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Leanne Best to play The Woman in Jean Cocteau’s ‘The Human Voice’ opening Ellen McDougall’s second season at the Gate Theatre

Leanne Best
Leanne Best

Leanne Best

A brand new version by Daniel Raggett of Jean Cocteau’s classic text La Voix Humaine, opens Ellen McDougall’s second season at the Gate Theatre, 34 years since it was first produced at the venue.  The Human Voice, directed by Daniel Raggett and starring Leanne Best opens on 13 September (press night 18 September) and runs until 6 October.

I’m whispering in your ear – and we couldn’t be further apart.’

A woman, a phone call, a final conversation

In this extraordinary and prophetic monologue, a woman fights for the person she loves.  Jean Cocteau’s iconic play explores our desperate need for human relationships – and the machine that changed them forever.

Jean Cocteau (1889-1963) was a French poet, librettist, novelist, actor, film director and painter.  Some of his most important works include the poem L’Ange Heurtebise, the play Orphée, the novels Les Enfants Terribles and La Machine Infernale and his surrealistic motion pictures Le Sang d’un Poéte and La Belle et la Bête.

Leanne Best takes the role of the woman.  Her television credits include:  Carnival Row (Amazon Studios); Tin Star (Sky Atlantic); Cold Feet (Big Talk/ITV); Babs (BBC); Good Karma Hospital (ITV); Black Mirror (Channel 4); Home Fires (ITV); Undercover (BBC); HG Wells – The Purple Pileus (Sky Arts); Line of Duty 3 (BBC); From Darkness (BBC); The Outcast (BBC); Ripper Street (BBC); Fortitude (Sky Atlantic); New Tricks (BBC); The Driver (BBC); Shetland (BBC); Lucan (ITV); Worricker: Salting the Battlefield (BBC); Stepping Up (BBC); Good Cop (BBC); Moving On (BBC); Mobile (Granada/ITV); New Street Law (Red Productions); Heatwave (BBC); Wire in the Blood (Coastal Productions); Casualty (BBC). Film credits include: Little Joe (COOP99 Filmproduktion); Film Stars Don’t Die in Liverpool (Eon Productions); The Infiltrator (Good Films Ltd); Native (Film First Productions); Star Wars: The Force Awakens (Lucasfilm); The Woman in Black 2: Angel of Death (Exclusive Media); The Be All and End All (Whatever Films); Casbah – A Documentary (Best Wishes Prods).

Leanne’s theatre credits include: Educating Rita (Liverpool Everyman); The Matchbox (Tricycle Theatre, Liverpool Everyman); Backbeat (Theatre LA); Damned by Despair (National Theatre); A Streetcar Named Desire (Liverpool Playhouse); My Zinc Bed (Royal Theatre Northampton); The Hypochondriac (Liverpool Everyman); Horse Marines (Plymouth Drum); Drowning on Dry Land (Salisbury Playhouse); Desperately Seeking Susan (Novello Theatre); The May Queen (Liverpool Playhouse); Our Country’s Good (Liverpool Playhouse); Fleet Street Nativity (Liverpool Everyman); The Way Home (Liverpool Everyman); Unprotected (Liverpool Everyman); The Morris (Liverpool Everyman); Macbeth (Liverpool Everyman); Popcorn (Liverpool Playhouse).

Short film credits include: Cotton Wool (Quinn Productions).

Leanne was nominated for the TMA Award for Best Performance for The Matchbox at Liverpool Everyman.

Artistic Director of the Gate Theatre, Ellen McDougall said; ‘Leanne Best is an incredible actress and I am so thrilled to welcome her to the Gate for the first time, to open my second season in ‘The Human Voice’. This is an iconic role and I can’t wait to see her get under the skin of it in Daniel Raggett’s production.’

Director Daniel Raggett’s work in theatre includes, as a Director A Marked Man for HighTide, Old Vic New Voices 24 Hour Plays at the Old Vic, The Seagull at Bloomsbury Theatre and Mr Kolpert at the Edinburgh Fringe.  As an associate director his work includes Network and The Red Barn at the National Theatre, Hamletat the Almeida and in the West End, 1984 on UK tour, international tour, at the Almeida, in the West End and on Broadway, Mary StuartIliad and Odyssey at the Almeida and Bad Jews in the West End.

Designer Sarah Beaton studied at the Royal Central School of Speech & Drama, graduating in 2011 with First Class Honours.  Later that year she was awarded the Linbury Prize for Stage Design.  From 2015 – 2016, she was the Designer on Attachment at The Old Vic Theatre.  Her work has been exhibited at the National Theatre, World Stage Design (Cardiff), the Victoria and Albert Museum and World Stage Design 2017 (Taiwan).  Sarah has designed for venues in the UK and internationally including Sadler’s Wells, Manchester Royal Exchange, Trafalgar Studios, Hampstead Theatre, The Oxford Playhouse, The Lowry, Altes Schauspeilhaus (Germany), Theatre Rigiblick (Switzerland), Freedom Theatre (Palestine) and Lit Live Festival (India).  She is an Associate Artist of Engineer Theatre Collective and a visiting lecturer at the RCSSD.

Lighting Designer Jessica Hung Han Yun is a UK-based lighting designer, using light as a tool to transform spaces in a variety of productions, from theatre through to dance, circus and installation.  Most recently Jessica has designed for productions such as Hive City Legacy by Hot Brown Honey and Roundhouse, The Party’s Overby Nonsuch Theatre Company, Gypsy Disco at Boomtown Festival, Becoming Shades by Chivaree Circus and Nine Foot Nine by Sleepless Theatre Company for which she was nominated for the Off West End Award for ‘Best Lighting Designer 2018’.

Sound Designer Mike Winship trained at Goldsmiths College, London and was a member of the National Theatre’s Sound & Video department for over a decade. His sound designs include:

The Winter’s Tale;  Another World – Losing Our Children to Islamic State;  Macbeth;  Comedy of Errors;  Romeo and JulietThe Holy RosenbergsThree More Sleepless Nights; Lolita;Berlin;  A Slight Ache Landscape;  De Profundis Intolerance Crime and Punishment  (National Theatre), Shadows (Eurydice Speaks) (Schaubühne, Berlin), The Jumper Factory(Young Vic Taking Part @ HMP Wandsworth), Zoo (Assembly Studios, Edinburgh),  Julius Caesar,  Buster’s (Mountview Academy of Theatre Arts @ Bernie Grant Art Centre); The Shadow of a GunmanJohn Bull’s Other Island (Tricycle); The God Botherers;  Christmas (Bush);  Americans (Arcola); The Trestle at Pope Lick Creek (Southwark Playhouse/Manchester Royal Exchange);  A Thought in Three Parts (BAC);  The York Realist;  Love Upon the Throne (West End).  As Associate Sound Designer Mike has worked on

Macbeth;  Hedda Gabler (NT UK & Ireland Tours), The Hairy Ape (Old Vic production @ Park Avenue Armory, New York), The ElephantomThe HushThis House;  Pains of Youth;  Spring Storm;  Beyond the Horizon;  Mrs Afflek;  Chatroom/Citizenship;  Attempts on Her Life;  A Minute Too Late;  Waves (National Theatre),  Hamlet (Harold Pinter Theatre);  Once In A Lifetime (Young Vic),  Die Wellen (Schauspiel, Cologne)

Other sound work includes: Binaural sound recordist for Opera North’s Aeons sound walk, as part of the Great Exhibition of the North;  Assistant sound designer on Land Rover’s binaural Discovery Adventures podcast; Sound design for artist Kathleen Herbert’s AV installation Everything Is Fleeing To Its Presence, to be exhibited at New York Public Library.

