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Casting Announced for The Brothers Size

Sope Dirisu
Sope Dirisu

Sope Dirisu

Academy Award winner Tarell Alvin McCraney was an unknown writer when The Brothers Size was first seen at the Young Vic in 2007. Today casting for the highly-anticipated revival from the Evening Standard Award-Winning writer is announced:

After playing Coriolanus at the Royal Shakespeare Company, Sope Dirisu plays eldest brother Ogun. Jonathan Ajayi plays younger brother Oshoosi, reunited with Ogun after a spell in prison. Both make their Young Vic debuts.

Finally, Anthony Welsh returns to the role of Elegba, Oshoosi’s ex-cell mate who tempts him back to his life of crime. Anthony originally performed this role during the 2008 revival of The Brothers Size at the Young Vic and UK tour in the same year.

Bijan Sheibani returns to direct this deeply moving fable following his hit production of The Barbershop Chronicles at the National Theatre.

The Brothers Size by Tarell Alvin McCraney is directed by Bijan Sheibani, designed by Patrick Burnier with live music and sound design by Manuel Pinheiro. A co-production with Actors Touring Company.

It runs from 19 January 2018 – 14 February 2018 in the Young Vic’s Main House.

There will be a Jerwood Assistant Director working with Bijan Sheibani The Brothers Size. The role is supported through the Jerwood Assistant Directors Program at the Young Vic.

Cast biographies can be found on the Young Vic blog here.

Listings

The Brothers Size

19 January 2018 – 14 February 2018
Main House, Young Vic, 66 The Cut, Waterloo, London SE1 8LZ
Press Night: Friday 26 January 2018, 7.00pm
Performances: Monday – Saturday at 7:30pm | Matinees on Wednesday & Saturday (except 20, 24, 27 January)
Access Performances
Captioned Performance: Thursday 8 February at 7.30pm
Audio Described Performance: Thursday 6 February at 7.30pm
Tickets: Previews 19 – 25 January £20, £10 | 27 January – 14 February £38, £29, £20, £10
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922
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Playwright, Elinor Cook interview: “If the dudes are pitching great plays — then those of us who aren’t the white men need go in there and nail those commissions.”

Elinor Cook is not some no-frills interviewee. My time with the feisty young playwright involved her batting my base level questions politely, while occasionally pouring herself a glass of water.

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Elinor Cook

Not having arrived today with any sort of agenda, we simply had a chat. She tells me that yesterday she had an ‘impromptu Mexican dinner’ with the Lady From The Sea cast and Kwame Kwei-Armah to celebrate his recent appointment as Artistic Director of the Young Vic. ‘FYI’ she had pan-seared tuna tacos and a beer… And a margarita. “Two drinks — Mexican appropriate,” she says, laughing.

Her new version of The Lady From The Sea, directed by Kwei-Armah opens at the Donmar tonight. Ibsen’s play encompasses those familiar Ibsen themes: obligation, accountability, the role of women and how the past impinges on the future. How has she found adapting such a classic text? “I’ve found it a complete joy,” says Cook. “I’ve loved it and I definitely want to do more of this sort of thing because there is something about having the map in place. It’s gone through a couple of permutations in terms of the setting of it. The first draft was all set contemporary, in time of the second draft we had a conversation and decided it would be more helpful to make it post-colonial and that mirroring Ellida’s own restless and need to be independent herself.”

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The Lady From The Sea at The Donmar Warehouse

Cook is revelling the opportunity to work with the new Artistic Director of the Young Vic. “He has this ability to facilitate an incredibly open rehearsal room,” she says, smiling. “He’s able to make people trust him and each other. There’s a beautiful lightness and airiness with the work and with what is happening on stage and it’s all there because of his attention to detail. He’s really big on psychology and emotion and my God you can really see that. It’s just extraordinary. He’s incredibly generous and honest.”

Every Playwright has a unique approach to writing. Where does she work best? “I work in the library – I go to the Wellcome Collection Library, which I’d highly recommend as a place to work,” she says. “I try and do a full work day because I need the structure and just to have other people around. It’s nice to feel that you are part of something.”

We talk about the lack of female writers on our biggest stages. “You can’t ignore that conversation because everyone’s having it”, she shrugs when I suggest that the scenario is not exactly ideal. “It does anger me, but I’m reluctant to go: ‘The reason it’s taken me 10 years is because I am a woman.’ However, I am conscious of the fact that I am white, privileged and straight. I think it’s more about how you get into those rooms in the first place.”

Not, she hastens to add, that she’s had it easy. “As someone who’s had every opportunity, but struggled so much with confidence for a long time and that feeling that I didn’t know how to hold my own in the room the way my male counterparts did. I wrestled with the feeling that at any second I’d be chucked out because I had nothing of interest to say.”

How can we ensure a real shift toward gender equality? “It starts before the theatres are making those decisions,” she says.

“If the dudes are pitching great plays — then those of us who aren’t the white men need to make sure that we are enabled to go in there and nail those commissions. There are so many reasons why I would struggle to pitch something and if I find it hard then how hard would those who hadn’t had those privileges and opportunities to get on?”

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Out of Love – Paines Plough

Does she feel obliged to write about politics, I ask. “The whole gesture of playwriting is political in itself,” she states. “With a play like Out of Love, I wanted to write something very human, getting to the complexity of the relationship between two women. I wanted to excavate something that I hoped would touch people on a human level. If you succeed with something like that then you are asking the audience for their imagination and empathy. In this increasingly fractured world, where the divisions are widening, if we are not able to imagine what it’s like to be in someone else’s shoes then we are kind of doomed.”

She continues: “A political play doesn’t have to be one set in the House of Commons, it can be perceived to be a smaller beast. My play Image of An Unknown Woman is my most overtly political play because it directly critiques a repressive regime and questions democracy. But I’d argue that Pilgrims or Out of Love, which are smaller in scale are political in a different way.”

Cook talks of the lucky opportunities that have come her way and in particular the pace at which she has progressed. “There’s something about being the age I am now and my career taking off that feels really right. I’m not sure I would have been prepared for the opportunities had I been younger… I was so crippled with a lack of self-confidence and self-consciousness… It was challenging.”

And now, following a storming debut at Edinburgh Fringe Festival, Out of Love is on tour as part of Paines Plough’s pop-up space, the Roundabout. The play is a comic exploration of female friendship spanning 30 years. What are the challenges of writing for such a unique performance space? “When you are writing for Roundabout the work has to have a universality to it – it has to have something that is going to resonate in Poole and in Stoke and in Darlington or Edinburgh,” she says. “There is something about that space; being in the round and with no props. It demands a particular kind of playwriting, it has to be very front-footed. It has to be very clear about what it is from very early on.”

She looks to Tamara Harvey, Amelia Sears and Charlotte Gwinner, particularly at the start of her career, for inspiration. “I’ve had really great relationships with directors. The first skill of a director if they read a draft and are able to help you as the writer really get to the nub of what you have to say.”

Today, she is honest about her commitments beyond The Lady From The Sea. “I’m at that glorious stage where I don’t know what the next project is,” she says, with a glint in her eye.

“I am looking forward to being able to see where my brain takes me and where the world takes me. I’d love to do more adapting and having written two very intimate plays with Pilgrims and Out Of Love, I’d love to go back to a bigger Image Of An Unknown Young Woman size cast and with international heft. But what that actually is I don’t know and that’s really exciting!”

The Lady From The Sea is at the Donmar, London, until 2 December. Box office: 0844 871 7624.

Out Of Love is currently on a UK Tour as part of Paines Plough’s pop-up theatre Roundabout.

Kwame Kwei-Armah announced as the new Artistic Director of Young Vic Theatre

Kwame Kwei-Armah

Kwame Kwei-Armah

The Young Vic has announced that Kwame Kwei-Armah will become the new Artistic Director in February 2018.

