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Park Theatre to stream brand-new play – Jury – from Weds 19 August at 7 PM

Park Theatre - Jury

Park Theatre will stream JURY – a brand-new play by Martin Murphy (Bruised Sky) – via its YouTube channel, premiering on Wednesday 19 August at 7pm, and available until  Wednesday 2 September. For 10 weeks during lockdown, Park Theatre Company – Script Class worked together as an online theatre company via Zoom with director Amy Allen to stage the piece, as part of its celebrated Creative Learning Programme that went virtual in May 2020.

Whilst the world grinds to a halt during the Coronavirus pandemic, the beleaguered justice system trials a digital solution aimed at tackling their backlog of court cases. The jury of a high-profile case are logging on to Zoom – and they have just 45 minutes to reach a verdict.

A comedy-drama about the ‘new normal’, a world where we the jury not only discuss the crucial details of when the complimentary sandwiches will be delivered, how to hide your lockdown G&T in a coffee mug, and of course, how to turn your camera on – but also tackle a gripping, complex and polarising case.

An inside look into the bedrooms, offices and living rooms where justice is passionately, vehemently, being served.Jury will be FREE to view for everyone online, but audiences will have the chance to donate to the theatre’s Park Life Fund, which is currently still heading towards its initial target of £100,000, to help secure the future of the theatre.Jury has also been captioned for Deaf and hard of hearing audiences.

Artistic Director Jez Bond said, “I’m delighted to be sharing this production of Jury, which is a shining example f participation in our creative learning programme by a brilliantly theatrical group. Through donations to our Park Life Fund and via the support of the National Lottery Community Fund, we have been able to move our classes and courses online during lockdown, staying connected and finding different ways create theatre. I hope everyone enjoys this play about the ‘new normal’- and to those who are able to make a donation, we thank you.”So much more than ‘just a theatre’, Park Theatre is a community hub in Finsbury Park and has been a huge part of the redevelopment of the area. In seven years of providing affordable, accessible theatre, it has enjoyed eight West End transfers (including Daytona starring Maureen Lipman, The Boys in the Band starring Mark Gatiss, Pressure starring David Haig and The Life I Lead starring Miles Jupp), two National Theatre transfers, twenty five national tours, five Olivier Award nominations, has won Offie Awards for Best New Play and Best Foodie Experience (two years running), a West End Wilma Achievement in Accessible Theatre award and won a Theatre of the Year award from The Stage.

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Park Theatre Announces Online Creative Learning Programme

Park Theatre

Park Theatre has today announced that its celebrated Creative Learning Programme will be moving online from May, with adult classes in acting technique, a script based acting course and devising available, as well as drama and performance skills classes for children and young people aged between 4 – 18.

Lead by professional actor and creative learning facilitator Amy Allen and professional director and experienced creative learning facilitator Natasha Kathi Chandra, the courses will be held weekly via the Zoom video conferencing platform and will be available to book via https://www.parktheatre.co.uk/creative-learning, with both individual drop in sessions and full courses available to purchase.

As with all theatres across the UK, Park Theatre has had to temporarily close to help prohibit the spread of Covid-19. This meant cancelling all performances, hires and in person classes for the foreseeable future. As a small charity with no government or Arts Council funding, this has led to a catastrophic loss of income.

Community Engagement Manager Nina Graveney-Edwards said: “Although the current situation means we are sad not to be running our wonderful Creative Learning classes in person, we are very pleased and excited to be able to now offer them virtually. Via Zoom video conferencing, we can continue to connect, explore new ideas and create innovative and exciting creative work during this challenging time.”

COURSES FOR YOUNG PEOPLE

 Virtual Act and Play (4 – 11 year olds)

Saturday 16 May – Saturday 18 Jul (10 weeks), 10.00am – 10.50am, £7 per session

https://www.parktheatre.co.uk/creative-learning/virtual-act-play-4-11-years/about

Packed full of theatre games and drama activities to get the creative ideas and the energy flowing and keep the young ones entertained. Develop theatre skills, build confidence and share your ideas whilst keeping connected during lockdown.

