The National Theatre today announces further casting for their forthcoming UK premiere of Here We Are, the final musical by the legendary Stephen Sondheim with a book by Tony Award-nominee David Ives (All in the Timing/Venus in Fur). After receiving its world premiere and a sold-out run in New York in 2023, this unmissable musical comedy will receive a new production in the Lyttelton theatre. Inspired by two of Luis Buñuel’s iconic films, Here We Are is directed by two-time Tony Award-winner Joe Mantello (WICKED /Assassins).
Joining this new production in London are Chumisa Dornford-May (Natasha, Pierre & The Great Comet of 1812),Jesse Tyler Ferguson (Modern Family), Richard Fleeshman (Ghost, Company), Harry Hadden-Paton (Downton Abbey), Cameron Johnson (Guys & Dolls), Jane Krakowski (30 Rock), Martha Plimpton (Sweat) and Paulo Szot (South Pacific).
They join the previously announced cast Tracie Bennett (Follies) and Denis O’Hare (Tartuffe), who reprise their roles from the original production in New York, and Rory Kinnear (No Time to Die) who will be joining this new production in London. Further casting to be announced.
Leo and Marianne Brink have found the ideal spot to take their friends. With great reviews, impeccable service and an extensive menu it seems like nothing could go wrong. But after a series of strange events interrupt their meal, they soon realise they’ve bitten off more than they can chew.
Director Joe Mantello will stage a new production with set and costume designer David Zinn, choreographer Sam Pinkleton, orchestrations Jonathan Tunick, additional arrangements Alexander Gemignani, conductor Nigel Lilley, lighting designer Natasha Katz, sound designer Tom Gibbons and casting director Bryony Jarvis-Taylor.
Playing in the Lyttelton theatre from 23 April to 28 June 2025.
Brian and Dayna Lee, Stephanie Kramer and Nicole Kramer, Josh Fiedler and Robyn Goodman, today announce a 14 week limited run for the Royal Court Theatre’s production of Mark Rosenblatt’s GIANT at the Harold Pinter Theatre in London’s West End. Directed by Nicholas Hytner (Straight Line Crazy, La Belle Sauvage) and designed by Bob Crowley, the sold-out hit which has just completed its run at the Royal Court premiered at the theatre in September 2024. The West End transfer will run from 26 April 2025 – 2 August 2025, with an opening night on 1 May 2025. For priority booking please sign up here gianttheplay.com.
Tony and Golden Globe-winner John Lithgow (Killers of the Flower Moon, The Crown) will reprise his extraordinary performance as Roald Dahl with Olivier Award-winner Elliot Levey (Cold War, Patriots, Good) returning as Tom Maschler. Further casting to be announced.
I wanted to put you bang in the picture. Appraise you of the difficulties. Because, in case you hadn’t noticed, he’s a human fucking boobytrap. And now, guess what, surprise surprise, boom!”
A world-famous children’s author under threat. A battle of wills in the wake of scandal. And one chance to make amends…
It’s the summer of 1983, The Witches is about to hit the shelves and Roald Dahl is making last-minute edits. But the outcry at his recent, explicitly antisemitic article won’t die down.
Across a single afternoon at his family home, and rocked by an unexpectedly explosive confrontation, Dahl is forced to choose: make a public apology or risk his name and reputation.
Inspired by real events, GIANT explores with dark humour the difference between considered opinion and dangerous rhetoric offering a complicated portrait of a fiendishly charismatic icon.
The production features lighting design by Anna Watson, sound design by Alexandra Faye Braithwaite and casting by Arthur Carrington. General Management is by Short Street Productions Ltd and Mark Rubinstein is Executive Producer for the West End Production.
Mark Rosenblatt says: “Premiering GIANT, my first play, at the legendary Royal Court Jerwood Theatre Downstairs has been a wonderful, dizzying and life-changing experience. Had its journey ended there, it would have been plenty. But to have Nick Hytner’s superlative production now transfer to the West End to be experienced by a wider audience is far beyond my every expectation.”
John Lithgow says: “For over sixty years, the Royal Court Theatre has been the cradle of great new playwriting. Along with writer Mark Rosenblatt and director Nick Hytner, they have launched another remarkable new play. I am happy and proud to be a part of its first trip out into a wider world.”
