Full Casting Announced for Peter Morgan’s The Audience, a  Nuffield Southampton Theatres Production

left to right Faye Castelow, Paul Kemp, Lizzie Hopley and Sharon Singh
 left to right Faye Castelow, Paul Kemp, Lizzie Hopley and Sharon Singh

left to right Faye Castelow, Paul Kemp, Lizzie Hopley and Sharon Singh

With SS Mendi, a co-production with Isango Ensemble, opening this week at Royal Opera House, Director of Nuffield Southampton TheatresSamuel Hodges, today announced the full cast for a new staging of Peter Morgan’s The AudienceSamuel Hodges directs Lizzie Hopley as Margaret Thatcher and Bobo MacDonald, Paul Kemp as all other Prime Ministers, Sharon Singh as The Equerry and Fay Burwell and Maddie Farmer share the role of Young Elizabeth, joining the previously announced Faye Castelow as Queen Elizabeth II. The production opens on 30 May, with previews from 24 May, and runs until 22 June.

65 Years. 13 Prime Ministers. One Queen.

For 65 years, the Queen has met her Prime Minister every week in an Audience at Buckingham Palace. Both parties agree never to repeat what is said. Not even to their spouses.

What is discussed? What secrets are shared? Does her Majesty have her favourites?

Sometimes intimate, often confessional, occasionally explosive, The Audience imagines the private moments that define a changing Britain. One head of state. Endless heads of government. This play asks where the real power lies.

Nuffield Southampton Theatres Director Samuel Hodges directs an intimate and re-worked production of the smash hit play from Peter Morgan, the writer of the critically acclaimed TV series The Crown and the Oscar award winning film The Queen.

Samuel Hodges, Director of Nuffield Southampton, said today, “This is a play that interrogates where power lies. Is it in the parade of middle aged, almost entirely male prime ministers or the unchanging, unwavering woman they meet with? For that reason I knew I wanted to cast one actor to play all of the male PMs from the start.

 I’m really pleased to have such a strong local presence in the cast with Sharon, who grew up minutes from our new theatre, and both of our young Elizabeths from the local area, one a member of our youth theatre.”

Peter Morgan’s other work for theatre includes Frost/Nixon. His television work includes The Crown, The Lost Honour of Christopher Jefferies, The Jury, The Special Relationship, Longford, Colditz, Henry VIII and The Deal; and for film, Rush, 360, Hereafter, State of Play, The Damned United, The Other Boleyn Girl, The Last King of Scotland and The Queen.

Faye Castelow plays Queen Elizabeth II. Her theatre credits include The Rover, The Witch of EdmontonThe White DevilThe Roaring Girl (RSC), Man and SupermanAfter the DanceTime and the Conways (National Theatre), NijinskyThe Deep Blue Sea (Chichester Festival Theatre), How to be Another Woman (Gate Theatre), Mountain Hotel and The American Clock (Orange Tree Theatre). Her television credits include Pure and Rellik.

Lizzie Hopley plays Margaret Thatcher and Bobo MacDonald. Her theatre credits include The Taming of the Shrew (US tour), Roaring Girls (RSC), Tis Pity She’s a Whore (international tour), Abigail’s PartyTwelfth Night (UK tour) and Six Characters in Search of an Author (Young Vic). For television, her credits include The Long SongLittle Boy BlueLutherCall the Midwife and Randall & Hoprick Deceased II; and for film, Day of the FlowersJane EyreNowhere Boy and Pierrepoint: The Last Hangman.

Paul Kemp plays the Prime Ministers: Tony Blair, Gordon Brown, David Cameron, Winston Churchill, Anthony Eden, John Major and Harold Wilson. His theatre credits include Imperium (Gielgud Theatre), Richard III (Arcola Theatre), Wendy and Peter Pan (RSC), Ghost Stories (Arts Theatre), The Lady in the Van (UK tour), Seven Year TwitchHow to be Happy (Orange Tree Theatre), The Lady form the Sea (Royal Exchange Theatre), The Crucible (Regent’s Park Open Air Theatre), My Wonderful Day (Stephen Joseph Theatre/59E59, New York/UK tour), Woman in Mind (Stephen Joseph Theatre/Vaudeville Theatre). For television his credits include Maxwell, The Trial of Tony BlairLife on Mars; and for film, When Saturday Comes.

Southampton’s Sharon Singh plays The Equerry. Her theatre credits include Arabian Nights (Hoxton Hall), The Game of Love and Chai (Tara Arts/UK tour), Death of Kings, The Misanthrope (Conservatoire National Supérieur D’art Dramatique), Cyrano de Bergerac (New Vic Theatre), Hamlet (Bussey Building), Titus Andronicus, Othello (UK tour) and Holes (Arcola Theatre); and for television, Vera.

Samuel Hodges is Director of Nuffield Southampton Theatres (NST). His productions for NST include The Shadow FactoryDedication – Shakespeare and Southampton, and The Glass Menagerie. Previously he founded the HighTide Festival Theatre in 2007 and was the Artistic Director for five years, during which time he produced over 25 new plays, co-producing with the National Theatre, The Old Vic and the Bush Theatre, amongst others. Between 2012 and 2014, he ran the Criterion Theatre in London’s West End, for whom he curated a late-night programme and a one-off summer season of new work to celebrate the London Olympics.



Shakespeare’s Globe announces programme for new festival, ‘Women & Power’, featuring Winsome Pinnock and Clean Break

‘Women & Power’

Shakespeare’s Globe has announced the programme for ‘Women & Power’, a new festival of events opening on Sunday 12 May 2018. With performances, panel discussions, and a scholarly symposium, the festival will celebrate the work and voices of women of all backgrounds and will explore how the work of Shakespeare speaks to the current gender revolution, and how women can use Shakespearean performance to tell their own stories of oppression.

Dr Farah Karim Cooper, Head of Research at Shakespeare’s Globe and curator of the festival, commented:

“We live in a time when it is essential to interrogate the relationship women have to power and leadership in the arts, politics and education. If we ask the question are women in a position to lead? The answer is a resounding yes! If we ask the question, are there enough opportunities for women to lead in these sectors? The answer is, not really. At this festival we intend to ask why, and seek to find ways to obliterate the structures and mindsets that get in the way”.

