Also online this week

Wigmore Hall Highlights

Content by Albion Media

Elias String Quartet; Jonathan Biss piano Schumann

The ensemble’s regular collaborator Jonathan Biss joins them for a programme whose centrepiece is the second of Schumann’s quartets – a work of immense melodic immediacy and charm – and which ends with the most popular of all his chamber works. 28 September 7.30pm.

BBC Radio 3 will broadcast this concert on Monday 1 October at 7.30pm and it will be available on the BBC iPlayer Radio for 30 days.

Steven Isserlis cello; Connie Shih piano Composers and their Muses

Steven Isserlis highlights significant relationships between Clara and Robert Schumann, Vitezslava Kaprálová and her teacher Martinů with her 1940 Ritournelles, and Augusta Holmès and her teacher César Franck with an extract from her 1895 scène lyrique. 29 September 7.30pm.

Manuel Walser baritone; Anano Gokieli piano Brahms, Rachmaninov and Strauss

A creative engagement between voice and piano in a programme of textual sensitivity and heightened lyrical expression. 30 September 7.30pm.

This show takes the audience through the mind and daily life of an emerging actor. It explores the fascinating touch of madness a career in performing arts often offers, as well as its challenges and pitfalls. October 8th-13th.

Content by Chris Hislop

Beautifully moving between physical theatre, musical theatre and spoken word pieces, the show offers a light-hearted but deep and thought-provoking night of entertainment.

‘What a crazy paradox there is. The industry that is based on pure beauty, whether it is the beauty of people’s minds, if one writes; people’s hands, if one paints, or plays a musical instrument; people’s selves, souls, thoughts, talents, auras, energies, makes you yourself feel so ugly. Creating that beauty in any way, serving it to others, you crush your own soul, spit on it, mould it, destroy it with mind-eating doubts, hesitations, and self-beating. It celebrates flaws and imperfections, but almost never forgives you your own.’

After graduating in BA (Hons) Theatre Studies, Kate, a firm believer in creating her own career opportunities, collaborated with a British director Dan Pickard on turning her final degree performance into a short film, named ‘The Allure de Moi’. The film was received very well, and got good reviews. (No) Leaves On My Precious Self is Kate’s debut in playwriting, and as a theatre director, and transfers to the King’s Head Theatre following a successful production at The Drayton Arms Theatre.

“The King’s Head Theatre was established in 1970. Passionate about championing ethically produced fringe theatre, we are known for our challenging work and support of young artists. Last year 116,151 audience members saw a show of ours: 44,607 at our 110-seater home on Upper Street and 71,544 elsewhere. At our home in Islington we had 774 performances last year of 95 different shows. We are committed to fighting prejudice through the work we stage, the artists and staff we work with and by producing work for minority audience groups. We believe in fair pay for all on the fringe and create accessible routes for early career artists to stage their work; work we are passionate about. Last year we announced the theatre is on the move. Subject to a fundraising campaign, the King’s Head Theatre will move into a custom-built space in the heart of Islington Square, directly behind its current home securing the future of the venue for generations to come.”

In a unique collaborative programme, Ovalhouse’s autumn season brings together an outstanding collection of six new shows plus seven FiRST BiTES that, for the first time, are all coproduced in-house by Ovalhouse.

Content by Chloe Nelkin Consulting

This season’s pertinent theme of care highlights both the theatre’s enduring passion for nurturing emerging artists – every production in this season started its life at Ovalhouse – as well as the way all of the plays deal with how we care for one another. 

Ovalhouse are dedicated to supporting artists with important voices to create radical and innovative theatre.  In a time when our government retreats from the provision of social care, it is telling that these artists all, in very different ways, explore the complex ideas of who provides care, who needs our care and the challenges faced when this care is stripped away.  Exploring the world through the lens of poverty, child welfare and the trans experience, the season journeys through comedic highs and harrowing lows, whilst welcoming diverse audiences of every age.

Kicking off the season is Annie Siddons’ Dennis of Penge which explores poverty, addiction, friendship, ecstasy, love, and chicken shops.  The restless new thriller POT from Ambreen Razia (The Diary of a Hounslow Girl) reveals the hidden lives of Britain’s invisible children, adrift in the care system at the mercy of gang culture.  Meanwhile, Chris Goode (Monkey Bars, Men in the Cities) returns to Ovalhouse for a three-week run with his latest solo performance Mirabel, exploring what it means to be lost.  The season will conclude with a joyful and irreverent new adaptation of the classic story Snow White by award-winning The Wrong Crowd, crafted from an intriguing formula of the finest puppetry, toe-tapping live music and dazzling humour.

