Matthew Bourne’s Cinderella in cinemas May 15, with Live Q&A (Matthew Bourne interviewed by Sarah Crompton)



More2Screen has  announce that Matthew Bourne’s Cinderella will be screening in cinemas across the UK and Ireland on Tuesday 15 May at 7pm. This special cinema event will be followed by a live by satellite Q&A with Matthew Bourne.

Matthew Bourne commented: “Cinderella is one of my most heartfelt works and a personal favourite amongst my re-imagined classic stories. I’m thrilled that this beautifully filmed production will be in cinemas nationwide on 15 May and that the screening will be followed by a live Q&A. I’m very much looking forward to talking directly to cinema audiences on the night.”

Matthew Bourne’s Cinderella is a thrilling and evocative love story set in London during the Second World War. The internationally acclaimed choreographer’s interpretation of the classic fairy tale has, at its heart, a true war-time romance. A chance meeting results in a magical night for Cinderella, danced by Ashley Shaw, and her dashing young RAF pilot Andrew Monaghan, together just long enough to fall in love before being parted by the horrors of the Blitz. A talented cast of New Adventures veterans and exciting young dancers perform in the production filmed live at Sadler’s Wells, including Liam Mower as the Angel, Michela Meazza as the Step-Mother and Alan Vincent as Cinderella’s Father.

The sights and sounds of war-torn London are recreated by Lez Brotherston’s Olivier Award-winning costumes and sets, lighting by Olivier Award-winning Neil Austin, video and projection designs by Duncan McLean, and surround sound designed by Paul Groothuis. Matthew Bourne’s vivid story telling has never been more heart-stopping and touching, and will take the audience into the heart of Prokofiev’s magnificent score.

Filmed live at Sadler’s Wells, London, in December 2017, Matthew Bourne’s Cinderella is directed for the screen by Ross MacGibbon and produced byIlluminations.




There will be additional screenings of the film only at selected locations from 15 May

For more information and to book cinema tickets visit



First Look: Production images released of ‘Effigies of Wickedness, (Songs Banned by the Nazis)’ at the Gate Theatre

Cardiff’s pub theatre The Other Room announces Professional Pathways Programme

The Other Room

Cardiff’s pub theatre The Other Room, winner of The Stage’s Fringe Theatre of the Year Award 2016, today announced the pilot of the Professional Pathways Programme, a year-long creative development scheme for Welsh, Wales-based and / or Wales-trained directors and producers that offers a genuine route into the industry.

In partnership with the Royal Welsh College of Music and Drama (RWCMD) and Theatr Clwyd and supported by Creu Cymru, the programme will provide work-based development for producers and directors in the form of four remunerated roles and mentorship support for the current Executive team at The Other Room. Each of the four roles (of Associate Director, Associate Producer, Trainee Director and Trainee Producer) has a specifically tailored set of responsibilities and opportunities designed to provide them with rigorous and targeted professional development.

Authentic and genuine development of artists, particularly directors and producers, in Wales is increasingly recognised as a problem for the sector. By building on The Other Room’s former Trainee Executive Director scheme (2016 – 2017) and inspired by the professional pathway of the current Executive team of Dan Jones and Bizzy Day, the Professional Pathway Programme will seek to address this issue by developing early-career artists to that of a comparable level as elsewhere in the UK.

The Other Room’s Executive Director and co-founder Bizzy Day comments:

We’re incredibly proud to be launching the Professional Pathways Programme. The scheme consolidates the development opportunities the theatre offers into a single pipeline – the very professional journey new Artistic Director Dan Jones took through The Other Room – and, with a pathway for Producers as well as Directors, is a clear signifier of our commitment to develop cultural leadership teams of the future. The Other Room is no longer just the place where artists in Wales might have their first show: it’s the place where they might run their first building.

