Edinburgh Fringe sell-out play from new young Swedish playwright – upcoming London debut Oct 24-28

Happy Yet?
Happy Yet?

Happy Yet?

Following a sell-out run at Edinburgh’s 2016 Fringe, where it was awarded 4 stars from The List, Happy Yet? comes to London’s Courtyard Theatre Oct 24-28. The dark comedy set in Stockholm combines elements of Nordic drama and farce, to offer a fresh take on depression, anxiety and mental illness.

“…an important addition to the discussion about mental health and an education to those weary of the subject. A striking, beautiful and heartbreaking production.”

✭✭✭✭ – The List (2016)

From an attic flat in Stockholm, Torsten wages battle not only with his brother and his sister-in-law – but with his own mercurial mind. Happy Yet? is the story of the Sandqvist family and their struggle to understand Torsten and his disordered moods and dysfunction. As a permanent guest in his brother’s home, Torsten is constantly reminded of his inadequacy and inability to live up to conventions of Swedish society. Relying on his intelligence, quick wit and unnerving charm, Torsten fools and flirts his way in and out of trouble: he toys with the law, his brother’s hospitality, and ultimately his family’s love. Torsten’s decisions become more extreme and increasingly irreversible – will he and his family survive his antics and unravelling mind?

A fresh voice to theatre, 22-year-old Swedish playwright Katie Berglöf wrote her first play Happy Yet? from personal experience. Berglöf grew up watching a close family member endure years of depression, mood swings and misunderstanding. The play uses humour to turn tragedy into a source of understanding, dignity and hope.

Above the Moon Productions was created to address the epidemic of anxiety, depression and mood disorders amongst millennials. Happy Yet? its first play, tackles the stigma and humiliation of being labelled mentally ill.

Showcased at the Edinburgh Fringe Festival 2016, Happy Yet? has been revised and extended for its London debut at Courtyard Theatre, October 24 – 28.

WHERE The Courtyard Theatre | Bowling Green Walk | 40 Pitfield Street | London, N1 6EU

WHEN Oct 24-28, 7:30pm

TICKETS £12, £10 Concession |http://www.ticketweb.co.uk/search/?keyword=Happy+Yet%3f

Twitter @AboveTheMoonPrd

Facebook https://www.facebook.com/happyyet2017/

Casting announcement forThe Trap at Omnibus Theatre

The Trap
The Trap

The Trap

Thrillseeker has announced that Jahvel Hall, Sophie Guiver, Andrew Macbean and Wendy Kweh have been cast in Kieran Lynn’s biting new comedy The Trap.

Directed by Dan Ayling, with set design by Linbury Prize Winner Sarah Beaton, lighting by Jamie Platt and sound by Edward Lewis, the play runs from 31st October – 19th November.

Lynn’s quick-witted play is set in payday loan company Debt Duck and features a motley crew of flawed characters. This timely production explores predatory lending policies and provides the audience with a good dose of sharp humour, while exploring the financial perils of a capitalist world.

The Trap, first staged in the US in April this year, follows on from Lynn’s critically acclaimed hit comedy An Incident at the Border, which successfully transferred to the West End.

Welcome to Debt Duck, the UK’s premiere payday loans company

 Tom and Clem are deep in debt.

Alan, Tom’s boss, owes big bucks.

Meryl, Alan’s manager, is mortgaged to the hilt.

They each decide to crack the company safe and put an end to their financial woes.

But will they break the cycle of debt?

Or is this just another terrible trap?


Kieran Lynn (Playwright) was born in Liverpool, trained as an actor at the Royal Scottish Academy of Music and Drama, and now works as playwright. He has been a member of the Royal Court Young Writers program, the Playwrights Studio Scotland mentoring scheme, the BBC Sparks Residential Course and the Old Vic 24 Hour Plays. He received an Artists’ International Development Fund grant, awarded by Arts Council England, for the world premiere of The Trap in the United States. Kieran’s play, An Incident at the Border, was performed at the Finborough Theatre, before transferring to the West End. It has subsequently been performed in the United States, India, Israel, and Turkey and broadcast on BBC Radio 4; it was performed at Amphibian Stage Productions under the title Crossing the Line during the 2016 season. His other plays include Bunnies (Bike Shed Theatre, winner of the Peter Brook Empty Space Award), The Recurring Rise and Fall (Hampstead Theatre), Pushing Poppies (Theatre 503) and Breaking the Ice (Traverse Theatre/Oran Mor Theatre). He is currently Writer-in-Residence at Theatr Clwyd. An Incident at the Border, Bunnies, and Breaking the Ice are all published by Oberon Books.

Dan Ayling (Director)

Training: Birkbeck (MFA Theatre Directing) and Guildhall (BA (Hons) Stage Management & Technical Theatre).

Directing credits include: Vast White Stillness (Brighton Festival/Spitalfields Festival); Struileag (Commonwealth Games, Glasgow); Written on Skin (Bolshoi, Lincoln Center, TSO, DNO, Wien Festwochen, Opéra Comique); The Baden-Baden Lesson on Consent (East 15); Remember Me (Sound Festival/Spitalfields Festival); Clemency (EIF/SO); FLOW, Fewer Emergencies, City of Lost Angels (The Print Room); Bridge of Dreams (Almeida); Shoot/Get Treasure/Repeat and Eschara (UK tour/Union Theatre); Christie in Love (Lion & Unicorn); Can’t Stand Up For Falling Down (Arcola); The Kiss (Hampstead).

Associate/Assistant Director credits include: A Christmas Carol starring Jim Broadbent (Nöel Coward Theatre); Alcina (Aix); The Man Jesus starring Simon Callow (UK tour) Così fan tutte (Metropolitan Opera/ENO); Written on Skin (Aix/ROH); Clemency and Heart of Darkness (ROH2); One Evening (QEH/Lincoln Center); Four Quartets (Lincoln Center); Canary (ETT); Timon of Athens (Shakespeare’s Globe); Don’t Look Now (Sheffield Theatres/Lyric Hammersmith); Comfort Me With Apples (Hampstead).

Dan was Associate Director at The Print Room (2010 – 2013) and has worked extensively with Almeida Opera, Cryptic and NYMT. He also regularly collaborates with Katie Mitchell as her associate director.

Jahvel Hall (Cast: Tom)

Training: Royal Holloway.

Theatre includes: We Raise Our Hands in the Sanctuary (Albany/Inky Cloak); Kicking (New Wimbledon Theatre); Carpe Diem (National); Three Birds (Bush/Royal Exchange); Skip (Young Blood Theatre Company).

