Untold Stories at the Duchess Theatre

Alex Jennings stars as Alan Bennett in Untold Stories at the Duchess Theatre, featuring two autobiographical recollections by Alan Bennett – Hymn directed by Nadia Fall and Cocktail Sticks directed by Nicholas Hytner.

Untold Stories features two autobiographical recollections by Alan Bennett. Hymn is a touching memoir of music in childhood, directed by Nadia Fall, with an evocative score by George Fenton.

Cocktail Sticks, directed by Nicholas Hytner, revisits some of the themes and conversations of Alan Bennett’s memoir A Life Like Other People’s. A son talks to his dead father as his mother yearns for a different life. It’s funny, tender and sad.

Alex Jennings plays Alan Bennett in both pieces.

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Theatre: Duchess Theatre

NATIONAL THEATRE September 2011 – January 2012

• Dominic Cooke directs Shakespeare’s THE COMEDY OF ERRORS, with Lenny Henry making his NT debut in the Olivier Theatre
• Sinéad Cusack and Ciarán Hinds lead the cast of JUNO AND THE PAYCOCK by Sean O’Casey, directed by Howard Davies, in the Lyttelton
• Nicholas Hytner directs Alex Jennings and Simon Russell Beale in COLLABORATORS, a new play by John Hodge in the Cottesloe
• Visitors to the National include 1927’s THE ANIMALS AND CHILDREN TOOK TO THE STREETS; Daniel Kitson; and Mark Thomas
• Bristol Old Vic’s production of SWALLOWS AND AMAZONS comes to the West End
• The third season of NATIONAL THEATRE LIVE includes One Man, Two Guvnors (prior to a UK tour and West End run), The Kitchen, Collaborators and The Comedy of Errors

COLLABORATORS
Cottesloe Theatre
Previews from 25 October, press night 1 November, continuing in repertoire
National Theatre Live broadcast on 1 December 2011

Nicholas Hytner directs COLLABORATORS, a new play by John Hodge, opening in the Cottesloe Theatre on Tuesday 1 November. NT Associates Alex Jennings and Simon Russell Beale lead the cast, alongside Mark Addy, Sarah Annis, Marcus Cunningham, Jacqueline Defferary, Patrick Godfrey, Michael Jenn, Jess Murphy, William Postlethwaite, Pierce Reid, Nick Sampson, Maggie Service and Perri Snowdon. The production will be designed by Bob Crowley, with lighting by Jon Clark, music by George Fenton and sound by Paul Arditti; with thanks to Simon Sebag Montefiore.

Moscow, 1938. A dangerous to place to have a sense of humour; even more so a sense of freedom. Mikhail Bulgakov, living among dissidents, stalked by secret police, has both. And then he’s offered a poisoned chalice: a commission to write a play about Stalin to celebrate his sixtieth birthday.
Inspired by historical fact, COLLABORATORS embarks on a surreal journey into the fevered imagination of the writer as he loses himself in a macabre and disturbingly funny relationship with the omnipotent subject of his drama.

John Hodge’s blistering new play depicts a lethal game of cat and mouse through which the appalling compromises and humiliations inflicted on any artist by those with power are held up to scrutiny. Alex Jennings plays Bulgakov and Simon Russell Beale, Stalin.

John Hodge’s screenplays include Shallow Grave, Trainspotting, A Life Less Ordinary, The Beach, The Final Curtain and The Dark is Rising.

Alex Jennings’s many appearances at the National include The Habit of Art, Present Laughter, The Alchemist, Stuff Happens, His Girl Friday, The Relapse and The Winter’s Tale (for which two roles he won the 2001 Evening Standard Award for Best Actor), Albert Speer, and My Fair Lady at Drury Lane (Olivier Award for Best Actor in a Musical).

Simon Russell Beale’s extensive theatre work includes London Assurance, Major Barbara, Much Ado About Nothing, The Alchemist, The Life of Galileo, Hamlet (Evening Standard & Critics’ Circle Awards) and Humble Boy for the National; The Winter’s Tale and The Cherry Orchard (New York and Old Vic); and Bluebird (New York).

Since he became Director of the National in April 2003, Nicholas Hytner has directed Henry V, His Dark Materials, The History Boys, Stuff Happens, Henry IV, Southwark Fair, The Alchemist, The Man of Mode, The Rose Tattoo (with Stephen Pimlott), Rafta, Rafta… , Much Ado About Nothing, Major Barbara, England People Very Nice, Phèdre, The Habit of Art, London Assurance, Hamlet and One Man, Two Guvnors.

COLLABORATORS will be broadcast to cinemas worldwide as part of National Theatre Live on 1 December.

The National Theatre’s Cottesloe Partner is Neptune Investment Management.

JUNO AND THE PAYCOCK
Lyttelton Theatre
A co-production with the Abbey Theatre, Ireland
Previews from 11 November, press night 16 November, continuing in repertoire

Howard Davies directs JUNO AND THE PAYCOCK by Sean O’Casey in a co-production with the Abbey Theatre, Ireland, opening at the National’s Lyttelton Theatre on 16 November. The cast is led by Sinéad Cusack as Juno and Ciarán Hinds as Jack Boyle, with: Cornelius Clarke, Risteárd Cooper, Clare Dunne, Kieran Gough, Luke Hayden, Dermot Kerrigan, Nick Lee, Gillian McCarthy, Bernadette McKenna, Brian Martin, Janet Moran, Kevin Murphy, Ronan Raftery, Sophie Robinson, Eoin Slattery and Tom Vaughan-Lawlor. Bob Crowley will design the set and costumes, with lighting by James Farncombe, music by Anna Rice and sound by Ben Delaney. This is the National Theatre’s first co-production with Ireland’s national theatre, the Abbey, and the production will open the Dublin Theatre Festival in September before coming to the Lyttelton.