 Liam Evans-Ford, Executive Director at Theatr Clwyd comments: 

 “Tamara and I place huge importance in developing Welsh talent. A major part of this is working towards ensuring that executive teams running major Welsh cultural venues are from Wales. A scheme like this offers a brilliant opportunity to work with individuals who are working in their first executive roles within Wales, and developing individuals who show an interest in taking on such roles in the future. This scheme also builds on our partnership work with The Other Room who have achieved brilliant things over their first four years of existence.”

Dave Bond, the Royal Welsh College of Music and Drama’s Head of Actor Training comments: 

“Our relationship to professional theatre is vital to us and The Other Room has seen many of our graduates return as writers, directors, actors, designers and stage managers – to a venue which has quickly established itself as a crucible for new and developing talent.  We are very pleased to be part of a scheme that is in line with own commitment to give opportunities to Welsh directors of exceptional promise.”

 Applications for The Other Room’s Professional Pathways Programme are now open – for details please visit To keep updated with The Other Room, follow the team on Twitter @TORtheatre and Facebook

Care workers offered free tickets to see James Fritz’s The Fall at Southwark Playhouse

National Youth Theatre's The Fall
National Youth Theatre's The Fall

National Youth Theatre’s The Fall

  • Over 100 free tickets for carers to recognise the unsung work in the care profession
  • Production explores the prospect of ageing in a country undergoing a care crisis
  • New survey shows 76% of young people are worried they won’t be financially comfortable in old age, and over 80% feel they will be priced out of city living by then

Following a recent nationwide survey revealing fears around the ageing process, a new ticket initiative is today announced offering free tickets to care workers for Bruntwood Prize winner and Olivier Award nominee James Fritz’s topical new play The Fall, which explores the prospect of ageing in a country in the midst of a crisis of care. Carers will be given free tickets to the production through Carers UK, a charity supporting people caring unpaid for older and disabled people, and Southwark Carers. There will also be a Q&A panel to discuss the themes of the play on Thursday 10 May, with panellists including Neil Coyle, MP for Bermondsey & Old Southwark and Heléna Herklots, Chief Executive of Carers UK. The production will run at Southwark Playhouse until 19 May. Tickets can be reserved by carers by emailing [email protected].

A recent survey of 414 people conducted by the National Youth Theatre (NYT), examined views on the themes of the play including loneliness, ageing and housing. The results showed that 80% of respondents thought loneliness impacted older people the most, with 87% of respondents having experienced loneliness themselves. 76% of those surveyed were worried that they wouldn’t be financially comfortable in their old age or would be a burden to family and friends. Fewer than 20% did not have any worries about being financially comfortable. Only 14% of the 414 respondents had a private pension scheme. Of the 382 respondents aged 30 and under, 86% were worried about being priced out of city living in the next 10 years, while over 1/3 thought they would never be able to afford their own home.

NYT Alumni James Fritz’s (Parliament SquareFour Minutes Twelve Seconds) The Fall will be directed by Matt Harrison and marks NYT’s debut production at Southwark Playhouse. The play takes a candid look at young people’s relationships with older people and confronts the frightening prospect of ageing in a country undergoing a crisis of care.

Paul Roseby, Artistic Director and CEO of The National Youth Theatre said: ‘This vital production tackles the urgent crises in social care and housing with 10 talented young actors from all over the UK, all under the age of 25. It draws a line between the struggle faced by young people today and the precipice society stands on in terms of adult social care, imagining what life will be like for them in 60 years time. It’s a play with heart, humour and fire in its belly that bridges the empathy gap between young and old.

The research process for The Fall involved writer James Fritz talking with experts across the fields of social care, finance and government, as well as working closely with the NYT members themselves to honestly examine both their own experiences with older people and their thoughts, hopes and fears about what the world might be like for them when they reach old age.

The resulting play examines three interlocking subjects: the dangerous gulf that the modern world has allowed to develop between young people and the realities of being old; their potential near futures as struggling carers for their ailing parents; and, finally, what the world might be like for them when they themselves reach old age.

