Normal People’s Paul Mescal, just nominated for an Oscar and BAFTA for his role in the film Aftersun, Olivier Award Winning Patsy Ferran, We are Lady Parts’ Anjana Vasan and Our Girl’s Dawn Walcott will all reprise their roles in the West End transfer

‘A Streetcar Named Desire’

Paul Mescal, just nominated for an Oscar and a BAFTA for his leading role in the film Aftersun, and best known for his BAFTA winning role in Normal People, Olivier Award winner Patsy Ferran (Summer & Smoke), Anjana Vasan (We Are Lady Parts) and Dwane Walcott (One Night in Miami, Our Girl) will continue in the roles of Stanley, Blanche, Stella and Harold ‘Mitch’ Mitchell respectively, in the transfer of the Almeida Theatre’s critically acclaimed, hot ticket & sell-out production of A Streetcar Named Desire. Directed by Rebecca Frecknall (Cabaret, Summer & Smoke), the production will run for a strictly limited 6-week run, at the Phoenix Theatre, from 20 March to 29 April 2023.

★★★★★

The Times, The Sunday Times, The Observer, The i

“How pretty the sky is! I ought to go there on a rocket that never comes down.”

On a street in New Orleans, in the blistering summer heat, a sister spirals.

When Blanche unexpectedly visits her estranged sister Stella, she brings with her a past that will threaten their future. As Stella’s husband Stanley stalks closer to the truth, Blanche’s fragile world begins to fracture. Reality and illusion collide and a violent conflict changes their lives forever.

Almeida Associate Director Rebecca Frecknall’s “heart-stopping” (The Telegraph)revival of Tennessee Williams’ masterpiece transfers to the West End for a limited six week run. 

Patsy Ferran (“astonishingly good” Time Out) returns as Blanche DuBois, with Paul Mescal (“tremendous” The Times)as Stanley, and Anjana Vasan (“outstanding” New York Times) as Stella in this “mesmerising” (The i) production.

Paul Mescal said “I’m incredibly excited that Streetcar is being transferred to the West End with this formidable cast and creative team, led by the exceptionally talented Rebecca Frecknall. It’s my favourite play and it’s wonderful to be able to share it with a wider audience”.

This is the first production Rebecca has directed following the multi-award-winning production of Cabaret, for which she won the Olivier Award and Critics’ Circle Theatre Award for Best Director (the production won seven Olivier Awards in total).

Rebecca Frecknall, Director, said “I’m thrilled we will have the opportunity to share this production with a wider audience. It’s a testament to this fantastic company and incredible play. It’s been moving to see how audiences have responded to our work and I’m excited to see how the piece will evolve in the West End.”

A Streetcar Named Desire’s creative team is as follows: Director: Rebecca Frecknall; Set Designer: Madeleine Girling; Costume Designer: Merle Hensel; Lighting Designer: Lee Curran; Sound Designer: Peter Rice: Composer: Angus MacRae and Casting Director: Julia Horan CDG.

A Streetcar Named Desire is produced by Ambassador Theatre Group Productions the Almeida TheatreWessex Grove and Gavin Kalin productions.

West End performers & stage management demand 17% pay rise

Stand Up for 17%
  • Equity’s Stand Up For 17% campaign launches tomorrow, focusing on West End performers and stage management’s demand for a 17% pay rise.
  • Working in the West End is meant to represent the pinnacle of a live performance career in the UK, yet inadequate pay and difficult working hours mean many are struggling with both their finances and their work-life balance.
  • Two thirds of West End members have considered leaving the industry.
  • 45% of West End members have a second job, with almost half who say they do reporting that this is because their West End pay doesn’t cover their living expenses.

Tomorrow (Friday 20 January), Equity – the performing arts and entertainment trade union – launch their ‘Stand Up For 17%’ campaign.

The campaign focuses on Equity members’ demand that West End theatre bosses raise the minimum weekly pay for performers and stage management by 17% – with social media activity (#StandUpFor17) going live in the morning, followed by members putting up campaign posters in their greenrooms across central London in the afternoon.

Equity can reveal that two thirds (61%) of West End members have considered leaving the industry due to terms, conditions and/or pay in the last three years (surveys detailed below*) – running the serious risk of a talent drain to the UK’s renowned live entertainment sector, especially when more money can be earnt in TV and film.

Meanwhile 45% of West End members have a second job, with almost half who say they do (48%) reporting that this is because their West End pay doesn’t cover their living expenses**.