Virtual Park Younger Company (12 – 14 year olds):
Tuesday 12 May – Tuesday 14 Jul (10 weeks), 6.00 – 7.00pm, £7 per session

https://www.parktheatre.co.uk/creative-learning/virtual-younger-company-12-14s/about

Learning the foundations of acting and theatre need not be delayed during lockdown – join our Zoom hosted Younger Company classes for a fun, creative class brought to you at home. Learn drama games, professional actor techniques and devise your own work.

Virtual Park Young Company (15 – 18 year olds):
Tuesday 12 May – Tuesday 14 Jul (10 weeks), 7.30 – 8.30pm, £7 per session

https://www.parktheatre.co.uk/creative-learning/virtual-young-company-15-18s/about

The start of your journey as a performer, writer or director need not be delayed during lockdown –share your story, your voice and ideas as you develop your performance skills virtually. Learn drama games, professional actor techniques and devise your own work.

COURSES FOR ADULTS

Virtual Park Theatre Company (Adults): Devising
Thursday 14 May – Thursday 16 Jul (10 weeks), 6.30 – 8.00pm, £100 for full course

https://www.parktheatre.co.uk/creative-learning/virtual-park-theatre-company-devising-course/about

Create a film from home over the course of 10 weeks – be a part of an acting community online and create a piece of unique theatre! Devise your own work as an individual and as a company through improvisation and writing. Feed back to other members of the company and develop your own work.

Virtual Park Theatre Company (Adults): Script Course
Thursday 14 May – Thursday 16 Jul (10 weeks), 8.15 – 10.00pm, £100 for full course

https://www.parktheatre.co.uk/creative-learning/virtual-park-theatre-company-script-course/about

A script based acting course, rehearsing and performing a scripted piece – develop your skills, focus on developing a well-rounded character and bringing a script to life within the rehearsal process.

Virtual Park Theatre Company (Adults): Develop Yourself: Acting Course
Wednesday 13 May – Wednesday 15 Jul (10 weeks), 6.30 – 8.30pm, £10 per session

https://www.parktheatre.co.uk/creative-learning/develop-yourself-virtual-park-acting-course/about

Look at a different acting technique each week; try out your skills with an emphasis on listening and reacting, and apply professional acting techniques to an exciting and diverse range of scenes including classics such as Albee’s ‘Who’s Afraid of Virginia Woolf’, recent West End hit ‘The Inheritance’, & Shelagh Stephenson’s ‘Memory of Water’. Without physically being present, concentrate further on the words and delivery.

The launch of the online Creative Learning Programme comes hot on the heels of the launch of Park Life, a critical new fund to secure the future of the venue. Artistic Director Jez Bond was able to raise £300,000 in 48 hours from key donors, the minimum amount to keep the theatre running during the lockdown period on a skeleton staff, make use of the government’s job retention scheme to keep all others on payroll, ensure the building stays functional, and stop the theatre from liquidating. But the venue needs to raise a further £100,000 to fund a 3 month run up to in order re-open at a time where no income will be generated – funds will be needed to pay staff, rehearse a production in each theatre, generate an audience, resume our community work and other areas of activity.

So much more than ‘just a theatre’, Park Theatre is a community hub in Finsbury Park and has been a huge part of the redevelopment of the area. In seven years of providing affordable, accessible theatre, it has enjoyed eight West End transfers (including Daytona starring Maureen Lipman, The Boys in the Band starring Mark Gatiss, Pressure starring David Haig and The Life I Lead starring Miles Jupp), two National Theatre transfers, twenty five national tours, five Olivier Award nominations, has won Offie Awards for Best New Play and Best Foodie Experience (two years running), a West End Wilma Achievement in Accessible Theatre award and won a Theatre of the Year award from The Stage.

 If you are able to donate to the Park Life Fund please visit https://www.parktheatre.co.uk/support-us/park-life-fund. Your donation would be hugely appreciated.

