Studio.
• In the Studio original work continues to be developed and shared by artists from across the UK, by the Exchange’s award-winning Young Company and by the Theatre’s Elders Company.
Artistic Directors Bryony Shanahan and Roy Alexander Weise said …
‘The season is a powerful reflection of everything the Exchange has become in the last five years under Sarah’s leadership. It champions the importance of new plays and the power the playwright has to redefine our stories, it encourages artists to make work at scale and it highlights how valuable it is to support the future of our industry to be ambitious and brave in the work they make. We are very excited to support and celebrate this brilliant season while we work towards creating our own.’
The Theatre
A Royal Exchange Theatre production
ROCKETS AND BLUE LIGHTS
By Winsome Pinnock Directed by Miranda Cromwell
12 March – 4 April
In her powerful new play ROCKETS AND BLUE LIGHTS, celebrated playwright Winsome Pinnock superbly laces together the stories of a 21st-century black actress who finds herself bound by historical legacy, Thomas, a black sailor who longs for the sea and an ageing J.M.W Turner, impatient for artistic inspiration. This Alfred Fagon award-winning play brings together the superb writing talent of Winsome Pinnock with director Miranda Cromwell whose work includes the international tour of HALF BREED (Talawa Theatre) and as Associate Director the award-winning shows COMPANY (Gielgud Theatre) and ANGELS IN AMERICA (National Theatre). ROCKETS AND BLUE LIGHTS explores the impact of historical legacy and the representation of painful subjects, it invites us to ask what is chosen to be represented and what is denied? Juxtaposing the intimate and the epic, the personal and the political this complex play is powered by love, resilience and hope and can be seen in the Theatre from 12 March – 4 April.
Winsome Pinnock’s stage plays include THE PRINCIPLES OF CARTOGRAPHY (The Bush Theatre), TITUBA (Hampstead Theatre), CLEANING UP (For Clean Break at Oval House Theatre), TAKEN (For Clean Break at Oval House Theatre), IDP (Tricycle Theatre), THE STOWAWAY (Play for young people, Theatre Royal, Plymouth), ONE UNDER (Tricycle Theatre), BEG BORROW OR STEAL (Kuumba Community Arts Centre), WATER (Tricycle Theatre), MULES (Royal Court Theatre Upstairs and Clean Break Theatre), CAN YOU KEEP A SECRET? (Connections at Royal National Theatre), A ROCK IN WATER (Royal Court Theatre), LEAVE TAKING (Liverpool Playhouse Theatre, National Theatre, Belgrade Theatre Coventry and Lyric theatre, Hammersmith), A HEROES WELCOME (Royal Court Theatre Upstairs), THE WIND OF CHANGE (Half Moon Theatre) and PICTURE PALACE (Womens Theatre Group). Awards include the Alfred Fagon Award (2018); George Devine Award; Pearson Plays on Stage Scheme best play of the year Award; Unity Trust Theatre Award. She received a special commendation from the Susan Smith Blackburn Prize. Her play LEAVE TAKING received a major revival at the Bush Theatre, London in 2018 and a new version of ONE UNDER was produced by Graeae Theatre Company in 2019 for a UK tour. She is currently commissioned by the Bush Theatre, Royal Court Theatre and is developing a screenplay with Blueprint Pictures.
Miranda Cromwell’s directing credits include as co-director DEATH OF A SALESMAN (Young Vic Theatre) as director HALF BREED (Talawa Theatre/Soho Theatre/Edinburgh Fringe Festival/India tour), MAGIC ELVES, HEY DIDDLE DIDDLE, SENSE (Bristol Old Vic), PIGEON ENGLISH (Edinburgh Fringe Festival/Bristol Old Vic), THE REST OF YOUR LIFE (Bush Theatre) and DEATH AND TREASON (Bristol Old Vic/UK tour). As Associate Director her credits include COMPANY – Olivier award for Best Musical Revival, Critics Circle Award for Best Musical (Gielgud Theatre) and ANGELS IN AMERICA – Olivier and Tony Award for Best Revival (National Theatre/Neil Simon Theatre, Broadway); A MONSTER CALLS – Olivier Award for Best Entertainment and Family (Old Vic/ Bristol Old Vic); CORAM BOY (Colston Hall).
