#UK theatre

[canyousonicme]

Cast announced for "The Other Boleyn Girl" stage adaptation

The show features in Chichester Festival Theatre’s new season

As part of its upcoming 2024 season, Chichester Festival Theatre will present The Other Boleyn Girl, adapted by Mike Poulton from Philippa Gregory’s novel.

Gregory’s novel is set against the backdrop of Henry VIII’s court, where Mary Boleyn finds herself entangled in her family’s quest for power as Henry’s mistress, while her uncle schemes to place her on the throne amid Queen Katherine of Aragon’s inability to produce a male heir. However, Henry’s attention shifts to Mary’s sister, Anne.

The cast includes Jacob Ifan as William Carey, Kemi-Bo Jacobs as Queen Katherine, Alex Kingston as Lady Elizabeth, Peter Losasso as Francis Weston, Freya Mavor as Anne Boleyn, Lily Nichol as Jane Parker, Lucy Phelps as Mary Boleyn, and Andrew Woodall as the Duke of Norfolk. Chris Green and Sarah Harrison provide musical accompaniment.

Directed by Lucy Bailey, it runs from 19 April to 11 May at the Festival Theatre. Joanna Parker serves as the designer, with Chris Davey handling lighting design, Orlando Gough composing the music, Beth Duke managing sound design, Dick Straker overseeing video design, and Ayse Tashkiran as movement director. Susanna Peretz takes charge of wigs, hair & make-up, and Ginny Schiller CDG handles casting.

Book tickets

#Alex Kingston #The Other Boleyn Girl #Threatre #Chichester #England #UK Theatre #Freya Mavor #Lucy Phelps #What's on Stage #Casting #2024

[wherebettertoescape]

A Little Life - Harold Pinter Theatre

For anyone who does wish to attend this production, please don’t take the content warnings lightly - the self-harm is graphic and two characters have full-frontal nudity. 

I (Freddie) attended the matinee production at the Harold Pinter Theatre in London on Sunday 7th May

THIS REVIEW/ANALYSIS DOES CONTAIN SPOILERS FOR BOTH THE NOVEL AND STAGE PRODUCTION, SO PLEASE BE AWARE!

Trigger Warnings: talks of self harm, child abuse, sexual assault, domestic abuse and more

There’s no discernible reaction from the audience when Luke Thompson as Willem makes his entrance onto the stage. He’s wearing a dark blue hoodie, the hood pulled up over his hair - perfectly innocuous, nothing spectacular or grand as he walks about the stage. The lights are still bright, the audience is still chatting, laughter is filling the room. And Luke Thompson as Willem is onstage frying himself some bacon and eggs.

What has struck me again and again whenever I reread A Little Life - because, yes, I get a masochistic kind of joy from putting myself through that pain repeatedly - is the intimacy of it. Naturally with any book, the reader is granted the chance to feel close to the characters, to garner a look at their lives behind the veil. But if you were to ask me, I would say that there are very few - if any - novels that create this illusion as Hanya Yanagihara’s does. For 813 pages you are allowed to experience this life as they are, to experience snapshots of their lives - the good, the bad and the unimaginably horrifying - even as the rest of New York, the rest of the world, goes on as normal, with no thought spared to what is occurring within the walls of Lispenard Street and their subsequent homes. 

The awareness that despite what Jude is revealing to the readers about his past, the beyond nightmarish history he has, the world is continuing to go on as normal was perhaps the aspect of the novel I adore so much that I was most scared about losing in adapting it for other mediums.

But from the moment Luke Thompson stepped onto stage, transformed into Willem and beginning to go about his daily life, with the moving images of New York streets surrounding him in his apartment, I knew that my worries had been unfounded. Ivo Van Hove with his unbelievable direction paired with Jan Versweyveld’s set design had found a way to maintain that understanding. 

Throughout almost all of the performance, there is no moment of stasis. Be it JB and Malcom painting and working at desks on the right side of the stage, or Andy reading his book in his clinic, or the ever-present Willem and Harold. 

The former is always in the same spot on a sofa at the back of the stage, flipping through scripts, determined to make it big as an actor, pouring all of his attention and focus onto learning the lines, dedicated to making his dream a reality, and yet always there ready to support Jude. In the second act, Luke Thompson takes the exact same pose when listening to Jude revealing the details of his childhood, desperate to understand his best friend, and at this stage his lover, in the same way he had been desperate to make it as an actor.

