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Further casting announced for A Very Very Very Dark Matter at the Bridge Theatre

Elizabeth Berrington

Casting news

FURTHER casting has been announced for the world premiere of Martin McDonagh’s A Very Very Very Dark Matter, which runs at the Bridge Theatre from October 24, 2018 (previews now from October 12) to January 6, 2019.

Joining the previously announced Jim Broadbent are Johnetta Eula’Mae Ackles, Elizabeth Berrington and Phil Daniels.

A recent graduate of the American Musical and Dramatic Academy, Johnetta Eula’Mae Ackles will be making her professional stage debut in A Very Very Very Dark Matter.

Elizabeth Berrington (pictured top) was last on stage in Rasheeda Speaking at the Trafalgar Studios. Her previous theatre credits include Who Cares and The Low Road (Royal Court), Holes (Arcola Theatre), Absent Friends (Comedy Theatre) and Abigail’s Party (Hampstead Theatre).

Her screen work includes Patrick Melrose, Stella, Waterloo Road, Vanity Fair, Borderline, Death in Paradise, Little Boy Blue and the forthcoming Good Omens (TV); Naked, Secrets and Lies, Vera Drake, Mr. Turner and Martin McDonagh’s In Bruges (film).

Phil Daniels (pictured below) recently toured the UK playing the title roles in Robert Louis Stevenson’s Dr Jekyll & Mr Hyde. His other theatre credits include King Lear (Chichester Festival Theatre), This House (National Theatre/Garrick Theatre), Les Miserables (Queens Theatre) and Antony and Cleopatra and Knight of The Burning Pestle (Shakespeare’s Globe).

Phil Daniels

His numerous television credits include Endeavour, Zapped, Poirot, Mooonfleet, EastEnders, Outlaws, Rocks and Chips, Gimme Gimme Gimme, Misfits, The Long Firm, Time Gentlemen Please, Holding On and Sex, Chips and Rock n Roll. He has also appeared in the films Access All Areas, The Hatton Garden Job, Vinyl, Chicken Run, Bad Behaviour, Scum and Quadrophenia.

In a townhouse in Copenhagen works Hans Christian Andersen, a teller of exquisite and fantastic children’s tales beloved by millions. But the true source of his stories dwells in his attic upstairs, her existence a dark secret kept from the outside world. As dangerous, twisted and funny as his National Theatre and Broadway hit The Pillowman, Martin McDonagh’s new play travels deep into the abysses of the imagination.

Presented by The London Theatre Company, A Very Very Very Dark Matter is directed by Matthew Dunster and designed by Anna Fleischle, with lighting by Philip Gladwell and sound by George Dennis.

Read more about A Very Very Very Dark Matter.

Tickets: From £15 to £65 with a limited number of premium seats available. A special allocation of £15 seats are held for Young Bridge, a free scheme for those under 26. To book, call the box office on 0333 320 0051, e-mail boxoffice@bridgetheatre.co.uk or visit bridgetheatre.co.uk/.

Also at the Bridge Theatre: the world premiere of Alan Bennett’s Allelujah!, directed by Nicholas Hytner.

Daisy Pulls it Off - production images released

Daisy Pulls it Off. Photo by Mark Dean.

Preview by Lizzie Guilfoyle

PRODUCTION images have been released from Daisy Pulls It Off. To view them, click here.

Previously Posted: Fresh from a sell-out run at the Ivy Theatre, the first graduating year of Guildford School of Acting’s BA Actor-Musician programme are bringng their unique production of Daisy Pulls it Off to Charing Cross Theatre.

Written by Denise Deegan and directed by Nicholas Scrivens, it runs from Tuesday, June 19 to Saturday, June 30, 2018.

A riotous and affectionate pastiche of a classic girls’ school story, Daisy Pulls it Off was a huge West End hit when first produced by Andrew Lloyd Webber in 1983, running for 1,180 performances and winning the Olivier Award and Drama Theatre Award for Best Comedy.