Anthony, a performer in aWest End musical, says: “I’ve been performing in the West End for just over six years now, but when Covid hit I couldn’t work and fell into debt. I took on two part-time sales jobs which I still have to do today alongside my West End work, as the one performing job alone just doesn’t pay enough to cover the cost of living in London and my outgoings. At the moment I work seven days a week non-stop and struggle to find a work-life balance, so am now at a crossroads where I’m thinking if I left the show – gave up on my dream job – and upped my hours on the other jobs that aren’t really my passion, I could earn more money and live more comfortably.”

The minimums are not enough

Working in a West End play or musical is meant to represent the pinnacle of a live performance career in the UK, with years of training needed to gain the required skills – not to mention talent and, in the case of performers, a daily dedication to maintaining performance abilities and physical fitness. Yet inadequate pay and difficult working hours mean many are struggling with their finances and work-life balance.

Ella, stage management in a West End theatre, says: “Because the property I live in with my partner has mould, we’ve both been sick and need to move out. But as we’re both self-employed and work in the performing arts, our combined salary doesn’t pass the affordability check threshold and we’ve not found a landlord that will have us. We also struggle to keep our electricity meter topped up during the winter not only because energy bills have gone up, but also because we both work unsociable hours and sometimes don’t have a chance to get to the shop.”  

What’s more, an Equity survey has shown that rather than the union minimum wages being the lowest threshold for pay, more than half of West End performers and stage management are being paid at these minimums (more details below***). The union’s research shows that the public perception of the West End as a glamourous place where high pay is the norm just isn’t true, with existing pay and conditions presenting huge challenges to talent retention and diversity in the industry.

For example, the minimum for a performer working in a Category C theatre (up to 799 seats, the smallest tier of West End theatres) is currently £629.41 a week (full minimum rates listed below). While that adds up to £2,517.64 a month, once tax (roughly 20%), agent fees (12%) and pension payments (3%) are applied, that leaves these performers with roughly £1,636.46 a month to spend on renting in London, bills, commuting, food, dependents and other living costs.

Crucially, West End show contracts are not permanent, usually lasting between a few months to a year. Yet when performers and stage management can barely cover their day-to-day expenses, they are unable to save to cover the out-of-work periods that are inevitable in a gig-economy industry – let alone save for a family, a house or their retirement.

With the average rent of a room in the capital reported to be £935 per month alongside the rising cost of living and energy bills, this puts many in the West End in a precarious position and forced to live in house shares even as they get older.

Fodhla, stage management in a West End theatre: “I’m currently planning how to leave stage management, the job I love and have done for a decade, because I want to have kids in a year or two and don’t see it being possible if I’m working in live theatre. The hours are relentless and you don’t earn enough money to be able to afford childcare, let alone shoes and books. I’ve worked so hard – I’m really proud of myself and my skills I’ve built up. But if this is the height of my career already, then that’s not sustainable.”

#StandUpFor17

The Stand Up For 17% campaign coincides with the submission of Equity’s West End claim to the Society of London Theatre (SOLT, representing producers and engagers in the West End). Equity and SOLT will negotiate the terms of the collective West End Agreement that sets out the minimum pay, terms and conditions for all performers and stage management working in West End theatres.

The claim asks for a new agreement that will run for two years from April 2023 until April 2025. The changes Equity are seeking to the West End Agreement include the below, and more (get in touch if you would like to view the full claim):

  • A real terms pay increase in minimum rates of pay for Year 1 (April 2023-24) of 17%, and Year 2 (April 2024-25) of a further 10% or RPI if higher.
  • A five-day rehearsal week from Monday to Friday (apart from tech week). Currently, 6-day rehearsal and performance weeks are the norm.
  • An increase to holiday entitlement on the basis that Equity members work a 6-day week for the performance period and the current entitlement is calculated assuming a 5-day work week. This would see a rise from 28 days of holiday pay per year to 34.
  • Increases to fees to remunerate covers (understudies, swings and stage management who step into roles due to absences) for their important work. As highlighted since the Covid-19 pandemic, they have meant the difference between a show going on and producers losing thousands of pounds. Currently, an understudy who must learn their own role as well as that of a lead, only receives £35 a week on top of the normal performance fee. A swing, who must learn multiple ensemble roles – sometimes numbering more than 10 – receives £90 more a week. Equity is seeking significant increases to cover fees in recognition of the extra workload required.

