#featuring: jenny and ian's great great great grandchildren

[imagineclaireandjamie]

Not an ask but just a bit of kudos, I am really diggin "Tales from the Past". I'm very curious to see if Claire thinks it all a big coincidence and how Uncle Lamb will react to all of the info they find? Thank you for the lovely writing.

Tales From the Past | Part I, Part II

Scotland was unlike anything I had ever seen before.  The land was an unbelievable shade of green and more beautiful than I could have ever imagined. The image I had of my witch and whisky maker family fit perfectly within this landscape. The rolling hills leading to towering mountains, and the glistening lakes reflecting the scenery around them gave the air of magic and endless possibilities. The deeper into the Highlands we travelled, the easier it was to see how the Scots, and my Scots in particular, transitioned and settled in the mountains of North Carolina. There was a familiarity between the two, but whereas Scotland felt old and full of legends, the North Carolinian mountains had an air of youthful mystery in comparison.

“Are we there yet, Uncle?” I asked as yet another town flashed beyond the car windows.

“Not yet my dear. We’ll be there in no time at all, just enjoy the scenery. Maybe you could come up with your own legend by the time we get to our destination!” He cheered then went back to humming a nameless tune.

I sighed and looked longingly out the window. I just wanted to be there, I wanted to see their home and find out more. “Are we going to Broch Morda and Lallybroch?” I asked not five seconds later.

“No, Claire.” Uncle Lamb said with authority. “We’re headed to a town called Inverness. My correspondent who can trace their lineage back to Lallybroch itself lives there. She’s more than willing to tell her family stories and that of her husband’s as well.”

“Fine.” I grumbled, “I still wish we were going straight to Lallybroch. Something is pulling me in that direction, we need to go there.”

“Patience my dear, we will get there, just after we’ve heard what these Murray’s have to say.” Lamb winked.

Inverness was beautiful, tucked away at the top of Loch Ness I could see the appeal and history all around, but I was restless.

“How long do we have to be here?”

“Long enough,” He laughed guiding me towards the door. “I thought you wanted to hear the legends?”

I groaned, “I do but I want to go see Lallybroch more!”

“Let’s see what they have to say first. We’ll need their story to help further our investigation, despite your curious insistence!” Uncle Lamb cut me off before I could speak further.

“Fine,” I murmured into my arm that rested on the door. My excitement crushed for a moment.

The countryside blurred by until the faintest idea of a town sprung up in spires and stone.

“Inverness?” I asked looking to at Uncle Lamb. He grinned and nodded, weaving our way through the streets to the tea room where the mysterious Murray’s awaited our arrival.

“Here we are, m’dear!” Lamb exclaimed throwing the car door open. “Would you get my satchel from the boot? We may need to take photographs and extra pens and paper! You never know what all they’ll have or have to say!”

His excitement was contagious and I felt my own lift to a nervous bubble. I still longed to see the fabled home, but deep down I knew I needed to hear what the Murray’s had to say.

“Are you Quentin Lambert?” A tall and lanky man with jet black hair and gray eyes asked as he approached our car.

“That I am! You must be Alexander Murray,” Lamb greeted, clasping the man’s hand.

Mr. Murray chuckled and nodded. “Aye, and this is my sister Jennifer.” He gestured to short girl with the same black hair and gray eyes.

“We’ve already got a kettle on, please join us inside.” Her smile was kind, but wary.

“Claire! Don’t forget the books!” Uncle Lamb called from over his shoulder absentmindedly as he entered the quaint stone building.

I took a moment to breathe in my surroundings. The bustle of people and their cars contrasting against the ancient stone buildings. If I closed my eyes and blocked out the modern sounds I could believe I was there when it all began. I could feel the clean Scottish air as it wrapped itself around me and those on the streets, smell the the roasting meats from taverns and hearth fires as well as fresh bannocks and bread, and I could imagine the sounds of wagon wheels and horse’s hooves on cobble and splattering mud. My imagination took me to a world where I could imagine my whisky making Scot walking down the street, and with a swish of a kilt he was gone.