Opening the festival on Sunday 12 May will be a celebration of Virginia Woolf’s seminal works, A Room of One’s Own and Three Guineasboth of which will be read in candlelight in the Sam Wanamaker Playhouse. A rallying cry to begin the festival, both texts powerfully articulate Woman’s right to intellectual and financial independence.

On Monday 13 May, Professor Clare McManus and Professor Lucy Munro will lead a one-off workshop, Engendering the Stage, in the Sam Wanamaker Playhouse. Part of the Globe’s Research in Action series of workshops, in which actors and academics uncover the practices of the Shakespearean stage, this workshop will explore the history of gendered performance on the Renaissance stage and will illuminate the practice of playing with gender on stages across Europe.

Professor Clare McManus works on English and European Renaissance drama at the University of Roehampton, focusing on gender in the writing and performance of Shakespeare and his contemporaries, and Renaissance women’s performance. She is also an editor of Renaissance plays. Professor Lucy Munro is a scholar and teacher of early modern literature at King’s College London. She is interested in presenting old texts to new audiences, and the dynamic relationship between old and new in literary cultures and their afterlives.

A panel event entitled Women & Power: Directing Theatre in the 21st Century will follow on Tuesday 14 May, with panellists including Sarah Frankcom, Artistic Director of the Royal Exchange Theatre in Manchester, and Globe Associate Artist Athena Stevens. Sarah and Athena have both directed plays by Shakespeare or his contemporaries, as well as directing or creating new feminist writing. They will discuss how female directors can shape the future of theatre, interrogate the place for feminism in classical theatre, and expand upon the opportunities and challenges a director’s gender presents.

Sarah Frankcom joined the Royal Exchange Theatre as Literary Manager in 2000, and has been its Artistic Director since 2008. With Royal Exchange Theatre credits including Orpheus DescendingMiss JulieA View from the BridgeWho’s Afraid of Virginia Woolf and Kes, Sarah’s career has also seen her working with the Lyric Hammersmith, the Crucible Theatre, the National Theatre and the Young Vic. Athena Stevens is an actor, writer, director and spokesperson for the Women’s Equality Party. She is a writer on attachment at the Finborough Theatre and recently wrote a female response to Doctor Faustus for the ‘Dark Night of the Soul’ festival at Shakespeare’s Globe. She also wrote and starred in Schism at the Park Theatre, and is the Artistic Director of Aegis Productions Ltd in Elephant & Castle.

On Wednesday 15 May, theatre company Clean Break will join not-for-profit Southall Black Sistersas both celebrate 40 years of activism. Clean Break & Southall Black Sisters @ 40: Activism, Women and Power will bring together a selection of speakers from each organisation to discuss how we can either become activists or support activism in the fight for equality and human rights.

Clean Break was set up in 1979 by two women prisoners who believed that theatre could bring hidden stories of imprisoned women to a wider audience. The only women’s theatre company of its kind, Clean Break continues to inspire playwrights and captivate audiences with groundbreaking plays on the theme of women and crime. Founded in the same year, Southall Black Sisters aims to highlight and challenge all forms of gender-related violence against women, empower them to gain more control over their lives, and live without fear of violence. They are at the forefront of challenging domestic and gender-related violence locally and nationally, and have campaigned for the provision of proper and accountable support services to enable women and their children to escape violent relationships and live in dignity.

Bang Rome: Why Pickup Artists Read Ovid and Why It Matters is on Thursday 16 May. Classicist Donna Zuckerberg will take to the Playhouse to discuss her seminal book Not All Dead White Men: Classics and Misogyny in the Digital Age, an exposé of how today’s alt-right men’s groups are turning disturbingly to ancient sources to promote an ideal vision of masculine life and, in some cases, to justify ignoring women’s boundaries. Donna Zuckerberg received her PhD from Princeton University in 2014 and is the founder and Editor-in-Chief of Eidolon, an award-winning online publication for informal Classics scholarship.

At the end of the week, Women and Leadership: A Symposium will delve into the myriad challenges women in leadership roles face in politics, the arts, culture and academia. The day will consist of three panel discussions: Women, Culture and ArtWomen and Politics; and Women, Education and Academia.

Winsome Pinnock, Morgan Lloyd Malcolm, Claire van Kampen and Stella Kanu will appear on the Women, Culture and Art panel. Playwright Winsome Pinnock won the prestigious Alfred Fagon Award in 2018. Most recently, a revival of her 1987 play Leave Taking played at the Bush Theatre to critical and commercial success. Her award-winning plays include The Wind of Change (Half Moon Theatre), Picture Palace (Women’s Theatre Group) and A Hero’s Welcome (Women’s Playhouse Trust at the Royal Court Theatre Upstairs). Morgan Lloyd Malcolm was commissioned by The Globe to write Emilia, which became a sell out production in summer 2018 and is now playing in the West End. It has since been optioned as a film. Morgan’s other critically acclaimed plays include Belongings and The Wasp (Hampstead/Trafalgar Studios). Claire van Kampen is a composer, playwright and a director. She served as Artistic Associate at the Globe from 1996-2006, and has continued to be the Globe Associate for early Modern Music since 2007. Claire’s playwriting debut was Farinelli and the King (Sam Wanamaker Playhouse/Broadway) and her directorial debut was Nice Fish (Guthrie Theatre). Claire directed Othello at the Globe last summer. Stella Kanu is currently Executive Producer at Ovalhouse, overseeing the artistic activities of the company as they build a new theatre and merge with the artistic and local community of Brixton. As a creative writer and performer, Stella created Africa Centre’s first Children’s Literature Festival; A List Performing Arts Festival and Southampton Live Street Arts Festival.

Baroness Kingsmill CBE and Rachel Reeves will appear on the Women and Politics panel, chaired by Dr Will ToshBaroness Kingsmill has enjoyed a diverse and varied career spanning fashion, law, business, the arts and politics. She qualified as a solicitor of the Supreme Court, and, after a 20 year legal career, was appointed Deputy Chair of the Competition Commission. In 2000 Baroness Kingsmill was awarded a CBE, and in June 2006 she was appointed to the House of Lords as a Life Peer. Rachel Reeves is Labour MP for Leeds West and former Shadow Minister for Work and Pensions. Prior to her parliamentary career, she worked as an economist. She is the author of Alice in Westminster: The Political Life of Alice Bacon and Women of Westminster: The MPs who changed politicsDr Will Tosh is Lecturer and Research Fellow at Shakespeare’s Globe. He led the Indoor Performance Practice Project (2014-16), which examined playing in the candle-lit Sam Wanamaker Playhouse, and coordinates the Globe’s ongoing Research in Action series of public workshops. He is the author of Male Friendship and Testimonies of Love in Shakespeare’s England and Playing Indoors: Staging Early Modern Drama in the Sam Wanamaker Playhouse.

