HARRY POTTER AND THE CURSED CHILD Sets Record for Highest Grossing Play in Broadway History

Harry Potter and the Cursed Child

The Tony and Olivier Award-winning Best Play Harry Potter and the Cursed Child has set a new Broadway record for weekly ticket sales for a play, reporting a gross of $2,338,315 for the week ending November 25, 2018 at the fully renovated Lyric Theatre (214 West 43rd Street, New York, NY). This passes the high mark set by the two-part play for the week ending June 17, 2018 ($2,277,446).

On Thursday, November 29, 2018 at 11:00 AM ET, a further block of tickets will be made available for performances through September 29, 2019 at all price points starting from $40 per part.

On Thursday, November 29, those wishing to purchase tickets should visit the official website www.HarryPotterThePlay.com and join the ‘Virtual Waiting Room’ at any time between 10:30 AM and 11:00 AM ET. When tickets are released at 11:00 AM ET, everyone in the ‘Virtual Waiting Room’ will be randomly assigned a place in the queue for the opportunity to purchase tickets. The randomization of the queue allows the purchase of tickets to be as fair as possible and provides protection against bots. These tickets will not require an Access Code to purchase.

The most awarded new play in theatre history, Harry Potter and the Cursed Child has won 25 major US awards with six Tony Awards including Best Play. It also won 24 major theatre awards in the UK and is the most awarded play in the history of Britain’s Olivier Awards, winning a record-breaking nine awards including Best New Play.

Based on an original new story by J.K. RowlingJack Thorne and John TiffanyHarry Potter and the Cursed Child is a new play by Jack Thorne, directed by John Tiffany. The production is one play presented in two parts. Both parts are intended to be seen in order on the same day (matinee and evening) or on two consecutive evenings, or each part can be seen separately.

Harry Potter and the Cursed Child is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage. The critically acclaimed production received its world premiere in July 2016 at the Palace Theatre in London where it continues to play to sold out houses. It officially opened on Broadway at the Lyric Theatre on April 22, 2018. Harry Potter and the Cursed Child will premiere in Australia at Melbourne’s Princess Theatre in January 2019; on the US West Coast at San Francisco’s Curran in fall of 2019; and, in Germany at Hamburg’s Mehr!-Theater am Großmarkt in spring of 2020.

It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband, and the father of three school-age children.


While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted. As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places.

Harry Potter and the Cursed Child features movement by Steven Hoggett, set by Christine Jones, costumes by Katrina Lindsay, music & arrangements by Imogen Heap, lighting by Neil Austin, sound by Gareth Fry, illusions & magic by Jamie Harrison, music supervision & arrangements by Martin Lowe. US Casting by Jim Carnahan, CSA. UK Casting by Julia Horan, CDG.

 Harry Potter and the Cursed Child is produced by Sonia Friedman ProductionsColin Callender and Harry Potter Theatrical Productions.

A new production of JOSEPH AND THE AMAZING TECHNICOLOR DREAMCOAT returns to the London Palladium



Michael Harrison and The Really Useful Group have announced that Joseph and the Amazing Technicolor Dreamcoat, the first major musical collaboration by Andrew Lloyd Webber and Tim Rice, is to be re-imagined in a brand new production at the iconic London Palladium next summer.

Opening on Wednesday 26 June, the new production will have an entirely new creative team to be announced soon. Joseph and the Amazing Technicolor Dreamcoat will play a strictly limited 11 week summer season through until Sunday 8 September 2019 (Press Night: Thursday 11 July 2019). Tickets go on General Sale on Friday 7 December.

Released as a concept album in 1969, the stage version of Joseph and the Amazing Technicolor Dreamcoat has become one of the worlds most beloved family musicals. The multi-award winning show, which began life as a small scale school concert, has been performed hundreds of thousands of times including multiple runs in the West End and on Broadway, international number one tours, and productions in over 80 countries as far afield as Austria and Zimbabwe and from Israel to Peru! The show features songs that have gone on to become pop and musical theatre standards, including Any Dream Will DoClose Every Door To MeJacob and Sons, There’s One More Angel In Heaven and Go Go Go Joseph.

Told entirely through song with the help of the NarratorJoseph and the Amazing Technicolor Dreamcoat follows the story of Jacob’s favourite son Joseph and his eleven brothers. After being sold into slavery by the brothers, he ingratiates himself with Egyptian noble Potiphar, but ends up in jail after refusing the advances of Potiphar’s wife. While imprisoned, Joseph discovers his ability to interpret dreams, and he soon finds himself in front of the mighty but troubled showman, the Pharaoh. As Joseph strives to resolve Egypt’s famine, he becomes Pharaoh’s right-hand man and eventually reunites with his family.

One of stages most sought after roles, stars who have previously played the title character include Jason Donovan, Phillip Schofield, Lee Mead, Joe McElderry and Donny Osmond.

Royal Derngate announce cast and creative team for Our Lady of Kibeho

Our Lady of Kibeho
Our Lady of Kibeho

Our Lady of Kibeho

Royal & Derngate Northampton have confirmed the cast and creative team for its UK premiere production of Katori Hall’s Our Lady of Kibeho, which takes to its Royal stage in January. Directed by the venue’s Artistic Director James Dacre (who directed Hall’s 2010 Olivier Award winning production of The Mountaintop) and designed by 2018 Tony award nominee Jonathan Fensom, with original music by Orlando Gough, choreography by Diane Alison Mitchell, photography by Pulitzer Prize-winning war photographer Paul Watson and aerial direction by Vicki Amedume. The ensemble cast is led by Gabrielle BrooksMichelle Asante and Ery Nzaramba. This UK premiere production promises to be an epic event, with its large professional cast complemented by the Royal & Derngate Community Ensemble and members of the theatre’s Young Company.

