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Tape Face (formerly The Boy With Tape on His Face) is coming to the Garrick Theatre in London’s West End for a 7 week season following his debut tour of America

Tape Face

TAPE FACE

SEVEN WEEK WEST END SEASON SUMMER 2017

 Venue:             Garrick Theatre,

2 Charing Cross Road, London, WC2H 0HH

Dates:               Tuesday, 6th June to Saturday, 22nd July 2017

Time:               7.30pm (Saturday Matinees – 3.00pm)

Box Office:       0871 297 0777

Online:             www.tapeface.tv / www.tapefacelondon.com

 ENDLESSLY INVENTIVE, HYSTERICALLY FUNNY.” ««««« Time Out

Following a stunning 2016 – during which he made his debut in Las Vegas, reached the Final of America’s Got Talent, completed a sold-out 52 date tour of some of the UK’s most iconic venues and successfully persuaded Mel B to wear a toilet seat on her head live on American TV in front of an audience of over 14 million! – Tape Face is proud to announce his highly anticipated seven-week season in London’s Garrick Theatre in 2017.

This is the show the world can’t stop talking about.

CLICK HERE TO BOOK YOUT TICKETS FOR TAPEFACE

A TRULY MAGICAL EXPERIENCE” ««««« Chortle

The West End 2017 Season promises to be a bigger, brighter and more theatrically spectacular re-imagining of everything Tape Face’s fans have come to expect from his much-loved brand of silent comedy.  This truly is for everyone so be prepared to get immersed in a comedy world unlike any other.  Visually stunning, heart-stopping, and sublime – you’ll laugh, you’ll cry, and when it’s over you’ll be completely lost for words.

THIS BOY IS GOING PLACES” ««««« Times

Sam Wills’ creation is totally unique – a multi-award winning, multi-hyphenate spectacle that needs to be seen to be believed as he conjures uproarious, moving tableaux using only the most everyday objects and popular songs.

AS TIMELESS AS IT IS WORDLESS, AS DISARMING AS IT IS FUNNY” «««« Guardian

Tape Face accesses the inner child in everyone. Through simple, clever and charming humour, he has created one of the most accessible and enjoyable shows the world has ever seen. Drawing on a heritage that includes silent film, mime, magic, puppetry, Motown and the films of Patrick Swayze, he is a pensive, curious soul approaching every object and audience member as a potential friend – or plaything. Since Tape Face’s ‘birth’ his shows have sold out around the world during which time he has become a critically acclaimed silent sensation with Simon Cowell comparing him to a modern Charlie Chaplin.

www.tapefacelondon.com

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National Theatre presents the UK premiere of OSLO at the Lyttelton Theatre transferring to the Harold Pinter Theatre, in the West End

Oslo

The National Theatre today (6 April 2017) announced the UK premiere of Lincoln Center Theater’s critically acclaimed production of OSLO, a gripping new play by J T Rogers, directed by Bartlett Sher which is currently in previews at the Vivian Beaumont Theater on Broadway. OSLO has a strictly limited run at the NT’s Lyttelton Theatre from 5 to 23 September, and will transfer to the Harold Pinter Theatre in London’s West End from 30 September to 30 December 2017, in association with ATG.

OSLO tells the true story of how one young couple, Norwegian diplomat Mona Juul and her husband, social scientist Terje Rød-Larsen planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organisation, which culminated in the signing of the historic 1993 Oslo Accords. Featuring dozens of characters and set in locations across the globe, OSLO is both a political thriller and the personal story of a small band of women and men struggling together – and fighting each other – as they seek to change the world. (Mona Juul is currently the Norwegian Ambassador to the UK – the first woman to occupy the role.)

J.T. Rogers (Color)

J.T. Rogers (Color) by Rebecca Ashley

NT Director Rufus Norris said: ‘The National Theatre is privileged to have the opportunity to present Lincoln Center Theater’s production of J T Rogers’ extraordinary play, told with passion and humour, about a significant period in our recent political history. We are delighted to be able to share it with our audiences here at the National Theatre on the South Bank, and in the West End.’

Director Bartlett Sher added: ‘OSLO is an exploration of the power of responsible political discourse. As theatre, it brings impossible foes into direct contact with very high stakes. And as a history play, it gave us a chance to explore an important conflict between Israel and Palestine. We can’t imagine a better place to engage in this conversation than the National Theatre.’

Playwright JT Rodgers said: ‘I’m thrilled to return again to the National Theatre, which launched my playwriting career. It’s a privilege to be bringing OSLO to this powerhouse of UK creativity, and direct into London’s West End.’

Lincoln Center Theater’s world premiere production of OSLO played to sell-out houses at the Mitzi E Newhouse Theater in New York in 2016, and is currently in previews for its Broadway opening on 13 April at Lincoln Center’s Vivian Beaumont Theater.

