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Theatre Blogs

27 May 2020

Theatre Blogs
  • The Day of Audition
    27 May 2020

    On the day of the audition: 1. Try your best to get more sleep, you need to look fresh and rested. 2. Think positive and dress comfortably, and most importantly, be yourself. You may want to “dress to impress”, but don’t try too hard, it is not that important. 3. Nobody cares about your problems […]

    The post The Day of Audition appeared first on World of Theatre and Art.

  • I am Wole, I am Heiner
    27 May 2020
    By Sadie Berlin. In this last installment of
  • Chay Yew: Break the Table and Build a New One
    27 May 2020
    After 9 years at Victory Gardens, the writer/director reflects on what he's learned from running, and fighting for, a theatre in Chicago.
  • The UK Tour of The Phantom of the Opera will not reopen
    27 May 2020


    It is with great sadness that due to the current state of complete shutdown of the British theatre by the Government because of Covid-19, Cameron Mackintosh and The Really Useful Group must announce that their new UK and Ireland Tour of Andrew Lloyd Webber’s “The Phantom of the Opera”, which had only played its opening date prior to a 14 month tour, will not re-open.

    The great uncertainty around the duration of social distancing requirements and the perilous financial situation in which many regional theatres find themselves have conspired to make re-routing an entire major tour like Phantom impossible for some time as so many existing tours are needing to reschedule.

    The production opened at Curve, Leicester at the beginning of March. Subsequent runs in Manchester and Dublin have already been cancelled. Following these dates, the tour was due to play Birmingham, Edinburgh, Sunderland, Cardiff, Plymouth, Southampton and Bradford.

    Whilst it is heart breaking for us as producers as well as for our wonderful cast, orchestra and crew who had all worked so hard to create this truly spectacular but tragically short-lived reinvented staging of the original production, we are determined that the disappearance of the “Phantom” from the British regional stage will not be forever and that when theatre is back thrilling audiences again the “Music of the Night” will soar once more from the orchestra pit.

    Ticket holders will be contacted directly by their venue/point of sale in due course and we appreciate their patience in this unprecedented time.
  • HAIRSPRAY LIVE! starring Kristin Chenoweth and Ariana Grande to be streamed online
    27 May 2020

    The 2016 production of HAIRSPRAY (featuring Arian Grande and Jennifer Hudson) will be made available to UK audiences for free for 48 hours via Universal’s THE SHOWS MUST GO ON YouTube channel.

    Last week, Universal confirmed that beloved musical productions would continue to run via the channel, with The Sound of Music streaming last weekend following the initial Andrew Lloyd Webber series of shows. To date, millions of musical theatre fans around the globe have tuned in and donated hundreds of thousands of pounds to charity, whilst watching and singing-a-long at home.

    HAIRSPRAY will launch this Friday at 7.00pm and be available to UK audiences for 48 hours. The show features an all-star cast that includes Maddie Baillio, Ariana Grande, Jennifer Hudson, Martin Short and Billy Eichner.

    Photo: Brian Bowen Smith/NBC

    The post HAIRSPRAY LIVE! starring Kristin Chenoweth and Ariana Grande to be streamed online appeared first on West End Wilma.

  • THE PHANTOM OF THE OPERA will NOT reopen after Coronavirus
    27 May 2020

    The UK & Ireland Tour of The Phantom of the Opera, which had just visited its first stop on the tour before Coronavirus shut down theatres, has announced that it will not reopen the doors it its lair once theatre is back up and running.

    They said today:

    “It is with great sadness that due to the current state of complete shutdown of the British theatre by the Government because of Covid-19, Cameron Mackintosh and The Really Useful Group must announce that their new UK and Ireland Tour of Andrew Lloyd Webber’s “The Phantom of the Opera”, which had only played its opening date prior to a 14 month tour, will not re-open.

    The great uncertainty around the duration of social distancing requirements and the perilous financial situation in which many regional theatres find themselves have conspired to make re-routing an entire major tour like Phantom impossible for some time as so many existing tours are needing to reschedule.

    The production opened at Curve, Leicester at the beginning of March. Subsequent runs in Manchester and Dublin have already been cancelled. Following these dates, the tour was due to play Birmingham, Edinburgh, Sunderland, Cardiff, Plymouth, Southampton and Bradford.

    Whilst it is heart breaking for us as producers as well as for our wonderful cast, orchestra and crew who had all worked so hard to create this truly spectacular but tragically short-lived reinvented staging of the original production, we are determined that the disappearance of the “Phantom” from the British regional stage will not be forever and that when theatre is back thrilling audiences again the “Music of the Night” will soar once more from the orchestra pit.

    Ticket holders will be contacted directly by their venue/point of sale in due course and we appreciate their patience in this unprecedented time.”

    The show was starringKillian Donnelly as ‘The Phantom’, Holly-Anne Hull â€˜Christine Daaé’, Rhys Whitfield â€˜Raoul’, Saori Oda â€˜Carlotta Giudicelli’, Adam Linstead â€˜Monsieur André’, Matt Harrop â€˜Monsieur Firmin’, Francesca Ellis â€˜Madame Giry’, Greg Castiglioni â€˜Ubaldo Piangi’ and Ellie Young â€˜Meg Giry’.

    Photo: Johan Persson

    The post THE PHANTOM OF THE OPERA will NOT reopen after Coronavirus appeared first on West End Wilma.