A Royal Exchange Theatre production
WEST SIDE STORY
Based on a conception of Jerome Robbins Book by Arthur Laurents Music by Leonard Bernstein Lyrics by Stephen Sondheim Directed by Sarah Frankcom Associate Director Atri Banerjee Choreographer Aletta Collins Orchestration by Jason Carr
18 April – 30 May
Back by popular demand the Royal Exchange’s new version of Broadway’s biggest musical WEST SIDE STORY returns to Manchester. This legendary musical is an incredible blend of music, dance, lyricism and performance, with a matchless songbook – MARIA, AMERICA, SOMEWHERE, TONIGHT – which makes WEST SIDE STORY one of the most powerful pieces of modern theatre ever created. Under Sarah Frankcom’s direction, with choreography from Aletta Collins, orchestration by Jason Carr and musical direction from Tim Jackson this version brings a new focus to the gang culture of the iconic Sharks and Jets. Returning to the theatre to as Tony and Maria are Andy Coxon and Gabriela García. The production runs in the Theatre from 18 April – 23 May.
Sarah Frankcom is the Director of LAMDA and former Artistic Director at the Royal Exchange. Her recent productions include: THE NICO PROJECT co-created with Maxine Peake for Manchester International Festival. For the Royal Exchange her work includes LIGHT FALLS, WEST SIDE STORY, DEATH OF A SALESMAN, OUR TOWN (winner of Best Director at the UK Theatre Awards) and HAPPY DAYS, A STREETCAR NAMED DESIRE, THE SKRIKER (co-commission with MIF15) and HAMLET (all with Maxine Peake), BLINDSIDED, THAT DAY WE SANG and the Royal Exchange and MIF13 co-production THE MASQUE OF ANARCHY. She also directed THE LAST TESTAMENT OF LILLIAN BILOCCA for Hull City of Culture.
A Royal Exchange Theatre production
THE GLASS MENAGERIE
By Tennessee Williams Directed by Atri Banerjee
5 June – 4 July
THE GLASS MENAGERIE is Tennessee Williams’ poetic and bruising portrayal of a family on the brink of change. Tom remembers; he recalls his mother Amanda, his sister Laura, their suffocating dependency and the overwhelming responsibility of family ties that bind you for life. But memory is fragile and the clarity of truth and recollection is clouded over time. This intimate classic is given a fresh perspective by director Atri Banerjee who returns to the Royal Exchange following his acclaimed production of HOBSON’S CHOICE. Created for the Exchange’s unique in-the-round theatre, this domestic play tackles questions that resonate on a global scale. THE GLASS MENAGERIE can be seen in the Theatre from 5 June – 4 July.
Atri Banerjee trained at Birkbeck and was previously Trainee Director at the Royal Exchange Theatre. His directing credits include: UTOPIA and HOBSON’S CHOICE (both Royal Exchange). Associate/assistant director credits for the Royal Exchange include: WEST SIDE STORY; THE MYSTERIES (also tour); JUBILEE (also Lyric Hammersmith); HAPPY DAYS; THE ALMIGHTY SOMETIMES; OUR TOWN. Other associate/assistant director credits include: THE NICO PROJECT (Manchester International Festival/ Melbourne International Arts Festival); THE SON (Kiln Theatre). For HOBSON’S CHOICE, Atri won The Stage Debut Award 2019 for Best Director and was nominated for the UK Theatre Award 2019 for Best Director.
