#Julie Mclarnon

[genericamentegiuseppe]

Lankum - La Discografia (2004-2023)

Dal folk sporco e politico degli esordi, alle nebbie drone dell'ultimo esoterico album. Un racconto inaspettato.

Una delle traiettorie discografiche più inaspettate del folk contemporaneo, capace di rinnovarsi pura rimanendo ancorati alla tradizione irlandese. Complice di questo percorso incontri e influenze dalla scena irlandese e internazionale, ampliando un bagaglio culturale che nasce dall’urgenza politica militante, ma ben presto si tramuta in consapevolezza del proprio potenziale artistico. Continue…

[gatheredinamber]

I haven’t watched this yet, and, off the top of my head, I can't remember which albums were recorded at Analogue Catalogue (Alasdair Roberts? Pangs?). Hopefully it’s worth a watch - the comments suggest so.

[wolfisakionwheels]

Quarantinacation Days 6-7 | Trask River State Campground | Tillamook OR

We broke down and paid to camp for our first time this year @ $71 for two nights without hookups or internet or cell service but near potable water, and we are out of water - as our dishes and pits will prove - so, Trask River it is.

The campground is operating at 25% capacity per Covid so as steep a price as it may be, the upside is we also get all the sites directly surrounding ours, which suits our quarantine purposes nicely.

It’s a Buy-One-Get-Five-Free Covid Camping Flash Sale.

Come on down and get one while you can!*

*Global Pandemic patrons need only to apply.

There’s a cute river running nearby, just a short walk down a trail or a shorter slide down a bankside. P-noch and the boys spent the afternoon down there swimming and skipping rocks and eating potato chips while I laid around here, dozing in and out of consciousness, nursing my concussion and a testy bout of whiplash.

P-noch is sitting by the campfire reading his latest issue of Tape Op magazine and getting to the part of an article where the interviewer is asking Julie McLarnon (The Sundays) about why she’d never got into drugs, and she explains that she watched her bandmates go so crazy on them that it was pretty easy for her to stay far away. He’s reading parts of the interview out loud to me and then turning the page and laughing a little bit because drug addled musicians are funny when your wife isn’t currently suffering a brain hemorrhage.

There are approximately two dozen boulders dotting the edge of our campsite that serve as a perimeter to designate one site from another. Last night after maybe one too many glasses of wine I made the fateful decision to join the boys in their innocent play of boulder hopping, but, due to a fiercely competitive nature and (debatably) a bit of liquid courage, I added a twist of having “The Ultimate Rock Warrior Battle” (Dun dun dunnn) wherein two people meet upon the same rock and then must battle to get their opponent to jump or fall off (super dumb, I know this now). Anyway, when Oscar and I met on this fateful rock he gave me a decent shove right out of the gate - just as I’d always shown him to do if he were ever in the position where he needed to give someone a good first shove - and I quickly lost my balance and fell backward, making him the Ultimate Rock Warrior.

Except it didn’t exactly end there.

As I came falling down off that rock - only the single image etched in my mind of Oscar's and my eyes locking in mutual terror as I began my backwards descent - there, then, suddenly out of nowhere appeared another smaller, but very mighty boulder. A boulder that seemed randomly positioned and out of line with all of the others, which we hadn’t noticed before it lined up just perfectly with my head at this exact moment in time.

I managed to catch the brunt of my fall with my right elbow before cracking my cerebellum right on the tip pointiest top of that big dumb rock, making a sound that I couldn’t hear in the context of my life flashing before my eyes, but that P-noch now demonstrates (probably more often than necessary) by walking around aimlessly bashing an empty propane canister on various hard surfaces in and around the motorhome to really drive home the ominous sound his wife’s head made as he watched it slam against a massive rock.

He’s been doing that a lot, ever since the incident. If I happen to cross his eye-line it’s as if it all comes swooshing back to him again. And at first it seems like he’s mostly talking to himself but then like some sort of war vet reliving his onset of PTSD he’ll suddenly jolt forward in his folding chair and frantically start searching for something hard within reach that he can bash into something else, forever searching for the best skull cracking sound effects.

Immediately following my big fall, I sort of rolled off the rock sideways and landed on my right side tucked into the fetal position with my faded red sundress splayed all around me. That probably makes it sound cuter than it was. I’m sure it looked more like a middle-aged, semi-conscious chud having a stroke.

I was somewhat lucid but didn’t yet know the extent of my injuries by the time my family gathered around getting their worried little hands all over me. I could hear P-noch charging orders at Oscar to run across the street to the day use booth and find someone with a landline to call 911. He sounded really cloudy and far off in the arcane distance, even though I could feel him standing right there above me. And then I could hear my own voice saying “I’m ok... I’m ok,” even though I didn’t know yet if that were true.

I knew, at least, that they shouldn’t try to move me before I could register some movement in my extremities, but the more I thought of it the less my body cooperated. Plus, poor Oscar. I knew his panic level was about to go through the friggin roof and he would blame himself for all of it and I desperately needed to give him a sign that I wasn’t going to die.

And then a finger twitched upward. I kept my eyes pressed closed because I was too scared to open them and see the fear in my family’s eyes. I could hear a voice that sounded like mine saying, “don’t touch me, I’m okay, please don’t touch me,” and the more I heard it the more I believed it. Then the voice started coming back into my own throat again and within just a few more minutes (though P-noch will argue it was closer to thirty more minutes) I was mildly mobile again, making my unsteady, zig-zaggy passage back to the RV. Just inside the door I collapsed on the floor and burst into tears and thanked God for my life, making a million promises to never drink again… In case that still held any leverage after my twenties.

I have a concussion and a wicked case of whiplash, but, most likely not a TBI. So, who’s the real winner, right Oscar? WHO’S THE ULTIMATE ROCK WARRIOR NOW?

8.15.2021

Gerty points at the rock. Thee... Rock...

[wookalily]

Turnip for the Wooks

Turnip for the Wooks

Disclaimer: Contains copious amounts of bodily functions and fluids.  Proceed with caution.

Once upon a time, a long time ago, a couple of years, give or take a month here, 4 weeks there, 28-30 days here, 730 hours there…I, myself, me, a lowly turnip named ‘Neep’ nestled in the soil in a garden lawn out in the yonder regions of Carryduff.  Life was good and it wasn’t bad until that fateful…

[findasongblog]

Find A Song about reflection on how short life really is and the need for reconcilation before it's too late

Ummagma - High Day

Indie pop electronic rock duo Ummagma has announced their new album 'Compass', to be released on July 26 via Manchester-based label Leonard Skully Records. Their third long-play, this is the duo's first album in seven years and also the first time the band is releasing a record on vinyl. Ahead of this album, they present the 'High Day' single, a song about reflection on how short life really is and the need for reconcilation before it's too late.

"High Day was inspired by a stupid argument we had as a couple. I don't even recall what it was about, but it was frivolous and I conscientiously chose to stay mad at Alex for a few days, carrying around this negativity with me. As we sat in separate towns, it dawned on me that it could be that way - we could be separated permanently - if we don't just learn to let go of what is not important. I wrote this song and sang it to him. We got past our pride really soon and moved on. Music can be such a healing force," says Shauna McLarnon. (press release)

[richardvarey]

Watch "The Psychology of Analogue" on YouTube

Watch “The Psychology of Analogue” on YouTube

Recording engineer and producer Julie McLarnon records entirely on analogue tape.

[broadsblog]

Field Theory

So, our new album ‘Field Theory’ is 4 days away from release.  We’re really, really proud of it, and now seems like a decent time to reflect on the process that’s brought it so close to fruition.  Mark and I have learned so much from the multitude of people that have been involved in making this happen, and the first thing to acknowledge is that we would never have got to be involved with such a brilliant group of enthusiastic, talented and professional people were it not for the backing of Arts Council England and Norwich Arts Centre - their financial backing and support/advice along the way have been completely transformative to Field Theory as a record, and to us as a band.  So thank you and much love to them.

There was always going to be a fourth LP, but being convinced by Pasco at NAC to apply for Arts Council funding focussed us on producing something much more ambitious than we’d done previously.  The funding application process was mostly fairly simple, though the constant drafting and re-drafting of the application and budget section under Pasco (and Rosie)’s guidance was an incredibly helpful journey in itself - helping us to narrow down our ideas to what would really help us to grow the record the way we wanted to. 

So, the writing phase went pretty smoothly... coming up with a set of songs that we were really excited about (including a few that didn’t make the final cut) by around May 2017, and it was an absolute privilege to spend 4 days at The Sickroom with Owen Turner in July recording overdubs (and ‘The Lecht’ almost in its entirety).  We drafted in some folks we’d worked with before (Joe Bear and Milly Hirst) as well as a few we hadn’t (Stacy Gow, Connie Chatwin and Fifi Homan) and got to feel like a proper proper band spending a whole day with ‘our’ string section.  It was incredible to see how committed to and excited about the album everyone was, and I honestly couldn’t wish to have worked with lovelier and more talented musicians (extra props to FMSAO for his remote contributions from Krasnodar on ‘Lund’).  Mixing was spread over another 6 days or so, and left mostly in Owen’s hands - we popped in a few times to suggest ridiculous things and help ourselves to tea, but the transformation from home-recordings-with-nicely-miked-extra-bits to fully-fledged pieces was all his work.  We’ve worked with OT for something like 18 years with various bands, and he’s as laid back, patient and innovative as ever.  The Sickroom remains one of my very favourite places in the whole world.

Mastering remains a process of some mystery, but Eric James at Philosopher’s Barn in Norfolk was consistently enthusiastic about the album, and made sure we were kept updated about the process.  Even if we still don’t fully understand what he did, the extra push that he gave the album was sensitive but really powerful.  

We pressed the album through a company called Mobineko - we dealt with them entirely online which could have been weird, but it ended up being easy, efficient and friendly - there was a bit of stress about getting the artwork all formatted properly before our self-imposed deadline, but once that hurdle was crossed we just had to sit and wait for the boxes to arrive.  And arrive they did, ahead of time and looking/sounding great.  That moment of tearing open the first box of vinyl will live long in the memory - despite having been in bands for over 20 years, Field Theory is my first 12″ record - so pleased with the way it came out.

On the subject of artwork, we approached Paul Escott (aka Pushkin) after seeing his collage work on Instagram... He put so much thought, time and skill into coming up with designs for us, which were nothing like what we’d imagined at the outset, but suit the mood of the album perfectly.  He also has a knack for getting me unreasonably drunk (usually at Norwich Playhouse), which I count as a positive.  We also used one of Tristan Holden’s wonderful photos for the inner sleeve.  Alongside Paul’s artwork, we also commissioned local animator Tara Jane Peak to create a video for ‘Climbs’... technical issues played havoc with timescales but what the hell.  it’s mostly done and looking brilliant - really can’t wait to see the finished video and share it with the world (hopefully in advance of the album release!).  Again, she’s been brilliant to work with - something which we would never have been able to do without ACE and NAC backing us.

T-Shirts and hand-screened posters were printed at Print To The People in Norwich by Jo Stafford (with a little help from Leo).  She’s utterly magical too.  Great to learn a bit about the screen printing process works and see things coming together, layer by layer.

We’ve leant on Shauna McLarnon and her PR outfit Shameless Promotion to get the word out about all of our happenings - again the first time that we’ve had the budget to get someone external to look after this side of things.  Despite initial reservations about putting Field Theory in the hands of someone based so far away geographically, She’s done an amazing job of spreading us all over the internet, and getting ‘Climbs’ and ‘Let Me Take It From Here’ radio play across the globe - including stations in The Maldives, Nepal, Belize, Finland, Columbia... would not hesitate to recommend her to any bands looking for a pofessional, friendly and effective PR service.  Together with the sterling work of Shellshock distribution (who have been equally enthusiastic about the record), Shauna has made sure that we’re pretty much in all of the faces, everywhere.

So now onto the Launch show... as I write it’s 3 days away, and learning/re-learning the songs in a format that we can play live has been a joy.  a stressful joy at times, but a joy nonetheless.  We’ve pushed the boat out and invited Stacy, Joe, Milly and our dear friend Christian from EPIA to help us out on various tracks, and rehearsing with those guys has been brilliant.  Really can’t wait to get on stage and hit that first scene trigger.  Mark’s been working on some visuals which look incredible, and we’ve never been as prepared for a show as we are for this one.  Some of the personnel changeovers will doubtless be a bit seat-of-the-pants-ish, but we’ve got it covered.  The setlist includes 8 songs from Field Theory (’Habitats’, ‘Mixed-Ability Sequencing’ and ‘Built Calypso’ just weren’t working), as well as some older stuff - including a live debut for an EISNIAIC track.  Hoping that the whole thing will shimmer appropriately. 