Brian and Dayna Lee say: “Since first reading Mark’s debut play, we have been anticipating audiences experiencing his extraordinary work. After sold-out houses and a thrilling debut at the Royal Court, we are ecstatic to bring GIANT to the West End with the astonishing John Lithgow as Roald Dahl. Along with our partners Stephanie Kramer & Nicole Kramer and Josh Fielder & Robyn Goodman, we are looking forward to audiences having the opportunity to experience this bold, brave and pivotal piece of theatre that stays with you long after the curtain comes down.”
David Byrne, Artistic Director of The Royal Court says: “Mark Rosenblatt’s GIANT is an astounding debut play brought brilliantly to life in Nicholas Hynter’s thrilling production. I am incredibly proud to have had GIANT as part of my first season at the Royal Court, with both Mark and Nick making their Royal Court debuts. With the exception of our famous Monday night rush seats, GIANT sold every available ticket for its premiere run at the Royal Court before its first preview. I am therefore delighted that it is transferring to the West End, led by the incomparable John Lithgow, so that more audiences can get the pleasure of experiencing this gripping new play.”
The Royal Court’s production of GIANT will be produced in the West End by Brian and Dayna Lee, Stephanie Kramer and Nicole Kramer, Josh Fiedler and Robyn Goodman.
★★★★★ – The Times
★★★★★ – The Observer
★★★★★ – Mail on Sunday
★★★★★ – The Standard
★★★★★ – Sunday Express
★★★★ – The Guardian
★★★★ – The Independent
★★★★ – The Daily Mail
★★★★ – The Financial Times
★★★★ – The i News
★★★★ – TimeOut
★★★★ – The Daily Express
GIANT is generously supported by a lead gift from Charles Holloway, OBE.
Azan Ahmed’s play about a young Muslim man’s journey towards discovering his father provides ample opportunity to tell the story of those on the margins, but is let down by its unoriginality.
The Bush Theatre has, in recent years, brought their A-game when it comes to commissioning new writers and minorities voices to the fore, so it was a surprise to me that I hadn’t visited their smaller, studio space until I came in to see Statues.
If you make a sharp right from the entrance (opposite the Shepherd’s Bush tube station), it’s mere steps hidden away space which houses circa. 40 seats. Intimate, you could say. I even catch a glimpse of an actor in The Real Ones being directed by Stage Manager on duty during a performance taking place in the larger Holloway theatre. Risky business. However, starting the performance of Statues at 8pm meant that there were no further interruptions for the cast, otherwise that could have leant into a programming nightmare.
I was invited to come to this smaller space to seer Azan Ahmed’s Statues. The premise for it is simple: A young Muslim man grieves his father who we find out died ‘in his sleep’, and is collecting his possessions from an estate in South Kilburn (SK) and comes across a cassette player which reveal his pious religious self the son knew his father for was predetermined by a phase as ‘Double MC’, a wannabe MC with dreams of getting a record deal with Sony Music. As a teacher in the local area, he mentors – or fails, some would say – his young Muslim pupil Khalil who dares call Hamlet as a ‘radical.’ Consequences are felt by all characters, but it meanders in ways so as not to have one focus in reality. On paper, it reads as an intriguing play about discovering a father’s old cassette tapes.
Though, as it unfolds, we are given much of what previous playwrights have brought: a ‘Prevent’ policy, gentrification and sadly loss. Where this play sparkled were in its flashbacks of the 90s, where the two men on stage (Ahmed as his characters father, meanwhile Johnny Khan as ) grab wired mics and treat the audience to an electrifying live rap. It just felt like there were three plays in this one play, and it needed work to make it much more focused. It felt like it was a first draft, in desperate need of a robust edit.
The set comprised of a solid, brick-like tower block: 50 Wordsworth Drive, in SK (south Kilburn). Yet another play about prevent and gentrification, I thought. I’d be lying if Yusuf didn’t remind me of my experiences: read English (albeit at Oxford), and then went on to be a teacher (I give talks to students considering Publishing), though it really sparkles when we heard the narrative of his father. It’s an uneven play, with gliders of but ultimately flawed. Even at 85 minutes, it’s in need of an edit and a sharp understanding of the thorough exploration of grief: and more importantly, to redeem itself from being yet another “Prevent-play”. Sadly, the lack of women in the play are notably evident: the gamified acting of the auntie (Dolly) doesn’t land as intended, bordering on cringe as opposed to endearing.
