As with most ghost stories and superstitions, they have their origins in fact though they have often, through time, been rather distorted or embellished from how they began. For example, saying ‘Macbeth’ in a theatre is still highly frowned upon, and not just with the ‘old school’ crowd. Many people do not like to hear that word in a theatre. It’s very utterance can be enough to send people reeling, as if the devil himself (if there indeed is such a thing) were to appear at any moment,  and you are forced to leave the building, turn in a circle three times, spit, swear and then knock to be allowed back in.  These days, you can just about get away with only the turning, spitting and swearing part, and it has become as much of a tradition as something done solely out of fear of reprisals. However, so few people actually know where these superstitions come from and for what they are actually turning, spitting and swearing for.

So allow me to clear a few of the big ones up for you!

The ‘Macbeth superstition is said to go right back to and originate from Shakespeare himself’s day, when, if a theatre was in ‘trouble’, in debt or failing, they would  stick a production of Macbeth on to improve patronage as it was always a good ‘bums on seats’ play. So, the superstition grew from the ‘better not say Macbeth in the theatre or that means we’re closing’ seed, and there is nothing more sinister than that. The word is not cursed, the Phantom of the Opera will not suddenly appear out of thin air and burn the theatre to the ground should you slip up and mention the unmentionable play! Though it is commonly believed, incorrectly, that the globe burned down during a performance of Macbeth. It was in fact during a performance of Henry VIII.

Another superstition that lives on is not to whistle in the theatre. This one well and truly has its roots in fact, as theatre rigging arose from sailors rigging and it was often sailors who manned the flies using coded whistles to change the scenery. Back in the day, one little whistle could have seen you with a large backcloth embedded in your skull. These days, however, it is still considered bad luck to whistle, despite the flies being controlled though intercoms and cue lights.

Another one in the bad luck category is ‘not wishing good luck’. The term ‘break a leg’ was born – though no-one is a 100% sure when and where – out of having to bend at the knee many times when bowing or curtseying,  preferably during multiple curtain calls, thus ‘breaking’ the line of the leg. If you received much applause and many bows, the show was a success. And so now people wish ‘break a leg’ in place of ‘good luck’ to avert the bad luck of saying good luck!

And there are many more of course; scripts under pillows, moths in spotlights and so on, but whether or not one is the superstitious type, we hold these somehow close to our hearts, out of respect, etiquette, nostalgia or actually being fearful of upsetting the gods of theatre! It somehow gives us a sense of time and history in what is otherwise an ever moving, morphing and transient industry. It is the little things, silly or otherwise, that have been passed down through generations of thespians that, at least in part, give us the sense of belonging to something a little bit bigger than our own lives and lines. I wouldn’t be without them in a way. That said, if you’re made to leave the theatre, turn, spit and swear and then can’t get back in… they can be rather a nuisance!

So to Venice, 1772 and the intrigues of Alvar, amateur occultist and Spanish nobleman. In an original stage adaptation – from Jacques Cazotte’s novel The Devil In Love – by Rahil Liapopoulou, Alvar summons up a spirit, who appears to him in the form of Biondetta, a page at first but soon after a beautiful woman who professes her love for him. Things quickly take a turn for the sexual as Biondetta makes her intentions clear, but can Alvar resist her advances? Will his soul be forever lost if he sleeps with her? Can he invoke his Catholic upbringing against Satan and find his way back to his estranged mother? Or is it all a figment of his imagination?

Your guess is as good as mine in a production that is convoluted and often frustrating. The piece, like many other Faustean flavoured works, suffers from the protagonist withdrawing into himself when the pact is made. Why isn’t the devil taking the melancholy don out to parties? It’s Carnival in Venice after all. I’d be curious to look at the source material, as there seem to be references to a much vaster work here. Of course, in a fringe production such as this, resources are going to be limited, but even with a sparse stage (randomly prop-heavy for one dining scene) and four of the six actors playing two roles, the story was empty. Almost every scene takes place indoors and the character actors are left with little to do to advance the story in any meaningful way. It could probably work as a two-hander in fact.

The devil would be satisfied with the number of theatrical sins that take place in the production. Most egregious of all is the number of blackouts. Towards the end of the first act, we endure a litany of scenes, all between thirty seconds to a couple of minutes, and all broken up with blackouts. This suggests that both the writer and the director, Venus Raven, are more interested in TV and cinema than theatre. Further to this, the tempo is monotonous and most of the time the actors are not on their cues – there is much ‘acting the reaction’ in this production, especially from the leads, which is a shame because they both show glimmers of something more interesting in their monologues. Ultimately, the piece is founded on the transaction between these two, and because they aren’t truly engaging with each other, it fails.

Accents fly thick and fast in the space. Everyone seems to come from a different place. Paul Coster’s Soberano is probably the pick of the players, even though his voice veers towards EastEnders villain; and though Orestes Sofocleous has vocal power, quite often his words are garbled as his Greek accent consumes the Spanish character. Kat Damvoglou sings a beautiful haunting curse that is all too brief and it’s a pity that her character’s spoken lines don’t have the same support. The use of Ave Maria – which plays an important part in the piece – is lazily anachronistic. It wasn’t written until the 1820s. Also the adaptation of the folk song, ‘A soldier I shall be,’ made rude in the playgrounds of Britain during the colonial era, is out of place at a Venetian dinner party. Surely a bawdy traditional folk song could have been sourced?

At the start of the play Don Alvar claims that his greatest passion is curiosity. The fact that he uses his new-found power to mope and amble puts him, and the production beyond redemption.

We first interviewed EverYoung at the launch of their record label, Seymour Place Music, earlier this year.

Cherelle says “The single is about being positive, something or someone you love, standing up for them and fighting for them, in any situation.”

The quartet are no strangers to the prospect of fame however, they all recently graduated from the prestigious Sylvia Young Theatre School, where the likes of Amy Winehouse, Matt Willis (Busted) and Denise Van Outen all started their performing careers. It seems the group are already enjoying some fame…

Jack says “It was incredible, an experience we don’t want to give up, sharing music, travelling round the country – it’s just amazing. Today has been the first day we’ve experienced what fame is like. We were on the radio today, all the girls were texting in saying they were crying, it’s all very surreal.”

EverYoung on tour

Eyal is enjoying life in the spotlight; an all the extra female attention it seems! He says “It’s amazing to think there are people out there that like your music so much, to think they react like that is a nice feeling, lifts you up, its so cool!”

The team have been doing a national schools tour to promote themselves and their debut single. Jack got the chance to return to his old school to perform, saying ” it was really quite

strange, how girls I used to pass in the corridors now scream out my name and ask for an autograph.”

EverYoung are signed to Seymour Place Music, and are managed by Simon Hanning and Sylvia Young.

Simon told us “The guys are great to be around and both Sylvia an I have worked hard keeping the band level headed, it’s tough breaking a band and means an awful amount of work which the band have embraced with their normal enthusiasm, going forwards  I think we will continue to take one step at a time with the knowledge that we have the support and expertise of EMI to call upon at any time. Things are going really well and we are on track to where I hoped we’d be at this stage. We are already on track with single two and in the planning stages for an album, we will continue with the schools tours as its been the very best way to build a fan base, we have met every single one of our Facebook followers which I believe is really important to continue, our best way to grow is through word of mouth and utilising crowd sourcing. So far so good!”

The bands success shows that with enough practise and determination, success in the music industry for young upcoming artists is still a realistic dream. So if you think you’ve got the talent, why not give it a shot!

Hollie was keen to tell us about the bands aspirations “We want to stay young forever (laughs) keep on making music for as long as we can, as long as people are happy listening to us then we will keep making music and let the whole world hear it.”

The Single Warrior is available for download on iTunes and all good online music retailers, so get downloading. The music video is available to watch below…

Gareth Gates leads this sophisticated homage to musical theatre, featuring songs from much-loved shows including West Side Story, Phantom of the Opera, Wicked and Miss Saigon. He is joined by a cast of West End stars including blonde bombshell Rachael Wooding (Jersey Boys, Hairspray), an amazing ensemble of dancers and a live on stage band.

Gareth Gates

Since being catapulted into the limelight as a finalist on the original Pop Idol 10 years ago, Gareth Gates has sold over 3 million singles in the UK, and toured extensively as a solo artist, playing to sold out arenas. He has recently carved out an enviable niche for himself as a lead musical theatre artist, with coveted starring roles in Joseph and the Amazing Technicolor Dreamcoat for Lord Andrew Lloyd Webber and Les Misérables for Sir Cameron Mackintosh.

Rachael Wooding

Rachael Wooding recently played the lead role of Mary Delgado in the long-running West End production of the smash-hit musical Jersey Boys. Her previous West End credits include the lead roles of Amber in Hairspray, Meatloaf in We Will Rock You and Serena in Fame. She also played title role in the recent UK tour of Evita to extensive critical and popular acclaim.

Momentous Musicals is a brand new concert celebration of the very best in musical theatre, showcasing soaring ballads and fondly remembered songs from the most significant musicals of our generation. High production values and top-notch talent combine to offer an unforgettable evening of popular songs, eclipsing even its closest rival with artistic aplomb.

Momentous Musicals is produced by Neil Eckersley for Speckulation Entertainment. It is directed by John Garfield-Roberts, with choreography by Racky Plews

Without doubt the UK’s most prestigious (and sought after!) theatrical awards, this year both press and public alike have held their breath while awaiting the announcement of those nominees. Well, the wait is over; today saw the shortlist finally revealed. And with such a plethora of talent to choose from, it’s a wonder the panel managed to come to any decision at all.

Before we can go any further, I cannot fail to mention the leader of the pack, and clear frontrunner in the race for the Olivier Awards. Matilda the Musical (produced by the RSC) sweeps the board clean with an impressive ten nominations – the maximum number of eligible awards for a musical – including Best New Musical, Best Choreographer and Best Actress in a Musical, for all four of those incredibly talented little ladies.