Thanks for being a part of the journey. 

[awardseasonblog]

Annunciate le nominations ai British Independent Film Awards, annualmente assegnati con lo scopo di celebrare i migliori talenti del cinema indipendente britannico.

Nella storia di questo premio, giunto alla sua 20 esima edizione, solo 2 volte il vincitore del Miglior Film ha vinto poi l’Oscar come miglior pellicola dell’anno: The Millionaire (2008) e Il discorso del Re (2009). Senza dimenticare che nell’ultima edizione il vincitore del premio come Miglior film indipendente internazionale (una sorta di miglior film straniero indipendente) lo ha vinto proprio Moonlight, replicando il successo agli Oscar. Di conseguenza anche se l’incidenza tra i due premi è piuttosto scarsa, in compenso le nomination ai BIFA ci consento di aprire un’altra finestra su quella che sarà l’Award Season che finora si è impreziosita con le nomination ai Gotham Awards e con la lista dei vincitori agli Hollywood Film Awards.

Tra i candidati della 20 edizione sorprendono positivamente le 15 candidature dell’opera prima di William Oldroyd, Lady Macbeth ispirato al racconto Una Lady Macbeth del Distretto di Mcensk scritto da Nikolaj Leskov. La pellicola ha ottenuto la nomination nelle categorie (miglior film, miglior regia, miglior attrice protagonista, miglior attrice non protagonista, 2 nomination per miglior rivelazione attoriale, miglior opera prima, miglior sceneggiatura, miglio debutto sceneggiatura, miglior produzione, miglior fotografia, miglior casting, miglior costumi, miglior trucco e miglior scenografia). Seguono le 13 nomination per il film La morte di Stalin di Armando Iannucci con Steve Buscemi.

Si difende bene l’apprezzata opera di Martin McDonagh, Tre manifesti a Ebbing, Missouri che dopo aver vinto il Premio Osella all’ultimo Festival di Venezia e conquistato il premio del Pubblico al Toronto International Film Festival ha ottenuto ben 11 nomination ai BIFA nelle categorie: miglior film, miglior regia, miglior sceneggiatura, miglior attrice, 2 nomination miglior attore non protagonista, miglior fotografia, miglior casting, miglior montaggio, miglior colonna sonora, miglior suono.

Se nella categoria miglior attore il vincitore annunciato è Jamie Bell in Stars Don’t Die in Liverpool per il quale ruolo ha già vinto il prestigioso Hollywood Film Award, in quella per la miglior attrice testa a testa tra Florence Pugh per Lady Macbeth e Frances McDormand per Tre manifesti a Ebbing, Missouri, entrambi favorite per una nomination agli Oscar nella medesima categoria.

Tra i candidati al Miglior film internazionale indipendente spiccano due pellicole americane molto apprezzate in patria come The Florida Project e Get Out, che hanno infatti già conquistato rispettivamente ben 3 e 4 nomination ai Gotham Independent Film Awards. Con questa categoria inizia anche l’ascesa del film The Square di Ruben Ostlund, già vincitore della Palma d’oro all’ultimo Festival di Cannes e dato come favorito per una nomination agli Oscar nella categoria miglior film straniero

Ecco la lista di tutti i nominati ai British Independent Film Awards:

MIGLIOR FILM INDIPENDENTE BRITANNICO

THE DEATH OF STALIN Armando Iannucci, David Schneider, Ian Martin, Yann Zenou, Kevin Loader, Nicolas Duval Adassovsky, Laurent Zeitoun

GOD’S OWN COUNTRY Francis Lee, Jack Tarling, Manon Ardisson

I AM NOT A WITCH Rungano Nyoni, Juliette Grandmont, Emily Morgan

LADY MACBETH William Oldroyd, Alice Birch, Fodhla Cronin O’Reilly

THREE BILLBOARDS OUTSIDE EBBING, MISSOURI Martin McDonagh, Graham Broadbent, Pete Czernin

Best International Independent

THE FLORIDA PROJECT Sean Baker, Chris Bergoch, Kevin Chinoy, Andrew Duncan, Alex Saks, Francesca Silvestri, Shih-Ching Tsou

GET OUT Jordan Peele, Jason Blum, Edward H Hamm Jr, Sean McKittrick

I AM NOT YOUR NEGRO Raoul Peck, James Baldwin, Hébert Peck, Rémi Grellety

LOVELESS Andrey Zvyaginstev, Oleg Negin, Gleb Fetisov, Sergey Melkumov, Alexander Rodnyansky

THE SQUARE Ruben Östlund, Erik Hemmendorff

Best Director

ARMANDO IANNUCCI The Death of Stalin

FRANCIS LEE God’s Own Country

MARTIN McDONAGH Three Billboards Outside Ebbing, Missouri

RUNGANO NYONI I Am Not a Witch

WILLIAM OLDROYD Lady Macbeth

Best Screenplay 

ALICE BIRCH Lady Macbeth

ARMANDO IANNUCCI, DAVID SCHNEIDER, IAN MARTIN The Death of Stalin

FRANCIS LEE God’s Own Country

MARTIN McDONAGH Three Billboards Outside Ebbing, Missouri

RUNGANO NYONI I Am Not a Witch

Best Actress 

EMILY BEECHAM Daphne

FRANCES McDORMAND Three Billboards Outside Ebbing, Missouri

MARGARET MULUBWA I Am Not a Witch

FLORENCE PUGH Lady Macbeth

RUTH WILSON Dark River

Best Actor

JAMIE BELL Film Stars Don’t Die in Liverpool

PADDY CONSIDINE Journeyman

JOHNNY HARRIS Jawbone

JOSH O’CONNOR God’s Own Country

ALEC SECAREANU God’s Own Country

Best Supporting Actress

NAOMI ACKIE Lady Macbeth

PATRICIA CLARKSON The Party

KELLY MACDONALD Goodbye Christopher Robin

ANDREA RISEBOROUGH The Death of Stalin

JULIE WALTERS Film Stars Don’t Die in Liverpool

Best Supporting Actor

SIMON RUSSELL BEALE The Death of Stalin

STEVE BUSCEMI The Death of Stalin

WOODY HARRELSON Three Billboards Outside Ebbing, Missouri

IAN HART God’s Own Country

SAM ROCKWELL Three Billboards Outside Ebbing, Missouri

Most Promising Newcomer 

NAOMI ACKIE Lady Macbeth

HARRY GILBY Just Charlie

COSMO JARVIS Lady Macbeth

HARRY MICHELL Chubby Funny

LILY NEWMARK Pin Cushion

The Douglas Hickox Award (Best Debut Director)

DEBORAH HAYWOOD Pin Cushion

FRANCIS LEE God’s Own Country

THOMAS NAPPER Jawbone

RUNGANO NYONI I Am Not a Witch

WILLIAM OLDROYD Lady Macbeth

Debut Screenwriter

ALICE BIRCH Lady Macbeth

GABY CHIAPPE Their Finest

JOHNNY HARRIS Jawbone

FRANCIS LEE God’s Own Country

RUNGANO NYONI I Am Not a Witch

Breakthrough Producer 

GAVIN HUMPHRIES Pin Cushion

EMILY MORGAN I Am Not a Witch

BRENDAN MULLIN, KATY JACKSON Bad Day for the Cut

FODHLA CRONIN O’REILLY Lady Macbeth

JACK TARLING, MANON ARDISSON God’s Own Country

The Discovery Award 

EVEN WHEN I FALL Sky Neal, Kate McLarnon, Elhum Shakerifar

HALFWAY Ben Caird, Jonny Paterson

IN ANOTHER LIFE Jason Wingard, Hannah Stevenson, Rebecca Clare Evans

ISOLANI R Paul Wilson, Lisa Hague

MY PURE LAND Sarmad Masud, Bill Kenwright

Best Documentary

ALMOST HEAVEN Carol Salter

HALF WAY Daisy-May Hudson

KINGDOM OF US Lucy Cohen, Julia Nottingham, Lucas Ochoa, Thomas Benski, Bill Rudgard

UNCLE HOWARD Aaron Brookner, Paula Vaccaro

WILLIAMS Morgan Matthews, Hayley Reynolds, Sarah Hamilton

Best British Short Film 

1745 Gordon Napier, Morayo Akandé, John McKay

FISH STORY Charlie Lyne, Catherine Bray, Anthony Ing

THE ENTERTAINER Jonathan Schey, Jodie Brown, Jun Bung Lee

WORK Aneil Karia, Scott O’Donnell

WREN BOYS Harry Lighton, John Fitzpatrick, Sorcha Bacon

Best Cinematography 

BEN DAVIS Three Billboards Outside Ebbing, Missouri

DAVID GALLEGO I Am Not a Witch

TAT RADCLIFFE Jawbone

THOMAS RIEDELSHEIMER Leaning Into the Wind

ARI WEGNER Lady Macbeth

Best Casting

SHAHEEN BAIG Lady Macbeth

SHAHEEN BAIG, LAYLA MERRICK-WOLF God’s Own Country

SARAH CROWE The Death of Stalin

SARAH HALLEY FINN Three Billboards Outside Ebbing, Missouri

DEBBIE McWILLIAMS Film Stars Don’t Die in Liverpool

Best Costume Design

DINAH COLLIN My Cousin Rachel

SUZIE HARMAN The Death of Stalin

SANDY POWELL How to Talk to Girls at Parties

HOLLY REBECCA I Am Not a Witch

HOLLY WADDINGTON Lady Macbeth

Best Editing

JOHNNY BURKE Williams

DAVID CHARAP Jawbone

JON GREGORY Three Billboards Outside Ebbing, Missouri

PETER LAMBERT The Death of Stalin

JOE MARTIN Us and Them

Best Effects

NICK ALLDER, BEN WHITE The Ritual

LUKE DODD Journeyman

EFFECTS TEAM The Death of Stalin

DAN MARTIN Double Date

CHRIS REYNOLDS Their Finest

Best Make Up & Hair Design

JULENE PATON I Am Not a Witch

JAN SEWELL Breathe

NADIA STACEY Journeyman

NICOLE STAFFORD The Death of Stalin

SIAN WILSON Lady Macbeth

Best Music

CARTER BURWELL Three Billboards Outside Ebbing, Missouri

FRED FRITH Leaning into the Wind

MATT KELLY I Am Not a Witch

PAUL WELLER Jawbone

CHRISTOPHER WILLIS The Death of Stalin

Best Production Design

JACQUELINE ABRAHAMS Lady Macbeth

CRISTINA CASALI The Death of Stalin

JAMES MERIFIELD Final Portrait

NATHAN PARKER I Am Not a Witch

EVE STEWART Film Stars Don’t Die in Liverpool

Best Sound

ANNA BERTMARK God’s Own Country

MAIKEN HANSEN I Am Not a Witch

ANDY SHELLEY, STEVE GRIFFITHS Jawbone

JOAKIM SUNDSTRÖM Three Billboards Outside Ebbing, Missouri

SOUND TEAM Breathe

Ai British Independent Film Awards, Lady Macbeth conquista 15 nomination #BIFA #LadyMacbeth Annunciate le nominations ai British Independent Film Awards, annualmente assegnati con lo scopo di celebrare i migliori talenti del cinema indipendente britannico.

[londontheatre]

Tickets go on sale for Rufus Norris’ Macbeth, with Rory Kinnear and Anne-Marie Duff, part of the Travelex Season with thousands of tickets available at £15

Cast announced for world premiere of The Great Wave, a co-production with the Tricycle Theatre, directed by Indhu Rubasingham

Full cast announced for UK premiere of Annie Baker’s John, directed by James Macdonald

30 years after the play’s rediscovery, Absolute Hell returns to the National in a new production directed by Joe Hill-Gibbins

Further cast announced for the revival of Amadeus

Tickets on sale for Justin Audibert’s new production of The Winter’s Tale for primary schools

National Theatre Jan 2015 – photo by Philip Vile

Olivier Theatre MACBETH by William Shakespeare Previews from 26 February, press night 6 March, on sale until 12 May with further performances to be announced The ruined aftermath of a bloody civil war. Ruthlessly fighting to survive, the Macbeths are propelled towards the crown by forces of elemental darkness. Shakespeare’s most intense and terrifying tragedy is directed by Rufus Norris 25 years after his last Shakespeare production. Rory Kinnear and Anne-Marie Duff play Macbeth and Lady Macbeth. Set design by Rae Smith, costume design by Moritz Junge, lighting design by James Farncombe and sound design by Paul Arditti. Hundreds of Travelex tickets available for every performance at £15. Broadcast live as part of NT Live to cinemas worldwide on 10 May.