Amy, a swing performer in a West End musical: “I don’t feel like swings get paid enough for the extra work we do – it’s hard to find people who are able to cope with high amounts of stress and perform well, or be able to adapt really quickly on stage. And it’s so much extra revision – I’ve mapped the entire show so I know where everything is at every given moment, and when I’m at home I’m constantly listening to different tracks as well to learn harmonies. I’ve also performed abroad and working in the West End is the worst paid in comparison because the cost of living is so high.”

Paul W Fleming, Equity General Secretary, says: “Coming out of COVID, our industry was determined to ‘build back better’, and Equity’s West End campaign on work, rest and pay is the start of making that aspiration a reality. At a time of high inflation, our members have decided to Stand Up For 17% – a sensible rise in the minimum when rents, energy, and other costs have continued to rocket for over a year. We’re looking forward to sitting down with the producers in the coming months to find a roadmap to implement our reasonable aspirations. Theatre is about people, particularly its talented and skilled workforce – and we need real focus on ensuring performers and stage management are fairly paid, and achieve a proper work-life balance.”

Hannah Plant, Equity West End Official, says: “As Equity’s West End Official I meet working members every week on big shows whose experiences of struggle and hardship don’t tally with rising ticket prices. We need greater financial transparency from producers to ensure that profits aren’t being funnelled off to line the pockets of the rich at the expense of our members. It’s high time West End workers are paid what they deserve given their hard work, expertise and the revenue they generate.”

Harry Potter and the Cursed Child Breaks House Record Grossing $2,671,191 Last Week

Harry Potter and The Cursed Child

The Broadway production of Harry Potter and the Cursed Child has once again broken the house record at the Lyric Theatre, grossing $2,671,191 for the 8-performance week ending January 1, 2023. This is the highest weekly gross for a play in Broadway history, a record the production first set with a gross of $2,525,850 for the week ending December 30, 2018.

In March of 2020, Harry Potter and the Cursed Child had the distinction of being named the Guinness World Record holder for highest-grossing non-musical play in Broadway history, now having grossed over $250 million since opening in 2018.

The Broadway cast includes Steve Haggard as Harry Potter, with Angela Reed as Ginny Potter and Joel Meyers as their son Albus Potter. David Abeles and Rachel Leslie play Ron Weasley and Hermione Granger and Maya Thomas plays their daughter Rose Granger-Weasley. Aaron Bartz plays Draco Malfoy and Erik Peterson plays his son Scorpius Malfoy. Imani Jade Powers plays Delphi Diggory. Jenny Jules returns to the role of Hermione Granger on January 17, 2023.

They are joined by Chadd Alexander, John Alix, Kevin Rico Angulo, Chelsey Arce, Quinn Blades, Ebony Blake, Darby Breedlove, Ted Deasy, Jamyl Dobson, Irving Dyson Jr., Kira Fath, Gary-Kayi Fletcher, Eleasha Gamble, Logan James Hall, Abbi Hawk, Chance Marshaun Hill, Edward James Hyland, Nick Hyland, Jax Jackson, Jack Koenig, Spencer LaRue, Samaria Nixon-Fleming, Erik Evan Olson, Alexandra Peter, Dan Piering, William Rhem Jr., Kiaya Scott, Stephen Spinella, Tom Stephens, Karen Janes Woditsch and Brittany Zeinstra.

Harry Potter and the Cursed Child, the first Harry Potter story to be presented on stage, has sold over 5 million tickets worldwide and holds a record 60 major honors, with nine Laurence Olivier Awards including Best New Play and six Tony Awards including Best New Play.

Based on an original new story by J.K. RowlingJack Thorne and John TiffanyHarry Potter and the Cursed Child is a play by Jack Thorne, directed by John Tiffany.  

Harry Potter and the Cursed Child features movement by Steven Hoggett, set by Christine Jones, costumes by Katrina Lindsay, music & arrangements by Imogen Heap, lighting by Neil Austin, sound by Gareth Fry, illusions & magic by Jamie Harrison, music supervision & arrangements by Martin Lowe. US Casting by Jim Carnahan, CSA.  

Harry Potter and the Cursed Child is produced by Sonia Friedman Productions, Colin Callender and Harry Potter Theatrical Productions.

Harry Potter and the Cursed Child is one of the most defining pop culture events of the decade” (Forbes).

Adventure runs in the family. When Harry Potter’s head-strong son Albus befriends the son of his fiercest rival, Draco Malfoy, it sparks an unbelievable new journey for them all—with the power to change the past and future forever. Prepare for a mind-blowing race through time, spectacular spells, and an epic battle, all brought to life with the most astonishing theatrical magic ever seen on stage. “You’ll be wondering ‘how’d they do that?’ for days to come” (People Magazine).