Kwame Kwei-Armah is an award-winning director and playwright and the outgoing Artistic Director of Baltimore Center Stage where he directed extensively. Directing credits also include New York’s Public Theater, Signature Theatre, Oregon Shakespeare Festival, the Baltimore Symphony Orchestra and Birmingham Repertory Theatre. His production of One Night in Miami at the Donmar Warehouse was nominated for an Olivier Award for Best New Play.

His works as playwright include One Love (Birmingham Rep), Marley, Beneatha’s Place (Baltimore Center Stage), Elmina’s Kitchen, Fix Up, Statement of Regret (National Theatre) and Let There Be Love and Seize the Day (Tricycle Theatre). Kwame was the Chancellor of the University of the Arts London from 2010-15, and in 2012 was awarded an OBE for Services to Drama.

Kwame will succeed David Lan further to the announcement that he would be stepping down in 2018 after 18 years in the role. Kwame will announce his first season of work as Artistic Director in the new year.

Kwame Kwei-Armah says: “To walk into the Young Vic is to come face to face with everything I love about theatre, so I am beyond humbled, if not a little scared. But to lead this magnificent theatre at this time in our nation’s history, after such a visionary as David, excites me beyond words. I can’t wait to get started.”

Patrick McKenna, Chair of the Board, says: “After meeting Kwame the panel was unanimous in its decision to appoint him as the next leader for this remarkable institution. Kwame’s wealth of experience directing, writing and working with the local community in Baltimore and beyond will translate beautifully to his new role leading the work on the Young Vic’s three stages as well as its pioneering outreach and education work in London.”

David Lan, outgoing Artistic Director, says: “The choice the panel has made is inspired. I welcome it wholeheartedly and will do whatever I can to support Kwame in the early days as he finds his own distinctive way to keep the Young Vic one of the great producing theatres of this country and the world.”

More about Kwame Kwei-Armah

Kwame Kwei-Armah, born in 1967, is the outgoing Artistic Director of Baltimore Center Stage where he has directed: Jazz, Marley, One Night in Miami, Amadeus, Dance of the holy ghosts, The Mountaintop; An Enemy of the People, The Whipping Man and Things of Dry Hours. Other work as a director includes: Twelve Night, Comedy of Errors, Much Ado About Nothing, Detroit’67 (Public Theatre, New York), The Liquid Plain (Signature Theatre, New York and Oregon Shakespeare Festival), Porgy and Bess (Baltimore Symphony Orchestra) the Olivier Nominated One night in Miami for Best New Play 2016 (Donmar Warehouse) and One Love (Birmingham Repertory Theatre).

As a playwright his credits include One Love (Birmingham Repertory Theatre), Beneatha’s Place (Baltimore Center Stage) Elmina’s Kitchen, Fix Up, Statement of Regret (National Theatre) Let There Be Love and Seize the Day(Tricycle Theatre).

Kwame was Artistic Director for the Festival of Black arts and Culture, Senegal, in 2010. He conceived and directed the opening ceremony at Senghor National stadium. He is an Associate Director of the Donmar Warehouse and has served on the boards of the National Theatre, Tricycle Theatre, and Theatre Communications Group. Kwame was the Chancellor of the University of the Arts London from 2010 to 2015, and in 2012 was awarded an OBE for Services to Drama.

In 2012, 2013 and 2014 Kwame was named Best Director in City Paper’s Best of Baltimore Awards and in 2015 was nominated for the prestigious Stage Directors and Choreographers Zelda Fichandler Award for Best Regional Artistic Director. In 2016 he was awarded the Urban Visionary Award alongside House Representative Elijah Cummings by the Center for Urban Families for his work in the Baltimore community.

NTLive broadcast for Cat On A Hot Tin Roof

CAT ON A HOT TIN ROOF
CAT ON A HOT TIN ROOF

CAT ON A HOT TIN ROOF © Johan Persson

The Young Vic’s highly praised West End production of Cat On A Hot Tin Roof, currently playing to capacity each night at the Apollo Theatre, will be broadcast to cinemas around the world on 22 February 2018 marking the fourth collaboration between the Young Vic and National Theatre Live.  Tickets will be released for sale on Monday 25 September 2017.  The National Theatre’s ground-breaking project broadcasts plays live from the stage to over 700 cinemas in the UK and over 60 countries internationally.Cat On a Hot Tin Roof concludes its 12 week limited West End run on 7 October 2017.

The cast includes Sienna Miller (Maggie), Jack O’Connell (Brick), Colm Meaney (Big Daddy), Lisa Palfrey (Big Mama), Hayley Squires (Mae), Brian Gleeson (Gooper), Richard Hansel (Doctor) andMichael J. Shannon (Reverend).  Directed by Benedict Andrews, this twelve-week limited run at the Apollo Theatre, which had its official opening night on 24 July, has its final performance on 7 October 2017.  Set designs are by Magda Willi with costumes by Alice Babidge, lighting by Jon Clark, music byJed Kurzel and sound design by Gareth Fry.

The truth hurts. On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday.  The scorching heat is almost as oppressive as the lies they tell.  Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?

For this production there are seats at £10 for under 25s for each performance booked through the Young Vic Box Office.  Cat On A Hot Tin Roof is the Young Vic’s first production to debut in the West End and is presented by the Young Vic and The Young Ones.

Details of all NTLive screenings can be found at  http://ntlive.nationaltheatre.org.uk/

Launched in 2009, National Theatre Live broadcasts have been seen by an audience of over 7 million people at 2500 venues in 60 countries. The first season began in June 2009 with the acclaimed production of Phédre starring Oscar winner Helen Mirren. Recent broadcasts include Angels in America with Andrew Garfield, Who’s Afraid of Virginia Woolf? with Imelda Staunton and Conleth Hill, Rosentcrantz and Guildenstern Are Dead with Daniel Radcliffe, Hedda Gabler with Ruth Wilson and Sir Ian McKellen and Sir Patrick Stewart in No Man’s Land, Sky Arts is the UK sponsor for National Theatre Live.

LISTINGS INFORMATION  

Theatre:                  Apollo Theatre, 31 Shaftesbury Avenue, London W1D 7ES

Box Office:              Apollo 0330 333 4809, Young Vic 020 7922 2922

Website:                 www.youngvicwestend.com

Young Vic Full 2017/2018 listings and Show details

A Young Vic and National Theatre co-production commissioned by the National Theatre

The Jungle

by Joe Murphy and Joe Robertson of Good Chance Theatre 

direction Stephen Daldry and Justin Martin
design Miriam Buether

7 December 2017 – 6 January 2018 
Press Night: Friday 15 December 2017, 7.00pm

Main House

10% of tickets will be offered to refugees

Europe’s largest unofficial refugee camp, the Calais “Jungle” became a temporary home for more than 10,000 people at its peak – many desperate to find a way to enter the UK.

When volunteers from the UK arrive to help, they’re shocked by the squalid conditions – but even more surprised by the thriving communities who’ve built a bustling city complete with cafes, libraries, mosques and schools. What impact do compassionate well-wishers truly have in a crisis like this? Is it possible that they’re only making things worse?

This vigorous and engaging new play written by the founders of Good Chance Theatre tells stories of loss, fear, community and hope in The Jungle.

Good Chance builds temporary theatres of hope promoting freedom of expression, creativity and dignity for eve-ryone. Founded by two British playwrights, Joe Murphy and Joe Robertson, Good Chance established its first temporary theatre space, an 11m geodesic dome, in the heart of the refugee and migrant camp in Calais in Sep-tember 2015. After seven months in Calais, the theatre travelled to London’s Southbank for a nine-day festival of introductions led by refugees in July 2016. At the start of 2017, Good Chance began working in Paris starting with a five-week residence at La Station, Gare de Mines, in collaboration with Collectif MU and Emmaüs Soli-darité. From here, the Good Chance dome travelled to the gardens of Théâtre de la Ville for the duration of the Chantiers d’Europe Festival. Good Chance is an Associate Company of the Young Vic Theatre and recipient of the Evening Standard Editor’s Award (2016), an Empty Space Peter Brook Award (2017), and was nominated for Index on Censorship, Freedom of Expression Award.

