The New Alexandra Theatre, Birmingham - Christmas with the Rat Pack - 04.12.14-06.12.14

The New Alexandra Theatre, Birmingham

Presents

Christmas with The Rat Pack Live from Las Vegas

Thursday 4th - Saturday 6th December 2014

What better way to celebrate the coming of Christmas than to be transported back to a magical era of cabaret, booze, girls and gambling!

I'm not sure there is anyone who hasn't heard of the Rat Pack - Frank Sinatra, Dean Martin and Sammy Davis Jr. But did you know that there were actually 4 members of the Rat Pack? No, well there were! The forth member of this famous group was actor Peter Lawford (JKF's brother-in-law) - I digress but it is always a good one to know in those pub quizzes!

Christmas with The Rat Pack concentrates on the 3 singers Sinatra, Martin and Davis Jr. We open to a live band on stage 'The Rat Pack Big Band' which sets the mood wonderfully. As they play you feel as if you are in Las Vegas waiting for the acts to arrive. The stage is smokey with stairs going up to the band. There are presents in the corners of the stage and a large Christmas tree sparkling away giving you that warm, Christmassy feeling.

The whole show is set in the famous Sands Hotel and runs exactly how their cabarets would have in the late 50's, early 60's. Sinatra (Tam Ward), Davis Jr. (Jay Marsh) and Martin (Phil Barley) all do a few numbers and there is a lot of banter between the 3 on stage. We also have the Burelli Sisters, played by Leanne Howell, Chelsea Labadini & Emily Thomas who are poised, elegant, muli-talented with absolutely beautiful outfits.

Act 1 ends on a high with a wonderful rendition of New York, New York which really gets your toes tapping and looking forward Act 2 which does not disappoint with  some great Christmas medleys and more hilarious banter.

The performers are all pitch perfect and draw you into the atmosphere of the evening. Musical Director Matthew Freeman is masterful in her performance and quite rightly gets several mentions during the performance.

One of my favourite numbers has to be Jay Marsh's rendition of Mr Bojangles which was full of character, mood and reflection but with 38 songs all sang to perfection and with great style the audience were spoilt for choice.

This is a great watch and makes you leave the theatre with a warm, Christmassy feeling inside - a great show for a wintery night.

Review by Jayne Lunn

New Alexandra Theatre, Birmingham - To Kill a Mockingbird - 26.11.14 - 29.11.14

New Alexandra Theatre, Birmingham

To Kill a Mockingbird

26th - 29th November 2015

Harper Lee’s ‘To Kill a Mockingbird’ comes to the New Alexandra Theatre, Birmingham this week.

This coming of age story, set in the Deep South State of Alabama during the Great Depression, covers many themes including, racism, racial injustice, rape, loss of innocence, courage and compassion to name but a few.

I was excited to go and see this production after reading this novel many years ago and it becoming a firm favourite of mine.  I was intrigued at how this company were going to transfer this classic novel with its many themes from book to stage play, with the main narration being that of the character a young girl, Scout. I was not to be disappointed! Under Timothy Sheader’s skilful direction this production (adapted for stage by Christopher Sergel) was enthralling, charming, poignant and even tear- jerking in places.  

When the large cast of 16 entered up through the audience I knew that this was going to be a unique take on the novel and was excited of what the next couple of hours had in store for me.

The minimal, raised set with props set to the sides, a large tree just off centre with a tyre swing attached to it and a corrugated iron surround was captivating from the start. The drawing of the fictional town in chalk, by the cast, on the set only further drew the audience in to the action about to take place. 

Each adult character with their own copy of the novel took their part in the narration of the story. It was a great touch to see all the different copy types this novel has taken over the years and only goes to confirm what an effect this novel has had on many readers since its first publication.

The live music (written and performed by Phil King) was a great addition which only served to enhance the story telling and the atmosphere. Allowing the audiences auditory senses to be even further enhanced into the belief we were in the Deep South.