Experience the wizarding world like never before from the moment you arrive. The entire theatre has been transformed with hidden surprises to discover around every corner. “It’s a marvel of imagination, as magical as any spell or potion” (The New York Times).

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Standing at the Sky’s Edge Cast Recording Released January 2023

Chris Bush and Richard Hawley’s magnificent across-the-decades musical Standing at the Sky’s Edge Official Cast Recording – recorded live – will be released on digital platforms and CD on 27 January 2023. Now you know.


The award winning musical – set in Park Hill, Sheffield is running at Crucible Theatre until 21 January 2023.

Winner of the Best Musical Production at the UK Theatre Awards and the 2020 South Bank Sky Arts Award for Theatre, Standing at the Sky’s Edge is a celebration of strength and solidarity, set to the irresistible sounds of Richard Hawley.

Standing at the Sky’s Edge runs at National Theatre, London from 9 Feb until 25 Mar 2023.

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Win 2 x tickets to Tammy Faye at the Almeida -Tuesday 15 November 2022

Tammy Faye

Many performances of Tammy Faye at Almeida Theatre are sold out. If you are on this page its your lucky day! Sign up for our mailing list using the form below to enter the lucky draw for two tickets to the show on 15 November. This contest is open to residents of UK only.

 

James Dacre to step down as Artistic Director of Royal & Derngate Theatres

James Dacre_photo by Marc Brenner

James Dacre has announced he will step down after a decade as Artistic Director at Royal & Derngate at the completion of the venue’s 2022/23 Made in Northampton season next year – its most ambitious and far reaching programme to date. 

During his years at Royal & Derngate he has premiered some of the most critically acclaimed work that the company has seen, radically diversified its repertoire and further developed the venue as a major creative and educational force in UK Theatre, described recently as an “artistic powerhouse” (The Independent) and an “essential destination” (The Observer) and celebrated for its “reputation for adventurous commissioning which few British Theatres can match” (BBC Arts).  

In his 10 years, Dacre has produced more than 120 shows of which 60 have toured both nationally and internationally and 42 have transferred to London and been recognised with Olivier, Evening Standard, WhatsOnStage and The Stage awards. During this time the venue has seen a marked development of its artistic activities, its audiences across the UK and standing within the region and sector. Royal & Derngate has welcomed over two and a half million audience members in Northampton across the decade and been twice shortlisted for Regional Theatre of the Year by The Stage (2022 and 2016) and chosen as 2020 Outstanding Theatre of the Year by Michael Billington. 

Touring Made in Northampton productions have been seen by a further 1 million audience members nationwide and made over 500 venue visits across the UK and abroad, winning three UK Theatre Awards. They have been broadcast to many more audiences on Sky Arts, BBC, On Demand and in cinemas. 

In the past decade the team at Royal & Derngate has welcomed over 165,000 children and young people through its extensive Creative Learning Programmes and been nominated for the UK Theatre Award for Excellence in Inclusivity. During this period they have delivered gender parity across all new commissions and the diversity of artists appearing across the venue’s Made in Northampton seasons has quadrupled since 2012. The venue has established a flagship training residency with the National Youth Theatre for 500 young people a year. It has led a UK wide consortium in developing and touring original musical theatre productions by over 150 artists and launched Generate as a talent development scheme which has championed original work by over 700 East Midlands artists. It has also spearheaded a region-wide Creative Education strategy for 25,000 young people per year across Northamptonshire, helped convene an East Midlands wide consortium to provide opportunities for d/Deaf and disabled artists and pioneered ensemble theatre making, enabling 16 emerging companies to make their main stage debuts. 

James Dacre, says:

“As I reach my 10th year, the culmination of several major strategic projects, the successful completion of our current funding term and the launch of our most far-reaching season yet, it seems like the right time to embark upon a new chapter in my career. Leaving next Spring also provides plenty of time to begin the careful process of handing the artistic reins of these very special theatres to a new Artistic Director. 

Our industry has been through seismic challenges and changes over the past few years but Royal & Derngate is thriving. It truly is a community venue, a centre of artistic excellence and ambition and a home for exceptional educational and social opportunities for young people. Over the past decade it has been an enormous privilege to create and champion such a wide range of work for Royal & Derngate’s three stages but also for Northampton’s civic spaces, from football stadiums, cathedrals and high streets to car parks, castles, and waterways. It has also been thrilling to see so much of this work go on to tour the country and the world. And I know Royal & Derngate will always shout from the rooftops that regional theatres do so much more than simply put on shows. They nourish civic life and serve local communities, promoting cultural exchange through creativity. 
 

