Mental health in millenials is examined in new play at Lion and Unicorn Theatre

Breathe by Lucrezia Pollice
Breathe by Lucrezia Pollice

Breathe by Lucrezia Pollice

New play Breathe, after readings at the Young Vic and scratch night performances at the Bread and Roses, is staged in a full production at the Lion and Unicorn Theatre this February. The play tackles the thorny issue of mental health amongst millenials trying to make their way in life.

“ambitious (…) I look forward to see the (full production)” The Blog of Theatre Things

Breathe pans across the struggles of four housemates living in London trying to successfully accomplish their dreams. Personal secrets, fears and dreams emerge as their lives intertwine, revealing the importance of human connection and friendship in the face of anxiety and depression. Will they choose security or transform their fears into fuel to conquer their dreams?

Writer Lucrezia Pollice is a freelance theatre & film director and producer based in London. After training as an actor at the famous Italian drama school Paolo Grassi Academy and the RADA foundation course at CSVPA, Lucrezia graduated with a First Honours Degree from the Royal Central School of Speech and Drama, in Drama, Applied Theatre and Education – focusing her degree on Directing, Producing and Playwrighting. She recently produced and directed the critically acclaimed short documentary IDENTITY ,which premiered at the United Nations WTPFilm Festival at the BFI Southbank. She will soon be producing and directing a documentary short film for Westminster Council.

Producer Aretusa Campagnolo worked as an assistant producer for MDA Contemporary Dance Company and as an executive producer for RedWedge Srl, a film production company based in Rome. She moved to the UK to undertake a Master’s degree in Culture, Policy and Management at City University of London, where she graduated in October 2017. Prior to moving into assisting in producing Metal Rabbit Productions in  2017, she interned as a Company Administrator for circus company Gandini Juggling.

Lucrezia Pollice and Aretusa Campagnolo present:
February 1st 2018 –  February 2nd 2018, 7.30pm, The Lion and Unicorn Theatre
Press Night: February 1st 2018, 7.30pm

The Inheritance cast announced including Vanessa Redgrave, John Benjamin Hickey and Kyle Soller

The Inheritance
The Inheritance

The Inheritance

Young Vic has announced casting for The Inheritance, a major world premiere in two parts: 
Andrew Burnap (Toby)

John Benjamin Hickey (Henry)
Samuel H. Levine (Adam/Leo)
Kyle Soller (Eric)

With Hugo Bolton, Robert Boulter, Hubert Burton, Syrus Lower, Michael Marcus, Luke Thallon and Michael Walters.

Vanessa Redgrave plays the role of Margaret.

The Inheritance gives a panoramic view of gay life in New York City today, a generation after the height of the AIDS crisis.

Of those fears, that activism, the new communities and the new kinds of isolation, what has survived? And what does the experience of the plague years mean to the young, overflowing with life, looking for love?

Due to demand extra performances have been added.

This production is supported by Nattering Way LLC and Sonia Friedman Productions Ltd.

This new play in two parts by Matthew Lopez (The Whipping Man, The Newsroom, The Legend of Georgia Mcbride) is directed by Stephen Daldry (The Jungle, An Inspector Calls, Billy Elliot, The Hours and The Reader). Design is by Bob Crowley (An American in Paris, Skylight and Aladdin) with light by Jon Clark, sound by Paul Arditti and Chris Reid, UK casting by Julia Horan CDG and US casting by Jordan Thaler CSA & Heidi Griffiths CSA.

Justin Martin is Associate Director. The Jerwood Assistant Director is Sadie Spencer. This role is supported through the Jerwood Assistant Director Program at the Young Vic.

The Inheritance 

by Matthew Lopez
direction Stephen Daldry

Main House 

Friday 2 March – Saturday 19 May 2018
Press Day Wednesday 28 March 2018

Casting Announced for The Brothers Size

Sope Dirisu
Sope Dirisu

Sope Dirisu

Academy Award winner Tarell Alvin McCraney was an unknown writer when The Brothers Size was first seen at the Young Vic in 2007. Today casting for the highly-anticipated revival from the Evening Standard Award-Winning writer is announced:

After playing Coriolanus at the Royal Shakespeare Company, Sope Dirisu plays eldest brother Ogun. Jonathan Ajayi plays younger brother Oshoosi, reunited with Ogun after a spell in prison. Both make their Young Vic debuts.

