Eve De Leon Allen’s Cinderella in the party scene in the Stephen Joseph Theatre’s Cinderella. All pictures: Tony Bartholomew
ON the surface, and certainly from a cursory glance at the press release, this could be a conventional telling of Cinderella’s tale.
Except that this is the Brothers Grimm tale as re-spun by Nick Lane, with music and lyrics by Simon Slater, direction by Gemma Fairlie and stage & costume design by Helen Coyston. Namely the Scarborough team that thinks outside the box to deliver a Yorkshire winter show like no other.
This Cinderella is not pantomime, although slapstick, song-and-dance routines and colourful characters abound, complemented by a gorgeous transformation scene and a singalong Reach for The Stars (a panto staple country-wide).
Life in the fast Lane is inventive, inspired and ingenious, rooted in storytelling, physical comedy, multi role-playing, teamwork and individual flair in Fairlie’s fabulous, free-spirited cast.
Whitbelia’s regal family: David Fallon’s Flarf, with his beloved horse Malcolm, Lucy Keirl’s Delia and Roger Parkins’ Dean
Step forward, and never take a backward step, Eve De Leon Allen (Cinderella/Usher); David Fallon (Charming, Ratface, Flarf, Mouse); Lucy Keirl (Mandy, Delia, Herald); Roger Parkins (Delightful, Dad, Blob, Pumpkin, Dean) and Sarah Pearman (Chief Fairy, Mum, Filania, Frog).
Expect the unexpected with a Nick Lane story and he will still surprise you, while also reprising the hits from past SJT shows: the importance to the tale of Scarborough, its people, culture and seagulls; the digs at nearby places (Whitby’s goths and “inferior fish-and-chip shops”); the silliness yet the poignancy.
Prince Charming has made way for Charming, and there’s a character called Delightful too. The young prince, Flarf, is more interested in spending his days with his horse Malcolm (trained at DisMountview Academy, the programme biog states), rather than bride-finding parties.
Sister act: Roger Parkins’ Blob, left, and David Fallon’s Ratface
Cinderella’s stepsisters are outré fashionistas Ratface and Blob; the outstanding Keirl’s tooth fairy-in-training, 23780, wants to be known as Mandy.
De Leon Allen’s resourceful yet put-upon Cinderella is fixated on maps, and the love she seeks is not that of a “handsome Prince” but the embrace of her missing Mum, still alive she believes but lost to her in a storm when sailing to the magical Land Beyond Beyond, far, far away from Lane’s Scarbodoria and neighbouring Whitbelia.
Lane’s script has headed there too, far beyond routine panto, and anything but lost in such fresh storytelling, where he combines the golden olden with the modern, reinvigorating characters too, whether Cinderella, the prince or the Pumpkin (played by the chameleon Parkins, whose forgetful king is a gem too).
Eve De Leon Allen’s Cinderella andf Lucy Keirl’s Mandy
Fairlie’s cast have such fun with Lane’s flights of imagination, his extravagant, bold, lovable characters (yes, even the stepmother and self-deluded daughter double act); his fearless pushing of boundaries; his love of a joke; the need for mannequins or quick costume changes to keep up with the number of characters required for a scene.
Not least his radical retuning of Cinderella herself to today’s (feminist) sensibilities, delivered with a lightness of touch that is more impactful. She has always wanted to be an explorer, and in turn Lane explores new possibilities for her character.
Add Slater’s witty songs, a nod to The Wizard Of Oz, a notable decrease in Lane’s propensity to bottom-burp gags, and Cinderella is a breath of Scarbodoria fresh air to rival the North and South Bay.
“The most important thing is to be good,” concludes Fairy 23780, sorry, Mandy. A good point on which to finish a very good show. Box office: 01723 370541 or sjt.uk.com
Roger Parkins’ larger-than-life Pumpkin in Cinderella
Did you know?
NEXT year’s SJT “Chrtistmas Spectacular” will be Beauty And The Beast from December 1 to 30. Tickets are on sale already.
Bottled up: Simon Slater as heavy-drinking, voyeuristic photographer Derek Eveleigh in Douglas Post’s Bloodshot
REVIEW: Simon Slater in Bloodshot, in The Round, Stephen Joseph Theatre, Scarborough, 7.30pm tonight; 2.30pm, 7.30pm tomorrow. Box office: sjt.uk.com/whatson or 01723 370541
SIMON Slater in Bloodshot? Make that a quartet of Simon Slaters in Bloodshot, a one-man, four-part noir tale of murder, vaudeville, magic and jazz, wherein he plays a booze-addled London photographer, a ukulele-strumming Irish comedian, an American saxophonist and a Russian magician.
