Maggie Smith returns to stage In A German Life, a new play by Christopher Hampton, directed by Jonathan Kent

A German Life

Maggie Smith will return to the stage for the first time in twelve years in A German Life, a new play by Christopher Hampton drawn from the life and testimony of Brunhilde Pomsel (1911-2017).  Maggie Smith, alone on stage, plays Brunhilde Pomsel.

 Directed by Jonathan Kent, previews begin on 6 April 2019 with the opening night on Friday 12 April for a five-week run until 11 May.  All performances are at 7.30pm.  Booking opens today to Bridge priority members and public booking is from 10am (GMT) on 26 February.

Design is by Anna Fleischle, lighting by Jon Clark with sound by Paul Groothuis.

Brunhilde Pomsel’s life spanned the twentieth century. She struggled to make ends meet as a secretary in Berlin during the 1930s, her many employers including a Jewish insurance broker, the German Broadcasting Corporation and, eventually, Joseph Goebbels.

Christopher Hampton’s play is drawn from the testimony Pomsel gave when she finally broke her silence shortly before she died to a group of Austrian filmmakers, and from their documentary A German Life (Christian Krönes, Olaf Müller, Roland Schrotthofer and Florian Weigensamer, produced by Blackbox Film & Media Productions).

“I had no idea what was going on. Or very little. No more than most people. So you can’t make me feel guilty.”

Maggie Smith has had an extensive career in theatre, film and television. Her many awards include two Academy awards, five BAFTAs, four Emmys, nine Evening Standard awards and a Tony. She was made DBE in 1990 and a Companion of Honour in 2014.


Laura Linney returns to Bridge Theatre for 26 performances only

Laura Linney as Lucy Barton, photo by Manuel Harlan
Laura Linney as Lucy Barton, photo by Manuel Harlan

Laura Linney as Lucy Barton, photo by Manuel Harlan

Next week, from 23 January 2019, and after a sell-out run in June last year Laura Linney returns to the Bridge to reprise the title role in Richard Eyre’s production of My Name is Lucy Barton.   For a strictly limited 26 performances until 16 February 2019, this haunting dramatic monologue is adapted byRona Munro from Pulitzer Prize-winning Elizabeth Strout’s 2016 New York Times best-selling short novel of the same name.  Evening performances are Monday to Saturday at 7.45pm with Saturday matinees at 2.30pm.

Unsteady after an operation, Lucy Barton wakes to find her mother sitting at the foot of her bed. She hasn’t seen her in years, and her visit brings back to Lucy her desperate rural childhood, and her escape to New York. As she begins to find herself as a writer, she is still gripped by the urgent complexities of family life.

Laura Linney and Richard Eyre have worked together twice before – on stage Eyre directed Linney in a Broadway production of Arthur Miller’s The Crucible and on screen he directed her in his and Charles Wood’s adaptation of Bernhard Schlink’s The Other Man.

 On Broadway, Golden Globe and Emmy award-winning Laura Linney made her debut in Six Degrees of Separation and subsequently played Nina in The Seagull, Thea Elvsted in Hedda Gabler, Yelena Andreyevna in Uncle Vanya, Elizabeth Proctor in The Crucible, La Marquise de Merteuil in Les Liaisons Dangereuses and most recently alternated the roles of Regina Hubbard Giddens and Birdie Hubbard in The Little Foxes for the Manhattan Theatre Club. On film, she made her screen debut in Lorenzo’s Oil and was most recently seen in The Dinner. Her extensive film credits also include The Truman Show, Kinsey, Sully, Primal Fear, Hyde Park on Hudson, You Can Count on Me and Mystic River.  Her many small screen credits include Tales of the City, The Big C, which she also produced, Frasier and most recently Ozark for Netflix.

Elizabeth Strout’s debut novel was Amy and Isabelle which was subsequently adapted into a film for HBO.  Her further writing credits are Abide with Me,Olive Kitteridge, which was adapted into an Emmy award-winning mini-series also for HBO, The Burgess BoysMy Name is Lucy Barton and Anything is Possible.

