#in the valley of lonesome phil

[joanofarc]

you’re talking crazy talk, bunnygrunt (2004).

so, what happened in the dream that i was watching the kids and the old man in the park said our fate’s with the moon if we finish what we started too soon?

[xyzphiner]

Tall Mountain, Deep Canyon / Mountain and Valley (Translate, 20191111) [Phil Lam]

Standing in the woods like there is no oxygen, in the sunset, I feel lonesome – yet I have no rights to see you. I lost empathy as I knew the tall mountains and deep canyons separate us two. My voyage at the corner of street was your aristocratic game. I was too innocent to believe our relationship was sincere – and it was a child’s play.

You live happily while I survive at all cost. So many people are at the top of the mountains looking over my weariness. Yearn for approval – I strive to be a better person restlessly. Who would be afraid of shortness of breath? But the destination is hanging at the horizon. You defined the meaning of “to live”, I insulted the meaning of “existence”, It is only fitting for me to be held up in the valley to organize my mess. Though I thirst for a major reunion – the path under my feet seems too difficult to cut short. I cannot see the end nor your mercifulness – we are extremely far apart.

The more I look, the more hopeless I am – I am not part of the future. Under the cliff, at the terminus – I realized that I never had a paradise.It seems when the darkness of the sky turns to light, it volatilizes farewells – I only see people fall. Although your pleasure continues to spread, you still show no sympathy to me. You are too clear-cut when distinguish things involved us – that’s too harsh.

You live happily while I survive at all cost. So many people are at the top of the mountains looking over my weariness. Yearn for approval – I strive to be a better person restlessly. Who would be afraid of shortness of breath? But the destination is hanging at the horizon You defined the meaning of “to live”, I insulted the meaning of “existence”, It’s only fitting for me to be held up in the valley to organize my mess. Though I thirst for a major reunion – the path under my feet seems too difficult to cut short. I can’t see the end nor your mercifulness – we are extremely far apart.

Yet I still have to live. I secretly subsist in the valley and wait until someday – the day where my soul ends. You continue to go around in circles and I continue to bury my love. There is no end. Never was there a destination. Forever is extremely far.

[vlgeo439019-blog]

Two Peas in a Pod?

In today’s dynamic, fluid, and ever-changing society cities may seem like the centre of our Canadian world, functioning independently on their own, but this is nothing more than a misconception. Urban spaces need rural areas. Rural spaces need urban areas. In fact, I’d go as far as saying that urban and rural rural places are like two peas in a pod. 

In my mind rural and urban centres are interconnected. These spaces are a continuum of change, neither one better than the other - both relying on each other in order to exist.

Sure, in the past this may have not been the case; rural and urban areas played distinct roles within society prior to the 21st century. Cities were hubs for business, trade, finances, emerging technologies, communications, manufacturing, and the sharing of knowledge via large educational facilities. Small rural communities were closely tied to resource extraction, activities such as mining, forestry, and farming. Although connected distantly, these two areas were seen as vastly different in the public eye. 

Let’s take a look at Anne of the Island, the third book in the series and my current reading project for the week, to illustrate my point - that rural and urban areas were seen as profoundly different. 

The Anne we all know and love is from Prince Edward Island, a decidedly rural province in the east coast of Canada. Rolling hills, stretches of farmland so far-reaching and wide, big blue skies, and a local culture teeming with familiarity and intimacy - overall Anne’s home is painted as an incredibility rural landscape, one that’s primarily focused on farming in the early 1900′s.

Very recently I stumbled across a section of the novel where Anne’s friend Philippa, being from a well-populated settlement in Nova Scotia, cannot understand Anne’s determination to return to Avonlea - her wild, rural home - rather than experience the hustle and bustle of the city. 

“You won’t have much of a time. There’ll be one or two quilting parties, I suppose; and all the old gossips will talk you over to your face and behind your back. You’ll die of lonesomeness, child (Montgomery, 51).”

It is clear from this quote that ‘Phil’ does not think too highly of the countryside. She finds it boring and monotonous, a negative view set that is only mirrored by Anne in regards to the city. In the book there is more than one occasion where Anne complains about the city, wishing that she could return to Avonlea and remain far away from the “howling wilderness of strangers (Montgomery, 20)” .  

