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londontheatre · 8 years ago

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Isabella Nefar in Salomé a new play by Yaël Farber. Photo by Johan Persson

Most people who have been brought up in some form of Christian society know certain stories from the bible. However, supposing those stories were not just wrong but in fact virtually the opposite of everything you thought you knew. If it was Adam that tempted Eve with the apple, or Samson tricking Delilah into cutting his hair, or Lot deliberately turning his wife around so she turned into a pillar of salt. Why these biblical musings you may wonder? Well last night, at the National Theatre, I saw Yaël Farber’s version of Salomé and, believe me, that really turned my knowledge of the story on its head.

The story opens with Nameless (Olwen Fouéré) on the day of her death being questioned by Pontius Pilate (Lloyd Hutchinson), prefect of the Roman province of Judaea, who has been summoned back to Rome to explain his methods in putting down a rebellion in his province. He has a simple question for Nameless, why did she ask for the head of John the Baptist? – known to the Romans as Iokanaan (Ramzi Choukair) – at the birthday of her lustful relative Herod (Paul Chahidi). Without answering, Nameless takes the audience back to the events leading to John’s beheading. We see a younger version of Nameless – Salomé so-called (Isabella Nefar) – and get to witness the ‘real’ story. The creepy lust of Herod, puppet king for the Romans. The political maneuvering of the Sanhedrin under Annas (Raad Rawi) and Caiaphus (Philip Arditti) and the final victory of Iokanaan himself.

I did a quick Wikipedia check on Salomé and it’s surprising how obsessed we are with her story. There were over 40 individual references to her including one of the earliest silent movies made in 1910. Of course, for most people, their knowledge of Salomé comes from Oscar Wilde’s 1893 play which not only was the basis of two operas but also created the picture of the scheming femme fatale being manipulated by her mother to bring about the downfall of God’s prophet John the Baptist. In this version, Yaël Farber paints Salomé as a young tragic figure, preyed upon by a very slimy and repellent relative, and abused by all around her. She finds solace with John the Baptist who baptises her and enlists her help. I think the ‘new’ story is quite fascinating and, whilst I can’t vouch for the historical accuracy, it works as a piece of theatre.

Director Yaël Farber has made full use of the stage available in the Olivier to produce a quite striking looking production. With two turntables, water-filled pits and a huge ladder, the action is forever moving across Designer Susan Hilferty’s interesting stage. As you would expect from a production involving John the Baptist, there is a lot of water – pilate even starts off washing his hands (a very recognisable gesture from that character) – and also sand, which is used most effectively and in vast quantities. There is also smoke and I do wonder what the obsession is with smoke. Yes it looks good on the stage and creates a nice effect but then it starts wafting out over the audience, partially blocking the view and setting every asthmatic in the vicinity off into a coughing fit.

Isabella Nefar, Paul Chahidi in Salomé a new play by Yaël Farber. Image by Johan Persson

The costumes are pretty authentic for the time of the Roman occupation of Judaea and the lighting by Tim Lutkin is very atmospheric, though If I had been seated near the platform that runs along the centre of the of the aisles, I would have got annoyed at the amount of light being shone on me. My one other gripe with the performance is that Ramzi Choukair speaks all of his lines in a Middle-Eastern tongue which means that the audience, on the whole, has to rely on a projected translation which is at times rather difficult to see.

On the acting, I have to say that both Isabella Nefar and Olwen Fouéré were very impressive in their roles and I have to raise a hand in admiration to Isabella who’s Salomé is treated badly physically by pretty much everyone she encounters. There is a lot of bravery in Isabella’s performance for which she should be lauded.

So, for me, this was a fascinating production. Like many people, I ‘knew’ the story of Salomé and was really stunned that this show came up with such a different take on the events of the lives of Salomé, Herod, John and Pilate. I found the entire thing captured my imagination from when I first sat down and saw the strange apparition in the centre of the stage. At the end, I actually found there was a pause after the lights came down until I started applauding, almost as if my mind wanted to fully get over the shock and wonderment of what I had just witnessed before being able to acknowledge it. I don’t think that Salomé will be for everyone, in fact, I can imagine some people being very negative at being presented with a show that is really outside of the proverbial norm. However, if you have a taste for something different, and with some really amazing acting, then I would suggest you get yourself along and give it a whirl.

Review by Terry Eastham

The story has been told before, but never like this. 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. Salomé is designed by Susan Hilferty with 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, Shahar Isaac, Aidan Kelly, Yasmin Levy, Andrew Lewis, Anna Lindup, Theo T J Lowe, Isabella Nefar, Lubana al Quntar,and Raad Rawi.

Previews from 2 May, with Press Night 9 May. Continuing in the repertoire until 15 July. Broadcast to cinemas by NT Live on 22 June. Salomé will be broadcast live from the Olivier Theatre on 22 June 2017

http://ift.tt/2r1IxKj LondonTheatre1.com

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newyorktheater · 4 years ago

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Lorraine Hansberry’s third and final Broadway play, which is being presented online through July 9 in a dark, expressionistic production directed in 2016 by Yael Farber for the National Theatre, is set in an Africa struggling against British colonialism. But some of the issues the playwright explores make it feel especially timely: It argues for racial reckoning, questions the value of good intentions, and dramatizes the complex choices in a time of crisis.

The play revolves around Tshembe Matoseh (portrayed in the National Theatre production by Danny Saponi), living in England with a white English wife and a newborn child, who has returned for his father’s funeral in his (unnamed) African homeland, which is in the midst of great turmoil. Tshembe is confronted with the different forces in the country, each represented by a different character. There is, most artfully, a character called simply The Woman (Sheila Atim) who haunts Tshembe and the play, and perhaps suggests Africa before the invasion by colonial powers. There is Ntali (Sidney Cole) who surprises Tshembe by informing him that his father had been a commander in the Freedom of the Land Army, and urging Tshembe in effect to take his father’s place. Tschembe’s younger brother Eric (Tunji Kasim), who is half-white and drunk most of the time, wants to join them. Tschembe’s other brother Abioseh (Gary Beadle), has become a Catholic priest, and wants Eric to join him in the Tschembe to be and Eric to back down, because practical men “know there is only way to power here. …when the blood of this hour is past, when order and reason are restored to these hills, the West will compromise because they must.” Major George Rice: Clive Francis) represents the colonial authorities, alarmed by the rise of “terrorism,” and determined to crack down, and keep the white settlers safe.

The only settlers we meet, slyly, are the decent people who work at a missionary outpost staffed by hard-working doctors – idealistic/naive Dr Martha Gotterling: Anna Madeley and cynical/truth-telling Dr Willy Dekoven (James Fleet) — led by a Protestant minister who has been in the country for some 40 years (who we never see.)

The Reverend’s wife, Madame Neilsen (Siân Phillips) was Tshembe’s teacher but also, best friends of Tshembe’s long-dead mother, and something close to a surrogate mother to him. She is old now, and has become almost blind — – her condition an unmistakable metaphor.

There are surprises large and small in “Les Blancs.” I’ll only tell you a couple of the little ones. Ntali goes by Peter when he’s with the missionaries, and acts the obsequious servant. In what initially seems to be the main focus, a white American journalist Charlie Morris (Elliot Cowan) has arrived at the outpost to write a story about the great humanitarian minister.

Tshembe, who was once politically engaged as the right-hand man to a man who has been trying to negotiate peacefully with the colonial power, wants nothing more than just to go back to his sedate life in England. But the play has other plans for him…and for us. The confrontations with the Hamlet-like protagonist offer an opportunity for the sort of intellectual debate. Charlie especially gives Tshembe (and Hansberry) an opportunity to make some sharp observations about America.

What unfolds is not easy — the film presentation begins with a trigger warning:”This play is about imperialism, racism and colonialism and contains scenes of racially motivated violence that some may find distressing.” There are also no easy answers.

“Les Blancs” debuted at the Longacre, with James Earl Jones in the central role of Tshembe, in 1970, which was 11 years after the opening of her first play “A Raisin in the Sun” – and five years after her death, at the age of 34 from cancer. Hansberry had not finished the play; it was “adapted” by her widower Robert Nemiroff , and later “restored” by Nemiroff’s daughter by a second marriage, Joi Gresham, director of the Lorraine Hansberry Literary Trust.