In 1981 in Rwanda, schoolgirl Alphonsine claims the Virgin Mary has appeared to her in the village of Kibeho, warning of the unimaginable: her country becoming hell on earth. Her friends ignore her, her teachers Sister Evangelique and Father Tuyishime scold her, until another student sees the vision, and then another…

Katori Hall’s Our Lady of Kibeho presents a haunting insight into the true events that captured the world’s attention. A spectacular meditation on faith and everyday miracles, it was hailed “the most important play of the year” by the Wall Street Journal when it premiered in New York in 2014.

Taking the part of schoolgirl Alphonsine is Gabrielle Brooks, whose recent credits include her acclaimed performance of Viola in Twelfth Night at the Young Vic as well as The Way of the World (Donmar Warehouse) and Everybody’s Talking About Jamie (Sheffield Theatres and West End). Playing Sister Evangelique and Father Tuyishime are Michelle Asante (Ruined, Almeida and Welcome Home, Captain Fox, Donmar Warehouse) and Ery Nzaramba who has collaborated extensively with Peter Brook, leading the casts of Theatre des Bouffes du Nord international tours of The Prisoner (National Theatre), Battlefield (Young Vic) and The Suit (Young Vic), and was also seen in Royal & Derngate’s Festival of Chaos productions, The Bacchae and Blood Wedding. The cast also features Michaela BlackburnIbinabo JackPepter LunkuseMichael MearsKeenan Munn‑FrancisYasmin MwanzaRima NsubugaEwart James Walters and Leo Wringer. The professional cast is complemented by the Royal & Derngate Community Ensemble and members of the theatre’s Young Company.

Our Lady of Kibeho is directed by Artistic Director James Dacre, who premiered Katori Hall’s The Mountaintop which won the Olivier Award for Best New Play in 2010, saw its cast Lorraine Burroughs and David Harewood nominated for Olivier and Evening Standard awards respectively for Best Actor and has gone on to become one of the most produced plays in America this decade.

Dacre’s productions at Royal & Derngate include premieres of Arthur Miller’s The Hook, Dawn King’s Brave New World, Dan O’Brien’s The Body of an American and Roy Williams’ Soul, alongside major touring revivals including UK Theatre Award-winning productions of Peter Whelan’s The Herbal Bed and Shakespeare’s King JohnOur Lady of Kibeho sees Dacre reunited with composer Orlando Gough (King John) and designer Jonathan Fensom (King JohnThe Herbal Bed). Gough’s other recent credits include Eyam (Shakespeare’s Globe) while Fensom has recently designed Farinelli and the King (West End and Broadway). Lighting design is by Charles Balfour (The Hook, Royal & Derngate), sound design by Claire Windsor (Imperium, West End), with movement direction by Diane Alison-Mitchell (Soul, Royal & Derngate and Hackney Empire), musical direction by Michael Henry (They Drink It in the Congo, Almeida) and aerial direction by Vicki Amedume of contemporary circus company Upswing. Illusions are created by magical consultant John Bulleid (The Worst Witch, Royal & Derngate).

Katori Hall’s other plays include Hoodoo LovePussy Valley and Hurt Village, which won the Susan Smith Blackburn Award and is currently in development as a feature film. Hall recently wrote the book for Tina – The Tina Turner the Musical, which is currently playing in the West End.

Katori Hall commented: I’m beyond ecstatic to work with James again and to bring Our Lady of Kibeho to the UK for the first time. In these turbulent times, I hope this piece will spark a dialogue within Royal & Derngate’s surrounding community and beyond about healing cultural, political and racial divides.”

Our Lady of Kibeho takes to the Royal stage in Northampton from Saturday 12 January to Saturday 2 February 2019, with a national press night on Wednesday 16 February.

For more information, visit the theatre’s website www.royalandderngate.co.uk. Tickets can be booked online or by calling Box Office on 01604 624811.

The Made in Northampton season is sponsored locally by Michael Jones Jewellers.

@RoyalDerngate / #MadeInNorthampton / #OurLadyOfKibeho


Royal & Derngate, Guildhall Road, Northampton NN1 1DP
Press Night: Wednesday 16 January at 7pm
Dates: Saturday 12 January – Saturday 2 February 2019
Times: Evenings 7.45pm (except Wednesday 16 January 7pm)
Matinees – Thursday and Saturday 2.30pm (excl. Saturday 12 January)
No performances on Sundays
Tickets: From £11*
Box Office:  01604 624811 or online at www.royalandderngate.co.uk

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



Ad Infinitum announce an exploration of under threat Deaf culture as part of new season

  • Premiering at Bristol Old Vic in Autumn 2019, Extraordinary Wall of Silence delves into the eradication of Deaf language and culture that has been ongoing more than a century
  • Edinburgh Festival Fringe hit No Kids will have its London premiere at Battersea Arts Centre in February 2019
  • Wrapping up 2018, magical Christmas show Chloe and the Colour Catcher will be delighting children in Bristol from 30 Nov – 6 Jan

Ad Infinitum have announced the highlight of their next season as Extraordinary Wall of Silence (working title), a new show which delves into a relatively unknown history of oppression of the Deaf community in order to draw attention to and celebrate an under-threat culture. From Oralists who wanted to make deaf people speak and ‘hear’, to the Eugenics movement which aimed to eradicate deafness through sterilisation and extermination, to more recent threats from ignorance in mainstream society and the closing of Deaf Clubs, the new show will present the challenges the Deaf community have faced. Made with three Deaf and two hearing actors, the show will facilitate a long overdue encounter between the two worlds, shining a light onto a culture that isn’t widely recognised in the mainstream media.

In the tradition of Deaf Clubs, vital hubs for the communities to connect, hear news and share stories, Ad Infinitum have already gathered over 30 hours’ worth of stories. As sign languages are independent languages with their own grammatical structure and vocabulary, and are not written languages, many of these stories and histories have gone undocumented. Extraordinary Wall of Silence will share these stories in British Sign Language and in English, using them as a starting point to explore in-depth a culture under threat.