Finally, Anthony Welsh returns to the role of Elegba, Oshoosi’s ex-cell mate who tempts him back to his life of crime. Anthony originally performed this role during the 2008 revival of The Brothers Size at the Young Vic and UK tour in the same year.

Bijan Sheibani returns to direct this deeply moving fable following his hit production of The Barbershop Chronicles at the National Theatre.

The Brothers Size by Tarell Alvin McCraney is directed by Bijan Sheibani, designed by Patrick Burnier with live music and sound design by Manuel Pinheiro. A co-production with Actors Touring Company.

It runs from 19 January 2018 – 14 February 2018 in the Young Vic’s Main House.

There will be a Jerwood Assistant Director working with Bijan Sheibani The Brothers Size. The role is supported through the Jerwood Assistant Directors Program at the Young Vic.

Cast biographies can be found on the Young Vic blog here.


The Brothers Size

19 January 2018 – 14 February 2018
Main House, Young Vic, 66 The Cut, Waterloo, London SE1 8LZ
Press Night: Friday 26 January 2018, 7.00pm
Performances: Monday – Saturday at 7:30pm | Matinees on Wednesday & Saturday (except 20, 24, 27 January)
Access Performances
Captioned Performance: Thursday 8 February at 7.30pm
Audio Described Performance: Thursday 6 February at 7.30pm
Tickets: Previews 19 – 25 January £20, £10 | 27 January – 14 February £38, £29, £20, £10
Concessions available.
Box Office: | 020 7922 2922
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Playwright, Elinor Cook interview: “If the dudes are pitching great plays — then those of us who aren’t the white men need go in there and nail those commissions.”

Elinor Cook is not some no-frills interviewee. My time with the feisty young playwright involved her batting my base level questions politely, while occasionally pouring herself a glass of water.


Elinor Cook

Not having arrived today with any sort of agenda, we simply had a chat. She tells me that yesterday she had an ‘impromptu Mexican dinner’ with the Lady From The Sea cast and Kwame Kwei-Armah to celebrate his recent appointment as Artistic Director of the Young Vic. ‘FYI’ she had pan-seared tuna tacos and a beer… And a margarita. “Two drinks — Mexican appropriate,” she says, laughing.

Her new version of The Lady From The Sea, directed by Kwei-Armah opens at the Donmar tonight. Ibsen’s play encompasses those familiar Ibsen themes: obligation, accountability, the role of women and how the past impinges on the future. How has she found adapting such a classic text? “I’ve found it a complete joy,” says Cook. “I’ve loved it and I definitely want to do more of this sort of thing because there is something about having the map in place. It’s gone through a couple of permutations in terms of the setting of it. The first draft was all set contemporary, in time of the second draft we had a conversation and decided it would be more helpful to make it post-colonial and that mirroring Ellida’s own restless and need to be independent herself.”


The Lady From The Sea at The Donmar Warehouse

Cook is revelling the opportunity to work with the new Artistic Director of the Young Vic. “He has this ability to facilitate an incredibly open rehearsal room,” she says, smiling. “He’s able to make people trust him and each other. There’s a beautiful lightness and airiness with the work and with what is happening on stage and it’s all there because of his attention to detail. He’s really big on psychology and emotion and my God you can really see that. It’s just extraordinary. He’s incredibly generous and honest.”

Every Playwright has a unique approach to writing. Where does she work best? “I work in the library – I go to the Wellcome Collection Library, which I’d highly recommend as a place to work,” she says. “I try and do a full work day because I need the structure and just to have other people around. It’s nice to feel that you are part of something.”

We talk about the lack of female writers on our biggest stages. “You can’t ignore that conversation because everyone’s having it”, she shrugs when I suggest that the scenario is not exactly ideal. “It does anger me, but I’m reluctant to go: ‘The reason it’s taken me 10 years is because I am a woman.’ However, I am conscious of the fact that I am white, privileged and straight. I think it’s more about how you get into those rooms in the first place.”

Not, she hastens to add, that she’s had it easy. “As someone who’s had every opportunity, but struggled so much with confidence for a long time and that feeling that I didn’t know how to hold my own in the room the way my male counterparts did. I wrestled with the feeling that at any second I’d be chucked out because I had nothing of interest to say.”

