Olivier Awards announces its broadcast & ceremony plans for 2018

Olivier Awards

  • Olivier Awards return to ITV On Sunday 8 April at 22:20
  • Worldwide broadcast (ex-uk) at same time via the Olivier Awards  FACEBOOK PAGE
  • Radio Coverage live by Magic Radio in UK and Sirius XM in Usa
  • Olivier Awards return to China via Iqiyi
  • The successful Red Carpet Live show returns via the Olivier Awards FACEBOOK PAGE
  • Special performances in the ceremony will include:
    • Chita Rivera, in reference to the 60Th Anniversary of her opening West Side Story in London, will perform Somewhere accompanied by last year’s winners, Andy Karl and Adam J. Bernard and The Arts Educational Schools London Choir
    • A unique moment in honour of the 50th anniversary of Andrew Lloyd Webber and Tim Rice’s iconic musical Joseph & The Amazing Technicolor Dreamcoat  with past stars returning including Jason Donovan and Linzi Hateley, Lee Mead and Preeya Kalidas, and Joe Mcelderry and Danielle Hop
  • Performances from nominated Musicals including: The Cast Of Hamilton; John Mccrea and the cast of Everybody’s Talking About Jamie; Sheila Atim and the cast of Girl From The North Country; Lesley Joseph and the cast of Young Frankenstein; Tracie Bennett from Follies; and the cast of 42nd Street

The Olivier Awards with Mastercard has announced further details about its broadcast and ceremony plans on Sunday 8 April 2018.

The Awards will continue its successful partnerships with ITV and Facebook.  The Biggest Night In British Theatre: The Olivier Awards will broadcast on ITV on Sunday 8 April from 22:20.  It will also broadcast worldwide at the same time, outside the UK, on the Olivier Awards Facebook page.  The Oliviers will broadcast in China via iQiyi on Tuesday 10 April.

The Awards will also continue its partnership with Magic Radio who will broadcast the entire show live on Sunday 8 April, hosted by Alice Arnold and Olivier Award-winner Ruthie Henshall, with build-up on air from 18:00. Sirius XM will broadcast the show via radio in the US.

The Red Carpet Live show will return this year from 16:00 to 17:30, with a special interval Backstage show at 19:00, both shown exclusively on the Olivier Awards Facebook page.

There will be performances from a variety of Olivier-nominated musicals.  The cast of Hamilton, which has a record-breaking thirteen nominations and is the most nominated production in Oliviers history, will open the show with its opening track Alexander Hamilton.

American musical theatre legend Chita Rivera will perform the iconic West Side Story track Somewhere with Andy Karl (Olivier Award 2017 winner for his performance in Groundhog Day), Adam J. Bernard (Olivier Award 2017 winner for his performance in Dreamgirls), and the Arts Educational Schools London Choir, to celebrate the 60th anniversary of the production debuting in London.

A unique moment in honour of the 50th anniversary of Andrew Lloyd Webber and Tim Rice’s iconic musical Joseph & the Amazing Technicolor Dreamcoat will take place, with past stars returning including Jason Donovan and Linzi Hateley, Lee Mead and Preeya Kalidas, and Joe McElderry and Danielle Hope.

Performances from nominated musicals will include: the cast of Hamilton; John McCrea and the cast of Everybody’s Talking About Jamie; Sheila Atim and the cast of Girl From The North Country; Lesley Joseph and the cast of Young Frankenstein; Tracie Bennett from Follies; and the cast of 42nd Street.

Widely recognised as the most prestigious stage honours, this year’s Olivier Awards return to the Royal Albert Hall and will be hosted by Catherine Tate.

Mastercard continues its partnership with Society of London Theatre and its headline sponsorship of the Olivier Awards, bringing cardholders with a passion for theatre closer to the genre they love.

The Royal Shakespeare Company announces two relaxed performances for Matilda The Musical in 2018

Royal Shakespeare Companys Matilda The Musical.

Following the sold-out success of the previous relaxed performances of Matilda The Musicalthe Royal Shakespeare Company will present its fifth at the Cambridge Theatre at 3pm on Sunday 10 June. The UK and Ireland Tour of the show began performances earlier this month and will host its first relaxed performance at Birmingham Hippodrome at 2pm on Thursday 19 July.

Building on the programme of relaxed performances that the RSC has been running in Stratford-upon-Avon since 2013, the RSC is proud to have been amongst the first to adopt and promote the concept. The National Autistic Society and Mousetrap Theatre Projects will again work closely with the RSC, offering full access to the theatre for people with autism and learning disabilities and their families.

The performance provides a relaxed environment for everyone, with elements of the production adapted to reduce anxiety or stress, and with lighting and sound levels adjusted to soften their impact. Audience etiquette throughout the whole theatre is also relaxed with all audience members given the freedom to make noise and/or move about the auditorium according to their needs without restriction. Designated ‘chill-out’ areas are provided outside the auditorium with soft seating and activities available for people to use if they want to take a break.  All theatre staff, crew and company members also receive specialist training in advance to anticipate a wider range of different audience needs.

In London, the Royal Shakespeare Company is offering tickets at a reduced rate which can be booked through the RSC Ticket Hotline or in person at the Cambridge Theatre box office. Tickets for the Birmingham Hippodrome relaxed performance can be made through the box office ticket sales line.

Specially trained staff will be able to help bookers by speaking to them directly and ensuring that all their specific needs and requirements are taken into consideration when assigning their seat allocation.

All bookers will be sent a visual story to help them familiarise themselves with the plot, characters and the setting before they arrive at the theatre. Detailed event and transport information will also be available from www.matildathemusical.com.

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

Matilda The Musical has now been seen by more than 7.7 million people worldwide, having played in over 60 cities with more than 5500 performances in the West End, on Broadway, across North America and in Australia and New Zealand.

Matilda The Musical swept the board at the 2012 Olivier Awards, with a record-breaking seven awards, and won four Tony Awards and a Tony Honor for Excellence in the Theater for the four girls sharing the title role on Broadway. The North America production toured to 52 cities.

The Australian and New Zealand production won a Sydney Theatre Award for Best Musical in 2015, and played sold-out seasons in Melbourne, Brisbane, Perth, Adelaide and Auckland. The show broke further records in July 2016 by winning all 13 Helpmann Awards for which it was nominated.Matilda The Musical will have its first non-English language production at the LG Arts Centre in Seoul, South Korea from September 2018 until February 2019.

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

WEST END LISTING

MATILDA THE MUSICAL
Cambridge Theatre, Earlham Street, WC2H 9HU

Relaxed performance – 3pm on Sunday 10 June
Booking until 10 February 2019
Tuesdays 7pm
Wednesday – Saturday 7:30pm
Wednesday & Saturday 2:30pm
Sundays 3pm

Box Office: Cambridge Theatre 020 7087 7745 / RSC Ticket Hotline 01789 403493
No booking fee.

www.matildathemusical.com

BIRMINGHAM HIPPODROME LISTING

MATILDA THE MUSICAL
The Birmingham Hippodrome
Hurst Street, Southside, Birmingham B5 4TB

Relaxed performance – 2pm on Thursday 19 July
Tuesday 3 July – Saturday 8 September 2018
Box Office: 0844 338 5000
Calls cost 4.5p per minute plus your phone company’s access charge.

www.birminghamhippodrome.com

UK & IRELAND TOUR LISTINGS

Dublin Bord Gáis Energy Theatre
Wednesday 4 – Saturday 28 April 2018
Box Office: +353 (1) 677 7999
www.bordgaisenergytheatre.ie

Sunderland Empire Theatre
Tuesday 8 May – Saturday 2 June 2018
Box Office: 0844 871 3022*
www.atgtickets.com/venues/sunderland-empire

Milton Keynes Theatre
Tuesday 5 – Saturday 30 June 2018
Box Office: 0844 871 7652*
www.atgtickets.com/venues/milton-keynes-theatre

The Birmingham Hippodrome
Tuesday 3 July – Saturday 8 September 2018
Box Office: 0844 338 5000**
www.birminghamhippodrome.com

Manchester Palace Theatre
Tuesday 18 September – Saturday 24 November 2018
Box Office: 0844 871 3019*
www.atgtickets.com/venues/palace-theatre-manchester

Wales Millennium Centre, Cardiff / Canolfan Mileniwm Cymru
Tuesday 4 December 2018 – Saturday 12 January 2019
Box Office: 029 2063 6464
www.wmc.org.uk

Theatre Royal Plymouth
Tuesday 15 January – Saturday 16 February 2019
Box Office: 01752 267 222
www.theatreroyal.com

The Alhambra Theatre, Bradford
Tuesday 19 February – Saturday 23 March 2019B
ox Office: 01274 432 000
www.bradford-theatres.co.uk

