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 Royal Court Theatre announces extension for Dennis Kelly’S Girls & Boys

Carey Mulligan
Carey Mulligan

Carey Mulligan

An extra week of performances has been added today to the world premiere of Girls & Boys, written by Dennis Kelly and directed by Lyndsey Turner. The productionwill be running from Thursday 8 February 2018 – Saturday 17 March 2018Girls & Boys, which sees Carey Mulligan playing the role of Women, runs in the Royal Court Jerwood Theatre Downstairs with press performances on Wednesday 14 February at 7pm and Thursday 15 February at 7pm. Reviews are embargoed until 11.59pm on Thursday 15 February 2018.

With set design by Es Devlin, costume design by Jack Galloway, lighting design by Oliver Fenwick and sound design by David McSeveney.

“I met my husband in the queue to board an EasyJet flight and I have to say I took an instant dislike to the man.”

An unexpected meeting at an airport leads to an intense, passionate, head-over-heels relationship. Before long they begin to settle down, buy a house, juggle careers, have kids – theirs is an ordinary family. But then their world starts to unravel and things take a disturbing turn.

“I don’t remember exactly when things with us started to go properly wrong – I just remember suddenly finding myself in it.”

Girls & Boys marks the first collaboration between writer Dennis Kelly and director Lyndsey Turner.

Tickets for the extra dates go on sale to Friends on Thursday 14 December 2017 at noon (Tickets are limited to two per person. Subject to availability) and any remaining will go on sale to the general public on Friday 15 December at noon 020 7565 5000 / www.royalcourttheatre.com

Biographies:

Dennis Kelly (Writer)

For the Royal Court: The Ritual Slaughter of Gorge Mastromas.

Other theatre includes: Matilda the Musical (RSC/West End); The Gods Weep (RSC/Hampstead); Orphans (Traverse/Birmingham Rep/Soho); DNA (National); Taking Care of Baby (Hampstead/Birmingham Rep); Love & Money (Royal Exchange, Manchester/Young Vic); Osama the Hero (Hampstead); After the End (Bush); Debris (503).

Television includes: Pulling, Utopia.

Film includes: Black Sea

 

Lyndsey Turner (Director)

For the Royal Court: Posh (& West End), Contractions, A Miracle, Our Private Life.

Other theatre includes: Saint George and the Dragon, Light Shining in Buckinghamshire, Edgar & Annabel (National); Faith Healer (Donmar); Hamlet (Barbican); Machinal (Broadway); The Treatment, Chimerica (Almeida)

Carey Mulligan (Woman)

For the Royal Court: The Seagull (& Broadway), Forty Winks.

Other theatre includes: Skylight (West End/Broadway); Through a Glass Darkly (New York Theater Workshop); The Hypochondriac (Almeida).

Television includes: My Boy Jack, Doctor Who, Northanger Abbey, The Amazing Mrs Pritchard, Waking the Dead, Agatha Christie’s Marple, Bleak House, Trial & Retribution.

Film includes: Wildlife, Mudbound, Suffragette, Far from the Madding Crowd, Inside Llewyn Davis, The Great Gatsby, Shame, Drive, Never Let Me Go, Wall Street: Money Never Sleeps, Brothers, Public Enemies, An Education, The Greatest, When Did You Last See Your Father?, Pride & Prejudice.

Awards include: BAFTA Award for Best Actress (An Education)

Listings Information:

 Girls & Boys

By Dennis Kelly

Directed by Lyndsey Turner

Jerwood Theatre Downstairs, Royal Court Theatre, Sloane Square, SW1W 8AS

Thursday 8 February 2018 – Saturday 17 March 2018

Monday – Saturday 8pm

Saturday matinees 2.30pm (from 17 February 2018)

Captioned Performance Wednesday 7 March 2018
Audio described Matinee Saturday 10 March touch tour at 1pm
Post Show Talk Big Idea: In Conversation with writer Dennis Kelly Wednesday 7 March 2018 with live speech-to-text
Press Night Wednesday 14 February 2018, 7pm & Thursday 15 February 2018, 7pm. Review embargo lifted 11.59pm Thursday 15 February 2018.

Standard Tickets £12 – £45 (Mondays all seats £12 available from 9am online on the day of performance).
Concessions* £5 off top two prices (available in advance for previews and all matinees)

Under 26s £15 (available across all performances for individual bookers, Bands B and C only)
Access £15 (plus a companion at the same rate)
*ID required. All discounts subject to availability.

Royal Court Theatre announces Carey Mulligan in Dennis Kelly’s Girls & Boys, directed by Lyndsey Turner

Carey Mulligan
Carey Mulligan

Carey Mulligan

Carey Mulligan has been cast in the world premiere of Girls & Boys, written by Dennis Kelly and directed by Lyndsey Turner. Girls & Boys runs in the Royal Court Jerwood Theatre Downstairs, Thursday 8 February 2018 –Saturday 10 March 2018 with press performances on Wednesday 14  February at 7pm and Thursday 15 February at 7pm. Reviews are embargoed until 11.59pm on Thursday 15 February 2018.

With set design by Es Devlin, costume design by Jack Galloway, lighting design by Oliver Fenwick and sound design by Dave McSeveney.

“I met my husband in the queue to board an EasyJet flight and I have to say I took an instant dislike to the man.”

An unexpected meeting at an airport leads to an intense, passionate, head-over-heels relationship. Before long they begin to settle down, buy a house, juggle careers, have kids – theirs is an ordinary family. But then their world starts to unravel and things take a disturbing turn.

“I don’t remember exactly when things with us started to go properly wrong – I just remember suddenly finding myself in it.”

Girls & Boys marks the first collaboration between writer Dennis Kelly and director Lyndsey Turner.

Biographies:

Dennis Kelly (Writer)

For the Royal Court: The Ritual Slaughter of Gorge Mastromas.

Other theatre includes: Matilda the Musical (RSC/West End); The Gods Weep (RSC/Hampstead); Orphans (Traverse/Birmingham Rep/Soho); DNA (National); Taking Care of Baby (Hampstead/Birmingham Rep); Love & Money (Royal Exchange, Manchester/Young Vic); Osama the Hero (Hampstead); After the End (Bush); Debris (503).

Television includes: Pulling, Utopia.

Film includes: Black Sea

Lyndsey Turner (Director)

For the Royal Court: Posh (& West End), Contractions, A Miracle, Our Private Life.

Other theatre includes: Saint George and the Dragon, Light Shining in Buckinghamshire, Edgar & Annabel (National); Faith Healer (Donmar); Hamlet (Barbican); Machinal (Broadway); The Treatment, Chimerica (Almeida)

Carey Mulligan (Woman)

For the Royal Court: The Seagull (& Broadway), Forty Winks.

Other theatre includes: Skylight (West End/Broadway); Through a Glass Darkly (New York Theater Workshop); The Hypochondriac (Almeida).

Television includes: My Boy Jack, Doctor Who, Northanger Abbey, The Amazing Mrs Pritchard, Waking the Dead, Agatha Christie’s Marple, Bleak House, Trial & Retribution.

Film includes: Wildlife, Mudbound, Suffragette, Far from the Madding Crowd, Inside Llewyn Davis, The Great Gatsby, Shame, Drive, Never Let Me Go, Wall Street: Money Never Sleeps, Brothers, Public Enemies, An Education, The Greatest, When Did You Last See Your Father?, Pride & Prejudice.

Awards include: BAFTA Award for Best Actress (An Education)

Listings Information:

Girls & Boys

By Dennis Kelly

Directed by Lyndsey Turner

Jerwood Theatre Downstairs, Royal Court Theatre, Sloane Square, SW1W 8AS

Thursday 8 February 2018 – Saturday 10 March 2018

Monday – Saturday 8pm

Saturday matinees 2.30pm (from 17 February 2018)

Captioned Performance Wednesday 7 March 2018
Audio described Matinee Saturday 10 March touch tour at 1pm
Post Show Talk Big Idea: In Conversation with writer Dennis Kelly Wednesday 7 March 2018 with live speech-to-text
Press Night Wednesday 14 February 2018, 7pm & Thursday 15 February 2018, 7pm. Review embargo lifted 11.59pm Thursday 15 February 2018.