OSLO is written by J T Rogers and directed by Bartlett Sher, with sets by Michael Yeargan, costumes byCatherine Zuber, lighting by Donald Holder, sound by Peter John Still and projections by 59 Productions.

Bartlett Sher

JT Rogers’ previous plays for the National Theatre are Blood and Gifts, which premiered at the Lyttelton Theatre in 2010 and The Overwhelming, a co-production between the National Theatre and Out of Joint. His other plays include Madagascar (Theatre503 in London and Melbourne Theatre Company) and White People (Off-Broadway; Starry Night Productions). He was one of the authors of the Olivier-nominated The Great Game: Afghanistan at the Tricycle Theatre. His plays have been seen across the US, and in Canada, Germany and Israel.

Bartlett Sher makes his directorial debut for the National Theatre with OSLO. His previous work in the UK includesWomen on the Verge of a Nervous Breakdown at the Playhouse in 2015, Two Boys for the ENO and South Pacificfor the Barbican in 2011, and TFANA’s Cymbeline at the RSC’s The Other Place in 2001. His previous work for Lincoln Center Theater includes The King and I, Golden Boy, Joe Turner’s Come and Gone, Awake and Sing!, The Light in the Piazza (Tony nominations); South Pacific (Tony, Drama Desk, Outer Critics Circle awards; also London, Australia); Blood and Gifts, Women on the Verge of a Nervous Breakdown (London). Broadway: Fiddler on the Roof (Broadway Theatre), The Bridges of Madison County (Schoenfeld). Off-Broadway: Prayer for My Enemy (Playwrights Horizons), Waste (Best Play Obie Award), Don Juan, Pericles (TFANA, BAM). Upcoming productions include Adam Guettel’s new musical Millions and My Fair Lady for LCT.

The New York press on OSLO at Lincoln Center Theater:

Crackling theater. A vivid, thoughtful and astonishingly lucid account of a byzantine chapter in international poltics.’ – Ben Brantley, New York Times

‘A fascinating true story. This riveting production is alive with intrigue, humor, and bristling intelligence.’ – David Rooney, The Hollywood Reporter

OSLO Listings Information

National Theatre, Upper Ground, London SE1 9PX

Dates: 5 – 26 September 2017

Performances: Monday to Saturday at 7.30pm, Thursday and Saturday at 2pm

Harold Pinter Theatre, Panton St, London SW1Y 4DN

Dates: 30 September 2017 – 6 January 2018

Performances: Monday to Saturday at 7.30pm, Thursday and Saturday at 2pm

Tickets for the National Theatre performances can be purchased from the NT Box Office.

Tickets for the Harold Pinter Theatre performances can be purchased from the NT and Harold Pinter box offices.

Box Office Information

National Theatre Box Office:

Tickets from £15

Tickets and access bookings:  020 7452 3000

Groups: 020 7452 3010 Option 2 (for NT performances)

Groups: 020 7452 3010 Option 1 (for West End performances)

Online at nationaltheatre.org.uk        

(National Theatre: No fee for online bookings; a £2.50 transaction fee applies to individual tickets purchased by phone.)

Harold Pinter Theatre Box Office

Tickets from £18

Tickets:  0845 871 7615 (calls cost 7p per minute) *

Access: 0800 912 6971

Groups: http://www.atgtickets.com/group-bookings-enquiry-form/

Website: OsloThePlay.com

Bookings made online or over the phone are subject to a £3.50 fee.

#OsloPlay

@OsloPlay 

 

Sara Poyzer, Kate Graham & Jacqueline Braun to play Donna, Tanya and Rosie in “Mamma Mia!” at London Novello Theatre

Sara Poyzer
Sara Poyzer

Sara Poyzer

As “Mamma Mia!” celebrates its 18th London Birthday, booking extends to 3 March 2018 -tickets on sale from Friday 7 April 2017

Fresh from playing Donna Sheridan in the first ever UK Tour of global smash hit musical MAMMA MIA!, Sara Poyzer will be playing the role at London’s Novello Theatre from Monday 12 June 2017, along with fellow Dynamos, Kate Graham as Tanya and Jacqueline Braun as Rosie.

Creator/Producer Judy Craymer is also delighted to be able to announce, on the eve of the musical’s 18th birthday in London (6 April 2017), that the booking period in London will extend to 3 March 2018, with tickets on sale from Friday 7 April 2017.