Edinburgh Playhouse
Tuesday 2 – Saturday 27 April 2019
Box Office: 0844 871 3014*
www.atgtickets.com/venues/edinburgh-playhouse/

The Bristol Hippodrome
Tuesday 7 May – Saturday 8 June 2019
Box Office: 0844 871 3012*
www.atgtickets.com/bristol-hippodrome

Mayflower Theatre, Southampton
Tuesday 11 June – Saturday 6 July 2019
Box Office: 02380 711 811
www.mayflower.org.uk

Norwich Theatre Royal
Tuesday 16 July – Saturday 17 August 2019
Box Office: 01603 630 000
www.theatreroyalnorwich.co.uk

* Calls cost 7p per minute, plus your phone company’s access charge.
** Calls cost 4.5p per minute plus your phone company’s access charge.

www.matildathemusical.com
Twitter: @MatildaMusical
Facebook: @MatildaTheMusical
Instagram: @MatildaTheMusical

National Theatre Wales announce full NHS70 Programme

National Theatre Wales
National Theatre Wales

National Theatre Wales

  • Multi-artform NHS70 Festival includes new writing, contemporary dance, music, comedy, immersive and sensory theatre
  • Events and productions to be performed all over Wales, including hospitals, schools and arts venues in Carmarthen, Welshpool, Wrexham, Bangor and Tredegar, birthplace of the NHS’ founder, Aneurin “Nye” Bevan
  • The Festival will tickle audiences’ funnybones and touch their hearts with a breadth of new work celebrating many facets of the NHS
  • It includes collaborations with Welsh, British and international artists and companies including Oily Cart, Gruff Rhys, Migrations, Alan Davies, Maria Fusco and Roy Williams

National Theatre Wales will celebrate the National Health Service’s 70th birthday in July 2018 with a month-long, multi-artform NHS70 Festival, inspired by the staff and patients of this unique institution. This country-wide Festival will feature productions and events made and performed in locations across Wales, all celebrating one of Wales’ best exports.

 

 NHS70: NO PROFIT IN PAIN

A brand new song by Gruff Rhys, paying tribute to the NHS. No Profit in Pain

will be released on 5 July 2018 – the actual day of the NHS’s 70th birthday – and follows Gruff’s politically-charged I Love EU, released in 2016.

Keep an eye on NTW’s website for more information about how and where to hear it first.

 

NHS70: LOVE LETTERS TO THE NHS

Five new solo shows by five writers, performed the length and breadth of Wales. These monologues will be intimate, heartfelt love letters to an institution with which all of us have had – or will have – a relationship, at some stage of our lives…

NHS70: COTTON FINGERS
A LOVE LETTER TO THE NHS
Written by Rachel Trezise
Directed by Julia Thomas

Aberaeron Memorial Hall, South Road, Aberaeron, Ceredigion
4-5 July 2018, 8pm
Merlin Theatre, Pembrokeshire College, Haverfordwest, Pembrokeshire
7 July 2018, 5pm & 8pm

Cotton Fingers follows the emotive journey of a young Belfast girl who travels in her mother’s footsteps to west Wales, seeking an abortion. A compassionate one-woman play, written just over half a century since abortion was legalised in Wales.

NHS70: PEGGY’S SONG
A LOVE LETTER TO THE NHS

Written by Katherine Chandler
Directed by Phil Clark
Part of Wrexfest

Undegun, Regent Street, Wrexham
5-7 July 2018, 8pm (& 5pm 7 July)

A comic slice of Welsh new writing, Peggy’s Song is both a light-hearted, one-man show about a hospital radio DJ, but also a touching tribute to the volunteers who give their time to the NHS.

NHS70: THE STICK-MAKER TALES
A LOVE LETTER TO THE NHS

Written by Peter Cox
Directed by Kully Thiarai

Pavilion Mid Wales, Spa Road, Llandrindod Wells, Powys LD1 5EY
11-12 July 2018, 8pm
Welshpool Town Hall, Broad Street, Welshpool, Powys SY21 7JQ
14 July 2018, 5pm & 8pm

In The Stick-Maker Tales, a mid-Wales hill farmer nearing retirement reflects on a lifetime’s work on the farm, and his memories of life before the Service came to being. This performance marks Kully Thiarai’s directorial debut as Artistic Director of NTW.

NHS70: FOR ALL I CARE
A LOVE LETTER TO THE NHS

Written by Alan Harris
Directed by Jac Ifan Moore

Tredegar Little Theatre, Upper Coronation Street, Tredegar, Blaenau Gwent
12-14 July 2018, 8pm (& 5pm 14 July)

In Tredegar, Clara sees signs that lead to Peacocks and takes a trip to a mental health unit. Nurse Nyri wants to do the best for her patients, but increasing pressures on the NHS mean she might not get the chance. For All I Care is written by Alan Harris, directed by Jac Ifan Moore and performed in the very town where it all began.

NHS70: COME BACK TOMORROW
A LOVE LETTER TO THE NHS
Written by Roy Williams
Directed by Paulette Randall

The Chapel, Singleton Hospital, Sketty Lane, Sketty, Swansea
26-28 July 2018, 8pm (& 5pm 28 July)

One-woman show Come Back Tomorrow follows the story of two nurses – one who emigrates to Wales from Jamaica in 1952, the other her granddaughter 50 years on – both of whom find themselves making a complex, lifelong commitment to the NHS.

 

NHS70: AS LONG AS THE HEART BEATS
Co-directed by Marcus Romer and Ben Tinniswood
Original music by Tic Ashfield

21-22 July 2018, times vary
Outpatient Department, Royal Gwent Hospital, Cardiff Road, Newport

As Long as the Heart Beats will be a site-located, theatrical journey inspired by, and situated in, the Outpatient Department at Royal Gwent Hospital. Featuring specially-composed music and interactive elements, As Long as the Heart Beats has care and compassion at its heart, just like the NHS itself.

Drawing on the many stories NTW have collected from people across Wales over 12 months, this brand new production will celebrate the dedication and care provided every day by the NHS.

In intimate groups, the audience will be invited to hear stories from staff and patients sharing their experiences of the first 70 years of the NHS, including some of the groundbreaking work performed here in Wales.

 

NHS70: LAUGHTER IS THE BEST MEDICINE

The Lyric Theatre, King Street, Carmarthen, Carmarthenshire

21 July 2018, 7pm

Join us for an all-star, one-off night of live comedy that’ll leave you in stitches, compèred by actor and comedian Elis James, in his hometown of Carmarthen.

Laughter is the Best Medicine will be headlined by Alan Davies (QI, Damned), and feature health-themed sets from Angela Barnes, Steve Day, Ed Gamble, Rosie Jones, Nadia Kamil, Nish Kumar and Jonny Pelham.

 

NHS70: TOUCH
National Theatre Wales & Migrations
Choreographed by Julie Nioche, Filiz Sizanli and Mustafa Kaplan
Performed by Laura Dannequin, Angharad Harrop, Cai Tomos and Simon Whitehead

Pontio, Bangor University, Deiniol Rd, Bangor, Gwynedd
27 July, 8pm
28 July, 2pm5pm & 8pm

Touch is an interactive piece to soothe the soul, marrying the therapeutic, healing powers of dance and touch.

This tactile, contemplative show is created by a powerhouse of international, national and local artists and organisations; National Theatre Wales, Llanrwst-based Migrations, French choreographer and dancer Julie Nioche, choreographers Filiz Sizanli and Mustafa Kaplan from Turkey, and a cast of dancers from across the UK.

Founded in 2004, Migrations brings international contemporary arts to Wales while developing innovative collaborations, commissions and partnerships in Wales and further afield. To create unique experiences rooted in Wales, they collaborate with challenging and inventive artists, local communities and groups, national and international partners. Their projects come in all sort of sizes and shapes, from large-scale, site-specific commissions to dance film production with 100 amateur participants and interactive installations, variously using empty shops, rural landscapes and urban architecture as a stage.

 

NHS70: SPLISH SPLASH
National Theatre Wales & Oily Cart
Written & Directed by Tim Webb
Designed by Jens Cole
Music direction by Max Reinhardt
Music composed by Max Reinhardt and arranged by George Panda

Hydrotherapy pools in schools, hospices and hospitals across Wales
Throughout July

A multi-sensory, underwater, touring production created with theatre company Oily Cart, performed exclusively for young people aged 3-19 in hydrotherapy pools in schools, hospices and hospitals.

This immersive, interactive floating show ignites and delights every sense. Hydrotherapy pools will be transformed into watery wonderlands by underwater lighting, clouds of bubbles drifting from below, curtains of spray, and live music played on floating instruments, with a sound that can be felt as much as heard.

There will be three, distinct versions of Splish Splash:

  • one for those with profound and multiple learning disabilities;
  • one for those on the autism spectrum; and
  • one for the deafblind, with or without any cognitive impairment.

