Latest news with #SheffieldTheatres
The National
13-07-2025
- Entertainment
- The National
Great Gatsby at Pitlochry Theatre review – Uneven art-deco spectacle
Pitlochry Festival Theatre ELIZABETH Newman (who is now leading Sheffield Theatres) recently relinquished her position as artistic director of Pitlochry Festival Theatre (PFT) following a very successful six-year stint at the 'theatre in the hills'. However, she bequeaths to her successor – the acclaimed Scottish actor Alan Cumming – a final summer programme that includes her own stage adaptation of F Scott Fitzgerald's iconic novel The Great Gatsby. Even before we get to Newman's airy, fast-paced script, designer Jen McGinley's set – which is a maximalist, Art Deco construction – has us very firmly in the United States during the "roaring twenties'. The design – which reminds us that PFT boasts the finest carpenters since Jesus – summons up the grandeur of the conspicuously expensive home of the titular man of wealth, but it also serves a number of practical purposes. The most important of these is the platform above the stage, which the performers access by way of sweeping staircases on the left and right of the stage. This platform hosts a band made up of actor-musicians and actor-singers who play short tasters of music and songs that evoke the optimism and decadence (for the middle and upper classes, at least) of the 1920s in America. First published in 1925, Fitzgerald's tale is one in which the complex, nouveau riche Jay Gatsby is an archetypal square peg in the round hole of the Ivy League-educated upper classes. As such – as well as owing a discernible debt to Tolstoy – the novel seems almost to prophecy the devastating Wall Street Crash of 1929. In recent times, PFT has become the undisputed leader where Scottish musical theatre is concerned. It should come as little surprise, then, that Newman and director Sarah Brigham have adapted this much-loved prose fiction as a play with songs. There is a wealth of musical and singing talent in this cast (which, typically of PFT, is drawn from the theatre's summer season ensemble). Fiona Wood – who plays Daisy Buchanan (the long-suffering wife of Tyler Collins's appropriately obnoxious, snobbish bourgeois Tom Buchanan) – is especially impressive when she takes to the microphone as a cabaret chanteuse. Although the acting and singing is somewhat uneven at times, the production boasts a number of strong performances. For instance, David Rankine (in the role of the inquisitive narrator Nick Carraway) does a fine job of guiding the audience on its journey of discovery. I have always agreed with the American theatrologist Richard Schechner about the need for theatre productions to employ 'blind casting', or, at the very least, casting that goes against identity-driven assumptions about character. There is no reason why we should not have a female Hamlet or, as we have here, a Black Gatsby. However – given the accuracy of Fitzgerald's picture of US society in the early to mid-1920s – it takes considerable suspension of disbelief to imagine the east coast upper classes granting any level of acceptance to a suddenly wealthy African-American. That said, Oraine Johnson gives an energetic-yet-vulnerable performance that chimes nicely with his famous character. Various dates until September 25:
Daily Mirror
24-04-2025
- Sport
- Daily Mirror
Barry Hearn sets deadline for Crucible decision on World Snooker Championship future
The World Snooker Championship has been held at the Crucible since the 1970s but there is doubt over its long-term future in Sheffield with the Middle East touted as a potential venue Barry Hearn claims he wants to make a decision on where the World Snooker Championship will be held long term by the end of the year. It has been held at the Crucible since 1977 but the contract they have ends in 2027. Plenty of fans and players want to remain at the Sheffield-based venue, but others also want an area that has a greater capacity. Those in the Yorkshire city are pushing to keep it given the money it generates, but another venue with more seats and hospitality would lead to larger prize money. Hearn, the president of Matchroom Sport, has never been shy in admitting money drives the bus and if players want to earn more from their exploits then a change of venue may be required. He told Metro on his timeline: "I think I want to know by the end of this current year, because plans have got to be put in place based on what we decide." Hearn has urged those involved in discussions not to test his resolve as he remains more than willing to take the tournament away from the Crucible, whose main arena only holds 980, unless changes are made. When quizzed on discussions he said: "No, of course not. I haven't heard enough about it. I'm having a meeting with Sheffield Council in early May. I wait to hear what they're saying. The clock is ticking. I don't know if people think I'm bluffing, it would be a bad move if they did." The BBC has extended their contract to show the Triple Crown events until 2032, which suggests it may well remain in the UK until then. Hearn though insists the financial pull of the Middle East is increasing with more and more fans emerging. He said: "The Middle East, it's no secret, is getting more of an appetite for snooker, they're looking like the new China,' he said. 