There’s still much good work to do before I leave Northampton next Spring but, for my part, I’d like to express my heartfelt gratitude to our Trustees for their wisdom, to our remarkable, kind, and inspiring Chief Executive Jo Gordon and all the magnificent, talented and passionate colleagues and theatre practitioners I have been lucky enough to work with. For the future, I’m looking forward to building upon my relationships across the sector by directing and producing new theatre, opera, film and music projects across the UK both as an independent artist and through my new production company – Living Theatre Productions – which launches in the New Year.”
 

Simon Antrobus, Chair of the Board of Trustees says:

“A hugely creative, hardworking and passionate artistic leader, I can think of few others across the country as committed to the importance, vitality and benefit of regional theatre as James. Together with Chief Executive Jo Gordon, he was instrumental in keeping Royal & Derngate thriving through the challenges of the pandemic and taking a leading role nationally in the championing of the value, variety and scale of theatre being made around the UK. To conclude his brilliant tenure he has now curated an exceptional last season that exemplifies all that he has achieved across the last decade – an unwavering commitment to new work, new voices and untold stories, a step change in our digital work, and an imaginative, diverse and popular range of shows that once again welcome some of the country’s most exciting artists to Northampton. Characteristic of all his work, it is a programme that deepens connections within our local communities, whilst also enriching audiences and theatres across the UK.”

Jo Gordon, Chief Executive says:

“The quality, care and integrity that James has brought to all his work for Royal & Derngate is evident both in the beautiful shows he’s created for our stages and town, and in his commitment to Northampton’s many communities. From championing the next generation of theatremakers to ensuring that unique opportunities for children and young people lie at the heart of all that we do, the investment made into the future over the last 10 years means we will continue to see their legacy on our stages and in our communities for years to come. Whoever takes up the baton will find an exciting richness in Northampton’s talent and audiences fostered through that work. James has always been so generous with his time and his expertise and will be sorely missed by his colleagues, audiences and artists alike.”

Recruitment for new Artistic Leadership at Royal & Derngate will begin later this month with more details to be announced soon. 

Donmar Warehouse announces first three shows of new season for 2022/2023

Donmar 2022-23 season artists bw

Artistic Director Michael Longhurst and Executive Director Henny Finch today announce the first three shows in the Donmar’s 30th anniversary season and plans for the theatre’s birthday celebrations.

Highlights of the new season include Lillian Hellman’s masterpiece political thriller Watch on the Rhine – given its first major London revival in over 40 years by director Ellen McDougall, with a cast including Kate Duchêne, Caitlin FitzGerald and Patricia Hodge. This is followed by the world première of Diana Nneka Atuona’s Trouble in Butetown for which she received the 50th George Devine Award for Most Promising Playwright and the Theatre Royal Haymarket’s Writers Award, directed by Tinuke Craig.

Also announced for Summer 2023 is Tom Kitt and Brian Yorkey’s Pulitzer Prize and Tony Award-winning musical Next to Normaldirected by Longhurst.

Generously supported by Charles Holloway, Season Supporter

In Autumn 2022 the Donmar celebrates its 30th birthday, and to mark this special milestone, it will provide 3,000 £10 tickets for audiences aged under 30, made possible by generous support from Associate Sponsor Barclays. Beginning with Watch on the Rhine, and running throughout the year, there will be £10 tickets available for every performance.

As the centrepiece of the celebrations, the Donmar will stage a fundraiser performance in November with all three former Artistic Directors – Michael Grandage, Sam Mendes and Josie Rourke as special guests, alongside Longhurst, with performances from notable alumni reprising roles they played at the theatre; as well as a free exhibition of production images across the theatre’s public spaces later in the year. The fundraiser will be directed by Simon Evans.

Michael Longhurst said today, “It is a privilege to be co-helming the Donmar as we approach this major milestone. I am grateful for the talent, tenacity and generosity of all those who have built that history. These shows kick off our birthday celebrations in classic Donmar style with an unearthed gem, a thrilling new play and later in the year, a long-awaited Broadway musical.  Lillian and Diana’s plays offer counterpoint perspectives from across the Atlantic at a pivotal moment in our history, presenting one of the most seminal American female writers of the 20th century alongside an exciting new British female playwriting talent. And I can’t wait for us to blow the roof off the building with an extraordinary rock musical next Summer.  Here’s to the next 30!”

