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Royal & Derngate announces Christmas double bill of world premieres for its Made in Northampton 2017 season

The Jungle Book
The Jungle Book

The Jungle Book

Royal & Derngate’s Artistic Director James Dacre has confirmed two world premieres for the venue’s Christmas line up this year, augmenting its Made in Northampton season. The Royal’s Christmas Show for 2017 will be a vivid new version of The Jungle Book by acclaimed playwright Jessica Swale, directed by Max Webster, with dramaturgy by Indhu Rubasingham. A world premiere adaptation of Julia Donaldson and Lydia MonksThe Singing Mermaid will also play in the venue’s Underground Studio with original music by Barb Jungr and puppetry from Little Angel Theatre.

Celebrating the 150th anniversary of Rudyard Kipling’s birth, The Jungle Book is a co-production with Children’s Touring Partnership. This vibrant new musical adaptation of Kipling’s Nobel Prize-winning family classic will take to Northampton’s Royal stage from Tuesday 28 November to Sunday 31 December 2017, with a national press night on Friday 1 December. This world premiere production will then embark on a major national tour.

Jessica Swale’s first play, Blue Stockings, premiered at Shakespeare’s Globe, earning her a nomination for Most Promising Playwright in the Evening Standard Awards 2013. Her acclaimed next play Nell Gwynn transferred to the West End and won the Olivier for Best New Comedy in 2016.

An Associate Director at the Old Vic, Max Webster directed their production of Dr Seuss’ The Lorax, which was nominated for Best Entertainment and Family Show at the 2016 Olivier Awards. Max returns to Royal & Derngate after directing King Lear there last year.

This well-loved tale sees Mowgli the man cub battle for survival in a heart-warming coming of age story about a boy raised by wolves in the Indian jungle. With the help of friends like Bagheera the panther, Baloo the bear and Kaa the python, Mowgli outwits the tiger Shere Khan and learns the law of the jungle.

Dacre commented: “Featuring all its memorable characters and enduring mythology, Jessica’s anniversary adaptation promises to be a thrilling, humorous and touching re-imagining of Kipling’s timeless story.”

Furthering their commitment to making work in their Underground Studio to introduce young audiences to theatre, Royal & Derngate will also be staging another world premiere for Christmas 2017, with an adaptation of Julia Donaldson and Lydia Monks’ The Singing Mermaid, in a co-production with Little Angel Theatre.

The production will feature puppetry designed by Lyndie Wright of Little Angel Theatre, and is directed by Samantha Lane, with original songs by Barb Jungr. Aimed at under 7s and their families, the show will run from Saturday 2 December 2017 to Saturday 13 January 2018.

These two festive shows take the previously announced Made in Northampton season up to a total twelve productions for the year ahead. The Made in Northampton season gets underway in April with Death of a Salesman, starring Tim Pigott-Smith. The season also includes a co-production of The Grapes of Wrath, the European premiere of An Iliad, site-specific production The Twelfth Player, a touring revival of Rules for Living, a new production of The Caretaker, and a co-commission for Royal & Derngate’s Young Company, The Blue Road.

For more information about the season or to book tickets, call Royal & Derngate’s Box Office on 01604 624811 or visit www.royalandderngate.co.uk.

Made in Northampton is sponsored locally by Michael Jones Jeweller.

The Jungle Book
By Rudyard Kipling
Adapted by Jessica Swale
Directed by Max Webster

A Royal & Derngate, Northampton and Children’s Touring Partnership co-production

Royal stage – Tuesday 28 November to Sunday 31 December 2017

The Singing Mermaid
By Julia Donaldson and Lydia Monks
Directed by Samantha Lane, with original songs by Barb Jungr

A Royal & Derngate, Northampton and Little Angel Theatre co-production

Underground Studio – Friday 1 December 2017 to Sunday 7 January 2018

@RoyalDerngate / #MadeInNorthampton / #JungleBook17 / #SingingMermaidShow

Hampstead Theatre announces three Hampstead Downstairs Originals

Kiss Me
Kiss Me

Kiss Me

Hampstead Theatre today announced three Hampstead Downstairs Originals which will open this spring. Following an initial development run at Hampstead Downstairs, the updated plays Deposit and Alligators will open at Hampstead Theatre and Kiss Me at Trafalgar Studios.

