#Dominic Bilkey

[willstafford]

Ghost on the Coast

Ghost on the Coast

DARKER SHORES Festival Theatre, Malvern, Wednesday 23rd November, 2022 This slice of Victorian gothic begins with grief-stricken natural historian Professor Stokes (Maxwell Caulfield) narrating a spooky experience he has had to spiritualist Tom Beauregard (Michael Praed).  And so we are transported to the site of this happening, a creepy old house by the sea, where we encounter housekeeper Mrs…

[col-brightside]

A follow-up piece to the open letter from a LX Programmer. "The concerns were initially raised by the Association of Lighting Designers, with chair Johanna Town stating that an “expectation to work under intense pressure for periods of 15 to 18 hours per day, six days per week” is standard... “The intensity of the work is causing burnout and serious mental health issues, and programmers are finding themselves physically unable to function after weeks of tech, which is so wrong on every level.”...

“A mix of being committed to the production, more being expected from staff and workers, and low wages are meaning that some job categories are working lots of overtime to boost their wage to a reasonable rate to be able to live on,”... ‘Buyouts’, under which workers are paid a set fee for anticipated overtime, were also contributing to the problem, because “a person ends up working all hours demanded for a fixed cost with no ability to say ‘Enough is enough’”...

Association of Sound Designers chair Dominic Bilkey said that while some workers in the sector enjoyed a sensible work-life balance, many worked 60 hours or more a week. He added: “[Re-assessing] the way in which shows are produced and the mentality that drives some working practices would enable a better work-life balance and enable our members to have sustainable careers while looking after themselves. Initiatives such as job sharing, supporting return-to-work parents and considering different production models could all be used to enact this.”

Equity agreed that many of its members “struggle to have a positive work-life balance” due to the nature of the industry. “This imbalance is exacerbated for stage management, who are called earlier and finish later than the performers and are often required to miss breaks and take on additional duties to get the required work done."

[newyorktheater]

The Lehman Trilogy, an inventively staged, extraordinarily acted, and historically blinkered theatrical epic, begins and ends with the collapse of the Lehman Brothers, the venerable financial institution, in September, 2008. But these moments serve as tiny bookends to what is really the main story being told at the Park Avenue Armory – the story of the three Lehman brothers, after their arrival in America in the 18th century. Hayum Lehmann (Simon Russell Beale) was the first to emigrate from Bavaria, Germany, arriving in New York Harbor in 1844. Quickly changing his name to Henry Lehman, he moves to Montgomery, Alabama and opens a general store that sells fabric and suits. To help him in his business, he brings over his two younger brothers – Emanuel, nee Mendel (Ben Miles) in 1847, and Mayer (Adam Godley) in 1850. Responding to the needs of their customers, the brothers expand their business little by little – selling seeds and tools to plantation owners; then becoming middlemen, or brokers, between the Southern plantation owners and the Northern mill owners, buying and selling raw cotton. After Henry dies young from yellow fever, and the conflagration of the Civil War, the two remaining brothers convince the governor of Alabama to invest the state’s money in the Lehmans so that they can rebuild the cotton trade and revive the economy. This is how the Lehman brothers become bankers. From there, they also join the coffee exchange, move to New York, invest in railroads, help create the newly built New York Stock Exchange. “A brilliant idea,” the brothers say. Now instead of negotiating iron at the Iron Market, fabric at the Fabric Market coal at the Coal Market, they created one market.” For “every type of thing you can imagine” but the things themselves don’t exist – only the words “iron,” “fabric,” “coal.” “A temple of words” – and, left unsaid, the birth of modern capitalism. The three actors, who begin the play portraying the three Old World Jews in 18th century frock coats, never change costumes to portray all the people with whom the brothers come into contact – including the wives they woo, and the toddlers they sire – and then the succeeding generations of Lehmans who take over the business. Most memorably, these are the frighteningly astute Philip Lehman (Beale), Emanuel’s son; Herbert (Miles), Mayer’s son, whom Philip pushes out of the firm and who acquires a second career as governor of New York; and Bobby, Philip’s smartly modern, mildly hedonistic son (Godley), who takes the firm’s investments in a new consumer-oriented direction – airlines, cigarettes, and motion pictures, including the original (and wildly remunerative) “King Kong.” After the second intermission, the actors portray the non-Lehmans who took over the firm in the last 40 years of its existence, the least engaging of the three acts. Written by Italian playwright Stefano Massini, who conceived the show in 2012 as a five-hour radio play, the Lehman Trilogy has been adapted into English by Ben Miles for London’s National Theatre. Its narrative feels like a spoken novel; the characters largely talk about themselves in the third person, with only occasional dialogue. Its language resembles a fugue, with poetic repetition and interweaving of phrases. Under the direction of Sam Mendes (artistic director of Donmar Warehouse, Oscar winner of American Beauty, currently represented on Broadway by The Ferryman), it takes on the whimsical feel of a folk tale. It is, in other words, almost anything but a conventional play. The three and a half hours play out on a stage designed by Es Devlin that looks like something created for a World’s Fair – four offices, complete with conference room, on a floor of a modern corporate office building, contained under a glass cube, which revolves at regular interviews around a turntable set on the shiny stage floor, and placed in front of a huge curved cyclorama with video designer Luke Hall’s ooh-inducing projections of skylines and clouds, and even fiery abstract dreams. Pianist Candida Caldicot unobtrusively underscores the actors’ words with an original composition by Nick Powell. One need not understand international finance to realize that the creative team was more interested in storytelling and stagecraft than historical accuracy, more focused on the personal stories of the Lehman men than in the wider implications and context of their success. There is, notably, almost no mention of slavery, nor Anti-Semitism. When Henry arrives in America in 1844, the cyclorama has a sweeping view of the gray expanse of Upper New York Bay punctuated by the towering Statue of Liberty. But the Statue of Liberty wasn’t placed in the bay until 1885, as anybody with an American education would know.

Click on any photograph by Stephanie Berger to see it enlarged.

Simon Russell Beale as Henry Lehman

Adam Godley

Ben Miles

Simon Russell Beale, Ben Miles, Adam Godley,

The Lehman Trilogy Park Avenue Armory Written by Stefano Massini. Adapted by Ben Power. Directed by Sam Mendes. Set design by Es Devlin, costume design by Katrina Lindsay, video design by Luke Halls, lighting design by Jon Clark. Composer and sound designer Nick Powell. Co-sound designer Dominic Bilkey. Music director Candida Caldicott. Movement director Polly Bennett. Cast: Simon Russell Beale, Adam Godley, Ben Miles. Running time: 3hrs 35mins, including two intermissions. The Lehman Trilogy is on stage through April 20th.