The Human Voice is produced with thanks to the Comité Jean Cocteau.

Gate Theatre London announces season until March 2019

Ellen McDougall Credit Manuel Harlan
Ellen McDougall Credit Manuel Harlan

Ellen McDougall Credit Manuel Harlan

Following a celebrated first season with record-breaking shows, extended runs and critical success, Gate Theatre’s Artistic Director, Ellen McDougall, today announced her second season at the Notting Hill venue which goes on sale to the public on 1 June.

I’m so excited to share this new season of exceptional international plays and artists.

The intimacy of the Gate Theatre includes the audience in the conversation: this season we’ve broken bread together, learnt some Mandarin, shared difficult conversations and cups of tea, helped a mother tidy away a sea of toys and concluded with a riotous cabaret. The serious questions that underpin these shared moments in our tiny theatre relate to a recognition of our connection with each other, our basic humanity – while telling stories that grapple with a world that in so many ways distances and alienates us from those things.

As with last year, there’s no theme to the season, it’s a deliberately eclectic range of stories, perspectives, forms, artists – concluding with a brand new collaboration – this time with Shubbak. The season charts the differences and divisions between us, and the enormous lengths we go to to reach each other. All these questions I hope are felt all the more profoundly in our intimate, ever changing space.’

Harambee

A Gate Young Associates Project, led by Anthony Simpson Pike

Summer 2018

‘Harambee’ (meaning ‘coming together’ in Swahili) is inspired by the rich stories from our area. Working with older members of the Notting Hill and surrounding community, it will shine a light on the vital political history of the area and its importance within the British Civil Rights movement.

From Notting Hill Carnival to the Mangrove 9 and Michael X, many of the most important moments in British Civil Rights history happened on the doorstep of the Gate Theatre.

This intergenerational exchange between our Young Company and older community members, will culminate in a public sharing of these stories this summer.

Harambee asks, what can we learn from the past and what do we want from the future?

This project is supported by the Royal Borough of Kensington and Chelsea Arts Grants Scheme.

The Human Voice by Jean Cocteau, in a translation by Daniel Raggett

Directed by Daniel Raggett

13 September – 6 October

Press Night – 18 September

 ‘I’m whispering into your ear – and we couldn’t be further apart.’

A woman, a phone call, a final conversation.

In this extraordinary and prophetic monologue a woman fights for the person she loves. Jean Cocteau’s iconic play explores our desperate need for human relationships – and the machine that has changed them forever.

This production will present a brand new version of this classic text, 34 years since it was first produced at the Gate Theatre.

 Daniel Raggett has previously directed Senses: Hearing (Pleasance), August Town (RADA Festival), A Marked Man (Hightide Festival) and Activate (24 Hour Plays, Old Vic).  He was Associate Director on Hamlet and Mary Stuart (Almeida and West End), The Red Barn (National Theatre), 1984 (Almeida and West End), The Odyssey (Almeida Theatre), The Iliad (Almeida Theatre and British Museum) and Bad Jews (Arts Theatre).

He was staff/ resident director on Three Days in the Country (National Theatre), The Nether (Duke of York’s Theatre), A Small Family Business (National Theatre) and Assistant Director on Noises Off (Old Vic), Abigail’s Party (Theatre Royal Bath and tour), Living Everyday (24 Hour Musicals Celebrity Gala, Old Vic), The Alchemist (Everyman Playhouse, Liverpool), Children’s Children (Almeida Theatre) and Romeo and Juliet (Headlong Theatre, UK tour).

 Jean Cocteau, (1889 – 1963) was a French poet, librettist, novelist, actor, film director, and painter. Some of his most important works include the poem L’Ange Heurtebise; the play Orphée; the novels Les Enfants terribles and La Machine infernale and his surrealistic motion pictures Le Sang d’un poète and La Belle et la bête.

Thanks to the Comité Jean Cocteau.

A Small Place

Adapted from the book by Jamaica Kincaid

Directed by Anna Himali Howard

8 November – 1 December

Press Night 13 November

You emerge from customs into the hot, clean air: immediately you feel cleansed, immediately you feel blessed (which is to say special); you feel free.’

For the first time ever, Jamaica Kincaid’s searing essay about Western colonial exploitation is adapted for the stage. Fly with us to Antigua and take a closer look at the past, the present and where we really are.

Anna Himali Howard is a director and theatremaker. She was Paines Plough’s Trainee Director in 2016. She is also an Alumni Artist at the Gate Theatre and an alumnus of the Birmingham REP Foundry. Her work as a Director includes Albatross by Isley Lynn for NEW (RWCMD/Paines Plough/Gate Theatre), Life Is No Laughing Matter by Demi Nandhra (Birmingham REP/mac Birmingham), 20B by Jane English (Birmingham REP/CPT).  As a theatremaker work includes Mahabharat/a  by Anna Himali Howard and Zarina Muhammad (Camden People’s Theatre), The Beanfield by Breach Theatre (New Diorama, National tour 2016).  Anna was Associate Director on Fleabag by Phoebe Waller-Bridge (Drywrite/Soho Theatre international tour) and Assistant Director on Othello, directed by Ellen McDougall (Shakespeare’s Globe) and In the Night Time (Before the Sun Rises) by Nina Segal, directed by Ben Kidd (Gate Theatre).

Jamaica Kincaid’s essays, stories, and novels are evocative portrayals of family relationships and her native Antigua. Moving to New York at the age of 16 she later became a staff writer for The New Yorker magazine and her first book, At the Bottom of the River, a collection of short stories published in 1983, set a pattern for her later work, mixing lyricism and anger. Annie John and Lucy were autobiographical in nature with an emphasis on mother-daughter relationships and A Small Place continued her depiction of Antigua and her rage at its despoliation. Kincaid’s treatment of the themes of family relationships, personhood, and the taint of colonialism continued in The Autobiography of My Mother and My Brother, an account of the death from AIDS of Kincaid’s younger brother.  Her “Talk of the Town” columns for The New Yorker, often chronicling Caribbean Culture were collected in Talk Stories.  Later novels include Among Flowers: A Walk in the Himalaya and See Now Then which follows the late-life dissolution of a marriage through the eyes of the jilted wife.

Dear Elizabeth by Sarah Ruhl

Directed by Ellen McDougall

17 January – 9 February

Press Night 22 January

“I hope you aren’t thinking that I am a) dead b) annoyed. I’m neither, but I did have flu.”