Similarly, Yusuf’s mother seems to act as a a mere plot device where there could have been an interesting interrogation of separation which isn’t common in traditional Pakistani-Muslim families. I wanted her story, and I was sadly denied it.
Had this play been about Mustafa, and his experiences alone I guess that’d be much more an exciting trajectory instead of bringing it to the Prevent-Plays we’ve grown accustomed to. It’s almost as though there’s a level of oversaturation and this is sadly where it misfired, despite fun live performances (which as a stand-alone, would have been excellent viewing).
** N.B. This is an honest review, in exchange for a gifted / complimentary ticket. The reviewer has written this with their editorial control, with no external influence on how to frame the show. #AdvertisementFeature #PRInvite #Gifted #ad **
Sylvia (Anjana Vasan) and Ray (Phil Dunster) are two lovers at the heart of the latest drama to grace (brace? SORRY) the upstairs space of the Royal Court. It details the story of lovers as they survive a plane hijacking, and have to decide how they will move on with their lives after one of them really did help to save the entire aircraft of crew and passengers. Ideally, I’d love to have seen a one-woman play with Sylvia as a matter of fact (the heroine in all of this), and her grounded. Instead, Forsyth chooses to splay the dialogue across the couple with a third actor to play several roles, including the Hijacker himself (played terrifyingly by Craige Els). We also have an odd choice to have a fellow survivor Layla (Leila?) whose father is also played by Els.
Now, to begin with, I did enjoy the way that the set was designed and the runway-inspired (no, not the RuPaul kind) staging was quite groovy as far as sets go. Given the small intimacy, it was nice to see a metre feet between the actors. There were no moments at which the actors had their backs to the audience for too long.I must admit I was expecting for the set to half-move in some way shape or form – perhaps level the runway set – but it remained stationary for the duration to my dissatisfaction. Given the brilliance of what was achieved with Blue Mist, it felt like the lack of innovation in the set was a misfire, when this could have been remedied with a turbulence-free vision by the creative team.
That is not to say, however, that the immersive experience was below par; in fact, at times I did feel like I was in a metal tin-can ready to take flight (or descend in this hijacking’s case). The mixing of the sound and lighting created a superb illusion, and almost too real at times. This play is not the kind of plane for anyone who’s afraid of flying, that’s for sure!
The writing in this play sadly didn’t lift off, but had its moments of sparkle on an intermittent basis. More specifically, it holds a mirror up to couples whereby the power-dynamic is evident: Ray is clearly threatened by Sylvia’s standing in life, and I found that ought to have been explored more. The conviction of Vasan and Dunster as the couple provides a believable portrayal of straight relationships, despite the reality lived being somewhat lacklustre and beyond the imagination. Vasan stands out as the strongest actor (most recently seen in Wicked Little Letters and opposite Paul Mescal in A Streetcar Named Desire) and Dunster’s (Ted Lasso) portrayal of Ray is satisfactory thouugh I note that his accent switches between two resulting in lack of considered consistency. There’s a particular scene where the character of Sylvia is interviewed on television, and this is where I felt Daniel Ragget’s direction was at its most creative. The screens either side of the stage show the live interview. Otherwise, the first half felt like too much walking around involved (*almost* a health-and-safety hazard for the actors on stage, not instilling confidence in the audience members watching).
Overall, this is a show that shines a light on a honeymoon gone wrong (how many people do you know have had their plane en route to honeymoon hijacked?). It could have benefitted from a sharp edit of the plot points and attention paid to the dialogue. The ‘pilot’ of this show needed a Sylvia-esque rescue, but sadly its too far-fetched a plot failed to bring any sense of momentum for a sustained period.
** Note: I paid £15 for my ticket, with the 30 and Under scheme that the Royal Court partakes in. I won’t be 30 for much longer, and am making the most of this offer for those who can benefit from a concession rate. I have not been gifted the tickets in this instance, and the editorial line in the above review is all my personal control and from what I saw on the stage with no external bias/influence/portrayal of the material on stage. **
Gulati and Syal prove they are titans of the stage in this gripping, thoroughly-researched story exploring the lives of a family who suddenly come to terms with an Alzheimer’s diagnosis.