  • Book/Video/Course Suggestions?
    27 May 2020

    Hi guys, I am interested in learning more about the "World Theatre". How Theatre started and developed in different countries and what the situation or the scene is like in modern times. Can anyone suggest something good, A book, video series or a course? Thanks in advance

    submitted by /u/ssidd15
    [visit reddit] [comments]
  • (Discussion) The Ultimate Nice Guy, Dr. Horrible!
    27 May 2020

    A few years ago, my drama teacher introduced the class to the fun little musical, Dr. Horrible Sing-A-Long Blog! I fell in love with the silly characters and songs, but never actually payed attention to the meaning. I just watched it again, and I was surprised to finally realize that the musical is being told in the perspective of a pretty textbook Nice Guy. Of course the outcome is much more extreme, but that only drives home the perspective in my eyes. I always found Penny very dull and 2 dimensional and I just hated her. Now, I kinda enjoy how she was written. I personally I really love how the only three dimensional character is Dr. Horrible. For me, it just puts the whole show into a new light and I am enjoying it in a new way all over again! I wanted to know everyone else's thoughts on this show and the perspective taken. Also if there are any other shows that are similar and told in an outlandish kind of perspective, I would love to see or hear of them!

    submitted by /u/0kaykay
    [visit reddit] [comments]
  • How do I audition for touring shows?
    27 May 2020

    After shows are able to happen again, I plan on trying to audition for touring shows (Mainly for the experience of auditioning, I don't think I'll actually get a part). How do I audition? Do I need an agent? How do I look for parts that I can actually play (by that, I mean because of gender, age, etc.)? I am able to do auditions online, and in California.

    submitted by /u/crafter128
    [visit reddit] [comments]
  • The Corona Diaries: Rosa O'Reilly
    27 May 2020



    These recent times have been some of the hardest challenges we've faced and as a community, it hit us pretty hard. However during these difficult times, here at Pocket Size Theatre, we wanted to spread a little positivity and share some peoples experiences because we are all in this together. Each day we'll be speaking to our friends in the industry to share their experiences with you all so take a read and see how people are getting through these hard times.

    Let's stick together, share the love and get through this as a community!

    Rosa O'Reilly was most recently in the staged concert production of Les Miserables at the Gielgud Theatre. Her other credits include Nessarose and understudy Glinda in Wicked (Apollo Victoria); Soul Girl in Jesus Christ Superstar (Regent’s Park Open Air Theatre); Elizabeth in Dirty Dancing (West End and UK tour); Jasmine in Aladdin (SECC arena, Glasgow); understudy ‘Eponine’ in Les Misérables (international tour and Barbican Theatre); Les Misérables in Concert: The 25th Anniversary (O2 Arena) and understudy Meat in We Will Rock You (Dominion Theatre).

    On Monday 16th March 2020, The Society of London Theatre announced the closure of all Theatres in London. This followed suit with regional venues. Where were you when you found out and what was your initial reaction?

    It all seemed a bit surreal at first, I think we kind of knew it was coming but it was still a bit of a shock at the same time, obviously very sad news for everyone involved. 

    Can you tell us anything productive you’ve been doing?

    I did Textiles & Design at college before going to drama school, so for the first time since then I got the sewing machine out and have made several dresses and I’m currently making fabric face masks! I’m going to try and keep this up after lock down. I’ve also been volunteering to keep one of the local village businesses open during the past couple of months. Aside from that I’ve learnt some great new recipes, done a bit of gardening, growing vegetables and plants which is something I have never done before. I’ve also been keeping a productive career-wise by brushing up on my sight-singing and music theory.

    Whenever you log onto social media there is so much negativity circulating. How have you been trying to keep a positive mental attitude during these times? 

    The main way to stay positive on social media for me is to simply follow accounts that interest/inspire me or make me laugh and to not compare myself to anyone else online. In general though, my best friends and family really help me with keeping positive, we regularly check in on each other, they are always a massive support and I feel very lucky to have such an amazing close circle of people in my life. 
    With the Arts temporarily shut down, how would you advise people to continue to support the Arts industries? 

    There are lots of great charities that support the arts such as Acting for others and MAD trust have set up a COVID-19 relief fund which people can donate to, I was part of a video including various Wicked cast members singing to raise money for this recently and thousands of pounds have already been raised which is amazing.

    There are lots of performers doing great things online and raising money in different ways and people are also taking their businesses online which is great, a lot of my friends are taking workshops and classes and I’m planning to start up coaching online soon too!

    Have you discovered anything that you’d like to recommend to our viewers? 

    I’ve managed to catch up on some great series that I didn't have time to watch before, If you want a binge-watch I’d highly recommend these: Afterlife, normal people, the capture, years and years, sex education and obviously tiger king if you haven't already! I’ve been listening to podcasts too, I love Jessie Ware - Table manners and Russell Brand - Under the skin is also great. There is also so much on youtube for free, so many work out videos, yoga, pilates and all sorts of tutorials. 

    In these times of Social Distancing and isolation, how have you been trying to connect with Friends and Family? Any fun quizzes or games?! 

    I’m with family right now which is very lucky. I facetime my closest mates regularly which has been great. I’ve not done many quizzes actually, I prefer just nattering away and having heart to hearts! My best friends and I will do things like have a tapas night so at either end we will have prepared a full on feast or have a drink together. If I ever see anything really funny online I’ll also make sure to pass it on to friends and family to lift spirits! 

    And finally, looking to the future, what are you most looking forward to when all of this is over? 

    I cannot wait to see friends and family who I haven't seen in months in person, of course, this is what I’m most looking forward to, with everything going on in the world right now I think you realise that the close people in your life really are the most important thing. Otherwise hearing live music again, getting dressed up, going to lovely cocktail bars and restaurants in London and singing in front of a crowd again!

    We'd like to thank Rosa and all other performers who have given up their time to contribute to this feature.

    For more information please visit GOV.UK and NHS.co.uk

    Other useful links for anyone needing further help:

    Acting For Others - Charity that provides financial & emotional support to all theatre workers in times of need.
    Help Musicians - An independent Charity that helps all forms of Musicians through times of need.
    Industry Minds - Mental Health Support for the creative arts.
    Theatre Helpline - a free, independent and confidential phone and email service that provides support to people working in the theatre industry.

UK Theatre Blogs

27 May 2020

UK Theatre Blogs
  • Lockdown treat: Patsy Ferran in Summer and Smoke
    27 May 2020
    This evocative video, featuring Patsy Ferran, makes me miss the walls of the Almeida as much as anything

    For the Almeida Theatre
    You can follow the theatre on Twitter here
    You can look at ways of supporting the theatre via this page here

  • ‘It places sound firmly front & centre’: THE ENCOUNTER – Complicite (Online review)
    27 May 2020

    In Shakespeare’s day, the audience would refer to going to “hear a play” rather than see it. Complicité’s streamed productionThe Encounter seems to be trying to resurrect that notion. It places sound firmly front and centre (literally) to create an assault on the ears the like of which I can guarantee you will have never experienced before. If you’re not sure what the term “immersive theatre” means, then begin here.