It will be director Tim Webb’s final work as Artistic Director of Oily Cart, after 30 years at the helm.

Since 1981 Oily Cart has been taking its unique blend of theatre to children and young people in schools and venues across the UK. Challenging accepted definitions of theatre and audience, they create innovative, multi-sensory and highly interactive productions for the very young and for young people with profound and multiple learning disabilities. By transforming everyday environments into colourful, tactile ‘wonderlands’, Oily Cart invite audiences to join them in a world of the imagination. Using hydrotherapy pools and trampolines, aromatherapy, video projection, and puppetry together with a vast array of multi-sensory techniques, they create original and highly specialised theatre for young audiences.

 

NHS70: ECZEMA!
Created by Maria Fusco

Skin is an event. Skin is a factory. Skin is a map. Skin is a leaking border. Skin is memory. Skin is time. Skin is global.

Art writer Maria Fusco’s ECZEMA! explores the life of eczema; a skin disease affecting an estimated 15 million people in the UK, including the writer herself. Exploring what it is like to live in co-occupation and incessant dialogue with eczema, Fusco’s black comedy will mingle the itching and scratching cycles of eczema into an absurdist, celebratory score of spoken word and music.

Further details to be announced.

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Our creative curriculum isn’t going down without a fight: The Big Arts & Education Debate

The English Baccalaureate (EBbacc) in its current form is depriving the next generation of creative talent. Since 2010 there has been a 28% drop in the number of children taking creative GCSEs, with a similar drop in the number of creative arts teachers being trained. The Government’s ambition is to see 90% of GCSE pupils choosing the EBacc subject combination by 2025. Alarming, eh?

DWo9maEXkAA4Q7q.jpg

The EBacc leaves no room for creative, technical and artistic subjects. The structural problems of this ‘performance measure’ are causing the arts to be eroded in our school curriculums. Currently, the EBacc – which measures schools’ performances – does not include arts subjects. Anyone with their head screwed on will recognise that the Department for Education is at the mercy of a Conservative government in headlong pursuit of Brexit and with no great sympathy or appreciation of the cultural sector.

It’s probably worth mentioning that during 2015-2016 (before the EU referendum) the creative industries grew at twice the rate of the wider economy, according to the department for Digital, Culture, Media and Sport’s Economic Estimates for 2016. This information also reveals that the creative industries make up 5.3% of the UK economy. Arguments that the sector as a whole continues to thrive – despite funding cuts – fall on deaf ears.

But a creative education is a valuable phenomenon, socially, politically as well as aesthetically. The arts offer young people certain experiences that other subjects cannot give, for it is a democracy which functions on a transformative level, despite, or maybe because of its poverty. Whether many of our young people swim or flounder as chaos swirls and globalised multinationals determine everyone’s lifestyle will depend on our humanity today. We have to act now.

On Friday 20 April I will be hosting The Big Arts & Education Debate alongside Birmingham Rep’s Associate Director, Steve Ball. This symposium will take place on the Rep’s main stage and will provide a space to discuss the challenges facing our education system that is increasingly individualistic in its narrow vocational thrust rather than being nourishing and inclusive.

Taking part in The Big Arts & Education Debate is playwright James Graham; Indhu Rubasingham, Artistic Director of Tricycle Theatre; Cassie Chadderton, Head of UK Theatre; Ammo Talwar, CEO of Punch Records; Christine Quinn, West Midlands Regional Schools Commissioner; Pauline Tambling CBE, CEO of Creative & Cultural Skills and Tim Boyes CEO of Birmingham Education Partnership.

James-1.jpg

James Graham

The rise of initiatives such as Bacc For The Future and the London Theatre Consortium’s Creative Learning Symposium are shining a light on the current crisis, with 200 organisations and 30,000 individuals determined to bring about change. To deprive state educated children the opportunities to pursue a career in the arts is nothing short of perverse. Diversity is a big priority, but this should include class too.

The Big Arts and Education Debate is a prophetic and practical opportunity to come together to address this very serious situation. We very much look forward to seeing what recommendations and solutions that we can achieve together next month.

The Big Arts and Education Debate takes place at Birmingham Repertory Theatre on Friday 20 April, 2 – 5pm.

Tickets £10 / £5 concessions are available from birmingham-rep.co.uk / 0121 236 4455.

Everyman Company to perform Anthony Burgess’ stage adaptation of A Clockwork Orange

A Clockwork Orange
A Clockwork Orange

A Clockwork Orange

Production features music composed for the play by Anthony Burgess – the first time this has been performed alongside the script in the UK

  • Director Nick Bagnall to work with composer James Fortune and movement director Etta Murfitt with the production featuring live music
  • Company actor George Caple to play role of Alex following his performance as Romeo in the Company 2017 production of Romeo & Juliet

The Everyman Company 2018 will present the stage adaptation of Anthony Burgess’ A Clockwork Orange by Anthony Burgess as director Nick Bagnall invites audiences into a world of milk, ultraviolence and Ludwig Van Beethoven.

Created in 1986, Burgess’ stage adaptation was written 24 years after the publication of his original acclaimed novel. The infamous cult story was propelled into the public eye by Stanley Kubrick’s notorious film version in 1971.

Everyman & Playhouse associate director Nick Bagnall, will present a bold reimagining of Anthony Burgess’ dark, dystopian play written by the literary figure himself and featuring songs and music composed by Burgess – the first time this will have been used alongside the play in the UK.

 A Clockwork Orange drops audiences into the world of teen Alex and his incessant desire to find enjoyment in life. Alex loves milk. Alex loves Beethoven. The problem is, Alex also loves violence. With a trail of destruction and misery following the seemingly amoral teenager, everyone agrees that something must be done to stop the boy.

 But is punishment the answer? Or can the world find another way to reform the rebellious youth culture taking over their cities and high rise buildings?

Playing the role of Alex is George Caple, following his performance as Romeo in the Company 2017 season. He will be joined by Nathan McMullen (Georgie), Zelina Rebeiro (Pete) and Young Everyman and Playhouse actor Phil Rayner (Dim) playing Alex’s infamous droogs.

Company members Nadia Anim, Richard Bremmer, Keddy Sutton and Liam Tobin complete the casting, with droogs and other actors playing a variety of different roles in the production.

Nick Bagnall said: “I have wanted to direct Burgess’ A Clockwork Orange ever since I saw a version by the RSC in 1990, where Bono and the Edge created their own soundtrack. At that point I had no idea that Burgess had composed his own music, led by the work of Beethoven.

“The juxtaposition between the glory of Beethoven’s composition, the inanity of Burgess lyrics and the shocking ultraviolence makes for a mix of cabaret, music hall and a visceral theatrical experience.

“Violent and all still too relevant, throw in a wonderful ensemble and we have a real ‘horror show’ of a night for our audience.”

 Working alongside Nick Bagnall is returning composer James Fortune and choreographer Etta Murfitt. James will again provide the musical arrangement for the Company after working on the 2017 productions of The Conquest of the South Pole and Romeo & Juliet. Etta will direct movement on the production having previously worked at the Everyman on Dead Dog in a Suitcase and The Tin Drum with theatre company Kneehigh.

Returning designers from the Everyman Company 2017 Molly Lacey Davies and Jocelyn Meall have created the set to stage Burgess’ story turning the Everyman stage into a brutalist dystopian landscape, set in the round.

Tickets for A Clockwork Orange and other company shows are on sale now.  A variety of prices are available across the season, with tickets priced at £10 to £40 – or just £5 for young people – at all performances, as the Everyman & Playhouse continue to make their work accessible to all.

Captioned, BSL and Audio Described performances are available for all four productions. To support the visits of those attending with Access needs, the Everyman has increased the discount and continue to offer a companion seat where additional support is required.

Bookers have the opportunity to see multiple productions through subscription packages, from as little as £31.50. To find out more about the prices available for all shows and to buy your tickets, visit: https://www.everymanplayhouse.com/the-everyman-company-2018.

Orlando Bloom to star as Killer Joe in the West End

Orlando Bloom (The Lord of the Rings trilogy, The Hobbit, the Pirates of the Caribbean series) is to star in the West End as a cop who moonlights as a killer-for-hire in multi award-winning Tracy Letts’ blackly comic thriller, Killer Joe.
The Smith family hatch a plan to murder their estranged matriarch for her insurance money. They hire Joe Cooper, a police detective and part-time contract killer, to do the job. But once he enters their trailer home and comes face to face with their innocent daughter, the plan spirals out of control…
A tense, gut-twisting thriller, Killer Joe, directed by Simon Evans (The Dazzle and Bug at Found111 and current West End hit The Best Man at The Playhouse) asks where the moral line is drawn in the fight for survival.

Killer Joe will play a strictly limited 13-week season from Friday 18 May – Saturday 18 August at Trafalgar Studio 1.