Hot on their heels however are a dazzling list of actors and actresses, including James Corden, for his ever memorable performance in the National Theatre’s One Man, Two Guvnors (5 nominations), Jude Law in Anna Christie and Celie Imrie, shining in Noises Off at the Old Vic.

This year has truly seen nothing short of an explosion of talent bombarding through.  Mark Rubinstein, President of the Society of London Theatre just about summed up our ‘world-class London theatre’ with an ‘incredibly talented list of nominees for the Olivier Awards 2012 with MasterCard [which] continues to delight thousands of Londoners and visitors every day’. And what can get better than that?

Actually – one thing can get better…the Awards themselves! Hosted by West End stars Michael Ball and Imelda Staunton, winners will be announced at the Olivier Awards Ceremony held at Convent Garden’s Royal Opera House on Sunday 15^th April 2012. Although access into the Ceremony is unfortunately limited to invite-only, the BBC will be giving the awards extensive live uninterrupted coverage via the Red Button, on Radio 2 and online, with red carpet coverage from 5.30pm.

Feel this isn’t the same as actually being there? Well take a trip to Covent Garden Piazza for an awards celebration, where theatre-goers and public alike can gather to enjoy a free big-screen live show relay, and other entertainment, including live performances from some of the West End’s hit shows.

It is easy for me to say that this year has brought with it perhaps the most exciting, adventurous and sometimes outrageous new shows that Theatreland has seen for a good few years. I cannot help but believe that it is moments like this when it really is bloomin’ marvellous to be British! So ladies and gentlemen, boys and girls, it is with absolute pleasure that I reveal the shortlist. All that’s left to say is…enjoy!

2012 OLIVIER AWARDS WITH MASTERCARD  - NOMINATIONS

MASTERCARD BEST NEW PLAY
COLLABORATORS at the Cottesloe
JUMPY at the Jerwood Theatre Downstairs at the Royal Court
THE LADYKILLERS at the Gielgud
ONE MAN, TWO GUVNORS at the Lyttelton

BEST REVIVAL
ANNA CHRISTIE at the Donmar Warehouse
FLARE PATH at the Theatre Royal, Haymarket
MUCH ADO ABOUT NOTHING at the Wyndham’s
NOISES OFF at the Old Vic

BEST ENTERTAINMENT AND FAMILY
DERREN BROWN – SVENGALI at the Shaftesbury
MIDNIGHT TANGO at the Aldwych
POTTED POTTER at the Garrick
THE TIGER WHO CAME TO TEA at the Vaudeville

BEST ACTRESS
CELIA IMRIE for Noises Off at the Old Vic
LESLEY MANVILLE for Grief at the Cottesloe
KRISTIN SCOTT THOMAS for Betrayal at the Harold Pinter
MARCIA WARREN for The Ladykillers at the Gielgud
RUTH WILSON for Anna Christie at the Donmar Warehouse

BEST ACTOR
JAMES CORDEN       for One Man, Two Guvnors at the Lyttelton
BENEDICT CUMBERBATCH AND JONNY LEE MILLER for Frankenstein at the Olivier
DAVID HAIG for The Madness of George III at the Apollo
DOUGLAS HODGE for Inadmissable Evidence at the Donmar Warehouse
JUDE LAW for Anna Christie at the Donmar Warehouse

BEST PERFORMANCE IN A SUPPORTING ROLE
MARK ADDY for Collaborators at the Cottesloe
OLIVER CHRIS for One Man, Two Guvnors at the Lyttelton
JOHNNY FLYNN for Jerusalem at the Apollo
BRYONY HANNAH for The Children’s Hour at the Harold Pinter
SHERIDAN SMITH for Flare Path at the Theatre Royal, Haymarket

BEST ACTRESS IN A MUSICAL
KATE FLEETWOOD for London Road at the Cottesloe
SARAH LANCASHIRE for Betty Blue Eyes at the Novello
THE MATILDAS for Matilda The Musical at the Cambridge
SCARLETT STRALLEN for Singin’ In The Rain at the Palace

BEST ACTOR IN A MUSICAL
BERTIE CARVEL for Matilda The Musical at the Cambridge
NIGEL LINDSAY for Shrek The Musical at the Theatre Royal, Drury Lane
REECE SHEARSMITH for Betty Blue Eyes at the Novello
PAULO SZOT for South Pacific at the Barbican

BEST PERFORMANCE IN A SUPPORTING ROLE IN A MUSICAL
SHARON D CLARKE for Ghost The Musical at the Piccadilly
SOPHIE-LOUISE DANN for Lend Me A Tenor The Musical at the Gielgud
NIGEL HARMAN for Shrek The Musical at the Theatre Royal, Drury Lane
PAUL KAYE for Matilda The Musical at the Cambridge
KATHERINE KINGSLEY for Singin’ In The Rain at the Palace

BEST NEW MUSICAL
BETTY BLUE EYES at the Novello
GHOST  THE MUSICAL at the Piccadilly
LONDON ROAD at the Cottesloe
MATILDA  THE MUSICAL at the Cambridge
SHREK THE MUSICAL at the Theatre Royal, Drury Lane

BEST MUSICAL REVIVAL
CRAZY FOR YOU at the Regent’s Park Open Air Theatre
SINGIN’ IN THE RAIN at the Palace
SOUTH PACIFIC at the Barbican
THE WIZARD OF OZ at the London Palladium

BEST DIRECTOR
SEAN FOLEY for The Ladykillers at the Gielgud
NICHOLAS HYTNER for One Man, Two Guvnors at the Lyttelton
RUFUS NORRIS for London Road at the Cottesloe
MATTHEW WARCHUS for Matilda The Musical at the Cambridge

BEST THEATRE CHOREOGRAPHER
PETER DARLING for Matilda The Musical at the Cambridge
JAVIER DE FRUTOS for London Road at the Cottesloe
STEPHEN MEAR for Crazy For You at the Regent’s Park Open Air Theatre
ANDREW WRIGHT for Singin’ In The Rain at the Palace

BEST LIGHTING DESIGN
ANNA CHRISTIE  designed by Howard Harrison at the Donmar Warehouse
FRANKENSTEIN  designed by Bruno Poet at the Olivier
GHOST THE MUSICAL designed by Hugh Vanstone at the Piccadilly
MATILDA THE MUSICAL designed by Hugh Vanstone at the Cambridge

BEST SET DESIGN
GHOST THE MUSICAL designed by Rob Howell at the Piccadilly
THE LADYKILLERS  designed by Michael Taylor at the Gielgud
MATILDA THE MUSICAL designed Rob Howell at the Cambridge
ONE MAN, TWO GUVNORS  designed by Mark Thompson at the Lyttelton

BEST COSTUME DESIGN
CRAZY FOR YOU designed by Peter McKintosh at the Regent’s Park Open Air Theatre
MATILDA THE MUSICAL  designed by Rob Howell at the Cambridge
SHREK THE MUSICAL designed by Tim Hatley at the Theatre Royal, Drury Lane
SOUTH PACIFIC  designed by Catherine Zuber at the Barbican

BEST SOUND DESIGN
GHOST  THE MUSICAL designed by Bobby Aitken at the Piccadilly
FRANKENSTEIN  designed by Underworld and Ed Clarke at the Olivier
THE LADYKILLERS  designed by Ben and Max Ringham at the Gielgud
MATILDA THE MUSICAL  designed by Simon Baker at the Cambridge

OUTSTANDING ACHIEVEMENT IN AN AFFILIATE THEATRE
The Royal Exchange Theatre, Manchester for MOGADISHU at the Lyric Hammersmith
Theatre Royal, Stratford East in association with the Barbican and Traverse Theatre for ROADKILL
The Donmar Warehouse for SALT, ROOT AND ROE at the Trafalgar Studios 2
The Royal Court for THE VILLAGE BIKE at the Jerwood Theatre Upstairs

BEST NEW OPERA PRODUCTION
English National Opera’s CASTOR AND POLLUX at the London Coliseum
English National Opera’s A MIDSUMMER NIGHT’S DREAM at the London Coliseum
English National Opera’s THE PASSENGER at the London Coliseum
ROH2’s CLEMENCY (in association with Scottish Opera) at the Linbury Studio, Royal Opera House, Covent Garden

OUTSTANDING ACHIEVEMENT IN OPERA
ENO for the breadth and diversity of its artistic programme
AMANDA HOLDEN for her translation of CASTOR AND POLLUX at the London Coliseum
RICHARD JONES for his direction of ANNA NICOLE and  IL TRITTICO at the Royal Opera House, Covent Garden and THE TALES OF HOFFMANN at the London Coliseum
MARK-ANTHONY TURNAGE for his composition of ANNA NICOLE at the Royal Opera House, Covent Garden and TWICE THROUGH THE HEART at Sadler’s Wells.

OUTSTANDING ACHIEVEMENT IN DANCE
THE DESIGN TEAM for their work on the Royal Ballet’s ALICES ADVENTURES IN WONDERLAND at the Royal Opera House.
EDWARD WATSON for his performance in THE METAMORPHOSIS at the Linbury Studio at the Royal Opera House
SYLVIE GUILLEM for her performance in her production of 6000 MILES AWAY at Sadler’s Wells
TOMMY FRANZEN for his performance in ZooNation’s SOME LIKE IT HIP HOP at the Peacock

BEST NEW DANCE PRODUCTION
DESH by Akram Khan Company at Sadler’s Wells, choreographed by Akram Khan
GARDENIA by Les Ballets C de la B at Sadler’s Wells, directed by Alain Platel and Frank van Laecke
THE METAMORPHOSIS by ROH2 at the Linbury Studio, choreographed by Arthur Pita
SOME LIKE IT HIP HOP by ZooNation at the Peacock, choreographed by Kate Prince, Tommy Franzen and Carrie-Anne Ingrouille

For more information on the Olivier Awards, visit www.olivierawards.com

The Laurence Olivier Awards is one of London’s most prestige theatrical events of the year recognizing great British theatre and are considered to be the theatre industry equivalent of the Tony Awards.