Sara Poyzer’s other recent stage work includes Janet in Northern Broadsides’ UK Tour of Jonathan Miller’s production of Rutherford & Son and Billy’s Mum in Billy Elliot (Victoria Palace Theatre, London).  Kate Graham’s other West End credits include Cherry in Sam Mendes’s production of Charlie and the Chocolate Factor (Theatre Royal, Drury Lane) and Mrs Wilkinson in Billy Elliot(Victoria Palace Theatre).  Jacqueline Braun previously  played Rosie in the first UK Tour of MAMMA MIA!.  She has also played the key roles of Eponine in Les Misérables and Mary Magdalene in Jesus Christ Superstar in Germany and Killer Queen in We Will Rock You in Switzerland.

From Monday 12 June, Georgina Castle will be promoted from the ensemble and First Cover Sophie Sheridan, to playing the role in her own right.  She will be joined by Christopher Jordan-Marshall, making his West End debut as Sky.  Also new to the cast of MAMMA MIA! from 12 June will be Bobbie Little as Ali, Harriet Bunton as Lisa, Damian Buhagiar as Pepper and Nye Rees as Eddie, with Caroline Deverill playing the role of Donna Sheridan at certain performances.  They will be joining Richard Trinder, who plays Sam, Alasdair Harvey who plays Harry and Dugald Bruce-Lockhart who plays Bill.

From West End to global phenomenon, MAMMA MIA! is Judy Craymer’s ingenious vision of staging the story-telling magic of ABBA’s timeless songs with an enchanting tale of family and friendship unfolding on a Greek island paradise.  To date, it has been seen by over 60 million people in 50 productions in 16 different languages grossing more than $2 billion at the box office.  In 2011, it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China.  MAMMA MIA! is currently on its first ever UK Tour, receiving great critical and public acclaim.

MAMMA MIA! originally opened in London at the Prince Edward Theatre on 6 April 1999, before transferring to the Prince of Wales Theatre in 2004.  The musical re-opened at the Novello Theatre in 2012.

The London production of MAMMA MIA!  has been seen by nearly 8 million people, played over 7,500 performances and has broken box office records in all three of its London homes.

Produced by Judy Craymer, MAMMA MIA! The Movie, starring Meryl Streep and Pierce Brosnan, is the highest grossing live action musical film of all time.

With music & lyrics by Benny Andersson & Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. The production is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce & Bobby Aitken, and musical supervision, additional material & arrangements by Martin Koch.

 MAMMA MIA! is produced by Judy Craymer, Richard East & Björn Ulvaeus for Littlestar in association with Universal.

Full casting announced for the Olivier award nominated West End transfer of Our Ladies of Perpetual Succour

Our Ladies of Perpetual Succour

Following a critically-acclaimed opening at the Edinburgh Festival Fringe, subsequent UK tour and sell-out run last summer at the National Theatre, opens in the West End in May 2017 at the Duke of York’s Theatre. Olivier Award-nominated for Best New Comedy and Best Supporting Actress for the entire company, Vicky Featherstone’s smash-hit production of Lee Hall’s adaptation of Alan Warner’s The Sopranos sees Caroline Deyga (Chell), Karen Fishwick (Kay), Kirsty MacLaren (Manda), Frances Mayli McCann (Kylah) and Dawn Sievewright (Fionnula) reprise their roles, with Isis Hainsworth joining the company as Orla. Joining the company on stage are Amy Shackcloth (Musical Director/Keyboard), Lilly Howard (Assistant Musical Director/Keyboard), Emily Linden (Guitar) and Becky Brass (Percussion).

The production opens on 15 May, with previews from 9 May. With tickets from just £10 and all previews priced at £30 and under, over 30,000 tickets will be priced at £30 and under throughout the run.

Our Ladies of Perpetual Succour

Our Ladies of Perpetual Succour

‘Big hearted and enjoyably coarse, but with moments of real poignancy, this is a fearless portrait of adolescence, fuelled by songs and Sambuca.’ Evening Standard

From the creator of Billy Elliot (Lee Hall) comes the uplifting and moving story of six Catholic school girls from Oban, let loose in Edinburgh for the day. Funny, raucous and heart-breaking, Our Ladies of Perpetual Succour is adapted from Alan Warner’s brilliant novel about six young friends on the cusp of change.

Featuring, amongst others, the songs of ELO, Our Ladies is a glorious anthem to friendship, youth and growing up disgracefully.

Prepare thyself for 24 hours of holy chaos. Contains singing, hilarity, sambuca and strong language.

 ‘A high spirited, hilarious, exhilarating and poignant portrait of essentially good, naïve girls having a reckless stab at being bad, and being brave, eager to experience everything life can throw at them and discovering important stuff about themselves and their friendships in the process.’ Mail on Sunday

Winner of a Scotsman Fringe First Award, a Herald Angel Award, a Little Devil Herald Award and a Stage Ensemble Award at the Edinburgh Festival Fringe 2015, the production also received a Tonic Award at the inaugural awards just last week. Our Ladies of Perpetual Succour is a co-production between the National Theatre of Scotland and Live Theatre, and presented in the West End by Sonia Friedman Productions, Scott M. Delman, Gail Berman Theatricals and Tulchin Bartner Productions in association with William Court Cohen, Ashley M. DeSimone & Jeremiah J. Harris.