The show will premiere before touring in Autumn 2019 in the company’s home town of Bristol, where the local Deaf Club was unexpectedly closed in 2013 without consultation with its Deaf members.

George Mann said, “Ad Infinitum have been working with D/deaf artists and within the D/deaf community in London and Bristol since 2013, however Extraordinary Wall of Silence will be the company’s first production to explore the themes of Deaf Culture and Deaf History exclusively. The final piece as a whole aims to be a call to action – a way of turning hearing people previously oblivious to the Deaf cause, into allies who will stand alongside those fighting for change.”

Ad Infinitum will also be touring their Edinburgh Festival Fringe hit No Kids starring Co-Artistic Directors George and Nir, a real-life couple trying to answer a question many of us face. As they stage their discussions around if, when and how to have children, every consideration – adoption, surrogacy, co-parenting, the environmental impact of childbirth – brings with it a succession of ethical challenges. The show will be touring in Spring 2019, including a three-week run at Battersea Arts Centre (5 – 23 Feb).

Nir Paldi said, “Seeing many straight people around me having children as just something you do, (like getting married or going to university) I came to think that the question George and I are asking ourselves is in fact much bigger, and found myself wondering: should this be applied to society as a whole…?” George Mann adds, “In reality, this is the story of us. It’s about our relationship, and it delves into the intimacy of a long-term partnership as it goes through a very challenging process. But as dark as some of the material we’re creating is proving to be, there is also love, and hope there too.”

To wrap up 2018, Ad Infinitum are presenting a new children’s show, Chloe and the Colour Catcher, a co-production with Bristol Old Vic (30 Nov 2018 – 6 Jan 2019) where they are Associate Artists. Chloe lives in a world with only one colour, a world that is completely grey. But at night, when she’s wrapped up tight, her dreams are colourful and bright. Transforming Bristol Old Vic’s brand-new Weston Studio into a vibrant world of colour and rhyme, join Chloe on her courageous journey to unleash all seven shades of the rainbow in this extraordinary and wholly original tale of bravery, self-expression and fighting for what your heart knows to be true.

Nir Paldi said of Chloe and the Colour Catcher “We are all born into an environment that is not of our choosing. An environment that then becomes all we know to be true. Some of us fit perfectly into the reality we were born into. Others question the world around them and challenge it with curiosity. Chloe is one of those who questions. She wants to understand why there isn’t more, and how she can stop the world around her from being unfair. I hope you find young Chloe inspiring in her curiosity and fighting spirit, as she embarks on a battle for endless diversity, freedom, originality and imagination.”

Ad Infinitum is an international ensemble based in Bristol, developing new and original theatre. Founded in 2007, Ad Infinitum is led by Co-Artistic Directors, Nir Paldi and George Mann. They create shape-shifting socio-political theatre to provoke, move and inspire through innovative storytelling and bold experimental styles. Ad Infinitum’s theatre draws upon the power of the body, engages audiences with urgent issues, and ignites passionate debate. Previous shows include Translunar ParadiseOdyssey, Bucket List, Light, and Ballad of the Burning Star. Ad Infinitum is Associate Artist at Bristol Old Vic and The North Wall. They are Associate Artist Alumni at the Bush Theatre (2011-2013), The Lowry (2011-2017) and Redbridge Drama Centre (2009-2017).

@TheatreAdInf | www.ad-infinitum.org

Listings information

Chloe and the Colour Catcher

30 Nov 2018 – 6 Jan 2019         Bristol Old Vic

No Kids

Touring 24th Jan – 29 March 2019

24 – 25 Jan                               Unity Theatre, Liverpool

28 Jan                                      The Art Centre, Edge Hill University, Ormskirk

1 Feb                                        The Lowry, Salford (Co presented by Contact and The Lowry)

5 – 23 Feb                                Battersea Arts Centre, London

27 Feb – 9 Mar                          Tobacco Factory Theatres, Bristol

11 Mar                                      Bedales School, Petersfield

12 Mar                                      Arts at Stowe, Buckingham

29 Mar                                      Corn Exchange, Newbury

Extraordinary Wall of Silence (working title)

Autumn 2019 – Spring 2020

Premiering at Bristol Old Vic in Autumn 2019

Co commissioned by Bristol Old Vic, HOME and Salisbury Playhouse.

Supported by In Good Company and Watershed, Bristol.

The King and I Film Release Reaches Number One At Cinema Box Office

The King And I

The film version of the multiple Tony award-winning Lincoln Center Theater production of Rodgers and Hammerstein’s THE KING AND I: FROM THE LONDON PALLADIUM has become the biggest theatre event in cinemas of 2018 following yesterday’s (29 November) screenings around the world. The production is expected to take $2.5m at the box office. In the UK the film reached the number one spot, with more than double the box office of the next film, Fantastic Beasts: The Crimes of Grindelwald.

More than 135,000 movie goers packed into cinemas across the globe to watch THE KING AND I: FROM THE LONDON PALLADIUM – filmed on stage at the iconic London Palladium.  Such has been the demand for tickets, Trafalgar Releasing has scheduled encore screenings both in the UK and globally throughout December.

 Producer Howard Panter says: “The response from cinema audiences around the world has been phenomenal.  And I’m delighted that THE KING AND I: FROM THE PALLADIUM is now the biggest theatre event in cinemas of the year, taking the number one position at the Box Office.  The demand for tickets has been so huge that we have scheduled many more encore screenings of the film all over the world – giving an even greater number of people the opportunity to enjoy this lavish award-winning production.”

 Trafalgar Releasings Marc Allenby says: “We are thrilled to have produced and distributed this incredible production, having watched it come to life on the big screen and seen the amazing reaction from audiences around the world. It’s been fantastic to add The King and I to our roster of musical theatre this year alongside An American in Paris and Funny Girl.”

