Full Casting announced for Josie Rourke’s Donmar Warehouse production of Saint Joan

Donmar Artistic Director Josie Rourke today announced full casting for her revival of Bernard Shaw’s Saint Joan. As previously announced, the production will star Gemma Arterton, alongside Matt Bardock, Richard CantHadley Fraser and Elliot Levey.

Saint Joan

Saint Joan

Completing the cast are Fisayo Akinade, Niall BuggySimon Holland Roberts, Arthur Hughes, Rory Keenan, Syrus Lowe, Guy Rhys, and Jo Stone-Fewings.

Saint Joan will be broadcast live, in partnership with National Theatre Live, to cinemas around the world, directly from the Donmar Warehouse on Thursday 16 February 2017. This will be the fourth Donmar production to be screened in cinemas, and follows the acclaimed productions of Christopher Hampton’s Les Liaisons Dangereuses and Coriolanus starring Tom Hiddleston, both directed by Rourke.

Joan: daughter, farm girl, visionary, patriot, king-whisperer, soldier, leader, victor, icon, radical, witch, heretic, saint, martyr, woman.

Josie Rourke (Director) is the Artistic Director of the Donmar Warehouse where she has directed the world premiere of Nick Payne’s new play Elegy; Les Liaisons Dangereuses, which was broadcast live in cinemas around the world in partnership with National Theatre Live, nominated for the Olivier Award for Best Revival and currently running at the Booth Theatre, New York, from October 2016; The Vote, which was broadcast live nationwide on television on the night of the 2015 UK election to an audience of half a million and nominated for a BAFTA; City of Angels, which received the Olivier Award for Best Musical Revival; Privacy, a new play created by James Graham and Josie Rourke; Coriolanus, which was broadcast live in cinemas in partnership with National Theatre Live and for which Tom Hiddleston won the Evening Standard Award for Best Actor; The Weir, which transferred to Wyndham’s Theatre; The Machine at Manchester International Festival and at Park Avenue Armory, New York; Berenice; The Physicists; The Recruiting Officer; Frame 312; World Music; and The Cryptogram. A new production of Privacy, written by James Graham and created by James Graham and Josie Rourke, featuring Daniel Radcliffe, played at The Public Theater, New York this summer. Her additional theatre credits include Much Ado About Nothing at Wyndham’s Theatre, nominated for the Olivier Award for Best Revival; Men Should Weep at the National Theatre; Twelfth Night at Chicago Shakespeare; Crazyblackmuthafuckin’self, Loyal Women at the Royal Court; King John at the Royal Shakespeare Company; and The Long and the Short and the Tall and Kick for Touch at Sheffield Theatres. Rourke was previously Artistic Director of the Bush Theatre, which was named Theatre of the Year under her leadership. At the Bush Theatre, her credits include the premiere of If There Is I Haven’t Found it Yet by Nick Payne.

Fisayo Akinade (Dauphin) returns to the Donmar after appearing in James Graham’s new play for theatre and television The Vote directed by Josie Rourke and broadcast live on More 4 on the night of the general election. Recent theatre work includes Pigs and Dogs and The Crossing Plays at the Royal Court and Dominic Dromgoole’s farewell production of The Tempest at Shakespeare’s Globe.
Other theatre includes Barbarians (Young Vic), As You Like It (New Wolsey), Refugee Boy and Waiting for Godot (West Yorkshire Playhouse), and Neighbours (Hightide). Fisayo’s most recent television credits include BBC 1’s recent adaptation of A Midsummer Night’s Dream; other television includes Ordinary Lives, Cucumber, Banana, and Fresh Meat.

Gemma Arterton (Joan of Arc) makes her Donmar Warehouse debut in Saint Joan. She most recently starred in the title role in Nell Gwynn (Apollo) and as Rita O’Grady in Made in Dagenham (Adelphi) for which she won the Evening Standard ‘Best Newcomer in a Musical’ Award. Her other theatre credits include The Duchess of Malfi (Shakespeare’s Globe), The Little Dog Laughed (Garrick), The Master Builder (Almeida) and Love’s Labour’s Lost (Shakespeare’s Globe). Gemma’s previous film credits include The Voices, alongside Ryan Reynolds and Anna Kendrick; the title role in Gemma Bovery; Hansel and Gretel: Witch Hunters; Song for Marion; Byzantium; Runner, Runner; A Turtle’s Tale: Sammy’s Adventure; the title role in Tamara Drewe; Clash of the Titans; Disney’s Prince of Persia: The Sands of Time; The Disappearance of Alice Creed; The Boat that Rocked; iconic Bond Girl Strawberry Fields in Quantum of Solace; Three and Out; and St Trinian’s, for which she was nominated for an Empire Award and won a National Movie Award. Television credits include Tess in the BBC adaptation of Tess of the D’Urbevilles and Liza in Capturing Mary.

Matt Bardock (Robert De Baudricourt and D’Estivet) returns to the Donmar following his performance in My Night with Reg (also Apollo), The Dark and Frame 312. Bardock is well known for playing paramedic Jeff Collier in Casualty, a role he played from 2007 until summer 2014. He recently appeared in the latest series of Doctor Who. Bardock also appeared in Josie Rourke’s production of Kick for Touch (Sheffield Crucible). Other theatre credits include Mojo and Peaches (both Royal Court) and A Midsummer Night’s Dream and Macbeth (both Regent’s Park Open Air). Bardock has worked regularly in television including New Tricks, No Angels and Judge John Deed, and his film credits include Mike Leigh’s All or Nothing and Topsy-Turvy.

Niall Buggy (Archbishop) makes his Donmar Warehouse debut in Saint Joan. His recent stage credits include The Importance of Being Earnest (Harold Pinter Theatre), Haunted (Manchester Royal Exchange, Broadway and Sydney), Translations (Sheffield Crucible on tour) and The Hanging Gardens at Abbey Theatre. Other theatre includes Brian Friel’s Uncle Vanya (The Gate), for which he received the Best Actor Irish Theatre Award; and Dead Funny (Hampstead Theatre) where he received an Olivier Award for Best Comedy Performance. For television Niall has appeared in Malice Aforthought, Father Ted and Cruise of the Gods. Recent films include Mr Turner, The Duel, Mamma Mia! and Casanova.

Richard Cant (De Stogumber) previously appeared at the Donmar Warehouse in My Night with Reg (also Apollo). Cant’s theatre credits include War Horse (New London), Salome (Hampstead / Tour), Cymbeline (Barbican /World Tour) and Hamlet, Cymbeline and Much Ado About Nothing (all RSC). Television credits include Vexed, Above Suspicion: Red Dahlia, Bleak House and Doctors.

