crazy for gershwin... · calendar girls and the full monty. although the show will not premiere...

IN PARTNERSHIP WITH

Fairytale dance

Tom talks tap

for the Friends of Norwich Theatre Royal 76

Hamlet goes operatic

CRAZY FORGERSHWIN

MERMAID REMADE

BARD SONG

Crazy For You

Welcome to this new edition of Circle Magazine.

I can hardly believe that it has alreadybeen 6 months since I came to Norwich.It has been a whirlwind period as I haveset about trying to meet as many of ourartistic partners, supporters andaudiences as possible - as well as tryingto find a bit of time to get out and explorethis wonderful city and county. Thewarmth of welcome that I have receivedfrom every quarter has just beenoverwhelming – THANK YOU! - and thepassion and support for our theatres isjust impossible to put into words. What isabundantly clear to me is that a love fortheatre, the arts and cultural activity, andthe understanding of their importance, isin the DNA of Norwich and Norfolk. Aswe look to the future, that fact makes ourongoing development and new ambitionsfor the Theatre Royal, Playhouse andStage Two even more exciting.

Lots of people have asked me about myvision for our artistic programme over thecoming years. My response is always avery straightforward one: there won’t be arevolution, but look out for someevolution. I am passionate that ourstages should be chameleon-like and wewill absolutely continue to bring the verybest work across the broadest spectrumof the performing arts to Norwich. Toillustrate this, it gives me great pleasure toknow that over one four-week periodalone this autumn, the Theatre Royal stagewill see shows ranging from a newoperatic version of Hamlet fromGlyndebourne to Lulu, and from theNational Theatre’s Hedda Gabler to TheNimmo Twins. Long may this quality andrange continue.

Since January we have also been verybusy with some exciting conversationsaround the UK and abroad to developnew artistic relationships, and later in2018 you will begin to see some artists,companies and productions that are newto Norwich. One area where you willnotice this development is in dance and Iam delighted that we have now joined theNational Dance Consortium which willsee us regularly stage performances frominternational dance companies. These

kinds of developments are reallyimportant in our role as one of the leadingcultural institutions in the region and helpto cement Norwich as an internationalcultural destination.

Away from the main stages, we have alsospent time developing exciting futureplans for our Learning & Participationprogramme, building on the phenomenalsuccess of our existing work andmaximising the opportunities that havingStage Two gives us. We now have anambitious new strategy that will see anexpanded programme of work focussedon Learning & Education, Training & Skillsand Community Participation for peopleof all ages. One of our first new projects,which launches this autumn, is CreativeMatters (see page 19), our new series ofmonth-long seasons of performances,installations, activities and events focusingon issues which directly affect people ofall ages and backgrounds.

Finally, I would like to say a huge thankyou to our whole team at the TheatreRoyal and Playhouse, from our Board ofTrustees to our staff and volunteer teamsfor their incredible commitment. Thisyear marks the 25th anniversary of theTheatre Royal Voluntary Steward Schemeand this is a fantastic opportunity tocelebrate that incredible loyalty anddedication to the Theatre Royal and Iwanted to particularly mention JackieAston, Anna Leer, Ruth Maddern, PatMonaghan, Shirley Tomlin and MaryWatts, all of whom have been part of thescheme since it began, each giving a totalin excess of 5,000 hours of their time.What an incredible commitment not onlyto the theatre as an organisation, but toensuring that audiences can enjoy thevery best theatre right here in Norfolk.

With all best wishesStephen

ON SALE NOWThese shows have allbeen added to ourprogramme since thelast what’s on brochurewas published. Forthose which went onsale before now, seatshave been held backfor Friends until all ofyou were notified.Booking for all theseshows opens 9.30amon Friday 21st July forFriends.

Friday 13 – Saturday 14October 2017THE NIMMO TWINS

Thursday 26 – Friday 27October 2017TAP FACTORY

Sunday 19 November2017THE UKULELEORCHESTRA OFGREAT BRITAIN

Sunday 3 December2017THE RAF IN CONCERT

Monday 18 December2017A VISION OF ELVIS

Thursday 4 January 2018BEYOND THEBARRICADE

Sunday 18 March 2018SARAH MILLICAN

Saturday 2 June 2018DAVID BADDIELMy Family: Not TheSitcom

IntroductionStephen CrockerChief ExecutiveNorwich Theatre Royal

Circle Magazine July 2017 3

From the posters on the wall and theangst of teenage unrequited lovewith a pop superstar to the trailingaround the country to see their idolsin action, being a young music fan isa key part of the coming-of-ageprocess.

And this is at the heart of The Bandwhich comes to Norwich TheatreRoyal on February 6-17. Set to asoundtrack of Take That’s many hits,it begins as a group of 16-year-oldsfollow The Band of the title on tour.It then flashes forward to pick up onthe women’s lives in their forties tosee how they have changed aspeople and whether the relationshipbetween them will be the same.

The show features a host of TakeThat hits from their early days rightup to the present day in parallel withthe events of the show.

And it also features Five To Five, theboy-band who won through theBBC’s Let It Shine TV show whichlaunched a prime-time search for aquartet of boys to perform many ofthe hits of Take That and also take ona number of roles in the show.

The person with the job of directingthe production and bringing thestory to the stage is Jack Ryder.Although he is best known for therole of Jamie Mitchell in EastEnders,his creative energies are now muchmore focused backstage, havingdirected a number of successfultheatre productions includingCalendar Girls and The Full Monty.

Although the show will not premiereuntil this autumn, specially selectedVIP audiences have had the chanceto see a workshop version of theproduction and speaking after this,he said he was pleased with howthose initial performances had gone.

He said: “I am happy with it. It hasbeen so fantastic to go to work andbe able to create this production. Youjust never know what is going tohappen. The performance happenedjust a few hours after we started thetech rehearsal. The fact it has goneso well is testament to the creativeteam and the cast as well as a strongbelief in this production and theenthusiasm of everyone involved.”


BackstageRyder

It is the musical set to celebrate themusic of Take That and highlight the

bonds enjoyed by their fans.