People’s opinions regarding rural and urban during this time were rather unfavourable on occasion, creating the stigma that these areas were two very distinct places, those with fairly weak linkages. Perhaps this still plays a role today, but I still remain firm in believing that rural and urban areas are connected, especially in our changing economy. 

 How?

Globalization, my friends. 

As a result of shared wealth, knowledge, business, and trade, both rural and urban areas are more connected than ever before. As a result it's not possible for such areas to remain distinct - resources are no longer shared or organized at a small scale. London, England for example, is now one of the major financial hubs of the world. New Zealand has a booming wine industry, one that competes with Ontario’s precious Niagara Falls wine region. Even Canada’s agricultural industry weighs heavily on that of the United States. 

Wealth and success are no longer easy to access in random little cities right down the road or in Anne’s experience - remote P.E.I. If Canadian rural and urban communities are to survive, lines must be blurred. New industries must be created, those of which are not resource dependent or have a reliance on other countries. 

Luckily enough, this is being done. As discussed in the Woods textbook, chapter twelve, rural has become synonymous with tourism. Whether it’s hiking, checking out farms or farmer’s markets, buying in on rural ‘crafts’, visiting historic sites, or taking a boatload of pictures just like our friend Donald Duck here, cities help keep rural places alive.

Don’t be mistaken however - rural areas benefit urban spaces too! The Canadian Mental Health Association and various government bodies recognize that green spaces are integral to human health, especially for those individuals “trapped” in urban environments. 

Pulled directly from an article released from Natural England, “Taking part in nature-based activities helps people who are suffering from mental ill-health and can contribute to a reduction in levels of anxiety, stress, and depression.”

By visiting farms, taking part in conservation strategies, and participating in programs that promote connectivity to the rural environment, people are able to touch base with their rural roots or even better - take aspects of the rural back with them to the city. This may take the form of green architecture, the creation of community gardens, protected spaces, vegetated swales, stream buffers, and porous pavements. 

The Island Lake Conservation Area in Orangeville - and I really mean IN Orangeville - is a great example of this. (If anyone is in the mood to go for a nice little walk in the afternoon, I’d recommend this place). 

This snazzy photo is from the Credit Valley Conservation website. 

Overall, I’d say that it’s pretty clear that cities need rural spaces -  they really are two peas in a pod. Trying to separate each area from one another is pointless. In this day and age, these spaces are integral to the successful functioning of the economy and health of communities as a whole.

[isakaru]

folk recommendations (and some blues)

this isnt an exhaustive list and it isnt in any kind of order but here ya go

phil ochs:

song of my returning

bracero

changes

when im gone

ringing of revolution

pete seeger:

my oklahoma home blowed away

guantanamera

if i had a hammer

casey jones

summertime

woody guthrie:

tear the fascists down

do re mi

i aint got no home

hard travelin

the kingston trio:

tom dooley

sloop john b

bonnie hielan laddie

tom paxton:

what did you learn in school today

cant help but wonder where im bound

peter paul and mary:

kisses sweeter than wine

blowin in the wind

the weavers:

midnight special

gordon lightfoot:

steel rail blues

mississippi john hurt:

will the circle be unbroken

you got to walk that lonesome valley

leadbelly

where did you sleep last night

black betty

mr hitler

[azlyrics85]

January/February Lyric Contest Winner Brian Estes Details “Some Boys Grow Up To Be Soldiers”