Rona Munro has written extensively for stage, radio, film and television including the award-winning trilogy The James Plays for the National Theatre of Scotland, the National Theatre and the Edinburgh International Festival. Her other theatre writing credits include Scuttlers for the Royal Exchange Theatre,Iron and The Last Witch for the Edinburgh International Festival and Little Eagles for the Royal Shakespeare Company.

Richard Eyre is a multi award-winning theatre, film, opera and television Director.  Eyre was Director of the National Theatre from 1988-1997 and alongside his numerous theatrical awards he is also the recipient of the Companion of Honour.


Address:                           Bridge Theatre, 3 Potters Fields Park, London, SE1 2SG

Box Office:                        0333 320 0051 or [email protected]

Tickets are priced from £15 to £69.50 with a limited number of premium seats available.   A special allocation of £15 tickets are held for Young Bridge, a free scheme for those under 26.

Access:                            0333 320 0051 or [email protected]


Twitter:                            @_bridgetheatre

Instagram:                        _bridgetheatre


Full casting announced for A L Y S,  A L W A Y S Lucinda Coxon’s new play based on Harriet Lane’s novel

Alys, Always
Alys, Always

Alys, Always

Joining the previously announced Joanne Froggatt (Frances) and Robert Glenister (Lawrence) in the premiere of Lucinda Coxon’s Alys, Always areDanny Ashok (Sid), Joanna David (Charlotte), Leah Gayer (Polly), Simon Manyonda (Oliver), Sylvestra Le Touzel (Mary/Audrey), Jeff Rawle(Robin/Mr Thorpe), Vineeta Rishi (Julia Price), Sue Wallace (Mrs Thorpe) and Sam Woolf (Teddy).

Directed by Nicholas Hytner and based on the novel by Harriet LaneAlys, Always begins previews at the Bridge Theatre on 25 February with opening night on 5 March, running to 30 March 2019.  Evening performances are Monday to Saturday at 7.30pm with weekday and Saturday matinees at 2.30pm (check website for details).  Set designs are by Bob Crowley with costume designs by Christina Cunningham, lighting by Jon Clark, music byGrant Olding, sound by Gareth Fry and video designs by Luke Halls.

Frances works on the books pages of a Sunday newspaper. She’s quiet and capable, but nobody takes much notice: her face is pressed to the window, on the outside, looking in. One evening, driving back to London after visiting her infuriating parents, she comes across an upturned car crumpled on the side of the road. She waits with the injured driver, Alys Kyte, until the ambulance arrives. Later, when Alys’s famous family gets in touch, Frances finds herself for the first time ushered into the world on the other side of the window. And she begins to wonder: what would it take to become a player? A gripping psychological thriller that excavates the fault line that separates the entitled from the unentitled.

 On television Joanne Froggatt played Anna Smith in all six seasons of Downton Abbey for which she was the recipient of a Golden Globe award as well as three Emmy nominations.  She is currently filming the feature film of the same period drama. Last year she was seen in Sundance TV and ITV’s Liar which has now been commissioned for a second series. Her previous theatre credits include The Knowledge and Little Platoons at the Bush Theatre, All About My Mother at the Old Vic, Who’s Afraid of Virginia Woolf? at the Manchester Royal Exchange, Playhouse Creatures at the West Yorkshire Playhouse and Be My Baby for Soho Theatre. On film Froggatt recently played alongside Ed Harris and Rich Sommer in the independent feature A Crooked Somebody.  Her other film credits include Mary Shelley, One Last Thing, Starfish, A Street Cat Named Bob and Filth. She won Best Newcomer at the British Independent Film Awards for her film debut in In Our Name.