A Royal Exchange Theatre production
LET THE RIGHT ONE IN
A stage adaptation by JACK THORNE Based on the Swedish novel and film by JOHN AJVIDE LINDQVIST Directed by Bryony Shanahan
9 July – 8 August
A strange story of friendship and love finds a new home on the unique stage of the Royal Exchange Theatre. Jack Thorne’s adaptation of John Ajvide Lindqvist cult novel LET THE RIGHT ONE IN receives a brand-new production for 2020 from Royal Exchange Joint Artistic Director Bryony Shanahan. When two young outsiders meet on a snow-covered playground they are instantly drawn together, they are kindred spirits finding solace in each other – one a bullied, isolated teenage boy the other a feral, lonely and dangerous vampire. And so, begins a chilling and unlikely friendship. LET THE RIGHT ONE IN is an intricate examination of isolation, neglect and the extraordinary lengths we go to for our friends. This compelling story runs in the Theatre from 9 July – 8 August.
Bryony Shanahan is Joint Artistic Director at the Royal Exchange, this season she will direct WUTHERING HEIGHTS in a new version by Andrew Sheridan. In 2016 she won the Genesis Future Directors award and directed trade at the Young Vic. Other directing credits include: ENOUGH (Traverse Theatre), QUEENS OF THE COAL AGE (Royal Exchange), CHICKEN SOUP (Sheffield Crucible); OPERATION CRUCIBLE (Finborough Theatre, Sheffield Crucible/UK tour/59e59 New York); WEALD (Finborough Theatre); NOTHING (Royal Exchange, winner of Manchester Theatre Award); BITCH BOXER (Soho Theatre/national tour/Adelaide Fringe Festival); BOYS WILL BE BOYS (Women Centre Stage, National Theatre); CHAPEL STREET (National Tour) and YOU AND ME (Greenwich Theatre/National Tour).
The Studio
A Royal Exchange Theatre production
ELECTRIC ROSARY
By Tim Foley Directed by Elizabeth Freestone
15 June – 4 July
Winner of the 2017 Bruntwood Prize Judges’ Award Tim Foley’s ELECTRIC ROSARY sees the world of prayers and hymns collide, with that of glitching and binary. When we meet the Sisters of St Grace, their numbers are dwindling, divine inspiration is at an all-time low and a robot nun has just been invited to join their convent. Sharply funny, this acutely observed play places questions of faith, spirituality and humanity alongside technological advancement and a robotic future. Directed by Elizabeth Freestone, who returns following her production of QUEEN MARGARET, ELECTRIC ROSARY runs in the Studio from 15 June – 4 July.
Tim Foley is a writer based in Manchester. Tim’s first full-length play, THE DOGS OF WAR (Old Red Lion Theatre) won the Off West End award for Most Promising New Playwright. In 2016 he was awarded the Channel 4 Playwright’s bursary to become Pentabus Theatre Company’s writer-in-residence and he is now their Associate Artist. Tim’s second play, ASTRONAUTS OF HARTLEPOOL (VAULT Festival), won a VAULT Origins Award for Outstanding New Work. His work has been supported by the National Theatre Studio, Orange Tree Theatre, Soho Theatre, HighTide Theatre, the Old Vic and the Peggy Ramsay Foundation. Tim also writes audio dramas set in the worlds of DOCTOR WHO and TORCHWOOD for Big Finish Productions.
Director Elizabeth Freestone’s productions include: NORA: A DOLL’S HOUSE (Citizen’s Theatre Glasgow); MUCH ADO ABOUT NOTHING and HENRY V (Shakespeare at the Tobacco Factory); HERE LIES MARY SPINDLER, THE COMEDY OF ERRORS, THE TRAGEDY OF THOMAS HOBBES, THE RAPE OF LUCRECE (RSC); QUEEN MARGARET (Royal Exchange, Manchester); THE DUCHESS OF MALFI, DR FAUSTUS, THE SCHOOL FOR SCANDAL, VOLPONE (Greenwich Theatre); ROMEO AND JULIET (Shakespeare’s Globe & European tour); THE WATER HARVEST (Theatre 503) and as Associate Director for the National Theatre’s PEOPLE, PLACES AND THINGS and A CAUCASIAN CHALK CIRCLE. From 2012-17 she was the Artistic Director of Pentabus Theatre Company, a new writing company touring nationwide, where she directed world premieres including AS THE CROW FLIES, HERE I BELONG, EACH SLOW DUSK, FROM LAND TO MOUTH, STAND UP DIGGERS ALL, and BLUE SKY.