The cast includes Josie CharlesJesse BatesonJamie AnkrahJamie FoulkesJoshua WilliamsLucy HavardMadeline CharlemangeNiyi AkinSophie Couch and Troy Richards.


The Fall
By James Fritz
Directed by Matt Harrison

Southwark Playhouse
Saturday 28 April – Saturday 19 May
Press performance: Thursday 3 May
Evening Performances: 28, 30 April, 2, 3, 4, 5, 7, 9, 10, 11, 12, 14, 16, 17, 18, 19 May
Matinee Performances:  12, 19 May
Box Office: 020 7407 0234


James Fritz is an award-winning playwright known for Four Minutes Twelve Seconds (Hampstead Theatre and West End), his first full length play which was nominated for the 2014 Olivier Award for Outstanding Achievement in an Affiliate Theatre and won him the Most Promising Playwright prize at the Critics Circle Theatre Awards the following year. Other works include the 2015 Edinburgh Fringe hit Ross & Rachel and the Bruntwood Prize-winning Parliament Square (Manchester Royal Exchange). Last year, his radio play Comment is Freewon the Imison and Tinniswood Awards at the BBC Audio Drama Awards, marking the first time a single writer has won both awards in the same year.

Matt Harrison is a director, devisor and theatre maker and was the recipient of the NYT REP Bryan Forbes Directors Bursary in 2014. Direction includes Snowbird (Tristan Bates Theatre), Tales from the Bad Years (Landor Theatre), Futures (Lost Theatre), Please Wait Patiently (National Theatre Temporary Theatre) and The Pirates of Penzance (Tabard Theatre – Nominated for ‘Best Musical Production’ & ‘Best Ensemble’ in the 2013 Off West End Awards). Assistant Director credits include Kneehigh award-winning The Flying Lovers of Vitebsk and the recent West End production of Lady Windermere’s Fan directed by Kathy Burke.

Uncensored – Simon Callow leads a cast of actors in a tour of Troublesome Texts as part of the Maly Drama Theatre season



To mark 50 years since the end of state theatre censorship in the UK, a team of actors led by Simon Callow will perform excerpts from a selection of canonical plays and books adapted for the stage that have been banned and censored in a variety of countries and time periods.

After the performance, there will be a panel discussion featuring leading figureheads in the industry, including a senior member of the Maly Drama Theatre, playwrights Christopher Hampton and Gurpreet Kaur Bhatti, free speech campaigner Jodie Ginsberg and theatre critic Michael Billington, discussing: Is Censorship Ever Good?

Since the beginning of theatrical history, governments and people have prevented the performance of play texts for political, social and cultural reasons. Directors and playwrights also frequently adapt banned and censored books for the stage – the event coincides with the premiere of Lev Dodin’s adaptation of Vasily Grossman’s once banned Life & Fate, and Christopher Hampton’s adaptation of Moliere’s once censored Tartuffe, both performing at the Haymarket this May.

In an era where freedom of speech if constantly re-examined, this event explores banned texts and the power of language and performance.

Tickets £15

This event is presented by Belka Productions and the London tour of the Maly Drama Theatre with their production of Life & Fate, in collaboration with JW3.

Uncensored: A Tour of Troublesome Texts – Banned and Censored Plays Through the Ages

As part of this series, JW3 present a very special evening exploring Vasily Grossman’s Life and Fate, which has been described as the War and Peace of the 20th century. The event will offer a rare insight into this novel about a Russian Jewish family in the Soviet Union during World War II. This event will also feature an exclusive interview with legendary theatre director Lev Dodin about his journey of adapting Grossman’s book for the stage.

The internationally acclaimed Maly Drama Theatre of St. Petersburg return to London for the first time in over a decade to play a highly anticipated ten-show engagement, opening at the Theatre Royal, Haymarket on May 8thDescribed by Peter Brook as ‘the finest ensemble theatre in Europe’, casting is today announced for their forthcoming UK premiere of Vasily Grossman’s magnum opus, Life and Fate, and their critically acclaimed production of Anton Chekov’s Uncle Vanya.