  • Matt Hartley’s Deposit will be directed by Lisa Spirling and will open on Wednesday 17 May at Hampstead Theatre Downstairs.
  • Andrew Keatley’s Alligators will be directed by Simon Evans and will open on Wednesday 28 June at Hampstead Theatre Downstairs.
  • Richard Bean’s Kiss Me will be directed by Anna Ledwich and open on Friday 9 June at Trafalgar Studios.

Artistic Director Edward Hall comments
‘I’m extremely proud to officially open Deposit, Kiss Me and Alligators this summer. Matt Hartley, Richard Bean and Andrew Keatley present revised versions of their original drafts, which they’ve been able to develop following their respective runs Downstairs. Hampstead Downstairs has been able to provide this kind of unique support where writers can trial, adjust and refine their scripts through rehearsal and preview.’ Hampstead Downstairs’ mission is to identify and develop new plays that are entertaining, original and ambitious. Celia Atkin will be the new supporter of Hampstead Downstairs’ work for the next five years, following the innovative visionary patronage of The Peter Wolff Theatre Trust.

Edward Hall comments
‘Celia’s generosity will ensure that Hampstead Downstairs continues to grow and develop over the next five years, giving opportunity to create a whole canon of new work for new audiences. A major contribution to British new writing.’

Celia Atkin comments
‘As an admirer of the direction of Hampstead Theatre since Edward Hall’s brilliant tenure, I’m delighted to ensure that this special space, Hampstead Downstairs, continues to thrive. Developing a body of enduring new work, whilst encouraging a younger audience into the theatre is my particular passion. Hampstead Downstairs is a cauldron of creativity, providing a flexible space for writers and directors to try out new ideas and perfect their craft and I’m very pleased to support it.’

A Hampstead Downstairs Original Deposit By Matt Hartley Directed by Lisa Spirling 11 May – 10 June Press Night Wed 17 May 7pm
‘Well today is a brave day, friends are uniting. To help each other’s dreams come true.’
Rachel and Ben want to buy a flat in London. And so do their friends, Melanie and Sam. But what with rent, tax, student loans and bills, it’s impossible to save for a deposit.
So the foursome comes up with a fast-track solution to the problem: live together. Sneakily split the rent and bills on a tiny one bedroom flat for a year. But with paper thin walls and space growing sparser by the day, which will they sacrifice first – the friendship, the relationship or the dream of buying their own property?

Matt Hartley’s Deposit throws a lively and topical spotlight on ‘Generation Rent’ and the lengths they will go to in order to get that first step on the property ladder. Hartley returns to Hampstead with a new version of Deposit following a sold out run Downstairs in 2015. His theatre credits include the Bruntwood Award winning Sixty Five Miles (Paines Plough/ Hull Truck), Here I Belong (Pentabus) and Myth (Royal Shakespeare Company).

Lisa Spirling returns with Deposit to Hampstead Downstairs following Ken, Pine, Fault Lines and I Know How I Feel About Eve. Lisa is the Artistic Director of Theatre503. Other credits include Donkeys’ Years, Here (Rose Theatre, Kingston) and Jumpy (Theatr Clwyd).

A Hampstead Downstairs Original Alligators By Andrew Keatley Directed by Simon Evans 22 June – 22 July Press Night Wed 28 June 7pm
‘Are there things that you’ve done that you’re ashamed of? Things that – if they came out – would break your life in half?’
Daniel Turner has it all. A devoted wife, two beautiful children and a teaching job he loves. But when a series of allegations surface from six years earlier his world begins to crumble around him.
Can all the good he’s done be erased by one pointed finger? How can his loved ones doubt his innocence and can life ever be the same again?

Andrew Keatley’s burning new thriller asks how well we actually know those closest to us and explores how shameful secrets, that we thought long buried, can come back to bite us… Keatley returns to Hampstead with a new version of Alligators following a sold out run Downstairs last year. Keatley’s theatre credits include The Gathered Leaves (Park Theatre) and Colourings (Old Red Lion).

Simon Evans’ previous credits include the critically acclaimed Bug and The Dazzle (both Found111) and the forthcoming The Resistible Rise of Arturo Ui (Donmar), starring Lenny Henry.

Mark Cartwright presents A Hampstead Downstairs Original Kiss Me By Richard Bean Directed by Anna Ledwich 6 June – 8 July Press Night Fri 9 June 7pm

‘I’m thirty-two and I want a baby. There are no men.’

A desperate woman. A chivalrous man. And a forbidden kiss that changes everything.