Lee Hall has been writer-in-residence at the Royal Shakespeare Company and Live Theatre, Newcastle Upon Tyne. His theatre work includes The Pitmen Painters (Live Theatre/National Theatre of Great Britain/Broadway/West End/UK tour, Evening Standard Best Play Award and TMA Best New Play Award), Billy Elliot – The Musical (West End/Australia/Broadway/Chicago, Olivier Award – Best Musical and nine Tony Awards including Best Book) and Cooking with Elvis (Live Theatre/West End). His adaptations include Shakespeare In Love (Noel Coward Theatre), The Barber of Seville (Bristol Old Vic), The Good Hope(National Theatre of Great Britain), Mother Courage (Shared Experience/Ambassadors Theatre), The Adventures of Pinocchio(Lyric, Hammersmith), A Servant to Two Masters (Royal Shakespeare Company/Young Vic), Mr Puntila and his Man Matti(Almeida Theatre) and Leonce and Lena (Gate Theatre). For opera, his work includes an English adaptation of I Pagliacci (English National Opera). Film work includes War Horse and Billy Elliot (Oscar nomination for Best Screenplay). Television work includes Toast, The Wind in the Willows, A Prince of Hearts and Spoonface Steinberg. Radio work includes I Luv You Jimmy Spud (Writers’ Guild Award Best New Play/Gold Sony Award Best New Play/Alfred Bradley Award/Society of Authors Award),Spoonface Steinberg, I Love You, Ragie Patel, The Sorrows of Sandra Saint, Blood Sugar, Aunt Julia and the Scriptwriter, Gristle, Child of the Snow and Child of the Rain, all for the BBC.

Artistic Director of the Royal Court Vicky Featherstone directs – she joined the Royal Court in January 2013. At the Court she has recently directed Cyprus Avenue by David Ireland in the Theatre Upstairs and the Abbey Theatre Dublin, and X by Alistair McDowall in the Theatre Downstairs. Previous directing at the Royal Court includes Zinnie Harris’s How to Hold Your Breath; Molly Davies’s award-winning God Bless the ChildMaidan: Voices from the Uprising; Abi Morgan’s The Mistress Contract; Dennis Kelly’s The Ritual Slaughter of George Mastromas; Ali McDowell’s Talk Show; Nicole Beckwith’s Untitled Matriach Play and The President Has Come to See You by Georgian playwright Lasha Bugadze.  Her other work includes Enquirer, An Appointment with the Wicker Man; 27; The WheelSomersaults (National Theatre of Scotland); The Small Things; Pyrenees; On Blindness; Tiny Dynamite; Crazy Gary’s Mobile Disco; Splendour, and Crave (Paines Plough). She was Artistic Director of Paines Plough 1997-2005 and was the founding Artistic Director of The National Theatre of Scotland 2005-2012. She began her career at West Yorkshire Playhouse and in television.

The National Theatre of Scotland is dedicated to playing the great stages, arts centres, village halls, schools and site-specific locations of Scotland, the UK and internationally. As well as creating ground-breaking productions and working with the most talented theatre-makers, the National Theatre of Scotland produces significant community engagement projects, innovates digitally and works constantly to develop new talent. Central to this is finding pioneering ways to reach current and new audiences and to encourage people’s full participation in the Company’s work. With no performance building of its own, the Company works with existing and new venues and companies to create and tour theatre of the highest quality. Founded in 2006, the Company, in its short life, has become a globally-significant theatrical player, with an extensive repertoire of award-winning work.    The National Theatre of Scotland is supported by the Scottish Government.  www.nationaltheatrescotland.com

Live Theatre is recognised as one of the great new writing theatres on the international stage. Based in Newcastle upon Tyne it is deeply rooted in its local community and produces work as varied and diverse as the audiences it engages with.

As well as championing the art of writing for stage by producing and presenting new plays, Live Theatre finds, nurtures and trains creative talent and uses theatre to unlock the potential of young people.

The theatre is a beautifully restored and refurbished complex of five Grade II listed buildings with state-of-the-art facilities in a unique historical setting including both cabaret style theatre and studio theatres. In 2016, Live Garden, an outdoor performance space, and Live Tales, a centre for children and young people’s creative story writing, were added.

Founded in 1973, Live Theatre is a national leader in developing new strategies for increasing income and assets for the charity. To sustain and extend its artistic programme it has diversified its income streams to include Live Works, the purchase and development of commercial property for rental income; an award winning gastro pub The Broad Chare; The Schoolhouse a hub for creative businesses, and on-line interactive playwriting course www.beaplaywright.com.