Lyttelton Theatre ABSOLUTE HELL by Rodney Ackland Previews from 18 April, press night 25 April, on sale until 23 May with further performances to be announced Bomb-blasted London. A Soho den in the hangover from World War II, where members drink into the darkness, night after night. Lying, fighting and seducing, these lost souls and bruised lovers struggle from the rubble of war towards an unknown future. Rodney Ackland’s extraordinarily provocative play was condemned as ‘a libel on the British people’ when first performed in 1952. Now it emerges as an intoxicating plunge into post-war Soho; full of despair and longing. Joe Hill-Gibbins returns to the NT to direct a large ensemble in this new production. Set design by Lizzie Clachan, with costumes designed by Nicky Gillibrand, lighting by Jon Clark, movement by Jenny Ogilvie, sound by Paul Arditti and the music director is Harvey Brough.

Dorfman Theatre JOHN by Annie Baker Previews from 17 January, press night 24 January in repertoire until 3 March The week after Thanksgiving. A bed and breakfast in Gettysburg, Pennsylvania. A cheerful host welcomes a young couple struggling to salvage their relationship, while thousands of inanimate objects look on. An uncanny new play by Annie Baker, whose Pulitzer Prize-winning The Flick had a sold-out run at the National in 2016. James Macdonald directs the European premiere. Full cast includes Marylouise Burke, Tom Mothersdale, Anneika Rose and June Watson. Design by Chloe Lamford, lighting design by Peter Mumford and sound design by Christopher Shutt. Marylouise Burke is appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange programme between American Equity and UK Equity. New American Work programme supported by The Harold & Mimi Steinberg Charitable Trust, Lawton W Fitt & James I McLaren Foundation, Kathleen J Yoh and Time Warner Foundation, Inc.

THE GREAT WAVE a new play by Francis Turnly a co-production with the Tricycle Theatre Previews from 10 March, press night 19 March, playing until 14 April On a Japanese beach, teenage sisters Hanako and Reiko are caught up in a storm. Reiko survives while Hanako is lost to the sea. Their mother, however, can’t shake the feeling that her missing daughter is still alive, and soon family tragedy takes on a global political dimension. Set in Japan and North Korea, Francis Turnly’s epic new thriller is directed by Artistic Director of the Tricycle Theatre Indhu Rubasingham in a co-production with the Tricycle Theatre. Cast includes Kae Alexander, Rosalind Chao, Tuyen Do, Vincent Lai, Kwong Loke, Frances Mayli McCann, Kirsty Rider, Leo Wan and David Yip. Design by Tom Piper, video design by Luke Halls, lighting design by Oliver Fenwick, music by David Shrubsole, sound design by Alex Caplen, movement direction by Polly Bennett and fight direction by Kev McCurdy. Rosalind Chao is appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange programme between American Equity and UK Equity.

NINE NIGHT a new play by Natasha Gordon Previews from 21 April, press night 30 April, playing until 25 May Gloria is gravely sick. When her time comes, the celebration begins; the traditional Jamaican Nine Night Wake. But for Gloria’s children and grandchildren, marking her death with a party that lasts over a week is a test. Nine nights of music, food, sharing stories – and an endless parade of mourners. Natasha Gordon’s debut play Nine Night is a touching and very funny exploration of the rituals of family. Roy Alexander Weise directs a cast including Franc Ashman, Oliver Alvin-Wilson, Rebekah Murrell and Cecilia Noble, with further casting to be announced. Design by Rajha Shakiry. Unallocated seating now available, more tickets released in January. New productions on sale to public from 21 November Updates on productions currently on sale Olivier theatre

FOLLIES, book by James Goldman, music and lyrics by Stephen Sondheim In the repertoire until 3 January 2018 New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Including such classic songs as ‘Broadway Baby’, ‘I’m Still Here’ and ‘Losing My Mind’, Stephen Sondheim’s legendary musical is staged for the first time at the NT. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, the production is directed by Dominic Cooke (Ma Rainey’s Black Bottom).

The cast includes Julie Armstrong, Norma Atallah, Josephine Barstow, Jeremy Batt, Tracie Bennett, Di Botcher, Billy Boyle, Janie Dee, Anouska Eaton, Liz Ewing, Geraldine Fitzgerald, Peter Forbes, Emily Goodenough, Bruce Graham, Adrian Grove, Fred Haig, Aimee Hodnett, Dawn Hope, Liz Izen, Alison Langer, Emily Langham, Sarah-Marie Maxwell, Ian McLarnon, Leisha Mollyneaux, Gemma Page, Kate Parr, Philip Quast, Edwin Ray, Gary Raymond, Adam Rhys-Charles, Jordan Shaw, Imelda Staunton, Zizi Strallen, Barnaby Thompson, Christine Tucker, Michael Vinsen and Alex Young.

Design by Vicki Mortimer, choreography by Bill Deamer, music supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, additional orchestrations by Josh Clayton, music director Nigel Lilley, lighting design by Paule Constable and sound design by Paul Groothuis. Follies is sold out but tickets are available via Friday Rush, Day Tickets and possible returns. Follies is supported by Swarovski and by the Follies production syndicate. Broadcast Live to cinemas worldwide on 16 November.

SAINT GEORGE AND THE DRAGON a new play by Rory Mullarkey In the repertoire until 2 December A village. A dragon. A damsel in distress. Into the story walks George: wandering knight, freedom fighter, enemy of tyrants the world over. One epic battle later and a nation is born. As the village grows into a town, and the town into a city, the myth of Saint George, which once brought a people together, threatens to divide them. John Heffernan plays Saint George with Julian Bleach as the Dragon. The cast also includes Suzanne Ahmet, Jason Barnett, Luke Brady, Paul Brennen, Joe Caffrey, Paul Cawley, Richard Goulding, Gawn Grainger, Tamzin Griffin, Ravel Guzman, Stephanie Jacob, Lewin Lloyd, Olwen May, Victoria Moseley, Conor Neaves, Amaka Okafor, Sharita Oomeer, Jeff Rawle, Kirsty Rider and Grace Saif.

Rory Mullarkey creates a new folk tale for an uneasy nation. Directed by Lyndsey Turner (Chimerica, Light Shining in Buckinghamshire), with design by Rae Smith, choreography by Lynne Page, lighting design by Bruno Poet, music by Grant Olding, sound design by Christopher Shutt, projection design by Betsy Dadd and fight direction by Bret Yount. Hundreds of Travelex tickets at £15 available per performance. This play is a recipient of an Edgerton Foundation New Plays Award.

AMADEUS by Peter Shaffer Previews from 11 January, press night 18 January, playing until 24 April Following a sell-out run last year, Amadeus returns to the Olivier in 2018. Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy it. Seized by obsessive jealousy he begins a war with Mozart, with music and, ultimately, with God. Michael Longhurst’s acclaimed production of Peter Shaffer’s iconic play features live orchestral accompaniment by Southbank Sinfonia. Adam Gillen and Lucian Msamati reprise the roles of Mozart and Salieri. Cast also includes Sarah Amankwah, Fleur de Bray, Wendy Dawn Thompson, Nicholas Gerard-Martin, Christopher Godwin, Matthew Hargreaves, Adelle Leonce, Michael Lyle, Andrew Macbean, Alexandra Mathie, Eamonn Mulhall, Ekow Quartey, Hugh Sachs, Matthew Spencer, Everal A Walsh and Peter Willcock. Amadeus is directed by Michael Longhurst with design by Chloe Lamford, music direction and additional music by Simon Slater, choreography by Imogen Knight, lighting design by Jon Clark and sound design by Paul Arditti. Amadeus is produced in association with Southbank Sinfonia, and supported by the Amadeus production syndicate.

Lyttelton NETWORK, adapted by Lee Hall, based on the Paddy Chayefsky film Previews from 4 November, press night 13 November, continuing in the repertoire until 24 March Howard Beale, news anchor-man, isn’t pulling in the viewers. In his final broadcast he unravels live on screen. But when the ratings soar, the network seizes on their new found populist prophet, and Howard becomes the biggest thing on TV. Network depicts a dystopian media landscape where opinion trumps fact. Hilarious and horrifying by turns, the iconic film by Paddy Chayefsky won four Academy Awards in 1976. Now, Lee Hall (Billy Elliot, Our Ladies of Perpetual Succour) and director Ivo van Hove (Hedda Gabler) bring Chayefsky’s masterwork to the stage for the first time, with Bryan Cranston (All the Way, for which he won the Tony for Best Actor, Breaking Bad and Trumbo for which he was nominated for an Oscar) in the role of Howard Beale.

The cast also includes Charles Babalola, Tobi Bamtefa, Ed Begley, Alex Bonney, Tom Challenger, Richard Cordery, Isabel Della-Porta, Michelle Dockery, Kit Downes, Ian Drysdale, Michael Elwyn, Caroline Faber, Robert Gilbert, Pete Harden, Douglas Henshall, Tom Hodgkins, Tunji Kasim, Andrew Lewis, Beverley Longhurst, Evan Milton, Stuart Nunn, Rebecca Omogbehin, Patrick Poletti, Danny Szam, Paksie Vernon and Matthew Wright. Set and lighting design by Jan Versweyveld, video design by Tal Yarden, costume design by An D’Huys, music and sound by Eric Sleichim and creative associate Krystian Lada.

A very limited number of additional on-stage seats are now available for Foodwork – an immersive on-stage dining experience.

Network is produced in association with Patrick Myles, David Luff, Ros Povey and Lee Menzies. Production supported by Marcia Grand in memory of Richard Grand and by Kors Le Pere Theatricals LLC

PINOCCHIO by Dennis Kelly, adapted by Martin Lowe With songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J Smith Previews from 1 December, press night 13 December, on sale until 7 April On a quest to be truly alive, Pinocchio leaves Geppetto’s workshop with Jiminy Cricket in tow. Their electrifying adventure takes them from alpine forests to Pleasure Island to the bottom of the ocean. This spectacular new production brings together the director of Harry Potter and the Cursed Child and the writer of Matilda the Musical.

For the first time on stage, featuring unforgettable music and songs from the Walt Disney film including ‘I’ve Got No Strings’, ‘Give a Little Whistle’ and ‘When You Wish upon a Star’ in dazzling new arrangements, Pinocchio comes to life as never before.

Cast includes Joe Idris-Roberts (Pinocchio), Audrey Brisson (Jiminy Cricket), Annette McLaughlin (Blue Lady), Mark Hadfield (Gepetto), David Langham (The Fox), David Kirkbride (Coachman), Dawn Sievewright (Lampy), Gershwyn Eustache Jnr (Stromboli), together with Stuart Angell, Trieve Blackwood-Cambridge, Stephanie Bron, James Charlton, Rebecca Jayne-Davies, Sarah Kameela Impey, Anabel Kutay, Michael Lin, Jack North, Clemmie Sveaas, Michael Taibi, Scarlet Wilderink and Jack Wolfe.

John Tiffany directs Pinocchio by Dennis Kelly, with songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J Smith newly adapted by Martin Lowe. Design and puppet co-design by Bob Crowley, lighting design by Paule Constable, music supervision and orchestrations by Martin Lowe, music direction by Tom Brady, movement direction by Steven Hoggett, puppetry and puppet co-design by Toby Olié, sound design by Simon Baker and illusions by Jamie Harrison.

Half-price tickets for under-18s are available for all performances (excluding £15 tickets). There will be a relaxed performance of Pinocchio on 17 March at 1.30pm Presented by special arrangement with Disney Theatrical Productions. Sponsored by American Express.

Dorfman Theatre BEGINNING a new play by David Eldridge Playing until 14 November It’s the early hours of the morning and Danny’s the last straggler at Laura’s party. The flat’s in a mess. And so are they. One more drink? Polly Findlay directs this new play by David Eldridge (Market Boy, Under the Blue Sky, In Basildon). Tender and funny, it’s an intimate look at the first fragile moments of risking your heart and taking a chance. Justine Mitchell plays Laura, Sam Troughton plays Danny. Design by Fly Davis, lighting design by Jack Knowles, sound design by Paul Arditti and movement direction by Naomi Said.