Ellsworth, Maine-based Brian Estes scored pinnacle honors for the January/February 2021 American Songwriter Lyric Contest for his music “some Boys grow as much as Be soldiers.” American Songwriter caught up with Brian to get the scoop on the lyric’s notion and his musical affects. AZlyrics What was the inspiration for “some Boys develop as much as Be infantrymen”? The individual in this music is nobody specifically.  we all recognise him.  He’s someone’s uncle, buddy, neighbor, father, son.  He’s far from perfect, but while he served he turned into willing to put down his existence.  It didn’t come to that, however he lost some important part of himself alongside the manner. I consider this as an anti-conflict tune.  no longer a music approximately the men and women who die in wars, however about the survivors who go back to locate domestic is now not their home. Of route “he’ll by no means admit what it value” and so there may be not anything to do however soldier on.   How long have you been writing lyrics? I’ve been writing poetry given that i was a child, even wrote a book of kid’s poetry as an grownup, but I commenced writing songs frequently maybe about fifteen years in the past.  before that i used to be an appreciative listener. have you ever written music for this lyric? in that case, how could you describe it? It’s a sluggish easy ballad in C, understated, punctuated with lonesome harmonica, in the lifestyle of vintage usa and folks songs. How lengthy does it generally take you to complete a lyric or track? How about this one? My satisfactory songs commonly come quick.  I’ll spend anywhere from an afternoon to every week on a music.  often I’ll overwrite a track at the same time as the phrases are flowing and then boil it right down to what’s critical.  I preserve a record of orphaned song strains because leftovers are scrumptious.  The seed of the song is often a line, an concept, a story, or a man or woman.  This one become character pushed and i wrote it in in the future.   Do you prefer co-writing or solo writing? the general public of my songs are written solo.  I do have a friend, my songwriting mentor I think.  We’ve written several songs together.  usually we’re simply looking to crack every different up.  I doubt I’d be doing this at all if it weren’t for him. AZlyrics What maintains you prompted as a songwriter? I write quite a few story songs and protest songs.  I write songs for the identical motive I paint photographs and construct matters.  If I don’t have a innovative assignment I sense compelled to discover one.  With songs particularly, it’s regularly me working thru some thing emotionally.  Plus there’s something approximately a song that’s distinct from a portray.  you can always cross again and study the portray, however with a tune you get to play it over and over and each time it’s a touch bit one-of-a-kind.  A song is sort of a living thing.   Are there any songwriters, artists or activities that have particularly stimulated you latterly? As an awful lot as I hate being attentive to the news on my drive into faculty (I’m a teacher), I do get a whole lot of track thoughts from the information.  I just pressure alongside swearing on the radio and if some thing hits me I’ll turn it off and mull it over.  also a journey to the neighborhood used document shop is a great way to find out or rediscover tremendous song and get inspired.  I’ve been being attentive to some vintage John Hartford facts currently. What are your songwriting goals? My aim as a songwriter is to make the listener sense.  A song, to me, is an workout in empathy.  My favored songs in any style make the hairs arise on my arms.  They make me experience probably some thing of what the artist turned into feeling.  i like unhappy songs that just weigh down you, like Townes Van Zandt’s “Tecumseh Valley,” or humorous songs, like some of John Prine’s.  If i will make you snicker or cry with a tune I’m happy.  Heck, if I should write one track that made you chuckle and cry, that’s the type of tune I need to write down. How do you discover time to jot down amid life’s many needs? first of all, I need to stop and capture the seed of the tune in relation to me.  Day or night, can’t let it escape.  usually it’s a line or an concept.  My cellphone works pretty well for that.  additionally, I write maximum songs on ukulele as it’s portable.  I hold one at work and one at domestic inside reach.  I’ll chord out the song and determine what device satisfactory fits it later.     what's your idea of a great music? a great track says plenty in a few phrases.  The song and the lyrics inform you simply sufficient so you can fill in the rest.  it's far unvarnished, cracked, and a bit dusty.  It is not tethered to a particular place or time.  It clearly rings actual.  an ideal music makes you feel.  a lot of my favored songs ruin a number of those regulations, but by no means the ultimate one. who are your all-time preferred songwriters and why? i like Woody Guthrie for his simplicity and his rebellious spirit.  i really like Johnny coins for his voice, each his physical voice and his writing voice.  Tom Waits and Kathleen Brennan write seedy, rusty, stunning ballads full of characters.  Phil Ochs, Bob Dylan, Bob Marley, Leadbelly, Willie Dixon, Son residence, Townes Van Zandt, Parker Milsap, Paul Simon, Brian Fallon… I should keep going, however my favourite songwriter of all-time is unquestionably John Prine.  All my favorite songs appear to be John Prine songs.  He made me chuckle.  He made me cry.  (He might have executed each in a single tune?) His songs are just merely human. study the triumphing lyrics here. AZlyrics

[londontheatre]

Full casting has been announced for the West End transfer of Everybody’s Talking About Jamie, directed by Jonathan Butterell and written by Dan Gillespie Sells and Tom MacRae, which will play a limited season at the Apollo Theatre from Monday 6 November following a critically acclaimed run at Sheffield Crucible.