A RashDash and Royal Exchange Theatre production
OH MOTHER
Developed by RashDash
6 July – 1 August
The award-winning RashDash return to the Royal Exchange with their latest show OH MOTHER and ask … To have a baby or not to have a baby…
Having a baby is the Most Important Thing you can do. If you have one. If you don’t, something else can be the Most Important Thing. What if I can’t have one? Don’t want one? What if the planet can’t take another? What if I like my life now and just want it to continue? What if I’m desperate to have one and I can’t find someone to do it with? What if I don’t want to do it on my own? What will my mum think? OH MOTHER runs in the Studio from 16 July – 1 August.
RASHDASH is Abbi Greenland, Becky Wilkie and Helen Goalen. They are a company of performers, musicians and makers and an associate company of the Royal Exchange Theatre. Their work includes THREE SISTERS (co-production with Royal Exchange Theatre, co-commissioned by The Yard, Tobacco Factory Theatres, The Old Vic, MAYK and Cambridge Junction), THE DARKEST CORNERS (Transform Festival 2017), TWO MAN SHOW (Northern Stage and Soho Theatre, Edinburgh Fringe First Winner 2016, Stage Award for Acting Excellence, shortlisted for an Off West End Award), SNOW WHITE & ROSE RED (Cambridge Junction and Battersea Arts Centre), WE WANT YOU TO WATCH (by RashDash and Alice Birch, National Theatre and UK Tour), OH, I CAN’T BE BOTHERED (Soho Theatre, shortlisted for an Off West End Award), THE UGLY SISTERS (Edinburgh Festival, shortlisted for the Total Theatre Award for Experimentation and Innovation), DARK WOODS DEEP SNOW (Northern Stage) THE FRENZY & SET FIRE TO EVERYTHING!!! (Lyric Hammersmith, GDIF, Imagine Watford and Latitude), THE TWO GENTLEMEN OF VERONA (The Royal and Derngate), SCARY GORGEOUS (Edinburgh Fringe First Award winner 2011), ANOTHER SOMEONE (Fringe First award winner 2010), and THE HONEYMOON.
The Woman in Black is a long running play, based on Susan Hill’s successful gothic horror story, and adapted for the stage by Stephen Mallatratt.
It is a play within a play. Set within a theatre, Arthur Kipps (Robert Goodale) has enlisted the help of The Actor (Daniel Easton) to tell his story, a terrifying tale that he needs to be heard. Many years ago, as a young solicitor, Kipps spent time in the remote Eel March House in order to attend the funeral and sort out the affairs of a deceased client. What starts as a mumbled recitation, turns into a play, after The Actor’s insistence. At first the play is quite slow, with The Actor interrupting the aged Kipps as his mumbling continues. Soon though Kipps becomes more comfortable in his roles and the story is allowed to unfold. We see The Actor takes on the role of the younger Kipps, whilst Kipps plays various supporting parts.
Alone in the client’s mansion, sometimes staying the night, he sets about reading the many papers she has left behind. He comes across a door that can’t be opened, even though there is no apparent lock on the door, unexplained banging noises emitting from inside. He is plagued by the noise of a pony and trap and images of a gaunt, sallow woman in black. I do not want to give too much away but it does revolve around what is hidden behind that locked door. The true shocker though is the final seed that is planted in our mind.
As an audience we had to use our imagination, Spider the dog, who is mimed, and we see no actual pony and trap, just the suggestion. As the programme states “there are no special effects here, just harmless stage smoke and sudden, loud sound effects”. The show really does allow your mind run free and with the help of the lighting, swirling fog, noises and sudden appearances, it creates the right atmosphere to be scared. The tension at times was palatable, the silence deafening, just waiting.
