UK Theatre Network - Broadening the horizons....
OPPORTUNITIES
COMMITTED VERSATILE ACTORS needed for groundbreaking non-linear production moving backwards in time.. Excellent showcase opportunity to perform in show written by prize-winning young writer from Royal Court background running at Blue Elephant Theatre 8 – 26th June.
Welsh accents a bonus, but coaching will be provided through rehearsals. Fee offered.
Male Roles: 15 – 20, 35 – 45, 50 – 65;
Female Roles: 15 – 20, 35 – 45.
Auditions: 29th February, 6th, 7th, 13th March
Contact: David Mercatali on 07966 166 969 or email CV with photo to cristina@blueelephanttheatre.co.uk
Standish Films plan to make a low budget feature film in September. The film I N T R U D E R is a crime thriller filmed in the North West and we are looking for International Actors who reside in the North West.
There are three elderly parts suited for June Whifield, Glenda Jackson and Hannah Gordon, plus lead roles for say Georgia Taylor and Jennifer James.
We are still searching for a strong Director to gel the cast.
Any Actor living in the North West who is interested in the project, please do not hesitate to contact us. We are literary agency acting on behalf of Standish Films and this is a unique opportunity to make this film in the North West.
Cara
admin@zebraagency.co.uk
For more information visit www.zebraagency.co.uk or www.standishfilms.com
WHAT'S ON
Peter Frosdick and Martin Dodd for UK Productions Ltd by arrangement with Josef Weinberger on behalf of The Rodgers and Hammerstein Theatre Library of New York proudly present
Climb on board Mrs Mullins Carousel with Sam Kane and an all star cast for a romantic fantasy ride of love and romance. A wonderful production of Rodgers and Hammerstein’s timeless musical masterpiece that has won no less than 18 Tony, Olivier and Donaldson awards both in New York and London, and enjoyed sell-out success all over the world.
Sam Kane stars as the handsome loveable rogue Billy Bigelow who falls in love with beautiful Julie Jordan at the Carousel ride. Romance blossoms, but their happiness is tragically cut short when wayward sailor Jigger persuades Billy to take part in a robbery which has disastrous consequences.
Sam Kane is firmly established as a major leading man in musicals. He has appeared in South Pacific, as Jigger in UK Productions previous tour of Carousel, starred as Adam Pontipee in the hugely successful tour of Seven Brides for Seven Brothers, and has recently completed a national tour starring as Roddy in Boogie Nights. Sam is equally well known on television as Peter Phelan, the philandering hairdresser in Brookside, and recently played the controversial role of Gary Adams, the Internet paedophile, in Coronation Street. He is married to Linda Lusardi and has two children.
A dramatic and tender love story of heaven and earth Carousel is full of classic songs including If I Loved You, What’s The Use Of Wonderin’, June is Bustin’ Out All Over, and the heart rending You’ll Never Walk Alone. Full of laughter, tears and warm romance this new production directed by Julian Woolford has stunning choreography by Wayne Sleep, fantastic sets, wonderful costumes, and moving performances.
Wayne Sleep has achieved iconic status. Famous in all aspects of the entertainment world – the ballet star of musicals Cats, Song and Dance, and Cabaret also ran his own dance company. Now having survived the Australian Jungle in I’m A Celebrity Get Me Out Of Here, Wayne who is currently starring as the child Catcher in Chitty Chitty Bang Bang at the London Palladium brings his considerable talents and experience to create stunning new choreography for Carousel.
From next week in Glasgow - www.kings-glasgow.co.uk
UK Theatre Network Review in next Monday's edition.
AGAIN
Written and Directed by Lucy Traube
“A stunningly perceptive play about difference†John Park, Fringe Report
Again is a dramatic play exploring the relationship between two brothers growing up together, one of whom struggles with an obsessive compulsive disorder (OCD). It uses the tensions of brotherhood to sweat out the fears and perceptions of a man caught in a separate world.