 This majestic production, directed by Tony Award-winner Bartlett Sher, first opened on Broadway in 2015 for a critically acclaimed 16 month run at The Lincoln Center Theater, this was followed by an unprecedented record-breaking sold out USA tour.  The show then transferred to the London Palladium in June this year, with the three original Broadway lead actors reprising their starring roles – Tony Award-winner (Best Performance by an Actress in a Leading Role in a Musical for The King and IKelli O’HaraTony and Oscar nominee Ken Watanabe and Tony Award-winner (Best Performance by an Actress in a Featured Role in a Musical for The King and IRuthie Ann Miles.

 The London production drew huge critical acclaim, played to packed houses, received nightly standing ovations and smashed box office records – including the biggest grossing week in the London Palladium’s history, taking £1,058,317.50 for an eight performance week.

 Set in 1860s Bangkok, the musical tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children.  With one of the finest scores ever written including; Whistle a Happy Tune, Getting to Know You and Shall We Dance, and featuring a company of over 50 world-class performers, THE KING AND I: FROM THE PALLADIUM is a testament to the lavish heritage of gloriously romantic musical theatre – it is the greatest musical from the golden age of musicals.

What the press have said about The King And I cinema version:

“The screened version of this year’s Palladium run brings a completely new perspective to the show, not only delivering a true reflection of the live experience, but enhancing it beyond expectations”


 “A superlative capture of a splendid production brings the Rodgers and Hammerstein classic to a new audience” 

Sydney Arts Guide

 “Rendered in high definition and featuring the best seats in the house, the presentation is faultless”



Traverse Theatre announces January-April 2019 season

Traverse Theatre

Home-grown Traverse productions Ulster AmericanWhat Girls Are Made Of and Locker Room Talk return ahead of touring the UK and internationally

  • World premieres by Vanishing Point and Lung Ha Theatre Company, plus Scottish premieres from Scottee, Off The Middle and more
  • Return of manipulate and NT Connections festivals 
  • Tickets on sale now

Traverse Theatre Company productions

As Scotland’s new writing theatre, the Traverse has been an incubator for brand new plays since it was founded in 1963, spotlighting the powerful stories, innovation and talent in Scotland, while launching the careers of many renowned writers, actors and directors. We are therefore excited to reveal that our January-April 2019 season is a celebration of this – with three home-grown productions returning for a special run, before travelling worldwide.

With queues for return tickets during Traverse Festival 2018 hours long, one of the most talked-about shows of the Edinburgh Fringe, the award-winningUlster American (20 Feb-2 Mar), written by David Ireland, returns by audience demand. Exploring abuses of power, the confusion of cultural identity and the silencing of the female voice in a confrontational and brutally funny way, it’ll see the much-praised original cast of Darrel D’Silva, Robert Jack and Lucianne McEvoy reprise their roles. The dates mark the productions only Scottish performances of 2019, before heading out on international tour toAdelaide Festival, Australia (13-17 Mar); Auckland Arts Festival, New Zealand (20-24 Mar); The Abbey, Dublin (10-20 Apr)and Lyric Theatre, Belfast (24-28 Apr). Directed by the Traverse’s Interim Artistic Director Gareth Nicholls.

Another resounding Edinburgh Fringe hit, the award-winning What Girls Are Made Of – a Raw Material co-production, in association with Regular Music –kicks off its Scotland and Northern Ireland tour at the Traverse (16-20 Apr), before heading to The MAC, Belfast (1-5 May); Adam Smith Theatre, Kirkcaldy (7 & 8 May); Dundee Rep, Dundee (14 & 15 May)and Macrobert, Stirling (17 & 18 May). Written and performed by Cora Bissett, it takes audiences back to 1992 to tell the autobiographical story of her extraordinary journey from Fife schoolgirl to indie rock star, performed with live backing band. Directed by the Traverse’s former Artistic Director Orla O’Loughlin.

Following overwhelming response from previous performances at the Abbey Theatre, Dublin; Latitude Festival, Suffolk; and The Scottish Parliament,Locker Room Talk, by Gary McNair, embarks on a Scottish tour to continue a vital conversation about misogyny and masculinity which has become even more urgent. You can catch it at the Traverse (23 & 24 Apr), between dates at Dundee Rep, Dundee (17 Apr); Macrobert, Stirling (18 Apr);Lemon Tree, Aberdeen (19 Apr); and Tron Theatre, Glasgow (25-27 Apr). Created in response to Donald Trump’s infamous “grab them by the pussy” comment, it is a provocative exploration of how men speak about women in men-only spaces, exploring how ingrained this sexually abusive rhetoric really is. Directed by the Traverse’s former Artistic Director Orla O’Loughlin.

 Elsewhere, A Play, A Pie and A Pint, Òran Mór (presented by Traverse Theatre) unveil a series of bite-sized lunchtime plays, featuring Chic Murray: A Funny Place for a Window (9-13 Apr) by Stuart Hepburn; Lion Lion (16-20 Apr) by Sue Glover; The Mack (23-27 Apr) by Rob Drummond;Casablanca: The Gin Joint Cut (30 Apr-4 May) by Morag Fullarton; The Origins of Ivor Punch (7-11 May) by Colin MacIntyre; and Toy Plastic Chicken (14-18 May) by Uma Nada-Rajah. Ticket price includes a pie and a drink.

Visiting Company productions

Fuel Theatre’s The Dark (12 & 13 Feb), written by Nick Makoha, is our first visiting company production. A simmering and intense piece set in 1978 under the rule of Idi Amin, it follows the journey taken by a four-year-old boy and his mother to escape a city divided by dictatorship and consumed by conflict. Next up is good dog (14-16 Feb), a Tiata Fahodzi and Tara Finney Productions Scottish premiere, in association with Watford Palace Theatre. Set in the early 00s and spanning multiple characters, families and years, it tells the story of growing up in a multi-cultural community, fearlessly told by writer Arinzé Kene, who is currently experiencing huge success in London with his most recent piece, Misty.