It’s 1927 and Daisy Meredith is the first scholarship girl taken from an elementary school to be granted access to the hallowed halls of the prestigious Grangewood School for Young Ladies. Enthusiastic and plucky to the last, Daisy finds herself struggling against unspeakable snobs Sybil Burlington and Monica Smithers, who concoct ghastly schemes to get her expelled.

Ably assisted by her new best friend, the madcap Trixie Martin, Daisy finds herself caught up in a series of irresistible adventures including a search for the missing “Beaumont Treasure”. Can Daisy work out the mysterious clues and save the school from closure? And what secrets does the enigmatic Mr Scoblowski hide?

The cast includes Marina Papadopoulos, Lia Todd, Gemma Evans, Lara Lewis, Persia Babayan-Taylor, Katy Ellis, Madeline Wilshire, Sophie Moores, Harry Edwin, Hanna Khogali, Mark Fitzsimmons and Jacob Leeson.

Composer is Niall Bailey and musical staging is by Phyllida Crowley-Smith.

Steven M.Levy and Sean Sweeney of Charing Cross Theatre commented: “Having presented a number of actor-musician productions at Charing Cross Theatre and being bowled over by the production when seeing it at the GSA before Christmas, we are delighted a 2-week break in the theatre’s schedule means we can present this, giving tomorrow’s theatremakers the chance of their first London run.”

Daisy Pulls It Off. Photo by Mark Dean.

Sean McNamara, Head of Guildford School of Acting, said: “I am thrilled that GSA are collaborating with Charing Cross Theatre on this magnificent production of Daisy Pulls it Off further reinforcing the relevance and impact that Actor Musicianship professional training has had within GSA and the industry.”

Guildford School of Acting at the University of Surrey is one of the most highly regarded theatre schools in the UK with a vibrant community of performers, performance makers, creative practitioners and technicians graduating from a wide variety of programmes each year. Responding to the ever growing need of the theatre industry for actor musicians, a new undergraduate course was started in 2016 and the cast of Daisy Pulls it Off are the first year to graduate.

Daisy Pulls it Off is presented by arrangement with The Really Useful Group Ltd.

Images: Both by Mark Dean.

Tickets: £19.50 (all). There is a £3 booking fee charged per ticket for phone (08444 930650) and internet (www.charingcrosstheatre.co.uk/) orders, and a 50p Restoration Levy on all tickets. No booking fee to personal callers.

Times: Monday to Saturday at 7.30pm, Wednesday matinee at 2.30pm, Saturday matinee at 3pm.

Gala/Press night: Thursday, June 21 at 7.30pm.

Also at Charing Cross Theatre: It Happened in Key West, starring Broadway actor Wade McCollum (July 4 to August 18, 2018).

The International Rescue Committee and The Globe mark World Refugee Day with new film

Theatre news

THE International Rescue Committee and Shakespeare’s Globe have released a new short film to mark World Refugee Day.

A unique performance of Shakespeare’s speech ‘The Strangers’ Case’ from The Book of Sir Thomas More, the film features refugees from Syria, Sierra Leone and South Sudan alongside renowned actors including Kim Cattrall, Lena Headey, Noma Dumezweni and Jamael Westman in an expression of unity with all those who have fled conflict overseas.

The film can be viewed here.

Filmed in the Globe’s iconic outdoor and indoor theatres, Sawsan Abou Zeinedin, Sana Kikhia, Rayan Azhari and Mohanad Hasb Alrsol Badr are joined by actors from stage and screen as they stand in solidarity with Shakespeare’s rallying cry for humanity, which is as relevant today as it was 400 years ago.

The film launched the Globe’s programming for Refugee Week (June 18 – 24) and is being screened across the site throughout the week.