The 28-strong cast sees Peoples’ Artist of Russia, Stanislavsky and Golden Soffit Award-winner Sergey Kuryshev, who has been a part of the company since 1989, lead both Life and Fate as Viktor Shtrum and Uncle Vanya in the titular role.

Thursday 10 May 2018, 7pm

 Theatre Royal Haymarket | 18 Suffolk St, London SW1Y 4HT

 Tickets £15 | Click HERE to reserve places

Exploring Vasily Grossman’s Life and Fate – Featuring an Interview with Lev Dodin

Thursday 17 May 2018, 7pm

JW3 | London Jewish Cultural Centre| 341-351 Finchley Rd, London NW3 6ET

 Tickets £12.00 | Click HERE to reserve places

New season announced at the Finborough Theatre

Finborough Theatre
Neil McPherson

Neil McPherson

“Under Neil McPherson, possibly the most unsung of all major artistic directors in Britain, the Finborough has continued to plough a fertile path of new plays and rare revivals that gives it an influence disproportionate to its tiny 50-seat size.” Mark Shenton, The Stage

The 150th birthday year of the Finborough Theatre building continues with three plays – Finishing the PictureArthur Miller’s final play in only its second production anywhere in the world; But It Still Goes On by poet and novelist Robert Graves which has never been performed anywhere in the world; and Homos, or Everyone in America, the European premiere of a new American play by Jordan Seavey in his UK debut.

The season opens with the European premiere of Arthur Miller’s last play, Finishing the Picture, playing 12 June7 July 2018. A razor sharp psychological study of an abused, misunderstood female star and the havoc her unpredictability brings to a film set in 1961, based on Miller’s relationship with Marilyn Monroe. This European premiere is only the play’s second production anywhere in the world, and is directed by Phil Willmott, following his acclaimed Finborough Theatre productions of Arthur Miller’s The American Clock and Incident at Vichy.

The season continues with a unique rediscovery from 1929 – the never previously performed But It Still Goes on by poet and novelist Robert Graves, playing 10 July–4 August 2018 as part of the Finborough Theatre’s THEGREATWAR100 series. Influenced by the drawing room comedies of Noël Coward and W. Somerset Maugham, it explores themes of adultery, homosexuality, lesbianism, gender politics, casual sex, and inter-generational conflict, but with a surreal dark twist. This long-overdue world premiere is directed by Fidelis Morgan, returning to the Finborough Theatre following her sell-out adaptation of Patrick Hamilton’s Hangover Square, and her direction of Irish classic Drama at Inish starring Celia Imrie and Paul O’Grady.

The season culminates with the European premiere from exciting American playwright in his UK debut, Jordan Seavey’s Homos, or Everyone in America, playing 7 August–1 September 2018. In a supposedly ‘post-gay’ America on the brink of passing marriage equality, a first date at a New York bar starts two men on a fearless, funny and fragmented journey leading up to a historic moment of change. This raw and provocative love story is directed by award winning Josh Seymour returning to the Finborough Theatre following his sell out production of Adding Machine: A Musical.

Finborough Theatre Artistic Director Neil McPherson said: “Our new season brings you three theatrical treats – the long-overdue opportunity to finally see Arthur Miller’s very last play; another of our truly unique rediscoveries with a play by poet and novelist Robert Graves that has never previously been performed anywhere in the world; and, as always, we haven’t forgotten the new – with a European premiere from an American playwright in his UK debut. This season we also offer Sunday evening performances for our productions.”

– Neil McPherson, Artistic Director

June to August 2018 | Press Nights and Photocalls

Tuesday, 12 June – Saturday, 7 July 2018

The UK premiere


by Arthur Miller. Directed by Phil Willmott.
Press Nights: Thursday, 14 June 2018 and Friday, 15 June 2018 at 7.30PM.