How can we ensure a real shift toward gender equality? “It starts before the theatres are making those decisions,” she says.

“If the dudes are pitching great plays — then those of us who aren’t the white men need to make sure that we are enabled to go in there and nail those commissions. There are so many reasons why I would struggle to pitch something and if I find it hard then how hard would those who hadn’t had those privileges and opportunities to get on?”


Out of Love – Paines Plough

Does she feel obliged to write about politics, I ask. “The whole gesture of playwriting is political in itself,” she states. “With a play like Out of Love, I wanted to write something very human, getting to the complexity of the relationship between two women. I wanted to excavate something that I hoped would touch people on a human level. If you succeed with something like that then you are asking the audience for their imagination and empathy. In this increasingly fractured world, where the divisions are widening, if we are not able to imagine what it’s like to be in someone else’s shoes then we are kind of doomed.”

She continues: “A political play doesn’t have to be one set in the House of Commons, it can be perceived to be a smaller beast. My play Image of An Unknown Woman is my most overtly political play because it directly critiques a repressive regime and questions democracy. But I’d argue that Pilgrims or Out of Love, which are smaller in scale are political in a different way.”

Cook talks of the lucky opportunities that have come her way and in particular the pace at which she has progressed. “There’s something about being the age I am now and my career taking off that feels really right. I’m not sure I would have been prepared for the opportunities had I been younger… I was so crippled with a lack of self-confidence and self-consciousness… It was challenging.”

And now, following a storming debut at Edinburgh Fringe Festival, Out of Love is on tour as part of Paines Plough’s pop-up space, the Roundabout. The play is a comic exploration of female friendship spanning 30 years. What are the challenges of writing for such a unique performance space? “When you are writing for Roundabout the work has to have a universality to it – it has to have something that is going to resonate in Poole and in Stoke and in Darlington or Edinburgh,” she says. “There is something about that space; being in the round and with no props. It demands a particular kind of playwriting, it has to be very front-footed. It has to be very clear about what it is from very early on.”

She looks to Tamara Harvey, Amelia Sears and Charlotte Gwinner, particularly at the start of her career, for inspiration. “I’ve had really great relationships with directors. The first skill of a director if they read a draft and are able to help you as the writer really get to the nub of what you have to say.”

Today, she is honest about her commitments beyond The Lady From The Sea. “I’m at that glorious stage where I don’t know what the next project is,” she says, with a glint in her eye.

“I am looking forward to being able to see where my brain takes me and where the world takes me. I’d love to do more adapting and having written two very intimate plays with Pilgrims and Out Of Love, I’d love to go back to a bigger Image Of An Unknown Young Woman size cast and with international heft. But what that actually is I don’t know and that’s really exciting!”

The Lady From The Sea is at the Donmar, London, until 2 December. Box office: 0844 871 7624.

Out Of Love is currently on a UK Tour as part of Paines Plough’s pop-up theatre Roundabout.

Kwame Kwei-Armah announced as the new Artistic Director of Young Vic Theatre

Kwame Kwei-Armah

Kwame Kwei-Armah

The Young Vic has announced that Kwame Kwei-Armah will become the new Artistic Director in February 2018.

Kwame Kwei-Armah is an award-winning director and playwright and the outgoing Artistic Director of Baltimore Center Stage where he directed extensively. Directing credits also include New York’s Public Theater, Signature Theatre, Oregon Shakespeare Festival, the Baltimore Symphony Orchestra and Birmingham Repertory Theatre. His production of One Night in Miami at the Donmar Warehouse was nominated for an Olivier Award for Best New Play.

His works as playwright include One Love (Birmingham Rep), Marley, Beneatha’s Place (Baltimore Center Stage), Elmina’s Kitchen, Fix Up, Statement of Regret (National Theatre) and Let There Be Love and Seize the Day (Tricycle Theatre). Kwame was the Chancellor of the University of the Arts London from 2010-15, and in 2012 was awarded an OBE for Services to Drama.

Kwame will succeed David Lan further to the announcement that he would be stepping down in 2018 after 18 years in the role. Kwame will announce his first season of work as Artistic Director in the new year.

