We are just over a month away from the cautious re-opening of indoor theatre venues from 17 May, which will restore theatres to their pre-lockdown condition last December of being able to operate at 50% capacity, up to a maximum of 1,000 people.
What made theatre manager Gordon Stratford special for me, as a boss, was his passion for the theatre, his quick understanding of potential audiences, and his willingness to give his marketing team the chance to challenge him on proposed prices, deals, and even show choices.
There has been a mixed response from theatres up and down the country to the Government’s announcement detailing which areas of England will fall into which Tier when the second lockdown comes to an end on 2 December 2020.
One of the highest profile events in Nottingham Playhouse’s Unlocked Festival was Bubble, a hybrid production, performed in-house and live streamed over the weekend to a potential international audience – a new James Graham comedy about life in lockdown.
A line-up including a new work from playwright James Graham will feature in Nottingham Playhouse Unlocked, Nottingham Playhouse’s three-week reopening season which runs from 21 October to 7 November 2020.
Alan Bennett writes that “I’ve always had a soft spot for George III”, for no better reason than that he had studied the monarch’s reign at secondary school and then again at uni.
An excellent production of a modern classic with a towering central performance: Alan Bennett’s early 1990s play examines public versus private monarchical concerns at the end of the 18th century in the latest stream from National Theatre At Home.
Alan Bennett’s epic multi-award-winning drama The Madness of George III, starring Mark Gatiss in the title role, will be streamed from next Thursday 11 June 2020 via National Theatre at Home.
Alexandra Palace hosts London transfers of Mark Gatiss’ new adaptation of Charles Dickens’ A Christmas Carol and a major new revival of Tennessee Williams’ classic Cat on a Hot Tin Roof.
Many in the audience at Clapham’s Omnibus Theatre knew and were influenced by Tony Benn and were happy to share memories and thoughts on what he would think about the play as well as today’s political situation.
Even if you weren’t a card-carrying Labour Party member, you’d be hard put not to come away from Tony’s Last Tape at the Omnibus Theatre with the light of idealism burning a little bit brighter in the heart and soul.
Award-winning actress, TV and film actress Alex Kingston will take on the lead of Dr Stockmann in An Enemy of the People from 13 to 28 September 2019 (press night is 17 September) as part of Nottingham Playhouse’s autumn season.
As part of her ongoing post-show Q&A series, on Friday 5 April 2019, Mates co-founder Terri Paddock returns to London’s Omnibus Theatre for the timely return of the one-man play about the late political titan and “most dangerous man in Britain” Tony Benn. Got any questions?
Winners of The Stage Awards 2019 have been announced at the Bridge Theatre, London. The Bush Theatre was named London Theatre of the Year, Regional Theatre of the Year was won by Nottingham Playhouse and The Barn Theatre, Cirencester won Fringe Theatre of the Year.
Top theatres across the UK, including nominees from London, Manchester, Nottingham, Wales and Scotland, have made the shortlist for The Stage Awards 2019.
The revival of Alan Bennett’s 1991 classic The Madness of King George III at Nottingham Playhouse couldn’t then be more relevant, a play that speaks to our interest in the people who govern us as well as concerns about fitness to rule, mental health and its treatment.
The Madness of George III offers a great part for an actor, one which Mark Gatiss relishes. His vocal and physical tics are memorable, while never reducing mental illness to a series of quirks.
In Bill Buckhurst’s production of Sweet Charity we benefit from the delicate balance between the seediness of the New York backstreets with the technicolor of Charity’s blithe daydreams.
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As Bill Buckhurst’s production of Sweet Charity takes the show squarely back to its 1960s origins with Rebecca Trehearn in the lead, the show delivers an exhilarating if somewhat brutal comment on humanity that proves disarmingly timeless.
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