    It is perhaps unusual to start a review by referencing the sound designers, but in this instance, it is fully justified; Gareth Fry and Pete Malkin’s soundscape is nothing short of a triumph and, even should you find nothing to engross you about the storyline, it is worth watching this piece just for the aural experience alone.

    Headphone wearing is absolutely essential, though, being a collective experience, it must have been odd to sit in a theatre completely isolated from everybody else; in fact, this production may well work better in the home environment. The opening sequence when the intricacies of the system are explained is delightful. It put me in mind of albums that could be purchased in the late Sixties, often called something like This Is Stereo (or Quadrophonic), which introduced listeners to a brave new world of sound. This is intelligent referencing as the main narrative takes place in 1969. It is also clever on another level as solo performer Simon McBurney puts us through our paces making us think that the show proper has yet to begin, when in fact it already has.

    McBurney’s performance is the second extraordinary thing about this production. Starting as a narrator, he also assumes the character of the protagonist, American photojournalist Loren McIntyre, who set out to capture a record of the “lost” people of the Mayoruna in a remote area of Brazil. He holds the stage for two hours in a punishing routine which sees him whirling around the vast Barbican stage becoming increasingly frenzied, almost demonic. His voice is instantly recorded, replicated and looped to create the background soundwash over which he narrates the main story. Extensive use is made of Foley techniques as he tramples unspooled video tape to replicate footsteps and sloshes bottles of water to suggest the lap of the river water. At one point a rustling crisp packet leads to a sequence in which a crackling fire rips through the Mayoruna encampment. McBurney is therefore not only writer, director, narrator and actor but also sound technician, composer and conductor orchestrating the increasingly frantic and nightmarish soundtrack – I felt exhausted just watching him.

  • NEWS: The Phantom of the Opera cancels its 14-month UK & Ireland tour
    27 May 2020

    As theatre lockdown continues in the face of the coronavirus crisis, Cameron Mackintosh has cancelled his 14-month UK and Ireland tour of The Phantom of the Opera, starring Killian Donnelly in the title role. Here’s the full statement issued today (27 May 2020).

    It is with great sadness that due to the current state of complete shutdown of the British theatre by the Government because of Covid-19, Cameron Mackintosh and The Really Useful Group must announce that their new UK and Ireland Tour of Andrew Lloyd Webber’s The Phantom of the Opera, which had only played its opening date prior to a 14-month tour, will not re-open.

    The great uncertainty around the duration of social distancing requirements and the perilous financial situation in which many regional theatres find themselves have conspired to make re-routing an entire major tour like Phantom impossible for some time as so many existing tours are needing to reschedule.

    Get social media for Killian Donnelly & 5000 other musical stars on www.stagefaves.com

    The production opened at Curve, Leicester at the beginning of March. Subsequent runs in Manchester and Dublin have already been cancelled. Following these dates, the tour was due to play Birmingham, Edinburgh, Sunderland, Cardiff, Plymouth, Southampton and Bradford.

    Whilst it is heartbreaking for us as producers as well as for our wonderful cast, orchestra and crew who had all worked so hard to create this truly spectacular but tragically short-lived reinvented staging of the original production, we are determined that the disappearance of the Phantom from the British regional stage will not be forever and that, when theatre is back thrilling audiences again, the “Music of the Night” will soar once more from the orchestra pit.

    Ticket holders will be contacted directly by their venue/point of sale in due course and we appreciate their patience in this unprecedented time.

    The @PhantomOpera tour starred @killiandonnelly as the Phantom, @HollyAnneHull as Christine, @adamlinstead @beedyfrog @GregCastiglioni @MattHarrop @OdaSaori & @rhysjwhitfield.

    So sad to miss their performances. Sending them all our best. ☹️#theatrelockdown #PhantomOfTheOpera pic.twitter.com/pgJBVbV01G

    — StageFaves (@StageFaves) May 27, 2020

  • COVID-cancelled show Moment of Grace searches for streaming partner
    27 May 2020

    Moment of Grace, a new drama exploring the monumental action taken by Princess Diana when she visited a London AIDS ward, has been transformed from an award-winning stage show into a film in response to the Coronavirus pandemic. Producers are hoping to bring it to screens soon.

    Bren Gosling’s play was due to run at the Tristan Bates Theatre in June and July. When COVID-19 closed the theatres, Gosling was so determined to bring an important story to a wider audience that, together with director Nicky Allpress and producer Paul Coleman, he worked to film the production. Rather than simply a filmed version of the play, the result is a unique theatre/film hybrid production of new play writing made within the restrictions of lockdown. It is a tale about one pandemic, created as the world struggles to come to grips with a new one. With filming complete, the search for a screening partner has begun.

    Moment of Grace is set in 1987. Princess Diana’s landmark visit to a London AIDS ward has sparked world-wide interest, with camera crews and a televised interview. But AIDS remains taboo. Even being seen to work on this ward could cost you everything. To change public misconceptions, would you have risked it?

    Told through the eyes of Jude, a nurse on the ward, Andrew, a patient, and Donnie, a fireman estranged from his son, this ground-breaking new play Moment of Grace tells how the Princess’s visit brought critical attention to AIDS awareness through empathy and acts of kindness. At a time when we are wary of coming in contact with each other, it is the story of the power of a handshake.

    A stage version of Moment of Grace premiered to sold out audiences at Bloomsbury Festival in in 2018 and played a special performance at St Anne’s Church, Soho, on World AIDS Day the same year. The play won the 2020 No: Intermission International One Act Play Festival and was due to air in the NO: Intermission Festival in Sydney Australia this month. That run was also cancelled due to Covid.

