In the first of a fresh monthly series of Mischief Theatre post-show Q&As in the West End, I’ll return to the Criterion Theatre for smash-and-grab hit The Comedy About A Bank Robbery, now in its third year with a new cast of convicts.
Summer 1958. Minneapolis City Bank has been entrusted with a priceless diamond. An escaped convict is dead set on pocketing the gem with the help of his screwball sidekick, trickster girlfriend… and the maintenance man. With mistaken identities, love triangles and hidden agendas, even the most reputable can’t be trusted. In a town where everyone’s a crook, who will end up bagging the jewel?
It would be criminal to miss this dynamite comedy… especially when there’s a post-show Q&A with the mischief-makers.
“This is the funniest show in the West End” – The Telegraph
“A fast & fabulous comedy caper is a joyful night out” – The Times
Written by Henry Lewis, Jonathan Sayer and Henry Shields of Mischief Theatre and starring the Mischief Theatre Company who brought you the Olivier Award-winning Best New Comedy The Play That Goes Wrong and Peter Pan Goes Wrong.
The new cast at the West End’s Criterion Theatre features Sean Carey (as Sam Monaghan), David Coomber (Neil Cooper), Julia Frith (Caprice Freeboys), George Hannigan (Everyone Else) Liam Jeavons (Mitch Ruscitti), Damian Lynch (Robin Freeboys), Killian Macardle (Officer Randal Chuck), Jon Trenchard (Warren Slax) and Ashley Tucker (Ruth Monaghan).
A grisly tale of British neo-Nazis, inspired by real events and now returned for a frighteningly timely revival…
Cliff, a racist football thug, is serving five years in prison for assaulting an Asian man at a Millwall game when he is visited by the mysterious Mr Warboys, who offers him the chance to re-establish the Danelaw – the Golden Age of Viking rule. And so begins a darkly-comic tragedy of violence and death.
Danelaw was inspired by reports in the anti-Fascist magazine Searchlight of an attempt by neo-Nazi group Combat 18 to establish a white-supremacist homeland in East Anglia with Chelmsford as the capital. This failed, however, when the group’s leaders were convicted of the murder of another party member, involving disputes over funds gained from Combat 18’s interests in the music industry (they had their own label).
This new updated version of Danelaw, originally staged at the White Bear Theatre in 2005, reunites author Peter Hamilton with director Ken McClymont, previously Old Red Lion Theatre artistic director, who has previously helmed Hamilton’s plays The Poetry of Exile and Playground.
Note: Danelaw is suitable for ages 16+. Features racism, strong language, scenes of extreme violence and murder as well as strobe lighting.
A landmark play about the railways staged beneath one of London’s landmark railway stations…David Hare’s award-winning play The Permanent Way roars to life in a provocative new site-specific staging performed in The Vaults, London’s alternative subterranean venue beneath Waterloo Station.
“What happened would simply not have happened under British Rail. It wouldn’t have happened. Not in the British Rail days.”
Revelatory, witty, and moving, The Permanent Way is an astonishing interrogation of the chaos arising from the botched privatisation of Britain’s railways.
“A searing piece of documentary theatre” – Evening Standard
Told through the first-hand accounts of those involved at every level, from passengers to Civil Service mandarins, this extraordinary verbatim piece asks challenging questions of responsibility and governmental mismanagement. Have we learned anything from recent history?
“David Hare has made a serious, provocative, dramatically gripping contribution to an argument of urgent interest to us all” – The Times
This first London revival since the play’s critically acclaimed run at the National Theatre in 2003 is directed by Alexander Lass, whose recent credits include 46 Beacon (Trafalgar Studios) and No Man’s Land (West End).
“This intricately detailed study of a fatal privatisation is that very rare thing: a vitally necessary piece of theatre” – The Guardian
After the 7.30pm performance on Tuesday 24 September 2019, I’ll talk to The Permanent Way‘s cast and creatives. Any questions? Join us!
Play meet perfect venue.
David Hare’s 2003 verbatim play about rail disasters #ThePermanentWay gets its first major revival, running at @thevaultsuk beneath #Waterloo Station 13 Sep-17 Nov. @Lassyboi directs, @DebJHicks produces @tpwplay. #theatrenews pic.twitter.com/zWM0J7un3N
— Terri Paddock (@TerriPaddock) June 13, 2019
After July’s event for Peter Shaffer’s Equus, I’ll return to Trafalgar Studios 1 in October for another major revival of a modern British stage classic. Such a beautiful play.
Toby Stephens (Oslo, Lost in Space) and Claire Skinner (Outnumbered) make their long-awaited returns to the West End stage in A Day in the Death of Joe Egg, along with Olivier Award winner and Miranda star Patricia Hodge.
This frank and moving masterpiece by Peter Nichols (Privates on Parade, Passion Play) was inspired by Nichols’ own experience of bringing up his disabled daughter.
Bri and Sheila have been struggling to care for their disabled 10-year old daughter Josephine ever since she was born. Nicknaming her “Joe Egg”, they lose themselves in fantasy games and black humour to help cope with the struggle of their daily reality.
Directed by Simon Evans (Killer Joe, Arturo Ui), this remarkable story challenges all our assumptions on the limits of love and the power of family.
Written and set in the 1960s, A Day in the Death of Joe Egg was one of the ground-breaking plays for a generation, and the issues faced by two parents in this hilarious and heartbreaking play still resonate with audiences today. Now this startlingly funny, celebrated modern classic returns to the West End for a strictly limited season.