Photocall: Tuesday, 12 June 2018 at 1.00pm–1.30pm.

Tuesday, 10 July – Saturday, 4 August 2018

The world premiere

by Robert Graves. Directed by Fidelis Morgan.

Press Nights: Thursday, 12 July 2018 and Friday, 13 July 2018 at 7.30PM

Photocall: Tuesday, 12 July 2018 at 1.00pm–1.30pm.

Tuesday, 7 August – Saturday, 1 September 2018

The European premiere


by Jordan Seavey. Directed by Josh Seymour.

Press Night: Thursday, 9 August 2018 at 7.30pm

Photocall: Wednesday, 8 August 2018 at 4.00pm–4.30pm

Finborough Theatre, 118 Finborough Road, London SW10 9ED

Book online here

No booking fees on online, personal or postal bookings

Box Office 01223 357851. (Calls are free. There will be a 5% booking fee.)
Lines are open Monday – Saturday 10.00am-6.00pm

Tuesday to Sunday evenings at 7.30pm. Saturday and Sunday matinees at 3.00pm.
Prices for Weeks One and Two – Tickets £18, £16 concessions, except Tuesday evenings £16 all seats, and Friday and Saturday evenings £18 all seats. Previews £14 all seats.
£10 tickets for Under 30s for performances from Tuesday to Sunday of the first week when booked online only.
£14 tickets for residents of the Royal Borough of Kensington and Chelsea on Saturday, when booked online only.

Prices for Weeks Three and Four – Tickets £20, £18 concessions, except Tuesday evenings £18 all seats, and Friday and Saturday evenings £20 all seats.

An American in Paris’ Leanne Cope: ‘You may be surprised that you do, in fact, like ballet.’

Leanne Cope
Leanne Cope

Leanne Cope

Leanne Cope created the role of Lise Dassin (Christopher Wheeldon’s award-winning An American in Paris) for Théâtre du Châtelet and on Broadway. A major North American tour continues now and a new production will open in Tokyo in January 2019.

An American in Paris is being beamed into cinemas worldwide on May 16 and so I thought it would be good to talk to Leanne, a couple of days after the Olivier Awards, about the impending cinema release.

Here’s how the chat went…

Hi Leanne, how are you?

I’m very well thank you.

Being the ruthless ‘journalist’ that I am, I DM’d your former co-star Ashley Day asking him for help to terrorise you and he replied: “Oh you can’t! She’s the loveliest, kindest, delicate, talented, understated, beautiful women alive.” That’s nice isn’t it.

Ha! I remember when I first met Ashley at An American in Paris audition, I happened to be in London. I recall him walking in the room and him being the most handsome man that I had ever seen; we did the Liza scene together and I turned to the audition panel and asked: ‘Can he dance?’ they said yes and I said: I don’t think we should see anyone else today. A couple of weeks later I got the message that he was to be my Jerry Mulligan and we went to dinner at Joe Allen’s in New York. We were there for five hours. It is nice to do that before you step in the rehearsal room; with Robbie, I didn’t know him at all but we spent months in a rehearsal room. I knew with Ashley that it would be wham-bam-thank you, mam and straight into show mode; I learnt so much from Ashley Day. He’s truly amazing.

Ashley Day and Leanne Cope in An American in Paris

Ashley Day and Leanne Cope in An American in Paris

An American in Paris will be screening in cinemas around the world this month to tens of millions of people. How did you feel about the process of filming the show for film?

It was nerve wracking, if I’m honest. When I was in the Royal Ballet we did do live cinema relays. But what was nice about this process was knowing that we had three takes. We also had two pick-up shot days where they could do close-ups on stage. I wasn’t sure how it was going to work but it all came together. The film is beautiful and they have captured the dance so well. I think that’s down to the genius of our director and choreographer Christopher Wheeldon. I was worried about how the scenery would look on film but when you see the glorious design by the Olivier Award winning 59 Productions, it almost looks like we are walking through Paris. I attended a screening recently with the cast and creatives. Seriously, I watched a lot of it through my own fingers – like when you watch a horror movie – however they’ve done a brilliant job and I am very proud of it.