Richard Bean’s new play is a beautiful and unorthodox love story about two people struggling to escape the guilt and ghosts of the past, set against the shifting world of London post- World War I.

Following a sold out run at Hampstead Theatre Downstairs, Kiss Me opens at the Trafalgar Studios. His other plays include One Man, Two Guvnors, Great Britain, Made in Dagenham and the sell-out hit The Nap, which starred Jack O’Connell.

Director Anna Ledwich will be returning to the Trafalgar Studios following her Olivier-award nominated Hampstead Downstairs production of Four Minutes Twelve Seconds.

Casting for the productions will be announced in due course.

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Unpolished Theatre awarded Pleasance’s Charlie Hartill Special Reserve Fund

Unpolished Theatre
Unpolished Theatre

Unpolished Theatre

Elliot Warren and Olivia Brady’s Unpolished Theatre, established in 2016, is announced as the winner of Charlie Hartill Special Reserve Fund for theatre. Its first ever show Flesh & Bone will premiere at Edinburgh Festival Fringe in August 2017.

At the very heart of the Pleasance’s curated programme at both the Festival Fringe and at the Pleasance in London, is the development arm of The Pleasance Theatre Trust, Pleasance Futures. The Pleasance’s enduring mission is to provide a launch pad for the very best emerging talent and the brightest new ideas. The Pleasance Theatre Trust has provided financial support to up and coming talent both on and off stage through a number of Pleasance Futures projects such as Kidzone, Young Pleasance, XYP, Charlie Hartill Special Reserve Fund and various co-productions.

The Charlie Hartill Special Reserve is a designated, rolling Fund towards the production costs of bringing selected projects to the Edinburgh Fringe Festival and consists of two strands: comedy and theatre.

The Pleasance is delighted to announce the winners of the Charlie Hartill Special Reserve Fund for theatre as Unpolished Theatre, selected from the largest ever number of applications.

Unpolished Theatre was created by Elliot Warren and Olivia Brady in 2016 alongside the idea of their first production Flesh & Bone which they will now premiere at the Pleasance this coming August.

Flesh & Bone was performed at the Etcetera Theatre in December in its initial version, but the company are planning extensive re-writes before the Fringe. It will be the company’s debut on the Fringe.

Elliot and Olivia studied together at Drama School in Bournemouth and forged a brilliant working relationship and friendship creating work throughout and afterwards. In early 2016, both back home in London, Elliot wrote a short film called Stick Up which Olivia produced and which garnered quite a bit of attention, going viral on the internet and gaining 2.2 million views on Facebook (https://www.facebook.com/stickupmovie/). In the same year, both Elliot and Olivia were in a production of East by Steven Berkoff and remembered their shared love of his style. Once the run had finished they were afire with ideas and energies that needed put onto a stage, igniting a similar style to Berkoff but with contemporary ideas and subject matters.

And so Flesh & Bone was conceived. Flesh & Bone gives the gritty residents of an East London Tower Block a stage, through their wickedly eloquent voices and their outpourings of uberly bloated tongue, we are thrust into their stories, held by the scruff of the neck, and made to listen.

Anthony Alderson, Director of the Pleasance said: “Having received over 100 applications, we are thrilled to announce Unpolished Theatre’s Flesh & Bone as the recipient of this year’s Charlie Hartill Special Reserve Fund. As a company making their ambitious first show, they will benefit from not only the experience of presenting it at the Edinburgh Fringe, but also developing their company with support and mentoring from the full Pleasance team. Flesh & Bone has an electricity and eloquence rarely seen from such a young company.”

Elliot Warren, writer, co-director and performer in Flesh & Bone said: “This fund seriously means the world to us. We have never performed at Edinburgh and it is a life-long dream to be at The Pleasance. The fund allows us to create a fantastic show and dedicate our time to making it the best it can be on and off the stage. We don’t have investors and we don’t have much money, just a show that is itching to be seen!”

The purpose of the Charlie Hartill Special Reserve Fund is to offer financial support to the writers, directors, technicians, producers and performers of the future to give them an opportunity to hone their talents and present a show at the world’s biggest arts festival.

The Fund was established in 2004 in memory of Charlie Hartill, a writer, performer and for eight years a Festival Fringe director, who died in January of that year.