Online Booking only at: https://www.parktheatre.co.uk/creative-learning

Box office enquiries:  boxoffice@parktheatre.co.uk

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Full Cast announced for the UK première of Martin Sherman’s Gently Down The Stream 

Gently Down The Stream

Robert Fox and Alex Turner, in association with Park Theatre and King’s Head Theatre, today announced the full cast for the UK première of Martin Sherman’s new play Gently Down The Stream, following a critically acclaimed run at the Public Theater in New York. Sean Mathias directs Jonathan Hyde, Ben Allen and Harry Lawtey. The production opens at Park Theatre on 18 February 2019, with previews from 13 February, running until 16 March.

This passionate new play by Olivier and Tony Award nominee Martin Sherman makes its UK debut 40 years after his celebrated modern classic Bent, which subsequently became a major film directed by Olivier and Tony Award nominee Sean Mathias, who directs this production of Gently Down The Stream, marking Martin Sherman’s 80thbirthday.

The play follows the remarkably moving and brilliantly funny love story of Beau, an older American pianist living in London, and Rufus, an eccentric young lawyer. Coming of age during the 70s, Beau’s attitude to love has been seasoned by a life of loving men in a world that initially refused to allow it. Not looking for a long-term relationship, Beau is naturally cautious when Rufus unexpectedly enters his world.  However, while the age gap feels unorthodox to Beau, it is immaterial to Rufus, who is from a new generation of gay men. Rufus has none of Beau’s doubts about the possibility of attaining happiness and love in the 21st Century and as he assimilates himself into Beau’s past and present, Beau learns to embrace Rufus as one of the most defining relationships of his life.

As generations intertwine, Gently Down The Stream reveals the journey of gay history and celebrates the men and women who led the way for equality, marriage and the right to dream.

Jonathan Hyde plays Beau. His theatre work includes Frost/Nixon, Julius Caesar (Sheffield Theatres), Travels With My Aunt (Menier Chocolate Factory), The King’s Speech (UK tour and Wyndham’s Theatre), Rattigan’s Nijinsky (Chichester Festival Theatre), King Lear, The Seagull (international tour), Jumpers, Sleep With Me (National Theatre), Antigone (The Old Vic), The Rehearsal, Scenes from an Execution (Almeida Theatre), Julius Caesar, The Alchemist, ‘Tis Pity She’s A Whore, Les Liaisons Dangereuses (RSC) and Macbeth (Lyceum Theatre). His recent television work includes A Very English Scandal, The Strain, Trollhunters, Tokyo Trial, Isaan Newton: The Last Magician, Spooks; and for film, Breathe, Crimson Peak, The Mummy, Richie Rich, Jumanji, Anaconda and Titanic.

Ben Allen plays Rufus. His theatre work includes Present Laughter (Chichester Festival Theatre), Antony and Cleopatra, Julius Caesar, Oppenheimer, The Shoemaker’s Holiday (RSC), The Seagull (Manchester Library Theatre Company), Twelfth Night, The Taming of the Shrew, The Merchant of Venice, The Winter’s Tale, Henry V (Propeller) and ‘…and the darkness descended’ (Punchdrunk). Television work includes Barbarians Rising and Bonekickers.

 Harry Lawtey plays Harry. His theatre work includes The Country Wife (Chichester Festival Theatre). For television, his work includes Marcella and Wizards vs Aliens; and for film, City of Tiny Lights, Molly Moon and the Incredible Book of Hypnotism and Harry Potter and the Deathly Hallows.

 Martin Sherman was born in Philadelphia in 1938. His early plays include Passing By, Cracks and Rio Grande, all presented by Playwrights Horizons in New York. His playBent was first presented at the Royal Court with Ian McKellen, then on Broadway with Richard Gere, revived at the National Theatre, again with Ian McKellen, and in the West End with Alan Cumming. It has since been performed in over sixty countries. Later plays include Messiah, A Madhouse in Goa, When She Danced (the last two starring Vanessa Redgrave in the West End), Some Sunny Day and Onassis. Rose premièred at the National Theatre, with Olympia Dukakis, before transferring to Broadway. He wrote the book for the musical The Boy From Oz. His screenplays include The Summer House, Alive and Kicking, Bent, The Roman Spring of Mrs Stone and Mrs Henderson Presents. He has been nominated for two Tonys, two Oliviers and two BAFTAS.

