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Casting announced for The Cane by Mark Ravenhill

Cast in alphabetical order: Alun Armstrong, Maggie Steed and Nicola Walker
Cast in alphabetical order: Alun Armstrong, Maggie Steed and Nicola Walker

Cast in alphabetical order: Alun Armstrong, Maggie Steed and Nicola Walker

Royal Court Theatre has announced the  cast for The Cane, written by Mark Ravenhill and directed by Royal Court Artistic Director Vicky Featherstone. Running in the Jerwood Theatre Downstairs Thursday 6 December 2018 – Saturday 26 January 2019.

Alun Armstrong, Maggie Steed and Nicola Walker have been cast in the world premiere of The Cane, written by Mark Ravenhill and directed by Royal Court Artistic Director Vicky Featherstone.

With design by Chloe Lamford and lighting design by Natasha Chivers.

The Cane will be performed in the Jerwood Theatre Downstairs Thursday 6 December 2018 – Saturday 26 January 2019. Press performances are 7pm Wednesday 12 December 2018 and 7.30pm Thursday 13 December 2018 with reviews embargoed until 11.59pm Thursday 13 December 2018.

“It will be the biggest send off any teacher has ever had. No teacher is as loved”

After 45 years as a dedicated teacher, Edward is looking forward to the imminent celebration to mark his retirement.

But his home is under siege. A mob of angry students have gathered. A brick has been thrown through the window, he and his wife haven’t left the house for six days, and now his estranged daughter has arrived with her own questions.

“Why would they attack the most popular teacher in the school?”

There will be a post-show talk with Artistic Director Vicky Featherstone and writer Mark Ravenhill on Tuesday 18 December 2018.

Royal Court Theatre Announces New and Now: Plays from China, a Series of New Readings

News and Now: Plays From China. Photo credit: Christopher Cherry
News and Now: Plays From China. Photo credit: Christopher Cherry

News and Now: Plays From China. Photo credit: Christopher Cherry

The Royal Court Theatre in partnership with the British Council has announced new readings of work with writers based in China. This series of public readings titled New and Now: Plays from China will take place in The Site at the Royal Court Theatre fromTuesday 4 December 2018 to Thursday 6 December 2018.

The Royal Court Theatre began working in China in 2015. Fifteen young playwrights were chosen to take part in workshops in Chengdu, Beijing and Wuzhen over a two year period and invited to address subjects they felt urgent to write about in contemporary China.

Three of these writers, CHEN Si’an (陈思安), YANG Jingguan (杨静观) and ZHANG Zai (张在), will spend two weeks at the Royal Court Theatre working with directors Jude Christian and Royal Court Associate Director (International) Sam Pritchard and a company of actors. The plays will then be presented as rehearsed readings in English translation.

Contemporary China from the inside: a chance to hear new writers tell stories about the country as it is right now. The Royal Court presents its first ever programme of plays by Chinese playwrights – a unique opportunity for British audiences to hear from a generation of writers who have grown up in a transforming nation.

 The voices of three Chinese female writers express with power, humour and originality surprising insights into a fascinating and fast-changing society.

Please find details of the readings below;

在荒野(Underpass)

Written by CHEN Si’an (陈思安)

Translated by Jeremy Tiang
The Site, Royal Court Theatre

6.15pm Tuesday 4 December 2018 & 8.15pm Wednesday 5 December 2018

In the depths of a Beijing underpass, a homeless mother struggles to protect her child. A disturbing panorama of the city’s hidden underside, asking urgent questions about the value of human lives in an urban jungle.

 咸城 (Salt City)

Written by YANG Jingguan (杨静观)

Translated by Sophie Gregg
The Site, Royal Court Theatre

6.15pm Wednesday 5 December 2018 & 8.15pm Thursday 6 December 2018

A retired clerk searches for meaning in a city he helped create but no longer recognises. Is the appearance of a meteorite the opportunity for local renewal, as his children claim? Or do the answers he seeks lie with a strange young woman he meets outside a corner shop? A poetic dystopian drama packed with the tension between generations that marks Chinese life today.

 三月天,娃娃脸 (Babyface)

Written by ZHANG Zai(张在)

Translated by Jeremy Tiang
The Site, Royal Court Theatre

8.15pm Tuesday 4 December 2018 & 6.15pm Thursday 6 December 2018

A young, single woman. An older, married man. A passionate on-again, off-again love affair. The Chinese term ‘little three’ has become shorthand for a national phenomenon – but what human story lies behind that phrase? A funny, erotic and surreal journey into modern Chinese love lives.

 There will also be a discussion event about the development of all three plays and the impact of contemporary writing in Chinese Theatre with playwrights CHEN Si’an (陈思安), YANG Jingguan (杨静观) and ZHANG Zai (张在), chaired by Elyse Dodgson, International Director, Royal Court Theatre. Discussion: New Writing In China  will take place in The Site on Thursday 6 December at 9:30pm and is free with a ticket to any of the readings.

Public booking opens Friday 21 September 2018. Tickets are £10 (£8 concession) per reading or £15 for two readings and can be purchased here: https://royalcourttheatre.com/whats-on/new-and-now-plays-from-china

 The Royal Court Theatre’s work in China is in partnership with the British Council.