'Their events are big. The ranking event has got the same prize money as the World Championship and they want more. It's a difficult situation, a very difficult situation. You've got to think about your heart. The Crucible has been a magnificent place for me, changed my life, changed snooker players' lives, but is it yesterday?" A joint statement from World Snooker Tour, Sheffield City Council and Sheffield Theatres earlier this month read: "Sheffield loves snooker. Sheffield City Council, Sheffield Theatres and World Snooker Tour have been working together, along with the BBC and partners across the city, to make the 2025 World Championship the best yet. We can't wait to welcome the snooker world back to the iconic Crucible theatre this month. "Sheffield City Council, World Snooker Tour and Sheffield Theatres are longstanding partners. Over the last 12 months we have had constructive conversations, with national Government, and key partners, about the World Snooker Championship beyond 2027. "Due to the sensitive and commercial nature of these ongoing discussions, no announcement on the future of the Championship will be made by Sheffield City Council, Sheffield Theatres or World Snooker Tour during this year's event."
Metro
22-04-2025
- Sport
- Metro
Barry Hearn sets deadline for decision on Crucible's World Championship future
Barry Hearn says he wants a decision on the future of the World Snooker Championship to be made before the end of this year. The current contract to keep the event at the Crucible ends in 2027 and there is uncertainty over where the sport's biggest tournament will be held after that. Many fans and players want the World Championship to remain at the Crucible, which has held the event since 1977, but some are pushing for a move to a venue with a much larger capacity than the Sheffield theatre's 980. More seats and better hospitality would lead to more revenue and bigger prize money, so say those pushing for a move, but Sheffield stakeholders are fighting to keep hold of the tournament which is a money-spinner for the city. A joint statement from World Snooker Tour, Sheffield City Council and Sheffield Theatres earlier this month read: 'Sheffield loves snooker. Sheffield City Council, Sheffield Theatres and World Snooker Tour have been working together, along with the BBC and partners across the city, to make the 2025 World Championship the best yet. We can't wait to welcome the snooker world back to the iconic Crucible theatre this month. 'Sheffield City Council, World Snooker Tour and Sheffield Theatres are longstanding partners. Over the last 12 months we have had constructive conversations, with national Government, and key partners, about the World Snooker Championship beyond 2027. 'Due to the sensitive and commercial nature of these ongoing discussions, no announcement on the future of the Championship will be made by Sheffield City Council, Sheffield Theatres or World Snooker Tour during this year's event. 'When we can share more information with the millions of snooker fans around the world, and with the people of Sheffield, we will provide an update.' Hearn, the president of Matchroom Sport, has provided something of an update, telling Metro of when a decision needs to be made: 'I think I want to know by the end of this current year, because plans have got to be put in place based on what we decide.' As confirmed in the statement, talks are ongoing between snooker chiefs and Sheffield decision-makers. Asked if he is happy with those discussions, Hearn said: 'No, of course not. I haven't heard enough about it. I'm having a meeting with Sheffield Council in early May. I wait to hear what they're saying. 'The clock is ticking. I don't know if people think I'm bluffing, it would be a bad move if they did. 'I'm hoping they give me a plan that ticks my boxes and that is the improvement of facilities for players and spectators and the bigger number of seats to cope with the demand. And obviously we run a commercial business, we've got to maximise revenue. 'We've just doubled the prize money in darts. It will only be a matter of time until the snooker boys say, 'what about us?' I'll say, 'while I've only got 900 tickets to sell it's a long old struggle, mate.' 