One of the great plays of the twentieth century, Sean O’Casey’s JUNO AND THE PAYCOCK offers a devastating portrait of wasted potential in a Dublin torn apart by the chaos of the Irish War of Independence, 1922.

Jack Boyle is out of work and determined to stay that way. He postures and drinks with his sidekick Joxer while the long-suffering Juno balances threats with cajolement to preserve the semblance of family in a squalid tenement flat. Their son Johnny, crippled fighting for the IRA, cowers indoors, terrified of reprisal; his sister Mary has joined the labour movement and is on strike. Sudden news of an inheritance provokes dreams of escape but, even before their rowdy celebrations are done, reality asserts itself as a neighbour’s corpse is carried down the stairs, another victim of the bitter civil war. Mary falls for an educated man as the loans stack up. Tragedy ensues.

Sinéad Cusack’s last appearance at the National Theatre was in Sebastian Barry’s Our Lady of Sligo, for which she won the Evening Standard and Critics’ Circle Best Actress Awards. Her extensive theatre work also includes The Cherry Orchard and The Winter’s Tale (New York and Old Vic), Rock ‘n’ Roll (Royal Court), and Three Sisters (Gate Dublin / Royal Court).

Ciarán Hinds’s work in theatre includes, for the National, Burnt by the Sun, Closer (also on Broadway), Machinal, and The Seafarer on Broadway. His recent TV credits include Rome. Film includes: Persuasion, There Will Be Blood, Munich, The Phantom of the Opera, Lara Croft: The Cradle of Life, Calendar Girls and Circle of Friends.

Howard Davies is an Associate Director at the NT, where his recent productions include The Cherry Orchard, The White Guard (Evening Standard Award for Best Director), Burnt by the Sun, Never So Good and Philistines.

JUNO AND THE PAYCOCK is supported by American Express and Culture Ireland.

The production runs at the Abbey Theatre, Ireland from 21 September – 5 November (press night: 29 September) www.abbeytheatre.ie

THE COMEDY OF ERRORS
Olivier Theatre
Previews from 22 November, press night 29 November, continuing in repertoire

Dominic Cooke, Artistic Director of the Royal Court, makes his NT debut directing Shakespeare’s THE COMEDY OF ERRORS, opening in the Olivier Theatre on 29 November. Lenny Henry, in his first appearance at the National, plays Antipholus of Syracuse; the cast also includes Claudie Blakley (Adriana), Clare Cathcart, Chris Jarman (Antipholus of Ephesus), Lucian Msamati (Dromio of Syracuse), Joseph Mydell (Aegeon), Pamela Nomvete, Daniel Poyser (Dromio of Ephesus), Amit Shah and Michelle Terry (Luciana). It will be designed by Bunny Christie, with lighting by Paule Constable, music by Gary Yershon, movement by Ann Yee, sound by Christopher Shutt and fight direction by Kate Waters.

Two sets of twins separated at birth collide in the same city without meeting for one crazy day, as multiple mistaken identities lead to confusion on a grand scale. And for no one more so than Antipholus of Syracuse and his servant Dromio who, in search of their brothers, arrive in a land entirely foreign to their distant home. A buzzing metropolis, to the outsiders it appears a place of wonderment and terror, where baffling gifts and unexplained hostilities abound.

Consistently recognised by strangers, the visitors question their very selves as the turmoil escalates. Meanwhile, Aegeon, father to the Antipholus twins, has been captured searching for his sons and, as an illegal immigrant, is sentenced to death at sunset.

Shakespeare’s furiously paced comedy will be staged in a contemporary world into which walk three prohibited foreigners who see everything for the first time.

Lenny Henry made his Shakespearean debut in the title role in Othello for Northern Broadsides/West Yorkshire Playhouse, which transferred to the West End and for which he won the 2009 Evening Standard Outstanding Newcomer Award. He has toured worldwide with his stand-up comedy shows, and has appeared in and presented innumerable television dramas, comedies and documentaries, including Three of a Kind, The Lenny Henry Show, Alive and Kicking, Chef!, Hope & Glory and Lenny Henry in Pieces. His many awards include the Lifetime Achievement – Performance Award at the 2003 British Comedy Awards, and a Golden Rose at the Montreux Television Festival.

Dominic Cooke is Artistic Director of the Royal Court, where his productions have included Chicken Soup with Barley, Clybourne Park (also West End), Aunt Dan and Lemon, The Fever, Wig Out!, Now Or Later, Rhinoceros and The Pain and the Itch. He was Associate Director of the RSC from 2002-06, where his work included Arabian Nights, Pericles, The Winter’s Tale, The Crucible (Olivier Awards for Best Director and Best Revival), As You Like It and Cymbeline.

THE COMEDY OF ERRORS will be broadcast to cinemas worldwide as part of National Theatre Live on 1 March 2012.

The production is sponsored by KPMG.

THE ANIMALS AND CHILDREN TOOK TO THE STREETS
Cottesloe Theatre
7 December – 3 January, 15 performances

Seamlessly synchronizing live music, performance and storytelling with stunning film and animation, THE ANIMALS AND CHILDREN TOOK TO THE STREETS is the wickedly twisted second show from multiple award-winning company 1927, visiting the Cottesloe Theatre for 15 performances between 7 December and 3 January.

Trust no-one. Suspect even your own shadow. Welcome to the Bayou, a part of the city feared and loathed, wherein lies the infamous Bayou Mansions: a stinking sprawling tenement block, where curtain-twitchers and peeping-toms live side by side, and the wolf… is always at the door. When Agnes Eaves and her daughter arrive late one night, does it signal hope in this hopeless place, or has the real horror only just begun?

1927 invite you on a theatrical journey of startling originality, like a giant graphic novel burst into life.