As previously announced John McCrea will return to play the title role of Jamie alongside Josie Walker who reprises her role as his Mum, Margaret. They are joined by the following original cast members from the run in Sheffield Daniel Davids (Levi), Mina Anwar (Rayia ‘Ray’ Begum), Luke Baker (Dean Paxton), Courtney Bowman (Fatimah), Tamsin Carroll (Miss Hedge), James Gillan (Tray Sophisticay), Harriet Payne (Bex), Shiv Rabheru (Cy), Lucie Shorthouse (Pritti Pasha) and Kirstie Skivington (Vicki) along with Alex Anstey (Laika Virgin), Luke Bayer, Marvyn Charles, Ken Christiansen (Jamie’s Dad), Jordan Cunningham (Sayid), Ryan Hughes (Mickey), Daniel Jacob (Sandra Bollock), Cherelle Jay, Rebecca McKinnis, Phil Nichol (Hugo), Chloe Pole and Lauran Rae (Becca).

Fairy tales really do come true. Jamie New is sixteen and lives on a council estate in Sheffield. Jamie doesn’t quite fit in. Jamie is terrified about the future. Jamie is going to be a sensation.

Supported by his brilliant loving mum and surrounded by his friends, Jamie overcomes prejudice, beats the bullies and steps out of the darkness, into the spotlight. This fabulous, funny, feelgood brand new musical sensation hits London with catchy new songs by lead singer-songwriter of The Feeling Dan Gillespie Sells and writer Tom MacRae. Sixteen: the edge of possibility. Time to make your dreams come true.

Music by Dan Gillespie Sells Book and Lyrics by Tom MacRae From an idea by Jonathan Butterell Directed by Jonathan Butterell Design by Anna Fleischle Choreography by Kate Prince Lighting design by Lucy Carter Sound design by Paul Groothuis Video design by Luke Halls Musical direction by Theo Jamieson Casting by Will Burton

Everybody’s Talking About Jamie Trailer

CAST BIOGRAPHES Alex Anstey plays Laika Virgin and is making his West End debut in Everybody’s Talking About Jamie. Previous theatre credits include Pageant (London Irish Centre) and Peter Pan (International tour). Alex performs around the UK as his drag alter ego Vileda Moppe, and won Drag Idol in 2016.

Daniel Davids is returning to the role of Levi. Previous theatre credits include The Lion King (Lyceum Theatre), A New World: A Life of Thomas Paine (The Shakespeare Globe Theatre), Meet The Adebanjo’s (Broadway Theatre & The Hackney Empire), My Name is Tom (Dugdale Centre), A Harlem Story (Jermyn Street Theatre) and Everybody’s Talking About Jamie (Sheffield Crucible).

Mina Anwar is returning to the role of Rayia ‘Ray’ Begum. Mina has previously appeared on stage in Twelfth Night (Royal Exchange), Everybody’s Talking About Jamie (Sheffield Crucible), The Infidel – The Musical (Theatre Royal Stratford East), Hard Times (Library Theatre), Romeo and Juliet and A Midsummer Night’s Dream (Nottingham Playhouse), The Vagina Monologues (West End / Tour), Talent (UK Tour), King Lear (Sheffield Crucible), Skeleton (Soho Theatre), Too Much Too Young (London Bubble), The Iron Man (Young Vic), Hair (Broadway Musical Theatre Company, New York). Film credits include The Infidel and Maybe Baby. Television credits include The Worst Witch, Doctor Who, The A Word, In The Club, Upstart Crow, Marley’s Ghosts, Scott and Moving On, Remember Me, Happy Valley, House of Anubis, A Passionate Woman, The Sarah Jane Adventures 2-5, The Invisibles, Shameless, Birthday Girl, The Flint St. Nativity, The Thin Blue Line.

Luke Baker is returning to the role of Dean Paxton. Previous theatre credits include Sunny Afternoon (Harold Pinter Theatre), Link Larkin in Hairspray (Cork Opera House), I Can’t Sing! (London Palladium), Bare (Greenwich Theatre), Beautiful Thing (Arts Theatre & UK Tour), Aladdin with Paul O’Grady’s Lily Savage at the O2 (Michael Rose Productions), Ultimate Broadway (Shanghai), All The Fun of the Fair (UK Tour), Peter Pan (UK Tour), Sign of the Times (Duchess Theatre) and Salad Days (Riverside Studios).