The Book of Sir Thomas More was written and edited by a team of playwrights including Anthony Munday, Henry Chettle, Thomas Heywood, Thomas Dekker and William Shakespeare. Depicting More’s rise and fall, it includes a dramatization of the May Day riots of 1517, when citizens turned on their immigrant neighbours. Thomas More memorably confronts the rioters, condemning their ‘mountainish inhumanity’ and urging them to consider the ‘the strangers’ case’: the plight of London’s refugees.

David Miliband, CEO of the International Rescue Committee, said: “Shakespeare knew that refugees needed help and so should we. In his time it was the Lombards fleeing their homes and communities. Today people are fleeing their homes and communities in Syria, Yemen and Myanmar. The people are different but the reasons are the same: To protect themselves and their loved ones from war, violence and persecution. And Shakespeare’s rallying cry for humanity is as relevant as ever. Now is the time to answer his cry and stand with refugees.”

Michelle Terry, Artistic Director at the Globe, said: “If Shakespeare is our greatest humanist writer, then it is our humanitarian duty to respond to his own clarion call. ‘The Strangers’ Case’ is Thomas More’s sadly still relevant plea to the rioting masses as they attack and reject the “wretched strangers, Their babies at their backs and their poor luggage, Plodding to the ports and coasts for transportation.”

“Where better than the embrace of our wooden O, or the warmth of our Sam Wanamaker Playhouse, in an organisation that was conceived of and created by Sam Wanamaker who himself sought refuge in this country after being blacklisted by his own, to tell these kind of stories. But ‘The Strangers’ Case’ isn’t a story; it’s a hostility which is real, ongoing, and which must be fought. I’m so pleased we’ve been able to partner with the IRC to bring to life Shakespeare’s appeal to our “mountainish inhumanity”, in a rallying cry for compassion and empathy which echoes from his century to ours.”

Sana, a refugee from Syria who appears in the film said: “I am presenting myself as a refugee to help remove the stigma. I want to let the world know that being a refugee is not a burden. Refugees are survivors and have overcome so many difficulties and war. We need to rethink the way we look at refugees. I am happy to be called a refugee and help the case.”

Jeremy Vine to make cameo appearance in David Walliams' Mr Stink at Chickenshed Theatre

Mr Stink

Preview by Lizzie Guilfoyle

THIS summer, Chickenshed is presenting a brand new musical adaptation of David Walliams’ acclaimed best-selling book, Mr Stink.

It runs at the Chase Side venue from Wednesday, July 18 to Sunday, August 5, 2018.

The very kind, but lonely 12 year old Chloe invites the homeless ‘Mr Stink’ and his dog, Duchess, to leave behind the wooden bench where they have taken up residence and secretly move into her family’s shed.

Matters become more complicated when Chloe’s mother – who has unfulfilled political ambitions – tries to take credit for Chloe’s generosity. And precisely who is Mr Stink , anyway?

Chickenshed’s production of Mr Stink follows last year’s successful adaptation of The Midnight Gang.

David Walliams said: “Chickenshed is quite rightly a legendary theatre company, not just for its inclusivity but also the incredible quality of its work. Their production of my book The Midnight Gang is beautiful, and made me laugh and cry in equal measure. Do try and see it and all the work of Chickenshed Theatre if you can. Chickenshed is probably the most important theatre company in the world.”

Renowned British presenter, broadcaster and journalist Jeremy Vine will be making his professional acting debut with a cameo appearance as Sir Dave.

The cast also includes Bradley Davis (as Mr Stink), Phil Constantinou (Duchess), Lucy Mae Beacock/Lydia Stables (Chloe Crumb), Courtney Dayes/Maddie Kavanagh (Annabelle Crumb), Belinda McGuirk (Mother Crumb), Chanice Anaman/Stella Simao (Elizabeth), Ashley Driver (Father Crumb), Goutham Rohan (Raj), Charlotte Laitner/Louise Connolly (Rosamund), Finn Walters (Mr Stern) and Michael Bossisse (Prime Minister).