Television includes: Doctor Who, That’s It For Richard, Casualty, The Bill.

Film includes: Epic Fail, Fast Girls, Spirit Children, Between You and Me.

Radio includes: The Pickerskill Reports.

Sophie Guiver (Cast: Clem)

Training: NYT/Northampton University.

Theatre includes: Zigger Zagger, The Tempest, Relish, Team Welcoming Ceremony (National Youth Theatre); Fastburn (Kneehigh); Days of Significance, An Evil Gathering of Infidels, The Merry Wives of Windsor (University of Northampton); Making It Better (Caboodle Arts); Forever Looking Up (Illicit Theatre).

Andrew Macbean (Cast: Alan)

Training: Bristol Old Vic Theatre School.

Theatre includes: Twelfth Night, Amadeus (National); She Stoops to Conquer (Theatre Royal Bath); The White Whale (Slung Low); Richard III, Treasure Island (Tobacco Factory); Hedda Gabler (Old Vic); The Little Prince (Bike Shed, Exeter); Mother Goose (Northcott); Twelfth Night, The Taming of the Shrew, King Lear (Creation, Oxford); Tea & Sympathy, Young Woodley (Finborough Theatre); A Christmas Carol (Trafalgar Studios, London); Macbeth (UK and European Tour), Bloody Sunday (Tricycle); Killer Joe (Bristol Old Vic); Jeffrey Archer’s Prison Diaries (Edinburgh Fringe); The Little Years (Orange Tree); Measure for Measure, Richard III, Titus Andronicus (RSC); Habitats (Gate).

Television includes: ABBA Biopic, Our World War, Post Code, Eastenders, Keith Lemon’s Fit, Whistleblower, Torchwood, Mrs.David, Poirot, The Great Escape, The King’s Beard.

Film includes: The Honourable Rebel, Keith Lemon, Double Top, Dead Cat, Backwaters.

Wendy Kweh (Cast: Meryl)

Training: RADA.

Theatre includesSnow in Midsummer (RSC); The Sugar Coated Bullets of the Bourgeoisie (High Tide); Boy (Almeida); You For Me For You (Royal Court); Image of an Unknown Young Woman (Gate); Chimerica (West End); Romeo & Juliet, Boeing Boeing (Wild Rice, Singapore); Othello, Much Ado About Nothing, The Office Party, A Midsummer Night’s Dream, Little Shop of Horrors (Singapore Rep); Moonwalking In Chinatown (Soho); The Oresteia (National).

Television includesSilent Witness, Eastenders, You, Me & The Apocalypse, Holby City, The Bill, Coronation Street, Murder City, The Year of the Tiger, Doctors, Peak Practice, Shivers, Masters of the Sea.

Film includesHot Hot Hot, The Blue Mansion.

Radio includesDemolition Man, Words & Music, Bare Branches, The Story of the Stone, Boom, Westway.

Listings information:

Omnibus Theatre, 1 Clapham Common Northside, SW4 0QW

Tues 31 Oct – Sun 19 Nov, weekdays and Saturday 7.30pm, Sunday 4pm

Running Time: 80 mins approx. Recommended for ages 14+. Ticket prices – £15, £12 conc.

Box Office Tel: 0207 498 4699, Email: [email protected]
Online: www.Omnibus-clapham.org
Omnibus Theatre, 1 Northside, Clapham Common, London, SW4 0QW

Twitter: @Omnibus_Theatre

Facebook: @OmnibusTheatre

Instagram: @omnibus_theatre




Barrie Rutter to play The Emperor in Shakespeare’s Globe’s and Northern Broadsides’ co-production of The Captive Queen

Barry Rutter
Barry Rutter

Barry Rutter

Shakespeare’s Globe has announced that Barrie Rutter will play the role of The Emperor in his forthcoming production of The Captive Queen, a Shakespeare’s Globe and Northern Broadsides co-production in the Sam Wanamaker Playhouse.

In addition to his career as an actor in the National Theatre and the RSC, Barrie is best known as the founder of multi-award-winning touring company Northern Broadsides. Based in the historic Dean Clough in West Yorkshire, the company has built up a formidable reputation, with a repertoire combining Shakespeare, European and English Classic plays, as well as new writing. Productions are noted for their distinctive northern voice, strong musicality and clear narrative journey.

On stage, Barrie has played roles ranging from Falstaff in The Merry Wives of Windsor, and Prospero in The Tempest (Northern Broadsides) to Hobson in Hobson’s Choice(Sheffield Crucible) and Napoleon in Animal Farm (National Theatre). He is currently touring in the Northern Broadsides production of For Love or Money by Blake Morrison. Barrie’s television credits include PorridgeThe Liver Birds (BBC) and Fat Friends (ITV). In 2003, Barrie won the Sam Wanamaker Award, and in 2015, he received an OBE for services to the arts. The Captive Queen will mark his final production with Northern Broadsides, where he will step down as Artistic Director in April 2018.

A reimagining of John Dryden’s Restoration drama Aureng-zebe (1675), The Captive Queen is set in the woollen mills of the North of England in the late 20th century, but retains a flavour of Dryden’s original Mughal Indian setting. An ageing Emperor and his Governor rage at the loss of their youth and beauty, whilst two fratricidal sons are spurred from victory in war to the warfare of love. All four are besotted with the same captive queen in this wry exploration of the folly of old age, the allure of power, and the bewildering effects of lust and desire.

The Captive Queen

2 February – 4 March 2018

Directed by Barrie Rutter

Designed by Jessica Worrall

Composed by Niraj Chag

Press Night: Wednesday 7 February


Northern Broadsides is a unique theatre company with a true northern voice. Its work is characterised by a high degree of theatrical inventiveness and robust performances from a large ensemble cast of multi-talented and charismatic northern actors who all perform in their natural voices. For the past 25 years, it has delighted audiences here and abroad with a growing classic repertoire that has won the company many awards and a loyal following worldwide.

 Bike Shed joins scheme to end middle-class domination in arts

The Bike Shed Theatre
The Bike Shed Theatre

The Bike Shed Theatre

The Bike Shed Theatre joins pioneering bid to end middle-class domination of arts organisation

The Bike Shed Theatre has been selected as one of forty organisations across the country to take part in a flagship scheme to help end middle-class domination of the arts.  The Exeter venue will join arts organisations including Turner Contemporary and Sage Gateshead on the Weston Jerwood Creative Bursaries programme which will employ graduates from lower income backgrounds.