BARBER SHOP CHRONICLES by Inua Ellams a co-production with Fuel and West Yorkshire Playhouse Previews from 20 November, playing until the 9 January Following critically acclaimed seasons at the National Theatre and West Yorkshire Playhouse, Barber Shop Chronicles returns to the National Theatre this November.

Inua Ellams’ dynamic new play leaps from a barber shop in Peckham to Johannesburg, Harare, Kampala, Lagos and Accra. Newsroom, political platform, local hot spot, confession box, preacher-pulpit and football stadium. For generations, African men have gathered in barber shops to discuss the world. These are places where the banter can be barbed and the truth is always telling.

The cast includes Fisayo Akinade, Hammed Animashaun, Peter Bankolé, Maynard Eziashi, Simon Manyonda, Patrice Naiambana, Cyril Nri, Kwami Odoom, Sule Rimi, Abdul Salis, David Webber, and Anthony Welsh all returning to reprise their roles.

Directed by Bijan Sheibani, with design by Rae Smith, lighting design by Jack Knowles, movement direction by Aline David sound design by Gareth Fry, music direction by Michael Henry and fight direction by Kev McCurdy. Barber Shop Chronicles is a co-production with Fuel and West Yorkshire Playhouse. Barber Shop Chronicles is co-commissioned by Fuel and the National Theatre. Development funded by Arts Council England with the support of Fuel, National Theatre, West Yorkshire Playhouse, The Binks Trust, British Council ZA, Òran Mór and A Play, a Pie and a Pint.

At the Young Vic THE JUNGLE by Joe Murphy and Joe Robertson a Young Vic and National Theatre co-production with Good Chance Theatre, commissioned by the National Theatre Previews from 7 December, press night 15 December playing until 6 January 2018 This is the place people suffered and dreamed. Okot wants nothing more than to get to the UK. Beth, wants nothing more than to help him. Meet the hopeful, resilient residents of ‘The Jungle’ – just across the Channel, right on our doorstep. Join refugees and volunteers from around the world over fresh-baked naan and sweet milky chai at the Afghan Café.

From Good Chance Theatre, a new play where worlds collide. In the worst places, you meet the best people. The Jungle by Joe Murphy and Joe Robertson of Good Chance Theatre tells stories of loss, fear, community and hope. Europe’s largest unofficial refugee camp, the Calais ‘Jungle’ became a temporary home for more than 10,000 people at its peak – many desperate to find a way to enter the UK.

Commissioned by the NT in a co-production with the Young Vic The Jungle is directed by Stephen Daldry and Justin Martin, set design by Miriam Buether, costume design by Catherine Kodicek, sound design by Paul Arditti and lighting by Jon Clark. Opening at the Young Vic in December, cast to be announced. Generously supported by Glenn and Phyllida Earle, Clive and Sally Sherling, and The Aziz Foundation Shakespeare for younger audiences

The Winter’s Tale by William Shakespeare a new version for young audiences by Justin Audibert and the company Opening 14 February 2018 Justin Audibert directs a new production of The Winter’s Tale for primary schools and families, opening in the Dorfman theatre in February 2018 and touring to primary schools across London accompanied by a creative learning programme. This exciting new version of the play, adapted by Justin and the company, is the perfect introduction to Shakespeare for younger audiences, designed by Lucy Sierra with music by Jonathan Girling. Family workshops are available in February half-term. Supported by The Ingram Trust, Archie Sherman Charitable Trust, Behrens Foundation, Jill and David Leuw, St Olave’s Foundation Fund The National Theatre’s Partner for Learning is Bank of America Merrill Lynch.

In the West End OSLO a new play by J. T. Rogers The Lincoln Center Theatre Production at the Harold Pinter Theatre Direct from a multi-award-winning season on Broadway and a critically acclaimed, sold-out run at the National Theatre, Bartlett Sher’s production of J.T. Rogers’ gripping political thriller Oslo in now playing at the Harold Pinter Theatre until 30 December 2017.

Oslo tells the true story of how two maverick Norwegian diplomats Terje Rød-Larsen, (Toby Stephens – Black Sails, Private Lives) and Mona Juul, (Lydia Leonard – Wolf Hall, Life in Squares) planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organisation, which culminated in the signing of the historic 1993 Oslo Accords. OsloThePlay.com In association with Ambassador Theatre Group / Gavin Kalin Productions / Glass Half Full Productions. The National Theatre on tour The NT will tour to 40 venues in 36 towns and cities across the UK, for a total of 115 playing weeks, until March 2019

WAR HORSE based on the novel by Michael Morpurgo, adapted by Nick Stafford, in association with the award-winning Handspring Puppet Company. The unforgettable theatrical event based on Michael Morpurgo’s beloved novel is now on a 10th anniversary UK tour. Nick Stafford’s adaptation of this remarkable story of courage, loyalty and friendship features ground-breaking puppetry by South Africa’s Handspring Puppet Company, which brings breathing, galloping horses to life on stage. War Horse is directed by Marianne Elliott and Tom Morris, designed by Rae Smith, with puppet direction, design and fabrication by Basil Jones and Adrian Kohler for Handspring Puppet Company, lighting by Paule Constable, movement and horse choreography by Toby Sedgwick, video design by Leo Warner and Mark Grimmer for 59 Productions, songmaker John Tams, music by Adrian Sutton and sound by Christopher Shutt. Katie Henry is the revival director and Craig Leo is the associate puppetry director. The resident puppetry director is Matthew Forbes and resident director, Charlotte Peters.

For tour venues and dates, visit warhorseonstage.co.uk. War Horse in Salford and Sunderland is supported by The Garfield Weston Foundation.

HEDDA GABLER by Henrik Ibsen, in a new version by Patrick Marber Following a sold-out run at the National Theatre earlier this year, Ibsen’s Hedda Gabler, in a new version by Patrick Marber, directed by Ivo van Hove, is now touring the UK and Ireland visiting Leicester, Salford, Norwich, Hull, Aberdeen, Northampton, Glasgow, Wolverhampton, Woking, Nottingham, Newcastle-upon-Tyne, York, Milton Keynes and Dublin. Set and lighting design for Hedda Gabler is by Jan Versweyveld, with costume design by An D’Huys and sound by Tom Gibbons. The associate directors are Jeff James and Rachel Lincoln. For tour venues and dates, visit heddagableronstage.com

Hedda Gabler in Salford and Wolverhampton is supported by The Garfield Weston Foundation.

PEOPLE, PLACES & THINGS by Duncan Macmillan a co-production with Headlong Following a critically-acclaimed, sold-out season at the National Theatre and in London’s West End, People, Places & Things is now on a major UK tour for Headlong in a co-production with the National Theatre, HOME and Exeter Northcott Theatre. People, Places & Things is written by Duncan Macmillan, and directed by Jeremy Herrin with Holly Race Roughan. The play features set designs by Bunny Christie, costumes by Christina Cunningham, lighting by James Farncombe, music by Matthew Herbert, sound by Tom Gibbons and video design by Andrzej Goulding. Touring to Bristol, Exeter, Southampton, Liverpool and Cambridge for dates, visit the website.

THIS HOUSE by James Graham Jonathan Church Productions and Headlong present the National Theatre and Chichester Festival Theatre production of This House, produced in the West End by Nica Burns, Neal Street Productions and Headlong. James Graham’s smash-hit political drama examining the 1974 hung parliament tours the UK for the first time. Directed by Jeremy Herrin, the production is designed by Rae Smith, with lighting design by Paule Constable, music by Stephen Warbeck, choreography by Scott Ambler and sound by Ian Dickinson. UK tour begins in February 2018 and tours to Leeds, Cambridge, Bath, Edinburgh, Nottingham, Birmingham, Salford, Plymouth, Norwich, Malvern, Guildford and Sheffield for dates, visit the website.

International PEOPLE, PLACES & THINGS by Duncan Macmillan produced in New York by the National Theatre, St Ann’s Warehouse, Bryan Singer Productions and Headlong People, Places & Things is currently playing at St. Ann’s Warehouse in Brooklyn until 3 December following a sold-out season at the National Theatre and in London’s West End. Denise Gough reprises her Olivier award-winning role in the American premiere of People, Places & Things at St. Ann’s Warehouse – a raw, heartbreaking and truthful performance about life spinning recklessly out of control. This American premiere marks the first collaboration between St. Ann’s Warehouse and the National Theatre. For more information visit the website.

ANGELS IN AMERICA: A Gay Fantasia on National Themes by Tony Kushner The great work returns to Broadway from February 2018. Angels in America will open at the Neil Simon Theater on 25 March. The NT production of Tony Kushner’s epic masterwork, Angels in America: A Gay Fantasia on National Themes, returns to Broadway for the first time since its now-legendary original production opened in 1993. Starring two-time Tony Award® winner Nathan Lane and Academy Award® and Tony Award nominee Andrew Garfield, the cast of Angels in America will also feature Susan Brown, Denise Gough, Amanda Lawrence, James McArdle, Lee Pace and Nathan Stewart-Jarrett. Angels in America is directed by Marianne Elliott. Set design by Ian MacNeil, costume design by Nicky Gillibrand, lighting design by Paule Constable, music by Adrian Sutton, sound design by Ian Dickinson, puppetry design is by Nick Barnes and Finn Caldwell (also Puppetry Director and Movement), movement direction by Robby Graham, and illusions by Chris Fisher. Angels in America is produced by NT America, Jujamcyn Theaters and Elliott & Harper Productions. For more information visit angelsbroadway.com

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME based on the novel by Mark Haddon, adapted by Simon Stephens The NT’s Olivier and Tony Award®-winning production of The Curious Incident of the Dog in the Night-Time is now on an international tour, visiting the Netherlands, Canada, Australia, Hong Kong and Singapore, with further international dates to be announced. The Curious Incident of the Dog in the Night-Time recently completed a North American tour which took in 30 cities across the USA at a 25-date UK and Ireland tour. The play is adapted by Simon Stephens from Mark Haddon’s best-selling book, and directed by Marianne Elliott. The production is designed by Bunny Christie, with lighting design by Paule Constable, video design by Finn Ross, movement by Scott Graham and Steven Hoggett for Frantic Assembly, music by Adrian Sutton and sound by Ian Dickinson for Autograph. For more information visit http://ift.tt/2fGhLCS

National Theatre Live

NT Live currently screens to 60 countries across the globe.

Stephen Sondheim’s Follies directed by Dominic Cooke features a cast of 37 including, Tracie Bennett, Janie Dee and Imelda Staunton. Broadcast live on 16 November.

Rory Kinnear plays Marx and Oliver Chris plays Engels in Young Marx directed by Nicholas Hytner and broadcast live from the Bridge Theatre on 7 December.

Benedict Andrews directs Sienna Miller and Jack O’Connell in The Young Vic production of Cat on a Hot Tin Roof. Captured during its West End run and broadcast on 22 February 2018.

Nicholas Hytner directs Ben Whishaw, Michelle Fairley, David Calder and David Morrissey in Julius Caesar. Broadcast from the Bridge Theatre on 22 March 2018.

Rory Kinnear and Anne-Marie Duff appear in a new production of Macbeth, directed by Rufus Norris. Broadcast live from the National Theatre on 10 May.

Simon Godwin’s production of Antony and Cleopatra with Ralph Fiennes and Sophie Okonedo will be broadcast live from the National Theatre. Date tbc.

Sky Arts is the sponsor of NT Live in the UK nationaltheatre.org.uk

http://ift.tt/2wkVHn9 London Theatre 1

[bearlyrambling]

Ummagma

A few years back I featured Ummagma on the old blog. At that time I said this about them.

Ummagma is a Canadian-Ukrainian duo comprised of Alexx Kretov and Shauna McLarnon, blending the ethereal with sublime resonance, beats and rhythm to create richly layered soundscapes. In mid-July, Ummagmareleased two CD albums (“Ummagma” and “Antigravity”) and won the 2013 Alternative Eurovision,…

[londontheatre]

A deliberately rundown-looking set leaves little to the audience’s imagination in Follies, which, in a nutshell, is about a bunch of performers, who used to act in an annual interwar musical revue, attending a reunion in 1971. It wouldn’t happen today – the venue, in such a state of disrepair, would fail a risk assessment. The National Theatre has put on a lavish production: to quote Cabaret, “even the orchestra is beautiful”, producing the sort of majestic and beautiful symphonic sound (here, led by Nigel Lilley) rarely heard in live theatre these days. That, I’d say, is reason enough to see this show.