In this Covid-restricted new theatre age of small casts and bubbles, Scarborough-born Slater’s Swiss Army Knife of skills makes him perfect for the Stephen Joseph Theatre’s return to live performances when even the Christmas show, The Snow Queen, will be a solo piece for Polly Lister.
Save for a quick look-around the Pavilion Theatre on the Cromer Pier while on holiday in Norfolk earlier this month, Wednesday night marked the first time CharlesHutchPress had set foot in a theatre auditorium since Pick Me Up Theatre’s Tom’s Midnight Garden at Theatre @41 Monkgate, York, on March 13.
Rather than the clock striking 13, time came to a devastating stop for theatres only three days later, but the SJT has come out of hibernation this autumn, first for films upstairs in the McCarthy and now for theatre shows too.
A one-way system is in operation at the former Odeon Art Deco building, where you still enter through the familiar glass doors, but exit by the usually unseen back stairs. You take a temperature test, screen the NHS test and trace app, apply hand sanitiser and make your way to your seat, rather than to the bar, although drinks can be ordered from the ushers, ever busy on the stairways with trays in hand and sanitiser at hand.
No exhibition is in place on the corridor, no programmes are available, but the shop is still open.
The camera never lies…or does it in Bloodshot?
The 569 capacity in The Round is reduced to 80 for this show, with the audience on three sides only, each available socially distanced seat marked with a tick that makes you feel positive about being back in a theatre at last.
Yet how strange it feels. Normally 80 in the house would represent a flop; now it is a full house and a cause for celebration. Wearing a mask throughout your time in the building is the new norm. We must adjust, and so must the performer, as Slater observes. “You know that theatre expression, ‘you can’t hear a smile’. Well, now you can’t see one either,” he says, comparing his experience to playing to 70 Lone Rangers.
It feels good to break the ice with the first laugh and to burst into applause when Slater sings a song like an Irish variation on George Formby, or plays the jazz sax from behind dark glasses or munches his way through razor blades before regurgitating them on a piece of string in a magic routine rooted in his childhood love of Dinsdale’s, the Famous Joke & Trick Shop on the Scarborough sea front.
Now an associate artist at the SJT, Slater knows the theatre well, just as he knows Bloodshot well. He has chalked up 300 performances in the nine years since asking American playwright and good friend Douglas Post to write him a solo thriller over a late-night drink in a Chicago bar.
He last performed Bloodshot four years ago in Chicago before returning to the “only one-man thriller I’ve ever heard of”, but now attuning to the loneliness of the socially-distanced solo performer at the Watermill Theatre, Newbury, for four weeks this autumn under the fluent direction of Patrick Sandford.
Now comes the Scarborough finale, preceded by a Monday night rehearsed reading with Jemma Redgrave of Simon Woods’s brutally honest political satire, Hansard.
On a knife edge: Simon Slater as the Russian magician in Bloodshot
Slater’s Derek Eveleigh, enervated and broken, is standing on a bridge, contemplating suicide as the play starts at the end. Aided by back-projected photographic slides, music and video, Slater is at once narrator, protagonist and character actor, to go with his aforementioned deft skills of magic and music and his ear for an accent.
The setting is London, 1957, and Eveleigh reveals he is a former policeman whose photography of murder scenes brought on the alcoholism and Post-Traumatic Stress Disorder that led to his dismissal.
He has since made a career of filming women in public, but has fallen on hard times, and when a mysterious envelope arrives from a stranger asking him to take secret pictures of an elegant young Caribbean-born woman, Cassandra, in Holland Park, the reward is too handsome to refuse.
Eveleigh is sucked into a seedy Soho nightlife suffused with dubious underground characters: the ageing Irish comic, New York sax player and club-owning Russian magician. Witnessing a bloody event, he vows to learn the truth, in particular how the three shady men, with their differing, contradictory stories, were connected to Cassandra.
Making light of a damaged shoulder, Slater says the show is “absolutely knackering”, but he throws himself into the murky maelstrom, combining his set-piece skills with a potent psychological portrait of the increasingly troubled, infatuated, sensitive Eveleigh, who is no angel among villains in a convoluted but increasingly rewarding murder mystery with surprises to the last.
A thrilling night in every way as theatre makes its SJT comeback.