The recipient of this prestigious Fund is awarded a prime slot at the Pleasance during Edinburgh Festival Fringe, mentoring from the Pleasance’s administration and technical team, and in-kind support up to the value of £10,000.

The winners of Charlie Hartill Special Reserve Fun for comedy will be announced soon.

International star of stage and screen Sir Ian McKellen is to perform an exclusive one man show at Park Theatre for nine performances only, from 3 – 9 July 2017

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Passion and heartbreak – Welsh National Opera’s spring season of intoxicating love stories

La Bohème
La Bohème

La Bohème © Robert Workman

Two classic Puccini operas and a hidden opera gem make up Welsh National Opera’s Love’s Poisoned Chalice season at Mayflower Theatre from 25 to 29 April, taking audiences on a journey of love, passion, heartbreak and tragedy through some of opera’s greatest tear jerking music.

At the heart of the spring season is a new production of Swiss composer Frank Martin’s Le Vin herbé, directed by former WNO Genesis Assistant Director Polly Graham in her first main scale production for WNO.  Inspiring the season theme, Le Vin herbé (‘the spiked drink’) is based on the myth of Tristan and Isolde.  Martin’s composition investigates the very meaning and function of myths, as a group of people come together to narrate this tragic love story.  Written between 1938 and 1941, Frank Martin’s version of the lovers’ tale is more in riposte than homage to Wagner, and influenced by the imminent World War as well as his own personal crisis of losing his first wife.

Iseult will be performed by Caitlin Hulcup and Tom Randle returns to WNO to sing the role of Tristan, with Catherine Wyn-Rogers singing the role of Iseult’s Mother.  Originally conceived for 12 singers, this production will be performed with the entire WNO Chorus taking the role of narrator as in a Greek Chorus, commenting on the dramatic action as the story unfurls.  An orchestra of 7 string players and a pianist will be on stage throughout the opera, along with conductor James Southall.  

As WNO Genesis Assistant Director, Polly Graham received mentorship from internationally-renowned opera directors including WNO Artistic Director David Pountney, Mariusz Trelinski and Pierre Audi.  She returns to WNO following her work with WNO Youth Opera on Kommilitonen! during the summer of 2016 which received excellent reviews from the national media.  

Up next is Puccini’s much-loved La bohème in a production which WNO first staged in 2012 to high praise from both critics and audiences.  Telling the tragic love story of Mimi and Rodolfo, this production transports audiences to the streets of bohemian Paris.

Annabel Arden’s 1913 inspired pre-war production will be directed in this revival by Caroline Chaney. Jessica Muirhead returns to WNO to sing Mimi following her performance as Micaëla in Carmen in 2014 alongside tenor Matteo Lippi as Rodolfo.  La bohème will be conducted by Manlio Benzi who makes his debut at WNO. La bohème will be conducted by Manlio Benzi who makes his debut at WNO.

Former WNO Associate Artist Gary Griffiths returns to WNO to take the role of Marcello, and Australian Lauren Fagan makes her WNO main stage debut in the role of Musetta. Jihoon Kim takes the role of Colline and Gareth Brynmor John takes the role of Schaunard.

Completing the trio of spring operas is another Puccini classic: Madam Butterfly. Joachim Herz’s beautiful sepia-toned production will be directed in this revival by Sarah Crisp and conducted by Andrew Greenwood.  

Punctuated with irresistible music including the Humming Chorus and the moving Un bel dì aria, Madam Butterfly tells the heartbreaking tale of Cio-Cio-San’s love and loss at the hands of her American naval officer, Pinkerton.  This production features a double cast for the roles of Cio-Cio-San and Pinkerton.  South Korean-born soprano Karah Son will sing the role of Cio-Cio-San alongside Paul Charles Clarke who returns to WNO to sing Pinkerton following performances in Sweeney Todd during the 2015/16 season.

Former WNO Associate Artist Rebecca Afonwy-Jones returns to WNO to sing the role of Suzuki, and fellow Welsh favourites David Kempster and Richard Wiegold also return to sing the roles of Sharpless and Bonze respectively.