Professor Liz Schafer and Dr Sumi Madhok will appear on the Women, Education and Academiapanel, chaired by Dr Gillian WoodsProfessor Liz Schafer is Professor of Drama and Theatre Studies at Royal Holloway, University of London. Her publications include MsDirecting Shakespeare: Women Direct Shakespeare, performance histories of The Taming of the Shrew and Twelfth Night and a biography of Lilian BaylisDr Sumi Madhok is Associate Professor at the Department of Gender Studies, LSE. She is the author of Rethinking Agency: Developmentalism, Gender and Rights; the co-editor of Gender, Agency and Coercion; and of the Sage Handbook of Feminist TheoryDr Gillian Woods’ research concentrates on early modern drama in its cultural and historical contexts, with a particular focus on early modern stage practice, post-Reformation religion, visual arts, nostalgia, and the representations of space.

Deep Throat Choir will take to the stage on Saturday 18 May to close the festival. The all-female singing collective will present an intimate one-off concert celebrating the power of women’s voices. Formed by Luisa Gerstein, composer of the West End transfer of the Globe’s hit production Emilia, the choir are renowned for stripping music-making to the simple components of vocals and percussion.

Maxine Peake to star in Avalanche: A Love Story

Maxine Peake in Avalanche: A Love Story
Maxine Peake in Avalanche: A Love Story

Maxine Peake in Avalanche: A Love Story

Maxine Peake is to star in Julia Leigh’s adaptation of her powerful memoir, Avalanche: A Love Story, at the Barbican from Saturday 27 April–Sunday 12 May. A prolific theatre, television and film actress Maxine Peake’s career highlights include Black MirrorFunny CowRed RidingThe Devil’s WhoreThe Theory of EverythingPeterlooThe FallingShameless and an extensive list of dramas for the BBC including The VillageSilkCriminal JusticeThree Girls and most recently, The Bisexual.  Constantly looking for new challenges and surprising audiences she has played a range of provocative and award-winning characters, notably the title role in Hamlet at the Manchester Royal Exchange. As a writer, she has retold fascinating stories of women in British history who achieved greatness, or faced adversity, though her plays, BerylThe Last Testament of Lillian Bilocca and Queens of the Coal AgeAvalanche: A Love Story marks her debut at the Barbican Theatre.

When a woman rekindles an early love in her late 30’s her whole life changes. Deeply in love, she and her new husband decide they want to have a child together and, like countless other couples, they make a visit to the IVF clinic, full of optimism. So begins a long and costly journey of medical procedures, nightly injections, rituals and the oscillation between high hope and the depths of despair.

Avalanche lays bare the stark truth of one woman’s experience of the seductive promises made by the multi-billion-dollar IVF industry to those in the grip of a “snow blind” yearning and desire to make a baby. The devastating toll on her body, her relationships and her career as an author/filmmaker, are portrayed with compelling honesty and moments of black humour. At the heart of this dramatisation is an exploration of who we are and how we love – the potent power of the desire for family and future. Inspired by Leigh’s story, it is a courageous and ultimately wise account of a profoundly important and widespread experience.

Avalanche: A Love Story is the centrepiece of Fertility Fest 2019, the only arts festival devoted entirely to the subjects of modern families and the science of making babies, now in its third year. Founded by Jessica Hepburn and Gabby Vautier, Fertility Fest is a rare, open and collaborative platform that aims to drive social change through improved fertility education, patient mental health, care and general public discourse about fertility and infertility. This latest, expanded edition of Fertility Fest will run from Tuesday 23 April–Saturday 18 May and is presented in association with the Barbican as part of the 2019 season Life Rewired which explores what it means to be human when technology is changing everything.

Directed by Anne-Louise SarksAvalanche: A Love Story, is co-produced by the Barbican, Fertility Fest and Sydney Theatre Company and will play at the Roslyn Packer Theatre in Sydney, from Thursday 29 August–Saturday 14 September 2019.

Julia Leigh’s debut novel, The Hunter, was published around the world and won numerous awards, including a Betty Trask Award and the 2001 Prix de l’Astrolabe. It was also selected as a New York Times Notable Book of the Year. Her second novel, Disquiet, won the Encore Award. Her film Sleeping Beauty was officially selected for the Festival de Cannes in 2011. Her memoir, Avalanche: A Love Story, was published in 2016 to international acclaim.

Anne-Louise Sarks is one of Australia’s most prolific directors. Her work has premiered in Sydney, Melbourne, London, Basel, Mexico City, New York, Auckland, Warsaw, Mannheim, Perth and Mumbai.

In 2018 Sarks was Artistic Director of the Lyric Ensemble at the Lyric Hammersmith and from 2013–2016 was Resident Director at Belvoir Street Theatre, Sydney. In 2011 she was the Director in Residence at the Malthouse Theatre Company in Melbourne, and an Associate Artist for Belvoir. From 2010-2013 she was Artistic Director of the celebrated independent theatre company The Hayloft Project.

In 2018 Sarks directed a new production of her acclaimed Medea for Theater Basel, created a new devised work Abandon with the Lyric Ensemble, directed a new feminist adaptation of Ibsen’s An Enemy of the People for Belvoir, and directed Sarah Kane’s Blasted at the Malthouse Theatre, Melbourne. In 2017 she directed Seventeen for The Lyric Hammersmith, Jasper Jones for Belvoir, Minnie & Liraz for Melbourne Theatre Company, Merchant of Venice for Bell Shakespeare and The Testament of Mary for Malthouse Theatre.

In 2015 Sarks directed a new modern day imagining of Medea, co-written with Kate Mulvany, at The Gate Theatre in London. Medea won five 2013 Sydney Theatre Awards including Best Direction, Best Mainstage Production and Best New Australian Work. It was also awarded an AWGIE for Best Stage Play and in 2013 was nominated for four prestigious Helpmann Awards including Best Direction, Best New Australian Work and Best Play.