Down on his luck: Simon Slater as Derek Eveleigh in Douglas Post’s thriller Bloodshot. Picture: Mark Brenner
SIMON Slater, Scarborough-born actor, musical director and composer, is revisiting familiar ground on his return to his hometown.
From Wednesday to Saturday at the Stephen Joseph Theatre, he will perform Douglas Post’s Bloodshot, a one-man, four-role thriller he premiered nine years ago.
“This autumn, I’ve been doing it four weeks at the Watermill, Newbury, playing to a socially distanced 80-capacity audience, then I finish with five performances in The Round at the SJT,” says Simon.
“Doing a one-man show, you’re so alone. One stage manager and a lighting guy at each venue, as technically, it’s quite a big show with slides, music and videos.”
Alone, yes, but Simon fills the stage with four contrasting characters in Post’s gripping yarn of vaudeville, murder, magic and jazz, wherein the central character is Derek Eveleigh, a down-on-his-luck, yet skilled photographer in 1957 London.
A mysterious envelope arrives from a stranger asking Eveleigh to take secret pictures of an elegant young woman as she walks in Holland Park. The reward is handsome, but the irresistible assignment takes a sudden, shocking turn.
“I think to myself, ‘why am I doing this? No-one to talk to for two hours except me!” says Simon, who has performed Bloodshot 300 times
Entangled and compelled to understand, Derek is led into a seedy Soho nightlife populated by dubious characters: an Irish comedian, a New York saxophone player and a Russian magician.
“An Irishman, an American and a Russian…it sounds like the start of a joke, doesn’t it?!” says Simon, who calls on his diverse skills to play them all under Patrick Sandford’s direction.
What have they to do with the bloody event Eveleigh has witnessed and how are these men connected to the woman in Holland Park? In attempting to learn the truth, Eveleigh will find his whole life being turned upside down.
Simon has been involved with the globe-trotting Bloodshot from the very start. “Douglas Post is an American writer, who wrote a thriller called Earth And Sky that I did at the Nuffield Theatre, and we became mates. I was holidaying in Chicago, where my brother has a house, and we met up in a late-night bar, where I said, ‘Go on, Douglas, write me a play.”
Post duly did so, incorporating Simon’s mastery of magic, composition and ear for accents. “I’ve always done magic since I was a kid, when there was a magic shop on the Scarborough front called Dinsdale’s [Famous Joke & Trick Shop],” he says.
“He knew I was a musician too, so I get to show off all my meagre talents! There I am, on stage, talking to myself in a schizophrenic way in various accents. I offend everybody equally by stereotyping three nations with my accents…but offending in a nice way!”
On a knife edge: Simon Slater in the one-man thriller Bloodshot
As for the music, “I sent Douglas a CD of George Formby songs for inspiration for the Irish comedian’s ukulele song. God knows what a Chicago writer would have made of that!” recalls Simon, who has been teaching saxophone on Zoom during lockdown and beyond, by the way.
He has performed Bloodshot around 300 times, in London, Canada, Vienna and Chicago. “But never Scarborough…until now,” he says. “I last did it in Chicago four years, and the dialogue did come back quickly when I started rehearsing for the Watermill run.
“But if you think too hard, you have no idea where you are and sometimes you can’t remember a particular word. Like the other night, when I couldn’t remember ‘boat’. My late father [celebrated one-legged Prospect Of Whitby yachtsman Arthur Slater] would be turning in his grave!
“I talk side to side, back and forth, like schizophrenia, but if you get the timing wrong, it’s most extraordinary. I remember when I forgot my line as Derek and the Russian magician prompted me and felt very smug at doing that. It’s a complete internal conversation that’s going on.”
Simon describes the experience of performing Bloodshot as “absolutely knackering”. “I think to myself, ‘why am I doing this? No-one to talk to for two hours except me!” he says.
“It’s the only one-man thriller I’ve ever heard of, and whether my body can hold up, we’ll see, as I damaged my shoulder playing squash with my son. My rotator cuff. It’s b****y painful. My squash days are over, which is a relief…especially for my son!”
Simon Slater and Jemma Redgrave: Rehearsed reading of Simon Woods’ Hansard at the SJT tonight (October 19)
Simon, who played Sam Carmichael in Mamma Mia! in the West End for five years and appeared regularly as Inspector Kite in The Bill, will be doing one other performance while back in Scarborough: a rehearsed reading of Simon Woods’ brutally funny political satire Hansard tonight (October 19).