The Animals and Children Took to the Streets is created by 1927 and directed and written by Suzanne Andrade, with film, animation and design by Paul Barritt. It is produced by Joanna Crowley, with music by Lillian Henley and costume by Sarah Munro and Esme Appleton. It was co-commissioned by BAC, Malthouse Theatre Melbourne & The Showroom (University of Chichester).

The National Theatre’s Cottesloe partner is Neptune Management.

IT’S ALWAYS RIGHT NOW, UNTIL IT’S LATER
Lyttelton Theatre
A new show by Daniel Kitson about Everything and Nothing
7 – 21 October, 19 – 22 December (day seats & returns only). All tickets £12.

Extra December dates have been added for Daniel Kitson’s show about every single one of us, the past in our pockets, the future in our hearts and us, ourselves, very much stuck, trapped forever, in the tiny eternal moment between the two. Written and performed by Daniel Kitson, designed by Susannah Henry and Daniel Kitson; the technical director is Jon Meggat.

MARK THOMAS: EXTREME RAMBLING
Lyttelton Theatre
Friday 23 December, 7.30pm, followed by a booksigning. All tickets £12.

During 2010, Mark Thomas decided to go rambling in the Middle East and walked the entire length of the Israeli Separation Barrier, crossing between the Israeli and the Palestinian side. Extreme Rambling is the story of 300,000 settlers, a 750km wall, six arrests, one stoning, too much hummus and one simple question… can you ever get away from it all with a good walk?

SWALLOWS AND AMAZONS
Vaudeville Theatre, West End
15 December 2011 – 14 January 2012, suitable for 6 years+

The critically acclaimed Bristol Old Vic production of SWALLOWS AND AMAZONS, a new musical play with book by Helen Edmundson and songs by Neil Hannon, comes to the West End’s Vaudeville Theatre this Christmas for a strictly limited 5-week run from 15 December – 14 January (press night: 19 December), presented by the National Theatre and The Children’s Touring Partnership.

Based on the much-loved book by Arthur Ransome, this delightful and imaginative production is directed by Tom Morris, Artistic Director of Bristol Old Vic and co-director of the National Theatre’s Tony Award-winning smash hit War Horse. SWALLOWS AND AMAZONS has music and lyrics by Neil Hannon of The Divine Comedy and is written by Helen Edmundson, who adapted the National’s Coram Boy.

All aboard The Swallow! Follow Captain John and his able crew as they set sail to Wildcat Island on an exotic adventure to encounter savages, capture dastardly pirates and defeat mortal enemies.

An action-packed musical adventure for the whole family (ages 6+), SWALLOWS AND AMAZONS is a story of an idyllic era, of endless summer evenings and the beauty of youthful imagination.

SWALLOWS AND AMAZONS opened at Bristol Old Vic in December 2010 for a sell-out run and was a critical and popular hit; it was originally developed at the National Theatre Studio. Following its run at the Vaudeville Theatre, the production will embark on a UK tour (for more information please visit www.swallowsamazons.co.uk).

The director of movement is Toby Sedgwick, who won an Olivier Award for War Horse; with set design by Robert Innes Hopkins, costume design by Robert Innes Hopkins & Liesel Corp, musical direction and arrangements by Sam Kenyon, lighting design by James Farncombe, sound by Jason Barnes and additional musical arrangements by Andrew Skeet.

Published in 1930, Swallows and Amazons was the first in a series of twelve books by Arthur Ransome (1884-1967). Set in 1929 in the Lake District, it tells of the school holiday exploits of the Walker and Blackett children and their sailing dinghies – the Swallow and the Amazon.

Helen Edmundson’s many adaptations include Coram Boy, which played two sell-out seasons at the National Theatre, and Anna Karenina, Mill on the Floss, War and Peace and Gone to Earth for Shared Experience. Other work includes The Clearing (Bush Theatre), Mother Teresa is Dead (Royal Court), and a version of Calderon’s Life is a Dream (Donmar). Her new play, The Heresy of Love, opens for the RSC at the Swan in February 2012.

Neil Hannon is a singer, lyricist and composer. Although he is best known for writing, recording and performing as The Divine Comedy, he has also written extensively for TV and film, including the music to Father Ted and The IT Crowd. He has collaborated with everyone from Michael Nyman to Tom Jones, and his cricket-themed project The Duckworth Lewis Method was nominated for an Ivor Novello Award. Swallows and Amazons is his first venture into the world of musical theatre.

Tom Morris was appointed Artistic Director of Bristol Old Vic in September 2009. As Associate Director of the National Theatre (2004 – 2009), he developed and co-directed (with Marianne Elliott) War Horse which is currently running in the West End and on Broadway, where it received 6 Tony Awards; and co-directed Every Good Boy Deserves Favour. Previously he was Artistic Director at Battersea Arts Centre from 1995 to 2004. He sits on the board of Complicite and is Chair of the JMK Trust.

Established in 2010 and led by independent producer Fiery Angel and Chichester Festival Theatre, the Children’s Touring Partnership receives generous support from Arts Council England. Their inaugural production, Goodnight Mister Tom, premiered at Chichester in January 2011 and subsequently toured the UK for fourteen weeks. The Children’s Touring Partnership will be presenting the tour of Bristol Old Vic’s stage adaptation of Swallows and Amazons throughout spring 2012.

NATIONAL THEATRE LIVE

ONE MAN, TWO GUVNORS opens a new season of NATIONAL THEATRE LIVE, sponsored by Aviva, when it is broadcast live to over 100 UK cinemas and 300 more abroad on 15 September (varying dates internationally). Since National Theatre Live’s first season, which began in June 2009 with Phèdre starring Helen Mirren, over half a million people have now experienced the National’s work on movie screens around the world.