 Robert Glenister was last seen in Moonlight and Night School as part of Jamie Lloyd’s Pinter at the Pinter season.  His many other theatre credits includeGlengarry Glen Ross at the Playhouse Theatre, Great Britain and Blue Remembered Hills for the National Theatre, Noises Off at the Old Vic and Novello, The Late Middle Classes for the Donmar Warehouse, Hedda Gabler for the Theatre Royal, Bath, The Winterling for the Royal Court and Measure for Measure, The Spanish Tragedy and Little Eyolf  for the Royal Shakespeare Company. His many television credits include Curfew, Paranoid, The Musketeers, Cold Feet, Close to the Enemy, Vera, The Great Train Robbery, The Café, We’ll Take Manhattan, Hustle and Spooks. Glenister’s film credits include The Aeronauts, Journey’s End, Live by Night, Cryptic, Creation, Laissez Passer, The Visitors, All Forgotten, Secret Rapture and Quadrophenia.

Danny Ashok’s theatre credits include Guards at the Taj, Zaida and Aadam and Disgraced at the Bush Theatre, The Djinns of Eidgah at the Royal Court,Henry IV Parts 1 & 2 for The Peter Hall Company and Blood & Gifts for the National Theatre. On television he has been seen in Holby City, Doctors, Silk, Casualty, Coronation Street and The Bill.


Joanna David was last on stage in Absolute Hell at the National Theatre where she previously appeared in Stages. Her other theatre credits includeHobson’s Choice at Regent’s Park Open Air Theatre, The Family Reunion at Vaudeville Theatre, Ring Round the Moon at the Playhouse Theatre, A Voyage Round My Father at the Donmar Warehouse, Breaking the Code and The Cherry Orchard at the Theatre Royal Haymarket, The Family Reunion, Uncle Vanya and The Importance of Being Earnest for the Manchester Royal Exchange. On television her credits include The Boy with the Topknot, Agatha Raisin, Downton Abbey, Death in Paradise, Casualty, Rebecca, Sense and Sensibility and War and Peace.


Leah Gayer, who trained at RADA, is making her professional stage debut.

Simon Manyonda was last seen in the Barber Shop Chronicles at the National Theatre, where his previous credits also include Light Shining in Buckinghamshire, King Lear, Greenland and Welcome to Thebes.  His other theatre credits include King Lear at the Old Vic, Giving and Wildefire at Hampstead Theatre and A Midsummer Night’s Dreaming and Julius Caesar for the Royal Shakespeare Company.  His television credits include Shakespeare and Hathaway, Uncle, Doctor Who and Holby CitySuspects and Whitechapel.

Sylvestra Le Touzel was recently seen in Hogarth’s Progress: The Art of Success and The Taste of the Town at the Rose Theatre.  Her other theatre credits include The Pride of Miss Jean BrodieLes Parents Terribles and Ivanov for the Donmar Warehouse, GivingImagine DrowningFall and The War at Home for Hampstead Theatre, Wild EastMy Heart’s a SuitcaseOurselves Alone, Unity and Glasshouses for the Royal Court as well as multiple productions for the National Theatre and Royal Shakespeare Company. Her television credits include The Crown, Endeavour, The Thick of It, Utopia and Mansfield Park.

Jeff Rawle was last seen at the Bridge in Nicholas Hytner’s production of Allelujah!. His other theatre credits include Saint George and the Dragon, Cocktail Sticks, Fram, The Power of Yes and Noises Off at the National Theatre, High Society at the Old Vic, Handbagged at the Tricycle and Vaudeville Theatre, Bottle Universe at the Bush Theatre and Way to HeavenThe Arbor, The Irish Soldier and Bent at the Royal Court. On television he has been seen in The Durrells, The Outcast, Heading Out, Holby City, The Charles Dickens ShowHollyoaks, The Sarah Jane Adventures, Secret Diary of a Call Girl, Doc Martin, New Tricks, Spooks, Drop the Dead Donkey, Billy Liar and Doctor Who. His film credits include A Modern Tale, Peterloo and Harry Potter and the Goblet of Fire.

Vineeta Rishi’s theatre credits include Who Cares for the Royal Court, Hobson’s Choice for the Young Vic, Beasts and Beauties for the Bristol Old Vic andWhat We Did to Weinstein for the Menier Chocolate Factory. She has been seen on television in Boy Meets Girl, Doctors, Waking the Dead, The Last Detective and Doctor Who.