February also includes Little Gift (15 & 16 Feb) – a brand new story for children from the multi-award-winning M6 Theatre and Andy Manley, told with exquisite puppetry by Shona Reppe and original live music and songs. Recommended for children three to seven years.

Taking us into March is the Scottish Premiere of Off The Middle’s In Other Words (1 & 2 Mar) – connected by the songs of Frank Sinatra, writer Matthew Seager’s intimate, humorous and moving love story explores the effects of Alzheimer’s disease and the transformative power of music. Soon after, Vanishing Point and A New International take over Traverse 1 with their brand new music and theatre spectacle, The Dark Carnival (6-9 Mar). Told through song, spoken word and Vanishing Point’s unmistakable imagery, it features 16 performers and musicians telling the story of newcomers to the afterlife who discover, to their surprise, that death is not the end. Co-produced by The Citizens Theatre and in association with Dundee Rep.

Winner of Papatango’s 10th annual New Writing Prize, Papatango and England Touring Theatre’s The Funeral Director (7-9 Mar) arrives here for its Scottish premiere – a timely exploration of a gay Muslim woman coming to terms with her identity, written by Iman Qureshi. Another Scottish premiere, created and directed by Scottee, in collaboration with choreographer Lea Anderson and ‘four fat blokes who’ve never done this sort of thing before’ is Fat Blokes (15 & 16 Mar) – a dance show of-sorts laying bare our perceptions of fat men.

Both here for a don’t-miss-it single date only are Scottish Dance Theatre’s Velvet Petal (23 Mar) and Brite Theater’s (Can This Be) Home (28 Mar). Choreographer Fleur Darkin’s fan favourite Velvet Petal comes to us in a new-to-Edinburgh version, exploring the transformative power of beauty created out of whatever is on the bedroom floor, set to a score of LCD Soundsystem, Spoek Mathambo and Four Tet. While Prague Fringe 2018 New Territories Award-winner (Can This Be) Home is half music gig, half spoken word, for which playwright and performer Kolbrún Björt Sigfúsdóttir examines the immigrant experience of the EU referendum, while flautist Tom Oakes plays tunes inspired by his travels as a musician. It’s an emotive examination of where we are now, performed on the eve of Brexit.

Rounding off March, and enjoying its World premiere, We Are All Just Little Creatures (28-30 Mar) celebrates the weird and wonderful things about being alive. Curious Seed join forces with Lung Ha Theatre Company, in association with Lyra, to present a visual and compelling ensemble production featuring professional dancers, live musicians, Lung Ha’s full performing ensemble and Lyra’s Delight Collectors. As part of the piece, the audience will be invited to contemplate and celebrate the diversity of our humanity.

Nudging into April, ThisEgg bring the Fringe First-winning dressed. (11-13 Apr) back to the city for three special dates. Told by four women who have been friends since school – ThisEgg Artistic Director Josie Dale-Jones, costume maker Lydia Higginson, singer Imogen Mahdavi, and choreographer Olivia Norris – it is the true story of how, after being stripped at gun point, Lydia gave herself one year to make all her own clothes. Combining direct address, original music, dance and live sewing, it explores the power clothes have to define, liberate, hide and embellish us.


Returning for 2019 is manipulate (2-12 Feb), bringing an eclectic programme of visual and physical theatre, puppetry, object manipulation and animated film from leading theatre artists and filmmakers across the globe, while NT Connections (17-20 Mar) is a celebration of young people, theatre-making and the importance of access to the arts. Elsewhere, Pass Out (25 Apr) present Edinburgh College’s Performing Arts Studio Scotland’s end of year showcase, creating new pieces on the theme of ‘Beautiful/Ugly’, while Soundhouse (various dates) offer a bigger than usual programme of music, which even sees them extend beyond their usual Traverse café bar space into Traverse 1 with blues singer Chris Smither.

Akram Khan Company announce the world premiere of Outwitting the Devil

Outwitting the Devil © Jean Louis Fernandez
Outwitting the Devil © Jean Louis Fernandez

Outwitting the Devil © Jean Louis Fernandez

Akram Khan Company have today announced a brand-new production from the multi award-winning choreographer and dancer Akram Khan. Outwitting the Devil will premiere in Stuttgart in July 2019. The announcement comes six weeks ahead of Until the Lions’ homecoming to the Roundhouse in London, Khan’s first ever work in the round and one of his most haunting, which he will dance for the last ever time. Both pieces of work will explore old myth and reinterpret them in a contemporary context, in a way that Khan has become renowned for in his career over the last two decades. Brand new images for Until the Lions have also been released today. Outwitting the Devil will premiere at COLOURS International Dance Festival, Stuttgart, running 13-14 July. Until the Lions at the Roundhouse runs from 11 – 17 January 2019. Tickets for Until the Lions are now on sale.

Khan’s inspiration for Outwitting the Devil came from Leonardo da Vinci’s mural ‘The Last Supper’, depicting the final meal that, in Gospel accounts, Jesus shared with his Apostles in Jerusalem before his crucifixion. Khan recalls studying the painting as a small child at school and feeling unable to see himself reflected in it. Later in life he encountered the radical reinterpretation of the work, ‘The First Supper’ by Australian artist Susan Dorothea White, portraying 13 women from around the world. The figure in the position of Leonardo’s Christ is an Aboriginal woman, and Judas is the only white woman in the painting. This inspired him to create a piece challenging and redefining this oldest of human rituals, the coming together to share food in a time of limited resources.

Khan reunites with some of his close artistic collaborators: dramaturg Ruth Little, composer Vincenzo Lamagna, writer Jordan Tannahill, rehearsal director Mavin Khoo, costume designer Kimie Nakano – joined by lighting designer Aideen Malone and visual designer Tom Scutt. He gathered an international cast of six extraordinary performers to bring Outwitting the Devil to life.