Listings information

Avalanche: A Love Story
Inspired by Julia Leigh’s memoir, Avalanche
Barbican/Fertility Fest
Directed by Anne-Louise Sarks
Design by Marg Horwell
Sat 27 Apr–Sun 12 May 2019
Barbican Theatre
7.45pm; 3pm only on Sun 28 Apr, Sun 5 and Sun 12 May 2019; also 2.30pm on Sat 4 and Sat 11 May
1 hour 30 mins/no interval
£16–60 plus booking fee (£2 off top three ticket prices for preview performances on Sat 27, Sun 28 & Tue 30 Apr 2019)
Age guidance 14+
Press night: Wed 1 May 2019, 7.45pm
Captioned performance: Thu 9 May 2019, 7.45pm
Audio-described performance: Fri 10 May 2019, 7.45pm

Produced by Barbican Theatre Productions and Fertility Fest
Co-produced by Sydney Theatre Company

Curve (Leicester) Announce New Co-Production Of Hanif Kureishi’s ‘My Beautiful Laundrette’

My Beautiful Laundrette_Tour

CurveBelgrade Theatre Coventry, Everyman Theatre Cheltenham and Leeds Playhouse have today announced that they are joining forces to co-produce a new stage production of Hanif Kureishi’s screenplay My Beautiful LaundretteThe national press night will be held at Curve on 26 Sep at 7:15pm.

This bold new production of Hanif Kureishi‘s ground-breaking 1985 Oscar-nominated film of the same name will be directed by Curve’s Artistic Director Nikolai Foster (Memoirs of an Asian Football Casual and Joe Orton’s What the Butler Saw, both at Curve). Presented against a funky backdrop of 80s music and culture, this drama will explore cultural conflict, gender equality, class and generational strife.

The production will open at Curve in Leicester 20 Sep – 5 Oct, before touring to Everyman Theatre Cheltenham (8 – 12 Oct), Leeds Playhouse (15 – 26 Oct), Belgrade Theatre Coventry (29 Oct – 2 Nov) and Birmingham Repertory Theatre (5 – 9 Nov).

Set in London during the Thatcher years, My Beautiful Laundrette tells the story of young British Pakistani, Omar, who transforms his Uncle’s run-down laundrette into a thriving business. After being confronted by a fascist gang, Omar recognises school-friend Johnny and uses their history to diffuse the situation. As they renovate the laundrette together, love blossoms between them. This culture clash comedy is also a subversive work of social realism, sprinkled with magic and joy running through the rich veins of Kureishi’s writing.

Speaking about the announcement, Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said

“We are thrilled to be presenting Hanif Kureshi’s astonishing adaptation of his Oscar-nominated film My Beautiful Laundrette.

“Hanif surfs a multitude of strikingly relevant issues in his 1985 masterpiece – from the journey of the immigrant, English working class society, women’s roles in the family and the results of Thatcher’s policies. Kureishi does all of this with bucketloads of wit, openness, compassion and a sense of mischief at the absurdity of it all.

“We are looking forward to working with Hanif and our partners at Leeds Playhouse, Belgrade Theatre Coventry and Everyman Theatre Cheltenham very much.”

Hamish Glen, Artistic Director of Belgrade Theatre Coventry said:

“We’re really pleased to be continuing our ongoing partnership with Curve after the success of our previous co-productions Wipers and Pink Sari RevolutionMy Beautiful Laundrette forms part of our ongoing efforts to reach and retain new audiences, and with the support of our co-producers, we hope to strengthen the relationships we have already begun to develop with the Midlands’ diverse communities, particularly as Coventry moves towards its year as UK City of Culture in 2021.”

Everyman Theatre Cheltenham Chief Executive Mark Goucher said:

 “The 1985 film had a tremendous effect on me. It was radical, moving and very funny. The film launched the career of Daniel Day Lewis and made gay men of any race or class feel empowered and less frightened at a very difficult time. My theatre is delighted to be part of producing this exciting stage adaptation.”

Leeds Playhouse Artistic Director James Brining said:

“It’s really exciting to include the first major production of this contemporary classic as part of the first season in the newly refurbished Playhouse. The film broke new ground when it was released but its story still feels like a powerful and important statement about love, community and humanity. We are delighted to be co-producing with some excellent partners and sharing this incredible story with audiences throughout the UK.”

Further details and casting will be announced in due course.

Creative Team

Director – Nikolai Foster
– Grace Smart
Lighting Designer – Ben Cracknell
Sound Designer – Tom Marshall
Casting Director – Kay Magson CDG

Tour Listings:


Curve, Leicester
20 Sep – 5 Oct
Tickets on-sale from 16 Apr

Everyman Theatre Cheltenham
8 – 12 Oct
Tickets on-sale soon

Leeds Playhouse
15 – 26 Oct
Tickets on-sale from 15 Apr

Belgrade Theatre Coventry
29 Oct – 2 Nov
Tickets on-sale soon

Birmingham Repertory Theatre
5 – 9 Nov
Tickets on-sale soon

Broadway’s King Kong releases new block of tickets

King Kong

A new block of tickets has been released for Broadway’s King Kong. Now on sale through January 12, 2020, King Kong is playing at the Broadway Theatre where it opened on Thursday, November 8 (previews began October 5, 2018).

The cast is led by Christiani Pitts, (A Bronx Tale) as Ann Darrow, Eric William Morris (Mamma Mia!) as Carl Denham, and Erik Lochtefeld (MiseryMetamorphoses) as Lumpy.

Written by Jack Thorne (Harry Potter and the Cursed Child) with a score by Marius de Vries (La La Land and Moulin Rouge!) and songs by Eddie Perfect (Beetlejuice), King Kong is directed and choreographed by Drew McOnie (Strictly Ballroom The Musical).

King Kong is produced by Carmen Pavlovic (Global Creatures) and Roy Furman.

King Kong comes alive through an innovative mix of robotics, puppetry and stagecraft.

Based on the 1932 novel, the stage production of King Kong is a contemporary take on the classic tale of beauty and the beast. The story follows a young actress, Ann Darrow, and a maverick filmmaker, Carl Denham, as they voyage from the bustling streets of 1930s New York to an uncharted island to capture the world’s greatest wonder. At the center of this 21st-century reimagining: a 20-foot high, 2,000-pound gorilla brought to life by a team of seamlessly integrated artists and technicians. King Kong is a larger-than-life encounter with a legend that’s always been too big to contain.