As one of the organisations receiving funding towards a post, The Bike Shed Theatre will employ a full-time Events Organiser on a twelve-month contract. The post will be advertised in October and will be open to graduates who received a full maintenance grant throughout university and who would struggle to do the unpaid work which acts as a gateway into the sector for up 88% of young people working in the arts today*.

Kelly Johnson, The Bike Shed Theatre’s Deputy Director said:

‘We firmly believe that theatre should be for anyone who’s curious about the world, regardless of economic background or social class.  Everything from the kind of work we stage to the décor in the bar and the approach of our staff is carefully considered so that we can be as welcoming as possible to people who might not ordinarily come to theatre. Our employment opportunities should be the same but when gaining experience in the sector often means undertaking unpaid work, it’s not a level playing field.  We’re excited to be part of this pioneering scheme which aims to address such an important issue in our industry.’

The bursary recipient will receive a mentor throughout the placement and, along with all other recipients, will have the opportunity to travel to Europe to take part in an international festival. By the end of the bursary, they will have met numerous industry contacts and gained a well-rounded experience and support in getting a permanent position within the arts.

The Weston Jerwood Creative Bursaries grant follows a series of grants recently awarded to the Bike Shed Theatre from Trusts and Foundations including support from Esmee Fairbairn Foundation for its Artist Development programme and Backstage Trust for the development of The Boat Shed, a new creative space on Exeter’s quay.

Donmar Warehouse announces 2017/2018 programme

Josie Rourke

Josie Rourke

  • Artistic Director Josie Rourke and Executive Producer Kate Pakenham announce today three new productions at the Donmar Warehouse for late 2017 and through to 2018: a new play by Amy Herzog, Belleville, a revival of Peter Gill’s modern classic, The York Realist, and a new production of William Congreve’s Restoration comedy The Way of the World.
  • The Donmar will host the UK premiere of American playwright Amy Herzog’s acclaimed play Belleville. The production will star James Norton and Imogen Poots as New York newlyweds living in Paris, opposite Faith Alabi and Malachi Kirby. Belleville is directed by the award-winning Michael Longhurst who is making his Donmar Warehouse debut.
  • Donmar Associate and Sheffield Theatres Artistic Director Robert Hastie returns after his hit productions of My Night with Reg and Splendour to direct a revival of Peter Gill’s The York Realist. Revived 50 years after the partial decriminalisation of homosexuality, The York Realist will star Ben Batt and Lesley Nicol, and will be a co-production with Sheffield Theatres.
  • The final production will be William Congreve’s Restoration comedy The Way of the WorldJames Macdonald returns to the Donmar after his acclaimed production of Arnold Wesker’s Rootsdirecting Linda Bassett who will play Lady Wishfort.
  • Donmar Associate Artist Tom Scutt will curate Donmar on Design, a week-long festival celebrating the power of design in theatre, and the designers who make it happen.
  • The Donmar’s free ticket scheme for those aged 25 and under, YOUNG+FREE, will continue to offer seats for performances across the new season. YOUNG+FREE is funded through the generosity of audiences via the Donmar’s PAY IT FORWARD scheme.
  • KLAXON tickets will also continue across the season.  Starting from £10, KLAXON tickets are put on sale every Monday for performances in the following three weeks. Tickets will be available across the auditorium at every price band.

 Artistic Director Josie Rourke said:

I am delighted to share with you the Donmar’s new season: a premiere of an American play, a revival of a modern classic, and one of the great Restoration comedies. 

At the end of this year the Donmar will stage the UK premiere of American playwright Amy Herzog’s dazzling play Belleville. Set at Christmas in a bohemian quarter of Paris, James Norton, Imogen Poots, Faith Alabi and Malachi Kirby will all make their Donmar debuts. I am also thrilled to welcome the director Michael Longhurst to the Donmar for the first time, after his acclaimed productions of Caroline, or ChangeAmadeus and Constellations.

Peter Gill’s work as a playwright has been part of the Donmar’s story for the past decade. We’re proud to be reviving his influential play, The York Realist. Donmar Associate Robert Hastie, who delighted Donmar audiences with his celebrated productions of My Night with Reg and Splendour, will direct this delicate piece about love and family ties in rural Yorkshire. He has assembled another stunning cast which includes Ben Batt, Lucy Black, Lesley Nicol, Katie West and Matthew Wilson.

Finally, we are transported back to 1700 with arguably the best comedy written in the English language:  William Congreve’s Restoration comedy The Way of the World.   We welcome James Macdonald back to the Donmar, after his mesmerizing production of Roots to direct this hilarious classic treat of tricks, love and money.  His cast includes Linda Bassett as the brilliant and witty Lady Wishfort.
With this season the Donmar aims to bring audiences world-class artists and essential stories for our times told within the intimate setting of our Covent Garden home.

The Donmar Warehouse announces today three new productions for the late 2017/2018 period.  First, American playwright Amy Herzog’s play Belleville will be given its UK premiere at the Donmar this winter.  James Norton (Happy Valley, Grantchester) and Imogen Poots (Who’s Afraid of Virginia Woolf?) will play newlywed New York expats living in Paris.  Award-winning Michael Longhurst (Caroline, or ChangeAmadeusConstellations) will make his Donmar debut directing this twisting tale of friendship and lies.

The Donmar will then revive Peter Gill’s seminal play, The York Realist. Donmar Associate Robert Hastie (My Night with RegSplendour) will direct this delicate piece about first love and family ties in rural Yorkshire, in a co-production withSheffield Theatres. Casting includes Ben Batt, Lucy Black, Lesley Nicol, Katie West and Matthew Wilson

Finally in the season, the Donmar will transport audiences back to the 1700s with a revival of The Way of the World by William CongreveJames Macdonald (Roots) returns to the Donmar to direct Linda Bassett in this hilarious Restoration treat of tricks, love and money.

The Donmar’s YOUNG+FREE scheme, which provides free tickets to those aged 25 and under, will also continue throughout the season, with tickets released on the final Friday of every month. YOUNG+FREE is made possible thanks to donations from Donmar audiences via PAY IT FORWARD. These donations and the partnership support of Delta Airlines have allowed the Donmar to allocate almost 10,000 free tickets to those aged 25 and under over the past year.

Audiences can sign up to receive information about tickets on the Donmar’s website www.donmarwarehouse.com

Executive Producer Kate Pakenham said:

Sharing our work with as broad an audience as possible remains at the heart of the Donmar’s mission, so we are delighted to be able to work with Sheffield Theatres on a co-production of The York Realist with our Associate and Sheffield’s Artistic Director Robert Hastie. Following its run at the Donmar, The York Realist will play at Sheffield Crucible 27 March – 7 Apriltaking our work beyond our Covent Garden home.