Bringing in children to take on three of the main characters within the story one may have thought would be challenging and could either make or break the performance as a whole. However, we as the audience were not let down. All three young actors were wonderful in their roles of Scout (Rosie Boore), Jem (Billy Price) and Dill (Milo Panni). They kept their audience captivated and the light and shade of their characters really shone through. The poignancy of Scout asking Jem about their deceased mother was done with such delicacy that it bought a tear to my eye.

The whole cast are to be commended on their performances, it’s not easy to be on stage for the whole of a production, remain in character, not disturbing the action when sat to the side,  but they did this effortlessly. Their characterisation, narration, movement on stage was just splendid. A special mention to Zackary Momon (Tom Robinson) and Victoria Bewick (Mayella Ewell) who I thought were captivating throughout their whole performances both in their narration, their movement and facial expressions and their characterisations in the courtroom scenes – outstanding!

The technical lighting and sound again added to making you feel transported to Alabama with the rhythm of the cicadas, the changing in light and shade to depict time of day really just topped off the whole production, making the whole story come alive.

With recent events in America concerning the case in Ferguson USA, one can’t help wonder how far we have come and the parallels that this story still can draw in today’s society.

A well-deserved standing ovation greeted the cast as they took their bows and I believe one that was  well deserved. Hats off to cast and crew… Bravo! Thank you for a fantastic night of theatre and for igniting my passion for this novel once again. 

Review by Faye Hatch

The Alexandra Theatre, Birmingham - The Perfect Murder - 10.11.14-15.11.14

The New Alexandra Theatre, Birmingham

Presents

Monday 10th - Saturday 15th November 2014

Peter James is one of the best and most treasured UK crime and thriller novelists and his books are sold worldwide. He has also branched out and is an established film producer and scriptwriter so 'The Perfect Murder' was set to be a roller coaster ride from the start.                                                                                                                                                                                         Adapted by Shaun McKenna, it was been wonderfully plucked from the pages of a book and set on stage. It is never easy to adapt a classic novel, but he has managed it with great success.

We have Victor Smiley, played by Robert Daws who is best known for his performances in The Royal and Outside Edge. He is a middle aged man who has grown tired of his 20 year marriage to Joan, played by Monarch of the Glen, Wild at Heart Actress Dawn Steele. He is obsessed by British crime and loves nothing better than a good Agatha Christie or Sherlock Holmes, he even gets himself a tattoo saying WWSD, which stands for 'What would Sherlock Do?'

Three times a week he attends The Kitten Parlour, a brothel, where he sees Croatian prostitute Kamila Wakak, played by Simona Armstrong. There he spills out his plans to murder his wife and collect the life insurance which he has had on her life for 6 years. We all think that this is going to be the 'Perfect Murder', but unbeknown to Victor, Joan has also grown bored of their marriage and has started an affair with hunky Taxi Driver Don Kirk, played by Gary O'Brien, Tony in Coronation Street. What will happen now? We do not wish to spoil the plot but I can tell you that it is full of twists, turns, fun, laughter, jumps, frights and high energy which is the perfect entertainment for any evening.

I believe that every couple can relate to Victor and Joan, which makes this play extremely realistic in an 'over the top' way. The annoying humming, constant snoring, pretending to strangle one another behind their backs when they are being righteous - oh the list goes on and on!! You definitely got a lot of knowing nudges from wives to husbands during the action.

As the plot thickens we see the introduction of Detective Constable Roy Grace, played by Thomas Howes, best known for playing William in Downton Abbey. He is an up and coming detective who enlists the help of Prostitute Kamila to solve murders due to her ability to touch an object and be able to see what has happened to its owner. Can she help him solve the 'Murder' in the Smiley household?

The cast were flawless and each gave a believable, individual performance that drew us all deeper into the action.

Ian Talbot's direction was superb, with constant movement and fast pace. You were constantly moving your attention to different parts of the stage to keep you gripped and discover new pieces to the plot.