Hadley Fraser (Dunois) has previously appeared in the Donmar Warehouse productions of The Vote, City of Angels, Coriolanus and The Machine (Manchester International Festival, Park Avenue Armory, New York). His other theatre credits include Long Day’s Journey into Night (Bristol Old Vic); The Winter’s Tale (Garrick), Harlequinade (Garrick), The Pajama Game (Chichester Festival Theatre), The Fantasticks (Duchess), Assassins (Sheffield Crucible), Pirate Queen (Hilton, NY); Pacific Overtures (Leicester Haymarket); Longitude (Greenwich) and The Shaughraun (Abbey Dublin). Fraser has played Marius and, later, Javert in the West End production of Les Misérables and appeared in Tom Hooper’s acclaimed film adaptation. In 2012, Fraser played Raoul in the 25th Anniversary Concert of The Phantom of the Opera, which was broadcast around the world. Together with Ramin Karimloo, he writes, records and performs music as SHEYTOONS and recently released his first solo recording Just Let Go. Film and Television credits include Tarzan, Holby City, The Wrong Mans, Sons of Liberty and Doctor Who. Fraser is a patron of the Performance Preparation Academy in Guildford and is an Associate of the Royal Academy of Music.
Simon Holland Roberts (La Tremouille/Page/Gentleman) makes his Donmar Warehouse debut in Saint Joan. Theatre includes Cyrano, All My Sons, Hamlet, Arms and the Man, Aristocrats, Glengarry Glen Ross, The Taming of the Shrew and Arden of Faversham (Theatr Clwyd), Of Mice and Men (West Yorkshire Playhouse), Assembly 13 (National Theatre Wales), Love’s Labour’s Lost, Othello, Sex Strike, Edward IV, Henry VI, The School for Scandal, The Comedy of Errors and Sweet William (Northern Broadsides), Sheepish (Manchester 24:7), The Tempest (Northern Broadsides, New Vic Stoke, UK and China tour), The Man with Two Gaffers (Northern Broadsides, Theatre Royal York and UK tour), Richard III (Northern Broadsides, West Yorkshire Playhouse and UK tour), Sea of Silence (Quicksilver), Man is Man (Steam Industry). Television credits includes All at Sea, Da Vinci’s Demons, Stepping Up, Coronation Street, Hollyoaks, Shameless, Eric & Ernie, Accused, The Street.

Arthur Hughes (The Page/Ladvenu) makes his Donmar Warehouse debut in Saint Joan. Theatre credits include The Solid Life of Sugar Water (Graeae Theatre Company/National Theatre) and Tracy (White Bear Theatre).

Rory Keenan (Steward/Inquisitor) returns to the Donmar after appearing in Welcome Home, Captain Fox! earlier this year, Lyndsey Turner’s production of Brian Friel’s Philadelphia, Here I Come! in 2012 and Dublin Carol as part of the Donmar Trafalgar season. Most recently Rory starred alongside David Haig and Adam Rayner in Chichester Festival Theatre’s production of Someone Who’ll Watch Over Me. Rory’s other recent theatre credits include Liola, The Kitchen and Damned by Despair (National), Lakeboat/ Prairie Du Chien (Arcola), The Big Fella (Lyric Hammersmith). Rory’s work in Ireland includes the title roles in Macbeth (Once Off Productions), and Don Carlos (Magic Theatre Co.), Festen and A Christmas Carol (Gate, Dublin), The School for Scandal, Six Characters in Search of an Author, and She Stoops to Folly (Abbey, Dublin) and Saved (Peacock, Dublin). Film includes Human Remains, Grimsby and Ella Enchanted. TV includes Lucky Man, War and Peace, Peaky Blinders and Birdsong.
Elliot Levey (Cauchon) returns to the Donmar Warehouse following his appearance in Coriolanus as Brutus. His other theatre credits include The Mighty Walzer (Royal Exchange, Manchester), The Ruling Class (Trafalgar Studios), Much Ado About Nothing (Wyndam’s) and multiple productions at the National Theatre including Danton’s Death, The Art of Habit, All’s Well That Ends Well, England People Very Nice, His Dark Materials and Henry IV Parts I & II. Levey is well known for his role of Francesco Pazzi in Da Vinci’s Demons, and has also appeared on television in A Midsummer Night’s Dream, Ripper Street, Jamaica Inn, Silent Witness and New Tricks. His film credits include Fallen, Florence Foster Jenkins, The Lady in the Van, Philomena and The Queen.

Syrus Lowe (Bluebeard/Courcelles) makes his Donmar Warehouse debut in Saint Joan. Theatre credits include Henry V (Regent’s Park Open Air Theatre), The Sky’s the Limit (Old Vic), Overspill (Soho), Painting a Wall (Finborough), La Cage Aux Folles (Playhouse), Earthquakes in London (National Theatre), The Charming Man (Theatre503), Macbeth (Liverpool Everyman), Fragile – Theatre Uncut (Southwark Playhouse), Walking the Tightrope (Underbelly Theatre), The Velveteen Rabbit (Unicorn), The President and the Pakistani (Waterloo East), The Middleman – Sixty-Six Books (Bush) and Testing the Echo (Tricycle). Television includes The Bill; Doctors; Sherlock; Ashes to Ashes; Talking to the Dead; DCI Banks; Critical; Go Jetters; The Five; The Living and the Dead and Holby City.

Guy Rhys (La Hire/Executioner) makes his Donmar Warehouse debut in Saint Joan. Most recent theatre appearances include Pomona originating at the Orange Tree Theatre, and subsequent National Theatre/Manchester Royal Exchange revival. Other theatre credits include Jason and the Argonauts (Unicorn), Bird (Sherman Cymru/Manchester Royal Exchange), Wendy & Peter (RSC), Rafta Rafta (Bolton Octagon) and Mother Courage and Her Children (National Theatre).

Jo Stone-Fewings (Warwick) makes his Donmar Warehouse debut in Saint Joan. Theatre includes King John (Shakespeare’s Globe), Richard III (Trafalgar Studios), The Big Meal (Theatre Royal Bath), The Winter’s Tale, A Midsummer Night’s Dream, The City Madam and Twelfth Night (RSC), Heartbreak House and The Way of the World (Chichester Festival Theatre), The Invisible Man (Menier Chocolate Factory), Dancing at Lughnasa (Old Vic), The 39 Steps (Criterion), The Country Wife (Haymarket), Crazyblackmotherf**kin’self (Royal Court), War and Peace (National Theatre) and The Misanthrope (Young Vic). Television credits include Doctors, Misfits, New Tricks, Doctor Who and Midsomer Murders


Evenings Mon – Sat: 7.30pm

Matinees Thu & Sat: 2.30pm


The first £10 Front Row tickets for Saint Joan will go on sale at 10am on Monday 29 November.