Mr Stink is directed by Lou Stein and designed by Keith Dunne, with choreography by Dina Williams and movement direction by Tiia-Mari Makinen. Composer is Dave Carey.

Tickets: £7 – £15. To book, call the box office on 020 8292 9222, email bookings@chickenshed.org.uk or visit www.chickenshed.org.uk/.

Times: Evenings at 7pm, Sundays at 5.30pm, Matinees at 1.30pm or 3pm.

NB: Chickenshed guarantee that you will laugh, you will cry and you might well also want to hold your nose!!

National Theatre's Nine Night transfers to the West End

Preview by Lizzie Guilfoyle

FOLLOWING its success at the National Theatre, Natasha Gordon’s debut play, Nine Night, is transferring to the West End – to Trafalgar Studios where it runs from December 1, 2018 to February 9, 2019.

Roy Alexander Weise directs what is described as a touching and exuberantly funny exploration of the rituals of family.

Gloria is gravely sick. When her time comes, the celebration begins; the traditional Jamaican Nine Night Wake – nine nights of music, food, sharing stories and an endless parade of mourners. But for Gloria’s children and grandchildren, marking her death with a party that lasts over a week is a test.

Nine Night is designed by Rajha Shakiry, with lighting by Paule Constable, sound by George Dennis and movement direction by Shelley Maxwell.

Casting for the West End transfer has not yet been announced.

Also at Trafalgar Studios: Tracy Letts’ blackly comic thriller Killer Joe, starring Orlando Bloom (until August 18); Steven Dietz’s Lonely Planet (until July 7); and Buckland Theatre Company’s Two For The Seesaw ( July 12 to August 4, 2018).

Arcola announces 2018 Grimeborn Opera Festival

2018 Grimeborn Opera Festival

Preview by Lizzie Guilfoyle

ARCOLA Theatre has announced the 17-strong line up of productions in this year’s Grimeborn Opera Festival, which runs from July 24 to August 26, 2018.

The festival, which is returning for its 12th successive year, features bold new versions of classic operas, rarely-seen and long-forgotten works, and brand new pieces from some of the most exciting up-and-coming opera artists. All tickets are priced between £10 and £26.

Grimeborn 2018 begins on July 24 with Benjamin Britten’s The Rape of Lucretia, directed by rising star and Royal Opera Staff Director Julia Burbach, with musical direction by Peter Selwyn. This daring new production turns the lens on the representation of women from ancient myths to the #MeToo movement.

Then Jonathan Moore directs a new, thirtieth anniversary production of Greek. His and Mark-Anthony Turnage’s riotous, contemporary retelling of the Oedipus myth, based on the verse play by Steven Berkoff, sent shockwaves through the opera world when it premiered in 1988. Now it comes home to the East End, with music direction by Tim Anderson.

Other productions include The Boatswain’s Mate, written by suffragette Ethel Smyth, in a rare staging on the centenary of the Representation of the People Act; Francesco Cavalli’s Xerse, featuring eleven singers, baroque violins, cello, lute and harpsichord; the European premiere and 50th anniversary production of Elephant Steps, an occult, surrealist opera by American avant garde theatre pioneers Richard Foreman and Stanley Silverman; and A Fantastic Bohemian, a unique, promenade opera experience based on Jacques Offenbach’s The Tales of Hoffman.

Fulham Opera bring their contemporary version of Gaetano Donizetti’s Lucia di Lammermoor along with a ravishing new opera, The Prometheus Revolution by Keith Burstein. And Opera Alegria stage Donizetti’s Rita alongside Maurice Ravel’s L’Heure Espagnole.

Classics are reimagined by the Romany Theatre Company, whose Carmen The Gypsy places the story in the contemporary British traveller community with original Gypsy folk songs, and by The Opera Company, whose Onegin and Tatiana offers a new take on Tchaikovsky‘s Eugene Onegin.