Courtney Bowman is returning to the role of Fatimah. Courtney’s theatre credits include Martha in Blondel (Union Theatre), Everybody’s Talking About Jamie (Sheffield Crucible) and The Wind in the Willows (UK Tour).

Tamsin Carroll is returning to the role of Miss Hedge. Tamsin’s numerous theatre credits include Everybody’s Talking About Jamie (Sheffield Crucible), Shirley in Strictly Ballroom (West Yorkshire Playhouse and Global Creatures), Baroness Bomburst in Chitty Chitty Bang Bang (West Yorkshire Playshouse), Chairy Barnu in Barnum (Chichester Festival Theatre), Rita in Casa Valentina (Southwark Playhouse), Ellen in Miss Saigon (Prince Edward Theatre), The Magistrate (National Theatre), Emma Goldman in Ragtime (Regents Park Open Air Theatre), Titania in A Midsummer Night’s Dream (Regents Park Open Air Theatre), Nancy in Oliver! (Theatre Royal Drury Lane), Magenta in The Rocky Horror Show (ATG and New Theatricals – Sydney and Melbourne), Martha in Company (Kookaburra), Dusty Springfield in Dusty (Dusty Productions), Isabella in Measure for Measure (Bell Shakespeare Co) Rizzo in Grease – The Arena Spectacular (SEL/GFO), Tracy Lord in High Society (The Production Company), Allie/Olivia on Harbour/The Republic of Myopia (STC), Rita in Side Show Alley (Workshop-Pratt Foundation), Rose in Bye Bye Birdie (The Production Company), Sheila in Hair (The Production Company), Nancy in Oliver! (IMG), Marianna Ranate in Shout, Vicki in Long Gone Lonesome Cowboys (Railway Street Theatre), Red Riding Hood in Into The Woods(MTC). Film credits include Goddess, Holy Smoke and Ms Understanding. Tamsin’s television credits include Nicole in Eastenders, A Difficult Woman, Above The Law, All Saints, Heartbreak High and The Three Stooges.

Ken Christiansen plays Jamie’s Dad. Ken’s theatre credits include A Jovial Crew, Anthony & Cleopatra, The School of Night and Misha’s Party (RSC), Mother Courage and Her Children (National Theatre) alongside Diana Rigg, and as Eric Birling in Stephen Daldry’s landmark production of An Inspector Calls (National Theatre/West End), Fool For Love (UK Tour), Handbag (UK Tour), An Absolute Turkey (West End), Unleashed and White Something (Arcola), Lord of the Flies (Regent’s Park Open Air Theatre), Death Takes a Holiday (Charing Cross Theatre), Closer to Heaven (Union Theatre), Pacific Overtures (Union Theatre), The Rise and Fall of Little Voice (Union Theatre) and The Fix (Union Theatre). Television credits include Kingmakers, Picking Up The Pieces, Insiders, Coronation Street, Mrs Hartley And The Growth Centre, The History File: Germany, Cracker, Where The Heart Is, Casualty, Holby City, Dream Team, Peak Practice, Midsomer Murders, Hollyoaks, Doctors, 9/11:Voices From The Air, 50 Ways To Kill Your Lover, Fortitude and The Bill. Film credits include The Selfish Giant, Treacle, War Bride, Fish-Eye, First Love, Last Day on Earth, Gorka, The Obit Woman, Bug, The Resurrection, Cabrón, Empire, Chasing Robert Barker, The Black Prince, Slayers, Breathe Easy. Radio credits include David Grieg’s The Events.

Jordan Cunningham plays Sayid. Previous theatre credits include Ritchie Valens in The Buddy Holly Story (UK Tour), West Side Story (Kilworth House Theatre), Stiles and Drewes Peter Pan: A Musical Adventure (Really Useful Theatres) and Everybody’s Talking About Jamie (Sheffield Theatres).