Kwame Kwei-Armah says: “To walk into the Young Vic is to come face to face with everything I love about theatre, so I am beyond humbled, if not a little scared. But to lead this magnificent theatre at this time in our nation’s history, after such a visionary as David, excites me beyond words. I can’t wait to get started.”

Patrick McKenna, Chair of the Board, says: “After meeting Kwame the panel was unanimous in its decision to appoint him as the next leader for this remarkable institution. Kwame’s wealth of experience directing, writing and working with the local community in Baltimore and beyond will translate beautifully to his new role leading the work on the Young Vic’s three stages as well as its pioneering outreach and education work in London.”

David Lan, outgoing Artistic Director, says: “The choice the panel has made is inspired. I welcome it wholeheartedly and will do whatever I can to support Kwame in the early days as he finds his own distinctive way to keep the Young Vic one of the great producing theatres of this country and the world.”

More about Kwame Kwei-Armah

Kwame Kwei-Armah, born in 1967, is the outgoing Artistic Director of Baltimore Center Stage where he has directed: Jazz, Marley, One Night in Miami, Amadeus, Dance of the holy ghosts, The Mountaintop; An Enemy of the People, The Whipping Man and Things of Dry Hours. Other work as a director includes: Twelve Night, Comedy of Errors, Much Ado About Nothing, Detroit’67 (Public Theatre, New York), The Liquid Plain (Signature Theatre, New York and Oregon Shakespeare Festival), Porgy and Bess (Baltimore Symphony Orchestra) the Olivier Nominated One night in Miami for Best New Play 2016 (Donmar Warehouse) and One Love (Birmingham Repertory Theatre).

As a playwright his credits include One Love (Birmingham Repertory Theatre), Beneatha’s Place (Baltimore Center Stage) Elmina’s Kitchen, Fix Up, Statement of Regret (National Theatre) Let There Be Love and Seize the Day(Tricycle Theatre).

Kwame was Artistic Director for the Festival of Black arts and Culture, Senegal, in 2010. He conceived and directed the opening ceremony at Senghor National stadium. He is an Associate Director of the Donmar Warehouse and has served on the boards of the National Theatre, Tricycle Theatre, and Theatre Communications Group. Kwame was the Chancellor of the University of the Arts London from 2010 to 2015, and in 2012 was awarded an OBE for Services to Drama.

In 2012, 2013 and 2014 Kwame was named Best Director in City Paper’s Best of Baltimore Awards and in 2015 was nominated for the prestigious Stage Directors and Choreographers Zelda Fichandler Award for Best Regional Artistic Director. In 2016 he was awarded the Urban Visionary Award alongside House Representative Elijah Cummings by the Center for Urban Families for his work in the Baltimore community.

NTLive broadcast for Cat On A Hot Tin Roof


CAT ON A HOT TIN ROOF © Johan Persson

The Young Vic’s highly praised West End production of Cat On A Hot Tin Roof, currently playing to capacity each night at the Apollo Theatre, will be broadcast to cinemas around the world on 22 February 2018 marking the fourth collaboration between the Young Vic and National Theatre Live.  Tickets will be released for sale on Monday 25 September 2017.  The National Theatre’s ground-breaking project broadcasts plays live from the stage to over 700 cinemas in the UK and over 60 countries internationally.Cat On a Hot Tin Roof concludes its 12 week limited West End run on 7 October 2017.

The cast includes Sienna Miller (Maggie), Jack O’Connell (Brick), Colm Meaney (Big Daddy), Lisa Palfrey (Big Mama), Hayley Squires (Mae), Brian Gleeson (Gooper), Richard Hansel (Doctor) andMichael J. Shannon (Reverend).  Directed by Benedict Andrews, this twelve-week limited run at the Apollo Theatre, which had its official opening night on 24 July, has its final performance on 7 October 2017.  Set designs are by Magda Willi with costumes by Alice Babidge, lighting by Jon Clark, music byJed Kurzel and sound design by Gareth Fry.

The truth hurts. On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday.  The scorching heat is almost as oppressive as the lies they tell.  Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?

For this production there are seats at £10 for under 25s for each performance booked through the Young Vic Box Office.  Cat On A Hot Tin Roof is the Young Vic’s first production to debut in the West End and is presented by the Young Vic and The Young Ones.