Mosaic platforms and celebrates Black & Asian opera makers, with creative workshops for artists and performances for audiences, showcasing stories yet to be seen and heard in contemporary Britain.

And there are one-night-only performances of Swing Sister Swing, inspired by jazz-greats Ella Fitzgerald, Nina Simone and Billie Holiday; Teenage Bodies, a cycle of cantates for five voices based on Dieterich Buxtehude’s Membra Jesu Nostri; and Recitals, featuring performances by soprano Milly Forrest and pianist Alastair Chilvers of some of the repertoire’s best-loved pieces.

There are even shows for young children, with Melanie Gall’s Opera Mouse and Jazz Cat introducing the next generation to the wonders of opera and live music.

Arcola Artistic Director Mehmet Ergen said:

“Opera should belong to everybody. Its roots are in the streets, in the stories we share, and in the power of music to unite and affect us all. Grimeborn exists to champion that power, and to make it accessible: with affordable ticket-prices, a diverse programme and a platform for the young and the new. Twelve years in, it’s still building momentum: with more and more people attending the festival each year. I think this year’s line-up is the most exciting yet, and I can’t wait to see it on our stages.”

Booking is now open for Arcola Supporters. Public booking opens on Friday, June 22 at 12.30pm.

For full listings including dates and times, visit www.arcolatheatre.com/grimeborn/.

Full casting announced for Aristocrats at the Donmar Warehouse

Casting news

FULL casting has been announced for Brian Friel’s haunting play Aristocrats, which runs at the Donmar Warehouse from August 9 (previews from August 2) to September 22, 2018.

Completing the line up are Paul Higgins (as Tom Huffnung) and James Laurenson (Father).

They join previously announced Elaine Cassidy (Alice), David Dawson (Casimir), David Ganly (Willie Driver), Emmet Kirwan (Eamon), Aisling Loftus (Claire), Ciaran McIntyre (Uncle George) and Eileen Walsh (Judith).

Ballybeg Hall once played host to grand balls, musical evenings, tennis parties: its rooms busy, bursting with painters, poets and politicians. And presiding over all of it, the imposing figure of Judge O’Donnell. Now, on the eve of a wedding, the O’Donnell children return to their ancestral home to find that the rot has set in.

Paul Higgins returns to the Donmar Warehouse after appearing in Temple, Luise Miller and The Cosmonaut’s Last Message to the Woman he once Loved in the Former Soviet Union.

His numerous theatre credits elsewhere include The Seagull (Lyric Hammersmith), Twilight Song (Park Theatre), Hope, Night Songs (Royal Court), Children of the Sun, The White Guard, Paul, An Enemy of the People (National Theatre), Black Watch (National Theatre of Scotland), Damascus (Traverse/Tricycle/Middle East Tour), The Tempest (Tron Theatre), Macbeth, Conversations After A Burial (Almeida Theatre), Measure For Measure (RSC), The Golden Ass, A Midsummer Night’s Dream (Shakespeare’s Globe), Buried Alive, The Maidenstone (Hampstead Theatre) and Macbeth (English Touring Company/Lyric Hammersmith).

Higgins’ screen work include Line of Duty, Raised By Wolves, Utopia, Case Histories, The Sunny, Vera, The Last Enemy, Low Winter Sun, The Thick Of It, Murder, Staying Alive, Dr Finlay, Tumbledown, A Very Peculiar Practice and The Negotiator (TV); Apostle, The Party’s Just Beginning, Victoria & Abdul, Couple In A Hole, In The Loop, Complicity, The Red Road and Bedrooms and Hallways (film).

James Laurenson returns to the Donmar Warehouse after appearing in Othello and Passion Play. His theatre work also includes Henry V (West End), The Master Builder (The Old Vic), The Comedy of Errors (Shakespeare’s Globe), The School for Scandal (Theatre Royal Bath), Hamlet, Three Winters, The Cherry Orchard (National Theatre), A Midsummer Night’s Dream (Rose Theatre, Kingston), Waiting for Godot (Theatre Royal, Bath/New Ambassadors Theatre), Measure for Measure (Theatre Royal, Bath/Stratford Upon Avon), The Crucible (RSC/Gielgud Theatre), The Prince of Hamburg, The General From America, Julius Caesar, Othello, Saratoga, The Changeling and As You Like It (RSC) and A Delicate Balance (Theatre Royal, Haymarket).