“Miss Beauchamp?” I jumped, startled, my eyes flying open as the pack fell to the street. “Och, sorry. I dinna mean to give ye such a fright. Yer uncle was asking for ye. I came to fetch ye inside.”

My cheeks reddened from getting caught in my fantasy. The real world felt foreign and distant compared to where my mind had just held me. I slowly retrieved Uncle Lamb’s bag and followed Jennifer Murray inside.

“Claire! Claire! There you are, what kept you? No matter, you really must hear what young Mr. Murray has told me about his family! There was a tale that originated from a great uncle of sorts, and that very uncle could be the James Fraser we are striving to find! But I’m very much more fascinated in this enthralling tale of a cave, espionage and freedom! Please, come sit. Sit and listen!” Lamb managed to get all of this out in a single breath, his face red, but eyes alight with excitement. I noticed his hands were already ink-stained and smudged, his left worst of all.  

“Breathe Uncle.” I said, laying a hand to his shoulder. “I’m sure Mr. Murray doesn’t wish to recount the tale again.”

“I dinna mind at all! Would ye like some tea before I start?” Alexander Murray gestured to the barely touched tray of tea and shortbread.

“Yes, thankyou.” I replied, pouring my own cup and grabbing a biscuit.

“As I was telling your very enthusiastic Uncle, my family has many tales and legends as does most here in the highlands. But one, we can go so far to say, is one of the more famous ones.” he said lowering his voice with a wink. “This one legend was said to be the Laird of Broch Tuarach during the uprising of Prince Tearlach in 1745. It’s said that the Laird was spared at the battle of Culloden or most likely escaped the clutches of the British and fled back to his homeland. His hair was a fiery red, easily spotted and gave him little chances to hide. My–” he paused and then gestured to his sister, “–our great-great-great grandmother was this Laird’s sister. She hid him in a priest hole that her recently dead sister-in-law had told her to build. You see the Laird’s wife was a Sassenach and a faerie.

“The folk in the highlands were wary of her and her healing abilities, even though the laird loved her more than life. She was among those caught in the crossfire of Culloden. The Laird being so distraught had nearly given up the will to live and when he was well enough to stand, decided to hide in the hillside to better protect his family.”

“Och! You’re tellin it wrong Sawny!” Jennifer interrupted.

“Och aye? Am I? Weel why dinna you tell it then and let me save my voice!” he said and smugly crossed his arms and legs into a relaxed position.

“I will then!” She settled herself deep into her chair.

“As my brother said, our great-great-great grandmother was the sister to the Laird who became legend, and it is from her that we get our story. Before the days of Culloden and the blackened soul of Prince Tearlach set this bonnie nation into strife, the Murray’s and Fraser’s lived peacefully on the estate. The young Laird had taken a faerie to wife, but all that knew her well enough said she was kinder than of any fae, and that she loved the Laird and his family to the ends of time. It was when she caught a vision of great strife and suffering for her beloved’s people, she told her good sister to plant crops that would yield a great amount, and prepare hidden storages including a priest’s hole under the kitchen cellar. The fae and her husband rushed out to protect the people and try to stop the horror she had seen from coming to fruition.

“They had earned the trust of Prince Tearlach, and made their way into his inner council. Night after night, day after day, the Laird tried to convince the Prince of his doomed cause, but to no avail. The horror still approached and overcame the people of this good nation. Killing thousands, destroying homes and the highland culture at it’s roots. The faerie wife, so distraught at the destruction of her adopted home, begged for her people to save the Scots, to turn back time and not let it happen, but they didna answer. Instead, it’s said she curled up on a faerie hill just outside Inverness and died of a broken heart. Unable to save her beloved nor her new people, and the old ones wouldnae have her back.