If Hansberry’s first play was met with great acclaim by critics and audiences alike — “It was as if the audience that night uniquely understood that they had not just seen a play but had attended a historical event,” Raisin’s producer recalled of its opening night, and the accolades continue six decades later — the response to “Les Blancs” has been more mixed and more muted.

it too can be understood as a historical event, albeit in a different way. In the year in which Hansberry started writing “Les Blancs,” 1960, there were 17 African nations that gained their independence from colonial powers Britain, France and Belgium. A couple of leaders of those nations (and the nations that followed) had been students of Hansberry’s uncle, a Harvard-trained professor of African studies, which helps explain the playwright’s interest in African colonial struggles from an early age. She even studied Africa as a student of the great W.E.B. Du Bois (For more on her endlessly compelling biography, see my review of “Looking for Lorraine”)

Astute theatergoers will recall the character of Asagai, the African intellectual who was one of sister Beneatha’s suitors in “A Raisin in the Sun.” Asagai could arguably be seen as a first draft for (or at least first cousin of) Tshembe in “Les Blancs,” who is an educated African who has traveled the world, including the United States.

Hansberry entitled her play “Les Blancs” (The Whites) as a shrewdly shrouded criticism of Jean Genet’s “Les Nègres’(The Blacks) which she reportedly felt treated Africans like exotic Others.

What makes “Les Blancs” work in the National Theatre production is that nobody is the Other, even the scary Major, each character given their due, each performance worthy of Lorraine Hansberry’s writing.

Les Blancs Written by Lorraine Hansberry Adapted by Robert Nemiroff, restored text directed by Joi Gresham Director: Yaël Farber Designer: Soutra Gilmour Lighting Designer: Tim Lutkin Music and Sound: Adam Cork Movement Director: Imogen Knight Fight Director: Kev McCurdy Music Director: Joyce Moholoagae Dramaturg: Drew Lichtenberg

Cast Mrs Ryder: Amy Forrest The Woman: Sheila Atim Abioseh Matoseh: Gary Beadle Peter: Sidney Cole Charlie Morris: Elliot Cowan Dr Willy Dekoven: James Fleet Major George Rice: Clive Francis Eric: Tunji Kasim Dr Martha Gotterling: Anna Madeley Ngago: Roger Jean Nsengiyumva Madame Neilsen: Siân Phillips Tshembe Matoseh: Danny Sapani Boy: Xhanti Mbonzongwana Ensemble: Anna-Maria Nabirye, Daniel Francis-Swaby, Mark Theodore Matriarchs & Singers (Ngqoko Cultural Group): Nofenishala Mvotyo, Nogcinile Yekani Nomaqobiso, Mpahleni (Madosini) Latozi

Les Blancs Review. Lorraine Hansberry’s final play, about reckoning and resistance in Africa Lorraine Hansberry’s third and final Broadway play, which is being presented online through July 9 in a dark, expressionistic production directed in 2016 by Yael Farber for the National Theatre, is set in an Africa struggling against British colonialism.

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londontheatre · 7 years ago

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NT entrance 3 Feb 2015 Photo by Philip Vile

Sam Mendes directs the UK premiere of Stefano Massini’s The Lehman Trilogy adapted by Ben Power

A broad programme including three world premieres, and classics reimagined by Polly Stenham and Patrick Marber

Indhu Rubasingham directs the world premiere of Francis Turnly’s play The Great Wave, a co-production with the Tricycle Theatre

World premiere of David Hare’s new play I’m not Running, directed by Neil Armfield

Natasha Gordon’s debut play Nine Night premieres at the National Theatre, directed by Roy Alexander Weise

Laura Wade makes her National Theatre debut with Home, I’m Darling, a co-production with Theatr Clwyd

Sophie Okonedo joins Ralph Fiennes in Antony and Cleopatra, directed by Simon Godwin

Leading actors returning to the NT include Rhys Ifans, Vanessa Kirby, Cecilia Noble, Katherine Parkinson and Indira Varma, with Colin Morgan making his NT debut

NT will be on tour for 115 weeks and will visit 40 venues and 36 towns and cities by March 2019

A new schools tour of The Curious Incident of the Dog in the Night-Time will begin in autumn 2018 and be performed in schools across the UK

Public Acts – a new programme to create participatory theatre with local communities launches with a new production of Pericles in the Olivier theatre

The pilot of Open Access Smart Capture, new technology enabling access service users the ability to attend any National Theatre performance via always-on closed-captioning service

National Theatre and Spotlight launch ProFile – a resource for TV, film and theatre casting directors to address the underrepresentation of D/deaf and disabled actors

Olivier Theatre

Rufus Norris – Credit Richard H Smith

Ian Rickson directs Brian Friel‘s Translations, a powerful account of language and nationhood. Set in rural Donegal, the turbulent relationship between England and Ireland plays out in one quiet community. Cast includes Colin Morgan with designs by Rae Smith, lighting by Neil Austin and music by Stephen Warbeck. Translations is a Travelex show with hundreds of tickets available at £15 for every performance, opening in May 2018.

Patrick Marber adapts and directs Ionesco‘s glorious dark comedy Exit the King. Surrounded by his court, an unpredictable, belligerent and magnetic king – once all powerful – rages against the inevitability of his own decline. Designed by Anthony Ward, lighting Hugh Vanstone and music and sound Adam Cork. Cast includes Rhys Ifans as the King and Indira Varma as his Queen. Exit the King is a Travelex show with hundreds of tickets available at £15 for every performance, opening in July 2018.

Simon Godwin directs Ralph Fiennes and Sophie Okonedo as the iconic lovers in a new production of Antony and Cleopatra opening in September 2018. Set design by Hildegard Bechtler, costume design by Wojciech Dziedzic, lighting by Tim Lutkin, music by Michael Bruce and sound by Christopher Shutt. The production will be broadcast worldwide as part of the NT Live season. Production supported by Mary M. Miner, Shawn M. Donnelley & Christopher M. Kelly and Monica G-S & Ali E Wambold.

Shakespeare’s late romance Pericles is remixed in Chris Bush‘s vivid new adaptation. Directed by Emily Lim, choreographed by Imogen Knight with music composed by James Fortune, Periclesmarks the first Public Acts production featuring a large community ensemble and small cast of professional actors who will bring this epic story of love, loss, family and community to the Olivier theatre in August 2018.

Lyttelton Theatre

30 years after the rediscovery of Absolute Hell Joe Hill-Gibbins returns to the NT to direct Rodney Ackland‘s plunge into post-war Soho, full of despair, longing and a need to escape. Set design is byLizzie Clachan with costumes designed by Nicky Gillibrand, lighting by Jon Clark and sound by Paul Arditti. Opening in April 2018, cast to be announced.

In Julie Polly Stenham updates Strindberg’s tragedy Miss Julie to contemporary London. Upstairs, the party is dying but still Julie dances. Downstairs, Jean and Kristin listen and wait. Carrie Cracknelldirects Vanessa Kirby in this new version designed by Tom Scutt, opening in June 2018. Julie is a Travelex show with hundreds of tickets available for every performance at £15.

The Lehman Trilogy, by Stefano Massini a hit across Europe, is staged at the NT in a new English adaptation by Ben Power, directed by Sam Mendes, a co-production with Neal Street Productions. On a cold September morning in 1844, a young man from Bavaria stands on a New York dockside. Dreaming of a new life in the new world, he is soon joined by his two brothers and an American epic begins. 163 years later the firm they establish, Lehman Brothers, spectacularly collapses into bankruptcy, and triggers the largest financial crisis in history. This is the story of a family and a company that changed the world. Stefano Massini’s vast and poetic play unfolds over three parts in a single evening, opening in July 2018, cast to be announced.

David Hare’s new play I’m not Running, directed by Neil Armfield opening in autumn 2018. Pauline Gibson has unintentionally become a national treasure by staying out of party politics, while one of her close friends from university, Jack Gould, is making his way to the top of the Labour Party. The 20 year span of their adult lives and their contrasting fortunes raise sharp questions about how to do good in the new century. After the world wide success of his production of Cloudstreet which visited the National in 1999 and 2001, Neil Armfield directs his first NT production, cast to be announced.

Dorfman Theatre

Rufus Norris at NT Autumn 2017 Press Conference (c) Cameron Slater

Artistic Director of the Tricycle Theatre Indhu Rubasingham returns to the National Theatre to direct The Great Wave – in a co-production with the Tricycle, an epic play by Francis Turnly. Developed, while on a Channel 4 playwriting bursary at the Tricycle, the play is set in Japan and North Korea and tells the story of two sisters, Hanako and Reiko, who are struck by a gigantic wave. Reiko survives while Hanako is, seemingly, lost to the sea. Their mother, however, can’t shake the feeling her daughter is still alive. Designed by Tom Piper, video projection by Luke Halls, lighting design by Oliver Fenwick, movement direction by Polly Bennett, music by David Shrubsole, and sound design by Alex Caplen. Opening at the NT in March 2018, cast to be announced.