One Man, Two Guvnors will be followed by THE KITCHEN by Arnold Wesker on 6 October and John Hodge’s COLLABORATORS on 1 December; future screenings will include THE COMEDY OF ERRORS on 1 March 2012 with additional titles to be announced. For further information and booking details for all cinemas, please visit www.ntlive.com

ONE MAN, TWO GUVNORS
UK tour and West End

Following its run at the National, Nicholas Hytner’s hit production of ONE MAN, TWO GUVNORS will tour the UK, visiting: Waterside Theatre, Aylesbury (27 September – 1 October); Theatre Royal, Plymouth (4 – 8 October); The Lowry, Salford (11 – 15 October); New Alexandra Theatre, Birmingham (18 – 22 October); and King’s Theatre, Edinburgh (25 – 29 October). Richard Bean’s adaptation, with songs by Grant Olding, then transfers to the West End’s Adelphi Theatre from 8 November 2011 – 25 February 2012. James Corden continues in his original role of Francis Henshall, along with his two ‘guvnors’ Oliver Chris and Jemima Rooper, and the rest of the original cast.

MIKE LEIGH’S new play visits Bath and Cambridge
Mike Leigh’s new play will visit Theatre Royal, Bath (25 – 29 October) and Cambridge Arts Theatre (1 – 5 November), during its Cottesloe run.

PRODUCTION AND CASTING UPDATES

A new play by Mike Leigh
The full cast for Mike Leigh’s new play, opening in the Cottesloe on 21 September, is: Marion Bailey, Ruby Bentall, Dorothy Duffy, David Horovitch, Sam Kelly, Lesley Manville and Wendy Nottingham.

THE VEIL
Conor McPherson directs his own new play The Veil, opening in the Lyttelton on 4 October. The full cast is: Bríd Brennan, Caoilfhionn Dunne, Abigail Guiver, Claudia Hall, Ursula Jones, Peter McDonald, Felicity McHardy-Costaine Brown, Mary Mallen, Ursula Mohan, Alan Mooney, Jim Norton, Alice Parsloe, Adrian Schiller, Emily Taaffe, Geoffrey Towers and Fenella Woolgar.

13
The cast for Mike Bartlett’s new play 13, opening in the Olivier on 25 October as part of the Travelex £12 Tickets season, directed by Thea Sharrock, is: Matthew Barker, Nick Blakeley, Katie Brayben, Natasha Broomfield, Kirsty Bushell, Martin Chamberlain, Grace Cooper Milton, Davood Ghadami, Trystan Gravelle, Jadie-Rose Hobson, Adam James, Geraldine James, Sioned Jones, Barbara Kirby, Esther McAuley, Genevieve O’Reilly, Lara Rossi, Helen Ryan, Nick Sidi, Zara Tempest-Walters, Danny Webb, John Webber and Shane Zaza.

KING JAMES BIBLE
Nikki Amuka-Bird, David Calder, Nancy Carroll, Lindsay Duncan, Alan Howard, Alex Jennings, Paterson Joseph, Maureen Lipman, Paul Ready, Patricia Routledge, Simon Russell Beale and John Shrapnel will be among the ensemble of leading NT actors reading extracts (edited by Edward Kemp) from the KING JAMES BIBLE as part of its 400th anniversary celebrations. The twelve extracts will be directed by Nicholas Hytner, James Dacre and Polly Findlay in the Lyttelton Theatre from 8 October – 6 November.

Dates and times of the readings vary and can be found in the rep leaflet or NT website, alongside casting details.

Release issued by: National Theatre

LINKS

National Theatre website

Evening Standard Theatre Awards – Shortlist 2010

Awards announced: Sunday 28 November 2010, Savoy Hotel London

BEST ACTOR
Roger Allam Henry IV Parts One and Two (Shakespeare’s Globe)
Rory Kinnear Hamlet (National’s Olivier)/Measure For Measure (Almeida)
David Suchet All My Sons (Apollo)

THE NATASHA RICHARDSON AWARD FOR BEST ACTRESS
Nancy Carroll After The Dance (National Lyttelton)
Elena Roger Passion (Donmar Warehouse)
Sheridan Smith Legally Blonde (Savoy)
Sophie Thompson Clybourne Park (Royal Court)

BEST PLAY
Mike Bartlett Cock (Royal Court)
Bruce Norris Clybourne Park (Royal Court)
Roy Williams Sucker Punch (Royal Court)

THE NED SHERRIN AWARD FOR BEST MUSICAL
Legally Blonde Savoy Theatre
Les Misérables Cameron Mackintosh 2010 production at Barbican Theatre
Passion Donmar Warehouse

BEST DIRECTOR
Howard Davies The White Guard (National Lyttelton)/All My Sons (Apollo)
Nicholas Hytner The Habit Of Art (National Lyttelton)/London Assurance (National Olivier)/Hamlet (National Olivier)
Laurie Sansom Beyond The Horizon and Spring Storm (National Cottesloe)
Thea Sharrock After The Dance (National Lyttelton)

BEST DESIGN
Miriam Buether Sucker Punch (Royal Court)/Earthquakes In London (National Cottesloe)
Bunny Christie The White Guard (National Lyttelton)
Christopher Oram Passion (Donmar Warehouse)/Red (Donmar Warehouse)

CHARLES WINTOUR AWARD FOR MOST PROMISING PLAYWRIGHT
DC Moore The Empire (Royal Court)
Nick Payne If There Is I Haven’t Found It Yet (Bush)/Wanderlust (Royal Court)
Anya Reiss Spur Of The Moment (Royal Court)

THE MILTON SHULMAN AWARD FOR OUTSTANDING NEWCOMER
Melanie Chisholm for her performance in Blood Brothers (Phoenix)
Daniel Kaluuya for his performance in Sucker Punch (Royal Court)
Isabella Laughland for her performance in Wanderlust (Royal Court)
Shannon Tarbet for her performance in Spur Of The Moment (Royal Court)
You Me Bum Bum Train created by Kate Bond and Morgan Lloyd (LEB Building, E2)

THE GOLDEN SEAGULL AWARD
Presented on behalf of Moscow Art Theatre.