With the woman in black of the story only making a very limited amount of appearances, the play only has two actors. Goodale and Easton impressed with keeping the audience involved, especially with the amount of dialogue.
I did find the first act a bit of a slog with too much dialogue. By the second act I was certainly more engrossed. I was expecting to be scared, but I’m really sorry to say that at no point in the show was I truly shocked and jumping out of my seat. Not one of the surprises, shrieks had me flinching, though at times through the story I did have chills, and not because of the weather. I was expecting more and I left feeling a bit underwhelmed. Am I too hard? Maybe? Quite a few of the audience must have disagreed with me, if the screams and gasps were anything to go by.
I would still encourage anyone to try and catch this show. Give it a try and hopefully let the suspense carry you away, and scare you out of your wits.
Having never watched an opera before, I wasn’t sure what to expect with Giulio Cesare. I was pleasantly surprised there were subtitles to accompany the Italian singing, although not constantly which was nice as it allowed you to just focus on the extraordinary singing.
On the night I attended, the role of Cornelia was sung by Amy J Payne, who did a marvellous job. From the outset, with the death of her husband, her pain was awfully obvious in her songs and by the end of the first half, I wanted to cry for her.
The villainous role of Tolomeo was made darker by the significant pointed finger attachments he wore when exercising his power over the defeated Romans. I’m quite sure that by the time Act Two began, whenever he entered the stage, I got goosebumps due to my dislike of him.
The set was particularly powerful too, beginning with what looked like a simple black mound that the characters looked down from, until slowly revolving to reveal a luxuriously gold tomb, representing the riches of the Eqyptian rulers. It made a perfect backdrop for the entrance of Cleopatra, the real star of the opera.
From her initial entrance when she revealed her plans, to the ending when she is united with her love, Cesare and given the throne of Egypt, she held the audience captive. She was not a typical Cleopatra with heavy eyeliner and heavy handed drama but a lighter, more charming version, who handled a sword against Tolomeo beautifully.
Phyllida Lloyd and Opera North treat us to a perfectly up to date performance of Puccini’s La Boheme. Set in Paris in the 1960s the production features an international cast including some of today’s most promising young artists. Ukranian baritone, Yuriy Yurchuk, shines as Marcello during the opening scene. Later met by his partner in crime Anush Hovhannisyan as the seductress, Musetta. Hovhannisyan captures the audience with her dominating entry portraying Musetta’sflirty persona effortlessly. The use of the Opera North Children’s Chorus during act 1 is such a fun addition bringing smiles to the faces of audience members.
During act two the lead roles really come into their own. Eleazar Rodriguez as the love struck Rodolfo and Lauren Fagen as the ill-fated Mimi relax and this really shines through in their singing. Fagen’s rounded and full soprano voice really takes precedence during the duet. Anthony Ward has chosen a simple approach to the set design, which oozes modernity, perfectly complimenting Lloyd’s direction.
Act 3 opens with a bright and uplifting set. Later in the act we see the clever comic partnership of Ward and Lloyd return as Musetta’s face is revealed behind French flags. The bond between Fagen and Rodriguez continues to grow ever stronger towards the end of the final act. The audience are now mesmerised by the story even to the extent that Mimi’s ailment (her cough) has now spread throughout the stalls or maybe it’s just the time of year.
Bravo opera North! A wonderfully modern yet traditional take on one of Puccini’s finest works.
Producer Colin Ingram (Ghost – The Musical) and the creators of the film Back To The Future, Robert Zemeckis and Bob Gale, are delighted to announce the full cast for the world premiere of BACK TO THE FUTURE The Musical, which will open at the Manchester Opera House on 20 February 2020 for a strictly limited 12-week season, finishing on 17 May, prior to transferring to the West End.