Speaking about supporting the Donmar to offer thousands of £10 tickets for under 30s, Richard Atkinson, Marketing Director at Barclays Payments commented, “We are incredibly proud of our long affiliation with the Donmar Warehouse. We can think of no better way to mark its thirtieth year than by supporting the Donmar by enabling thousands of people to see this remarkable season for just £10.”

Alongside the productions on stage, the Donmar continues its innovative work with the local community, platforming the voices of local young people. The theatre’s schools programme also expands, working with 2200 students to attend productions and devise work with leading theatre makers to be shared on the Donmar stage.

The Donmar’s commitment to skills development continues as the theatre welcomes the next cohort of CATALYST trainees for their year-long traineeships in arts administration roles. The Creative CATALYST programme also goes from strength to strength, with 8 assistants working with the creative teams over the next year’s productions in roles including lighting, sound and design.

Following a successful pilot, Donmar’s LOCAL Young Writers programme runs from this Autumn 2022, with 16 young writers aged 16-19 who will develop new work led by Molly Taylor and a leading team of playwrights.

Alongside the production of Next to Normal the Donmar will run a new project exploring mental health and wellbeing with young people in our home boroughs.

As part of the Donmar’s ongoing commitment to accessibility, over 1000 free tickets will be available for audiences aged under 26 as part of the Donmar’s YOUNG+FREE scheme.

Every production will have a BSL performance, alongside its captioned and audio described performance offer.

www.donmarwarehouse.com

Full Cast Announced for NEWSIES at Troubadour Wembley Park Theatre

Bronté Barbé and Michael Ahomka-Lindsay as Katherine Plumber and Jack Kelly in Newsies, credit Seamus Ryan

The producers of Disney’s NEWSIES, the award-winning Broadway musical with music by Alan Menken, lyrics by Jack Feldman and book by Harvey Fierstein, are delighted to announce that Michael Ahomka-Lindsay (Emmett in Legally Blonde at Regent’s Park Open Air Theatre for which he has received a 2022 Black British Theatre Award nomination) and Bronté Barbé (Oklahoma Chichester Festival Theatre, Beautiful UK Tour) will star as Jack Kelly and Katherine Plumber respectively in the UK premiere, opening at London’s Troubadour Wembley Park Theatre on Thursday 8 December 2022 for a strictly limited season, following previews from 29 November.  All preview tickets are priced at £30.

The full cast of NEWSIES includes Michael Ahomka-Lindsay as Jack Kelly, Moya Angela as Medda Larkin, Lindsay Atherton as Ensemble, Samuel Bailey as Specs, Imogen Bailey as Swing, Bronté Barbé as Katherine Plumber, Josh Barnett, as Race, Cameron Blakely as Joseph Pulitzer, Jack Bromage as Tommy Boy, Bobbie Chambers as Ensemble, Alex Christian as Buttons, Arcangelo Ciulla as Ike, George Crawford as Morris Delancey, Ross Dawes as Snyder, Joshua Denyer as Mush, Ross Dorrington as Splasher, Matthew Duckett as Crutchie, Kamilla Fernandes as Ensemble, Jacob Fisher as Albert, Jamie Golding as Wiesel, Damon Gould as Finch, Zack Guest as Swing, Jordan Isaac as Swing, Alex James-Hatton as Oscar Delancey, Clarice Julianda as Ensemble, Barry Keenan as Nunzio, Ryan Kopel as Davey, Sion Lloyd as Bunsen George Michaelides as Romeo, Mukeni Nel as Jo Jo, Joshua Nkemdilim as Elmer, Mark Samaras as Mike, Bradley Trevethan as Swing, Matt Trevorrow as Henryand Lillie-Pearl Wildman as Ensemble.

The role of Les will be played by Nesim Adnan, Haydn Court, Oliver Gordon and Ethan Sokontwe.

Based on a true story, NEWSIES is set in New York City at the turn of the 20th century. It’s the rousing tale of a ragged band of teenage newspaper sellers, who dream of a better life far from the hardship of the streets. After newspaper magnate Joseph Pulitzer hikes up the prices for his papers charged to the newsies, Jack Kelly rallies his fellow newsies in an attempt to protest the change, falling in love with young reporter Katherine along the way. These young newsies from across the city come together and rise up against the exploitation of wealthy publishing tycoons and fight for justice using the only power they have – solidarity. 

The original production of NEWSIES opened on Broadway in 2012 and was slated to play only 100 performances but went on to play over 1,000 performances before touring and winning two Tony Awards®, including Best Original Score. The original production was filmed live on stage and released in cinemas in 2017.