Harold, however, spends much of his time on stage left, stationed at the kitchen set up. Constantly in movement, cooking several dishes throughout the course of the play. A reference, perhaps, to the number of Thanksgivings Jude is reported to have spent with him and his wife, Julia (absent from this adaptation). 

Despite the eternal loneliness that James Norton as Jude exudes with just his presence, he is only truly alone for a few moments - the harrowing whisper of “x equals x” that he gasps out after Elliot Cowan as Caleb leaves him naked in the street. It is then that he is alone onstage, laying in his blood, until he is retrieved by his loved ones and taken to rest on Andy’s hospital bed.

It is this detail of James Norton’s performance as Jude that I found the most powerful - which is saying something, considering that I am considering suing him for emotional damages, hasn’t anyone ever told him to think about using his acting powers for good, rather than evil? He captures a side of Jude that I had not previously considered - Jude views himself as a side character in his own life. He doesn’t feel worthy of attention, of his friendships, he is lonely in spite of being surrounded by those he loves the most and as a result feels unable to call out and ask for the help he desperately craves but does not believe that he deserves. 

The contrast between this and the fact that Jude is always centre stage is immense and almost disconcerting to watch and caused me to spend the entire performance practically begging him in my head to just turn around, they’re right there!

But this desire to be helped and to be heard is brought to life by the presence of Nathalie Armin as Ana. The first person in Jude’s life to truly care about him, and the only female in this adaptation of the novel. Armin has a commanding presence on the stage, even as she is a mere figment of Jude’s imagination. Dressed in all black, a stark difference to the bright set, allowing her to melt into the darkness when the spotlight focuses on Norton. 

In many ways, Ana vocalises the audience’s own thoughts - pleading with Jude to confide in his friends, desperate to stop him from harming himself further, and the relief in Armin’s expression as Jude finally tells Willem his story. 

The choice to keep the cast small causes a heavy weight to be put on Elliot Cowan’s shoulders, as he is tasked with portraying three different, truly heinous characters. Even without the costume changes, however, I truly believe it would be possible to tell which of the three he was in each scene.

Cowan gives truly fantastic portrayals of each of the villains of Jude’s life, as Brother Luke he shows the softer touch which allowed for him to manipulate Jude in his innocence, he never handles Norton roughly when playing the part of Brother Luke. Carefully pulling him along, coaxing Jude to trust him to the point that the child does not realise just how wrong it is what Brother Luke asks of him. 

This acting from Cowan makes Jude’s words all the more heartbreaking in Act 2 when talking to Willem, as the audience is able to see why Jude insists that Brother Luke was different, that he did love him.

When taking up the role of Caleb, however, he becomes the manifestation of everything Jude believes about himself. He has none of Brother Luke’s gentleness, but all of his intensity and possessiveness. The last that we see of Caleb, is when he lifts Jude up by the arm, Norton’s body used to reflect the words he says - “x equals x”. Being with Caleb has brought to life Jude’s darkest thoughts of himself, and Jude views this as proof that no matter what he will always be the same. Damaged and unlovable, to be blamed for everything he had been subjected to in his youth.

As Dr Traylor, Cowan’s words are clipped and straightforward. He is the most detached of Jude’s abusers, not caring for his name and only referring to him as “a prostitute” and reinforcing what Jude already believes about himself. It is not until Jude’s “release” that we see any true kind of emotion from Dr Traylor. Cowan shows Dr Traylor with a manic kind of joy upon forcing Jude to run from him, all the while on the tail in his car. The chase scene is long, and dramatic with the incredible musicians rising in volume and intensity with their instruments. The length of the scene forces thoughts back to Jude’s earlier response when JB asked about his legs - “I used to run cross country”.

In all of his roles, Cowan has the same commanding presence onstage as Armin. The moment he leaves the wings, regardless of who he is in that moment, the audience’s attention is drawn to him. As though by sheer glares and willpower we will be able to change Jude’s story, that we as mere observers will be able to push against Cowan’s slow, purposeful steps and keep him away from Norton. 

Zubin Varla and Emilio Doorgasingh gave masterful portrayals as Harold and Andy, respectively. They are markedly different to the presence of Willem, Malcom and JB - in what proves to be a very physical play, Harold rarely touches his son, while Andy only does so as necessary in his medical examinations of Jude.

This respect for Jude’s boundaries when it comes to physical contact is what truly sets Harold and Andy apart from the other older figures in Jude’s life (those villains played by Cowan). Varla’s portrayal of Harold is always evaluating his own movements, always second guessing himself before moving towards Jude - he does not seek out the easy, casual contact shown by the other three young adults. But when Jude comes to him for comfort, Harold is always eager to provide it.

