UK Theatre Network

Hope you're having a good weekend Friend, I'm just finishing off step 1 of a 2 step house move and today is the last day I have broadband for a week ! How will I cope !? Keep checking the website for Reviews and Listings and I will post casting notices as soon as I can. The new website will take a lot of the effort out of posting and updating as well as the reliance on broadband and there are now 3 webeditors who are ready to start customising the new site to get ready for a launch at the end of the month (depending on my US developer finishing the new code). Among the many new features are Instant Messaging, Chat Rooms, Spam/Virus Checked EMail, Events Diary, Today in History, Who's Logged In as well as your old favourites of Reviews, Listings and Directories. And as usual, it's all FREE. Exciting times. Douglas McFarlane Editor, UK Theatre Network ------------------------------------------------ FEATURED PRESENTATIONS...FEATURED PRESENTATIONS ------------------------------------------------ The UK Theatre Network is proud to sponsor the following presentations: 'An Inspector Calls' for Blair's Britain? The Home Secretary lies dead on his sofa and his wife Desdemona admits to murdering him. But why did she kill him and why would anyone confess to such a crime? What does she mean when she says it was a 'pre-emptive strike to encourage regime change'? Sir Richard Everall of Scotland Yard wants to cover things up and avoid another embarrassing scandal for the Government. But Desdemona is adamant: she wants to put 'New Labour' in the dock and let everyone know why she murdered THE ILLUSTRIOUS CORPSE This performance, a rehearsed reading, is the premiere by Edinburgh-based SpartaKi(patron:Tariq Ali), a new production company dealing with political, social and cultural issues, current or relevant to Scotland. Through a fusion of various sectors of the Arts, SpartaKi aim to address a wide spectrum of socially relevant concerns, whilst providing a high standard of affordable entertainment. This latest play by renowned writer, historian and broadcaster Tariq Ali is directed by Alex McSherry and features cameo performances from well-known Human Rights lawyer, Aamer Anwar and recently elected Scottish Green Party MSP for Central Scotland, Mark Ballard. All profits from the show will go towards Spirit Aid, the Humanitarian Organisation whose Head of Operations is highly respected Scots actor and campaigner David Hayman. Spirit Aid recently took medical teams into the mountain villages of the Hindu Kush of Afghanistan, to where they will be returning in June this year. The Ilustrious Corpse was premiered last year at The Leicester Haymarket Theatre before transferring to the Soho Theatre, London. Later this year, performances will also be seen in Scandinavia and Beirut. Spartaki are currently seeking funding and sourcing venues for full runs in Edinburgh and Glasgow in the near future. Saturday 22nd May 2004, 8pm, STUC, 333 Woodlands Road, Glasgow For further information email SpartaKi at SpartaKi@aol.com Or call 0131 332 8319 (mobile:07952 868101) WWW.SPARTAKI.CO.UK --- Hushabye Mountain by Jonathan Harvey The Marlborough Theatre 4 Prince’s Street Brighton BN2 1RD Wed 19th – Sat 22nd May 9.30pm Tickets Tel: 07740973990 or book online at www.marlboroughtheatre.org An exciting new Brighton based theatre company makes it’s debut this year at the Brighton Fringe Festival. This play is a true gem from Jonathan Harvey, the writer of the hilarious BBC sitcom ‘Gimme, Gimme, Gimme’ and the film ‘Beautiful Thing’. Hushabye Mountain is an exploration of love and friendship touched by HIV and AIDS. It opens with Danny, who has recently died of an AIDS related illness, meeting Judy Garland (Keeper of the Stars in Heaven) and leaving behind his devoted boyfriend Connor, his mother Beryl and best friends Lana and Lee. The young and beautiful Ben soon comes into Connor’s life along with Julie Andrews as a chambermaid with exquisite diction and the Virgin Mary! The enthusiastic team at New Moon Productions take on the ambitious staging of this piece, incorporating multi-media technology to define aspects of time, setting, reality and memories. Best wishes Sharon Jones Tel: 01323 872374 Mob: 07740973990 ------------------------------------------------ SECRETS...SECRETS...SECRETS...OF THE NETWORK... ------------------------------------------------ IMOGEN RAND IN IN A PLAY WHICH..... ...is the 'headline act' of the Dublin Theatre Festival in a week's time. The play is called 'PERSONALS', written by Danny Spring and presented by The Actors Circle, directed by Mark Pollard. The play is a 'Friends' type comedy, it's very light-hearted and lots of fun - Imogen's character is the kooky 'Phoebe' type. Performances are at 8pm Mon 10th - Sat 15th May at "T@36" - TEACHERS CLUB, 36 PARNELL SQUARE, DUBLIN Bookings : 01-8721122 (if dialling from the UK it's 00353-1-872122 )or e-mail t@36.com Tickets are 12 euro - www.dublingaytheatrefestival.com ------------------------------------------------ OPPORTUNITIES...OPPORTUNITIES...OPPORTUNITIES... ------------------------------------------------ An Inspector Calls - Artistic Director Required Applications are invited for the post of Artistic Director for the Pantheon Club's November 2004 production of "An Inspector Calls" at Cottier Theatre, Glasgow. Experience preferred but not essential for exciting innovative directors with a strong vision for the piece. Deadline for submissions is Friday 14th May 2004. Please forward CVs by email to Kazbaa2001@aol.com or alternatively by post to Pantheon Club, 268 Bath Street, Glasgow G2 4JR fao Gillian Freshney. Interviews will be held week commencing 16th May 2004. Fees will be discussed at interview. The show will run from 11th - 13th November 2004. This is an amateur production by arrangement with Samuel French. Kind regards Karen Bartke (Director) ---- Aiman Zahabi is looking for an Artistic Director and a writer to stage a play in London, and collaboration on writing document funds application. The theme of the company spirit is at this stage open to discussion, a possibility will be European Integration and human diversity. www.AimanZahabi.com aiman73@hotmail.com 07904 000969 0208 6914215 -- Name: Robert Armes Email: robert_armes75@hotmail.com Murcia75 productions is casting the following roles in Alejandro Casona's "Seven Screams at Sea": The Captain: age early thirties; this character oozes confidence and has a certain stillness. Julia Miranda: mid twenties; a woman haunted by her past who finds love in unlikely circumstances Baron Pertus: early thirties; a cold, pompous and extremely rich man who treats his wife with disdain. Santiago Zabala: late twenties; an engineer who is often drunk and agressive. Steward: early twenties; smaller role with some good dialogue. ideal for actors just starting out. Officer: early twenties; a serious young man who is very loyal to his Captain.3rd Class Passenger: any age. very much the role for a good character actor. A couple of scenes when he comes on and steals the show with his enthusiasm. This is a profitshare production to be directed by Sam Snape which will run from 27th July to August 15th at the Teatro Technis in Mornington Crescent. Auditions will be towards the end of May and rehearsals begin in the first week of June. Please send photograph, CV and covering letter stating which character you are interested in to Robert Armes, 14 The Avenue, Turnham Green, London W4 1HT. --- EMERGENCY!!!! SM/ASM needed Looking for SM and/or ASM to begin work immediately on fringe production rehearsals. SM/ASM are needed specifically for the rehearsal period (beginning May 10-June 1st)as there are people in place for the actual run. Involvement in the performaces is an option, but not necessary. Please email Daniel at deco_productions@hotmail.com or call 07974183110 Email Address: deco_productions@hotmail.com -------------------------------------------- TRAINING...TRAINING...TRAINING...TRAINING... -------------------------------------------- Latest ACTORCLUB workshops are MEISNER TECHNIQUE (details below) SPRING AWAKENING (Ted Hughes / Wedekind) MEASURE FOR MEASURE (Shakespeare) A DOLLS HOUSE (Ibsen) ROMEO AND JULIET (Shakespeare) Details of each follow:- MEISNER TECHNIQUE (Monday evenings from May 10th. 6-10pm)(2 spaces left) There is no obligation to attend more than one workshop. £20 for first Meisner session, £10 subsequently. The first hour, from 6pm, will be for those new to the technique, joined at 7pm (or before) by any who have attended before. Many small groups in London are working on the 'Meisner' acting technique. I will clarify how everyone who uses the method can apply it to scripts, and not merely indulge their emotions! My thirty years in the business have included 7 years of 'Meisner' training. Used by actors from Streep to Pacino, from Stone to De Niro, it is NOT the answer to all acting problems, but should be known by all actors as a brilliant way to sort out most problems. - Amongst other things it will certainly stop you from ever having a problem with fellow-actors again! (Do you imagine de Niro worries if a boring actress opposite him has only got her role because she was once Miss Finland? - No!