Sue Wallace was last seen at the Bridge in Nicholas Hytner’s production of Allelujah!. Her previous theatre credits include Husbands and Sons, Emil and the Detectives and Hymn/Cocktail Sticks for the National Theatre, A Cream Cracker Under the Settee for Bolton Octagon, Billy Liar and Everybody Loves a Winner at Royal Exchange Manchester, Hay Fever for Chichester Festival Theatre and The Merry Wives of Windsor at Shakespeare’s Globe. Her television credits includes In the Club, Quick Cuts, Shameless, In the Flesh, The Royal, Housewife 49, Coronation Street, Wire in the Blood, Casualty, The Locksmith, Common as Muck, Martin Chuzzlewit, Pat and Margaret, Making Out, Bergerac and Victoria Wood as Seen on TV.  Her film credits includes I Give It a Year, Is There Anybody There, Blue Money and Experience Preferred but Not Essential.

Sam Woolf can currently be seen in Antony and Cleopatra at the National Theatre. His other theatre credits include The Winter’s Tale for the Barbican andKing Lear for the Rose Theatre.

Lucinda Coxon’s previous theatre writing credits include Herding Cats, Happy Now, The Eternal Not, Nostalgia, The Shoemaker’s Wife, Vesuvius, Wishbones, Three Graces, The Ice Palace and Waiting at the Water’s Edge.  Her screen writing credits include the multiple award-winning The Danish Girl starring Eddie Redmayne and Alicia Vikander, The Crimson Petal and the White starring Romola Garai for BBC, Wild Target starring Emily Blunt, The Heart of Me starring Paul Bettany and Helena Bonham-Carter and the recently released The Little Stranger starring Domnhall Gleeson and Ruth Wilson.

Alys, Always was Harriet Lane’s debut novel, published in 2012, and was followed in 2014 with Her. Previously Lane wrote for the Guardian and the Observer as well as Vogue and Tatler.


Nicholas Hytner co-founded the London Theatre Company with Nick Starr.  He was Director of the National Theatre from 2003 to 2015, where the productions he directed included The History BoysHamletOne Man, Two Guvnors, and Othello.  His films include The Madness of George IIIThe Lady in the Van and The History Boys.  His book Balancing Acts is published by Jonathan Cape. For the Bridge, Hytner has directed Young Marx, Julius Caesar andAllelujah! and will be directing the forthcoming immersive production of A Midsummer Night’s Dream opening in June 2019.



Bridge Theatre: A Very Very Very Questionable Year

Bridge Theatre

Nicholas Hytner and Nick Starr’s year-old theatre is testing my patience. The mission statement of the two Nicks was to focus primarily on new plays.

I suppose they did do that.

One thing’s for sure, though – the 900-seat, £12.5m Bridge Theatre, has the best toilets in London. No subsidy either. 100% commercial theatre, folks, and disappointingly, when I glanced a programme, within the core staff: no education department. Poor show, guys.

There’s something a bit unnerving about anyone who isn’t London’s literati giving a damn about Bridge Theatre. The warning signs were there as early as the third production Nightfall (Barney Norris) and who can forget the terminal Young Marx (Richard Bean). Let’s not dwell on the shoddy reunion with long-term collaborator Alan Bennett (Allelujah!) either. I walked out of all three bored rigid.

The fact that Hytner has still never directed a play by a woman is an obvious concern, which, I think you’ll agree, is fairly impressive. The two Nicks have to start commissioning and involving women writers. Their worrying all-male, all-white line-up will never bring in a diverse audience.

But, hey, why bother with quality control when you can sell tickets to an Evening with Nigella Lawson for £45.00 a pop and shed-loads of Madelines during the intervals.

The Bridge’s latest misfireMartin McDonagh’s objectively rubbish new play A Very Very Very Dark Matter. It might be a contender for the worst play of the year. Why? The plot. Or almost complete lack of it, to be more accurate. No matter how many illustrious writers pen something for that stage and, despite them being an Oscar winner – I still haven’t been able to find one. A Very Very Very Dark Matter never takes off; avoid it at all costs.