The King Kong ensemble includes Ashley AndrewsMike BaergaRhaamell Burke-MissouriNick Rashad BurroughsChloë CampbellLeroy ChurchPeter ChursinJōvan DansberryKayla DavionRory DonovanJames Retter Duncan, Casey GarvinChristopher Hampton GrantJon HocheGabriel HymanHarley JayMarty LawsonJonathan Christopher MacMillanDanny MillerBrittany Marcell MonachinoJennifer NobleKristen Faith OeiEliza OhmanRoberto OlveraJaquez André Sims, Khadija TariyanJena VanElslanderLeigh-Ann VizerScott WeberJacob WilliamsLauren Yalango-GrantWarren Yang and David Yijae.

King Kong’s creative team includes director and choreographer Drew McOnie, book writer Jack Thorne, composer and music producer Marius de Vries, songs by Eddie Perfect.

King Kong’s design team includes Peter England (Scenic and Projection Design), creature designer Sonny Tilders, Roger Kirk (Costume Design), Peter Mumford (Lighting Design), Peter Hylenski (Sound Design), Gavin Robins (Aerial and King Kong Movement Director) and Tom Watson (Hair Design). David Caddick is Music Supervisor and Eldad Guetta is Associate Music Arranger.

Tickets to King Kong are on sale through Telecharge.com, by phone at 212-239-6200 and online at www.Telecharge.com. Tickets for groups of ten or more are available by calling 866-302-0995 or by email at [email protected].

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Standing at The Sky’s Edge

Standing At The Sky’s Edge’s portrayal of high-rise communities in the iconic concrete housing estate could hardly be bettered.

It’s an evocative setting.

Park Hill was built in the 1950’s as a solution to the city’s social housing. This new musical is all about that estate, its residents and is something very special indeed. It celebrates the people, place and  times.

Written by Chris Bush and with songs by Richard Hawley this new musical delicately tells the story of three very different families through generations in the 1960s, 80s, and 2000s on Sheffield’s most notorious estate. 

The songs? 

Well, here, Hawley’s lethargic northern atmospheric music sound like being punched in the face feels, in a good way. As comforting as a premium whiskey. 

The music pulses and then retracts before erupting in emotional outbursts. The results are kind of brilliant: a show of world-beating standard yet still intimate and gentle, a cherishing of the mundane, a blast of the everyday, a love of life. 

The story? Bush’s book cleverly tells the tale of three generations of Park Hill tenants. The words probably read like quirky poetry on the page but they cut through the air with wit & warmth when spoken. 

It is inevitably kaleidoscopic and somewhat beautifully fragmented, leaving the audience to piece together the connections. It’s political too; unpacking the destructive role of class in British society. It feels vital in its portrait of a divided nation.

Technically, Alex Young delivers an all-round emotionally true performance that grips from the start with ‘Lady Solitude’. Nevertheless, a fine cast shine consistently.

In the best possible sense, Standing At The Sky’s Edge is like a 21st Century Blood Brothers: authentic socialist principles intact, a gripping story and frankly sensational songs.

We get the industrial pain, Thatcher despair, Brexit Britain & more, it wears its political heart on its sleeve. It isn’t West End razzle dazzle, it is theatre rooted in its time(s) and place. 

There are some big gloriously unifying moments, too — all the ingredients are here for a massive crossover theatre moment, and it couldn’t happen to a more deserving creative team. 

In Act 1 closing number ‘There’s a Storm A-Comin’ a sofa is lobbed off a balcony, litter bins are emptied across the stage & the current political crisis context lends the audacious choreography  an added intensity. 

Robert Hastie’s production delights in being visceral. Ben Stone’s concrete multi-level design are to be both stunningly simple and enchanting; it all adds up to something greater than the sum of its parts. 

Seriously, this show made grown men around me weep, made me fall deeper in love with Sheffield than I have ever been before, could save as many relationships as it ignites. It touched people around me deeply. 

Act 2 swells the heart completely and invites the audience in with the unavailingly stirring ‘Standing At The Sky’s Edge’ during this storming scene the company takes off; ensemble are startlingly confrontational. 

I mean, bloody hell. 

Later on, intimacy suits: ‘After The Rain’ is so fragile as to nearly come apart at the seams. Importantly, it was a lot of fun.

This is a musical that, in Robert Hastie’s beautifully clear production, left the heart full & the brain buzzing. 

Standing at The Sky’s Edge deserves to transfer to our Royal National Theatre. 

Cheers, Rufus. 

National Student Drama Festival 2019 to take over Leicester

Groups of passionate young theatre makers are gearing up to take over Curve and venues across Leicester city as part of National Student Drama Festival (NSDF).

From Sat 13 Apr to Fri 19 Apr, over 400 people between the ages of 16 and 25 will come to the city to showcase their work, take part in workshops and classes and try something new. Curve, one of the UK’s leading producing theatres and a registered charity with a commitment to developing new artistic talent will lead the way as a festival host, with City Hall, Leicester Cathedral, Leicester Adult Education Centre, Mercure Grand Hotel, 2Funky Music Café and the Sue Townsend Theatre are also welcoming participants across the week.

The NSDF is an annual festival for young people who are passionate about making, watching and talking about theatre. This year NSDF has one of the best line ups in its 60 year history. Award-winning theatre company Slung Low will be in-residence for the entire festival. NSDF has assembled an incredible array of artists to lead masterclasses: Harriet Walter, Joan Iyiola, Simon Stephens, April De Angelis, Timberlake Wertenbaker, Jon Brittain, Roy Alexander Weise, James Phillips, Chris Thorpe, Lucy Ellinson, Ishy Din and Nikolai Foster, Artistic Director of Curve.

Alongside this, many of the UK’s most important theatre companies are coming to NSDF to offer workshops including the RSC, Young Vic, Royal Exchange, Manchester; Nottingham Playhouse, National Theatre of Wales, National Youth Theatre, Donmar Warehouse, Good Chance, Soho Theatre, Sisters Grimm, Headlong, Rash Dash, Middle Child, Barrel Organ, Fuel, Paines Plough, Lung, New Diorama, Bristol Old Vic, Mountview and Equity.

Speaking about the festival, Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:

“All of us at Curve strive to create theatre that is provocative, entertaining and inspiring. Young people, new work and collaboration sit at the heart of our organisation and we are proud Leicester is hosting the prestigious NSDF. We are thrilled to be working with this terrific team and would like to extend a very warm welcome to all of the students and practitioners from across the UK, who are our guests for what promises to be an incredible season.