- He gets on with it - using Meisner techniques to do so! On your first visit you will receive a crash-course on enough secrets of the method to use them, and if you want to keep to your own approach and never attend a second Meisner workshop you will still have added something vital to your other skills. Film camera will be available. Note that I do not expect people at other workshops to be interested in the Meisner approach at all. It is only one way of dealing with problems. You can come to as many evenings as you want, or as few. Phone to book on 0207 267 2759 or 07956 94 04 53 or e-mail jc@actorclub.fsnet.co.uk Sat.May.8. SPRING AWAKENING (3 spaces left) The utterly astonishing play about teenage sexuality (the parts are usually played by actors and actresses aged 18 to 45), originally written without a hope of being performed as it is so amazingly daring. Wedekind's play will be worked on in the famous translation by Ted Hughes. It includes quite stunning scenes and speeches for auditions. Scripts loaned, included in cost. Sun.May.9. MEASURE FOR MEASURE (2 spaces left) One of Shakespeare's most performed plays in the reps and on tour, it has one of his greatest villains, Angelo, and one of his greatest heroines, Isabella, and should be known by all. As usual we will take 3 scenes to suit those attending and work on them in as many ways as possible. Sat.May.15. A DOLLS HOUSE. Ibsen's most famous play, with stunning parts for male and female, young and middle-aged. It has great audition speeches, fantastic scenes for showcases, and is the key to all the rest of Ibsen's work. Copies loaned on the day of Meyer's translation so that we can all work from the same one. Sun.May.16. ROMEO AND JULIET. Shakespeare's most famous play, with parts for males and females of ALL ages (actresses might note that a current production has just cast a female as Mercutio), it should be known in detail by all serious actors. As usual we will take 3 scenes chosen to suit those attending and explore them in as many ways as requested. Book workshops direct at bookings@actorclub.fsnet.co.uk or phone 0207 267 2759 / 07956 940453 Best wishes as always, John C -------------------------------------------- WHAT'S ON...WHAT'S ON...WHAT'S ON... -------------------------------------------- That's Entertainment There's something for everyone when Banbury Operatic Society joins with Hook Norton Silver Band to present That's Entertainment! - a musical romp from Disney to Verdi, via Berlin and Chicago. For two nights only, 25th and 26th June 2004, 7.30pm at Marlborough Road Methodist Church, Marlborough Road, Banbury. All tickets £8. Contact Hoods The Banbury Ironmongers - 01295 262875 for tickets. www.communigate.co.uk/oxford/box -------------------------------------------- REVIEWS....REVIEWS....REVIEWS....REVIEWS.... -------------------------------------------- PLAY WITHOUT WORDS NEW VICTORIA THEATRE WOKING Until Saturday 8th May Some tickets still available. Box Office: 01483 545900 THEN ON TOUR "I want to see that in triplicate!" not the cry of some nameless bureaucrat but the dance form in this outstanding production. Everything in this production works together and it is truly a collaborative work. Matthew Bourne takes his themes from the 60?s film of ?The Servant? with undertones of other works from that era. The jazz theme written by Terry Davies allows us to feel the mood and the costumes are evocative and work well as we get to know the triplicate characters. The set, like the dancers, also moves in time with the music! Those of you who want to see how to tell a story through movement need look no further because this piece is so accessible. The intricate juxtaposition of each of the triples and the small variations that each makes leads to three story lines running concurrently but every so often just two or perhaps one is left on stage as a focal point of the story. There is wit and humour as well as sleaze and sensuousness portrayed in just the right mix. The energy that this company gives brings this story to life. You have probably guessed by now that I rate this production highly. It is clever, interesting, imaginative and makes you think. PS Carrie sat through a whole evening of dance so they must be doing something right! Mike Eden ------------- 84 CHARING CROSS ROAD Richmond Theatre Box office tel no 020 8940 0088 A New York writer of Polish origins develops a friendship with a bookseller from London. Following her passion for literature she orders books by post so that she can receive them from London (with its personal stamp). She keeps dreaming of travelling to London one day. As years go by, they share their feelings, whilst she struggles to become a working writer. By the end, when she has achieved her dream, the bookseller dies. Set in NY and London, the recreation of the library is very realistic and there are frequent literary references and quotes to novelists, poets, etc... i.e. John Donne :”All mankind is of one author and is one volume. When one man dies, one chapter is not torn out of the book, but translated into a better language, and every chapter must be so translated” Highly recommended for those lovers of traditional ways of communication like the post. ------ A rehearsed reading of ‘The Shape Shifter’ Written by R.L.Nesvet Directed by Kelly Wilkinson Since it’s inaugural season in 195960, which included two new plays by none other than Harold Pinter, the Hampstead Theatre has enjoyed much success. Its success is undoubtedly reliant upon its firm artistic policies, one of which quite proudly (and rightly so) claims to identify and produce important new writers. Suffice to say that the Theatre has established both a national and international reputation for