The UK Theatre Award Nominations are announced...
The Nominations for the the 2017 UK Theatre Awards were announced today. We are thrilled to have so many clients involved in nominated shows, including…
- Derek Bond, Director of SWEET CHARITY (Royal Exchange)
- James Perkins, Designer of SWEET CHARITY (Royal Exchange)
- Nigel Lilley, Musical Supervisor of SWEET CHARITY (Royal Exchange) and Musical Director of CAROLINE OR CHANGE (Chichester Festival Theatre)
- Paul Arditti, Sound Designer of CAROLINE OR CHANGE (Chichester Festival Theatre)
- Emma Laxton, Sound Designer of JULIUS CAESAR (Sheffield Crucible)
- Giles Thomas, Sound Designer of DEATH OF A SALESMAN (Royal & Derngate) and Sound Designer/Composer of WISH LIST (Royal Exchange/Royal Court)
- Simon Baker, Sound Designer of THE GRINNING MAN (Bristol Old Vic)
- Joshua Carr, Original Lighting Designer of EVERYBODY’S TALKING ABOUT JAMIE (Sheffield Crucible)
- Peter Rice, Sound Designer on A STREETCAR NAMED DESIRE (Royal Exchange)
- Paule Constable, Lighting Designer on PELLEAS AND MELISANDE (Scottish Opera)
- Amy Mae, Lighting Designer on HALF BREED (Soho Theatre)
Tom Piper Designs BOUDICA at Shakespeare's Globe
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BOUDICA, by Tristan Bernays and Directed by Eleanor Rhode is Designed by MLR’s Tom Piper. It runs at Shakespeare’s Globe until October 1st.
“Tom Piper's magnificent set with its huge, gilded wooden planks that move to create fortresses, woodlands”
“a thrilling, challenging and thoroughly disturbing examination of one of Britain's bloodiest – and feistiest – patriots”
Broadway World ★★★★★
“Piper's costumes are wonderful”
“exactly the kind of brave, bold work that needs to be continually championed, especially in venues such as this”
The Guardian ★★★★
“Tom Piper’s timbered set disintegrates to good effect”
“holds the stage with confidence”
The Evening Standard ★★★★
“impressively energetic and makes bold use of the Globe’s space”
“raucous production delights in its rawness”
FOLLIES opens at the National Theatre
FOLLIES, by Stephen Sondheim and James Goldman, is directed by Dominic Cooke in the Olivier at the National Theatre. Nick Skilbeck is the Music Supervisor, Nigel Lilley is the Music Director & Conductor and Paule Constable is the Lighting Designer.
The Artsdesk ★★★★★
“Music supervisor Nicholas Skilbeck and conductor Nigel Lilley have elicited the best possible work; there are stunning contributions from some of the best wind and brass in the business”
“evocatively lit by Paule Constable”
“You leave giddy with the richness and complexity of it all. one of the great classics of the musical theatre is magnificently vindicated.”
The Independent ★★★★★
"The hairs on the back of my neck were begging for mercy for they got barely a moment’s peace, what with the thrilling sound of the orchestra (under Nigel Lilley’s fantastic musical direction)"
The Guardian ★★★★★
“It is quite simply breathtaking.”
“a production that perfectly captures the sustained emotional arc of Sondheim and Goldman’s musical”
“Sondheim's showbiz stunner returns in breathtaking style”
Time Out ★★★★★
“’Follies' is no folly but a perfect, devastating evocation of the pain of looking back”
“There's nothing like a Stephen Sondheim musical to make you wonder what the hell everybody else is playing at. Revived with considerable expense, a lot of style…frankly extraordinary”
The Telegraph ★★★★★
“the opulent spectacle of the night”
The Stage ★★★★★
“This isn’t just triumphant, it’s transcendent”
“Every 10 minutes or so there's another stunner of a set piece, sung impeccably”
The Financial Times ★★★★★
"an outstanding revival — spectacular, sassy, sorrowful and ultimately deeply sad. It’s as robust as an old trouper and as delicate as a cobweb, a brilliantly sustained reverie, superbly performed."
"the 21-piece orchestra bring the spectacle, while revealing in it the hollowness of fame and the damaging veneration of youth."
Broadway World ★★★★★
“it's thrilling, heartrending and utterly vital.”
“Nigel Lilley's magnificent brassy orchestra”
“Sondheim super-fans will certainly consider it worth the wait, but for the dedicated and uninitiated alike, it's simply spectacular theatre”
“establishes the greatness of Follies once and for all”
“Its strength lies less in its spectacle than in the calibrated detail”
The Evening Standard ★★★★
“lending clever pastiche with passages of uncomfortable introspection, it’s a genuinely fascinating study of the dangers of nostalgia.”
“real emotional weight — eloquent about desire, fantasy, illusion and regret”
The New York Times
"musical director Nigel Lilley’s 21-strong orchestra delivers the score with unusual luster: the brass section, by way of example, sends Buddy’s revelatory “The Right Girl” soaring"
"I’m not sure I’ve ever come across a “Follies” that carries the punch of the current staging"
"Guess that’s why they call him God"
If the foursome all realize how much they’ve been faking, they also come to see that the whole world’s a ruse. Divine"
THE LAST TESTAMENT OF LILLIAN BILOCCA is announced for Hull City of Culture!
Hull Truck Theatre and Hull UK City of Culture 2017 have announced their upcoming production of THE LAST TESTAMENT OF LILLIAN BILOCCA, a new play written by Maxine Peak, which will be staged as part of their final season of events in November this year. Imogen Knight is co-directing the piece with Sarah Frankcom as well as choreographing, and Amanda Stoodley is designing the set and costumes.
In this site-specific production audiences will follow Hull hero Lillian Bilocca, better known as Bil Lil, and her crew of head-scarfed women through Hull’s historic Guildhall, joining them in 1968 as they dare to speak out and take action to improve the safety conditions for their men at sea.
The show will run from Friday 3rd – Saturday 18th November 2017.
The season announcement is also in BBC news today:
Gabriella Slade is Designer on LOOT at the Park Theatre
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Joe Orton’s classic farce is revived in a 50th anniversary production, directed by Michael Fentiman. Playing at the Park until 24th September, LOOT then runs at the Watermill until the end of October.
The Guardian ★★★★★
“a first-rate production”
“now even funnier and filthier”
The Stage ★★★★
“Gabriella Slade’s glistening, crucifix-adorned set mirrors the play’s pitch-black tone – the economy of design gives plenty of room for debauched capers in which eyeballs, false teeth and all human dignity go flying.”
What’s On Stage ★★★★
“still absolutely relevant today, which makes more than one hard-hitting point. This robust, riotous outing is much-welcome.”
The Times ★★★★
“What a wonderful frippery”
The Telegraph ★★★★
The Arts Desk ★★★★
“has a deep black set by Gabriella Slade which features gold crucifixes and medical paraphernalia”
“a hugely enjoyable black comedy”