Were there any major alterations in the filming of the show for film?

The blueprint of the show pretty much stayed the same. Christopher changed minimal things; he gets bored very quickly. So, every time he would come to the show he would make minor changes. It was nice for him to address all those little details niggling away I guess. The biggest adjustment for myself and Robbie Fairchild and to learn so much from them during the filming. It was a remarkable process.

Robbie Fairchild and Leanne Cope in An American in Paris

Robbie Fairchild and Leanne Cope in An American in Paris

Great! What are you up to at the moment?

I’m taking a bit of a rest, doing eight shows a week of An American in Paris was quite gruelling on the body. I’ve had a couple of auditions and I have some meetings coming up. I’m hoping to stay in the musical theatre world. I did 12 years at Royal Ballet too. An American in Paris kept me employed for nearly four years, which was ideal. I am excited about the future.

Why do you think people should come and see An American in Paris in cinemas then?

If you have a love for Gershwin’s music, classical ballet or breath-taking design then this is the show for you. There is so much in there at such a high standard. I’d come along anyway because you may be surprised that you do, in fact, like ballet. That’s what we found so amazing on the journey with this show; it’s a new interpretation and if you love the movie or the show in town then this is also a worthy companion.

Who or what are your musical influences?

John Travolta in Grease! I think I saw Saturday Night Fever and Grease way too young – things like Flashdance and Dirty Dancing made me want to be a dancer. The first musical I saw was Joseph and the Amazing Technicolour Dreamcoat at the London Palladium made me want to do musicals. I didn’t see a ballet until I got older.

An American in Paris is quite prescient in its representation of a gloomy Europe and a world in chaos. It feels fresh. Do you agree?

I think that theatre should always reflect what is going on in the world. Now has huge parallels to what was going on during World War 2. The fact we can rebuild ourselves, that cities can regenerate themselves to blossoming and into a city of light again. Each of these characters going through the effects of war, love and loss. Lise losing her parents, Milo Davenport trying to bring culture back to Paris. If we dressed ourselves in modern costume and changed the city this could have been written now. I don’t think it has a time span in it. What she learns from them and what they learn from her changes them all and for the better. It is a story of love and hope. I mean, what more can you want from a movie musical?

Is there anything that you’d like to add?

I went to the Olivier Awards recently and I personally feel that dance is not represented very well at all. It is not seen as equal to acting and singing and the fact that Clare Halse was not nominated for her performance in 42nd Street or similarly Robbie Fairchild for An American in Paris, them not being nominated is a crime. Perhaps they could create a different category. Triple threat, maybe?  Not many people can do what Robbie did in An American in Paris. It doesn’t have to be a male or female category, someone who can do all those things in a show and to that standard, should be recognised and celebrated. That’s all.

Tickets for An American in Paris are on sale at

Eleanor Tomlinson announces release date for debut album ‘Tales From Home’



  • Star of BBCPoldark records enchanting collection of folk-influenced covers, including Simon & GarfunkelHomeward Bound, Gordon Lightfoot’s If You Could Read My Mind and Bonnie Raitt’s I Can’t Make You Love Me
  • Tales From Home includes duet with Eleanors brother, Ross Tomlinson

Sony Music Masterworks has announced that Eleanor Tomlinson will release her debut album ‘Tales From Home’ on 8 June 2018.

To mark the announcement, Eleanor has released a teaser video for the track If You Could Read My Mind. The video can be seen in the following link:

‘Tales From Home’ is an ethereal collection of folk-influenced covers. Song choices include classic hits from the likes of Simon & Garfunkel (Homeward Bound),Carole King (Tapestry) and Bonnie Raitt (I Can’t Make You Love Me). A number of traditional Scottish and Irish folk songs also feature such as The Spinning Wheel which is a duet with Eleanor’s brother, Ross Tomlinson.