The final scene of Harold and Jude embracing - Jude in his wheelchair, Harold knelt on the ground in front of him, with the rejected trays of food scattered on the floor around him - when Norton practically falls into Varla’s arms, sobbing into his shoulder, as a screen slowly comes down to hide them, JB on the outside, is one that I believe will stay with me for years to come. 

There is an emotion in Varla’s voice when he confides in the audience the story of Jacob, his first son. And in that closing scene we are forced back to that monologue, when he confesses to anyone listening that when Jacob died, there was a little part of him relieved, as that meant it was over. And although it is heartbreaking, it is this statement that makes it no real surprise that when the screen lifts again, Harold is alone in front of that wheelchair to report Jude’s suicide.

Where Armin’s Ana shows the sympathetic side of the audience, the aching desire to hug Jude and promise him it will be okay, to protect him both from the world and himself, Doorgasingh’s Andy exhibits the rougher side of it. His frustration at Jude’s abject refusal to accept help, his anger at watching someone he loves destroy themselves. The hopelessness he feels when his advice goes unnoticed, and his frequent calls to Harold and Willem - often screaming at the two people Jude is closest to, desperate for them to be there for him more.

Andy does not have the same stage presence as many of the other characters do, instead he - and the same can be said for Malcom - almost fades into the background at times. But they are there, ready to pick up the pieces. Both Doorgasingh and Wyatt are spectacular in their characterisations. In the novel, Andy and Malcom show an awareness that they are not the most important people to Jude, that they cannot help him in the ways others can, and in this adaptation, the actors bring that feeling to life.

They are there, working in their own lives, on their own projects. Malcom quietly sees what Jude refuses to acknowledge about his worsening condition and accommodating for it even despite the push back of his best friend. And Andy who can be seen pacing at the side of the stage, calling Jude when he can sense everything is getting too much for him - they are both there for him in their own quiet ways, and their loyalty and love for Jude is never questioned by the audience. It is also important to note that in this adaptation of the novel, neither of these characters address the audience directly - the only two whose focuses are solely within the story with no fourth-wall breaks.

Omari Douglas as JB, on the other hand, stands out more than anyone. First as a result of his costumes - often more brighter than those of his castmates - and then just as how he presents himself. Anyone who watched his performance in It’s a Sin will recall how Douglas’ presence demands to be noticed, and this is carried forth onto the Harold Pinter Stage. He captures the heart of JB’s character - desperate to be heard, to be needed by his friends. Charming in his own way, despite how his messy character causes him to betray his friends at several points in the story. 

Douglas transitions well from how JB is around his friends - brash, loud, confident - to how he truly feels when talking to the audience. His voice is softer, he somehow seems a little smaller as he talks about watching Jude, how he feels Willem doesn’t value his friendship as highly as the others, how he feels they don’t need him anymore.

While JB’s drug addiction is rather rushed in this adaptation - it’s discussed at length in the novel - Douglas eloquently displays his anguish to the audience, his desperation to quit. A previously difficult to like character, after having seen him mock Jude’s disability, and betray his trust, the audience is able to empathise and understand him better. And when it is just him and Jude left at the end of the show, Douglas doesn’t say anything, but takes up the same space as had previously been filled by Willem and Malcom. He quietly watches Jude - just as he had before with his painting, only this time, it’s out of concern for his friend, rather than concern for his career and viewing him as a muse.

I have already mentioned how this production brought me to tears on several occasions, however none made me sob more so than Luke Thompson’s monologue at the end before his car crash. Having already read the book several times, I had known that this was coming and yet it didn’t stop me from hoping that somehow I’d misunderstood the plot point and that Willem did actually survive. So when Thompson took centre-stage and I knew what was next, my sister took my hand as the two of us prepared ourselves.

Beyond the tear-jerker of a monologue, when I later considered the adaptation as a whole I wondered over the choice to mention Hemming at that point. Perhaps this mention worked some some of the audience, however for me I felt it should have been mentioned earlier, as it is in the novel. With Willem only mentioning Hemming before he dies and only in reference to Jude, it caused me to reflect somewhat poorly on their relationship. It’s a minor point about the adaptation, however I do wonder if mentioning his older brother earlier, before Jude himself begins to use a wheelchair, it would have been more impactful.