SJT artistic associate Simon will be teaming up with theatrical dynasty luminary Jemma Redgrave for the sold-out 7.30pm show, directed by SJT artistic director Paul Robinson, in The Round.
Premiered at the National Theatre, London, in August 2019, Hansard’s witty and devastating play takes place on a summer’s morning in 1988, when Tory politician Robin Hesketh has returned home to the idyllic Cotswold house he shares with his wife of 30 years, Diana, but all is not as blissful as it first seems.
Diana has a stinking hangover, a fox is destroying the garden, and secrets are being dug up all over the place. As the day draws on, what starts as gentle ribbing and the familiar rhythms of marital sparring quickly turns to blood-sport.
“It’s set at the time of Section 28 [banning the promotion of homosexuality in schools, enacted by Margaret Thatcher’s Government on May 24 1988] and as a play it’s a bit like Who’s Afraid Of Virginia Woolf? with a political edge to it,” says Simon.
“It was Paul who found the play – which I haven’t seen – and we’ve been rehearsing it on Zoom with my friend Jemma to perform as a reading with chairs and lecterns. Paul is yet to decide whether to stage the play next year, so let’s see what happens.”
The eyes have it; the ice has it: Polly Lister in the SJT’s poster for The Snow Queen, featuring music by artistic associate Simon Slater
Looking forward to spending this week at the SJT, Simon says: “It’s going to be quite busy! It’s almost like a career.”
Ever in demand as a musical director and composer, whether as MD for Amadeus at the National Theatre or writing more than 300 original scores for theatre, film, TV, radio and theatre, Simon has one further engagement at the SJT in the winter ahead.
Having provided the score for Nick Lane’s past four Christmas shows in the Round, he will do so again for The Snow Queen, now revised by Lane as a solo show for Polly Lister from December 4 to 30.
“The songs will all be recorded on click track and I can be in a bubble for rehearsals,” says Simon. “I’m also writing the music for Winchester Theatre Royal’s panto for four socially distanced actors, Four Dames, written by James Barry with lots of routines about dames, obviously!”
In Newbury, Simon has been adapting to performing in Covid times, the audiences masked up and distanced from each other. “You know that theatre expression, ‘you can’t hear a smile’. Well, now you can’t see one either,” he says.
“Audiences have been quite self-conscious in this new way of watching live theatre: it’s like playing to 65 Lone Rangers.”
Nevertheless, let’s celebrate that the Stephen Joseph Theatre is presenting theatre once more…and that tickets are selling well for Simon’s five performances as he prepares to play to a home crowd.
Simon Slater in Douglas Post’s Bloodshot, in The Round, Stephen Joseph Theatre, Scarborough, Wednesday, Thursday and Friday, 7.30pm; Saturday, 2.30pm and 7.30pm.
The Snow Queen will run from December 4 to 30. Box office: sjt.uk.com/whatson or call 01723 370541 (Tuesdays to Saturdays, 11am to 4pm, for both phone calls and in-person bookings).
Forming, by Nick Loaring, on show at the Flourish exhibition at Woodend Gallery, Scarborough
CINEWORLD, York, and City Screen, York are both closed temporarily until further notice after the new James Bond film, No Time To Die, was put back in cold storage until next April, a full year after its original planned release date.
However, despite the rising second wave of the Coronavirus pandemic, Charles Hutchinson continues to track and trace signs of artistic life, drive-in events and home entertainment.
Exhibition of the week outside York: Flourish, Woodend Gallery, Scarborough, until January 31 2021
RUN by Huddersfield’s West Yorkshire Print Workshop, Flourish brings together prints made by 13 nationwide artists shortlisted for this year’s Flourish Award.
Those artists are: Paulette Bansal; Suzanne Bethell; Louisa Boyd; Tony Carlton; Louise Garman; Pam Grimmond, from Markington, near Harrogate; Ian Irvine; Nick Loaring; Lucie MacGregor; Flora McLachlan; Lucy May Schofield; Claire Willberg and Susan Wright.
Back in Black: Chris While and Julie Matthews are to play an exclusive online concert for York’s Black Swan Folk Club
Online folk concert of the week: Chris While and Julie Matthews, Black Swan Folk Club, York, October 15, 7.30pm
BLACK Swan favourites Chris While and Julie Matthews will be playing this online concert exclusively for the York folk club and will conclude the night with a live question-and-answer session.