In addition to their unique programme of FiRST BiTES that give artists the chance to stage their work in front of an audience for the first time, Ovalhouse also continue their Young Associates scheme.  The six new fearless and daring young artists who will gain the invaluable opportunity for a full year’s mentorship and financial support to develop their work will be programmed as part 2019 summer season’s FiRST BiTES.  With the theatre’s care and guidance, these FiRST BiTE productions can develop into full-length shows such as Spun Glass Theatre’s previously sold-out show Princess Charming and award-winning poet Nick Makoha’s The Dark that tells the vivid and moving story of the migration he made, at the age of four, with his mother. 

Ovalhouse’s Executive Producer, Stella Kanu, comments, It is a lie that our societal and familial broken parts don’t harm us on deep, sometimes hard-to-repair, levels.  Harmonising the souls of our children, our communities, our broken and even high-achieving adults, has got to matter. How else will we heal from the devastating effects of lopsided wealth creation, and the personal and familial trauma associated with poor housing, poverty and lack?  When we reach our potentials, will it be in a bubble made by our own hands?  Or something richer, much more collective in nature, but built on feeling personally and individually strong and empowered?

Kanu’s powerful words resonate throughout this season, seen pertinently in some of the FiRST BiTES; Wonder Girl tells the true story of child protection lawyer Eva Edo who explores the notion that children in care are in fact superheroes who escape into their own surreal worlds to survive.  Additionally, Travis Alabanza explores the ways in which the collective care of public spaces is not afforded to transgender bodies.  While many of these plays are set against a backdrop of neglect, abandonment and loss, a strong and hopeful light shines through these stories.  All of these characters eventually find community, solidarity and self-empowerment. Even the most famous abandoned child in our season, Snow White, finds a troupe of seven moles who can help her to change her future.

Look out for...

Details for all the exciting Jazz shows that will take place at The Other Palace and St John’s Smith Square as part of this years EFG London Jazz Festival. This is the third series for the EFG London Jazz Festival at The Other Palace and with the largest number of concerts confirmed to date. Links here.

Dido and Aeneas: A funeral for the Queen of Carthage – Academy of Ancient Music. Visionary director Thomas Guthrie presents a new semi-staged production of Purcell’s poignant tale of love and loss, widely regarded as the greatest English opera of its time. Barbican 2 October 7.30pm.


Outlaws and Outsiders – American soprano April Fredrick and pianist William Vann present a rich and dramatic programme of both familiar and obscure American song. This recital celebrates the figures who lie on the fringes of society, from reclusive Emily Dickinson to outlaw Billy the Kid to exiled poet Robert Graves to iconoclast Charles Ives. St John’s Smith Square 4 October 7.30pm.

Love, Genius And A Walk – Mahler’s love life examined by Freud in returning play at the Drayton Arms. Mixing a modern love story with fact-based historical drama, Love, Genius and a Walk continues its London pub theatre tour in October with dates at the Drayton Arms and Etcetera Theatre. 7 and 8 October Drayton Arms Theatre.
October 12th – 14th, 7.30pm – Etcetera Theatre

Coming to Theatre N16 in Autumn 2018, this unauthorised parody musical of the smash American hit TV show Breaking Bad condenses the 62 hour, 5 season smash hit and award winning story in the 10th anniversary year of the show.

Content by Chris Hislop

Coming to Theatre N16 in Autumn 2018, this unauthorised parody musical of the smash American hit TV show Breaking Bad condenses the 62 hour, 5 season smash hit and award winning story in the 10th anniversary year of the show.

“I Am The One Who Rocks!”

When milquetoast chemistry teacher/car wash attendant Walter finds out that he has incurable lung cancer, he turns to cooking crystal meth in order to provide for his family and pay his medical bills. A brilliant concept – but Breaking Bad is pretty bloody long, and it gets awfully serious. Well, Say My Name! – The Unauthorised ‘Breaking Bad’ Parody Musical condenses the story of everyone’s favourite 62 hour bingefest into a 90 minute musical comedy. The show is performed by a cast of 6 actor-musicians who will play, sing and rattle through all 5 seasons, and have you laughing all the way.

Rob Gathercole, who conceived the show and wrote the music and lyrics, was inspired to write the show when he finished his second viewing of Breaking Bad, and realised that no-one else had written a musical version yet. “I’m such a massive fan of the show, and can think of no better way to pay tribute to it than by shamelessly ripping it off and adding loads of jokes and songs.”

The company is mostly comprised of graduates from Rose Bruford College’s unique ‘Actor Musicianship’ course. Between them all, they play guitar, bass, drums, piano, violin, flute, saxophone, trumpet and the keytar among others, all of which you can expect to see in the show! The original score is an eclectic mix of many different styles, including country, rock, rap, latin, swing and everything in between!

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