Royal Court Theatre announces cast for Pity, written by Rory Mullarkey and directed by Sam Pritchard

Pity
Cast: Paul Bentall, Sandy Grierson, Helena Lymbery, Sophia Di Martino, Siobhan McSweeney, Francesca Mills, Abraham Popoola, Paul G Raymond and Dorian Simpson

Cast: Paul Bentall, Sandy Grierson, Helena Lymbery, Sophia Di Martino, Siobhan McSweeney, Francesca Mills, Abraham Popoola, Paul G Raymond and Dorian Simpson

Paul Bentall, Sandy Grierson, Helena Lymbery, Sophia Di Martino, Siobhan McSweeney, Francesca Mills, Abraham Popoola, Paul G Raymond and Dorian Simpson have been cast in the world premiere of Pity, by Rory Mullarkey. It is directed by Royal Court Associate Director (International) Sam Pritchard and will feature members of Fulham Brass Band.

Pity is designed by Royal Court Associate Designer Chloe Lamford, with costume design by Annemarie Woods, lighting design by Anna Watson, composition by Tom Deering, sound design by Pete Malkin and movement direction by Sasha Milavic Davies.

The production runs Thursday 12 July 2018 – Saturday 11 August 2018 with press performances at 7pm Wednesday 18 July 2018 and 7.30pm Thursday 19 July 2018. The reviews are embargoed until 11.59pm Thursday 19 April 2018.

“Two bombs in one day is a foul coincidence”

“Don’t forget the lightning strike”

 A normal day.

A person stands in the market square watching the world go by.

What happens next verges on the ridiculous.

There’s ice cream. Sunshine. Shops. Some dogs. A wedding. Bombs. Candles. Blood. Lightning. Sandwiches. Snipers. Looting. Gunshots. Babies. Actors. Azaleas. Famine. Fountains. Statues. Atrocities.

And tanks. (Probably).

Rory Mullarkey’s new play asks whether things really are getting worse. And if we care.

“[Someone screaming]: AAAAAAAAAAAAAAHHHHHHHH”

There will be a post-show talk on Tuesday 24 July, 2018 with playwright Rory Mullarkey.

Royal Court Theatre announces cast for One For Sorrow, written by Cordelia Lynn and directed by James Macdonald

Photo: Kitty Archer, Pearl Chanda, Neil Dudgeon, Irfan Shamji and Sarah Woodward
 Photo: Kitty Archer, Pearl Chanda, Neil Dudgeon, Irfan Shamji and Sarah Woodward


Photo: Kitty Archer, Pearl Chanda, Neil Dudgeon, Irfan Shamji and Sarah Woodward

Kitty Archer, Pearl Chanda, Neil Dudgeon, Irfan Shamji and Sarah Woodward have been cast in the world premiere of One For Sorrow, by Cordelia Lynn. It is directed by James Macdonald. The production runs Wednesday 20 June 2018 – Saturday 11 August 2018 with press performances at 7pm Tuesday 26 June 2018 and 7.45pm Wednesday 27 June 2018. The reviews are embargoed until 11.59pm Wednesday 27 June 2018.

“You’ve endangered us. You’ve endangered your family.”

During an attack on London, 20 year old Imogen joins a campaign offering refuge to victims. Before her family have even had a chance to have a reasonable discussion, John is at their door.

He is different to them. He isn’t what they expected. And although they’d never admit it to themselves, he isn’t necessarily what they want.

 “You will do anything, in the end, to keep the people you love safe.”

Full listings and biography information below.

Cordelia Lynn (Writer)

For the Royal Court: Lela & Co.

Other theatre includes: Best Served Cold (Vault Festival); Believers Anonymous (Rosemary Branch); After the War (UK & International tour).

Opera includes: Miranda (Opera Comique, Paris); The White Princess (Festival d’Aix-en-Provence, France); you’ll drown, dear (Manifest, Centquatre, Paris).

Cordelia was part of the Royal Court Young Writers’ Programme in 2012 and was the recipient of the 2017 Pinter Commission.

 James Macdonald (Director)

For the Royal Court: The Children (& MTC/Broadway), Escaped Alone (& BAM, NYC), The Wolf from the Door, Circle Mirror Transformation, Love & Information (& NYTW), Cock (& Duke, NYC), Drunk Enough to Say I Love You? (& Public, NYC), Dying City (& Lincoln Center, NYC), Fewer Emergencies, Lucky Dog, Blood, Blasted, 4.48 Psychosis (& St Ann’s Warehouse, NYC/US & European tours), Hard Fruit, Real Classy Affair, Cleansed, Bailegangaire, Harry & Me, Simpatico, Peaches, Thyestes, Hammett’s Apprentice, The Terrible Voice of Satan, Putting Two & Two Together.

Other theatre includes: John, Dido Queen of Carthage, The Hour We Knew Nothing of Each Other, Exiles (National); Who’s Afraid of Virginia Woolf?, The Father, Glengarry Glen Ross, The Changing Room (West End); The Tempest, Roberto Zucco (RSC); Wild, And No More Shall We Part, #aiww – The Arrest of Ai Weiwei (Hampstead); The Father (Theatre Royal Bath/Tricycle); Bakkhai, A Delicate Balance, Judgment Day, The Triumph of Love (Almeida); Roots (Donmar); The Chinese Room (Williamstown Festival); Cloud Nine (Atlantic, NYC); A Number (NYTW); King Lear, The Book of Grace (Public, NYC); Top Girls (MTC/Broadway); John Gabriel Borkman (Abbey, Dublin/BAM, NYC); Troilus und Cressida, Die Kopien (Schaubuehne, Berlin); 4.48 Psychose (Burgtheater, Vienna); Love’s Labour’s Lost, Richard II (Royal Exchange, Manchester); The Rivals (Nottingham Playhouse); The Crackwalker (Gate); The Seagull (Crucible, Sheffield); Miss Julie (Oldham Coliseum); Juno & the Paycock, Ice Cream/Hot Fudge, Romeo & Juliet, Fool for Love, Savage/Love, Master Harold & the Boys (Contact, Manchester); Prem (BAC/Soho Poly).