From L-R: Marc Elliot (Gopal), Natalie Dew (Kamala), Meera Syal (Queenie), Shobna Gulati (Indrani) Zubin Varla (Ameet) and Raj Bajaj (Raj) in A Tupperware of Ashes (2024).
“[I got into the role] by waiting for a part that I can connect on every level. And for me this was such a personal project because I do feel like I am telling our parents’ stories […] With this role, I relive what I felt and saw every night. Whilst it’s painful, it’s also an honour. It’s a conversation we need to have. And for me, that’s what theatre is about.”
– Meera Syal on BBC Woman’s Hour (10 October 2024) with Anita Rani discussing A Tupperware of Ashes.
A diagnosis of Young-onset Dementia can be a debilitating experience for any family, so to centre this is as the focus of Tanika Gupta’s play is a rather bold choice. After having recently had her play The Empress performed at the Lyric Hammersmith and the RSC, A Tupperware of Ashes brings Gupta back to the South Bank and for the second time at the NT (her first outing was with The Waiting Room in 2001).
This play’s modern setting is a far cry from The Empress; instead Gupta focuses on a family’s unravelling as the head matriarch is given her diagnosis. The Creative team – including Meera Syal, Tanika Gupta and Shobna Gulati – have all experienced the disease affect their own loved ones.
A Tupperware of Ashes offers catharsis to families affected by the illness and further, it sheds a light on the often heart-wrenching trajectory. It’s a rallying cry to bring humanity to people whose own lives are left in an uncontrollable state.
Before I get into the show itself, I firstly must tell you all of my experiences in this smaller theatre space which is only a hop, skip and jump from the two main stages – the Olivier and Lyttleton stages – of The Royal National Theatre of Great Britain (more commonly known as the National Theatre, or NT). I’ve seen some brilliant verbatim theatre (Grenfell: In Their Own words) and most recently popped by to see Katori Halls’s TheHot Wing King – which really levelled up the possibilities for me in terms of what can be achieved in the space. In similar fashion to that excellence, Gupta’s A Tupperware of Ashes – directed by Lotus Beauty director Pooja Ghai – is created with Rosa Maggiore on the set design and Matt Haskin’s lighting. This, coupled with Nitin Sawhney’s music really does allow for a well-balanced transitions between scenes. It is a feast for the ears hearing the music that lifts, elevates and transports the audience with it in this piece.
The direction always engages the audience member, as you take a front seat in the lives of the Mukherjees. One moment you may be rooting for gay son Gopal (played brilliantly by Marc Elliott mixing the perfect amount of being non-conforming vs. being the dutiful, doting son); the next, the ever-so-diligent medical school attendee Kamala (Natalie); or even for Raj (Raj Bajaj), whose character arc as the eldest never strays into the stereotyped territory.
“ Is my life worth living? Did I make a difference?”
A Tupperware of Ashes (2024)
As Queenie’s best friend Indrani, Shobna Gulati (dinnerladies, Coronation Street, Everybody’s Talking About Jamie) truly brings a marvellous invitation to a character the audience lap up every given moment they’re on stage. On the night I attend, there are belly laughs and a comedic charm that Shobna’s Indrani possesses with ease. From the very moment Gulati graces the NT stage adorned in a gorgeous silk gown and holding a glass of bubbly, it’s hard not to keep your eyes on them. It’s also difficult to believe that this is their debut at the NT, for they oozes warmth and a confidence that only seasoned professionals emulate.
Gulati’s own understanding of the topic – her own mother died after being diagnosed with dementia – means that there’s a thorough authenticity, understanding and nuance from within for many of the Creatives involved with the play. There’s verve, and versatility in the acting – be it the sisterly bond that many from links to the Indian subcontinent will see themselves reflected in- but also the more touching moments towards the end that are universal to the shared human experience.
There were several occasions in this production whereby I too was really impressed with the illusions (designed and directed by John Bulleid, of Harry Potter and the Cursed Child fame) which had fellow audience members and I audibly gasping (!) at the magical moments on stage. Rosa Maggiora’s set is similarly profound and sumptuous. The tender unravelling of Queenie’s mind is showcased with threads, possibly showcasing the inside of her brain as jolts of electricity. Either way, the audiences are invited to the zapping away of ordinary function as Queenie deteriorates. Bring your tissues as I’ve never felt so overcome with emotion in a piece that it was comforting to hear the sound of grown men sob in the audience.