Stephen Daldry started his career at the Sheffield Crucible Theatre and directed extensively in Britain’s regional theatres. In London he was Artistic Director of the Gate Theatre and the Royal Court Theatre where he headed the £26million redevelopment. He has also directed at the National Theatre, the Public Theatre in New York and transferred many productions both to Broadway and the West End. His award-winning 1992 National Theatre production of An Inspector Calls recently completed a 16 week run in the West End following a successful UK tour. Billy Elliot the Musical opened at the Victoria Palace Theatre in 2005 where it ran for 11 years. It has also played on Broadway, in Holland, Seoul, Sydney, Melbourne, Chicago, Toronto and across the US with two further productions opening in Japan and Korea in 2017. In 2009, the production won ten Tony awards including Best Musical, more than any other British show in Broadway history. Its first UK and Ireland Tour will finish its highly successful 18 month run in Hamburg. Stephen’s first four films Billy Elliot, The Hours, The Reader and Extremely Loud and Incredibly Close together received 19 Academy Award® nominations and two wins. His film, Trash, set in the favellas of Rio de Janeiro, was nominated for Best Film Not In The English Language at the 2015 BAFTAs. He also directed The Audience and Skylight to critical acclaim both in London and on Broadway with Skylight winning a Tony award for Best Revival. Stephen has previously directed for BBC Radio and Television. He is Executive Producer and Director on the highly acclaimed Netflix series The Crown by Peter Morgan, which won Best Drama Series at the Golden Globes. Stephen was Creative Executive Producer of the Opening and Closing Ceremonies for the London 2012 Olympic and Paralympic Games.

Justin Martin previously directed Last Chance with Good Chance Theatre at the Young Vic in 2016. Other theatre credits include: Street Development (site specific), Low Level Panic (Old Fitz Theatre, Sydney, Galway Theatre Festival and Irish tour), The Black Balloon (in development), Harvey and Frieda (Arcola Theatre), Far Away, Skintight (fortyfivedownstairs, Melbourne), The Kitchen (Helen MacPherson Smith Theatre), Echarcissus (Natya Mandala Theatre) and Billie (The Studio, Sydney Opera House and La Mama). As an assistant director he has worked on: Inheritance (Hartford Stage, workshop), Skylight (Wyndams Theatre), The Audience (Gielgud Theatre), Let The Right One In (National Theatre Of Scotland, The Royal Court, Apollo Theatre), Billy Elliot (New York, Toronto, Brazil, Chicago, North America tour, Korea and Australia) and The Give and Take (Sydney Theatre Company, Melbourne Theatre Company).His television credits include: The Crown(series 1 and 2).

Miriam Buether returns to the Young Vic where she previously designed The Trial, Measure for Measure, Public Enemy, Wild Swans, The Government Inspector, In the Red and Brown Water, The Good Soul of Szechuan, Generations. Her other theatre credits include A Doll’s House 2 (Broadway); Escaped Alone (Brooklyn Academy of Music); Sunny Afternoon, Chariots of Fire (Hampstead Theatre and West end); In the Republic of Happiness, Love and Information (also New York), Escaped Alone, Get Santa!, Sucker Punch, Cock, My Child (Royal Court Theatre); Wild (Hampstead Theatre); Bend it Like Beckham (West End); The Father (Theatre Royal Bath); Boy, Game, When the Rain Stops Falling, Judgement Day(Almeida Theatre); The Effect, Earthquakes in London (National Theatre); Decade (Headlong); King Lear (New York); Six Characters in Search of an Author (Chichester Festival Theatre and West End); Everybody Loves a Winner (Manchester International Festival); The Wonderful World of Dissocia (Edinburgh International Festival and Royal Court); Red Demon, The Bee (Young Vic and Japan); Trade (RSC and Soho Theatre); Guantanamo: “Honor Bound to Defend Freedom”(Tricycle Theatre, West End, New York, and San Francisco), Tenterhooks ( National Ballet of Canada); Awakenings (Ballet Rambert), Frame of View (Cedar Lake, New York). Opera credits include La Fanciulla Del West (English National Opera and Santa Fe Opera); Turandot, Wozzeck (English National Opera); Suor Angelica (Royal Opera House); Anna Nicole(Royal Opera House and Brooklyn Academy of Music ); Carmen (Salzburg Festival); The Death of Klinghoffer (Edinburgh Festival and Scottish Opera).

There will be a Jerwood Assistant Director working with Stephen Daldry and Justin Martin on The Jungle. The role is supported through the Jerwood Assistant Directors Program at the Young Vic.

The Jungle by Joe Murphy and Joe Robertson of Good Chance Theatre, directed by Stephen Daldry and Justin Martin and designed by Miriam Buether runs 7 December 2017 – 6 January 2018 in the Young Vic’s Main House.  


A Young Vic and Actors Touring Company production

The Brothers Size

by Tarell Alvin McCraney
direction Bijan Sheibani

19 January – 14 February 2018 
Press Night: Friday 26 January 2018, 7.00pm

Main House

Tarell Alvin McCraney’s first play The Brothers Size, acclaimed when first produced at the Young Vic in the Maria studio in 2007, returns to the Young Vic Main House, once again as a co-production with the Actors Touring Company.

There are two Brothers Size. There is Ogun who owns an auto-repair shop. And there is Oshoosi, fresh out of prison, who always takes the wrong track. When his ex-cell mate Elegba gives him a clapped-out car, true freedom seems just around the corner.

Winner of the Evening Standard Most Promising Playwright Award 2007.

Tarell Alvin McCraney is best known for the Oscar-winning film Moonlight (Best Film and Best Adapted Screenplay), which was based on his script In Moonlight Black Boys Look Blue. For theatre, his trilogy The Brother/Sister Plays which consists of The Brothers Size, In The Red and Brown Water and Marcus or the SECRET of SWEET, has been widely performed. Other plays include his edit of Antony and Cleopatra (RSC, Public Theater NY and Gable Stage Miami), Head of Passes (Steppenwolf Theater, Berkeley Rep, Public Theater), Choir Boy (Royal Court, Manhattan Theater Club),Without/Sin and Run, Mourner and Run, The Breach and Wig Out! (Vineyard Theater, Royal Court). Tarell is the recipient of a MacArthur “Genius” Grant, the Whiting Award, Steinberg Playwright Award, the Evening Standard Most Promising Playwright Award, the New York Times Outstanding Playwright Award, the Paula Vogel Playwriting Award, the Windham Campbell Award, and a Doris Duke Artist Award. He was recently named the new Chair of the Playwriting Department at the Yale School of Drama.

Bijan Sheibani‘s first production at the Young Vic was The Brothers Size in 2007, revived in 2008 and co-produced with ATC, where Bijan was Artistic Director 2007-2010. He also directed Eurydice by Sarah Ruhl at the Young Vic in 2010, co-produced with ATC and Drum Theatre Plymouth. Most recently he directed Inua Ellams’ new play Barber Shop Chroniclesat the National Theatre. His recent production of Nothing for Glyndebourne was nominated for a 2017 Southbank Sky Arts Award for best opera. He was an Associate Director of the National Theatre from 2010-2015. Theatre credits at the National Theatre include; Our Class (Olivier nomination for Best Director), The Kitchen, A Taste of Honey, Emil and the Detectives, and Romeo and Juliet. Other theatre credits include Giving (Hampstead), The House of Bernarda Alba(Almeida), Moonlight (Donmar), The Typist (ATC/Riverside/Sky Arts), Ghosts (ATC/Arcola), Other Hands and Flush (Soho Theatre) and Gone Too Far! (Royal Court/Hackney Em-pire/Albany/ATC) which won an Olivier award in 2009 for Outstanding Achievement in an Affiliate Theatre. Film credits include Groove is in the Heart, which was selected for the BFI London Film Festival and Samira’s Party produced by Film London and the BFI as part of the 2017 London Calling Plus scheme. Bijan’s opera credits include; Nothing (Glyndebourne / Danish National Opera), The Virtues of Things and Through His Teeth (Royal Opera House) and Tarantula in Petrol Blue (Aldeburgh).