the presentation of new plays. This evening’s ‘1 night only’ reading of a new play by writer R.L.Nesvet is actually its third working version though still in development. Based on a story of an actual historical figure The Shape Shifter is a piece of new writing produced by the Cheeky Maggot Theatre Company whose main aim is to produce and promote new writing. The stripped down, simple, black box of ‘The Space’ studio theatre is the venue for tonight’s reading. Apart from 7 chairs, which line the back wall and a few piles of books strewn upstage there are no other props or set. The stage is bare and empty much like a blank canvas … The actors enter and take up their seats. Stage directions are read off stage and the reading begins. The prologue commences at the end of the story whereby we’re given a post second Act climax view of the pending story. Act 1 starts by going back in time to the beginning of the story. Apart from a few scenes, which snap between the story being told (present) and the story actually happening (past) most of it evolves chronologically. We’re introduced to Barbin, a girl studying at a convent who appears to lead a perfectly ordinary life. However, as the story unfolds certain personal idiosyncrasies lead those in authority around her to question her sexuality. Step in Dr Chesnet to take a prognosis of the situation. The ensuing scenes are very cleverly orchestrated in that firstly the stage is split in two and secondly they pan back and forth at random intervals. On one side Chesnet interrogates the Convent’s abbess in order to get a clearer insight into Barbin’s personality. Whilst on the other side he systematically goes through a clinical questionnaire which is quite unique. The more Chesnet pushes for the answer he is seeking the more anxious the abbess gets and the more overwhelmed Barbin becomes. The tension becomes insurmountable and the subsequent show down is quite hysterical. The scene rests with Chesnet and Barbin where Chesnut is trying to prove a point …physically; that Barbin is indeed a boy. A compromise is reached and agreed upon, they will both ‘unveil’ themselves in front of each other in the style of a duel! Once they’ve stood back to back, taken 10 steps away from each other they will draw to show their ‘parts’! Both the tension and humor mount tantalizingly …will they, won’t they …5,4,3,2,1…lights out! I have to say that it is the most comical sequence in a tragedy that I’ve ever seen. And so with the first Act climax dissipating, Chesnet goes on to deliver his report and diagnosis whilst being underscored by Barbin praying desperately. So the ‘patient’s shape shifts’ and with Barbin’s situation exposed he is now relegated from the convent. Now alone with no food or shelter Barbin has to search for a means of supporting a new life in the outside world. Only qualified to carry out secretarial duties Barbin soon faces the dilemma of having to look for a mans work which he is only to willing to seek though he does not have the skill to take on clerical duties or indeed the strength to take on manual labor. Barbin soon discovers the struggles to survive in a ‘man’s world’. Barbin also feels that the exposure of his predicament has strained his friendship with Agathe, which leaves him completely alone. In an outburst Barbin cries “I’ll be like all the others, I’ll kill my dreams”, which succinctly portrays his inner turmoil. As Barbin’s poignant condition builds the final climax mounts and pinnacles in him taking his own life and so taking us back to the beginning (of the end). At the scene of the death Chesnet converses with a police officer whilst also relating to an apparition of the deceased Barbin. Director Kelly Wilkinson has been sensitive with the material and the actors play with the text spontaneously and naturally though they respect the context and depth of the underlying themes. No hesitations are made to expose the irony and share the humor. The play definitely has potential to go on to do well. The fact that the play deals with an uncommon subject matter certainly adds an edge. Also because it draws its sources from historical occurrences it delivers a subtext of themes which are certainly universally empathized. A thought provoking piece which challenges and makes us question our identity, dreams and sexuality both on a personal and social level. It also draws inspiration quite successfully and cleverly from Ovid’s Metamorphosis, punctuating references at pertinent moments sometimes to comical effect. As Kelly Wilkinson mentions in the program the script does not presume to answer the many questions raised, however, the strength lies in the fact that it dares to ask them. The canvas is painted with vivid, bold strokes and leaves us with a pleasing portrait. A romantic tragedy with a pinch of fantasy and a drop of humor that stands quite tall as a unique and fresh piece of new writing. A delight and certainly a play to look out for should it ever get its deserved premier.