Completely sold out, but $45 rush

The Lehman Trilogy Review: 164 Years Of One Capitalist Family Minus The Dark Parts The Lehman Trilogy, an inventively staged, extraordinarily acted, and historically blinkered theatrical epic, begins and ends with the collapse of the Lehman Brothers, the venerable financial institution, in September, 2008.

[democratsunited-blog]

Wisconsin Democrats flip Trump-dominated seat in state vote

https://uniteddemocrats.net/?p=3581

Wisconsin Democrats flip Trump-dominated seat in state vote

MADISON, Wis. (AP) — Wisconsin Democrats have flipped a GOP stronghold to capture a state legislative district that voted overwhelmingly for President Donald Trump in 2016, as Democrats touted a surging “blue wave” that Republicans mocked as a “blue trickle.”

Democrat Caleb Frostman beat GOP state Rep. Andre Jacque in the 1st Senate District on Tuesday. In a separate special election, Democrat Ann Groves Lloyd conceded her race to Republican Jon Plumer in the 42nd Assembly District.

Frostman’s win marks the 43rd legislative seat flipped since Trump took office. Republicans have held the district for more than 40 years, and voters there ushered in Trump by a 17-point margin two years ago. Democrats had hoped to win Tuesday’s races in both traditionally conservative districts, buoyed by their success in securing an open seat in the northwestern Wisconsin 10th state Senate District in January. Liberal-backed Rebecca Dallet also won a spot on the state Supreme Court in April.

“The momentum is palpable in Wisconsin, where we’ve already seen massive swings in our direction in SD-10 and the state Supreme Court race,” the Democratic National Committee said in a statement.

As it is, Tuesday’s elections leave Republicans with a 64-35 advantage in the Assembly and an 18-15 edge in the Senate. The Legislature isn’t expected to convene again until January, which means Frostman and Plumer probably won’t vote on anything before they have to run for re-election in November.

The two seats had been vacant since December, when Gov. Scott Walker appointed Republicans incumbents Frank Lasee and Keith Ripp to his administration. Walker refused to call elections — as required by state law — until he lost a court battle that forced his hand.

Both parties have plenty of talking points heading into November, and each claims their respective wins show they are in great shape.

Republican Assembly Speaker Robin Vos tweeted Plumer’s win, saying the Democrats’ blue wave weakened to a “blue trickle” that hit a “red wall” in his chamber.

Frostman, the former executive director of the Door County Economic Development Corporation, looked ahead to a rematch with Jacque.

“Our work doesn’t stop here,” Frostman said. “The fall elections will change the future of our state and I hope my support network will grow as we work to get re-elected.”

Jacque predicted he will prevail in November, when turnout will be higher.

“It’s a June special election,” Jacque said. “It’s obviously going to be a lot different ball game in November.”

Plumer didn’t return a voicemail Tuesday evening.

Lloyd said she didn’t have much time to campaign because Walker didn’t schedule the elections until late March. Now, though, she has built a network, she said.

“I’m excited to get a chance to spend the next five months getting to know the district and the people in the district even better,” she said.

Voters in the 42nd Assembly District said Tuesday that they were divided over what the elections this week will mean for the midterms.

“We can sit here and make all the predictions you want, I think it’s a lot of hoopla,” said Mike Busser, 51, a business owner in Lodi who voted for Plumer.

A Lloyd voter, 79-year-old Ardell Christianson, said that no matter who wins, it will be an accurate picture of which party has momentum for the fall. She thinks Walker delayed calling the election “because Republicans are afraid.”

Voters on both sides decried the nasty campaign.

“I don’t know how I can vote for the person I like, given all the mud he’s slung,” said Earl Bilkey, a 77-year-old Democrat. He said he voted for Plumer because he thought the Republican would achieve more.

___

Associated Press writer Scott Bauer contributed to this report from Lodi.

___

Sign up for “Politics in Focus,” a weekly newsletter showcasing the AP’s best political reporting from around the country leading up to the midterm elections: http://apne.ws/3Gzcraw

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[londontheatre]

Nadia Clifford (Jane Eyre) NT Jane Eyre Tour 2017. Photo by BrinkhoffMögenburg

Sally Cookson’s adaptation of Charlotte Brontë’s masterpiece Jane Eyre returns to the NT’s Lyttelton Theatre from 26th September to 21st October 2017 following a critically acclaimed season at the National Theatre and a major UK tour.

2017 marks the 170th anniversary of the first publication of Jane Eyre and Charlotte Brontë’s story of the trailblazing Jane is as inspiring as ever.

This bold and dynamic production tells the story of one woman’s fight for freedom and fulfilment. From her beginnings as a destitute orphan, Jane Eyre’s spirited heroine faces life’s obstacles head-on, surviving poverty, injustice and the discovery of bitter betrayal before taking the ultimate decision to follow her heart.

Nadia Clifford plays Jane Eyre with Tim Delap as Rochester. They are joined by Hannah Bristow (Helen Burns/Adele/Diana/Grace Poole/Abbot), Matthew Churcher (Musician), Alex Heane (Musician), Melanie Marshall (Bertha Mason), Paul Mundell (Mr Brocklehurst/Pilot/Mason), David Ridley (Musician), Evelyn Miller (Bessie/Blanche Ingram/St John) and Lynda Rooke (Mrs Reed/Mrs Fairfax). The cast is completed by Ben Cutler, Jenny Johns, Dami Olukoya, Francesca Tomlinson and Phoebe Vigor.

The production was devised by the original company, with set design by Michael Vale, costumes by Katie Sykes, lighting by Aideen Malone, music by Benji Bower, sound by Dominic Bilkey, movement by Dan Canham and dramaturgy by Mike Akers. Jane Eyre is a co-production between the National Theatre and Bristol Old Vic.

Director Sally Cookson, said about her production: ‘Adapting a novel for the stage is a challenging prospect – especially when that novel is cited as many people’s favourite of all time. It is always daunting when you’re working on a story which everyone knows so well, because you want to surprise and maybe challenge people’s expectations, without losing any of the things which make them like the story in the first place.’

‘I chose this particular title because it’s a story that I love and have enjoyed a close relationship with ever since I was intrigued, as a child, by Orson Welles’ black and white melodrama with fabulous music by Bernard Herrmann.’

[See image gallery at http://ift.tt/1FpwFUw]

  ‘I didn’t actually read the novel until I was in my early twenties and I remember thinking while I read it: ‘this is a clarion cry for equal opportunities for women, not a story about a passive female who will do anything for her hunky boss’. I was struck by how modern Jane seemed – her spirit and strong will, her peculiar and brilliant mind striving for personal freedom to be who she is, lashing out against any constraint that prevents her from being herself. She was exactly the sort of person I wanted to be.’