Stalls £40, £30, £10*
Circle £30, £20, £10*

Stalls £37.50, £27.50, £10*
Circle £27.50, £17.50, £10*

Saint Joan                                           
Friday 9 – Tuesday 13 December

*£10 tickets are made available every Monday two weeks before the performance as part of the Donmar’s £10 Front Row scheme.  For more information please visit donmarwarehouse.com/frontrow. Excludes certain performances.


For over 60s, £40 tickets reduced to £32.50 and £30 tickets reduced to £25 (matinees only)

£20 for disabled customers.  Must be booked in advance and proof of eligibility must be shown on collection.



First Look -Production images released of the European premiere of David Bowie and Enda Walsh’s LAZARUS


Production images are released today of the European premiere of David Bowie and Enda Walsh’s LAZARUS, following its first preview performance on Tuesday 25 October.Playing for 13 WEEKS ONLY until Sunday 22 January 2017 in a brand new 900-seater venue at Kings Cross Theatre built specifically for the production, LAZARUS will have its official opening night on Tuesday 8 November 2016.

Reprising their roles from the original New York Theatre Workshop production are Michael C Hall as Newton, Michael Esper as Valentine and Sophia Anne Caruso as Girl. Olivier-nominated British actress Amy Lennox (Kinky BootsDecade) plays the role of Elly. The full cast includes Jon Boydon, Gabrielle BrooksSydnie ChristmasAlexandra Da SilvaRichard HansellTrina HillMaimuna MemonJamie MuscatoTom Parsons, Hannah Rose Thompson, Paul Westwood and Julie Yammanee.

LAZARUS broke box office records when it played a limited, sold out run in New York from 18 November 2015 to 20 January 2016. Tickets for the London production are on sale now at lazarusmusical.com

Inspired by the book, The Man Who Fell To EarthLAZARUS focuses on Thomas Newton as he remains still on Earth – a ‘man’ unable to die, his head soaked in cheap gin and haunted by a past love. We follow Newton during the course of a few days where the arrival of another lost soul might set him finally free.

Directed by Ivo van Hove, LAZARUS includes songs from Bowie’s iconic catalogue as well as brand new music written for the stage. The LAZARUS Cast Album was released on 21 October on RCA / ISO Records, featuring performances by the original NYTW company as well as three of Bowie’s final studio recordings, now released for the first time.


25 October 2016 – 22 January 2017
Press Night: 8 November
Tuesday to Saturday at 8pm
WednesdaySaturday & Sunday matinees at 3pm

Kings Cross Theatre, Kings Boulevard, London, N1C 4BU
[The entrance is located on King’s Boulevard by Battlebridge Place, directly outside King’s Cross Underground Station.]

Tickets from £15
0333 320 1663 / lazarusmusical.com

Lazarus is delighted to be partnering with the TodayTix App, on an exclusive £15 Front Row Mobile Lottery. 

Produced by Robert Fox and Jones/Tintoretto Entertainment

by arrangement with Tristan Baker and Oliver Royds

DIRECTOR Ivo van Hove
SOUND DESIGN Original sound design Brian Ronan – UK sound design Tony Gayle
CASTING Jill Green

 @Lazarus_Musical /  Lazarus Musical / #LazarusMusical

 Bristol Old Vic: further productions on sale for the new year

Bristol Old Vic today announced further productions for early 2017, which will go on sale to the general public on 2 November at 10am.

Pink Mist at Bristol Old Vic

Pink Mist at Bristol Old Vic
© Mark Douet

These include the return of the hugely acclaimed and award-winning Pink Mist, telling the story of three soldiers returning home to Bristol after their tour of duty in Afghanistan and the impact their experiences had on themselves and those closest to them. Written by Owen Sheers, (‘the war poet of our generation’- Independent) and adapted for the stage by co-directors John Retallack and George Mann, Pink Mist had its world premiere at Bristol Old Vic in July 2015, creating one of the Theatre’s most powerful and talked about productions of recent times. It then returned due to huge audience demand in February 2016 as part of Bristol Old Vic’s 250thcelebrations. It will have its homecoming run at Bristol Old Vic from 23-28 January 2017, prior to a UK tour, dates for which will be announced later in November.

During the second phase of Bristol Old Vic’s refurbishment – which begins in earnest in November, the Studio theatre’s programme of work is continuing to stretch its legs across the city, making its temporary home at a variety of the city’s arts venues until the new Studio theatre is completed in 2018.

Bristol Old Vic’s Studio Walkabout Season begins the new year with the Young Company’s January production, Timberlake Wertenbaker’s The Love of The Nightingale from 10-13 January. Directed by previous Young Company Director Miranda Cromwell, this tale is a myth of our times that challenges our perspectives on consent, gender and sexuality.  Performed in the unique setting of the Bierkeller, The Love of The Nightingale uses a cocktail of original rave music and dance combined with sudden outbursts of humour and violence. It is a play based on an ancient myth that has a stark connection to the world we live in today.

Also part of the Studio Walkabout, the Wardrobe Theatre will continue to host Bristol Old Vic’s monthly spoken work events, Blahblahblah; with its traditional Valentine’s head-to-head on Monday 13 February Love vs Cynicism followed by the second annual Blah’s Big Weekend in March (17-19), hosting a word-filled three-day festival packed with performance, workshops and one roaring stand-up slam from some of the UK’s leading wordsmiths. This is followed in April by Fringe First winner Katie Bonna’s All The Things I Lied About.

In addition to Bristol Old Vic’s local work, and following a critically acclaimed season at the National Theatre, Bristol Old Vic’s Jane Eyre, in collaboration with the National Theatre, will be touring the UK from April 2017. This innovative re-imagining of Charlotte Bronte’s masterpiece is directed by Sally Cookson and was originally staged by Bristol Old Vic in 2014 before returning in January 2016 to launch the 250th Birthday programme. Tour dates can be found on https://www.nationaltheatre.org.uk/shows/jane-eyre-on-tour


Paul Roseby interview: “Stick to your bloody instincts. Whether you make the right or the wrong decisions, if you stick to your instincts then you can only do what you believe to be true.”

Paul Roseby
Paul Roseby

Paul Roseby

Paul Roseby is already in the restaurant when I arrive. I am quite nervous at the prospect of meeting the CEO and Artistic Director of the National Youth Theatre of Great Britain. I needn’t be.  Instantly recognisable, it’s the charisma and style. Roseby is quite happy to draw attention using his appearance to break the ice. He waves back at someone across the room from where we are sitting. “I have no idea who that was,” He smiles, “He probably thinks I’m TV personality Duncan Bannatyne, I get that a lot. I’ve had Shane Richie before.” We laugh… I see it.