“However, the Laird did survive! He made his way home to Broch Tuarach where his sister tended to his physical wounds, but nothing could take away the pain he felt at the death of his wife. He hid for months in the priest’s hole, listening to raid after raid from the British soldiers and he could have it no more. He was too much of a danger to his family, and he couldna bear to lose another part of his heart. One night, he hid himself deep into the caves of the hills that surrounded his property with naught but a dun bonnet to his name. Just far enough that he would pose no danger, but close enough that if he was needed, he could be called upon. For seven years he hid by himself in the caves, coming out at night, clad in brown from head to toe, hiding the flames of his hair under bonnet and cloak of night to deliver fresh meat of his kills to his people and family.

“The Laird’s most faithful servant would risk his life week after week to bring the Laird fresh ale, clothes, and news of the town and of his family when the laird could not make his way down the mountain. On a day, not unlike today, where the sun shone high and the temperature mild, the servant raced up the hill bringing his lairdship fresh supplies, only to be stopped by a wicked cluster of British soldiers. They accused the lad of stealing and chopped his hand off for his crimes, then stole the Laird’s supplies for their own gain. Outraged the Laird tended the lad as best he could in the cave before taking him to the estate for proper healing. It was then the Laird decided that his time in the caves were at an end. He had to stand, he needed to fight the cruelty and oppression being imposed on his people.

“Seven years since the uprising, and there was still a traitor’s reward for the Laird. The laird asked his brother-in-law to turn himself in, grab the stirling reward and feed the family and people he could no longer protect.”

Jennifer stood up and went to the window. I blinked trying to come back to the world around me. The tale she had spun so vivid in my mind, like that was the true reality and not this tea parlour.

“What happened to him? The Laird?” I asked, desperate to hear more.

She turned, the light a halo around her silhouette, “The Dun Bonnet Laird went to prison to save his family. If you go back to our family’s ancestral home and speak to the locals they may tell you of him in a different way, the story altering from family to family. But one thing is for sure, they say on the old fire feasts, ye can see the Dun Bonnet standing at the mouth of his cave, keeping his vigil for all who are under his protection.”

[renee-writer]

Highlands and Horses Chapter 25 Sunday Dinner

AO3'

She is a mass of nerves as she rejects one outfit after another. First impressions are important. Ellen Fraser must like her for she loves her son. Finally she settles on a dark green dress that, she knows, brings out her best features, her eyes and legs. It ends just at her knees and shows no cleavage. Perfect.

 

His eyes just about pop out of his head when he sees her. He is a sight himself, with a suit on and his wild hair tamed and pulled back. “Okay?” she asks when he had stood for a full minute just staring at her.

 

“Very. You are a masterpiece Claire. A living breathing master portrait come to life.” She blushes.

 

“You are a flatterer and quite handsome yourself. Shall we go while I still have the nerve.”

 

“Aye let’s.”  

 

The main house is magnificent. Standing three stories of old brick, it raises against the setting sun and takes her breath. Jamie smiles when he sees her reaction. “She is a sight, isn’t she.”

 

“That she is.” He comes around and helps her out. Keeping her hand, he leads her towards the front door.

 

“Uncle Jamie!” Claire sees a flash of tartan and red curls before the little girl has her arms around her waist.

 

“Maggie!” he hugs her one handed. “How is my favorite niece.”

 

“Your only niece.” She returns, her blue eyes flashing with humor.  

 

“True enough. Margret Ellen Murphy meet Claire Beauchamp, Miss Claire to you.” Claire kneels to be at her eye level.

 

“Hello Maggie.”

 

“Hi Miss Claire.” She holds out her hand. “Are you going to be my auntie?”

 

“Ahh..”

 

“Maggie!” A loud laugh from behind them. Turning, Claire sees a tall red haired lady. Ellen she presumes.

 

“Isn’t she a pistol?” She comes up. “Maggie, go join your brother. We will be in soon.” she scurries off. “I am Ellen Fraser. You must be Claire, the lass my Jamie can’t stop talking about.”

 

“Yes, I am Claire. It is nice to meet you.” She offers her hand and is enfolded in a hug. Okay then. Jamie grins at her over her shoulder.

 

“We are huggers.”  They hug for a while then  Ellen leads her in, her arms over her shoulder. Jamie follows with a chuckle. “You know everyone else but Maggie, who you just meet and wee Ian. Ian, come meet your uncle’s friend.”