Talking about the season, WNO Artistic Director David Pountney says: “To bring Madame Butterfly and La Bohème together in one season is a luxurious offering for our audiences, but there is a delightful and no less passionate or moving sting in the tail: a small, intimate but deceptively powerful work by the Swiss composer Frank Martin, a very underrated musician. You may know by now that I take a particular delight in bringing such neglected gems to your notice! In the years leading up to the 2nd World War, Martin, from his safe observation post in Switzerland, reacted to the flagrant abuse of Wager’s music by the Nazis by composing an “alternative” Tristan and Isolde, which he called Le Vin herbé – literally “The spiked drink.” Martin’s work is small scale, deeply intense, personal, full of pent up emotion, rather than the Tsunami’s of sound that Wagner created. But Martin’s work is, in its very different way, just as powerful. He gathers together a group of singers, in this case our wonderful chorus, and induces them as a collective to create for us a narrative of the famous love story. As accompaniment we have a powerfully expressive string septet plus piano. It is amazing what power and what emotion Martin is able to conjure up with these apparently slender forces, but then we remember that Britten’s The Turn of the Screw, with just a few musicians in the pit, fills large theatres with its emotion and its special atmosphere. That is what Martin achieves, and every one of you who harbours that nagging bug of curiosity will want to experience this rare operatic opportunity.”

More information on WNO’s spring 2016 season is available at wno.org.uk/lovespoisonedchalice

Tickets for Le Vin herbé (25 April), La Boheme (26&28 April) and Madam Butterfly (27&29 April) are on sale from Mayflower Theatre Box Office tel: 02380 711811 or online at mayflower.org.uk. Ovation Restaurant bookings: 02380 711833

 

The Divide, a new play by Alan Ayckbourn, to open at The Old Vic this autumn following its premiere at the Edinburgh International Festival

The Old Vic
The Old Vic

The Old Vic © Manuel Harlan

The Old Vic today announces that The Divide, a new play by Alan Ayckbourn, will open at The Old Vic this autumn following its premiere at the Edinburgh International Festival.

 The Divide is a tale for our own turbulent times that unflinchingly explores a dystopian society of repression, insurrection and forbidden love. The show is directed by Annabel Bolton, an associate director of The Old Vic, and will be presented in two parts.

 The Divide runs at the King’s Theatre as part of the Edinburgh International Festival over a two-week run (8 August to 20 August 2017) before opening at The Old Vic. The Old Vic has a long history with the International Festival, having performed at the inaugural Edinburgh International Festival in 1947 and many times in the following decade.

 Artistic Director Matthew Warchus comments,

 ‘The Old Vic was in residence at the very first Edinburgh International Festival and it’s with great pleasure and hugely fitting that we celebrate our respective milestones by collaborating again to co-produce the world premiere of Alan Ayckbourn’s ambitious and exciting new work, The Divide.’

THE DIVIDE

By Alan Ayckbourn

Directed by Annabel Bolton

Design by Laura Hopkins

Music composed by Christopher Nightingale

Lighting by David Plater

Sound by Bobby Aitken

Video by Ash J Woodward

Casting by Jessica Ronane CDG

The Royal Central School of Speech and Drama in association with Complicite Creative Learning present A Studio Season: The International Adaptations

Three new works directed by Complicite and devised by graduating students of the Acting Collaborative and Devised Theatre course at The Royal Central School of Speech and Drama. The three shows are directed by three Complicite Associates directors who have worked with the Company at key moments in its celebrated and diverse history. Students from Central’s BA (Hons) Theatre Practice course will make up part of the production team.

This first time collaboration between Central and Complicite offers second and third year students a unique opportunity to work with professionals from one of the world’s leading theatre companies. A diverse cast of 15 emerging theatre makers will work with experienced Complicite directors to devise shows adapted from three international novels to be performed in rep at The Pleasance Theatre in Islington.

The project also offers an outreach programme to secondary schools to encourage young people who may not normally apply to drama schools to apply.

Alongside the productions, actors from each company will train to lead workshops in schools, providing a platform for the next generation of theatre practitioners.

 Marcello Magni, Complicite’s co-founder, directs Maktub, inspired by Paulo Cohelo’s novel The Alchemist which tells the story of a young shepherd who pursues a dream that takes him on an epic journey across a war-torn desert.

Catherine Alexander, who joined Complicite in 1994 as an associate director, adapts Alain Mabanckou’s Tomorrow I’ll Be Twenty: ten year old Michel’s exuberant eye witness account of growing up in 1970’s Pointe Noire, Congo.

Kirsty Housley, co-director of The Encounter, creates a piece inspired by Laszlo Krasznahorkai’s War & War, telling the story of Korin, an archivist on an escape mission from 1990’s Hungary.