Details of all NTLive screenings can be found at

Launched in 2009, National Theatre Live broadcasts have been seen by an audience of over 7 million people at 2500 venues in 60 countries. The first season began in June 2009 with the acclaimed production of Phédre starring Oscar winner Helen Mirren. Recent broadcasts include Angels in America with Andrew Garfield, Who’s Afraid of Virginia Woolf? with Imelda Staunton and Conleth Hill, Rosentcrantz and Guildenstern Are Dead with Daniel Radcliffe, Hedda Gabler with Ruth Wilson and Sir Ian McKellen and Sir Patrick Stewart in No Man’s Land, Sky Arts is the UK sponsor for National Theatre Live.


Theatre:                  Apollo Theatre, 31 Shaftesbury Avenue, London W1D 7ES

Box Office:              Apollo 0330 333 4809, Young Vic 020 7922 2922


New Season Announced for 2017/18 at The Young Vic

The Jungle
The Jungle

The Jungle

  • The world premiere of The Jungle by Joe Murphy and Joe Robertson, directed by Stephen Daldry and Justin Martin designed by Miriam Buether – a Young Vic and National Theatre co-production
  • A revival of The Brothers Size by Tarell Alvin McCraney (Academy Award Winner for Moonlight) directed by Bijan Sheibani – a Young Vic and Actors Touring Company production
  • The world premiere of The Inheritance, a new play in two parts by Matthew Lopez, directed by Stephen Daldry, designed by Bob Crowley
  • The UK premiere of the five Tony Award-winning Broadway musical Fun Home, by Jeanine Tesori and Lisa Kron, directed by Sam Gold
  • JMK Award 2017 winner Josh Roche directs My Name is Rachel Corrie
  • Alongside the previously announced:
    • Billie Piper reprises her award-winning role in Simon Stone’s new version of Yerma
    • Sienna Miller and Jack O’Connell lead the cast as Maggie and Brick in the Young Vic production of Cat on a Hot Tin Roof at the Apollo Theatre
    • Juliet Stevenson reunites with director Natalie Abrahami in Arthur Kopit’s Wings  
    • Ramin Gray and David Grieg’s acclaimed production The Suppliant Women
    • Nina: ‘a story about me and Nina Simone’ with Josette Bushell-Mingo
    • Edinburgh Festival hit How To Win Against History by Seiriol Davies
    • Genesis Future Directors Award 2017 winner Nancy Medina directs Yellowman by Dael Orlandersmith

    • Artistic Director David Lan on today’s announcement:

      Putting a season together is always a mixture of chance and intention.   

      My intention is always that the voices you hear at the Young Vic will be the most urgent, the most in need of being heard. Chance is that I happen to be in the right place at the right time to hear them.

      Patterns emerge: in all the shows in this new season you’ll hear voices from the edge – refugees, the black working class, young gay women, young gay men – engaged voices raised in protest and in discovery.

      The Jungle by Joe Murphy and Joe Robertson, the founders of Good Chance Theatre, tells the story of the refugee camp at Calais. It centres on the meeting of the Afghans, the Kurds, the Somalis, the Syrians with the UK volunteers, younger and older, who arrived in Calais to offer help. Directed by Stephen Daldry and Justin Martin, it’s a dark story told in a disarmingly light style. With Miriam Buether transforming our theatre into an Afghan Café, we are delighted to co-produce this with the National Theatre as part of our Horizons series of shows putting the experience of refugees at the forefront.

      The first anyone in the UK heard of the now celebrated Tarell Alvin McCraney was our production of his first play The Brothers Size. An instant classic, winner of the Evening Standard Most Promising Playwright Award, we toured it to enormous success. A decade later, we’re reviving it for a new generation, this time in our Main House. As before, it’s a co-production with the Actors Touring Company, directed by Bijan Sheibani.

      The Inheritance is a major new work by an exceptional young writer. Set in present-day New York City, two decades after the worst of the AIDS epidemic, it asks: ‘What do gay men hand down from one generation to the next? What do we learn from our past? How do we heal? How do we change?’ Hilarious and profound, in two parts presented over two evenings, it’s directed by Stephen Daldry and designed by Bob Crowley.