The Band is set to be one of themust-see musicals of 2018 and is being

directed by a man who is no stranger toadoration himself, the former EastEnderJack Ryder. He talks more about what is

in store and how he coped with thepressure of fame.

Jack Ryder

The Band

So how did The Band story begin forJack? He has had a long professionalrelationship with producer David Pugh, directing a number ofproductions for him, and when he gotthe first draft of the script he knew itwas something special.

A strong creative team also helps.Hugely-respected author Tim Firthhas written the show and is wellknown for his work on stage andscreen including Calendar Girls andSign Of The Times, and Take Thatthemselves have also beenco-producing, playing a key part inthe whole creative process.

But does having the likes of GaryBarlow, Howard Donald and MarkOwen being such a key part of theproject make it tricky? Jack laughed:“It is a bit of pressure isn’t it? TakeThat are also hugely loved. When youare working though, they just want tomake sure the show is right. It is allabout the show first and making surethe audience enjoy it.”

And it is not just Take That. Five ToFive won the BBC TV Saturday nightshow and after a night of celebration,started working straight away on theproduction. How are they adapting tothe demands of creating such ahigh-profile stage show? Very well,according to Jack. He said: “It hasbeen a joy. The boys are so focusedand they want to get it just right.

“Every tea-break and lunch-break,they are working on the songs orthinking about the props or theirentrances or exits. You don’t normally get that. They are sharp, take onboard every suggestion we givethem to enhance their performanceand are just fantastic to work with.”

With all the excitement and hypesurrounding the show, has it givenhim the motivation to be front andcentre of a production rather thanbehind the scenes? “I would not mindgoing back on stage but at themoment, the work is stacking up forme. I know this business and I alwayssay it is like snakes and ladders. Youwork your way up. It is always likethat. You are up for a while and thenyou don’t work for a year. At themoment, things are going well forme,” he said.

And that adoration that heart-throbsface whether Take That or Five ToFive is not something he enjoyeddespite being part of a prime-timesoap. He recalled ”I never liked it. Itis an odd thing. Girls are screamingin your face, crying and fainting.People think it is wonderful but whenyou are in that situation, it is not a nice

thing to happen. I enjoyed the workbut I did not enjoy the fame andattention. I thought all the showbizparties were nonsense and did notreally engage with them. When I used to travel on a train, I would keep abaseball cap over my face.”

One of the advantages for Five ToFive will be that they can supporteach other through the ups anddowns. “These boys are alwaystogether. They are like Take That inthat they can deal with things and goon this journey together. The boyshave a fantastic future whateverhappens with this show and beyond.”

And Jack is particularly lookingforward to bringing the show toNorwich. His mum loves the city andis hoping to move there. “I am hopingshe will be there by the time TheBand gets to you. It is such a lovelyplace to be and London is not that faraway.”

So it looks like all systems go for amusical that is set to be a hugeNorwich hit for Jack in more waysthan one. Look out for a flying visitwhen The Band is in the city.

6 Circle Magazine July 2017

BackstageRyder

Fred Olsen Travel

The Band

By the time the curtain came downon a production of Crazy For You inthe early Nineties, a 15-year-old TomChambers knew his heart lay inperforming. “It was the very first livemusical I ever saw on stage and itjust filled me with so muchentertainment and wonder. It wasamazing to see what they did withthe theatre space and how the storywas told. It was the only bit of theatrewhich truly inspired me,” he recalled.

And in a career which has featured anumber of crazy twists of fate as wellas some fantastic roles, Tom isrelishing the chance to recapture thatteenage dream and this time play thelead role in the production which istouring the UK.

He plays Bobby, a banker sent toclose down a failing theatre who fallsfor the daughter of the building’sproprietor. Determined to win herheart, he adopts the guise of aHungarian impresario in order tosave the theatre and get his girl.

And so, the stage is set for anall-singing, all-dancing story set to aGershwin soundtrack - whichincludes the likes of They Can’t TakeThat Away From Me, Bidin’ My Timeand, of course, I’ve Got Rhythm -which also stars Norfolk’s ownCaroline Flack who will be makingher Theatre Royal debut.

Tom admits he has always had a bitof a performing instinct from rattlinghis feet on the kitchen floor at homefrom a very young age, and thenenjoying watching black-and-whitefilms starring the likes of Gene Kelly,but it was a school play that saw himtread the boards for the first time. Helaughed: “I was playing footballduring a school break and theEnglish teacher, who was directingthe play, said no one had auditionedfor it so there was a compulsorythree o’clock audition. I ended upgetting the title role in Dracula

Spectacular. I loved that relationshiprecognition between the audienceand me. It was fantastic making themrespond.”

Drama school followed whichincluded a stint understudying KeithChegwin in the pantomimeCinderella at Basingstoke (“It is oneof my claims to fame”), and his firstjob after leaving was a Spanish TVad for Kit Kat. Tom said: “I thoughtthis is great. I am going to getnon-stop work,” but things did notquite work out like that. He had toturn down a role in The Bill becausethey needed an HGV driver,although Tom has now got his Class1 lorry-driving licence.

And when he turned down a role inthe arena tour of Bob The Builder, hisagent fired him, leaving him in aquandary about what to do next asthe work was drying up.

So, he took one final shot at successby aiming to get onto the RoyalVariety Performance in the daysbefore Britain’s Got Talent andYouTube. He said: “I wrote a ‘DearJohn’ letter suggesting I do a FredAstaire routine on a drum kit and Ithought that might appeal with metap dancing and kicking drums at thesame time. They said get it readyand I spent 9 and a half monthsdoing just that. A few weeksbeforehand, they then got in touchand said we now have everyone weneed. We don’t want you - which wasa blow.

“So I got in touch with my old schooland asked if I could perform it ontheir stage in the holidays and I got itfilmed in black and white. I had 1000DVD’s made of it sending 400 toAmerica and sent 600 out in thiscountry to theatre owners, directorsand TV producers asking if they weredoing anything connected to Fred Astaire and, if so, could I have achat?”

You can’t beat someglorious Gershwin and thecomposer has no greaterfan than Tom Chamberswho is fulfilling a teenage

dream by starring in Crazy For You.

He talks about how thecomposer helped fuel his

desire to make it inshow-business and how hecannot wait to bring theproduction to Norwich.