In rep from 25 Feb – 5 March 2017

Ticket prices £12 / £10 All three shows for £24/20

Pleasance Box Office: 020 7609 1800

[email protected]

Running time approximately 60 – 70 minutes each show

Maktub 

Sat 25 Feb 8.30pm

Sun 26 Feb 2pm

Wed 1 Mar 7.30pm

Thurs 2 Mar 2pm

Sat 4 Mar 7.30pm

Sun 5 Mar 2pm

 

Tomorrow I’ll be Twenty 

Sun 26 Feb 7.30pm

Tues 28 Feb 2pm

Thurs 2 Mar 7.30pm

Fri 3 Mar 2pm

Sat 4 Mar 4.45pm

Sun 5 Mar 7.30pm

 

War & War 

Sun 26 4.45pm

Tues 28 7.30pm

Wed 1 Mar 2pm

Fri 3 Mar 7.30pm

Sat 4 Mar 2pm

Sun 5 Mar 4.45pm

 

Creatives 

Directed by Marcello Magni, Catherine Alexander, Kirsty Housley, Set Design by Bethany Wells, Video Design by Cate Blanchard, Dramaturgy for Maktub by Gilles Aufray in collaboration with Marcello Magni, Music for Maktub by Olivier Aufray, All other creatives are 2nd and 3rd year BA Theatre Practice students

 

About The Royal Central School of Speech and Drama 

The Royal Central School of Speech and Drama is a higher education conservatoire – a specialist college of the University of London which nurtures creative collaboration. Courses include acting, applied theatre, movement, musical theatre, drama & movement therapy, theatre & live performance, puppetry, scenography, actor & teacher training, voice, technical arts & production, and writing for stage & broadcast media.  With over 60 academic staff, together with visiting artists and lecturers, Central has the largest grouping of drama/theatre/performance specialists in the UK, an active research culture and is a hub for the theatre and performance industries.   Find out more about The Royal Central School of Speech and Drama by visiting: www.cssd.ac.uk

 

About COMPLICITE 

Since it was founded in 1983, Complicite has toured the world, winning over 50 major awards and becoming known as one of the UK’s most exciting and enduring theatre companies.
From its early performances at the Edinburgh Fringe (where More Bigger Snacks Now became the first theatre show to win the Perrier Comedy Award) to being screened throughout the world as part of NT Live, Complicite has continued to experiment, breaking new ground with every new show.

Recent productions include Beware of Pity, The Encounter, Lionboy, The Master and Margarita, Shun-kin and A Disappearing Number.  The Company is also known for its award-winning Creative Learning programme which provides innovative opportunities for people to engage with its work. Find out more about Complicite by visiting: www.complicite.org

Shoreditch Town announces additional programme of events to complement Philip Ridley Double-Bill

The Pitchfork Disney
The Pitchfork Disney

The Pitchfork Disney

Shoreditch Town Hall today announces a series of additional events, talks and readings running alongside its double-bill of Philip Ridley plays in its basement spaces.

These include rehearsed readings of Ridley’s The Fastest Clock in the Universe and Ghost from a Perfect Place which, along with The Pitchfork Disney, complete his East End Gothic Trilogy, an adaptation of Ridley’s book for children Krindlekrax and post-show Q&As with the casts of The Pitchfork Disney and Killer.  For full details on the events please see below.

The Ridley double-bill, directed by Jamie Lloyd, features a new critically acclaimed production of his contemporary classic The Pitchfork Disney, starring George BlagdenTom Rhys HarriesSeun Shote and Hayley Squires, which is running until 18 March; and the world première of Killer, a collection of monologues, which opens on 27 February.  The two productions play in rep from 28 February until 18 March with Killer then continuing to run until 8 April.

Full programme of activity

Until Saturday 8 April, before and after performances of The Pitchfork Disney and Killer

Rebels and Rubble: An exhibition of photographs by Philip Ridley

Free

 Thursday 16 February, 7.30pm

BSL interpreted performance of The Pitchfork Disney

Standard ticket prices (free ticket for a carer or companion)

Saturday 4 March, 10am

Rehearsed Reading of Krindlekrax followed by a Q+A and book signing with Philip Ridley

£2

(On Friday 3 March there will be dedicated schools performances of Krindlekrax at 9.30am and 1.30pm. Please contact Shoreditch Town Hall directly for further information and availability)

Friday 10 March, following 7.30pm performance of The Pitchfork Disney and Friday 24 March, following 6.30pm performance of Killer

Lovesongs for Extinct Creatures: Poetry with Philip Ridley

Free for those attending that evening’s performance of The Pitchfork Disney

Philip Ridley’s performances of his own poetry have become something of a cult hit over the past few years.  At Shoreditch Town Hall, for two evenings only, he will read his sequence of poems that chart the journey of a love affair; from wanting love through to the grief of losing that love.