Press night is Monday 4 June at 7.00pm

Produced by Emily Dobbs Productions and Empire Street Productions.

Orlando Bloom said: “I’m always looking for an opportunity to get back on stage, especially in London, the heart of my home. Tracy Lett’s Killer Joe is an incredible, adrenaline-fueled piece of writing, with a dark and gritty character to play. It’s an interesting comment on a disenfranchised view of the American dream. Whilst Joe may appear to be simply a killer, I believe Lett’s intentions for Joe are far more layered. It’s very different from many of the film roles I’m most recognized for. After talking it through with director Simon Evans, I know we will create a production that is polarizing, entertaining, dark and funny. The play may be 25 years old this year, but the relationships it portrays, especially between Joe and the innocent girl Dottie, speak so brilliantly to the empowerment we’re seeing around the world in 2018. It’s the perfect time to be bringing this play back to London, and I couldn’t be more excited to be part of it.”

Orlando Bloom
Actor and producer Orlando Bloom will next star in Amazon’s newest original series Carnival Row, an eight-episode fantasy noir set in a neo-Victorian city. The series will premiere in 2019 and Orlando is both a producer and star of the show. Bloom is well known for his role as ‘Will Turner’ in the Pirates of the Caribbean films which have all been massive box office hits, grossing a total of $4.6 billion worldwide. The fifth and most recent film, Pirates of the Caribbean: Dead Men Tell No Tales was released in May 2017 and grossed almost $800 million. Additionally, Orlando is well known for his role as ‘Legolas’ in Peter Jackson’s Academy Award winning trilogy The Lord of the Rings and The Hobbit. The five films that Orlando starred in grossed over $4.8 billion. Bloom’s other film credits include Ridley Scott’s Black Hawk Down and Kingdom of Heaven, Cameron Crowe’s Elizabethtown and Wolfgang Peterson’s Troy, among many others. On stage, Bloom received critical acclaim for his Broadway debut as ‘Romeo’ in Shakespeare’s Romeo and Juliet, directed by David Leveaux. In 2007, he made his debut at London’s West End in a revival of David Storey’s 1969 drama In Celebration produced by Sonia Friedman and directed by Anna Mackmin. Bloom graduated from London’s Guildhall School of Music and Drama where he performed in many stage productions, including Peer Gynt and Twelfth Night. For over a decade, Orlando has been a Global Goodwill Ambassador for UNICEF and travels around the world to fight for the rights of children and was honored with the BAFTA Britannia Humanitarian Award in 2015.

Simon Evans (director)
Simon Evans’s credits as a director include: The Best Man at the Playhouse Theatre, West End, The Resistible Rise of Arturo Ui at the Donmar Warehouse, The Dazzle, Bug and Fool For Love at Found111, Alligators at Hampstead Theatre, The Silence of the Sea at the Donmar Warehouse, Almost Maine, Shawshank Redemption and Ghostbuisters for Secret Cinema, Rubber Room at the Old Vic, and Madness in Valencia at Trafalgar Studios. Simon was Resident Assistant Director at the Donmar Warehouse, Staff Director at the National and Creative Associate at the Bush. He is Artistic Director of Myriad & Co.

“Simon Evans directs with a pitch-perfect blend of tragi-comic rigour and piercing tenderness”
The Daily Telegraph on The Dazzle

Tracy Letts (playwright)
Tracy Letts is the author of the plays The Minutes, Linda Vista, Mary Page Marlowe, Superior Donuts, August: Osage County (Pulitzer Prize, Tony Award), Man From Nebraska (Pulitzer Prize finalist, Time Magazine’s Top 10 Plays of 2003), Bug, and Killer Joe.  Also an actor, he has appeared on Broadway in Will Eno’s The Realistic Joneses and Edward Albee’s Who’s Afraid of Virginia Woolf (2013 Tony Award for Best Actor in a Leading Role). Film appearances include The Post, Lady Bird, The Lovers, Christine, Imperium, Indignation, Wiener-dog, Elvis and Nixon, The Big Short. TV: Divorce (HBO), two seasons as Sen. Lockhart on Homeland (Showtime), Seinfeld. He is an ensemble member of the Steppenwolf Theatre Company and his appearances there include: Who’s Afraid of Virginia Woolf, American Buffalo, Betrayal, Homebody/Kabul, The Dresser, The Dazzle, Glengarry Glen Ross, Three Days of Rain, many others.

Emily Dobbs Productions (producer)
Emily Dobbs Productions (EDP) is an independent theatre company based in London and run by Emily Dobbs. Emily trained as an actress at Central School of Speech and Drama. In 2015 she founded and opened a new pop up theatre – Found111 – at the site of the old Central St Martin’s School of Art on Charing Cross Road. Found111 was a huge commercial and critical success, producing consecutive sell out productions starring actors including James Norton, Andrew Scott, Niamh Cusack and Matthew Lewis. Found111 was nominated for the Peter Brook Empty Space Award. Emily ran and programmed the venue for 18 months before the building was demolished. Emily commissioned and produced the critically acclaimed adaption of The Seagull starring Lily James, adapted by Anya Reiss. She was also chosen as one of the three producers to produce for the highly competitive One Stage season at the St James Theatre with her production of Anya Reiss’ Uncle Vanya, starring John Hannah. EDP has a diverse artistic policy that includes commissioning original adaptations and new writing, contemporary re-imaginings of classics, and revivals and has produced critically acclaimed work across London, at regional venues in the UK, and in New York. Emily collaborates with the most exciting new talent working in the UK and internationally, and with established creatives to create high quality, exciting and accessible work. EDP is committed to making bold creative choices whilst garnering critical acclaim and maximising profit potential. Past productions include: BUG, The Dazzle, Unfaithful, Fool For Love (Found111), The Father (Trafalgar Studios), Uncle Vanya (St James Theatre), Orson’s’ Shadow, Three Sisters, The Love Girl And The Innocent, Antigone,The Hostage (Southwark Playhouse), Cornelius (New York transfer to 59E59 Theater), A Midsummer Night’s Dream, As You Like It, Gotcha, Stars In The Morning Skies (Riverside Studios), Dusa Fish Stas & Vi, Love On The Dole, Ours (Finborough), Can’t Stand Up For Falling Down (Arcola). Touring productions include: Dusa Fish Stas &VI, A Midsummer Night’s Dream, As You Like It. Emily also runs Jagged Fence Theatre (JFT), which is a registered charity committed to commissioning new writing. JFT commissioned the highly successful Chekhov adaptations by award winning writer Anya Reiss. JFT are currently working with Anya Reiss on a new work. EDP and JFT work alongside each other to commission create and produce fresh and fearless work.
@EmilyDobbsProd
www.emilydobbsproductions.com

Empire Street Productions (producer)
James Bierman is an independent Film and Theatre Producer and he recently produced his first feature film Genius written by Academy Award Nominee John Logan and starring Colin Firth, Jude Law, Nicole Kidman and Laura Linney which premiered in competition at the Berlin Film Festival. James is a Tony Award-winning producer of John Logan’s stage play Red. He has worked in professional theatre since 1992 enjoying success in both the commercial and subsidised sectors and is currently on the board of the Society of London Theatres. As Executive Producer of London’s Donmar Warehouse (2006 -11) he was involved in over 45 productions which won numerous awards including Tony, Drama Desk, Olivier, Evening Standard, Critics’ Circle and South Bank Awards. Alongside Michael Grandage he produced the Donmar West End Season at the Wyndham’s Theatre to both critical acclaim, and financial success. He produced a further two West End, and four Broadway, transfers of the company’s work. With Grandage he took the Donmar’s portfolio to a wider audience, touring nationally and internationally, with BBC radio broadcasts of ‘The Chalk Garden’ and ‘Othello’, as well as the cast recording of ‘Parade’, and the NT Live transmission of ‘King Lear’ in 2011 to over 350 cinemas worldwide. The culmination of this work at the Donmar came with the purchase of two properties: the theatre in Earlham Street; and a rehearsal, education and office space in Dryden Street.As a producer at the Michael Grandage Company (MGC), which he founded with Grandage in 2011, he produced five hugely successful productions at the Noel Coward Theatre, in London’s West End: ‘Privates on Parade’ starring Simon Russell Beale; ‘A Midsummer Night’s Dream’ starring Sheridan Smith and David Walliams; a new play by Genius writer John Logan entitled ‘Peter and Alice’ starring Dame Judi Dench and Ben Wishaw; ‘Henry V’ starring Jude Law; and ‘The Cripple of Inishmaan’, starring Daniel Radcliffe. The sell-out production of Martin McDonagh’s black comedy later transferred to Broadway with critical acclaim and Tony nominations both for the production and for Radcliffe in the lead role. This MGC season also broke new ground by reaching new audiences through competitive ticket pricing and access, with tickets available for as little as ten pounds. Most recently in 2015 the production ‘Photograph 51’, starring Nicole Kidman as DNA scientist Rosalind Franklin, opened in London for a limited run. The play, which welcomed Kidman back to the West End after a 17year absence, received rave reviews at the Noel Coward Theatre winning Kidman the Evening Standard and Whatsonstage Best Actress Awards and also Best New Play at the Whatsonstage Awards.
@estreetprods
www.empirestreetproductions.com