 I am also thrilled to see KLAXON and YOUNG+FREE tickets continue to grow in popularity. I am proud that these ticket schemes ensure our venue remains accessible to new audiences, particularly young people.

 YOUNG+FREE is made possible by the generosity of the public through PAY IT FORWARD.  We have been delighted by our audiences’ ongoing support for PAY IT FORWARD and are excited to be working with them to prioritise young people’s access to the arts.  We are also grateful to the significant support we receive from corporate partners, individual philanthropists and the Arts Council which makes the Donmar’s work possible, both on our stage and beyond. 

 After the very special experience of opening up our Dryden Street home for Rosalie Craig and Michelle Terry’s Becoming earlier this year, we are delighted to continue this with the Donmar on Design festival. Curated by our Associate Tom Scutt, the week-long festival will be both an opportunity for audiences to have insight into the design process and for young people to meet and be inspired by world-class theatre designers.


Currently at the Donmar is Yaël Farber’s production of David Harrower’s haunting Knives in Hens. Running until 7 OctoberKnives in Hens stars Christian Cook, Judith Roddy and Matt Ryan.

 Following this, Donmar Associate Director and newly announced Artistic Director of the Young Vic, Kwame Kwei-Armah,returns to the Donmar to direct Ibsen’s The Lady from the Sea, in a new version by Elinor Cook.  BAFTA nominated Nikki Amuka-Bird will lead the cast as Ellida from 12 October.

In November, Donmar Associate Artist Tom Scutt (Belleville, The Lady From the Sea, Elegy, Les Liaisons Dangereuses,The Weir) will curate Donmar on Design, a week-long festival at the Donmar’s Dryden Street home celebrating the power of design in theatre. The festival will feature a Designers’ Open Studio, free panel discussions with some of the UK’s leading theatre-makers including Es Devlin, Lizzie ClachanAnna Fleischle, former Donmar Resident Design AssistantRosie Elnile,  Chloe LamfordPeter McKintoshTom Piper and Rosanna Vize, and careers workshops for design students alongside a schools programme for designers of the future.

 Speaking about Donmar on Design, Tom Scutt said:

I’ve been looking to find a way to bring designers and audiences together in celebration for a long while. Donmar on Design is intended to bring our audiences closer to the role of Designer, to give three dimensions to the people that create the worlds we see on our stages and to shed light on what can be one of the most mysterious, shape-shifting roles in the creative process.  

The festival will also offer workshops and guidance to students and recent design graduates as well as providing a forum for more experienced designers to come together and discuss the issues that inform our work.  Through Donmar on Design we hope to create a stronger sense of community and provide an opportunity for designers of every experience to engage, connect and discover more about how each of us goes through our process.

Members Priority Booking for the new Donmar Warehouse season:

Steel level from 10am and Copper level from noon on Tuesday 10 October

Friends from 10am on Thursday 12 October

Public Booking for the new Donmar Warehouse season:

From 10am on Tuesday 17 October


By Amy Herzog

Thursday 7 December 2017 – Saturday 3 February 2018

PRESS NIGHT:  Thursday 14 December 2017

Director Michael Longhurst

Designer Tom Scutt
Lighting Designer Natasha Chivers
Composition and Sound Design Ben and Max Ringham
Cast: Faith AlabiMalachi KirbyJames Norton and Imogen Poots

Americans Zack and Abby are bright, young and recently married.  He’s a doctor combating infant disease.  She’s an actress, also teaching yoga.  It’s just before Christmas and they’re living the expat highlife in bohemian Belleville, Paris.

 It’s all a little too perfect.

Writer Amy Herzog is ‘one of the brightest new talents in the theater’ (New York Times).  Her acclaimed play about a romantic dream gone sour receives its UK premiere. Michael Longhurst (Amadeus, National Theatre; Constellations, Royal Court, West End and Broadway) directs at the Donmar for the first time.

Cast includes Faith Alabi (The Rolling Stone, Orange Tree Theatre), Malachi Kirby (Rough Cuts, Royal Court), James Norton (Bug, Found 111, The Lion in Winter, Haymarket; TV includes GrantchesterWar & PeaceHappy Valley; Film includes Flatliners) and Imogen Poots (Who’s Afraid of Virginia Woolf?, Harold Pinter Theatre).

 Amy Herzog (Writer) plays include After the Revolution (Williamstown Theater Festival; Playwrights Horizons; Lilly Award), 4000 Miles (Lincoln Center; Obie Award for the Best New American Play, Pulitzer Prize Finalist), The Great God Pan (Playwrights Horizons), and Belleville (Yale Rep; New York Theatre Workshop; Susan Smith Blackburn Prize Finalist; Drama Desk Nomination). Amy is a recipient of the Whiting Writers Award, the Benjamin H. Danks Award from the American Academy of Arts and Letters, the Helen Merrill, the Joan and Joseph Cullman Award for Extraordinary Creativity, and the New York Times Outstanding Playwright Award. She is a Usual Suspect at NYTW and an alumna of Youngblood, Play Group at Ars Nova, and the SoHo Rep Writer/Director Lab. She has taught playwriting at Bryn Mawr and Yale. MFA, Yale School of Drama.

Michael Longhurst (Director) is an award-winning stage director. He directed the production of Peter Schaffer’sAmadeus at the National Theatre which ran until March 2017 and received exceptional reviews when it opened in November 2016 in the Olivier. His Royal Court production of Nick Payne’s Constellations starring Golden Globe winner Sally Hawkins and Rafe Spall transferred to the West End, winning the Evening Standard Award for Best Play 2012 and receiving four Olivier Award nominations. Constellations opened on Broadway in January 2015, starring Jake Gyllenhaal and Ruth Wilson. He also directed Academy Award-nominee Jake Gyllenhaal in his American stage debut at the Roundabout Theatre, New York in Nick Payne’s If There Is I Haven’t Found It Yet. He has developed and directed new plays across the UK including Adam Brace’s Stovepipe; a promenade co-production with the National Theatre, which featured in the Sunday Times ‘Best Theatre of the Decade’ list. Michael is also a recipient of the Jerwood Directors Award at the Young Vic (Dirty Butterfly) and a Fringe First (Guardians). He trained in directing at Mountview after reading Philosophy at Nottingham University. Michael is currently an Associate Director for Nuffield Theatre. In 2015, the Evening Standard named Michael as one of the 1000 most influential Londoners.