Saturday 11 March, 11.30am

Touch Tour of The Pitchfork Disney

Free for those who have also booked a ticket for the audio described performance

 Saturday 11 March, 1pm

Audio Described performance of The Pitchfork Disney

Standard ticket prices

Wednesday 15 March, following 7.30pm performance of The Pitchfork Disney

Q+A with George Blagden, Tom Rhys Harries, Hayley Squires and Seun Shote

Chaired by Jamie Lloyd

Free for those attending that evening’s performance of The Pitchfork Disney

Thursday 16 March, 7.30pm

Rehearsed Reading of The Fastest Clock in the Universe, directed by Rupert Hands, followed by a post-show Q+A with Philip Ridley and company. Chaired by Terri Paddock

We’re all as bad as each other. All hungry little cannibals at our own cannibal party. So fuck the milk of human kindness and welcome to the abattoir!

In a strange room in East London, a party is underway. Cougar Glass is celebrating his ‘birthday’. He is nineteen years old…again. And to celebrate your ‘last year as a teenager’ as you are slipping into your thirties requires a lot of preparation: the cake has to be perfect, the cards have to be perfect, but the most perfect thing of all has to be the guest of honour. For it’s the guest of honour – Foxtrot Darling – who will bring the most precious gift of all. The gift Cougar would kill for…Youth!

Philip Ridley’s second play was his breakthrough work. It caused a sensation when it premièred at Hampstead Theatre in 1992, winning Ridley the Evening Standard Theatre Award for Most Promising Newcomer, the Meyer Whitworth Prize, the Critics’ Circle Most Promising Playwright Award and a Time Out Award.  Its exploration of ‘metrosexuality’ and the ‘culture of youth’ was years ahead of its time, and it is now regarded as a contemporary classic.

£6

Thursday 23 March, 7.30pm

Rehearsed Reading of Ghost from a Perfect Place, directed by Rupert Hands, followed by a post-show Q+A with Philip Ridley and company. Chaired by Aleks Sierz

 I’m not threatened by you. Or your gang. I was threatening people before any of you were born…I’m Travis Flood!

When one-time gangster Travis Flood returns to his old East London stomping ground after a twenty-five years he finds much has changed.’ A girl gang, clad in gold skirts and blond wigs – with a penchant for pyromania and revenge against men – have spread fear where once Travis held sway. But Travis is instantly captivated by the hauntingly beautiful gang leader, Rio Sparks. And soon a shocking story begins to emerge. A story that shatters both their distorted memories.

Ridley’s third stage play was a cause célèbre when it premièred at the Hampstead Theatre in 1994. With its on stage violence and depiction of a ‘girl gang’ it provoked The Guardianto label it ‘pornographic’.  But it went on to be nominated for the Evening Standard Best Play Award and with its exploration of a ‘post truth’ world and the dangers of nostalgia –  has, like most of Ridley’s plays, proved itself uncannily prophetic.

 £6

Saturday 25 March, 1.30pm

Touch Tour of Killer

Free for those who have also booked a ticket for the 3pm performance

Thursday 30 March, following 7.30pm performance of Killer

Q+A with John MacMillan and Philip Ridley. Chaired by Jamie Lloyd

Free for those attending that evening’s performance of Killer

 

Full casting announced for Boundless Theatres’ production of Glenn Waldron’s Natives

Natives
Natives

Natives

Boundless Theatre Artistic Director Rob Drummer today announced the full company for the UK première of Natives, a new play by Glenn Waldron. Previously Company of Angels, Boundless Theatre produces exhilarating new theatre in the UK in conversation with Europe. Drummer directs Ella Purnell (A), Fionn Whitehead (B), and Manish Gandhi (C) in the production which opens at the Southwark Playhouse on 31 March, with previews from 29 March, and runs until 22 April.

“Where are the grown-ups to do something, where are the grown-ups in this story?”

Three countries. Three teenagers. One average, life-altering day.

