Sonia Friedman Productions and Neal Street Productions have announced new casting Jez Butterworth’s The Ferryman currently playing at the Gielgud Theatre. Directed by Sam Mendes, The Ferryman opened at the Royal Court to critical acclaim becoming the fastest selling show in the theatre’s history. The show has continued its success since transferring to the Gielgud Theatre where it is now booking until January 2018. The new cast of The Ferryman after October 7, 2017 will comprise Maureen Beattie – Aunt Maggie Far Away, Charles Dale – Father Horrigan, Laurie Davidson – Shane Corcoran, Fra Fee – Michael Carney, Stuart Graham – Muldoon, Sarah Greene – Caitlin Carney, William Houston – Quinn Carney, Ivan Kaye – Tom Kettle, Mark Lambert – Uncle Patrick Carney, Carla Langley – Shena Carney, Catherine McCormack – Mary Carney, Fergal McElherron – Frank Magennis, Conor MacNeill – Diarmaid Corcoran, Rob Malone – Oisin Carney, Dearbhla Molloy … Read more
Tickets are now on sale for a West End revival of the song cycle Elegies For Angels, Punks and Raging Queens, taking place at the Criterion Theatre on Sunday 31 May 2015. More than 30 of the West End’s most talented performers will take to the stage for the special “one night only” performance in aid of The Make A Difference Trust, with direction by Stephen Whitson and musical direction by Dean Austin. Cast members who are confirmed so far* include: Vivienne Acheampong, Simon Bailey, Paul Baker, Daniel Boys, Natalie Bush, James Charlton, Adam Colbeck Dunn, Michelle Crook, Fra Fee, Sarah French, Tom Gillies, Rachel Lea Gray, Victoria Hamilton-Barritt, Emma Hatton, Paul Hazel, Nick Hendrix, Graham Hoadly, Freddy Hutchins, Lauren Ingram, Kurt Kansley, Emma Kingston, Emma Lindars, Leon Lopez, Grace McKee, Matt McKenna, Ako Mitchell, Ursula Mohan, Katie Paine, Michael Pickering, Ella Marshall-Pinder, Kelly Price, Sophia Ragavelas, Grace Reynolds, Paul Riddiford, … Read more
Wheeler’s dialogue sparkled and fizzed, even in the mouths of those who were oddly or badly miscast. The sense of the quality of the literary glories of the book was most clear in the case of Joanna Riding’s faultless Countess. Every line was a winner. In the hands of Anna O’Byrne, Anne Ergerman was a complete triumph, the glittering centrepiece of Act One.