'We've taken the prize money from £3.5m to £20m in snooker, in darts it's just gone past £25m and the two of them are quite competitive.' The huge prize money increase in darts, which has seen the World Championship winner's share grow to £1m, is thanks to a lucrative new deal with broadcaster Sky Sports. Hearn wants Sheffield to bring some kind of offer to the table which would make financial sense, whether that is a new, bigger venue, or possibly a site fee, which he mentions. 'Sky's deal with darts showed me the respect I was looking for and we managed to add £7m-£8m of prize money,' he continued. 'Snooker is in the same position as far as Sheffield is concerned. Show me that you respect what we've built, don't take us for granted. Every relationship whether it's husband and wife or site fee and promoter relies on not taking people for granted. I understand Sheffield want to keep it, I'd like to stay in Sheffield. Show me the money. It's pretty basic.' Where the World Championship would move to if it did leave the Crucible is far from clear, with the BBC extending their contract to show the Triple Crown events until 2032 suggesting it is likely to remain in the UK until then. However, Hearn continues to float the idea of a move to the Middle East, after the big-money Saudi Arabia Masters was added to the calendar this season. 'The Middle East, it's no secret, is getting more of an appetite for snooker, they're looking like the new China,' he said. 'Their events are big. The ranking event has got the same prize money as the World Championship and they want more. 'It's a difficult situation, a very difficult situation. You've got to think about your heart. The Crucible has been a magnificent place for me, changed my life, changed snooker players' lives, but is it yesterday? 'Or is there a plan from some creative member of the council to say, actually we could do this. But remember the deal runs out in 2027. It's not a lot of time. If you're going to build a new building, which is probably the best way, you better start digging up that earth now.' More Trending Hearn has not generally painted a particularly optimistic picture for those who want the tournament to stay in Sheffield, but says that remaining in the Steel City is the preferred position. 'Everybody, to a man, wants to stay in Sheffield,' he said. 'That's a good starting point for Sheffield, but you've got to come to the table as well. 'You can't get complacent and take the relationship as done. That doesn't work and they must understand that. 'But I'm very anxious to hear what they've got to say in early May and we'll go from there in our normal professional manner.' MORE: Zhou Yuelong enjoying life outside snooker again after long wait for Crucible return MORE: Ronnie O'Sullivan leads Ali Carter as both struggle for their best at the Crucible MORE: Zak Surety makes Crucible history in roller coaster defeat to Ding Junhui
BBC News
07-04-2025
- Sport
- BBC News
No imminent decision to be made on Crucible future
Discussions around the future of the World Championship at the Crucible Theatre are "ongoing and constructive", but a final decision will not be made during this year's tournament. The Crucible, which only holds 980 people, has held snooker's biggest event every year since 1977 but its contract expires in April 2024, former World Snooker Tour chairman Barry Hearn said the event could only stay in Sheffield if the theatre was redeveloped, or if a new arena was built."Over the last 12 months we have had constructive conversations, with national government, and key partners, about the World Snooker Championship beyond 2027," Sheffield City Council, Sheffield Theatres and World Snooker said in a statement. "Due to the sensitive and commercial nature of these ongoing discussions, no announcement on the future of the Championship will be made during this year's event. "When we can share more information with the millions of snooker fans around the world, and with the people of Sheffield, we will provide an update."The 2025 World Championships start on 19 has also previously said that it would be his preference for the tournament to stay in iconic Crucible has become a huge part of the history of the sport, with its cramped setting providing a unique atmosphere - and the venue regarded as the home of until the semi-finals, the World Snooker Championship is played with a two-table set up, meaning space is tight and the fans are close to the players, including Ronnie O'Sullivan and Iran's Hossein Vafaei, have criticised the venue for being too small but 2005 champion Shaun Murphy called it "holy ground" for competitors. China and Saudi Arabia have been suggested as possible alternatives for hosting the tournament.