Natasha Gordon’s debut play Nine Night is a funny and touching exploration of the rituals of family. The nine nights extended wake is an important custom in West Indian families. But for Gloria’s children and grandchildren, marking her death with a party that lasts a week and a half is a test that forces them to confront themselves and each other. Roy Alexander Weise directs, designed byRajha Shakiry. Cast includes Cecilia Noble, opening in April 2018.

Ned Bennett’s highly praised production for the Orange Tree Theatre of Branden Jacobs-Jenkins’ provocative and hilarious satire An Octoroon transfers to the National Theatre in June 2018 in a co-production. Cast to be announced.

Laura Wade makes her NT and Theatr Clwyd debuts with Home, I’m Darling, a new comedy about sex, cake and the quest to be a perfect 50s housewife. Cast includes Katherine Parkinson with further cast to be announced. A National Theatre co-production with Theatr Clwyd, directed by Clwyd artistic director Tamara Harvey, also making her NT debut, and designed by Anna Fleischle. The production opens at Theatr Clwyd in June and in the Dorfman theatre the following month.

Justin Audibert directs a new production of The Winter’s Tale for primary schools, opening in the Dorfman theatre in February 2018. This exciting new version of the play, adapted by Justin and the company, is the perfect introduction to Shakespeare for younger audiences, designed by Lucy Sierra with music by Jonathan Girling. Shakespeare for younger audiences is supported by: The Ingram Trust, Archie Sherman Charitable Trust. The National Theatre’s Partner for Learning is Bank of America Merrill Lynch.

At the Young Vic

The Jungle by Joe Murphy and Joe Robertson of Good Chance Theatre tells stories of loss, fear, community and hope. Europe’s largest unofficial refugee camp, the Calais ‘Jungle’ became a temporary home for more than 10,000 people at its peak – many desperate to find a way to enter the UK. Commissioned by the NT in a co-production with the Young Vic The Jungle is directed byStephen Daldry and Justin Martin, set design Miriam Buether, costume design Catherine Kodicek, sound designer Paul Arditti and lighting Jon Clark. Opening at the Young Vic in December, cast to be announced. Generously supported by Glenn and Phyllida Earle and Clive and Sally Sherling.

Public Acts

Public Acts: a nationwide initiative to create extraordinary acts of theatre and community. The programme builds on our experience of creating the award-winning we’re here because we’re here with volunteer performers and theatres across the UK.

Public Acts is inspired by Public Works, The Public Theater’s ground-breaking programme of participatory theatre in New York.

Public Acts will be built on sustained partnerships with organisations that share our vision for theatre as a force for change. Over the next two years we will work with the Queen’s Theatre, Hornchurch and a number of community organisations across Greater London. Through these partnerships we will invite members of London’s diverse communities to take part in regular creative activity and join us in the creation of theatre productions.

The first of these will be a new production of Pericles on the Olivier stage in August 2018. It will feature a small cast of professional actors together with a large number of non-professional actors who will be cast through their connection with our community partner organisations. The NT has commissioned Chris Bush, a writer with extensive experience working with large community ensembles, to adapt Shakespeare’s Pericles which will be directed by NT resident director Emily Lim. The production will also feature cameo performances from a diverse range of local performance groups.

Queen’s Theatre Hornchurch will be the first theatre partner for Public Acts. The Queen’s Theatre is a vibrant regional theatre working in Outer East London, Essex and beyond. Over 200,000 people enjoy the programme each year, including the best in home grown theatre, visiting live entertainment and inspiring Learning and Participation projects including a wide range of life enhancing workshops and classes for people of all ages. Queen’s Theatre staff will work alongside NT staff on Pericles.

Our community partners for Public Acts over the next two years will include: Body & Soul, a charity dedicated to transforming the impact of childhood adversity; Open Age, a charity that works with older Londoners to create opportunities for them to connect, learn new skills and combat isolation; Thames Reach a London-based charity helping homeless and vulnerable people to find decent homes, build supportive relationships and lead fulfilling lives; The Havering Asian Social Welfare Association (HASWA) works with all sections of the local Havering community, particularly of Asian origin with specific emphasis on isolated and disadvantaged individuals; Bromley by Bow Centre supports vulnerable young people, adults and families to help create a cohesive, healthy, successful and vibrant east London community, Coram, the UK children’s charity that helps children and young people develop their skills and emotional health, finds adoptive parents and upholds children’s rights, creating a change that lasts a lifetime and Three Faiths Forum (3FF) who work to build good relations between people of all different faiths, beliefs and identities.

Future Public Acts productions will be developed in partnership with theatres and community groups outside London.

Generously supported by Bloomberg Philanthropies and The Sackler Trust, founding supporters of Public Acts. The first 3 years of Public Acts is also supported by Arts Council England’s Strategic Touring Fund.

ProFile

D/deaf and disabled actors are currently under-represented on stage and screen in the UK. The National Theatre and Spotlight have created a new resource to champion this talent pool by offering industry professionals the opportunity to watch these actors in action on an online video database. It is a free service, both for performers and industry users, and is available for the use of film, theatre and television professionals across the UK. Its aim is to widen the pool from which casting directors and other industry professionals draw their talent, with a view to creating a more inclusive industry in the long term, and one that better represents the diversity of the nation.

ProFile was created as part of the National Theatre’s Creative Diversity Project, a pilot project focusing on diversity and inclusion at the NT, one strand of which aims to address the under-representation of D/deaf and disabled actors on our stages.

The NT is committed to establishing a target to increase the representation of D/deaf and disabled actors on our stages. To do this, we are working with a range of artists from the D/deaf and disabled community, casting directors and some of the UK’s leading drama schools to ensure the target is meaningful and realistic.

National Theatre from the northeast Photo by Philip Vile

Open Access Smart Capture

The National Theatre today announces the pilot launch of a brand new technological innovation, Open Access Smart Capture.

The NT and its partner for innovation, Accenture, have developed new technology, which will mean for the first-time access service users will be able to attend any performance thanks to a transformative, always-on closed captioning and audio-description service.

The smart glasses support the NT’s vision to ensure theatre access for all and have been designed and manufactured by Epson, with ease-of-use, durability and accessibility in mind. The glasses enable the user to discreetly see the captions for theatre performances on a screen directly in front of their eyes from any seat in the auditorium. At the heart of this advanced system is new technology which aims to achieve 97% accuracy of the timing of the captions and descriptions.

Captioned performances are currently restricted to selected performances at the National Theatre with the NT programming up to four captioned performances and up to three audio-described performances per production with captions and audio-description delivered live. Since its inception in 2014, the vision for Open Access Smart Capture has been to have always-on smart captioning systems in all three of the NT’s theatres by October 2018 with always-on audio description by April 2019, ensuring all performances will be fully accessible via this new technology. Action on Hearing Loss estimated that by 2035, 1 in 5 people will be affected by hearing loss. This equates to 11 million potential customers who could benefit from an always-on service, with the freedom to attend any performance, seated anywhere in the auditorium, and have their access needs met.

Over the next year the pilot phase will rigorously test this unique access system and during this time the NT will evaluate the Open Access Smart Capture technology, initially in the Dorfman theatre, with the system being further developed on large scale shows in the Lyttelton and Olivier theatres to understand the scale and scope of the technology and ensure the system is adaptable for all service users. The National Theatre has had a close working relationship with StageText and VocalEyes throughout and will continue to work alongside them on this transformative project.

The Curious Incident of the Dog in the Night-Time schools tour

Today the NT announces a schools tour of The Curious Incident of the Dog in the Night-Time, in a specially staged production which will visit selected secondary schools from autumn 2018 targeting areas of the country with lower engagement with theatre. The Curious Incident of the Dog in the Night-Time schools tour marks the NT’s desire to take more work into schools over the coming years. The novel is the winner of more than 17 literary awards and features on the national curriculum.

Winner of seven Olivier Awards and five Tony Awards® including ‘Best Play’, The Curious Incident of the Dog in the Night-Time brings Mark Haddon’s best-selling novel to life on stage, adapted by two-time Olivier Award-winning playwright Simon Stephens and directed by Olivier and Tony Award®‑winning director Marianne Elliott.

Simon Stephens’ said: ‘It means the world to me that Curious Incident will be touring schools around the country. I worked as a schoolteacher teaching kids in Dagenham in Essex 20 years ago. I loved it. I still think of myself as a teacher. I have seen firsthand how inspiring drama is to young people in schools. I believe the arts to be fundamental to our society. We can’t afford to lose them from our education system. I am delighted that our play will play its part in introducing young people to the theatre. I always hoped that Curious Incident was a play that could be performed anywhere, by anyone. The play is designed to provoke and inspire imagination and interpretation in its staging and inspiration in its audience. The tour will, I hope, provide the same kind of imagination and inspiration throughout the country.’