LISTINGS INFO
Orlando Bloom
stars in
Killer Joe
by Tracy Letts
Trafalgar Studios 1
14 Whitehall
London
SW1A 2DY

Friday 18 May – Saturday 18 August

Press night Monday 4 June at 7.00pm

Monday – Saturday at 7.30pm
Thursday & Saturday
matinee at 2.30pm

Tickets: from £15.00

Tickets on sale from 12noon
on Monday 26 March

Age recommendation 16+
Contains nudity, violence and adult themes

Box Office: 0844 871 7632
Personal callers Monday –Saturday 10am – curtain up
(No booking fee)
Telephone Monday – Saturday 10am – curtain up

Telephone and website booking £3.50 per transaction fee

www.KillerJoePlay.com

Twitter
@KillerJoePlay
#KillerJoePlay

Facebook
facebook.com/KillerJoePlay

Akram Khan’s XENOS at Sadler’s Wells in May

Xenos
Xenos

Xenos

One of the most celebrated and highly regarded dance makers working today, Sadler’s Wells Associate Artist Akram Khan presents the UK premiere of XENOS at Sadler’s Wells from 29 May – 9 June 2018.

The production is commissioned by 14-18 NOW, the UK’s arts programme for the First World War centenary, and marks Khan’s final performances as a dancer in a full-length piece. Khan conjures the shell-shocked dream of a colonial soldier in the context of the First World War. Meaning ‘stranger’ or ‘foreigner’, XENOS takes place where humanity stands in wonder and disarray, on the border between East and West, past and present, mythology and technology.

The production reveals the beauty and horror of the human condition and seeks to express tales of loss, hope and redemption, through a movement language that shifts between classical kathak and contemporary dance.

Khan is joined on stage by five world-class musicians and a stellar creative team including fellow Sadler’s Wells Associate Artist lighting designer Michael Hulls, dramaturg Ruth Little, playwright Jordan Tannahill, set designer Mirella Weingarten, costumier Kimie Nakano and composer Vincenzo Lamagna.

Akram Khan said: “Out of all the creations I have been blessed to be involved in, XENOS is the one that I find to be the closest in line with my personal journey as an artist. The themes of reflection, death, rebirth, time, alienation, identity, memory, are all part of this creative process, and together with some incredible collaborators, I have embarked on this challenging journey, to give birth to XENOS

“Essentially, this work is a reflection of how I feel about our world today. It is about our loss of humanity, and how, through past and present wars, we are yet again confronted by the burning question of what it is to be human. How can we as humans, have such ability to create extraordinary and beautiful things from our imagination, and equally, our immense ability to create and commit violence and horrors beyond our imagination. Prometheus saw this in mankind before we as a species, ever recognised it.

XENOS is part of Sadler’s Wells’ 20th anniversary celebrations, and is among 20 commissions celebrating 20 years of the current building, which opened in 1998.

Akram Khan became a Sadler’s Wells Associate Artist in 2005. Sadler’s Wells has co-produced many works with Akram Khan Company, including his acclaimed solo work DESHTOROBAKA with flamenco artist Israel Galván, Sacred Monsters with Sylvie Guillem, and zero degrees, with fellow Associate Artists Sidi Larbi Cherkaoui and Nitin Sawhney.

Sadler’s Wells Artistic Director and Chief Executive Alistair Spalding said: “I am proud to present the UK premiere of XENOS at Sadler’s Wells and to offer our audiences the opportunity to see Akram perform in a full-length work for the last time. As with any of his thoughtful and moving works, XENOS is a personal story with universal relevance. By focusing on the journey of an Indian dancer turned combatant, Akram shines a light not only on the role of colonial soldiers in the First World War, but also on timely issues such as identity and memory – who writes history? Does everyone get the recognition they deserve? He also draws a parallel between the myth of the Titan Prometheus, whose self-healing liver is destined to be forever eaten by an eagle, and man’s cyclical return to conflict and destruction. Importantly, Akram does all this without ever losing hope in humanity.”

Commissioned by 14 – 18 NOW, the UK’s arts programme for the First World War centenary, and sponsored by COLAS

A Sadler’s Wells co-production

Akram Khan and Michael Hulls are Sadler’s Wells Associate Artists

Insight into Akram Khan’s XENOS: Sunday 3 June at 4pm; £15 (£10 with XENOS ticket)

The Monument Trust supports co-productions and new commissions at Sadler’s Wells  

Press night: Wednesday 30 May at 7.30pm

XENOS on tour:

Montpellier Danse, France: 26-27 June

Edinburgh International Festival, UK: 16-18 August

Curve Leicester, UK: 21-22 September

National Arts Center, Ottawa, Canada: 11-13 October

Canadian Stage, Toronto, Canada: 18-21 October

Cast and creative team announced for ‘Effigies of Wickedness’

Effigies Of Wickedness
Effigies Of Wickedness

Effigies Of Wickedness

Ellen McDougall’s inaugural season as Artistic Director of Gate Theatre concludes with an exciting collaboration between the Gate Theatre and English National Opera.  Effigies of Wickedness (Songs Banned by the Nazis), a cabaret show directed by McDougall opens on 3 May(press night 14 May).

As the Nazis identified difference as something to be afraid of, the Weimar Kabarett scene danced on with songs that celebrated it. With music from Brecht and Weill to Schoenberg, this subversive underground scene was bursting at the seams with brilliant, visionary artists. No surprise then, that they were censored, exiled and incarcerated shortly after as ‘degenerates’.  And their songs have been all but lost since.

Ellen McDougall, talking about the collaboration, said ‘It has been enormously exciting to make a collaboration with ENO, an organisation over 30 times our size, and whose Artistic Director Daniel Kramer previously directed groundbreaking productions of Hair and Woyzeck for the Gate. Working together means we can make a production of much bigger scope – including a live, 4-piece band and 4 incredibly talented performers. It is a testament to the incredible songs from the Weimar Kabarett scene that the project has attracted such a wealth of talent to both make and perform in the piece – including Christopher Green, Seiriol Davies, George Ikediashi (Le Gateau Chocolat) and Lucy McCormick.  Our season will end with a defiant musical celebration of difference, diversity, and freedom of expression.’

The unique event brings together several figures in the London theatrical and cabaret scene who between them have originated a variety of highly-praised individual projects. Lyricist Seiriol Davies is the brains behind the breakout fringe hit that transferred to the Young Vic How to Win Against History (‘A work of genius’ – The Telegraph*****) while Lucy McCormick’s Triple Threat used cabaret to scandalously retell the New Testament, becoming one of the most talked-about shows of the 2016 Edinburgh Fringe (*****, Time Out).

Le Gateau Chocolat’s ‘life-enhancing, roof-lifting cabaret’ (The Stage) performances have been a cabaret favourite for years, but he has also brought his talents to bear with London’s larger theatre companies, including appearances in Rufus Norris’ Threepenny Opera(National Theatre, 2016) and Emma Rice’s Twelfth Night (The Globe, 2017). Christopher Green’s multifaceted and always provocative work has taken in stage hypnotism, drag, music hall and most recently the conceptual show about pornography at Southbank Centre, transferring to the New York Guggenheim Museum, Prurience.

Baritone Peter Brathwaite has been working with the music banned by the Nazis for years, with his show Degenerate Music premiering in 2014 at the London Song Festival. Effigies of Wickedness represents the full development of the ideas and songs he has been performing since then. Also appearing is mezzo-soprano Katie Bray, a singer with ENO and other UK opera companies. She has been seen in ENO’s sensational production of Akhnaten and in the children’s opera The Way Back Home.

Katie Bray

Consistently earning praise for her outstanding stage presence and vocal performances, British mezzo-soprano Katie Bray has fast established herself as an artist to watch. Recent roles for Opera North include Hansel Hansel and Gretel, Rosina Il Barbiere di Siviglia and Nancy Albert Herring and she has also sung for English National Opera (Daughter Akhnaten and The Way Back Home), Scottish Opera (Lucilla La Scala di seta), Garsington Opera (Zulma L’Italiana in Algeri and Zaida Il turco in Italia), Opera Holland Park (Mallika Lakmé), English Touring Opera (Minerva Il ritorno d’Ulisse in patria and Satirino La Calisto) and at the Grimeborn Festival (Charlotte Werther).