“We are looking forward to seeing the work across the festival and know it will inspire our Leicester audiences and all who work in our theatre.”

Leicester City Council is supporting the National Student Drama Festival. Mike Dalzell, the council’s director of culture, tourism and inward investment said:

“Leicester is home to a thriving arts and cultural scene, and with one of the youngest populations in the UK is the perfect city to host this exciting festival.

“We are delighted that our city will be home for a week to some of the best up and coming talent in the theatre world, as well as the many leading directors, producers and artists who will be working with them. We hope they enjoy their experience of Curve and Leicester, and look forward to welcoming them on many return visits in the future.”

NSDF Guest Director James Phillips said:

“We’re thrilled to be bringing NSDF to Leicester, especially with one of the biggest and broadest workshop programmes in NSDF’s sixty-year history. It’s very exciting to be able to welcome artists like Harriet Walter, Joan Iyiola, April De Angelis, Timberlake Wertenbaker and so many others to the Festival this year, alongside the best student theatre in the UK. It’s going to be an incredible week.”

Selected shows to be performed at NSDF 19 include How To Save a Rock, a devised show with zero carbon footprint from Pigfoot Theatre in Oxford, Gary Owen’s Killology, a production by Durham University’s Fourth Wall Theatre and Things We Do Not Know, a piece of spoken-word theatre created by Process Theatre in association with Bristol-based charity One25.

Wayne Jackson, a member of Manchester’s Arden School of Theatre, will be presenting a Gogglebox inspired piece called Are You Still Watching? At the festival, in collaboration with Eggs Collective. He said:

“We are incredibly excited to perform at Curve for NSDF ’19; our show is vibrant and different and will fit really well within this innovative space.  Also, this is the first time that The Arden has been represented at NSDF and we are thrilled to be able to perform at such a beautiful theatre.”

For more information on NSDF 19, visit www.nsdf.org.uk

To find out more about Curve, visit www.curveonline.co.uk


TINA – THE TINA TURNER MUSICAL Will Open on Broadway at the Lunt-Fontanne Theatre on November 7, 2019

TINA -The Tina Turner Musical

The producers of TINA – THE TINA TURNER MUSICAL announced today that the production will open on Broadway at the Lunt-Fontanne Theatre (205 West 46th Street, NYC) on Thursday, November 7, 2019. Preview performances begin on Saturday, October 12, 2019. For more information, visit www.TinaOnBroadway.com.

Tickets will go on sale to the general public beginning Friday, June 7, 2019 at 10am EST through Ticketmaster.com or by calling 877-250-2929.

The show is currently on-sale to groups of 10 or more through Group Sales Box Office at Broadway.com.

As previously announced, Tony & Olivier Award nominee Adrienne Warren, who currently portrays “Tina Turner” in London’s West End through April 13, 2019, will reprise her critically-acclaimed performance when the show premieres on Broadway. Further casting will be announced soon.

A new musical based on the life of legendary artist Tina TurnerTINA – THE TINA TURNER MUSICAL received its world premiere in April 2018 at the Aldwych Theatre in London where it opened to five star reviews and continues playing to sold out houses. The West End production is now booking through December 21, 2019. A German production opened last month at Stage Operettenhaus in Hamburg.

Directed by Phyllida Lloyd and written by Katori Hall with Frank Ketelaar and Kees Prins, choreography is by Anthony van Laast, with set and costume designs by Mark Thompson, musical supervision, additional music and arrangements by Nicholas Skilbeck, lighting by Bruno Poet, sound by Nevin Steinberg, projection design by Jeff Sugg and orchestrations by Ethan Popp.

TINA – THE TINA TURNER MUSICAL will be produced on Broadway by Stage EntertainmentJames L. Nederlander and Tali Pelman in association with Tina Turner. The original West End production is produced by Stage EntertainmentJoop van den Ende and Tali Pelman.

This new musical, presented in association with Tina Turner herself, reveals the story of a woman who dared to defy the bounds of her age, gender and race.

The cast album for TINA – THE TINA TURNER MUSICAL, produced by Stage Entertainment and Ghostlight Records, is now available on digital and streaming platforms. A physical CD is planned for release later this season.

Critical Acclaim for the World Premiere of TINA – THE TINA TURNER MUSICAL:



– The Guardian


Adrienne Warren doesn’t just play Tina Turner; she becomes her.”

– The Telegraph



There couldn’t be a better time for this story.”

– The Stage


– The Hollywood Reporter



– The Mirror


– Samira Ahmed / BBC Radio 4’s Front Row

Casting announced for landmark revival of British musical The Hired Man

Lauryn Redding & Oliver Hembrough - The Hired Man

Lauryn Redding & Oliver Hembrough – The Hired Man

Full casting has today been announced for the landmark revival of the award-winning British musical The Hired Man, co-produced by the Queen’s Theatre Hornchurch and Hull Truck Theatre in association with Oldham Coliseum Theatre. This epic heroic tale of love, betrayal and loyalty opens in Hornchurch (27 April – 18 May), transfers to Hull (23 May – 15 June) and concludes in Oldham (20 June – 6 July).

 The cast includes Jon Bonner (The Commitments, UK tour); Lloyd Gorman (Sunny Afternoon, Harold Pinter Theatre); Oliver Hembrough(Insignificance, Arcola Theatre); TJ Holmes (Two Gentlemen of Verona, Shakespeare’s Globe & Liverpool Everyman); Lucy Keirl (The Crucible, UK tour); Lara Lewis (Daisy Pulls It Off, Charing Cross Theatre); Sufia Manya (Miss Littlewood, Royal Shakespeare Company); Samuel Martin (The Taming of the Shrew, Shakespeare’s Globe); Lauryn Redding (Oliver Twist, Hull Truck); Tom Self (Priscilla, Queen of the Desert, Queen’s Theatre Hornchurch) and James William-Pattison (Once, Queen’s Theatre Hornchurch / New Wolsey Theatre).​

 The Hired Man is directed by the Queen’s Theatre’s Artistic Director Douglas Rintoul (In BasildonMade in DagenhamThe Crucible), with design by Jean Chan, musical director Ben Goddard, movement by Jane Gibson, lighting design by Prema Mehta and sound design by Chris Murray.

 Based on the stirring novel by Melvyn Bragg first published in 1969, The Hired Man was turned into a musical in 1984. The production features a superb score of rousing foot stomping rhythms and soaring choruses by the award-winning composer Howard Goodall (Bend It Like BeckhamLove Story).