Opera includes: A Ring A Lamp A Thing (Linbury); Eugene Onegin, Rigoletto (Welsh National Opera); Die Zauberflöte (Garsington); Wolf Club Village, Night Banquet (Almeida Opera); Oedipus Rex, Survivor from Warsaw (Royal Exchange, Manchester/Hallé); Lives of the Great Poisoners (Second Stride).

Film includes: A Number.

James was an Associate and Deputy Director at the Royal Court for 14 years and was also a NESTA fellow from 2003 to 2006.

 Kitty Archer (Cast)

One For Sorrow is Kitty’s professional stage debut.

 Pearl Chanda (Cast)

Theatre includes: Ink (Almeida/ West End); Julie (Northern Stage Theatre); The Glass Menagerie (Nuffield, Southampton); The Angry Brigade (Bush); Crave, 4.48 Psychosis (Crucible, Sheffield); Two Gentlemen of Verona (RSC); Godchild (Hampstead); The Seagull (Headlong).

Film includes: The Final Haunting, Mr Turner.

TV includes: Motherland, Endeavour, Arthur and George, Holby City.

 Neil Dudgeon (Cast)

For the Royal Court: Bliss, Fewer Emergencies, Mountain Language/Ashes to Ashes, Blasted, Waiting Room Germany, Talking in Tongues, No One Sees the Video, Road, Shirley.
Other theatre includes: The Homecoming (Almeida); Closer, Yerma, School for Wives (National);
The Importance of Being Earnest, Richard II (Royal Exchange, Manchester); Crackwalker (Gate); Miss Julie (Oldham Coliseum); The Next Best Thing (Nuffield, Southampton); The Daughter in Law (Bristol Old Vic); Colliers Friday Night (Greenwich); The Changeling, School for Scandal (Cambridge).
Television includes: United, Midsomer Murders, Nativity, Life of Riley, Kingdom, Survivors, Silent Witness, Coming Down the Mountain, Roman’s Empire, Sorted, The Street, The Lavender List, The Return of Sherlock Holmes, The Plan Man, Murder in Mind, Dirty Tricks, Messiah, Mrs Bradley Mysteries, Four Fathers, Tom Jones, The Gift, Our Boy, Breakout, Out of the Blue, The All New Alexei Sayle Show, Common as Muck, Fatherland, Touch of Frost, Sharpes Eagles, Nice Town, Between the Lines, Resnick.
Film includes: Son of Rambow, Bridget Jones: The Edge of Reason, Breathtaking, Crossing the Border, Revolver, Fools of Fortune, Red King White Knight, Prick up Your Ears.
Awards include: Monte Carlo Television Award for Best Actor for Single Film (The Gift).

Irfan Shamji (Cast)

Theatre includes: Mayfly (Orange Tree); Weathered (Southwark); Hamlet (Kenneth Branagh Theatre Company).

Television includes: It’s Me Sugar, Informer.

Film includes: Red Joan, Murder on the Orient Express.

 Sarah Woodward (Cast)

For the Royal Court: Love & Information, Jumpy, Presence, Built on Sand.
Other theatre includes: Quiz, London Assurance (Chichester Festival/West End); Nell Gwynn (& West End), The Merry Wives of Windsor (& US tour), Richard II, The Comedy of Errors, Much Ado About Nothing (Globe); This House, The Curious Incident of the Dog in the Night-Time, Tom & Clem, Les Liaisons Dangereuses (West End); Bracken Moor (Tricycle); The Cherry Orchard, The Hour We Knew Nothing of Each Other, Present Laughter, Wild Oats, The Sea (National); Snake in the Grass (Print Room); Judgment Day, The Rape of Lucrece (Almeida); Rookery Nook (Menier Chocolate Factory); Macbeth, A Midsummer Night’s Dream, Romeo & Juliet, Arms & the Man (Regent’s Park Open Air); Woman in Mind (Salisbury Playhouse); The Real Thing (& West End/Broadway), Habeus Corpus (Donmar); The Tempest, Love Labour’s Lost, The Venetian Twins, Murder in the Cathedral, Henry V, Camille, Hamlet, Richard III, Red Noses (RSC); Artist Descending a Staircase (King’s Head/West End); Angleus, From Morning Till Night (Soho Poly); Talk of the Devil (Bristol Old Vic); The Winter’s Tale (Birmingham Rep).

Television includes: Endeavour, Outnumbered, The Prime Minister’s Husband, Loving Miss Hatto, The Politician’s Husband, DCI Banks: Aftermath, Law & Order, Kingdom, Hear the Silence, Final Demand, Doctors, The Bill, Casualty, Gems, Poirot, New Tricks.
Film includes: Bright Young Things, I Capture the Castle, Doctor Sleep, The House of Angelo.
Awards include: Olivier Award for Best Supporting Actress (Tom & Clem); Shakespeare’s Globe Classic Award for The Tempest; Clarence Derwent Award for Artist Descending a Staircase.

 Listings Information:

One For Sorrow
Written by Cordelia Lynn

Directed by James Macdonald

Jerwood Theatre Upstairs, Royal Court Theatre, Sloane Square, SW1W 8AS
Wednesday 20 June 2018 – Saturday 11 August 2018
Monday – Saturday
 7.45pm

Thursday & Saturday matinees 3pm
Captioned Performance Saturday 28 July 2018, 3pm.