Elizabeth Bishop and Robert Lowell were two of America’s most brilliant poets. Their friendship was messy, intense, unconventional and profound. Through their lives, they wrote over 400 letters to each other, spanning decades, continents, political eras.

These are their words.

Susan Smith Blackburn award winner Sarah Ruhl has crafted a stunning and quietly bold piece of theatre about what it means to love someone, and all the questions we regret never asking.

 Sarah Ruhl’s plays include How to Transcend a Happy MarriageFor Peter Pan on her 70th BirthdayThe Oldest BoyIn the Next Room, or the vibrator play (Pulitzer Prize finalist, Tony Award nominee for best new play); The Clean House (Pulitzer Prize Finalist, The Susan Smith Blackburn Prize); Passion Play (Pen American award, The Fourth Freedom Forum Playwriting Award from The Kennedy Center); OrlandoLate: a cowboy songDear ElizabethDead Man’s Cell Phone (Helen Hayes Award); Eurydice and Stage Kiss. She is a two-time Pulitzer Prize finalist and a Tony Award nominee. Her plays have been produced on Broadway at the Lyceum by Lincoln Center Theater, off-Broadway at Playwrights Horizons, Second Stage, and at Lincoln Center’s Mitzi Newhouse Theater. Her plays have been produced regionally all over the country and have also been produced internationally, and translated into over twelve languages. Ms. Ruhl received her M.F.A. from Brown University where she studied with Paula Vogel. She has received the Steinberg Distinguished Playwright award, the Susan Smith Blackburn award, the Whiting award, the Lily Award, a PEN award for mid-career playwrights, and the MacArthur “genius” award. Her book of essays 100 Essays I Don’t Have Time to Write was published by Faber and Faber was a Times Notable Book of the Year. She teaches at the Yale School of Drama and lives in Brooklyn with her family.

Ellen McDougall is Artistic Director at the Gate Theatre.  Previous credits at the Gate include – Effigies of Wickedness (2018), The Tale of the Unknown Island (2017) and Idomeneus (2014). Other credits include a critically acclaimed production of Othello at the Sam Wanamaker Playhouse at the Globe, the Lyric’s annual pantomime – Aladdin by Joel Horwood (2016) and Cinderella by Tom Wells (2015), The Rolling Stone (Orange Tree Theatre and Manchester Royal Exchange), The Remains of Maisie Duggan (Abbey Theatre, Dublin), The Glass Menagerie(Headlong), Anna Karenina (Manchester Royal Exchange),  Henry the FifthNot Now BernardThe Nutcracker, Antigone and Philoctetes(Unicorn Theatre); Glitterland (Secret Theatre/Lyric Hammersmith) and Ivan and the Dogs (Actors Touring Company/Soho Theatre).

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

The Ridiculous Darkness

A Radio Play for the stage by Wolfram Lotz

Translated by Daniel Brunet

In a version by Anthony Simpson Pike

27 February – 23 March

Press Night 5 March

‘I ran through the darkness. Everything was very quiet. I ran and ran. It was dark, but I could orient myself. I had the feeling that everything inside of me was also very dark and calm. It was as if I was just walking inside myself.’

Ultimo has a degree in piracy from Mogadishu University of Applied Sciences. Tofdau won’t rest till his story’s told. Sergeant Pellner and Officer Dorsch are sailing up the Hindu Kush in search of Lieutenant Colonel Deutinger in the rainforest of Afghanistan. And at his parents’ home in Bad Rippoldsau, Wolfram Lotz is experiencing writer’s block.

This funny, powerful and surreal mash-up of Frances Ford Coppola’s Apocalypse Now and Joseph Conrad’s Heart of Darkness invites us to rethink colonial narratives, confront our ideas of each other and question what we imagine is in the darkness.

This production is conceived and directed by the Gate Theatre’s Associate Director, Anthony Simpson Pike.

Wolfram Lotz, born in Hamburg in 1981, grew up in the Black Forest. He studied Literature, Fine Arts and Media in Konstanz before enrolling for Literary Writing at the German Literature Institute in Leipzig. He writes theatre and radio plays, poetry and prose and has already been the recipient of numerous awards including the Audience Prize of the play competition at the Berlin Theatertreffen 2010 as well as the Kleist Foerderpreis 2011 for Der Grosse Marsch. The original Burgtheater production of The Ridiculous Darkness  (Die Laecherliche Finsternis) was invited to Theatertreffen Berlin as well as Muehlheimer Theatertage in 2015. Theatre Heute Magazine named him as ‘Emerging Playwright of the year’ in 2011 and ‘Dramatist of the Year’ in 2105.

Anthony is a theatre-maker and dramaturg whose directing credits include Over to You (Tamasha Theatre/Rich Mix), Dreamless Sleep (Bunker), Loyalty and Dissent (Tamasha Theatre/Rich Mix/ National Archives), Welcome to England (Young Court, Royal Court), Detox (Artistic Directors of the Future), Pandora (Peckham Pelican/Zedel/New River Studios), Coma (Southwark Playhouse), Something to Say (St James Theatre), Plunder (Fresh Direction, Young Vic), Camp (Etcetera Theatre/Bussey Building), One for the Road and New World Order (Site- specific).

His credits as assistant director include Ear for Eye directed by debbie tucker green (Royal Court), Much Ado About Nothing directed by Matthew Dunster (Shakespeare’s Globe), Father Comes Home from the Wars, Parts 1, 2 and 3 directed by Jo Bonney (Royal Court), and Parallel Macbeth directed by Caroline Byrne (Young Vic). Anthony trained at National Youth Theatre, Royal Central School of Speech and Drama and through the Young Vic Director’s Program. He was a finalist for the JMK award in 2017. Anthony is the Associate Director at the Gate Theatre.

Shubbak @ Gate

July 2019

In a new collaboration/partnership with Shubbak – London’s largest festival of contemporary Arab Culture – we will present a programme of powerful voices from Arab theatre makers, based in the Arab region and the diaspora. Join us in July 2019 when the Gate will be home to a diverse range of ground-breaking artists, many of whose work has never been shown in the UK before.

Shubbak (meaning ‘window’ in Arabic) is the UK’s largest biennial festival of contemporary Arab culture. Shubbak takes place across London, and connects audiences and communities with the best of contemporary Arab culture through ambitious festival programmes of visual arts, film, music, theatre, dance, literature and debate.

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

Effigies of Wickedness (Songs Banned by the Nazis) announces an extended run at the Gate Theatre

Effigies of Wickedness
Effigies of Wickedness

Effigies of Wickedness

Ellen McDougall’s inaugural season as Artistic Director of the Gate Theatre concludes with Effigies of Wickedness (Songs Banned by the Nazis), a riotous cabaret performance, which is already shaping up to be such a box office hit that an extension to the run has been announced prior to the production opening, with further tickets released due to popular demand.  This exciting collaboration between the Gate Theatre and English National Opera, is directed by McDougall and opens on 3 May(press night 14 May) and will now run until 9 June.