Crazy ForGershwin

9Circle Magazine July 2017

Tom Chambers

Only two people came back. Onewas a theatre producer organising aone-night Fred and Ginger tribute,while Tom said the other was anaudition for BBC medical dramaHolby City. “The producers justthought it was so unusual. They werelooking for someone to play anAmerican doctor for two episodes.As Fred Astaire was American, theythought I was too and wanted to getme in. I went to the audition and theysaid ‘where have you been all theseyears?’”

From there he won the part of SamStrachan in the hit sister show toCasualty staying in the role for threeyears as the fiercely driven doctorwho also had a bit of a roving eye.And it was his role on there that ledhim into Strictly Come Dancingwhere he partnered CamillaDallerup winning the covetedglitter-ball. Looking back on his timeon the Saturday night TV hit, headmits a lot of it is a blur. Tomexplained: “People ask if I can do aquickstep or a samba. I have toexplain that I had a 5-day intensework out on each of those routines. Itis such a quick short-term memoryinjection and that is it.”

From there, after a run in WhiteChristmas opposite Aled Jones, hewon the part of Jerry Travers in WestEnd and touring hit Top Hat whichhelped make him a must-see stageperformer. He says the show was asteep learning curve for himparticularly in the early days. Duringthose first weeks, he became ill andrealised his diet needed a completeoverhaul in order to cope with thedemands of a rigorous role in suchan energetic production with somany dance routines and songs tolearn and then perform.

But the hard work was worth it andthe show became a huge success,with Tom paying tribute to the

producers who took a risk on it. Hesaid: “They are very brave peoplebecause they put their houses andmortgages on the line. There is noguaranteed formula that an audiencewill want to see something and whatit’s ‘enjoy by’ date is.

“We hoped that Irving Berlin, FredAstaire and the content would workand there was little competition outthere because it provided a taste ofthe classic Hollywood era ofentertainment that wasn’t being filledat that time.”

Since then, Tom has become asought-after theatre performeralthough he has reprised the role ofSam Strachan for Casualty prior tothis Crazy For You tour. He said: “Iloved coming back to the show.When I played the part originally, Iknew if I wasn’t careful, I would wantto stay for ever as it was a great partwith great people. I needed tobranch out and fulfil other ambitionsand do a lead role in a musical. Samis a bit of a rogue as a character andhe is fun to play. It has been brilliant.It is like stepping back into yourfavourite pair of shoes.”

And now it is Crazy For You which isset to take up the rest of his yearincluding a Norwich run from Oct 31to Nov 4.

“I think Crazy For You has theabsolutely perfect balance ofhumour, story and singing. There areso many musicals that are heavy onjust one element but this show hasthe perfect combination ofeverything. It is a bit like the showdance on Strictly with everythingslotting into place in the right order.”

Tom does not want to give too muchaway about what is in store but it willsee him share the stage withactor-musicians so it will be verydifferent to previous productions. “I

don’t want to spoil it for people whomay or may not have caught it atNewbury but the audience reallytook to it. All the traits are there thatthe other productions had but youalso have the cast playing theinstruments live on stage as well assinging and dancing.”

Tom also cannot wait to share theshow with audiences across the UK.“The best thing about touring isbeing able to bring something to yourather than you having to make theepic journey to London. Producerseventually want their material therebecause it is the theatrical capital ofthe world and is so loved andrespected, but as a provider andgiver to the public, it is reallyimportant to make sure people cansee these shows in their own areas.”

And as a big fan of the music ofGershwin, Tom is in performingheaven. “After seeing Crazy For Youas a teenager, I went and bought theoriginal score. I used to have asinging lesson once a week at schooland it would be my favourite lessonof the week. I could sing things likeI’ve Got Rhythm and Shall We Danceand They Can’t Take That Away fromMe. When I was at drama school,they used to say ‘will you stopsinging Gershwin?’ I love Cole Porteras well but Gershwin has that sexappeal and more style, more jazzand a bit more pizazz.” So this is verydefinitely a dream role for him. In thewords of his musical idol, Nice WorkIf You Can Get It.


Crazy ForGershwin


Tom Chambers in Crazy For You

The smash hit Broadway andWest End musical LegallyBlonde, a pink-fest of lightentertainment, sits alongsideThe Kite Runner, ahard-hitting story offriendship byAfghan-American authorKhaled Hosseini whichbegins in the war-torn streetsof Kabul and spans culturesand continents.

Martin’s productions arealready known to Norwichaudiences and include Chris& Pui, Oklahoma and 42ndStreet. He’s a producer whochooses with his heart as wellas his business brain.

“People often ask ‘how doyou pick a show?’,” he said.“For me, particularly with themusicals, I have specialisedin revivals because I grew upwith a lot of the MGMmusicals. When I was a kid Iwent to dancing school and Iplayed musical instrumentsand I was in a concert party.So I’ve always tended to doshows I grew up loving andthat are deep down in theheart, and I think they are ineverybody’s – shows likeCarousel, South Pacific,Fiddler On The Roof, 42ndStreet - all those great oldmusicals that people justlove.”

As managing director of UKProductions, he has built thecompany into one of the

country’s leading producersof musical theatre andpantomime, both nationallyand internationally, withproductions in theatresacross the UK and Ireland,including the West End ofLondon, as well as mainlandEurope, Turkey, Malta,Malaysia and New Zealand.

“I’ve done a lot of shows overthe years and first hit the roadwith the musical Barnum. Weare now producing pantosaround the country andtypically at Xmas havearound 40 pantomimesgoing, and I’ve lost count ofthe number of musicals wehave done.”

Staging The Kite Runnercame to fruition as a result ofa happy mistake. Martin readthe book thinking hisdaughter was about to studyit for A level. She wasn’t, buthe couldn’t put the bookdown. “It just gripped me,” hesaid. “I heard there was astage adaptation being doneand thought if we’re going todo a play, let’s do one with astoryline we really believe inand which just blows youaway. So I got the rights for itand put it on the road in2014.”