Sean Mathias is a theatre director, film director and writer. He has worked at the National Theatre, the West End, the Kennedy Centre, The Mark Taper Forum, Off-Broadway and many times on Broadway, as well as Paris, Sydney, Cape Town, Johannesburg, San Francisco and extensively in the UK. He has written a number of plays including the award winning A Prayer for Wings, and the screenplay for the award-winning BBC film The Lost Language of Cranes. In 2009/2010 Mathias was the Artistic Director of Theatre Royal Haymarket and his legendary production of Waiting for Godot played two seasons at the theatre, as well as touring the UK and internationally. In 2013 he directed and co-produced Two Plays in Rep, comprising Beckett’s Waiting for Godot and Pinter’s No Man’s Land on Broadway at the Cort Theatre. His production of No Man’s Land, starring Ian McKellen and Patrick Stewart, was the highest grossing play in the history of the Wyndham’s Theatre. He has won multiple awards including the Standard Award, the Critics’ Circle Award, a Fringe First at Edinburgh and the Prix de la Jeunesse at Cannes.

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The Ugly One at Park Theatre, Interview: Arian Nik: “Art, theatre & performance is one of the best outlets of frustration & another opportunity to have you voice heard.”

Charlie Dorfman and Arian Nik in The Ugly One. Photo Credit Helen Maybanks
Charlie Dorfman and Arian Nik in The Ugly One. Photo Credit Helen Maybanks

Charlie Dorfman and Arian Nik in The Ugly One. Photo Credit Helen Maybanks

Their PR asked if I’d like to have a chat with the cast of Buckland Theatre Company’s The Ugly One and I said ‘yes please, can I ask them all the same question?’ and before they had a chance to say no I did just that.
 During the course of what follows you will hear various cast members talking about various things. Specifically: getting older, The Ugly One (obviously) and more.
 ‘FYI’ The Ugly One is a scalpel sharp comedy on beauty, identity and getting ahead in life. You will also bear witness to a question about Trump and Brexit’s impact on arts and culture. Oh and it runs at the Park Theatre until 24 June.
Arian Nik answers the same set of questions as Indra Ové yesterday.
Do you think everyone does have body confidence issues? Some people seem to have none at all, do they just not realise it?
I can’t really speak for others, but as far as my own confidence goes – I think we live in a society now where there are so many pressures from the media that it’s hard not to have hang ups about your appearance!

Is it quite fun working at Park Theatre?
Working at The Park Theatre has been a blast so far. I trained at Mountview  Academy in North London so spent a lot of my time as an acting student seeing productions at The Park- feels awesome to now be on the other side. The theatre is always buzzing & the staff are super friendly.

What drew you to auditioning for The Ugly One?
There were so many reasons! Having visited The Park so much as a student, to perform there was always a goal of mine. Secondly, the piece itself excited me so much! I had loads of questions & was hungry to explore the possible answers. Above all – I wanted to work with Roy. His approach to text & story telling rang true with me. I was itching to create with him.

CLICK HERE TO BOOK YOUR TICKETS FOR THE UGLY ONE

Getting older is quite fun isn’t it: do you need time to pass so that you can look back with wisdom?
I don’t believe wisdom necessarily comes from age or time, but from experience. One person can experience more in a year than another person may do in a lifetime. The experiences offer the wisdom. Not age, nor time.
But yes, getting older is fun. I counted down the days till I could get my hands on a Drivers Licence.

What can audiences expect from The Ugly One 10 years on since it was last seen?
Audiences can expect an exciting, thought-provoking & hilarious night out. The play is more relevant than ever. The issues explored & the expectations from the world of the play are perhaps more relatable now than they were 10 years ago.