Live Theatre is grateful for the support of Arts Council England and the Newcastle Culture Investment Fund through the Community Foundation, and its many other friends and supporters.

For more information visit www.live.org.uk.

OUR LADIES OF PERPETUAL SUCCOUR

Adapted by Lee Hall

From the novel THE SOPRANOS by Alan Warner

Directed by Vicky Featherstone; Music Sourced, Arranged and Supervised by Martin Lowe

Designed by Chloe Lamford; Choreographed by Imogen Knight; Lighting by Lizzie Powell

Sound by Mike Walker

Listings

Sonia Friedman Productions, Scott M. Delman, Gail Berman Theatricals & Tulchin Bartner Productions

in association with William Court Cohen, Ashley M. DeSimone & Jeremiah J. Harris

present

The National Theatre of Scotland and Live Theatre production of

OUR LADIES OF PERPETUAL SUCCOUR

Adapted by Lee Hall

From the novel THE SOPRANOS by Alan Warner

Directed by Vicky Featherstone; Music Sourced, Arranged and Supervised by Martin Lowe

Designed by Chloe Lamford; Choreographed by Imogen Knight; Lighting by Lizzie Powell

Sound by Mike Walker

 

Duke of York’s Theatre

St Martin’s Lane, London, WC2B 4BG

 9 May – 2 September 2017

Press Night 15 May at 7pm

Box Office: 0844 871 7623

Online:  www.ourladiestheplay.co.uk

 

Age 16+ Contains strong language and adult themes

Monday to Saturday 7.30pm, Wednesday and Saturday matinee 2.30pm

Reduced price tickets for preview performances – £10 – £30

Post-Opening: Tickets from £10

30,000 tickets at £30 or under across the run

Premium tickets are available

 

Facebook @OurLadiesLDN

Twitter @OurLadiesLDN 

Instagram @OurLadiesLDN

#OurLadiesLDN

 

Following a critically acclaimed and sell-out run at The Almeida Theatre, Hamlet will transfer to the Harold Pinter Theatre for a strictly limited season from 9 June – 2 September

Andrew Scott in Hamlet
Andrew Scott in Hamlet

Andrew Scott in Hamlet

Olivier Award-winning director, Robert Icke’s (Mary Stuart, The Red Barn, Uncle Vanya, Oresteia, Mr Burns and 1984), ground-breaking and electrifying production of William Shakespeare’s Hamlet, starring BAFTA award-winner Andrew Scott (Moriarty in BBC’s Sherlock, Denial, Spectre, Design For Living and Cock) in the title role, will transfer to the Harold Pinter Theatre, following a critically acclaimed and sell out run at the Almeida Theatre. Hamlet will run for a limited season only from 9 June to 2 September 2017 with press night on Thursday 15 June.

Hamlet is produced by Ambassador Theatre Group (Sunday In The Park With George, Buried Child, Oresteia), Sonia Friedman Productions and the Almeida Theatre (Chimerica, Ghosts, King Charles III, 1984, Oresteia), who are renowned for introducing groundbreaking, critically acclaimed transfers to the West End.

Rupert Goold, Artistic Director, Almeida Theatre said “We’re delighted that with this transfer more people will be able to experience our production of Hamlet. Robert, Andrew, and the entire Hamlet company have created an unforgettable Shakespeare which we’re looking forward to sharing even more widely over the summer in partnership with Sonia Friedman Productions and ATG.”

 Robert Icke, Director (and Almeida Theatre Associate Director) said “It has been such a thrill to work with Andrew and the extraordinary company of Hamlet on this play so far, and I’m delighted we’re going to continue our work on this play in the West End this summer. I’m also extremely proud to be working with the Almeida and our producers, ATG and Sonia Friedman, to be able to present this play in a way that genuinely throws the doors open to a bigger range of audience members. In an increasingly expensive industry, I can’t tell you how brilliant it is for them to commit to having 300 tickets priced at under £30 at every single show.”

 Andrew Scott, playing Hamlet, “I’m so thrilled and honoured to be playing this extraordinary role with these brilliant actors in Rob’s stunning production. We have been overwhelmed with the reaction to our interpretation of Hamlet and I’m so happy that we can share it with a larger audience. This is a play full of heart, compassion and humanity. I’m so happy that we are able to offer 300 tickets for under £30 to every performance in the West End run to allow everybody a chance to see the play.”

The confirmed cast for the transfer of Robert Icke’s production includes Marty Cruickshank (Player Queen), Jessica Brown Findlay (Ophelia), Calum Finlay (Rosencrantz), Joshua Higgott (Horatio),Daniel Rabin (Reynaldo), David Rintoul (Ghost/Player King), Andrew Scott (Hamlet) Juliet Stevenson (Gertrude), Luke Thompson (Laertes), Peter Wight (Polonius), Angus Wright (Claudius)and Matthew Wynn (Bernardo/Player 3/Priest). Further cast will be announced in due course.