The full cast includes Aidan Cutler as ‘Biff Tannen’, Courtney-Mae Briggs as ‘Jennifer Parker’, Will Haswell as ‘Dave McFly’ and Emma Lloyd as ‘Linda McFly.’ Also in the cast are Rhianne Alleyne, Amy Barker, Owen Chaponda, Jamal Crawford, Nathanael Landskroner, Bethany Rose Lythgoe, Cameron McAllister, Alessia McDermott, Laura Mullowney, Oliver Ormson, Mark Oxtoby, Katharine Pearson, Jemma Revell, Jake Small, Justin Thomas and Mitchell Zhangazha.
They join the previously announced Roger Bart as ‘Doctor Emmett Brown’, Olly Dobson as ‘Marty McFly’, Hugh Coles as ‘George McFly’, Rosanna Hyland as ‘Lorraine Baines’ and Cedric Neal as ‘Goldie Wilson’.
Based on the Universal Pictures/Amblin Entertainment film, BACK TO THE FUTURE The Musical will have a book by Bob Gale and new music and lyrics by Emmy and Grammy Award-winning Alan Silvestri and six-time Grammy Award-winning Glen Ballard, with additional songs from the film including The Power of Love and Johnny B. Goode.
BACK TO THE FUTURE The Musical will be directed by Tony Award-winning director John Rando (Urinetown, On The Town), alongside the multi Tony and Olivier Award-winning design team of Tim Hatley (set and costume design), Hugh Vanstone and Tim Lutkin (lighting), Gareth Owen (sound) and Finn Ross (video), with choreography by Chris Bailey, musical supervision and arrangements by Nick Finlow and Illusions by Chris Fisher. Orchestrations will be by Ethan Popp and Bryan Crook, with dance arrangements by David Chase. Casting is by David Grindrod Associates.
Back to the Future the movie was released in 1985, starring Michael J. Fox as Marty McFly and Christopher Lloyd as Dr Emmett Brown. The film grossed $360.6 million (£279 million) at the box office worldwide and the total box office for all three films in the Back to the Future franchise was $936.6 million (over $1.8 billion in today’s money).
Marty McFly is a rock ‘n’ roll teenager who is accidentally transported back to 1955 in a time-travelling DeLorean invented by his friend, Dr Emmett Brown. But before he can return to 1985, Marty must make sure his high school-aged parents fall in love in order to save his own existence.
BACK TO THE FUTURE The Musical is produced by Colin Ingram, Donovan Mannato, Frankel/Viertel/Baruch/Routh Group, Gavin Kalin Productions, Hunter Arnold, Crush Music, CJ ENM, Teresa Tsai, Ivy Herman/Hallee Adelman, Augury, Robert Zemeckis, Bob Gale, in association with, Kimberly Magarro, Robert L. Hutt, Ricardo Marques, Glass Half Full Productions/ Neil Gooding Productions, Playing Field.
Website: BackToTheFutureMusical.com
Twitter: @BTTFmusical
Instagram: @BTTFmusical
LISTINGS INFORMATION
BACK TO THE FUTURE The Musical
20 February – 17 May 2020
Opera House Manchester
3 Quay Street Manchester M3 3HP
Box Office: 0844 871 3018
Performances: 20 Feb – 14 Mar: Mon – Sat 7.30pm, Sat matinee 2.30pm
17 Mar – 17 May: Tue – Sat 7.30pm, Wed, Sat & Sun matinees 2.30pm
English Touring Theatre in partnership with Sheffield Theatres brings Matt Haig’s Reasons to Stay Alive to the Leeds Playhouse. Based on April De Angeli’s adaptation and directed by Jonathan Watkins, Reasons to Stay Alive is a down to earth bestselling biography about Haig’s journey experiencing severe depression and the impact it has brought.
The play explores the premise of loving and living life to the full despite Matt’s depressive setbacks and self doubts, the latter resulting from past beliefs. With Simon Daw’s innovative staging as the backdrop, the Older Matt (Phil Cheadle) narrates the journey from when he was younger (being played by Mike Noble) during his twenties when he was at his lowest ebb to recognising the value of living. Matt certainly achieves what he initially thought impossible and the shared celebrations are accompanied with movement, music and sounds under the creative arrangement of Jessica Hung Yun, Alex Baranowski and Nick Greenhill.