The Brothers Size by Tarell Alvin McCraney with direction by Bijan Sheibani, a co-production with Actors Touring Company runs from 19 January 2018 – 14 February 2018 in the Young Vic’s Main House. 


The Inheritance

by Matthew Lopez
direction Stephen Daldry
design Bob Crowley

2 March – 5 May 2018
Press Day: Wednesday 28 March 2018

Main House

Matthew Lopez’s new play in two parts is a panoramic view of gay life in New York City today, a generation after the AIDS crisis.

Of the fears, the activism, the new communities and the new kinds of isolation, what has survived? And what does it mean to the young who, over-flowing with life, are looking for love?

Real estate developers, actors, mothers and the destitute, all looking for the best way to live – socially, politically, morally, sexually – in the new realities of modern day America.

Matthew Lopez is the author of The Whipping Man (premiered at Luna Stage Company and New York premiere at Manhattan Theatre Club), one of the most widely-produced new American plays of the last decade. His play The Legend of Georgia McBride completed runs at the Denver Centre for Performing Arts, MCC New York, and the Geffen Playhouse LA. In London theatre, he was represented in Headlong Theatre’s 9/11 Decade anthology with his short play The Sentinels. Other works include Somewhere (Old Globe Theatre, Hartford Stage Company), Reverberation (Hartford Stage Company) and Zoey’s Perfect Wedding (Denver Centre for Performing Arts). Matthew was a writer on the HBO series The Newsroom.

Stephen Daldry started his career at the Sheffield Crucible Theatre and directed extensively in Britain’s regional theatres. In London he was Artistic Director of the Gate Theatre and the Royal Court Theatre where he headed the £26million redevelopment. He has also directed at the National Theatre, the Public Theatre in New York and transferred many productions both to Broadway and the West End. His award-winning 1992 National Theatre production of An Inspector Calls recently completed a 16 week run in the West End following a successful UK tour. Billy Elliot the Musical opened at the Victoria Palace Theatre in 2005 where it ran for 11 years. It has also played on Broadway, in Holland, Seoul, Sydney, Melbourne, Chicago, Toronto and across the US with two further productions opening in Japan and Korea in 2017. In 2009, the production won ten Tony awards including Best Musical, more than any other British show in Broadway history. Its first UK and Ireland Tour will finish its highly successful 18 month run in Hamburg. Stephen’s first four films Billy Elliot, The Hours, The Reader and Extremely Loud and Incredibly Close together received 19 Academy Award® nominations and two wins. His film, Trash, set in the favellas of Rio de Janeiro, was nominated for Best Film Not In The English Language at the 2015 BAFTAs. He also directed The Audience and Skylight to critical acclaim both in London and on Broadway with Skylight winning a Tony award for Best Revival. Stephen has previously directed for BBC Radio and Television. He is Executive Producer and Director on the highly acclaimed Netflix series The Crown by Peter Morgan, which won Best Drama Series at the Golden Globes. Stephen was Creative Executive Producer of the Opening and Closing Ceremonies for the London 2012 Olympic and Paralympic Games.

Bob Crowley designs The Inheritance, his first production at the Young Vic. Recent productions include An American in Paris (Broadway, London and Paris – Tony Award), Skylight (London and Broadway), Aladdin (Disney – Toronto and Broadway), The Glass Menagerie (American Rep Theatre, USA & Broadway), The Audience (London and Broadway), Once (London, Broadway & US Tour – Tony Award), People (National Theatre), The Dark Earth & Light Sky (Almeida), Disney’s The Little Mermaid (Netherlands, Russia). National Theatre credits include: Travelling Light, Collaborators, King James Bible, Juno & the Paycock (Abbey Theatre, Dublin), The Habit of Art, The Power of Yes, Phèdre, Every Good Boy Deserves Favour, Gethsemane, and Fram (which he also co-directed with Tony Harrison), The History Boys (Broadway – Tony Award), The Madness of George lll, His Girl Friday and Mourning Becomes Electra, plus more than twenty-five productions for the RSC, including Les Liaisons Dangereuses and The Plantagenets (Olivier Award) and for the Donmar Warehouse, Into the Woods and Orpheus Descending. Other credits includes: Mary Poppins (Prince Edward Theatre, UK Tour & Broadway – Tony Award), Disney’s Aida (Broadway – Tony Award), Disney’s Tarzan which he also directed (Broadway, Germany & The Netherlands), and The Year of Magical Thinking (Broadway & NT), The Coast of Utopia (New York – Tony Award), Carousel (New York – Tony Award), The Seagull (Public Theatre New York), Paul Simon’s The Capeman, The Sweet Smell Of Success. Opera & Dance includes: Strapless, The Winter’s Tale and Anastasia (The Royal Ballet) and Alice in Wonderland (The Royal Ballet & National Ballet of Canada), Don Carlos (MET, NY), Pavane, La traviata(The Royal Opera), The Cunning Little Vixen (Châtelet), Great Scott (Dallas Opera). Film includes: Othello, Tales of Hollywood, Suddenly Last Summer and costume design The Crucible.

The Inheritance by Matthew Lopez with direction by Stephen Daldry and set and costume design by Bob Crowley runs in two parts from 2 March 2018 – 5 May 2018 in the Young Vic’s Main House.


Fun Home

music Jeanine Tesori, book and lyrics Lisa Kron
based on the graphic novel by Alison Bechdel
direction Sam Gold

18 June – 1 September 2018 
Press Night: Wednesday 27 June 2018, 7.00pm

Main House

Fun Home, based on Alison Bechdel’s celebrated 2006 graphic novel, made a sensational debut at The Public Theater in New York in October 2013, followed by a triumphant Broadway run that won five Tony Awards, and a successful US National tour.

Fun Home introduces us to Alison at three different ages, revealing memories of her uniquely complicated family – her mother, brothers and volatile, brilliant, enigmatic father – that connect with her in surprising new ways. Fun Home is a refreshingly honest, wholly original musical about seeing your parents through grown-up eyes.

New York’s leading theatre director Sam Gold directs with a UK cast.

Sam Gold makes his directorial debut at the Young Vic, bringing Fun Home to the UK. He directed Fun Home in 2015 (Public Theatre) winning a Tony for Best Direction of a Musical. Other Broadway credits include A Doll’s House, Part 2(John Golden Theatre), The Glass Menagerie (Belasco Theatre), The Real Thing (American Airlines Theatre), The Realistic Joneses (Lyceum Theatre), Picnic (American Airlines Theatre), Seminar (John Golden Theatre). Off-Broadway credits include Hamlet (Anspacher Theatre), Otello (New York Theatre Workshop), John (Signature Theatre; Obie Award, Lortel and Drama Desk Award nominations), The Flick (Barrow Street Theatre, Playwrights Horizon, National Theatre and Lortel Award nomination), The Mystery of Love and Sex (Newhouse Theatre), The Village Bike (MCC), Uncle Vanya (Soho Repertory Theatre; Drama Desk nomination), The Cradle Will Rock (Encores! Off-Centre), Kin (Playwrights Horizon), The Big Meal (Playwrights Horizons; Lortel), Look Back in Anger (Laura Pels Theatre), Circle Mirror of Transformation(Playwrights Horizon) and The Aliens (Rattlestick Playwrights Theatre).