Hamlet has design by Hildegard Bechtler, with lighting by Natasha Chivers, sound by Tom Gibbons,and video design by Tal Yarden. The Associate Director is Daniel Raggett. Casting is by Julia Horan.

Multi award-winning Director, Robert Icke, has adapted/directed at the Almeida Theatre Mary Stuart,Uncle Vanya, Oresteia (also West End, and for which Icke won the Critics’ Circle, Evening Standard and Olivier Award for Best Director) and the multi-award-winning 1984 with Duncan Macmillan (also West End as well as playing several UK and international tours, and a forthcoming Broadway run at the newly opened Hudson Theater).

His work as a director includes The Fever at The May Fair Hotel, Mr Burns at the Almeida, Boys andRomeo and Juliet for Headlong. He made his National Theatre debut directing The Red Barn, at the Lyttelton Theatre in October 2016 starring Mark Strong and Elizabeth Debicki.

Full casting announced for new British musical The Wind in the Willows at the London Palladium

The Royal Shakespeare Company present 4th relaxed performance of Matilda The Musical on Sunday 11 June

Matilda The Musical
Matilda The Musical

Matilda The Musical

Following the sold-out success of the previous relaxed performances of Matilda The Musical, the Royal Shakespeare Company will present its fourth at the Cambridge Theatre on Sunday 11 June 2017. Building on the programme of relaxed performances that the RSC has been running in Stratford-upon-Avon since 2013, the RSC is proud to have been amongst the first to adopt and promote the concept. This will be the eighth relaxed performance that the Royal Shakespeare Company has staged to date, and the National Autistic Society and Mousetrap Theatre Projects will again work closely with the RSC, offering full access to the theatre for people with autism and learning disabilities and their families.

The performance provides a relaxed environment, with elements of the production adapted to reduce anxiety or stress. Lighting and sound levels are adjusted to soften their impact and there is a different approach to noise and moving around the auditorium during the performance.  Designated ‘chill-out’ areas are provided outside the auditorium with soft seating and activities for people to use if they want to take a break from being in the auditorium.

The Royal Shakespeare Company is offering tickets at the reduced rate of £25 and £10 which can be booked through the RSC Ticket Hotline or in person at the Cambridge Theatre box office from Tuesday 21 March 2017. All bookers will be sent a visual story to help them familiarise themselves with the plot, characters and the setting before they arrive at the theatre. Detailed event and transport information will also be available from www.matildathemusical.com.

Winner of over 75 major international awards, including 15 for Best Musical, Matilda The Musical has been seen by more than 6.5 million people worldwide. Having swept the board at the 2012 Olivier Awards, winning a record-breaking seven awards, Matilda The Musical has now played in 50 cities worldwide and continues to delight audiences in London, Australia and on tour around North America.

After opening to rave reviews and winning a Sydney Theatre Award for Best Musical in 2015, the Australian production played a sold-out season at Melbourne’s Princess Theatre. In July 2016, the production broke the record by winning all 13 Helpmann Awards for which it was nominated. The tour continues in Perth and to Adelaide before premiering in New Zealand at The Civic in Auckland in August 2017 for a strictly limited season.

Matilda The Musical is produced in the West End by the Royal Shakespeare Company with André Ptaszynski and Denise Wood as Executive Producers. The production was developed with the support of Company Dramaturg Jeanie O’Hare and the RSC Literary Department.

Matilda The Musical is written by Dennis Kelly, with music and lyrics by Tim Minchin, and direction byMatthew Warchus. The production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and the special effects and illusions are by Paul Kieve.

MATILDA THE MUSICAL

Relaxed Performance: Sunday 11 June 3pm

Cambridge Theatre, Earlham Street, WC2H 9H

Bookings can be made via the RSC Ticket Hotline 01789 403 493 (10am-6pm) or in person at the Cambridge Theatre Box Office.

Full casting announced for FOOTLOOSE UK Tour and limited West End season

Joshia Dowen, Hannah Price and Reuven Gershon
Joshia Dowen, Hannah Price and Reuven Gershon

Joshia Dowen, Hannah Price and Reuven Gershon. Click on the image to book your tickets for Footloose The Musical

Full casting is announced today for Footloose: The Musical, which returns next month following a smash-hit 2016 tour. Opening at New Wimbledon Theatre on Friday 21 April, the tour will include a strictly limited West End season at The Peacock, playing for three weeks from Tuesday 12 September 2017.  Full tour schedule attached.