Funded by the Arts Council England’s Strategic Touring Fund

Schools touring is supported by The Mohn Westlake Foundation.

The National Theatre on tour

The NT will tour to 40 venues in 36 towns and cities across the UK, for a total of 115 playing weeks, until March 2019

The UK tour of War Horse and a UK and Ireland tour of Hedda Gabler both open this week. The War Horse 10th Anniversary tour opens tonight (3 October) at the Marlowe Theatre, Canterbury, andHedda Gabler opens on Friday (6 October) at the Theatre Royal Plymouth.

Due to demand War Horse will return to the Marlowe Theatre, Canterbury from 27 February – 16 March 2019, following its 17 venue UK tour, which coincides with the Centenary commemorations of the end of the First World War. The tour will also visit the Sunderland Empire from 6 – 23 February 2019. Duncan Macmillan’s People, Places and Things (a Headlong Production) and James Graham’sThis House (co-produced by Jonathan Church Productions and Headlong), which both originated at the NT, will also visit numerous theatres across the country.

A 10th Anniversary tour of War Horse begins tonight at the Marlowe Theatre, Canterbury. Nick Stafford’s adaptation of Michael Morpurgo’s remarkable story of courage, loyalty and friendship features ground-breaking puppetry work by South Africa’s Handspring Puppet Company, which brings breathing, galloping horses to live on stage. War Horse is directed by Marianne Elliott and Tom Morris, designed by Rae Smith, with puppet direction, design and fabrication by Basil Jones and Adrian Kohler for Handspring Puppet Company, lighting by Paule Constable, and movement and horse choreography by Toby Sedgwick, with video design by Leo Warner and Mark Grimmer for 59 Productions, songmaker John Tams, music by Adrian Sutton and sound by Christopher Shutt. Katie Henry is the revival director and Craig Leo is the associate puppetry director. The resident puppetry director is Matthew Forbes and resident director, Charlotte Peters. For tour venues and dates, visitwarhorseonstage.co.uk.

Following a sold-out run at the National Theatre earlier this year, Ibsen’s Hedda Gabler, in a new version by Patrick Marber, directed by Ivo van Hove, begins a UK and Irelona tour this week at the Theatre Royal Plymouth, continuing its journey across the UK to Edinburgh, Leicester, Salford, Norwich, Hull, Aberdeen, Northampton, Glasgow, Wolverhampton, Woking, Nottingham, Newcastle-upon-Tyne, York, Milton Keynes and Dublin. Set and lighting design for Hedda Gabler is by Jan Versweyveld, with costume design by An D’Huys and sound by Tom Gibbons. The Associate Directors are Jeff James and Rachel Lincoln. For tour venues and dates, visit heddagableronstage.com.

Following a critically-acclaimed, sold-out season at the National Theatre and in London’s West End, People, Places & Things embarks on a major UK tour this autumn for Headlong in a co-production with the National Theatre, HOME and Exeter Northcott Theatre. People, Places & Things is written by Duncan Macmillan, and directed by Jeremy Herrin with Holly Race Roughan. The play features set designs by Bunny Christie, costumes by Christina Cunningham, lighting by James Farncombe, music by Matthew Herbert, sound by Tom Gibbons and video design by Andrzej Goulding. For tour venues and dates, visit the website.

Jonathan Church Productions and Headlong present The National Theatre and Chichester Festival Theatre production of This House, produced in the West End by Nica Burns, Neal Street Productions and Headlong. James Graham’s smash-hit political drama examining the 1974 hung parliament tours the UK for the first time. Directed by Jeremy Herrin, the production is designed by Rae Smith with lighting design by Paule Constable, music by Stephen Warbeck, choreography by Scott Ambler and sound by Ian Dickinson. For tour venues and dates, visit the website.

NT international touring

The NT’s Olivier and Tony Award®-winning production of The Curious Incident of the Dog in the Night-Time tours the world, visiting the Netherlands, Canada, Australia, and Hong Kong, with further international dates to be announced. The Curious Incident of the Dog in the Night-Time recently completed a North American tour which took in 30 cities across the USA.

The play is adapted by Simon Stephens from Mark Haddon’s best-selling book, and directed by Marianne Elliott. The production is designed by Bunny Christie, with lighting design by Paule Constable and video design by Finn Ross. Movement is by Scott Graham and Steven Hoggett for Frantic Assembly, music by Adrian Sutton (who also composed music for Angels in America andWar Horse) and sound by Ian Dickinson for Autograph. For more information visit http://ift.tt/ZG0fOCglobal/

NT transfers

Internationally, People, Places & Things will transfer to St. Ann’s Warehouse in Brooklyn, New York later this month and Angels in America transfers to the Neil Simon Theater on Broadway in February 2018.

Following a sold-out season at the National Theatre and in London’s West End, Denise Gough reprises her Olivier award-winning role in the American Premiere of People, Places & Things at St. Ann’s Warehouse — a raw, heartbreaking and truthful performance about life spinning recklessly out of control. This American Premiere marks the first collaboration between St. Ann’s Warehouse and the National Theatre. People, Places & Things is produced in New York by the National Theatre, St Ann’s Warehouse, Bryan Singer Productions and Headlong. For more information visit the website.

The great work returns to Broadway from February 2018. Angels in America will open at the Neil Simon Theater on 21 March. The NT Production of Tony Kushner’s epic masterwork, Angels in America: A Gay Fantasia on National Themes, returns to Broadway for the first time since its now-legendary original production opened in 1993. Starring two-time Tony Award® winner Nathan Laneand Academy Award® and Tony Award nominee Andrew Garfield, the cast of Angels in America will feature fellow original National Theatre cast members Susan Brown, Denise Gough, Amanda Lawrence, James McArdle, and Nathan Stewart-Jarrett. Angels in America is directed by Marianne Elliott. Ian MacNeil is the Scenic Designer, Nicky Gillibrand is the Costume Designer, Paule Constable is the Lighting Designer, Adrian Sutton is the composer , Ian Dickinson is the Sound Designer. The Puppetry design is by Nick Barnes and Finn Caldwell (also Puppetry Director and Movement), Robby Graham is the Movement Director, and Illusions are by Chris Fisher. Angels in America is NT America, Jujamcyn Theaters and Elliott & Harper Productions. For more information visit angelsbroadway.com/

American Express is the preferred card partner for Angels in America Broadway

National Theatre Live

NT Live currently screens to 60 countries across the globe.

Hamlet returns to cinemas on Thursday 5th October. Lyndsey Turner’s production starring Benedict Cumberbatch was originally staged at the Barbican Theatre in August 2015 and broadcast live to cinemas later the same year.

Stephen Sondheim’s Follies directed by Dominic Cooke features a cast of 37 including Imelda Staunton, Janie Dee and Tracie Bennett. Broadcast live on 16 November.

Rory Kinnear plays Marx and Oliver Chris plays Engels in Young Marx directed by Nicholas Hytner and broadcast live from the Bridge Theatre on 7 December.

Benedict Andrews directs Sienna Miller and Jack O’Connell in The Young Vic production of Cat on a Hot Tin Roof. Captured during its West End run and broadcast on 22 February 2018.

Nicholas Hytner directs Ben Whishaw, Michelle Fairley, David Calder and David Morrissey in Julius Caesar. Broadcast from the Bridge Theatre on 22 March 2018.

Rory Kinnear and Anne-Marie Duff appear in a new production of Macbeth, directed by Rufus Norris. Broadcast live on 10 May.

Simon Godwin’s production of Antony and Cleopatra with Ralph Fiennes and Sophie Okonedo will be broadcast live. Date tbc.

Sky Arts is the sponsor of NT Live in the UK

The National Theatre At the National Theatre, we make world-class theatre that is entertaining, challenging and inspiring, and we make it for everyone. In 2016-2017, the NT staged 26 productions and gave 2,585 performances at our home on the South Bank. The NT’s award-winning programme had a UK paying audience of 1.8 million, 400,000 of which were NT Live audiences.

The work the National Theatre produces appeals to the widest possible audiences with new plays, musicals, re-imagined classics and new work for young audiences. The NT’s work is seen in the West End, on tour throughout the UK and internationally, and in collaborations and co-productions with partners across the country. Through NT Live, we broadcast some of the best of British theatre to over 2,500 venues in 60 countries around the world.