The set by Michael Holt was cleverly positioned on three levels. We had the Smiley's living room / kitchen, with upstairs bedroom and also Kimila's small room within the Brothel. It was not only a practical set but also full of intrigue and precision. The action could continue throughout without the interruption of scene changes.

The changes were masterfully created using lighting which faded up and down perfectly throughout the performance. I thought that Mark Howett's subtle lighting interactions were wonderfully executed, from the evening light coming through the windows to the spooky shadows coming from the doors. The depiction of the television going on and off was cleverly thought out, with subtle flickers hitting the back of the walls.

Sound was also an important part of this production and Martin Hodgson created a feeling of tension, intrigue, wonder and terror at just the right moments with lovely timed fading's up and down of music. The sound queues were perfectly timed with the ringing of house phones and mobiles.

Overall, this was a well rounded, well structured piece of theatre which has you on your toes, laughing out load and relating to it. A wonderful nights entertainment and a definite 'must see' production with a fabulous cast and crew.

The Perfect Murder runs until Saturday 15th November so grab your tickets now.

Book over the Phone: 0844 871 3011

Book Online:

http://www.atgtickets.com/shows/the-perfect-murder/new-alexandra-theatre-birmingham/#showinfotabs=showtimes

Review by Jayne Lunn

The Grange Players - Bette and Joan - 05.11.2014 - 15.11.2014

The Grange Players

Presents

Written by James Greaves and first appearing at 2011 Edinburgh fringe festival, director, Claire Armstrong-Mills has slightly adapted and extended the play to include her own vision and appear as an amateur stage production. Bette and Joan addresses the notorious feud between Bette Davis and Joan Crawford.

The 81 year old Davis is approaching her final days and to help guide her into the afterlife is her old nemesis and co-star Crawford, under the order of Hollywood gossip columnists and rivals, Louella Parsons and Hedda Hopper. While flitting between the present and past scenes between the two, as Bette's life flashes before her eyes, you understand that the Davis and Crawford feud crossed both professional and personal boundaries with stolen lovers to stolen limelight.

Those that are unfamiliar with the works of the duo should not expect to leave The Grange any more educated, the piece plays on the knowledge already available and does not give any more insight, although this does not dilute the entertainment factor of the production. The dialogue offers some very comical moments that are delivered with impeccable timing from Denise Phillips as the strong, independent and feisty Bette Davis as she makes her stabs at Susie May Lynch who plays the glamorous Joan Crawford who sees herself as a 'star', not an actress. I cannot stipulate more that the performances of the cast can not be faulted, Phillips, Lynch, Serafinas and Plumpton have obviously put everything into transforming into their characters, unfortunately this was let down by so much of the technical.

I always enjoy the use of pre-recorded material against the live action, it can be very effective, if used correctly, an example of this is snippets of Davis' acting work, which is a heartwarming contrast to the bitter Davis we see on stage. Sadly a lot of the time we found ourselves leaning in to listen more closely to the muffled sound effects and sometimes the projection was off focus, bounced around the stage or came in too soon or too late. It seems that the basic vision was there but it had not been followed through, missed or delayed cues, which led to long, awkward silences and actors not being fully lit. I would hope that these problems have been easily and quickly fixed, by doing this, the audiences can concentrate on the quality of the performances and direction rather than the hiccoughs.

Review by Ellie Scandrett

The New Alexandra Theatre, Birmingham - The Importance of Being Earnest - 20th-25th October 2014

The New Alexandra Theatre, Birmingham

20th - 25th October 2014

Firstly, it was lovely to see The Alexandra so full! This is probably due to Oscar Wilde's work being so poignant in the development of theatre, The Importance of Being Earnest, 'A Trivial Comedy for Serious People' is said to be the most perfect comedy ever written. Many of us will know the story of The Importance, but I think the audience were quite surprised with the fresh take director, Lucy Bailey, took upon the piece. As an audience our usual signal to quiet down and prepare for the action is the lights going down, however this evening we were met with the entrance of Patrick Godfrey and soon after Nigel Havers in bright red trainers, complaining that the piano recording is supposed to stop before his arrival. Bailey, with the help of Simon Brett, had created a framework around The Importance, essentially a play within a play. Soon the stage was filled with actors, a director, a technician, stage managers, wardrobe, prompters, it was familiar chaos, this was a rehearsal. What the audience was witnessing was The Bunbury Company of Players (BP), an amateur dramatics group, in their final dress rehearsal of their much loved Wilde production, within the house of one of the company's founding members.