Standard Tickets £12 – £45 (Mondays all seats £12 available from 9am online on the day of performance).
Concessions* £5 off top two prices (available in advance for previews and all matinees)

Under 26s £15 (available across all performances for individual bookers, Bands B and C only)

Access £15 (plus a companion at the same rate)
*ID required. All discounts subject to availability.

Vicky Featherstone Announces Industry Code of Behaviour to Prevent Sexual Harassment and Abuses of Power

Vicky Featherstone, Artistic Director Royal Court Theatre;

 “Thanks to the bravery, openness and desire to see change happen from the people in our industry who have either experienced abuse or are desperate to see it end, we have been able to compose this document. We at the Royal Court are adopting this today. It is an offering, it is a beginning. We have to start somewhere.”

 PREVENTING SEXUAL HARASSMENT AND ABUSES OF POWER

An offering, a provocation, a hope for

 CULTURE CHANGE

 A CODE OF BEHAVIOUR

The following code was created in response to the events at the Royal Court Theatre Day of Action on Saturday 28th October 2017.

Responsibility

Reporting

Raising Awareness

Breadth and Scope

Patterns and Scenarios

Responsibility

–       You must take responsibility for the power you have. Do not use it abusively over others more vulnerable than you. Think about what you want, why you want it, what you are doing to get it, and what impact it will have. If this is achieved, the problem is solved.

–       Call it out, straight away, even if it is awkward to do so. Don’t feel shame. Use this language: “That is not appropriate – it makes me feel uncomfortable.” Empower yourself and others. Stand up for yourself.

–       No one is alone. Everyone has responsibility to stand up for each other, to call behaviour out and to report it. Do not be a bystander.

–       Every organisation signs up to leading an active sexual harassment policy. Make it a living policy. It should be based around workshops and scenarios to clarify the so-called grey areas. (See the Royal Court Theatre policy, see attached)

–       Once harassment and abuse is proven, it must not be hidden. Boards and organisations cannot conceal it as a reason for dismissal. Challenge confidentiality – why is it needed and who is it protecting.

 

Reporting

–       Freelancers must be empowered to use the same reporting structures as staff. Also use ITC, UKT, SOLT, Equity, BECTU, Stage Directors UK, Federation of Drama Schools, Arts Council England, and other industry bodies.

–       Have an open, clear reporting structure. There should be three possible structures to report to across an organisation. As well as line mangers and senior management, use peers and trusted colleagues – everyone in the organisation is responsible.

–       Talk to colleagues in other theatres or companies to support your process if you need to.

–       Logging behaviour is important, even if no further action is wished for. This way patterns are picked up.

–       We understand these reporting structures are not available to everyone and we will work with the industry to create clear places to report and get advice going forwards.

–       The industry must develop a model for dealing with historic cases.

–       (See the Royal Court Theatre policy, attached, for a reporting model).

Raising Awareness

 –       Induct all staff, freelancers, casting directors, actors, stage managers, crew on their first day of work into the policy and code of behaviour. They should sign that this has happened.

–       Run annual workshops with staff led by trained facilitators. Use scenarios and language.

–       Consult with freelancers. (The Royal Court Theatre will be holding a freelancer session in January 2018). Encourage them to use theatre buildings for their one-to-one meetings.

–       Recognise the blurred boundaries between work and social spaces. Don’t exploit them.

–       Interrogate the stories and representations we put on stage. We are in the business of representing the world. Take responsibility. Make it equal.

–       Engage in a robust conversation between drama schools and industry – to tool up students – acting, stage management, technical, directing, writing, producing – to be confident, empowered and appropriate. (Since Saturday the Royal Court Theatre is in positive dialogue with Mountview and the Federation of Drama Schools in advance of their next consortium meeting).

Breadth and Scope

–       Theatre is an art form – the work can and should be challenging, experimental, exploratory and bold. Artistic freedom of expression is essential but the creative space must be a safe space.

–       The theatre industry is broad: it involves an intimate, rigorously personal system of drama training, it involves office work, auditions, rehearsals, crewing, late night working, bars, parties and public-facing frontline work, ambitious young people.

–       The industry includes commercial producers and theatres, not-for-profit publicly funded, touring and fringe companies, presenting venues, festivals – all have different contexts and resources.

–       A policy needs to speak to this scope of practice, and recognise particular areas of risk.

–       Drama students, freelancers, early career artists, actors at all stages of their career, ushers and bar staff, and core junior staff are all vulnerable to abuses of power.

–       Recognise that abuses of power can happen across diverse gender and working relationships.

–       Take responsibility and empower across the scope. Write a policy that fits.

Patterns and Scenarios

–       Of our 150 stories, 126 related directly to experiences in our industry.

–       21.3% were incidents which happened in rehearsals or backstage.

–       16% were sustained inappropriate sexual comments over a period of time during a production or in a workplace.

–       14% happened at drama schools between tutors and students.

–       13.3% happened at work parties – press nights, birthdays, end of the run, Christmas, in the pub or at dinner, with alcohol. In the Town Hall meetings this blurred social context came up many times.

–       10% happened in interviews or auditions for jobs.

–       9.3% happened when invited or taken into an abuser’s home.

–       7.3% happened in an office context.

–       (The remaining 8.6% were “other” – witnessed, online, conference)

–       That 51.3% of the stories submitted took place in rehearsals, backstage, in drama schools, or involved sustained verbal abuse suggests significant change needs to happen in institutional culture.

–       There were 11 accounts of rape.

Some suggested codes of behaviour to avoid these patterns and protect the areas of risk (this is only a beginning):

–       It is never appropriate for someone in a junior role to be asked by someone in a senior role to work outside hours in their private home.

–       It is never appropriate to verbally sexually objectify anyone’s body in a rehearsal room or theatre.

–       It is never appropriate for an actor to be made to feel vulnerable through nudity, undress or costuming.

–       It is never appropriate to send overly personal or suggestive communications to a junior colleague.

–       It is never appropriate to initiate unwanted intimate physical contact.

–       It is never appropriate to push people to share their personal experiences to deepen the work. If it is offered, it has to remain within the trust of the working room.

Royal Court Theatre Artistic Director Vicky Featherstone programs day of events in response to the Weinstein revelations

Vicky Featherstone
Vicky Featherstone

Vicky Featherstone

Vicky Featherstone, Artistic Director Royal Court Theatre;

 “Following last week’s revelations concerning Harvey Weinstein it is time to confront the abuses of power that have been occurring in our own industry for years.

I tweeted last week to ask what we should be doing and I was overwhelmed by the open and candid response from the many people who got in touch with me, sharing their stories and suggesting courses of action. What shocked me most was how many of those who approached me were fearful they’d be named and also of the significant negative implications speaking out could have for them. Despite those fears they wanted to have their voices heard to prevent such abuses happening to those coming after them. 

 Having set up and led major arts organisations over the last 20 years I have always had very clear policies on how to manage such abuses of power and how to empower my staff to have the confidence in dealing with and reporting such issues.

 Last year at the Royal Court we had a company-wide meeting – a Town Hall, on sexual harassment in the theatre. The outcome of this session was a mutually agreed verbal code of conduct that all Royal Court staff are very clear on. One which eliminates the so-called grey areas that so often allow people to get away with abuses of power. That session gave those who are subject to such abuses clear avenues to confidently take further action. 

 Sexual harassment, predominately carried out by those in power to people in positions junior to them, is systemic. It is across every part of our society.  If it is not dealt with in an open way we have no hope of change, and change must happen.