Sally Cookson is an Associate Artist of Bristol Old Vic, where her productions include Treasure Island and Peter Pan; and elsewhere, Boing! (Sadler’s Wells), Cinderella (St James Theatre), an adaptation of Jacqueline Wilson’s Hetty Feather (West End and UK tour), and Romeo and Juliet (Rose Theatre, Kingston). Sally’s production of Peter Pan, devised by the original Company, based on the works of JM Barrie, a co-production with the Bristol Old Vic ran in the NT’s Olivier Theatre in 2016. Her production of The Lion,The Witch and The Wardrobe will be performed at West Yorkshire Playhouse this autumn.

Nadia Clifford previously appeared at the National Theatre in Alistair McDowell’s sell-out production of Pomona.

This new stage version of Jane Eyre was originally presented in two parts at Bristol Old Vic, and then transferred to the National Theatre, re-imagined as a single performance, playing to sold out houses at the NT’s Lyttelton Theatre in 2015.

Listings information Jane Eyre National Theatre, Lyttelton Theatre Tuesday 26th September – Saturday 21st October 2017 Press night: Wednesday 27th September at 7pm

Lyttelton Theatre, National South Bank, London, SE1 9PX

Access performances: Captioned Performance Saturday 14 October at 1.30pm Audio Described Performance Saturday 21 October at 1.30pm Touch Tour at 12pm

http://ift.tt/2hOiLsD LondonTheatre1.com

[ivisitlondon]

iVisit.... Peter Pan @ National Theatre

LAST CHANCE TO SEE: PETER PAN FINAL PERFORMANCES, SHOW ENDS SATURDAY 4 FEBRUARY

A co-production with Bristol Old Vic

Devised by the Companies, based on the works of JM Barrie

Peter Pan Relaxed Performance: Saturday 21 January, 2pm

PLATFORMS:

Sally Cookson on Peter Pan, Friday 20 January, 5.30pm Olivier Theatre

Peter Pan – archetypal adolescent, Friday 27 January, 5.45pm, Cottesloe Room

All children, except one, grow up...

When Peter Pan, the leader of the Lost Boys, loses his shadow during a visit to London, headstrong Wendy helps him re-attach it. In return she is invited to Neverland – where Tinker Bell the fairy, Tiger Lily and the vengeful Captain Hook await. Exploring the possibilities and pain of growing up, it’s a riot of magic, mischief, music and make-believe.

The cast includes Saikat Ahamed, Suzanne Ahmet, Marc Antolin, Lois Chimimba, Laura Cubitt, Phoebe Fildes, Anna Francolini, Felix Hayes, Paul Hilton, John Leader, Amaka Okafor, John Pfumojena, Jessica Temple, Dan Wheeler and Madeleine Worrall.

Directed by Sally Cookson, with dramaturgy by Mike Akers, set design by Michael Vale, costume design by Katie Sykes, lighting by Aideen Malone, music by Benji Bower, sound design by Dominic Bilkey, movement by Dan Canham, aerial direction by Gwen Hales, fight direction by Rachel Bown-Williams and Ruth Cooper-Brown of RC-ANNIE Ltd, and puppet direction and design by Toby Olié. The National Theatre would like to thank Sophie Thompson for developing the roles of Captain Hook and Mrs Darling.

The final performances of Peter Pan are:

Thursday 19 Jan 7pm, Friday 20 Jan 7pm,  Saturday 21 Jan 2pm (Relaxed Performance)

Saturday 21 Jan, 7pm, Monday 23 Jan, 1pm, Friday 27 Jan, 7pm, Saturday 28 Jan, 2pm,

Friday 3 Feb, 7pm (Captioned Performance), Saturday 4 Feb, 2pm (Captioned Performance)

Saturday 4 Feb, 7pm

Suitable for children aged 7+. Half-price tickets for under-18s.

Running time: 2 hours 30 minutes, including a 20-minute interval

[londontheatre]

Tickets go on sale for Network, with Bryan Cranston making his UK stage debut

John Tiffany directs Pinocchio, with half-price tickets available for under-18s

Casting announced for world premieres of Pinocchio, Saint George and the Dragon and Beginning

Tony Award-winning play Oslo opens in the Lyttelton

Following its current sold out run Barber Shop Chronicles returns to the Dorfman in November

Five new NT Live broadcasts in 700 venues across the UK and 60 countries around the world

Download the pdf

NT entrance Feb 2015 photo by Philip Vile

OLIVIER THEATRE FOLLIES book by James Goldman music and lyrics by Stephen Sondheim Previews from 22 August, press night 6 September, continuing in the repertoire until 3 January 2018

New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Including such classic songs as Broadway Baby, I’m Still Here and Losing My Mind, Stephen Sondheim’s legendary musical is staged for the first time at the NT. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, the production is directed by Dominic Cooke (Ma Rainey’s Black Bottom).

The cast includes Julie Armstrong (Christine Donovan), Norma Atallah (Emily Whitman), Josephine Barstow (Heidi Schiller), Jeremy Batt (Chorus Boy) Tracie Bennett (Carlotta Campion), Di Botcher (Hattie Walker), Billy Boyle (Theodore Whitman), Janie Dee (Phyllis Rogers Stone), Anouska Eaton (Young Emily), Liz Ewing (Company), Geraldine Fitzgerald (Solange LaFitte), Peter Forbes (Buddy Plummer), Emily Goodenough (Showgirl), Bruce Graham (Roscoe), Adrian Grove (Sam Deems), Fred Haig (Young Buddy), Aimee Hodnett (Young Hattie), Dawn Hope (Stella Deems), Liz Izen (DeeDee West), Alison Langer (Young Heidi), Emily Langham (Young Carlotta), Sarah-Marie Maxwell (Young Solange), Ian McLarnon (Company), Leisha Mollyneaux (Young Stella), Gemma Page (Sandra Crane), Kate Parr (Young Sandra), Philip Quast (Ben Stone), Edwin Ray (Chorus Boy), Gary Raymond (Dimitri Weismann), Adam Rhys-Charles (Young Ben), Jordan Shaw (Kevin), Imelda Staunton (Sally Durant Plummer), Zizi Strallen (Young Phyllis), Barnaby Thompson (Chorus Boy), Christine Tucker (Young DeeDee), Michael Vinsen (Chorus Boy) and Alex Young (Young Sally). Design by Vicki Mortimer, choreography by Bill Deamer, musical supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, additional orchestrations by Josh Clayton, musical direction by Nigel Lilley, lighting design by Paule Constable and sound design by Paul Groothuis. Supported by the Follies production syndicate.

SAINT GEORGE AND THE DRAGON a new play by Rory Mullarkey Previews from 4 October, press night 11 October, continuing in the repertoire until 2 December A village. A dragon. A damsel in distress. Into the story walks George: wandering knight, freedom fighter, enemy of tyrants the world over. One epic battle later and a nation is born. As the village grows into a town, and the town into a city, the myth of Saint George, which once brought a people together, threatens to divide them. John Heffernan plays Saint George; the cast also includes Paul Brennen, Richard Goulding, Tamzin Griffin, Conor Neaves, Amaka Okafor, Daniel Ryan and Grace Saif.