How have the performances been going? Is it fun performing in an intimate space such as Park 90?
The preview period has been so much fun. The audiences have been warm & welcoming which has really allowed us to explore, cement but above all – PLAY.

Can you describe your director (Roy) in 3 words?
Open. Playful. Supportive.

Last question – easy one – Do any of you share the view that some take that Brexit and Trump are good for arts and culture?
As long as there are no cuts or shunning involved- yes. World politics is igniting something within people more so than ever. Art, theatre & performance is one of the best outlets of frustration & another opportunity to have you voice heard.

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The Ugly One at Park Theatre – Cast Interview – Indra Ové: “I’ve enjoyed getting older. Age has never worried me. Live in the moment!”

Indra Ové in rehearsals for Buckland Theatre Company’s The Ugly One at Park90. Credit Helen Maybanks
Indra Ové in rehearsals for Buckland Theatre Company’s The Ugly One at Park90. Credit Helen Maybanks

Indra Ové in rehearsals for Buckland Theatre Company’s The Ugly One at Park90. Credit Helen Maybanks

Their PR asked if I’d like to have a chat with the cast of Buckland Theatre Company’s The Ugly One and I said ‘yes please, can I ask them all the same question?’ and before they had a chance to say no I did just that.
During the course of what follows you will hear various cast members talking about various things. Specifically: getting older, The Ugly One (obviously) and more.
‘FYI’ The Ugly One is a scalpel sharp comedy on beauty, identity and getting ahead in life. You will also bear witness to a question about Trump and Brexit’s impact on arts and culture. Oh and it runs at the Park Theatre until 24 June.
Anyway, here is what Indra had to say for herself.

Do you think everyone does have body confidence issues? Some people seem to have none at all, do they just not realise it?
Yes I think most Women in the West have body confidence issues. We’re made to. I think its part of a beauty conspiracy. Created by the press, by cosmetics firms and the drug industry. If people don’t have it they are very lucky. Men suffer much, much less than women. Though the pressure is effecting them too now.

Is it quite fun working at Park Theatre?
Yes enormous fun. It’s a great theatre and space. And I’m local so it’s pure joy for me!

What drew you to auditioning for The Ugly One?
The script!! I loved it from my first read. I love the way it’s written and I love the subject. It’s so important. And I really enjoy the mixture of tragedy and comedy. And the dynamic change of characters. I love my three Fannys. It’s great to go from playing someone my own age into someone aged 73! And I wanted the opportunity to work with Roy. We’d met a lot in the past year and I was keen to work with him. And since the Park has opened I’ve wanted to work here!!

Getting older is quite fun isn’t it: do you need time to pass so that you can look back with wisdom?
Yes I’ve enjoyed getting older. Age has never worried me. Experience and wisdom is a great and liberating thing. Live in the moment!

What can audiences expect from The Ugly One 10 years on since it was last seen?
A fascinating reflection of what’s happening in Western society today that I think is even more significant, relevant now than 10 years ago.

CLICK HERE TO BOOK YOUR TICKETS FOR THE UGLY ONE

How have the performances been going? Is it fun performing in an intimate space such as Park 90?
Performances have been great. Especially as we’ve had packed houses, and such responsive audiences. It’s great working in such an intimate space and being so up close and personal with the audience.

Can you describe your director (Roy) in 3 words?
Funny Brave Playful & Creative

Last question – easy one – Do any of you share the view that some take that Brexit and Trump are good for arts and culture?
No Brexit and Trump are incredibly dangerous for the arts!!

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Interview with Director Gary Condes: “In an age of calculated self-aware subtle comedy, LUV will provide a belly laugh.”

Gary Condes

As he directs LUV at Park90 with Park Theatre, director Gary Condes reflects on rehearsals, the Emma Rice fiasco and his favourite old wives tale.