 On Saturday 28 October, 2017 we will be holding two events – an industry-wide Town Hall session, to pass on what we have learnt and the policies we agreed on from it, and to learn best practise from our peers. And a sharing – where those of you who wish to have your stories heard can have a space for them to be told. This event will be curated by Royal Court Associate Director Lucy Morrison drawing on the input of many of you who have so brilliantly offered up your support.

 The Royal Court exists to tell the stories that are otherwise unheard. We have therefore created an online forum where you can safely, and (if you choose), anonymously tell us your stories. Whether you consider it a big or small thing, if someone in a position of power over you has made you feel sexually compromised, or at all uncomfortable, then be brave, tell us what happened. We will take care of your story.

 As Erica Whyman said today in her article in The Stage ‘I have a responsibility to make our theatre a place where none of us needs to think twice before calling out and addressing behaviour that we all already know is unacceptable’

So come on let’s end this bullshit“

#speakout #greyareanomore

For more details on the events mentioned and to tell your story see https://royalcourttheatre.com/whats-on/no-grey-area-your-stories-heard/

Casting announcement for Rita, Sue and Bob Too by Andrea Dunbar

Samantha Robinson, Taj Atwal, Sally Bankes, David Walker, James Atherton & Gemma Dobson

Samantha Robinson, Taj Atwal, Sally Bankes, David Walker, James Atherton & Gemma Dobson

Samantha Robinson, Taj Atwal, Sally Bankes, David Walker, James Atherton & Gemma Dobson Credit: Helen Murray


James Atherton, Taj Atwal, Sally Bankes, Gemma Dobson, Samantha Robinson and David Walker have been cast in Rita, Sue and Bob Too directed by Max Stafford-Clark.

Following its opening at Octagon Theatre from 6 September – 23 September 2017, Andrea Dunbar’s landmark play Rita, Sue and Bob Too will run in the Jerwood Theatre Downstairs, Tuesday 9 January 2018 – Saturday 27 January 2018 as part of a UK tour co-produced by Out of Joint, Royal Court Theatre and Octagon Theatre.

With design by Tim Shortall, lighting by Jason Taylor and sound by Emma Laxton.

Best friends Rita and Sue get a lift home from married Bob after babysitting his kids. When he takes the scenic route and offers them a bit of fun, the three start a fling they each think they control.

Andrea Dunbar wrote her semi-autobiographical play for the Royal Court Theatre in 1982 when she was just 19. It’s a vivid portrait of girls caught between brutal childhood and an unpromising future, hungry for adult adventure.

Told with wicked humour, startling insight and a great ear for dialogue, Rita Sue and Bob Too became a hit film. Max Stafford-Clark, the play’s original director, directs this major new production.

As part of a UK tour Rita, Sue and Bob Too opens at the Royal Court on Tuesday 9 January 2018.

Press night is Monday 11 September at Octagon Theatre Bolton and press are invited from Thursday 11 January 2018 at the Royal Court Theatre.

Commenting on the play, Director Max Stafford-Clark said;

“When Andrea wrote her first two plays, she was a teenager from a rough council estate who’d never been to the theatre. Now, thirty-five years after its premiere, Rita Sue and Bob Too takes its place in the Octagon and Royal Court’s seasons in the role of Classic Play. It’s one of the privileges of my career that Andrea’s astute, fresh and funny writing reached my desk, and it is exciting to bring her vivid, albeit alarming world to life again with these fine actors.”

Biographies:

Andrea Dunbar (Writer)

For the Royal Court: Shirley, Rita, Sue & Bob Too, The Arbor.

Film includes: Rita Sue & Bob Too.

Awards include: The George Devine Award (Rita Sue & Bob Too).

Andrea Dunbar was born in 1961 and brought up on the Buttershaw Estate outside Bradford. She died aged 29 of a brain haemorrhage, and is survived by her three children.

Max Stafford-Clark (Director)

For the Royal Court: King Lear, Top Girls (& West End), My Heart’s A Suitcase, Serious Money (& West End), Our Country’s Good (& West End), Rita, Sue & Bob Too, Three Birds Alighting on a Field, Tom & Viv.

For the Royal Court & Out of Joint: Shopping & Fucking, Three Sisters (& Bristol Old Vic), Bang Bang Bang, Duck, Talking to Terrorists, The Queen and I, The Steward of Christendom, The Libertine.

For Out of Joint: The Permanent Way, She Stoops to Conquer, A Laughing Matter, Our Lady of Sligo (& National); Feelgood (& Hampstead/West End); Macbeth; This May Hurt A Bit (& Octagon, Bolton); The Big Fellah (& Lyric, Hammersmith), All That Fall.

Other theatre includes The Seagull (Culture Project, NYC); The Breath of Life (Sydney Theatre Company); A Jovial Crew, The Country Wife, The Wives’ Excuse (RSC); Fanshen, The Speakers (with William Gaskill), Light Shining in Buckinghamshire, Cloud 9 (Joint Stock).

Radio includes: All That Fall, Talking To Terrorists

Max is Out of Joint’s founding Artistic Director, former Artistic Director of both the Royal Court Theatre and the Traverse Theatre and co-founder of Joint Stock Theatre Group.

James Atherton (Bob)

Theatre includes: Crocodiles (Royal Exchange, Manchester); Wallenstein (Chichester Festival); Treasure Island (West End).

Television includes: Hollyoaks, Coronation Street, Casualty, Doctors, Inspector George Gently, Joe Maddison’s War, Midsomer Murders, Babs, Porters.

Film includes: Macbeth.

 Taj Atwel (Rita)

Theatre includes: Educating Rita (Hull Truck); East is East (West End); All Our Daughters (New Vic/UK tour); Small Fish Big Cheese (Unicorn); Don Juan in Love, The Wind in the Willows (The Scoop Air Theatre).

Television includes: No Offence, In the Club, Breaking the Code, Stella, Moving On, Kitten Chic, Miranda, In with the Flynns.

Film includes: A.K.A. Nadia, Puja Nights, Behind the Green Curtain.

Radio includes: Floor 13.

Sally Bankes (Mother)

Theatre includes: The Two Noble Kinsman, The Rover, Seven Acts of Mercy, The Winter’s Tale (RSC); East is East (West End); That Day We Sang, Everybody Loves a Winner (Royal Exchange, Manchester); The Rise & Fall of Little Voice (Octagon, Bolton); Waiting for Gateaux (Theatre Royal, Lincoln/UK tour); Zombie Prom (Landor); Acorn Antiques (UK tour); Spending Frank (Slyboots); Shakers (Gambolling Arena);The Glass Menagerie, Don’t Dress for Dinner, Lost in Yonkers (SDC Productions).

Television includes: Our Zoo, Pompidou, Mount Pleasant, Prisoner’s Wives, The Signing Detective, It Takes a Village, Doctors, World Without End, In With the Flynns, Titanic, Hollyoaks, White Van Man, Semi-Detached, Hoof & Safety, Nuzzle & Scratch, Jinx, Scallywagga 2, Guantanamo Phil, Tess of the D’Urbervilles, Heartbeat, Two Pints of Lager and a Packet of Crisps, MI High, Tittybangbang!, Housewife 49, Where the Heart is, Little Britain, Absolute Power, Twisted Tales, 15 Storeys High, Margot Leadbetter – Life Beyond the Box, Coronation Street, Fat Friends. 

Film includes: Habit, Stabat Mater, Line of Fire, Trained, Chicken Tikka Masala, Redemption Road, When It All Comes Down.

Gemma Dobson (Sue)

Television includes: In the Club 2, Brief Encounters.

Gemma trained at the Manchester School of Acting. Rita, Sue and Bob Too is Gemma’s professional stage debut.