 Howard Goodall says, ‘I am absolutely thrilled about this revival: three brilliant regional theatres, a wonderful creative team and a chance for a new generation of theatre-goers to see this piece that Melvyn Bragg and I first put in front of an audience 35 years ago.’

 For more information about the Queen’s Theatre Hornchurch visit queens-theatre.co.uk

Regent’s Park Theatre announce principal casting for their productions of Evita and Jesus Christ Superstar

EVITA at Regent's Park Open Air Theatre
EVITA at Regent's Park Open Air Theatre

EVITA at Regent’s Park Open Air Theatre

Regent’s Park Theatre have today announced principal casting for their productions of Tim Rice and Andrew Lloyd Webber’s Evita and Jesus Christ Superstar, alongside the full creative team for Evita.

The fastest selling production in the theatre’s history, Evita plays at Regent’s Park Open Air Theatre from 2 August – 21 September. Jesus Christ Superstar, which won the Olivier Award for Best Musical Revival and the Evening Standard Award for Best Musical, plays a limited 60 performance run at the Barbican Theatre from 4 July – 24 August.

Jesus Christ Superstar Barbican Cast. Photo Matt Crockett

Jesus Christ Superstar previously played two sell-out seasons at the Open Air Theatre before transferring to the Lyric Opera of Chicago in 2018. It will embark on a North American tour from October.

Evita and Jesus Christ Superstar are produced by William Village and Timothy Sheader for Regent’s Park Theatre Ltd by special arrangement with The Really Useful Group Limited.


After an international search, I am incredibly excited about the amazing talent we have discovered, and the variety of voices we have assembled, to share this story today. Samantha Pauly will lead a thrillingly diverse and powerful company.” Jamie Lloyd, Director

Chicago-based Samantha Pauly makes her UK debut in the role of Eva Peron, direct from her performance in SIX (Chicago Shakespeare Theatre) and as Valkyrie in Bat Out Of Hell (US Tour). She appears alongside Ektor Rivera, also making his UK debut, having recently played Emilio Estefan in On Your Feet! on Broadway and US Tour. In addition to lead roles in RentHairspray and High School Musical, Ektor was selected by Jennifer López to be one of the lead singers in the US Television and Live showQ’Viva! The Chosen, which was seen by over 30 million television viewers.

An original Broadway cast member of Disney’s Aladdin – where he has been performing on and off for the last 5 years – Trent Saunders returns to the UK in the role of Che following his appearance as St. Jimmy in Green Day’s American Idiot (Hammersmith Apollo). Nominated for an Olivier Award for her role as Kylah in Our Ladies of Perpetual SuccourFrances Mayli McCann plays the role of The Mistress.

Joining Director Jamie Lloyd are: Soutra Gilmour (Designer), Fabian Aloise (Choreographer), Alan Williams (Musical Supervisor), Jon Clark (Lighting Designer), Nick Lidster for Autograph (Sound Designer) and Barbara Houseman (Season Associate Director, Voice and Text). UK casting is by Will Burton CDG for DGA, and US casting byTara Rubin Casting.

Evita premiered in the West End in 1978, and features a chart-topping score including Don’t Cry For Me ArgentinaOh! What A CircusAnother Suitcase in Another Hall, and the Academy Award-winning You Must Love Me, originally performed by Madonna in the motion picture.


The new cast of Jesus Christ Superstar includes: Robert Tripolino and Ricardo Afonso in the iconic roles of Jesus and Judas, with Sallay Garnett as Mary. Matt Cardle* plays the role of Pilate, with Cavin Cornwall and Nathan Amzi as Caiaphas and Annas.

Robert Tripolino (Jesus) recently played Sal Russo in RAGS (Hope Mill, Manchester). Originally from Australia, theatre credits include: Omar in Disney’s Aladdin(Australian Tour), Chino in West Side Story (State Theatre, Arts Centre Melbourne), Jean-Michel in La Cage Aux Folles (The Playhouse, Arts Centre Melbourne), The Addams Family (Capitol Theatre, Sydney) and A Funny Thing Happened on the Way to the Forum (Her Majesty’s, Melbourne). As a composer, credits include Dreamsong(Melbourne International Comedy Festival), Death Suits You (Melbourne Cabaret Festival) and Guilty Pleasures (Australian Tour).

Ricardo Afonso (Judas) previously appeared as the Taxi Driver in Women On The Verge Of A Nervous Breakdown (Playhouse), as Alberto Beddini in Top Hat (Aldwych/UK Tour), Lead Vocalist in Thriller Live (Lyric), Galileo in We Will Rock You (Dominion), and as a lead vocalist in The Classic Rock Show (European/UK Tour), The Wonderful World of Captain Beaky and His Band (Royal Albert Hall) and Strictly Come Dancing – The Professionals (UK Tour). Angolan born Ricardo appeared on The Voice UKseries 2, and is a recording artist working in the UK and in Portugal. He is currently recording his first original album with his band The Deccan Traps.

Sallay Garnett (Mary) is an Irish-Sierra Leonean artist, who also performs and records under the name Loah. With her unique blend of Afro-soul, she released her debut album This Heart in 2017. She has toured in Ireland, the UK, Sierra Leone, the USA and has held major slots at festivals including Electric Picnic, Body&Soul, Longitude, Cork Jazz Festival, Sounds from a Safe Harbour, and the Dublin Fringe Festival. She recently appeared in the film A Girl From Mogadishu (GFM Films) and has completed filming for the forthcoming film The Last Right (Deadpan Pictures).

Matt Cardle (Pilate) is a multi-platinum selling recording artist who has sold over 2.2 million records since he won The X Factor in 2010. He has released four studios albums including 2011’s Letters, featuring the single When We Collide, and most recently 2018’s Time To Be Alive; both on Sony Music. In 2015 he joined the cast ofMemphis (Shaftesbury) as Huey Calhoun, winning him the WhatsOnStage Award for Best West End Debut, and he returned to the stage in 2018, appearing as Wally Strand in Strictly Ballroom (Piccadilly).

* Please note that Matt Cardle will not appear on Saturday 13 July (evening), Tuesday 30 July, Wednesday 31 July or Saturday 3 August (evening).

