TIL_13-4-2018

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18 Barney Norris in rehearsals for Nightfall. WORLD PREMIERE OF BARNEY NORRIS’ NIGHTFALL AT THE BRIDGE The world premiere of Barney Norris’ Nightfall, directed by Laurie Sansom, starring Ophelia Lovibond (Lou), Ukweli Roach (Pete), Claire Skinner (Jenny) and Sion Daniel Young (Ryan) will run at the Bridge Theatre from 28 April to 26 May. On a farm outside Winchester, Ryan struggles to make a living off the land. His sister Lou has returned home after the death of their father to support Jenny, their formidable mother. Not so long ago, when a neighbour's Labrador strayed onto the farm, their dad reached for his shotgun. Now, when Lou's boyfriend Pete reappears, flush with money from his job at an oil refinery, Jenny fights to hold her children to the life she planned for them. Upon graduating from university, Barney Norris founded Up In Arms Theatre Company, of which he is the co-Artistic Director. His first play Visitors ran at the Arcola Theatre before transferring to the Bush Theatre, winning him the 2014 Critics' Circle Award for Photo:Manuel Harlan. Most Promising Playwright. His other full-length plays are Eventide, Echo’s End and While We’re Here. Norris is the author of a bestselling novel, Five Rivers Met on a Wooded Plain, and a book on theatre: To Bodies Gone: The Theatre of Peter Gill. His second novel, Turning For Home, was published this month. As Chief Executive/Artistic Director of the National Theatre of Scotland Laurie Sansom directed Rona Munro’s The James Plays which were co-presented by the Edinburgh International Festival and the National Theatre of Great Britain and toured the world. Sansom was previously Artistic Director of Royal & Derngate, Northampton, where he directed the UK premiere of Tennessee Williams’ Spring Storm and Eugene O’Neill’s Beyond The Horizon and The Festival of Chaos for London 2012. Tickets from the Bridge Theatre Box Office telephone 0843 208 1846. Nicholas Hytner will direct the world premiere of Alan Bennett’s Allejujah! at the Bridge Theatre running from 18 July to 28 September. WORLD PREMIERE OF TINA OPENS AT THE ALDWYCH THEATRE TINA, a new musical based on the life of legendary artist Tina Turner, opens at the Aldwych Theatre on 17 April. The cast comprises Adrienne Warren who plays the title role, Kobna Holdbrook- Smith as Ike Turner, Madeline Appiah as Tina’s mother Zelma Bullock, Jenny Fitzpatrick as the alternate Tina, Lorna Gayle as Tina’s Grandmother GG, Tom Godwin as Record Producer Phil Spector and Lyricist Terry Britten, Francesca Jackson as Ike and Tina’s manager Rhonda Graam. From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race. TINA is produced by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner. Box Office: 0845 200 7981 or at www.tinathemusical.com Tina Turner. Photo: Johan Persson. t h i s i s l o n d o n m a g a z i n e • t h i s i s l o n d o n o n l i n e
THE WAY OF THE WORLD Donmar Set among the rich and titled who seem to have little to do apart from conduct clandestine love affairs and hatch plots, William Congreve’s 1700 Restoration comedy shows that human nature hasn’t changed all that much over three centuries. The dress code, however, is another matter and designer Anna Fleischle clothes the aristocrats in rich brocade for the men and extravagant period dresses for the women in James MacDonald’s sprightly production. Even with some of the dialogue spoken at an - always clear - gallop, the convoluted plot still takes well over three hours to reach its conclusion. But once one has got to grips with the intricate interrelationships of who has bedded whom, who wants to bed someone else and who hasn’t a hope in hell of bedding anyone, there are lots of laughs and considerable wit along the way. In his desire to wed Justine Mitchell’s Millamant, Geoffrey Streatfeild’s canny but basically decent Mirabell keeps his cards close to his chest (and does his best to ensure that no one misses the last train home!) whilst it soon becomes clear why the wife of Tom Mison’s sly Fainall wants rid of the man who married her for her wealth, Fisayo Akinade makes a fine fop, Witwoud, whose speech is even more elaborate than his frock coat, and Christian Patterson’s portly Sir Wilfull (his embarrassing cousin, visiting from the country to woo an unwilling bride) is a genial chap with a good heart but appalling manners when in his cups. And Haydn Gwynne’s wealthy widow, Lady Wishfort, with a carefully coiffed hairdo the size of a small haystack perched on her head and clad in a flowery dress fashioned from material more suited to cover furniture than a middle-aged woman, is a comic (though ultimately sad) warning that too much face paint won’t help a woman over fifty catch a second spouse. Louise Kingsley THE NATIONAL THEATRE AT THE OLD VIC 1963-1976 A new exhibition at the National Theatre celebrates The Old Vic’s 200th birthday and highlights an extraordinary and innovative period in British theatre history. Situated in The Cut, just south of the river in Lambeth, The Old Vic first opened its doors 1818. In 1963 the National Theatre was established and spent its first 13 years at The Old Vic. Led by Sir Laurence Olivier, the National Theatre established a company of young and emerging actors, playwrights, designers and movement directors, who would go on to have a significant impact not only on British theatre but on the development of 20th century theatre as a whole. Artistic Director of The Old Vic, Matthew Warchus said: ‘Reflecting on the sheer range and scale of creative ambition that The Old Vic has nurtured over its two centuries is a mindboggling exercise. In its 200th birthday year we are proud to celebrate the rich history and vibrant future of this great theatre and renew our connection with some of the world-renowned companies which The Old Vic has helped bring into existence – the ENO, Sadler’s Wells and, of course, the mighty National Theatre.’ WEST END EUROVISION 2018 The legendary charity production West End Eurovision will be staged in the heart of London’s Theatreland for the first time in four years at the Shaftesbury Theatre on Sunday 22 April. There will be a sea of flags and the most outrageous costumes as the casts of some of Theatreland’s biggest shows battle it out to raise funds for the Make A Difference Trust. Eight of the West End’s top musicals will be competing against each other by singing original Eurovision Song Contest songs to win text votes from the audience and the approval of a panel of celebrity judges and judges from each competing show. The feel-good, edge-of-your-seatinteractive charity event has raised thousands to support the MAD Trust. The Trust works with its partners to support HIV and AIDS projects both in the UK and Sub-Saharan Africa providing care, support and education. Ahead of the real 63rd annual Eurovision Song Contest in Lisbon, Portugal on Saturday 12 May, the eight West End shows competing in 2018 are: 42nd Street; Aladdin; Dreamgirls; Hamilton; Kinky Boots; Mamma Mia!; The Phantom of the Opera; and Young Frankenstein. 19 t h i s i s l o n d o n m a g a z i n e • t h i s i s l o n d o n o n l i n e
Page 3 and 4: Welcome to London 3 CONTENTS Events
Page 6: 6 CHELSEA FC STADIUM TOURS OF STAMF
Page 9 and 10: SOUND, IMAGE, MOVEMENT - THE COMMON
Page 12 and 13: 12 VIRGIN MONEY LOND t h i s i s l
Page 14 and 15: 14 Claude Monet: The Thames below W
Page 16: 16 Leon Kossoff - Children's Swimmi
Page 21 and 22: MUSICALS 21 KINKY BOOTS Inspired by

TIL_13-4-2018

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