He has also appeared on screen in Posh, Private Peaceful, One Day, Churchill At War, Afterlife, Three Blind Mice, The Cat’s Meow, Dead Bolt Dead, The Dead Light of Day, A House on the Hills and The Man Inside (film); Father Brown, The Crown, Wolf Hall, Song of Liberty, The Hollow Crown, The Widower, Isaac Newton Documentary, Henry IV, Holy Flying Circus, The Long Walk to Finchley and Spooks (TV).

Aristocrats is directed by Lyndsey Turner who returns to the Donmar following Faith Healer, Fathers and Sons and Philadephia, Here I Come!

Brian Friel (January 9, 1929 – October 2, 2015) is considered one of the greatest Irish dramatists, having written over 30 plays across six decades. His plays have won numerous Awards including the 1979 Evening Standard Award for Best Play and the New York Drama Critics’ Circle Award for Best Foreign Play for Aristocrats, and Tony, New York Drama Critics’ Circle and Olivier Awards for Best Play for Dancing at Lughnasa.

The Prime of Miss Jean Brodie, starring Lia Williams in the title role, continues at the Donmar Warehouse until July 28, 2018.

For more information or to buy tickets, call the box office on 020 3282 3808 (no booking fees, £1 postage fee may apply) or visit www.donmarwarehouse.com/.

Mother and daughter duo cast in The Rise and Fall of Little Voice at Park Theatre

Sally George and Rafaella Hutchinson

Casting news

Mother and daughter duo Rafaella Hutchinson and Sally George are to be the first ever family pairing to star as the reclusive Little Voice and meddling mother Mari in Jim Cartwright’s The Rise and Fall of Little Voice, which runs at Park Theatre from August 21 (previews from August 16) to September 15, 2018.

Tom Latter, with Associate Director Anita Dobson, directs a cast that also features Linford Johnson, Kevin McMonagle, Jamie-Rose Monk and Shaun Prendergast.

A timid and brilliant young woman, Little Voice has a hidden talent – she can sing like the greatest divas of the 20th Century. Living a lonely life in a northern town, all she wants is to feel safe in her room with her records. No chance with mother Mari on the rampage – she’s after booze, a man, a greasy breakfast, and a working phoneline.

When local impresario Ray Say forces Little Voice into the spotlight, her transformation astounds everyone. Then the battle between mother and daughter truly erupts.

Funny, brutal, beautiful and sad, Jim Cartwright’s timeless and ultimately uplifting tale is a comic tragedy about finding your voice in a noisy world.

Jim Cartwright’s plays are consistently performed around the world, where they have won numerous awards, and been translated into 30 languages. Written by Cartwright in 1992, The Rise And Fall Of Little Voice was first performed at the National Theatre, and The Aldwych Theatre in the West End later that same year. The production was nominated for six Olivier Awards, was winner of The Evening Standard Award for Best Comedy of the Year in 1992 and the Olivier Award for Best Comedy in 1993. It opened on Broadway in 1995 and was adapted into the film Little Voice in 1998.

Sally George (Mari Hoff) trained at Guildhall School of Music and Drama. Her theatre work includes: People Places and Things (National Theatre, Wyndham’s Theatre), Positive (Park Theatre), Richard III (Riverside Studios), Storm in a Flower Vase (Arts Theatre), Lady Moseley’s Suite (Trafalgar Studios), Oedipus (The Almeida) and Oedipus, Temptation, The New Inn, Titus Andronicus, Penny for A Song, The Merry Wives of Windsor, Voices from Prison and The Taming of the Shrew (Royal Shakespeare Company).