LUV is a 1960s riotous celebration of the absurd lengths we go to when struck down with the terrible affliction known as love. After reuniting one fateful night, old school pals Milt and Harry uncover each other’s miserable life stories before hatching a plan to find their happily-ever-afters. I decided to chat to Gary about a whole manner of things.

Gary Condes

Gary Condes

Hey Gary! You previously directed Miss Julie and Some Girl(s) with Buckland Theatre Company and are back at Park90 with LUV. What do you like the most about working with Buckland?

I love Buckland’s desire to produce work that examines the nature of human behaviour through plays that focus on relationships and to put them in intimate studio spaces so that audiences experience immediate and affecting theatre full of emotional truth.

Luv

Luv. Click on the image to book your tickets

How are LUV rehearsals going? 
Great! We are spending the early stages mining the script and improvising to work out what the characters are really doing in each scene and why they are doing it. As a result we are acquiring a deep and specific understanding of the characters behaviour which will help to build nuanced and fuller performances.

What attracted you to direct LUV?
It’s a charming, unique play with heartfelt humour that gets us to face those existential questions that arise when examining the very nature of ‘Love’, how we define it and we measure it. It’s strengths lie in its colourful characters, extreme circumstances, laugh out loud dialogue, physical comedy, social and philosophical commentary and it’s infectious energy. The attraction for me was the mix of absurd humour and touching moments and the opportunity to make audiences feel happy, sad, joyful and full of despair all in the same show.

Are you sad about Emma Rice stepping down from The Globe? 
From the outside there seems to have been a misunderstanding about the style of work The Globe thought they were going to get from Emma Rice and what they ended-up getting from her. The glove didn’t seem to fit. Emma will find another platform for her work easily enough and The Globe will find someone else who best supports their philosophy. Can’t blame them both for trying.

What can audiences expect from LUV? 
In an age of calculated self-aware subtle comedy this production will provide audiences with a good old cathartic belly laugh at how self-indulgent humans can be with their own suffering. Expect a delicious high energy romp through a multitude of matters: marriage, relationships, loneliness, lost identity, desires, ambitions, failures, suicide. The performances will be bold but grounded in emotional truth so that audiences can connect to the characters suffering through laughter. A mix of absurdist humour and Broadway comedy: Mel Brooks and Neil Simon give birth to Eugene Ionesco.

What’s your favourite old wives’ tale?
If you are unable to fall asleep you are awake in someone else’s dreams.

What is your best advice for actors at auditions?
Don’t look at it as a job you have to get. See it as an opportunity to present your work. Prepare fully, deeply and make specific choices about your scene or monologue and then go to the audition to show them your work. Treat it as a presentation of what you’ve created, but you’ve got to do the homework beforehand.

Who is your favourite director?
Rimas Tuminas, Artistic Director of Moscow’s Vakhtangov Theatre Company. He manages to create an audacious mix of heightened and symbolic theatre which is underpinned by performances of deep and full emotional truth. His Uncle Vanya being a perfect example of this. It is theatre as art which illuminates & elevates.

Say in 1,500 years they discovered something you had directed on film what would you like them to find? 
It would be a film I haven’t made yet but is in development. It’s an autobiographical piece about family and takes place between the family run restaurant and the family home. I would like them to find it in 1,500 years and hope it helps people to understand something about human nature and its capacity for both deep suffering and great joy and that it’s the ‘experience’ of living that is important.

Why do you think Park Theatre is so successful? 
I think it’s due to the combination of seeing quality productions of interesting plays, thought provoking subject matter and fine acting in intimate and involving spaces.

Anything you’d like to add? 
If you want an alternative Christmas show to come and see LUV, this is it!

Luv in on at Park Theatre from 8 December  2016 – 7 January 2017

CLICK HERE TO BUY TICKETS OF LUV

CLICK HERE TO BUY TICKETS OF YOUR FAVORITE LONDON SHOWS 

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The Roundabout, Park Theatre: Inside The Rehearsal Room

I am delighted to see that JB Priestley is back in vogue.  The Roundabout, directed by Hugh Ross opened at Park Theatre last night. The play is a recently rediscovered comedy by JB Priestley – I popped down to Park Theatre, London during the second week of rehearsals and had a lentil salad with Hugh Ross and some of the talented cast including newcomers: Bessie Carter and Charlie Field.