Akram Khan said: “As I arrive at the end of my dancing career, I have awakened to a new way of dancing. And that is to dance my ideas through the bodies of others, including older dancers, who carry their histories and complex emotional experiences within them. One of the seeds of inspiration forOutwitting the Devil is Leonardo da Vinci’s iconic mural of The Last Supper. This image has haunted me since I first laid eyes on it as a child. As a young British Bangladeshi boy growing up in South London, I remember seeing The Last Supper on a printed A4 page in my art class. I was told it was one of the most famous paintings in the world, and was asked to draw my own version of it. I now realise that at the time I was uncomfortable and confused by the depiction. I could not see anything of myself in it, or of the culture and religion I grew up in. It was foreign to me. Or perhaps, I was foreign to it. It did not reflect me, or the people in my street – who came from many different cultures – in any way I could relate to. Many years later, I stumbled across another version, The First Supper by Susan Dorothea White. This radical interpretation astonished me, and gave me permission to free myself from the classical version. And in this new, anti-colonial depiction, I recognised an artist’s journey and challenge to convention which was parallel to my own. Ever since I entered the classical Indian dance world, I have been searching for a way out…. or perhaps more truly, I was searching for a new way in.

Until the Lions will return to the venue where it received its world premiere – London’s Roundhouse – for just six performances in January 2019, with Khan dancing the role of Bheeshma for the final time. Created for the unique setting of the Roundhouse in January 2016, the inspiration for the piece which Khan choreographed and performs in is taken from poet Karthika Naïr’s book Until the Lions: Echoes from the Mahabharataan original reworking of the ancient Sanskrit epic. Tapping into his classical roots, Khan combines the Indian dance form kathak and contemporary dance to explore the themes of gender and time. Until the Lions is a battle for justice and liberty, following one of the unsung heroines of the Mahabharata: Amba, a princess abducted on her wedding day who seeks revenge from the gods. This theatrical piece marks Khan’s return to the epic tale, having begun his professional career performing in Peter Brook’s own decade-defining production in 1985. Khan will perform alongside two remarkable dancers, Ching-Ying Chien and Joy Alpuerto Ritter, and four live musicians: singers Sohini Alam and David Azurza, percussionist Yaron Engler and guitarist Joseph Ashwin.

As one of the dance world’s most respected figures, Khan has created an influential body of work, collaborating with an impressive range of performers and artists including Juliette Binoche, Sylvie Guillem, Anish Kapoor, Antony Gormley, Sidi Larbi Cherkaoui and Nitin Sawhney. Khan’s work for the London 2012 Olympic Games Opening Ceremony was met with unanimous praise. Khan’s recent final solo show XENOS and his production of Giselle for English National Ballet both opened to critical and public acclaim.


Directed and choreographed by Akram Khan
Co-produced by Roundhouse/Sadler’s Wells London, MC2: Grenoble, La Comète Châlons-en-Champagne, Théâtre de la Ville/La Villette Paris, Danse Danse/TOHU Montréal, Les Théâtres de la Ville de Luxembourg, New Vision Arts Festival Hong Kong, Taipei Performing Arts Center, Movimentos Festwochen der Autostadt in Wolfsburg, Brighton Festival 2016, Maison de la Culture d’Amiens, Concertgebouw Brugge, manège, scène nationale – reims, Holland Festival Amsterdam, Romaeuropa Festival, Curve Leicester

Chalk Farm Road, London, NW1 8EH
11th, 12th, 15th, 16th, 17th January 2019 at 7.30pm
13th January 2019 at 6pm
Box office:  0300 6789 222
Tickets: £18 – £45*
Website: roundhouse.org.uk
*Booking fees apply
Press performance: 11th January 2019 at 7.30pm

Directed and choreographed by Akram Khan
Co-produced by COLOURS International Dance Festival 2019 – Stuttgart, Avignon Festival, Théâtre de Namur – Centre Scénique, Sadler’s Wells London
13th, 14th July
COLOURS International Dance Festival 2019, Stuttgart, Theaterhaus Stuttgart, Siemensstraße 11 70469 Stuttgart


New cast joins Witness for the Prosecution in its second year at London’s County Hall

The Dukes Theatre, Red Ladder and Tamasha to co-produce GLORY – new play by Nick Ahad set in larger-than-life world of British wrestling



The Dukes Theatre, Red Ladder Theatre Company and Tamasha to co-produce GLORY – new play written by Nick Ahad which delves into larger-than-life world of British wrestling, to grapple with identity and race in multicultural Britain.

GLORY will receive its premiere staging at The Dukes Theatre, Lancaster from Thursday 21 February – Saturday 2 March 2019 – and then tours nationally until April 2019. Press night: Friday 22 Februar#y, The Dukes Theatre.

Set in the eccentric world of British wrestling, GLORY – a new play by writer and broadcaster Nick Ahad (Partition/The Chef Show) – will be unveiled for its premiere staging and national tour in spring 2019GLORY is a co-production by The Dukes Theatre and Red Ladder Theatre Company in association with Tamasha, marking the first collaborative partnership between the three organisations. 

Directed by Red Ladder’s artistic director Rod Dixon (The Damned United/ Mother Courage and Her Children), the new play will receive its premiere staging at The Dukes Theatre, Lancaster from Thursday 21 February – Saturday 2 March. It then tours nationally to theatres and non-traditional theatre spaces until April 2019 – including Yorkshire, London, Liverpool and Wales.

 As British wrestling experiences a resurgence across the UK, GLORY will immerse audiences into the larger-than-life world of the sport. Set in a decrepit gym in the north of England, it sees faded star Jim ‘Glorious’ Glory and amateur wrestlers Dan, Ben and Sami confronting their demons, and each other, as their lives collide – inside and outside the wrestling ring. The unique world that British wrestling inhabits provides a backdrop to Nick Ahad’s state-of-the-nation play, as it grapples with race, identity and what it means to be British today.

