The UK’s first revolving theatre

Liverpool is set to install the UK’s first revolving theatre, as part of plans to revitalise Liverpool’s Ten Streets dockland area into a creative hub for arts and technology organisations. The ‘stage-around theatre’, in which seats rotate to face different stages, will be the first of its kind in the UK, as part of ambitious plans for a new creative quarter that officials hope could create thousands of jobs in Liverpool.

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The New Musical Development Collective

The New Musical Development Collective, a new organisation to nurture emerging musical theatre artists, is being launched, partnering with Theatre Royal Stratford East. The organisation will focus on the development of British musicals and musical theatre artists, through supporting four new musical projects and eight artists over the course of a year. The group will therefore be in residence at Theatre Royal Stratford East for one year from March.

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Northern Ballet announces MacMillan triple bill

Northern Ballet recently announced a triple bill of works by late choreographer Kenneth MacMillan for this autumn, with further performances in spring next year. The programme will consist of MacMillan’s Las Hermanas, Gloria and Concerto, and will be performed in both Bradford and Leeds. This programme will mark the first time Northern Ballet has danced ballets by MacMillan, and additionally marks 25 years since the choreographer’s death, backstage at the Royal Opera House.  Continue reading Northern Ballet announces MacMillan triple bill

Rosie Kay Dance Company’s new work

Rosie Kay Dance Company recently premiered new work MK ULTRA, focusing on the generational gap in knowledge about mind control conspiracies within pop culture today. The work is therefore inspired by pop-culture conspiracy theory and the Illuminati, a shadowy elite cult that brainwashes child actors and singers, and controls mass opinion through puppet performers (who brainwash with music videos and mass entertainment vehicles). This sits on a hotbed of ‘Fake News’ and ‘Alternative Facts’ which often create headlines.

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Crazy for Caroline Flack

The classic musical Crazy for You is soon to reappear around the UK, as it embarks on a UK tour this summer. Adding to the excitement of the musical reopening, television presenter Caroline Flack will make her stage debut in the UK tour. Flack previously won the 2014 series of Strictly Come Dancing – and trained at Bodyworks in Cambridge – so a step onto the musical theatre stage will not be at all taxing for the performer.

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Annie – starring Miranda Hart

Much-loved comedian Miranda Hart is set to make her West End debut in the musical Annie, playing the notorious Miss Hannigan in Nikolai Foster’s show. Foster will direct the new production of Annie at the Piccadilly Theatre, London to open in May this year, a distinct change for Hart renowned for her stand-up comedic talents. Musical theatre will be a new string to her bow, with fans anticipated to support the star’s venture into singing, dancing and acting.

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Hair’s 50th anniversary production

The 1960s musical Hair is set to receive an immersive revival at The Vaults, in the heart of London, returning to the city for its 50th anniversary production. This new production of the acclaimed musical will be a particularly immersive one, celebrating the show’s anniversary in October, underground in The Vaults near to Waterloo in the city.

Hair will run at The Vaults from 10 October to 3 December, with previews from 4 October: it is set to be a hugely successful opening. Directed by Jonathan O’Boyle, the production will be preceded by an immersive experience including pop-up restaurants and themed stalls down in The Vaults, and added post-show entertainment will include ’60s discos, live bands, and screenings of iconic ’60s movies. In an experience similar to that of Secret Cinema, the musical is sure to delight and excite.

Hair is set in the East Village of New York in 1967, and tells the story of a tribe of young people yearning to change the world – under the shadow of the Vietnam War. It features the songs “Aquarius”, “Let the Sun Shine In” and “Good Morning Star Shine”, and has a book and lyrics by James Rado and Gerome Ragni. With music by Galt MacDermot the show is a plea for change, and is particularly poignant in how relevant it could be regarded today.

The production will be mounted by four young producers; Katy Lipson, Ollie Rosenblatt, Joseph Houston and William Whelton. Whilst they have some experience under their belts the foursome are undoubtedly fresh-faced, however this unique transfer looks set to deliver for them. Already there has been a very positive reaction to the vibrant young production of Hair, providing it with both a future and longevity. At 50 years old The Vaults is the perfect setting to celebrate this continually topical and moving musical.

Theatre Etiquette

Theatre etiquette is a topic that springs up time and time again, albeit faster than the time it takes for your neighbour along the row to move from their seats to let you past to yours. This is just one instance in the theatre of behaviour that detracts from the theatrical experience for many audience members, where their enjoyment is tainted by the fact others cannot and will not behave accordingly.

Shuffling along the row to your seat aside, it seems many audience members – be it at a musical theatre show, a ballet, a straight play or even an immersive experience – are unable to abide by simple etiquette rules in the theatre in order to enhance everyone’s experience. A Saturday matinee performance is notorious for sweet wrappers and young children, but more often than not food is taken into the auditorium similar to the cinematic experience. Some may argue that this shift towards cinema is positive in encouraging new audiences to enjoy the theatre, however not at the distraction from what is happening on stage.