The Guardian
02-03-2025
- Entertainment
- The Guardian
The week in theatre: Otherland; Backstroke
That crucial instruction to writers that they should 'show not tell', is even more evidently useful on the stage than on the page. It might be reworded as 'embody not explain'. After all, so much can be seen not only as it is but also in the process of becoming different. This makes Ann Yee's production of Otherland an extraordinary 3D testimony, a valuable gathering of information and a finally unsatisfactory drama. Chris Bush, author of Standing at the Sky's Edge, one of Sheffield Theatres's biggest musical hits, has, without writing an autobiography, drawn on her experiences as a trans woman to produce a twofold story that examines the particular question of what people think it is to be a woman, and considers what is it to become other than your accustomed self. Harry, christened Henry, marries Jo, an adored college girlfriend, before realising that a real life demands becoming a woman, a discovery that leads to the end of the marriage. Living as Harriet, before transitioning, she is greeted with wounding bewilderment from her mother (couldn't the person she thinks of her son stop distracting people's attention?) and with sniggers and insults – 'What is that? – from strangers. Fizz Sinclair's Harry is tender, graceful and touching. Meanwhile her former wife – Jade Anouka at full sizzle – falls for another woman (a beguiling Amanda Wilkin) and agrees, against all her former wishes, to have a baby. In doing so she becomes for a time a stranger to herself and her new wife. There is plenty of insight in Otherland, including the observation that foetuses are routinely given the dimensions of middle-class food: they may be compared to an olive but never to a turkey twizzler. Yet Bush too heavily underlines her significant points. Halfway through, the play's naturalism is briefly abandoned. Fly Davis's design splits open to reveal a murky pool containing an early mermaid version of Harry, caught in the net of men who classify her as a monster. Meanwhile, Jo, entering the world of maternity care, is reimagined as a robotic baby-machine. Throughout, an onstage chorus is put to just the use it shouldn't be, unless describing something undetectable. It tells the audience what to see: 'Harry's shoulders stoop as she turns in on herself.' Fizz Sinclair does not need the commentary – she is particularly powerful when suggesting suppressed pain and quiet withdrawal, which makes her final happiness the more buoyant. Anna Mackmin's new play, Backstroke, starring Tamsin Greig and Celia Imrie – who are two good reasons to see anything – moves through eddies of wordspin and whirlpools of interest. In tracing the coming and going, guttering and flaring relationship between a middle-aged woman and her dying mother, the play, directed by Mackmin herself, comes in myopically close to each scene. The dialogue is sharp but the action gets jammed. Ab Fab long ago dealt the death blow to the idea that daughters of the late 20th century were going to follow tradition and be more rebellious than their staid mothers. This daughter, Bo, played by Tamsin Greig, is not as censorious as earnest Saffy, but she is furrowed. Well, she must have had a hard time at school: Bo is short for Boudicca. Greig, straight-faced but with windmill hands, is made up just right by designer Lez Brotherston in unyielding denims and a bobbly capacious jumper that her mother deems 'lesbian'. She deploys her singular calm as an actor to appear both intent and distracted – pulled between her own troubled adopted daughter and her ailing mother; tugged by exasperation, affection, admiration and desperation. Seen at first inert in a hospital bed, stilled by a stroke, Imrie springs into full embarrassing life as she relives her days with her daughter: dependent, neglectful, occasionally affectionate. With flowing grey hair (shorthand for drifting wits), a fringed shawl and ankle-length dress, she talks about her 'dillypot' in magnificent, mad and maddening detail, informing her shuddering daughter that 'whenever your daddy went down on me' she had a fantasy about a hare. As she prepares for a few days away she dimples while announcing she is packing only one tiny travelling loom. Lucy Briers puts in a neat cameo as a sour-faced ultra-Christian nurse who dispenses aggression as if it were an act of grace, sweet-talking her patient as she feeds her the cherry yoghurt she hates. She is completely credible. As is the flickering emotion between the two stars – their very lack of consistency is authentic. Though it is clear from the beginning how this is going to end, shifts of feeling and slow disclosure of shared secrets make the evening twist unpredictably. The trouble is that when every small thing becomes an event, propulsion is overwhelmed. Backstroke? More like trying to do laps in a Jacuzzi. Star ratings (out of five)Otherland ★★★Backstroke ★★★ Otherland is at the Almeida theatre, London N1, until 15 March Backstroke is at the Donmar Warehouse, London WC2, until 12 April