Making his National Theatre debut, Rory Mullarkey creates a new folk tale for an uneasy nation. Directed by Lyndsey Turner (Chimerica, Light Shining in Buckinghamshire), with design by Rae Smith, choreography by Lynne Page, lighting design by Bruno Poet, music by Grant Olding, sound design by Christopher Shutt and fight direction by Bret Yount. Hundreds of Travelex tickets at £15 available per performance.

AMADEUS by Peter Shaffer Previews from 11 January, press night 18 January. On sale up to 17 February, further dates to be announced Following a sell-out run last year, Amadeus returns to the Olivier in 2018.

Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy it. Seized by obsessive jealousy he begins a war with Mozart, with music and, ultimately, with God.

Michael Longhurst’s acclaimed production of Peter Shaffer’s iconic play features live orchestral accompaniment by Southbank Sinfonia. Adam Gillen and Lucian Msamati reprise the roles of Mozart and Salieri. Further casting to be announced.

Amadeus is directed by Michael Longhurst with design by Chloe Lamford, music direction and additional music by Simon Slater, choreography by Imogen Knight, lighting design by Jon Clark and sound design by Paul Arditti. Amadeus is produced in association with Southbank Sinfonia, and supported by the Amadeus production syndicate.

LYTTELTON THEATRE QUEER THEATRE: LGBT+ STORIES & SOCIAL CHANGE In partnership with Pride in London To mark 50 years since the partial decriminalisation of homosexuality in England and Wales, the NT looks at how theatre has charted the LGBT+ experience. Events include a debate on LGBT+ rights, talks on Queer Stages, Trans Culture and Drag as an Art Form, and film screenings of Paris was a Woman, Bette Bourne: It Goes with the Shoes and Tangerine. The series features rehearsed readings in the Lyttelton Theatre with full casting to be announced. Post show talks will follow each of the readings.

Neaptide by Sarah Daniels, directed by Sarah Frankcom | Thu 6 July, 7.30pm Wig Out! written and directed by Tarell Alvin McCraney | Fri 7 July, 7.30pm Certain Young Men written and directed by Peter Gill | Sat 8 July, 7.30pm Bent by Martin Sherman, directed by Stephen Daldry | Sun 9 July, 2.30pm The Drag by Mae West, directed by Polly Stenham | Mon 10 July, 7.30pm

OSLO a new play by J.T. Rogers The Lincoln Center Theater production Previews 5 September, press nights 15, 16 and 18 September (under embargo) Continuing in repertoire until 23 September (limited ticket availability) Transferring to the Harold Pinter Theatre in the West End from 30 September – 30 December Winner, Best Play 2017: Tony Awards, New York Drama Critics’ Circle Awards In 1993, in front of the world’s press, the leaders of Israel and Palestine shook hands on the lawn of the White House. Few watching would have guessed that the negotiations leading up to this iconic moment started secretly in a castle in the middle of a forest outside Oslo.

Oslo tells the true story of two maverick Norwegian diplomats who coordinated top-secret talks and inspired seemingly impossible friendships. Their quiet heroics led to the ground-breaking Oslo Peace Accords. Bartlett Sher’s acclaimed production of this new play by J.T. Rogers (Blood & Gifts, The Overwhelming) sets a deeply personal story against an epic historical landscape. This darkly funny political thriller comes to the National Theatre following a sell-out run in New York, prior to a West End run later this autumn. Cast to be announced. Set design by Michael Yeargan, costume design by Catherine Zuber, lighting design by Donald Holder, sound design by Peter John Still and projections by 59 Productions.

JANE EYRE based on the novel by Charlotte Brontë devised by the original company a co-production with Bristol Old Vic Previews from 26 September, continuing in the repertoire until 21 October Following a critically acclaimed season at the National Theatre and a 21 city UK tour, Jane Eyre returns this September to the NT. This innovative reimagining of Charlotte Brontë’s masterpiece is a collaboration between the National Theatre and Bristol Old Vic and is directed by Sally Cookson. The classic story of the trailblazing Jane is as inspiring as ever. This bold and dynamic production uncovers one woman’s fight for freedom and fulfilment on her own terms. Jane Eyre’s spirited heroine faces life’s obstacles head-on, surviving poverty, injustice and the discovery of bitter betrayal before taking the ultimate decision to follow her heart.

Cast includes: Hannah Bristow, Matthew Churcher, Nadia Clifford, Ben Cutler, Tim Delap, Alex Heane, Jenny Johns, Melanie Marshall, Evelyn Miller, Paul Mundell, Dami Olukoya, David Ridley, Lynda Rooke, Francesca Tomlinson and Phoebe Vigor.

Dramaturgy by Mike Akers, set design by Michael Vale, costume design by Katie Sykes, lighting design by Aideen Malone, music by Benji Bower, sound design by Dominic Bilkey and movement by Dan Canham.

NETWORK adapted by Lee Hall based on the Paddy Chayefsky film Previews from 4 November, press night 13 November, continuing in the repertoire until 24 March Howard Beale, news anchor-man, isn’t pulling in the viewers. In his final broadcast he unravels live on screen. But when the ratings soar, the network seizes on their new found populist prophet, and Howard becomes the biggest thing on TV.

Network depicts a dystopian media landscape where opinion trumps fact. Hilarious and horrifying by turns, the iconic film by Paddy Chayefsky won four Academy Awards in 1976. Now, Lee Hall (Billy Elliot, Our Ladies of Perpetual Succour) and director Ivo van Hove (Hedda Gabler) bring his masterwork to the stage for the first time, with Bryan Cranston (All the Way, for which he won the Tony for Best Actor, Breaking Bad and Trumbo for which he was nominated for an Oscar) in the role of Howard Beale. Set and lighting design by Jan Versweyveld, video design by Tal Yarden, costume design by An D’Huys, music and sound design by Eric Sleichim.

A very limited number of additional on stage seats will be released in the autumn – see the NT website for more information.

Network is produced in association with Patrick Myles, David Luff, Ros Povey and Lee Menzies. Generously supported by Marcia Grand for the memory of Richard Grand.

PINOCCHIO by Dennis Kelly With songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J Smith adapted by Martin Lowe Previews from 1 December, press night 13 December, on sale until 7 April On a quest to be truly alive, Pinocchio leaves Geppetto’s workshop with Jiminy Cricket in tow. Their electrifying adventure takes them from alpine forests to Pleasure Island to the bottom of the ocean. This spectacular new production brings together the director of Harry Potter and the Cursed Child and the writer of Matilda the Musical.