Joshua Dowen will play Ren McCormack, the role immortalised on screen by Kevin Bacon. Joshua’s stage credits include Dogfight at Southwark Playhouse, Cool Rider at the Duchess Theatre and All or Nothing at the Vaults Festival.

CLICK HERE TO BOOK YOUR TICKETS FOR FOOTLOOSE

The cast also features Hannah Price (reprising her performance from the 2016 tour) as Ariel Moore, Reuven Gershon (Let It Be, West End and Broadway) as Reverend Shaw, Lindsay Goodhand (Crazy For You, Watermill Theatre) as Ethel McCormack, Laura Sillett (Grease, International Tour) as Rusty, Connor Going (The Pirates of Penzance, Sh*tfaced Shakesepare) as Chuck, Emma Fraser (The Vaudevillians, Les Enfants Terribles) as Wendy Jo, Gracie Lai (Avenue Q, UK Tour) as Urleen, Tomas Wolstenhome (Once, West End) as Bickle, Dominic Gee Burch as Jeter and Alex Marshall (Buddy, UK Tour) as Wes. The cast also includes Luke Dowling, Grace Lancaster, Laurence Libor, Jamie Ross and Lauren Storer.

They join the previously announced Gareth Gates as Willard and Maureen Nolan as Vi Moore.

Based on the 1984 screen sensation starring Kevin Bacon, Footloose: The Musical tells the story of city boy Ren, who has to move to a rural backwater in America where dancing is banned. All hell breaks out as Ren breaks loose and soon has the whole town up on its feet. Featuring classic 80s hits including Holding Out for a Hero, Almost Paradise, Let’s Hear it for the Boy and the unforgettable title track, Footloose: The Musical is set to take the world by storm once again, bursting with youthful spirit, dazzling dance and electrifying music.

When the film was released in 1984, it became the highest-grossing February release in US film history.  The soundtrack album ended the year-long reign of Michael Jackson’s Thriller at number one and went on to top album charts all over the world, eventually selling in excess of 17 million copies.  Footloose was nominated for a Golden Globe, and both the title song and Let’s Hear It for the Boy received Academy Award nominations. Footloose: The Musical first opened on Broadway in 1998 where it ran for 709 performances, with a London production following in 2006.

Gareth Gates rose to fame through the inaugural series of Pop Idol in 2001, going on to sell over 5 million records worldwide and have hits across the globe. His version of Unchained Melody sold over a million copies in the UK and is the 3rd best-selling single of the Noughties. Gareth is also the youngest ever-male solo artist to debut at number 1.  More recently Gareth has enjoyed a successful career on stage, with credits including Les Misérables, Legally Blonde and Joseph and the Amazing Technicolour Dreamcoat. In 2014 Gareth appeared in the final series of Dancing on Ice, and joined boyband 5th Story as part of ITV’s second series of The Big Reunion, touring arenas with bands including Blue and Five.

Gareth will not appear in Wimbledon and Chester.

Maureen Nolan has been singing with her sisters since she was nine years old, when they became one of Europe’s first girl bands, The Nolans. Best known for their smash hit single I’m in the Mood for Dancing, The Nolans enjoyed phenomenal record sales worldwide, and worked with some of the world’s most respected artists including Frank Sinatra. On stage, Maureen has played Mrs Johnstone in Blood Brothers in the West End and on tour to critical acclaim. She was the fourth Nolan sister to play the role, earning them entry into the Guinness Book of World Records. Other credits include Sadie in Girl’s Behind, Jill in Mum’s the Word and Sarah in The Naked Truth.

Footloose: The Musical has music by Tom Snow and lyrics by Dean Pitchford, and is adapted for the stage by Dean Pitchford and Walter Bobbie. It is based on the original screenplay by Dean Pitchford. It is directed by Racky Plews (American Idiot, West End) with choreography by Matthew Cole, design by Sara Perks and musical supervision by Mark Crossland. It is produced by David Hutchinson and Phillip Rowntree for Selladoor Productions, Tristan Baker and Charlie Parsons for Runaway Entertainment, Jason Haigh-Ellery and Stephen McGill Productions. It is presented by arrangement with R&H Theatricals Europe.

 

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Oberon Books’ James Hogan : “If you’ve been doing this job for thirty years, you’ve seen everything. Flapping doesn’t get you anywhere.”

James Hogan
James Hogan

James Hogan

James Hogan is one of UK theatre’s most captivating—and articulate—independent publishers. His company, Oberon Books, publishes many of today’s hottest contemporary playwrights, as well as a prolific library of works by and about some of the greatest theatre practitioners in history. Hogan is the people’s publisher: widely respected, but unassuming.

We meet at The Ivy Club in London. Hogan is already in the restaurant when I get there – seated in his favourite booth. The restaurant is relaxed and spacious, the furnishings a mix of leather and velvet. He greets me warmly and we talk candidly about the industry, the challenges of publishing in the twenty-first century and more.