THE LEBEDEV SPECIAL AWARD
For outstanding contribution to theatre.

Evening Standard nominees announced

This year’s London Evening Standard Theatre Awards long-list of nominees has been announced.

The nominees cover some of the most high-profile of this year’s West End shows with a starry list of performers, directors and playwrights alongside some serious new talent. The Royal Court scores particularly highly with a range of acting and creative nods – including four nominations for Clybourne Park.

See the full list of London Evening Standard Theatre Awards 2010 nominees here

The shortlist of nominees will be announced a week prior to the awards ceremony, which will be held this year on 28 November at the newly reopened Savoy Hotel. The judging panel for the awards includes theatre critics Henry Hitchings of the Standard, Charles Spencer of the Telegraph, Susannah Clapp of the Observer, Georgina Brown of the Mail on Sunday and Matt Wolf of the Herald Tribune. Chair will be Evgeny Lebedev, who is chairman of the Standard and also the son of the proprietor Alexander Lebedev.

In terms of musicals it’s a good list for Sir Cameron Mackintosh who sees his 25th anniversary production of Les Misérables tapped, plus his West End transfer of Broadway hit of Hair – which closed after a relatively short run at the Gielgud Theatre. Also listed is the Menier’s Sweet Charity at the Theatre Royal Haymarket, which is about to close on 6 November, alongside long-runner Legally Blonde at the Savoy and current critical success Passion at the Donmar Warehouse.

In the Best Actor category up-and-coming stars such as Benedict Cumberbatch and Rory Kinnear are matched alongside established heavy-weights, from Roger Allam and Jonathan Pryce to David Suchet and Simon Russell Beale, the later for his turns in the National’s London Assurance and current West End hit Deathtrap. Alfred Molina also gets a nod for the Donmar’s Red after losing out at the Tony’s to co-star Eddie Redmayne.

Best Actress nominees feature a range of talent from high-profile crowd-pleasers that will guarantee plenty of red carpet coverage (Keira Knightley, Gemma Arterton, Sheridan Smith) to hard-hitters Judi Dench, Zoe Wannamaker and Fiona Shaw.

Best Plays feature both boxing shows to have played in London this year – Beautiful Burnout by Bryony Lavery at the York Hall and Sucker Punch by Roy Williams at the Royal Court. It’s a big awards for the Court who also get nods for Cock by Mike Bartlett, Clybourne Park by Mike Bartlett and Posh by Laura Wade.

Director nods feature a who’s who of current hitmakers, ticking pretty much every director box including Howard Davies, Rupert Goold, Michael Grandage, Nicholas Hytner, and director of the moment Thea Sharrock. Also Dominic Cooke gets a well-deserved nod for Clybourne Park, which transfers from the Royal Court to the West End in January.

Lez Brotherston is a notable inclusion in the Designer category with four of his productions credited: The Rise and Fall of Little Voice at the Vaudeville, Measure for Measure at the Almeida, Women Beware Women at the National and Design for Living at the Old Vic.

Most Promising Playwright nominees pay tribute to the Royal Court’s progressive programme of nurturing new writing talent, with 3 playwrights nominated: DC Moore for The Empire, Anya Reiss for Spur of the Moment and Nick Payne for Wanderlust. Equally impressive is the Bush, which is once again proving to punch well above its weight, with James Graham for The Whisky Taster, Nick Payne (again) for If There Is I Haven’t Found It Yet and Penelope Skinner for Eigengrau all nominated.

The Outstanding Newcomer category is dominated by onstage talent, with a surprise nod to the Spice Girls’ Melanie Chrisholm for her much-praised stint in Blood Brothers, alongside upstarts including Laura Dos Santos for Educating Rita, Henry Lloyd-Hughes for Rope and Posh, and Simon Godwin for his direction, and Isabella Laughland and James Musgrave for their performances, in the Royal Court’s Wanderlust.

See the full list of London Evening Standard Theatre Awards 2010 nominees here

Evening Standard Theatre Awards – Nominees 2010

Awards announced: 28 November 2010

BEST ACTOR

Roger Allam: Henry IV Parts One and Two (Shakespeare’s Globe)
Bertie Carvel: Rope (Almeida)
Benedict Cumberbatch: After the Dance (National’s Lyttelton)
Martin Freeman: Clybourne Park (Royal Court)
Alex Jennings: The Habit of Art (National’s Lyttelton)
Rory Kinnear: Measure for Measure (Almeida)/ Hamlet (National’s Olivier)
Adrian Lester: Cat on a Hot Tin Roof (Novello)
Alfred Molina: Red (Donmar Warehouse)
Jonathan Pryce: The Caretaker (Trafalgar Studios)
Simon Russell Beale: London Assurance (National’s Olivier)/ Deathtrap (Noël Coward)
Adrian Scarborough: After the Dance (National’s Lyttelton)
David Suchet: All My Sons (Apollo)