Tickets are on sale at: whileandmatthews.com/virtual-tour. “Once you’ve purchased a ticket, you’ll be able to watch the streamed performance whenever you want,” says organiser Chris Euesden. “Chris and Julie have been guests at the club and played for us in concert at the NCEM many times over the years and it’s always been a great evening.”
Joshua Burnell: One-off online concert presented by East Riding Theatre, Beverley. Picture: Elly Lucas
Folk-fused baroque’n’roll virtual gig of the week ahead: Joshua Burnell & Frances Sladen, Live In Your Living Room, October 17, 7.30pm
THE future of folk, alias York multi-instrumentalist, singer and composer Joshua Burnell, will be joined by his partner, vocalist Frances Sladen, for a one-off online concert hosted by the East Riding Theatre, Beverley.
“We’ll be playing acoustic versions of songs old and new,” says Joshua, who released his futuristic new album, Flowers Where The Horses Sleep, last month.
What can viewers expect when they head to ERT’s Facebook page https://www.facebook.com/events/365072138001228/ for the free concert? “I’m still figuring out exactly how it’ll work!” says Joshua, winner of the Rising Star award in the 2020 Folking Awards. “But we’ll definitely be sharing tales that influenced the songs, as well as reflections on how the lockdown affected our musical process.”
One man on a downer: Simon Slater as Derek Eveleigh in Douglas Post’s thriller Headshot. Picture: Marc Brenner
In search of a thriller this autumn? Head to Bloodshot, in The Round, Stephen Joseph Theatre, Scarborough, October 21 to 24, 7.30pm plus 2.30pm Saturday matinee
SIMON Slater, the Scarborough-born actor and composer with West End credits galore to his name, returns home to perform Bloodshot, Douglas Post’s one-man thriller.
In a story of vaudeville, murder, magic and jazz set in London in 1957, Derek Eveleigh is a skilled photographer but very down on his luck.
A mysterious envelope arrives from a stranger, asking him to take secret pictures of an elegant young woman as she walks in Holland Park. The reward is handsome, but the irresistible assignment takes a sudden, shocking turn. Entangled and compelled to understand, Derek is led into a seedy Soho nightlife populated by dubious characters.
Bang on! The poster for Autumn Lights’ drive-in spectacle of light on Guy Fawkes Night
Drive-in fireworks event on Guy Fawkes Night: Autumn Lights, Elvington Airfield, near York, November 5, 5pm to 8.30pm
ELVINGTON Airfield will be the setting for Autumn Lights’ spectacle of light on Guy Fawkes Night in a drive-in event billed as “York’s biggest fireworks extravaganza”.
Look out for a hot air balloon nightglow (albeit with the balloon inflation dependant on the weather), fire shows and street food at this Covid-secure evening with car parking and space to get out and enjoy the show. Find out more at Facebook.com/autmunlightsuk and Instagram @autumnlightsuk.
Arm in arm: Kathryn Roberts and Sean Lakeman reflect on 25 years of making music together
Rearranged concert of the month ahead: Kathryn Roberts and Sean Lakeman, National Centre for Early Music, York, November 17, 6pm and 8.30pm
KATHRYN Roberts and Sean Lakeman, partners in life and music, had to postpone their April 22 show at the NCEM. Now, instead, they will play not one, but two, hour-long shows, each featuring the same set list, as they mark 25 years of making folk music together.
To celebrate this milestone, the couple will revisit and reinterpret songs from the early days of folk supergroup Equation through to 2020’s album, On Reflection, with a nod or two along the way to their extracurricular musical adventures, in a whistle-stop tour through their artistic journey to date.
Limited seating will be available, each household/support bubble up to four people to be seated around small tables positioned at a two-metre social distance from others. Tickets go on sale tomorrow (October 9) at be on sale at blackswanfolkclub@yahoo.co.uk.
Visage voyage: Michelle Visage will be “spiralling through time with no way of returning home” from Scarborough Open Air Theatre next summer
Looking ahead to next summer: RuPaul’s Drag Race: Werq The World, Scarborough Open Air Theatre, June 20 2021
COMBINING music, comedy, sassiness and lavish set-pieces to “create the biggest, brashest, most utterly glorious party night of the year”, the fourth UK and European RuPaul Drag Race tour show will see “an experiment gone wrong that sends Drag Race judge and 2019 Strictly Come Dancing contestant Michelle Visage spiralling through time with no way of returning home”.