The attention to detail within this large cast is a sight to behold. Occasionally, particularly during the larger ensemble numbers, the staging comes close to being overwhelming, as there is so much going on at the same time. The lighting (Paule Constable) helps to focus attention predominantly where it ought to be focused, though cleverly leaves just enough visibility to see what is happening on the stage as a whole. Follies is to be broadcast by National Theatre Live on Thursday 16 November 2017: whether the cameras will be able to capture sufficiently what it is like to see it in the NT’s Olivier auditorium remains to be seen.

It’s some moments into the musical before anyone actually sings anything, but once Roscoe (Bruce Graham) launches into ‘Beautiful Girls’, the musical numbers just keep on coming, to the point where from time to time it felt as though this were a song cycle rather than a musical theatre production. in some respects, the storyline is not much to write home about: do audiences really need a show to tell them that young love does not necessarily develop into a perennially joyful and lifelong relationship?

That, mind you, is not the only thing to be taken away from Follies, which has a mixture of gentle and acid-tongued moments of humour, and some truly wonderful songs, though I concede it’s not going to win over anyone not already a fan of musical theatre. By Stephen Sondheim’s standards, the songs are, overall, not as wordy and rapidly paced as some of his other material. That said, the penultimate number, ‘The Story of Lucy and Jessie’, is a bit of a tongue-twister, though Phyllis Rogers Stone (Janie Dee) makes it come across as effortless.

The songs retain the sort of depth and wit found elsewhere in the Sondheim repertoire. For instance, ‘I’m Still Here’, sung by Carlotta Campion (Tracie Bennett, retaining a borderline bass vocal that served her well in the lead role in the 2016 West End production of Mrs Henderson Presents), has so many references to the era in which Dimitri Weismann (Gary Raymond) held his Follies shows that it is difficult to keep up with them all.

Some fancy footwork, courtesy of Bill Deamer’s choreography, permeates through the evening’s proceedings. Adherence to Sondheim’s preference for the show to run without an interval makes little, if any, difference to the show’s intensity. But this production nonetheless felt much shorter than its 2 hours 18 minutes running time.

[See image gallery at http://ift.tt/1FpwFUw]

  Sometimes when there’s a cast of this magnitude and talent, having so many top performers who have a long history of playing principal roles collectively sound a tad jarring when singing in harmony. Not here. The solo numbers are as splendid as the group ones. Sally Durant Plummer (Imelda Staunton) goes through a broad range of human emotions, demonstrated in the spoken dialogue as well as two of the songs, ‘In Buddy’s Eyes’ and then the famous ‘Losing My Mind’, respectively almost deliriously happy and almost unequivocally devastating. Philip Quast as Benjamin Stone is consummately convincing in ‘Live, Laugh, Love’. I could have listened to Quast and Staunton sing together all night. I had to settle for just the one number, ‘Too Many Mornings’.

Probably the standout moment for me, however, was ‘One More Kiss’, sung so poignantly and sublimely by Dame Josephine Barstow’s Heidi Schiller and Alison Langer’s Young Heidi. All things considered, this is an impressive production, tremendous, thrilling and truly terrific.

Review by Chris Omaweng

New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves.

Including such classic songs as Broadway Baby, I’m Still Here and Losing My Mind, Stephen Sondheim’s legendary musical is staged for the first time at the National Theatre.

The cast includes Julie Armstrong, Norma Atallah, Josephine Barstow, Jeremy Batt, Tracie Bennett, Di Botcher, Billy Boyle, Janie Dee, Anouska Eaton, Liz Ewing, Geraldine Fitzgerald, Peter Forbes, Emily Goodenough, Bruce Graham, Adrian Grove, Fred Haig, Aimee Hodnett , Dawn Hope, Liz Izen, Alison Langer, Emily Langham, Sarah-Marie Maxwell, Ian McLarnon, Leisha Mollyneaux, Gemma Page, Kate Parr, Philip Quast, Edwin Ray, Gary Raymond, Adam Rhys-Charles, Jordan Shaw, Imelda Staunton, Zizi Strallen, Barnaby Thompson, Christine Tucker, Michael Vinsen and Alex Young.

Follies will be broadcast by NT Live to cinemas in the UK and internationally on Thursday 16th November. 

Production team Director – Dominic Cooke Designer – Vicki Mortimer Choreographer – Bill Deamer Music Supervisor – Nicholas Skilbeck Orchestrations – Jonathan Tunick Music Director – Nigel Lilley Lighting Designer – Paule Constable Sound Designer – Paul Groothuis

Follies book by James Goldman music and lyrics by Stephen Sondheim Now playing – best availability from 6 Nov Running Time: Approx. 2 hours 10 mins no interval Olivier Theatre http://ift.tt/1jCfKAV

http://ift.tt/2rIxdVX LondonTheatre1.com

[londontheatre]

1971, New York. There’s a party on the stage of the Weissman Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Including such classic songs as Broadway Baby, I’m Still Here and Losing My Mind, Stephen Sondheim’s legendary musical is staged for the first time at the NT. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, the production is directed by Dominic Cooke (Ma Rainey’s Black Bottom).

Winner of Academy, Tony, Grammy and Olivier awards, Sondheim’s previous work at the NT includes A Little Night Music, Sweeney Todd and Sunday in the Park with George.

The cast includes Julie Armstrong, Norma Atallah, Josephine Barstow, Jeremy Batt, Tracie Bennett, Di Botcher, Billy Boyle, Janie Dee, Anouska Eaton, Liz Ewing, Geraldine Fitzgerald, Peter Forbes, Emily Goodenough, Bruce Graham, Adrian Grove, Fred Haig, Aimee Hodnett , Dawn Hope, Liz Izen, Alison Langer, Emily Langham, Sarah-Marie Maxwell, Ian McLarnon, Leisha Mollyneaux, Gemma Page, Kate Parr, Philip Quast, Edwin Ray, Gary Raymond, Adam Rhys-Charles, Jordan Shaw, Imelda Staunton, Zizi Strallen, Barnaby Thompson, Christine Tucker, Michael Vinsen and Alex Young.

[See image gallery at http://ift.tt/1FpwFUw]

  Follies is designed by Vicki Mortimer, with choreography by Bill Deamer, musical supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, additional orchestrations by Josh Clayton, musical director Nigel Lilley, lighting design by Paule Constable and sound designer by Paul Groothuis.

The original production of Follies premiered on Broadway in 1971, where it was nominated for eleven Tony Awards, and won seven. The show premiered in London in 1987, and has been revived around the world many times to great acclaim. This 2017 staging will be the first time the musical has been performed at the National Theatre.

Book by James Goldman, Music and Lyrics by Stephen Sondheim Directed by Dominic Cooke Olivier Theatre Press Night 6 September, last performance 3 January

http://ift.tt/2rIxdVX LondonTheatre1.com

[londontheatre]

Rehearsal images have been released for Follies – Book by James Goldman, Music and Lyrics by Stephen Sondheim, Directed by Dominic Cooke at the Olivier Theatre. Previews from 22nd August, Press Night 6th September 2017. Now booking until 3rd January 2018 – NT Live Broadcast: Thursday 16th November 2017.

1971, New York. There’s a party on the stage of the Weissman Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Including such classic songs as Broadway Baby, I’m Still Here and Losing My Mind, Stephen Sondheim’s legendary musical is staged for the first time at the NT. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production.

Featuring a cast of 37 and an orchestra of 21, the production is directed by Dominic Cooke (Ma Rainey’s Black Bottom). Winner of Academy, Tony, Grammy and Olivier awards, Sondheim’s previous work at the NT includes A Little Night Music, Sweeney Todd and Sunday in the Park with George.

The cast includes Julie Armstrong, Norma Atallah, Josephine Barstow, Jeremy Batt, Tracie Bennett, Di Botcher, Billy Boyle, Janie Dee, Anouska Eaton, Liz Ewing, Geraldine Fitzgerald, Peter Forbes, Emily Goodenough, Bruce Graham, Adrian Grove, Fred Haig, Aimee Hodnett , Dawn Hope, Liz Izen, Alison Langer, Emily Langham, Sarah-Marie Maxwell, Ian McLarnon, Leisha Mollyneaux, Gemma Page, Kate Parr, Philip Quast, Edwin Ray, Gary Raymond, Adam Rhys-Charles, Jordan Shaw, Imelda Staunton, Zizi Strallen, Barnaby Thompson, Christine Tucker, Michael Vinsen and Alex Young.

[See image gallery at http://ift.tt/1FpwFUw]

  Follies is designed by Vicki Mortimer, with choreography by Bill Deamer, musical supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, additional orchestrations by Josh Clayton, musical director Nigel Lilley, lighting design by Paule Constable and sound designer by Paul Groothuis.

The original production of Follies premiered on Broadway in 1971, where it was nominated for eleven Tony Awards, and won seven. The show premiered in London in 1987, and has been revived around the world many times to great acclaim. This 2017 staging will be the first time the musical has been performed at the National Theatre.

Supported by the Follies production syndicate.

Follies book by James Goldman music and lyrics by Stephen Sondheim From 22 August to 3rd January 2018 http://ift.tt/2u8Elgb

http://ift.tt/2rIxdVX LondonTheatre1.com

[londontheatre]

Tickets go on sale for Network, with Bryan Cranston making his UK stage debut

John Tiffany directs Pinocchio, with half-price tickets available for under-18s

Casting announced for world premieres of Pinocchio, Saint George and the Dragon and Beginning

Tony Award-winning play Oslo opens in the Lyttelton

Following its current sold out run Barber Shop Chronicles returns to the Dorfman in November

Five new NT Live broadcasts in 700 venues across the UK and 60 countries around the world

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NT entrance Feb 2015 photo by Philip Vile

OLIVIER THEATRE FOLLIES book by James Goldman music and lyrics by Stephen Sondheim Previews from 22 August, press night 6 September, continuing in the repertoire until 3 January 2018

New York, 1971. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Including such classic songs as Broadway Baby, I’m Still Here and Losing My Mind, Stephen Sondheim’s legendary musical is staged for the first time at the NT. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, the production is directed by Dominic Cooke (Ma Rainey’s Black Bottom).

The cast includes Julie Armstrong (Christine Donovan), Norma Atallah (Emily Whitman), Josephine Barstow (Heidi Schiller), Jeremy Batt (Chorus Boy) Tracie Bennett (Carlotta Campion), Di Botcher (Hattie Walker), Billy Boyle (Theodore Whitman), Janie Dee (Phyllis Rogers Stone), Anouska Eaton (Young Emily), Liz Ewing (Company), Geraldine Fitzgerald (Solange LaFitte), Peter Forbes (Buddy Plummer), Emily Goodenough (Showgirl), Bruce Graham (Roscoe), Adrian Grove (Sam Deems), Fred Haig (Young Buddy), Aimee Hodnett (Young Hattie), Dawn Hope (Stella Deems), Liz Izen (DeeDee West), Alison Langer (Young Heidi), Emily Langham (Young Carlotta), Sarah-Marie Maxwell (Young Solange), Ian McLarnon (Company), Leisha Mollyneaux (Young Stella), Gemma Page (Sandra Crane), Kate Parr (Young Sandra), Philip Quast (Ben Stone), Edwin Ray (Chorus Boy), Gary Raymond (Dimitri Weismann), Adam Rhys-Charles (Young Ben), Jordan Shaw (Kevin), Imelda Staunton (Sally Durant Plummer), Zizi Strallen (Young Phyllis), Barnaby Thompson (Chorus Boy), Christine Tucker (Young DeeDee), Michael Vinsen (Chorus Boy) and Alex Young (Young Sally). Design by Vicki Mortimer, choreography by Bill Deamer, musical supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, additional orchestrations by Josh Clayton, musical direction by Nigel Lilley, lighting design by Paule Constable and sound design by Paul Groothuis. Supported by the Follies production syndicate.

SAINT GEORGE AND THE DRAGON a new play by Rory Mullarkey Previews from 4 October, press night 11 October, continuing in the repertoire until 2 December A village. A dragon. A damsel in distress. Into the story walks George: wandering knight, freedom fighter, enemy of tyrants the world over. One epic battle later and a nation is born. As the village grows into a town, and the town into a city, the myth of Saint George, which once brought a people together, threatens to divide them. John Heffernan plays Saint George; the cast also includes Paul Brennen, Richard Goulding, Tamzin Griffin, Conor Neaves, Amaka Okafor, Daniel Ryan and Grace Saif.