Our extensive Learning programme offers talks, events and workshops for people of all ages, and reaches nationwide through programmes such as Connections, our annual festival of new plays for schools and youth theatres. In 2016-2017 there were 196,826 participations through the NT Learning events programme. Over 3,000 schools have signed up to the free streaming service, On Demand. In Schools, since its launch in September 2015.

The National Theatre is an Arts Council England National Portfolio Organisation.

The Public Theater – Public Works

Launched in 2013, PUBLIC WORKS is a major initiative of New York’s Public Theater that seeks to engage the people of New York by making them creators and not just spectators. Working with community partner organizations in all five boroughs, Public Works invites members of diverse communities to participate in theatre workshops, to attend classes, to attend productions, and to become involved in the daily life of The Public. Founded by Resident Director Lear deBessonet, Public Works deliberately blurs the line between professional artists and community members, creating theatre that is not only for the people, but by and of the people as well.

Public Works exemplifies The Public Theater’s long-standing commitment to community engagement that is at the core of the award-winning theater’s mission. It is animated by the idea that theater is a place of possibility, where the boundaries that separate us from each other in the rest of life can fall away. It seeks to create a space where we can not only reflect on the world as is, but where we can actually propose new possibilities for what our society might be.

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londontheatre · 7 years ago

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Doubt, A Parable – Jonathan Chambers Stella Gonet – Photo Paul Nicholas Dyke

In just nine scenes, and in this production, no changes of set, Doubt, A Parable takes audiences through a complex and nuanced plot. What if it’s clear that something isn’t right but it’s not possible to produce concrete evidence of wrongdoing that would stand up in a court of law? Not that Sister Aloysius (Stella Gonet) would file a lawsuit. Although she emphatically states she will stop at nothing to bring about the downfall of Father Brendan Flynn (Jonathan Chambers) for (alleged) inappropriate conduct with a student at the Roman Catholic church school of which she is principal, there’s no mention of pressing charges or getting lawyers involved.

Sister Aloysius calls in Mrs Muller (Jo Martin), the mother of one of the school’s pupils, but not the police or a private investigator, despite an unshakeable belief that abuse and mistreatment is happening on her watch. Aloysius confides in Sister James (Clare Latham) her reasons for not even getting the diocese involved, which weren’t wholly convincing to me, though she makes some interesting points about the level of actual trust there is at grassroots level in the Church’s hierarchy.

Mrs Muller’s time on stage is relatively brief but impactful. Stella Gonet puts in a consummately stellar performance as Sister Aloysius – the audience’s opinion of the character gradually shifts but some reservations about Father Flynn are still retained. To put it another way, a masterly character is played by a masterly actor. There was still, on opening night, the occasional stumble in the dialogue – these will, without doubt (if I may use such an expression) be smoothed over as the run progresses. It helps that John Patrick Shanley’s play has well-written and well-developed characters, and with only four on-stage characters, the production feels very intimate and focused. All four are seldom on stage at the same time, which means, without giving everything away, that the audience sometimes knows certain things before certain characters do.

This is such a clever play. The acerbic wit of Sister Aloysius, abrasive but with panache, became a source of comic relief in what a story that could be interpreted in several different ways, ranging from a crazed witch-hunt in all but name to a sincere desire to deal decisively with something morally dubious. Aloysius seemed, this play being set in 1964, to be ahead of her time – a generation on, a large number of sexual abuse scandals have been uncovered in various parts of the Church across the globe. But it took decades of campaigning before the news headlines came along, and the likes of Aloysius may not have lived to see the full extent and impact of their actions.

The ‘in-the- round’ (or, technically, ‘in-the- rectangle’) staging in this production isn’t perfect, with any given section of the audience watching a character’s back for moments at a time, thus missing the subtleties of their facial expressions. The stage is uncluttered, allowing the audience’s minds to concentrate on the dialogue. Occasionally, though, it’s a little too sparse: tea is served entirely through miming, for instance.

I still have no idea whether anybody in this play has done anything wrong, in the sense of a significant moral failing, which for a play of this title is just as well – a play called Doubt that clears things up really ought to be called something else. A personal and powerful play, with plenty of food for thought, it’s ninety-minute running time felt more than nineteen.

Review by Chris Omaweng

John Patrick Shanley’s masterpiece is one of the most acclaimed plays in recent memory. Winning 4 Tony Awards including Best Play, named Best Play by the New York Drama Critics’ Circle, Best New Play (Drama Desk Awards) and Outstanding Play (Lucille Lortel Awards). Doubt, A Parable won the Pulitzer Prize for Drama.

The subsequent Hollywood film starring Meryl Streep, Philip Seymour Hoffman, Amy Adams and Viola Davis, received 4 Oscar and 3 BAFTA nominations.

Now Doubt, A Parable, in which a Catholic school principal questions a priest’s ambiguous relationship with a troubled young student, is to get its first London revival in 10 years.

“What do you do when you’re not sure?” So asks Father Flynn, the progressive and beloved priest at the St. Nicholas Church School in the Bronx, in his sermon. It’s 1964, and things are changing, to the chagrin of rigid principal Sister Aloysius. However, when an unconscionable accusation is levelled against the Father, Sister Aloysius realises that the only way to get justice is to create it herself. And as for the truth of the matter? As Father Flynn says, “Doubt can be a bond as powerful and sustaining as certainty.”

In stunning prose, John Patrick Shanley delves into the murky shadows of moral certainty, his characters always balancing on the thin line between truth and consequences.

Creative Team Director – Ché Walker Set and Costume Designer – PJ McEvoy Lighting Designer – Tim Lutkin Sound Designer – Joshua Robins Casting Director – Ellie Collyer-Bristow

Cast Sister Aloysius – Stella Gonet Mrs Muller – Jo Martin Father Flynn – Jonathan Chambers Sister James – Clare Latham

Making Productions & Grafitti Productions in association with MBL Productions and ProdUse Theatre present

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londontheatre · 8 years ago

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The Braille Legacy: Jack Wolfe, Guillermo Bedward, Honey Harrison-Maw, Eliz Hassan – Photo Scott Rylander

This reviewer can report I loved every single minute of The Braille Legacy. A labour of love and care beautifully directed by Thom Southerland with great heart and passion. A dramatic real life story that deserves to be told and needs to be heard. I doubt that many people, young or old, know much at all about braille and certainly nothing about the man who invented this remarkable system of reading and communication that opened the word of literature, music, science and more to those who cannot see. The Braille Legacy delivers gorgeous music, a superb cast and a powerful real life story that holds attention throughout and stirs the heart.

Jean-Baptiste Saudray’s beautiful score, enhanced by Simon Lee’s wonderful orchestrations and arrangements, is played exquisitely under the Musical direction of Toby Higgins. From the haunting a Capella opening to a dramatic change to the hustling bustling streets of Paris where everyone wants to be bourgeois, it is also apparent this cast can really sing.

Sébastien Lancrenon’s French Book and Lyrics have been clearly translated by Ranjit Bolt making the story comprehensible and illuminating, and cast diction throughout is superb. French musicals are rare in the UK and yes there are similarities to Les Misérables in musical style and that is no bad thing. 18th century France was a pretty desperate place to be if you were blind, living in deplorable conditions shut up in institutions away from ‘normal’ people with no hope of education or aspiration. The Braille Legacy outlines the true story of Louis Braille, blinded at the age of 5, who battled against an authoritarian and unfeeling elite to ultimately profoundly changed the lives of millions by developing a system of reading dots by touch.

Jack Wolfe in an impressive first professional role as the young tormented Louis Braille gives an outstanding, nuanced performance. Quivering lip, shoulders that collapse and then reinvigorate, fingertips that reach through the air desperately trying to find a way to communicate after frustratingly slowly trying to read a single book (the only book) with raised embossed letters. In despair, he cries ‘to know that there are so many words that I am lost to’ singing ‘when I learn, I walk on solid ground’. Louis endures beatings and solitary confinement for speaking up and trying to learn but inspired by the dice his father has given him discovers that ‘six dots will make an alphabet’ and then develops words that can be read with fingertips.

There is glorious singing and impassioned acting from the entire cast. Notably, Jérôme Pradon as humane Institute Director Dr Pignier and authoritarian, brutal Dufu played by Ashley Stillburn. Jason Broderick as Louis’ antagonist turned friend Gabriel delivers a compelling performance, as does Ceili O’Connor as Mme Demézière, Institute matron. Tallulah Byrne is a charismatic and endearing young Catherine and the other children in the Institute are also all excellent.

Tim Shotall’s two level revolving cube set is perhaps a little too modern though Tim Lutkin makes wonderful use of it with expressive and dramatic lighting. Lee Proud moves the cast fluidly around the structure and stage seamlessly with style and aplomb. Jonathan Lipman’s black and white costumes are dramatic and stylish. At the very beginning, open-eyed hopeful children tie blindfolds around their eyes. The children’s pristine white Institute uniforms contrast with their desperately bleak colourless lives.