Equally at home on the concert platform, Katie Bray has performed in prestigious venues such as Wigmore Hall, Cadogan Hall, and the Holywell Music Room and she appears regularly in the London English Song Festival, where she directed concerts at Wilton’s Music Hall, as well as at the Oxford Lieder Festival for which she recently recorded a disc of Schumann songs with Sholto Kynoch. She is particularly noted for baroque repertoire and has appeared with Barokksolistene and Bjarte Eike, Monteverdi Choir and Sir John Eliot Gardiner, La Nuova Musica, Ludus Baroque and Spira Mirabilis.

Katie Bray graduated as a Karaviotis Scholar from the opera course at the Royal Academy of Music, and was awarded the Principal’s Prize and won First Prize in the Richard Lewis Singing Competition.

Highlights of the 2017/18 season include a return to Opera North as Louis XV

Chair/Female Cat/Owl L’enfant et les sortilèges and Lola Cavalleria Rusticana, her debut with Welsh National Opera as Zerlina Don Giovanni, and concerts with the Aalborg Symphony Orchestra.

Peter Brathwaite

Manchester born baritone Peter Brathwaite graduated with a first-class degree in Philosophy and Fine Art from Newcastle University and holds a Master’s with distinction from the Royal College of Music, where he studied with Russell Smythe at the RCM International Opera School. He continued his training at the Flanders Opera Studio, Ghent. He is the recipient of a 2016/17 International Opera Awards Bursary and the 2016 English Touring Opera Chris Ball Bursary.Other prizes include a Peter Moores Foundation Major Award and an Independent Opera Fellowship. He is a Fellow of the Royal Society of Arts, Churchill Fellow, and an alumnus of the Britten-Pears Young Artist Programme.

Opera roles include Yamadori Madama Butterfly and Marcello La Boheme (Nederlandse Reisopera); Kaidama Il Furioso All’Isola Di San Domingo, L’incognito L’Assedio Di Calais, Elviro Xerxes, Silvano La Calisto and Schaunard La Boheme (all English Touring Opera); L’incognito L’Assedio Di Calais (Armel Festival Opera, Budapest); Sid La Fanciulla Del West (Opera Holland Park), and Nelson Porgy & Bess (Opéra de Lyon). His world premieres include Billy Bone in Lynne Plowman’s Captain Blood’s Revenge (Glyndebourne); Luis in Randal Corsen’s Katibu Di Shon under Ed Spanjaard at the Stadsschouwburg Amsterdam (Nederlandse Reisopera); Mimoun in Emily Howard’s Zatopek! at Queen Elizabeth Hall with the Royal Liverpool Philharmonic (broadcast on BBC Radio 3 and recorded on the NMC label); Mr Lancashire in David Stoll’s The Drummer Boy of Waterloo for Jubilee Opera at Aldeburgh, and Shakespeare settings by Alex Silverman for What You Will (Shakespeare’s Globe), directed by Mark Rylance. His other performances in contemporary repertory include the demanding role of Jean in Philippe Boesmans’ Julie for Operastudio Vlaanderen and premiere music by Orlando Gough in Othello at the Sam Wanamaker Playhouse. Roles at the Royal College of Music included Nardo La Finta Giardiniera , Papageno Die Zauberfloeteand Demetrius A Midsummer Night’s Dream.

Brathwaite recently performed Mozart arias in televised concerts with the Estonian National Symphony Orchestra, conducted by Tonu Kaljuste, and has appeared as a soloist with the London Philharmonic, Royal Philharmonic Concert Orchestra and BBC Concert, in venues such as the Royal Albert Hall, Royal Festival Hall, Barbican, Birmingham Symphony Hall and deSingel, Antwerp. Festival appearances include Aldeburgh, Edinburgh International, Brighton, London Handel and Britten100 at BAM, New York. He has performed in recital at London Song Festival, Bridgewater Hall, the Elgar Room (Royal Albert Hall) and the Opera Vlaanderen with pianists including Graham Johnson and Alisdair Hogarth. Peter Brathwaite is the creator of the multimedia recital Degenerate Music: Music Banned by the Nazis. In collaboration with pianist Nigel Foster and digital artist James Symonds, the programme of previously banned works has been performed across the UK and recently toured to Studio Niculescu, Berlin.

In 2017/18 he sings Papageno Die Zauberflote at the Soho Theatre and on a tour of the UK, returns to the Spitalfields Music Festival forFeldspar Fogonogo including performances at Luxemburg, Hamburg, Denmark and London, Warder in Philip Hagemann’s The Dark Lady of Sonnets for Pegasus Opera, Effigies of Wickedness at the Gate Theatre and Cacambo Candide for West Green House Opera.  Further ahead he makes his role debut at La Monnaie/De Munt, Brussels in a new production directed by Ivo van Hove.

Le Gateau Chocolat – George Ikediashi

Le Gateau Chocolat’s work extends beyond the world of drag performance – he has a busy career in the field of contemporary opera and performance. Le Gateau Chocolat’s work as a solo artist began in 2011 when he debuted his first solo show in Adelaide Fringe which then went on to tour the world as part of different festivals; Edinburgh Fringe and a subsequent run at Menier Chocolate Factory London, Wroclaw in Poland, Christchurch, Auckland, Melbourne and Sydney Opera House. Since then he has worked with an Olivier award winning circus (La Clique/La Soiree) and alongside contemporary composers – specifically Julian Philips (Varjak Paw ROH) Jonathan Dove (Tobias and The Angel Young Vic), Jocelyn Pook (Ingerland at ROH) and Orlando Gough a collaborator on Black (Imago, Glyndebourne.) He has sung at Wigmore Hall and with Basement Jaxx at The Barbican. 3 subsequent solo shows have been made since the first; I heart Chocolat; Royal Albert Hall, In drag; A Royal Festival hall commission for the Purcell Room, and most recently Black, a Homotopia Festival commission which has played Liverpool and London’s Soho Theatre. Most recently, he joined the cast of Porgy and Bess at Regents Park Opera directed by Tim Sheader. He also sang as part of the flotilla for the Queen’s Jubilee, again working with composer Orlando Gough. Balladeer/Pastor Kimble, Threepenny Opera (National Theatre), The Bear / The Proposal (Young Vic) Feste in Twelfth Night, Emma Rice’s final Shakespeare production at the Globe and Uncle/The Duke in The Black Rider for Malthouse and Victorian Opera, Melbourne.

 Lucy McCormick

Lucy McCormick is an actor/performer based in London.

 Her hit show Triple Threat, took the Edinburgh Fringe by storm in 2016 and had a sell-out run at the Soho Theatre in 2017.

Her other theatre credits include: Collective Rage (Southwark Playhouse); Roller Diner (Soho Theatre); Cinderella (Oxford Playhouse);The Naked Truth (National Tour); First Love is the Revolution (Soho Theatre); Big Hits (International Tour); SPLAT! (Barbican); Violent Incient (Arnolfini Bristol); External (National Tour); Dusa, Fish, Stas, Vi (Worksworth Festival); As You Like It (Worksworth Festival/Jagged Fence Productions); The House of Bernada Alba (Tristan Bates Theatre)

Lucy won the Dublin Fringe Best Performer Award, Glasgow’s Brick Award and the TV Bomb Groundbreaker Award for her show Triple Threat. She was further nominated for Emerging Artist at the Total Theatre Awards Edinburgh Festival. She has also received a Off West End Award nomination for Best Female for her role in Collective Rage.

CREATIVE TEAM

Ellan Parry – Designer

Ellan Parry trained at Wimbledon and Motley, and is currently pursuing a PhD at the University of Brighton. They are a previous winner of the Jocelyn Herbert Award and a Linbury Prize finalist. Current design work includes Hamlet and As You Like It at Shakespeare’s Globe. Recent work includes the Olivier Award-winning Rotterdam (Trafalgar Studios and the Arts Theatre, West End, and 59E59 Theaters, New York), Belongings (Glyndebourne Youth Opera), The Magna Carta Plays (Salisbury Playhouse), Peter Pan (Exeter Northcott), Posh(Nottingham Playhouse, Salisbury Playhouse) and The Miser (The Watermill Theatre). Recent opera and music theatre includes La Liberazione di Ruggiero (Brighton Early Music Festival), El NinÞo (Spoleto Festival, Charleston S.C.), Neige (Grand Theatre de Ville, Luxembourg), Noye’s Fludde (Southbank Centre), The Fairy Queen (Brighton Theatre Royal) and Without You (Menier Chocolate Factory, & Panasonic Theater, Toronto). Alongside their design career, Ellan has a personal practice as a multi-disciplinary artist, presenting live art performances and installations at various platforms and events in the UK and Europe.