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

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

The unique event brings together several figures in the London theatrical and cabaret scene who between them have originated a variety of highly-praised individual projects. Lyricist[JR1]  Seiriol Davies is the brains behind the breakout fringe hit that transferred to the Young Vic How to Win Against History (‘A work of genius’ – The Telegraph*****) while Lucy McCormick’s Triple Threat used cabaret to scandalously retell the New Testament, becoming one of the most talked-about shows of the 2016 Edinburgh Fringe (*****, Time Out).

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

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

Katie Bray

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

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

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

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

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

Peter Brathwaite

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

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

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

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

Le Gateau Chocolat

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

 Lucy McCormick

Lucy McCormick is an actor/performer based in London.

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

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

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

CREATIVE TEAM

 Ellan Parry – Designer

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

Christopher Green – Dramaturg

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

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

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

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

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

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

Phil Cornwell – Musical Director

Theatre credits include – As Musical Supervisor Rent 21st Anniversary Tour. As Musical Director In The Heights (Kings Cross Theatre/ Southwark Playhouse), The Scottsboro Boys (West End). As Assistant MD A Damsel In Distress (Chichester Festival Theatre) Carousel (Arcola Theatre), The Scottsboro Boys (Young Vic), Singin’ in the Rain (West End), Irving Berlin’s White Christmas (UK Tours), Evita (European Tour), Chitty Chitty Bang Bang (UK Tours and Singapore Esplanade Theatre).

Phil trained at the Guildhall School of Music and Drama, then at Trinity College of Music, where he was awarded the Postgraduate Accompanist Prize. He has performed piano concertos in St John’s Smith Square and Southwark Cathedral. Phil is a member of the highly regarded contemporary folk band Apple of my Eye (on double bass and vocals), and also a regular collaborator with singer and composer Tasha Taylor Johnson.

Seiriol Davies – Lyrics from literal translations by David Tushingham

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

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

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

Corin Buckeridge – Arranger

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

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

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

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

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

 Malik Nashad Sharpe – Movement Director

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

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

Azusa Ono – Lighting Designer

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

Dan Balfour – Sound Designer

Theatre as Sound Designer: Great ApesI Call My BrothersCaught (Arcola); #Dracula (The Curve); Seafret (Old Red Lion, HighTide); Figures Of Speech-Series (Almeida); Great Expectations (Merton Arts Space); Spindrift (Theatre Royal Plymouth); RE: Home (Yard Theatre); DREAMJenufa–Opera Works (ENO); Walking the Tightrope (Theatre Delicatessen), SOLO (Bush); Nude (Hope Theatre),

Cast and creative team announced for ‘Effigies of Wickedness’

Effigies Of Wickedness
Effigies Of Wickedness

Effigies Of Wickedness

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

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

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

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

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

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

Katie Bray

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

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

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

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

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

Peter Brathwaite

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

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

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

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

Le Gateau Chocolat – George Ikediashi

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

 Lucy McCormick

Lucy McCormick is an actor/performer based in London.

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

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

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

CREATIVE TEAM

Ellan Parry – Designer

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

Christopher Green – Dramaturg

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

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

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

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

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

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

Seiriol Davies – Lyrics from literal translations by David Tushingham

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

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

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

Corin Buckeridge – Arranger

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

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

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

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

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

Malik Nashad Sharpe – Movement Director

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

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

Azusa Ono – Lighting Designer

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

Dan Balfour – Sound Designer

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

Ellen McDougall – Director

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

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

 Lucy J Skilbeck – Assistant Director

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

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

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

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

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

 Jude Christian directs Falk Richter’s TRUST at the Gate Theatre, Notting Hill

Jude Christian credit Manuel Harlan
Jude Christian credit Manuel Harlan

Jude Christian credit Manuel Harlan

Ellen McDougall’s critically acclaimed first season at the Gate theatre, Notting Hill continues with TRUST, Falk Richter’s anarchic celebration of broken relationships, complex negotiations and the tyranny of capitalism.  The production opens on 22 February (press night 26 February).

Jude Christian’s production, in which she also performs, interrogates our political and economic system through the lens of a romantic relationship, asking the questions; if you decided to end a romantic relationship, is being 52% sure but 48% not, enough to walk away from what you’ve invested in? And are we really going to settle for a system that we can’t trust? This experimental production will use the Gate Theatre space in a completely new way.

The cast will include Pia Laborde Noguez , whose recent credits include The Tempest at Norwich and Norfolk Festival, Boat (Theatre N16), Current Location (Summerhall) and In The Beginning Was The End (dreamthinkspeak) and Zephryn Taitte who has recently appeared on stage in The Tempest (Stafford Shakespeare Festival), Result (Pleasance Theatre) and Rachel (Finborough Theatre).

It’s about me. It’s not about you.

Leave or stay.  Speak up or keep silent.  Slam the door or keep the peace.  Walk out tonight or stick it out for another week, a month, a year.  Drain your bank account and get out while you still can or keep on saving for the holiday, the house, the car.  Destroy all existing structures and begin entirely again – or get hitched to the person who betrayed you.  Begin a revolution or just keep calm and carry on – things aren’t so bad, are they?

 Falk Richter is one of the most important German playwrights and directors of his generation. His work has been translated into more than 25 languages and produced all over the world.  His plays include For the Disconnected ChildRausch (written with Anouk van Dijk), Play LoudMy Secret Garden (written with Stanislas Nordev), Damaged YouthState of EmergencyThe DisturbanceSeven Seconds (In God We Trust) and God is a DJ.  Apart from writing and directing his own plays, Richter has directed Shakespeare, Chekhov, Schiller, Brecht and contemporary writers including Caryl Churchill, Harold Pinter, Martin Crimp, Sarah Kane and operas by Tchaikovsky, Strauss and Weber.

The text is translated by Maja Zade,  dramaturg at the Schaubühne Berlin, where she has worked with directors including Thomas Ostermeier, Ivo van Hove, Luk Perceval, Benedict Andrerws and Marius von Mayenburg.  Her translations into German include works by Lars von Trier, Arnold Wesker and Caryl Churchill, and she has translated into English works by Marius von Mayenburg, Roland Schimmelpfennig, Lars Norén and Falk Richter.

As a director, Jude Christian‘s theatre productions include Parliament Square (Bush Theatre and Royal Exchange Theatre, Manchester), Lela & Co (Royal Court), The Darkest Corners (Transform), The Path (HighTide), Blue (RWCMD), Split/Mixed (Summerhall), How Do You Eat An Elephant / BWYTA Ellifant, Sut Mae Gwneud Hynnydwedwch? (National Youth Theatre of Wales), Happy and The Mushroom (Pentabus Young Writer’s Festival).  Jude’s work also includes Nanjing which she wrote and performed in. Jude is the Artistic Associate at the Gate Theatre.

Trust is designed by Bethany Wells with sound design by Ben and Max Ringham and lighting design by Joshua Pharo.

In Conversation: Paul Mason will take place on Monday 5 March following the evening performance of Trust.  The event will explore how the personal is political, what it means for one country to break up with 27 others and what it would take to break out of our current economic system.