Faith Alabi (Amina) makes her Donmar Warehouse debut in Belleville. Theatre credits include Trouble in Mind (Print Room Notting Hill), Funeral Flowers (Royal Court Theatre), The Rolling Stone (Orange Tree Theatre) and Eclipsed (Gate Theatre). Faith has appeared on television in Cold Feet, Grantchester, Drifters, Chewing Gum and Agatha Raisin, and on film in My Song. Radio credits include Girls for BBC Radio 4.

Malachi Kirby (Alioune) makes his Donmar Warehouse debut in Belleville. Theatre credits include Rough Cuts (Royal Court Theatre), Two Gentlemen of Verona (Theatre Royal Northampton), Wild Child (Royal Court Theatre), The Realness(Young Vic Theatre), Mogadishu (Royal Exchange, Manchester and Lyric Hammersmith), Dunsinane (Royal Shakespeare Company), Wish You Were Here (Oval House Theatre), Fall Out/The Life of a Teenager (National Theatre Studios), High Life (Hampstead Theatre), The Working Girl (Theatre 503), Beyond The Obvious (Stratford Circus). Malachi’s film credits include Kajaki, Fallen, Dough, The Last Showing, Gone Too Far, My Brother The Devil and Offender. Television credits include Black Mirror, Roots, Jekyll & Hyde, Doctor Who, Vodka Diaries, Lawless, Way To Go, My Murder, Doctor XIII, The Garden, The Bill, Casualty and Silent Witness.

James Norton (Zack) makes his Donmar Warehouse debut in Belleville. Previous theatre credits include Bug (Found 111), The Lion in Winter (Theatre Royal Haymarket), Journey’s End (Duke of York’s Theatre and UK Tour), That Face (Sheffield Crucible), Posh (The Royal Court) and Cymbeline (Cambridge Arts Theatre). James’s television credits include McMafia, To Walk Invisible, Black Mirror, War and Peace, Lady Chatterley’s Lover, Life in Squares, Grantchester, Happy Valley, for which he was nominated for a BAFTA Television Award for Best Supporting Actor, Death Comes to Pemberley, Our Story, By Any Means, Restless, Doctor Who, Blandings and Inspector George Gently. James has appeared on film in Flatliners, Hampstead, Northmen: A Viking Saga, Belle, Bonobo, Angelica, Turner, Thicker Than Water, Rush, Cheerful Weather For A Wedding and An Education.

Imogen Poots (Abby) makes her Donmar Warehouse debut in Belleville. Theatre credits include Who’s Afraid of Virginia Woolf? (Harold Pinter Theatre)Imogen’s extensive film credits include I Kill Giants, Mobile Homes, Sweet Virginia, Connor4real, Green Room, Frank & Lola, A Country Called Home, She’d Funny That Way, Knight of Cups, That Awkward Moment, Jimi: All Is By My Side, The Look of Love, A Long Way Down, Filth, Greetings From Tim Buckley, Comes A Bright Day, A Late Quartet, Fright Night, Jane Eyre, Centurion, Solitary Man, Cracks, Me and Orson Welles, Wish, 28 Weeks Later and V for Vendetta. Imogen’s credits for television include Roadies, Christopher and His Kind, A Bouquet of Barbed Wire and Miss Austen Regrets.



By Peter Gill

Thursday 8 February – Saturday 24 March 2018

PRESS NIGHT: Tuesday 13 February 2018

Director Robert Hastie

Designer Peter McKintosh
Lighting Designer Paul Pyant

Sound Designer Emma Laxton
Composer Richard Taylor

Cast includes Ben Batt, Lucy Black, Lesley Nicol, Katie West and Matthew Wilson.

 ‘I live here. I live here. You can’t see that, though. You can’t see it. This is where I live. Here.’

A cottage, 1960s Yorkshire. The York Mystery plays are in rehearsal.

Farmhand George strains against his roots as a new world opens up to him.

Peter Gill’s influential play about two young men in love is a touching reflection on the rival forces of family, class and longing.

Donmar Associate Robert Hastie returns for this timely revival from one of our greatest living playwrights, following his previous productions My Night with Reg and Splendour. Ben Batt also returns to the Donmar following Making Noise Quietly alongside Lesley Nicol, who returns to the London stage and makes her Donmar debut.

A Donmar Warehouse and Sheffield Theatres co-production.

 Peter Gill (Writer) is a hugely influential and radical figure in British theatre; he is a renowned playwright and one of the most important directors of the last thirty years. Previous Donmar credits include Versailles, 2014 (writer and director), Making Noise Quietly, 2012 (director), Small Change, 2009 (writer) and Days of Wine and Roses, 2005 (director). Peter has directed over eighty productions in the UK, Europe and North America, and held a variety of established positions within the industry, including the post of Associate Director at the National Theatre (1980 – 1997) and Associate Director at the Royal Shakespeare Company (1964/1965 & 1970/1972).

 Robert Hastie (Director) is Associate Director of the Donmar Warehouse and the Artistic Director of Sheffield Theatres. For the Donmar he directed My Night with Reg, which transferred to the West End’s Apollo Theatre and was nominated for the Olivier Award for Best Revival, conceived and directed My Mark with writer Michelle Terry, a project dramatising interviews with primary school children across the country and coinciding with the 2015 and 2017 General Elections, and directed Splendour by Abi Morgan. As Artistic Director of Sheffield Theatres, his credits include Julius Caesar (UK Theatre Awards nomination for Best Director), Of Kith and Kin, and the forthcoming The Wizard of Oz. His other theatre credits include Henry V at Regent’s Park Open Air Theatre, Cat on a Hot Tin Roof at Theatr Clwyd, A Breakfast of Eels by Robert Holman at the Print Room; Carthage by Chris Thompson and Events While Guarding the Bofors Gun by John McGrath at the Finborough Theatre; and The Hotel Plays by Tennessee Williams for Defibrillator at the Holborn Grange Hotel. As Associate Director for Sixty-Six Books, which opened the new Bush Theatre, Hastie directed the world premieres of In the Land of Uz by Neil LaBute, The Middle Man by Anthony Weigh, David and Goliath by Andrew Motion, Snow in Sheffield by Helen Mort and A Lost Expression by Luke Kennard. He was nominated for the Emerging Talent Award at the 2014 Evening Standard Awards.