So now we’re sitting in Soho House on Dean Street, a private members’ club for people in the creative industries about to discuss his career.

Story of Our Youth - Gala Celebrating 60 Years of National Youth Theatre

Story of Our Youth – Gala Celebrating 60 Years of National Youth Theatre © Mark Cocksedge

I start by commending his efforts on the recent one-off gala at the West End’s Shaftesbury Theatre that marked the 60th anniversary of the National Youth Theatre; a glitzy affair starring alumni including Matt Smith, Timothy Dalton, Hugh Bonneville, Daisy Lewis and more alongside 100 current members.  It was no small feat to get such a level of consistent high standard from a cast covering such an age range, it was pretty amazing. These are the hard things to achieve and showed the level of work and commitment of all concerned. I ask him how he thought it went. “It has to be the moment when an auditorium of 1,200 people stood up out of their seats tumultuously for a cast of one hundred young people up on stage.” he says. “It’s what they do if for. Don’t forget, it was very unusual circumstances, with only 3 hour technical time in one of the biggest theatres in the West End and the NYT members were consummate professionals. I originally came from a light entertainment background, so to see people who know our organisation and who don’t know the organisation being entertained,” he beams. “I was very proud of that.”

Paul Roseby in his Union Jack shoes

Paul Roseby in his Union Jack shoes

I compliment him on his choice of footwear for the NYT Gala: Union Jack shoes.  They were by all accounts ‘quite something’. He laughs: “I am an absolute lover of shoes.” He chuckles. “David Beckham has the same pair; they are ‘vintage’ by now! In all seriousness, the Union Jack shoes were a risk given what has happened in the aftermath of Brexit. We need to celebrate the flag in all its diversity and I believe in a union of many things, we are an international organisation.”

I ask him to fast forward sixty years and tell me how he would envisage the 120th Anniversary panning out. “Right, I think it needs to be a celebration like the Oscars as a global event,” he smiles. “A celebration of all youth and creativity rolled into one evening. The 120th Birthday Gala should be an event that is hugely supported by media with sponsorship; which means money and accreditation. Youth Theatre is absolutely a game changer and is a feeder to one of our greatest exports. I’d like it to have international status; we have worked internationally in some very challenging parts of the world: China and Saudi, for example. It should be a global belief system.”  It’s hard not to be swept up in his enthusiasm for the work. As I’ve mentioned at some length before, (blog about Open Court Festival ) there is currently a huge attention in important work being made and performed by young people for adult audiences.

I’m curious to know how he got the job. “It was hard because it was not something I’d done before. The people around the NYT and Arts Council interview panel rightly questioned why I’d want to lead the organisation. I outlined my vision and ambition through the application process not least by creating a digital response by vox popping punters on the Southbank and interviewing leading industry professionals to test the current climate,” he recalls. “To provide a wake up call to what the NYT needed to become in order to become more relevant. There was some stunned silence broken by the late Bryan Forbes with the line: ‘It’s all very well dear, but short of ‘going down’ on Greg Dyke, how are you going to pay for it?’ If only funding was that easy.  I was the outsider. In the end the decision was made that I and John Hogarth would do it together, it took a while for the panel to make up their minds so I and John had an off-the-record conversation and put it to the board that we both lead as a joint ticket. They got the best of both worlds.” Amazing.

Pigeon English at the Ambassador Theatre

Pigeon English at the Ambassador Theatre. Click on the image to book your tickets.

Let us take a moment to acknowledge that National Youth Theatre is not just where Helen Mirren learned to act… For many it is where they grow up, where they learn how to be an actor but, more vitally, how to be a member of a diverse society, judged solely on distinction. Does Roseby appreciate this, standing on the shoulders of giants?  “I recognise however small or great the generosity and goodwill from our alumni. What is great about Helen, for example, is in all honesty why should she care about the NYT today? Fifty years ago it changed her life, but so what? Life moves on.” He explains: “That’s the starting point with our alumni – how do we make it relevant for them today, it might have given them a platform and provided a life changing experience – but why should they continue to get behind our cause? What is worth its weight in gold is that people like Helen talk about our work and the importance of youth theatre, particularly for working class actors, on an international stage. That is invaluable. Inspired by the traditional repertory theatre model, our NYT REP Company course offers free, practical, industry-based talent development in drama and performance over nine months to 16 NYT members.”

Prior to meeting Paul I came from Young Vic, where I attended Act For Change: Diversity and Training for the Industry, the third annual event and panel discussion led by campaigners for better representation of diverse groups across the live and recorded arts. We talk about quotas. I ask how he makes sure NYT members are as rich and diverse as our population.  “Diversity is at the core of our work, without doubt, we all need to work harder. We strive to represent fairly what is out there in the wider world: people who look like us, sound like us and think like us. We are a talent based organisation and as creative leaders we need to create original content that questions the status quo, to tell stories that we’ve yet to see or hear. Be that about homophobia, racism or mental health, my responsibility is that.  That’s my reason for getting up in the morning. I think the diversity debate is a little old fashioned, how we get the real issues surrounding diversity to progress is by getting them in front of commercial drivers and going beyond the public sector.” He continues fervently. “At the next debate we need Cameron Mackintosh, Andrew Lloyd Webber, ATG, Working Title and individuals that stand to make commercial financial gain out of creativity there.” He’s got a point.

Before we part ways, I ask if he has any advice for young graduates. “Stick to your bloody instincts.” He says. “Whether you make the right or the wrong decisions, if you stick to your instincts then you can only do what you believe to be true.”


Paul Roseby and Carl Woodward


The Royal Court Theatre announces its new season of work – February to September 2017

Royal Court Theatre announces spring/summer season of work. The new season includes eight world premieres, four UK and international collaborations, the return of a seminal Royal Court play and a new podcast series.

In chronological order;

·debbie tucker green opens the season with A PROFOUNDLY AFFECTIONATE, PASSIONATE DEVOTION TO SOMEONE (-NOUN), written and directed by debbie tucker green premiering in the Jerwood Theatre Upstairs, Tuesday 28 February 2017 – Saturday 1 April 2017See full details here.

·In a major collaboration Simon McBurney directs THE KID STAYS IN THE PICTURE,based on the life of Robert Evans, co-produced with Patrick Milling Smith, Barbara Broccoli, Michael Wilson, Brian Carmody and in association with CompliciteIt will premiere in the Jerwood Theatre DownstairsTuesday 7 March 2017 – Saturday 8 April 2017See full details here.