This framework was not only portrayed on stage, interestingly it was taken further, in the programme I received on this night it contained a mini programme, that I assume would have been presented on the night of this imaginary performance. Within, it included a full cast list and biography on each character, a piece from director and even a trip to Oscar Wilde bar in London's Cadogan Hotel, by doing this it was almost an extension of the production. I understand that this is a little difficult to get your head around, perhaps the team could have done more to bring this section into the 21st century on stage than just a pair of Nike trainers and the ring of a mobile phone but we must applaud the dedication of the production team to going to such lengths on paper. In addition to this, it allowed for a more mature cast to perform the roles of twenty-something characters, to some disapproval, although Wilde's work being quite fast paced and wordy, it was nice to see the language approached effortlessly that only comes with the more experienced actor. 

Nigel Havers playing both Richard Oldfield of the Bunbury players and Algeron Moncrieff, wooed the ladies as he has done for many years with his charm and flamboyance, along side his co-star Martin Jarvis, the director of BP and the main role of John Worthing. A fun and gripping scene between the jealous, feisty girls Cecily (Christine Kavanagh) and Gwendolen (Cherie Lunghi) had the laughs rolling. Siân Phillips, the rehearsal space owner, Lavinia Spelman practiced the iconic "A handbag!?" line as Lady Bracknell with her usual elegance.As the rehearsal went on gradually the Bunbury players merged with their The Importance characters superbly and we found ourselves submerged within Wilde's world.

The production runs until Saturday 25th October at The Alex.

Review by Ellie Scandrett

New Alexandra Theatre, Birmingham - Dreamboats and Miniskirts - 13.10.14 - 18.10.14

New Alexandra Theatre, Birmingham

Dreamboats and Miniskirts

Monday 13th - Saturday 18th October 2014

Dreamboats and Miniskirts is the sequal to the hit Dreamboats and Petticoats and delights us with more classic 60’s tunes.

It is now 2 years on, 1963 and we see lovebirds Bobby and Laura not doing as well as expected with their musical career. It is decided that they should part ways and so Bobby returns to his youth club band ‘The Conquests’ while Laura tries it alone. Their relationship is also rocky, especially when Bobby tries to record a song with ‘The Conquests’ that Laura wrote without telling her. As her solo career starts to take off, can they work through their differences or will they part ways forever?

Running alongside this, we have bad boy Norman who has given up music and settled down to family bliss with heavily pregnant Sue. As musical tastes have changed it becomes apparent that ‘The Conquests’ need Norman and his individual voice back in the band and along with a soft push from Sue he returns to his passion of singing and entertaining.

Ray, Laura’s older brother and Bobby’s best friend has started working in a plush hairdressing salon in London which means that he has less and less time for his long term girlfriend Donna who is beginning to lose her patients with the small amount of time they are seeing each other – who cares if Elizabeth Taylor wants him to go to her hotel room to cut her hair!!!!

Ray is also the manager of ‘The Conquests’ and once he gets them signed with music boss Tony, can they rise to stardom or is it just another youth club dream that will eventually have its day?

The set was covered in 60’s posters with bands and adverts from the time. It was the same as ‘Dreamboats and Petticoats’ which, for people who had been to see the first instalment, gave them a friendly, almost homely welcome as it instantly drew you back into the action. This set is simple and effective and doesn’t take anything away from the action. It allows scene changes to be carried out quickly and efficiently and all of the actors chip in with bringing things on and off stage.

There were no fancy lighting or sound queues, which meant that the songs took centre stage, and so they should as what can beat a good old 60’s belter!