He then secured theworldwide rights too andtook the show into the WestEnd. “There was a motivationto get it into town because I

20

From The Heart

Martin Dodd

Circle Magazine November 2016

With an eclectic careerwhich led him from

dancing and stand-upcomedy to theatre

management, Martin Doddof UK Productions is

clearly a man who likesvariety – also evidencedby two of the shows hebrings to Norwich nextMarch for the Theatre

Royal’s new 2018 season.


Circle Magazine July 201714 15Circle Magazine July 2017

thought not only is it a fantastic story andmakes a great stage show, but it is one of thosebooks and plays that is so thought-provokingpeople really should see this and it deserves awider audience.”

It ran at Wyndhams Theatre at the end of lastyear, then moved into the Playhouse nearCharing Cross and will run there until the endof August when it goes out on tour again untilJune next year, stopping in Norwich betweenMarch 5-10.

Khaled Hosseini‘s 2003 novel sold 31.5mcopies in 60 languages, and is a compellingportrait of two young boys who grow up in thesame household and whose lives becomelinked across the years.

The play was a challenge to stage because thestory runs across 20 to 30 years. Director GilesCroft took the decision to use adults playingchildren. “It was a brave decision but I think itreally works”, Martin said. The story is narratedby one of the children, now an adult andlooking back on his life.

“It really binds the story together and makes itso much more poignant, and I think thechallenge for The Kite Runner is that it doesn’tlose any of those elements that make it sopowerful as a book. There is one particularpart of the story that is difficult to stagebecause it is quite vivid and brutal, but I thinkwe do that very honestly without offending orupsetting anyone. It makes you think, which isgood, and it does what theatre should do. Itchanges perceptions. You come out and you

ask questions. But ultimately it’s greatentertainment and a really, really good story.”

So from one much-loved story to another – andUK Productions also brings Legally Blonde toNorwich in March, from 26-31. It tells the storyof Elle Woods, the sorority girl who enrolls atHarvard Law School to win back herex-boyfriend, but who discovers how herknowledge of the law can help others.

“It’s just a brilliant musical,” Martin said. “It’s areally popular film and so many people watch itover and over again, and the musical follows thefilm quite faithfully. There’s any number of greatsongs in the show and you come out with asmile on your face, which to me is a sign of asuccessful musical.”

Martin describes it as “a beast of a show for thecast” with Lucie Jones, who plays Elle, having17 numbers in the show. “It’s a full on marathonto play Elle and you need to be able to doeverything - you need to master comedy,straight acting, you’ve got to have a great voice,and you’ve got to be able to move.”

The strong cast also includes Rita Simons (RoxyMitchell from EastEnders) and Bill Ward (ofEmmerdale and Coronation Street fame). “Butthe real star of the show is going to end upbeing Bruiser, the dog,” Martin said. AChihuahua pup was recruited to play the role ofElle’s dog and has already stolen one heart.“She is in training now,” Martin said, “and hasbeen travelling around our pantomimerehearsals to get used to the theatreenvironment. To be honest, I have fallen in lovewith her. She’s such a little character.”

The Kite Runner


Stage Two is focusing on being awelcoming and safe space inNorfolk to discuss, explore andcreate work on a wide range oftopics.

The learning and participationcentre at Norwich Theatre Royalis set to host three seasons peryear focusing on issues whichdirectly affect people of all agesand backgrounds.

Each one will feature a mix ofperformances, installations,activities and events which aim tostimulate discussion and throwkey areas of day-to-day life intosharp focus.

The Creative Matters series willbegin this autumn with a focus ongender and sexual identitybefore a season in early 2018examining mental health, andthen the issues around dementiaare explored in late Spring/earlySummer next year.

Wendy Ellis, the theatre’slearning and participationdirector, said: “We want toexplore key areas of life in acreative way within a safe space.

“It is about including morepeople in the discussion aboutthese issues while also using thepower of creativity to buildgreater understanding andknowledge.”

Stage Two officially opened lastsummer to provide a dedicatedspace for Norwich TheatreRoyal’s ambitious programme oflearning and participation workthat aims to support people of allages through communityengagement, work in educationand opportunities to train andlearn skills.

Now these themed seasons willaim to engage with communitiesuniting them around a theme toexplore a range of issues in acreative and engaging way.

The first one which focuses ongender and sexual identity willinclude two days of free LGBTQHeritage events to tie in with thenational Heritage Open Days onSeptember 8-9. This will includeSewgay which will display itspatchwork quilt whichdocuments LGBTQ history, theSing With Pride choir which isopen to everyone in the LGBTQcommunity and their family and

friends, and Out140 which is aproject which lets ordinarypeople tell their coming outstories in 140 characters or less.

There will also be some theatreperformances. They include thecritically-acclaimed theatrecompany Rhum and Claybringing their exploration ofmasculine identity to the stage inTESTOSTERONE on September27. It follows the story of Kit, atransgender man, who enters amale gym changing room exactlya year after his first injection oftestosterone.

Stage Two will also be the homeof a brand new piece of dramawhich will be cast and producedlocally, and then performed in theauditorium. There will also befilm showings, workshops andeducation work as part of theseason which is being worked onwith Norwich Pride.

Stephen Crocker, chief executiveof Norwich Theatre Royal, is veryexcited about this strand ofartistic and communityengagement work. He said: “TheCreative Matters season willprovide a platform and safespace in the heart of our city forpeople of all ages to explore andengage with key issues in ourworld today. I believepassionately in the power ofcreativity to bring communities ofpeople together and amdelighted that we can launch theCreative Matters seasons at atime when this has never beenmore important.”

creativematters

Rubber Ring

Telling the story of a youngmermaid who is willing to give upeverything she knows in a searchfor love and the desire to gain ahuman soul, the ballet’s worldpremière tour starts inSouthampton with Norwich itssecond stop on a UK tour. Itfollows on from Casanova,performed here in April, and anadaptation of John Boyne’sbestselling novel The Boy in theStriped Pyjamas which is alsotouring the UK.

The Little Mermaid, based on theHans Christian Andersen tale, ischoreographed and directed bythe company’s artistic directorDavid Nixon OBE, whose mostrecent creations have includedCinderella, The Great Gatsby andBeauty & the Beast.