Ben Batt (George) returns to the Donmar Warehouse following his role in Making Noise Quietly. Theatre credits include Woyzeck (The Old Vic), A Streetcar Named Desire, As You Like It (Royal Exchange, Manchester), and The Funfair (HOME, Manchester). Ben’s recent television credits include Prey, Barbarians Rising, From Darkness, The Go-Between, The Village (Series 2), From There to Here, Scott & Bailey, Prisoners Wives, Death in Paradise, and he will soon be seen in the BBC’s In The Dark. Film credits include The Windmill, Slapper and Me, Despite The Falling Snow, Coach, Electricityand A Running Jump.

Lucy Black (Barbara) makes her Donmar Warehouse debut in The York Realist. Lucy’s theatre include Strife (Chichester Festival Theatre), 3 Winters, Children of the Sun (National Theatre), Drawing the Line (Hampstead Theatre), A Taste of Honey (Edinburgh Lyceum), The Only True History Of Lizzie Fynn (Southwark Playhouse), Epsom Downs (Salisbury Playhouse), Cause Celebre (Old Vic), The Misanthrope, A Tender Player, How The Other Half Loves and Seed Of The Bauhinia (Bristol Old Vic), The Three Sisters and Mary Barton (The Royal Exchange, Manchester), Antony And Cleopatra,Much Ado About Nothing, Othello, Love’s Labour’s LostTitus Andronicus and Three Sisters (Tobacco Factory), One Minute (Bush Theatre), The Blind Bird and The Lesson (Gate Theatre). Television credits include The DurrellsThe LevelCasualty, Jericho, Call the Midwife, Granchester, Eastenders, Vera, Doctors, Holby City, The Bill, Waterloo Road, Wire In The Blood, The RoyalBombshell and Murder In Mind.

Lesley Nicol (Mother) makes her Donmar Warehouse debut in The York Realist. Further theatre credits include Jesus Christ Superstar (Palace Theatre), MAMMA MIA! (Prince Edward Theatre), Our House (Cambridge Theatre) and East is East (Royal Court), for which Lesley also reprised her role in the BAFTA 1999 Best British Film adaptation of the play.Lesley is well known on television for her role of Beryl Patmore in Downton Abbey. Further television credits include The Catch, Shameless, Blackadder, Dinnerladies, The Lion the Witch and the Wardrobe and Inspector George Gently.

Katie West (Doreen) makes her Donmar Warehouse debut in The York Realist. Theatre credits include Uncle Vanya, Chamaco (HOME, Manchester), Lela & Co (The Royal Court), Carmen Disruption (Almeida Theatre), Hamlet, Blind-Sided, Blithe Spirit (Royal Exchange, Manchester), Macbeth (Manchester International Festival/Park Avenue Armory, New York),The Thrill of Love (New Vic Theatre), A Taste of Honey (Sheffield Crucible), 65 Miles (Hull Truck Theatre), Vote of Confidence (Theatre 503), Punk Rock (Hammersmith Lyric/Royal Exchange, Manchester) and Sense (Southwark Playhouse). Television credits include Inspector George Gently, Doctors, Without You and United. Katie has also appeared on film in Peterloo directed by Mike Leigh and Cinderella directed by Kenneth Branagh.

Matthew Wilson (Arthur) makes his Donmar Warehouse debut in The York Realist. Theatre credits include Snack Family Robinson (Rose Theatre Kingston), The Widowing of Mrs Holroyd (New Vic Theatre), The God’s Weep and Othello (RSC), Home (Theatre Royal Bath), Psychogeography (Southwark Playhouse), Enemies (Almeida Theatre), The Romans in Britain (Sheffield Crucible), Fair (Finborough Theatre), and Rampage Season: There (Royal Court). His numerous TV credits include Broken, Call the Midwife, Unforgotten, Vera, Poldark, Arthur & George, Endeavour, Sherlock, and Mr Selfridge. For film his credits include Fantastic Beasts and Where to Find Them, and The Inbetweeners.


By William Congreve

Thursday 29 March – Saturday 26 May 2018

PRESS NIGHT: Thursday 5 April 2018

Director James Macdonald

Designer Anna Fleischle
Lighting Designer Peter Mumford

Sound Designer and Composer Max Pappenheim

Cast includes Linda Bassett

 Family, money, mesire:  the rules of the game, the way of the world.

Lady Wishfort’s sprawling, dysfunctional family are riven by desire – there’s everything to lose and six thousand pounds to gain. Congreve’s glorious ensemble of characters battle it out in this exposing, satirical comedy where everyone needs to win just to get by.

Following their collaboration on the mesmerising Roots in 2013, James Macdonald returns to the Donmar to direct Linda Bassett in the role of Lady Wishfort.

 James Macdonald (Director) previously directed the acclaimed production of Roots by Arnold Wesker at the Donmar Warehouse. He was Associate Director of the Royal Court from 1992 to 2007 during which time he directed Drunk Enough to Say I Love You (also Public Theater, New York), Dying City (also Lincoln Center, New York), Fewer Emergencies, Lucky Dog, Blood, Blasted and 4.48 Psychosis, and more recently CockLove and Information and Circle Mirror Transformation(Royal Court in Haggerston). His other directing credits include The Arrest of Ai Wei Wei, And No More Shall We Part(Hampstead Theatre), King Lear, The Book of GraceTop Girls (Broadway/MTC), A Delicate Balance, Judgment Day, The Triumph of Love (Almeida), Dido, Queen of Carthage, The Hour We Knew Nothing of Each Other, Exiles (National Theatre) and Glengarry Glen Ross in the West End.

Linda Bassett (Lady Wishfort) has previously performed at the Donmar in Roots and Phaedra. Throughout her prolific career she has performed at the National Theatre, Royal Court and RSC. Her television credits include Call the Midwife, The Life & Adventures of Nicholas Nickleby, Lark Rise to Candleford and Grandma’s House. She is best known for her roles in feature films East is East, The Reader, Calendar Girls, The Hours and Effie.




Donmar Warehouse, 41 Earlham Street, Seven Dials, London WC2H 9LX



Box Office:                           020 3282 3808 (No booking fees, £1 postage fee may apply)

Telephone Mon-Sat 10am-6pm

In person Mon-Sat, 10am-curtain up     (with some exceptions, see website)


Evenings Mon – Sat: 7.30pm

Matinees Thu & Sat: 2.30pm



Stalls £40, £30
Circle £30, £20, £10


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


Belleville                                               Thursday 7 – Monday 11 December 2017

The York Realist                              Thursday 8 – Monday 12 February 2018

The Way of the World                    Thursday 29 March – Monday 2 April 2018



Allocations of tickets from £10 will be made available on Monday every week for performances within the following three weeks. Tickets will be available across the auditorium at every price band.