A young man battles with feelings of love and violence. Another is stuck with the image of someone being pushed from a rooftop. And a girl must choose between her friends and her conscience.

Natives is a rallying cry to a generation of unlikely heroes and celebrates coming of age online in a chaotic world.

Glenn Waldron is a London-based playwright and writer. A former magazine editor and journalist, Glenn was Editor of i-D magazine and his feature writing has appeared in the New York Times, the Guardian, the Independent, Vogue, W magazine, and other publications. His first play Forever House premiered at the Drum, Theatre Royal Plymouth and his work has since been performed in Germany, Norway, the Netherlands and the USA. Upcoming productions include The Here And This And Now at TRP and End of the Pier at Hackney Showroom. Glenn also lectures in journalism and pop culture at the University of the Arts London.

Ella Purnell plays A. She is making her professional stage debut. She was one of Screen International Stars of Tomorrow 2010. For film, she will appear in the forthcoming Churchill,her credits include Miss Peregrine’s Home for Peculiar ChildrenNever Let me Go, Maleficent, Intruders and Kick Ass 2.

Fionn Whitehead plays B. He is making his professional stage debut. He was one of Screen Internationals Stars of Tomorrow 2016. For television his credits include Him; and for film, he will appear in the forthcoming Christopher Nolan’s Dunkirk and The Children Act. 

Manish Gandhi plays C. He was included in the British Council’s 2016 global list of 33 cultural influencers from around the world promoting freedom and equality. For theatre his credits include Now We Are Here (Young Vic), Brown Shakespeare (Efua Theodora Sutherland Drama Studio, Legon-Accra), Rizwan (FTII, Pune), Limbo and Cock (National Centre of Performing Arts, Mumbai). For television, Rides upon the Storm, Judwa Raja and Na Bole Tum; and for film, That Transient IntervalChai Shai Biscuits and Rizwaan. 

Rob Drummer joined Boundless Theatre in July 2016 as Artistic Director.  He previously worked as co-director on the company’s production of Sense by Anja Hilling at the Academy of Live and Recorded Arts (ALRA), alongside Andrea Ferran. He was a mentor to emerging playwrights from the UK, Germany, Netherlands and Norway on the European Writers’ Lab component of the company’s Theatre Café Festival.  Prior to becoming Artistic Director of Boundless Theatre he was Associate Dramaturg at the Bush Theatre where he ran the Literary Department, responsible for all playwriting work including the commissioning and development of new plays for production. He has established ongoing partnerships with Playwrights of New York (PoNY), delivered projects with Kudos Film & Television and established a partnership with Drama Centre London and Oberon Books on the Student Guide To Writing: Playwriting.  Before joining the Bush Drummer was the first Literary Manager for HighTide Festival Theatre where he supported the expansion of the festival, doubling the number of productions and for HighTide he also directed EisteddfodEndless Poem and Perish. As a Dramaturg and Director he has worked with playwrights at theatres including the National Theatre, Hampstead Theatre, Bristol Old Vic, Contact, York Theatre Royal and Theatre503. He was one of the first recipients of an Artists’ International Development Fund from the Arts Council and British Council and spent time working in South Africa with playwrights and theatre makers at the Baxter and Market Theatres.

Father is a music composition and sound-design studio which works on the principle that sound and image should work in tandem. Founded by Joe Farley and Freddie Webb, Father uses a variety of approaches that bridge musicality and sound design for rich, provocative and emotive sonic landscapes.

Boundless Theatre (formerly Company of Angels) produces exhilarating new theatre in the UK in conversation with Europe. For fifteen years, they have produced and toured new plays, nationally and internationally and created projects and experiences that young adult audiences share in. They nurture and empower the next generation of visionary artists, brings plays, diverse perspectives and ideas from Europe and engage with a range of artistic forms beyond theatre-making.

Natives                                                                                                                          _________Listings

Southwark Playhouse, 77-85 Newington Causeway, London, SE1 6BD

 

www.southwarkplayhouse.co.uk

To book tickets call: 020 7407 0234

 

www.boundlesstheatre.org.uk 

Twitter: @ boundlessabound

Instagram: @boundlessabound

Facebook: /boundlessabound

29 March – 22 April

Press night: 31 March at 8pm  

Performances: 

Start Time 8pm Monday – Sunday

Matinee 3.30pm Saturdays and Tuesday 4th April only

Tickets:

Price £20 | £16 concessions | £12 preview performances