Skim his company’s back-catalogue and you find one landmark publication after another; over 1,700 hundred plays and counting. So how did it all begin? “It was back in 1984 – I was part of a play-reading group at Riverside Studios, and it occurred to me that there were very few publishing outlets for young writers,” he explains. “So, I started one. And ever since, it’s been a mixture of love and business… though always the idea was to say yes, not no”.

Oberon Books

Oberon Books

Oberon went on to become one of the UK’s most exciting independent publishing houses specialising in drama and the performing arts. “I started it alone, publishing mainly lesser-known writers at small theatres and theatres in the regions,” he says. “I went outside of London and luckily a lot of writers working in the regions then came into London and we already had them on our list. We did a lot of work with the Glasgow Citizen’s Theatre, I even published a play that premiered in Westcliffe-on-Sea,” he smiles.

Hogan had an altogether different early career. “I began work, at the age of nineteen, in the Foreign Office. I was security-vetted. So, I had to come out and say I was gay. This was pre ’64 and homosexual acts were illegal, because there had been a lot of spies in the news and gay, single men were targeted by the security services,” he tells me. “I was invited – if you want to call it that – to appear before a security panel. The first question, as I barely sat down, was: “Are you homosexual?” I said yes. I was living with a man and in a relationship. It wasn’t an easy time. Soon after, I decided it would be much more comfortable to get out of the Foreign Office and go to another department, so I went to the Department of Trade. It was important to come out because they obviously already knew. So, if I denied it I would have been a security risk – blackmailable. They weren’t out to persecute me – they wanted to know if I was hiding my true identity. That’s all. I didn’t suffer any repercussions.”

I tell him that he strikes me as unflappable. Hogan rolls his eyes. “I’m certainly flappable if someone comes up and kicks my dog Lily; I’d be pretty flappable then and probably throw stones,” he says. “But if you’ve been doing this job for thirty years, you’ve seen everything. Flapping doesn’t get you anywhere.”

Nonetheless, his ardour is apparent when we talk about modern approaches to publishing, getting current work seen and protecting writers’ interests from “unscrupulous” and “nouveau” publishers who demand more rights than they need: “Don’t give online-only publishers exclusive rights to your play. There’s no need to at that level. Generally, publishers only need a LICENCE to publish,” he points out. “The copyright stays with the author ALWAYS. Give yourself a get-out. You may need it. Bigger publishers who offer the full range of sales and promotion support naturally expect an exclusive LICENCE but not copyright. Get an agent if you can, or at least a copy of a typical industry-standard publishing Agreement.”

What you sense in Hogan is an outstanding publisher speaking up for his clients, past, present and future. He gives every writer exactly the attention they need, and Oberon is driven by the tangible, on-the-ground concerns of its authors. He wouldn’t have it any other way, but he also has an eye to the changes ahead.

“I have slowed down because I’m 73. I’m doing the business thing of arranging management succession. The company has to be secure as it goes forward. Eventually I am going to die and somebody else will be running Oberon,” he pauses. “What happens if I fall off my perch? I’ve got to think of the writers. They have to stay as safe and secure with the same prospect and service without any interruption.”

Significantly for Hogan, two plays by the late Edward Albee open in the West End this spring. James Macdonald’s production of Who’s Afraid of Virginia Woolf at the Harold Pinter Theatre and The Goat, directed by Ian Rickson at the Theatre Royal Haymarket are the first revivals of Albee’s landmark plays since his death last September.

“I met Edward Albee through Will Eno (whose play “Wakey Wakey” has just opened in New York and received fantastic reviews in the New York Times)”, he says. “I’m sure that Albee agreed to meet me because I publish Will, but I also published a biography of Albee by Mel Gussow. I found Albee absolutely enchanting and I had lunch with him a couple of times in London. We had things to chat about; he was diabetic and I’m diabetic so we talked about which kinds of chocolate we can eat. I’d never imagined that he was the chatty type. But more importantly he gave me some important information about how he writes. He said that he rehearses the play in his mind, every line, from beginning to end, before he writes anything down. He clearly had very rational and clear views of the world. There were no illusions, with Albee they don’t exist.”

And the fact that a new generation are flocking to the West End to see these plays is wonderful to him. Hogan is passionate about the necessity of theatregoing.

“It sounds banal but go and see theatre that you enjoy, just keep going, don’t turn away from the theatre because it will continue forever,” says Hogan.  “In most cases, it tells the truth and that’s what unscrupulous politicians are afraid of and always have been. The theatre has always been seen by politicians as a dangerous place so let it go on being a dangerous place. It can’t be a dangerous place if you don’t go to it.”