Paul is the author of several books including Why It’s Kicking Off Everywhere – an account of the networked uprisings of 2011, which was adapted for the stage at the Young Vic and, PostCapitalism: A Guide to Our Future – a bestseller now translated into 16 languages in 2016. Paul joined Channel 4 News in 2013, and covered Greece, the Gaza war and the Scottish referendum. In 2015, he produced a documentary series about the first six months of Syriza in Greece:#ThisIsACoup – for Field of Vision. Paul has also been a consultant on the movie Jason Bourne, started a blog calledMosquito Ridge and appeared regularly as a commentator and analyst on Brexit, Trump and Corbyn.

The Gate Theatre Starts 2018 with two ground-breaking international productions

Nina Bowers

Actor Nina Bowers will play over 20 characters in a new production of Twilight: Los Angeles, 1992, Anna Deavere Smith’s ground-breaking piece of verbatim theatre.

Jude Christian, Associate Artist at the Gate, will direct and perform in Trust, an anarchic celebration of broken relationships, complex negotiations and the tyranny of capitalism, by Falk Richter.

Ellen McDougall’s critically acclaimed first season continues at the Gate Theatre with two groundbreaking international productions.Artistic Director Ellen McDougall said,

‘Nina Bowers and Ola Ince are two thrilling new talents – they have formed an incredible partnership to present this essential verbatim piece. Jude Christian is one of the most exciting artists currently working in theatre, and will direct and perform in her production of Trust’

This morning the venue announces that actress Nina Bowers will play over 25 roles in the new production of Anna Deavere Smith’s TWILIGHT: LOS ANGELES, 1992.  The play, directed by Ola Ince, opens on 11 January (press night 15 January). Rehearsal images here.

This is a city at war with its own children.

When the policemen accused of assaulting young, black taxi driver Rodney King were acquitted, deadly riots broke out across LA, laying bare the recurring pattern of racial oppression and police brutality in America.

For this ground-breaking piece of verbatim theatre, Anna Deavere Smith interviewed hundreds of people from police commissioners to Rodney King’s family about those devastating few days in the summer of 1992.  These are their words.

Nina Bowers made her acting debut in Tomorrow I’ll Be Twenty for Complicite. She wrote and co-devised Nina Talks About Her Values which was performed at Camden People’s Theatre as part of the Camden Fringe 2017. She is a co-founder of the theatre duo Two Much Company.

Anna Deavere Smith, also an actor, is perhaps best known for playing Nancy McNally in The West Wing and Gloria Akalitus in Nurse Jackie. Her plays include Fires in the MirrorHouse ArrestLet Me Down Easy and The Arizona Project. Her playwriting process involves interviews with scores of individuals. Her writing primarily focuses on a topic of civic and political interest. Smith is the recipient of numerous awards, among them the National Humanities Medal, presented to her by President Obama in 2013. She has been the recipient of the prestigious MacArthur Award, The Dorothy and Lillian Gish Prize, two Obie Awards and two Tony Award nominations. She was runner up for the Pulitzer Prize in Drama for her play Fires in the Mirror. Honorary degrees include those from Yale University, Juilliard, Barnard, the University of Pennsylvania, Radcliffe, Wesleyan, Williams College and Northwestern University, as well as many others.

Director Ola Ince was the 2016 Genesis Future Director Award winner and Artistic Associate at Lyric Hammersmith and Theatre Royal Stratford East. Her directing credits include Start Swimming (Young Vic & Summerhall), White Sky (RWCMD & Gate Theatre), Broad Shadow (National Theatre), Dutchman(The Clare, Young Vic Theatre) and Rachel, The Soft of Her Palm (Finborough Theatre).  As Associate Director, her credits include Bugsy Malone (Lyric Hammersmith), Tipping the Velvet (Lyric Hammersmith & Royal Lyceum Theatre Edinburgh), Fog (UK tour). As Assistant Director her credits include Shakespeare Trilogy (Donmar Warehouse & St. Ann’s Warehouse), Ma Rainey’s Black BottomDaraA Taste of Honey (National Theatre), Porgy & Bess (Regent’s Park Open Air Theatre), Josephine & I (Bush Theatre) and Wild Swans (Young Vic Theatre).

Twilight: Los Angeles, 1992 is designed by Jacob Hughes.  Jacob graduated from the Royal Welsh College of Music and Drama in 2011 and was a finalist in the Linbury Prize for Stage Design that same year. He has since been nominated for Best Set Designer in the Off West End awards, Wales Theatre awards and has exhibited his work in the Society of British Theatre Designers exhibition Make:Believe.  In 2016 Jacob became the National Theatre’s first recipient of the Max Rayne Design Bursary Award. Design credits include Broad Shadow (National Theatre), Start Swimming at The Young Vic andTreasure Island at Watford Palace.

Lighting design is by Anna Watson whose theatre credits include: Box of Delights (Wilton’s Music Hall); King Lear (Shakespeare’s Globe) Becoming: Part One (Donmar);  Snow in Midsummer (RSC); The Seagull, Shopping and Fucking (Lyric Hammersmith); Dutchman / The Secret Agent / Fireface / Disco Pigs / Sus (Young Vic) You for Me for You / Plaques & Tangles / A Time to Reap (Royal Court) The Chronicles of Kalki (The Gate); The Roaring Girl (RSC); Bank on it (Theatre-Rites / Barbican); ; Salt, Root and Roe (Donmar); On the Record / It felt empty when the heart went at first, but it’s alright now (Arcola); Paradise / Salt (Ruhr Triennale, Germany); Gambling / This Wide Night (Soho Theatre);  Rutherford and Son / Ruby Moon (Northern Stage);  … Sisters (Headlong); King Pelican / Speed Death of the Radiant child (Drum, Plymouth).  Opera credits include: Don Carlo (Grange Park) Orlando ( WNO and Scottish Opera); Ruddigore (Barbican, Opera North and UK Tour); Critical Mass (Almeida); Songs from a Hotel Bedroom / Tongue Tied (Linbury ROH); The Bartered Bride (Royal College of Music); Against Oblivion (Toynbee Hall).   Dance credits include: Mothers (The Place); Refugees of a Septic Heart (The Garage); Soul Play (The Place); View from the Shore / Animule Dance (Clore ROH ).

Sound Designer Max Perryment is a London, U.K. based Composer and Sound Designer who has composed music for numerous television commercials. Recent clients include: Nokia, London and Partners, Johnnie Walker, Land Rover, The Singleton, Godiva, The Co-op, Raffles, Volvo, Thomson’s Holidays, Amazon, Magnet Kitchens, GQ, Booking.com, Liverpool One, Continental, Berkley Homes, Jacamo, Barclay’s, Simply Be, Neville Johnson and Zoopla.

He has composed music and sound designed productions at The Young Vic, The Bristol Old Vic, Hampstead Theatre, The Other Palace (formerly St James’ Theatre), The Gate, Southwark Playhouse, Orange Tree Theatre, The Vaults, Hope Mill Theatre, The Bunker, Ovalhouse and Theatre 503.   Max also writes music for contemporary dance and has been the resident composer for Made By Katie Green since 2010.Max is a founding member of the band Escapists who have played Reading and Leeds Festival as well as supporting Manic Street Preachers and Imagine Dragons on their U.K. tours.