Samantha Robinson (Michelle)

Theatre includes: Screwed (503); Educating Rita (Mercury, Colchester); The Grand Gesture (Northern Broadsides); Can’t Stand Up For Falling Down, Order (Lantern); The Phoenix of Madrid (Theatre Royal, Bath); Dead Heavy Fantastic (Liverpool Everyman); Hansel & Gretel (The Core); The House of Bernada Alba (Nuffield, Southampton); Proper Clever (Liverpool Playhouse); Three Sisters On Hope Street (Hampstead); The Tempest (Royal Exchange, Manchester); The Three Musketeers (Bristol Old Vic/New Vic); A Taste of Honey (Oldham Coliseum/UK tour); The Laramie Project (Sound, Leicester Square); The Lemon Princess (West Yorkshire Playhouse/Caird Company); Untouchable (Bush); Song of the Western Men (Chichester Festival).

Television includes: Little Boy Blue, Doctors, Cilla, Casualty, Five Days, Holby City, Shameless, The Girls Who Came to Stay, Island at War.

Film includes: The Fantasist, Sixty Six.

Radio includes: Queens of Noise, Shout to The Top, The Believers, Life with Lisa, Evaristo’s Epitaph.

David Walker (Father)

Theatre includes: The Debt Collectors (& Reform), Me & Me Dad (Harrogate); Hangmen (West End); Grass (Hard Graft); Seconds Out, Bouncers, Stand, Up ‘n’ Under (Reform); Loaded (Crucible, Sheffield); Crap Dad (West Yorkshire Playhouse); The Day That Kevin Came, Satin & Steel (Nottingham Playhouse).

Television includes: Emmerdale, The Royal, Doctors, Coronation Street.

 

Listings information:

Royal Court Theatre, Out of Joint and Octagon Theatre Bolton
Rita, Sue and Bob Too
By Andrea Dunbar
Directed by Max Stafford-Clark
Jerwood Theatre Downstairs, Royal Court Theatre, Sloane Square, SW1W 8AS
Tuesday 9 January 2018 – Saturday 27 January 2018

Monday – Saturday 7.30pm

Thursday & Saturday matinees 2.30pm (from 13 January 2018)

Captioned Performance Friday 26 January 2018.
Audio described Matinee Saturday 27 January 2018, Touch Tour at 1pm
Press invited from Thursday 11 January 2018
Post Show Talk 
The Big Idea: In Conversation with director Max Stafford-Clark and cast Tuesday 23 January, 2018

Standard Tickets £12 – £45 (Mondays all seats £12 available from 9am online on the day of performance).
Concessions* £5 off top two prices (available in advance for previews and all matinees)

Under 26s £15 (available across all performances for individual bookers, Bands B and C only)
Access £15 (plus a companion at the same rate)
*ID required. All discounts subject to availability.

Touring 2017-18:
Octagon Theatre Bolton                                   6-23 September 2017 (press night 11 Sep, 7.30pm)
Harrogate Theatre                                              26-30 September
Bristol Old Vic                                                        3-7 October
Liverpool Playhouse                                           10-14 October
Warwick Arts Centre                                          17-21 October
Oxford Playhouse                                                  24-28 October
Royal and Derngate, Northampton              31 October – 4 November
Cast, Doncaster                                                      7-11 November
York Theatre Royal                                              14-18 November
Derby Theatre                                                        21-25 November
Royal Court, London                                           9-27 January 2018 (press from 11 Jan)
Lawrence Batley Theatre, Huddersfield    31 January – 3 February
Theatr Clwyd, Mold                                              6-10 February

LIFT announces Lola Arias’ Minefield to return to Royal Court Theatre ahead of UK Tour

A scene from Minefield by Lola Arias @ Royal Court, Jerwood Theatre, Downstairs. Developed by The Royal Court and LIFT.
(Opening-03-06-16)
©Tristram Kenton 06/16
(3 Raveley Street, LONDON NW5 2HX TEL 0207 267 5550 Mob 07973 617 355)email: [email protected]


In a collaboratively created work with both British and Argentinian veterans, Lola Arias will bring the unanimously acclaimedMINEFIELD back to the UK to a series of venues across the country. With the full original cast, the production will return to the Royal Court Theatre for just 10 performances at the end of the year ahead of a UK tour in 2017/18 that will take it to major cities and military towns across the country.

Widely regarded as a theatrical highlight of 2016, MINEFIELD in a multi-media performance from Argentinian artist Lola Arias that uses archive footage, live feeds, music and projection to present the deeply personal and enduring stories of aftermath of conflict. In her singular style, Lola has worked with veterans Lou Armour, David Jackson, Gabriel Sagastume, Ruben Otero, Sukrim Rai and Marcelo Vallejo to create a production which tells their stories.

Gabriel Sagastume was a soldier who never wanted to shoot a gun, now he is a criminal lawyer. David Jackson spent the war listening and transcribing radio codes, now he listens to other veterans in his role as a counsellor. Marcelo Vallejo was a mortar direction controller, now he is a triathlon champion. Sukrim Rai was a Gurkha and expert with his knife, now he works as a security guard. Ruben Otero survived the sinking of the ARA General Belgrano, now he’s in a Beatles tribute band. Lou Armour was on the front page of every newspaper when the Argentinians took him prisoner on the 2nd April, now he is a teacher for children with learning difficulties.

Lou Armour said ‘What’s driven me to take part in this project is just how beautiful it is. War is awful, it damages not just those on the battlefield but family, friends and wider society. But out of something terrible and ugly has come something very beautiful – a play where humanity and redemption shines through.’

Lola Arias said, ‘War isn’t what interests me, it’s what comes after the war that interests me. What matters to me is what happens to a person who went through that experience. What matters to me is what memory has done, what it has erased, what it has transformed.’

In 2014, LIFT commissioned Lola to produce Veterans, a project commemorating the centenary of World War One. The resulting work was a video series of Argentinian veterans recollecting their involvement in war. This project evolved into the 2016 co-commissioned production of MINEFIELD which premiered at Brighton Festival before transferring to the Royal Court Theatre as part of LIFT ’16.

MINEFIELD was originally commissioned and co-produced by LIFT, Royal Court Theatre, Brighton Festival Universidad Nacional de San Martín, Theaterformen, Le Quai Angers, Künstlerhaus Mousonturm, Maison des Arts de Créteil and Humain Trop Humain / CDN de Montpellier.

The 2017/2018 UK tour of MINEFIELD is part of LIFT’s ongoing commitment to taking pioneering, international work across the UK and follows the recent sell-out tour of DEPART, a site specific contemporary circus performance led by Circa that travelled to parks and cemeteries in Hull, Brighton and Blackpool earlier this year. LIFT is currently working with a new network of producing theatres and UK Festivals to collaborate on international commissions and tours to encourage a greater supply and demand of international work across the UK.

Royal Court Theatre announce cast for Bodies, written By Vivienne Franzmann, directed By Jude Christian

Cast of Bodies

Lorna Brown, Brian Ferguson, Philip Goldacre, Salma Hoque, Justine Mitchell and Hannah Rae have been cast in Vivienne Franzmann’s Bodies directed by Jude Christian. It runs in the Royal Court Jerwood Theatre Upstairs 5 July 2017 – 12 August 2017with press night on Tuesday 11 July 7pm.

With design by Gabriella Slade, lighting & video design by Joshua Pharo, sound design by Helen Skiera and film by Meghna Gupta.

“We should have brought a gift.”

“We’ve brought a gift. It’s called 22 thousand pounds.”

Purchased from Russia. Developed in India. Delivered to the UK.

A global transaction over nine months that offers ‘a lifetime of happiness’ for all involved.

“What do you think will happen to a baby girl in India that nobody wants?”

Vivienne Franzmann (Writer)

For the Royal Court: Pests (& Royal Exchange, Manchester/National tour), The Witness.

Other theatre includes: Mogadishu (Royal Exchange, Manchester/Lyric, Hammersmith/National tour), The Snow Queen (Bristol Old Vic).

Television includes: Coming Up, Lizard Girl.

Radio includes: Mogadishu, Ink Deep, The Witness.