Now for the very first time, audiences in the UK have a chance to enjoy the thrill of one of the biggest Broadway hits of recent years. In an innovative and brand new production at Troubadour Wembley Park Theatre, theatregoers will be thrust right inside the action as the newsies dance, sing, jump and fly around the streets of a booming 19th century New York City. 

NEWSIES will be Directed and Choreographed by Olivier nominee Matt Cole, with Set Design by Morgan Large, Musical Supervision, Dance Arrangements & Musical Direction by Nigel Lilley, Costumes by Natalie Pryce, Lighting by Mark Henderson, Sound by Tony Gayle, Orchestrations by Simon Hale, Performer Flying by John Maddox for Suspended Illusions Ltd, Casting by Lucy Casson, Children’s Casting by Jo Hawes,  Fight Directors Rachel Bown-Williams & Ruth Cooper-Brown for RC Annie, Associate Director Rachael Nanyonjo, Associate Choreographer Jane McMurtrie, Associate Musical Director Chris Ma and Production Management by Lee Batty and Andy Fox for Setting Line.

NEWSIES is produced by Tristan Baker & Charlie Parsons for Runaway Entertainment, Gavin Kalin, Hunter Arnold, Kater Gordon and Dianne Roberts, by permission of Disney Theatrical Productions.

Website: newsiesthemusical.co.uk

Instagram: @newsies_uk

Facebook: @newsiesuk

Twitter: @newsies_uk

LISTINGS

Disney’s NEWSIES

Strictly Limited Season from 29 November 2022

Troubadour Wembley Park Theatre

3 Fulton Rd

Wembley Park

London HA9 0SP

Performances: Wednesday-Saturday at 7.30pm, Thursday & Saturday at 2.30pm, Sunday at 1pm & 5:30pm*

*no 2.30pm matinee 1 & 8 December, no performance 4 & 9 December, extra 7.30pm performances 5 & 13 December 2022

Christmas 2022/23 Performance Schedule

Monday 19 December                NO PERFORMANCE

Tuesday 20 December               7.30pm 

Wednesday 21 December          2.30pm & 7.30pm 

Thursday 22 December              7.30pm 

Friday 23 December                   2.30pm & 7.30pm 

Saturday 24 December              2.30pm & 7.30pm 

Sunday 25 December                NO PERFORMANCE 

Monday 26 December                NO PERFORMANCE

Tuesday 27 December               7.30pm

Wednesday 28 December          2.30pm & 7.30pm 

Thursday 29 December              7.30pm 

Friday 30 December                   2.30pm & 7.30pm 

Saturday 31 December              2.30pm 

Sunday 1 January                      NO PERFORMANCE 

& JULIET, the award-winning musical, will play its final performance at the Shaftesbury Theatre on Saturday 25 March 2023

& Juliet

& JULIET, the award-winning musical which has been thrilling audiences in London since opening in 2019, will play its final performance at the Shaftesbury Theatre on Saturday 25 March 2023.

& Juliet first opened at the Manchester Opera House in October 2019. It transferred to London the following month and ever since has played to nightly standing ovations. As well as three Olivier Awards, & Juliet also won 6 Whatsonstage Awards – the most of any production in 2020 – and won further awards at The Black Theatre Awards and The Mousetrap Theatre Awards.

New productions of & Juliet have been announced for the Stephen Sondheim Theatre in New York and the Regent Theatre in Melbourne. Earlier this year the show played a season in Toronto, and a UK Tour and European production will also be announced soon.

The musical contains many of the biggest and most anthemic songs of the last 30 years, including Baby One More Time, Everybody (Backstreet’s Back), Love Me Like You Do, Confident, It’s My LifeCan’t Feel My Face and the roof-raising Roar.

& Juliet soars with the music of Max Martin, the acclaimed songwriter of some of pop’s most iconic songs and recorded by artists including Backstreet Boys, Justin Timberlake, Britney Spears, Katy Perry and Ariana Grande, all brilliantly arranged for the musical by Tony® and Grammy Award-winning orchestrator Bill Sherman.

Brought to life by an award-winning creative team in an explosive fusion of styles, & Juliet is directed by Luke Sheppard with a book by David West Read (Schitt’s Creek), electrifying choreography from Jennifer Weber, stunning set design from Soutra Gilmour and costume design by Paloma Young.

Max Martin and Tim Headington present & Juliet, which is produced by Martin Dodd, Tim Headington, Max Martin, Jenny Petersson and Theresa Steele Page.

Headlong Announce Groundbreaking Experiment in Sustainable Theatre Making

A Play for the living in a time of extinction

Headlong and the Barbican, have today announced the UK premiere of A Play for the Living in a Time of Extinction by award-winning playwright Miranda Rose Hall.