In choosing this particular story,he said he was looking forsomething accessible. “I think youwant to make your audiencecomfortable so that they cancome at any age to experiencethe company. A lot of peopleknow The Little Mermaid - thereseems to be an attachment tomermaids and the Disney versionis quite famous - and I knew that itwould work in dance because it isabout movement.”

Having choreographed Ondine in2012 - another tale of doomedromance between a beautifulwater nymph and a handsomenobleman – David was aware ofthe opportunities and challengesin creating a beautiful underwaterworld which contrasts with thehuman world on land above. “It iswithout gravity – it would be as ifwe could fly,” he said.

“I look at the first part of the balletas almost a ballet in its own right –it’s like a dance of the sea with themermaids and fish. It’s aboutwatching movement, what it might

be like to be a mermaid andunderstanding her world so thatyou can understand the sacrificeshe makes for this love she has.It’s about selfless love – the abilityto love even when it’s notreciprocated. The ending is sad,but very beautiful.”

Working on the costume designgives David the inspiration for thechoreography. “When I see whatthey wear, how they move, thatgives me the character and a wayin. When others do the designs Idon’t understand it as well– ofcourse, I can ask them thosequestions but it’s not quite thesame as coming up with ityourself, and I have just alwaysenjoyed that element. You aregiving the show the look that youwant it to have coming from yourimagination.”

The set designer Kimie Nakanohas created a look for the balletthat is contemporary andbeautiful, and in rehearsalsDavid’s focus is on creating alanguage of movement for themermaid which shows she’s still awater creature and fluid evenwhen dancing on land.

He has introduced a Scottish lookto the rest of the story whichdovetails with the original scorecomposed by Sally Beamish. “Themusic has a slight Scottishinfluence to it and I have taken a similar approach with the costume– something like a kilt which is alittle different. We always have thedilemma that men are either in tights or trousers, but with kiltsthere is a freedom of movementthere.”

Northern Ballet has a tradition ofnurturing talent and in promotingyounger choreographers. Davidhad started to move back fromthat role himself, but The LittleMermaid tempted him back.

Mermaidremade

Northern Ballet’s newadaptation of Hans Christian

Andersen’s fairytale TheLittle Mermaid arrives inNorwich from September

26-30 – the third of anunprecedented three new

full-length ballets to belaunched in one year by the

Leeds-based company.


“I always say I didn’t intend tobe a choreographer and I don’tthink of myself as achoreographer. I think of myselffirst as an artistic director whochoreographs and it’s alwaysbeen about creating dancers.The value I will always seek inthe repertoire I have done is thedancers who came out of it.”

Seeing some of those formerdancers now spreading theirwings creatively is immenselyrewarding for him and KennethTindall’s recent success with hisfirst full ballet Casanova was aproud moment.

“On Casanova, I was able towork with Kenny in the sense ofbeing a sounding board for himwhich was great. But I was alsoballet master in the studio forhim, preparing second andthird casts while he wasworking, so he was able to notworry about that and trust me.Then I was working with myown dancers in a differentcapacity which was really nicefor them and me. So it is hugelypositive.”

Both as a dancer andchoreographer, David’s strengthhas always been his “dramaticinterpretation” and bringingsomething fresh to a story. Insupporting youngchoreographers in their journeyinto narrative work, he iscontinuing that path. ”Thecompany will still see revivalsbecause everything can’t be new but I think that narrativehas been key for this company.It’s our identity and it’s strongerthan ever.”

David Nixon OBE

The Little Mermaid


For some, it is a gripping story ofbetrayal, revenge and madness. For

others, it is a sacred text whichshould be left untouched.

But a stunning new version ofHamlet is coming to Norwich

Theatre Royal as part ofGlyndebourne’s 2017 programme.

This original Glyndebournecommission explores the dilemmafacing Hamlet as the revelations

around his life threaten tooverwhelm him.

The Prince faces thoughts ofmurder and revenge when hediscover his uncle Claudius killedhis father, the King of Denmark,before seizing his father’s crownand wife.

Hamlet faces a contrastingdecision. On the one hand, whatshould he do to avenge his familyand assert his power? On the other,is suicide the right thing to do in aworld which just seems soincredibly painful to him?

Brett Dean’s production, whichtakes to the stage on Friday 17November, aims to mix the modernand traditional using high energyand witty lyrics combined with thetraditional operatic elements ofarias, ensembles and choruses.

But was it a bit daunting for him totake on what is almost a sacred textfor many? Brett said: “When I firstsaid I was going to write it, peoplesaid ‘Hamlet, that’s big’ which was abit off-putting.

“I studied some Shakespeare atschool but I can’t call myself aShakespeare expert by any meansor even, prior to this project, anykind of devotee. I must say that oneof the things that has been sowonderful about this project is thefact it has opened a whole newworld for me.”

The creative process also meantBrett and librettist Matthew Jocelynhad to decide which elements ofthe play would be included and inwhich order as scholars cannotagree on a definitive text for thepiece.

And the keynote speech in Hamletwhich is arguably one of the Bard’sbest-known pieces of writing was aparticular challenge. Brett said: “ToBe Or Not To Be is almost a sacredtext, and it is something that isfamiliar yet different. It has its ownquite strange poetry about it.”

Eventually they settled on it as aduet between Hamlet and Ophelia,

and the pair also wanted to bringout the humorous elements of theplay which are not always broughtto the fore.

And it seems to have worked withthe critics enjoying it. RupertChristiansen in The Telegraph said:“The first-night audience for BrettDean’s new opera roared itsapproval so vociferously that I feelalmost shame-faced to confess toany reservations about its success.But few things are more difficultthan judging such novelties afterone hearing, and I should say atonce that this is certainlysomething that I want to hearagain.”

Meanwhile Erica Jeal in TheGuardian said: “Shakespeare offersa gauntlet to composers thatshouldn’t always be picked up, butDean’s Hamlet rises to thechallenge.”

Overall, Brett Dean is hoping thepeople who come to see it inNorwich will have a fantasticexperience. He said: “I hope theyget a thrilling night in the theatrewith a production that is chilling,funny and heart-breaking.”

