UNCLE VANYA (play)
Ends 8th November 2014.
When a relative turns up to reclaim the estate Vanya and his niece have been
managing long hidden grudges and romances emerge. Comedy, tragedy and
passion combine in this tale of unrequited love.
Updated to the modern era, Russel Bolam directs this translation by Anya
"The Studio" schedule:
See www.stjamestheatre.co.uk for details of productions.
Monday 6th until Saturday 11th October 2014
in association with Guy James and Knockhardy Productions present
MARRY ME A LITTLE
Marry Me A Little pieces together a selection of songs by the
undisputed master of the contemporary Broadway musical to tell a
charming and bittersweet tale of love, loneliness and survival
as a modern singleton. Two single strangers, left alone in their
studio apartments on a Saturday night, pass their time with
sweetly secret, unshared fantasies, never knowing that they’re
just a floor away from each other and the end of their lonely
dreams. Told entirely through songs written early in Sondheim’s
career or previously intended for his ground-breaking Broadway
musicals including A Funny Thing Happened On The Way To The
Forum, Company, Follies and A Little Night Music, Marry Me a
Little is funny, moving and sophisticated musical as well as a
fascinating look at "the songs that got away”.
Marry Me a Little was co-created by Craig Lucas, who met
Sondheim whilst performing in the ensemble of the original
Broadway production of Sweeney Todd. In discussions at
rehearsals and parties, Sondheim mentioned to Lucas the large
number of songs he had written that hadn’t been performed or
published. Lucas requested permission to use these songs, and
with his collaborator Norman René, pieced them together to
create a narrative between a young man and woman.
Marry Me a Little premiered Off-Off Broadway in 1980 and was
described by the New York Times as “an unusually moving
evening”. It was last seen in London in 1997 at the Bridewell
Theatre in a production starring Clive Carter and Rebecca Front.
Marry Me a Little is conceived and developed by Craig Lucas and
Norman Rene, with music by Stephen Sondheim. It is directed by
Hannah Chissick with musical direction by David Randall. It is
produced by Aria Entertainment in association with Guy James and
Knockhardy Productions, and by special arrangement with Josef
Weinberger Ltd on behalf of Music Theatre International of New
Following a critically acclaimed sell-out run this August, the show returns
to St. James Studio for an extra week of performances.
Simon Bailey will play Man and Laura Pitt-Pulford will play
Photographs (above) used by permission. Right photograph by Roy
Monday to Thursday at 8pm
Friday and Saturday at 3pm and 8pm
Studio Gallery: £22.50
Studio Downstairs and Upper Gallery: £18.50
Sunday 28th September
Everybody has one great lost love. They broke our hearts, they haunt our dreams
and we will never, ever forget it. But what if fate gave you another chance? Do
you think you’d get things right the second time around? In Before After, Ami
(Caroline Sheen) meets Ben (Hadley Fraser) by a tree on a beautiful hillside.
She recognises him instantly - he was once the love of her life. But Ben doesn’t
recognise her. As we watch their love grow in both the past and the present,
might they finally find their happy ever after after all? He’s the right man in
the right place - but is this the right time?
West End stars Hadley Fraser and Caroline Sheen (pictured above) are to feature
in the world premiere of Stuart Matthew Price and Timothy Knapman’s new romantic
Backed by the Arts Council, the show will be workshopped for two weeks then will
be performed to the paying public on this date only.
Studio Gallery: £15
Studio Downstairs and Upper Gallery: £12.50
Not available. Reports are that this works if you are willing to accept the
re-interpretation to modern Yorkshire, but otherwise may appear too lose
something in the process.
Praise is for the two female leads, Rebecca
Night (Yelena) and Amanda Hale (Sonya), who apparently have a well constructed
stand-out scene together.
Of the men, John Hannah and Joe Dixon are both felt almost too large for the
production. The reception they got depended how the reviewers felt about such
"big" performances. Too much for some, suiting the atmosphere for others.
Director Russell Bolam is noted for keeping the production moving at steady
pace, though, and for extracting maximum value from the text.
All in all, "well enough done, for what it tries to do," seems to be the