The London Pub Theatres Awards 2023 were held at Upstairs at the Gatehouse in Highgate Sunday 22 October. Designed to celebrate outstanding achievements in the pub theatre environment, they cover pub theatres, companies and individuals in 19 categories. The Awards are run by London Pub Theatres Magazine. The Awards team is led by Award-winning playwright David Weir and Editor Heather Jeffery.
Richard Willis, lead producer of ALI, the new musical celebrating the life and legacy of the heavyweight boxing champion and humanitarian Muhammad Ali, is proud to announce the addition of Grammy Award winner Q-Tip as Music Producer and Co-Lyricist to the creative team of the musical. Also joining Teddy Abrams in the music department of ALI are Grammy Award winning saxophonist and vocalist Casey Benjamin as Associate Music Producer, and Sean Mayes (MJ, Hadestown) as Music Supervisor. ALI will be presented in Ali’s hometown of Louisville, at the Kentucky Center for the Performing Arts, in Fall 2024.
Together and apart, The Beatles have always had a talent for the unexpected. And now, 2023 brings one of the most anticipated releases of their long and endlessly eventful history. Now And Then is the last Beatles song – written and sung by John Lennon, developed and worked on by Paul McCartney, George Harrison and Ringo Starr, and now finally finished by Paul and Ringo over four decades later.
“Now And Then” will be released worldwide at 2pm GMT / 10am EDT / 7am PDT on Thursday, November 2 by Apple Corps Ltd./Capitol/UMe. The double A-side single pairs the last Beatles song with the first: the band’s 1962 debut UK single, “Love Me Do,” a truly fitting full-circle counterpart to “Now And Then.” Both songs are mixed in stereo and Dolby AtmosÒ, and the release features original cover art by renowned artist Ed Ruscha. The new music video for “Now And Then” will debut on Friday, November 3. More details including global premiere plans will be announced.
A new era is upon us, and with this, many questions arise. Forced to craft new ways of living, thinking, working -post 2020, we’re at a transformational time on a national, as well as global level. Questioning what ‘England’ is and what it means in early 21st century Britain, The National Theatre have bravely responded to this with a series of works, Dear England a powerful reminder of the power of football, and how through the ‘beautiful game’, we can tackle ugly, harsh truths on a wider scale.
A look more so into the vision of England’s current manager Gareth Southgate, Dear England ushers us into a world whereby the power of the collective and looking after our well-being are considered paramount – a stark contrast to the egotistical/individualistic nature of the game in the old world. Fictionalised clashes between Southgate’s innovate notion of delving deeper into the psyche and emotional nature of each football player at odds with fellow management – these clashes comical yet fascinating to watch transpire. Es Devlin’s pristine digitised set interchanging between changing rooms and the grandiosity of the football stadiums the team face their various opponents in – this Match of the Day type aesthetic anchoring Dear England in the now, making the show instantly familiar and exciting to watch.
Born and raised in Senegal, St Louis – situated by the coastal West Africa, prolific film stunt helicopter pilot Fred North has contributed significantly to the world of film – his aerial visuals seen in many of our much loved Hollywood blockbusters including Fast and Furious, Bad Boys, Guardians of the Galaxy, Gladiator, The Incredible Hulk, Captain America: The Winter Soldier, X-Men: The Last Stand amongst many others. Celebrating a 30 year career within this unique field of film, Fred has very recently released a memoir highlighting his journey – Flying Sideways: The Story of the World’s Most Famous Stunt Pilot currently available to purchase on various platforms. Talking to us about his memoir, Fred tells us more about his career change from a ‘pilot who films’ to a ‘Film Pilot’, choreographing aerial sequences and what he’s taken away from writing the memoir!
In hip hop’s 50th anniversary year and ahead of the first Olympics to feature breaking as a sport, a new pathway for talented performers has been announced by Sadler’s Wells. Applications open today for Academy Breakin’ Convention, the new hip hop theatre school that’s one of the major initiatives at Sadler’s Wells’ fourth London venue, Sadler’s Wells East, due to open next year as part of the East Bank development in Stratford’s Queen Elizabeth Olympic Park.
Heading up the groundbreaking project is artist-educator Niquelle LaTouche who has been appointed Head of School. The Artistic Director is Jonzi D, founder and Artistic Director of Breakin’ Convention and a Sadler’s Wells Associate Artist.