For the first time on stage, featuring unforgettable music and songs from the Walt Disney film including I’ve Got No Strings, Give a Little Whistle and When You Wish upon a Star in dazzling new arrangements, Pinocchio comes to life as never before.

Cast includes Joe Idris-Roberts (Pinocchio), Audrey Brisson (Jiminy Cricket), Annette McLaughlin (Blue Lady), David Langham (The Fox), David Kirkbride (Coachman), Dawn Sievewright (Lampy), Chris Jarman (Stromboli) together with Stuart Angell, Trieve Blackwood-Cambridge, Stephanie Bron, James Charlton, Rebecca Jayne-Davies, Sarah Kameela Impey, Anabel Kutay, Michael Lin, Jack North, Clemmie Sveaas, Michael Taibi, Scarlet Wilderink and Jack Wolfe.

John Tiffany directs Pinocchio by Dennis Kelly, with songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J. Smith newly adapted by Martin Lowe. With design and puppet co-design by Bob Crowley, lighting design by Paule Constable, music supervision and orchestrations by Martin Lowe, choreography by Steven Hoggett, puppetry and puppet co-design by Toby Olié, sound design by Simon Baker and illusions by Jamie Harrison.

Half-price tickets for under-18s are available for all performances (excluding £15 tickets). Additional family tickets for the run will be released in a ballot closer to the performance dates – see the NT website for more information. There will be a relaxed performance of Pinocchio on 17 March at 1.30pm Presented by special arrangement with Disney Theatrical Productions.

DORFMAN THEATRE MOSQUITOES by Lucy Kirkwood Previews from 18 July, press night 25 July continuing in repertoire until 28 September Alice is a scientist. She lives in Geneva. As the Large Hadron Collider starts up in 2008, she is on the brink of the most exciting work of her life, searching for the Higgs boson particle. Jenny is her sister. She lives in Luton. She spends a lot of time Googling. When tragedy throws them together, the collision threatens them all with chaos. Mosquitoes by Lucy Kirkwood will have its world premiere in the Dorfman Theatre in July. Rufus Norris directs this new play about families and particle physics with Olivia Williams in the role of Alice and Olivia Colman as her sister Jenny. Cast also includes: Amanda Boxer, Cait Davis, Vanessa Emme, Yoli Fuller, Paul Hilton, Joseph Quinn and Sofia Stuart.

Design by Katrina Lindsay, lighting design by Paule Constable, music by Adam Cork, sound design by Paul Arditti and video design by Finn Ross and Ian William Galloway.

Mosquitoes is supported by Winton Philanthropies and Rosetrees Trust. This play is a recipient of an Edgerton Foundation New Plays Award.

The production is currently sold out. There are day tickets available and every Friday at 1pm an allocation of £20 tickets will be released for the following week’s performances, as part of Friday Rush. Friday Rush tickets are available to book online only and are limited to two per customer.

THE MAJORITY a new play by Rob Drummond Previews from 11 August, press night 14 August, continuing until 28 August Following the acclaimed run of Bullet Catch in The Shed, Rob Drummond returns to the National with a new one-man show about democracy. The Majority charts Rob’s journey as he navigates the Scottish independence referendum, Brexit, Trump…and whatever today brings. So take your seat and push the button. Yes or No. Can you change the show with your votes? Every night will be different depending on the majority. Directed by David Overend, design by Jemima Robinson, lighting design by Michael Harpur, music and sound by Scott Twynholm, video associate Mogzi Bromley-Morgans. Originally co-commissioned with The Arches, Glasgow.

BEGINNING a new play by David Eldridge Previews from 5 October, press night 12 October, continuing in the repertoire until 14 November It’s the early hours of the morning and Danny’s the last straggler at Laura’s party. The flat’s in a mess. And so are they. One more drink? Polly Findlay directs this new play by David Eldridge (Market Boy, Under the Blue Sky, In Basildon). Tender and funny, it’s an intimate look at the first fragile moments of risking your heart and taking a chance. Justine Mitchell plays Laura, Sam Troughton plays Danny. Design by Fly Davis, lighting design by Jack Knowles, sound design by Paul Arditti and movement by Naomi Said.

BARBER SHOP CHRONICLES by Inua Ellams a co-production with Fuel and West Yorkshire Playhouse Currently in repertoire until 8th July, returning in November Following a sell-out run at the Dorfman this summer, Inua Ellams’ play about stories from barber shops across the globe returns to the National Theatre in November. Tickets go on sale online and by phone from 1pm on Monday 19 June.

Newsroom, political platform, local hot-spot, confession box, preacher-pulpit and football stadium. For generations, African men have gathered in barber shops to discuss the world. This dynamic play journeys from a barber shop in London, to Johannesburg, Harare, Kampala, Lagos and Accra. These are places where the banter can be barbed and the truth is always telling. Barber Shop Chronicles is Inua Ellams’ third play at the National, following the exhilarating The 14th Tale and Black T-shirt Collection.

The current cast includes Fisayo Akinade, Hammed Animashaun, Peter Bankolé, Maynard Eziashi, Simon Manyonda, Patrice Naiambana, Cyril Nri, Kwami Odoom, Sule Rimi, Abdul Salis, David Webber, and Anthony Welsh.

Casting for November to be confirmed in due course. Directed by Bijan Sheibani, design by Rae Smith, lighting design by Jack Knowles, movement direction by Aline David and sound design by Gareth Fry. Barber Shop Chronicles will play at West Yorkshire Playhouse 12 – 29 July.

CURRENT PRODUCTIONS IN REPERTOIRE AT THE NATIONAL THEATRE OLIVIER THEATRE SALOMÉ a new play by Yaël Farber Continuing in the repertoire until 15 July An occupied desert nation. A radical from the wilderness on hunger strike. A girl whose mysterious dance will change the course of the world. This charged retelling turns the infamous biblical tale on its head, placing the girl we call Salomé at the centre of a revolution.

Internationally acclaimed director Yaël Farber (Les Blancs) draws on multiple accounts to create her urgent, hypnotic production on the Olivier stage.

Designed by Susan Hilferty, lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Lloyd Hutchinson, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Nefar, Lubana al Quntar, and Raad Rawi. Hundreds of Travelex tickets at £15 available per performance. This production is supported by Laura Pels International Foundation for Theater. Broadcast to cinemas by NT Live on 22 June.

COMMON a new play by DC Moore a co-production with Headlong Continuing in the repertoire until 5 August Mary’s the best liar, rogue, thief and faker in this whole septic isle. And she’s back. As the factory smoke of the industrial revolution belches out from the cities, Mary is swept up in the battle of her former home. The common land, belonging to all, is disappearing. D C Moore’s dark and funny new play is an epic tale of unsavoury action and England’s lost land.

