The Lyric Hammersmith has announced casting for Simon Stephen’s new version of Anton Chekhov’s highly renowned play The Seagull which will be directed by Artistic Director Sean Holmes. The cast of The Seagull will include Adelayo Adedayo (Cuttin’ It, Dead Wait) plays Nina, Michele Austin (Medea, The Chain Play) plays Pauline, Paul Higgins (Luise Miller, Hope) plays Hugo Dorn, Cherrelle Skeete (Harry Potter and the Cursed Child, Three Days In The Country) plays Marcia, Nicolas Tennant (Three Kingdoms, Curious Incident Of The Dog In The Night Time) plays Peter Sorin and Brian Vernel (Barbarians, Future Conditional) plays Konstantin, join the previously announced Lesley Sharp (Mother Courage and her Children, Uncle Vanya) who plays Irina Arkadina. Unrequited love. Creative jealousy. Guns. Vodka. And Art. Chekhov’s celebrated masterpiece is given vibrant new life in this dynamic new version by Olivier- award winning playwright Simon Stephens directed by Sean Holmes. Switching effortlessly between … Read more
A new production company called Elliott and Harper Productions has been formed by Marianne Elliott, the Olivier and Tony Award-winning director of the National Theatre’s hugely successful productions of The Curious Incident of the Dog in the Night-Time and War Horse and producer Chris Harper. The pair have also announced the UK premiere of their first West End show today: Simon Stephens’ Heisenberg: The Uncertainty Principle. Starring Anne-Marie Duff and Kenneth Cranham which will be directed by Marianne Elliott. Heisenberg: The Uncertainty Principle will play at the Wyndham’s Theatre from 3 October 2017 until 9 January 2018. Tickets are on sale at midday today. In this uncertain world, who can predict what brings people together? When two strangers meet by chance amidst the bustle of a crowded London train station, their lives are changed forever. Tony and Olivier-Award-winning playwright Simon Stephens’ Heisenberg: The Uncertainty Principle is a surprising and life-affirming … Read more
After nearly 1,500 performances, Curious Incident of the Dog in the Night-Time is nearing its end in London. Mark Ludmon looks back over its five-year run. Nearly five years – or 1,743 days – after Christopher Boone first set out to investigate The Curious Incident of the Dog in the Night-Time at the National Theatre, the show continues to earn standing ovations at its current home of the Gielgud. Audiences are wowed by Bunny Christie’s design, Finn Ross’s video effects, Steven Hoggett and Scott Graham’s movement direction, Simon Stephens’s writing, Mark Haddon’s story and, of course, the talent and physical prowess required to play the lead role of Christopher. After nearly 1,500 performances, the show will end its run in London on June 3. In that time, it will have been seen by over 1 million people in London, with Christopher played by 18 different actors including understudies. With many … Read more
We recently paid a visit to the National Theatre’s production of The Curious Incident Of The Dog In The Night-Time at the Gielgud Theatre. Here are our top 5 reasons to see this remarkable piece of theatre:- 1) The test of time To withstand the test of time in London’s West End is no mean feat – particularly during a recession. As with The National Theatre’s runaway success War Horse, the enduring popularity of The Curious Incident of the Dog in the Night Time came to many as a surprise; not because it wasn’t worthy of sell-out shows and five star reviews – far from it – but simply because in 2012, when Curious Incident premiered at the Cottesloe Theatre, times were particularly tough for everyone. Since then Curious Incident has been unstoppable, receiving seven Olivier Awards and taking home Best New Play at the 2013 Whatsonstage Awards. Even when … Read more
Stephens shares writing credits for Song From Far Away with Mark Eitzel who provides the lyrics and music for a haunting, quite beautiful song, pieces of which punctuate the action. The song has a repeat motif: Go where the love is, Where the love is go. In its own way, that repeat motif provides the key to Willem. You can’t help but feel that if the character had simply paid attention to the song, no one would have had to endure the 80 minute self-flagellation.
At just over 90 minutes, this is a theatrical spectacle and tapestry as ethereal and vital as it is strange and incomprehensible. Simon Stephens throws those elements such as the destruction of community, the isolation of individuals, the globalisation and sterilisation of culture, the power of money and capitalist dreams, the despair that comes from non-intervention, together with the characters and some of the music and plot points from Bizet’s Carmen, into a blender, creating a dystopian present-day landscape where pretty much anything can and does happen. The poetic nuances fly through the writing such that return visits to see the production again are almost compulsory.