‘Tales From Home’ is produced by Poldark soundtrack composer Anne Dudley, who was awarded the Outstanding Contribution to British Music award at the 2017Ivor Novello Awards. Anne Dudley has also received an Academy Award for composing the score for The Full Monty.

Eleanor is best known for her roles as Demelza Poldark in the BAFTA-winning Poldark, Princess Isabelle in Warner Bros. Jack the Giant Slayer and most recently as Mary Durrant in BBC’s Ordeal by Innocence. Eleanor also starred in the Oscar, Golden Globe and BAFTA-nominated fully painted feature film Loving Vincent. Eleanor is currently filming a leading role in The War of the Worlds, the first British television adaptation of H.G. Wells’ seminal tale – the first alien invasion story in literature. Set in Edwardian England, the three-part drama will air on BBC One.She will next be seen in the upcoming film Colette alongside Keira Knightley and Dominic West.

Eleanor Tomlinson’s debut album ‘Tales From Home’ will be released on 8 June 2018.


  1. Homeward Bound
  2. I Can’t Make You Love Me
  3. If You Could Read My Mind
  4. She Moved Through The Fair
  5. Tapestry
  6. The Spinning Wheel
  7. Who Knows Where The Time Goes
  8. Hushabye Mountain
  9. The Wild Mountainside
  10. The House Carpenter
  11. The Water Is Wide
  12. I Find Your Love






A Christmas Carol announced for Christmas at the Liverpool Playhouse

A Christmas Carol, Liverpool Playhouse. 8 Dec 2018 - 12 Jan 2019
A Christmas Carol, Liverpool Playhouse. 8 Dec 2018 - 12 Jan 2019

A Christmas Carol, Liverpool Playhouse. 8 Dec 2018 – 12 Jan 2019

UK’s leading physical comedy company Spymonkey return to Liverpool for a collaboration with Liverpool Everyman & Playhouse Theatres

  • The production runs at the Playhouse from 8 December 2018 to 12 January 2019
  • Tickets are on sale from 11am on Tuesday 8 May

 The Liverpool Playhouse has announced an alternative take on Charles Dickens’ festive ghost story A Christmas Carol as their Christmas production for 2018.

The perfect Christmas show for lovers of laughter and music, Charles Dickens’ greatest tale will be brought to life in splendidly festive fashion by artists of comedic invention and madcap delight, Spymonkey from 8 December 2018 to 12 January 2019.

Toby Park, Petra Massey, Aitor Basauri and Sophie Russell, alongside director Ed Gaughan, designer Lucy Bradridge and a musical line-up including Ross Hughes and Marcus Penrose, will stamp their own unconventional style on this classic Christmas tale to put an oddball, and typically Spymonkey twist on some of Dickens’ most famous roles.

Described as being ‘somewhere between Monty Python, the Marx Brothers and Samuel Beckett’, this is the theatre company’s fourth visit to the Playhouse. 2009 saw Spymonkey take on Herman Melville’s classic novel Moby Dick and in 2012 they brought Oedipussy – a Barbarella and James Bond-inspired re-telling of the Greek tragedy Oedipus.

Their last visit in 2016 saw the company present The Complete Deaths – a performance of all 74 deaths in the works of Shakespeare.

Toby Park, co-artistic director of Spymonkey, said: “This Christmas, we’re inviting Liverpool to put on your best Victorian bib-and-tucker and hold on to your stovepipe hat, as the Ghosts of Christmas Past, Present and Future whisk us on a flight of theatrical fancy, with music, merriment and plenty of heart.”

Spymonkey’s A Christmas Carol is on at the Playhouse for 36 performances from Saturday 8 December to Saturday 12 January.  Tickets are available from11am on Tuesday 8 May by calling Box Office on 0151 709 4776 or at: