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West Side Story – Back by Popular Demand in 2020

West Side Story
West Side Story

West Side Story

The Royal Exchange Theatre has announced that their current smash-hit WEST SIDE STORY will return to the stage in 2020 due to unprecedented popular demand. Recognised as one of the world’s most iconic musicals, tickets for Sarah Frankcom’s reimagining of this Broadway classic, with new choreography by Aletta Collins, have been in high demand from the moment the production was originally announced and were close to selling out before the previews had even begun. Opening last week to critical acclaim and loved by Manchester audiences  the Exchange is delighted to confirm that this celebrated production will be back next year running from Saturday 18 April – Saturday 23 May 2020.

Royal Exchange Artistic Director Sarah Frankcom said…

West Side Story was such a radical piece of work when it was first staged and I’m delighted that our new production has caught the imagination of today’s audiences, and that the electricity of it all – the story, the music, the dance – is still so urgent in 2019. The demand for tickets has been incredible so to be able to bring the show back next year and give people another opportunity to see Leonard Bernstein’s masterpiece is fantastic. Our unique in-the-round theatre brings viewers right into the action and to be able to do that all over again with a new audience is really exciting.

Casting for the 2020 production is yet to be confirmed and will be announced in the autumn along with further details of the production and the Spring/Summer season in full. Tickets are on sale to members from today and the public from Tuesday 30 April 2019, it is a stand-alone production and will not form part of the Royal Exchange Spring/Summer 2020 season ticket package.

LAMDA appoints Royal Exchange’s Sarah Frankcom to lead as new Director

LAMDA Director Sarah Frankcom and LAMDA President Benedict Cumberbatch. Credit Helen Maybanks
LAMDA Director Sarah Frankcom and LAMDA President Benedict Cumberbatch. Credit Helen Maybanks

LAMDA Director Sarah Frankcom and LAMDA President Benedict Cumberbatch. Credit Helen Maybanks

  • Appointment welcomed by LAMDA President Benedict Cumberbatch
  • As Director of LAMDA, Frankcom will shape LAMDA’s creative vision as it moves towards further independence and achieving degree awarding powers
  • Sarah Frankcom joins from Royal Exchange Theatre in Manchester where she is Artistic Director

28th February 2019, London: LAMDA (London Academy of Music and Dramatic Art), the oldest drama school in the UK, today announced the appointment of acclaimed theatre director Sarah Frankcom as its new Director. Bringing world class industry experience, Frankcom joins from the Royal Exchange Theatre in Manchester where she has been Artistic Director for the last five years.

Frankcom is widely regarded as one of the most influential British theatre directors of the last decade. She was responsible for bringing a series of critically acclaimed shows to the Royal Exchange, most recently Death of a Salesman with Don Warrington, Happy Days with Maxine Peake, and Our Town, for which she was awarded Best Director at the 2018 UK Theatre Awards.

In the newly created role of Director, Frankcom will shape and lead LAMDA’s creative vision and oversee the training of the next generation of dramatic artists, directors and technicians. She will work directly with students to ensure they benefit first hand from her wealth of industry experience. The Directorship replaces the role of Principal following the departure of Joanna Read in January.

Frankcom will officially take up the role in November 2019 as LAMDA enters its first year as an independent Higher Education Provider and moves forward to realising its ambition of achieving degree awarding powers.

Speaking on her appointment, Sarah Frankcom said: “I am thrilled to be appointed as LAMDA’s new Director. LAMDA is a drama school that consistently delivers world-class arts training and examinations, and whose alumni I’ve always found to be the most open, collaborative, and generous during my work as a director.”

She continued: “I’m looking forward to building on LAMDA’s success and grasping the opportunity to re-imagine what a relevant 21st Century theatre training without barriers could be for all emerging talent.”

Welcoming the announcement, Benedict Cumberbatch, LAMDA President and alumni, said: “This is a very exciting next chapter for LAMDA and its students. I am thrilled at the prospect of working with Sarah, who I know has a passion for finding the best talent from whatever background and increasing diversity on stage and screen. Her reputation proceeds and I am sure her leadership will be a performance to truly grip the industry”.

Shaun Woodward, Chair of LAMDA, said: “This is an amazing appointment for LAMDA and a great next step for the school. Sarah is one of the outstanding directors in the UK and she will provide great leadership for our students in the years ahead. We are thrilled.”

Sir Nicholas Hytner, former artistic director of the National Theatre, adds: “Sarah is a tremendous appointment as LAMDA’s new Director. She is one of the UK’s outstanding directors from one of our leading theatres. Sarah galvanised Manchester’s Royal Exchange Theatre, transforming the careers of countless young actors in a succession of greatly admired productions”.

Full casting announced for The Cherry Orchard, a Bristol Old Vic and Royal Exchange Theatre co-production

The Cherry Orchard
The Cherry Orchard

The Cherry Orchard

Full casting for Michael Boyd’s much anticipated production of The Cherry Orchard is announced today as rehearsals begin for the Bristol Old Vic and Royal Exchange Theatre co-production. Rory Mullarkey’s brand-new translation will be directed by Boyd, celebrated former Artistic Director of the Royal Shakespeare Company (RSC). Having studied Russian and trained as a director in Moscow, extraordinarily, he will be directing Chekhov – the literary love of his life – for the first time.

Kirsty Bushell and Jude Owusu lead the ensemble in this vivid new production, which opens at Bristol Old Vic 1 March – 7 April, before transferring to Manchester’s Royal Exchange from 19 April – 19 May.

Chekhov’s final masterpiece is full of wild humour and piercing sadness in this fresh, funny and honest new translation. A portrait of changing times, it maps the bittersweet tensions between the desperate longing to hold onto what is familiar, and the restless lure of the new. Revolution hangs in the air, the poor and hungry are pushing at the doors, and a civilised and complacent culture is on the brink of collapse…

 Kirsty Bushell plays Ranyevskaya, a woman whose liberal world of privilege and pleasure is beginning to show cracks while she and her family live on in denial. Kirsty was recently seen on television in BBC’s Motherland, but it is on stage where she has earned her renowned reputation. Her career is one of dynamic variety, spanning roles from Olivia in the RSC’s Twelfth Night and Juliet for Shakespeare’s Globe

to Vittoria in The White Devil (RSC), the title role in Hedda Gabler, and the recent “pitch-perfect” Regan opposite Ian McKellan’s King Lear. Her career also spans new works such as the recent Boys will Be Boys (Headlong/Bush), Torn for the Royal Court and Disgraced (The Bush). She regularly works with some of the leading directors in the world, including Ivo Van Hove, Michael Grandage and Maria Aberg, appearing regularly with the RSC, National Theatre and Royal Court.

 Jude Owusu plays the successful businessman Lopakhin, who has loved Ranyevskaya since childhood and now hopes to be her salvation. Jude’s recent theatre work includes A Tale of Two Cities (Regent’s Park), Gregory Doran’s Julius Caesar, Tim Crouch’s I, Cinna (both RSC/West End) and The Comedy of Errors (National Theatre). His television work includes the acclaimed The Hollow Crown series for BBC.

 They are joined by Simon Coates in the role of Ranyevskaya’s well-intentioned but delusional brother Gayev. Simon has worked extensively with the National Theatre and the RSC, appearing throughout the world in many celebrated productions including: Robert Lepage’s A Midsummer Night’s Dream, Tim Supple’s The Comedy of Errors, David Farr’s Coriolanus, Robert Icke’s 1984 and Declan Donnellan’s As You Like It, for which he received an Olivier award nomination for Best Supporting Actor and a New York Drama Desk Award nomination for Outstanding Featured Actor.

BAFTA-nominated Togo Igawa takes the role of Gayev’s elderly servant Firs. In 1986, he became the first Japanese actor to join The Royal Shakespeare Company. His work spans stage, film, anime, games and television. Stage work includes, Her Voice (Dublin Theatre Festival), Pacific Overtures (Donmar), and The Fair Maid of the West (RSC). His film work is extensive and includes Star Wars – The Last Jedi (2017), 47 Ronin (2013), The Last Samurai (2004), Topsy-Turvy (2000) and Eyes Wide Shut (1999).

Landowner Pischik is played by Julius D’Silva. His extensive theatre credits include Baz Luhrmann’s Strictly Ballroom (West Yorkshire Playhouse & Toronto), Made In Dagenham (Adelphi Theatre), Anne Boleyn (Shakespeare’s Globe/ETT), Oliver! (Theatre Royal, Drury Lane) and Macbeth (Shakespeare’s Globe). He has previously worked with Michael Boyd as part of the RSC’s Olivier Award-winningHistories Ensemble 2006–2008. His film credits include Notes on a Scandal and Endgame, and he can currently be seen in TV drama The Crown.

Éva Magyar takes the role of Charlotta. Born in Hungary, she originally took the UK theatre scene by storm with her performance as Yseult in the original Kneehigh/National Theatre production of Tristan and Yseult. Her recent roles include Berthe in Ivo Van Hove’s Hedda Gabler (National Theatre) and the title role of Marlene for Tristan Bates Theatre. Jack Monaghan plays the clerk Yepikhodov. He recently played Benjamin in The Graduate (West Yorkshire Playhouse) and Albert in the West End run of War Horse, as well as performing at Shakespeare’s Globe in As You Like It, and at Hampstead Theatre in Deposit.

Bristol Old Vic welcomes back Emma Naomi in the role of the family’s maid, Dunyasha (previously The Crucible, Bristol Old Vic) andEnyi Okoronkwo as the eternal student Trofimov (previously Junkyard, Bristol Old Vic).

The cast also includes two recent Bristol Old Vic Theatre School graduates and 2017 Peter O’Toole Prize winners, Verity Blyth as Ranyevskaya’s daughter Anya (13, Tobacco Factory Theatres) and Rosy McEwan as Varya (Julius Caesar, Bristol Old Vic).

They are joined by Hayden Mclean as Yasha (Fair to Middling, New Wimbledon Studio; Ages, Old Vic London), Joseph Hardy (Façade/Strange Joy, East London Music Group) and Harry Humberstone (Ablutions, FellSwoop Theatre).

Michael Boyd, lauded former Artistic Director of the Royal Shakespeare Company, was a trainee director in Moscow at the start of his career, and only now directs his first Chekhov play for Bristol Old Vic and the Royal Exchange Theatre. With a unique ‘in the round’ design created by Tom Piper (co-designer of the poppy installation at the Tower of London in 2014; Romeo and Juliet, RSC; and A Midsummers Night’s Dream, RSC and UK tour), Bristol Old Vic’s theatre will be transformed into a full circle of seating, which mirrors the unique auditorium at the Exchange, allowing audiences to experience every part of this rich and rewarding masterpiece up-close and from every angle.

Rory Mullarkey is a prize-winning playwright and translator. He was the Pearson Writer in Residence at the Royal Exchange, Manchester where he became the youngest playwright ever staged at the Exchange’s main theatre aged just 25. His debut play Cannibals was hailed “one of the most provocative, original and disturbing debuts since Blasted”. In 2014, Rory won the Harold Pinter Playwriting Prize, the George Devine Award (jointly with Alice Birch) and the James Tait Black Prize for Drama. His most recent production was the National theatre’s Saint George and the Dragon and he is currently under commission to the Royal Exchange, The Royal Court, The Almeida and the Michael Grandage Company.

LISTINGS INFORMATION:

A Bristol Old Vic and Royal Exchange Theatre co-production

THE CHERRY ORCHARD

Writer Anton Chekhov

Translation Rory Mullarkey

Director Michael Boyd

Designer Tom Piper NATIONAL PRESS NIGHT: Thursday 8 March, 7pm (Bristol Old Vic)

1 Mar – 7 Apr 2018

BRISTOL OLD VIC THEATRE, King Street, Bristol BS1 4ED

7.30pm2.30pm (SELECTED THU AND SAT MATS)

£35.50-£7.50

www.bristololdvic.org.uk / 0117 987 7877 @BristolOldVic #CherryOrchard

19 Apr – 19 May 2018 ROYAL EXCHANGE THEATRE THE THEATRE, St Ann’s Square, Manchester M2 7DH 7.30pm2.30pm (MATS) Standard tickets from £17.00 www.royalexchange.co.uk / 0161 833 9833 @rxtheatre #CherryOrchard

Lyric Hammersmith and LIFT announcing Fatherland dates

Fatherland-3 - Photographer Manuel Harlan

Fatherland-3 - Photographer Manuel Harlan

Fatherland Photographer Manuel Harlan


Today booking opens at the Lyric Hammersmith and LIFT for Fatherland, which opens at the Lyric in May 2018 as part of the Lyric’s Spring/Summer 2018 season and LIFT 2018. This bold new production, by Scott Graham, Karl Hyde and Simon Stephens, focusing on contemporary fatherhood in all its complexities and contradictions, premiered at the Royal Exchange Theatre as part of Manchester International Festival.

This intensely physical production is performed by a 13-strong cast who will be joined by the Chorus of Others, a cacophony of voices, specially formed as part of Fatherland, for the production at the Lyric. Fatherland features exclusive songs and music written by Karl Hyde (Underworld) and Matthew Herbert.

Inspired by conversations with fathers and sons from the three co-creators’ hometowns across England, Corby, Kidderminster and Stockport, Fatherland explores identity, nationality and masculinity. In a vivid and deeply personal portrait of 21st-century England at the crossroads of past, present and future, Fatherland is a show about what we were, who we are and what we try to be.

Commissioned and produced by Lyric Hammersmith, LIFT, Manchester International Festival, Frantic Assembly and the Royal Exchange Theatre. Supported by PRS for Music Foundation.

Creative Team
Co-Author & Director                    Scott Graham
Co-Author & Composer                 Karl Hyde
Co-Author & Writer                        Simon Stephens
Designer                                            Jon Bausor
Lighting Designer                          Jon Clark
Co-Composer & Music Producer Matthew Herbert
Sound Designer                              Ian Dickinson for Autograph Sound
Choreographer                               Eddie Kay
Dramaturg                                       Nick Sidi
Casting Director                             Anne McNulty CDG

Madani Younis announces the Autumn Winter season of plays at the Bush Theatre After The Venue’s Successful Reopening In March This Year

BUSH THEATRE’S AUTUMN WINTER SEASON INCLUDES:

  • A retrospective of work by internationally acclaimed Iranian theatre-maker Nassim Soleimanpour, featuring three previous works and a brand new play commissioned by the Bush Theatre.
  • A season of international stories, featuring over 10 new works, from Muslim women both at home and abroad entitled Hijabi Monologues.
  • Previously announced new plays by Sophie Wu (Ramona Tells Jim) and Chris Thompson (Of Kith and Kin).
  • A new play by Thomas Eccleshare entitled Heather in a production with Dancing Brick, Paul Jellis and Tobacco Factory Theatres.
  • The Bruntwood Prize judges award winning Parliament Square by James Fritz in a co-production with Royal Exchange Theatre.


Artistic Director Madani Younis introduces the new season of work for Autumn Winter 2017 :

  • ‘As ever at the Bush Theatre, we continue to seek powerful plays that respond to the urgency of the world around us. London is still reverberating from events that have made us question what community is and what our city means to us. As such, this building continues to speak up for the unheard and celebrate their voices. This year we have brought international movements into our local community with the powerful Black Lives, Black Words back in March and the upcoming Hijabi Monologues. The latter will feature over 10 new works gathered from Muslim women both locally in Shepherd’s Bush and further afield from different parts of the world.’ 

Ramona Tells Jim

Written by Sophie Wu

Directed by Mel Hillyard

Designed by Lucy Sierra

Bush Theatre Studio

20 September – 21 October 2017

Press Night 22 September 2017

It’s 1998. Ramona, of Englandshire, is 15 and she’s totally cool. Honestly. She’s completely cool.

On a wet, midge-riddled geography field trip she meets Jim, a local laddie wearing an anti-pill fleece. He’s obsessed with hermit crabs, rock erosion and making homemade Irn-Bru cocktails.

Deep in the Scottish Highlands, Ramona falls for Jimmy’s awkward charm but gets caught in a scandal that will haunt them both for years to come.

Fast forward fifteen years and Jim, of the shittest village in Scotland, has got a girlfriend and something like a functional life. But Ramona still can’t shake the consequences of that fateful trip. Determined to clear her conscience, she heads back to the Highlands to find that neither her nor Jim’s lives have turned out how they had planned.

Ramona Tells Jim is a darkly comic play about confession and the gravity of young love, from Bush Theatre Emerging Writers’ Group graduate and actor Sophie Wu (Kick AssWild Child), directed by Mel Hillyard and designed by Lucy Sierra.

Supported by Peter Wolff Theatre Trust.

 

Nassim Plays

Written by Nassim Soleimanpour

Bush Theatre

7 – 16 September 2017

In a celebration of his work, the Bush Theatre brings together all four of Iranian theatre-maker Nassim Soleimanpour’s plays.

These will include the self-titled Nassim, commissioned by the Bush Theatre, directed by Omar Elerian and designed by Rhys Jarman; international hit White Rabbit Red Rabbit, presented by Aurora Nova; Blank (Bush Theatre’s RADAR 2015 and Edinburgh Festival Fringe 2016), presented by Aurora Nova; and the UK premiere of new play Cook, co-created by Nassim Soleimanpour and the Danish director Jesper Pedersen. All four plays will play in repertory over a week.

This retrospective will follow a run of Nassim at the Traverse Theatre as part of this year’s Edinburgh Fringe Festival. Soleimanpour’s work is unique in that it requires no rehearsals, no preparation. Just a sealed envelope and a different actor each night reading a script for the first time.

 

A licensed production of Hijabi Monologues USA

Hijabi Monologues

Directed by Milli Bhatia

Bush Theatre

28 – 30 September 2017

Hijabi Monologues London is part of an international project focusing on the real-life experiences of both local and international Muslim women.  In a similar style to Black Lives, Black Words at the Bush Theatre earlier this year, Hijabi Monologues features interweaving stories from our doorstep as well as experiences of Muslim women in other parts of the world.

Directed by Milli Bhatia, the evening will include existing monologues penned for this international project by women including the original writer Sahar Ullah and new works from members of the Bush Theatre’s immediate community totalling over 10 UK premieres. Experience the diverse stories of Muslim women from all over the world – unfiltered and uncensored.

Supported by Amal – A Said Foundation Project, British Council and Safera Foundation.

 

Dancing Brick and Paul Jellis in association with Tobacco Factory Theatres and the Bush Theatre

Heather

Written by Thomas Eccleshare

Directed by Valentina Ceschi

Designed by Lily Arnold

Bush Theatre Studio

31 October – 18 November 2017

Press Night 2 November 2017

A reclusive children’s writer becomes wildly successful. Her books are treasured across the country. But when a troubling narrative starts to unfold, we find ourselves asking: what matters more, the storyteller or the story?

Brilliantly imaginative and theatrically original, Heather is a short, sharp story about language, prejudice and the power of stories.  The cast will include Ashley Gerlach and Charlotte Melia.

Thomas Eccleshare is the Verity Bargate Award-winning writer of Pastoral and the co-artistic director of Arches Brick Award winning company Dancing Brick.  Heather will be directed by Valentina Ceschi and designed by Lily Arnold.

 

A co-production with Sheffield Theatres

Of Kith and Kin

Written by Chris Thompson

Directed by Robert Hastie

Designed by James Perkins

Bush Theatre

18 October – 25 November 2017

Press Night 20 October, 7pm
Daniel and Oliver are about to have their first baby. With their best friend, Priya, acting as surrogate, they’ve turned the study into a nursery and the bottles are sterilised. All that’s missing is the bundle of joy they’ve been pining for.

But when Daniel’s chaotic mother gatecrashes the baby shower with a few home truths, the cracks in Daniel and Oliver’s relationship begin to show. Are they as ready for this as they think they are? And more importantly, is Priya?

Sheffield Theatres Artistic Director Robert Hastie (My Night With Reg, Splendour) directs this gripping new comedy by Chris Thompson (Albion).  The pair previously collaborated on Carthage at the Finborough Theatre.  Of Kith and Kin will be designed by James Perkins, with lighting by Prema Mehta, sound by Ella Wahlström and casting by Vicky Richardson.

Of Kith and Kin opens at Sheffield Studio Theatre on 15 September with a press night on 19 September.

 

A co-production with Royal Exchange Theatre

Parliament Square

Written by James Fritz

Directed by Jude Christian

Designed by Fly Davies

Bush Theatre

30 November 2017 – 6 January 2018

Press Night 1 December 2017

How far would you go for what you believe in?

Kat gets up one morning, leaves her family behind and travels to London to carry out an act that will change her life and, she hopes, everyone else’s. For those it touches, their lives will never be the same. But what, in the end, are the real consequences of her actions?

Raw, disturbing and compassionate, James Fritz‘s searingly powerful play forces a confrontation with some of the most urgent questions we face. What can one individual do to effect change? And where do we choose to draw the line between absolute commitment and dangerous obsession?

Parliament Square won the Judges’ Award in the 2015 Bruntwood Prize for Playwriting and will be directed byJude Christian whose credits include Lela and Co and Bodies both at the Royal Court.

 

EMERGING WRITERS’ GROUP

In June 2017, the Bush Theatre’s Emerging Writers’ Group (EWG) will enter its third year with a new intake of six writers. Sophie Wu, a graduate of the first EWG, will premiere her play at the Bush Theatre this September.  Five out of the twelve EWG graduates have received commissions or ongoing support from the Bush.  The new intake of writers for 2016 is: Robyn Addison, Afsaneh Gray, Kelly Jones, Isley Lynn, Eno Mfon andTom Wentworth.

 

UP NEXT

The Bush Theatre also announces today the artists taking part in UP NEXT, a new development programme to champion the next generation of visionary BAMER (Black, Asian, Minority Ethnic and Refugee) leaders and artists, in partnership with Artistic Directors of the Future and Battersea Arts Centre. Tobi Kyeremateng, Sita Thomas, Ruthie Osterman (all Bush Theatre), Lekan Lawal, Tarek Iskander and Saad Eddine Said (Battersea Arts Centre) will be handed the keys to both the Bush Theatre and Battersea Arts Centre in early 2019. Arts Council England’s Sustained Theatre Fund supports the initiative.

Karl Hyde and Matthew Herbert release collaborative album for Fatherland at Manchester International Festival

Fatherland

Fatherland

Fatherland (Original Music from the Stage Show) is a collection of recordings by Underworld’s Karl Hyde and producer/artist Matthew Herbert. The songs are based on extracts from the script for Fatherland, a play conceived and written in collaboration by Karl, playwright Simon Stephens (Curious Incident of the Dog in the Night-Time, Punk Rock) and Frantic Assembly’s Scott Graham. Premiering at Manchester International Festival this July. Fatherland is a bold, ambitious show about the complexities and contradictions of fatherhood; a vivid, urgent and deeply personal portrait of 21st-century England at the crossroads of past, present and future. The script is based on recorded interviews that took place in Corby, Stockport and Bewdley in 2015 when Graham, Stephens and Hyde undertook a road trip connecting their home towns, gathering stories of fathers and fatherhood from family, friends, and strangers.

Fatherland (Original Music from the Stage Show) features versions of pieces that will be interpreted by the cast of Fatherland (the lyrics are taken from the same original source material captured on that road trip) yet is its own distinctive piece of work – an odd, affecting collection of elegiac, biographies. The album comprises the original recordings made through this unique collaboration between two of British music’s most innovative artists, Karl Hyde and Matthew Herbert.

Karl Hyde:
Fatherland is all about the collecting and re-telling of stories. For the last thirty years, that’s what I’ve done with Underworld. I’ve sung verbatim the stories I’ve picked up from the street. Here was the possibility of having complete stories about people we knew, rather than found fragments from strangers.

“I invited Matthew Herbert to collaborate as I love his music and the way he thinks. He works incredibly fast – as do I. Early on, we decided we wanted to create our music from the sounds of objects that reminded us of our fathers and our childhoods. That could be a football bouncing or a set of car keys, a whistle or the sound of a car engine purring. Anything that evoked the idea of childhood and of our fathers. All of the sounds on the record came from digging up those memories.

“The lyrics are taken from the script. When Matthew and I began, we took stories that jumped out at us from the script and built the tracks around them. I’d sing the words verbatim, inspired by the sounds Matthew made – all the ums and ahs are used as they were in the original conversations. As we began translating these ideas into songs, it became very clear that we were making a kind of 21st century folk music.”

Matthew Herbert:
Working with sounds rather than traditional musical instruments allowed us ways not only into new textures, but also to add a layer of storytelling that I think is really useful in this kind of context. For example, we used a pick axe and spade to make the main organ/keyboard noise in Perfect Moment that created both the odd harmonics that were useful in the song writing, and also helped us to remember the manual labour of our grandfathers. It’s been rewarding collaborating with Karl and the team on a version of a musical that can accommodate these sounds that manage to sound both familiar and alien at the same time. The cherry on the cake was being able to form that new language with Karl, whose impeccable experience shaping words and melody meant that we rapidly found a rhythm that hopefully enabled us to get out the way quite quickly, allowing the audience to listen to the stories themselves.”

Fatherland opens at Manchester’s Royal Exchange Theatre on Saturday 1st July 2017 and runs through Saturday 22nd July 2017, as part of MIF17. The album is available from 30th June 2017 and available to pre-order now.

Commissioned and produced by Manchester International Festival, Frantic Assembly, the Royal Exchange Theatre, Lyric Hammersmith and LIFT. Supported by PRS for Music Foundation.

www.underworldlive.com       www.matthewherbert.com     www.mif.co.uk

Karl Hyde Studied fine art at Stourbridge & Cardiff and is a founder member of Underworld and the art collective Tomato. As half of Underworld, Hyde has spent the last 25 years recording and touring, while also exploring solo and collaborative projects with Brian Eno and others. He has exhibited art works internationally since 1978, published two books of street poetry ‘Mmm Skyscraper I love You’ & ‘In the Belly of St Paul’ (with John Warwicker) and his semi-autobiographical book ‘I am Dogboy’. Film and Theatre credits (as Underworld) include Beautiful Burnout (National Theatre of Scotland / Frantic Assembly), Frankenstein (National Theatre), Sunshine (dir Danny Boyle), Breaking & Entering (dir Anthony Minghella) and the London 2012 Olypmic Opening Ceremony. Underworld’s Grammy nominated “Barbara Barbara, we face a shining future” was released in 2016 to critical acclaim and saw the band performing headline slots at Glastonbury, Coachella and Summer Sonic.

In addition to Fatherland, at Manchester International Festival 2017, Hyde and Underworld partner Rick Smith present an installation piece ‘Manchester Street Poem’, a project that will spotlight the stories of those who find themselves homeless in the city, at UNFEAR (6th July to 14th July).
Matthew Herbert is a musician, artist and writer, whose range of work extends from albums such as bodily functions and ONE PIG to Ivor Novello-nominated film scores (Life in a Day) as well as music for Broadway, TV, games and radio. Herbert has remixed artists including Quincy Jones, Serge Gainsbourg and Ennio Morricone and worked with acts as diverse as Bjork and Dizzee Rascal. Herbert is most known for working with sound, turning ordinary ‘found sound’ into electronic music. His debut play as writer/director (The Hush) opened at the National Theatre in 2013, and his opera, The Crackle, opened at the Royal Opera House in 2014. Music for theatre includes People, Places and Things and Edgar and Annabel at the National; Machinal and Top Girls on Broadway; and Drunk Enough to Say I Love You at the Royal Court. Herbert is an artistic researcher at Canterbury Christ Church University and Director of the New BBC Radiophonic Workshop.

In addition to Fatherland, at Manchester International Festival 2017, Herbert will present an installation piece ‘Music for a Busy City’ at the Great Northern Warehouse (30th June to 16th July).

For more information about the release and Fatherland contact Robin Turner at Turner Hall.

#fatherland

Commissioned and produced by Manchester International Festival, Frantic Assembly, the Royal Exchange Theatre, Lyric Hammersmith and LIFT. Supported by PRS for Music Foundation.

Cast
Joseph Alessi              Alan
Luke Brown                 Martin
Bryan Dick                    Karl
Emun Elliott                Scott
Ankit Giri                       Samir
Nick Holder                  Mel
David Judge                 Daniel
Neil McCaul                  Graham
Tachia Newell              Craig
Luke Rigg                        Jack
Ferdy Roberts               Simon
Deka Walmsley            Stephen

Creative Team

Scott Graham              Co-Author & Director
Karl Hyde                      Co-Author & Composer
Simon Stephens        Co-Author & Writer
Jon Bausor                    Designer
Jon Clark                        Lighting Designer

Matthew Herbert      Co-Composer & Music Producer
Ian Dickinson               Sound Designer
for Autograph Sound
Beth Allen                       Vocal Coach
Eddie Kay                        Choreographer
Anne McNulty CDG   Casting Director
Nick Sidi                           Dramaturg

For the full festival programme, please visit www.mif.co.uk

LISTINGS

FATHERLAND
ROYAL EXCHANGE THEATRE

1 – 15 JULY, 7.30PM
MATINEES 6, 8, 9, 13, 15 JULY, 2.30PM
PRESS NIGHT 5 JULY

Continues at the Royal Exchange Theatre until 22 July
Captioned performance: 13 July
British Sign Language interpreted performance: 14 July
Audio-described performance: 15 July

Book tickets
mif.co.uk | 0843 208 1840
royalexchange.co.uk | 0161 833 9833

Tickets £16.50 – £39
£12 tickets for Greater Manchester residents on a lower wage

Fatherland will transfer to the Lyric Hammersmith, London in June 2018 as part of LIFT 2018, tickets will be on sale summer 2017.