    Moment of Grace cast

    Lucy Walker Evans, Luke Dayhill and Andrew Paul star in the production, which was filmed during lockdown using a sanitised smartphone camera and basic kit couriered between performers.

    Walker Evans reunites with director Allpress, who she previously worked with on the 2019 staging of Market Boy at the Union Theatre. Her other credits include Conquest (Bunker Theatre and The Vaults), ‘Tis Pity She’s A Whore (Tristan Bates Theatre) and Punk Rock (Pocketful Productions).

    Oxford School of Drama graduate Dayhill boasts credits including Small (Soho Theatre), Three Sisters (North Wall Arts Centre) and The Unbearable Lightness of Being, Chapel Street and Osama The Hero (all Hats Off Studios).

    Paul is best known as The Bill’s PC Dave Quinnan, a role he played in the long-running ITV drama for 13 years. He also played Maxwell Moon in EastEnders, appeared as a regular in Where The Heart Is and had roles in cult hit films Scum and Bugsy Malone.

    Playwright Gosling, who is also a three times winner of City Writes Short Story Competition, has had work performed at The Pleasance, Arcola, OSO Barnes, Rose & Crown E17, Bloomsbury Festival, Brighton Fringe, Liar’s League (HK.) His play Proud had rehearsed readings at the Union Theatre with Q & A by Rikki Beadle Blair MBE in July 2019.

    Director Allpress was Staff Director on the National Theatre’s production My Brilliant Friend and previously directed productions including Market Boy, Mercy, My Fair Lady and Blackadder. She is part of the Young Vic’s Directors Programme.

    Gosling and Allpress have been supported by the National HIV Story Trust in turning their vision of a stage show into a film, with a grant from The SE Franklin Trust. The UK charity aims to preserve and tell the story of those affected by the AIDS epidemic of the 1980s and 1990s.

    For more information about Moment of Grace, follow the show’s Twitter and Facebook channels.

  • Lockdown treat: The Greatest Wealth | 1950s: At The Point Of Need
    27 May 2020
    The Old Vic’s night of monologues for the NHS was a top night, so I was pleased to see that The Greatest Wealth was captured on film. Here’s Paul Unwin’s piece for the 1950s, At The Point Of Need, performed by David Threlfall.

    If you can, please consider supporting the Old Vic here

    Heart vector created by starline – www.freepik.com

  • HAIRSPRAY LIVE! starring Kristin Chenoweth and Ariana Grande to be streamed online
    27 May 2020

    The 2016 production of HAIRSPRAY (featuring Arian Grande and Jennifer Hudson) will be made available to UK audiences for free for 48 hours via Universal’s THE SHOWS MUST GO ON YouTube channel.

    Last week, Universal confirmed that beloved musical productions would continue to run via the channel, with The Sound of Music streaming last weekend following the initial Andrew Lloyd Webber series of shows. To date, millions of musical theatre fans around the globe have tuned in and donated hundreds of thousands of pounds to charity, whilst watching and singing-a-long at home.

    HAIRSPRAY will launch this Friday at 7.00pm and be available to UK audiences for 48 hours. The show features an all-star cast that includes Maddie Baillio, Ariana Grande, Jennifer Hudson, Martin Short and Billy Eichner.

    Photo: Brian Bowen Smith/NBC

    The post HAIRSPRAY LIVE! starring Kristin Chenoweth and Ariana Grande to be streamed online appeared first on West End Wilma.

  • THE PHANTOM OF THE OPERA will NOT reopen after Coronavirus
    27 May 2020

    The UK & Ireland Tour of The Phantom of the Opera, which had just visited its first stop on the tour before Coronavirus shut down theatres, has announced that it will not reopen the doors it its lair once theatre is back up and running.

    They said today:

    “It is with great sadness that due to the current state of complete shutdown of the British theatre by the Government because of Covid-19, Cameron Mackintosh and The Really Useful Group must announce that their new UK and Ireland Tour of Andrew Lloyd Webber’s “The Phantom of the Opera”, which had only played its opening date prior to a 14 month tour, will not re-open.

    The great uncertainty around the duration of social distancing requirements and the perilous financial situation in which many regional theatres find themselves have conspired to make re-routing an entire major tour like Phantom impossible for some time as so many existing tours are needing to reschedule.

    The production opened at Curve, Leicester at the beginning of March. Subsequent runs in Manchester and Dublin have already been cancelled. Following these dates, the tour was due to play Birmingham, Edinburgh, Sunderland, Cardiff, Plymouth, Southampton and Bradford.

    Whilst it is heart breaking for us as producers as well as for our wonderful cast, orchestra and crew who had all worked so hard to create this truly spectacular but tragically short-lived reinvented staging of the original production, we are determined that the disappearance of the “Phantom” from the British regional stage will not be forever and that when theatre is back thrilling audiences again the “Music of the Night” will soar once more from the orchestra pit.

    Ticket holders will be contacted directly by their venue/point of sale in due course and we appreciate their patience in this unprecedented time.”

    The show was starringKillian Donnelly as ‘The Phantom’, Holly-Anne Hull â€˜Christine Daaé’, Rhys Whitfield â€˜Raoul’, Saori Oda â€˜Carlotta Giudicelli’, Adam Linstead â€˜Monsieur André’, Matt Harrop â€˜Monsieur Firmin’, Francesca Ellis â€˜Madame Giry’, Greg Castiglioni â€˜Ubaldo Piangi’ and Ellie Young â€˜Meg Giry’.

    Photo: Johan Persson

    The post THE PHANTOM OF THE OPERA will NOT reopen after Coronavirus appeared first on West End Wilma.

  • ‘Gillian Anderson’s performance is a scorcher’: A STREETCAR NAMED DESIRE – Young Vic Theatre (Online review)
    27 May 2020

    National Theatre at Home
    On YouTube – until 28 May 2020

    The National Theatre’s triumphant march through its archive of NT Live recordings continues this week with a glorious blaze of a show. Starring Gillian Anderson, Ben Foster and Vanessa Kirby, this 2014 revival of Tennessee Williams’ 1947 modern classic A Streetcar Named Desire was a Young Vic production, and its film version is presented by National Theatre at Home.