Nuclear War

Nuclear War

·Royal Court Associate Playwright Simon Stephens’ NUCLEAR WAR directed by Imogen Knight will premiere at the Royal Court Jerwood Theatre Upstairs, Wednesday 19 April 2017 – Saturday 6 May 2017See full details here.
·Jez Butterworth returns to the Royal Court with his new play THE FERRYMAN directed by Sam Mendes, who makes his Royal Court debut. Developed by and co-produced with Sonia Friedman Productions and in association with Neal Street Productions, it will premiere in the Jerwood Theatre Downstairs, Monday 24 April 2017 – Saturday 20 May 2017See full details here.

·The transfer of Royal Court commission MANWATCHING written by an anonymous woman. It was first presented by the Royal Court in the Paines Plough Roundabout at the Edinburgh Festival Fringe in 2015 and will run in the Jerwood Theatre Upstairs, Wednesday 10 May – Saturday 20 May 2017See full details here.

·Gary Owen returns to the Royal Court with KILLOLOGY directed by Rachel O’Riordanin a co-production with the Sherman Theatre, in the Jerwood Theatre Upstairs, Thursday 25 May 2017 – Saturday 24 June 2017See full details here.
·Alice Birch’s first Jerwood Theatre Downstairs play at the Royal Court ANATOMY OF A SUICIDE will be directed by Katie Mitchell. It will premiere in the Jerwood Theatre Downstairs, Saturday 3 June 2017 – Saturday 8 July 2017See full details here. See full details here.

·Jim Cartwright’s game-changing play ROAD which opened at the Royal Court in 1986 will be directed in a new production by Royal Court Associate Director John Tiffany. It premieres in the Jerwood Theatre Downstairs, Friday 21 July 2017 – Saturday 9 September 2017See full details here.
·Chilean playwright Guillermo Calderón makes his Royal Court debut with B, directed by Royal Court Associate Director (International) Sam Pritchard in the Jerwood Theatre Downstairs. To run September 2017. Dates to be announced. See full details here.

·Chris Thorpe‘s new play VICTORY CONDITION directed by Royal Court Artistic Director Vicky Featherstone will run at the Royal Court Jerwood Theatre Downstairs in September 2017. Dates to be announced. See full details here.

 This autumn Royal Court Theatre to release new series ROYAL COURT PLAYWRIGHT’S PODCAST with playwrights interviewed by Royal Court Associate Playwright Simon Stephens. In this first series writers include April de Angelis, Rachel De-lahey, Tanika Gupta, David Hare, Robert Holman, Dennis Kelly, Alistair McDowall, Anthony Neilson, Joe Penhall, Lucy Prebble, Anya Reiss, Polly Stenham and Enda Walsh. Podcast release schedule to be announced. See full details here.

·Casting to be announced.
·Tickets for the new season go on sale to Friends on Wednesday 2 November 2016 and to the general public on Friday 4 November 2016. 020 7565 5000 / www.royalcourttheatre.com

Commenting on the new season Artistic Director Vicky Featherstone said;

I am humbled and thrilled to be announcing such a varied and exciting mixture of work from playwrights and theatre-makers at the top of their game, pushing the limits of their potential to challenge, surprise and provoke us.

This is the Royal Court at its best – a place for attracting some of the great playwrights and theatre-makers of our times to experiment and take risks to give us, the audience, the most extraordinary experiences possible.

When debbie tucker green writes a new play it is always cause for celebration and a profoundly affectionate, passionate devotion to someone (-noun), is a tender, thoughtful and painful exploration of how long we can love each other for. Simon McBurney will explore and bring the life of American film producer Robert Evans to the stage with his playfulness with form and story-telling.

Simon Stephens is handing over his play about sex and death to choreographer Imogen Knight in her directorial debut at the Royal Court for an interpretation of the text starting from a physical and visual perspective and continues our exploration of what writing for theatre is and can be. And we are of course beyond thrilled that Jez Butterworth’s new play The Ferryman, developed by and in a co-production with Sonia Friedman – a mighty family epic with generations of one family crammed into its dynamic world – is here at the Royal Court. And we welcome Sam Mendes in his directorial debut here.

Manwatching, the play by an anonymous woman exploring female desire and sexuality read out cold by a male comedian, caused a brilliant stir at the Edinburgh festival and I am delighted it is coming back for a run at the Royal Court.

Alice Birch in her first full length original play, Anatomy of a Suicide, at the Royal Court has written a heart-breaking complex and startling play about three generations of women struggling for breath and she will continue her collaboration with Katie Mitchell who will direct this.

John Tiffany and Jim Cartwright seem a match made in heaven as the seminal Road returns to the Royal Court in a new production befitting of its status as a defining play of the 80’s generation.

It is wonderful to have Gary Owen back here too in a co-production with the Sherman in Cardiff directed by Rachel O’Riordan. I directed Gary’s first and second plays at Paines Plough and am so pleased he is finally getting the recognition he deserves as one of the leading voices of our nation.

Our podcast series, Royal Court Playwright’s Podcast, hosted by Simon Stephens makes for an honest insight into the work and ambitions of some of the world’s leading playwrights.

And finally kicking off what will be a revolutionary autumn (watch this space) we are announcing Chilean Playwright Guillermo Calderon’s B directed by Associate Director (International) Sam Pritchard as part of International Playwrights: A Genesis Foundation Project and I will be directing the thrilling Victory Condition by theatre-maker and activist Chris Thorpe. Both pieces in different ways examine our relationship with the rest of the world.

We will be continuing our Young Court work and also our projects in Tottenham and Pimlico with Beyond the Court.”



La Cage Aux Folles – First ever UK Tour to star John Partridge and Adrian Zmed

Bill Kenwright presents the much loved musical LA CAGE AUX FOLLES with JOHN PARTRIDGE as ‘Albin’ and ADRIAN ZMED as ‘Georges’, opening at New Oxford Theatre on Thursday 5th January before embarking on its first ever nationwide tour. 

screen-shot-2016-10-28-at-10-55-54-pmJohn Partridge will play the iconic role of ‘Albin’, who moonlights as star drag act Zaza at the infamous La Cage aux Folles nightclub. Partridge’s extensive theatre credits include the West End productions of A Chorus Line at the London Palladium, CatsStarlight Express and Chicago. He is also well known for playing the loveable Christian Clarke in BBC’s EastEnders and as a judge on TV’s Over The Rainbow

 Adrian Zmed will play ‘Georges’, partner of Albin and owner of the nightclub. Zmed co-starred with William Shatner as ‘Officer Vince Romano’ in the 70’s hit TV show T.J. Hooker, which ran for 90 episodes over 5 years, and for playing ‘Johnny Nogerelli’ in the cult classic film Grease 2. This will be his first stage appearance in the UK although he is no stranger to Broadway musicals having previously led the casts of Grease, no fewer than 3 times, Falsettos and Blood Brothers.