Christopher Green – Dramaturg

Christopher Green is a theatrical and broadcast provocateur. His experiential theatre credits as creator, writer, and director include:Prurience: an experiential entertainment about porn, which was performed at the Royal Festival Hall at the Southbank Centre July 2017 and transferred to the Guggenheim in New York March 2018 (the Guggenheim’s first theatrical commission), VIP, The Frozen Scream (co-written with Sarah Waters) and Office Party (co-created with Ursula Martinez, directed by Cal McCrystal)

Christopher is the author of Overpowered: The Science & Showbiz of Hypnosis. He is a trained hypnotherapist and has reinvented the stage hypnotism routine in his theatre show The Singing Hypnotist. This was developed when he was the first Artist in Residence at The British Library in 2012. Christopher was the curator of Victorian Popular Entertainments: There Will Be Fun! at the British Library which ran from 2016-2017. He scripted the material for his own repertory company of performers to support the exhibition.

Christopher regularly writes for BBC Radio 4, including 9 series of Tina C and many radio plays. His most recent is How Success Ruined Me, a two hander with entertainment legend Roy Hudd about music hall singer, Fred Barnes. Christopher’s previous radio drama seriesThe Experience of Love, a five-part series exploring queer history in the late 20th Century, is now being developed for television.

He performs as characters such as country music singer, Tina C. who has recently published her autobiography, Complete & Utter Country, rapping pensioner Ida Barr and cultural critic Jedd O’Sullivan. Christopher has won multiple awards the first being the Olivier award for Best Entertainment in 2004 and the most recently, best Cabaret Show at Brighton Festival 2017.

Christopher’s works in development include Music Hall Monster: The Insatiable Mr Fred Barnes for production at Wilton’s Music Hall in May 2018, a commission from the Gate Theatre, London and the large-scale immersive show, The Home, in association with Entelechy Arts and The Albany for production in 2019.

Christopher is an Artistic Associate of Alexandra Palace, Wilton’s Music Hall, Duckie, Entelechy Theatre Company, and Creative Cowboy Films (Australia)

Seiriol Davies – Lyrics from literal translations by David Tushingham

Seiriol is a musical theatremaker who trained at the London International School of Performing Arts. He has made shows with companies like Punchdrunk, You Need Me, Gideon Reeling and Beady Eye. He was half of the cult time-travelling knees-up variety act Underbling and Vow, and writes songs with the dark glam, Weimar-fabulous band Temper Temper.

His first full-length play Moon River, an unsettling comedy about the social lives of the over-70s, was developed by the Soho Theatre and produced at the Pleasance and he later devised, composed and performed Mess with Caroline Horton, which won The Stage Award for Best Ensemble, 2012 and toured internationally.

Seiriol’s first musical How To Win Against History, about Henry Cyril Paget, the cross-dressing black sheep Marquis of Anglesey, opened at the 2016 Edinburgh Fringe to critical acclaim, and played two consecutive total sellout runs there in 2016 and 2017. It then toured the UK before transferring to a sellout run at London’s Young Vic in December 2017. It has won several awards including a The Stage Award and the Wales Theatre Award.

Corin Buckeridge – Arranger

Corin’s composition for theatre includes; Rosencrantz & Guildenstern are Dead (Old Vic); Closer, The Late Middle ClassesHamlet(Donmar); Arcadia (West End/Broadway); Jumpers (RNT/Broadway); The AlchemistKing John, ’Tis Pity She’s a WhoreKing BabyTransit of VenusThe Merchant of VeniceRichard III, A Warwickshire Testimony (RSC); Our Lady of Sligo (NT); The Two Noble KinsmenThe Taming of the Shrew (Globe), A Day in the Death of Joe EggHay Fever, As You Like ItKing John (Rose, Kingston); Antony and CleopatraThe Power and the GloryArcadiaWarriorBlithe Spirit (Chichester Festival Theatre); A Midsummer Night’s Dream, As You Like ItDesign for LivingDon Juan (ETT); Twelfth Night (Regents Park) VolponeThe Merchant of VeniceJulius Caesar (English Shakespeare Company).

Opera includes: On the Road with Ron and Ros (Modern Music Theatre Troupe/Purcell Room/UK tour); Bathtime (ENO/Baylis programme); Angela (Rosemary Branch/Third Hand Opera company);

Composition for film includes: ConnectedBrothers of War, and many short films for London Film School and Mountview Film School.

As arranger: The Noël Coward Songbook (Ian Bostridge/EMI), The Wars of the Roses (Kingston), AladdinCinderella, Jack and the Beanstalk (Lyric Hammersmith). Work as Musical Director includes: Fosse (European Tour/ Japan Tour), Chicago (London) Hairspray(London). Associate MD for: (all London) Legally BlondeWomen on the Verge of a Nervous BreakdownThe Book of Mormon, Matilda.

Assistant MD: Doctor Dolittle (Hammersmith Apollo), Kiss Me, Kate (Chichester/Old Vic), Kinky Boots (Adelphi. MD for plays includes:Marianne Dreams (Almeida); The Taming of the ShrewA Jovial Crew (RSC); The Silver Tassie (NT).

Malik Nashad Sharpe – Movement Director

Malik Nashad Sharpe is a London-based choreographer and dancer making performances under their alias Marikiscrycrycry. Operating with an expansive and emotional choreographic proposition, their work is about the socially radical practice of imagining new worlds; dances that motorise the conditions necessary for possibility and futurity; performances that double as survival rituals; performances that drip with meaning, texturising all the affective and infective material left behind. Their work integrates pessimism and optimism, minimalism and maximalism, soft and sweet, hyperreal and absurdist ontological propositions with various dance and choreographic practices. Their identity is often central to their work as the site and receptacle of maintained racial and gender based violence, frequently recalling, reneging, and reifying their experiences being Black, Vincentian/Caribbean-American, gender non-conforming, femme, Queer, immigrant with a felt transgenerational history of displacement, alienation, and allostatic load, in order to humanise another possibility, worlds of ulteriorly.

They have performed their work in various venues across the UK, USA, and Canada, and have been supported by Arts Council England, Canadian Council for the Arts, a-n, Fierce Festival, Hackney Showroom, Chisenhale Dance Space, Live Art Development Agency, and Marlborough Theatre and Pub, and have performed with various artists like Last Yearz Interesting Negro, Rachael Young, Project O, SPIT!, Randy Reyes, Dalston Ballet, amongst many others. They’ve also taught workshops and courses around their dance practice at University of Illinois (USA), Glasgow School of Art (UK), Otion Front Studio (USA), The Workroom (UK), Gibney Dance (USA), Goldsmiths University (UK), CLOUD at Danslab (NL), Leeds Beckett University (UK), Tate Modern (UK), and School of New Dance Development (NL). Their newest work (in collaboration with Ellen Furey), SOFTLAMP.autonomies premieres at Theatre La Chapelle (CA) in April 2018.

Azusa Ono – Lighting Designer

Recent design credits include: Kairos (V&A Museum); Becoming Invisible (Bascule Chamber-Tower Bridge); Smack That (National tour); Killer (Shoreditch Town Hall); Darkness Darkness (Nottingham Playhouse); Cuttin’ It (Young Vic / National tour); The Tiger’s Bones and Other Stories (Nottingham Lakeside / National tour); I Know All The Secrets In My World (Derby Theatre, then tour); Dot, Squiggle and Rest (Royal Opera House – Clore Studio); Peddling (New York 59E59 / National tour); Playland (Derby Theatre / National tour); How Nigeria Became a Story and a Spear that Didn’t Work (Unicorn Theatre); We Are Proud…(Bush Theatre); The Lovesong of Alfred J Hitchcock (Curve Theatre Leicester / International tour); Copyright Christmas (Barbican Centre); Fanfared (Crucible Sheffield) andChoreogata (Southbank Centre – Purcell Room) https://www.ald.org.uk/azusaono

Dan Balfour – Sound Designer

Theatre as Sound Designer: Great ApesI Call My BrothersCaught (Arcola); #Dracula (The Curve); Seafret (Old Red Lion, HighTide); Figures Of Speech-Series (Almeida); Great Expectations (Merton Arts Space); Spindrift (Theatre Royal Plymouth); RE: Home (Yard Theatre); DREAMJenufa–Opera Works (ENO); Walking the Tightrope (Theatre Delicatessen), SOLO (Bush); Nude (Hope Theatre), Deathwatch (Roundhouse); The Dumb WaiterWoyczek (Old Nick Theatre). Theatre as Associate Sound Designer: Fanny & Alexander,The Lorax-Toronto Tour (The Old Vic); People Places & Things (Headlong UK Tour); Life Of Galileo (Young Vic); Oresteia (Almeida); Frogman (Traverse Theatre); Sex With Strangers (Hampstead Theatre); How I Hacked My Way Into Space (Unlimited Theatre).