Following the 7.30pm performance on Monday 7 October 2019, I’ll be joined by members of A Day in the Death of Joe Egg‘s company. Any questions? Join us!
Peter Nichols’ semi-autobiographical 1967 play #ADayInTheDeathOfJoeEgg is revived at @TrafStudios with Toby Stephens & Claire Skinner as parents of a daughter with cerebral palsy. @SimonEvans25 directs.
— Terri Paddock (@TerriPaddock) July 19, 2019
I love working with ambitious young companies, and Blueleaf Theatre, founded in 2016 with the aim of staging new writing in imaginative new ways, falls firmly into that category. Looking forward to talking to them about the company as well as their second project with playwright James Mannion…
Sometimes I wake up in the morning and all the missed opportunities of my life stare at me, grind me down until I’m nothing. Nothing but dust.
A new darkly comic, absurdist play, Mites is a sinister exploration of the manipulation that lies beneath relationships, in particular of those who are mentally vulnerable in society.
A lonely woman, abandoned by her husband, lives in an isolated house with her outspoken, anthropomorphic cat, Bartholomew. One day she is visited by Ken, a Pest Controller, who claims to be her ex-husband returned to her. Deceived by his lies and obsessed with memories of the past, the woman accepts Ken into her life, despite the sceptical protestations of Bartholomew.
As her self-deception grows and Ken’s true intentions become clear, how will she survive the competitive machinations of her two male companions? And is there more to Bartholomew than meets the eye?
Mites is written by James Mannion, whose “strong, fascinating” (London Pub Theatres) play Hedgehogs & Porcupines was developed and premiered by Blueleaf Theatre Company at Old Red Lion Theatre in 2018. The premiere production is helmed by Blueleaf artistic director Marcus Marsh and designed by Cecilia Trono with lighting by Daniel Spreadborough.
After A Guide for the Homesick, 3Woman and Late Company, I’ll reunite for a fourth post-show Q&A with Stage Traffic – the world premiere of British dramatist Sarah Rutherford’s The Girl Who Fell. Maybe it’ll teach me more about Snapchat?
“It seems wrong that she experienced something so huge without me. Like if your kids had sex before you did.”
Sam’s dead at fifteen. It’s a social media thing. Or is someone to blame?
Mother and chaplain Thea is battling the fallout from her daughter’s suicide. Sam misbehaved online, and Thea did something she will always regret. Blamed by herself and others, she embarks on a mission to comprehend what Sam went through and where, if anywhere, she is now.
She’s joined by offbeat teen twins Lenny and Billie, plus Gil — a lost soul whose life collides with theirs in a way that will change everything. The most dangerous step towards understanding Sam’s death is right around the corner, and Thea’s awakening is not at all what she, or anyone, could imagine.
The Girl Who Fell is a poignant and darkly funny play about loss, guilt and Snapchat from the “provocative and entertaining” Sarah Rutherford (Telegraph), former Writer in Residence at Park Theatre and writer of sell-out hit Adult Supervision, which critics hailed as “a cracking new play… outrageously funny” (Telegraph), “sparky, modern” (Daily Mail) and “fiercely funny stuff” (Time Out.
In the second of a monthly series of Mischief Theatre post-show Q&As in the West End, I’ll talk to the cast and creatives for brand-new show Groan Ups, which launches the company’s year-long residency at the Vaudeville Theatre.
Do we choose who we become?
Is the story of our lives already written?
Do we ever really grow up?
Are we the same people at 30 as we were at 13?
Does school life determine our future?
Do we ever grow out of our school crush?
From the Olivier Award-winning parents of The Play That Goes Wrong, The Comedy About a Bank Robbery and Peter Pan Goes Wrong comes a brand-new comedy all about growing up.
In Groan Ups, follow an unruly classroom of six-year-olds on their journey through anarchic high school teenagedom to the challenges of adulthood.
The original Mischief company are back in the West End with their first new play since 2016, written by Henry Lewis, Jonathan Sayer and Henry Shields.
The cast of Groan Ups are Bryony Corrigan (as Chemise/Miss Murray), Dave Hearn (Paul), Henry Lewis (Spencer), Charlie Russell (Katie), Jonathan Sayer (Simon), Henry Shields (Archie) and Nancy Zamit (Moon). They’re joined by George Haynes, Krystal Dockery and Holly Sumpton.
In the third of a fresh monthly series of Mischief Theatre post-show Q&As in the West End, I’ll return to the Duchess Theatre for the show that started the juggernaut, the multi-award-winning uber-hit The Play That Goes Wrong.
2017 Broadway World Winner for Best New Play
2017 Broadway.com Winner Favourite New Play
2015 Olivier Award Winner for Best New Comedy
2015 BroadwayWorld UK Winner for Best New Play
2014 WhatsOnStage Award Winner for Best New Comedy
In The Play That Goes Wrong, the Cornley Polytechnic Drama Society are putting on a 1920s murder mystery, but as the title suggests, everything that can go wrong… does! The accident-prone thespians battle against all odds to make it through to their final curtain call, with hilarious consequences!
Given five stars from the Daily Mail, called a ‘gut-busting hit’ by the New York Times and with celebrity endorsements from the likes of Ant and Dec as the ‘funniest show we’ve seen! If you can get a ticket go’, what are you waiting for?
Now stumbling into its sixth catastrophic year at the West End’s Duchess Theatre, The Play That Goes Wrong is guaranteed to leave you aching with laughter!
The current cast features Bob Hirston, Benjamin McMahon, Gabriel Paul, Steven Rostance, Catherine Dryden, Elena Valentine, Jake Curran and Kazeem Tosin Amore.