After Michel Legrand’s Amour, I’m back at the Charing Cross Theatre this summer for the transfer of Michael John LaChiusa’s award-winning Off-Broadway musical Queen Of The Mist in August.
Queen Of The Mist is based on the astounding and outrageous true story of Anna Edson Taylor, who, in 1901, on her 63rd birthday set out to be the first person to survive a trip over Niagara Falls in a barrel of her own design.
With a soaring score that incorporates turn of the century themes with renowned composer Michael John LaChiusa‘s insightful and engaging style, this award-winning musical is the story of how one woman risked death so that she could live.
The original 2011 Off-Broadway production of Queen Of The Mist won the Outer Critics Circle Award for Outstanding New Off-Broadway Musical and was nominated for six Drama Desk Awards, including Outstanding Musical.
The musical received its UK premiere care of Pint of Wine Theatre Company in an acclaimed, sell-out run this past April at west London’s Brockley Jack Studio Theatre. Dom O’Hanlon‘s production now transfers with its original cast, starring Trudi Camilleri (Ragtime, Death Takes A Holiday) as Anna Edson Taylor, along with Will Arundell, Emily Juler, Emma Ralston, Tom Blackmore, Conor McFarlane and Andrew Carter.
I’ve loved Rufus Norris’ multi-award-winning production of Kander & Ebb musical classic CABARET since seeing its first West End run at Shaftesbury Avenue’s Lyric Theatre in 2006. It’s now with a fantastic new cast, who, with this post-show Q&A, we’ll help kick off on a major new UK-wide tour. Come join the cabaret!
It’s 1931. Berlin is a haven of divine decadence and the legendary Sally Bowles is about to take the stage at the infamous Kit Kat Klub…
CABARET is directed by Rufus Norris, now National Theatre artistic director, with show-stopping choreography by Javier de Frutos, dazzling costumes and iconic songs ‘Money Makes the World Go Round’, ‘Maybe This Time’, ‘Cabaret’ and more.
Kander & Ebb’s landmark musical – based on Christopher Isherwood’s short novel Goodbye to Berlin, about life in Germany as the Nazis rose to power, and John Van Druten’s play of it, I Am a Camera – premiered on Broadway in 1966 and was famously made into a 1972 film.
For this new outing, presented by Bill Kenwright Productions, John Partridge stars as the emcee and Kara Lily Hayworth taking on the iconic role of Sally Bowles, with Anita Harris as Fraulein Schneider.
Winner of Celebrity MasterChef 2018, John Partridge is well known to TV audiences as EastEnders’ charismatic Christian Clarke and is one of West End theatre’s most prolific leading men (The View Upstairs, A Chorus Line, Chicago, La Cage Aux Folles). Kara Lily Hayworth was recently acclaimed for her title role in Cilla The Musical which was revered by both critics and audiences alike. Anita Harris first rose to fame as a singer in the 1960s and has appeared both onscreen (Follow That Camel, Carry On Doctor) and onstage, most notably as Grizabella in the West End’s Cats.
CABARET tours to Bromley, Wolverhampton, Nottingham, Crawley, Chester, Dublin, Belfast, Leicester, Shrewsbury, Hull, Edinburgh, Aberdeen and Malven, with further dates to be announced. View the full schedule here.
Having been cruelly overlooked for her dream role as Queen Elizabeth in blockbuster TV series The Crown, budding starlet Beth brings her own take on the epic story of the Royal Family to the stage instead… with her agent Stanley coerced into playing (almost) all the other roles – from Prince Philip to Princess Margaret, and all the commoners in between!
“This happy & glorious parody of the Netflix series reminds us what theatre is all about” – ★★★★ Dominic Cavendish, Daily Telegraph
“Inventive, fun parody skilfully combining play-that-goes-wrong antics with a potted history of the royals” – ★★★★ Mark Lawson, The Guardian
After premiering at the King’s Head in March and a hit run at Edinburgh Fringe, The Crown Dual returns to London by popular demand for a run at Wilton’s Music Hall.
Two actors – Rosie Holt and Brendan Murphy – reimagine the story of how Elizabeth Windsor became Queen Elizabeth II (and recreate two resplendent Netflix series) in 70 minutes of frenetic hat-passing, period accents and corgi impressions.
“Rib-achingly hilarious parody of the Netflix classic. This is a show for everyone. It is, quite simply, a royally good night out” – ★★★★★ Theatre Weekly
“One simply does not hear this level of laughter in a theatre very often – &, for that gift, I bow my head to everyone involved in this Crown inspired caper” – ★★★★ Broadway World
The Crown Dual is a new comedy from the pen of parodic mastermind Daniel Clarkson, co-creator of Olivier Award-nominated hit shows Potted Potter and Potted Panto, and reunites him with director Owen Lewis, after their 2017 success with King Kong A Comedy (including a highly memorable post-show Q&A chaired by yours truly!).
I’m a huge fan of the work of renowned Off-West End pioneers Arrows & Traps and the incredibly inventive adaptations of the company’s co-founder and artistic director Ross McGregor. I’m delighted to make my Arrows & Traps Q&A debut – particularly with this politically charged take on Robert Louis Stevenson’s classic Gothic horror. Right up my street.