      It was always obvious that the Young Vic is the natural London home for the phenomenon that is Fun Home. After five Tony Awards and a Broadway run, we’re delighted to welcome Jeanine Tesori and Lisa Kron’s ground-breaking and immensely enjoyable musical adaptation of Alison Bechdel’s graphic novel about growing up gay in a close complicated family. Sam Gold directs a UK cast. 

      My Name is Rachel Corrie was edited by Alan Rickman and Katharine Viner from Rachel Corrie’s diaries. This now famous account of one young woman’s opposition to the plight of the Palestinians is, sadly, as topical as ever. It’s directed by this year’s JMK Award winner Josh Roche.”

      Tickets for the 2017/2018 season go on sale to Friends of the Young Vic on Friday 14 July at 10am. Public booking opens on Friday 21 July at 10am. Become a friend from £35 by calling the Box Office: 0207 922 2922, 



    Casting announced for Benedict Andrews’ Young Vic Production of Tennessee Williams’ Cat On A Hot Tin Roof

    Colm Meaney will join Sienna Miller and Jack O’Connell in Benedict Andrews’ Young Vic production of Cat On A Hot Tin Roof

    Colm Meaney

    Colm Meaney © Andrew H. Walker

    Colm Meaney will join the previously announced Sienna Miller and Jack O’Connell to play Big Daddy in the Young Vic production of Cat On A Hot Tin Roof directed by Benedict Andrews.  The twelve-week run in the West End at the Apollo Theatre begins previews on 13 July 2017 with press night on 24 July. The last performance is 7 October 2017.  Set designs are by Magda Willi with costume designs by Alice Babidge, lighting by Jon Clark and sound design by Gareth Fry.  Final casting will be announced at a later date.

    The truth hurts. On a steamy night in Mississippi, a Southern family gather at their cotton plantation to celebrate Big Daddy’s birthday.  The scorching heat is almost as oppressive as the lies they tell.  Brick and Maggie dance round the secrets and sexual tensions that threaten to destroy their marriage. With the future of the family at stake, which version of the truth is real – and which will win out?

    For this Young Vic production, there are seats available at £10 for under 25s for each performance booked through the Young Vic Box Office.  Cat On A Hot Tin Roof is the Young Vic’s first production to debut in the West End and is presented by the Young Vic and The Young Ones.  Previously the Young Vic have transferred A View from a Bridge, Golem, Romeo and Juliet, The Scottsboro Boys, Simply Heavenly, Tintin and A Doll’s House.

    Colm Meaney (Big Daddy) was last on stage in London alongside Kevin Spacey in Moon for the Misbegotten at the Old Vic, with the production subsequently transferring to Broadway. His other theatre credits includeBreaking the Code, The Cider House Rules and Juno and the Paycock.  Earlier this year, Meaney won the Irish Film and Television Award for Best Actor in a Lead Role in Film for his portrayal of Martin McGuinness in The Journey, opposite Timothy Spall.  His additional film credits include all three adaptations of Roddy Doyle’s The Barrytown Trilogy (The Commitments, The Snapper and The Van)Die Hard 2Dick TracyThe Last of the MohicansFar and AwayCon AirLayer CakeThe Damned United and Halal Daddy, to be released this summer.  He has also appeared in Alan Partridge: Alpha Papa with Steve Coogan, as well as the comedy-drama One Chance, the story of Britain’s Got Talent winner Paul Potts. Meaney voiced the role of the ‘Miles Standish’ in Free Birds and ‘Grandpa’ in Norm of the North. He is best known on television for his long-running role as ‘Chief Miles O’Brien’ in the hit series Star Trek: The Next Generation and Star Trek: Deep Space Nine.  Meaney also starred in AMC’s western series Hell on Wheels and will next be seen in TNT’s new period drama Will in the role of James Burbage.

    Sienna Miller (Maggie) trained at the Lee Strasberg Institute in New York.  She was last on stage in the West End as Patricia in Flare Path at the Haymarket Theatre and was previously seen at Wyndham’s Theatre as Celia in As You Like It.  Her New York theatre credits include After Miss Julie, Cabaret, Independence and Cigarettes and Chocolate.  Her many film credits include Live by Night, Mississippi Grind, Layer Cake, Alfie, Casanova, Factory Girl, American Sniper, Foxcatcher, The Edge of Love, G.I. JoeYellow and the forthcoming The Lost City of Z.  On television her credits include The Girl, Bedtime and Keen Eddie.