A Very Dark Matter, Jim Broadbent

A Very Dark Matter, Jim Broadbent

McDonagh has taken a historical figure and made him a racist idiot– imagining the life he lived at the height of his fame – in this case by portraying Danish storyteller Hans Christian Andersen (Jim Broadbent) being offensive to a Congolese pygmy woman (Eula’Mae Ackles) in a secret dwelling upstairs in his attic.

As maddeningly incoherent as it sounds.

What did stun me, though, was the sudden realisation that I’d seen it before. It’s a star-fucking Horrible Histories, obviously, but not just the basic grotesque spin on historical events – whether portraying Charles Dickens as a foul-mouthed misery or Christian Andersen as a cockney racist.

The difference, of course, is that Horrible Histories often delivers a powerful message with a charm, subtlety, humour, a proper story and a great script. Matthew Dunster’s production does it with a mallet over the head. The 90-minute evening is full of the F and C words and an attempt to make us laugh at genuinely offensive language, stereotypes about ‘gyppos’ and in-jokes about German directors. How wrong. How sadly, awfully, dangerously wrong.

Either Nick Hytner and Nick Starr have taken their eyes off the ball or else they are working towards better things. However, what they are missing, as yet, is a real sense of vision, inclusion and diversity. Just because it is a commercial enterprise doesn’t mean these things are not compatible.

Julius Caesar

Julius Caesar

Sure, the toilets are nice and Hytner’s promenade production of Julius Caesar was smart and gripping. But with the new season containing a victory-lap of monologue My Name Is Lucy Barton and Hytner directing an immersive production of William Shakespeare’s comedy A Midsummer Night’s Dream, I’ll pass thanks.

And you can keep your signature Madeleines… For now.

Casting update for Martin McDonagh’s A Very Very Very Dark Matter

A Very Very Very Dark Matter
The Company of A Very Very Very Dark Matter. Photo Credit. Eleanor Howarth

The Company of A Very Very Very Dark Matter. Photo Credit. Eleanor Howarth

Rehearsals begin yesterday for the world premiere of Martin McDonagh’s A Very Very Very Dark Matter at the Bridge Theatre.  The cast comprises Johnetta Eula’Mae Ackles, Alistair Benson, Elizabeth Berrington, Paul Bradley, Noah Brignull, Jim Broadbent, Phil Daniels, Regan Garcia, Leo Hart, Graeme Hawley, Audrey Hayhurst, Kundai Kanyama, Lee Knight, Jamie McKie, Ryan Pope, James Roberts, Alice Selwyn, Austin Taylor, Amelia Walter and Annabelle Westenholz-Smith including nine children who will alternate a variety of roles.

The London Theatre Company’s production, directed by Matthew Dunster, designed by Anna Fleischle with lighting by Philip Gladwell, music compositions by James Maloney, sound by George Dennis, special effects by Paul Wanklin and video effects by Finn Ross, will preview at the Bridge Theatre from 12 October with opening night on 24 October 2018 at 7pm.  This 12-week run will conclude on 6 January 2019.

In a townhouse in Copenhagen works Hans Christian Andersen, a teller of exquisite and fantastic children’s tales beloved by millions.  But the true source of his stories dwells in his attic upstairs, her existence a dark secret kept from the outside world.  As dangerous, twisted and funny as his National Theatre and Broadway hit The Pillowman, Martin McDonagh’s new play travels deep into the abysses of the imagination.

Johnetta Eula’Mae Ackles, a recent graduate of the American Musical and Dramatic Academy, will make her professional stage debut in A Very Very Very Dark Matter

Elizabeth Berrington was last on stage in Rasheeda Speaking at the Trafalgar Studios. Her previous theatre credits include Who Cares and The Low Road for the Royal Court, Holes at the Arcola Theatre, Absent Friends at the Comedy Theatre and Abigail’s Party for Hampstead Theatre.  Her television credits include Patrick Melrose, Stella,Waterloo Road, Vanity Fair, Borderline, Death in Paradise, Little Boy Blue and the forthcoming Good Omens.  Her film credits include Naked, Secrets and Lies, Vera DrakeMr. Turner and Martin McDonagh’s In Bruges.

Jim Broadbent (Hans Christian Andersen) is a BAFTA and Academy award-winning actor. He has previously appeared in Martin McDonagh’s The Pillowman at the National Theatre where he was also seen in Improbable Theatre’s Theatre of Blood.  Broadbent has worked extensively for the Donmar Warehouse, the Old Vic, the Royal Court and the Royal Shakespeare Company and has most recently been seen on stage in A Christmas Carol at The Noël Coward Theatre.  His many film credits include Iris, for which he won an Academy Award, The Lady in the Van, Paddington, Brooklyn, Iron Lady, Le Weekend, Harry Potter and the Half Blood Prince and Moulin Rouge.  His more recent television credits include King Lear, Game of Thrones, War and Peace, London Spy and The Go-Between as well as his BAFTA winning role in Longford.

Phil Daniels recently toured the UK playing the title roles in Robert Louis Stevenson’s Dr Jekyll & Mr Hyde.  His further theatre credits include King Lear for Chichester Festival Theatre, This House at the National Theatre and Garrick Theatre,  Les Miserables at the Queens Theatre and Antony and Cleopatra and Knight of The Burning Pestle for Shakespeare’s Globe. On television his many credits include EndeavourZapped, Poirot, Mooonfleet, EastEnders, Outlaws, Rocks and Chips, Gimme Gimme GimmeMisfits, The Long Firm, Time Gentlemen Please, Holding On and Sex, Chips and Rock n Roll.  On film his credits include Access All Areas, The Hatton Garden Job, Vinyl, Chicken Run, Bad Behaviour, Scum and Quadrophenia.

Martin McDonagh is an award-winning writer and director.  His plays are The Beauty Queen of Leenane, A Skull in Connemara, The Lonesome West, The Lieutenant of Inishmore, The Cripple of Inishmaan, The Pillowman, A Behanding in Spokane and Hangmen.  As a writer and director for film, his credits are Seven Psychopaths, In Bruges,Six Shooter and most recently, the Academy Award, BAFTA and Golden Globe winning Three Billboards Outside Ebbing, Missouri.

Matthew Dunster directed McDonagh’s Hangmen at the Royal Court which also transferred to New York. His other directing credits include The Seagull and A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre, Love’s Sacrifice for the Royal Shakespeare Company, Liberian Girl at the Royal Court, Love the Sinner for the National Theatre, Doctor Faustus, Imogen, The Frontline and Much Ado About Nothing for Shakespeare’s Globe, Mametz for the National Theatre of Wales, Before the Party for the Almeida Theatre and Saturday Night and Sunday MorningMacbeth and Mogadishu for the Royal Exchange Theatre.  As a writer his plays include Children’s Children which premiered at the Almeida Theatre and You Can See the Hills which premiered at the Royal Exchange Theatre as well as an adaptation of 1984.

 Listings Information

Address:                                   Bridge Theatre, 3 Potters Fields Park, London, SE1 2SG

Box Office:                               0333 320 0051 or [email protected]

Tickets are priced from £15 to £65 with a limited number of premium seats available.   A special allocation of £15 seats are held for Young Bridge, a free scheme for those under 26.

Access:                                    0333 320 0051 or [email protected]


Twitter:                                    @_bridgetheatre

Instagram:                               _bridgetheatre


Claude-Michel Schönberg in conversation with Edward Seckerson at The Bridge Theatre

Edward Seckerson
Edward Seckerson

Edward Seckerson

This December, the Tony-Award winning composer and lyricist Claude-Michel Schönberg comes to London for an intimate one-off ‘in conversation’ event with Edward Seckerson at The Bridge Theatre

The composer Claude-Michel Schönberg who with lyricist Alain Boublil created two of the greatest international successes in the history of musical theatre – Les Miserables and Miss Saigon – sits down with writer and broadcaster Edward Seckerson to discuss his journey from songwriter/record producer and singer – he had a number one hit in France with his song Le Premiere Pas– to the stages of the West End and Broadway.

In a rare public encounter –  illustrated with recordings and live performances from West End stars John Owen Jones (Les Miserables) and Eva Noblezada (Miss Saigon)  – he talks about how his “Rock Opera” La Révolution Française set him on the path to Victor Hugo and Les Miserables and how a single photograph from the archives of the Vietnam War prompted a dramatic new take on Puccini’s Madam Butterfly. He talks about the elusive process which triggers the melodies, his love of opera and ballet, his continuing quest to breathe new life into perhaps his greatest score, Martin Guerre.


More about the artists

Composer, librettist, and record producer Claude-Michel Schönberg is one half of a hit songwriting team, with lyricist Alain Boublil, that is responsible for the Les Misérables and Miss Saigon. The duo first teamed up in 1973 to write Boublil‘s first musical, La Revolution Française, in which Schönberg played the part of King Louis XVI. The following year, Schönberg recorded an album of original material entitled Le Premier Pas. He teamed up with Boublil again in 1978 to work on the score of Les Misérables, which opened in Paris two years later. The original cast recording won two gold discs by 1981 and the Broadway production that followed garnered two Tony Awards (1987 Best Score, Best Book). Schönberg and Boublil followed up with another wildly successful musical, Miss Saigon, which opened in London in the fall of 1989 and internationally shortly thereafter. The duo’s next musical, Martin Guerre, opened in London in the mid-’90s. Schönberg also produced an opera album with the Monte Carlo Philharmonic Orchestra and Julia Migenes-Johnson, and participated in all of the castings for Les Misérables.

Fane Productions operates as a unique one-stop shop for top talent from across the global entertainment industry. We manage and agent clients depending on their needs; produce, general manage and promote tours and programme venues, most notably Crazy Coqs at Brasserie Zédel. We specialise in music, musical theatre and spoken word, but we don’t stop there, with poets, public figures and dancers included among our clients. 2018 highlights include the world premiere of two time Tony award-winner Kathleen Turner’s one woman show at The Other Palace and a very special UK tour with legendary explorer Sir Ranulph Fiennes, whilst Sir Michael Parkinson, Kerry Ellis and Gareth Malone all head out on tour.

John Owen-Jones is a record-breaking West End and Broadway actor and singer. He is best known for his critically acclaimed and award-winning performances as Jean Valjean in Les Miserables and as The Phantom in The Phantom of the Opera. In the UK, John has performed extensively in theatre, appeared on television and radio, and performed in concert around the world. John remains the youngest actor in West End history to have played Jean Valjean in Les Miserables (a role he also played on Broadway) and has performed as the Phantom in The Phantom of the Opera nearly 2000 times – more than any actor in the show’s entire West End run. John has appeared in special finales for theLes Miserables and Phantom of the Opera 25th anniversary performances at the 02 Arena and Royal Albert Hall. He is in the unique position of being the only actor to have the opportunity to reinvent Valjean and The Phantom – in brand new Cameron Mackintosh productions that toured the UK and now tour the world to great acclaim. In an online poll, John was voted the “Best Ever Valjean” and “Best Ever Performer inLes Miserables by fans of the show worldwide; his performance as Valjean can be heard on the Les Miserables Live! Album. He recently played Jean Valjean in Les Miserables at Dubai Opera, Dubai. John has released four solo albums. ‘Hallelujah’ EP (2006) ‘John Owen-Jones’ (2009),

‘Unmasked’ (2011) ‘Rise’ (2015) and ‘Bring Him Home’ (2017).

Eva Noblezada was discovered during a performance at the National High School Musical Theater Awards (The Jimmy Awards) and, at age 17, was chosen to star as Kim, making her professional and West End debut in Miss Saigon (Winner- WhatsonStage Award for ‘Best Actress in A Musical’). She then went on to reprise the role on Broadway in 2017 which earnt her a Tony Nomination for ‘Best Actress in a Musical’ and was the youngest nominee that year. Other West End: Eponine in Les Misérables (Queens Theatre).