I’d also like to highlight the colour-palette for this show, which is steeped in shades of blue, a motif of the ripples that comes with sinking into an illness in an uncontrollable manner; the auditorium is bathed in a haze as you enter, and the engulfing of a illness truly takes the audience members into the piece.
From L-R: Meera Syal (Queenie), Zubin Varla (Ameet) and Shobna Gulati (Indrani) in A Tupperware of Ashes (2024)From L-R: Meera Syal (Queenie) and Marc Elliot (Gopal) in A Tupperware of Ashes (2024).
As a duo, both Syal and Gulati give honest, believable performances (one a perfect masterclass in comedic timing, the other in how disease takes hold of a strong personality) that draw you leaving you hungry for the next instalment of their friendship (I hope there’s a prequel somewhere in the works!). There’s bags of laughter in Gupta’s script (despite the rather sad topic), and even a cameo of Asma Khan’s (of Darjeeling Express/Netflix Chef’s Tablefame) cookery books which again bring the piece up-to-date to the 2020s.
Ameet, the somewhat omnipresent late husband of Queenie is played with a sense of hamminess by Zubin Varla (Fun Home, A Little Life, Tammy Faye); however, we do get to witness his stunning voice in the second act — “Still the Stars will Shine”, with a backdrop to Nitin Sawhney’s stunning compositions.
From L-R: Raj Bajaj (Raj) and Meera Syal (Queen) in A Tupperware of Ashes (2024).
Now onto Ms. Meera Syal herself, whose BAFTA fellowship was awarded in 2023. Here, away from her Goodness Gracious Me characters, she plays a more serious role as head matriarch, Queenie. The performance is full-bodied, a very nuanced perspective of a woman whose intergenerational trauma is lived on the stage. There’s care, attention and a visceral depth informed by Syal’s personal experiences of having parents with the illness. The stages of the illness are clearly explored, and the change to the brain are reflected in electric lighting moments. The physicality with which Syal showcases the manifestation of the illness is to be heralded as a success, proving why she’s one of the nation’s strongest actors.
Earlier in the play, Syal’s Queenie is filled with bitterness and disdain for her children; the constant sniping attacks to the partners of her children prove to be too much for the trio birthed by her. Essentially, she comes across as a horrible mother and one whose sympathy is gradually won over by the end. I was a fan of Syal showcasing the loss of muscle strength with the usage of a crab-like hand-pincer movement to depict the final stages of the cruel disease. Her physicality and research into her character is suitably impressive. In one of the most poignant scenes, we watch as a Syal plays Queenie devoid of any human emotion, sat upright in a chair as family members come to visit. The piece covers the COVID-19 period showcasing the glass screens (remember those?) where families weren’t able to hug their loved ones.Ghai’s direction here distills the isolation felt by all whose worlds Queenie orbits.
As far as theatre nights go, A Tupperware of Ashes is a superbly entertaining evening to feel high emotions, but also enjoy those laughs that Syal and co. can deliver effortlessly.
Do what you can to get yourselves to the South Bank to see this exceptional production, that’s VERY nearly sold out: it’s not every day that we are blessed with a predominantly South Asian-led cast and creative team at the NT, so well done to Rufus Norris’ outgoing team for showcasing British South Asian excellency (there are, after all, 5.5 million of us as recorded in the last Census). I’m very excited to see what the new incoming Artistic Director’s (Indhu Rubashingham) vision for the venue and what they’ll also bring to the table.
Go see Tanika Gupta’s new play if you want to see two of the nation’s most prolific actors in a strong play that manages to leave a lasting impression. With this thought, I very much look forward to Gupta’s next work and hope it isn’t another twenty-four years before her works grace the NT once again given the sheer poignancy of this piece.
** N.B. This is an honest review, in exchange for a gifted / complimentary ticket. The reviewer has written this with their editorial control, with no external influence on how to frame the show. #AdvertisementFeature #PRInvite #Gifted #ad **
* CREDITS & TICKET / LISTING INFORMATION *
Writer Tanika Gupta
Director Pooja Ghai
Set and Costume Designer Rosa Maggiora Lighting Designer Matt Haskins
Composer Nitin Sawhney
Sound Designer Elena Peñ6a
Illusions Director and Designer John Bulleid Movement Director Anjali Mehra
By 