Hugh Ross

Hugh Ross

This is the first major revival of this play in 80 years, so why now? And what have been the biggest challenges getting it up on its feet? Director Hugh explains, “Like anything – finding the right people; every actor brings something different,” he adds: “The one rule for a director is to remember and that every single actor works in a different way. I always think about a line from Sunday in the Park with George ‘Anything you do, let it come from you – then it will be new’.”

Ross has a varied career as an actor and director appearing in a wide variety of British tv, film and theatre. He is surprisingly laid back about it all. It’s all the more remarkable, because he is bringing a play by one of Britain’s leading playwrights to the stage for the first time in nearly a century. I wonder what keeps him awake at night, “A lot of little things, most days it’s thinking that actor is not happy about something, I’m a great believer in the play,” he pauses and grins: “What happened this morning was we ran the second act and I said let’s just put this together and we went through the third act and it was like they were all trying to remember the last time, it was all too big and too rushed, nobody was thinking, nobody was listening. But, we pushed through,” says Ross.

“The play is entertaining without being stupid. It’s positioned in a sense as a drawing room comedy but because of the format of the theatre, I got together with our designer, Polly Sullivan and we decided that it should take place in the conservatory of this family home. I’m a great believer that less is more,” says Ross.

Brian Protheroe will star as Lord Kettlewell and Richenda Carey as Lady Knightsbridge. Both join me for a chat about what audiences can expect. They are visibly excited to be working on the play. “It’s a very different play to make work completely from beginning to end but when you get – what I think is a miraculously well cast play – I think it stands a chance. It’s part farce, part light comedy; but there are extreme moments of comedy,” he adds: “There is a wonderful relationship between the father and the daughter, communism is at the heart of it,” says Protheroe.

Priestley’s plea for a shared humanity is as relevant as ever today, this is prescient theatre. “The Roundabout is a very clever play and I love the bits I’m not in! People can expect something interesting that is very fun too,” says Carey. “The political element of when it was written – 1931- after the Revolution there was a big movement in Europe towards the idealism of Soviet Russia. Rather like now where there are huge tectonic plates shifting,” says Carey.

The Roundabout at Park Theatre.

The Roundabout at Park Theatre. Click on the link to book your tickets now!

The industry can be notoriously difficult for many and I’m curious to hear from a seasoned performers perspective. “My theory is you get a go every two years – you get a really good go – and then it’s someone else’s go, that’s what has seen me through,” she pauses: “Women’s parts? There’s practically none in existence – I would rather scrub lavatories than do a part that I don’t want to play – I really would,” says Carey.

At this point Lisa Bowerman starring as Lady Kettlewell joins us. She is nervous because this is her first theatre role in eight years, usually in radio. “I did the scratch reading of the play last year and at that point it was very difficult to know if there was going to be a future in it. The fact that they have raised the money is terrific,” says Bowerman. She adds: “Some people will have a preconceived idea about JB Priestley, it’s about topics that you wouldn’t expect and it turns the table on you – it has a serious heart, yet remains incredibly entertaining.”

This staging of The Roundabout not only celebrates Priestley’s legacy but salutes a man with an exceptional eye for character. Even if he occasionally lapses into cliche, Priestley understood the nuts and bolts of the theatre better than anyone. Nonetheless, this is a terrific example of a work in progress, hard work, finance and schedules all coming together. The Roundabout is in safe hands.

CLICK HERE TO BOOK YOUR TICKETS FOR THE ROUNDABOUT

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Director Adam Penford talks about Watership Down, The Boys in The Band featuring Mark Gatiss and more

Ahead of directing Mark Gatiss in ‘The Boys in the Band’ at Park Theatre, Adam Penford is taking on Watership Down at The Watermill. The talented director talks about the value of regional theatre and reveals that he is always dropping egg cups.