George’s screen credits include the BAFTA-winning The Buddha of Suburbia, Persuasion, Heartbeat, Dalziel and Pascoe and EastEnders (TV); Love Somehow, a one-woman film about Caitlin Thomas for which she won three best actress awards (IIFC, WIMF and Film Fest), and Measure for Measure (film).

Rafaella Hutchinson (Laura Hoff/Little Voice) trained at the Institute of Contemporary Music Performance and her theatre work includes The Merry Wives of Windsor (Royal Shakespeare Company). Her television credits include the role of series regular Olivia in Wild at Heart, Cider with Rosie, Life on Mars, New Tricks, Heartbeat and Doctors. Hutchinson also works as a singer-songwriter, currently working with Swann and The Worries.

Linford Johnson’s (Billy) theatre credits include: The Tempest and Macbeth (Iris Theatre), Pinocchio (National Theatre), Show Boat (Sheffield Crucible, New London Theatre), War Horse (UK, Ireland, South Africa Tour), Hair (Hope Mill Theatre), Alice’s Adventures Underground (Waterloo Vaults), Territory (The Lowry Theatre) and The Meeting (Pleasance Theatre Islington/Edinburgh).

Kevin McMonagle’s (Ray Say) theatre work includes: Black Snow, The Resistible Rise of Arturo Uri, Further Than The Furthest Thing and People Places and Things (National Theatre), Richard III, The Tempest, Comedy of Errors and Twelfth Night (Royal Shakespeare Company), Kin, Ladybird, Thyestes and Ambulance (Royal Court) and The Family Reunion (Donmar Warehouse). He has also appeared on TV in New Tricks, Inspector Morse, Rebus, Bramwell, Rose and Maloney and Blue Murder.

Jamie-Rose Monk (Sadie) trained at Mountview Academy of Theatre Arts. Her most recent credits include the BAFTA award-winning comedy series Class Dismissed for CBBC, Holby City, Sketchtopia for Radio 4 and Yap Yap Yap at the Royal Festival Hall as part of WOW Festival. Monk also writes and performs comedy as part of her sketch group “Buttery Brown Monk”.

Shaun Prendergast’s (Mr Boo/Phone Man) recent credits include: Cinderella (Theatre Royal Windsor), Dark Angel (ITV), James in Geordie the Musical (Customs House), EastEnders (BBC), Oh What a Lovely War (Stratford East), Much Ado About Nothing and Twelfth Night (Riverside Studios) and A Going Concern (Hampstead Theatre). Prendergast is also a writer for stage, screen and radio whose work has been translated into six languages. He’s the recipient of a Sony Award, a Time Out Award, five NSDF awards and a Writer’s Guild Award.

The Rise and Fall of Little Voice is suitable for ages 12+.

Tickets: Previews £18.50, Standard £18.50 – £32.50, Concessions £16.50 – £23.50, Child (Under 16) £15 – £20. To book, call the box office on 020 7870 6876 (10% telephone booking fee, capped at £2.50 per ticket) or visit www.parktheatre.co.uk/.

Times: Monday to Saturday evenings at 7.30pm, Thursday and Saturday matinees at 3pm.

Running Time: Approximately 2 hours 10 minutes including interval.

Captioned performance: Wednesday, September 5 at 7.30pm.

Also at Park Theatre: the UK revival of Beirut by American playwright and author Alan Bowne (until July 7) and Alkaline, a play about faith, friendship and fear (July 10 to August 4, 2018).

Daisy Campbell's new show Pigspurt's Daughter comes to Hampstead Theatre Downstairs

Preview by Lizzie Guilfoyle

HAMPSTEAD Theatre will host Daisy Campbell’s new one-woman show Pigspurt’s Daughter from July 11 to July 14, 2018.