Mobile phones are another bugbear for many, audience members and critics alike. With a world that is increasingly technology-orientated, it is no surprise that mobile phones and tablets are constant in our daily lives. As the lights go down the audience is still awash with a glow as they check those final emails or social media sites, unwilling to turn the device off or even to silent. Sometimes said device even takes precedence over what is happening on stage, with all usher rules taking the backseat. Curtain call photographs are now in abundance as audiences strive to take them despite calls from ushers!

Whilst there is no doubt that theatre is changing, becoming more accessible and welcoming to new audiences, it seems unorthodox for the theatre etiquette to change so drastically too.

A Theatre Named Selfridges

The London department store Selfridges – identifiable by its prominent yellow branding – is set to launch an 100-seat theatre this summer, that will allow customers to watch a Shakespeare production being rehearsed and performed within the store. In what appears to be a first for the performing arts, the department store will dip into its artistic side in order to provide its shoppers and other theatrical audiences with some theatre in its Oxford Street store in London.

In addition to Shakespearean delights in store, Selfridges has also teamed up with drama school RADA (Royal Academy of Dramatic Arts) to provide two weeks of workshops and masterclasses for shoppers. RADA will precede the theatre company with a two-week residency from 4 July, offering customers workshops and masterclasses in areas such as stage combat. It is unclear as to how popular these sessions will be for shoppers, but an innovative idea nonetheless.

The store will have a traverse stage, a box office, a designer royal box and a bespoke lighting rig from White Light, forming the Refashioned Theatre. In presenting Shakespeare’s Much Ado About Nothing, Selfridges has teamed up with theatre company the Faction. The theatre company will offer audiences and shoppers the chance to watch rehearsals, which Selfridges has compared to the experience shoppers have while looking at its own window displays. Marrying shopping with art can seem a vast leap, however the elements are similar in making passive observations of what is being presented. Rehearsals are in action, running in the space from 18 July to 22 August, with the play being performed from 23 August to 24 September.

The play will feature nine actors, in addition five digital cameos where images will be projected on to shop mannequins, integrating the two further. The new collaboration will go just some way in celebrating Shakespeare400 this year.

Nicholas Afoa – Lion King life

New cast have joined the London production of Disney’s The Lion King this summer, including New Zealander Nicholas Afoa who has taken on the role of Simba at the Lyceum Theatre.

Afoa made his stage debut in the Australian production in 2013 and played Simba in the Sydney production of the musical between 2013 and 2016, performing more than 860 times. The opportunity to play the role in the West End brings Afoa to London for the first time, as he embarks on his second professional theatre engagement.

The Auckland-raised performer had a promising rugby career with the All Blacks until he was sidelined by injury. After recovering and dedicating himself to his theatre career, nearly a decade later the 30 year-old beat 400 other hopefuls to the role of Simba in the Australian production.

What caused your transition from rugby pitch to stage?

I suffered an ACL and miniscus tear in a rugby game when I was 23. My introduction to theatre wasn’t until years later as I spent a lot of time trying to rehab the knee and come back to rugby. I also spent time trying to start a band and focus on my solo music. I eventually accepted the fate that was the end of a rugby dream and focused on these artistic qualities; I feel so lucky to be where I am right now.

Did you undertake any formal training as a result?

My formal dance training really started once I had landed the role. Now being part of the show has become such a huge part of my life and I feel like I am training and improving my skills every day. It is great to be around so many talented performers and teachers in an environment where everyone is constantly learning.

Describe a day in your life.

I like to spend time with my wife, go to the gym, keep in touch with family back home and go to vocal classes or ballet classes to keep my body up to speed.

How important is your ranging and diverse world experience in your work today?

I wouldn’t be able to bring the same depth to the role if it wasn’t for my life experience over the last 10 years, the interactions I have had with people, the trials I have overcome and what I have learnt from overcoming them. I worked as a youth counsellor for four years, where I learnt so much about adolescent behaviour and the way young people (like Simba) view the world around them and perceive themselves – these are all things that helped me to bring Simba to life.

What’s the most rewarding thing about the performing arts?

The most rewarding thing is how, through your passion, you can also inspire and move others. That’s what drives me, especially if I’m feeling tired. The fact that somebody in that audience, young or old, is being positively affected by the show is the most rewarding thing.

Do you have any pre-show rituals?

I always say a little prayer moments before swinging on stage. Whenever I can I will watch young Simba and Mufasa in the first act. Their scene gives me an extra emotional boost that I carry through into the second act.

What is it like being part of The Lion King?

It’s very humbling. Every day I learn something new. I’m in an amazing show surrounded by talented, passionate people. I still consider myself very fortunate and never once take it for granted.

What were you most looking forward to about beginning your Lion King contract in London?

What I was looking forward to most was learning and experiencing new energies and actors, seeing how that would affect me as a performer and being able to see what contribution I could make. It was also a chance to experience life outside Australasia as I have never been this far away from home.

What is your advice to an aspiring dancer?

I see with the dancers I work with how dedicated every dancer is to maintaining their own standards. What dancers’ bodies go through is mind-blowing. It inspires me to keep bettering myself. My advice would be to keep working hard, but also give yourself time and space to heal when you need and to also take in some of the world around you. While it’s good to be driven we can get so set on our dreams that sometimes we lose touch with our surroundings. This is also where we learn the most about ourselves and in turn makes us better and rounded performers.