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.


£10 standing tickets available every day from 10am online, by phone and in person. (Except Press Nights. The Box Office may be closed on certain dates, see website for details.)



Tickets will be released on the last Friday of each month at noon for the following month. For an opportunity to secure free tickets and for more information, sign up to the mailing list: http://www.donmarwarehouse.com/visit/young-and-free


The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is an infrared system in the main auditorium and there is also a hearing loop in the box office.


Tickets cost £20. To book call 020 3282 3808 or email [email protected]
For all other access enquiries or bookings call 020 3282 3808

CAPTIONED PERFORMANCES – 7.30PM (captioned by Stagetext)
Belleville                                               Monday 29 January 2018

The York Realist                              Monday 12 March 2018

The Way of the World                    Monday 14 May 2018


AUDIO-DESCRIBED PERFORMANCE – 2.30PM (audio-described by Vocaleyes)
Belleville                                               Saturday 3 February 2018

The York Realist                              Saturday 17 March 2018

The Way of the World                    Saturday 12 May 2018



Tubes: Covent Garden, Leicester Sq, Charing Cross, Holborn, Tottenham Court Road
Buses: Destination Leicester Sq.14, 19, 24, 29, 38, 176
Parking:  Masterpark


Principal Sponsor and supporter of Donmar Dryden Street

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Director, Adam Lenson: “I’m all about musicals that push boundaries. Music is such an important tool for change.”

Director Adam Lenson is all about expanding the form of musical theatre.I believe the new British musical is going through a good time. But I also think it’s important to do bold and experimental musicals as well,” he tells me cheerfully.


Director Adam Lenson in rehearsals.

“I’m all about musicals that push boundaries. Music is such an important tool for change,” he says.

Lenson has tackled Ryan Scott Oliver’s 35MM: A Musical Exhibition’ at The Other Palace his fourth musical in six months – a song cycle that is inspired by Broadway photographer Matthew Murphy’s photos. The show contains 15 songs based on 15 photographs. The show cleverly weaves a musical together thematically. So why 35 MM? “I tend to seek out work that is a little bit more complicated and thoughtful or maybe difficult,” he pauses. “I think people think of musicals as fun or accessible and easy; I tend to look for projects that have a little bit of friction, whether its intricacy or what is traditional.”


35 MM: A Musical Exhibition at The Other Palace, Studio.

“With 35 MM, there are no rules. Just songs. Ryan has actively set out to make a piece that is a challenge for a director – you have a choice – I’ve always aspired to stage work that is unusual. As the director, I’ve tried to give location and identity to each of the songs so there is cumulative power to the songs.”

For Lenson, who has spent several years building his profile through the traditional path of assistant director roles and making projects happen, the changes have been gradual. “Directing is a job made up of a lot of skill and a lot of things: managing actors, working efficiently with a technical team, bringing people together to make a piece of integrated work,” he says.

“I assisted for a long time which I think was a huge benefit. I got to nick the bits of really good directors I like and bend them in a shape that works for me John Doyle’s expressionistic style I had always aspired to find my work. I worked a lot with Terry Johnson and he is a forensic playwright. I discovered a lot about text and caring about acting through choreograph expressionism. The biggest challenge is showing people that you can direct, lately I’ve been trying to make my own work rather than waiting around to be offered it.”

It’s no real shock that Adam has found a home at the new musical venue, The Other Palace. Lenson believes that the venue has a big part to play in the continuing revolution driving new and experimental musicals. “It’s probably no surprise that I’ve ended up working there!” He laughs.

“I believe the new British musical is going through a good time. But I also think it’s important to do bold but experimental musicals as well. The exciting thing for me about The Other Palace is it is an establishment sign of a growing commitment to developing new musicals.”

How does he manage his workload when thinking about his next wave of jobs?My brother is a management consultant, he often likens it to re-fuelling the plane while flying it,” he says drily. “I’m just constantly suggesting things to people and meeting people from all disciplines: writers, producers and actors, until I have the right combination of things.”


35 MM: A MUSICAL EXHIBITION is at The Other Palace, London, until 30 September.

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Guest blog, Jamie Eastlake: “Someone somewhere can help. Theatre N16 will survive. It has to.”

Jamie Eastlake

Jamie Eastlake

  • 132 Theatre Companies on risk free deals
  • 1500 Artists
  • 140 Directors
  • 110 New Writers
  • 17 Technicians
  • 200 first credits for actors cvs
  • 25 Actors on Equity contracts for in house productions
  • 28,000 People through the doors and rising
  • 11 BSL performances
  • 3 cheap Rehearsal spaces
  • 42 Number of productions transferred

Theatre N16 has filled a gap in the industry. I’m not saying there aren’t models like ours. However there’s not enough of them. There’s always a debate about  class divide in the arts and the lack of accessibility for so many different individuals, females, BAME actors and producers with not a pot to piss in. N16 was always about giving hope to these people. It sounds proper wanky but I genuinely think we have achieved this.

We’re looking for a new home. One that we can set the foundations up for years to come. We’ve been extremely unlucky so far. It was the perfect space for us. Times were very tough to start. Because I was desperate to secure somewhere our initial agreement was a bit of an odd one. We had to prove to management that we were going to be a worthy asset. This meant programming theatre Sundays- Thursdays and then on a weekend giving the space back to the pub to hold parties. This wasn’t just giving back the space. This was completely de-rigging it and taking down set. If we had a three week run of a show they’d have to do three get outs. It was crazy. No matter what has been thrown against us we’ve overcome it. It didn’t take us long to prove to be a a valuable asset and secure 7 days a week to allow us to offer a more comfortable operation for theatre companies.

My dream move would be to secure a stand alone property. Somewhere where we can run a bar at the same time as the theatre. A place where we can make revenue to support even more companies and artists. We’ve already got the business model planned out from our shortlist for the space in Streatham.  I’m sure there’s people running spaces out there who are sick of what they do, they could be the people who answers our prayer. We’re working on a patron plan that will see us having a bit of leverage in the bank. This will allow us to get the best possible space we can get. This is the dream model. If a cracking pub space in a great area on a great deal came about we’d love to talk it through. Pub theatre is very special to me. I love having a pint, seeing a show then going downstairs to catch the second half of a footy match.

What this call to arms represents is hope. I’m blown away so far my all the messages and people crying out that someone  somewhere can help. Theatre N16 will survive. It has to.

Watch the documentary about when we opened in Balham. I think it sums up everything about us.