James Gillan returns to the role of Tray Sophisticay. Full theatre credits include Everybody’s Talking About Jamie (Sheffield Crucible), The Donkey Show (Camden Proud Galleries), The Lion The Witch and the Wardrobe (Rose Theatre Kingston), Little Shop of Horrors (Aberystwyth Arts Theatre), The Secret Garden (Birmingham Rep and West Yorkshire Playhouse), Peter Pan (West Yorkshire Playhouse and the Royal Festival Hall), original Boq in Wicked (Apollo Victoria Theatre), Assassins (Sheffield Crucible), Starlight Express (Apollo Victoria theatre and UK Tour), Taboo (UK Tour), Fame (Arena Tour of Sweden), Godspell (Chichester Festival Theatre), Anthony and Cleopatra (Shakespeare’s Globe), Julius Caesar (Shakespeare’s Globe), Pippin (The Bridewell Theatre), Tommy (Shaftesbury Theatre), Joseph and the Amazing Technicolor Dreamcoat (UK Tour) and James and the Giant Peach (UK Tour). Television credits include Doctors, ‘Orrible, Casualty, The Seven Industrial Wonders of the World,  The Inbetweeners, The C Word, A Tale of Two Cities and Suspects.

Ryan Hughes plays Mickey and is making his West End debut in Everybody’s Talking About Jamie. Ryan has performed in Groove on Down the Road, Into the Hoods: Remixed and The Mad Hatters Tea Party for ZooNation.

Daniel Jacob plays Sandra Bollock. Theatre credits include Joseph and the Amazing Technicolor Dreamcoat (UK Tour), Ragtime (JWC Productions), Aladdin (Blue Genie Entertainment), Bugsy Malone (Future Cinema), Angelina Ballerina the Mousical (UK Tour), Charming Dick (Royal Vauxhall Tavern), The Macbeths (Ferodo Bridges CIC), Rent Party (Darren Pritchard Dance). Daniel also originated the role of The Diva in the award winning play, Testosterone by Rhum & Clay. Screen credits include Piss Off, I Love You and Queer Britain. Daniel is also known by his Drag Queen persona, Vinegar Strokes. John McCrea returns to the role of Jamie New. His theatre credits include The Buskers Opera (Park Theatre), Peter Pan (Adelphi Theatre), Streets and RENT! (Cockpit Theatre), The Sound of Music and Chitty Chitty Bang Bang (London Palladium), Barney’s Colourful World and The King and I (National Tour). John’s television credits include Documental, The Catherine Tate Show, New Tricks, Kerching! and Let’s Roll With Roland Butter. Film credits include God’s Own Country (Sundance Film Festival 2017), Late Night With Albin, Balbita and The Cult (Shorts). Workshops include Stella Boulton in Fanny & Stella, Jez in Philip Ridley’s Moonfleece and Jamie in Everybody’s Talking About Jamie.

Phil Nichol plays Hugo. Theatre credits include The Machine (Manchester International Festival/ The Park Avenue Armory New York), One Flew Over the Cuckoo’s Nest (Gielgud), Twelve Angry Men (Assembly Rooms) and Taboo (Venue Theatre). Telvision and film credits include Man Down, Catastrophe, Siblings, Uncle, Holy Flying Circus, Confetti. Phil is Artistic Director of Comedians Theatre Company, and has produced and starred in over 15 shows in the past 12 years including True West, School for Scandal, Killer Joe, Gagarin Way and Talk Radio. Phil is also a stand-up comedian, and having been twice nominated previously, won the 2006 Edinburgh Comedy Award.

Harriet Payne returns to the role of Bex. Full theatre credits include Everybody’s Talking About Jamie (Sheffield Crucible), Charlotte’s Web (Gordon Craig Theatre Stevenage), Snow White (Southport Theatre and Grimsby Auditorium), Sleeping Beauty (Millfield Arts Centre London), The Little Mermaid (Dugdale Centre London), Beauty and the Beast (The Victoria Theatre Halifax), The Wizard of Oz (UK Tour) and Spring Awakening (The Bull Theatre Barnet).

Shiv Rabheru returns to the role of Cy. Shiv’s theatre credits include The Taming of the Shrew (Lazarus Theatre Company), Submission (The King’s Head Theatre and The Edinburgh Fringe Festival), Everybody’s Talking About Jamie (Sheffield Crucible), Prevent Tours (The Bunker Theatre), Cats (UK and European Tour), Sleeping Beauty (Millfield Arts Theatre), Celebrity Cruises (Celebrity Infinity) and Dick Whittington (Imagine Theatre).

