Author: Hamza Jahanzeb

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Theatre Casting News

CASTING NEWS: Cast announced for the UK premiere of Bhatia and Dada’s ‘Speed’ at the Bush Theatre, including Arian Nik (Count Dracula, Daddy Issues) and Nikesh Patel (The Devil’s Hour, Indian Summers)

(Photo credit: Arian Nik by David Reiss, Shazia Nicholl by James Corrigan)

A nurse, a delivery driver, and an entrepreneur walk into a speed awareness course… 

Abz is the UK’s leading expert on road safety and the most in-demand course facilitator north of the M25.

In an entirely average hotel basement somewhere in Birmingham, three speedsters are summoned to his class with a choice: change your ways or lose your licence.

But a routine training course quickly veers into a tumultuous group therapy session as they are forced to confront the real question: why are you all so angry?

The full cast and creative team of the Bush Theatre’s play Speed – described as a break-neck journey through the daily annoyances and deep-buried secrets that leave us spinning  – have been announced.

Hilarious and heartfelt, this world premiere production reunites writer Mohamed-Zain Dada and director Milli Bhatia after the wild success of the Olivier Award-nominated, Blue Mist (Royal Court).  The cast is Arian Nik, Shazia Nicholls, Nikesh Patel, and Sabrina Sandhu.

Speed

Written by Mohamed-Zain Dada

Directed by Milli Bhatia

Set and Costume Designer – Tomás Palmer

Sound Designer – XANA

Lighting Designer – Jessica Hung Han Yun

Movement Director – Theophilus Bailey

Fight Director – Bret Yount

Cast – Arian Nik, Shazia Nicholls, Nikesh Patel, Sabrina Sandhu

 

4 April – 17 May 2025

Monday – Saturday at 7.30 pm

Wednesday matinees – 16, 23, 30 April, 1, 7, 14 May at 2.30 pm

Saturday matinees – 12, 19, 26 April, 3, 10, 17 May at 2.30 pm

Relaxed performances – Saturday 19 April, 2.30 pm & Thursday 8 May 7.30 pm

Captioned performances – Wednesday 23 April, 7.30 pm & Saturday 3 May 2.30 pm

Audio-described performances and touch tours – Saturday 26 April 2.30 pm & Thursday 1 May 7.30 pm

 

 

 

 

Milli Bhatia is a stage, screen, and radio director, and dramaturg from East London. She is an Associate Artist at Synergy and was Associate Director at The Royal Court Theatre. Before this, she was a Trainee Director and then a Literary Associate at The Royal Court, Associate Artist at The Bush Theatre, Resident Assistant Director at Birmingham Rep and Creative Associate at The Gate Theatre. Her training includes The National Theatre Director’s Programme, and The Old Vic 12.

 

Milli is a two-time Olivier Award nominee, for her productions of seven methods of killing kylie jenner and Blue Mist, both premiered at The Royal Court Theatre. She has also been nominated for Off West End Awards, Visionary Arts Awards, EE Awards, and Asian Media Awards, and her work has received West End and international transfers, including to The Public Theater NYC, Woolly Mammoth DC, Riksteatern and The Swedish Biennale (Dramaten). Her work in theatre also includes Chasing Hares (Young Vic), King Troll (The Fawn) (New Diorama), My White Best Friend and Other Letters Left Unsaid (Royal Court/Bunker), Macbeth:Something Wicked (Donmar tour), Liberation Squares (Nottingham Playhouse/Brixton House/National tour), Dismantle This Room (Bush Theatre/Royal Court), Maryland and Baghdaddy (Royal Court).

 

Mohamed-Zain Dada, who goes by the name Zain, is a playwright and screenwriter. His first writing credit, Emily (Glitched) In Paris was for the Royal Court Theatre’s Living Newspaper series in March 2021. He is an alumnus of BBC Drama Room’s 2022-23 cohort and NFTS x Left Bank Pictures’ inaugural Diverse Writer’s Room Programme 2024. Zain’s debut play, Blue Mist premiered at the Jerwood Theatre Upstairs at the Royal Court Theatre in October 2023 to four and five-star reviews and was nominated for an Olivier Award. His second play,Dizzy premiered at the Sheffield Playhouse (co-produced by Theatre Centre).