 

The little blond boy steps out. He has the same flashing blue eyes of his sister and uncle.  “Ian James Murray, ma’am.” He presents his hand. Charmed, she bends down to greet him.

 

“Claire Beauchamp, you may call me Miss Claire. It is nice to meet you Ian.”

 

“She is beautiful.” He whispers in an aside to his uncle that everyone hears. They all laugh. Yes, Claire is comfortable with his family.  

 

“That she is, and smart, kind, giving, sweet, strong, and the best horse whisperer I’ve ever known.”

 

“Told you she is to be our new auntie.” Maggie says to her brother.

 

“Margret Ellen, stay out of adult issues!” her mam warns.

 

Jamie comes up and wraps his arms around her. “Sorry, they are a bit overwhelming.”

 

“They are wonderful. A true family.”

 

Over dinner, where the bairn’s entertain their elders with talk of school and their many mates, Claire watches as Brian is so sweet to his wife. Tender looks and touches. Focusing on her even as he listens to his grandchildren. Ian is just as attentive to Jenny. As this are Jamie’s examples, she knows he is in good hands.  She turns at one point to find his eyes on her. The love and lust she finds in them has her all tingly. She reaches under the table and finds his hand.

 

“Okay bairn’s, let’s get to know a bit more about Miss Claire. She is our guest.” Their granddad’s command silences them and they turn their eyes to her.

 

“Well, I grew up in the city. My dad passed when I was young so my Uncle Lamb stepped in. He and my mum raised me to be all the things your uncle sees in me. The horse I am working with most is Amazing Grace. She has some trust issues but,” a quick glance to Jamie, who is drawing patterns on her hand. “we are working them out.  It is funny you know, when I was you guys age, I didn’t even think about working with horses, though I loved them.  It took time to find my true passion.” Another quick glance at Jamie, “ but when I did, I never looked back.”

 

“I wanna be a singer.” Maggie declares.

 

“I will be a Laird. Will own all kinds of houses, a farm, maybe a store or two.” Wee Ian says.

 

“My children have big dreams.” Ian looks at them with affection. “but now it is time for night dreams. School in the morning.” There is a fair amount of grumbling but Ian holds firm. So, after they bid all good night, Maggie singing it, they go up the stairs to their rooms.

 

“I love them, nae doubt but it is good to see the day end.” Jenny settles back into the chair and something about her posture or how her hands lay on her stomach, draws Claire’s attention.

 

“Jenny are you..?”

 

She nods. “Aye, and I told my man this will be the last. One reason I am glad to have Annalise there.”

 

“She is working out well then?” Brian asks as he stands and starts to clear the table.

 

“Aye. Quite well. She is a fair keyboardist and takes excellent notes. She has incredible organizational skills and is making my office easier to navigate.”

 

“Wonderful. What you and Jamie are doing there, and Claire and all the others too, is so wonderful. With the horses and the teens.” Ellen says.

 

After the table is cleared and the dishes placed in the dishwasher, they retire to the great room. The fireplace is inviting and they all gather around it. Jamie entertains his family by telling them about John’s nephew.

 

“Oh he really is spoiled. The lad is learning valuable lessons. He isn’t allowed to get by with nothing. John is a hard task master but needed one. Young William Ransom is no king at Restoring Trust and he is learning it. He was upset Friday because he saw Fergus and Marsali working with the horses. Thought it better then mucking stalls and laying hay. Oh when John told him he must earn the privilege, he threw such a fit. Threw himself down on the ground and rolled about.”

 

“Gracious, what did John do?”

 

“Ignored him mam. When he stopped, John just told him to rack back up the hay he had scattered. He did it too.”

 

They all laugh. They talk for an hour more before Brian and Ellen and Ian and Jenny, head up to bed. As it is late, Jamie and Claire will be spending the night too. But they sit and enjoy the fire a bit longer first. He kisses the top of her head as she snuggles into him.

 

“They like you.”

 

“I like them too.” She says.

 

“Good.” He leads her to bed a bit later.

[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

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