Newly crowned Season 12 Drag Race winner Jaida Essence Hall, Asia O’Hara, Kameron Michaels, Plastique Tiara, Vanessa Vanjie and Yvie Oddly will be joined by stars from the latest latest USA, UK and Canadian seasons to “journey through iconic periods of history in the hope they will find their way back to the present day”.
Tickets for the only RuPaul’s Drag Race British outdoor show next summer, plus Olly Murs on July 10 and Nile Rodgers & Chic on August 20, are on sale via scarboroughopenairtheatre.com.
Reflections on an autumn day at Holkham Beach in Norfolk. Picture: Celestine Dubruel
And what about?
Taking an autumn break in Norwich, Norfolk and on the Suffolk coast.
Simon Slater and Jemma Redgrave: Rehearsed reading of Simon Woods’ “witty and devastating” new play, Hansard, at the SJT
STEPHEN Joseph Theatre artistic associate Simon Slater is teaming up with theatrical dynasty luminary Jemma Redgrave to present a rehearsed reading of Simon Woods’ Hansard.
Directed by SJT artistic director Paul Robinson, the reading will take place in the Round at the Scarborough theatre on Tuesday, October 20 at 7.30pm.
A witty and devastating new play, Hansard premiered at the National Theatre, London, in August 2019.
On a summer’s morning in 1988, Tory politician Robin Hesketh has returned home to the idyllic Cotswold house he shares with his wife of 30 years, Diana, but all is not as blissful as it first seems.
Diana has a stinking hangover, a fox is destroying the garden, and secrets are being dug up all over the place. As the day draws on, what starts as gentle ribbing and the familiar rhythms of marital sparring quickly turns to blood-sport.
Robinson enthuses: “We’re absolutely thrilled to have attracted two actors of the stature of Jemma and Simon to bring a reading of Simon Woods’ brutally funny, but ultimately moving, political satire to the SJT.”
Paul Robinson: SJT artistic director, directing Hansard
Jemma Redgrave played the title character in four series of Bramwell from 1995 to 1998 and has a recurring role in Doctor Who as Kate Stewart, head of scientific research at UNIT. Her wide and varied theatre and film career has included the role of Evie Wilcox in the Bafta Award-winning Merchant Ivory adaptation of Howards End in 1992.
Simon Slater was born and grew up in Scarborough. He played Sam Carmichael in Mamma Mia! in the West End for five years, had a regular role as Inspector Kite in the ITV series The Bill and narrates audiobooks, such as Hilary Mantel’s Wolf Hall.
He is in demand too as a musical director, latterly for the National Theatre’s Amadeus, and he has composed more than 300 original scores for theatre, film, television, radio and theatre, not least for the past four Christmas shows at the SJT. He will be doing likewise for The Snow Queen this December.
After Hansard, Slater will perform Bloodshot, Douglas Post’s one-man thriller, in the Round from October 21 to 24 at 7.30pm plus a 2.30pm Saturday matinee.
In a story of vaudeville, murder, magic and jazz set in London in 1957, Derek Eveleigh is a skilled photographer, very down on his luck.
Down on his luck: Simon Slater as photographer Derek Eveleigh in Bloodshot. Picture: Marc Brenner
A mysterious envelope arrives from a stranger, asking him to take secret pictures of an elegant young woman as she walks in Holland Park. The reward is handsome, but the irresistible assignment takes a sudden, shocking turn.
Entangled and compelled to understand, Derek is led into a seedy Soho nightlife populated by dubious characters. What do an Irish comedian, an American saxophone player and a Russian magician have to do with the bloody event he has witnessed? And how are these men connected to the woman in Holland Park?
In seeking the truth, Derek finds his whole life turned upside down as Post’s thriller examines the turbulent human heart and keeps you on the edge of your seat in Patrick Sandford’s surprise-laden production.
The SJT has introduced comprehensive Covid-secure measures for the safety and comfort of its audiences and has been awarded both the VisitEngland We’re Good To Go industry standard mark, signifying its adherence to Government and public health guidance, and UK Theatre’s See It Safely standard mark. Full details can be found at https://www.sjt.uk.com/were_back
Bookings for Hansard go on sale from £10 from 10am tomorrow (October 2), and please note that under social-distancing restrictions, numbers are extremely limited for this one-off event.
To book for Hansard or Bloodshot (tickets already available), visit sjt.uk.com/whatson or call the box office on 01723 370541, open Tuesdays to Saturdays, 11am to 4pm, for both phone calls and in-person bookings.