THE NATASHA RICHARDSON AWARD FOR BEST ACTRESS

Gemma Arterton: The Little Dog Laughed (Garrick)
Nancy Carroll: After the Dance (National’s Lyttelton)
Judi Dench: A Midsummer Night’s Dream (Rose, Kingston)
Tamsin Greig: The Little Dog Laughed (Garrick)
Jenny Jules: Ruined (Almeida)
Keira Knightley: The Misanthrope (Comedy Theatre)
Amanda Lawrence: Jiggery Pokery (BAC)/ Henry VIII (Shakespeare’s Globe)
Rosaleen Linehan: The Beauty Queen of Leenane (Young Vic)
Helen McCrory: The Late Middle Classes (Donmar Warehouse)
Lesley Manville: Six Degrees of Separation (Old Vic)
Anna Maxwell Martin: Measure for Measure (Almeida)
Elena Roger: Passion (Donmar Warehouse)
Fiona Shaw: London Assurance (National’s Olivier)
Sheridan Smith: Legally Blonde (Savoy)
Sophie Thompson: Clybourne Park (Royal Court)
Zoë Wanamaker: All My Sons (Apollo)

BEST PLAY

Cock by Mike Bartlett (Royal Court)
The Big Fellah by Richard Bean (Lyric Hammersmith)
The Habit of Art by Alan Bennett (National’s Lyttelton)
Beautiful Burnout by Bryony Lavery (York Hall)
Clybourne Park by Bruce Norris (Royal Court)
Ruined by Lynn Nottage (Almeida)
Posh by Laura Wade (Royal Court)
Sucker Punch by Roy Williams (Royal Court)

THE NED SHERRIN AWARD FOR BEST MUSICAL

Hair – Gielgud Theatre
The Human Comedy - A Young Vic/The Opera Group production co-produced with Watford Palace Theatre
Legally Blonde - Savoy Theatre
Les Misérables (2010) - Cameron Mackintosh production at Barbican Theatre
Passion - Donmar Warehouse
Sweet Charity - Menier Chocolate Factory; transferred to Theatre Royal Haymarket

BEST DIRECTOR

Dominic Cooke: Clybourne Park (Royal Court)
Howard Davies: The White Guard (National’s Lyttelton)/ All My Sons (Apollo)
Rupert Goold: Romeo and Juliet (RSC Stratford)/Earthquakes in London (National’s Cottesloe)
Michael Grandage: Red (Donmar Warehouse)/ Danton’s Death (National’s Olivier)
Jeremy Herrin: Spur of the Moment (Royal Court)
Joe Hill-Gibbins: The Beauty Queen of Leenane (Young Vic)
Nicholas Hytner: The Habit of Art (National’s Lyttelton/London Assurance (National’s Olivier)/Hamlet (National’s Olivier)
James MacDonald: Cock (Royal Court)
Roger Michell: Rope (Almeida)
Laurie Sansom: Beyond the Horizon and Spring Storm (National’s Cottesloe)
Thea Sharrock: After the Dance (National’s Lyttelton)
Lyndsey Turner: Posh (Royal Court)

BEST DESIGN

Lez Brotherston: The Rise and Fall of Little Voice (Vaudeville)/Measure for Measure (Almeida)/Women Beware Women (National’s Olivier)/Design for Living (Old Vic)
Miriam Buether: Sucker Punch (Royal Court)/Earthquakes in London (National’s Cottesloe)
Bunny Christie: The White Guard (National’s Lyttelton)
Rob Howell: Private Lives (Vaudeville)/Deathtrap (Noël Coward)
Vicki Mortimer: The Cat in the Hat (National’s Cottesloe; transferred to Young Vic)
Christopher Oram: Passion (Donmar Warehouse)/Red (Donmar Warehouse)
Mark Thompson: London Assurance (National’s Olivier)

THE CHARLES WINTOUR AWARD FOR MOST PROMISING PLAYWRIGHT

James Graham: The Whisky Taster (Bush)/The Man (Finborough)
DC Moore: The Empire (Royal Court)
Nick Payne: If There Is I Haven’t Found It Yet (Bush)/Wanderlust (Royal Court)
Anya Reiss: Spur of the Moment (Royal Court)
Atiha Sen Gupta: What Fatima Did (Hampstead)
Penelope Skinner: Eigengrau (Bush)

THE MILTON SHULMAN AWARD FOR OUTSTANDING NEWCOMER

You Me Bum Bum Train created by Kate Bond and Morgan Lloyd (LEB Building, E2)
Melanie Chisholm for her performance in Blood Brothers (Phoenix)
Laura Dos Santos for her performance in Educating Rita (Menier Chocolate Factory, transferred to Trafalgar Studios)
Simon Godwin for his direction of Wanderlust (Royal Court)
Daniel Kaluuya for his performance in Sucker Punch (Royal Court)
Isabella Laughland for her performance in Wanderlust (Royal Court)
Henry Lloyd-Hughes for his performances in Rope (Almeida) and Posh (Royal Court)
James Mcardle for his performance in Spur of the Moment (Royal Court)
James Musgrave for his performance in Wanderlust (Royal Court)
Nikesh Patel for his performance in Disconnect (Royal Court)
Shannon Tarbet for her performance in Spur of the Moment (Royal Court)

THE GOLDEN SEAGULL AWARD
Presented on behalf of Moscow Art Theatre.

THE LEBEDEV SPECIAL AWARD
For outstanding contribution to theatre.

OLIVIER AWARDS – Best Actor Winners

OLIVIER AWARDS – Best Actor Winners

Best Actor

2012 Benedict Cumberbatch and Jonny Lee Miller for Frankenstein
2011 Roger Allam for Henry IV Parts 1 & 2
2010 Mark Rylance for Jerusalem
2009 Derek Jacobi for Twelfth Night
2008 Chiwetel Ejiofor in Othello
2007 Rufus Sewell for Rock ‘N’ Roll
2006 Brian Dennehy for Death Of A Salesman
2005 Richard Griffiths for The History Boys
2004 Matthew Kelly for Of Mice And Men
2003 Simon Russell Beale for Uncle Vanya
2002 Roger Allam for Privates On Parade
2001 Conleth Hill for Stones In His Pockets
2000 Henry Goodman for The Merchant Of Venice
1999 Kevin Spacey for The Iceman Cometh
1998 Ian Holm for King Lear
1997 Antony Sher for Stanley
1996 Alex Jennings for Peer Gynt
1995 David Bamber for My Night With Reg
1994 Mark Rylance for Much Ado About Nothing
1993 Robert Stephens for Henry IV (Parts 1 and 2)
1992 Nigel Hawthorne for The Madness Of George III
1991 Ian McKellen for Richard III
1989/90 Oliver Ford Davies for Racing Demon
1987 Michael Gambon for A View From The Bridge
1986 Albert Finney for Orphans
1985 Antony Sher for Richard III and Torch Song Trilogy