“The object of power is power” – George Orwell
2020. The President Of The United States has fallen, impeached for corruption and now awaits trial. As the American Senate slides into chaos, election fever grips the nation.
In the wake of yet another mass shooting, Senator Henry Jekyll, a bold, young, liberal independent, announces his candidacy to run for the Oval Office. His one promise: to end America’s toxic love affair with guns. Emboldened by a landmark level of public support, and the backing of Big Pharma, Jekyll’s victory seems almost inevitable.
However, as Voting Day draws ever nearer, Gabrielle Utterson, Jekyll’s campaign manager grows increasingly suspicious of her senator’s running mate – Mister Edward Hyde. As the rumours and accusations multiply, Utterson must race to uncover exactly what power Hyde holds over Jekyll – before he becomes just one heartbeat away from the most powerful man in the free world.
Thirteen-time Off West End Award-Nominated Arrows & Traps Theatre bring their critically-acclaimed modern twist to Robert Louis Stevenson’s iconic Gothic classic The Strange Case of Jekyll & Hyde, reimagining it as a gripping political thriller set in the halls of American power.
This bold new adaptation, written and directed by Ross McGregor, stays true to the original text’s themes, making it a great night of entertainment for fans for the novella, a thrilling and clear physicalisation for GCSE students of the text, and the perfect launching point for newcomers to the tale. Will Pinchin and Christopher Tester star as Henry Jekyll and Edward Hyde.
After my Q&A at Feel, the first production at the newly relaunched Lion & Unicorn Theatre, earlier this year, I’m delighted to return for this next in-house production from the same team… an eerily prescient piece that sounds to me like an absolute must-see for Years and Years fans (and that includes me!).
A dark, brutal, almost verbatim-style selection of interconnected monologues, At Last tells the “what if” story of the aftermath of ten years of a totalitarian right-wing regime in the UK. It is a searing search for redemption and reconciliation in the rubble of a broken society, whilst questioning who we are when everything that makes us human is stripped away.
“We don’t know how to forgive, we only know how to forget.”
The old world has fallen and something brave and new has taken its place. Out of the fire and rubble and the ashes, something new is born. A chance to learn about the past and to discover who we were to save the future. A chance to find hope anew, or to tear open wounds which will never close again.
This is the story of ten years of hate. Ten years of oppression and anger when we gave ourselves up to the dark.
A story of the mother who fought for her broken sons, and the father that stood in judgement. The daughter willing to pay the ultimate price for freedom, the man who stood by and watched and the woman that listened.
This is the story of when the world went mad.
It is time to tell the truth.
Presented by Proforca Theatre Company, who took over management of the Lion & Unicorn Theatre in March, At Last is co-written by Feel‘s James Lewis and Alexander Knott, whose Hedgehog premiered at the Lion & Unicorn in June care of Boxless Theatre, and helmed by Proforca artistic director David Brady with associate director Jess Barton.
The cast are: Melissa Phillips (Grace), Anthony Fagan (Colin), Gemma Wray (Nikki), Demelza O’Sullivan (Marie), David Angland (Danny), Michael Faulkner (Jack), Malcolm Jeffries (John) and Ciaran Lonsale (Sam).
I’m delighted to return to the Cervantes Theatre, London’s home of Spanish and Latin American drama, for my second of three post-show Q&As in the 2019 season. After new play The Reality and before the adaptation of Isabel Allende’s The House of The Spirits, I’m there in September for The Eyes of the Night.
The Eyes of the Night headlines the Cervantes Theatre’s second annual Contemporary Spanish Theatre season after a successful dramatised reading as part of the 2018 programme last September.
The Eyes of the Night is a play written by one of the most important Spanish playwrights of her generation, Paloma Pedrero. This complex and beautiful play reveals the deepest desires and fears of a middle-aged businesswoman who needs to experience the darkness in order to see the light.
Life is full of moments of change that can pop up at any time. An unexpected encounter between an older woman, who supposedly has triumphed in life, and a young blind man who she’s hired to spend a few hours in a hotel room can be the trigger for a new life. Both will have to be able to open up and let themselves go with the flow.
The Eyes of the Night is translated by Catherine Boyle and directed by Daniela Fejerman.
A weekend in Suffolk at the HighTide Festival is a treat. An even bigger treat? Combining it with this opportunity to chair an event with one of the country’s leading directors, of whom I’ve long been an admirer.
Deborah Warner CBE is an award-winning director working internationally in Theatre and Opera. She has directed work for a number of prestigious theatres including the Royal Shakespeare Company and the English National Opera as well as on the West End and Broadway.
Warner’s work has mainly focused on major classics including critically acclaimed productions of Titus Andronicus, King Lear, The Wasteland and Medea. She enjoys long-term creative collaborations – most notably her partnership with actor Fiona Shaw, resulting in the ground-breaking casting of Shaw as Shakespeare’s Richard II.
Deborah is currently the Cameron Mackintosh Visiting Professor of Contemporary Theatre at Oxford University and is an Associate Artist of the Barbican Theatre.
Which Deborah Warner productions have you seen?
Do you have a favourite?
What would you like to ask her about her career to date and her creative process?
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