Awards include: 2008 Bruntwood Prize for Playwriting (Mogadishu); 2010 George Devine Award (Mogadishu); 2012 Pearson Bursary (The Witness); 2014 BAFTA (Lizard Girl).

Vivienne was born in London and was a teacher for thirteen years. Her first play, Mogadishu was nominated for an Evening Standard and an Olivier award.

Jude Christian (Director)

As director, for the Royal Court: Lela & Co.

As director, theatre includes: The Darkest Corners (Transform); The Path (Hightide); Blue (RWCMD); Split/Mixed (Summerhall); How Do You Eat An Elephant/Bwyta Eliffant, Sut Mae Gwneud Hynny Dwedwch? (National Youth Theatre of Wales); Happy, The Mushroom (Pentabus Young Writers’ Festival); Punk Rock, Last Easter (RADA); I’d Rather Goya Robbed Me of My Sleep than Some Other Arsehole (Gate, Boom Arts); Balansera (Poole Lighthouse); Sonata Movements (Blue Elephant)

As writer/performer, theatre includes: Nanjing (The Yard)

Opera includes: ©alculated to Death (Tête-à-Tête Festival), Hidden in Plain Sight (Académie du Festival d’Aix-en-Provence)

As Associate Director, theatre includes: Shopping and Fucking, Aladdin (Lyric Hammersmith); Carmen Disruption (Almeida)

Jude is a Creative Associate at the Gate Theatre and an Associate Artist at The Yard Theatre and the Lyric Hammersmith

Lorna Brown (Oni)

For the Royal Court: Torn, Clybourne Park, 93.2FM.

Other theatre includes: Oresteia (Almeida/West End); Little Light (Orange Tree); Medea, Blurred Lines, Damned by Despair, The Cry of the Cricket (National); Crowning Glory, The Big Life, Da Boyz, Funny Black Women on the Edge, Shoot to Win, One Dance Will Do (Theatre Royal, Stratford East); Fear (Bush); Short Fuses (Bristol Old Vic); Once on this Island (Hackney Empire/National Tour); Things of Dry Hours (Royal Exchange, Manchester/Gate); Trade (RSC); The Hommage Behind (West End), Mass Carib (Tour); The Weave (Soho); Anasi Steals (Talawa); Up Against the Wall (Tricycle); Othello (New Vic); Zumbi (National Tour); Once on This Island (West End/Birmingham Rep).

Television includes: Chewing Gum, Holby City, True Love, Outnumbered, Catherine Tate, Doctors, The Bill, The Vivienne Vyle Show, The Ronnie Ancona Show, Much Ado About Nothing, French & Saunders, Family Business, Rough Treatment, Bad Girls, Casualty, Anna Lee.

Film includes: The Lady in the Van, Taking Stock, Les Miserables, World War Z, Gambit, Little Soldier.

Brian Ferguson (Josh)

For the Royal Court Adler & Gibb.

Other theatre includes: A Number (Lyceum, Edinburgh); Oil (Almeida); Anything That Gives Off Light (& The TEAM), Rupture, Snuff (National Theatre of Scotland); The Broken Heart, The Changeling (Globe); Hamlet (Citizens, Glasgow); Threeway (Edinburgh Festival Fringe/Invisible Dot); The Game Show (Bush); The Aztec Trilogy, Richard III, Dunsinane, Shakespeare in a Suitcase (RSC); Money (Arches, Glasgow); Earthquakes in London (National); The Guard (Traverse); The Drawer Boy (Tron).

Television includes: Trust Me, Kiss Me First, Line of Duty, Our World War, Taggart, River City, The Prayer, Doctors, Field of Blood.

Film includes: The Current War, Beats, Imagine That, King, Residue, Voices, The Woods.

Philip Goldacre (David)

Theatre includes: The Reappearance of Christ in the East End (White Bear); Broken Glass (National/West End/UK tour); Great Expectations (Birmingham Rep/Churchill, Bromley); Relatively Speaking (Edinburgh Festival Fringe/UK tour); West (Donmar); Othello (Shaw); St John’s Gospel (Riding Lights/UK tour); Bruegel, Beryllium (Ragamuffin/International tour); Chicken Soup with Barley (New End), Cock Ups (Bridge Lane).

Television includes: The Canterbury Tales, The Bill, Victoria & Albert, Out of This World, Michael Winner’s True Crimes, Brookside, Tucker’s Luck, The Tripods.

Film includes: The Journey of Alfred Small, Boy & Wolf, Snowman, Tomb Raider: Ascension, Wednesday, The Vision.

Salma Hoque (Lakshmi)

Theatre includes: East is East (ATG/UK tour); Multitudes (Tricycle); Drawing the Line (Hampstead).

Television includes: Doctors, Fam, Holby City.

Justine Mitchell (Clem)

For the Royal Court: Gastronauts, The Stone.

Other theatre includes: The Resistible Rise of Arturo Ui, King Lear (Donmar); Wild Honey (Hampstead); The Plough & the Stars, Detroit, Children of the Sun, The White Guard, The Hour We Knew Nothing of Each Other, Philistines, The Coram Boy, The House of Bernada Alba, Night Season (National); For Services Rendered (Chichester Festival); Love for Love, Twelfth Night (RSC); Man – Three Plays by Tennessee Williams (Young Vic); The Rivals (Arcola); Mr Burns (Almeida); Nocturnal (Gate); Uncle Vanya (Young Vic); Boston Marriage, Hedda Gabler, Footfalls, Pride & Prejudice, Blithe Spirit, Bash (Gate, Dublin); Three Sisters, Aristocrats, Shape of Metal, She Stoops to Conquer, The House of Bernarda Alba, All My Sons (Abbey, Dublin); The Way of All Flesh (Bewley’s Dublin); A Midsummer Night’s Dream (Nottingham Playhouse); A Streetcar Named Desire, The Importance of Being Earnest, Hayfever, A Voyage Round My Father (Pitlochry); A Christmas Carol (Communicado); This Misanthrope (Borderline).

Television includes: The Suspicions of Mr Whicher, Harry & Paul, Amber, Afterlife, Doctors, Joyball, New Tricks, Psych Ward, Sleep with Me, The Painted Lady, Waking the Dead, Wild at Heart, Your Bad Self.

Film includes: The Stag, I Want Candy, A Cock & Bull Story, Imagine Me & You, Inside I’m Dancing, Citizen Verdict, The Honeymooners, Goldfish Memory, Conspiracy of Silence.

Radio includes: Regenerations, Seasons of Fear.

Hannah Rae (Daughter)

Theatre includes: Great Expectations (Rose, Kingston); A Midsummer Night’s Dream (Stag, Sevenoaks); Limit to Your Love (Magic Beans); Romeo4Juliet (MB Productions).

Television includes: Broadchurch.

Film includes: Fighting with My Family, City of Tiny Lights.

Hannah is currently training at Central School of Speech and Drama.

Listings Information:

Bodies
By Vivienne Franzmann
Directed by Jude Christian
Jerwood Theatre Upstairs, Royal Court Theatre, Sloane Square, SW1W 8AS
Wednesday 5 July – Saturday 12 August 2017
MondaySaturday
7.45pm
Thursday & Saturday matinees 3.00pm (from 13 July)
Captioned Performance 8 August 7.45pm

Press night: Tuesday 11 July 7.00pm

Age Guidance 14+
Standard Tickets £25 (Mondays all seats £12, available from 9am online on the day of performance)
First Look Tickets**
£15 – £20 (Wednesday 5 July – Friday 7 July)

Concessions* £5 off (available in advance for previews and all matinees)

Under 26s* £15 (available in advance for previews and all matinees)

Access £15 (plus a companion at the same rate)
*ID required. All discounts subject to availability.