I could sing praises about the chemistry between Norton and Thompson onstage - however considering I have the voice of a dying seal, it’s probably best that I don’t. Instead, I’ll simply say that their interactions in the second act, as Willem confesses his attraction to Jude, and he struggles to understand it caused my heart to skip a beat. 

Norton captures Jude’s innocence throughout the play perfectly - from the moments that he slips into his childhood self in flashbacks, to when he’s so unsure in his relationship with Willem, unused to being with someone who does genuinely love and care for him. 

All in all, I enjoyed this stage adaptation of A Little Life - if “enjoy” can be the correct word for a production that brought me to tears and caused me to question the meaning of life. It was hauntingly beautiful, heartbreakingly sad and utterly harrowing. I don’t believe I’ve ever been quite so moved by a whole troupe of actors and the way that they characterise their roles. While I certainly have some criticisms and hang-ups about this show and the story in general, I shall save those for another post, hopefully less long and wordy.

Would I return to the Harold Pinter Theatre to watch it again given the choice? Truthfully, I’m not sure. While I fell in love with these actors, the direction, set design and music, I’m unsure if I could watch it again and feel the same level of intensity as I did on this watch. Also, I cried enough to give myself a headache by the end - so if I were to watch again, I’d have to remember to bring a water bottle to ensure I stayed hydrated.

#a little life #hanya yanigahara #jude st francis #willem ragnarsson #malcom irvine #jean-baptiste marion #jb marion #james norton #luke thompson #omari douglas #zach wyatt #ivo van hove #harold pinter theatre #west end #london theatre #uk theatre #theatre review #theatre analyses #plays

[purpleyin]

A post about Freddy Carter in the 2016 play CIRCA, with some info about the play in here too.

If you repost pics from this elsewhere please remember to:

a) credit the photographer/photo source

and

b) mention me as having found them (I'm purpleyindom on insta if anyone reposts there) since it took a fair bit of time/effort to research this play.

Photo sources: tratcliffe15, 2 -__circa & 3 - the VAULTS performance crowdfunder page and others sources mentioned later

The play was written by Tom Ratcliffe who is friends with Freddy - he was at Oxford Drama School with Freddy, as well as starring in "The Wars of the Roses" (Rose Theatre) with him in 2015.

CIRCA was first performed as a sell-out research & development showing at the Old Red Lion Theatre, Islington in November 2015. After that a crowdfunding campaign was started to raise money for putting on the world premiere of the play in Amsterdam.

10 minutes of CIRCA were also performed as part of Wildcard Theatre's Christmas fundraiser December 1st 2015, with Freddy playing The First Love and Tom Ratcliffe playing The Young Man, and Jamie Jackson directing. Photographer: Ali Wright

Rehearsals for Amsterdam, with director Eleanor Clare Taylor in the 1st pic. Freddy plays The First Love.

Photo source: __circa

The Amsterdam performance happened 8th January 2016 as part of Festival Contact at the Theater de Meervaart. Some behind the scene shots + some more from the performance itself (EDIT: the lefthand side sofa pic I'd included is actually from the 2015 London performance instead - the righthand side one is the Amsterdam set).

Photo sources: - tratcliffe15, - JennieWestbrook, Rikki Beadle-Blair

Following Amsterdam, another crowdfunding campaign was started to raise money for the plays UK première as part of 2016 Pride in London. Here's pics for the readthrough, rehearsals & preview show. Freddy plays The First Love and The Younger Man.

Photo source: __circa

The play ran June 21st-25th, directed by Joe Allan, performed at The VAULTS, Waterloo. As mentioned by a londontheatre1, the actors changed into dark clothes to double up as stagehands like in pic 5. As far as I can tell there's no public recordings of the play, just a very brief insta reel of applause for one of the shows.

Photo sources: - tratcliffe15 , eskijoe + poster design & some pics by Eitan Bernat

CIRCA had another run in March 2019 - for 4 weeks this time - again at The Old Red Lion Theatre, with a smaller cast of 5: Antony Gabriel, Daniel Abelson, Jenna Fincken, Joseph Rowe, and Thomas Flynn. Maybe CIRCA will return sometime potentially but it seems unlikely it would be with Freddy again. I very much wish I could see it tbh but I'll probably have to satisfy myself buying the script sometime.

Photographer Lidia Crisafulli

For anyone curious about the play more generally, Tom Ratcliffe has interviews about the 2019 run linked on his website under 'Press' further down on his writer's CV page. There are reviews for the 2016 Vaults performance here. CIRCA is also published, and there were some quotes from the play released as part of promo tweets - they're behind the read more.