Headlong’s Artistic Director, Jeremy Herrin, (People, Places and Things, This House) directs Anne-Marie Duff as Mary. Cast also includes Ian-Lloyd Anderson, Lois Chimimba, Peta Cornish, Anna Crichlow, John Dagleish, Brian Doherty, Amy Downham, Trevor Fox, Hannah Hutch, Cush Jumbo, Tim McMullan, John O’Dowd, Ian Shaw and Edward Wolstenholme.

Design by Richard Hudson, lighting design by Paule Constable, music by Stephen Warbeck, sound design by Ian Dickinson, movement direction by Joseph Alford, dance by Siân Williams, puppetry by Laura Cubitt and fight Directors Rachel Bown-Williams and Ruth Cooper-Brown of RC-ANNIE Ltd. Hundreds of Travelex tickets at £15 available per performance.

LYTTELTON THEATRE ANGELS IN AMERICA: A Gay Fantasia on National Themes Continuing in the repertoire until 19 August America in the mid-1980s. In the midst of the AIDS crisis, and a conservative Reagan administration, New Yorkers grapple with life and death, love and sex, heaven and hell. This new staging of Tony Kushner’s multi-award-winning two-part play is directed by Olivier and Tony award-winning director Marianne Elliott (The Curious Incident of the Dog in the Night-Time and War Horse). Part One: Millennium Approaches was first performed at the NT in 1992, and was joined by Perestroika in a double-bill the following year. 2017 marks the 25th anniversary of the shows.

Set design by Ian MacNeil, costume design by Nicky Gillibrand, lighting design by Paule Constable, choreography and movement by Robby Graham, music by Adrian Sutton, sound design by Ian Dickinson, puppetry direction and movement by Finn Caldwell, puppetry design by Finn Caldwell and Nick Barnes, illusions by Chris Fisher, aerial direction by Gwen Hales and fight direction by Kate Waters.

The cast is Stuart Angell, Mark Arnold, Arun Blair-Mangat, Susan Brown, Laura Caldow, Andrew Garfield, Denise Gough, Kate Harper, John Hastings, Claire Lambert, Nathan Lane, Amanda Lawrence, James McArdle, Becky Namgauds, Nathan Stewart-Jarrett, Russell Tovey, Paksie Vernon, Stan West and Lewis Wilkins. The Angels in America ballot presented by Delta Air Lines – hundreds of £20 tickets will be released in the final two ballots, the last closing on 26 July.

Broadcast to cinemas by NT Live – Part One on 20 July, Part Two on 27 July NATIONAL THEATRE LIVE NT Live will be broadcasting five productions to 700 venues across the UK and 60 countries around the world Salomé – a radical retelling of the Biblical story of one young woman’s political awakening. Written and directed by Yaël Farber. Broadcast live from the NT on Thursday 22 June.

Angels in America – Marianne Elliott’s new production of Tony Kushner’s Angels in America will be broadcast live from the NT in two parts. Part 1: Millennium Approaches on Thursday 20 July and Part 2: Perestroika on Thursday 27 July.

Yerma – Billie Piper stars in Yerma as a woman driven to the unthinkable by her desperate desire to have a child. Simon Stone creates a radical production of Lorca’s achingly powerful masterpiece. Broadcast live from the Young Vic on Thursday 31 August (international screenings from 21 September).

Young Marx – Rory Kinnear plays Marx and Oliver Chris, Engels, in this new comedy about Marx’s time as a 32-year-old revolutionary in 1850 London. Written by Richard Bean and Clive Coleman and directed by Nicholas Hytner. Broadcast live from The Bridge Theatre on 7 December.

Julius Caesar – Ben Whishaw and Michelle Fairley play Brutus and Cassius, leaders of the coup, David Calder plays Caesar and David Morrissey is Mark Antony, who brings Rome back under control after the conspirators’ defeat in this production of Shakespeare’s classic. Directed by Nicholas Hytner. Broadcast live from The Bridge Theatre on 22 March 2018.

Sky Arts is the UK sponsor for National Theatre Live. Find your nearest venue at ntlive.com

NATIONAL THEATRE THROUGHOUT THE UK, IN THE WEST END AND INTERNATIONALLY The NT will tour to 49 venues in 37 towns and cities across the UK in 2017-18 OSLO

Winner of the 2017 Tony Award for Best Play, the acclaimed Lincoln Center Theater production of Oslo transfers to the Harold Pinter Theatre in the West End from 30 September until 30 December 2017 following a limited run at the NT.

This gripping new play by JT Rogers, directed by Bartlett Sher, tells the true story of how one young couple, Norwegian diplomat Mona Juul and her husband, social scientist Terje Rød-Larsen planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organisation, which culminated in the signing of the historic 1993 Oslo Accords. OsloThePlay.com

PEOPLE, PLACES AND THINGS The National Theatre, Headlong and St Ann’s Warehouse in association with Bryan Singer Productions will present the National Theatre/Headlong production of People, Places and Things by Duncan Macmillan at St Ann’s Warehouse in New York from 19 October to 19 November 2017.

Directed by Jeremy Herrin, Macmillan’s intoxicating new play opened at the NT’s Dorfman Theatre in autumn 2015, and transferred to Wyndham’s Theatre in March 2016 where it became the ‘must-see’ show of the season. Denise Gough will reprise her award-winning role as Emma. Gough’s raw and heart-breaking performance as an actress whose life has spun recklessly out of control because of her addiction to drink and drugs was unanimously acclaimed by critics and audiences alike, earning her the 2016 Olivier Award and the Critics’ Circle Award for Best Actress. Further cast details to be announced.

Generous support to the National Theatre for People, Places and Things from: Areté Foundation / Betsy & Ed Cohen and Leila Maw Straus MBE.

Duncan Macmillan’s People, Places and Things will also begin a major UK tour with a new cast this autumn, in a co-production between the National Theatre, Headlong, HOME and Exeter Northcott Theatre. Full casting to be announced shortly. The tour begins at HOME, Manchester (22 September – 7 October), and continues to Oxford Playhouse (11 – 14 October), Theatre Royal Bath (17 – 21 October), Bristol Old Vic (24 – 28 October), Exeter Northcott Theatre (31 October – 4 November), Nuffield Southampton Theatres (7 – 11 November) and finish at Liverpool Playhouse Theatre (14 – 18 November).

Set design by Bunny Christie, the Olivier and Tony Award winning designer of the NT’s production of The Curious Incident of the Dog in the Night-Time. Costume design by Christina Cunningham, lighting by James Farncombe, video by Andrzej Goulding and music is composed by Matthew Herbert with Olivier Award-winning sound design by Tom Gibbons.