 Written by Harvey Fierstein and Jerry Herman, and based on the 1973 French play of the same name by Jean Poiret, La Cage Aux Folles follows the story of Georges, the manager of a Saint Tropez nightclub, and his partner, Albin, a drag artiste and the club’s star attraction. They live an idyllic existence in the south of France but behind the curtains of this sparkling extravaganza, all may be about to change when Georges’ son Jean-Michel announces his engagement to the daughter of a notorious right-wing politician determined to close down the local colourful night-life. Drama and hilarity ensue when a meeting of the parents forces them to cover up their vibrant lifestyle. Will Albin be able to play the role of his life to ensure that Jean-Michel can marry his love?

 LA CAGE AUX FOLLES is a multi-award winning musical. The original Broadway production became an instant smash hit when it opened in 1983. It received nine nominations for Tony Awards and won six, including Best Musical, Best Score and Best Book. The success of the musical spawned a London Palladium production and several international runs. The 2004 Broadway revival won the Tony Award for Best Revival, and the 2008 London revival garnered the Laurence Olivier Award for Best Musical Revival. 

 Setting out on its first ever UK tour, this brand new production is produced by Bill Kenwright, directed by Martin Connor, choreographed by Olivier Award Winning Bill Deamer, designed by Gary McCann, Sound by Dan Samson (the team responsible for the sumptuous current hit, The Sound of Music), and musical direction by Mark Crossland. This lavishly funny tale of unconditional love and family values, will leave you feeling the need to celebrate that life’s not worth a damn ‘till you can say I am what I am.’

 This show-stopping score includes The Best of Times, Song on the Sand and the iconic I Am What I Am, which has been recorded by musical legends Gloria Gaynor, Shirley Bassey and Tony Bennett.

The production tours the UK from 5th January 2017, opening at the New Theatre Oxford.

 Dates currently on sale at www.kenwright.com. Further casting and dates to be announced.


Company of Angels relaunches under new name Boundless Theatre

New Artistic Director Rob Drummer today announces the relaunch of Company of Angels as Boundless Theatre along with his first production as Artistic Director – Natives by Glenn Waldron which opens at Southwark Playhouse in March 2017

Rob Drummer, Artistic Director Boundless Theatre.

Rob Drummer, Artistic Director Boundless Theatre. © Christian Sinibaldi

On announcing the relaunch Rob Drummer said, “It’s with huge excitement that we today relaunch Company of Angels under its new name Boundless Theatre.  We feel the word Boundless perfectly reflects our ambition to present bold, fearless and enterprising theatre without limits and to break down barriers to engagement and access.  It also seems appropriate that as an international company, based in a post-Brexit UK, we choose a name that reflects our commitment to working with partners from all around the world.  In light of this, I am delighted that my first production as Artistic Director – Natives by Glenn Waldron – is a global story which follows three teenagers in three different continents.”

For fifteen years, Boundless Theatre has produced and toured new plays, nationally and internationally and created projects and experiences that young adult audiences share in. It nurtures and empowers the next generation of artists, brings plays, diverse perspectives and ideas from Europe and engages with a range of artistic forms beyond theatre-making.

Its award-winning productions have included Hannah and Hanna (which toured to India, Malaysia and Phillipines), TruckstopApples and in 2015, with the Young Vic and New Wolsey Theatre, it co-produced the critically acclaimed World Factory, developed by METIS.

Current Boundless Theatre programmes include a partnership with Théâtre National de Toulouse and ThéâtreNational de Belgique introducing 14-16 year olds to contemporary plays in translation, and a collaboration with Drama Centre London providing guidance to its MA Dramatic Writing students on how to write for young audiences.  Over the course of the next year, Boundless Theatre will also work with an advisory group of 15-25 year olds who reflect the audience and artists it works with.  This group will be engaged in every aspect of the company’s work and will be a vital influence on decisions that are made relating to programming, artistic development and the wider work of the company.

Since 2001, over 50 organisations, embassies, cultural institutes, trusts and foundation have funded Boundless Theatres’ work and between 2015 and 2016 it attracted over 5,000 audience members and participants, of which more than 10% were outside of the UK.  All of this takes place with a core team of just two full-time and three part-time staff.


Twitter: @ boundlessabound

Instagram: @boundlessabound

Facebook: /boundlessabound


Imogen Poots and Luke Treadaway complete the cast of Edward Albee’s Who’s Afraid of Virginia Woolf? in the West End

Imogen Poots and Luke Treadaway will join the previously announced Imelda Staunton and Conleth Hill in the new production of multi Tony and Pulitzer prize-winning playwright Edward Albee’s Who’s Afraid of Virginia Woolf?, directed by James Macdonald.

The production will play at the Harold Pinter Theatre for a limited season of 13 weeks from 22nd February 2017, for which reduced price tickets are available for preview performances. Over 100 tickets for every performance are priced at £15 (£10 during previews).

In the early hours of the morning on the campus of an American college, Martha, much to her husband George’s displeasure, has invited the new professor Nick and his wife Honey to their home for some after-party drinks. As the alcohol flows and dawn approaches, the young couple are drawn into George and Martha’s toxic games until the evening reaches its climax in a moment of devastating truth-telling.

Imogen Poots in Edward Albee's Who's Afraid of Virginia Woolf?

Imogen Poots in Edward Albee’s Who’s Afraid of Virginia Woolf? © Sam Jones. Click on the image to book your tickets

Imogen Poots (Honey) makes her West End debut with Edward Albee’s Who’s Afraid of Virginia Woolf? Poots made her breakthrough performance as Tammy in the film 28 Weeks Later. She won the British Independent Film Award for Best Supporting Actress for The Look of Love in 2013 and was nominated for Best Actress at the 2015 Evening Standard British Film Awards for her role in Peter Bogdanovich’s She’s Funny That Way. Other film credits include Terrence Mallick’s The Knight of CupsGreen RoomFilthJimi: All Is By My SideA Late Quartet and Jane Eyre. Poots will next be seen starring opposite Michael Shannon in Frank and Lola, which premiered at the 2016 Sundance Film Festival to great acclaim. On television, she recently played the female lead in Cameron Crowe’s debut television series Roadies (Showtime).