Lauran Rae plays Becca. Her theatre credits include Jesus Christ Superstar (Regent’s Park Open Air Theatre), Bugsy Malone (Lyric Hammersmith), Ghost (Asian Tour), Hairspray (Macau), Heathers (The Other Palace), Hairspray (Gordon Craig Theatre), Bare (Greenwich Theatre), Aladdin (Cambridge Arts Theatre) and Get Ready (Assembly Hall Theatre, Tunbridge Wells). Television credits include Ghetto Heaven (TV Pilot).

Lucie Shorthouse returns to the role of Pritti Pasha. Full theatre credits include Roller Diner (Soho Theatre), Everybody’s Talking About Jamie (Sheffield Crucible), The House of In Between (Theatre Royal Stratford East) and The Comedy of Errors (Shakespeare’s Globe). Television credits include Line of Duty, Doctors and The Sound of Music Live.

Kirstie Skivington returns to the role of Vicki. Full theatre credits include Jesus Christ Superstar (Regent’s Park Open Air Theatre), Everybody’s Talking About Jamie (Sheffield Crucible), Side Show (Southwark Playhouse), West Side Story (Salzburg Festival), Bend It Like Beckham (Phoenix Theatre), I Can’t Sing (London Palladium), Viva Forever (Piccadilly Theatre) and Ghost (Piccadilly Theatre).

Josie Walker returns to the role of Margaret New. Her theatre credits include The Plough and the Stars, Husbands and Sons, 3 Winters, The Silver Tassie and War Horse for the National Theatre, Matilda The Musical (RSC and Cambridge Theatre), Enjoy (UK Tour, Gielgud Theatre), Corrie – the Play by Jonathan Harvey (The Lowry Manchester) and The Secret Garden (West Yorkshire Playhouse). Television credits include Midwinter of the Spirit, Call the Midwife, Waterloo Road, Psychoville, Holby City, Eastenders, Blessed, and The Bill. Film credits include Where Hands Touch, Fishbowl and Sleeping Beauty.

Luke Bayer plays Swing. Theatre credits include Yank! The Musical (Hope Mill Theatre), The 12 Tenors (China Tour), Les Miserables (Queen’s Theatre), Out There The Musical (Original YMT Cast). Luke was a finalist in The X Factor 2007.

Marvyn Charles plays Swing. Theatre credits include Thriller Live (Lyric Theatre and International Tours), Milkshake Live! The Magic Story Book (UK Tour), In The Night Garden Live! (UK Tour), Smurfs Live on Stage (Saudi Arabia), Dora the Explorer (International Tours), Red Show (Ferrari World, Abu Dhabi) and Robin Hood (Elgiva Theatre). Film and television credits include Harry Potter and the Order of the Phoenix and Harry Potter and the Half-Blood Prince.

Cherelle Jay plays Swing. Theatre credits include I Can’t Sing! (London Palladium) and Some Like It Hop Hop (UK Tour and West End) and Into The Hoods (The Peakcock Theatre and UK Tour) for ZooNation. Film and television credits include The Holiday.

Rebecca McKinnis plays Understudy Margaret New, Rayia ‘Ray’ Begum and Miss Hedge. Theatre credits include MAMMA MIA! (Novello Theatre and Prince of Wales Theatre), Women on the Verge of a Nervous Breakdown (Playhouse Theatre), A Small Family Business (National Theatre), Viva Forever (Piccadilly Theatre), Les Miserables (25th Anniversary Tour), We Will Rock You (Dominion Theatre), Fat Pig (Trafalgar Studios), Three Hours After Marriage (Union Theatre), The Taming of the Shrew and Beggars’ Opera (both Changeling Theatre Company), Taboo (UK Tour), Starting Here Starting Now (Upstairs at the Gatehouse), Half A Sixpence and Charley’s Aunt for CMC.

Chloe Pole plays Swing, and is making her West End debut in Everybody’s Talking About Jamie.

EVERYBODY’S TALKING ABOUT JAMIE Apollo Theatre 31 Shaftesbury Avenue London W1D 7ES PREVIEWS FROM : Monday 6th November 2017 PRESS NIGHT: Wednesday 22 November 2017

Tickets on sale from £12.00

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