Last year for the first time the BBC broadcast live coverage of the 2011 ceremony, including the Red carpet arrivals, awards results, and reactions from the winners and this year is set to be even bigger with a special event being held in London’s Covent Garden on the day which will include live performances from some of London’s West End shows and a big screen relay of everything happening inside the Royal Opera House.

Also another first for the Olivier’s is an invited audience of New York’s theatrical stars and the Brits entertaining on the other side of the Atlantic will be able to join in with all the action at a special event in New York.

Singin' in the Rain - Credit: Manuel Harlan

With so many worthy entrants which include Sharon D Clarke, Ghost The musical for Best supporting role in a musical, Some Like It Hip Hop by ZooNation for Best New Dance production and Singin’ In The Rain up for Best Musical revival but who will be the big winners on the night?

Sweeping the board is The Royal Shakespeare’s company adaption of Roald Dahl’s much loved tale, Matilda being nominated for 10 awards, the maximum number a musical can be recognised for! It is clear that this show is a favourite with theatregoers and will no doubt be brining back several awards to the Cambridge Theatre.

James Corden in One Man, Two Guvnors - Credit: Johan Persson

The Ladykillers and One Man, Two Guvnors were two of the most successful plays, Picking up 5 nominations apiece and with One Man, Two Guvnors being sold out each night and a recent transfer to Broadway I can’t help but wonder if The Ladykillers even stand a chance against such a sought after show.

I think the biggest shock for me and many other theatre enthusiasts going by the masses of tweets I read was that neither Caissie Levy or Richard Fleeshman were nominated for their roles in Ghost The Musical as Sam Wheat and Molly Jensen and with Richard winning Best Actor in a musical just weeks before at the Whatsonstage.com Awards it seems very strange for him not to be at least nominated.

View all nominations in Olivier Awards 2012 Nominations Revealed…

The winners of the 2012 Olivier Awards will be announced in a ceremony at the Royal Opera House on Sunday 15 April 2012 hosted by Michael Ball and Imelda Staunton and thetregoers can follow full coverage of the event on www.olivierawards.com and via BBC Red button.

Read Katrina’s blog at http://itsthetheatregeek.wordpress.com/

Follow Katrina on twitter @the_theatregeek

WEK performances to date include:  The O2 Arena, London 2012 One Year To Go Ceremony, Westminster Palace, West End Live, Royal Albert Hall, MOVE IT, The Savoy Hotel, St Pancras Int’l, Magic of Musicals, Starlight Wishing Party, Guildford Cathedral and Earls Court.

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I decided to audition for West End Kids two years ago after seeing their website on the Internet. I had a keen interest in singing and dancing but felt that I wasn’t being challenged enough at my local stage schools. An upcoming performance at the The O2 Arena also caught my eye!

Joe in That's How You Jazz

I was aware of the impressive venues that the company had previously performed at, so naturally I expected the standard of the audition to be high.  However I was still quite surprised at how tough the audition was, particularly the dance aspect. I had never had any formal dance training and was quite shocked at how quickly we were expected to pick up the routine!

I was absolutely thrilled when I was offered a place in the company and very excited for my first rehearsal. I was thrown straight in at the deep end in rehearsal for the upcoming performance at The O2 Arena. I was amazed at how professional and intense rehearsals were. We learn so much in just one rehearsal and at first I struggled to keep up! We have to put in a lot of work in our own time to practise harmonies and dances, but the hard work really does pay off, as I found upon taking to the stage at The O2!

Since then, words cannot describe how much I feel like I’ve improved as a performer through being with WEK. My confidence in both singing and dancing has improved in leaps and bounds; I find harmonies and routines much easier to pick up now and have developed technique in my singing. This would not have been possible without the creative team at WEK; both Martin Williams, WEK’s founder and artistic/musical director and Emma, WEK’s company director and choreographer are brilliant to work with. They put so much into the company and WEK wouldn’t be where it is today without their hard work, commitment and dedication.

One of the special things about WEK is that everyone in the company is so close. Everyone is so friendly and supportive, and not to mention extremely talented and dedicated to WEK! It is like we are a little family!

I’ve experienced so many amazing performances with WEK at some breath-taking venues such as the Royal Albert Hall, The O2 Arena and West End Live; but my favourite performances to date would have to be the London 2012 ‘One Year to Go’ Ceremony in Trafalgar Square and the Banquet at Westminster Palace. They are certainly experiences that I will never forget!

If you want to find out more visit www.westendkids.co.uk or check out WEK’s YouTube page which includes many clips of recent performances. WEK’s Facebook page also has lot of news and info about what the company is up to.

I’ve gained so much from my time at WEK and I couldn’t recommend it strongly enough for any young performer out there to have a go and audition!

My cue. I round the Harvard pillars and I am faced with the deafening roar of the audience and the beaming faces of my dear collegues. So much for trying to stay cool. I weep uncontrollably all the way through the bows.”

My last night with little Miss Woods, Elle and the beautiful cast of Legally Blonde in Sweden.

This is my first big lead in a musical. I have stepped into many people’s big shoes as an understudy but my first time being solely responsible for a big part. It’s definitely been a dream come true for me.

However, a lot of hard work lies behind most leading performers careers. With a little bit of luck on the side to be the right person for the right part at the right time!

College and training came first. I can’t recommend it enough. That’s where you get into a routine with your singing, acting and dancing and have the chance to fail spectacularly within the safety of the college-walls. You also get the chance to meet people from the industry and create a network of helpful contacts for later.

By Michael Bolin

I went to Mountview Academy of Theatre Arts. I did a one year post-graduate course. I had a blast! And quite a few blisters..

I was lucky to get an agent from my showcase at college. They subsequently put me up for what was going to be my first job, Mamma Mia in the West End! I was absolutely over the moon! I remember howling down the phone to my agent when she told me. I was ensemble and covered one of the girls. I think I learned just as much that year working as I did in college. Eight shows a week is tough. You have to learn how to build up stamina and preserve your voice.

I also used that year to keep up training on the side. I had weekly singing-lessons and went to Pineapple a few times a week. I still do now whenever I have the time and money to do so.  I think it’s important to always try and improve. You’re never a “finished product”. Keep working hard, keep being curious and keep going to see other things.

You always learn from watching other performers.

From then on my career has certainly been varied. I’ve played massive arenas all over the world on the first World Tour of Mamma Mia. Tiny pub-theatre spaces with three people in the audience, fringe, UK tours, adverts, cartoon voice-overs, more West End and Wembley Stadium. I’ve been British, Swedish, an animal, Russian, naked, South African, Southern, Northern and insane. But everything has been useful and has taught me more about this bonkers business. I have also met countless wonderful people and made friends for life.

Let’s also take a moment and consider all the jobs I didn’t get!

That’s also a huge part of the business. Rejections and no’s. But you have to learn to deal with that. And remember that you are always part of a bigger plan, you have to “fit the puzzle”. The casting directors want you to do well and be right for the part but often there’s a simple thing like age, height or hair-colour in the way of you getting a recall.

Getting Legally Blonde was a dream scenario. I got an email from a director in Sweden asking about my availability the following year. He said they were thinking of candidates for Elle Woods and my name had been mentioned. I told him I was free and interested. When the time came for auditions, I was in the midst of technical rehearsals for The Three Musketeers at the Rose Theatre in Kingston, and couldn’t make it.

By Michael Bolin

Luckily I had just auditioned for Legally Blonde in town and had been put on tape. That tape then found it’s way to Sweden and two days later I had an email saying they’d be delighted for me to be their Elle Woods..if I wanted to? I didn’t have to think about it for very long.

Sometimes you can audition 8 times and still not get the job, and sometimes you don’t even have to audition!

I’ve had an amazing time with this show. It’s a very demanding part with a lot of singing, high-energy and alertness all the way through.

I’ve learned a great big heap of things. How to preserve my voice, my energy, do mega-quick costume changes and being up-staged by a dog;)

I don’t think I could have done this ten years ago. I think everything that I’ve done in my career so far has shaped me into becoming a better, nicer and more highly skilled performer. I am more humble towards my profession now than I ever was and I appreciate how hard it is. I’ll remember this whenever I see a show from now on. The leading ladies and men are working their little socks off.

And remember to see people. Everyone around you who do their up-most to make you look good. Dressers, lighting crew, sound crew, stage crew, assistants, front of house staff, stage door etc etc. Everyone has a purpose and place. And nobody likes to work with a snooty or rude actress;)

But I think I’ve also learned to have more fun. Enjoy those precious moments in the lights and think about how lucky you are. In the back of the chorus, or centre stage.

We get to have so much fun at work! There’s no business like it. Don’t give up and keep chasing those dreams.

Bring on the future!

Visit www.kaisahammarlund.com for all Kaisa’a latest news!

If you are interested in guest writing for Stage Door Mag, email advertise@stagedoormag.co.uk

West End Kids is looking for outstanding male and female singer/dancers from the South of England to join its high profile song and dance troupe. Auditions are being held in Central London on Saturday, 7th January, 2012.

West End Kids is a centre of excellence for young performers who demonstrate exceptional ability for their age in the field of musical theatre. The company exists to develop this special talent in a challenging and professional environment, whilst providing practical performance experience.

West End Kids at Royal Albert Hall

In the past six months alone West End Kids has performed for tens of thousands of people at major events and venues, including: the London 2012 One Year To Go Ceremony, Westminster

Palace, the Royal Albert Hall, The Savoy Hotel, West End Live in Trafalgar Square, MOVE IT at Olympia, Canada Square Gardens, Earls Court and the Honourable Artillery Company.

Watch WEK at the London 2012 One Year To Go Ceremony

With many events already confirmed for 2012, including performances at Wembley Arena, Mansion House, The Scoop, MOVE IT, G LIVE and many more, there has never been a more exciting time to audition for West End Kids.

For further information about West End Kids and to register for the January 2012 auditions go to www.westendkids.co.uk.