    Anderson had wanted to play the central role of Blanche DuBois for decades, she says, ever since at the age of 16, she learned one of the character’s monologues for a competition. So the character has been in her DNA for years — and it shows. Especially when she turns up the heat. Her performance is a scorcher.

    Set in the French Quarter of New Orleans, the story shows what happens when the apparently respectable former English teacher Blanche visits her sister, Stella, who is married to Stanley Kowalski, a working-class mechanic. Blanche’s fragile psychological state, which she blames on the strains of teaching and the loss of the family’s Mississippi plantation home, deteriorates in an environment which she finds degradingly poverty-stricken. In her loneliness, she begins to get involved with Mitch, one of Stanley’s friends. At the same time, her relationship with Stella comes under strain because of her contempt for, and fear of, her sister’s rather brutal husband. As the lies that she has told about her past life are gradually exposed, Blanche suffers a violent confrontation with Stanley.

    Anderson’s performance as Blanche is a career high. She begins dressed in glowing beige, carrying her Louis Vuitton bag, exuding superiority and yet, as her incessant drinking makes clear, barely holding things together. By the time the “Wicked Game” lyric “The world was on fire and no one could save me but you” plays, it’s clear that things are falling apart. No one in this apartment will save her. Her pretentions to grandeur contrast beautifully with her fragility, the sense that she teetering on the brink between self-delusion and mental collapse. She flaunts her half-dressed body with a childish coquetry; she reaches out to the similarly lonesome Mitch (Corey Johnson), suggesting the way that damage attracts damage. Anderson not only captures her character’s vanity, but also her essential solitude, which is reflected in a similar feeling which steams off the other characters.

    Foster’s Stanley is a sweaty, tattooed danger man. After all, he’s just been discharged from the army. Immediately you know that it’s a bad idea, a very bad idea, to cross him. Immediately you know that he’s a man’s man, most at home when he’s playing cards with his mates. Immediately you know that he is proud and ready for a fight. At one vicious moment you think he might have PTSD. Sadly, Blanche does not get this. In between these two is Stella (Kirby) whose loyalties are torn between her sister and her husband. It’s not a comfortable place for a pregnant woman to be.

    Benedict Andrews’s production is slightly incoherent. On the one hand, it boldly shakes off any sense of period detail, dispensing with the eldritch Southern American setting which usually characterises the play, preferring to set it on a clinically abstract set, which revolves constantly, shifting our perspective. On the other hand, Andrews has not been bold enough to trim the text and take out references to the past that sit uncomfortably in this updated and modern-dress setting. In fact, this timid approach to the text is what makes such revivals awkward: it’s great to update the world of the play, but why not go the full way and edit the text?

    Like so many examples of filmed theatre, Nick Wickham’s film is not always as mesmerising as the play might have been on stage. Magda Willi’s revolving minimalist set, with its Ikea furnishings, means that pillars and furniture pass too often in front of the camera, and some shots are frankly eccentric. But there are compensations. Graced with music by Chris Isaak and Cat Power among others, the abstract space of the setting emphasises the story’s mythical side, with its sense that humanity is always fragile, always concealing its wounds under a glaze of drink and deceit, always ready for violence. Underneath, there’s a similarly epic contrast between the old world of the idealized American South and the new world of blue-collar reality.

    Nevertheless, the high-octane, passionate acting — especially that of the central trio of Anderson, Foster and Kirby — does succeed not only in holding your attention, but also conveying the ideas and feelings of Williams’s great drama. As clearly as ever, and more so than in some other productions, we are confronted by the fact that neither idealistic lyricism nor brute materialism is a good enough guide to living, yet the playwright’s compassion allows us to sympathise completely with both the perpetrator of sexual violence and his victim. The cruel streak running through the story, in which Kirby’s sensual Stella looks as if she might be turned on by her husband’s violence, comes across decisively. As ever, Williams gives voice to masculinity’s tenderness as well as its toxicity; to female strength as well as vulnerability.

    Thanks to costume designer Victoria Behr, the images that remain with you after the final credits roll are of Anderson’s Blanche celebrating her birthday in a gaudy red dress, which shouts scarlet woman even when she’s most child-like, and of her final confrontation with Stanley, dressed this time in a pink mardi gras outfit, face smeared with lipstick, while the dress’s layers of taffeta offer no protection against his predation. In another scene her black polka dot on light yellow dress gives her a deceptively summery air. For his part, Foster’s Stanley sports his floral shirts and crimson silk pajamas with a bruising confidence, while Kirby’s miniskirted Stella is his perfect mate. In the end, the compelling three-hour emotional journey of this American masterpiece leaves you both exhausted and exhilarated. Thanks to this streaming we are once again in the presence of giants, both literary and thespian. It’s that rare creature: a genuinely unmissable show.

    This review first appeared onThe Arts Desk

    A Streetcar Named Desire is on the National Theatre YouTube Channel until 28 May.

    The post A Streetcar Named Desire, Young Vic appeared first on Aleks Sierz.

  • NEWS: Selladoor postpones five musical tours until 2021 & extends venue closures
    27 May 2020

    Selladoor Worldwide has announced that it will suspend its 2020 touring productions – shifting the majority of shows to start in 2021. Major productions including Footloose, We Will Rock You, Madagascar the Musical, 9 to 5 the Musical and Bring It On will be postponed as a result of Covid-19.

    The company who are behind productions such as Fame, Avenue Q and American Idiot – and operators of regional theatres in North Devon and Cambridgeshire, have confirmed they will temporarily close their offices during July and August to maximise government support during a period of extended inactivity.

    Selladoor venues will extend the temporary closure of their venues until November with The Queen’s Theatre Barnstaple, The Landmark Ilfracombe and New Theatre Peterborough planning to reopen pre-pantomime season.

