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Wednesday, 16 October 2024

New Cast Joins Harry Potter and the Cursed Child at the Palace Theatre

The producers of Harry Potter and the Cursed Child- Sonia Friedman Productions, Colin Callender, and Harry Potter Theatrical Productions—are thrilled to welcome a new cast that begins performances at the Palace Theatre this week. This acclaimed, multi-award-winning London production continues to enchant audiences, with bookings now open until 29 June 2025.

The new cast features Claire Lams as Ginny Potter, alongside David Ricardo-Pearce reprising his role as Harry Potter and Ellis Rae returning as their son Albus Potter. Eve de Leon Allen will make her debut as Rose Granger-Weasley, daughter of Ron Weasley and Hermione Granger, with Thomas Aldridge and Jade Ogugua continuing in their roles as Ron and Hermione, respectively. Steve John Shepherd remains as Draco Malfoy, joined by Harry Acklowe as his son Scorpius Malfoy.

In addition to the core cast, the ensemble includes Ishmail Aaron, David Annen, Nicole-Lily Baisden, Sabina Cameron, Rob Curtis, Zijuan Elsol, Gabriel Fleary, Rory Fraser, Tim Hibberd, Sally Jayne Hind, Max Hunter, Dewayne Jameson Adams, Emma Louise Jones, Julia Kass, Debra Lawrance, Tasha Lim, Matty Loane, Sophie Matthew, Jaden Oshenye, Helen Power, Jocelyn Prah, Conor Quinn, Ian Redford, Catherine Russell, Martin de los Santos, Adam Slynn, Benjamin Stratton, Alex Tomkins, Jake Tuesley, Sam Varley and Katie Wimpenny. Oliver Dawson, Layla Duke, Aubrey Hayes, Rhiannon Parry, Aljosa Radosavljevic, Sienna Sibley and Ethan Webster alternate two children’s roles.

Set 19 years after Harry, Ron, and Hermione’s legendary battle against dark forces, this new chapter invites audiences to join them on an extraordinary adventure with a brave new generation arriving at Hogwarts School of Witchcraft and Wizardry. Spectacular spells, a breathtaking race through time, and an epic showdown against mysterious forces await as the characters grapple with the weight of the future.

Tickets for Harry Potter and the Cursed Child are currently available, with prices starting at £15 per part. The regular performance schedule is Monday, Tuesday, and Thursday—no performance; Wednesday, Friday, and Saturday at 2 PM for Part One and 7 PM for Part Two; and Sunday at 1 PM for Part One and 6 PM for Part Two. Access performances are scheduled, including an Audio Described show on Saturday, 9 November 2024, and a Captioned Performance on Saturday, 16 November 2024, with more access performances planned for 2025.

Harry Potter and the Cursed Child is the first story from the Harry Potter universe to be adapted for the stage and serves as the eighth story in the series. Now in its ninth year at the Palace Theatre, the production has captivated over 1.7 million people in the West End and over 11 million globally, boasting an impressive collection of 60 major awards, including nine Laurence Olivier Awards and six Tony Awards for Best New Play. Currently, there are five productions running worldwide, including those in New York, Hamburg, and Tokyo. A North American tour began in September at Chicago’s James M. Nederlander Theatre and will move to Los Angeles’ Hollywood Pantages from February to June 2025, before continuing to Washington DC’s Broadway At The National starting on 8 July 2025.

Based on an original new story by J.K. Rowling, Jack Thorne, and John Tiffany, Harry Potter and the Cursed Child is crafted into a play by Jack Thorne, directed by John Tiffany, featuring movement by Steven Hoggett, set design by Christine Jones, and an impressive array of creative talents including Imogen Heap, Neil Austin, and Jamie Harrison. Produced by Sonia Friedman Productions, Colin Callender, and Harry Potter Theatrical Productions, this magical experience continues to be a must-see event for fans of all ages.

photo credit: Manuel Harlan

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Wednesday, 5 July 2017

Voices Off: Woyzeck, Old Vic | Platform Review

Voices Off: Woyzeck

Old Vic
Post by Olive Scott Whilde

The Voices Off series at the Old Vic is described as ‘a series of talks, debates, workshops and conversations’ held at the beautiful Old Vic theatre. On Thursday, I attended a talk titled ‘On Nature’ that delved into the makings and meanings behind the Old Vic’s current mesmerising play, Woyzeck starring the enigmatic John Boyega.