The performers were the true stars of this show. Their voices were pitch perfect and they really looked as if they were having a ball on stage which uplifted and drew the audience in. We had hand clapping and even a bit of dancing in the audience which was all thanks to the stunning performances.

You could not pick anyone out in particular, as the performers worked wonderfully as a team and there was a real spark between them all that made you believe in all of their characters and relationships.

We also had performers playing a variety of instrument’s that blended in well with the running of the show and created that extra level to the performance.

It is not like me to gush about a show, but I loved ‘Dreamboats and Petticoats’ and ‘Dreamboats and Miniskirts’ is in no way a sloppy 2^nd, it is punchy, vibrant and a must see for 60’ lovers. Granted the storyline is predictable, but who cares when you are watching such talent!

Cast:

Alex Beaumont – Bobby

Elizabeth Carter – Laura

Ross William Wild – Norman

Louise Olley – Sue

David Luke – Ray

Anna Campkin – Donna

Alan Howell – Tony

Josh Tye - Derek

Chris Coxon – Richard (Bass Guitar)

Chloe Edwards-Wood – July (Tenor Saxophone / Clarinet)

Michael Kantola – Colin (Musical Director / Guitar)

Sheridan Lloyd – Andy (Assistant Musical Director / Piano)

Josef Pitura-Riley – Jeremy (Trumpet / Keyboard)

Charlotte Peak – Murial (Bass Saxophone / Flute)

Will Tierney – Joe (Rhythm Guitar)

Damiem Walsh – Barry (Drums)

The show runs at the New Alexandra Theatre, Birmingham until Saturday 18th October so get your tickets today.

Website:

www.atgtickets.com/.../dreamboats-and-miniskirts/new-alexandra-theatre-birmingham/

‎

Box Office:

0844 871 3011

New Alexandra Theatre, Birmingham - Dreamboats and Miniskirts - 13.10.14 - 18.10.14

Dreamboats and Miniskirts hits the stage at the New Alexandra Theatre

Monday 13th - Saturday 18th October 2014

Sensational new sixties musical Dreamboats and Miniskirts is currently taking centre stage at the New Alexandra Theatre until this Saturday 18 October. And this week the cast of the hit show have enjoyed the delights of shopping in Birmingham, with a trip back in time at Flamingo Vintage, based in the Custard Factory in Digbeth.

Left to right. The cast of Dreamboats and Miniskirts shop at Flamingo Vintage, the Custard Factory. David Luke, Anna Campkin, Alex Beaumont and Elizabeth Carter.

Since its premiere in Bromley in 2009 Dreamboats and Petticoats has become a musical phenomenon, having played to more than two million people across the UK. Inspired by Universal’s multimillion selling album series which now boasts seven double compilation albums and a myriad of one off special releases.

Now the creative team reunite for the sequel.

It’s 1963, and the world is changing. Bobby and Laura’s single “Dreamboats and Petticoats” is only half a hit. Norman and Sue have settled down to non-marital bliss – and a baby! And Ray and Donna seem blissfully happy…

The advent of the Beatles and the Merseyside sound is inspirational. But will it inspire Bobby and Laura to have one more shot at stardom – Norman to “get off the drains” and find that hit parade voice he has longed for, and Ray to realise his ambition and manage a really top pop act!?

All will be revealed in a follow up with the same wit, charm, and great songs as Dreamboats and Petticoats.

 

Dreamboats and Miniskirts is written by Laurence Marks and Maurice Gran, the team behind Goodnight Sweetheart, Birds of a Feather, The New Statesman, Shine on Harvey Moon, Save the Last Dance For Me and of course, Dreamboats and Petticoats, and is produced by Bill Kenwright and Laurie Mansfield in association with Universal Music.

Featuring hit after hit from Twist & Shout to Handy Man to Pretty Woman, One Fine Day and many more, Dreamboats and Miniskirts is happiness guaranteed.