"That’s what everyone says isn't it? Gay men shag everything. Disease and all that. My mum, when I came out, the first thing she said to me was ‘don’t get AIDS'...But things are different now. They’ll be different for us." 

"Have you ever played the Game of Life?"

"Most people get to be happy with just one person. I don't see why I should have it any different."

"You have this thing where you don't let it define you... I'm not going to apologise"

"Everybody loves a drag queen but nobody will ever love a drag queen"

"No one sleeps with one person forever. You can't be so naive."

"This must be a dream."

#freddy carter #circa #uk theatre #lgbtq+ characters #circa 2016 #i wanted this to be better researched and referenced but ended up having to rush posting it so apologies for any mistakes #looks like the website went down between writing and posting this but I added the wayback link #the script book is now sold out so no reading it for me

[manichewitz]

this might be a long shot but does anyone out there on the interwebs have a copy of i, joan by charlie josephine? its a play that retells the story of joan of arc as a nonbinary person. for some reason i can’t buy it from the concord theatricals website since i don’t live in the UK and that seems to be the only place its been officially licensed :/ someone pls help me out

#joan of arc #nonbinary #plays #theatre #theater #UK #acting #transmasc #representation #queer theater #queer theatre #UK theatre #the national theatre #charlie josephine #jeanne d’arc #nb #enby #.txt #alex talks

[mywingsareonwheels]

[image description: a poster for the play “Frank & Percy”. A park in a sunset, with head-and-shoulders photos of Ian McKellen (laughing) and Roger Allam (half-smiling) hovering in the sky. There are two dogs running towards the viewer in the foreground. Text: “Bill Kenwright presents: Ian McKellen (labelling Ian’s photo) and Roger Allam (ditto with Roger) FRANK & PERCY. A new comedy by Ben Weatherhill / Directed by Sean Mathias”. There’s a red label across the poster that says “Priority booking now open / Become a member to book before Monday 13 March”.]

So, this play is running at the Theatre Royal, Bath, from 25th July to 5th August. A different link suggests it’ll then be running somewhere in the West End. :D

At the link there’s a description of the play here:-

“Bill Kenwright presents the National Premiere of Ben Weatherill’s Frank and Percy directed by Sean Mathias. This highly anticipated production sees one of our greatest stage and screen actors Sir Ian McKellen co-star as Percy alongside three-time Olivier Award winner Roger Allam as Frank. “Frank and Percy is a poignant and witty take on the unexpected relationship that blossoms between two men. Devoted to their canine companions, they believe that human connection is far more temperamental, but as their dogs play in the park, can Frank, a widowed schoolteacher and Percy, a somewhat radical elder statesman, find the time for new infatuation, or should they just let sleeping dogs lie? “Sean Mathias is one of this country’s foremost directors. His multi-award-winning career includes productions at the Royal National Theatre, The Kennedy Centre, The Mark Taper Forum, Paris, Sydney and Cape Town, including many productions on Broadway, as well as three Summer Seasons as Artistic Director of Theatre Royal Windsor.“

So, um. Ian McKellen and Roger Allam in a two-hander that looks like it’s a queer romantic comedy that also contains dogs. I am DELIGHTED. :D <3 <3 <3

I live nowhere near either Bath or London, so I’m hoping v much it’ll get a cinema screening and/or end up on iPlayer or marquee.tv or similar!! 

#roger allam #ian mckellen #sir ian mckellen #ben weatherhill #sean mathias #theatre royal bath #theatre #uk theatre

[ludojudoposts]

Half A Sixpence (1963) Cambridge Theatre

#half a sixpence #1963 #canbridge theatre #anthony valentine #tommy steele #magazines a bit dark but it you look closely you can spot Tony. #uk theatre

[englishstrawbie]

What an incredible play.

Suzie Miller’s script is brilliant, the way the story unfolds is so clever.

Jodie Comer is phenomenal. She commands that stage by herself for 100 minutes with an incredible blend of intensity and vulnerability. There are moments that take your breath away - and I was watching a recorded version. I can only imagine what it was like if you saw it live on stage.

If you get the chance to see if, either the recorded version or on Broadway when it gets there next year - DO IT!

#prima facie #jodie comer #national theatre #uk theatre

[plazamayorcompany]

SEIZE THEM!