With around 100 people in attendance at this intimate event, we were joined by Matthew Warchus, the Artistic Director of The Old Vic, Joe Murphy, the director of Woyzeck, and Professor Laura Marcus, professor of English Literature at Oxford University. Absent was Anthony Julius, Deputy Chairman of Mishcon de Reya, who presented this talk in association with the Old Vic. They sat in front of the stage’s curtain as we sat unassigned in the stalls.

I learnt many things about this exciting play from this talk and the first thing I found particularly fascinating was about how massively the script was adapted. The original script was written by Georg Büchner in 1836, but due to his untimely death in 1837 the script remained unfinished and in fragments. Many different productions in the last 100 years have adapted it with different interpretations but this script by Jack Thorne is likely the boldest yet, setting it in 1980s Berlin and around the British Army’s part in the defence of the Berlin Wall. This more modern take on an 19th century story meant that a lot of the story is completely new and delves into more modern ideas of mental illness and poverty and how that affects the working class who do not have access to basic needs. Complete with a 10 minute duologue that closes off act one, and an entire manic monologue in German (an exert from Büchner’s original script), it takes you on a journey from your average British working class dialogue to, as Woyzeck’s madness heightens, something almost poetic and inhuman. This script, as well as the impressive staging and set, gives the audience a unique look into Woyzeck’s head as his health worsens.

The staging and set was talked about too. The set is very simple, as it is with most modern theatre, with insulation-covered walls being lifted up and down by wires to represent the ever-changing setting with some even having a gruesome surprise inside. The director, Joe Murphy, spoke about these walls representing the Berlin Wall. The staging, whilst looking chaotic, is actually very meticulously planned and has actually been changed since the first previews. I was lucky enough to see it at its very first preview and then again midway through it’s run (which ends on June 25th) and one difference I noted was the absence of a strange, lucid dance sequence in act one. This was no accident I learned, as Murphy explained that they eventually found it just one step too weird, especially for the first act.

Matthew Warchus, the Artistic Director at the Old Vic, talked a lot about the issues of class difference portrayed in Woyzeck, which led to the casting of John Boyega. They wanted an actor for Woyzeck who was young, able to take on such an emotionally and physically demanding role, and came from a working class background. Boyega, who grew up in Peckham and who’s debut performance was in 2011’s Attack the Block, set in a South London council estate, was the immediate first choice. As someone who has been a fan of Boyega since his first movie, I thought this was a genius casting decision for this adaptation and made even more sense with this explanation.

Warchus also talked about how Woyzeck is the start of a new direction in how the Old Vic presents itself, doing more modern plays and appealing to a wider, younger audience. You can definitely see that in the posters and pamphlets around the theatre, presenting a cleaner and bolder design. Although the Old Vic is, well, old, I believe this will bring it into a new era and bring new possibilities and opportunities for a wider range of theatre to be presented on such a stunning stage.

I really loved this production and learning more about it in such an intimate setting, with which we could ask any questions we may have, was a great experience. I’m excited to see more from Joe Murphy and Jack Thorne and of course, John Boyega, who puts on one of the most extraordinary and captivating performances I’ve ever seen on stage in my lifetime.

Check out Woyzeck at the Old Vic Theatre in London before it closes June 25th.

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Thursday, 24 October 2024

: Louis McCartney Returns as Henry Creel in Stranger Things: The First Shadow for His Broadway Debut

Louis McCartney, the breakout star from the West End production of Stranger Things: The First Shadow, is set to reprise his role as Henry Creel for his highly anticipated Broadway debut. McCartney's performance in the West End earned him widespread acclaim, including The Stage 2024 Debut Award for Best Performer in a Play and the Critics’ Circle Award for Most Promising Newcomer. Praised by top publications as "spellbinding" (Daily Telegraph) and "breathtaking" (Deadline),

McCartney’s portrayal of the complex character Henry Creel has firmly established him as a rising star in the theatre world. He will take his final bow in the West End on November 10, 2024, before heading to Broadway to continue his run in this Olivier Award-winning production.