Press Performances 7pm Tuesday 26 June 2018 and 7.45pm Wednesday 27 June 2018. The reviews are embargoed until 11.59pm Wednesday 27 June 2018.
Standard Tickets £25 (Mondays all seats £12 available from 9am online on the day of performance)
First Look Tickets** £20
Concessions* £5 off top two prices (available in advance for previews and all matinees)

Under 26s £15 (available in advance for previews and all matinees)
Access £15 (plus a companion at the same rate)
*ID required. All discounts subject to availability.

Lisa Hammond, Rachael Spence, Improbable and Royal Court Theatre Announce New Production, STILL NO IDEA, to Tour UK

Still No Idea. Photo by Idil Sukan/Draw
Still No Idea. Photo by Idil Sukan/Draw

Still No Idea. Photo by Idil Sukan/Draw

  • Announcement of a new show by Lisa Hammond and Rachael Spence with Improbable – Still No Idea
  • Still No Idea to tour the UK in September-October 2018
  • Tour will conclude with a three week run at Royal Court Theatre, London

STILL NO IDEA

World premiere & UK tour, Autumn 2018. Presented by Lisa Hammond and Rachael Spence with Improbable and Royal Court Theatre. Supported by Arts Council England.

Lisa Hammond and Rachael Spence with Improbable and Royal Court Theatre are today announcing a new production that will premiere in Autumn 2018: STILL NO IDEA.

Back in 2010 best mates Lisa and Rachael wanted to make a show but had no idea where to start, so they went out onto the streets and asked the public. What story should they tell? What characters should they play? When they saw Lisa in a wheelchair and Rachael not, what the public said was funny, jaw-dropping and ultimately heartbreaking. So they made a show about it. It was called No Idea, and it toured the UK before heading to the Young Vic in London and going to Syria and Egypt with the British Council.

Now people say the world has changed and things are looking up. There are more disabled people in the mainstream media, Lisa landed a big part on TV, disabled mates are getting regular auditions – happy days. So what kind of exciting stories are the TV professionals dreaming up for them?

Still No Idea is the whole story (so far): the British public, the professional writers, the TV execs. Part verbatim theatre, part improv, part comedy sketch show, this is a raucous and mischievous exposé of good intentions gone bad and how sometimes no matter how hard we try, we still have absolutely no idea.

Still No Idea will preview at artsdepot in London before opening at the New Wolsey, Ipswich, and touring to Stockton, Hull, Exeter, Dartington and Birmingham and returning to London from 21 Oct – 17 Nov at the Jerwood Theatre Upstairs at Royal Court Theatre.

“Pin sharp, provocative and hugely entertaining The Times (on No Idea)

“Wonderful to watch… hilariously rude and naught” The Daily Telegraph (on No Idea)

Still No Idea is written by Lisa Hammond, Lee Simpson and Rachael Spence. It is performed by Lisa Hammond and Rachael Spence with direction by Lee Simpson, design by Ben Stones and lighting by Colin Grenfell.

Lisa Hammond is an actress, theatre maker and writer. Her theatre work includes Improbable’s The Hanging Man; Too Clever By Half; Beauty and the BeastA little fantasy and Shoot me in the heart with Told By An Idiot; and Marat/Sade with the RSC. Lisa’s TV credits include EastendersVera,PsychovilleEsio TrottCasualtyHolby CityMax and Paddy’s Road to Nowhere, and Bleak House. She was also featured on the genealogy programme Who do you think you are? 

Rachael Spence is an actress, theatre maker and writer. Her theatre work with Improbable includes The Wolves in the Walls, Theatre of Blood andThe Hanging Man. Other theatre includes Locker Room Talk for The Traverse and productions for the RSC, the National Theatre and The Globe. Rachael’s TV credits include The Lost Honor of Christopher JeffriesThirteenEastEnders and The Best of Men.

Lisa and Rachael’s other recent work together includes the Channel4 TV comedy Lowdown, co-written with Lee Simpson and Old Street/New Street a verbatim theatre project with Shoreditch Town Hall.

Improbable is one of the UK’s leading theatre companies. Led by Phelim McDermott and Lee Simpson, for over 20 years they have created productions of delightful unpredictability, from shows improvised live every night like Lost Without Words at the National Theatre to Satyagraha an opera by Philip Glass made with ENO and Metropolitan Opera New York. They also produce Devoted & Disgruntled, an ongoing conversation about the future of theatre and the performing arts. Improbable is a National Portfolio Organisation funded by the Arts Council.

Listings Information

STILL NO IDEA

World premiere & UK tour, Autumn 2018. Presented by Lisa Hammond and Rachael Spence with Improbable and Royal Court Theatre. Supported by Arts Council England.

Written by Lisa Hammond, Lee Simpson and Rachael Spence.

Performed by Lisa Hammond and Rachael Spence.

Direction by Lee Simpson. Design by Ben Stones. Lighting by Colin Grenfell.

Tour dates, Autumn 2018:

22 September – artsdepot, North Finchley, London
24 & 25 September – New Wolsey Theatre, Ipswich
3 Oct – The Arc, Stockton-on-Tees
4 – 6 Oct – Hull Truck Theatre, Hull
16 & 17 October – Exeter Library (TBC)
19 & 20 October – Dartington Arts
23 – 27 October – Birmingham Rep
31 October – 17 November – Royal Court Theatre, London

Advanced booking for Friends of Royal Court Theatre is now open. Public booking opens 10am on Friday 11th May.

Retracing Our Footsteps at Royal Court Theatre – three nights of British/South Asian play readings

Retracing Our Footsteps
Retracing Our Footsteps

Retracing Our Footsteps

Bhuchar Boulevard in association with the Royal Court Theatre present Retracing Our Footsteps, three nights of play readings of classic works by British/South Asian writers, celebrating a rich canon of work that is rarely seen on stage.