Theatre N16 is looking for a new home

Jamie Eastlake
Jamie Eastlake

Jamie Eastlake

After over 178 productions and over 28,000 audience members through the door since moving to the Bedford in 2015, Theatre N16 is looking for a new home from December 2017.

Theatre N16 was set up in 2015 to be a stomping ground for new companies and a place to try out new work, offering affordable deals on rehearsal and performance space. It has offered a ground-breaking, risk-free deal to all companies, which 95% of our guests have taken, guaranteeing that creatives do not leave our space owing the venue money. This is all under the auspices of an Equity Fringe Agreement, with Theatre N16 one of the few London venues to have signed up to the deal to guarantee pay to all creatives working for the venue.

Within this structure, Theatre N16 has offered performance space to 110 new writers, with over 200 first credits for new and young performers, and 42 productions transferring into other venues all over the world. In reaction to industry issues, they have started encouraging and promoting more successfully for female directors and writers, and worked hard to find productions and casting processes that favour BAME performers.

“The increasingly important Theatre N16” British Theatre

Executive director Jamie Eastlake says: “I was sick to death of watching theatre companies get ripped off under business models that relied on funding the theatre first. Instead, we kept finding new innovative ideas to keep a space open. The fringe is the lifeblood of theatre. Having good solid fringe theatre models is what creates new work and new artists and feeds the West End.“

Now, the new owners of The Bedford, Theatre N16’s home for the last two years, have decided to redevelop the pub. The theatre is looking for a new home, to continue their model of offering affordable space to give creatives a first rung on the ladder. Jamie Eastlake says: “This is a call to arms. We have to find somewhere – and we need help.”

“There’s a clear passion radiating from this venue” View From The Gods

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.

Nottingham Playhouse, Adam Penford: A first season. Some details.

Mr Adam Penford


Nottingham Playhouse has announced Adam Penford’s first season as Artistic Director, including multi-award winning drama The Madness of George III starring Mark Gatiss. Fancy that!

Nottingham Playhouse’s Chief Executive Stephanie Sirr said; “This season marks the launch of a new era for Nottingham Playhouse – we’re very pleased to welcome Adam and tremendously excited by the wonderful season he has put together.”

Adam’s return to his home town of Nottingham follows an incredibly successful career directing for some of the UK’s most exciting theatres including the National Theatre, The Old Vic, Donmar Warehouse, Watermill Theatre, and Found111.

In his new role, Adam has revealed a total of eight brand new productions for the Playhouse’s main stage, as well as announcing a new production for the Neville Studio and a series of initiatives to support artist development and new writing. The 2018 programme also has a strong focus on accessibility.

“Ultimately, the Playhouse belongs to the community and our audiences. They own it. That’s what we have to honour and that’s what makes it such an exciting place,” said Adam.

Not only is 2018 my first year, it’s also the Playhouse’s 70th anniversary, an important milestone for us all and a great opportunity to take risks and produce shows that open up the theatre to new audiences.

“I think many people come to the theatre because it offers them a window onto the world, or for escapism, or to expand their horizons and challenge their ideas. So alongside local stories we’ll also be presenting work that looks at the world through a wider lens.”

CLICK HERE TO DOWNLOAD THE SEASON GUIDE Nottingham Playhouse 2018 Season Announcement – FINAL

In February, Penford’s first production as Artistic Director is Wonderland by Beth Steel, a gripping play that takes a 360° look at the events of the 1984-85 miners’ strike.

Featuring creative use of audio description, captioning and British Sign Language interpretation, Timberlake Wertenbaker’s Our Country’s Good, a co-production with UK Theatre Award 2017 nominated initiative Ramps on the Moon, follows in March.

Based on his own award-winning novel, Louis Sachar’s family show Holes provides a quirky adventure for Easter. Completing the Spring line up is the world premiere of Shebeen – a new play by Nottingham writer Mufaro Makubika and directed by Matthew Xia – that sees a forbidden party in 1958 St. Ann’s, under threat from the police.

The Autumn will see an ultra-stylish new production of the hit Broadway musical Sweet Charity, directed by Bill Buckhurst and featuring choreography by Alistair David. This is followed by Diane Samuels’Kindertransport, telling the poignant story of a child refugee sent to England in the months leading up to World War II.

The culmination of the Autumn’s main stage programme will be Alan Bennett’s The Madness of George III starring Olivier award-winner Mark Gatiss (SherlockThe League of GentlemenDoctor WhoWolf Hall).

Commenting on the production, Mark Gatiss said: “It’s a wonderful play with an epic feel and yet Alan Bennett makes it into a rather touching domestic drama too.

“For me, working with Adam was a major part of why I was attracted to the production. I hope people have a great time. It’s a very funny play and deeply moving, I’m thrilled to be doing it.”

Adam’s first year is rounded off with a panto: Kenneth Alan Taylor’s Robin Hood and the Babes in the Wood.

The Playhouse is also developing a new intergenerational project Being Old, directed by Fiona Buffini that will culminate in a film screening in the Neville Studio.

Adam has also announced the first Neville Studio production under his tenure as Artistic Director: Lava by James Fritz, co-produced with Associate Artists Fifth Word.

Fiona Buffini, Associate Director, said: “Lava is our fourth collaboration with Fifth Word, reflecting our commitment both to staging excellent new writing and to helping local companies develop.”

The commitment to new writing is complemented with a reinvigorated artist development programme calledAmplify that is designed to provide a pathway of opportunity to assist artists through their career. The programme includes advice surgeries, workshops, feedback on performances, as well as development time, Scratch Nights and the annual Playground Festival in the Neville Studio, alongside the Playhouse’s Associate Artists scheme.

Fiona continued: “The Neville Studio provides a home to great theatre, dance and performance that is produced both locally and nationally. It provides a space for artists to develop their work, and for local people of all ages to take part in a wide range of creative activities.”

As well as announcing new productions and the Amplify artist development programme, Adam is also on the hunt for homegrown acting talent.

He said: “We’re immensely proud that Nottinghamshire has produced and is home to a huge number of talented actors. As we begin a fresh chapter, we’re looking to expand our casting pool for future projects by meeting a host of local talent.”

General auditions are open to performers who have trained or worked professionally. Applicants must be over 18, either born, raised or currently living in Nottinghamshire and available on the following dates:

London based performers: Monday 16 and Tuesday 17 October.

To apply, send CV and headshot or Spotlight link for the attention of Vicky Richardson, Casting Director to [email protected]co.uk by: Tuesday 3 October.

See you in Nottingham! 🙂

The end.

Attention: you can read my chat with Mr Penford from last year HERE