Luke Treadaway (Nick) won an Olivier Award for his performance as Christopher in the internationally acclaimed hit The Curious Incident of the Dog in the Night-Time (National Theatre/ West End) and also originated the role of Albert in the earliest production of War Horse, again at the National. Further theatre credits include Over There (Royal Court), Piranha Heights (Soho Theatre) and Saint Joan (National Theatre). For film, Treadaway plays the lead in the upcoming Sony Pictures release A Street Cat Named Bob, adapted from the New York Times bestselling novel. Treadaway’s further film credits include Unbroken, Attack the Block, The Whistleblower, Clash of the TitansTonight You’re MineHeartlessThe Rise and Brothers of the Head. For television, in January he returns to his role of scientist Vincent Rattrey in the second series of Sky Atlantic’s critically acclaimed Fortitude. His further credits include the lead character of Alex Higgins in BBC’s The Rack Pack, the Duke of Richmond in the second series of The Hollow Crown (BBC/NBC/Neal Street Productions), as well as Sky Arts mini-series The Nightmare World of H.G. Wells with Michael Gambon.

Imelda Staunton (Martha) returns to the West End after her triumphant and Olivier Award-winning performance as Mama Rose in Gypsy. Amongst her many other theatre credits, notable performances include Mrs Lovett in Sweeney Todd, for which she won an Olivier Award, Circle, Mirror, Transformation for the Royal Court and the role of Claire in Edward Albee’s A Delicate Balance at the Almeida Theatre. In total, Staunton has been nominated for eleven Olivier Awards, winning four. On film Staunton is perhaps best known for playing the title role in Vera Drake, for which she received the BAFTA Award for Best Actress in a Leading Role, and for the role of Dolores Umbridge in the Harry Potter films.

Luke Treadaway in Edward Albee's Who's Afraid of Virginia Woolf?

Luke Treadaway in Edward Albee’s Who’s Afraid of Virginia Woolf? © Simon Harris. Click on the image to book your tickets.

Conleth Hill (George) is perhaps best known for his role as Lord Varys in the HBO television production Game of Thrones. A multi award-winning theatre actor, amongst his extensive theatre credits, recent productions include Quartermaine’s Terms at the Wyndham’s Theatre and The Cherry Orchard at the National Theatre. Hill won Olivier Awards for his performances in The Producers, Theatre Royal Drury Lane, and Stones In His Pockets in the West End. He also received Tony Award nominations for his role in Stones In His Pockets on its transfer to Broadway and The Seafarer, which transferred from the National Theatre to Broadway. Hill’s film credits include Salmon Fishing in the Yemen and Whatever Works, directed by Woody Allen.

James Macdonald is highly regarded for his work with Caryl Churchill and Sarah Kane, recently directing Churchill’s play Escaped Alone at the Royal Court. Other recent work includes the award-winning production of Florian Zeller’s The Father and Roots at the Donmar Warehouse. Macdonald has previously directed Staunton in the Royal Court’s production of Circle, Mirror, Transformation by Annie Baker and in the critically-acclaimed production of Edward Albee’s A Delicate Balance at the Almeida Theatre.

Edward Albee was born on 12th March 1928 and began writing plays 30 years later. His plays include The Zoo Story (1958), The Death of Bessie Smith (1959), The Sandbox (1959), The American Dream (1960), Who’s Afraid of Virginia Woolf? (1961-62, Tony Award), Tiny Alice (1964), A Delicate Balance (1966, Pulitzer Prize; 1996, Tony Award), All Over (1971), Seascape (1974, Pulitzer Prize), Listening (1975), Counting the Ways(1975), The Lady from Dubuque (1977-78), The Man Who Had Three Arms (1981), Finding the Sun (1982), Marriage Play (1986-87), Three Tall Women (1991, Pulitzer Prize), Fragments (1993), The Play about the Baby (1997), The Goat or, Who is Sylvia? (2000, 2002 Tony Award), Occupant (2001), At Home at the ZooAct 1, Homelife. Act 2, The Zoo Story. (2004), and Me, Myself & I (2008). Mr. Albee was awarded the Gold Medal in Drama from the American Academy and Institute of Arts and Letters in 1980.  In 1996 he received the Kennedy Center Honors and the National Medal of Arts. In 2005 he was awarded a special Tony Award for Lifetime Achievement.




Twitter: @WhosAfraidLDN
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Website: www.whosafraidofvirginiawoolf.co.uk


Casting announced for Peter and the Starcatcher -A Royal & Derngate, Northampton and Paul Taylor-Mills co-production

Casting has been announced for the much-anticipated European Premiere of Peter and the Starcatcher, being staged by Northampton’s Royal & Derngate this Christmas. Audiences will take an unforgettable journey through the Neverland they never knew, as Northampton’s Royal stage is transformed for this bold new production, directed by Luke Sheppard, who recently helmed the three-time Olivier Award-winning In the Heights.

Winner of five Tony Awards for its hugely successful run on Broadway and one of the most produced plays in America last year, this fascinating and funny prequel to Peter Pan brings one of classic literature’s most beloved characters to life.

Peter and the Starcatcher Evelyn Hoskins and Michael Shea

Peter and the Starcatcher Evelyn Hoskins and Michael Shea © Idil Sukan

Leading the cast is Evelyn Hoskins (Carrie, Southwark Playhouse; This is My Family, Sheffield Crucible and UK tour; Spring Awakening, Lyric Hammersmith) as Molly, Micheal Shea in his professional stage debut as Peter, Greg Haiste (Nell Gwynn, Shakespeare’s Globe and West End; A Christmas Carol, Royal & Derngate) as pirate leader Black Stache and Dan Starkey (Commander Strax in Doctor Who) as Smee.

The cast also features Michael Matus (Phantom of the Opera, West End; The Sound of Music, Regent’s Park Open Air Theatre), Sebastien Torkia (Travels With My Aunt, Chichester Minerva; Sweeney Todd, West Yorkshire Playhouse and Royal Exchange), and the ensemble is completed by Marc AkinfolarinLewis GriffinIan HarrisTendayi JembereWilliam PenningtonMiles Yekinni and Tom Attwood (also musical director).

The final production in Royal & Derngate’s Made in Northampton 2016 seasonPeter and the Starcatcher is directed by Luke Sheppard, whose recent credits, in addition to In the Heights, include The Secret Diary of Adrian Mole Aged 13 ¾ at Curve Leicester, and Oliver! at the Watermill Theatre, Newbury. Set design is by David Woodhead (Bugsy Malone, Leicester Curve; Titanic, Charing Cross Theatre) and costumes are designed by Gabriella Slade (In the Heights, Kings Cross Theatre, Southwark Playhouse; The Last Mermaid, Wales Millennium Centre). The Lighting Designer is Howard Hudson (Romeo and Juliet, Kenneth Branagh Theatre Company at the Garrick Theatre; The Rivals, Bristol Old Vic) and the Sound Designer is Gareth Fry whose recent credits include Harry Potter and the Cursed Child, with other notable credits including National Theatre of Scotland’s Black Watch and the London 2012 Olympic Games Opening Ceremony.