PERFORMANCE DETAILS

Dreamboats and Miniskirts

At the New Alexandra Theatre

Monday 13 to Saturday 18 October 2014

www.atgtickets.com/birmingham<http://www.atgtickets.com/birmingham>

0844 871 3011

New Alexandra Theatre, Birmingham - The Mousetrap - 06.10.14 - 11.10.14

New Alexandra Theatre, Birmingham

Monday 6th - Saturday 11th October 2014

As the audience sat in darkness the atmosphere was tense, we heard a women's fear filled scream, the shock and confusion of many voices and then finally a news report over the wireless informing us that a women, Mrs Lyon, had been murdered. As the curtain rose we were met by a jaw dropping set, a grand living room of a country house, high ceilings lined with oak panels, armchairs covered in chintz fabric, beautiful stain glass windows that show the heavy snow falling outside, slowly piling up in the window pane. The lighting is warm and inviting, contrasting the chilly outdoor atmosphere, that got darker as the day went on. This is Monkswell Manor, now a guest house inherited by newlyweds Giles and Mollie Ralston, who await their first guests anxiously and one by one they arrive covered in snow that appeared to melt away. Christopher Wren (Stephen Yeo) an eccentric young man that quickly befriends Mrs Ralston, Mrs Boyle (Anne Kavanagh) an older lady that expects the finer things in life and nitpicks everything wrong with the establishment owned by amateurs, Major Metcalf (Christopher Gilling) an army retiree that we know little about, Miss Casewell (Charlotte Latham) an independent and often masculine women, who doesn't seem to take to any other guests, Mr Paravicini (Michael Fenner) a foreigner that enjoys to wind everyone up, making him a gentleman disliked by all and finally, Sgt. Trotter (Luke Jenkins) arrives searching for links to the murder of Mrs Lyon. 

In true Christie style the story twists and turns, the audience find themselves becoming detectives, picking up on subtle gestures and analysing every conversation hoping to find a clue. Although by doing this, you will only be led down one path, to suddenly leap down another, this is helped by an excellent cast that draw you into their lives but holds you at arms length, forcing you to question your instincts.

After the much deserved applause the actors asked to keep the twist ending a secret to anyone outside of the theatre, to ensure the mystery stays alive, by doing this you become part of a community and part of the plays history, which is a heartwarming and unique experience. 

The Diamond Anniversary tour of Agatha Christie's The Mousetrap, the worlds longest running show of the modern era, is running at The Alexandra Birmingham until Saturday 11th October. 

Review by Ellie Scandrett

New Alexandra Theatre, Birmingham - The Mousetrap - 06.10.14 - 11.10.14

Agatha Christie’s The Mousetrap

comes to the New Alexandra Theatre

Monday 6 to Saturday 11 October

Agatha Christie’s The Mousetrap has been the world’s longest running stage production at its London home for more than 55 years. The 60^th Anniversary – and first ever - UK tour of this beloved murder mystery has now been seen by over 600,000 people across more than 600 performances, breaking box office records in many of its venues, from Southampton to Barnstaple, Dublin to Aberdeen.

The cast for the 2014 Autumn leg of the tour is Helen Clapp as Mollie Ralston, Michael Fenner (Doctors, Footballer’s Wives) as Mr Paravicini, Anne Kavanagh(Chichester Festival Theatre’s Goodnight Mr Tom, August: Osage County at the National Theatre) as Mrs Boyle, Charlotte Latham as Miss Casewell and Stephen Yeo as Christopher Wren - all reprising their roles from the production in London’s West End alongside: Christopher Gilling (ITV’s Law and Order, BBC1’s Silk) as Major Metcalf, Henry Luxemburg (Hollyoaks, Hotel Babylon) as Giles Ralston and Luke Jenkins (Scenes from an Execution, Unicorn Theatre) as Sgt Trotter.