The main event of the night, though, had to have been the rising young band EverYoung. The band is made up of 2 boys and 2 girls, they have the look, they have the voice, and they have the professionalism,  that will hopefully take them very far! I managed to get a brief catch up with Eyal, Jack, Hollie and Cherelle prior to their performance…

- How did EverYoung get started?

Cherelle: We formed about a year ago. We all met at the Sylvia Young Theatre School and our manager, Simon Hanning along with Sylvia Young decided to put a band together and we happened to be the line-up that they chose!

Left to Right: Jack, Holly, Eyal and Cherelle

-What has the band been up to recently?

Cherelle: We’ve spent the last year recording and writing music, and getting ready for tonight’s gig.
Jack:  Also, we’re doing our UK Warrior Schools Tour at the moment. We started in September and we’ve been all over… Cardiff, Leeds, Brighton, Essex, where Hollie comes from … basically everywhere! We’re having so much fun doing that and getting to meet so many people.

- I’ve caught some of the tour via Youtube, what’s been the highlight of the tour?

Hollie: I’d like to say there has been a huge moment, but the whole thing has been amazing, every school we go to is incredible but I’m guessing this night is probably going to be one of our highlights. West End Live was also incredible but every performance is so different and special, it’s amazing.

- What’s the next step for the band after the schools tour?

Eyal: We’ll be releasing our single called Warrior early next year around February,  so we’ll see what happen’s then. Hopefully we’ll then go on a radio tour promoting the single throughout 2012.

- How much has social media (Twitter / Facebook / Youtube) helped you?

Hollie: I think the internet completely helped some aspects of the music industry, and we really concentrate on it, we love talking to our fans and we try and reply to every message we get.  I don’t we would be where we are without social media.
Eyal:  Almost every young person is on Facebook or Twitter so we can reach out to every single person and hopefully get them listening to our music.

- What advice would you give to someone who want to do what you’re doing now?

Cherelle: If you’re really having fun with something, whether it’s singing along to the radio and you think that it’s something you would want to do, just see what your options are. Maybe join after school drama / singing clubs, that’s what we all did to start with. You then get to meet different people and hopefully it will just build. If it’s what you love doing, don’t be scared and give up, just go for it!
Hollie: Yh, just make sure you keep going, there’s gonna be some ups and downs don’t give up!
Jack: You never know what you might achieve, so just keep practising!

We wish EverYoung all the best with their single launch and the rest of the tour! We’ll hopefully catch-up with them again next year.

p.s. Merry Christmas SDM readers!

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Those who have witnessed the scale of Trafalgar Studios 2 will know it’s rather petite! The cast is of a mere nine members, alongside three musicians all set within a small, simple black theatre space with a minimum of three or four rows seated around the performance area. Everything is low key with zero extravaganza regarding the design (except maybe the slightly eccentric costumes, just to make it that little bit more wacky). But other than that, there really is nowhere to hide as the actor’s costumes sweep across your lap commencing from the entrance you strolled through yourself earlier, whilst also easily gaining the knowledge by catching many a glimpse of what underwear our actors are wearing that day.

And boy what fine actors they are. Every single one of them. And so they have to be. In such an intimate space, the audience doesn’t miss anything. The plot is an easy (yet enjoyable) one to follow. A possible one hit wonder author Bailey Howard (Benedict Salter) is struggling with writers block when to the rescue comes Cooper Fitzgerald (Steven Webb), a hilariously overpowering, not to mention, unplanned room mate. An ironic key and door whisks the unlikely pair away to a supernatural world where they embark on a heroic journey with, or against (depending on which sister), Lizzie Roper’s characters. Lost yet? Not to worry, that’s a good thing. Along the way, Bailey finds love in the form of a body-less head named Miranda (Ashleigh Gray) whilst Kelly Chinery, Peter Duncan, Will Hawksworth (be sure to not miss out on his Joan the Mute), Alyssa Nicol and Rob Wilshaw’s wild characters break into crazy, wonderful songs moving this colourful production along swiftly before our eyes.

The whole thing is plain weird, and yet I wouldn’t have it any other way. But what I positively believe holds all the crazy stuff together is the extraordinarily talented cast. Each one of them are full of quick wit and produce continual genuine, unpredictable, side splitting laughter which is sadly rare in the world of musical theatre. Many audience members are brilliantly supportive in wishing the production would move into a larger west end theatre which is great, but I honestly believe it is what it is, and that it should remain within its existing nature and further more pieces such as this should grow to be recognised and popularised in this industry. The field would prove to be more fun with playful honest productions like Betwixt! making a home for themselves in London’s west end.

Back to feeling the love for our cast members, what really should be noted is that they are, well, simply hilarious. The writers and team behind this show have produced a spectacle the actors thrive upon and the whole team has dangerously created an explosion of obscene hilarity. It is quite unreal just how notably funny Steven and Lizzie are. It’s actually quite haunting as these two artists in particular repeatedly retell their jokes inside your head long after the lights go down. To best describe it, it’s one of those embarrassing situations when you’re seated on a bus, playing out one of their characters many comical moments in your thoughts to then uncontrollably laugh out loud, only to realise you’re seated on that bus alone. But hey, it’s oh so worth it. You’ll also fall in love with Ben’s adorable character who, as an actor, is utterly overflowing with talent, as is the beautiful Ashleigh who comically reminds us of that outstanding voice of hers.

If I was to be fussy and dish out anything I would like to see change, it would be the absence of an increased interaction with the audience. For such a small space I feel that the show would benefit by acknowledging its audience further, inviting us to laugh with them, not to ourselves. Up the ante on that, and we’re all yours. However, what’s great about Betwixt! is that you don’t have to understand it, that’s the beauty. You just have to sit in those big red seats and allow comic genius to take hold. The musical’s played down simplistic environment let’s you feel like you’re part of the creation process in a satisfying whirlwind of entertainment randomly plonked in front of you. I gladly take my hat off to all behind the creation of this funny business and would return in a second with the proud knowledge of perhaps producing even more laughter; there really is something for everybody at Betwixt! A promising future for theatre! With only a few days left, do not miss this uplifting, hilarious display!

Breakthrough Fringe act, Modus Operandi, present their second project at the Edinburgh Fringe Festival this season; a witty new musical conquering the trials and tribulations of a common pastime – fighting to find your dream job. The highly acclaimed company previously appeared at the Fringe in 2006, premiering the widely successful ‘an Asylum on Every Corner’, which went on to open the inaugural Bucharest Theatre Festival. Labelled “charming and whole hearted” by Time Out magazine, the comedic theatre company are certainly not ones to be missed this season.

‘Apply Within’ amplifies the very essence of a traditional working life – the company remain totally devoted as their adverts request ‘audience members for new comedy-musical about job hunting’. They go on to describe ‘the successful candidates will follow our hero Joe, hurled by unexpected redundancy into a world of CVs and applications, waiting rooms and interviews, rejections and  humiliations, near-triumphs and tempting offers, all in his quest for his dream job and – maybe – the love of his life?’

‘Your job will involve enjoying daft skits, a dash of romance, and ten new songs including “Economical with the Facts”, “Chill Out or be Jobless for Life” and “Deal of a Lifetime”.

Highly reputable Fringe reviewers, Broadway Baby, playfully claim that their ‘application (was) successful’ upon seeing the show. They furthermore claim that the lead, Johnjo Flynn ‘was a real winner’ claiming ‘it gave me goose bumps’. They conclude that ‘there is a real sense of character commitment and engagement from the cast’ – a show that clearly shouldn’t be missed.

The new British musical features at the Edinburgh Fringe from the 3^rd – 29^th August, 1:30-2:30pm at the Pleasance Courtyard.  For more information contact the Pleasance Box Office on 0131 556 6557, or you can book tickets online via www.edfringe.com

Warning – tissues required, this one’s certainly a tear jerker! Amidst the depressing times of the disgrace that is the London riots, this phenomenal piece of theatre does an astounding job of sweeping you off your feet and forgetting about the world for a couple of hours. Incredible as the experience was, my only disappointment was that I wished it had gone on for longer. Please don’t hesitate when considering the hype that surrounds this musical, this is a once in a life time must see!

Having caught clips here and there as a child while the 1990s film was at its peak, I decided to sit down to it in preparation for the show, simply to appreciate it as the classic it was and is; some healthy research if you will. Before setting foot inside the Piccadilly, my first ‘note to self’ was to intentionally ensure the separation of these two creations, and how right I was. ‘Ghost The Musical’ is a credit in its own right and deserves every praise for the spectacle that it is. Due to my experience of trailers and television clips of the production, my initial thought whilst seating myself was that of small surprise as I wondered the possibilities of producing these so called spectacular tricks and illusions in quite a small space. How wrong I was this time. The moment the first note was played by the orchestra while the glimmering screen projection worked its magic, I knew immediately that I was in for a treat.

‘Ghost The Musical’ is of course based on the film creation, but this is an insignificant detail that is lost straight away as this stunning piece of theatre stands on its own two marvellous feet. The story goes, two lovers Sam and Molly suffer pain and grief when Sam is murdered and has to deal with unfinished business in this romantic whirlwind, as a ghost. As a first note, I must give a resounding applause to illusionist Paul Kieve who really has helped shape this show’s wow factor. This was the one aspect that was at the centre of all conversation by the exiting patrons. ‘How did they do that?’ is a question I’d rather not hear the answer to, the magic produced was perfect, even when seated in the stalls with barely a piece of string in sight. What to expect? Walking through solid objects and leaping from your own body multiplying yourself on stage. Impossible? I tell no lies.
What delighted myself most about this musical was its developed quality; this is a new piece of theatre with plenty of style. The choreography in particular states this loud and clear as choreographer Ashley Wallen interjects contemporary excellence with hints of street on varied occasions, but also pursuing a traditional attribute in the form of a tap dance. If I had to be picky, I’d admit I did have some trouble adjusting to the randomness of the tap sequence/song interrupting the character Sam’s frustration, but as the scene unfolded it took its place in promoting the action and feeling of the characters which was certainly felt by myself.