GAG are dedicated to bringing new writing to the stage and do so with a keen eye for the best, believing that great theatre is defined by new writing… talented performers… dramatic dialogue driving conflicting emotions…
“Traube’s searing writing sees and reveals the heart of obsession†John Park 2003
Since the company formed in 2002, they have produced four plays, Again enjoyed considerable success at last years Edinburgh Fringe Festival. Again was selected for the first East to Edinburgh, an Arts Council England, East initiative established to promote the artistic talent based in the eastern region.
GAG Theatre Company are fast creating a very positive profile with new writing. Fast-paced, confessional theatre is at the heart of their work.
“electric theatre†John Park
Venue: Mercury Studio Theatre, Colchester
Tickets: £6.50 / £5.00 Concessions
Dates: Thursday 11th – Saturday 13th March
Time: 7.45pm
Box Office: 01206 573948
EDITOR NOTE: A top London agent I met recently highly recommended this play. He must have good taste, he says he reads this newsletter and is always on the lookout for new talent...........Doug
The Round Dance by Arthur Schinitzler. Lust, Decadence, Hypocrisy. The Round Dance is the play which inspired such classics as La Ronde and The Blue Room. Transposed to Victorian London, and performed in the labyrinthine tunnels and brickwork arches of the Roundhouse Undercroft, this is a unique opportunity to explore a hidden part of London, and enjoy a uniquely theatrical experience.
The Roundhouse, Chalk Farm Road, NW1. February 17th - March 12th, Tuesdays - Saturday 7.30pm, plus Saturday 3.30 pm Matinee. Tickets £12.50/£9 conc.
http://www.angelsinthearchitecture.co.uk/
By William Shakespeare
Directed by Barrie Rutter
Now touring.
This superb production is brought to us by the award-winning Northern Broadsides Company whose method of performing Shakespeare is not only to let the words speak for themselves, but to let them sing, and music is very much a part of this concept, the actors also performing on violin, trumpet, dulcimer and percussion instruments as well as actually giving voice. The proof that this works extremely well is in the comments overheard expressed among very many of the audience that they were surprised to discover how easily they could understand every nuance of the play, and how intrigued and entertained they were.
The story is one of conflict between Jews and Christians, Jews being the despised moneylenders, the excuse being that they are the race who killed the Messiah, and - no political correctness in Shakespeare's day - they were universally hated. All would be well if they could all become Christians - although - *'Tis making of Christians will raise the price of hogs* - No altruism here! In fact almost all the characters have faults, the play taking in all the vagaries of human nature and dealing with bigotry, hatred, theft, extravagance, greed, cruelty and revenge. The only upright and sensible characters seem to be the women - no change there then!
The set is minimalist - a square, white platform with the suggestion of a blue canal and bridges, with a cross suspended over all. The company perform in so many different venues, sometimes a thrust stage with audience on three sides, sometimes in the round, and this time with a proscenium arch, so they, and the scenery, have to adapt to differences each time. I would have said that the costumes were 'modern' dress - well the men were in suits and the women wore simple dresses - but the director, Barrie Rutter (who also played a very convincing Shylock) insisted that the clothing was 'timeless'……no modern accoutrements such as watches or telephones.
A lot of the meaning was conveyed brilliantly by expression and body language - I especially liked Portia (Clare Calbraith) and her maid Nerissa (Sara Poyzer) exchanging meaningful looks which certainly gave their opinion of Portia's suitors - and, later, two girls giggling together at the way they had deceived their men folk.
The famous courtroom scene where Shylock demands his pound of flesh from Antonio (Andrew Vincent) had all the tension and drama of reality. I almost expected the knife (being eagerly sharpened by Shylock) to actually cut into the flesh - and Portia delivered the 'Quality of mercy is not strained….' speech with logic, reasoning and pleading, while still upholding the very strict Venetian Law.
Shylock must cut the flesh without spilling a drop of blood and, as this is impossible, he has to concede defeat and agree to become a Christian, his skull-cap is removed with a flourish.
The play ends appropriately with a Christian service (as indeed it began) beautifully sung. 'O Lamb of God, who taketh away the sins of the world - Have Mercy Upon Us'. Amen to that!