Mousetrap Productions has also licensed 60 productions of The Mousetrap world-wide to mark the 60^th year, and many of these have also broken their records, from Cape Town to Philadelphia, Singapore to Sydney.  During this period the world’s longest running show will be seen in every continent, with professional productions in Australia, China, Korea, Turkey, South Africa, Russia, Czech Republic, Hungary, France, Germany, Holland, Italy, Poland, Spain, Scandinavia, Venezuela, and across the United States and Canada.

The Mousetrap continues at St. Martin’s Theatre, London.

                                                        

http://mousetrapontour.com

Birmingham New Alexandra Theatre

06 Oct - 11 Oct | 0844 871 3011

New Alexandra Theatre, Birmingham - East is East - 14.01.2015 - 17.01.2015

AYUB KHAN DIN’S CRITICALLY-ACCLAIMED

East is East

comes to the New Alexandra Theatre from

Wednesday 14 to Saturday 17 January 2015

STARRING THE MULTI AWARD-WINNING ACTRESS JANE HORROCKS

& CO-STARRING THE WRITER AYUB KHAN DIN

Ayub Khan Din’s critically acclaimed play East is East, which starts previewing in the West End this week, is part of Jamie Lloyd’s second Trafalgar Transformed season at Trafalgar Studios. The show will then embark on a three week UK tour starting in Birmingham at the New Alexandra Theatre from Wednesday 14 to Saturday 17 January 2015, before touring at Richmond Theatre and the Manchester Opera House. Tickets go on-sale tomorrow, Wednesday October 1.

East is East stars the multi award-winning stage and screen star Jane Horrocks (Young Vic’s Annie Get Your Gun, Sunshine on Leith, The Rise And Fall Of Little Voice, Absolutely Fabulous) as Ella and the award-winning playwright Ayub Khan Din himself, as her husband George.

Jamie Lloyd, Artistic Director of Trafalgar Transformed, said “Following the success of the tour of The Pride, I am excited that another production from the season, East Is East, can reach many more new audiences within the UK. It is a timely and hilarious play, and it is great that the original cast will be playing in these three venues early in 2015."

Pakistani chip-shop owner George Khan - "Genghis" to his kids - is determined to give his children a strict Muslim upbringing against the unforgiving backdrop of 1970s Salford. Household tension reaches breaking point as their long-suffering English mother, Ella, gets caught in the cross fire - her loyalties divided between her marriage and the free will of her children. 

East is East, Ayub Khan Din’s semi-autobiographical account of British Asian life in the 1970s and the clash of cultures between a multi-cultural family growing up in Salford, is a play that continues to resonate and provoke discussion. The play will be directed by acclaimed director Sam Yates, in his West End directorial debut, following Richard III (starring Martin Freeman), as part of Artistic Director Jamie Lloyd’s exciting second season for Trafalgar Transformed. Design is by Tom Scutt, lighting by Richard Howell, with sound and music by Alex Baranowski.

Amit Shah (Abdul Khan), Ashley Kumar (Tariq Khan), Darren Kuppan (Maneer Khan), Nathan Clarke (Saleem Khan), Taj Atwal (Meenah Khan) and Michael Karim (Sajit Khan) complete the casting of the Khan family, and are joined by Sally Bankes (Auntie Annie), Rani Moorthy (Mrs. Shah) and Hassani Shapi (Mr Shah/Doctor) to complete the cast.

East is East, was Ayub Khan Din’s first play, following an initial career as an actor. It was staged at the Royal Court in 1997 and, subsequently, Ayub adapted the play into a hugely successful feature film, starring Om Puri and Linda Bassett.  For his screenplay, Ayub won a British Independent Film Award and a London Critics’ Circle Film Award, and was nominated for two BAFTAs for Best Adapted Screenplay and the Carl Foreman Award for Most Promising Newcomer, and a European Film Award for Best Screenwriter. Ayub was last seen on stage in May 2013, when he appeared in the title role of Bunty Berman Presents, under the wing of The New Group at the Acorn Theatre, Off-Broadway.