    Jack O’Connell (Brick) was last seen on stage in The Nap at Sheffield Crucible Theatre.  His other theatre credits include Scarborough for the Royal Court and The Spiderman, The Musicians and Just for NT Shell Connections.  His film work has garnered him multiple awards, including the 2015 EE BAFTA Rising Star Award, the New Hollywood Award and the Chopard Trophy Award at the Cannes Film Festival.  Most recently, his project Home won the BAFTA for British Short Film in 2017.  His other film credits include Money Monster, 300: Rise of an Empire, Unbroken, ’71, Starred Up, Liability, Private Peaceful, Tower Block, Weekender, Wayfaring Stranger, Eden Lake and Black Dog.  O’Connell will next be seen on screen in Tulip Fever, The Man with the Iron Heart as well as starring in the Netflix TV series Godless.  His television credits include Skins, United, The Runaway, This is England, Dive and Wuthering Heights.

    Tennessee Williams’ Pulitzer prize winning play received its world premiere in 1955 on Broadway with Barbara Bel Geddes and Ben Gazzara as Maggie and Brick.  The UK premiere, directed by Peter Hall, opened at the Comedy Theatre in 1958 with Kim Stanley and Paul Massie.  The 1958 Academy Award nominated film starred Elizabeth Taylor and Paul Newman.

    For the Young Vic, Benedict Andrews has previously directed his own version of Three Sisters, which won the London Critics’ Circle Best Director Award, and A Streetcar Named Desire, with Gillian Anderson and Ben Foster, which transferred to New York in 2016.  His first production for the Young Vic was Monteverdi’s The Return of Ulysses, a co-production with ENO – where he has also directed La Boheme and Detlev Glanert’s Caligula.  His many directing credits for Sydney Theatre Company include The Maids with Cate Blanchett and Isabelle Huppert, which toured to the Lincoln Centre Festival in New York; and Big and Small which came to the Barbican, also starring Cate Blanchett.  Andrews has also worked extensively at the Schaubühne Berlin, Komische Oper, National Theatre Iceland and Belvoir Street Sydney.  His first feature film, Una, starring Rooney Mara and Ben Mendelsohn, premiered at last year’s Telluride Film Festival and will be released in September.

    The Young Vic produces new plays, classics, forgotten works, musicals and opera. It co-produces and tours widely in the UK and internationally while keeping deep roots in its neighbourhood.  It frequently transfers shows to London’s West End and invites local people to take part at its home in Waterloo. In 2016 the Young Vic became London’s first Theatre of Sanctuary. Recent productions include Simon Stone’s multi award-winning new version of Lorca’s Yerma which returns to the Young Vic with Billie Piper reprising her performance in July, the premiere of Charlene James’ multi-award-winning play Cuttin’ It and Ivo van Hove’s multi award-winning production of Arthur Miller’s A View from the Bridge (West End & Broadway transfers), as well as Horizons, a season of work exploring the lives of refugees.  David Lan is Artistic Director, Lucy Woollatt is Executive Director.

    The Chemical Brothers’ Tom Rowlands to compose original music for Life of Galileo

    Life of Galileo

    Life of Galileo

    The Chemical Brothers’ Tom Rowlands reunites with director Joe Wright to compose original music for Life of Galileo at the Young Vic
    Run extended through to Saturday July 1 2017  

    BAFTA winner Joe Wright’s production of Brecht’s masterwork Life of Galileo will be accompanied by an original score composed by Tom Rowlands, founding member of the English electronic music duo The Chemical Brothers. Joe and Tom first collaborated on the 2011 feature film, Hanna.Quote from Tom Rowlands:
    When Joe approached me with the idea I was excited at the thought of doing something totally new. I was also happy to rekindle my creative collaboration with Joe as he always makes something inspiring and stimulating.”

    Galileo uses the newly invented telescope to make ground-breaking discoveries about the planets that set him on a collision course with authority. In challenging the idea that the earth is the centre of the universe, he is challenging the all-powerful Roman Catholic Church. Brecht’s timeless play about the conflict between science and dogma is more topical today than ever before.