Before I discuss the wonder that is our main characters, I must prioritise a mention regarding the set. Three screens is all it takes with a few pieces of furniture, revolving like no other set I have witnessed in a long time. The range of action this set projects is of a gobsmacking quality, rapidly moving the story line along in the slickest of fashions. The modernised tech work and projection really stamps its mark on the musical announcing ‘this is what I am, and aren’t I one technical, theatrical marvel!’ Due to the high standard of backstage and technical production, you are immediately warped by the show and wrapped up in the experience. On hindsight, an incredible amount of detail goes unnoticed and it all moulds into one big dazzling visual.

Finally on to our cast, and my goodness does Richard Fleeshman (Sam Wheat) shine the brightest. I struggle in shock to describe the wonder that is this actor, but to say I was blown away is an embarrassing understatement. I am astonished at the amount of the character’s emotion that is transferred to our own hearts by him, and considering the young lad has never entered into the usual training most actors opt for, his raw talent is just perfect for this piece of theatre. Equally magnificent is of course Caissie Levy (Molly Jensen). Even the knowledge that this lady has played a most wonderful Elphaba on Broadway cannot prepare you for the sensation that she is. Her talent is effortless and it is incredibly difficult to not believe in her. What a privilege to have experienced her grace the stage. When I wasn’t sobbing, I was revelling in the comic genius that is Oda Mae Brown, otherwise known as Sharon D Clarke. Such a heart warming, captivating actress yet ever so gifted in creating vast amounts of laughter, as were her two side kicks Jenny Fitzpatrick (Louise) and Lisa Davina Phillip (Clara). The face, the voice, the charisma, Andrew Langtree who plays the role of evil Karl portrays the character’s betrayal with such style, you are promptly intrigued by the depth of this persona; just pure brilliance. The ensemble did more than a grand job, such beautiful talent doing the show wonderful justice and some brilliantly distinctive characters throughout. Due to such exquisite stage presence, you are bound to notice Emily Hawgood who shines through her ensemble status.

Other mentions include that of the subway scenes which are particularly endearing alongside a clever piece rapped by a subway ghost, action packed ensemble banker scenes and the connection of the two acts, pulling you in immediately forgetting there ever was an interval. The score of the musical is absolutely stunning. Each song belongs there and connects to the audience in every way it intends to. The track that stuck with me long after the show was the touching and beautiful ‘With You’, a song made just for Caissie it seems. A chilling reminder of ‘Unchained Melody’ makes a well deserved appearance resulting in a tender duet between Richard and Caissie. The production as a whole is thrilling, explosive and immensely powerful leaving yourself and the theatre trembling as the curtain goes down; what an atmosphere. Emotionally gripping and you are wholeheartedly rooting for these two lovers. And without sounding too cheesy, from start to finish, you believe.

X-Factor was a long time ago can you give us a brief outline of what you have been up to since then?

I went on a three and a half year whirlwind tour with G4, it had amazing success and then after four years we decided to call it a day and in 2007 we split. I was then very fortunate that a bidding war happened for me with a record company so I’m now signed to Universal Records and have released two albums, the first of which went straight to #1 in the classical charts, top ten in the main charts and the second one was a huge success as well. I had a great time in the record industry, and more recently gone into theatre, taken a musical theatre role in Whistle Down the Wind. I’v taken an acting role in Beauty and the Beast as well so it’s just been a really exciting theatrical experience recently. It’s been varied and exciting.

So you got a one million pound record contract, how many records have you sold and how does it feel?

It’s unbelievable, I mean combining G4 and myself its over two million albums which is just ridiculous! It’s so hard to get your head round the fact that that many people have your records in their houses and their cars and listen to it and you’ve connected with them. It completely blows your mind and I’m just excited and flattered that I have had that opportunity in my career.

Do you still talk to the guys from G4?

Yeah, we are still great friends! In particular Mike, he still lives just down the road from me in South West London and we still try and meet up as much as possible. It’s lovely to hang out without the pressures of work.

Please tell me where did you train?

At the Guildhall School of Music and Drama and where embarrassingly the G from G4 came from! The four of us were studying there at the time and I put the group together as a side line to get some extra money for bar bill and rent and thankfully it became a bit more.

When did you find out you were going to do a solo tour?

I found out early this year, it was really exciting when a promoter had a discussion with me about doing it and it all came together very quickly and we hit the road not long after that.

How did Helena Blackman, Olly Taheri and Thomas Oliver get involved with the tour?

Olly and I worked together on Whistle Down the Wind and I thought he was great in that and we bonded really well. He was a “newbie” from college and it was my first musical theatre role and we just clicked, so it seemed the obvious choice to get him on board. Helena and I were fortunate enough to duet at her debut album and it just seemed like a great opportunity to incorporate some lovely duets and theme our voice in the mix. Thomas came highly recommended from a colleague of mine, and he had recently worked with Hayley Westermon on the tour with her and he’s not let me down! So that’s the reason we’ve got the three on board.

Fantastic, what’s the tour been like so far?

It’s been great, its been hectic the journeys and the travelling between is very tiring, but it’s been really good fun and we’ve worked very hard. The audience has really enjoyed each of the shows and it’s been a real delight to play at all the venues we’ve been to.

How did you feel when you got told that you’d sold out the Royal Albert Hall?

It’s crazy! It’s one of those mad feelings to realize that so many people want to come and watch you do what you enjoy, and it’s hugely flattering, exciting and humbling.

What advice can you give to young performers that want to be Singers, Dancers etc?

Go for it! Ultimately if that’s what you want to do and that’s your dream and your passion and you genuinely believe you’ve got a talent and a skill then do. It’s always sad when people believe they have a talent and that’s only because their Aunty Doreen’s heard them singing a few times in the living room, but actually they’re dreadful. So if you’ve actually got a talent and you believe in it, and you think you’ve got something that the audience and wider public would enjoy then go for it. Don’t be scared of all the reality TV shows and the potential negativity that some people think against them, it’s an opportunity to expose your talent to the wider public and hopefully start a career for you. It’s an amazing thing to do and it’s well worth it so go for it.

You said there about reality TV shows, you did the x-factor, what advise can you give to our readers about doing something like x-factor or Britain’s got talent and would you recommend it?

I highly recommend going for it and the advice that I’d give is when you’re on the show, remembering that it’s a TV show, it’s not actually a talent contest, although it seems to be. Ultimately, they’re trying to make good television, so if you can somehow enable your ability/skill/talent to ride through that TV format, then the sooner you can get your head round that the better. But ultimately just enjoy the process and experience and the potential opportunities that can come from it. It’s an amazing transformation of your life if you manage to get through, particularly to the finals.

What would you consider your biggest achievement within your career?

Well I think the most amazing experience for me in my career was performing at the festival of remembrance at the Royal Albert Hall, in front of Her Majesty the Queen. It’s always been a dream of mine and for many performers to perform in her presence. As I stepped out onto the stage, she was there in her Royal box and I was completely humbled and in ore of that experience and I think it’s something that will stay with me forever.

What have you got planned for the future?

There’s another series of shows, into the autumn, which is an intimate tour that I’m heading round the country with which will be great and another opportunity for people to see me in a different light. And with that there’s going to be a BBC radio presenter journalist that’s going to be interviewing me and going through some life stories and its going to be a lovely relaxing evening, so that’s coming along. At Christmas I’ve got a pantomime which will be a good giggle, I’m playing  prince charming in Cinderella in North London so that’ll be really good fun, looking forward to that. And there’s all sorts of other things that’ll possibly come up in the diary as well, Its an exciting various career as ever, it keeps me guessing as much as the audience.

How do you get involved with tours, I mean its all very well going out and doing a show and going to an audition for a West End show, but a tour is so much different , so how do you get involved with tours?

Ultimately you need a promoter to financially back it, and then you have to conceptualize it and work out the style that you feel would work with it and work out the order and structure of it. Then you need a line up and then the show makes shape and develops in its format. Its not an easy thing to do, it’s ultimately you just on stage performing your music, and its about capturing the audience and taking them on a journey that they’ve gone on when they go to see a musical theatre production or a play, the highs and the lows of the drama. You have to create that through the music and that’s a difficult challenge but the sort of thing that’s rewarding when you manage to get it right.

At Stage Door Mag we always ask the same question at the end… What most inspires you?

What most inspires me? Blimey, I like a deep question so ill try my best to answer. Working with Tom, Olly and Helena? Oh gosh what inspires me… To be able to step out onto a stage and to engage with a live audience it inspires me to get up every day and do what I do, potentially that is the start to it.

For more info on Jonathan and how to get tickets for his tours and events, visit his website - http://www.jonathanansell.com

Information

• Aspiring writers of any age and ability are asked to write a one-act play in English (20-40 minutes in duration) for young people, either for performers 11 years and under or for an audience of 12-16 year olds
• Winners in each category will receive £1,000 and will have their play published
• Prizes will be presented at an inaugural performance of the winning plays at a theatre in central London.
• Travel and accommodation expenses will be covered for winners who are attending.
• Runners-up receive a prize of £500
• Entry fee £10 (£20 if you want feedback from the judging panel)
• Closing date 1^st September 2011

• For an entry form and more information about the judges and the competition please see: http://www.trinitycollege.co.uk/playwriting

The competition is being held by Trinity College to bridge the gap in contemporary drama for young people. Despite an escalation in contemporary literature for children – from the realism of Jacqueline Wilson to the imaginative world of J.K. Rowling – there has been no similar growth in contemporary plays. Playwrights trying to feed the gap often end up adapting popular novels and folk stories rather than writing something new.

The Judges

The plays will be judged by an international panel of playwrights and directors including:

John Gardyne (chairman): Chief Examiner in Drama and Speech subjects for Trinity College London. John Gardyne is also an award winning playwright and former director.

Anna Home: former head of the Children’s Department at the BBC and currently Chief Executive of the Children’s Film and TV Foundation.

David Wood: British playwright who has written over 50 plays for children and won a number of awards for his screenplays.

Cate Fowler: founding director of Windmill Performing Arts, Australia’s flagship theatre company for children and family audiences.