The musical was co-authored by Ayub and Grammy and Emmy Award winner Paul Bogaev. He made his film debut in My Beautiful Laundrette, but is perhaps best known for the role of Sammy in Hanif Kureishi'sSammy and Rosie Get Laid – both directed by Stephen Frears. His TV credits include Coronation Street, London Bridge, The Chief, Dangerfield, Boon, The Bill and Poirot. Additional writing credits include Last Dance at Dum Dum, Notes on Falling Leaves, All the Way Home, Rafta Rafta, which won a Laurence Olivier Award for Best New Comedy and ran at the National Theatre, West is West, All in Good Time, an adaptation of To Sir With Love, which recently completed a national tour, and Bunty Berman Presents.

Jane Horrocks’ stage credits include Annie Get Your Gun and The Good Soul of Szechuan, both at the Young Vic, Aunt Dan and Lemon at the Royal Court, Absurd Person Singular at the Garrick Theatre and Cabaret at the Donmar Warehouse.  She is renowned on stage for The Rise and Fall of Little Voice, which Jim Cartwright wrote for her after hearing her impression of artists including Shirley Bassey and Judy Garland. The production ran at the National Theatre and the Aldwych Theatre, and earned her an Olivier nomination for Best Actress. It was then adapted into a film, Little Voice, and Jane’s performance in the film resulted in nominations for a Golden Globe for Best Actress, BAFTA for Best Actress in a leading role, Screen Actors Guild Award for Outstanding Performance by an Actor in a leading role and a BIFA for Best Actress. She also recorded a CD, Further Adventures of Little Voice, which included duets with Ewan McGregor, Robbie Williams and Dean Martin. On television Jane’s credits include Trollied, The Cruise, This is Jinsy, Coming Up: A Kind of Magic, Gracie, Absolutely Fabulous, Linda Green, Jericho and Never Mind the Horrocks. Her film credits include Sunshine on Leith, Corpse Bride, Chicken Run, Little Voice, Life is Sweet, Memphis Belle, The Witches, The Wolves of Willoughby Chase and The Dress Maker.

Sam Yates most recently directed Billy Liar by Keith Waterhouse at the Royal Exchange Theatre, Manchester and directed Ruth Wilson in The El Train at Hoxton Hall.  His other directing credits include Cornelius by J.B. Priestley at the Finborough Theatre and 59E59 Theatre, New York, and Mixed Marriage at the Finborough Theatre. He was Artistic Associate at Royal and Derngate Theatres from 2011-2013. He trained with directors Jamie Lloyd, Michael Grandage, Trevor Nunn, Josie Rourke and Phyllida Lloyd.

Trafalgar Transformed Artistic Director, Jamie Lloyd, curates another season of powerhouse plays in the reconfigured Trafalgar Studios. This is the second season of work produced by Jamie Lloyd Productions, a partnership between acclaimed director Jamie Lloyd and Ambassador Theatre Group. Richard III, starring Martin Freeman, and East is East, follow Jamie Lloyd’s dynamic first Trafalgar Transformed season, which launched with Macbeth starring James McAvoy, followed by The Hothouse, starring John Simm and Simon Russell Beale and The Pride, starring Hayley Atwell, Mathew Horne, Harry Hadden-Paton and Al Weaver.

PERFORMANCE DETAILS

LIMITED UK TOUR

EAST IS EAST – BY AYUB KHAN DIN

JAMIE LLOYD PRODUCTIONS – TRAFALGAR TRANSFORMED

Tickets on-sale Wednesday 1 October 2014

Theatre card members 10am -11am

General on-sale from 11am

www.atgtickets/birmingham

0844 871 3011

NEW ALEXANDRA THEATRE BIRMINGHAM

14-17 January 2015

Ticket prices: £10 - £25

Premium seats available

TRAFALGAR STUDIOS LONDON

EAST IS EAST – BY AYUB KHAN DIN

JAMIE LLOYD PRODUCTIONS – TRAFALGAR TRANSFORMED SEASON TWO

PRODUCTION TWO

4 OCTOBER 2014 – 3 JANUARY 2015