Adam Penworth

Adam Penford

You’re in rehearsals currently for Watership Down. How’s it looking?

We’re nearing the end of rehearsals and I’m having the best time. It’s an epic narrative for such an intimate venue, but I have a generous and talented company of actors and creative team, and we’re working together to find inventive and fun ways to tell the story. And the Watermill Theatre is so idyllic. Rona Munro (James Plays, NTS) wrote this adaptation for the Lyric Hammersmith 10 years ago, but Richard Adams, who wrote the novel, lives down the road and all the places referred to in the book are nearby – so it feels like we’re bringing the story home.

You are due to direct The Boys in The Band featuring Mark Gatiss at Park Theatre later this year. Will it be any good?

It’s a fascinating play and well overdue a British revival as most younger theatregoers don’t know it. It was one of the first overtly gay plays and was a controversial smash hit when it premiered off-Broadway in 1968. The premise is simple; a group of gay friends gather for a birthday party and after a lot of booze things unravel. A surprise visit by the host’s old college roommate – a straight man with a secret – tips things over the edge. Think WHO’S AFRAID OF VIRGINIA WOOLF, but camper. It was far ahead of its time so it’s dated very little, and yet it also looks back and plays tribute to the classic American voices of Tennessee Williams, Edward Albee, Eugene O’Neill. It always divided the gay community as some felt it reinforced gay stereotypes, whereas others adored it for being simply honest, so it will be interesting to see how that plays out with a contemporary audience. It’s very witty, dramatic and entertaining – packed full of zingy one-liners.

What was the last show that you watched and enjoyed?
Showboat was terrific. It was exciting seeing Gina Beck and Rebecca Trehearn nailing those strong female roles. I’ve admired all the musicals Daniel Evans has directed and produced at Sheffield and can’t wait to see how he programmes both spaces at Chichester. It’s a pity the show didn’t find a London audience, but it’s a tough sell.

What is the best musical of all time?
Probably a Rodgers and Hammerstein, or a Sondheim, or GYPSY, or GUYS AND DOLLS. But everyone always says that. So one of my favourite shows is LEGALLY BLONDE. I directed a production a couple of years ago and there is not an ounce of fat on the bones of that show. Every lyric, musical phrase, and line of dialogue is driving the narrative and character development. All the tunes are hummable, the music perfectly captures the world of the story, and it’s genuinely funny and moving.

What was the last item of crockery you broke?

I always drop egg cups.

As well as working extensively at the National Theatre, what opportunities have you been afforded in the regions? [DEATHTRAP]

I directed a production of Deathtrap earlier this year at Salisbury Playhouse which we’re hoping to tour next year. I’d previously directed Stepping Out there and it’s a lovely venue with a loyal audience. Gareth Machin, (the Playhouse’s Artistic Director), has always been supportive, we met when he was working at National Theatre Studio and he gave me my first staff directing opportunity there. Growing up in the East Midlands, my first theatre experiences were all regional (Nottingham Playhouse, Derby Playhouse, Leicester Haymarket) so I feel very passionate about the value of local theatre and would like to do more.

What makes a good Director?

I don’t think there’s a single approach to directing. It’s such a personal thing and attempting to imitate another director’s method leads to confused work. My own approach is combining an instinct for the material with a lot of research, and this leads to a vision of how to best serve the play/story. I think being able to clearly articulate that vision, whilst remaining open to collaboration, has led to the work that I’d deem my most successful.

What is the best career advice you’ve ever been given and by whom?

When I’m worrying about whether I should take on a project or not, Nick Hytner always tells me to just do it. His advice is to do as much of your own work as possible in the early stages of your career because it’ll make you a better director, and not to worry about trying to forge a particular career path, or how your choices and the resulting productions may be judged by the industry or press. It’s very liberating.

Can you tell us something SCANDALOUS?
Well I could tell you many things, but I’m obviously not going to.

What’s your favourite emoji?
The classic smiley. Although I still type it out laboriously like a computer illiterate fool : )

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