TRUST, Falk Richter’s anarchic celebration of broken relationships, complex negotiations and the tyranny of capitalism opens on 22 February (press night 26 February).  Jude Christian’s production will use the theatre space in a completely new way for her production that asks the question; are we really going to settle for a system that we can’t trust?  The cast will include Pia Laborde Noguez, whose recent credits include The Tempest at Norwich and Norfolk Festival, Boat (Theatre N16), Current Location (Summerhall) and In The Beginning Was The End (dreamthinkspeak) and Zephryn Taitte who has recently appeared on stage in The Tempest (Stafford Shakespeare Festival), Result (Pleasance Theatre) and Rachel(Finborough Theatre).

It’s about me. It’s not about you.

Leave or stay.  Speak up or keep silent.  Slam the door or keep the peace.  Walk out tonight or stick it out for another week, a month, a year.  Drain your bank account and get out while you still can or keep on saving for the holiday, the house, the car.  Destroy all existing structures and begin entirely again – or get hitched to the person who betrayed you.  Begin a revolution or just keep calm and carry on – things aren’t so bad, are they?

Falk Richter is one of the most important German playwrights and directors of his generations. His work has been translated into more than 25 languages and produced all over the world.  His plays include For the Disconnected ChildRausch(written with Anouk van Dijk), Play LoudMy Secret Garden (written with Stanislas Nordev), Damaged YouthState of EmergencyThe DisturbanceSeven Seconds (In God We Trust) and God is a DJ.  Apart from writing and directing his own plays, Richter has directed Shakespeare, Chekhov, Schiller, Brecht and contemporary writers including Caryl Churchill, Harold Pinter, Martin Crimp, Sarah Kane and operas by Tchaikovsky, Strauss and Weber.

The text is translated by Maja Zade, a dramaturg at the Schaubühne Berlin, where she has worked with directors such as Thomas Ostermeier, Ivo van Hove, Luk Perceval, Benedict Andrerws and Marius von Mayenburg.  Her translations into German include works by Lars von Trier, Arnold Wesker and Caryl Churchill, and she has translated into English works by Marius von Mayenburg, Roland Schimmelpfennig, Lars Norén and Falk Richter.

As a director, Jude Christian‘s theatre productions include Parliament Square (Bush Theatre and Royal Exchange Theatre, Manchester), Lela & Co (Royal Court), The Darkest Corners (Transform), The Path (HighTide), Blue (RWCMD), Split/Mixed(Summerhall), How Do You Eat An Elephant / BWYTA Ellifant, Sut Mae Gwneud Hynnydwedwch? (National Youth Theatre of Wales), Happy and The Mushroom (Pentabus Young Writer’s Festival).  Jude’s work also includes Nanjing which she wrote and performed in. Jude is the Artistic Associate at the Gate Theatre.

Trust is designed by Bethany Wells with sound design by Ben and Max Ringham and lighting design by Joshua Pharo.

 

,

First Look: Production Pictures: The Unknown Island

Full Cast announced for The Unknown Island – Ellen McDougall’s inaugural production as Artistic Director of Gate Theatre

Ellen McDougall Credit Manuel Harlan

Ellen McDougall Credit Manuel Harlan

Ellen McDougall Credit Manuel Harlan


Ellen McDougall today announces the full cast for The Unknown Island, her inaugural production of Artistic Director of Gate Theatre.  She directs Jon FosterHannah RinghamThalissa Teixera and Zubin Varla in the adaptation of Nobel Prize winner Jose Saramago’s short story which opens on 18 September, with previews from 11 September, running until 7 October.

We want to tell you a story

We want to take you on a journey

We want everything to be different

This is an adaptation of José Saramago’s inventive and beautiful short story, The Tale of The Unknown Island. It’s a story about getting stuck, about trying to escape, about shooting for the moon, about going further than the furthest thing. It’s a story about finding something you didn’t think you needed.

McDougall also announces today that Ola Ince will direct Anna Deveare Smith’s Twilight: Los Angeles 1992, the third production of her inaugural season, which opens on 15 January 2017, with previews from 11 January, running until 3 February.

 José Saramago (1922 – 2010) was a writer and winner of the Nobel Prize in Literature in 1998. His plays include The Night, What Shall I do with this book? and The Second Life of Francis of Assisi. Other writing includes Blindness (turned into a film in 2008 starring Julianne Moore and Mark Ruffalo), Possible Poems, Probably Joy, From this World and the OtherThe Traveller’s Baggage, The Year of 1993Risen from the Ground, Quasi Object, Baltazar and Blimunda, The Year of the Death of Ricardo Reis, The Stone Raft, The History of the Siege of LisbonThe Gospel According to Jesus ChristIn Nomine Dei, and All the Names. He also translated works by authors including Colette, Pär Lagerkvist, Jean Cassou, Maupassant, André Bonnard, Tolstoi, Baudelaire, Étienne Balibar, Nikos Poulantzas, Henri Focillon, Jacques Roumain, Hegel and Raymond Bayer.

Jon Foster’s previous work for the Gate Theatre includes IdomeneusTrojan WomenDream Story Tenet and Mud.  His other theatre credits include Othello (Shakespeare’s Globe), F*ck The Polar Bears (Bush Theatre), Buckets (Orange Tree Theatre), A New Way To Please YouSejanus: His FallSpeaking Like MagpiesThomas More (RSC), Food (Traverse Theatre) and Long Time Dead (Paines Plough).  His television work includes FortitudeDa Vinci’s DemonsThe Great FireRevSouthcliffeThe TownThe IT Crowd and Mrs Biggs; and for film, Nice Guy and Tides.

Hannah Ringham is a co-founder and performer of the UK award winning performance collective SHUNT.  Her recent theatre credits include Islands (Bush Theatre), The Architects (Shunt), The Present (Unicorn Theatre, Battersea Arts Centre), Cadavre Exquis (2012), Contain Violence – Site Specific (Lyric Hammersmith), Ooogly Boogly (2008), Tropicana (Shunt). She has performed and toured internationally with many other companies including Tim Crouch, Kassys (a collaborative performance with Kassys, The Nature Theatre of Oklahoma and Nicole Beutler), Caroline Horton, Adam Broomberg and Oliver Chanarin.

Thalissa Teixera’s theatre work includes OthelloThe Broken HeartThe Changeling (Shakespeare’s Globe), Yerma (Young Vic), The Night Watch (Manchester Royal Exchange), BU21 (Theatre503), Electra (Old Vic).  Her television work includes The Musketeers; and for film, Take Down.