In this fantastical and funny adventure, join Starcatcher apprentice Molly as she embarks on a daring mission to stop a precious cargo of stardust from falling into the wrong hands. As well as meeting a very special orphan who helps to solve the mystery of how he became ‘the boy who never grew up’.

Thirteen actors playing more than 100 characters use ingenious stagecraft, inventive storytelling and live music to whisk audiences to a magical world of lost boys, pirates, and mermaids.

This brand new production of Peter and the Starcatcher premieres from Tuesday 29 November to Saturday 31 December at Royal & Derngate in a collaboration with Paul Taylor-Mills, who also co-produced Luke Sheppard’s hit show In the Heights. Tickets, priced from £10 to £26*, can be booked by calling Box Office on 01604 624811 or visiting www.royalandderngate.co.uk.

The play Peter and the Starcatcher is written by Rick Elice, with music by Wayne Barker. It was originally produced on Broadway by Nancy Nagel Gibbs, Greg Shaffert, Eva Price, Tom Smedes, and Disney Theatrical Productions. It is presented by arrangement with Josef Weinberger Limited on behalf of Music Theatre International.

* A charge of £3 applies for all transactions over £15. Does not apply to Groups, Friends or Disabled Patrons, and is per-transaction, not per-ticket.

Full Programme Announced for TheatreCraft 2016

Ambassador Theatre Group’s recently appointed Executive Vice President, Adam Kenwright will open TheatreCraft, London’s largest careers event for non-performance roles in theatre, on Monday 14th November at the Waldorf Hilton Hotel.

Today, TheatreCraft has confirmed the Aldwych Theatre, the Lyceum Theatre, the Novello Theatre and the Theatre Royal Drury Lane as the partnering West End venues to host many of the workshops led by theatre professionals throughout the day, plus two exclusive behind the scenes marketing workshops at Dewynters.

Theatrecraft 10th anniversary at the Royal Opera House.

Theatrecraft 10th anniversary at the Royal Opera House. Click on the image to book “ask the expert” slot with Carl.

Speaking on behalf of the TheatreCraft partnership about the new shape of this year’s event Blayne George, Programme Director at the Theatre Royal Haymarket Masterclass Trust, said:

“We are thrilled to have the generous support of the Waldorf Hilton Hotel and such esteemed West End theatres. We cannot thank the venues and industry enough for being so welcoming and for opening up their doors to the next generation of theatre makers. It will be an incredible opportunity for attendees to experience the inner-workings of four renowned theatres and to join the packed, vibrant marketplace inside the Waldorf Hilton’s stunning Palm Court.”

Over the last eleven years, TheatreCraft’s workshops have proven an excellent resource for young people starting their careers in theatre.

Alex Dillon-McQueen, Technical Apprentice at the Royal Opera House, commented;

“One of the reasons TheareCraft proved so useful to me in securing my apprenticeship was because I was able to speak to people already working in technical theatre and I also had the chance to speak to people currently working at the Royal Opera House.  I also really enjoyed the workshops; you’re sat in a room full of people your own age and all of them are interested in the same particular element of theatre as you. It was really inspiring!”

Workshops at TheatreCraft 2016 will include:

  • Behind the Scenes tours of Theatre Drury Lane
  • How to Market a Show from Scratch with the Dewynters team
  • Charlie And The Chocolate Factory on stage automation demonstrations
  • Wardrobe with Mamma Mia at the Novello
  • How The National Theatre Works  with Jonathan Suffolk, Technical Director
  • Armoury led by the Royal Opera House
  • Lighting Visualisation with James Simpson, Royal Opera House
  • Careers in Casting with the Ambassador Theatre Group
  • Festival Making with the Southbank Centre
  • Directing with Blanche McIntyre
  • A Provocation for Writers with Barney Norris
  • Producing Site Specific Theatre with Emma Brunjes
  • Theatre Photography with Nobby Clark
  • How to Design a Theatre led by Charcoal Blue Theatre Consultancy
  • New Writing with Paines Plough
  • How to Produce and Tour Your Show with James Quaife, English Touring Theatre
  • Millinery with English National Opera
  • Theatre Criticism with Tom Wicker
  • How to Raise Theatre Investment with James Seabright
  • Press and Marketing with TargetLive
  • Taking Part at the Young Vic
  • Creating Your Own Pathway with the Barbican
  • Manning Your Online Presence with Stage Jobs Pro
  • General Management with Peter Huntley
  • Stage Management with LAMDA

To book a place on any of these workshops, sign up for free and click here (http://www.theatrecraft.org/)

To book a slot with Carl click HERE http://www.theatrecraft.org/events/ask-the-experts-carl-woodward-10

Booking is also open for TheatreCraft’s ‘Ask The Experts’ sessions; an opportunity to have one-to-one conversations and gain valuable career insights with a leading industry figure, including professionals from the Young Vic, Barbican, Sadler’s Wells, English National Opera, White Light, National Theatre, Society of London Theatre, Opera Holland Park, Michael Grandage Company and the Roundhouse.

Larah Simpson, an attendee at the event in 2014 and exhibitor in 2015, said: 

“I attended TheatreCraft in 2014 after graduating from university. I had a one-to-one session with James Clutton and later attended his workshop on producing. I kept in touch with James and was offered work experience at Opera Holland Park and then a permanent job. TheatreCraft is an invaluable resource and the Marketplace is a fountain of knowledge and new opportunities. I was delighted to return in 2015 as an exhibitor for Opera Holland Park.”

From directing to stage management, producing to marketing, lighting to design, TheatreCraft is the only place to be for a fun and unique glimpse into the ‘behind the scenes’ world of theatre.

More than 1,000 people attended TheatreCraft last year taking part in over 75 workshops delivered by skilled theatre professionals and engaging with 64 theatres and organisations in the marketplace, making it the most successful event to date.

TheatreCraft is organised by a group of committed partners from across the creative and cultural industries; the Theatre Royal Haymarket Masterclass Trust, the Royal Opera House, the Society of London Theatre, Mousetrap Theatre Projects and Creative and Cultural Skills.

For more information and all the latest news about TheatreCraft visit www.theatrecraft.org or find us on Twitter @TheatreCraft


Event: TheatreCraft
Date: Monday 14 November 2016, 9.30am – 4.30pm
Venue: Waldorf Hilton Hotel, Aldwych, London WC2B 4DD
Delegates can attend for free by registering at www.theatrecraft.org