Lisa Kron wrote the book and lyrics for Fun Home which won five 2015 Tony awards including Best Book, Score and Musical, and was finalist for the Pulitzer Prize. Her other plays include In The Wake, Well, 2.5 Minute Ride (Obie). As an actor she received a Tony nomination for her performance in Well and a Lortel Award for her turn as Mrs. Mi-Tzu and Mrs. Yang in the Foundry’s acclaimed production of Good Person of Szechuan. She is the recipient of Guggenheim, Sundance and MacDowell fellowships, a Doris Duke Performing Artists Award, Cal Arts/Alpert and Helen Merrill Awards, the Kleban Prize, and grants from Creative Capital and NYFA. She is a founding member of the OBIE- and Bessie-Award-winning collaborative theater company The Five Lesbian Broth-ers and serves on the boards of the MacDowell Colony and the Sundance Institute, and on the Council of the Dramatists Guild of America.

Jeanine Tesori was awarded a Tony Award for Best Original Score for Fun Home. For Broadway her credits in-clude: Violet (American Airlines Theatre); Caroline, or Change (Eugene O’Neil Theatre, National Theatre); Shrek the Musical(Broadway Theatre, US National Tour, Theatre Royal Drury Lane, UK tour); Thoroughly Modern Millie (Marquis, Shaftesbury Theatre, UK tour); Twelfth Night (LCT); John Guare’s A Free Man of Color (Vivian Beaumont Theatre) Mother Courage starring Meryl Streep (Delacorte). Opera credits include: A Blizzard on Marblehead Neck (libretto, Tony Kushner; Glimmerglass); The Lion, the Unicorn and Me (libretto, J.D. McClatchy; Washington National Opera). Her songs are featured in the Netflix revival of Gilmore Girls. She is the artistic director/co-founder of A Broader Way, an arts empowerment program for girls from underserved communities; the founding artistic director of Encores! Off-Center.

Fun Home with music by Jeanine Tesori, book and lyrics by Lisa Kron and direction by Sam Gold runs from 18 June – 1 September 2018 in the Young Vic’s Main House.


A JMK Trust, Young Vic and Covent Garden Productions production

My Name is Rachel Corrie

taken from the writings of Rachel Corrie
edited by Alan Rickman and Katharine Viner
direction Josh Roche

29 September – 21 October 2017 

Press Night: 4 October 2017, 7.00pm

The Clare

Josh Roche directs My Name is Rachel Corrie as the JMK Award-winning production for 2017

Casting announced: Erin Doherty takes on the role of Rachel Corrie   

Rachel Corrie, a 23 year old American peace campaigner, was killed by an Israeli tank while protecting Palestinian homes from demolition. Edited from her vivid diaries and emails by Alan Rickman and Katharine Viner, My Name is Rachel Corrie is a testament to Rachel’s skill as a writer and commitment to her cause. First staged at the Royal Court in 2005, it has subsequently been performed across the world.

Winner of the 20th annual James Menzies-Kitchin Award, Josh Roche directs in the Clare studio. Erin Doherty takes on the role of this extraordinary woman.

Josh Roche is the previous Writer’s Centre Associate at the Soho Theatre and an Associate Reader for Shake-speare’s Globe and Sonia Friedman Productions. From 2011 – 2016 he was the Artistic Director of Fat Git Theatre and is currently Associate Director with Poleroid Theatre. His work with Fat Git Theatre included new work from UK and International writers, produced at Soho Theatre, Theatre 503, The New Diorama, Warwick Arts Centre and across the Edinburgh Festival Fringe. Most recently he directed Magnificence by Howard Brenton at the Finborough Theatre. Josh has worked extensively as an assistant director with John Dove, Gregory Doran, Polly Findlay, Maria Aberg, Joe Murphy and Steve Marmion. He has directed one-off events for Shakespeare’s Globe and The Royal Shakespeare Company. He was an associate director for Nabokov on Blink, which toured the UK and Off-Broadway, and is an Educational Associate Practitioner with the RSC.

Erin Doherty makes her Young Vic debut in My Name is Rachel Corrie. Theatre credits include: The Divide (Old Vic), Junkyard (Bristol Old Vic, Theatr Clywd, Rose Kingston), Wish List (Manchester Royal Exchange, Royal Court), Who Cares(The Lowry), The Glass Menagerie (UK tour) and Pink Mist (Bristol Old Vic). Her television credits include: Call The Midwife.

My Name is Rachel Corrie taken from the writings of Rachel Corrie and edited by Alan Rickman and Katharine Viner is directed by Josh Roche, winner of the JMK Award 2017. It runs in the Young Vic’s Clare studio 29 September – 21 October 2017 and is designed by Sophie Thomas with light by Joe Price and sound by Kieran Lucas. It is produced in association with Paul Casey. 

New Listings 

My Name is Rachel Corrie   

29 September – 21 October 2017
The Clare, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: 4 October 2017, 7.00pm
Performances: Monday – Saturday at 7.45pmWednesday & Saturday matinees at 2.45pm (except 30 September & 4 October)
Access Performances
Captioned Performance: Tuesday 17 October at 7.45pm
Audio Described Performance: Monday 16 October at 7.45pm
Tickets: Previews 29 September – 3 October £10 | 5 – 14 October £15 | 16 – 21 October £25
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

The Jungle 

7 December 2017 – 6 January 2018
Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Friday 15 December 2017, 7:00pm
Performances: Monday – Saturday at 7.30pm (except 25 & 26 December1 January) | Matinees on Wednesday and Saturdays at 2.30pm (except 9, 16 December and 3 January)
Access Performances
Captioned Performance: Thursday 4 January at 7.30pm
Audio Described Performance: Friday 5 January at 7.30pm
Tickets: Previews 7 – 16 December 2017 £20, £10 | 18 December 2017 – 6 January 2018 £38, £29, £20, £10.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922



The Brothers Size 
 

19 January 2018 – 14 February 2018
Main House, Young Vic, 66 The Cut, Waterloo, London SE1 8LZ
Press Night: Friday 26 January 2018, 7.00pm
Performances: Monday – Saturday at 7:30pm | Matinees on Wednesday & Saturday (except 20, 24, 27 January)
Access Performances
Captioned Performance: Thursday 8 February at 7.30pm
Audio Described Performance: Thursday 6 February at 7.30pm
Tickets: Previews 19 – 25 January £20, £10 | 27 January – 14 February £38, £29, £20, £10
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

The Inheritance  

2 March 2018 – 5 May 2018
Main House, Young Vic, 66 The Cut, Waterloo, London SE1 8LZ
Press Day: Wednesday 28 March 2018
Performances: Monday – Saturday at 7:15pm | Matinees on Wednesdays and Saturdays at 1.15pm (with exceptions, please visit https://www.youngvic.org/whats-on/the-inheritance)
Access Performances
Captioned Performance: Monday 23 April at 7.15pm (Part One), Tuesday 24 April at 7.15pm (Part Two)
Audio Described Performance: Monday 30 April at 7.15pm (Part One), Tuesday May 1 at 7.15pm (Part Two)
Tickets: Previews 2 – 27 March £25, £20, £10 | 29 March – 5 May £38, £29, £20, £10
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Fun Home 

18 June 2018 – 1 September 2018
Main House, Young Vic, 66 The Cut, Waterloo, London SE1 8LZ
Press Night: Wednesday 27 June 2018, 7:00pm
Performances: Monday – Saturday at 7:30pm (except 27 August) | Matinees on Wednesday & Saturday at 2:30pm (except 23, 27 June, 18 July & 4, 15 August)
Access Performances
Captioned Performance: Thursday 19 July at 7.30pm
Audio Described Performance: Friday 27 July at 7.30pm
Tickets: Previews 18 – 26 June £25, £20, £10 | 28 June – 1 September £40, £30, £20, £10
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Previously announced Listings

Nina – a story about me and Nina Simone

Wednesday 19 July – Saturday 29 July 2017
The Maria, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Friday 21 July 2017, 7.00pm
Performances: Monday – Saturday at 7.45pm (No matinee performances)
Access Performances
Captioned Performance: Monday 24 July at 7.45pm
Audio Described Performance: Wednesday 26 July at 7.45pm
British Sign Language Performance: Friday 28 July at 7.45pm
Tickets: Previews 19 & 20 July £10 | 22 – 26 July £20 | 27 – 29 July £25.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Yerma 