Curated by Bhuchar Boulevard Associate Suman Bhuchar, this retrospective, features plays originally performed at the Royal Court Theatre, from India to the UK, with subjects exploring child prostitution, corruption, partition, vengeance, love, and integration. The readings will be presented 7.30pm Wednesday 30 May – Friday 1 June 2018 in the Jerwood Theatre Downstairs.

The readings will be directed by Kristine Landon-Smith, Kully Thiarai and Iqbal Khan and followed by panel discussions.

Retracing Our Footsteps is an initiative by Bhuchar Boulevard to accelerate the development of an Asian theatre playwriting archive.

In 1912 the Royal Court Theatre hosted the first-ever play by Indian artists in England, but it was the English Stage Company under William Gaskill, that in 1967 produced the first play from India, A Touch Of Brightness by, the then upcoming writer, Partap Sharma.

Vicky Featherstone- Artistic director of The Royal Court says;
“In order to build future voices we need to understand the legacy of the past which is why we are so thrilled this project is happening here at the Court.”

Sudha Bhuchar- Artistic director Bhuchar Boulevard says.
‘As an artist of colour, I have always seen ‘who I am’ as essential to my work. I now see younger artists looking to find their voice and identity through exploration of subjects that connect them to their history and heritage. They often have no knowledge of the works that already exist. It is urgent not only for them but for wider society to have access to this invisible canon and hopefully generate new interest in these works, and for mainstream theatres to see diverse voices as essential in making British theatre vital and relevant to all”

“This is a unique opportunity for audiences to engage with our diverse stories and offer an insight into a less known British Asian theatre heritage. Revisiting these plays offers a visceral comment on contemporary life.”

With thanks to Professor Colin Chambers, Tara Arts, Phizzical Productions, V&A and University of Warwick for their support of Bhuchar Boulevard’s Asian playwriting archive project.

A Touch Of Brightness (1967)
By Partap Sharma
Directed by Kristine Landon-Smith

7.30pm, Wednesday 30 May 2018
Royal Court Theatre, Jerwood Theatre Downstairs

“What? Is it troubling you that Benarsi sold you? Child, the fact that I paid so much only shows how much I value you.

When Prema/​Rukh​mini is sold to a brothel in Mumbai, Pidku, a street urchin tries desperately to rescue her from prostitution.

Banned in India, this play exposes the underbelly of Indian society and the humanity within it.  The original cast included Saeed Jaffrey, Zora Sehgal and Roshan Seth. Later, it was adapted for Radio 4 and featured Judi Dench as Rukhmini and music by Ravi Shankar.

Banned in India, this play exposes the underbelly of Indian society and the humanity within it.  The original cast included Saeed Jaffrey, Zora Sehgal and Roshan Seth. Later, it was adapted for Radio 4 and featured Judi Dench as Rukhmini and music by Ravi Shankar.

Panel Discussion
Setting the Stage:
 Representation, Authenticity & Identity

A Touch Of Brightness was dubbed by the Indian censors as damaging to the ‘image’ of India whilst acknowledging the existence of the social reality depicted. Are today’s artists burdened by the need to be ‘authentic’ and who is the judge of ‘truthful’ representation?

Chaired by Sudha Bhuchar with panellists including Kristine Landon-Smith, Jatinder Verma, Kully Thiarai, and Satinder Chohan.

Borderline (1981)
By Hanif Kureishi
Directed by Kully Thiarai
7.30pm,
 Thursday 31 May 2018
Royal Court Theatre, Jerwood Theatre Downstairs

“Amjad, we have made mistakes.”
“What mistakes?”
“We never realised how English she would become.”

Drawn from workshops with the Asian community of Southall in the aftermath of the Southall Riots in 1979, Borderline explores the complexity of Asian immigrant life in Britain through Haroon and Amina, two teenagers whose aspirations place them in direct conflict with their parents’ dreams for their children. The original production was by Joint Stock Theatre Company

Hanif Kureishi CBE is a prolific playwright, screen writer and novelist with credits including My Beautiful Laundrette, The Buddha of Suburbia and Le Weekend.

Panel Discussion
The ‘ubiquitous immigrant’ as inspiration?

Hanif Kureishi talked of the issues of race, immigration, integration, and the colonial legacy as ‘cracks in the wall’ through which to view landscapesIs the immigrant still a modern Everyman, representing the aspirations of millions?

Chair: Yasmin Alibhai-Brown with a panel including playwrights Hanif Kureishi, and Yasmin Whittaker-Khan.

Blood (1989)
By Harwant Bains
Directed by Iqbal Khan
7.30pm, Friday 1 June 2018
Royal Court Theatre, Jerwood Theatre Downstairs

“Why will I only ever speak in whispers? I’ll be loyal. Yes. Forever. But where will I find the dreams we had?”

Two brothers, one adopted by his uncle, journey from the Punjab to West London to carve out a new life while remaining loyal to their land and people. Blood explores how the Partition of India shaped the lives of first generation immigrants.

The original production featured the late Paul Bhattacharjee as Balbir and Meera Syal as Surinder.

Panel Discussion:

Can we talk about it?-Telling Our Story

Rooted within the world of Punjabi Sikhs, Harwant Bains talked of the desire to open a dialogue with the previous generation with their proud and bloody history. When trying to capture truths of people that you are part of, can playwrights ever feel completely free?

Chaired by Sudha Bhuchar with a panel including playwrights Harwant Bains, Gurpreet Kaur Bhatti and Iqbal Khan.