Anupama Chandrasekhar: the Chennai based journalist turned playwright author of ‘Outgoing’ and ‘Disconnect’ both of which premiered at London’s Royal Court Theatre. She is currently working on a new adaptation of the Snow Queen for the Unicorn Theatre.

Paul Wai Sum Pum: playwright and creative writing teacher from Hong Kong.

Last year’s winners came from England and South Africa with runners-up from Hong Kong, India and Australia.

Commenting on the competition Anupama Chandraskhar said: “Children’s theatre is a unique art form, exhilarating and challenging in its own right, but often treated as an ugly sister to its adult counterpart. Trinity Guildhall International Playwriting Competition must be lauded for celebrating this important genre and for giving it and its practitioners the status and spotlight they deserve.” She said that she was looking in the plays submitted to the competition for ‘inventiveness, freshness of perspective, vigour and an engaging story’.

Paul Wai-Sum Poon said: “This is a timely and invaluable platform for playwrights aspiring for cultural dialogue with young people over the world. I look forward to seeing works which are inspiring, engaging, and can make me feel young again.”

Bridging the Gap

What’s normal? That’s the sort of question a lot of young teenagers ask themselves as they begin to explore the wider world around them and it was the theme of the winning play in Trinity College London’s inaugural playwriting competition in 2010.

“The plays relevance to young teenagers is one of the reasons it won the competition” said John Gardyne, Chief Examiner in Drama and Speech at Trinity College London  “And the fact that it was an amusing and engaging script: a serious theme dealt with in a light hearted way.”

The success of the play, which has now been published by Trinity College London, and the ongoing dearth of good plays for schoolchildren have persuaded Trinity College London to make the playwriting competition an annual event.

“This year we are not just asking writers to write for young audiences but also to write plays for younger children to perform.”

The competition is being held by Trinity to bridge the gap in contemporary drama for young people. Despite an escalation in contemporary literature for children – from the realism of Jacqueline Wilson to the imaginative world of J.K. Rowling – there has been no similar growth in contemporary plays. Playwrights trying to feed the gap often end up adapting popular novels and folk stories rather than writing something new.

“There is a frustrating lack of new material for schools and young drama groups and as a consequence we constantly get calls from schools asking for advice on contemporary material,” said John Gardyne. “Up until now I have had very little to offer them outside of the traditional children’s plays that they have been performing for the past ten or twenty years. Lots of great new books for children have been written addressing contemporary issues, inspiring their imagination and encouraging them to read…but there are not enough great new plays.  New plays for young actors have been particularly thin on the ground. We are hoping to change that.”

‘The Beggar’s Opera’ by John Gay may not seem like the first choice of production to go and see as an aspiring young performer. After all it is an opera, written in 1978, which satirised Italian opera and attacked Sir Robert Walpole and his corrupt government- not quite the allure of a big hit West End musical. However, though Lucy Bailey has decided to stage this production in its original period, the themes are timeless. It is a musical about a money obsessed society, self-interest and a fascination with celebrity and crime; a combination that never fails to captivate. So while the costumes, set and vocabulary may cry out ‘18^th Century’, the comparisons with our own modern day lives are quite apparent (despite there being no mention of the word ‘super-injunction’).

Flora Spencer-Longhurst, playing the naïve Polly, and Beverly Rudd playing the tough and streetwise Lucy, delivered fantastic performances laced with humour, jealousy and spite. Their on stage chemistry was a treat to watch, particularly the scene in which Lucy attempts to poison Polly. David Caves’s Captain Macheath was similarly strong. He oozed arrogance and his insatiable sexual appetite was gloriously depicted as on more than one occasion he frolicked with several women of a dubious nature. Janet Fullerlove’s Mrs Peachum was also incredibly entertaining. Her energy and personality filled the park as she berated her husband and tried to coax information from young Filch (Oliver Hoare) by placing her hand down his trousers. The casting was superb.

Musically it is important to note that ‘The Beggar’s Opera’ is a ballad opera (lyrics set to popular tunes of the time) and a satire of the Italian operas that were in fashion during the 1700s. Hence, while the songs were well sung, and the ensemble pieces such as the highwaymen’s chorus were incredibly stirring, they were not a highlight of the show. The music itself however, was delightfully authentic. Performed by ‘The City Waites’, a band renowned for its period instruments, the harp, lute and curtal really transported the audience to the 18^th Century setting.

William Dudley’s set seemed to spring organically from the natural surroundings and the chains and nooses that adorned the wooden frame maintained the ever present shadow of crime and punishment. Two ingeniously designed oversized wooden carts served as the walls of Newgate prison, even a bed at one point, before eventually being used to transport criminals to their death. The final climactic scene was very impressive and used all of the nooses, proving the actors all had extreme faith in Dudley’s design.

A fantastic story, brilliant set, a beautiful location, strong performances and even the occasional bird swooping through the sky. This is definitely a production that will inspire and prove just what can be achieved when such talent and intellect join forces. Lucy Bailey’s ‘The Beggar’s Opera’ is a must see.

Go see the show! http://openairtheatre.org/production/thebeggarsopera

Tears of sorrow and laughter

The Apollo is a wonderfully intimate venue and Julie opened with a fittingly intimate rendition of the title song, ‘No Space for Air’. This emotionally driven opening could have set the tone for a sombre evening but Julie’s effortless ability to flip between intense sorrow and comic brilliance soon revealed itself in the form of ‘Taylor the Latte Boy’, as voted for on her Facebook page. Julie joked that many of the audience probably weren’t even aware of the poll; the ensuing laughter suggested this to likely be the case. Regardless, the song was performed with such understated comic precision that the audience was howling with laughter from start to finish. The first act concluded with a similarly hilarious performance of the YouTube viral hit ‘Portrait of a Princess’, for which Julie was joined on stage by its British composer, Michael Bruce.

The second act saw the much anticipated appearance of Kate Monster, performing a humorous version of ‘Last Night of the World’ with special guest Richard Fleeshman. As the duet came to an end Kate Monster tackled Fleeshman to the ground in a tirade of kisses that were reluctantly received, providing a great little sketch to set up the Avenue Q hit ‘There’s a Fine, Fine Line’.

No Space For Air Album

The album

The show was very much about promoting Julie’s album ‘No Space for Air’, made apparent by the numerous members of here promotional team trying to sell copies before the show, during the interval and on the way out at the end of the evening. Fans of Julie’s musical theatre work were left wanting more and there was a sense that she had poured more of her heart and soul into performing her album tracks. That said there were some fantastic stand out tracks, in particular ‘I Never Saw Blue Like That’ and ‘Lost in Translations’. No doubt Julie’s fans will be flocking to buy the album, ‘No Space for Air’.

Special Guests

All of Julie’s special guests were popular and were greeted on stage to much applause. Fleeshman showcased his talent on the piano as well as his vocal skills with John Legend’s ‘Ordinary People’. His voice was passionate and rich and it wouldn’t be surprising if he tried some big band classics in the future. Ex-S Club 7 turned West End performer Jon Lee took to the stage with a rather underwhelming performance of ‘Make You Feel My Love’. Such a well known pop song felt a little out of place at an event celebrating exceptional and theatrical vocal talent. Jon went on to duet with Julie on ‘The Next Ten Minutes’ which was a much improved demonstration of his skill. Paul Spicer, Julie’s co-star in ‘The Last Five Years’ would have made an obviously better Jamie on the night and the audience could be forgiven for feeling a bit cheated as he was in attendance, just not on stage. Whatever concerns these minor criticisms may have stirred were swiftly forgotten thanks to the appearance of Emmy award winning composer Lance Horne for Julie’s rousing finale.

The show must go on

There were a couple of moments where Julie really shone as a master of live performance. Not only were her anecdotes between songs playful and funny, including a brilliant tale about the Beckhams walking in on her changing after a show, she effortlessly incorporated technical slip-ups into her routine. A comic flick of the eyes was all it took to fill the theatre with laughter when the spotlight was knocked. And then realising she had forgotten to take off her radio mic after Kate Monster’s appearance Julie had no qualms with telling the band to keep playing while she ran back over to the wings, all the while interacting with the audience and generating laughter. It’s the combination of her incredible voice and these human touches that makes her such a popular and loveable performer.

Look out!

Julie also teased the audience by singing a song from Douglas Irvine’s upcoming new musical ‘The Busker’s Opera’. It took full advantage of the guitarists’ talents and was very well received, so look out for it!

Julie Atherton is truly an inspiration in the West End. Any young aspiring performer should see her perform or at least listen to the way she not only sings her songs, but acts every emotion too. The band was a mix of classical and electric and was incredibly slick. Backing singers Tori Allen-Martin and Amy Stanley enhanced Julie’s voice at all the right moments and the choir added an extra emotional dimension to an altogether brilliant performance. It’s just a shame it was a one off!

If you’d like to learn more about Julie Atherton then visit her website www.julieatherton.com

No Space for Air is available to buy/download at www.amazon.co.uk and on iTunes.

Best known as a member of the chart-topping pop group S Club 7, Jon has more recently forged a successful theatre career, playing Marius in the West End production of Les Misérables, and the Landor Theatre’s acclaimed production of Tomorrow Morning, in which he starred alongside Julie. He is currently appearing in Jersey Boys at the Prince Edward Theatre, as the alternate Frankie Valli.

Related Article: Julie Atherton to perform her biggest solo concert yet

Information

When:                  Sunday 26th June – 7.30pm

Where:                 Apollo Theatre, Shaftesbury Avenue, London W1D 7ES

Tickets:                 £25.00, £20.00, £15.00, £10.00

Box Office:          0844 412 4658 (24 hrs)

Website:              www.nospaceforair.com

If you’d like to learn more about Julie Atherton then visit her website www.julieatherton.com

No Space for Air is available to buy/download at www.amazon.co.uk and on iTunes.