The Broadway adaptation of Stranger Things: The First Shadow will begin performances on March 28, 2025, at the iconic Marquis Theatre. Directed by the acclaimed Stephen Daldry (The Crown, Billy Elliot) and co-directed by Justin Martin (Prima Facie), this gripping prequel transports audiences back to 1959 Hawkins, where a young Henry Creel arrives in town, setting off a series of dark events that connect deeply to the mythology of the global Netflix sensation. With an original story co-created by the Duffer Brothers, Jack Thorne, and Kate Trefry, the production offers fans an enthralling, fresh narrative with stunning visual effects and heart-pounding performances that dive deep into the origins of the Stranger Things universe.

With a star-studded creative team, the Broadway run promises to be just as mesmerising as its West End counterpart, with many eagerly awaiting McCartney’s U.S. stage debut. Ticket sales are already underway for this must-see event, and theatre fans and Stranger Things devotees alike are excited to experience the early days of Hawkins on Broadway.

Stranger Things: The First Shadow has already proven to be a massive success in London, winning two Olivier Awards, including Best Entertainment. This thrilling theatrical event is set to captivate new audiences with its intricate set design, haunting soundtrack, and McCartney’s unforgettable performance as Henry Creel.

photo credit: Polk & Co

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Sunday, 17 December 2023

Stranger Things: The First Shadow, Phoenix Theatre London | REVIEW

Stranger Things: The First Shadow

Phoenix Theatre

As someone who ventured into the realm of Stranger Things: The First Shadow without much prior experience with the series, aside from watching a few episodes and a recap, I was pleasantly surprised and thoroughly captivated by this spectacular supernatural spectacle. The Duffer Brothers, with Jack Thorne and Kate Trefry have crafted a story that effortlessly drew me into the mysterious world of Hawkins, Indiana, even as a newcomer to the Stranger Things universe.

From the very first applause inducing scenes, I found myself immersed in the gripping narrative that skilfully combines elements of suspense, nostalgia, and the supernatural. The show's ability to seamlessly introduce me to its characters and the intricacies of their relationships made it easy to connect with the story, and I was quickly invested in the fates of these intriguing personalities.

The prequel introduces both beloved characters and fresh faces, each receiving substantial development and individuality. The performances are exceptional, characterised by universally nuanced and emotionally charged portrayals. Louis McCartney, in his striking West End debut as Henry Creel, delivers a chilling performance that combines twisted actions with an alarming charm. McCartney's masterful physicality, full of spasms and contortions, adds an extra layer of intensity to the role- I can only imagine how much physio he'll need during the run! Isabella Pappas embodies Joyce with fierce brilliance, seamlessly incorporating Winona Ryder's iconic traits while infusing the character with her own spin. Pappas creates a captivating, headstrong persona that garners unwavering support. Alongside her, Oscar Lloyd portrays James Hopper Jr. with suave charisma, delivering witty one-liners and exuding an aura that captivates throughout.

The brilliance of this show lies in the meticulous attention and craftsmanship dedicated to shaping the intricate backstories of every character. Each member is endowed with distinct intentions and personality traits, allowing for intrigue at every turn. There isn't a single weak link to be discovered, but special recognition is deserved for the performances of Christopher Buckley as the endearing Bob Newby and Michael Jibson, who delivers haunting moments as the tormented Victor Creel. Max Harwood as Alan Munson, injects copious amounts of humour, energy, and vitality into the narrative, fashioning a persona that practically begs for its own enthralling spin-off storyline; whilst Patrick Vaill brings eerie menace to the stage as Dr Brenner.

In the hands of Stephen Daldry and Justin Martin, the play unfolds like a blooming flower, or more aptly, the opening mouth of a demogorgon. It moves seamlessly between the whirlwind of action and the rich tapestry of each thoughtfully crafted scene. High-school hallways and bathrooms, the mundane backdrop of everyday life, transform into breathtaking alternate worlds in the blink of an eye, all thanks to the nimble touch of Miriam Buether's set design. Jon Clark's lighting is like a choreographed dance, shifting between mysterious shadows and warm sunlight, mirroring the transformative journey of the characters.