Katie Mitchell is drawing on and furthering her work on the Sustainable Theatre? projectwith this production and tour, which she originally conceived with the support of the French choreographer Jérôme Bel and Théâtre Vidy-Lausanne. A Play for the Living in a Time of Extinction will subsequently tour across the UK, without people or materials physically travelling. Furthermore, Mitchell will direct the performance which will be powered by bicycles peddled in real time throughout the duration of the show. 

Opening in London at the Barbican (26-29 April 2023), the UK premiere will be designed by Moi Tran, who has recently been appointed Resident Artist/Designer at Headlong. 

Mitchell and the creative team will produce blueprints containing sustainability guides which will be given to each subsequent venue in the first off-grid tour of its kind in the UK. Local teams will stage and perform the play, within the parameters of the blueprints and using the same renewable bike technology, therefore eliminating the need for physical travel. Headlong will present A Play for the Living in a Time of Extinction at Belgrade Theatre Coventry, Theatre Royal Plymouth, Live Theatre Newcastle, New Vic Newcastle-under-Lyme, and  York Theatre Royalwith further venues along with casting and creative teams to be announced shortly. 

“The difference between death and extinction is this: death is to cease to exist. Extinction is to extinguish. I think of death as individual. Extinction is collective.”

Naomi is part of a touring theatre company and they have made a play especially for you – those who are living through extinction – except the actors haven’t shown up yet. We don’t know why, and maybe they will, but in the meantime, Naomi has a plan. Miranda Hall’s darkly funny and uplifting play explores what it means to be human in an era of man-made extinction.

Katie Mitchell says: “It’s exciting to be working with Headlong on this production to roll out a radical international touring model across the UK. It’s crucial that we develop new ways of making and touring theatre in response to the existential crisis we are all facing. I’m also thrilled to be working with Moi Tran for the first time

Holly Race Roughan says: “Responding to the climate crisis as a theatre company feels urgent but often paralysing, especially at a time when just creating theatre is a challenge, without the added pressure of doing so sustainably. To be able to embark on a national project that explores this dilemma with joy and honesty in both its content and creation process, is exhilarating. As a touring company, a project that requires touring without moving people or materials, is a counter intuitive challenge but we are finding that it is exactly what we need to inspire creativity, national collaboration and dare to do things differently. Our hope is that we, as an organisation, along with our collaborators and audiences, are invigorated by this process and empowered to adapt and imagine alternative ways of doing things going forward. To co-curate this national project with Katie Mitchell, who brings with her a wealth of experience in international feminist eco theatre-making, is thrilling.

A Play for the Living in a Time of Extinction is Headlong’s second major touring experiment, part of the company’s ongoing commitment to rethink theatre-making in a climate emergency. In 2020 Headlong produced Signal Fires, a national festival that saw over forty companies come together for the first time to tour a single idea, at a time when traditional touring was not possible. Headlong have committed to staging one major touring experiment and one piece that explores a different facet of climate change, as part of our commitment to rethinking what it means to be a touring theatre company during the climate emergency. 

A Play for the Living in a Time of Extinction is Co-produced by Headlong and the Barbican. 

Presented by Headlong, Barbican, Belgrade Theatre, Theatre Royal Plymouth, Live Theatre Newcastle, New Vic, York Theatre Royal. 

The original production of “A Play for the Living in a Time of Extinction” directed by Katie Mitchell was created at the Theatre Vidy-Lausanne as part of the project  “Sustainable Theatre?”, conceived by Katie Mitchell, Jérôme Bel and Théâtre Vidy-Lausanne, with the collaboration of the Competence Centre in Sustainability of the University of Lausanne, co-produced by STAGES – Sustainable Theatre Alliance for a Green Environmental Shift (NTGent – Théâtre de Liège – National Theatre of Croatia in Zagreb – MC93, Maison de la culture de Seine-Saint-Denis – Trafo House of Contemporary Arts – Piccolo Teatro di Milano, Teatro d’Europa – Lithuanian National Drama Theatre – Teatro Nacional D. Maria II – Maribor Slovene National Theatre – The Royal Dramatic Theatre, Dramaten, Stockholm – National Theater & Concert Hall, Taipei) and co-funded by the European Union. “Sustainable Theatre ?” includes two shows and a workshop touring in the form of scripts recreated locally. 

Miranda Rose Hall’s A Play for the Living in a Time of Extinction was first commissioned by LubDub Theatre Co.