Shrek the musical has opened at the Theatre Royal, Drury Lane, on 14^th of June. This brand new musical, failed to establish itself on Broadway, but is giving itself ago in London. Taking a step out from the ordinary is Amanda Holden as Fiona joining Nigel Lindsay who is cast as Shrek, spending the next few months in the swamps of Drury lane. But was it all a fairytale…

Lord Farquaad

The costumes throughout ‘Shrek’ were incredible and so expressional, they bought the fairytale characters to life and were very believable. However nothing can be torn away from Lord Farquaad’s costume, played tremendously by Nigel Harman (usually tall). He is required to walk on his knees the entire show with fake legs dangling in front of him, it portrays a very funny character which sometimes can be misleading as he is meant to be the villain of the show. Despite this, Nigel Harman was the star of the show with his inventive portrayal of the part.

Nigel Lindsay was the talk of the night, but not for the reason you’d expect after seeing him starring in a west end show. He is very well suited to the role in looks but his obvious lack in accents let him down, what started off as a strong Scottish accent  soon faded into neutral. Richard Blackwood also let the role of what would normally be an extraordinarily energetic donkey. It was very clearly lacking in hilarity and enthusiasm.

Fiona and Donkey

The scenery was out of this world, it is said to have been scaled down from the Broadway show, but if you hadn’t seen it you’d never have known that was less. The dragon took the audience by surprise when she flew down from the upper circle to enter, talk about making an entrance!

The accompaniment set the mood amongst the audience, especially ending with the all time favourite ‘I’m a believer’ which had everyone on their feet singing along.

Overall I think Rob Ashford did an incredible job of directing Shrek on Drury Lane.

Stay Tuned for interviews with the cast!

The Show

Julie and her guests will be accompanied by a live ten-piece band and on-stage choir. Emmy Award winning composer Lance Horne will also make a guest appearance to accompany Julie for two of his songs. And as if that wasn’t enough Brit composer Michael Bruce will helm a performance of Portrait of a Princess – the song he wrote to showcase Julie’s natural comic ability.

Fans of Atherton’s stage performances need not fear either, the concert will feature songs from Avenue Q, The Last 5 Years and Ordinary Days. And be prepared for some totally unexpected numbers to receive the unique Atherton treatment.

A Young & Prolific Star

Best known for creating the roles of Kate Monster and Lucy the Slut in Avenue Q, and her role as Cathy in Jason Robert Brown’s The Last 5 Years, Julie is one of the most prolific and successful young musical theatre stars in the West End, having previously played Sophie in smash hit Mamma Mia! and Serena in Fame. She is also an experienced concert artist, having headlined numerous musical engagements at venues as diverse as the Donmar Warehouse and the Royal Albert Hall.

Julie launched her second solo album, No Space for Air, at the Delfont Room at the Prince of Wales Theatre in June 2010, following which she made her North West solo debut at Manchester’s infamous Band on the Wall. Prior to her performance at the Apollo on June 26^th she will be performing two exclusive acoustic sessions of her album at The Pheasantry on the Kings Road in Chelsea.

Star Studded Support

Daniel Boys is an award-winning performer whose career encompasses TV, West End musicals, national tours, and numerous concerts and recordings. His appearance on the hugely successful BBC TV talent show Any Dream Will Do in 2007 firmly established him as one of the UK’s brightest emerging musical talents. He is currently performing in Australia at the Adelaide Cabaret Festival before returning to the UK for Atherton’s one night extravaganza.

Richard Fleeshman first came to public attention in the cast of Coronation Street at the age of 12. In 2006, he won ITV’s Soapstar Superstar, raising his profile as a singer. He has since played the lead role of Warner in Legally Blonde in the West End and appeared in the BBC series All The Small Things. He will soon return to the West End in the highly anticipated world première production of Ghost the Musical, which has just completed a successful run in Manchester.

Julie Atherton: No Space for Air is produced by Neil Eckersley & Paul Spicer for Speckulation Entertainment.

Information

When:                  Sunday 26th June – 7.30pm

Where:                 Apollo Theatre, Shaftesbury Avenue, London W1D 7ES

Tickets:                 £25.00, £20.00, £15.00, £10.00

Box Office:          0844 412 4658 (24 hrs)

Website:              www.nospaceforair.com

If you’d like to learn more about Julie Atherton then visit her website www.julieatherton.com

No Space for Air is available to buy/download at www.amazon.co.uk and on iTunes.

Based on the five elements of the Monkey, Fourth Monkey’s Year of the Monkey is a contemporary Rep Theatre Company and training programme with a difference.

Auditioning in June 2011, for a September start, this is a yearlong part-time training and performance programme that commences with a London season in October 2011 and concludes at the Edinburgh Fringe Festival in August 2012.

Casting Director Kerrie Mailey said, “Year of the Monkey is unique. It offers immediate performance experience on the professional stage, combined with immersive, thorough and liberating training. The Year of the Monkey is a fundamental year in any young actor’s career.”

Fourth Monkey is auditioning for 27 young actors to take part in two Rep Seasons of six plays in London and at the Edinburgh Fringe Festival whilst undergoing tailored part-time training in the following:

Bikram Yoga, Alexander Technique, Voice, Laban, Stage Combat, Singing, Movement, Short Film, Shakespeare, Clown, Drama School Audition Prep and more…

Whether a gap year between education establishments or as a year-long, extended learning and development course, the Year of the

Monkey provides the young actor with a unique and specially tailored training opportunity with a difference.

Fourth Monkey is currently accepting applications for this exciting and innovative new programme. For further information on the project and how to apply, young actors can visit the Fourth Monkey website…

www.fourthmonkey.co.uk

For further information on this release, please contact:

Steve Green
Artistic Director
Fourth Monkey Theatre Company
office@fourthmonkey.co.uk
07956891977

The biggest news I suppose is that we’re are going to be re-branding Stage Door Mag with new logos, flyers, website etc. (you may have already seen our new logo on twitter and facebook!) Here’s a preview of some of the new stuff…

The new logo

The new logo again (alternative colours)

New Website (In development)

Yeh yeh I know the new site has got a long way to go, but you get the concept! Please let us know what you think below in the comments!

Next, I’d like to just mention the success of the [Control.] Launch at Pineapple last month. We were invited to cover the whole event, do interview etc and it was AMAZING! We met so many inspiring people including Daniel Black from Skins, singer David Jordan and ‘Queer Eye for the Straight Guy’ present Julian Bennet! You can out all of the coverage at our Youtube channel. We wish Kane Ricca the very best of luck!

Finally, I want to mention the incredibly positive response we’ve had recently. Iv been doing the twitter thing quite a lot recently (we now have a totally awesome 1230 followers!) and its going great! Twitter allows us to immediately post updates so if your not already, be sure to follow us.

Finally, I want to show you something I randomly stumbled upon yesterday from a blog…

“Stage Door Mag is another London-based project (is anyone still wondering why I am going to move?) I really like. Again young talented people and again theatre. It doesn’t involve me directly because I don’t want to be an actress so they’re not going to save my life but I think it’s great to help people find a definite path to reach their goals. I have often been in need of a guide and having had someone like them to lend me a hand would have been a real blessing. So I approve and support.”

Amazing! This is why we do it, to inspire and guide young performers, so the fact that our message has been noticed means a lot!

Stay tuned for more updates, articles, interviews, reviews…. you know what I mean!

P.S. Be sure to check out West End Live, you may very well see us their

Keep checking back below for all our coverage…

Launch of Kane Ricca’s [Control.] Live at Pineapple Dance Studio’s

Hot Ride by The Trust

Judas by The Faith

Full Interview with Kane Ricca

Interview with Sophie Stuckey

Interview with Charlie Evans

Interview with Daniel Black

Modules at PQA include Comedy and Drama, Musical Theatre and Film & Television which teaches students about the different acting styles required for camera work.  Students at the Academies also learn how film and television productions are created, and get the chance to take part in frequent specialist Masterclasses, which include stage combat, clowning, junk percussion, street dance and even casualty make up.

Parents are able to monitor their child’s progress through PQA’s unique Creative Stages Awards scheme, which recognises their achievements and records their progress. Parents can also watch their children at performances throughout the year, which include a red carpet screening of student film premieres at local cinemas. In addition, a number of lucky Academies are selected each year to take part in the prestigious PQA West End season at a top London theatre. PQA students are also eligible to join Quirky Kidz, a creative management agency exclusively representing students who wish to be considered for professional jobs in theatre, television and film.

Principal of PQA Leicester, Karen Stevens has worked as a professional actress since graduating from Middlesex University, in 2002 with a degree in Theatre Studies and Technical Arts and has experience of performing both on the stage and in front of the camera, and has even tried her hand at stand up comedy!

Karren said to us ‘We are very excited to launch a new PQA in Wigston, particularly since South Leicestershire College is a brand new state of the art building which has its own purpose built TV studio which will come in very useful for our students! We hope that the new Academy will instill children in the area with a love of the performing arts and give them the opportunity to try something new’.

PQA hold classes every Saturday at South Leicestershire College from 10am – 1pm, PQA have a very warm and inviting atmosphere with a well trained teacher, the classes run for just £7.50 per student.

For more information check out  www.pqacademy.com or call 08456 732022.

Renowned for diversity and cutting edge training by industry professionals, Urdang graduates are constantly in for West End and dance leads. Based close to Sadler’s Wells in central London, the Urdang Academy is fast becoming  the UK’s first choice for training  in Dance and Musical Theatre.

Managing director of Urdang, Solange Urdang was highlighted in the report being described as “providing inspirational leadership”

Our writers spoke to Solange Urdang today who commented on the report saying  “At the Urdang Academy we are dedicated and committed to continuous improvement, always providing the highest possible standard of training.  We are delighted that this has been recognised with the findings of the recent Ofsted inspection.  The report represents a clear endorsement of Urdang’s ability to offer the very best learning experience and is a very fitting testament to the hard work put in by both staff and students alike on a daily basis.”