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME The Curious Incident of the Dog in the Night-Time, adapted by Simon Stephens from Mark Haddon’s bestselling book and directed by Marianne Elliott, had its final West End performance on Saturday 3 June 2017, having been seen by over one million people in London. Curious Incident has won seven Olivier Awards, including Best New Play, Best Director, Best Design, Best Lighting Design and Best Sound Design – as well as five Tony Awards during its run on Broadway. Its preferred card partner is American Express.

The Curious Incident of the Dog in the Night-Time continues a major tour of the UK and Ireland until September 2017, with upcoming visits to the Theatre Royal, Plymouth (26 June – 1 July), Birmingham Hippodrome (4 – 8 July), Venue Cymru, Llandudno (11 – 15 July), Cliffs Pavilion, Southend (18 – 22 July), Liverpool Empire Theatre (25 – 29 July), Alhambra Theatre, Bradford (31 July – 5 August), His Majesty’s Theatre, Aberdeen (8 – 12 August), King’s Theatre, Glasgow (14 – 19 August), Theatre Royal, Norwich (29 August – 2 September) and Milton Keynes Theatre (4 – 16 September 2017). curiousonstage.com

The Curious Incident of the Dog in the Night-Time will continue on an international tour, visiting the Koninklijk Theater Carré in Amsterdam, Holland (20 September – 1 October 2017) and the Princess of Wales Theatre in Toronto, Canada (10 Oct – 19 November 2017), with further dates and venues to be announced.

MY COUNTRY; A WORK IN PROGRESS My Country; a work in progress, created by Rufus Norris and Carol Ann Duffy and based on the words of people from around the UK, will complete a UK tour at Theatre Royal, Stratford East, London on 24 June. It has been adapted for TV by the BBC and is due to be broadcast in the autumn.

JANE EYRE Jane Eyre, Sally Cookson’s energetic and imaginative new adaptation of Charlotte Brontë’s masterpiece, a co-production between the NT and Bristol Old Vic, continues to tour until 23 September, with upcoming visits to the Marlowe Theatre, Canterbury (19 – 24 June), Wales Millennium Centre, Cardiff (27 June – 1 July), Theatre Royal, Newcastle-upon-Tyne (3 – 8 July), Milton Keynes Theatre (10 – 15 July), Theatre Royal, Norwich (17 – 22 July), Brighton Theatre Royal (24 – 29 July), Grand Theatre, Leeds (31 July – 5 August), Grand Opera House, Belfast (21 – 26 August), His Majesty’s Theatre, Aberdeen (28 August – 2 September), Birmingham REP (4 – 16 September) and Hull New Theatre (18 – 23 September) before returning to Lyttelton Theatre from 26 September to 21 October. janeeyreonstage.co.uk

WAR HORSE The NT’s acclaimed production of War Horse based on Michael Morpurgo’s novel, and directed by Marianne Elliott and Tom Morris begins its second major tour of the UK on 15 September 2017 at the Marlowe Theatre in Canterbury, where it will run until 14 October 2017. The tour continues its journey around the UK to Bristol Hippodrome (18 October – 11 November 2017), the Empire Theatre, Liverpool (15 November – 2 December 2017), New Theatre, Oxford (13 December 2017 – 6 January 2018), Brighton Centre (25 January – 10 February 2018), Bradford Alhambra Theatre (14 February – 10 March 2018) and the Nottingham Royal Concert Hall (14 March – 7 April 2018), Edinburgh Festival Theatre (18 April – 12 May 2018), Mayflower Theatre, Southampton (16 May – 9 June 2018), The Lowry, Salford (13 – 30 June 2018), Wales Millennium Centre, Cardiff (4 – 28 July 2018), New Victoria Theatre, Woking (1 – 18 August 2018), Plymouth Theatre Royal (29 August – 15 September), Milton Keynes Theatre (19 September – 6 October 2018) and Glasgow SEC (15 January – 2 February 2019). Further dates and venues will be announced. warhorseonstage.com

HEDDA GABLER Following its acclaimed run at the NT’s Lyttelton Theatre, Patrick Marber’s vital new version of Ibsen’s masterpiece Hedda Gabler directed by Ivo van Hove and with Lizzy Watts in the title role, begins a UK tour at Theatre Royal Plymouth (2 – 7 October). The tour will then go to the Edinburgh Festival Theatre (17 – 21 October), Leicester Curve (23 – 28 October), The Lowry Salford (30 October – 4 November), Norwich Theatre Royal (7 – 11 November), Hull New Theatre (13 – 18 November), His Majesty’s Theatre Aberdeen (21 – 25 November), Northampton Royal & Derngate (28 November – 2 December), Glasgow Thetare Royal (15 – 20 January 2018), Grand Theatre, Wolverhampton (23 – 27 January), New Victoria Woking (29 January – 3 February), Nottingham Theatre Royal (5 – 10 February) , Newcastle Theatre Royal (12 – 17 February), Grand Opera House York (20 – 24 February) and Milton Keynes Theatre (27 February – 3 March). Further casting to be announced. heddagableronstage.com

RIVER STAGE Back by popular demand, this summer sees the return of the free outdoor River Stage Festival. The festival runs for five weekends with take-overs from East London’s The Glory, HOME Manchester, WOMAD, Rambert and the National Theatre itself bringing audiences an eclectic mix of performances that include the very best dance acts, DJ’s and outdoor performances.

Rufus Norris, Director of the National Theatre said, ‘It’s brilliant to welcome back the River Stage Festival. I’m delighted that this range of partners from across the country have decided to join us this year, and the assortment of performance, music, dance and workshops free for all ages is a vibrant and vital part of the National Theatre programme this summer.’

The festival is a collaborative partnership showcasing world-class programming and presenting new and diverse artists and acts, with something for everyone to enjoy. It takes place on the River Stage, in front of the NT, with events every Friday evening and all day on Saturday and Sunday from 28 July to 28 August. Join us this summer for theatre, guest DJs, family fun, vibrant dance and the very best in live music acts – this free summer festival is not to be missed.

LEARNING AT THE NATIONAL THEATRE NT Learning opens up theatre to people of all ages and supports theatre education across the UK with a wide range of projects and events.

CONNECTIONS 2017 Connections, the largest youth theatre festival in the UK celebrates brilliant new writing for young people aged 13 – 19. This year’s festival at the National Theatre will see performances by ten companies, chosen from over 250 school and youth theatre companies from 28 June to 3 July.

Over the year 4,000 young people from every corner of the UK have worked with 28 partner theatres and performed ten brand new plays, commissioned from some of the country’s most exciting writers. The result is an unforgettable feast of theatre made by and for young people.