    Performed in-the-round, Life of Galileo will transform Young Vic’s Main House with design by Lizzie Clachan and projections by 59 Productions. The full cast is: Ayesha Antoine, Jason Barnett, Brendan Cowell, Billy Howle, Paul Hunter, Joshua James, Bettrys Jones, Alex Murdoch, Brian Pettifer, Anjana Vasan and Sarah Wright.Extra performances have been added to Life of Galileo with the run extending through to Saturday July 1.

    Tom Rowlands is perhaps best known as one half of The Chemical Brothers, an electronic music duo formed with Ed Simons in 1992 and described by NME as “one of the most important groups in dance history”. Some of their biggest hit singles include: Hey Boy Hey Girl, Galvanize, Setting Sun, Go and Block Rockin’ Beats. To date, they have released eight studio albums, won four Grammy Awards, had six UK Number One albums and sold-out some of the world’s largest arenas. In addition to writing the soundtrack to Hanna, which won a Los Angeles Film Critics Association Award for Best Music Score in 2011, The Chemical Brothers’ work is also featured on Darren Aronofsky’s Black Swan.

    Bertolt Brecht was born in 1889 in Augsburg, Germany. He grew to maturity as a playwright in the twenties and early thirties and wrote such plays as Man Equals Man, The Threepenny Opera and The Mother. He left Germany when Hitler came to power in 1933, eventually reaching the United States in 1941, where he remained until 1947. During this period of exile, he wrote Life of Galileo, Mother Courage and Her Children and The Caucasian Chalk Circle. Shortly after his return to Europe in 1947, he founded the Berliner Ensemble and produced his own plays there until his death in 1956.

    Brendan Cowell’s theatre credits include: Yerma (Young Vic); The Wild Duck (Barbican, UK tour, Vienna and Amsterdam tour); Once in Royal David’s City, Miss Julie (Belvoir, Sydney); The Dark Room (nominated for Best Actor at the Sydney Theatre Awards, Company B); True West, Dissident, Goes Without Saying (Sydney Theatre Company) and MEN (Old Fitzroy). His film credits include Last Cab to Darwin, Broke, Beneath Hill 60 (nominated for Best Actor in a Feature Film, Australian Film Institute Awards); Noise (winner of Best Actor in a Feature Film, Film Critics’ Circle Awards). His television credits include: Brock, The Let Down, The Outlaw Michael Howe (also written and directed); The Borgias (Series 3) and Love My Way (nominated for Outstanding Performance by an Actor, ASTRA Awards, Most Popular TV Actor, Silver Logie Awards and Outstanding Actor in a Drama Series, TV Week Awards as well as contributing several episodes over three series). Credits as a writer (UK) include: Happy New (Trafalgar Studios), Rabbit (Frantic Assembly UK tour), The Slap (nominated for a BAFTA and Emmy Award).

    The Jerwood Assistant Director working with Joe Wright on Life of Galileo is Taio Lawson. The role is supported by Jerwood Charitable Foundation through the Jerwood Assistant Directors Program at the Young Vic.

    Life of Galileo by Bertolt Brecht, translated by John Willett and directed by Joe Wright runs 6 May – 1 July 2017 in the Young Vic’s Main House. Music is by Tom Rowlands, design by Lizzie Clachan with projections by 59 Productions, light by Jon Clark, sound by Tom Gibbons, puppet direction by Sarah Wright and movement by Javier de Frutos. Casting is by Julia Horan CDG.

    Life of Galileo
    Saturday 6 May – Saturday 1 July 2017
    Main House, Young Vic, 66 The Cut, Waterloo, London, SE1 8LZ
    Press Night: Tuesday 16 May 2017, 7.00pm
    Performances: Monday – Saturday at 7.30pm | Matinees on Wednesdays and Saturdays at 2.30pm (except 6, 10, 13, 17 May and 1 July)
    Access Performances
    Captioned Performance: Tuesday 20 June at 7.30pm
    Audio Described Performance: Wednesday 7 June at 2.30pm
    Tickets: Previews 6 – 15 May £20, £10 | 17 May – 24 June £38, £29, £20, £10.
    Concessions available.
    Box Office: | 020 7922 2922