    CEO David Hutchinson says:

    “It’s with a heavy heart that we’ve taken the decision to postpone the majority of our productions into 2021 both in the UK and internationally. It’s taken our production team, creatives and partners years to put these productions together and we were so excited to share them with audiences this year. However, the uncertainty on when theatres will reopen, how and when we can develop audiences for our work and clarity on best practises for touring in a Covid world – we feel the odds are against us delivering shows in 2020.”

    “With over 100 members of Selladoor staff to consider across our productions and venues operation, the priority at this uncertain time is to maximise our runway for relaunch and maintain as much resilience as we can to keep people within the business. At this juncture, pausing during the summer and maximising the support available is vital in sustaining a long period of inactivity. We are currently burning through our cash reserve at a very fast rate and it’s not sustainable for our organisation who are mainly reliant on box office.”

    Stuart Shanks, Director of Venues, says: “It’s heartbreaking to have to extend the temporary closure of our theatres until the autumn, however, the safety of our audiences, colleagues and visiting companies is paramount. Having worked with the industry sector and considered all government advice and social distancing requirements, we don’t feel we will be able to reopen until November and therefore have been forced to make this regrettable decision.”

    “Theatres across the country are the lifeblood of communities, we need each other, now more than ever; and we hope that our loyal audiences will continue to support us. We cannot wait to welcome our audiences back into our foyers, bars and auditoria just in time to enjoy a wonderful pantomime season.”

    Naomi James, Head of Productions at Selladoor, says:

    “It has been a devastating decision to postpone productions further and lose almost all production activity for 2020, but given the lack of a clear roadmap to reopening theatres, it seems the most responsible way forward for our artists, creatives and patrons alike. Our worst-case scenario quickly became our best-case scenario, and we hope that, by moving everything into 2021, we give ourselves the best chance at being able to play our part in the rebuilding of our wonderful industry, when that time comes.”

    Selladoor has confirmed the following production postponements:

    • Footloose the Musical, due to open in April 2020 at Wimbledon New Theatre will now open at the earliest in Zurich Maag Music Hall November 2020 – with UK dates commencing from January 2021
    • We Will Rock You, due to open in August 2020 in Cape Town Artscape Theatre, South Africa will now open in February 2021 at the Solaire Resort Manila, Philippines
    • Madagascar the Musical, due to open in August 2020 at the Civic Theatre in Auckland, New Zealand will now open Autumn 2021
    • Bring It On the Musical, due to open June 2020 at the Birmingham Hippodrome is planning to open Autumn 2021
    • 9 to 5 UK Tour, due to open May 2020 at the Aylesbury Waterside Theatre is planning to open Spring 2021

    That’s 5⃣ major @sell_a_door musicals that are now being postponed until 2021 in response to #coronacrisisuk:@FootlooseTour@bringitonuktour@famemusicaluk@madUKtour @wwrytouruk

    How many @StageFaves performers & other creatives & crew does that affect? #SF pic.twitter.com/EgF32pOuAm

    — Terri Paddock (@TerriPaddock) May 26, 2020

  • The House Never Wins, Live on Zoom – Review
    26 May 2020

    The House Never Wins, Live on Zoom – Review

    Pen and paper, a bucket full of water, a piece of fruit and three shots of a disgusting – albeit not toxic – liquid are the necessary props to take part in The House Never Wins, Kill The Cat’s interactive show in these times of social distancing. A good internet connection, Zoom and WhatsApp accounts are also essential, the means for the performance to reach audiences in the comfort of their own home. The format is simple. The underlying message resounding. It’s delivery fascinating. Starting with ten chips each, seven participants are invited in turns to the table for…
    Summary
    Rating
    60
    Good

    A daunting political spin on the game of Blackjack.

    User Rating: Be the first one !

    Pen and paper, a bucket full of water, a piece of fruit and three shots of a disgusting – albeit not toxic – liquid are the necessary props to take part in The House Never Wins, Kill The Cat’s interactive show in these times of social distancing. A good internet connection, Zoom and WhatsApp accounts are also essential, the means for the performance to reach audiences in the comfort of their own home.

    The format is simple. The underlying message resounding. It’s delivery fascinating. Starting with ten chips each, seven participants are invited in turns to the table for a hand of Blackjack, whilst the others watch on. The Dealer summons them following criteria that feels hardly random. As the game unfolds, new rules are introduced allowing players to make decisions over their own fate, as well as that of others.

    Together with a pursuit for individual gain, all participants, on and off the table, are called to make anonymous contributions to keep the House afloat. A minimum of 15 chips is required for the House to function at its full potential, but, with the players unable to communicate with each other, this target may or may not be attained. If the House goes down, the game is over.

    Throughout the game, an overload of messages is sent over WhatsApp, making it hard to maintain focus on the table. Its relentlessness and randomness comparable to that of modern advertising.

    At the core of the performance is the “Prisoner’s Dilemma”, a concept formalised in the 1950s by Albert W. Tucker. This paradox suggests that each participant can obtain a maximum reward only if everyone chooses to cooperate. However, if anyone opts for betrayal, everyone else suffers a loss, whilst the betrayer still gains. Unaware of what the others are going to do, betrayal is a rather tempting option.

    Part interactive game, part political experiment, The House Never Wins lays all its cards on the table, when, at the end of proceedings, a recorded message urges everyone to take action against timely issues like sustainability and climate change. After 90 minutes in which survival is granted by cooperation but money is made at the detriment of others, participants benefit from unfair rules whilst blindly following the Dealer’s commands, this call for a “total change of the old” is a tad too explicit.

    Overall, it is a fresh and fun show that works as well remotely as it would with everyone sat around the same table. Masterfully embracing the power of modern technology to overcome the current challenges that are threatening the existence of live performing arts.

    Written and Directed by: Dylan Frankland and Madeleine Allardice
    Produced by: Kill the Cat Theatre and Turtle Key Arts
    Booking Information: This show has completed its current run.