Making his National Theatre debut, Rory Mullarkey creates a new folk tale for an uneasy nation. Directed by Lyndsey Turner (Chimerica, Light Shining in Buckinghamshire), with design by Rae Smith, choreography by Lynne Page, lighting design by Bruno Poet, music by Grant Olding, sound design by Christopher Shutt and fight direction by Bret Yount. Hundreds of Travelex tickets at £15 available per performance.

AMADEUS by Peter Shaffer Previews from 11 January, press night 18 January. On sale up to 17 February, further dates to be announced Following a sell-out run last year, Amadeus returns to the Olivier in 2018.

Wolfgang Amadeus Mozart, a rowdy young prodigy, arrives in Vienna determined to make a splash. Awestruck by his genius, court composer Antonio Salieri has the power to promote his talent or destroy it. Seized by obsessive jealousy he begins a war with Mozart, with music and, ultimately, with God.

Michael Longhurst’s acclaimed production of Peter Shaffer’s iconic play features live orchestral accompaniment by Southbank Sinfonia. Adam Gillen and Lucian Msamati reprise the roles of Mozart and Salieri. Further casting to be announced.

Amadeus is directed by Michael Longhurst with design by Chloe Lamford, music direction and additional music by Simon Slater, choreography by Imogen Knight, lighting design by Jon Clark and sound design by Paul Arditti. Amadeus is produced in association with Southbank Sinfonia, and supported by the Amadeus production syndicate.

LYTTELTON THEATRE QUEER THEATRE: LGBT+ STORIES & SOCIAL CHANGE In partnership with Pride in London To mark 50 years since the partial decriminalisation of homosexuality in England and Wales, the NT looks at how theatre has charted the LGBT+ experience. Events include a debate on LGBT+ rights, talks on Queer Stages, Trans Culture and Drag as an Art Form, and film screenings of Paris was a Woman, Bette Bourne: It Goes with the Shoes and Tangerine. The series features rehearsed readings in the Lyttelton Theatre with full casting to be announced. Post show talks will follow each of the readings.

Neaptide by Sarah Daniels, directed by Sarah Frankcom | Thu 6 July, 7.30pm Wig Out! written and directed by Tarell Alvin McCraney | Fri 7 July, 7.30pm Certain Young Men written and directed by Peter Gill | Sat 8 July, 7.30pm Bent by Martin Sherman, directed by Stephen Daldry | Sun 9 July, 2.30pm The Drag by Mae West, directed by Polly Stenham | Mon 10 July, 7.30pm

OSLO a new play by J.T. Rogers The Lincoln Center Theater production Previews 5 September, press nights 15, 16 and 18 September (under embargo) Continuing in repertoire until 23 September (limited ticket availability) Transferring to the Harold Pinter Theatre in the West End from 30 September – 30 December Winner, Best Play 2017: Tony Awards, New York Drama Critics’ Circle Awards In 1993, in front of the world’s press, the leaders of Israel and Palestine shook hands on the lawn of the White House. Few watching would have guessed that the negotiations leading up to this iconic moment started secretly in a castle in the middle of a forest outside Oslo.

Oslo tells the true story of two maverick Norwegian diplomats who coordinated top-secret talks and inspired seemingly impossible friendships. Their quiet heroics led to the ground-breaking Oslo Peace Accords. Bartlett Sher’s acclaimed production of this new play by J.T. Rogers (Blood & Gifts, The Overwhelming) sets a deeply personal story against an epic historical landscape. This darkly funny political thriller comes to the National Theatre following a sell-out run in New York, prior to a West End run later this autumn. Cast to be announced. Set design by Michael Yeargan, costume design by Catherine Zuber, lighting design by Donald Holder, sound design by Peter John Still and projections by 59 Productions.

JANE EYRE based on the novel by Charlotte Brontë devised by the original company a co-production with Bristol Old Vic Previews from 26 September, continuing in the repertoire until 21 October Following a critically acclaimed season at the National Theatre and a 21 city UK tour, Jane Eyre returns this September to the NT. This innovative reimagining of Charlotte Brontë’s masterpiece is a collaboration between the National Theatre and Bristol Old Vic and is directed by Sally Cookson. The classic story of the trailblazing Jane is as inspiring as ever. This bold and dynamic production uncovers one woman’s fight for freedom and fulfilment on her own terms. Jane Eyre’s spirited heroine faces life’s obstacles head-on, surviving poverty, injustice and the discovery of bitter betrayal before taking the ultimate decision to follow her heart.

Cast includes: Hannah Bristow, Matthew Churcher, Nadia Clifford, Ben Cutler, Tim Delap, Alex Heane, Jenny Johns, Melanie Marshall, Evelyn Miller, Paul Mundell, Dami Olukoya, David Ridley, Lynda Rooke, Francesca Tomlinson and Phoebe Vigor.

Dramaturgy by Mike Akers, set design by Michael Vale, costume design by Katie Sykes, lighting design by Aideen Malone, music by Benji Bower, sound design by Dominic Bilkey and movement by Dan Canham.

NETWORK adapted by Lee Hall based on the Paddy Chayefsky film Previews from 4 November, press night 13 November, continuing in the repertoire until 24 March Howard Beale, news anchor-man, isn’t pulling in the viewers. In his final broadcast he unravels live on screen. But when the ratings soar, the network seizes on their new found populist prophet, and Howard becomes the biggest thing on TV.

Network depicts a dystopian media landscape where opinion trumps fact. Hilarious and horrifying by turns, the iconic film by Paddy Chayefsky won four Academy Awards in 1976. Now, Lee Hall (Billy Elliot, Our Ladies of Perpetual Succour) and director Ivo van Hove (Hedda Gabler) bring his masterwork to the stage for the first time, with Bryan Cranston (All the Way, for which he won the Tony for Best Actor, Breaking Bad and Trumbo for which he was nominated for an Oscar) in the role of Howard Beale. Set and lighting design by Jan Versweyveld, video design by Tal Yarden, costume design by An D’Huys, music and sound design by Eric Sleichim.

A very limited number of additional on stage seats will be released in the autumn – see the NT website for more information.

Network is produced in association with Patrick Myles, David Luff, Ros Povey and Lee Menzies. Generously supported by Marcia Grand for the memory of Richard Grand.

PINOCCHIO by Dennis Kelly With songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J Smith adapted by Martin Lowe Previews from 1 December, press night 13 December, on sale until 7 April On a quest to be truly alive, Pinocchio leaves Geppetto’s workshop with Jiminy Cricket in tow. Their electrifying adventure takes them from alpine forests to Pleasure Island to the bottom of the ocean. This spectacular new production brings together the director of Harry Potter and the Cursed Child and the writer of Matilda the Musical.

For the first time on stage, featuring unforgettable music and songs from the Walt Disney film including I’ve Got No Strings, Give a Little Whistle and When You Wish upon a Star in dazzling new arrangements, Pinocchio comes to life as never before.

Cast includes Joe Idris-Roberts (Pinocchio), Audrey Brisson (Jiminy Cricket), Annette McLaughlin (Blue Lady), David Langham (The Fox), David Kirkbride (Coachman), Dawn Sievewright (Lampy), Chris Jarman (Stromboli) together with Stuart Angell, Trieve Blackwood-Cambridge, Stephanie Bron, James Charlton, Rebecca Jayne-Davies, Sarah Kameela Impey, Anabel Kutay, Michael Lin, Jack North, Clemmie Sveaas, Michael Taibi, Scarlet Wilderink and Jack Wolfe.

John Tiffany directs Pinocchio by Dennis Kelly, with songs and score from the Walt Disney film by Leigh Harline, Ned Washington and Paul J. Smith newly adapted by Martin Lowe. With design and puppet co-design by Bob Crowley, lighting design by Paule Constable, music supervision and orchestrations by Martin Lowe, choreography by Steven Hoggett, puppetry and puppet co-design by Toby Olié, sound design by Simon Baker and illusions by Jamie Harrison.

Half-price tickets for under-18s are available for all performances (excluding £15 tickets). Additional family tickets for the run will be released in a ballot closer to the performance dates – see the NT website for more information. There will be a relaxed performance of Pinocchio on 17 March at 1.30pm Presented by special arrangement with Disney Theatrical Productions.

DORFMAN THEATRE MOSQUITOES by Lucy Kirkwood Previews from 18 July, press night 25 July continuing in repertoire until 28 September Alice is a scientist. She lives in Geneva. As the Large Hadron Collider starts up in 2008, she is on the brink of the most exciting work of her life, searching for the Higgs boson particle. Jenny is her sister. She lives in Luton. She spends a lot of time Googling. When tragedy throws them together, the collision threatens them all with chaos. Mosquitoes by Lucy Kirkwood will have its world premiere in the Dorfman Theatre in July. Rufus Norris directs this new play about families and particle physics with Olivia Williams in the role of Alice and Olivia Colman as her sister Jenny. Cast also includes: Amanda Boxer, Cait Davis, Vanessa Emme, Yoli Fuller, Paul Hilton, Joseph Quinn and Sofia Stuart.

Design by Katrina Lindsay, lighting design by Paule Constable, music by Adam Cork, sound design by Paul Arditti and video design by Finn Ross and Ian William Galloway.

Mosquitoes is supported by Winton Philanthropies and Rosetrees Trust. This play is a recipient of an Edgerton Foundation New Plays Award.

The production is currently sold out. There are day tickets available and every Friday at 1pm an allocation of £20 tickets will be released for the following week’s performances, as part of Friday Rush. Friday Rush tickets are available to book online only and are limited to two per customer.

THE MAJORITY a new play by Rob Drummond Previews from 11 August, press night 14 August, continuing until 28 August Following the acclaimed run of Bullet Catch in The Shed, Rob Drummond returns to the National with a new one-man show about democracy. The Majority charts Rob’s journey as he navigates the Scottish independence referendum, Brexit, Trump…and whatever today brings. So take your seat and push the button. Yes or No. Can you change the show with your votes? Every night will be different depending on the majority. Directed by David Overend, design by Jemima Robinson, lighting design by Michael Harpur, music and sound by Scott Twynholm, video associate Mogzi Bromley-Morgans. Originally co-commissioned with The Arches, Glasgow.

BEGINNING a new play by David Eldridge Previews from 5 October, press night 12 October, continuing in the repertoire until 14 November It’s the early hours of the morning and Danny’s the last straggler at Laura’s party. The flat’s in a mess. And so are they. One more drink? Polly Findlay directs this new play by David Eldridge (Market Boy, Under the Blue Sky, In Basildon). Tender and funny, it’s an intimate look at the first fragile moments of risking your heart and taking a chance. Justine Mitchell plays Laura, Sam Troughton plays Danny. Design by Fly Davis, lighting design by Jack Knowles, sound design by Paul Arditti and movement by Naomi Said.

BARBER SHOP CHRONICLES by Inua Ellams a co-production with Fuel and West Yorkshire Playhouse Currently in repertoire until 8th July, returning in November Following a sell-out run at the Dorfman this summer, Inua Ellams’ play about stories from barber shops across the globe returns to the National Theatre in November. Tickets go on sale online and by phone from 1pm on Monday 19 June.

Newsroom, political platform, local hot-spot, confession box, preacher-pulpit and football stadium. For generations, African men have gathered in barber shops to discuss the world. This dynamic play journeys from a barber shop in London, to Johannesburg, Harare, Kampala, Lagos and Accra. These are places where the banter can be barbed and the truth is always telling. Barber Shop Chronicles is Inua Ellams’ third play at the National, following the exhilarating The 14th Tale and Black T-shirt Collection.

The current cast includes Fisayo Akinade, Hammed Animashaun, Peter Bankolé, Maynard Eziashi, Simon Manyonda, Patrice Naiambana, Cyril Nri, Kwami Odoom, Sule Rimi, Abdul Salis, David Webber, and Anthony Welsh.

Casting for November to be confirmed in due course. Directed by Bijan Sheibani, design by Rae Smith, lighting design by Jack Knowles, movement direction by Aline David and sound design by Gareth Fry. Barber Shop Chronicles will play at West Yorkshire Playhouse 12 – 29 July.