Having grown up repeatedly watching her father Ken Campbell’s one-man shows (cheaper than a babysitter), Daisy Campbell is now marking the 10-year anniversary of her dad’s death with a Campbellian monologue of her own.

Pigspurt’s Daughter follows Daisy’s surreal quest to go farther than her father – when Pigspurt, the daemonic side of Ken’s personality, is summoned by Daisy through an accidental act of gastromancy, the rectal invocation of dead spirits, there’s no telling what he might goad her to do…

Following Terry Johnson’s critically acclaimed KEN, first seen at Hampstead Downstairs in 2016, this is a new and wonderfully funny romp through Ken’s legacy of lunacy from the unique perspective of his daughter. Join Daisy in her mesmerising and alarming quest to make peace with the gap her father left behind.

Prior to Pigspurt’s Daughter, Daisy Campbell adapted and directed Robert Anton Wilson’s Cosmic Trigger in 2014 and 2017 in Liverpool and London to great acclaim. Last year she also directed The KLF’s comeback, Welcome to the Dark Ages. She worked with her father for many years on productions, notably directing the world’s longest play The Warp, and a West-End run of Macbeth in Pidgin English, Makbed. This is her first full-blown one-woman show.

Pigspurt’s Daughter can also be seen at Kunst Gallery, Belper (June 23), The British Library, London (September 2) and Slung Low’s The Hub, Leeds (September 9).

The Jungle holds performance in recognition of World Refugee Day

Trevor Fox in The Jungle at the Young Vic. Photo credit David Sandison.

Theatre news

THE Jungle, currently in previews at the Playhouse Theatre, will today (Wednesday, June 20, 2018) recognise World Refugee Day with all tickets to the evening performance offered to refugee charities, arts partners and guests from the cultural sphere.

The production is set in Europe’s largest unofficial refugee camp, the Calais Jungle, which in 2015, became a temporary home for more than 10,000 people. A National Theatre and Young Vic co-production with Good Chance Theatre, The Jungle is written by Joe Murphy and Joe Robertson and directed by Stephen Daldry and Justin Martin.

It transfers to the West End, produced by Sonia Friedman Productions, Tom Kirdahy and Hunter Arnold following a sell-out run at the Young Vic in December 2017.

Refugee Week is the UK’s largest festival celebrating the contribution of refugees and celebrates its 20th anniversary between June 18 and June 24, 2018. For two decades, the festival has brought together people of all backgrounds to celebrate the contributions, creativity and resilience of refugees and the welcome offered to them by British communities.

For this year’s World Refuge Week people are invited to celebrate Refugee Week’s 20th anniversary by doing one of 20 Simple Acts, which are simple actions everyone can do to stand with refugees and bring people together in their communities. Thousands of people are expected to join Refugee Week’s 20th anniversary celebrations at hundreds of arts, cultural and educational activities across the UK.

Today, the first footage was today released of the newly revamped Playhouse Theatre, where the traditional proscenium theatre has undergone an unprecedented transformation, unlike anything seen in a West End venue before. The stalls have been reconfigured to house Miriam Buether’s critically-acclaimed set design as seen at the Young Vic, where audiences are invited to sit at the benches and tables of the Afghan café in the Calais camp.

The Playhouse Theatre also offers the new experience of watching from the Dress Circle, which has been renamed “Cliffs of Dover”. Whilst the circle will retain its traditional theatre seating, the unique and intimate experience is unlike anything regular Playhouse Theatre attenders have had before, with views over the dramatically transformed performance space below, which extends beyond the proscenium arch and over the stalls, enhanced by accompanying video screens, relaying close-up ‘live news broadcast’ style footage of some of the action.

The in-the-round transformation reduces the capacity of the theatre to under 450 seats. Top price tickets are directly enabling 40% of the house to be priced at £25 and under, and a proportion of tickets will be held off sale to be offered to refugees and targeted groups in order to maximise diversity and accessibility. Bucket collections and donation stations are available at every single performance of the show.

Read more about The Jungle.