The Braille Legacy deserves it’s time to settle and establish. There is so much that is wonderful about this first full-length original musical from Sébastien Lancrenon and Jean-Baptiste Saudray. The score is gorgeous and the whole piece moved me very much. We take much for granted in the 21 st century, and it is difficult to comprehend just how prejudiced and hostile society was 200 years ago towards those who were ‘different’ when braille was first tragically banned as dangerous and subversive and a waste of time. Braille argued all his life that ‘Different is not an affliction’, converting books to braille without any government endorsement or money. He also developed a system of maths and music, before dying aged just 43 of tuberculosis caused by the dreadful living conditions he lived his whole in the Institute.

The Braille Legacy is beautiful, enriching and humanizing. A truly talented, cohesive cast, creative team and musicians do this new French musical proud. Go and enjoy a glorious new musical and be moved and inspired by what one man achieved against all odds.

Review by Catherine Francoise

The Braille Legacy is the story of a revolution and a heroic fight for independence, with the themes of difference, freedom, hope and love and the triumph of human values over adversity.

In Paris in the 19th century, blind people were victims of profound discrimination. Louis Braille, a bright young mind with a mad dream, arrives at the Royal Institute of Blind Youth, searching for the same chance as everyone else: to be free and independent. But he soon discovers that people and things aren’t always what they first seem. By sheer determination and courage he stumbles upon something revolutionary: a simple idea, a genius invention, a legacy. Two hundred years ago, Louis Braille changed the world by inventing the tactile system of communication, the Braille alphabet, liberating the “People of the Night” and introducing literacy, knowledge and culture to a people who were otherwise trapped. It was their journey into the light.

The Braille Legacy Based on an original idea by Sébastien Lancrenon French book and lyrics by Sébastien Lancrenon Music by Jean-Baptiste Saudray Translation by Ranjit Bolt

Read our exclusive interview with Jérôme Pradon

The Braille Legacy Production Photograph and Jérôme Pradon sings “Liberte Egalite and Fraternite”

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londontheatre · 8 years ago

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The Braille Legacy Jack Wolfe, Guillermo Bedward, Honey Harrison-Maw, Eliz Hassan Photo Scott Rylander

The world première of a major new musical, The Braille Legacy, is the thrilling, true, inspirational and epic story of Louis Braille, a young blind boy who wanted the same chance in life as those who see and ended up improving the lives of millions of blind people around the world.

It is directed by acclaimed director Thom Southerland (”Ragtime”, “Titanic”, “Grey Gardens”, “Death Takes A Holiday”) and will première at Charing Cross Theatre (Artistic Director Thom Southerland, Managing Director Steven M. Levy) from Monday 10th April to Saturday 24th June, 2017.

Joining previously announced Olivier Award nominated Jérôme Pradon (West End credits include the UK premiere of the musical “Women On The Verge of a Nervous Breakdown”, Guillaume in “Martin Guerre”, Chris in “Miss Saigon”, Javert in “Les Miserables”, and Judas in the Emmy-winning video of “Jesus Christ Superstar”) are:

Jason Broderick (“Godspell” UK tour, “Anna Nicole – The Opera” Royal Opera House); Tate-Eliot Drew (“My Lands Shore” Ye Olde Rose N Crown Theatre); Will Haswell (“Jersey Boys” West End, Pinocchio in ‘Shrek the Musical” UK tour); Lottie Henshall (“Doctors” BBC1); Sarah-Marie Maxwell (“She Loves Me” Menier Chocolate Factory, “Top Hat” UK tour); Matthew McDonald (“Death Takes a Holiday” Charing Cross Theatre, “Allegro” Southwark Playhouse); Kate Milner-Evans (“Showboat” West End, Carlotta in “The Phantom of the Opera”); Janet Mooney (West End includes “Les Miserables” and “Love Never Dies”); Ceili O’Connor (“Grand Hotel” Southwark Playhouse, “Evita” UK tour); Michael Remick (West End includes “Dirty Dancing” and “The Sound of Music”); Ashley Stillburn (Corrado in “Death Takes A Holiday” Charing Cross Theatre, “The Phantom of the Opera” and “Les Miserables” West End); Jack Wolfe (is making his professional stage debut as Louis Braille); and a child cast featuring Guillermo Bedward, Thomas Brown, Tallulah Byrne, Beau Cripps, Ilan Galkoff, Honey Harrison-Maw, Eliz Hassan, Megan Haynes, Zachary Loonie, Mimi Slinger, Ophir Fifi Tal, William Thompson.

The Braille Legacy Production Photographs

The Braille Legacy is the story of a revolution and a heroic fight for independence, with the themes of difference, freedom, hope and love and the triumph of human values over adversity.

The Braille Legacy has an original French Book and Lyrics by Sébastien Lancrenon, Music by Jean-Baptiste Saudray, with an English translation by Ranjit Bolt. Music Supervision and Orchestrations are by Simon Lee.

The full creative team is: Director: Thom Southerland, Music Supervision and Orchestrations: Simon Lee, Musical Director Toby Higgins, Choreographer Lee Proud, Set Designer: Tim Shortall, Lighting Designer Tim Lutkin, Costume Designer: Jonathan Lipman, Sound Designer: Andrew Johnson, Casting: Stephen Crockett at Grindrod Casting, Children’s Casting: Jo Hawes, Music Preparation: Simone Manfredini, Associate Director Rupert Hands.

Producers: The Braille Legacy Ltd by arrangement with Colbert Entertainment Ltd Associate Producer: Kayla Hain General Management: Charing Cross Theatre Productions Ltd. Steven M. Levy

Read our exclusive interview with Olivier Award-nominated West End star Jérôme Pradon

LISTINGS INFORMATION The Braille Legacy Ltd by arrangement with Colbert Entertainment Ltd present

The Braille Legacy Based on an original idea by Sébastien Lancrenon French book and lyrics by Sébastien Lancrenon Music by Jean-Baptiste Saudray Translation by Ranjit Bolt

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londontheatre · 8 years ago

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Final casting is today announced for the world première of a major new musical, “The Braille Legacy”, the thrilling, true, inspirational and epic story of Louis Braille, a young blind boy who wanted the same chance in life as those who see and ended up improving the lives of millions of blind people around the world.

It is being directed by acclaimed director Thom Southerland (”Ragtime”, “Titanic”, “Grey Gardens”, “Death Takes A Holiday”) and will première at Charing Cross Theatre (Artistic Director Thom Southerland, Managing Director Steven M. Levy) from Monday 10 April to Saturday 24 June. Press night is Monday 24 April at 7.30pm.

Final Braille Cast

“The Braille Legacy” is the story of a revolution and an heroic fight for independence, with the themes of difference, freedom, hope and love and the triumph of human values over adversity.

“The Braille Legacy” has an original French Book and Lyrics by Sébastien Lancrenon, Music by Jean-Baptiste Saudray, with an English translation by Ranjit Bolt. Music Supervision and Orchestrations are by Simon Lee.

Producers: The Braille Legacy Ltd by arrangement with Colbert Entertainment Ltd Associate Producer: Kayla Hain General Management: Charing Cross Theatre Productions Ltd. Steven M. Levy

Sébastien Lancrenon (original idea, French Book & Lyrics) is a veteran in the world of classical music. He began his career as a professional solo singer at an early age. Until recently he was Director of Radio Classique (Louis Vuitton Moët Hennessy Group) in France. Sébastien left Radio Classique in order to focus on developing “The Braille Legacy” musical and now lives in London.

Jean-Baptiste Saudray (Music) studied piano from the age of five at the Schola Cantorum, where he won a number of awards. Jean-Baptiste has composed for and worked with various international artists, including Ray Charles, Jean-Michel Jarre, The Gypsy Kings and David Guetta.

Ranjit Bolt (English translation) is one of Britain’s leading adaptors and translators. His work includes adaptations of classics such as “Le Misanthrope” and “Tartuffe” by Molière and various works by La Fontaine, Corneille, Scribe… and has been produced to great acclaim at the Old Vic, National Theatre and by the Royal Shakespeare Company. In 2002 he was awarded an OBE for his services to literature as a translator.

Simon Lee (Music Supervision & Orchestrations ) has a wealth of experience in musical supervision and orchestrations in both the West End and Broadway as well as in film, spending his career working closely with Andrew Lloyd Webber on musicals including Jesus Christ Superstar and the film, The Phantom of the Opera.