 

The Royal Court Theatre announces performers for Manwatching by an anonymous woman

Comedians presented in alphabetical order
Comedians presented in alphabetical order

Comedians presented in alphabetical order

Will Adamsdale, Rob Beckett, Danny Brown, Adam Buxton, Nick Frost, Phill Jupitus, Miles Jupp, Funmbi Otomayo, John-Luke Roberts, Sunil Patel, Romesh Ranganathan, Arthur Smith, Mark Thomas, Thom Tuck, Phil Wang and Liam Williams will be performing MANWATCHING. Written by an anonymous woman and performed by an unprepared man MANWATCHING is directed by Royal Court Associate Director Lucy Morrison with Lighting Design by Jamie Spirito. Like each comedian, audiences will also be unprepared, only finding out who is performing on the night itself. MANWATCHING runs from 10 – 20 May 2017 in the Jerwood Theatre Upstairs.
There is no press night for MANWATCHING, press are invited in from 11 May 2017.

MANWATCHING is a funny, frank, and occasionally explicit insight into heterosexual female desire, read out by a man. The show begins with a male comedian being given a script they have never seen before. They read the script out loud, sight unseen, in front of an audience. This is a show about what one woman thinks about when she thinks about sex with men.

Commenting on the project the anonymous female writer states;

I have been thinking about what it means to be objectified, and whether or not that is really tied to desire or power. Although men are objectified by other men, I was at a loss to think of many examples of men being objectified by women, and the examples I could think of were quite complicated – frequently involving the man’s profession rather than appearance (in Sex and the City, for example, men are usually referred to in shorthand by whatever job it is they do rather than how they look or act), or their dominance was the source of objectification. Even though many women desire men, the most basic elements of that desire seemed oddly unexplored.  

So I thought, who better to give the words of a woman desiring men to, than the voice of a man, as it’s so much more comfortable and familiar for us to hear about desire through the male perspective?

MANWATCHING will also be performed by Tommy Tiernan at MAC, Belfast on 16 June 7.45pm. Further tour dates to be announced.

For biography information on all of the performers see below.

A limited number of extra tickets have been released for all performances https://royalcourttheatre.com/whats-on/manwatching/

Biographies:

The anonymous woman’s work includes a lot of stuff that can’t be disclosed as she chooses to remain anonymous.

Lucy Morrison (Creative Director)

For the Royal Court: Plaques & Tangles, Live Lunch Series, Who Cares, Pests, Product (&Traverse/European tour).

Other theatre includes: Billy the Girl, This Wide Night (Clean Break/Soho); Little on the Inside (Clean Break/Almeida/Latitude); it felt empty when the heart went at first but it is alright now (Clean Break/Arcola); Fatal Light, Doris Day (Soho).

Lucy is Associate Director at the Royal Court.

Will Adamsdale:

https://royalcourttheatre.com/cast/will-adamsdale/

Rob Beckett:

https://royalcourttheatre.com/cast/rob-beckett/

Danny Brown:

https://royalcourttheatre.com/cast/danny-brown/

Adam Buxton:

https://royalcourttheatre.com/cast/adam-buxton/

Nick Frost:

https://royalcourttheatre.com/cast/nick-frost/

Phill Jupitus:

https://royalcourttheatre.com/cast/phill-jupitus/

 

Miles Jupp:

https://royalcourttheatre.com/cast/miles-jupp/

 

Funmbi Otomayo:

https://royalcourttheatre.com/cast/funmbi-otomayo/

Sunil Patel:

https://royalcourttheatre.com/cast/sunil-patel/

Romesh Ranganathan:

https://royalcourttheatre.com/cast/romesh-ranganathan/

John-Luke Roberts:

https://royalcourttheatre.com/cast/john-luke-roberts/

Mark Thomas:

https://royalcourttheatre.com/cast/mark-thomas/

Thom Tuck:

https://royalcourttheatre.com/cast/thom-tuck/

Arthur Smith:

https://royalcourttheatre.com/cast/arthur-smith/

Phil Wang:

https://royalcourttheatre.com/cast/phil-wang/

Liam Williams:

https://royalcourttheatre.com/cast/liam-williams/

Listing Information:

MANWATCHING

Written by an anonymous woman
Performed by an unprepared man
Directed by Lucy Morrison

Jerwood Theatre Upstairs, Royal Court Theatre, Sloane Square, SW1W 8AS
Wednesday 10 May – Saturday 20 May 2017

MondaySaturday 8pm & 9.30pm on 11,12, 17, 18, 19, 20 May
Age Guidance 15+ Contains strong language
Standard Tickets £20 (Mondays all seats £12 available from 9am online on the day of performance)
Access £15 (plus a companion at the same rate)
*ID required. All discounts subject to availability.

 

Cast Announced for Anatomy of a Suicide written by Alice Birch directed by Katie Mitchell

Gershwyn Eustache Jnr., Paul Hilton, Peter Hobday, Adelle Leonce, Sarah Malin, Jodie McNee, Hattie Morahan, Kate O’Flynn and Dickon Tyrrell have been cast in Alice Birch’s Anatomy of a Suicide directed by Katie Mitchell. It runs in the Royal Court Jerwood Theatre Downstairs 3 June 2017 – 8 July 2017 with Press Night on Thursday 8 June.

With set design by Alex Eales, costume design by Sarah Blenkinsop, lighting by James Farncombe, music by Paul Clark and sound by Melanie Wilson

 “My mother always said to Live Big.
Live as much as I could.”

Three generations of women.

For each, the chaos of what has come before brings with it a painful legacy.

“I have Stayed. I have Stayed – I have Stayed for as long as I possibly can.”
Anatomy of a Suicide is part of the Royal Court’s Jerwood New Playwrights programme, supported by Jerwood Charitable Foundation.

Alice Birch (Writer)
For the Royal Court: Ophelias Zimmer (& Schaubühne, Berlin), Revolt. She said. Revolt again (& RSC/Soho Rep).
Other theatre includes: We Want You To Watch (National); The Lone Pine Club (Pentabus); Little Light (Orange Tree); Little on the inside (Almeida/Clean Break); Salt (Comedie de Valence); Many Moons (503).
Film includes: Lady Macbeth.
Awards include: George Devine Award (Revolt. She said. Revolt again); International Critic’s Prize (FIPRESCI Prize) at San Sebastian International Film Festival, Critic’s Choice Award for Best First Feature at Zurich Film Festival (Lady Macbeth); Arts Foundation Award for Playwriting.

Writer Alice Birch and director Katie Mitchell discuss Anatomy of a Suicide 

Katie Mitchell (Director)
For the Royal Court: Ophelias Zimmer (& Schaubühne, Berlin), 2071, Ten Billion, The City, The Country, Forty Winks, Nightsongs, Mountain Language/Ashes To Ashes.
Other theatre includes: 4.48 Psychosis (Schauspielhaus, Hamburg); The Maids (Toneelgroep, Amsterdam);Shadows (Eurydice Speaks) Lungs, The Yellow Wallpaper (Schaubühne, Berlin); Cleansed, Women of Troy, Three Sisters, Waves (National); Reisende auf einem Bein, Happy Days, The Rest Will Be Familiar To You From Cinema (Schauspielhaus, Hamburg); Brandstichter Festival (Stadschouwburg, Amsterdam); The Cherry Orchard (Young Vic); The Forbidden Zone (Salzburg Festival/Schaubühne, Berlin); A Sorrow Beyond Dreams (Vienna Burgtheater); Say it with Flowers, The Trial of Ubu (Hampstead); Night Train (Schauspiel, Köln/Avignon Festival/Theatertreffen); Rings of Saturn, Waves (Schauspiel, Köln).
Opera includes: Pelleas et Melisande (Aix en Provence Festival); Lucia di Lammermoor, Clemency (ROH); Pealleas et Melisande, Alcina, Trauernacht, The House Taken Over (Aix-en-Provence Festival); The Way Back Home (ENO/ Young Vic); Le Vin Herbe (Staatsoper, Berlin); Written on Skin (Aix-en-Provence Festival/ROH); Al Gran Sole Carico D’Amore (Staatsoper, Berlin/Salzburg Festival); Orest (De Nederlandse Opera).
Film includes: Untitled Short Film for Warp/Film4, Widowing of Mrs Holroyd, Jenufa, Rough for Theatre 2, The Turn of the Screw.
Katie has been an Associate Director at the RSC, National Theatre and The Royal Court Theatre. She was awarded an OBE in 2009 for services to Drama and has recently been appointed as the Visiting Chair in Opera Studies at Oxford University for 2016-17.