One final comment - a little touch I noticed in the programme - Portia's dead father (who of course never appears) is played by the late Frank Moorey. A tribute to a friend who, obviously, will never be forgotten!
Reviewed by Sheila Connor
Box Office.........01483 44 00 00
February 23rd 2004
Written by Willy Russell
Directed by Bob Tomson and Bill Kenwright
Set in Liverpool, Blood Brothers centers around the story of the Johnstone twins. Two brothers separated shortly after their birth due to their mother’s poor financial circumstances. As a struggling single mother, she cannot provide for both children so she gives one child away to a much more well to do family shortly after their birth. As of that moment, their lives embark on a completely opposite route - one brother is raised in squalor and the other raised in luxury. Both mothers strive to keep the twins separated, as they believe that if their paths ever cross,their secret would be discovered and the consequences would be disastrous. Their efforts are in vain though, as one day whilst the two young boys are playing outside they meet, and just like typical eight year olds do, decide to become best friends. An innocent enough act that will change their lives forever.
Blood Brothers is certainly not your stereotypical 'bright lights', 'all singing', 'all dancing' musical, complete with 407 costume changes and a rotating set but this makes it no less impactive. The set consisted of tiny, dreary red bricked terraced houses that were either side of the stage with the obligatory graffiti covering the sides of them, setting the the scene perfectly. The set changes were equally as impressive as the actors did the majority of them themselves, cleverly using props to link the changing scenes.
The storyline is hard hitting but also very funny in parts and all characters are portrayed realistically.
This, together with each actor playing their part brilliantly and the spine-chillingly good score, makes for a highly emotional and moving play. The audience was captivated from the off and awarded the actors with rapturous applause at the end, which I believe was well deserved. Blood Brothers is at The Wimbledon Theatre until this Saturday where it will then tour the rest of the country. I strongly suggest that if you haven’t seen it then go. And take a tissue.
Review by Emma Pring
Presented and directed by Bill Kenwright
Written (of course) by Andrew Lloyd Webber and Tim Rice.
Now touring.
What can I cay about Joseph that hasn’t been said before! It’s been going almost non-stop since 1968 when it began life as a 20 minute school play, and – boy – has it expanded and grown up since! The resulting record-breaking show opened at the London Palladium in 1991, where it ran for two years, and was seen by over 2 million people.
It tells the biblical story of Joseph being sold into slavery by his eleven brothers, who resented his being the favourite son – so, stretching a point a little, you could even say it’s educational – but, most of all it’s fun!
This is an extremely spectacular, fast-moving, and vibrant show, with lots of great songs, amazing lighting effects and very exotic and colourful costumes, but (for me anyway) the main attraction was the comedy, especially the way the action kept changing countries, and the scenery was constantly on the move.
For 'One more Angel in Heaven' the brothers became cowboys, and danced ‘square-dance style’ complete with guitar accompaniment.
Pharaoh was American - Elvis (superbly performed and sung by Lee Mead) - complete with American footballers and cheerleaders………and this performance really brought the house down. 'Those Canaan Days' was in Paris, complete with Eiffel Tower in the background and an onion seller with bicycle. Then, suddenly, it’s 'Benjamin Calypso' and a Brazilian Carnival with ‘Carmen Miranda’ costumes (the older readers will know who I mean!) and the Latin dancers giving it their all.
The Joseph Choir was provided by the children from the Stagecoach Schools in the local area - about 40 of them in the show throughout, sitting in rows on the steps each side of the stage. They must have been thrilled to be allowed to take part in such a professional show, not only singing but ‘hand-jiving’ in the Elvis numbers. Elvis lives on and is performing at the Hawth for one week only - - don’t miss him!
Too many in this young and vibrant cast to name them all, but I especially enjoyed the performances of Geoff Hennessy as a very comic butler, Carolyn Sinnett’s dancing – well, I’d like to see more of this very sexy lady – Amanda Claire as the Narrator singing the story beautifully and looking good too, and - finally -- Joseph himself - Richard Swerrun. What a superb voice, and used with expression and feeling. ‘Any Dream Will Do’ could be quiet and sad, or belted out to the set the rafters ringing.