Ellen McDougall – Director

Ellen McDougall is Artistic Director at the Gate Theatre.  Previous credits at the Gate include – The Unknown Island (2017) and Idomeneus(2014). Other credits include a critically acclaimed production of Othello at the Sam Wanamaker Playhouse at the Globe, the Lyric’s annual pantomime – Aladdin by Joel Horwood (2016) and Cinderella by Tom Wells (2015), The Rolling Stone (Orange Tree Theatre and Manchester Royal Exchange), The Remains of Maisie Duggan (Abbey Theatre, Dublin), The Glass Menagerie (Headlong), Anna Karenina(Manchester Royal Exchange),  Henry the FifthNot Now BernardThe NutcrackerAntigone and Philoctetes (Unicorn Theatre); Glitterland(Secret Theatre/Lyric Hammersmith) and Ivan and the Dogs (Actors Touring Company/Soho Theatre). Later this year, she will direct The Wolves as part of Nadia Fall’s inaugural season at Theatre Royal Stratford East.

McDougall was formerly part of the Secret Theatre Company at the Lyric Hammersmith, Associate Director at the Gate, and an Associate Artist at ATC. She trained as an assistant to Katie Mitchell and Marianne Elliott and was Director in Residence at the NT Studio. She was awarded an International Artists’ Development Award (ACE/British Council) in 2012; she was the runner up in the JMK Award 2008 and directed A Kind of Alaska at BAC. Her production of Ivan and the Dogs (Actors Touring Company/Soho Theatre) was nominated for an Olivier Award in 2011.

 Lucy J Skilbeck – Assistant Director

Lucy J Skilbeck is a writer and director and Genesis Future Director at the Young Vic. Their debut play JOAN, a drag king play (winner of Fringe First, Stage Edinburgh and Spirit of the Fringe Awards) is currently touring internationally.

Lucy is the Artistic Director of Milk Presents, an Associate Company of Derby Theatre and the Bush Theatre. Milk Presents enable audiences to queer their world and are quoted by The Stage as making ‘Theatre that flies in the face of convention’. The company make theatre, run workshops, club nights, community projects, gender access training and artistic disruptions.

Lucy is the recipient of a BBC Fellowship and BBC Legacy Award. Their work often forefronts trans and queer narratives, and their latest play BULLISH, commissioned by the Jerwood Home Run Commission at Camden People’s Theatre, premiered to a sell-out run, and is touring the UK in Autumn 2018.

Directing credits for theatre include: The Bear / The Proposal (Young Vic), JOAN (Milk Presents and Derby Theatre); BULLISHBluebeardA Real Man’s Guide to SainthoodMilk Presents Self Service (Milk Presents); Penelope Retold (Caroline Horton and Derby Theatre); 3 Wise Monkeys (Hiccup Theatre) and The Secret Keeper (co-director, Angela Clerkin and Oval House),

As Associate / Assistant Director: Herons, dir. Sean Holmes (Lyric Hammersmith), The Complete Deaths dir. Tim Crouch (Spymonkey),The OdysseyBrassed Off dir. Sarah Brigham (Derby Theatre); Islands dir. Omar Elerian (Bush Theatre); Father Christmas, dir. Emma Earle (Lyric Hammersmith, West Yorkshire Playhouse). Encourage The Others dir. Lu Kemp (Almeida Projects); Epidemic dir. Alex Ferris (Old Vic New Voices).

CAROLINE OR CHANGE transfers to the West End starring Sharon D. Clarke

CAROLINE, OR CHANGE
CAROLINE, OR CHANGE

CAROLINE, OR CHANGE

  • West End transfer announced for Tony Kushner and Jeanine Tesori’s celebrated musical, directed by Michael Longhurst.
  • Sharon D. Clarke to reprise the title role of Caroline Thibodeaux.
  • Playhouse Theatre, London from 20 November 2018 to 9 February 2019 following sold out engagements at Chichester Festival Theatre and Hampstead Theatre.

Caroline, Or Change, the celebrated musical written by Tony Kushner, author of Angels in America, with a soaring score from Tony Award-winning Jeanine Tesori, will transfer into the West End’s Playhouse Theatre from 20 November 2018 to 9 February 2019.

Hailed by critics, in a virtuoso performance as Caroline Thibodeaux, Olivier Award-winning actress Sharon D. Clarke will reprise the title role when the production transfers to the West End this autumn. Further casting is to be announced in due course.

Directed by Michael Longhurst, this five-star production received phenomenal critical praise when it opened at Chichester Festival Theatre last year and again following its transfer to Hampstead Theatre, where it is currently sold-out until 21 April.

Louisiana, 1963. Revolution is in the air, though not so much for Caroline, the poorly paid maid toiling endlessly in the sweltering basement of the Gellman household. It’s a fantastical, magical place amidst the piles of laundry and singing washing machines, especially for eight-year-old Noah Gellman who sneaks downstairs to see her whenever he can. Yet a simple gesture to leave more money in Caroline’s pocket is about to test who and how far the winds of change can ever really reach…

Winner of the 2007 Olivier Award for Best New Musical, Caroline, Or Change is a playful, funny, and deeply moving portrait of America at a time of momentous social upheaval, set to an uplifting and profound score of soul, blues, classical and traditional Jewish folk music.

Partly inspired by his own boyhood, the book and lyrics are by Tony Kushner. Kushner is author of the ground-breaking Angels in America, his two-part epic drama about the AIDS epidemic in 1980’s New York which recently ran at the National Theatre, is currently playing at the Neil Simon Theatre in New York, was made into an HBO mini-series and inspired an opera and musical workKushner’s film credits include screenplays Fences starring and directed by Denzel Washington, Lincoln, Munich which he co-wrote for Steven Spielberg and forthcoming remake of West Side Story, also for Spielberg. Other credits include The Intellectual Homosexual’s Guide to Capatilism and Socialism with a Key to the Scriptures, Hydriotaphia, Slavs!:Thinking About the Longstanding Problems of Virtue and Happiness and adaptations of Bertolt Brecht’s Mother Courage and Her Children and The Good Person of Szechwan.

Music is by Jeanine Tesori. Tesori wrote the Tony Award-winning Best Original Score to Fun Home, alongside Lisa Kron’s book and lyrics, the music for Broadway, West End and inernational touring Shrek The Musical, eleven new songs for the stage adaptation of Thoroughly Modern Millie and the score for Broadway production, Violet. In addition to Caroline, Or Change, her work with Tony Kushner includes incidential music for Mother Courage and Her Children and their opera A Blizzard on Marblehead Neck. Film scores include Nights in Rodanthe, The Little Mermaid: Ariels Beginning and Mulan II. Tesori’s opera The Lion, The Unicorn, and Me, premiered at the Kennedy Center in 2013.

Michael Longhurst directs. His credits include the recent revival of Peter Shaffer’s Amadeus (National Theatre) and Nick Payne’s Constellations starring Sally Hawkins and Rafe Spall at Royal Court and in the West End and with Ruth Wilson and Jake Gyllenhaal on Broadway. Longhurst also worked with Gyllenhaal on his American stage debut in If There Is I Haven’t Found It Yet (Roundabout Theatre, New York). Other credits include Gloria (Hampstead Theatre), Belleville (Donmar), Bad Jews (Theatre Royal Bath/West End), and Linda (Royal Court).

Olivier Award-winner Sharon D. Clarke is to reprise her critically-hailed performance in the role of Caroline Thibodeaux. Clarke has enjoyed a long established stage career with credits including Ma Rainey’s Black Bottom and The Amen Corner (National Theatre), Ghost The Musical (Piccadilly Theatre), The Life (Southwark Playhouse), Porgy and Bess (Regents Park Open Air Theatre), Hairspray (Shaftesbury Theatre) and We Will Rock You (Dominion Theatre). On TV, Clarke is known for playing Lola Griffin in BBC’s Holby City.

Ambassador Theatre Group, Gavin Kalin Productions, Glass Half Full Productions and Rupert Gavin, in association with Hampstead Theatre, present the Chichester Festival Theatre production of Caroline, Or ChangeBook and lyrics by Tony Kushner, music by Jeanine Tesori and is directed by Michael Longhurst, with designs by Fly Davis, choreography by Ann Yee, musical direction by Nigel Lilley, lighting by Jack Knowles, sound by Paul Arditti, casting by Charlotte Sutton CDG and children’s casting by Debbie O’Brien.

LISTINGS

CAROLINE, OR CHANGE
Book and lyrics by TONY KUSHNER
Music by JEANINE TESORI
Directed by MICHAEL LONGHURST
Starring SHARON D. CLARKE 

Playhouse Theatre
Northumberland Ave, London WC2N 5DE

www.carolineorchange.co.uk | @carolinewestend

Performance schedule:

First performance: 20 November 2018
Final performance: 9 February 2019

Monday to Saturday performances at 7.30pm
Thursday and Saturday matinee performances at 2.30pm

Running time: 2 hours and 35 minutes including one interval

Box office details:

Website: www.carolineorchange.co.uk
Telephone: 0844 871 7631
Prices from £20