Zubin Varla’s theatre work includes War Horse, The Enchantment, Attempts on Her Life, The Life of Galileo and Cyrano de Bergerac and Dara (National Theatre), Julius Caesar (Lyric Hammersmith), Troilus and Cressida, Two Gentlemen of Verona, Midnight’s Children, The Tempest, Roberto Zucco, Bartholomew Fair, Faust, The Painter of Dishonour and Romeo & Juliet(RSC), Twelfth Night (Donmar Warehouse in the West End), Paradise Regained (Royal Court), In the Heart of America (Bush Theatre), Teeth ‘n’ Smiles (Sheffield Theatres), A Midsummer Night’s Dream (Shakespeare’s Globe), Jesus Christ Superstar andBeautiful Thing (West End). Measure for MeasureThe Changeling (Young Vic).  His television work includes Deep StateWillOur GirlStrike BackSilent WitnessTwelfth Night and Little Dorritt.

Ellen McDougall is Artistic Director of the Gate Theatre.  She previously directed Idomeneus for the company in 2014. Her credits include a critically acclaimed production of Othello at the Sam Wanamaker Playhouse at Shakespeare’s Globe earlier this year, the Lyric’s annual pantomime – Aladdin by Joel Horwood (2016) and Cinderella by Tom Wells (2015), The Rolling Stone (Orange Tree Theatre and Manchester Royal Exchange), The Remains of Maisie Duggan (Abbey Theatre, Dublin), The Glass Menagerie (Headlong), Anna Karenina (Manchester Royal Exchange), Henry the Fifth, Not Now BernardThe NutcrackerAntigone and Philoctetes (Unicorn Theatre), Glitterland (Secret Theatre/Lyric Hammersmith) and Ivan and the Dogs (Actors Touring Company/Soho Theatre – nominated for an Olivier Award).  McDougall was formerly part of the Secret Theatre Company at the Lyric Hammersmith, Associate Director at the Gate, and an Associate Artist at ATC. She trained as an assistant to Katie Mitchell and Marianne Elliott. She was awarded an International Artists’ Development Award (ACE/British Council) in 2012.

 

Clare Slater is the Literary and Editorial Manager at the Donmar Warehouse and former Executive Director at the Gate where she worked as dramaturg on Ellen McDougall’s production of Idomeneus and wrote a radio play Here’s How It All Began.  At the Donmar, she dramaturgically supports all of the plays, with recent productions including Limehouse by Steve Waters and The Resistible Rise Of Arturo Ui by Bertolt Brecht in a new adaptation by Bruce Norris.  As a freelance adaptor and dramaturg, her recent credits include The Last MermaidMan To Man (Wales Millennium Centre), Lotty’s War (UK tour) and We Have Fallen(Theatre 503/Underbelly).  She previously worked as the Assistant Literary Manager at the National Theatre and in television and film development with Rare Day.

 

Ola Ince is the 2016 Genesis Future Director Award-winner and Artistic Associate at Lyric Hammersmith and Theatre Royal Stratford East. As Director, her credits include Start Swimming (Young Vic & Summerhall), White Sky (RWCMD & Gate Theatre), Broad Shadow (National Theatre), Dutchman (The Clare, Young Vic), Rachel, The Soft of Her Palm (Finborough Theatre).  As Associate Director, her credits include Bugsy Malone (Lyric Hammersmith), Tipping the Velvet (Lyric Hammersmith & Royal Lyceum Theatre Edinburgh), Fog (UK Tour). As Assistant Director her credits include Shakespeare Trilogy (Donmar Warehouse & St. Ann’s Warehouse), Ma Rainey’s Black BottomDaraA Taste of Honey (National Theatre) Porgy & Bess (Regent’s Park Open Air Theatre), Josephine & I (Bush Theatre) and Wild Swans (Young Vic).

 

Gate Theatre                                                                                                                                             Listings

Above The Prince Albert Pub, 11 Pembridge Road, London, W11 3HQ

 

www.gatetheatre.co.uk

Twitter: @gatetheatre

Box Office: 020 7229 0706

 

Performance times:

Monday – Saturday at 7.30pm

Saturday matinees at 3pm

Wednesday matinees at 3pm (except during previews and the Wednesday following press night)

Young People’s Night: 29 September

Captioned performance: 5 October

 

Previews and matinees: £10
Full price: £20
Concessions: £15
Under 26’s on selected Young Peoples Night: £7.50

Gate Theatre announces new associates and full line-up for InTRANSIT Festival Takeover, including Paterson Joseph, Adjoa Andoh and Ben Okri, announced for Intransit Festival Takeover

Ellen McDougall © Manuel Harlan
Ellen McDougall © Manuel Harlan

Ellen McDougall © Manuel Harlan

Following the recent announcement of her inaugural season as Artistic Director of Gate Theatre, Ellen McDougall today announced two new Associates joining the Gate – Jude Christian, and Anthony Simpson-Pike. Former Associate Director Lynette Linton also re-joins the team as Director of the Young Associates programme.

Also announced today is the full line-up of performers and participants for the theatre’s takeover of InTRANSIT Festival on 17 June including Paterson Joseph, Adjoa Andoh and Ben Okri.  InTRANSIT festival is an annual showcase of newly commissioned, site-specific, participatory arts and performance, taking place throughout the Royal Borough of Kensington and Chelsea. The Gate is taking over the Portobello Pavilion in Powis Square for a day featuring free participatory workshops, food and performance from 10am-9pm.

ASSOCIATES

Jude Christian, who directs Falk Richter’s Trust in February 2018 and previously directed I’d Rather Goya Robbed Me of My Sleep Than Some Other Arsehole for the company, is named Associate Artist, and will support Ellen McDougall on artistic planning and developing international collaborations; Anthony Simpson-Pike takes over from Lynette Linton as Associate Director – the position focusses on artistic planning, local community projects and the Jerwood Young Designers programme.

Jude Christian is a director, writer and performer. She is also Associate Artist of The Yard, Lyric Hammersmith and National Youth Theatre of Great Britain. Her directing credits include Lela & Co (Royal Court Theatre), The Darkest Corners (Transform), The Path (HighTide Theatre). She previously directed I’d Rather Goya Robbed Me of My Sleep Than Some Other Arsehole for the Gate Theatre in 2014 and directs the forthcoming Trust by Falk Richter in 2018. As an Associate Director, her work includesAladdin and Shopping and Fucking (Lyric Hammersmith) and Carmen Disruption (Almeida Theatre). As well as directing she was Co-Artistic Director of Concert Theatre (2012 – 2016) and in 2016 she wrote and performed in Nanjing (Now ’16 Festival, The Yard).

Anthony Simpson-Pike is a director and writer. His credits include Loyalty and Dissent (Tamasha Theatre, Rich Mix), Welcome to England (Royal Court, Young Court), Detox (Artistic Directors of the Future, National Theatre Clore Studio), Pandora(Peckham Pelican, Zedel, New River Studios), Coma (Southwark Playhouse), Something to Say (St James Theatre), Plunder (Fresh Direction, Young Vic), Camp (Etcetera Theatre, Bussey Building), One for the Road and New World Order (Site- specific). As an assistant director credits include Parallel Macbeth (Young Vic), Father Comes Home from the Wars, Parts 1, 2 and 3(Royal Court) and Much Ado About Nothing (Shakespeare’s Globe). He was also a finalist for the JMK award 2017.