Thom Southerland (Director) is Artistic Director at Charing Cross Theatre. His opening season of major musicals included the European première of Maury Yeston’s “Death Takes A Holiday”, the return of his acclaimed multi award-winning “Titanic” and “Ragtime” (nominated for a record 14 Off West End awards). He was longlisted Best Newcomer in the 2011 Evening Standard Awards for “Parade”. He was named Best Director at the 2011 The Offies for “Me And Juliet” at the Finborough. He directed “Allegro”, “Grey Gardens”, “Grand Hotel”, “Titanic”, “Victor/Victoria”, “Mack & Mabel” and “Parade” (Southwark Playhouse); “The Smallest Show on Earth” (Mercury Theatre, Colchester & tour); Jerry Herman’s “The Grand Tour” (Finborough); “The Mikado” (Charing Cross Theatre); “Daisy Pulls It Off”, Irving Berlin’s “Call Me Madam!” (Upstairs At The Gatehouse); the European première of “I Sing!”, “Divorce Me, Darling!”, “Annie Get Your Gun”, “The Pajama Game” and sold-out all-male adaptations of Gilbert and Sullivan’s “HMS Pinafore” and “The Mikado” (Union); “Noël and Gertie” (Cockpit); the European première of “The Unsinkable Molly Brown” (Landor); the European première of “State Fair” (Finborough & transfer to Trafalgar Studios).

“The Braille Legacy” is supported by the Royal National Institute of Blind People and L’Occitane, who will sponsor the audio-described performances.

LISTINGS INFORMATION The Braille Legacy Ltd by arrangement with Colbert Entertainment Ltd present

The Braille Legacy Based on an original idea by Sébastien Lancrenon French book and lyrics by Sébastien Lancrenon Music by Jean-Baptiste Saudray Translation by Ranjit Bolt

Charing Cross Theatre The Arches Villiers Street London WC2N 6NL http://ift.tt/HQ6NWc Box office: 08444 930650 Monday 10 April to Saturday 24 June

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londontheatre · 8 years ago

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NT entrance February 2015 photo by Philip Vile

Ivo van Hove follows his acclaimed Hedda Gabler with the world premiere of Network, with Bryan Cranston making his UK stage debut

Anne-Marie Duff returns to the National Theatre in Common, and will appear alongside Rory Kinnear in Macbeth in 2018, directed by Rufus Norris

Award-winning playwright Annie Baker (The Flick) returns with the European premiere of her new play John in the Dorfman

John Tiffany directs the world premiere of Pinocchio

Saint George and the Dragon, Beginning and The Majority continue the NT’s commitment to new work and contemporary stories on our stages

12 new plays, 50% of which are written by women, will open in the next 12 months

People, Places & Things transfers to St Ann’s Warehouse, New York

The NT will tour to 47 venues in 35 towns and cities across the UK in 2017-18

Co-productions with Fuel, Headlong, Out of Joint, Improbable, and West Yorkshire Playhouse

Double the number of Entry Pass tickets for young people under 26

NEW PRODUCTIONS ANNOUNCED OLIVIER THEATRE

AMADEUS – photograph by Seamus Ryan, designed by the NT Graphic Design Studio

SAINT GEORGE AND THE DRAGON Rory Mullarkey’s epic new folk play tells of a knight who became a myth, and a country in need of a story. The world premiere is directed by National Theatre Associate Lyndsey Turner with design by Rae Smith, lighting design by Bruno Poet, music by Grant Olding, choreography by Lynne Page and sound design by Christopher Shutt. Opening in October 2017. Hundreds of Travelex tickets at £15 available per performance.

MACBETH Rufus Norris directs Rory Kinnear and Anne-Marie Duff in Shakespeare’s darkest tragedy 25 years after his last Shakespeare production. Opening in spring 2018. Broadcast to cinemas by NT Live in 2018.

AMADEUS Michael Longhurst’s sell-out production of Peter Shaffer’s masterpiece returns to the Olivier. Lucian Msamati and Adam Gillen once again lead the company of actors, singers and musicians. 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, supported by the Amadeus production syndicate. Opening in January 2018.

LYTTELTON THEATRE NETWORK

Lee Hall’s new adaptation of the Oscar-winning film by Paddy Chayefsky is directed by Ivo van Hove. Cast includes Tony award winner Bryan Cranston (All the Way, Breaking Bad and Trumbo for which he was nominated for both an Oscar and a BAFTA) 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 by Eric Sleichim and sound design by Tom Gibbons. Network is produced in association with Patrick Myles, David Luff, Ros Povey and Lee Menzies. Production supported by Marcia Grand for the memory of Richard Grand. Opening in November 2017.

DORFMAN THEATRE THE MAJORITY Following the acclaimed run of Bullet Catch in The Shed, Rob Drummond returns to the National with a new one-man show about democracy. Directed by David Overend and opening in August 2017. Originally co-commissioned with The Arches, Glasgow.

BEGINNING In the early hours of the morning, in the aftermath of a party in north London, two people meet. And nothing will ever be the same for them again. The world premiere of David Eldridge’s new play is directed by Polly Findlay. With design by Fly Davis, lighting design by Jack Knowles and sound design by Paul Arditti. Opening in October 2017.

JOHN Following The Flick in 2016, Annie Baker returns to the Dorfman with her new play, John. James Macdonald directs the European premiere, with a cast including Georgia Engel. Opening in early 2018.

UPDATES ON PREVIOUSLY ANNOUNCED PRODUCTIONS OLIVIER THEATRE

Tamsin Greig in Gethsemane (2008)-credit Catherine Ashmore

TWELFTH NIGHT Will now run until 13 May, previews from 15 February, press night 22 February. Simon Godwin directs this joyous new production. Tamsin Greig is a transformed Malvolia, performing alongside Adam Best, Oliver Chris, Claire Cordier, Imogen Doel, Mary Doherty, Ammar Duffus, Daniel Ezra, Phoebe Fox, Whitney Kehinde, Emmanuel Kojo, Tamara Lawrance, Andrew Macbean, Doon Mackichan, Tim McMullan, Brad Morrison, Daniel Rigby, Imogen Slaughter, James Wallace and Niky Wardley. The production will be designed by Soutra Gilmour, lighting by James Farncombe, movement by Shelley Maxwell, music by Michael Bruce, sound by Christopher Shutt, and fight direction by Kev McCurdy.

A ship is wrecked on the rocks. Viola is washed ashore but her twin brother Sebastian is lost. Determined to survive on her own, she steps out to explore a new land. So begins a whirlwind of mistaken identity and unrequited love. The nearby households of Olivia and Orsino are overrun with passion. Even Olivia’s uptight housekeeper Malvolia is swept up in the madness. Where music is the food of love and nobody is quite what they seem, anything proves possible. Broadcast to cinemas by NT Live on 6 April.

Director Yael Farber NT lesblancs 2016 credit Johan Persson

SALOMÉ Previews from 2 May, press night 9 May, continuing in the repertoire until 15 July. Salomé in a new version by Yaël Farber The story has been told before, but never like this. 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.

Salomé is designed by Susan Hilferty with 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, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Niloufar, Lubana al Quntar, Raad Rawi and Stanley Townsend. Hundreds of Travelex tickets at £15 available per performance. Broadcast to cinemas by NT Live on 22 June.

COMMON Previews from 30 May, press night 6 June. A co-production with Headlong.

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 includes Trevor Fox. Design is by Richard Hudson, lighting design by Paule Constable, music by Stephen Warbeck and sound design by Ian Dickinson. Hundreds of Travelex tickets at £15 available per performance.

FOLLIES Further casting has been announced for Follies, which will be directed by Dominic Cooke, book by James Goldman and music and lyrics by Stephen Sondheim. Joining Imelda Staunton will be Dame Josephine Barstow, Tracie Bennett, Janie Dee, Peter Forbes and Phillip Quast. Design will be by Vicki Mortimer, choreography by Bill Deamer, musical supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, musical direction by Nigel Lilley, lighting design by Paule Constable and sound design by Paul Groothuis. Opening in August 2017.

LYTTELTON THEATRE HEDDA GABLER – Ends 21 March

Just married. Buried alive. Hedda longs to be free… Ruth Wilson plays the title role in a new version of Ibsen’s masterpiece, by Patrick Marber. Directed by Ivo van Hove, set and lighting design by Jan Versweyveld, costume design by An D’Huys, sound design by Tom Gibbons. Production supported by the Williams Charitable Trust. Broadcast to cinemas by NT Live on 9 March.