The story takes a deep dive into the shadows, embracing a genuinely dark undertone with jumps and eerie sounds reminiscent of horror films, all expertly blended into the production by Paul Arditti's exceptional sound design. Yet, within the darkness, there's a contrasting brightness—a nostalgic, retro Americana that permeates the air. Sprinkled with snippets of song, it adds layers of emotion and complexity to this multidimensional theatrical experience, making it a journey that feels both supernatural and believable.

Stranger Things: The First Shadow is a testament to the storytelling prowess of its creators. As someone unfamiliar with the series, I can confidently say that this instalment stands alone as a brilliant and engaging piece of theatre. It has ignited my curiosity about the series as a whole, and I am now eager to explore the it to uncover the mysteries that follow this captivating chapter. Whether you're a seasoned fan or a newcomer like myself, this show is a spectacle that you must see. Full of drama, amazing performances and genuine sincerity, it's a Creel-y Creel-y great piece of theatre.

★★★★★

Reviewed on Friday 15th December 2023 by Olivia Mitchell

Photo Credit: Manuel Harlan

{AD PR Invite- tickets gifted in exchange for honest review}

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Thursday, 26 July 2018

Theatrical, Maggie Harcourt (Book) | Things I Read Whilst Writing

A bit of a different post for you today, as you know I love theatre and books so when I heard about Maggie Harcourt's newest book release, Theatrical which is all about the stage, I was very excited to get my hands on it!

Maggie did a huge amount of research for this book, not only on shows but also a lot about what goes on behind the scenes as our lead character, Hope, is working as an intern backstage. This book is all things adorable and you can read my full review here, but without further ado lets set the stage for Maggie Harcourt's deep-dive into the DNA of Theatrical...

Maggie Harcourt: One of the best things about writing Theatrical was getting the chance to spend time completely immersed in the theatre world: not just writing about it but thinking about it, reading about it – and, of course, visiting it!

Here’s my deep-dive list of everything that went on behind the scenes. Not everything is obviously part of the world of the finished book, but it’s still part of the story…

Things I read:

All About Theatre: the National Theatre
Unseen London (especially the ‘backstage’ section): Mark Daly and Peter Dazeley
London Theatres: Michael Coveney, Peter Dazeley and Mark Rylance
Stage Management – The Essential Handbook: Gail Pallin
Stage Management and Theatre Administration: Pauline Menear, Amanda Saunders and Terry Hawkins
Untold Stories: Alan Bennett
Simon Stephens – A Working Diary: Simon Stephens
The Oberon Glossary of Theatrical Terms: Colin Winslow
Harry Potter and the Cursed Child (black cover) souvenir brochure, which is full of detail about putting a big show together.

I also read a lot of plays: not only for research, but because I was also taking a theatre writing class, and because I just enjoy reading them. Here’s a few of my favourites, which I know I was reading at the same time as writing the book. A couple of them make cameo appearances in Theatrical as Luke’s scripts or as things Hope has seen…

Rope: Patrick Hamilton
The History Boys: Alan Bennett
And Then Come the Nightjars: Bea Roberts
The Ferryman: Jez Butterworth
Misterman: Enda Walsh
The Hairy Ape: Eugene O’Neill
The Dazzle: Richard Greenberg
Sea Wall: Simon Stephens
The Habit of Art: Alan Bennett
Ink: James Graham
Harry Potter and the Cursed Child: JK Rowling, John Tiffany and Jack Thorne

Like Hope, I also read The Stage, which is the weekly theatre trade paper– especially the technical columns, and particularly Jess Gow’s stage management columns. And Usborne’s Slot Together Theatre was an invaluable tool for helping me picture the Earl’s Theatre!

I hope you enjoyed this amazing peek at all the research Maggie did for Theatrical, I know I'll definitely be picking up some of the books to fulfil my thirst for all things stagey. Theatrical is out now, more information can be found here and my full review can be read here.

This review for Theatrical is a part of the official blog tour, be sure to check out the other blog stops for more reviews, personal stories and guest posts from Maggie.

Post by Editor, Olivia Mitchell