Actor of the Year in a New Play

1988 David Haig for Our Country’s Good
1984 Brian Cox for Rat In The Skull
1983 Jack Shepherd for Glengarry Glen Ross
1982 Ian McDiarmid for lnsignificance
1981 Trevor Eve for Children Of A Lesser God
1980 Roger Rees for Nicholas Nickleby
1979 Ian McKellen for Bent
1978 Tom Conti for Whose Life Is It Anyway?
1977 Michael Bryant for State Of Revolution
1976 Paul Copley for King And Country

Actor of the Year in a Revival

1988 Brian Cox for Titus Andronicus
1984 Ian McKellen for Wild Honey
1983 Derek Jacobi for Cyrano De Bergerac
1982 Stephen Moore for A Doll’s House
1981 Daniel Massey for Man And Superman
1980 Jonathan Pryce for Hamlet
1979 Warren Mitchell for Death Of A Salesman
1978 Alan Howard for Coriolanus
1977 Ian McKellen for Pillars Of The Community
1976 Alan Howard for Henry IV (Parts 1 and 2) and Henry V

Best Actor in a Musical

2012 Bertie Carvel for Matilda The Musical
2011 David Thaxton for Passion
2010 Aneurin Barnard for Spring Awakening
2009 Douglas Hodge for La Cage aux Folles
2008 Michael Ball for Hairspray
2007 Daniel Evans for Sunday In The Park With George
2006 James Lomas, George Maguire and Liam Mower for Billy Elliot – The Musical
2005 Nathan Lane for The Producers
2004 David Bedella for Jerry Springer – The Opera
2003 Alex Jennings for My Fair Lady
2002 Philip Quast for South Pacific
2001 Daniel Evans for Merrily We Roll Along
2000 Simon Russell Beale for Candide
1999 The cast of Kat and The Kings
1998 Philip Quast for The Fix
1997 Robert Lindsay for Oliver!
1996 Adrian Lester for Company
1995 John Gordon Sinclair for She Loves Me
1994 Alun Armstrong for Sweeney Todd
1993 Henry Goodman for Assassins
1992 Alan Bennett for Talking Heads
1991 Philip Quast for Sunday In The Park With George
1989/90 Jonathan Pryce for Miss Saigon
1988 Con O’Neill for Blood Brothers
1987 John Bardon and Emil Wolk for Kiss Me Kate
1986 Michael Crawford for The Phantom Of The Opera
1985 Robert Lindsay for Me And My Girl
1984 Paul Clarkson for The Hired Man
1983 Denis Lawson for Mr. Cinders
1982 Roy Hudd for Underneath The Arches
1981 Michael Crawford for Barnum
1980 Denis Quilley for Sweeney Todd
1979 Anton Rodgers for Songbook

OLIVIER AWARDS – Best Comedy Winners

OLIVIER AWARDS – Best Comedy Winners

Best New Comedy

2010 The Priory
2009 God of Carnage
2008 Rafta Rafta
2007 John Buchan’s The 39 Steps adapted by Patrick Barlow from an original concept by Simon Corble and Nobby Dimon
2006 Heroes by Gerald Sibleyras translated by Tom Stoppard

Best Comedy

2003 The Lieutenant Of Inishmore by Martin McDonagh
2002 The Play What I Wrote by Hamish McColl, Sean Foley and Eddie Braben
2001 Stones In His Pockets by Marie Jones
2000 The Memory Of Water by Shelagh Stephenson
1999 Cleo, Camping, Emmanuelle And Dick by Terry Johnson
1998 Popcorn by Ben Elton
1997 Art by Yasmina Reza
1996 Mojo by Jez Butterworth
1995 My Night With Reg by Kevin Elyot
1994 Hysteria by Terry Johnson
1993 The Rise And Fall Of Little Voice by Jim Cartwright
1992 La Bête by David Hirson
1991 Out Of Order by Ray Cooney
1989/90 Single Spies by Alan Bennett
1988 Shirley Valentine by Willy Russell
1987 Three Men On A Horse by John Cecil Holm and George Abbott
1986 When We Are Married by J.B. Priestley
1985 A Chorus Of Disapproval by Alan Ayckbourn
1984 Up’N’Under by John Godber
1983 Daisy Pulls It Off by Denise Deegan
1982 Noises Off by Michael Frayn
1981 Steaming by Nell Dunn
1980 Educating Rita by Willy Russell
1979 Middle Age Spread by Roger Hall
1978 Filumena by Eduardo de Filippo, adapted by Keith Waterhouse and Willis Hall
1977 Privates On Parade by Peter Nichols
1976 Donkey’s Years by Michael Frayn

Best Comedy Performance

1995 Niall Buggy for Dead Funny
1994 Griff Rhys Jones for An Absolute Turkey
1993 Simon Cadell for Travels With My Aunt
1992 Desmond Barrit for The Comedy Of Errors
1991 Alan Cumming for Accidental Death Of An Anarchist
1989/90 Michael Gambon for Man Of The Moment
1988 Alex Jennings for Too Clever By Half
1987 John Woodvine for The Henrys
1986 Bill Fraser for When We Are Married
1985 Michael Gambon for A Chorus Of Disapproval
1984 Maureen Lipman for See How They Run
1983 Griff Rhys Jones for Charley’s Aunt
1982 Geoffrey Hutchings for Poppy
1981 Rowan Atkinson for Rowan Atkinson in Revue
1980 Beryl Reid for Born In The Gardens
1979 Barry Humphries for A Night With Dame Edna
1978 Ian McKellen for The Alchemist
1977 Denis Quilley for Privates On Parade
1976 Penelope Keith for Donkey’s Years

The Habit of Art – National Theatre – Review

Few first nights this year have been more eagerly awaited or filled with such expectation as Alan Bennett’s The Habit of Art. Bennett’s The History Boys, a palpable hit for the National Theatre, was a hard act to follow, and at the age of 75, one wondered how much dramatic gas Bennett had in the tank, and whether he was still capable of delivering the goods.