Theatre Podcast

27 May 2020

Theatre Podcast
  • Today on Broadway: Wednesday, May 27, 2020 & Ben Natan
    27 May 2020
    Equity Outlines Requirements to Return to Work, Jeremy O. Harris Announces Grant Programs, Interview with No Exit Theatre Collective’s Ben Natan “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Any and all feedback is appreciated: Ashley Steves This email address is being protected from spambots. You need JavaScript enabled to view it. | @NoThisIsAshleyJames read more
  • Jon Paterson
    27 May 2020

    Jon Paterson has been working in the theatre industry for the past 30 years and is the current Technical and Artistic Director of the Astor Theatre in Liverpool, NS. Jon is also one of the founders of FringeLiveStream.

    Jon studied theatre at Grant Macewan University in Edmonton, where he began his association with director Kenneth Brown. Jon has co-produced, performed in, designed and/or directed dozens of shows with his theatre company, RibbitRePublic.

    Jon has performed in various theatre and festivals across North America including The Centaur Wildside Festival, Canoe Theatre Festival, Just For Laughs Comedy Festival, Mayfield Dinner Theatre, Vertigo Mystery Theatre, Zero Gravity Circus, Orlando Fringe Festival, Fresno Rouge Festival and, most recently, Off-Broadway’s Soho Playhouse.

    Jon is also a stilt-walker, stage manager, poster designer, and Winnipeg Jets fan.

    Instagram: @jon.paterson

    Fringe Live Stream
    FringeLiveStream is a group of artists dedicated to providing a platform for live performances. Showcasing live, FringeLiveStream, and unjuried content, with artists receiving 100% of donations. FLS also provides a voice for underrepresented artists through their AUC Performance Series.

    http://www.fringelivestream.com/
    Twitter: @Fringelive2020
    Instagram: @fringelivestream

    The post Jon Paterson appeared first on Stageworthy Podcast.

  • 094 - Andrew Ousley
    27 May 2020

    Andrew Ousley has made a career for himself by leading the market in publicity and promotion and managing some of the biggest social media accounts in the classical music world. But his passion lies creating a personal yet full experience in a trans-formative location with top notch musicians. He believes that whatever you do, you have to do it with love and passion.

    Attribution:

    ----more----

    Logo:

    Ritzy Remix font by Nick Curtis - www.nicksfonts.com

    Music and Soundcello_tuning by flcellogrl / Licence: CC BY 3.0freesound.org/people/flcellogrl/sounds/195138/

    Flute Play C - 08 by cms4f / Licence: CC0 1.0freesound.org/people/cms4f/sounds/159123/

    "Danse Macabre - Violin Hook" Kevin MacLeod (incompetech.com) / Licence: CC BY 3.0

    LicensesCC BY 3.0 - creativecommons.org/licenses/by/3.0/CC0 1.0 - http://creativecommons.org/publicdomain/zero/1.0/

     

  • The Subtext: E.M. Lewis’s Audio Diary
    26 May 2020
    The award-winning playwright records the joys and challenges of daily life on a farm in rural Oregon during the pandemic lockdown.
  • Ep92 – Brittney Mack, Anna of Cleves in SIX the Musical (Broadway cast)
    26 May 2020

    Brittney Mack is a performer from Chicago, Illinois, who was most recently seen as Anna of Cleves in the North American Tour of SIX the Musical. Her other credits include Rent, The Wiz, Hairspray, Avenue Q, Shrek, In the Heights, Ain’t Misbehavin’, All Shook Up, and Little Shop of Horrors, as well as the national tour of Memphis. She has performed on Royal Caribbean Cruise Lines, and has been seen on the FOX television show Empire. Brittney is making her Broadway debut with her portrayal of Anna of Cleves in SIX the Musical.

    Born on the south side of Chicago, Britney was one of 5 raised by a single mother and “an incredible tribe of friends.” She shares that one of her favorite things to do as a kid was listen to late night story times – full stories and plays – on the radio. She recalls one show in particular called It’s Your World!, a modern day radio soap opera that played on the Tom Joyner Morning Show, which she would wake up at 5 AM to listen to before school. She believes it was these radio shows that helped spark her imagination. Her mother was always supportive of her dreams to perform, and Britney says, “My mom is the reason why I’m doing what I’m doing.” Brittney attended the Chicago Academy for The Arts, a college prep high school, and later went on to attend The American Musical and Dramatic Academy (AMDA) both in Los Angeles and New York City.

    Brittney shares that as an artist she has always been blessed to find steady work. Throughout a performing journey that has taken her all over the world, she recalls revisiting her storage unit in between contracts in order to swap out some clothes and head out for the next production. Brittney had been out to sea on her contract with Royal Caribbean when her grandfather became ill, after which she relocated back to Chicago to be closer to her grandmother. And it was after being on the road with the national tour of Memphis that she found herself in a general audition for Chicago Shakespeare Theater. She shares that it wasn’t until about her 4th audition for them that she really even knew what SIX was all about. She is grateful for this in retrospect, as it could have added unnecessary pressures in the audition room. “It was a blast being in the room,” she said, as they all auditioned in front of and with each other. It was an audition experience like none other, and she’s pretty sure she’ll never have another like it. 

    In this episode, we talk about: 

    • How she’s been spending her time in quarantine 
    • The time she told her mom she wanted to be Gary Coleman in Shirley Temple 
    • Paying for her first year of school at AMDA
    • Being shot by a paintball gun when she first moved to NYC
    • The intensive audition process for SIX the Musical 
    • Her feelings on having a social media presence, and the SIX fan base

    Connect with Brittney:

    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan’s personal Instagram: @alanseales
    • Email me at This email address is being protected from spambots. You need JavaScript enabled to view it.. I want to know what you think.

    A very special thanks to our patrons who help make this podcast possible!

    Cheryl Hodges-Selden, Paul Seales, David Seales

    If you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support!