UGLY LIES THE BONE Previews from 22 February, press night 1 March Ugly Lies the Bone by Lindsey Ferrentino makes its European premiere. ‘Beauty is but skin deep, ugly lies the bone; beauty dies and fades away, but ugly holds its own.’ After three tours in Afghanistan and months in a severe burns unit, Jess finally returns to Florida. In a small town on the Space Coast, as the final shuttle is about the launch, Jess must confront her scars, and a home that may have changed even more than her. Experimenting with pioneering virtual reality therapy, she builds a breathtaking new world where she can escape her pain. There, she begins to restore her relationships, her life and, slowly, herself.

Award-winning playwright Lindsey Ferrentino’s honest and funny new drama is directed by Indhu Rubasingham, with set design by Es Devlin, video design by Luke Halls, costume design by Johanna Coe, lighting design by Oliver Fenwick, music and sound by Ben and Max Ringham, movement direction by Lucy Hind and fight direction by Rachel Brown-Williams and Ruth Cooper-Brown of RC-Annie Ltd. The cast is Marianne Adams, Katy Brittain, Olivia Darnley, Buffy Davis, Kate Fleetwood, Ralf Little, Kris Marshall, Tom Peters and Siân Polhill-Thomas. Hundreds of Travelex tickets at £15 available per performance.

ANGELS IN AMERICA: A Gay Fantasia on National Themes Previews from 11 April, press day 4 May, continuing in repertoire

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 is 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 – each week hundreds of £20 tickets will be released in a ballot for the following week’s performances. Broadcast to cinemas by NT Live – Part One on 20 July, Part Two on 27 July

John Tiffany, credit Tony Rinaldo

PINOCCHIO John Tiffany directs the world premiere of 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, orchestrations and additional music by Martin Lowe, choreography by Steven Hoggett, puppet co-design and puppetry direction by Toby Olié, sound design by Simon Baker and illusions by Jamie Harrison. Presented by special arrangement with Disney Theatrical Productions. Opening in the Lyttelton in December 2017.

DORFMAN THEATRE SHAKESPEARE FOR YOUNGER AUDIENCES Following highly successful schools performances, these productions can be seen in the Dorfman.

Macbeth 6 – 20 February Amid bloody rebellion and the deafening drums of war, Macbeth and his wife will stop at nothing to fulfil their ambition. Witchcraft, murder, treason and treachery are all at play in this murky world. A bold contemporary retelling of one of Shakespeare’s darkest plays. Suitable for 13yrs+

Romeo and Juliet 11 – 24 February Set against a vibrant urban backdrop bursting full of excitement, colour, dancing and live song, a company of eight tell the most famous love story of all time. Join us for this swift, contemporary celebration of Shakespeare’s masterpiece as we bring Romeo and Juliet to life for a new generation. Suitable for 8 – 12yrs

Shakespeare for younger audiences is supported by: The Ingram Trust, Archie Sherman Charitable Trust, Behrens Foundation, Cleopatra Trust, The Ernest Cook Trust, Jill and David Leuw, Mulberry Trust, The Royal Victoria Hall Foundation and the Topinambour Trust.

MY COUNTRY; A WORK IN PROGRESS 28 February – 22 March, prior to national tour, see p10 for details Britannia has called a meeting, to listen to her people. Form an orderly queue.

In the months following the Brexit vote, a team of interviewers from the NT spoke to people nationwide, hearing their views on Britain, the community they live in, and the referendum. Poet Laureate Carol Ann Duffy and Director of the NT Rufus Norris put those conversations centre stage in this new production, which opens in London before playing at venues around the country. Designed by Katrina Lindsay, lighting design by Paul Knott, Music by David Shrubsole and sound design by Alex Caplen. The cast for My Country; a work in progress are Seema Bowri, Cavan Clarke, Laura Elphinstone, Adam Ewan, Penny Layden, Stuart McQuarrie and Christian Patterson. Created in collaboration with eight UK arts organisations in association with Cusack Projects Limited.

The NT today announces a new behind-the-scenes BBC Radio 4 documentary, which will track the development of Rufus Norris’ new play My Country: a work in progress. The Radio 4 programme captures the development of the creative process for the NT’s production My Country: a work in progress. It follows the rehearsal process as Rufus Norris, Poet Laureate Carol Ann Duffy and designer Katrina Lindsay work with the interviewers, their material and the cast to bring to life this current and compelling verbatim play.

LOST WITHOUT WORDS 4 – 18 March A co-production with Improbable. Imagine older actors in their 70s and 80s, actors who have spent their lives being other people, bringing life to other people’s words. Imagine they were on stage with nothing but themselves and no worlds but their own. No script, no map, a different show every night, all they have is a lifetime of theatre to help them find their way.

Lost Without Words is co-directed by Phelim McDermott and Lee Simpson with design by Katrina Lindsay, lighting design by Colin Grenfell and music by Steven Edis. The cast is Georgine Anderson, Caroline Blakiston, Anna Calder-Marshall, Lynn Farleigh, Charles Kay and Tim Preece.

CONSENT Previews from 28 March, press night 4 April, playing until 17 May A co-production with Out of Joint. Consent by Nina Raine will receive its world premiere in the Dorfman Theatre. Why is justice blind? Is she impartial? Or is she blinkered? This powerful, painful and funny play sifts the evidence in a rape case from every side and puts justice in the dock. Directed by Roger Michell with set design by Hildegard Bechtler, costume design by Dinah Collin, lighting design by Rick Fisher and sound design by John Leonard. Cast includes Priyanga Burford, Pip Carter, Ben Chaplin, Heather Craney, Daisy Haggard, Adam James and Anna Maxwell Martin.

BARBER SHOP CHRONICLES Previews from 30 May, press night 7 June, in repertoire until 8 July A co-production with Fuel and West Yorkshire Playhouse. A new play by Inua Ellams, directed by Bijan Sheibani.

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 new 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 production is designed by Rae Smith with 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.

MOSQUITOES Mosquitoes by Lucy Kirkwood will have its world premiere in the Dorfman Theatre in July. Rufus Norris will direct this new play about families and particle physics, with a cast that includes Olivia Colman. Designed by Katrina Lindsay, lighting design by Paule Constable, music by Adam Cork, sound design by Paul Arditti and video design by Finn Ross & Ian William Galloway.

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

NATIONAL THEATRE LIVE NT Live has a season of ten new broadcasts to the UK and 55 countries across the globe

Amadeus by Peter Shaffer. Lucian Msamati plays Salieri, with live orchestral accompaniment by Southbank Sinfonia. Broadcast live from the NT on Thursday 2 February.

Saint Joan Josie Rourke directs Gemma Arterton as Joan of Arc in Bernard Shaw’s electrifying classic. Broadcast live from the Donmar Warehouse on Thursday 16 February.

Hedda Gabler by Henrik Ibsen in a new version by Patrick Marber. Ruth Wilson plays the title role in Ivo van Hove’s production. Broadcast live from the NT on Thursday 9 March.

Twelfth Night by William Shakespeare. Tamsin Greig plays Malvolia in Shakespeare’s comedy of mistaken identity. Directed by Simon Godwin. Broadcast live from the NT on Thursday 6 April.

Salomé A radical retelling of the biblical story of one young woman’s political awakening. Directed by Yaël Farber. Broadcast live from the NT on Thursday 22 June.

Peter Pan, Sally Cookson’s wondrously inventive production recorded live during its run at the NT will be broadcast on Saturday 10 June.

Rosencrantz & Guildenstern are Dead by Tom Stoppard. Fifty years after the play premiered at The Old Vic, David Leveaux directs Daniel Radcliffe and Joshua McGuire as Rosencrantz and Guildenstern alongside David Haig as The Player in this iconic mind bending situation comedy. Broadcast live from The Old Vic on Thursday 20 April, this marks the Old Vic’s first collaboration with NT Live.

Angels in America, Marianne Elliott’s new production of Tony Kushner’s two-part play will be broadcast live from the NT. 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 new production of Lorca’s achingly powerful masterpiece. Broadcast live from the Young Vic on 31 August.

Macbeth with a cast including Rory Kinnear and Anne-Marie Duff will be broadcast by NT Live in 2018. Find your nearest venue at ntlive.com

NATIONAL THEATRE THROUGHOUT THE UK, IN THE WEST END AND INTERNATIONALLY The NT will tour to 47 venues in 35 towns and cities across the UK in 2017-18

PEOPLE PLACES AND THINGS TRANSFERS TO NEW YORK AND TOURS THE UK THIS AUTUMN 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 in October 2017. Directed by Jeremy Herrin, Macmillan’s intoxicating new play opened at the NT’s Dorfman Theatre in autumn 2015, and transferred to the 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 and dates 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).

The set is designed 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. Costumes are 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. Original production sponsored by Neptune Investment Management

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