 Cavin Cornwall (Caiaphas) originated the role of Caiaphas in the Regent’s Park Open Air Theatre production of Jesus Christ Superstar, reprising the role at the Lyric Opera of Chicago in 2018. He previously played Caiaphas on the UK arena tour of Jesus Christ Superstar having originally played Peter in the 1999 film version (Really Useful Films). He is currently appearing in Rip It Up (Garrick). Other theatre credits include: Disney’s Aladdin (Prince Edward), The Color Purple (Cadogan Hall), Sister Act(UK Tour), Billy Flynn in Chicago (Adelphi) and Crown in Porgy and Bess (Savoy). On film credits include, for the Star Wars franchise: Han Solo A Smuggler’s TradeStar Wars VII The Force Awakens and The Last Jedi. Also Paddington 2, and Les Misérables.

Nathan Amzi (Annas) most recently appeared in Heathers (Theatre Royal Haymarket). Other theatre credits include: Henry V (New Generation Festival, Florence), One Flew Over The Cuckoo’s Nest (Sheffield Crucible), Prom Queen (The Other Palace), Disney’s Aladdin (Prince Edward), Dinner With Saddam (Menier), In The Heights(Southwark Playhouse) and Urinetown (Apollo). Film and television credits include: The Voice UK Series 3, London RoadInformer (BBC), Sick of It (Sky One), Absentiaand Good Omens.

Jesus Christ Superstar is directed by Timothy Sheader, with design by Tom Scutt, choreography by Drew McOnie, musical supervision by Tom Deering, lighting design byLee Curran, sound design by Nick Lidster for Autograph, musical direction by Ed Bussey and fight direction by Kate WatersBarbara Houseman is Associate Director, Voice and Text, and casting is by Will Burton CDG and David Grindrod CDG.


 As Artistic Director of The Jamie Lloyd Company, Jamie Lloyd (Director) is currently producing and directing Betrayal and Pinter at the Pinter, a season of Harold Pinter’s short plays in the West End. Theatre highlights include: Doctor Faustus (Duke of York’s); The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse, Macbeth (Olivier Award-nominated, Best Revival), Apologia (Trafalgar Studios); Guards at the Taj (Bush); Assassins (Evening Standard Award nomination, Best Director; Menier); Urinetown (St James Theatre/Apollo); She Stoops to Conquer (WhatsOnStage Award nomination for Best Revival; National Theatre); The Pride (Olivier Award Winner, Outstanding Achievement in Affiliate Theatre; Royal Court); Passion (Evening Standard Award Winner, Best Musical; Donmar Warehouse) and Piaf(Olivier Award-nomination, Best Musical Revival; Donmar Warehouse/Vaudeville/Teatro Liceo, Buenos Aires/Nuevo Teatro Alcala, Madrid).

 Soutra Gilmour (Designer) designed The Turn of the Screw for Regent’s Park in 2018, as well as Into The Woods, which subsequently played in Central Park, New York for the Public Theater. Recent theatre credits include: Betrayal and Pinter at the Pinter (Harold Pinter), Jack the Ripper (ENO), Timon of Athens (RSC), Knives in Hens(Donmar Warehouse) and Twelfth Night (National Theatre).

Fabian Aloise (Choreographer) has recently choreographed: The View Upstairs (Soho Theatre), The Rink (Southwark Playhouse/Off West End Award, Best Choreography), Madagascar (UK Tour), On The Town (BBC Proms), Working (Southwark Playhouse) and Our House (UK Tour/WhatsonStage nomination, Best Choreography).

Alan Williams (Musical Supervisor) has worked as Musical Supervisor/Arranger on productions including: Funny Girl (Savoy/UK Tour), Urinetown (Apollo), The Commitments (Palace/UK Tour) and Shrek (UK Tour). As Musical Director credits include: Aladdin (Prince Edward), Funny GirlAssassins (Menier), A Damsel in Distress(Chichester Festival) and A Chorus Line (Palladium).

Jon Clark (Lighting Designer) recently won the Olivier Award for Best Lighting Design for The Inheritance. For Regent’s Park previous credits include The Turn of the Screw and Into the Woods. Other recent credits include: Betrayal and Pinter at the Pinter (Harold Pinter), Alys Always (Bridge), The Lehman Trilogy (National Theatre),The Jungle (Young Vic) and King Charles III (Olivier nomination, also Broadway, Sydney and UK Tour). Recent opera credits include: The Exterminating Angel(Metropolitan Opera, Royal Opera House, Salzburg Festival, Royal Danish Opera).

Nick Lidster (Sound Designer) is a senior member of the Autograph design team. Previously for Regent’s Park, credits include Little Shop of HorrorsThe Turn of the ScrewOn The Town and Jesus Christ Superstar (Olivier Award Best Sound Design nomination, also at the Lyric Opera of Chicago). Current projects include: The Band(Theatre Royal Haymarket/UK Tour) and Calendar Girls the Musical (UK Tour).

Barbara Houseman (Season Associate Director, Voice and Text) has been Voice and Text Coach at Regent’s Park since 2019, and Season Associate Director since 2014. Recent credits include: Strictly Ballroom (Piccadilly), The Ferryman (Gielgud), Rosencrantz & Guildenstern are Dead (Old Vic), The Curious Incident of the Dog in the NightTime (Gielgud/Tour), St Joan, All Female Trilogy, Les Liaisons Dangereuses, Coriolanus, Trelawny of the Wells (Donmar Warehouse) and the Kenneth Branagh Season (Garrick).

Will Burton CDG for DGA (Casting) has previously cast Jesus Christ Superstar for Regent’s Park, including the 2019 production at the Barbican. Other recent credits include: Heathers (Theatre Royal Haymarket); Everybody’s Talking About JamieUrinetown (Apollo); Matilda (Cambridge Theatre); Waitress (Adelphi) and Bat Out of Hell (Dominion/Coliseum). Films include: Mary Poppins Returns and Disney’s Beauty and the Beast.

Tara Rubin Casting (US Casting) have most recently cast the Broadway musicals Miss SaigonBandstandDear Evan HansenSunset BoulevardAladdinCatsSchool of RockDoctor Zhivago and Bullets over Broadway. On film credits include Les Misérables.

The 2019 season at Regent’s Park Open Air Theatre also includes productions of Our Town, Thornton Wilder’s Pulitzer Prize-winning play (16 May – 8 June), the operaHansel and Gretel (14 – 22 June) in a co-production with English National Opera, and Shakespeare’s A Midsummer Night’s Dream (28 June – 27 July).

For more information visit: openairtheatre.com