CURRENT PRODUCTIONS IN REPERTOIRE AT THE NATIONAL THEATRE OLIVIER THEATRE SALOMÉ a new play by Yaël Farber Continuing in the repertoire until 15 July An occupied desert nation. A radical from the wilderness on hunger strike. A girl whose mysterious dance will change the course of the world. This charged retelling turns the infamous biblical tale on its head, placing the girl we call Salomé at the centre of a revolution.

Internationally acclaimed director Yaël Farber (Les Blancs) draws on multiple accounts to create her urgent, hypnotic production on the Olivier stage.

Designed by Susan Hilferty, lighting design by Tim Lutkin, music and sound by Adam Cork, movement direction by Ami Shulman, fight direction by Kate Waters and dramaturgy by Drew Lichtenberg. Cast includes Philip Arditti, Paul Chahidi, Ramzi Choukair, Uriel Emil, Olwen Fouéré, Roseanna Frascona, Lloyd Hutchinson, Aidan Kelly, Yasmin Levy, Theo T J Lowe, Isabella Nefar, Lubana al Quntar, and Raad Rawi. Hundreds of Travelex tickets at £15 available per performance. This production is supported by Laura Pels International Foundation for Theater. Broadcast to cinemas by NT Live on 22 June.

COMMON a new play by DC Moore a co-production with Headlong Continuing in the repertoire until 5 August Mary’s the best liar, rogue, thief and faker in this whole septic isle. And she’s back. As the factory smoke of the industrial revolution belches out from the cities, Mary is swept up in the battle of her former home. The common land, belonging to all, is disappearing. D C Moore’s dark and funny new play is an epic tale of unsavoury action and England’s lost land.

Headlong’s Artistic Director, Jeremy Herrin, (People, Places and Things, This House) directs Anne-Marie Duff as Mary. Cast also includes Ian-Lloyd Anderson, Lois Chimimba, Peta Cornish, Anna Crichlow, John Dagleish, Brian Doherty, Amy Downham, Trevor Fox, Hannah Hutch, Cush Jumbo, Tim McMullan, John O’Dowd, Ian Shaw and Edward Wolstenholme.

Design by Richard Hudson, lighting design by Paule Constable, music by Stephen Warbeck, sound design by Ian Dickinson, movement direction by Joseph Alford, dance by Siân Williams, puppetry by Laura Cubitt and fight Directors Rachel Bown-Williams and Ruth Cooper-Brown of RC-ANNIE Ltd. Hundreds of Travelex tickets at £15 available per performance.

LYTTELTON THEATRE ANGELS IN AMERICA: A Gay Fantasia on National Themes Continuing in the repertoire until 19 August America in the mid-1980s. In the midst of the AIDS crisis, and a conservative Reagan administration, New Yorkers grapple with life and death, love and sex, heaven and hell. This new staging of Tony Kushner’s multi-award-winning two-part play is directed by Olivier and Tony award-winning director Marianne Elliott (The Curious Incident of the Dog in the Night-Time and War Horse). Part One: Millennium Approaches was first performed at the NT in 1992, and was joined by Perestroika in a double-bill the following year. 2017 marks the 25th anniversary of the shows.

Set design by Ian MacNeil, costume design by Nicky Gillibrand, lighting design by Paule Constable, choreography and movement by Robby Graham, music by Adrian Sutton, sound design by Ian Dickinson, puppetry direction and movement by Finn Caldwell, puppetry design by Finn Caldwell and Nick Barnes, illusions by Chris Fisher, aerial direction by Gwen Hales and fight direction by Kate Waters.

The cast is Stuart Angell, Mark Arnold, Arun Blair-Mangat, Susan Brown, Laura Caldow, Andrew Garfield, Denise Gough, Kate Harper, John Hastings, Claire Lambert, Nathan Lane, Amanda Lawrence, James McArdle, Becky Namgauds, Nathan Stewart-Jarrett, Russell Tovey, Paksie Vernon, Stan West and Lewis Wilkins. The Angels in America ballot presented by Delta Air Lines – hundreds of £20 tickets will be released in the final two ballots, the last closing on 26 July.

Broadcast to cinemas by NT Live – Part One on 20 July, Part Two on 27 July NATIONAL THEATRE LIVE NT Live will be broadcasting five productions to 700 venues across the UK and 60 countries around the world Salomé – a radical retelling of the Biblical story of one young woman’s political awakening. Written and directed by Yaël Farber. Broadcast live from the NT on Thursday 22 June.

Angels in America – Marianne Elliott’s new production of Tony Kushner’s Angels in America will be broadcast live from the NT in two parts. Part 1: Millennium Approaches on Thursday 20 July and Part 2: Perestroika on Thursday 27 July.

Yerma – Billie Piper stars in Yerma as a woman driven to the unthinkable by her desperate desire to have a child. Simon Stone creates a radical production of Lorca’s achingly powerful masterpiece. Broadcast live from the Young Vic on Thursday 31 August (international screenings from 21 September).

Young Marx – Rory Kinnear plays Marx and Oliver Chris, Engels, in this new comedy about Marx’s time as a 32-year-old revolutionary in 1850 London. Written by Richard Bean and Clive Coleman and directed by Nicholas Hytner. Broadcast live from The Bridge Theatre on 7 December.

Julius Caesar – Ben Whishaw and Michelle Fairley play Brutus and Cassius, leaders of the coup, David Calder plays Caesar and David Morrissey is Mark Antony, who brings Rome back under control after the conspirators’ defeat in this production of Shakespeare’s classic. Directed by Nicholas Hytner. Broadcast live from The Bridge Theatre on 22 March 2018.

Sky Arts is the UK sponsor for National Theatre Live. Find your nearest venue at ntlive.com

NATIONAL THEATRE THROUGHOUT THE UK, IN THE WEST END AND INTERNATIONALLY The NT will tour to 49 venues in 37 towns and cities across the UK in 2017-18 OSLO

Winner of the 2017 Tony Award for Best Play, the acclaimed Lincoln Center Theater production of Oslo transfers to the Harold Pinter Theatre in the West End from 30 September until 30 December 2017 following a limited run at the NT.

This gripping new play by JT Rogers, directed by Bartlett Sher, tells the true story of how one young couple, Norwegian diplomat Mona Juul and her husband, social scientist Terje Rød-Larsen planned and orchestrated top-secret, high-level meetings between the State of Israel and the Palestine Liberation Organisation, which culminated in the signing of the historic 1993 Oslo Accords. OsloThePlay.com

PEOPLE, PLACES AND THINGS The National Theatre, Headlong and St Ann’s Warehouse in association with Bryan Singer Productions will present the National Theatre/Headlong production of People, Places and Things by Duncan Macmillan at St Ann’s Warehouse in New York from 19 October to 19 November 2017.

Directed by Jeremy Herrin, Macmillan’s intoxicating new play opened at the NT’s Dorfman Theatre in autumn 2015, and transferred to Wyndham’s Theatre in March 2016 where it became the ‘must-see’ show of the season. Denise Gough will reprise her award-winning role as Emma. Gough’s raw and heart-breaking performance as an actress whose life has spun recklessly out of control because of her addiction to drink and drugs was unanimously acclaimed by critics and audiences alike, earning her the 2016 Olivier Award and the Critics’ Circle Award for Best Actress. Further cast details to be announced.

Generous support to the National Theatre for People, Places and Things from: Areté Foundation / Betsy & Ed Cohen and Leila Maw Straus MBE.

Duncan Macmillan’s People, Places and Things will also begin a major UK tour with a new cast this autumn, in a co-production between the National Theatre, Headlong, HOME and Exeter Northcott Theatre. Full casting to be announced shortly. The tour begins at HOME, Manchester (22 September – 7 October), and continues to Oxford Playhouse (11 – 14 October), Theatre Royal Bath (17 – 21 October), Bristol Old Vic (24 – 28 October), Exeter Northcott Theatre (31 October – 4 November), Nuffield Southampton Theatres (7 – 11 November) and finish at Liverpool Playhouse Theatre (14 – 18 November).

Set design by Bunny Christie, the Olivier and Tony Award winning designer of the NT’s production of The Curious Incident of the Dog in the Night-Time. Costume design by Christina Cunningham, lighting by James Farncombe, video by Andrzej Goulding and music is composed by Matthew Herbert with Olivier Award-winning sound design by Tom Gibbons.

THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME The Curious Incident of the Dog in the Night-Time, adapted by Simon Stephens from Mark Haddon’s bestselling book and directed by Marianne Elliott, had its final West End performance on Saturday 3 June 2017, having been seen by over one million people in London. Curious Incident has won seven Olivier Awards, including Best New Play, Best Director, Best Design, Best Lighting Design and Best Sound Design – as well as five Tony Awards during its run on Broadway. Its preferred card partner is American Express.

The Curious Incident of the Dog in the Night-Time continues a major tour of the UK and Ireland until September 2017, with upcoming visits to the Theatre Royal, Plymouth (26 June – 1 July), Birmingham Hippodrome (4 – 8 July), Venue Cymru, Llandudno (11 – 15 July), Cliffs Pavilion, Southend (18 – 22 July), Liverpool Empire Theatre (25 – 29 July), Alhambra Theatre, Bradford (31 July – 5 August), His Majesty’s Theatre, Aberdeen (8 – 12 August), King’s Theatre, Glasgow (14 – 19 August), Theatre Royal, Norwich (29 August – 2 September) and Milton Keynes Theatre (4 – 16 September 2017). curiousonstage.com

The Curious Incident of the Dog in the Night-Time will continue on an international tour, visiting the Koninklijk Theater Carré in Amsterdam, Holland (20 September – 1 October 2017) and the Princess of Wales Theatre in Toronto, Canada (10 Oct – 19 November 2017), with further dates and venues to be announced.

MY COUNTRY; A WORK IN PROGRESS My Country; a work in progress, created by Rufus Norris and Carol Ann Duffy and based on the words of people from around the UK, will complete a UK tour at Theatre Royal, Stratford East, London on 24 June. It has been adapted for TV by the BBC and is due to be broadcast in the autumn.

JANE EYRE Jane Eyre, Sally Cookson’s energetic and imaginative new adaptation of Charlotte Brontë’s masterpiece, a co-production between the NT and Bristol Old Vic, continues to tour until 23 September, with upcoming visits to the Marlowe Theatre, Canterbury (19 – 24 June), Wales Millennium Centre, Cardiff (27 June – 1 July), Theatre Royal, Newcastle-upon-Tyne (3 – 8 July), Milton Keynes Theatre (10 – 15 July), Theatre Royal, Norwich (17 – 22 July), Brighton Theatre Royal (24 – 29 July), Grand Theatre, Leeds (31 July – 5 August), Grand Opera House, Belfast (21 – 26 August), His Majesty’s Theatre, Aberdeen (28 August – 2 September), Birmingham REP (4 – 16 September) and Hull New Theatre (18 – 23 September) before returning to Lyttelton Theatre from 26 September to 21 October. janeeyreonstage.co.uk

WAR HORSE The NT’s acclaimed production of War Horse based on Michael Morpurgo’s novel, and directed by Marianne Elliott and Tom Morris begins its second major tour of the UK on 15 September 2017 at the Marlowe Theatre in Canterbury, where it will run until 14 October 2017. The tour continues its journey around the UK to Bristol Hippodrome (18 October – 11 November 2017), the Empire Theatre, Liverpool (15 November – 2 December 2017), New Theatre, Oxford (13 December 2017 – 6 January 2018), Brighton Centre (25 January – 10 February 2018), Bradford Alhambra Theatre (14 February – 10 March 2018) and the Nottingham Royal Concert Hall (14 March – 7 April 2018), Edinburgh Festival Theatre (18 April – 12 May 2018), Mayflower Theatre, Southampton (16 May – 9 June 2018), The Lowry, Salford (13 – 30 June 2018), Wales Millennium Centre, Cardiff (4 – 28 July 2018), New Victoria Theatre, Woking (1 – 18 August 2018), Plymouth Theatre Royal (29 August – 15 September), Milton Keynes Theatre (19 September – 6 October 2018) and Glasgow SEC (15 January – 2 February 2019). Further dates and venues will be announced. warhorseonstage.com

HEDDA GABLER Following its acclaimed run at the NT’s Lyttelton Theatre, Patrick Marber’s vital new version of Ibsen’s masterpiece Hedda Gabler directed by Ivo van Hove and with Lizzy Watts in the title role, begins a UK tour at Theatre Royal Plymouth (2 – 7 October). The tour will then go to the Edinburgh Festival Theatre (17 – 21 October), Leicester Curve (23 – 28 October), The Lowry Salford (30 October – 4 November), Norwich Theatre Royal (7 – 11 November), Hull New Theatre (13 – 18 November), His Majesty’s Theatre Aberdeen (21 – 25 November), Northampton Royal & Derngate (28 November – 2 December), Glasgow Thetare Royal (15 – 20 January 2018), Grand Theatre, Wolverhampton (23 – 27 January), New Victoria Woking (29 January – 3 February), Nottingham Theatre Royal (5 – 10 February) , Newcastle Theatre Royal (12 – 17 February), Grand Opera House York (20 – 24 February) and Milton Keynes Theatre (27 February – 3 March). Further casting to be announced. heddagableronstage.com

RIVER STAGE Back by popular demand, this summer sees the return of the free outdoor River Stage Festival. The festival runs for five weekends with take-overs from East London’s The Glory, HOME Manchester, WOMAD, Rambert and the National Theatre itself bringing audiences an eclectic mix of performances that include the very best dance acts, DJ’s and outdoor performances.