 

Shazia Nicholls plays Faiza.  Shazia has just finished performing as Mrs Quickly in The Merry Wives of Windsor directed by Blanche McIntyre for The Royal Shakespeare Company. Before arriving in Stratford Shazia starred in The Duchess of Malfi for The Globe at The Sam Wanamaker Theatre and The Inquiry at Chichester Festival Theatre. Screenwise, Shazia recently wrapped Alfonso Cuarón’s latest series Disclaimer for AppleTV+ opposite Cate Blanchett and HeYeon Jung. Prior to this, Shazia was on stage in Margaret Perry’s Oliver award-nominated play Paradise Now! at the Bush Theatre. She can be seen in Peter Kosminsky’s, Darkness Rising, and Call the Midwife for the BBC. She is perhaps best known for her role in the critically acclaimed series, Dr Foster opposite Suranne Jones. Other credits include The National Theatre’s Antony and Cleopatra, The Winter’s Tale, and Lady Macbeth in Macbeth.

 

Arian Nik plays Samir. Arian trained at Mountview Academy. Theatre credits include: Blue Mist (Royal Court), Sokhan Begoo (Royal Court), Kabul Goes Pop: Music Television Afghanistan (Brixton House), and The Village (Stratford East).  TV and Film credits include: Daddy Issues (BBC), Film Club (BBC), Missing You (Netflix), Passenger(ITV), Count Abdulla (ITV), Giant (AGC Studios), Allelujah (Pathé), andArtemis Fowl (Disney).

 

Nikesh Patel plays Abz.  He stars in the upcoming Amazon feature film Picture This as ‘Akshay’ opposite Simone Ashley. He also recently starred in the second season of The Devil’s Hour for Amazon. Other recent highlights include series 3 of the BBC/HBO hit show Starstruck, playing the lead role of ‘Tom Kapoor’ opposite Rose Matefeo and in the feature film The Critic directed by Anand Tucker. Other highlights include ‘Kash’ in Mindy Kaling’s ten-part Four Weddings and a Funeral(Hulu) and ‘Foaly’ in feature film Artemis Fowl, directed by Kenneth Branagh (Disney). Nikesh trained at the Guildhall School of Drama and was named one of the 2010 Screen’s UK Stars of Tomorrow.

 

Sabrina Sandhu plays Harleen.  Sabrina trained at the Television Workshop. Her television credits include The Syndicate (BBC), Dodger(BBC/NBC Universal), Maternal (ITV), and the guest lead in Not Going Out for the BBC. Most recently, she starred in the critically acclaimedDinosaur (BBC/HULU) by Two Brothers, and the second series of the smash hit We Are Lady Parts (Working Title). On stage, Sabrina’s credits include Pritti Pasha in Everybody’s Talking About Jamie at the Apollo in London’s West End, I Dare You at the Nottingham Playhouse/Leicester Curve, If We Were Older for the National Theatre and East Is East for the Nottingham Playhouse. Sabrina has worked on several projects for BBC Radio and won the Best Debut Performance award at the BBC Audio Drama Awards for her work onBlack Eyed Girls (BBC Radio 4).

Speed is generously supported by Charles Holloway OBE.

Tickets 

​Tickets for Speed are priced from £25 (concessions available), with £15 ‘Count Me In’ seats available at every performance and can be booked at bushtheatre.co.uk or the Box Office on 020 8743 5050.

With a Bush Theatre season ticket, the more shows you book, the more you save.

Bush Theatre members get the best benefits, including discounts on tickets and savings at the bar. Free memberships are available for under 30s, students and local residents. See the Bush Theatre’s website for details.

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Theatre Casting News

Theatre News: Principal Cast announced for the UK premiere Of Stephen Sondheim’s final musical “Here We Are” at the National Theatre, including Chumisa Dornford-May, Jane Krakowski and Richard Fleeshman

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.

Tickets are on sale now, nationaltheatre.org.uk

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Theatre Casting News Theatre News

Theatre News: Giant returns in 2025 with West End Transfer; Lithgow and Levey to reprise roles

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.

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REVIEW: ⭐️ Here You Come Again📍New Vic Theatre, Woking

A strange throwback to the COVID-19 pandemic, coupled with a weak book and uninteresting plot make this so-called new musical one helluva’ car crash.

Continue reading “REVIEW: ⭐️ Here You Come Again📍New Vic Theatre, Woking”
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Theatre Reviews

REVIEW: ⭐️⭐️ Statues📍Studio, Bush Theatre

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.

By Hamza Jahanzeb | 16 October 2024

Photo credit: Harry Elletson

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).

Until 9 Nov 2024 only | https://www.bushtheatre.co.uk/event/statues/

** 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 **

 

 

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Theatre Reviews

REVIEW: ⭐️⭐️ Brace Brace📍Jerwood Theatre Upstairs, Royal Court

A flawed plot is somewhat rescued by strong performances in Oli Forsyth’s Brace Brace.

By Hamza Jahanzeb | 20 October 2024

Photo credits: Helen Murray Photography

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.

Until 9 November 2024 only | https://royalcourttheatre.com/whats-on/brace-brace/

** 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. **