Gershwyn Eustache Jnr
For the Royal Court: a profoundly affectionate, passionate devotion to someone (-noun)
Other theatre includes: The Royale (Bush); The Comedy of Errors, Macbeth on Film (Globe); Home, nut (National); Romeo & Juliet (Custom Practice/UK tour).
Television includes: Britannia, Fortitude, Legends, Peter Pan, Run, New Worlds, Redemptions End.
Film includes: The Yellow Birds, Second Coming, Starred Up.

Paul Hilton
For the Royal Court: Terrorism, Mountain Language.
Theatre includes: Peter Pan, wonder.land (& Manchester International Festival), The President of an Empty Room, Mourning Becomes Electra, Three Sisters, The Oresteia (National); The Cherry Orchard, The Daughter-In-Law (Young Vic); All New People, Riflemind, In Celebration, On The Third Day (West End); Doctor Faustus, As You Like It, A Mad World My Masters (Globe); Polar Bears, The Wild Duck (Donmar); Rosmersholm, The Storm (Almeida); The Homecoming, Les Blancs, Ghosts (Royal Exchange, Manchester); Three Sisters (Oxford Stage Company); The Mysteries: Part I – The Creation, The Mysteries: Part II – The Passion, Romeo & Juliet, The Cherry Orchard, Richard III (RSC); Twelfth Night, A Small Family Business, Stone Free (Bristol Old Vic).
Opera includes: Dr Dee (ENO).
Television includes: Grantchester, The Driver, The Crimson Field, Case Histories, Labyrinth, Silk, Twenty Twelve, The Sinking of Laconia, Room at the Top, Garrow’s Law, Casualty 1909, Robin Hood, True Dare Kiss, The Relief of Belsen, Daziel & Pascoe, Medieval Heist, Trial & Retribution, The Family Man, The Princes in the Tower, Silent Witness, The Last Dragon, The Bill.
Film includes: Lady Macbeth, Swansong, London Road, Wuthering Heights, Klimt.
Radio includes: The Hatton Garden Heist, The Master & Margarita, Hamlet, As You Like It, Julius Caesar, The Old Curiosity Shop, The Brothers Karamazov, Watership Down, St Joan, Earthsea, Pilgrim.

Peter Hobday
Theatre includes: Othello (Globe); Rudolf (West Yorkshire Playhouse); Cleansed, An Oak Tree (National); The Boy Who Never Grew Up, The Little Gardener (Lyric, Hammersmith); The Cherry Orchard, The Way Back Home (Young Vic); Written On Skin (Lincoln Center, NYC); Say It With Flowers (Hampstead).
Television includes: Episodes, The Mimic.
Film Includes: Roses in Winter.

Adelle Leonce
For the Royal Court: Torn.
Theatre includes: In the Night Time (Gate); Light Shining in Buckinghamshire (National); Tipping the Velvet, A Streetcar Named Desire, Woyzeck, Chamber Piece, Glitterland, A Series of Increasingly Impossible Acts (& Tricycle), A Stab in the Dark (Lyric, Hammersmith).
Television includes: Ordinary Lies, DCI Banks, Shameless, Vera, In the Garden.

Sarah Malin 
Theatre includes: The Tempest (Southwark); Measure for Measure, The Cherry Orchard (Young Vic); Buckets, Unrivalled Landscape (Orange Tree); Cuckoo (Unicorn); An Enemy of the People (Just Jones); Blue Sky (Pentabus); Say It With Flowers (Hampstead); Here Lies Mary Spindler, The Penelopiad, Macbeth (RSC); Marianne Dreams (Almeida); Iphigenia at Aulis (National); Pericles (Lyric, Hammersmith); The Cherry Orchard (ETT); The Norman Conquests (Theatr Clwyd); Ring (Soho); Dangerous Corner, Dead Wood (Watermill); The Book of David (Really Useful Group); Grimm Tales (Stephen Joseph); Twelfth Night (Imaginary Forces); The Tinderbox, World on Fire, David Copperfield (New Vic, Stoke); No Way Out (ATC); Madness in Valencia, Hecuba (Gate); The Merchant of Venice (Sherman); The Spanish Tragedy (Old Red Lion); Blavatsky’s Tower (Red Room). 
Television credits include: What Remains, EastEnders, The Children, Wire in the Blood, Silent Witness, Guardian, The Knock, Emmerdale, The Law, The Bill, Every Silver Lining.
Film credits include: Doctor Strange, Heretiks.
Short film includes: School Gates.
Radio includes: Pericles.

Jodie McNee
Theatre includes: The Night Watch, Hamlet, Orpheus Descending, A Taste of Honey (Royal Exchange, Manchester); An Oak Tree, Our Country’s Good, Three Winters (National); Game (Almeida); A Life of Galileo, Written on the Heart, Measure for Measure (RSC); Hobson’s Choice (Regent’s Park Open Air); Canary, When We Are Married, Twelfth Night (Liverpool Everyman Playhouse); The Empty Quarter (Hampstead); When We are Married (West End); The Frontline, King Lear (Globe); Seagull, Knives in Hens, Double Portrait, Jenufer (Arcola); Cymbeline, The Changeling (Cheek by Jowl/Barbican/International tour); Mother Courage, This Happy Breed (ETT); The Burial at Thebes (Playhouse, Nottingham).
Television includes: Little Boy Blue, Britannia, Ripper Street, Criminal Justice, Poirot, The Liverpool Nativity, Shane.
Film includes: Film Stars Don’t Die in Liverpool, The Physician, Collider, One Happy Moment, A Picture of Me
Radio includes: Zola: Blood Season, With Great Pleasure.

Hattie Morahan
For the Royal Court: The City.
Theatre includes: A Doll’s House (Young Vic/West End/BAM, NYC); The Changeling (Globe); The Dark Earth & the Light Sky (Almeida); Plenty (Crucible, Sheffield); The Real Thing (Old Vic); Time & the Conways, Some Trace of Her, The Seagull, Iphigenia at Aulis, Power (National); Family Reunion (Donmar); See How They Run (ACT/UK tour); Twelfth Night (West Yorkshire Playhouse); Singer (Tricycle/Oxford Stage Company); Arsenic & Old Lace (Katherine Dore Management/West End); The Circle (TEG/UK tour); Night of the Soul, The Prisoner’s Dilemma, Hamlet, Love in a Wood (RSC).
Television includes: Inside No. 9, My Mother & Other Strangers, The Outcast, Ballot Monkeys, Arthur & George, The Bletchley Circle, Law & Order, Midsomer Murders, Eternal Law, Outnumbered, Lewis, Money, Lark Rise to Candleford, Marple, Trial & Retribution, Bikesquad, Sense & Sensibility, Bodies, New Tricks, Peacock Spring.
Film includes: Beauty & the Beast, Mr Holmes, Alice through the Looking Glass, The Visit, Summer in February, Having You, The Golden Compass, Out of Time, Good Boy, Love Hate.
Radio includes: Three Sisters, Book of the Week – Charlotte Bronte: A Life, The Barchester Chronicles, Dystopia: Drowned World, Welcome to Out Village – Please Invade Carefully, The Indivisibles, The Uninvited Guests – Book At Beachtime, The Harpole Report, The Tenant of Wildfell Hall, Otherwise Engaged, All That I Am, Something Understood, The Comic Illusion, The Squire’s Daughter, A History of the Mind, The Artist is Thinking, Edward II, The Doll – Daphne Du Maurier Stories, Serious Money, The Tiger’s Wife, The Art of Deception, Direct Red, Miss MacKenzie, With Great Pleasure, I Claudius, A Month in the Country, Sister, My Own Private Gondolier, Words & Music, The Twyborn Affair, Chronicles of Ait, Forgiveness, Overtime, Plenty, Spellbound, Trevor’s World of Sport, What I Think of My Husband, When Greed Becomes Fear. 