The evening ended in an explosion of colour across the whole stage with Joseph, triumphant, in the centre, and by this time almost the whole audience was on it’s feet dancing, whistling, clapping, and calling for more (me too, of course!).
I think I can say, without fear of contradiction that a very good time was had by all! I was singing all the way home!
Reviewed by Sheila Connor.
Box Office.....01293 553636
AND FINALLY....
Yes Siree....It's yer last chance to see YOURS TRULY on the London Stage this year ! Roll up, roll up ! The plan is to be in Glasgow and Edinburgh for the rest of the year.... SOOOOO....... why not come along to watch K-PAX at the Lion and Unicorn Theatre in Kentish Town to support Act Provocateur International for the special discounted rate of £7. It's the LAST WEEK, and what a run with lots of great feedback from everyone who has come along so far. A full audience this week will make the performance go out with a bang and see it off to the Edinburgh Fringe with the support it deserves from you the UK Theatre Networkers.
I do hope you can make it as the whole cast would love to see the last week with a FULL HOUSE every night, and YOU can make that happen.
If you ARE interested in supporting us in taking it to the Fringe, send a blank email to kpax@uktheatre.net and you will get an immediate reply and get all the details about location, cost, KPAX background (no, it's not sci-fi) and box office info.
Well have I got some BIG PLANS in store for this year. I can't elaborate too much on the main one but it was a seed planted after I met up with Marketing guru Neil Fletcher who is also a UK Theatre Networker. I will be sharing this idea with some key UK Theatres in the coming weeks and with a committee from a Scottish perspective on 23rd March. It is a simple idea but with such wide and far reaching potential. Neil has sworn to secrecy so there's no point in twisting his arm :-) More on this later. If I can pull it off it will be something that will benefit many people.
On a less grander scale but an idea I CAN share with you, is something that came out of meeting Neil again at a Showcase where I went along to see the delightful Maria Thomas. Both of them gave outstanding performances and their enjoyment was obvious. Maria has such great stage presence and she stunned the lunchtime audiences with her powerful monologue. I also managed to catch one of Neil's performances which was equally inspiring and also coincidental as Neil never mentioned the showcase when I had met him only two weeks previously.
Now, what struck me was not only the quality of their delivery but also the organisation and presentation of the whole event. It was organised and Directed by one of their colleagues and about a dozen of them got together and invested around £80 to run the event. Money well spent in my view. There was at least one agent in the audience who I knew and there were many others of the 100 or so audience who were taking notes. Who knows what might happen out of that.
Now.....later this year I would like the UK THEATRE NETWORK to sponsor a few of these events. I can invest around £200 per event which will at least pay for the venue costs and also contribute to some of the promotional costs. Actors will still need to contribute but this may lessen the burden. I will want to have as little involvement as possible as I will unfortunately be TOO busy to do much apart from the investment. I'd therefore be looking for professional and capable Actor/Directors to run and manage the event. Obviously I will also be able to advertise these showcases on the web and on this site for FREE, and if I CAN make it to the event, then that would be a bonus (for me).
So, do you think you can coral a dozen quality actors in your region and organise an event to promote yourself and other actors to top agents and casting directors ? You may contact other UK Theatre Networkers by advertising yourself in the ACTORS HELPDESK section of the website. When you have sufficient interested actors, then send a carefully considered reply to: editor@uktheatre.net with a subject of SHOWCASES. I will allow a few weeks for the right preparation work to be done. Don't despair if you only get a few actors, as there may be someone else just like you who could join forces.
Note: Sponsorship payments will be made only on presentation of pre-agreed Invoices.
The UK Theatre Network is a virtual community of actors, producers, agents, casting directors and all lovers of theatre.
If you would like to contribute or find out more, you can send a blank email to uktheatre-daily@getresponse.com OR uktheatre-weekly@getresponse.com - you will receive some information on how to use the services as well as this newsletter.
Message Added: March 1st, 2004 at 8:00 pm
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