Also in the Glyndebourne 2017programme is Mozart’s Cosi FanTutte on Tuesday 14 November at7.15pm and Thurs 16 November at2pm. This period production isdirected by Nicholas Hytner, theformer director of the NationalTheatre, and features somebeautiful melodies mixed withsome tragic and poignant themesin one of the opera world’s mostrenowned tragicomedies.

Audiences can also enjoy Rossini’scomedy Il Barbiere Di Sivigliawhich is packed with wit andenergy. The director AnnabelArden has given it a sultry, surrealand subtly Spanish feel. Catch it onWednesday 15 November andSaturday 18 November at 7.15pm-

Bard Song

Brett Dean

Hamlet original cast

It is a tragic love story belovedby audiences all over the globe.Adapted from Puccini’s operaMadama Butterfly by the writingteam behind Les Misérables, itbegins in Saigon in 1975 justbefore the fall of the city.

It sees an American GI Chris fallin love with a destituteVietnamese orphan Kim, whohas been forced to work in abackstreet bar run by anotorious character called The Engineer.

When the city does finally fall, thelovers are forced apart and theybegin to make their own livesaway from each other. Chrisreturns years later to Vietnamwith his American wife. Kim hasbeen waiting for him along withher son Tam, who was conceivedwith Chris during the conflict.

How do they both move forwardand deal with their new lives?With a passionate emotional plotand some stunning songs, this isa truly epic show and toptheatrical impresario CameronMackintosh has assembled a finecast to bring it to the stage forthis latest UK tour which reachesNorwich Theatre Royal on August15, 2018.

Taking on the role of TheEngineer is Red Concepcionwho boasts many theatricalcredits in his native Philippinesincluding award-winningperformances as Adam/Felicia inPriscilla Queen of the Desert,Alan Strang in Equus, West SideStory and Hairspray.

Kim is played by Sooha Kim whomade her professional debut inMiss Saigon in London’s PrinceEdward Theatre where shecovered the leading female rolebefore taking it on for theJapanese production. Whiletraining in Korea, she alsoappeared in a number of showsincluding Fame and Rent.

Meanwhile Ashley Gilmour, whoplays Chris, also appeared inMiss Saigon at the Prince EdwardTheatre as well as portrayingLink Larkin in the national tour ofHairspray.

The production also stars ZoeDoano who boasts a number ofWest End and touring creditsincluding Les Misérables,Sweeney Todd, The Sound ofMusic and High Society, andGerald Santos who has releasedfive studio albums, won countlessmusic awards and became theyoungest person to take topplace in the biggest singingcontest in the Phillippines, PinoyPop Superstar.

The show itself made its Londonpremiere in 1989 and hasbecome one of the mostsuccessful musicals in history.

The original Broadwayproduction opened on April 11,1991, with what was at the timethe largest box office advance inBroadway history of $37m. Itwent on to run for nearly 10 yearstotalling 4063 performances andwas seen by almost 6m people.

In total, Miss Saigon has beenperformed in 300 cities in 28

Going, Going,Saigon


It has become one of themost successful musicals in

theatrical history sellingmillions of tickets

worldwide and beingperformed successfully in

around 30 countries.

Last time Miss Saigon cameto Norwich Theatre Royal

in 2005, it was a totalsell-out and a brand newproduction is coming in

summer 2018.

different countries and in 15different languages. It has alsowon over 40 awards includingtwo Olivier Awards, three TonyAwards and four Drama DeskAwards and has now been seenby over 35m people worldwide.

Cameron Mackintosh is lookingforward to bringing theproduction to Norwich TheatreRoyal. He said: “It’s hard to

believe that it has been over 25years since Miss Saigon firstopened, but if anything, thetragic love story of the show hasbecome even more relevanttoday.

“This new production, directedby Laurence Connor, takes agrittier, more realistic approachthan the original productionwhile still delivering the power

and epic sweep of Boublil andSchönberg’s tremendous score.

“Of all my shows, Miss Saigon isthe one that I have received themost requests from the public tobring back. I am thrilled thataudiences around the UK willget to see this tremendous newproduction that audiences andcritics in London haveembraced.”


Miss Saigon

Exciting news for all Playhouse fans! Ourauditorium is getting some TLC, withre-upholstered and freshly cushionedseating, brand-new carpet, and technicalimprovements. This means that the theatrewill be closed for a few weeks oversummer – but our bar will stay open, soyou can enjoy drinks and snacks on oursunny terrace, just like always.

Funny man BARRy CRyeR reunites withpianist COLIN SeLL (Fri 1 Sep) to bringyou the best wit, music, and wry musingson being the double act of the Sanatogenset. JAY RAYNER (Sat 2 Sep), famed forthe prowess of his palate, brings hiscommand of cuisine to the Playhouse witha hilarious audio-visual romp of his Ten(Food) Commandments.

And we play on, with musical extravaganzaand auditory delights. Norwich favouritesHAYLEY MOSS & BENJAMIN LAKE, (Wed6 Sep) will perform hit musical classics. Allthe way from London’s famous jazz club,THE RONNIE SCOTT’S ALL STARS (Fri 8Sep) play the music of the great and thegrand: including Ellla Fitzgerald, MilesDavis and Prince. AN EVENING OF JAZZ& CABARET (Sun 17 Sept) promises oldschool variety joy, with profits going tocharity. Later in the season, THE SUMMEROF LOVE (Fri 3 Nov) takes us on anostalgic musical journey to 1967. JEFFHOOPER & HIS ORCHESTRA (Fri 10Nov) perform their tribute to Tony Bennettat 90, about whom Frank Sinatra said ‘Formy money, Tony Bennett is the best singerin the business”. Jeff Hooper brings hisstunning vocals to Tony Bennett’s iconichits, with backing from an all-starorchestra.

As always, the Playhouse brings classictheatre with a contemporary twist.ANTIGONE (Mon 18 & Tue 19 Sep)reimagines Sophocles’ tragedy in adystopian landscape with a startling andgripping performance. FINDING JOY(Tue 26 Sep) is a full mask adventurewhich explores dementia in a moving andextraordinary fashion. DR JEKYLL ANDMR HYDE (Mon 9 & Tue 10 Oct)transports you to 19th century England,where good and evil exist cheek by jowl,and danger lurks round every corner. Then there’s the best of the rest! Raw,exotic energy fills the stage with NOFRILLS (Sat 23 Sep) in what promises tobe an exhilarating evening of flamenco.