Young people are invited to apply for Academy Breakin’ Convention’s two-year course for 16 – 19 year olds, based at the state-of-the-art dance facilities of Sadler’s Wells East. With intensive, practical training in hip hop performing arts and a focus on live performance and theatre production at an international standard, the academy aims to develop the next generation of hip hop theatre artists.
Published a decade ago, Neil Geiman’s multi-award winning metaphysical novel The Ocean at the End of the Lane takes on theatrical form as the National Theatre’s much loved adaptation makes a welcome return, this time at the Noël Coward Theatre. The tale of a man revisiting his childhood roots as he returns to his hometown for a funeral taking on a profound, multi-dimensioned reality. Themes of grief, family, friendship, belief and perspective things we’re all confronted with.
An existential production delving into the world of the unseen or not to be believed, The Ocean at the End of the Lane sparks the imagination from the get go – Katy Rudd directing a riveting watch – one that’s complex, colourful yet hearty to experience. Operating on various levels, for those purely into sci-fi and mythical works, the time bending narrative operates as a means of escapism appreciated by many. For those of philosophical or spiritual mind, the show contemplates many humanistic themes that make the evening profound.
Trevor Fox delivers a mighty task of depicting the now, and the past – taking on the role of his father as we flashback, Keir Ogilvy (Boy) depicting his younger self. Naive, sprightly and honest, Ogilvy navigates a strange, complicated world consisting of spirits, monsters and the unknown. Laurie Ogden’s turn as Boy’s sister comical, positive and a symbol of normality in a very eccentric reality established. Charlie Brooks’ Ursula/Skarthach haunts, her superficial attempt ay being ‘nice’, eery and perfectly timed. We very slowly watch a family descend into chaos, Millie Hikasa’s Lettie Hempstock – Boy’s companion and saviour an although bubbly presence, enigmatic, an ancient soul.
All children have the right to experience our country’s world-leading theatre sector. The benefits are far reaching – it enhances children’s educational attainment and wellbeing, addresses skills shortages in the theatre sector and boosts the economy. But access is unequal. Children from low-income families are missing out the most because they are less likely to have access to cultural experiences outside of school. The ongoing cost-of-living crisis has also led to teachers and parents reporting a reduction in school trips of up to 68% compared to last year, which includes theatre visits. Ahead of the next general election in 2024, the Theatre for Every Child campaign asks all political parties to commit to fund a theatre visit for every child before they leave school. A pledge supported by 84 percent of parents. The campaign was launched at an event on stage at London Palladium with campaign supporters, including the following, who said:
Co-CEO of SOLT & UK Theatre, Claire Walker:
“We believe every child has the right to experience and enjoy our country’s world-leading theatre. Despite amazing work that theatres do up and down the country, access is not equal. This is not right. Which is why we are calling on all political parties to support our call for every child to attend the theatre before they leave school.”
The theatrical form of Cabaret has entertained audiences alike for over 500 years – a French form fusing dining and entertainment – the end result creating a relaxed atmosphere for theatregoers to shut off from the harsh realities of the outside world. A celebration of variety performance, live performance is given the platform to shine, to dazzle – something increasingly important in our new day and age. Hosting an evening of glamorous, daring, flirtatious live art, Cabaret All Stars Disco promises an experience filled with lots of laughs and entertainment.
Kiln Theatre today announces the appointment of Amit Sharma as Artistic Director and CEO – he takes up the role on 1 December 2023. Sharma is currently Associate Director at Kiln Theatre, and also works as a freelance director.
Amit Sharma said today, “Over the last 18 months, I’ve got to know first-hand how truly iconic the Kiln Theatre is. To become the next Artistic Director and CEO is such a huge honour and to follow Indhu, who has always been a huge inspiration to me, is beyond my wildest dreams. I want to thank Sita and the Board for offering me this opportunity, and I’m incredibly excited at the prospect of working with them and forging the future that lies ahead. The Kiln is a theatre right at the heart of its community – a beacon for the people of Brent, bringing audiences to the borough from across London, the UK and internationally. There’s a magic that happens on that stage, and I look forward to working with the brilliant team there to bring that to audiences as we embrace this new phase together. I am absolutely buzzing for this next chapter.”