Wednesday 26 July – Thursday 31 August 2017
Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Performances: Monday – Saturday at 7.30pm (except 7 – 20, 28 August) | Matinees on Saturday 5 & 26 August
Access Performances
Captioned Performance: Thursday 24 August at 7.30pm
Audio Described Performance: Saturday 26 August at 2.30pm
Tickets: Previews 26 – 28 July £20, £10 | 29 July – 31 August £38, £29, £20, £10.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Wings 

Thursday 14 September – Saturday 4 November 2017
Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Wednesday 20 September 2017, 7.00pm
Performances: Monday – Saturday at 7.30pm | Matinees on Wednesdays and Saturdays at 2.30pm (except 16 & 20 September)
Access Performances
Captioned Performance: Thursday 12 October at 7.30pm
Audio Captioned Performance: Saturday 14 October at 2.30pm
Tickets: Previews 14 – 19 September £20, £10 | 21 September – 28 October £38, £29, £20, £10.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

The Suppliant Women
Monday 13 November – Saturday 25 November 2017
Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Wednesday 16 November 2017, 7.00pm
Performances: Monday – Saturday at 7.30pm | Matinees Saturdays at 2.30pm
Access Performances
Captioned Performance: Thursday 23 November at 7.30pm
Audio Captioned Performance: Saturday 18 November at 2.30pm
Tickets: Previews 13 – 15 November £20, £10 | 17 – 25 November £38, £29, £20, £10.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

Yellowman 

Wednesday 22 November – Saturday 2 December 2017
The Clare, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Performances: Monday – Saturday at 8.00pm | Matinees on Wednesdays and Saturdays at 3.00pm (except 22 & 25 November)
Tickets: £15, £10 concessions
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

How to Win Against History 

Thursday 30 November – Saturday 30 December 2017
The Maria, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
Press Night: Thursday 5 December 2017, 7.00pm
Performances: Monday – Saturday at 7.45pm (except 23 December) | Matinees on Wednesdays and Saturdays at 2.45pm (except 2, 6 December)
Access Performances
Captioned Performance: Thursday 7 December at 7.45pm
Safe Space Performance: Tuesday 19 December at 7.45pm
Audio Described Performance: Wednesday 20 December at 2.45pm
Tickets: Previews 30 November – 4 December £10 | 6 – 16 December £20 | 18 – 23 December £25.
Concessions available.
Box Office: www.youngvic.org | 020 7922 2922

New Season Announced for 2017/18 at The Young Vic

The Jungle
The Jungle

The Jungle

  • The world premiere of The Jungle by Joe Murphy and Joe Robertson, directed by Stephen Daldry and Justin Martin designed by Miriam Buether – a Young Vic and National Theatre co-production
  • A revival of The Brothers Size by Tarell Alvin McCraney (Academy Award Winner for Moonlight) directed by Bijan Sheibani – a Young Vic and Actors Touring Company production
  • The world premiere of The Inheritance, a new play in two parts by Matthew Lopez, directed by Stephen Daldry, designed by Bob Crowley
  • The UK premiere of the five Tony Award-winning Broadway musical Fun Home, by Jeanine Tesori and Lisa Kron, directed by Sam Gold
  • JMK Award 2017 winner Josh Roche directs My Name is Rachel Corrie
  • Alongside the previously announced:
    • Billie Piper reprises her award-winning role in Simon Stone’s new version of Yerma
    • Sienna Miller and Jack O’Connell lead the cast as Maggie and Brick in the Young Vic production of Cat on a Hot Tin Roof at the Apollo Theatre
    • Juliet Stevenson reunites with director Natalie Abrahami in Arthur Kopit’s Wings  
    • Ramin Gray and David Grieg’s acclaimed production The Suppliant Women
    • Nina: ‘a story about me and Nina Simone’ with Josette Bushell-Mingo
    • Edinburgh Festival hit How To Win Against History by Seiriol Davies
    • Genesis Future Directors Award 2017 winner Nancy Medina directs Yellowman by Dael Orlandersmith

    • Artistic Director David Lan on today’s announcement:

      Putting a season together is always a mixture of chance and intention.   

      My intention is always that the voices you hear at the Young Vic will be the most urgent, the most in need of being heard. Chance is that I happen to be in the right place at the right time to hear them.

      Patterns emerge: in all the shows in this new season you’ll hear voices from the edge – refugees, the black working class, young gay women, young gay men – engaged voices raised in protest and in discovery.

      The Jungle by Joe Murphy and Joe Robertson, the founders of Good Chance Theatre, tells the story of the refugee camp at Calais. It centres on the meeting of the Afghans, the Kurds, the Somalis, the Syrians with the UK volunteers, younger and older, who arrived in Calais to offer help. Directed by Stephen Daldry and Justin Martin, it’s a dark story told in a disarmingly light style. With Miriam Buether transforming our theatre into an Afghan Café, we are delighted to co-produce this with the National Theatre as part of our Horizons series of shows putting the experience of refugees at the forefront.

      The first anyone in the UK heard of the now celebrated Tarell Alvin McCraney was our production of his first play The Brothers Size. An instant classic, winner of the Evening Standard Most Promising Playwright Award, we toured it to enormous success. A decade later, we’re reviving it for a new generation, this time in our Main House. As before, it’s a co-production with the Actors Touring Company, directed by Bijan Sheibani.

      The Inheritance is a major new work by an exceptional young writer. Set in present-day New York City, two decades after the worst of the AIDS epidemic, it asks: ‘What do gay men hand down from one generation to the next? What do we learn from our past? How do we heal? How do we change?’ Hilarious and profound, in two parts presented over two evenings, it’s directed by Stephen Daldry and designed by Bob Crowley.

      It was always obvious that the Young Vic is the natural London home for the phenomenon that is Fun Home. After five Tony Awards and a Broadway run, we’re delighted to welcome Jeanine Tesori and Lisa Kron’s ground-breaking and immensely enjoyable musical adaptation of Alison Bechdel’s graphic novel about growing up gay in a close complicated family. Sam Gold directs a UK cast. 

      My Name is Rachel Corrie was edited by Alan Rickman and Katharine Viner from Rachel Corrie’s diaries. This now famous account of one young woman’s opposition to the plight of the Palestinians is, sadly, as topical as ever. It’s directed by this year’s JMK Award winner Josh Roche.”

      Tickets for the 2017/2018 season go on sale to Friends of the Young Vic on Friday 14 July at 10am. Public booking opens on Friday 21 July at 10am. Become a friend from £35 by calling the Box Office: 0207 922 2922, www.youngvic.org 

      FULL LISTING AND SHOW DETAILS

    ,

    Casting announced for Benedict Andrews’ Young Vic Production of Tennessee Williams’ Cat On A Hot Tin Roof

    Colm Meaney will join Sienna Miller and Jack O’Connell in Benedict Andrews’ Young Vic production of Cat On A Hot Tin Roof

    Colm Meaney
    Colm Meaney

    Colm Meaney © Andrew H. Walker

    Colm Meaney will join the previously announced Sienna Miller and Jack O’Connell to play Big Daddy in the Young Vic production of Cat On A Hot Tin Roof directed by Benedict Andrews.  The twelve-week run in the West End at the Apollo Theatre begins previews on 13 July 2017 with press night on 24 July. The last performance is 7 October 2017.  Set designs are by Magda Willi with costume designs by Alice Babidge, lighting by Jon Clark and sound design by Gareth Fry.  Final casting will be announced at a later date.

    The truth hurts. On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday.  The scorching heat is almost as oppressive as the lies they tell.  Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?

    For this Young Vic production, there are seats available at £10 for under 25s for each performance booked through the Young Vic Box Office.  Cat On A Hot Tin Roof is the Young Vic’s first production to debut in the West End and is presented by the Young Vic and The Young Ones.  Previously the Young Vic have transferred A View from a Bridge, Golem, Romeo and Juliet, The Scottsboro Boys, Simply Heavenly, Tintin and A Doll’s House.