Original Motion Picture Soundtrack SEIZE THEM! Original Motion Picture Soundtrack Directed by Curtis Vowell Cast Nicola Coughlan, Aimee Lou Wood, Nick Frost… Music by Rael Jones Label Plaza Mayor Company Ltd Now on UK Theatre Dark age Britain where Queen Dagan is toppled by a revolution led by Humble Joan. The Queen becomes a fugitive in her own land, and must face hardship and danger as…

View On WordPress

#Aimee Lou Wood #Cd Digital #Cd Physical #Curtis Vowell #Nick Frost #Nicola Couhlan #Plaza Mayor Company ltd #Rael Jones #Seize Them! #Sergent Major Company ltd #Uk Theatre

[katveers23]

Private Lives

Does anyone have a copy of the Private Lives recently done at Donmar Warehouse this spring? Would sell my soul to see it! Help! Thanks!

#west end bootlegs #noel coward #private lives #bootlegs #theater bootlegs #uk theatre

[centrestagereviews]

Interview: AK Golding - TAPPED

Interview: AK Golding - TAPPED - @Bethany__Cooper 🎭 “Ahead of the tour we’ve spoken with AK Golding to discuss the production a little further”

Bethany Cooper’s TAPPED is opening it’s UK tour at Upstairs at the Gatehouse on 8 May, and then continuing to a further 14 venues throughout May, closing on 27 May at the Yvonne Arnaud Theatre, Guildford. TAPPED is a heart-warming comedy that explores the importance of connection, fulfilment and (lack of) hope. In Stapleford aka Stabbo, we meet Gavi, Jen and Dawn at an amateur self-help group…

View On WordPress

#AK Golding #Centre STage #TAPPED #Theatre #theatre blog #theatre blogger #Theatre blogger uk #UK Theatre #UK Tour

[littleeliza-lotte]

Hadestown London Trailer (x)

#I don’t think I’ve ever seen such a good musical trailer #the transitions ?? the audio??? gods #hadestown #hadestown UK #west end #Lyric theatre #Orpheus #Eurydice #Persephone #hades #Hermes #the fates #London

[alyona11]

Also my dudes, if you ever in London and you’re huge Hadestown nerds, you can visit National Theatre Archives and watch the proshot of London Hadestown from 2018 (for those who might not know, it’s similar to Broadway/tour/west end in terms of costume design but has different characterisation for orphedice in particular + different lyrics) with most of the OBC playing the roles.

The archives have 2 proshots, one from different angles and one from a wide angle, I watched a multiple angle one and it’s really great. Plus they have some other Hadestown stuff, you can see all of it in the archive catalogue. You can book the day to see it in the archive website and even watch it in group for free.

Also the people who work in the archives are super lovely and we accidentally run into one lady who works there and also is a huge Hadestown fan :3 Overall 10/10 would recommend!

#hadestown #hadestown london #hadestown uk #me being me #also you don’t need to have any research connected to theatre to see it unlike in NY #the pips in the archives will be happy to show you just because you’re interested #they also encourage peeps to check out their archive because they have a lot of recordings of other shows available as well :3

[natashasbitxh]

Hadestown genuinely needs to be studied, I got to go see it today and why was a small part of me like omg they might make it..I KNOW the myth I KNOW this musical so how the HELL did it fill me with sm hope😭 such a gorgeous and genius show I can't even

#hadestown #hadestown musical #hadestown west end #musical theatre #musicals #hadestown uk

[trainpalsforthawin]

my new human thomas design. his whole deal is he’s a chill guy that lowkey doesn’t give a fuck

#ttte #ttteblr #thomas the tank engine #ttte humanizatuion #PLZ donate to my venmo so i can make Thorbius 2 and release it in theatres in UK only. #i love my trainPALS! #xoxoxo #smexy mengines 4thawin 💘 #thomasallbenjaminbuttoneddown

[chimeofthecomet]

so this poll has most certainly been done already but uhh

#coping with the lack of uksies #im predicting santa fe as the rightful winner #even though i'll be voting the world will know <3 #that option with the bottom line and overture and finale is my 'i want to study you under a microscope' category #if you pick that im genuinely so curious i'd love to hear why #yeah all of these im so interested in ppls reasonings for their favs #katherine darling im sorry to put you in the crammed ones only #newsies #newsies live #livesies #newsies uk #uksies #musicals #musical theatre #polls

[ludojudoposts]

Two Stars For Comfort (1962) Garrick Theatre

#two stars for comfort #1962 #garrick theatre #anthony valentine #trevor howard #peter sallis #uk theatre