Bhuchar Boulevard
in association with
Royal Court Theatre
presents

Casting Announcement for ‘Gundog’ at the Royal Court Theatre

Cast in alphabetical order: Alex Austin, Rochenda Sandall, Alec Secareanu, Alan Williams and Ria Zmitrowicz.Cast in alphabetical order: Alex Austin, Rochenda Sandall, Alec Secareanu, Alan Williams and Ria Zmitrowicz.

Royal Court Artistic Director Vicky Featherstone commented:

“Gundog is a bleak and brutal reminder of the poverty and struggle for survival in rural England which we rarely see portrayed. It is a desperate portrait of forgotten people who were once the life blood of the country.”

Alex Austin, Rochenda Sandall, Alec Secareanu, Alan Williams and Ria Zmitrowicz have been cast in Gundog, written by Simon Longman and directed by Royal Court Artistic Director Vicky Featherstone. Gundog runs in the Jerwood Theatre Upstairs Wednesday 31 January 2018 – Saturday 10 March 2018 with press performances on Tuesday 6 February and Wednesday 7 February. The review embargo will be lifted Wednesday 7 February 11.59pm.

Cast in alphabetical order: Alex Austin, Rochenda Sandall, Alec Secareanu, Alan Williams and Ria Zmitrowicz.Cast in alphabetical order: Alex Austin, Rochenda Sandall, Alec Secareanu, Alan Williams and Ria Zmitrowicz.

Cast in alphabetical order: Alex Austin, Rochenda Sandall, Alec Secareanu, Alan Williams and Ria Zmitrowicz.

With design by Chloe Lamford, lighting by Lee Curran, music by Matthew Herbert and sound by Peter Rice.

“Land beneath our feet. Got all our blood inside it hasn’t it? All that time. Belongs to us.”

On a farm in the middle of nowhere, sisters Becky and Anna try to hold their family together after the death of their mother.

Time is always moving somewhere – but here it’s very quiet.

When they discover a stranger wandering aimlessly across the land, the three establish an unlikely partnership in their determination to survive.

“We’ll be alright. Like you said. Some lambs. Some life.”

Writer Simon Longman makes his debut at the Royal Court with the production directed by Royal Court Artistic Director Vicky Featherstone. Simon took part in the Royal Court Theatre’s Young Writer’s Programme in 2013 and has since won the Channel 4 Playwright’s Scheme. His produced work includes White Sky (Royal Court/RWCMD) and Sparks (Old Red Lion).

Gundog is part of the Royal Court’s Jerwood New Playwrights programme, supported by Jerwood Charitable Foundation.

 Royal Court Theatre announces extension for Dennis Kelly’S Girls & Boys

Carey Mulligan
Carey Mulligan

Carey Mulligan

An extra week of performances has been added today to the world premiere of Girls & Boys, written by Dennis Kelly and directed by Lyndsey Turner. The productionwill be running from Thursday 8 February 2018 – Saturday 17 March 2018Girls & Boys, which sees Carey Mulligan playing the role of Women, runs in the Royal Court Jerwood Theatre Downstairs with press performances on Wednesday 14 February at 7pm and Thursday 15 February at 7pm. Reviews are embargoed until 11.59pm on Thursday 15 February 2018.

With set design by Es Devlin, costume design by Jack Galloway, lighting design by Oliver Fenwick and sound design by David McSeveney.

“I met my husband in the queue to board an EasyJet flight and I have to say I took an instant dislike to the man.”

An unexpected meeting at an airport leads to an intense, passionate, head-over-heels relationship. Before long they begin to settle down, buy a house, juggle careers, have kids – theirs is an ordinary family. But then their world starts to unravel and things take a disturbing turn.

“I don’t remember exactly when things with us started to go properly wrong – I just remember suddenly finding myself in it.”

Girls & Boys marks the first collaboration between writer Dennis Kelly and director Lyndsey Turner.

Tickets for the extra dates go on sale to Friends on Thursday 14 December 2017 at noon (Tickets are limited to two per person. Subject to availability) and any remaining will go on sale to the general public on Friday 15 December at noon 020 7565 5000 / www.royalcourttheatre.com

Biographies:

Dennis Kelly (Writer)

For the Royal Court: The Ritual Slaughter of Gorge Mastromas.

Other theatre includes: Matilda the Musical (RSC/West End); The Gods Weep (RSC/Hampstead); Orphans (Traverse/Birmingham Rep/Soho); DNA (National); Taking Care of Baby (Hampstead/Birmingham Rep); Love & Money (Royal Exchange, Manchester/Young Vic); Osama the Hero (Hampstead); After the End (Bush); Debris (503).

Television includes: Pulling, Utopia.

Film includes: Black Sea

 

Lyndsey Turner (Director)

For the Royal Court: Posh (& West End), Contractions, A Miracle, Our Private Life.

Other theatre includes: Saint George and the Dragon, Light Shining in Buckinghamshire, Edgar & Annabel (National); Faith Healer (Donmar); Hamlet (Barbican); Machinal (Broadway); The Treatment, Chimerica (Almeida)

Carey Mulligan (Woman)

For the Royal Court: The Seagull (& Broadway), Forty Winks.

Other theatre includes: Skylight (West End/Broadway); Through a Glass Darkly (New York Theater Workshop); The Hypochondriac (Almeida).

Television includes: My Boy Jack, Doctor Who, Northanger Abbey, The Amazing Mrs Pritchard, Waking the Dead, Agatha Christie’s Marple, Bleak House, Trial & Retribution.

Film includes: Wildlife, Mudbound, Suffragette, Far from the Madding Crowd, Inside Llewyn Davis, The Great Gatsby, Shame, Drive, Never Let Me Go, Wall Street: Money Never Sleeps, Brothers, Public Enemies, An Education, The Greatest, When Did You Last See Your Father?, Pride & Prejudice.