The productions invited to appear at the NT in the culminating week of this year’s Connections Festival are;

Wednesday 28 June the Dorfman Theatre 7pm – The Snow Dragons by Lizzie Nunnery, performed by Lymm High School (Warrington, Cheshire) 8.30pm – Extremism by Anders Lustgarten, performed by Theatre Royal Stratford East Youth Theatre + (Stratford, London) Thursday 29 June the Dorfman Theatre 7pm – Musical Differences by Robin French, performed by NCN Actors (Nottingham) 8.30pm – Three by Harriet Braun, performed by Kindred KYT (Peterborough, Cambridgeshire) Friday 30 June the Dorfman Theatre 7pm – The School Film by Patrick Marber, performed by Kingsley Bideford Community Theatre Company (Bideford, Devon) 8.30pm – The Monstrum by Kellie Smith, performed by The Marlowe Youth Theatre (Canterbury, Kent) Saturday 1 July in the Dorfman Theatre 7pm – #YOLO by Matthew Bulgo, performed by West Glamorgan Youth Theatre Company (Port Tennant, Swansea) 8.30pm – Status Update by Tim Etchells, performed by Rotherham College (Rotherham, South Yorkshire) Monday 3 July in the Olivier Theatre 7pm – Zero for Young Dudes! by Alistair McDowall, performed by Orange Tree Theatre Connections Company (Richmond, London) 8.30pm – FOMO by Suhayla El-Bushra, performed by CASTEnsemble (Shardlow, Derbyshire) To book tickets go to the NT website Be part of Connections 2018 To be part of next year’s festival, sign up now to Connections 2018. The National Theatre is looking for 300 youth theatre and school companies across the UK to take part. Applications are now open http://ift.tt/2rvaD4s

Connections is supported by: The Buffini Chao Foundation, Andrew Lloyd Webber Foundation, Delta Air Lines, Jacqueline and Richard Worswick, The EBM Charitable Trust, Samantha and Richard Campbell-Breeden, The Garvey Family Trust, Susan Miller and Byron Grote, Hays Travel Foundation, Faithorn Farrell Timms and supporters of the Connections Appeal

FREE EXHIBITIONS A changing programme of free exhibitions taking inspiration from the work on our stages, the NT Archive and our national programme. In Visible Ink: Tracing LGBT+ stories at the NT, follows some of the changes for the LGBT+ community over the past 25 years, Lyttelton Lounge from 23 June. We’re here because we’re here – the story of the project as it happened across the UK is in the Wolfson Gallery until 31 August. The project was conceived and created by Turner Prize-winning artist Jeremy Deller in collaboration with Rufus Norris, Director of the National Theatre. National Theatre Posters is in the Wolfson Gallery from October 2017. Curated by design critic and writer Rick Poynor, the exhibition explores poster design from 1963 to the present. From November in the Lyttelton Lounge, The Linbury Prize for Stage Design showcases work by 12 emerging designers working with some of the UK’s leading theatre, opera and dance companies. NEW VIEWS 2017

The NT’s annual playwriting programme and competition for 15 – 19 year-olds.

The 2017 New Views winning play is Dead Don’t Floss, by 17 year-old Beattie Green from St Marylebone School in London.

Beattie Green’s play was chosen out of over 300 entries which came from 62 schools across the UK, as well as a partner theatre programme at the West Yorkshire Playhouse. The winning play was selected from a shortlist of ten by a panel of judges including NT Senior Dramaturg Nina Steiger, playwrights Simon Stephens (The Curious Incident of the Dog in the Night-Time) and Anupama Chandrasekhar (NT writer in residence) and actor Tamara Lawrance. Dead Don’t Floss will be performed in the Dorfman Theatre at 4.30pm and 7.30pm on Tuesday 4 July.

Rehearsed readings of shortlisted plays will take place in the Duffield Studio on Wednesday 5 and Thursday 6 July at 11.30am and 2pm.

For more information, to book tickets or to sign up to New Views 2017/2018 visit http://ift.tt/2seGp2Z

New Views is supported by Old Possum’s Practical Trust, Chapman Charitable Trust, Golsoncott Foundation, The Steel Charitable Trust and Unity Theatre Trust.

The National Theatre’s Partner for Learning is Bank of America Merrill Lynch. ENTRY PASS Entry Pass, the NT’s scheme which offers low-price tickets to under-25-year-olds, is now in its tenth year. To encourage even more young people to see our productions, and with the support of Delta Air Lines, the National has doubled the amount of amount of tickets available to Entry Pass members this year to 25,000. Salomé and Common were the first shows with double the amount of Entry Pass tickets available to book. Tickets are £7.50 for Entry Pass members and £10 for their friends. Entry Pass is part of the NT’s ongoing commitment to offering low-price tickets: this year, 30% of all seats on the South Bank will be available at £20 or under. Entry Pass is supported by Delta Air Lines.

ACCESS The NT is dedicated to making the best theatre and sharing it with as many people as possible. Access facilities include captioned, audio-described, British Sign Language and relaxed performances, as well as touch tours, braille and large print cast lists and infrared audio headsets. For more information visit http://ift.tt/2rvq4tt or call Box Office: 020 7452 3000.

SPONSORS The National Theatre would appreciate an acknowledgement in the body of the text and/or as a separate footnote following editorial copy. Travelex £15 Tickets sponsored by Travelex The National Theatre is working in partnership with American Express The National Theatre’s Partner for Learning is Bank of America Merrill Lynch The National Theatre’s Partner for Connectivity is Cisco The National Theatre’s Outdoor Media Partner is Clear Channel The National Theatre’s Official Airline is Delta Air Lines The Official Hotel Partner of the National Theatre is Edwardian Hotels London The National Theatre’s Workshops Partner is Flints Theatrical Chandlers The National Theatre’s International Hotel Partner is Intercontinental Hotels Group New writing at the National Theatre is supported by ITV plc The National Theatre’s Pouring Partner is Nyetimber The National Theatre’s Partner for Lighting and Energy is Philips Amadeus is generously supported by the Amadeus Production Syndicate Network is generously supported by Marcia Grand for the memory of Richard Grand People, Places and Things is generously supported by Areté Foundation / Betsy & Ed Cohen and Leila Maw Straus MBE Follies is supported by the Follies production syndicate Mosquitoes is supported by Winton Philanthropies and Rosetrees Trust. This play is a recipient of an Edgerton Foundation New Plays Award Sky Arts is the UK sponsor for National Theatre Live The National Theatre wishes to acknowledge its partner National Angels Limited The National Theatre is supported using public funding by Arts Council England

http://ift.tt/2seYKNr LondonTheatre1.com

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Flare-ups with Flair

FLARE PATH

Belgrade Theatre, Coventry, Wednesday 4th November, 2015

  The Original Theatre Company is back on the road, following up their excellent Three Men in a Boat and the superlative Birdsongwith this new production of Terence Rattigan’s 1942 play. As ever, production values are high and while this one isn’t as funny as the former or as emotionally powerful as the latter, it flies high on…