Rufus Norris, Director of the National Theatre said, ‘It’s brilliant to welcome back the River Stage Festival. I’m delighted that this range of partners from across the country have decided to join us this year, and the assortment of performance, music, dance and workshops free for all ages is a vibrant and vital part of the National Theatre programme this summer.’

The festival is a collaborative partnership showcasing world-class programming and presenting new and diverse artists and acts, with something for everyone to enjoy. It takes place on the River Stage, in front of the NT, with events every Friday evening and all day on Saturday and Sunday from 28 July to 28 August. Join us this summer for theatre, guest DJs, family fun, vibrant dance and the very best in live music acts – this free summer festival is not to be missed.

LEARNING AT THE NATIONAL THEATRE NT Learning opens up theatre to people of all ages and supports theatre education across the UK with a wide range of projects and events.

CONNECTIONS 2017 Connections, the largest youth theatre festival in the UK celebrates brilliant new writing for young people aged 13 – 19. This year’s festival at the National Theatre will see performances by ten companies, chosen from over 250 school and youth theatre companies from 28 June to 3 July.

Over the year 4,000 young people from every corner of the UK have worked with 28 partner theatres and performed ten brand new plays, commissioned from some of the country’s most exciting writers. The result is an unforgettable feast of theatre made by and for young people.

The productions invited to appear at the NT in the culminating week of this year’s Connections Festival are;

Wednesday 28 June the Dorfman Theatre 7pm – The Snow Dragons by Lizzie Nunnery, performed by Lymm High School (Warrington, Cheshire) 8.30pm – Extremism by Anders Lustgarten, performed by Theatre Royal Stratford East Youth Theatre + (Stratford, London) Thursday 29 June the Dorfman Theatre 7pm – Musical Differences by Robin French, performed by NCN Actors (Nottingham) 8.30pm – Three by Harriet Braun, performed by Kindred KYT (Peterborough, Cambridgeshire) Friday 30 June the Dorfman Theatre 7pm – The School Film by Patrick Marber, performed by Kingsley Bideford Community Theatre Company (Bideford, Devon) 8.30pm – The Monstrum by Kellie Smith, performed by The Marlowe Youth Theatre (Canterbury, Kent) Saturday 1 July in the Dorfman Theatre 7pm – #YOLO by Matthew Bulgo, performed by West Glamorgan Youth Theatre Company (Port Tennant, Swansea) 8.30pm – Status Update by Tim Etchells, performed by Rotherham College (Rotherham, South Yorkshire) Monday 3 July in the Olivier Theatre 7pm – Zero for Young Dudes! by Alistair McDowall, performed by Orange Tree Theatre Connections Company (Richmond, London) 8.30pm – FOMO by Suhayla El-Bushra, performed by CASTEnsemble (Shardlow, Derbyshire) To book tickets go to the NT website Be part of Connections 2018 To be part of next year’s festival, sign up now to Connections 2018. The National Theatre is looking for 300 youth theatre and school companies across the UK to take part. Applications are now open http://ift.tt/2rvaD4s

Connections is supported by: The Buffini Chao Foundation, Andrew Lloyd Webber Foundation, Delta Air Lines, Jacqueline and Richard Worswick, The EBM Charitable Trust, Samantha and Richard Campbell-Breeden, The Garvey Family Trust, Susan Miller and Byron Grote, Hays Travel Foundation, Faithorn Farrell Timms and supporters of the Connections Appeal

FREE EXHIBITIONS A changing programme of free exhibitions taking inspiration from the work on our stages, the NT Archive and our national programme. In Visible Ink: Tracing LGBT+ stories at the NT, follows some of the changes for the LGBT+ community over the past 25 years, Lyttelton Lounge from 23 June. We’re here because we’re here – the story of the project as it happened across the UK is in the Wolfson Gallery until 31 August. The project was conceived and created by Turner Prize-winning artist Jeremy Deller in collaboration with Rufus Norris, Director of the National Theatre. National Theatre Posters is in the Wolfson Gallery from October 2017. Curated by design critic and writer Rick Poynor, the exhibition explores poster design from 1963 to the present. From November in the Lyttelton Lounge, The Linbury Prize for Stage Design showcases work by 12 emerging designers working with some of the UK’s leading theatre, opera and dance companies. NEW VIEWS 2017

The NT’s annual playwriting programme and competition for 15 – 19 year-olds.

The 2017 New Views winning play is Dead Don’t Floss, by 17 year-old Beattie Green from St Marylebone School in London.

Beattie Green’s play was chosen out of over 300 entries which came from 62 schools across the UK, as well as a partner theatre programme at the West Yorkshire Playhouse. The winning play was selected from a shortlist of ten by a panel of judges including NT Senior Dramaturg Nina Steiger, playwrights Simon Stephens (The Curious Incident of the Dog in the Night-Time) and Anupama Chandrasekhar (NT writer in residence) and actor Tamara Lawrance. Dead Don’t Floss will be performed in the Dorfman Theatre at 4.30pm and 7.30pm on Tuesday 4 July.

Rehearsed readings of shortlisted plays will take place in the Duffield Studio on Wednesday 5 and Thursday 6 July at 11.30am and 2pm.

For more information, to book tickets or to sign up to New Views 2017/2018 visit http://ift.tt/2seGp2Z

New Views is supported by Old Possum’s Practical Trust, Chapman Charitable Trust, Golsoncott Foundation, The Steel Charitable Trust and Unity Theatre Trust.

The National Theatre’s Partner for Learning is Bank of America Merrill Lynch. ENTRY PASS Entry Pass, the NT’s scheme which offers low-price tickets to under-25-year-olds, is now in its tenth year. To encourage even more young people to see our productions, and with the support of Delta Air Lines, the National has doubled the amount of amount of tickets available to Entry Pass members this year to 25,000. Salomé and Common were the first shows with double the amount of Entry Pass tickets available to book. Tickets are £7.50 for Entry Pass members and £10 for their friends. Entry Pass is part of the NT’s ongoing commitment to offering low-price tickets: this year, 30% of all seats on the South Bank will be available at £20 or under. Entry Pass is supported by Delta Air Lines.

ACCESS The NT is dedicated to making the best theatre and sharing it with as many people as possible. Access facilities include captioned, audio-described, British Sign Language and relaxed performances, as well as touch tours, braille and large print cast lists and infrared audio headsets. For more information visit http://ift.tt/2rvq4tt or call Box Office: 020 7452 3000.

SPONSORS The National Theatre would appreciate an acknowledgement in the body of the text and/or as a separate footnote following editorial copy. Travelex £15 Tickets sponsored by Travelex The National Theatre is working in partnership with American Express The National Theatre’s Partner for Learning is Bank of America Merrill Lynch The National Theatre’s Partner for Connectivity is Cisco The National Theatre’s Outdoor Media Partner is Clear Channel The National Theatre’s Official Airline is Delta Air Lines The Official Hotel Partner of the National Theatre is Edwardian Hotels London The National Theatre’s Workshops Partner is Flints Theatrical Chandlers The National Theatre’s International Hotel Partner is Intercontinental Hotels Group New writing at the National Theatre is supported by ITV plc The National Theatre’s Pouring Partner is Nyetimber The National Theatre’s Partner for Lighting and Energy is Philips Amadeus is generously supported by the Amadeus Production Syndicate Network is generously supported by Marcia Grand for the memory of Richard Grand People, Places and Things is generously supported by Areté Foundation / Betsy & Ed Cohen and Leila Maw Straus MBE Follies is supported by the Follies production syndicate Mosquitoes is supported by Winton Philanthropies and Rosetrees Trust. This play is a recipient of an Edgerton Foundation New Plays Award Sky Arts is the UK sponsor for National Theatre Live The National Theatre wishes to acknowledge its partner National Angels Limited The National Theatre is supported using public funding by Arts Council England

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[londontheatre]

With Book by James Goldman, Music and Lyrics by Stephen Sondheim, and Directed by Dominic Cooke at the Olivier Theatre.

1971, New York. There’s a party on the stage of the Weismann Theatre. Tomorrow the iconic building will be demolished. Thirty years after their final performance, the Follies girls gather to have a few drinks, sing a few songs and lie about themselves. Including such classic songs as Broadway Baby, I’m Still Here and Losing My Mind, Stephen Sondheim’s legendary musical is staged for the first time at the NT. Tracie Bennett, Janie Dee and Imelda Staunton play the magnificent Follies in this dazzling new production. Featuring a cast of 37 and an orchestra of 21, the production is directed by Dominic Cooke (Ma Rainey’s Black Bottom).

Director Dominic Cooke said: “Sondheim is one of the great innovators of modern theatre. Everything he has written breaks new ground thematically and finds a fresh form to express it. His restless, questing spirit defines, for me, what it means to be an artist. I love Follies for its iconic score, brutal honesty and psychological accuracy. It depicts a profound crisis and that most American of themes: the question for authenticity in a world of illusion.

For this production we have put together a book mainly drawn from original 1971 text with some additions from later rewrites. We have brought together an incredible cast and a top notch team. I can’t wait to get started.”

Winner of Academy, Tony, Grammy and Olivier awards, Sondheim’s previous work at the NT includes A Little Night Music, Sweeney Todd and Sunday in the Park with George.

The cast includes Julie Armstrong (Sandra Crane), Norma Attallah (Emily Whitman), Josephine Barstow (Heidi Schiller), Jeremy Batt (Chorus Boy) Tracie Bennett (Carlotta Campion), Di Botcher (Hattie Walker), Billy Boyle (Theodore Whitman), Janie Dee (Phyllis Rogers Stone), Anouska Eaton (Young Emily), Liz Ewing (Company), Geraldine Fitzgerald (Solange Lafitte), Peter Forbes (Buddy Plummer), Emily Goodenough (Showgirl), Bruce Graham (Roscoe), Adrian Grove (Sam Deems), Fred Haig (Young Buddy), Aimee Hodnett (Young Hattie), Dawn Hope (Stella Deems), Liz Izen (Deedee West), Alison Langer (Young Heidi), Emily Langham (Young Carlotta), Sarah-Marie Maxwell (Young Solange), Ian McLarnon (Company), Leisha Mollyneux (Young Stella), Gemma Page (Christine Donovan), Kate Parr (Young Sandra), Philip Quast (Ben Stone), Edwin Ray (Chorus Boy), Gary Raymond (Dimitri Weismann), Adam Rhys-Charles (Young Ben), Jordan Shaw (Chorus Boy), Imelda Staunton (Sally Durrant Plummer), Zizi Strallen (Young Phyllis), Barnaby Thompson (Chorus Boy), Christine Tucker (Young Deedee), Michael Vinsen (Chorus Boy) and Alex Young (Young Sally).

Follies is designed by Vicki Mortimer, with choreography by Bill Deamer, musical supervision by Nicholas Skilbeck, orchestrations by Jonathan Tunick, additional orchestrations by Josh Clayton, musical director Nigel Lilley, lighting design by Paule Constable and sound designer by Paul Groothuis.

The original production of Follies premiered on Broadway in 1971, where it was nominated for eleven Tony Awards, and won seven. The show premiered in London in 1987, and has been revived around the world many times to great acclaim. This 2017 staging will be the first time the musical has been performed at the National Theatre.

Supported by the Follies production syndicate. Press Night: Wednesday 6 September

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