Playwright Nick Ahad says, “I used to watch wrestling when I was a little boy. I still remember the excitement of seeing Giant Haystacks fight Big Daddy at Victoria Hall in Keighley in the 1980s. But I thought British wrestling was a relic of the past. I couldn’t have been more wrong. Wrestling is alive, well – and as entertaining as ever. With larger than life characters and a perfect combination of sport, performance, blood and sweat, it is pure theatre. It is also the perfect arena to explore the Britain we all share today. I can’t think of a better place for drama to play out than the inside of a wrestling ring.” 

The cast of Glory are Josh Hart (Dan), Jamie Smelt (Jim Glory), Ali Azhar (Sami) and Joshua Lyster (Ben). 

 Tickets for GLORY are on sale now via The Dukes Theatre: www.dukes-lancaster.org; Tel: 01524 598500. 

5* shows return to BAC – Bryony Kimmings’ I’m a Phoenix, Bitch and BAC Beatbox Academy’s Frankenstein



Battersea Arts Centre’s Phoenix Season has been extended with the return of two five star shows – Bryony Kimmings’ I’m a Phoenix, Bitch (20 Feb – 9 Mar 2019) and BAC Beatbox Academy’s Frankenstein (12 – 29 Mar 2019). They join Little Bulb Theatre’s gypsy jazz take on Orpheus, BAC Moving Museum’s immersive family adventure Return to Elm House and Daniel Kitson’s new show Keep.

The Phoenix Season celebrates the reopening of Battersea Arts Centre’s Grand Hall after the fire that devastated it in 2015. The seven-month celebration of risk-taking and renewal has featured Gecko, National Theatre of Scotland, Touretteshero and Lekan Lawal amongst others. The reborn space has received a wonderful reception from both audiences who recall its previous incarnation and new visitors to the venue.

I’m a Phoenix, Bitch

Bryony Kimmings

Wed 20 Feb –Sat 9 Mar 2019, 8pm

Press night Thu 21 Feb 2019

Following a critically-acclaimed debut run, performance artist, theatre-maker, comedian, musician and activist, Bryony Kimmings’ (Fake it ‘til you Make it, A Pacifists Guide to the War on Cancer, Channel 4’s The Sex Clinic: Artist In ResidenceI’m a Phoenix, Bitch will return to Battersea Arts Centre from 20 February to 9 March. This will be followed with a run at Attenborough Centre for the Creative Arts from 3 to 7 May.

I’m a Phoenix, Bitch combines personal stories with epic film, soundscapes and ethereal music to create a powerful, dark and joyful work about motherhood, heartbreak and finding inner strength. Having spent the last few years on collaborative projects and telling other peoples’ stories, including co-writing a script with Oscar award-winning actress Emma Thompson, developing musical A Pacifists Guide to the War on Cancer and starring in Channel 4’s The Sex Clinic: Artist In Residence, recent personal cataclysmic life events have led Bryony back to her original solo practice.

Bryony Kimmings says, “my shows are usually born out of me going: ‘We don’t talk about this enough, this is problematic in terms of a political or feminist narrative.’ My hope with this show is to give the almost unspeakable traumas associated with postnatal depression and an ill child a voice.  I wanted to create a show that cuts to the heart of these things but does it in a way that people can relate to.”

Join Bryony on an incredible journey as I’m a Phoenix, Bitch creates a new legend; that of the invincible and fearless woman; a tale Bryony wishes she had known from birth.

All performances of I’m a Phoenix, Bitch are relaxed. At Battersea Arts Centre, this means that audiences are free to move about, make noise and come and go during the show. A designated ‘chill-out space’ is also provided for guests who may need time away from the performance space and there are ear defenders available for those with sensory sensitivities. This does not mean that light and sound effects have been changed. For more info, visit the Access Page. The performance on Thursday 7 March is captioned and BSL interpreted.

Frankenstein: How To Make A Monster

BAC Beatbox Academy and Battersea Arts Centre

Tue 12 – Fri 29 Mar 2019, 8.30pm

Press night Thu 14 Mar 2019

Frankenstein: How To Make A Monster returns to headline an amped up evenings of beatbox, singing, rapping, DJ’s and jamming to celebrate a decade of BAC Beatbox Academy.

Inspired by Mary Shelley’s original tale of power and persecution, Frankenstein explores the idea of what makes a modern monster.

This electrifying theatre-gig production marks 10 years of nurturing the finest rising talent and pushing the boundaries of sound and music with BAC Beatbox Academy.

BAC Beatbox Academy is Battersea Arts Centre’s home-grown young collective. They have performed all over the country from Latitude Festival to The Royal Festival Hall and have recently appeared on Gareth Malone’s The Choir, with current members of the group ranked within the top

10 beat boxers in the UK.

All performances of Frankenstein are relaxed. At Battersea Arts Centre, this means that audiences are free to move about, make noise and come and go during the show. A designated ‘chill-out space’ is also provided for guests who may need time away from the performance space and there are ear defenders available for those with sensory sensitivities. This does not mean that light and sound effects have been changed. For more info, visit the Access Page.

Battersea Arts Centre gratefully acknowledges support from PRS Foundation’s the Open Fund and Arts Council

Also in the Phoenix Season in December and January:

Return to Elm House

Sarah Golding and BAC Moving Museum

Sat 1 Dec – Sun 30 Dec

Press night: Thu 6 Dec, 7pm (there are also opportunities to attend daytime performances)

A long time ago, on the very spot where Battersea Arts Centre now stands, a brave woman known for her generosity, wisdom and care, lived in Elm House. But as the years have ticked by, her inspiring story has been long forgotten. Until now…

This Christmas, in a brand new immersive adventure for all the family, Battersea Arts Centre shares the radical and inspiring true story of Jeanie Nassau Senior (1828–1877), an early feminist and social pioneer who helped improve the lives of thousands of children. Jeanie lived in Elm House, on the site of what is today Battersea Arts Centre. She was a campaigner for welfare rights, a co-founder of the British Red Cross and – as Britain’s first ever female civil servant – the visionary originator of the British foster care system.

In Return to Elm House, audiences will follow their fellow Time Keepers through old doors and along hidden corridors in this immersive adventure for the whole family. For Jeanie’s story to come back together they must find mislaid secrets and collect clues – and decide whether she is still relevant to all of us today.

As they venture across Battersea Arts Centre they will discover new permanent installations created by artists, designers and architects, each embodying a value inspired by the building’s past – from courage to joy, honesty to hope.

All performances of Return to Elm House are relaxed. At Battersea Arts Centre, this means that audiences are free to move about, make noise and come and go during the show. A designated ‘chill-out space’ is also provided for guests who may need time away from the performance space and there are ear defenders available for those with sensory sensitivities. This does not mean that light and sound effects have been changed. For more info, visit the Access Page. The performance on Saturday 15 December at 2:30pm is BSL interpreted.

Return to Elm House is presented by BAC Moving Museum

With support from the Heritage Lottery Fund


Little Bulb Theatre

Wed 5 Dec – Sun 30 Dec

Press night: Fri 7 Dec, 7:30pm

Little Bulb Theatre
’s critically acclaimed production of Orpheus returns to its Grand Hall home as part of the Phoenix Season, following a national and international tour including the world-renowned Salzburg Festival, Brisbane Festival and a run at the Royal Opera House Linbury Studio Theatre.

An astonishingly original musical re-imagining of the epic Greek myth, Orpheus is inspired by the music of legendary jazz guitarist, Django Reinhardt.

Audiences are transported to 1930s Paris where charismatic songstress Yvette Pépin has cajoled the guitar virtuoso, Django Reinhardt, into joining her in a brand new production of Orpheus. He will play the tragic hero, she will play his lost love Eurydice. Together with her troupe of operatic players she tells the thrilling tale of Orpheus’s ill-fated descent into the underworld, set to a live score of hot club jazz, opera and French chanson.  As in previous runs, the Grand Hall will once again be transformed into an opulent 1930s music hall, offering audiences a joyous night out in a bygone era.

Music has played an integral part in all of Little Bulb’s past productions, but Orpheus puts it right at its heart: it is entirely sung-through in a veritable musical feast including original compositions alongside Bach, Monteverdi, Edith Piaf and Debussy.

Orpheus is a Little Bulb Theatre and Battersea Arts Centre co-production.

Orpheus will have a relaxed performance on Wednesday 12 December.  At Battersea Arts Centre, this means that audiences are free to move about, make noise and come and go during the show. A designated ‘chill-out space’ is also provided for guests who may need time away from the performance space and there are ear defenders available for those with sensory sensitivities. This does not mean that light and sound effects have been changed. For more info, visit the Access Page. There is an audio described performance on 13 December (matinee) and BSL interpreted shows on Thursday 20 December and Saturday 22 December (matinee).Presented by Little Bulb Theatre and Battersea Arts Centre In association with Farnham Maltings.


Daniel Kitson

Tue 8 – Thu 31 Jan, 7:30pm, 2:30pm Sunday matinees

A new show about how much past the present can usefully contain. About rigor and generosity. About postcards and hair pins and a certificate from Harry Ramsdens in Blackpool. About how long it takes to stop noticing where you are. About the compromise of a full life and the burden of a full heart and how it’s impossible to know where looking back will lead. About the task of being who we are without denying who we’ve been. About the importance of regret and the possibility of hope and the delusional idea of starting again. About all the books I’ve never read and all the jam I’ve ever eaten and the bags of torn tickets and the drawers of empty pens and the inevitable sadness of ever holding on to anything.

 A show, in short, about the things in my house and the stuff in my head.


Title:  I’m a Phoenix, Bitch

Artist/Company:  Bryony Kimmings

Venue: Battersea Arts Centre, Lavender Hill, SW11 5TN
 20 Feb – 9 Mar 2019

Time: 8pm (2:30pm matinees)

Price: £15 to £30

Booking Link: www.bac.org.uk/bryony

Box Office: 020 7223 2223

Title:  Frankenstein

Artist/Company:  BAC Beatbox Academy

Venue: Battersea Arts Centre, Lavender Hill, SW11 5TN
12 – 29 Mar 2019

Time: 8:30pm

Price:  £15 – £26

Booking Link: bac.org.uk/frankenstein

Box Office: 020 7223 2223

Also in the Phoenix Season in December and January:

Title:  Return to Elm House

Artist/Company: Sarah Golding and Battersea Arts Centre

Venue: Battersea Arts Centre, Lavender Hill, London, SW11 5TN

Date: 1 – 30 Dec

Time: Public: 10:30am, 2:30pm, 6:30pm School: 10am, 1:30pm

Price: £12.50 – £26, Family ticket from £60

Age Recommendation: 6+

Press Night: 6 Dec

Booking Link: bac.org.uk/elmhouse

Box Office: 020 7223 2223

Title:  Orpheus

Artist/Company: Little Bulb

Venue: Battersea Arts Centre, Lavender Hill, London, SW11 5TN

Date: 5 – 30 Dec

Time: 7:30pm (3pm matinees on Saturdays)

Price: Cabaret Table: £26 – £35, Standard Seating: £15 – £26
Relaxed performances: 12 Dec at 7:30pm and 22 Dec at 2:30pm

Audio described performances: 15 Dec at 2.30pm

BSL interpreted performances: 20 Dec at 7:30 and 22 Dec at 2:30pm
Press Night: 7 Dec

Booking Link: www.bac.org.uk/orpheus

Box Office: 020 7223 2223

Title:  keep.

Artist/Company: Daniel Kitson

Venue: Battersea Arts Centre, Lavender Hill, London, SW11 5TN

Date: 8 –31 Jan 2019

Time: 7:30pm, 2:30pm Sunday matinees

Price: £12

Booking Link: bac.org.uk/kitson

Box Office: 020 7223 2223