PAUL ZERDIN (Wed 25 Oct) brings hisprize-winning ventriloquism and all-starpuppets for an evening of guaranteedlaughs. Man of many talents, GOK WAN(Mon 30 & Tue 31 Oct) strips back allpretence to share an honest, intimate, andinnately funny account of his life. Grumpyold woman JENNY ÉCLAIR (Wed 1 Nov)is back with her sell-out show onmiddle-age, crisps, wine, and beingyounger than Madonna.

For the little ones, Ben Garrod, TV Scientistfrom Attenborough and the GiantDinosaur, arrives with all the answers to‘why do dinosaurs have…?’ in SO YOUTHINK YOU KNOW ABOUT DINOSAURS(Mon 23 Oct). THE GRUFFALO (Tue 17-Sun 22 Oct) is back, and a mouse takes astroll in a deep dark wood in this fantasticfamily favourite.

But, of course there’s more! This is just aselection of the brilliantly diverse showscoming up in our new season at thePlayhouse. For more information on theseshows and the rest of our futureperformances, please call the PlayhouseBox Office on 01603 598598 or visitnorwichplayhouse.co.uk.

Circle Magazine July 201728

Norwich Playhouse

25

JAy RAyNeR

NO FRILLS

ED GAMBLEThur 21 & Fri 22 Sep, 8pm

ALI COOKSat 30 Sep, 8pm

ED BYRNEMon 2 –Wed 4 Oct, 8pm

MARK THOMASThur 5 Oct, 7.30pm

DANIEL SLOSSSat 7 Oct, 7.30pm

JASON BYRNEFri 13 Oct & Thur 9 Nov,8pm

SIMON AMSTELLSat 14 Oct, 3pm & 8pm

ROBIN INCEFri 20 Oct, 7.30pm

FESTIVAL OF THE SPOKEN NERDThur 26 & Fri 27 Oct,7.30pm

JENNY ÉCLAIRWed 1 Nov, 8pm

KATHY LETTESat 4 Nov, 7.30pm

TOM STADEWed 22 Nov, 8pm

JERRY SADOWITZFri 24 Nov, 8pm

LEE NELSONWed 29 & Thur 30 Nov,7.30pm

ELLIE TAYLORFri 1 Dec, 8pm

PHILL JUPITUSSat 2 Dec, 8pm

PAUL CHOWDHRYWed 6 Dec, 7.30pmSat 3 Feb, 6pm & 9pm

ANDY PARSONSThur 7 Dec, 8pm

STEPHEN K AMOSMon 29 Jan, 8pm

COMEDY COMING SOON to Norwich Playhouse

DR JeKyLL AND MR HyDe

PAUL ZeRDIN

GOK WAN

Describe your role at the theatre.It is our role to help the audience havean enjoyable experience at the theatre.This involves guiding them to their seatsand answering any queries they mighthave about the theatre or theperformance. We are also seated in theauditorium during the performance tohelp if needed. We are trained toevacuate the auditorium during anemergency, which so far hasn’t happenedto me during a show in the six years Ihave worked here.

What did you do before you startedworking here? / Were you interested intheatre before working here?As this is a voluntary role I have aregular job in the NHS. I have alwaysbeen interested in the theatre but haveno desire to be on the stage (except onOpen Day!)

What do you enjoy most about yourjob?Dealing with the audience who havecome to have a good night out is great.People are generally in a good mood soare a joy to interact with and help. Aftera big show, or a comedy, it’s wonderfulto see so many happy faces as theyleave. I love to be surprised bysomething new. Seeing The UkuleleOrchestra of GB was an unexpectedtreat. Now I always buy tickets to seethem when they come to the theatre.Woodkid played as part of The Norfolk& Norwich Festival a few years ago. Ihad never heard of him before but hismusic and performance blew me awayand I walked out that night a huge fan.

Describe your first theatricalexperience.My first experience of the theatre wasactually at Norwich Theatre Royal. I usedto go every year as a child to see thePantomime starring Paul Henry (yes, I’mthat old!). Panto is still one of myfavourite times at the theatre.

What’s the most memorableproduction you’ve seen at the Theatre Royal?That’s easy. Anyone who knows meknows the answer is Mary Poppins. It issuch a wonderful, magical show. I adoredall the big set pieces. I volunteerMondays and was scheduled to see itfour times but ending up seeing it seven!During the sixth show I noticed whenMr Banks got a word wrong. That’s whenI realised I’d seen it enough…

What show or act would you most liketo see come to the theatre?My favourite artist is the singer RufusWainwright, so that would be myabsolute top choice (second choicewould be Woodkid back again).

What would you wish for the future ofthe Theatre Royal?More of the same really, as the teamhere already do a fantastic job of gettingreally good productions in. Stage Two is agreat addition to the NTR family and is alovely way to get people of all ages andabilities involved in performing. Therereally is something for everyone.

PLEASE NOTE: we currently have novacancies for voluntary stewards. Assoon as new positions arise they will beadvertised on our website.

TALKING TO

Name: Caroline ReedJob Title: VOLUNTARY STEWARD


COMPETITION 76Based on Khaled Hosseini’s internationalbest-selling novel, The Kite Runner is ahaunting tale of friendship which spans culturesand continents, but in which country does thefamous kite flying tournament take place:

A KazakhstanB AfghanistanC Pakistan

To be in with the chance of winning a £20Theatre Royal Gift Voucher, which can be usedat the Box Office or in Kemp’s Restaurant,simply answer this question and send theanswer, along with your name and address, on apostcard to: Competition 76, FriendsDepartment, Norwich Theatre Royal, TheatreStreet, Norwich, NR2 1RL by Friday 29thSeptember 2017.

Circle 75 competition winner: Congratulationsto Mrs Orford from Loddon whose correctanswer of Love Story was picked from the hat.

Part 1: The Death of Pompey onOctober 16 begins as Caesar hasdefeated his rival Pompey. There isno time for him to celebrate victoryas he needs to survive the plotting of Ptolemy, the King of Egypt, and hissister Cleopatra.