Awards include: BAFTA Award for Best Actress (An Education)

Listings Information:

 Girls & Boys

By Dennis Kelly

Directed by Lyndsey Turner

Jerwood Theatre Downstairs, Royal Court Theatre, Sloane Square, SW1W 8AS

Thursday 8 February 2018 – Saturday 17 March 2018

Monday – Saturday 8pm

Saturday matinees 2.30pm (from 17 February 2018)

Captioned Performance Wednesday 7 March 2018
Audio described Matinee Saturday 10 March touch tour at 1pm
Post Show Talk Big Idea: In Conversation with writer Dennis Kelly Wednesday 7 March 2018 with live speech-to-text
Press Night Wednesday 14 February 2018, 7pm & Thursday 15 February 2018, 7pm. Review embargo lifted 11.59pm Thursday 15 February 2018.

Standard Tickets £12 – £45 (Mondays all seats £12 available from 9am online on the day of performance).
Concessions* £5 off top two prices (available in advance for previews and all matinees)

Under 26s £15 (available across all performances for individual bookers, Bands B and C only)
Access £15 (plus a companion at the same rate)
*ID required. All discounts subject to availability.

Royal Court Theatre announces Carey Mulligan in Dennis Kelly’s Girls & Boys, directed by Lyndsey Turner

Carey Mulligan
Carey Mulligan

Carey Mulligan

Carey Mulligan has been cast in the world premiere of Girls & Boys, written by Dennis Kelly and directed by Lyndsey Turner. Girls & Boys runs in the Royal Court Jerwood Theatre Downstairs, Thursday 8 February 2018 –Saturday 10 March 2018 with press performances on Wednesday 14  February at 7pm and Thursday 15 February at 7pm. Reviews are embargoed until 11.59pm on Thursday 15 February 2018.

With set design by Es Devlin, costume design by Jack Galloway, lighting design by Oliver Fenwick and sound design by Dave McSeveney.

“I met my husband in the queue to board an EasyJet flight and I have to say I took an instant dislike to the man.”

An unexpected meeting at an airport leads to an intense, passionate, head-over-heels relationship. Before long they begin to settle down, buy a house, juggle careers, have kids – theirs is an ordinary family. But then their world starts to unravel and things take a disturbing turn.

“I don’t remember exactly when things with us started to go properly wrong – I just remember suddenly finding myself in it.”

Girls & Boys marks the first collaboration between writer Dennis Kelly and director Lyndsey Turner.

Biographies:

Dennis Kelly (Writer)

For the Royal Court: The Ritual Slaughter of Gorge Mastromas.

Other theatre includes: Matilda the Musical (RSC/West End); The Gods Weep (RSC/Hampstead); Orphans (Traverse/Birmingham Rep/Soho); DNA (National); Taking Care of Baby (Hampstead/Birmingham Rep); Love & Money (Royal Exchange, Manchester/Young Vic); Osama the Hero (Hampstead); After the End (Bush); Debris (503).

Television includes: Pulling, Utopia.

Film includes: Black Sea

Lyndsey Turner (Director)

For the Royal Court: Posh (& West End), Contractions, A Miracle, Our Private Life.

Other theatre includes: Saint George and the Dragon, Light Shining in Buckinghamshire, Edgar & Annabel (National); Faith Healer (Donmar); Hamlet (Barbican); Machinal (Broadway); The Treatment, Chimerica (Almeida)

Carey Mulligan (Woman)

For the Royal Court: The Seagull (& Broadway), Forty Winks.

Other theatre includes: Skylight (West End/Broadway); Through a Glass Darkly (New York Theater Workshop); The Hypochondriac (Almeida).

Television includes: My Boy Jack, Doctor Who, Northanger Abbey, The Amazing Mrs Pritchard, Waking the Dead, Agatha Christie’s Marple, Bleak House, Trial & Retribution.

Film includes: Wildlife, Mudbound, Suffragette, Far from the Madding Crowd, Inside Llewyn Davis, The Great Gatsby, Shame, Drive, Never Let Me Go, Wall Street: Money Never Sleeps, Brothers, Public Enemies, An Education, The Greatest, When Did You Last See Your Father?, Pride & Prejudice.

Awards include: BAFTA Award for Best Actress (An Education)

Listings Information:

Girls & Boys

By Dennis Kelly

Directed by Lyndsey Turner

Jerwood Theatre Downstairs, Royal Court Theatre, Sloane Square, SW1W 8AS

Thursday 8 February 2018 – Saturday 10 March 2018

Monday – Saturday 8pm

Saturday matinees 2.30pm (from 17 February 2018)

Captioned Performance Wednesday 7 March 2018
Audio described Matinee Saturday 10 March touch tour at 1pm
Post Show Talk Big Idea: In Conversation with writer Dennis Kelly Wednesday 7 March 2018 with live speech-to-text
Press Night Wednesday 14 February 2018, 7pm & Thursday 15 February 2018, 7pm. Review embargo lifted 11.59pm Thursday 15 February 2018.

Standard Tickets £12 – £45 (Mondays all seats £12 available from 9am online on the day of performance).
Concessions* £5 off top two prices (available in advance for previews and all matinees)

Under 26s £15 (available across all performances for individual bookers, Bands B and C only)

Access £15 (plus a companion at the same rate)
*ID required. All discounts subject to availability.