Kate O’Flynn
For the Royal Court: The Ritual Slaughter of Gorge Mastromas, A Miracle.
Theatre includes: The Glass Menagerie (West End/Edinburgh International Festival); The Trial (Young Vic); A Taste of Honey, Port (National); Lungs, The Sound of Heavy Rain (Paines Plough/Crucible, Sheffield); Marine Parade (ETT); The Whisky Taster (Bush); House of Special Purpose (Minerva, Chichester); See How They Run, The Children’s Hour (Royal Exchange, Manchester).
Television includes: No Offence, Father Brown, Doctor Thorne, Not You Again, Ordinary Lies, New Tricks, Room at the Top, Playhouse Presents: The Snipist, Above Suspicion, The Syndicate, The Suspicions of Mr Whicher, Kingdom, The Palace, Trial & Retribution, Heartbeat.
Film includes: Bridget Jones’ Baby, Mr. Turner, Up There, Happy Go Lucky.
Awards include: Manchester Evening Standard Award for Best Newcomer (The Children’s Hour); TMA Award for Best Supporting Actress (The Children’s Hour); Critics’ Circle Award for Most Promising Newcomer (Port).

Dickon Tyrrell
For the Royal Court: Harvest.
Other theatre includes: Twelfth Night, The Oresteia, Measure for Measure, Othello, Doctor Scroggy’s War, Julius Caesar, Henry VIII, Anne Boleyn, Hamlet, Romeo & Juliet, King Lear, The Duchess of Malfi, The Knight of the Burning Pestle (Globe); Rutherford & Son (Northern Stage); The Romans in Britain (Crucible, Sheffield); Major Barbara (Peter Hall Company/West End); The Merchant of Venice, Richard III, Henry IV Parts 1 & 2, Richard II, Julius Caesar, The Devil is an Ass (RSC).
Television includes: Law & Order, The Bill, The Trial of Tony Blair, Coronation Street, Rough Crossings, Aberfan, Doctors, Peak Practice, Harry, Spender.
Film includes: The Isle.

Listings Information:

Anatomy of a Suicide
By Alice Birch
Directed by Katie Mitchell
Jerwood Theatre Downstairs, Royal Court Theatre, Sloane Square, SW1W 8AS
Saturday 3 June – Saturday 8 July 2017
Monday – Saturday
7.30pm
Thursday & Saturday matinees 2.30pm (from 10 June)
Captioned Performance 4 July 7.30pm
Press Night 3 June 7pm

Audio Described Performance 1 July 7:30pm

Age Guidance 14+
Standard Tickets £12 – £45 (Mondays all seats £12 available from 9am online on the day of performance)
First Look Tickets** £12, £16, £25, £35
Concessions* £5 off top two prices  (available in advance for previews and all matinees)

Under 26s £15 (available across all performances for individual bookers, Bands B and C only)
Access £15 (plus a companion at the same rate)
*ID required. All discounts subject to availability.

Interview: Director Sam Pritchard on Pygmalion, regional theatre, ketchup and more

Sam Pritchard
Sam Pritchard

Sam Pritchard

I had a chat with Sam Pritchard. Sam is the very bold Associate Director (International) at the Royal Court and was winner of the JMK Award for Directors in 2012. His credits include Anna (Aix Opera Festival/ENOA Workshop), There Has Possibly Been An Incident (Royal Exchange and Edinburgh St Stephens/Soho Theatre/Berlin Theatertreffen), Buy Nothing Day (Company of Angels), Fireface (Young Vic) and Galka Motalka (Royal Exchange). He will be directing Guillermo Calderon’s play B for the Royal Court in September 2017.

He has directed a radical new staging of Bernard Shaw’s acute comedy Pygmalion for Headlong, a poignant tale of two opposites, Henry Higgins and Eliza Doolittle, trying to find a common language.

Anyway, last week many thought I had lost my mind when I ran a twitter poll asking: ‘Do you keep your ketchup in the fridge?’ * See photo below*

Ketchup Poll

Ketchup Poll

In fact it was an elaborate way of enriching this ‘content’. So there you go.
But does Sam keep his ketchup in the fridge? Well…

Have you had a good week? 
“Good – It’s been pretty busy – I have a full-time job which is as an associate at the Royal Court –  I work mostly with international playwrights there isn’t really and average week – so much of our work here or with playwrights is about working on the development of their work, listening to them and discussing work that we have received. I’m currently in Bath and looking forward to catching up with the cast and team – I have never been to Bath, I know it has a classic proscenium-arch and I’ve heard is a brilliant space.”

Pygmalion

Pygmalion. Click on the image to book your tickets for Pygmalion

Do you read the Pygmalion Reviews? Some were quite good weren’t they. 
“I do read some of the reviews – I think there is an interesting thing that comes with Headlong as a touring company that a show gets engaged with at different points in different places. And I think the company have certainly found that to be the case, that different audiences across the country have had really different experiences. For me the aim has been to respond to the impulse I had in my first engagement with the play, when I first sat down to read it. It felt like a really radical piece of work. Much more so than we usually think. I thought about its relationship to us now. It’s an extraordinarily front footed and in some ways populist piece of writing about class and identity in Britain – I think that’s what Shaw wrote. Our response isn’t traditional but it flows from that.”

How important are your relationships with the creative team? 
I think all of those creative relationships are entirely crucial whether that’s with set and costume designer or lighting and video designer; in the case of this show a cinematographer or sound designer. Those relationships were key in terms of growing the world and aesthetic from that initial impulse into the show that we all made together. This is a play about language, how we hear, see and feel it and all of those design elements needed to deliver that.”

You were the winner of the JMK Award for Directors in 2012, how helpful was that in terms of your career trajectory?
“The extraordinary thing about that process and the opportunity it offers is being able to make a piece of work that you’re passionate about. It’s not about working on other peoples’ shows or developing your practice in a theoretical way. It’s about doing the actual thing itself. Which is invaluable.”

Do you see regional theatre as something that is in decline? 
“As someone who lives in London I feel totally underqualified to comment on the state of regional theatre. I lived and worked in Manchester at the Royal Exchange for three years at the beginning of my career. And my experience of that theatre and city has always been that there is a thriving and distinctive and different theatre ecology there. Our experience with Pygmalion has been really positive. Shaw feels like a very audience facing artist. He’s up for a conversation, an argument and a debate with his audience and the play is a brilliant mixture of the comic and the darkly political. It feels to me as though audiences have really engaged with that across the tour.”

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How have audiences responsed to Pygmalion across the country? 
One of the interesting things we set out to do with this show was to try to engage with our contemporary political life through a classic play. We’re really comfortable with the reinvention of classic European and American plays in this country now. But our own canon hasn’t been re-examined in quite the same way. It felt like this was a brilliant opportunity to do that – with a writer who has much more that’s radical to say about inequality and the way language and culture contribute to that divide. And from my experience of watching the show, it’s been interesting to see audiences engage with that. To find some of this story much more disturbing to a contemporary ear than it is funny.

Anything that you’d like to add? For example – Do you keep your ketchup in the fridge etc, etc, and so on. 
“Wow… You saved your most incisive question for last. Yes. Well, I think I do because it was kept in the fridge when I was a child. I will re-examine my decision. Hm.”

Pygmalion by Headlong is on tour and hits Oxford Playhouse from Tue 18 to Sat 22 April 2017It then makes its way to NTS Campus, Nuffield Southampton Theatres from Tue 25 April to Sat 13 May 2017.
Tickets: Oxford

Tickets: Southampton

023 8067 1771

www.nstheatres.co.uk