This short play, approximately, 1 hour 20 minutes, is packed with content with key messages how personal and collective support can help those in need who are experiencing depression and mental health issues. The play with the aid of key texts as props looks at the importance of listening and more crucially choosing the words and the timing during discussions which consequentially may hurt more than help. The key message of the play is to open up about mental health whether positive or negative and aiming to eliminate the stigma which is still sadly associated with it especially among men.
The narrator, the Older Matt, mentors his younger self with everyday language which everyone can relate to and understand. The whole cast has put on an excellent portrayals particularly Janet Etuk (Andrea), Chris Donnelly (Dad) and Connie Walker (Mum) and Dilek Rose (multiple roles) who all play as Matt’s support network. More so the portrayals of the Older Matt and the younger Matt by Cheadle and Noble respectively are demonstratively outstanding and have successfully battled through the lows and celebrated the highs.
Everybody’s mental health is unique and different to every individual and emphasis is about the importance of sharing experiences and how support given must be tailored made to each individual’s needs. Reasons to Stay Alive is a heart warming and delightful play, well directed, and well performed. There are reasons to celebrate life and be supported and this production coincides with the Northern Man Festival taking place on the 16th November at the Playhouse and thus more the reason to watch this production.
MAGICAL MOVIE EXPERIENCE RETURNS TO MANCHESTER FOR CHRISTMAS 2019
Make a festive date with The Holiday, Love Actually,
Elf, Home Alone, and Santa Claus The Movie
The Magical Christmas Movie Experience returns to Manchester for Christmas 2019 with some of the best all-time festive films ever made.
Last year’s event was hailed such a success, that the event returns with five box office smash hit movies to get everyone in the festive spirit.
The event runs in Manchester city centre between Thursday 5 December and Sunday 8 December 2019, and will feature modern cinema classics The Holiday, Love Actually, Elf, Home Alone, and Santa Claus The Movie. Tickets are on sale now.
Visitors are invited to leave behind the madness of Christmas shopping and escape to a Winter wonderland where they can wear their favourite Christmas jumper, sit back, relax, and enjoy a festive movie classic. The magical venue will be announced shortly.
Alongside the programme of heart-warming modern cinema classics, filmgoers will also be delighted with the return of the fully immersive family experience, which includes a live choir at every film screening, enchanted forest, Christmas themed refreshments – and appearances by the man of the moment, Father Christmas and his festive elves.
The Magical Christmas Movie Experiencestarts on Thursday 5 December with a 6pm screening of The Holiday, followed by Love Actually with a LIVE Gospel Choir at 9pm on the same evening.
Upon arrival, movie fans will be greeted by a live choir singing carols and festive songs, before taking a trip through the Narnia-inspired wardrobe of fur coats and transported into a magical enchanted Christmas forest, where the carols will also be heard.
The forest centrepiece is a 14ft Christmas tree, surrounded by snow drifts, snow dusted pine trees, Victorian lamp posts, and many more surprises – providing no end of festive backdrops for that ultimate Winter selfie!
After exiting the enchanted forest, guests will be welcomed to the food hall with wooden benches where festive refreshments, including food and drink, will be available to purchase. These include popcorn, candy floss, burgers, doughnuts, street food, hot chocolate, Christmas cocktails, and mulled wine.
Although indoors, visitors are encouraged to dress warm. Blankets will be provided, which will be donated to the city’s homeless community after the final screening.
Steven Matthews, organiser of The Magical Christmas Movie Experience, explained: “We’re delighted to once again bring The Magical Christmas Movie Experience to Manchester. Feedback last year was absolutely glowing – and we’re sure that the choice of fantastic festive films we have for 2019 will see everyone leave with a real festive warmth.
“Everything our visitors loved about last year’s event will be back – including the live choir, enchanted forest and elves. We want visitors to be transported into a Winter wonderland where they can forget about the stresses and pressures of the festive season, and simply sit back and enjoy quality time with family and friends.”