The answer is a massive affirmative. Bennett’s creative powers are as acute as they’ve always been, his wit just as sharp and his capacity to move an audience never stronger. With the possible exception of Tom Stoppard, he is the only contemporary dramatist whose work improves with age.

In The Habit of Art, which offers a Pirandellian-like play-within-a-play, the poet W.H. Auden (Richard Griffiths) and the composer Benjamin Britten (Alex Jennings), are fictitiously brought together in 1972, a year before Auden’s death.

Though the pair had collaborated on several projects in the 1930′s, the brittle Britten had taken offence at remarks Auden had made about the composer’s relationship with the singer Peter Pears, and acrimoniously ended their friendship – as he had done and would continue to do with many of his other friends and colleagues.

The play-within-the play, called Caliban’s Day, is being rehearsed in one of the National Theatre’s rehearsal rooms. The director is elsewhere engaged that day, and Kay (Frances de la Tour), the stage manager, has ordered a run through. So, initially, what we’re being presented with is a play about putting on a play. We see how fearful actors are with untried material, how they interrupt rehearsals to question lines and characterisations, often randomly cutting the text much to the chagrin of the long-suffering playwright.

The setting of Caliban’s Day is Auden’s rather squalid digs (courtesy of designer Bob Crowly) at Christ Church, Oxford, where, after he had become an American citizen in 1946, he returned as a verbose old bore, still scribbling away and as useful to the faculty as a sixth finger.

When we first meet him he has just confused the broadcaster Humphrey Carpenter who has come to interview him for Radio Oxford, for a rent boy he’s been hoping to fellate. His next visitor is the rent boy himself, followed by Benjamin Britten, who’s clutching the score of a work in progress, his new opera Death in Venice.

Though it has been over 20 years since the two men met, Britten is concerned that the opera’s subject – the obsession of an older man for a beautiful young boy – is too close to his own fondness for boys (though he never ever molested them), and that it might cause tongues to wag. He also has concerns over the quality of the libretto by his friend Myfanwy Piper.

Auden, who at this late stage in his life longs to be involved in a meaningful project, hopes Britten will ask him to take over the composition of the libretto. But all Briiten wants is advice.

Also present throughout the playwithin- the play, is Carpenter, who went on to write definitive biographies of both men, and who here serves as a kind of chorus probing and commenting on the action. If this structure sounds complicated, it isn’t at all, and the play – which is both about the collaborative creative process in the theatre and the more personal process of writing poetry and music – artfully and fascinatingly moves from the one to the other.

The toll taken by old age on the creative process is another vital element, as is the nature of biography, and what purpose, if any, it serves. The point is made that no matter how accomplished a biography might be, it is still secondary to the subject being written about.

Though most of the time Bennett brilliantly juggles all these elements, there is the occasional misfire. It is hard to believe, for example, that the writer (played with an agonised weariness by Elliot Levey) capable of writing the superb scenes between Auden and Britten, would also write risibly parodic dialogue in rhyming couplets for inanimate objects such as Auden’s door, his chair, his clock and even his craggy wrinkles. They belong in a different play and serve as little more than a device to garner a few unnecessary laughs.

Another device that struck me as mere contrivance was having Auden ask Britten (clearly for the benefit of the less well-informed members of the audience) to remind him what happens in Thomas Mann’s novella Death in Venice, when it is perfectly obvious he knows every detail of the plot intimately. Nor was I convinced by the arbitrary moments of forgetfulness and repetition with which Auden is suddenly inflicted in his scenes with Britten, as there was little, if any evidence of this condition before.

Mere quibbles, though, far outweighed by the general excellence of the writing, by Nicholas Hytner’s seamless, unobtrusive direction, and by the fine performances.

Richard Griffiths, though nowhere resembling W.H. Auden, is wonderfully irascible and deeply moving as the spent poet who, even in old age cannot quit the habit of art, Alex Jennings as the prissy, more punctilious, envious and unsure of himself Britten (how tellingly he spits out the name of his rival Tippett) is excellent, as is Adrian Scarborough as Humphrey Carpenter. All three play dual roles, the insecure actors rehearsing Caliban’s Day, and the characters they portray in it.

There’s a lovely performance too, from Frances de la Tour as Kay, the efficient, conciliatory seen-it-all-before stage manager, and from Stephen Wight playing the rent boy Stuart.

Towards the end of the play Bennett gives Stuart a speech which makes the point that, in writing about the lives of the great and the good, bit players like Stuart, who are usually little more than a footnote to their lives, deserve recognition too.

Bennett, however, ends this richly textured, multi-faceted, hugely entertaining play with a speech by Kay on the fear that actors feel in their jobs (during rehearsals of Caliban’s Day the author remarks ‘Plays don’t so much go into production, as into intensive care’), of the importance of plays in general and the National Theatre in particular.

Amen to that.

CLIVE HIRSCHHORN. Courtesy of This Is London.

Book tickets to see The Habit of Art at the National Theatre in London