Vicky Featherstone Announces Industry Code of Behaviour to Prevent Sexual Harassment and Abuses of Power

Vicky Featherstone, Artistic Director Royal Court Theatre;

 “Thanks to the bravery, openness and desire to see change happen from the people in our industry who have either experienced abuse or are desperate to see it end, we have been able to compose this document. We at the Royal Court are adopting this today. It is an offering, it is a beginning. We have to start somewhere.”

 PREVENTING SEXUAL HARASSMENT AND ABUSES OF POWER

An offering, a provocation, a hope for

 CULTURE CHANGE

 A CODE OF BEHAVIOUR

The following code was created in response to the events at the Royal Court Theatre Day of Action on Saturday 28th October 2017.

Responsibility

Reporting

Raising Awareness

Breadth and Scope

Patterns and Scenarios

Responsibility

–       You must take responsibility for the power you have. Do not use it abusively over others more vulnerable than you. Think about what you want, why you want it, what you are doing to get it, and what impact it will have. If this is achieved, the problem is solved.

–       Call it out, straight away, even if it is awkward to do so. Don’t feel shame. Use this language: “That is not appropriate – it makes me feel uncomfortable.” Empower yourself and others. Stand up for yourself.

–       No one is alone. Everyone has responsibility to stand up for each other, to call behaviour out and to report it. Do not be a bystander.

–       Every organisation signs up to leading an active sexual harassment policy. Make it a living policy. It should be based around workshops and scenarios to clarify the so-called grey areas. (See the Royal Court Theatre policy, see attached)

–       Once harassment and abuse is proven, it must not be hidden. Boards and organisations cannot conceal it as a reason for dismissal. Challenge confidentiality – why is it needed and who is it protecting.

 

Reporting

–       Freelancers must be empowered to use the same reporting structures as staff. Also use ITC, UKT, SOLT, Equity, BECTU, Stage Directors UK, Federation of Drama Schools, Arts Council England, and other industry bodies.

–       Have an open, clear reporting structure. There should be three possible structures to report to across an organisation. As well as line mangers and senior management, use peers and trusted colleagues – everyone in the organisation is responsible.

–       Talk to colleagues in other theatres or companies to support your process if you need to.

–       Logging behaviour is important, even if no further action is wished for. This way patterns are picked up.

–       We understand these reporting structures are not available to everyone and we will work with the industry to create clear places to report and get advice going forwards.

–       The industry must develop a model for dealing with historic cases.

–       (See the Royal Court Theatre policy, attached, for a reporting model).

Raising Awareness

 –       Induct all staff, freelancers, casting directors, actors, stage managers, crew on their first day of work into the policy and code of behaviour. They should sign that this has happened.

–       Run annual workshops with staff led by trained facilitators. Use scenarios and language.

–       Consult with freelancers. (The Royal Court Theatre will be holding a freelancer session in January 2018). Encourage them to use theatre buildings for their one-to-one meetings.

–       Recognise the blurred boundaries between work and social spaces. Don’t exploit them.

–       Interrogate the stories and representations we put on stage. We are in the business of representing the world. Take responsibility. Make it equal.

–       Engage in a robust conversation between drama schools and industry – to tool up students – acting, stage management, technical, directing, writing, producing – to be confident, empowered and appropriate. (Since Saturday the Royal Court Theatre is in positive dialogue with Mountview and the Federation of Drama Schools in advance of their next consortium meeting).

Breadth and Scope

–       Theatre is an art form – the work can and should be challenging, experimental, exploratory and bold. Artistic freedom of expression is essential but the creative space must be a safe space.

–       The theatre industry is broad: it involves an intimate, rigorously personal system of drama training, it involves office work, auditions, rehearsals, crewing, late night working, bars, parties and public-facing frontline work, ambitious young people.

–       The industry includes commercial producers and theatres, not-for-profit publicly funded, touring and fringe companies, presenting venues, festivals – all have different contexts and resources.

–       A policy needs to speak to this scope of practice, and recognise particular areas of risk.

–       Drama students, freelancers, early career artists, actors at all stages of their career, ushers and bar staff, and core junior staff are all vulnerable to abuses of power.

–       Recognise that abuses of power can happen across diverse gender and working relationships.

–       Take responsibility and empower across the scope. Write a policy that fits.

Patterns and Scenarios

–       Of our 150 stories, 126 related directly to experiences in our industry.

–       21.3% were incidents which happened in rehearsals or backstage.

–       16% were sustained inappropriate sexual comments over a period of time during a production or in a workplace.

–       14% happened at drama schools between tutors and students.

–       13.3% happened at work parties – press nights, birthdays, end of the run, Christmas, in the pub or at dinner, with alcohol. In the Town Hall meetings this blurred social context came up many times.

–       10% happened in interviews or auditions for jobs.

–       9.3% happened when invited or taken into an abuser’s home.

–       7.3% happened in an office context.

–       (The remaining 8.6% were “other” – witnessed, online, conference)

–       That 51.3% of the stories submitted took place in rehearsals, backstage, in drama schools, or involved sustained verbal abuse suggests significant change needs to happen in institutional culture.

–       There were 11 accounts of rape.

Some suggested codes of behaviour to avoid these patterns and protect the areas of risk (this is only a beginning):

–       It is never appropriate for someone in a junior role to be asked by someone in a senior role to work outside hours in their private home.

–       It is never appropriate to verbally sexually objectify anyone’s body in a rehearsal room or theatre.

–       It is never appropriate for an actor to be made to feel vulnerable through nudity, undress or costuming.

–       It is never appropriate to send overly personal or suggestive communications to a junior colleague.

–       It is never appropriate to initiate unwanted intimate physical contact.

–       It is never appropriate to push people to share their personal experiences to deepen the work. If it is offered, it has to remain within the trust of the working room.