The Ofsted inspection report compliments the Urdang Academy in many specific ways, including: -

JULIE ATHERTON - “Musical theatre is in safe hands when promoted as brilliantly as this.” – Mark Shenton

Sat 4th & Sun 5th June

West End star Julie Atherton creates a completely unplugged re-working of her acclaimed album No Space for Air to celebrate the first anniversary of its release. Best known for creating the roles of Kate Monster and Lucy the Slut in Avenue Q, and her role as Cathy in Jason Robert Brown’s The Last 5 Years, Julie is also the star of the international YouTube sensation, ‘Portrait of a Princess’.

HELENA BLACKMAN - “She gives a sparklingly assured performance.” – The Guardian

Sun 12th June

Best known as runner-up in the BBC’s  How Do You Solve a Problem Like Maria?,  Helena Blackman returns to the Pheasantry, following her sold out dates last year, to perform her debut album The Sound of Rodgers & Hammerstein in a stripped-back acoustic evening celebrating her association with this legendary musical theatre writing duo, including one or two surprises.

Check out our video interview with Helena Blackman.

MICHAEL BRUCE - “Faith in this exceptional talent was fully justified” – The Stage

Sun 19th June

Award-winning musical theatre composer  Michael Bruce brings his No.1 debut album  Unwritten Songs to the Pheasantry in an acoustic re-imagining of this celebrated collection of songs. Michael will be joined by a selection of the West End stars that appear on the album, along with some unexpected guests, with whom he will also showcase a number of previously unperformed songs.

The Pheasantry, 152 Kings Road, Chelsea, London SW3 4UT

Tickets cost £20  - call Box Office now on 0845 602 701

You can buy all the artists albums from Amazon, Itunes and dresscircle.co.uk

http://www.speckulationentertainment.com/

Shoes The Musical is, quite literally, just that. With no storyline and no apparent purpose other than to attest to the utter delight of every form of shoe, I was a little apprehensive as to what the night held in store for me. After all, when being completely honest, how much is there to be said about shoes?! Or, so I thought!

So we begin the night with a ‘Brief History of Shoes’, ranging from the sandals of Ancient Egypt through to the delightful court shoes of the Stewart era, finally ending with those shoes we know and love today; high heels, kitten heels, no heels, boots, platforms, stilettos…you get the idea! The next two hours gently guides its audience through that oh-so-addictive relationship between society and their shoes, with amazingly imaginative and ultimately very witty scenarios created by writer and director, Richard Thomas.

It’s astonishing how close to the mark Thomas comes with this musical. And with outstanding choreography from the likes of Kate Prince, Sidi Larbi Cherkaoui, Aletta Collins and Martin Smith, it’s hardly surprising the appreciation emanating from the audience. Admittedly, there were several occasions where I, the ultimate cynic when it comes to shows, could not help but laugh out loud, even if it was just as the sheer ludicrousness of what I was bearing witness!

In all honesty, I never thought I would be able to say I have seen a legitimate show in which a washed-up Cinderella becomes, for want of a better word, a chav with nothing by shabby trainers, sheep prancing around the stage contesting their right to Uggs, and Jesus advertising his Birkin sandals. Needless to say, this show is completely and utterly nothing short of barmy.

But, if it’s a good night out, with laughs, friends, and an escape you’re looking for, the Shoes is the musical for you. However, be warned: this show is NOT SUITABLE for those with a previous history of shoe addictions!

Check out Becky’s blog - http://rebecca-diana.blogspot.com/

Follow Becky on twitter – http://twitter.com/becca_diana

Follow Helena on Twitter: http://twitter.com/helenablackman
Follow us on Twitter: http://twitter.com/StageDoorMag
Pre-order the album at http://www.thesoundofrandh.com/

First of all thanks for taking time to answer these questions. For our readers, could you introduce yourselves…

We are Cindy Rhyme and Sheila Rhyme, we are sisters, we are professional actresses and playwrights.

You are both actresses, did you train professionally, and if yes where?

Yes, we trained in Italy, our home Country. We studied acting and dancing, and then we kept training with stages and master classes in Italy, London and Los Angeles.

So you are sisters, if there any rivalry between each other?

No, there has never been any rivalry among us. From when we were kids, we both loved to perform and to do it together. We staged little musicals, wrote songs and performed in front of our family and we never were envy or jealous of one another. We always felt that having each other is the greatest gift of all and we feel very lucky to be able to share the same passion that now is the same profession.

I understand you’ve been in the media, can you tell us a bit about that?

Yes, it was a surprise for us. In April 2010 we dated the same boy without knowing that he was dating the both of us, he thought it was a fun thing to do because he was dating two sisters. When we told this story to our friends they were all into that and a friend suggested us to contact the media to tell them our story. At the beginning, we thought the media would not be interested, instead they contacted us back and we have been featured on The Sun, Daily Express and Full House for now. Then last week we did a photoshoot for another article in The People, that is going to come out soon. We think that being in the press can be a double-edged sword but we think that if we keep it in perspective is an amazing way to connect with people and tell our side of the story.

Acting Pair - Cindy & Sheila Rhyme

Also you have published book(s), what are they about?

The book is called “Two Sisters, One Boyfriend! and How to Deal with Your Own Boyfriend” and talks about the stories we lived with the love-rat Mike, the guy that dated both of us. The book is also full of suggestions for girls and women of all ages and backgrounds to make their relationships grow and be honest. We are very happy because the book quickly became a best seller and people can buy it directly from our website:

www.cindyandsheilarhyme.com

What advise could you give to young performers who want to be professional actors?

There is a phrase that we like so much because we think it encases all that is important about being performers. If you can see yourself doing anything else and be happy, then do it. But if you can’t see yourself doing anything else, and be happy, then you can become a performer. We think the most important thing is passion, we suggest to young performers to practice their craft, to try to gain experience in all the ways they can but because this is a highly competitve industry it is really hard to get noticed, you have to be really committed to your craft and ready to dedicate your life to acting.

You are about to appear in “Alice new adventures in Wonderland”. Have you started rehearsals yet?

Yes, we did and it is such an amazing experience. The cast, the crew everyone is so committed to this project. We all know we have a huge responsibility against the audience, especially children. We will play Alice ( Cindy ) and the Queen of Hearts ( Sheila ) and we totally enjoy these characters.

How’s it going, is it going to be an awesome show?

Of course! The story talks about Alice, now she is 14 years old and she goes back to Wonderland to try to defeat the evil Queen of Hearts, that wants to ban Alice from Wonderland forever. In her journey Alice will meet again old friends such as The Mad Hatter, the Cheshire Cat, the White Rabbit….but she will also make new friends and will live amazing new adventures. Filled with jokes, rhymes, extravagant characters the show is also filled with messages and thought provoking lines for adults. This is the perfect show for the whole family, the chance to see again Alice, the Queen of Hearts, the Mad Hatter and all the beloved characters from England’s most famous book but audience will also live with them a new, exciting adventure.

How do we get tickets?

You can purchase tickets through the Courtyard Theatre official website www.thecourtyard.org.uk and www.ticketweb.co.uk. Or you can call the box office 0844 477 1000. Tickets are as low as 14£ ( adults ) and 7£ ( children ), look out for discounts and cheper tickets that the production is offering through different Internet websites, designed especially for families.

Can you tell us anything that you’ve never told anybody (press) before about anything?

In 2007 we opened our own dance school called Ecole de Danse, in the little italian village we lived in. We chose to open it because we wanted a job related to performing arts and there were no possibilities to perform in other ways in such a small italian village.

What’s for the future, after “Alice new adventures in Wonderland”?

We all are very committed to this play and believe in it so much. There is a talk of bringing it to the West End and of course we are really excited about it!

When launching Fourth Monkey I looked at our ‘product’, and although we have a keen eye for new and developing talent, looking to offer opportunities to performers and professionals at the outset of their careers our mission statement was a simple one; to deliver high calibre work for a contemporary audience that returns to the theatrical concepts of days gone by.

The theatre was once a place, not so long ago where writers, creatives and the arts world as a whole created work that challenged its audiences with a diet that tackled difficult social issues and evoked an audience to react, or at the very least think. Look no further than the angry young men of the british theatre scene of only fifty years ago, I refer to the Osborne’s, the Pinter’s and Beckett’s of this world. Writers and practitioners that challenged their audiences and made them think and often respond.

We live in a time where boldness in the arts has been replaced by an apparent reluctance to challenge and a certain apathy on the part of the audience. Does an audience not wish to be confronted with theatre that makes them discuss the work, as well as the issues referred to in it as opposed to simply the costumes on the way home? Should the work we are witnessing not relate to the challenging issues that surround our every day?

I strongly believe it does and I also believe profoundly, that if we are going to have an active and participatory theatre audience in the future we need to give them a different diet from that of the tired, superficial musical theatre one most young people are familiar with today. Yes theatre as entertainment has its place, but theatre and art are so much more than this. Aren’t they?

This is not a crusade and neither am I so bold as to suggest that we are the only company trying to truly engage an audience in the contemporary theatre world, we simply wish to play our part alongside the many talented companies delivering fresh and innovative work in the UK today, in defiance of the shameful arts cuts we are now facing.

By selecting and developing work that is uncompromising and challenging in its message and bold in its delivery we can offer the young theatre audience of today something different and something they appear to wish to be part of, something that they can relate to and share in and equally something financially they can afford to witness.

Our work has been described as visceral, passionate and overflowing with energy. Sadly, this is not a unique selling point of course, but it is our philosophy on how theatre should be.

Here’s to a future where we continue to flourish and theatre itself sees a renaissance, where the work and the message within reaches far beyond four walls in a darkened room and maybe, just maybe, plays a small part in allowing silent voices to be heard and perhaps even real change in our troubled society. This is something art can do, it’s just forgotten it has a responsibility and opportunity to do so.

Steven Green
Artistic Director
Fourth Monkey Theatre Company
www.fourthmonkey.co.uk
Currently rehearsing for a transfer of Anthony Burgess’ A Clockwork Orange 9-12 March at the Croydon Clocktower.

For tickets: http://www.croydonclocktower.org.uk/tempalp.aspx?ID=1211