    Colm Meaney (Big Daddy) was last on stage in London alongside Kevin Spacey in Moon for the Misbegotten at the Old Vic, with the production subsequently transferring to Broadway. His other theatre credits includeBreaking the Code, The Cider House Rules and Juno and the Paycock.  Earlier this year, Meaney won the Irish Film and Television Award for Best Actor in a Lead Role in Film for his portrayal of Martin McGuinness in The Journey, opposite Timothy Spall.  His additional film credits include all three adaptations of Roddy Doyle’s The Barrytown Trilogy (The Commitments, The Snapper and The Van)Die Hard 2Dick TracyThe Last of the MohicansFar and AwayCon AirLayer CakeThe Damned United and Halal Daddy, to be released this summer.  He has also appeared in Alan Partridge: Alpha Papa with Steve Coogan, as well as the comedy-drama One Chance, the story of Britain’s Got Talent winner Paul Potts. Meaney voiced the role of the ‘Miles Standish’ in Free Birds and ‘Grandpa’ in Norm of the North. He is best known on television for his long-running role as ‘Chief Miles O’Brien’ in the hit series Star Trek: The Next Generation and Star Trek: Deep Space Nine.  Meaney also starred in AMC’s western series Hell on Wheels and will next be seen in TNT’s new period drama Will in the role of James Burbage.

    Sienna Miller (Maggie) trained at the Lee Strasberg Institute in New York.  She was last on stage in the West End as Patricia in Flare Path at the Haymarket Theatre and was previously seen at Wyndham’s Theatre as Celia in As You Like It.  Her New York theatre credits include After Miss Julie, Cabaret, Independence and Cigarettes and Chocolate.  Her many film credits include Live by Night, Mississippi Grind, Layer Cake, Alfie, Casanova, Factory Girl, American Sniper, Foxcatcher, The Edge of Love, G.I. JoeYellow and the forthcoming The Lost City of Z.  On television her credits include The Girl, Bedtime and Keen Eddie.

    Jack O’Connell (Brick) was last seen on stage in The Nap at Sheffield Crucible Theatre.  His other theatre credits include Scarborough for the Royal Court and The Spiderman, The Musicians and Just for NT Shell Connections.  His film work has garnered him multiple awards, including the 2015 EE BAFTA Rising Star Award, the New Hollywood Award and the Chopard Trophy Award at the Cannes Film Festival.  Most recently, his project Home won the BAFTA for British Short Film in 2017.  His other film credits include Money Monster, 300: Rise of an Empire, Unbroken, ’71, Starred Up, Liability, Private Peaceful, Tower Block, Weekender, Wayfaring Stranger, Eden Lake and Black Dog.  O’Connell will next be seen on screen in Tulip Fever, The Man with the Iron Heart as well as starring in the Netflix TV series Godless.  His television credits include Skins, United, The Runaway, This is England, Dive and Wuthering Heights.

    Tennessee Williams’ Pulitzer prize winning play received its world premiere in 1955 on Broadway with Barbara Bel Geddes and Ben Gazzara as Maggie and Brick.  The UK premiere, directed by Peter Hall, opened at the Comedy Theatre in 1958 with Kim Stanley and Paul Massie.  The 1958 Academy Award nominated film starred Elizabeth Taylor and Paul Newman.

    For the Young Vic, Benedict Andrews has previously directed his own version of Three Sisters, which won the London Critics’ Circle Best Director Award, and A Streetcar Named Desire, with Gillian Anderson and Ben Foster, which transferred to New York in 2016.  His first production for the Young Vic was Monteverdi’s The Return of Ulysses, a co-production with ENO – where he has also directed La Boheme and Detlev Glanert’s Caligula.  His many directing credits for Sydney Theatre Company include The Maids with Cate Blanchett and Isabelle Huppert, which toured to the Lincoln Centre Festival in New York; and Big and Small which came to the Barbican, also starring Cate Blanchett.  Andrews has also worked extensively at the Schaubühne Berlin, Komische Oper, National Theatre Iceland and Belvoir Street Sydney.  His first feature film, Una, starring Rooney Mara and Ben Mendelsohn, premiered at last year’s Telluride Film Festival and will be released in September.

    The Young Vic produces new plays, classics, forgotten works, musicals and opera. It co-produces and tours widely in the UK and internationally while keeping deep roots in its neighbourhood.  It frequently transfers shows to London’s West End and invites local people to take part at its home in Waterloo. In 2016 the Young Vic became London’s first Theatre of Sanctuary. Recent productions include Simon Stone’s multi award-winning new version of Lorca’s Yerma which returns to the Young Vic with Billie Piper reprising her performance in July, the premiere of Charlene James’ multi-award-winning play Cuttin’ It and Ivo van Hove’s multi award-winning production of Arthur Miller’s A View from the Bridge (West End & Broadway transfers), as well as Horizons, a season of work exploring the lives of refugees.  David Lan is Artistic Director, Lucy Woollatt is Executive Director.  www.youngvic.org

    The Chemical Brothers’ Tom Rowlands to compose original music for Life of Galileo

    Life of Galileo

    Life of Galileo

    The Chemical Brothers’ Tom Rowlands reunites with director Joe Wright to compose original music for Life of Galileo at the Young Vic
    Run extended through to Saturday July 1 2017  

    BAFTA winner Joe Wright’s production of Brecht’s masterwork Life of Galileo will be accompanied by an original score composed by Tom Rowlands, founding member of the English electronic music duo The Chemical Brothers. Joe and Tom first collaborated on the 2011 feature film, Hanna.Quote from Tom Rowlands:
    When Joe approached me with the idea I was excited at the thought of doing something totally new. I was also happy to rekindle my creative collaboration with Joe as he always makes something inspiring and stimulating.”

    Galileo uses the newly invented telescope to make ground-breaking discoveries about the planets that set him on a collision course with authority. In challenging the idea that the earth is the centre of the universe, he is challenging the all-powerful Roman Catholic Church. Brecht’s timeless play about the conflict between science and dogma is more topical today than ever before.

    Performed in-the-round, Life of Galileo will transform Young Vic’s Main House with design by Lizzie Clachan and projections by 59 Productions. The full cast is: Ayesha Antoine, Jason Barnett, Brendan Cowell, Billy Howle, Paul Hunter, Joshua James, Bettrys Jones, Alex Murdoch, Brian Pettifer, Anjana Vasan and Sarah Wright.Extra performances have been added to Life of Galileo with the run extending through to Saturday July 1.

    Tom Rowlands is perhaps best known as one half of The Chemical Brothers, an electronic music duo formed with Ed Simons in 1992 and described by NME as “one of the most important groups in dance history”. Some of their biggest hit singles include: Hey Boy Hey Girl, Galvanize, Setting Sun, Go and Block Rockin’ Beats. To date, they have released eight studio albums, won four Grammy Awards, had six UK Number One albums and sold-out some of the world’s largest arenas. In addition to writing the soundtrack to Hanna, which won a Los Angeles Film Critics Association Award for Best Music Score in 2011, The Chemical Brothers’ work is also featured on Darren Aronofsky’s Black Swan.

    Bertolt Brecht was born in 1889 in Augsburg, Germany. He grew to maturity as a playwright in the twenties and early thirties and wrote such plays as Man Equals Man, The Threepenny Opera and The Mother. He left Germany when Hitler came to power in 1933, eventually reaching the United States in 1941, where he remained until 1947. During this period of exile, he wrote Life of Galileo, Mother Courage and Her Children and The Caucasian Chalk Circle. Shortly after his return to Europe in 1947, he founded the Berliner Ensemble and produced his own plays there until his death in 1956.

