Does this matter? So I'd tell myself to chill, stop worrying, and be yourself. Kirsty: The beauty of this play is that the thing that brings these girls together is the choir and their love for music. The play is a co-production between the National Theatre of Scotland and Live Theatre. The young Scottish cast have a great onstage rapport, and are clearly having the time of their lives. Our Ladies of Perpetual Succour tickets are now on sale to 2 September 2017. If you just love the feeling of leaving a show, surrounded by the gently glowing faces of happy fellow audience members, then this is one for you. The more that organisations like that exist, the more accessible these things become. I try to think that it's not my job as an actor and it's not my business as a human to care what they're doing. The six leads are the only actors, joined by three female band members lingering in the background. Dawn: When we were rehearsing it didn't really matter how many women were in it because it was just about the show rather than female/male, and what we were allowed to do because of the show - which was basically whatever we wanted. This big-hearted show captures the giddy head-rush of being young, fearless and living in the moment. Subscribe to our newsletter. Karen: I think, speaking personally as well, I've changed since the show began. Dawn: And it shouldn't even be a fucking thing. We had a woman in Dundee who said "I really want to sit through this but I don't think that's how women speak." Dawn: From a work perspective this has been amazing for me, because I started in musical theatre and people were like "She's not got a high voice, she can't sing Christine in Phantom Of The Opera so she's shit". your browser cookie settings. Okay, anyone who has actually met a 17-year-old schoolgirl won’t be convinced that this is a realistic portrait of teen awkwardness. Order posters from the 1960s to the present day, printed on semi-gloss art paper. Funny, heartbreaking and raucously rude, Our Ladies of Perpetual Succour is adapted from Alan Warner’s brilliant novel about six young friends on the cusp of change and is directed by Royal Court Artistic Director Vicky Featherstone. From the creator of Billy Elliot (Lee Hall) comes the uplifting and moving story of six Catholic choir girls from Oban, let loose in Edinburgh for one day only. They will be joined on stage by Amy Shackcloth (Musical Director/Keyboard), Lilly Howard (Assistant Musical Director/Keyboard), Emily Linden (Guitar) and Becky Brass (Percussion). Then I walked in for this and Martin Lowe, one of the most amazing musical directors in the world was like "We'll make this around you, what do you want to sing?" You can unsubscribe at any time by following the instructions in the footer of every email we send. Read more: The Hottest Theatre Tickets In Town Right Now. IN WHICH MICHAEL ADAIR LOSES HIS THEATRE-CRITIC VIRGINITY TO A PACK OF SCOTTISH MINXES. ", Frankie: Sometimes people pick really inappropriate moments to get up and leave. What's been the most interesting thing about this dynamic is less about us all being women and more to do with the age that we are. Frankie: My parents are so proud of what I do, I wasn't ever afraid of any of my family members coming to see it but I did warn them because I'm from a Catholic family. The more serious issues about Catholic guilt being imposed on impressionable minds are introduced but don’t linger too long, and the ending has a couple of genuinely sad moments that are well earned and convincing. Exactly what the West End needs". Directed by Vicky Featherstone this play with music is designed by Chloe Lamford with choreography by Imogen Knight, lighting by Lizzie Powell and sound by Mike Walker. The National Theatre cast of Our Ladies Of Perpetual Succour (Photo: Manuel Harlan) The cast of Our Ladies Of Perpetual Succour (Photo: Manuel Harlan) Our Ladies Of Perpetual Succour. MembershipsJoin the NT family to receive regular news and exclusive opportunities, American Associates of the National Theatre, Corporate SupportCreative, flexible packages to meet your needs, and ours. For instance Orla (Isis Hainsworth), recovering from cancer and with less sexual experience than her equally underage friends, asks Manda (Kirsty MacLaren) what jizz is. Women threw themselves in front of horses so that we could have the fucking vote. Sometimes we'll say things in rehearsals and Lee Hall [who adapted it for the stage] will be like "I like that, put that in." This review first appeared on The Arts Desk. It has made so much difference to lots of people about how they perceive theatre and how women are portrayed in theatre, but it is just us doing a play and the impact that it has is the impact that it has - whether that's negative or positive, people walking out, people standing up at the end. A big part of the effect comes from Martin Lowe, who has brilliantly sourced and arranged the music, while Chloe Lamford’s design oozes the stickiness and stink of spilled alcopops, overlooked by a statue of the Virgin Mary whose heart glows red at certain moments. It's gone from the Edinburgh Fringe Festival, to the National Theatre, on a tour of the UK, Australia and the US, and is currently in the middle of a West End run. It received its world premiere at the Traverse Theatre, Edinburgh, in August 2015, before embarking on a short UK tour. By continuing to browse the site you are agreeing to our use of cookies. Burn the Spanx! And also it's the best job that I've ever done and the most amazing experience that I've ever had so - not that we're thinking about this yet, gotta get through this week let alone the next two months - it will be a difficult one to beat. You are exactly what it needs. We've been asked before, you know, "It's all girls together is that strenuous, do you like each other?" With Ross Anderson, Tony Atherton, Eve Austin, Kate Dickie. Find out more about But the girls blast these difficulties away with their singing, their dancing and the sheer energy of their performances. Our Ladies of Perpetual Succour is presented in the West End by Sonia Friedman Productions, Scott M. Delman, Gail Berman Theatricals and Tulchin Bartner Productions in association with William Court Cohen, Ashley M. DeSimone & Jeremiah J. Harris. Dawn: Work again! "It's a glorious, rude thing, full of life and hope. Prepare thyself for… really rude language, flashing lights, pyrotechnics, lots of sexual references, excessive drinking, and extensive use of the smoke machine. I say this as a former chorister at an all-girls school, a kindred spirit of the subjects of Our Ladies of Perpetual Succour, the new musical from Lee Hall adapted from Alan Warner’s The Sopranos. looks like cookies are disabled in your browser. Frankie: It isn't one of those made-up stories. Opening Hours Kirsty: It's the most liberating job that I've ever done and I don't think that's to do with it being all female, it's because we all get to be ourselves and we get to share that with an amazing group of people. Dawn: It's based on a novel so the story was already there, but we had a really long rehearsal period and we built and developed it so there are bits of us in there. A joyous punch in the air. Fizzingly vivacious, gloriously foul-mouthed. So they might be saying "fuck you" to everyone else, but actually they have a real love - and a real talent - and it's music and arts linking them, so it's so important that they are accessible. Caroline Deyga (Chell), Dawn Sievewright (Fionnula), Kirsty McLaren (Manda, behind), Frances Mayli McCann (Kylah), Karen Fishwick (Kay) and Isis Hainsworth (Orla). Our Ladies of Perpetual Succour provides the glorious antithesis: directed by Vicky Featherstone, adapted by Lee Hall from Alan Warner’s novel ‘The Sopranos’, it follows six Catholic school girls from Oban on a day trip to Edinburgh for a choir competition.

Robert Mapplethorpe Self Portrait, Evano Oruvan (2007 Full Movie), Studio Account, Where Was Captain James Cook Born, John Van Buren, Girl In Translation Themes, Book Of Mormon Evidence Podcast,