Then the following evening in Part II:Cleopatra’s Needle, the battle for thekingdom of the Nile reaches a crisis.Pompey’s family is enslaved, Caesaris presumed dead and Cleopatra is taken captive by her brother.

It boasts some stunning orchestrationand for added authenticity, ETO’spartner baroque orchestra The OldStreet Band will also be performing.

But with an epic opera, comes a lot ofpreparation work to make sure itsounds the best it can be and that iswhere orchestra manager PhilipTurbett steps in. It is up to him to findthe best musicians possible andensure it sounds the best it possiblycan and this work begins monthsbefore the productions begin to tour.

He explained: “James Conway, ourchief executive, will start off bysaying that he is thinking about presenting a certain piece and talk itthrough with me so I can flag up any problems. We have to talk throughthe seasons very far in advance sowe can deal with any issues.

Then 12 months before the tour begins, the more detailedpreparation work starts. Philipexplained: “We will start looking atthe more nitty gritty elements like thesize of the orchestra. One of the keyparts of my job is to know everytheatre we visit in the country verywell so you prepare for things like asmall orchestra pit. Things like thatwill help determine the orchestrasize.

“We are obviously spoiled inNorwich because of the size of thepit and it can take a reasonably bigopera-size orchestra. That is thestarting point. I start by asking Jameswhere we are going. If I haven’t beento a venue before, I might do a recceto check things out.”

One thing that does need to beaccounted for is the large number ofmusicians that are needed for anopera like Giulio Cesare. “One of thebig differences with this productionis that we will be playing a lot ofperiod instruments,” he said.

And this will be partly achievedthrough ETO’s sister organisationThe Old Street Band, which is madeup of leading period instrumentplayers from around the country whowill ensure the sound is as authenticas possible, as well as soundingfantastic. Philip explained: “With

One of Handel’s most celebratedand epic operas is on its way to

Norwich Theatre Royal.

Giulio Cesare features passion,revenge and some of the

composer’s best known music.

Because of its power and style, itwill be presented across two

separate performances this autumn.

OrchestralManoeuvres

Cesare, we have recorders and baroque bassoonswhich are so different. What you get in return is suchwonderful colours you don’t get with moderninstruments. It also helps balance with otherinstruments.

“We have a hunting horn for one of the big arias. Itsounds like a horn on horseback which is fantastic. Youhave also got other unusual instruments like a viola dagamba which is related to the cello family. We have atheorbo which is like a long lute which is common inbaroque repertoire. Some orchestras would have hadfour in Handel’s time but we will definitely have one. Italso adds such colours and textures to the music thatyou wouldn’t normally get.”

He is also very excited to work with the ETO creativeteam led by James and bring his ideas to fruition.

Philip is also a fan of Cesare itself partly thanks to hisown background as a musician. He explained: “I thinkCesare is one of Handel’s most popular operas. As abassoonist myself, I think the composer writes sofantastically well for the instrument. In a lot of work, thebassoon just plays the bass line but Handel will havethe bassoon in a high aria role. It happens in most of hisoperas and the colour he creates is absolutelysensational.”

Circle Magazine July 201732

Giulio Cesare

Philip Turbett

FRIENDS EVENTSOpen Day:Saturday 26th August (10am to 4pm) FREE

If you haven’t visited us onopen day before, come alongand have a look behind thescenes. Open to all and idealfor families

The Curious Incident ofthe Dog in the Night-timeWednesday 30th August –

Post-performance Q&A,following the matinee. Free toticket holders - just move tothe front stalls after the show.

The National Gilbert &Sullivan Opera CompanySaturday 16th September1.30pm –

Pre-performance insight intothe Musical Theatre of Gilbert& Sullivan with BernardLockett. Free but please bookyour tickets in advance viaBox Office.

Northern Ballet –The Little MermaidWednesday 27th September,6.30pm – 7.00pm Pre-show Q&A. Taking placein the Targetfollow Room priorto the evening performancewith a member of theNorthern Ballet company. .Tickets are free but must bebooked in advance via theBox Office

Thursday 28th September:Ballet Revealed – 11.15am –12.45pm in the TargetfollowRoom. Cost £5.00 per ticket. A30-minute talk about NorthernBallet, the production and thetouring life of a dancecompany. Please bookthrough the box office.

Thursday 28th September –Technical Post-performanceQ&A - following the matineeperformance. An opportunityto hear from Northern Ballet’sTechnical Team. Free to ticketholders – just move to thefront stalls after the show.

RambertThursday 19th October,6.30pm – 7pm

Pre-Performance Talk. Takingplace in the TargetfollowRoom prior to the eveningperformance. Tickets are freebut must be booked inadvance.

International ConcertSeries – St PetersburgSymphony Orchestra Sunday 22nd October,6.30pm

Pre-Performance Talk. Takingplace in Stage TwoAuditorium. Free to attend butplease book in advance.

FRIENDS OFFER:

£5 off Adult Stalls Seats.Valid at any show from 12thJuly to 17th September. Usecode TR17 when bookingonline or phoning the Box

Office. You can booknow via the Box Office on(01493) 844172 or onlineat hippodromecircus.co.uk.

12th July – 17th SeptemberEvery day at 2.30pm & 7.30pm

(Sundays 2.30pm & 6.30pm) (Fridays 7.30pm only)

Adults: £18-£22.50 Concessions: £15-£18 Children: £10-£14.50

Family Ticket available from £49

This year’s summer show is packed with some of the most incredible actsfrom around the world including the riotous comedy of JACK JAy & JOHNNyMAC, the thrilling GLOBe OF DeATH BIKeRS, the crazy WHEEL OF DEATHstunts, Hilarious Comedy, TRAMPOLINE acrobatics, Outstanding Handstand

Balancers THE MARTIS BROTHERS, Daring TRAPEZE artistes, Insane ROLLAROLLA balancing, DANCERS, SHOW SWIMMERS, AERIAL ARTISTS and

much much more.

For Friends of the Theatre RoyalFriends OFFER

crazy for gershwin... · calendar girls and the full monty. although the show will not premiere...

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