  • Today on Broadway: Tuesday, May 26, 2020
    26 May 2020
    Broadway Return ‘Not Until There’s a F*cking Vaccine,’ Matt Reviews “The Present” from the Geffen “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Any and all feedback is appreciated: Ashley Steves This email address is being protected from spambots. You need JavaScript enabled to view it. | @NoThisIsAshleyJames Marino This email address is being protected from spambots. You need JavaScript enabled to view it. | @JamesMarinoMatt Tamanini This email address is being protected from spambots. You need JavaScript enabled to view it. read more
  • BroadwayRadio Special: Ellyn Marie Marsh on ‘Obsessed with Disappeared’ and Staying Busy During Quarantine
    25 May 2020
    On today’s special Memorial Day episode of BroadwayRadio, Matt speaks with one of the funniest and busiest people on Broadway, Ellyn Marie Marsh. On Wednesday, she (along with Patrick Hinds) launch the new true-crime comedy podcast “Obsessed with Disappeared.” They discuss what it’s like for Ellyn to do a podcast read more
  • Ep91 – Chloé Zuel, Catherine of Aragon in SIX the Musical (Australian cast)
    25 May 2020

    Chloé Zuel is a singer and performer who has worked as a lead singer across Australia and Internationally including two years at Universal Studios Japan and three months at The Venetian, Macao. She was most recently seen as Anita in West Side Story, and as Sarah in Ragtime. Chloé’s other various credits include the Australian premier production of Beautiful; The Carole King Musical, Hairspray, Legally Blonde the Musical, The Mikado, Les Misérables, Rent, the Australian tour of Little Shop of Horrors and Porgy and Bess. She is currently part of the original Australian cast of SIX the Musical as Catherine of Aragon.

    Born and raised in Sydney, Australia, Chloé’s mother had her when she was young, and up until she was 8 years old it was just the two of them. Chloé speaks of her mother with awe and appreciation, as she single handedly supported her early performing arts dreams. She started taking dance classes at age 5, competed regularly in dance competitions, and began singing when she was 12 years old. Chloé calls herself that kid who put all her eggs into one basket – it was always clear in her mind that performing was all she wanted to do. She shares that she used to put on a CD every night and would fall asleep to music. Chloé went on to study and graduate from ED5 International, Australia’s premiere Performing Arts Training Facility, and has been lucky enough to be working steadily ever since. 

    Chloé opens up to us about living with terrible anxiety as a performer. For a little while she wasn’t sure she wanted to continue performing – she forgot why she loved it and why she did it. She says, “When you have anxiety, performing everyday, performing every moment” can be hell. She recalls having panic attacks in the wings during performances of Beautiful: The Carole King Musical. As someone who struggles with anxiety, she tells us that she found the audition process for SIX really difficult, as a lot of it required singing, dancing and performing in front of everyone else who was also auditioning. But also shares that from the get go – from auditions – the environment created was always one which was about supporting each other, cheering each other on; about being unique, and appreciating everyone else’s unique qualities. She recalls getting butterflies at their initial launch for SIX, realizing what a special project she was now a part of. And now they are a family. Chloé shares, “There’s a really deep love and respect that we have for each other, and an understanding”.

    In this episode, we talk about:

    • Her whirlwind journey from West Side Story, into Ragtime, into getting married, back to West Side Story to close it out, and starting SIX rehearsals the next morning 
    • Why she and her husband decided to spend this time in Tasmania 
    • Why she loves performing, and what she feels she gets from it’s magic 
    • Her experience with the other queens on launch day for SIX in Australia 
    • How her anxiety has affected her performing 
    • Her admiration for the writers of SIX, and why she finds it so clever 
    • Her peanut butter addiction

    Connect with Chloé:

    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan’s personal Instagram: @alanseales
    • Email me at This email address is being protected from spambots. You need JavaScript enabled to view it.. I want to know what you think.

    A very special thanks to our patrons who help make this podcast possible!

    Cheryl Hodges-Selden, Paul Seales, David Seales

    If you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support!

  • FINAL FIVE: Miata Edoga
    25 May 2020

    Welcome to the first FINAL FIVE Bonus Episode of 2020!

    These are five questions I ask each guest on topics and insights not covered in our main conversation on Wednesday.The answers given are surprising and revealing, showing another side to Miata Edoga...

    1. If you could have any other job outside of the arts what would it be?
    2. What is a bucket list role or show you still hope to do one day?
    3. Who do you look up to? A mentor or someone who inspires you.
    4. Name a lesson or trait that took you awhile to learn or one that you are still learning to this day?
    5. What’s the best advice you’ve received?

    ** To join Miata in her MASTERY LEVEL FINANCIAL EMPOWERMENT PROGRAM, go to abundance.winmipodcast.com and enter promo code WINMI for a your listener discount rate.

    ----------

    Please consider buying me a coffee to support this work that goes into each episode.   Do you have questions or stories of your own? Share them with me: contact.winmipodcast.com
  • A Look Back at 2019
    25 May 2020

    Welcome to the 2nd Anniversary episode of the podcast! And what a year it has been!

    We’ve had wonderful guests from actors and singers to stage managers and artistic directors. And this episode is a look back at some of the best moments from the past year as well as a look ahead to what’s in store for 2020. There’s a mix of previous released conversations and new clips never heard before now. I share clips from the popular Audition Stories episode, and then I highlight and critique the very first episode of the year, which was not my best to say the least.   The guests featured during this anniversary: (click the name to go to their episode)   Lothair Eaton • Tony Howell • Misha Osherovich • Caroline Bowman • Bret Shuford • Maggie Bera • Ilana Levine • Sherryl-Lee Secomb • Amy Marie Stewart • Caitlin Kinnunen • Ben Davis   With a special appearance by Andre DeShields (on the Tony Awards).    Check out these podcasts by…  Maggie Bera -  ACTOR AESTHETIC Ilana Levine - LITTLE KNOWN FACTS   ----------   The time and expense needed to bring these guests and conversations to you each week is sometimes challenging but always rewarding. Please consider buying me a coffee to support this work that goes into each episode.   Join the WINMI community by following on Instagram or Twitter as well as reaching out to Patrick with any questions or comments: contact.winmipodcast.com   Your donation will go directly into the podcast, helping to grow the WINMI community and allowing me to do so with greater ease and effectiveness. I wouldn't be here without listeners like you, so your donations are greatly appreciated. All donors will be recognized in a future episode for their generosity.

Theatre Magazines

27 May 2020

Theatre Magazines
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