Lynette Linton, whose world première production of Assata Taught Me recently finished a sell-out run at the Gate, becomes the company’s first Director – Young Associates, a new role that will see her manage a company of 12 young artists – actors, directors and writers – working on a year-long programme.

Lynette Linton is a director and playwright. She previously directed Assata Taught Me for the company.  She is the co-founder of production company Black Apron Entertainment. Her other directing credits include Indenture (Dark Horse Festival), Naked (Vault Festival 2015), Pornado (Theatre Royal Stratford East), This Wide Night (Albany Theatre), a scratch performance of Sweet Like Chocolate, Boy (Rich Mix), and she was co-director on Chicken Palace (which she also wrote, Theatre Royal Stratford East).  As an Assistant Director her work for the Gate includes Image of An Unknown Young Woman and The Christians and she also worked on Torn at the Royal Court Theatre.  Her writing credits include Step, Service (Boom Festival, Bush Theatre), Ergo Sum (Theatre Delicatessen) and #Hashtag Lightie (Arcola Theatre).

INTRANSIT FESTIVAL: GATE TAKEOVER

17 June, 10-9pm 2017

The Gate also today announces that, as part of the theatre’s takeover of local Royal Borough of Kensington and Chelsea festivalInTRANSIT, alumnni Paterson Joseph (previously seen at the Gate Theatre in The Emperor Jones) and Adjoa Andoh(recently acclaimed for her performance in Assata Taught Me), will perform extracts from Derek Walcott’s epic poem Omeros, with Nigerian poet and novelist Ben Okri running a poetry workshop.

The InTRANSIT festival takeover is part of the Gate’s involvement with The Great Together, a UK wide initiative, taking place from 16-18 June, run by the Jo Cox Foundation to commemorate the anniversary of her death.

10 am – 1pm: Future Kitchen – Workshop*

The Gate Theatre’s Young Associates have been writing recipes for a more positive future for our communities. The Future Kitchen will be open from 10am, with a focused practical workshop from 12 – 1pm.

Twist the top of the bandstand to release the flavour of the music. Encourage those who have not yet found their tune to enter the bandstand and soak up the music.

In this interactive workshop, participants are invited to help cook up new ways to imagine the world. Future Kitchen is based on an idea by German installation artist Folke Köbberling.

1.30-4.30pm: Island Life – Workshop*

Led by Ben Okri (OBE), participants are invited to create a poem together entitled Island Life, in a collaborative workshop based on the Japanese tradition of Renga.

*Spaces for the workshop sessions are limited and advanced booking is advised to guarantee a place. There will also be walk up activities on the day.

5-6pm: Future Kitchen – Performance

The Gate Theatre’s Young Associates share their recipes for a more positive future, in a performance based on a TV style cookery show. It’s going to be a feast.

7-9pm: Omeros, by Derek Walcott – Performance and evening meal**

Paterson Joseph and Adjoa Andoh will perform extracts from Derek Walcott’s epic poem Omeros, while the audience share a traditional Cameroonian meal, cooked by Notting Hill local Sissi le French.

Omeros is considered by many critics to be Sir Derek Walcott’s greatest achievement. It refashions The Iliad to tell a Caribbean story, taking in the history of the Black diaspora and the middle passage.

**Please note: capacity at the evening meal is limited and not available to book. Places will be on a first come, first served basis.

 Adjoa Andoh previously appeared at the Gate Theatre in Assata Taught Me.  Her other recent theatre work includes Soul (Royal & Derngate, Northampton and Hackney Empire), Les Liaisons Dangereuses (Donmar Warehouse), A Wolf in Snakeskin Shoes (Tricycle Theatre), Great Expectations (Bristol Old Vic), Julius Caesar (RSC), Or You Could Kiss Me, The Revenger’s Tragedy, His Dark Materials and Stuff Happens (National Theatre), Joe Turner’s Come and Gone and In The Red and Brown Water (Young Vic), Sugar Mummies, Breath Boom (Royal Court Theatre) and Pericles and Nights at the Circus (Lyric Hammersmith/Kneehigh).  For television, she has appeared as a series regular in M.I. High, Missing, Doctor Who, Casualty and Chasing Shadows and her other recent television credits include Liar, Acceptable Risk, Line of Duty, River, Cucumber and The Life of Rock with Brian Pern; and for recent film, Brotherhood, Remainder, Invictus and Adulthood and Julius Caesar.  She has also worked extensively on the radio and is the reader of the award-winning No1 Ladies Detective Agency Audiobook series.

Yasmin Hafesji is the dramaturg on this extract from Derek Walcott’s Omeros. She is the Gate’s Development Assistant and also provides literary support.

Paterson Joseph is a writer and performer. He previously performed at the Gate Theatre in The Emperor Jones (also National Theatre). His other theatre credits include Whale, Saint Joan, Royal Hunt for the Sun and Elmina’s Kitchen (National Theatre),Julius Caesar, Don Juan, Troilus and Cressida, Love’s Labour’s Lost, King Lear and The Pretenders (RSC). He created, wrote and performed in Sancho: An Act of Remembrance (tour). Television credits include Timeless, Rellik, The Hollow Crown, The Leftovers, Babylon, Law and Order UK, Peep Show, Doctor Who, Hustle, No.1 Ladies Detective Agency, Safe House and You, Me and the Apocalypse.

 Ben Okri OBE is a Nigerian poet and novelist. His novels include The Famished Road (winner of the Booker Prize), Songs of Enchantment, The Age of Magic, In Arcadia, Stars of The New Curfew, Astonishing the Gods and Dangerous Love. Other works include An African Elegy, A Way of Being Free and Birds of Heaven. His latest book is a collection of compressed stories calledThe Magic Lamp: Dreams of Our Age and will be published in September 2017. Other awards include the Commonwealth Writers Prize for Africa, the Paris Review Aga Khan Prize for Fiction, the Chianti Rufino-Antico Fattore International Literary Prize and the Premio Grinzane Cavour Prize. In addition, the University of Westminster awarded him an Honorary Doctorate of Literature. He is currently one of the Vice Presidents of the English Centre of International P.E.N.

http://www.intransitfestival.co.uk/programme.html

 

Gate Theatre                                                                                                                                             Listings

Above The Prince Albert Pub, 11 Pembridge Road, London, W11 3HQ

www.gatetheatre.co.uk

Twitter: @gatetheatre

Box Office: 020 7229 0706

 www.intransitfestival.co.uk

Twitter: @InTRANSITFest

Enquiries:  [email protected]   /   020 7193 6588

 

2017/18 SEASON IN BRIEF

The Unknown Island

11 September – 7 October 2017

Press night: 17 September 7pm

Suzy Stork

26 October – 18 November 2017

Press night: 31 October 7pm

Twilight: Los Angeles, 1992

11 January – 3 February 2018

Press night: 15 January 7pm

Trust

22 February – 17 March 2018

Press night: 26 February 7pm

Effigies of Wickedness (A Gate Theatre and English National Opera co-production)

3 May – 2 June 2018

Press night: 14 May 7pm