    Brendan Cowell’s theatre credits include: Yerma (Young Vic); The Wild Duck (Barbican, UK tour, Vienna and Amsterdam tour); Once in Royal David’s City, Miss Julie (Belvoir, Sydney); The Dark Room (nominated for Best Actor at the Sydney Theatre Awards, Company B); True West, Dissident, Goes Without Saying (Sydney Theatre Company) and MEN (Old Fitzroy). His film credits include Last Cab to Darwin, Broke, Beneath Hill 60 (nominated for Best Actor in a Feature Film, Australian Film Institute Awards); Noise (winner of Best Actor in a Feature Film, Film Critics’ Circle Awards). His television credits include: Brock, The Let Down, The Outlaw Michael Howe (also written and directed); The Borgias (Series 3) and Love My Way (nominated for Outstanding Performance by an Actor, ASTRA Awards, Most Popular TV Actor, Silver Logie Awards and Outstanding Actor in a Drama Series, TV Week Awards as well as contributing several episodes over three series). Credits as a writer (UK) include: Happy New (Trafalgar Studios), Rabbit (Frantic Assembly UK tour), The Slap (nominated for a BAFTA and Emmy Award).

    The Jerwood Assistant Director working with Joe Wright on Life of Galileo is Taio Lawson. The role is supported by Jerwood Charitable Foundation through the Jerwood Assistant Directors Program at the Young Vic.

    Life of Galileo by Bertolt Brecht, translated by John Willett and directed by Joe Wright runs 6 May – 1 July 2017 in the Young Vic’s Main House. Music is by Tom Rowlands, design by Lizzie Clachan with projections by 59 Productions, light by Jon Clark, sound by Tom Gibbons, puppet direction by Sarah Wright and movement by Javier de Frutos. Casting is by Julia Horan CDG.

    Listings
    Life of Galileo
    Saturday 6 May – Saturday 1 July 2017
    Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
    Press Night: Tuesday 16 May 2017, 7.00pm
    Performances: Monday – Saturday at 7.30pm | Matinees on Wednesdays and Saturdays at 2.30pm (except 6, 10, 13, 17 May and 1 July)
    Access Performances
    Captioned Performance: Tuesday 20 June at 7.30pm
    Audio Described Performance: Wednesday 7 June at 2.30pm
    Tickets: Previews 6 – 15 May £20, £10 | 17 May – 24 June £38, £29, £20, £10.
    Concessions available.
    Box Office: www.youngvic.org | 020 7922 2922

    Casting announced for Life of Galileo directed by BAFTA winner Joe Wright

    Life of Galileo
    Life of Galileo

    Life of Galileo

    Brendan Cowell takes the title role and is joined by Billy Howle as Andrea, Paul Hunter as Sagredo and Anjana Vasan as Virginia.

    Galileo Galilei: father, hero, heretic. When a chance discovery leads to evidence of a seismic shift in scientific thinking, Galileo sparks a dangerous dispute with authority. To challenge the idea that the earth is the centre of the universe is to challenge the all-powerful Roman Catholic Church.

    Brecht’s dramatisation of the battle between belief and reason considers whether proof matters when it inspires dissent. Joe Wright catapults Life of Galileo into the Young Vic’s Main House auditorium as you’ve never seen it before with design by Lizzie Clachan and projections by 59 Productions. The full cast is: Ayesha Antoine, Jason Barnett, Brendan Cowell, Billy Howle, Paul Hunter, Joshua James, Bettrys Jones, Alex Murdoch, Brian Pettifer, Anjana Vasan and Sarah Wright.

    Bertolt Brecht was born in 1889 in Augsburg, Germany. He grew to maturity as a playwright in the twenties and early thirties and wrote such plays as Man Equals Man, The Threepenny Opera and The Mother. He left Germany when Hitler came to power in 1933, eventually reaching the United States in 1941, where he remained until 1947. During this period of exile, he wrote Life of Galileo, Mother Courage and Her Children and The Caucasian Chalk Circle. Shortly after his return to Europe in 1947, he founded the Berliner Ensemble and produced his own plays there until his death in 1956.
    Brendan Cowell’s theatre credits include: Yerma (Young Vic); The Wild Duck (Barbican, UK tour, Vienna and Amsterdam tour); Once in Royal David’s City, Miss Julie (Belvoir, Sydney); The Dark Room (nominated for Best Actor at the Sydney Theatre Awards, Company B); True West, Dissident, Goes Without Saying (Sydney Theatre Company) and MEN (Old Fitzroy). His film credits include Last Cab to Darwin, Broke, Beneath Hill 60 (nominated for Best Actor in a Feature Film, Australian Film Institute Awards); Noise (winner of Best Actor in a Feature Film, Film Critics’ Circle Awards). His television credits include: Brock, The Let Down, The Outlaw Michael Howe (also written and directed); The Borgias (Series 3) and Love My Way (nominated for Outstanding Performance by an Actor, ASTRA Awards, Most Popular TV Actor, Silver Logie Awards and Outstanding Actor in a Drama Series, TV Week Awards as well as contributing several episodes over three series). Credits as a writer (UK) include: Happy New (Trafalgar Studios), Rabbit (Frantic Assembly UK tour), The Slap (nominated for a BAFTA and Emmy Award) and Ruben Guthrie (also directed; 2015 BFI London Film Festival).Billy Howle makes his Young Vic debut in Life of Galileo. His recent theatre credits include: Long Day’s Journey Into Night, The Little Mermaid (Bristol Old Vic) and Ghosts (Brooklyn Academy of Music). His credits for film include: On Chesil Beach, The Sense of an Ending and The Seagull. For television: The Witness for the Prosecution, Cider with Rosie, Glue, Vera and New Worlds. 

    Paul Hunter returns to the Young Vic following Animal Farm, The Water Engine and My Perfect Mind. His recent theatre credits include: The Little Match Girl, The Mystery Plays, Much Ado About Nothing (Shakespeare’s Globe); Gaslight (Northampton); Tartuffe (Birmingham Rep) and My Perfect Mind (Young Vic, Theatre Royal Plymouth and 59E59 Theaters, New York). His film credits include: Denial, This Beautiful Fantastic, Pan, Marvellous, Cinderella and Maleficent. TV credits: Trinity, After You’ve Gone, Absolute Power and Tunnel of Love. Paul is also Artistic Director of Told by an Idiot.

    Anjana Vasan makes her debut at the Young Vic in Life of Galileo. Her recent theatre credits include: A Midsummer Night’s Dream (Shakespeare’s Globe); Image of an Unknown Young Woman (Gate Theatre); Dara, Behind the Beautiful Forevers (National Theatre); Macbeth (Park Avenue Armory, New York City) and First Encounters: Taming of the Shrew (Royal Shakespeare Company). Her credits for film include: The Children Act, Cinderella and Jack Ryan. For television: Ill Behaviour, Black Mirror, Call the Midwife, Fresh Meat and Asia At War: Fighting For India: The Women Who Dared.

    Joe Wright is an acclaimed film and theatre director. He returns to the Young Vic following his 2013 production of A Season in the Congo. His film credits include the six-time Oscar nominated Atonement which premiered at the 2007 Venice Film Festival; he was the youngest director ever to open this prestigious event. He received four Oscar nominations and won a BAFTA for Pride & Prejudice in 2005. His bold adaptation of Tolstoy’s Anna Karenina starring Aaron Taylor-Johnson, Jude Law and Keira Knightley was one of the biggest film openings of autumn 2012. Joe is currently filming Darkest Hour, a drama about Winston Churchill’s turbulent first weeks as Prime Minister during WWII, starring Gary Oldman, Kristin Scott Thomas, Ben Mendelsohn and Lily James.

    The Jerwood Assistant Director working with Joe Wright on Life of Galileo is Taio Lawson. The role is supported through the Jerwood Assistant Directors Program at the Young Vic.
    Life of Galileo by Bertolt Brecht, translated by John Willett and directed by Joe Wright runs 6 May – 24 June 2017 in the Young Vic’s Main House. It is designed by Lizzie Clachan, with light by Jon Clark, sound by Tom Gibbons and projections by 59 Productions. Casting is by Julia Horan CDG.