Friends Newsletter Issue 19

Issue Nineteen Summer 2014

2 Tone Comes Home!

Coventry Musical Three Minute Heroes returns to The Belgrade Stage.

The Belgrade Theatre is thrilled to announce that Three Minute Heroes will make its long awaited return to Coventry for three weeks this Autumn. The smash-hit production

by Bob Eaton will play on the Belgrade’s B2 stage from Sat 4 – Sat 25 October. This will be followed by the return of the Belgrade’s

popular B2 Xmas show, Oh No It Isn’t! from Mon 8 – Sat 27 December; an ‘udderly’ gripping comedy thriller created especially for grown-ups.

and The Selecter, tickets for Three Minute Heroes are now on sale. Demand for tickets is likely to be high so book early to avoid disappointment.

Written and Directed by former Belgrade Artistic Director and life-long 2 Tone fan Bob Eaton, Three Minute Heroes famously played to sell-out audiences during its original premiere at the Belgrade in 2000.

Overwhelming public demand saw the production return to the Belgrade Main Stage for a second successful run in the following year.

First commissioned in 2013, Oh No It Isn’t! is a hilarious comedy thriller, written and directed by acclaimed Coventry writer, Nick Walker. Programmed to run alongside the Belgrade’s 2014 pantomime Aladdin in B2, the original production starred award-winning RSC actress Katy Stephens, John McKeever and Richard Kidd, who both appeared in We Love You City and Clare Louise Connolly.

A hilarious yuletide treat and the perfect alternative to panto!

Telling the story of 2 Tone through the lives of five Coventry teenagers and the racial tensions that engulfed the city at that time, Three Minute Heroes is a funny, feel-good and, at times, thought-provoking tribute to the city that inspired a musical revolution.

Featuring a terrific live band and a soundtrack of songs which made stars of The Specials

Tickets for Three Minute Heroes and Oh No It Isn’t are now available via the Belgrade Theatre Box Office on 024 6755 3055 or via our website at www.belgrade.co.uk where tickets are cheaper.

Exclusive Friends of the Belgrade Theatre Events Workshop Tour Thursday 10 July at 11.30am Visit the Belgrade’s offsite workshops, where sets, props and costumes are made not only for the Belgrade but for other theatres across the UK.

Belgrade Unplugged Sat 19 – Sat 26 Jul

Following on from the success of Belgrade Unplugged 2013, in 2014 the Belgrade will be visiting a host of new locations and offering the chance

to watch rehearsed readings of the Belgrade’s forthcoming produced dramas. Visit www.belgrade.co.uk/ unplugged for details.

Propaganda Swing Meet and Greet Monday 11 August at 11am Join us in welcoming the cast of Propaganda Swing at the Belgrade Theatre as they begin their rehearsals here. Following tea and coffee we will sit in on the read through of the script.

Backstage Tour

Saturday 13 September at 9am To mark Heritage Open Day, we will be opening our doors to the Friends of the Belgrade Theatre for an exclusive backstage tour. The tour will last approximately 45 minutes and will involve walking up and down a number of stairs.

To book for any of these events please call 024 7684 6758 or email friends@belgrade.co.uk

Friends of the Belgrade Theatre benefit from receiving 20% off individual tickets.

See back page for season diary.

Hamish Glen on Propaganda Swing This Autumn marks the U.K premiere of Peter Arnott’s compelling new drama, Propaganda Swing.

Throwing a spotlight on the gripping true story of ‘Charly and his Orchestra’, this brand new co-production with Nottingham Playhouse is a captivating tale of WWII intrigue set against a backdrop of glitz, glamour and Big Band swagger. ‘We caught up with Director, Hamish Glen to find out more about bringing this fascinating story to the stage’.

When did you first become aware of the script for Propaganda Swing and what inspired you to take on this project?

I suppose it must have been about three years ago. I remember, I was talking to Peter Arnott, the writer of the script, about doing a new version of a classic story. It was at that point that he mentioned his idea for Propaganda Swing and instantly, it seemed to me like a riveting story. We’re now into the fourth draft of the play so it’s taken us a while to get it into its current shape. It’s a project that’s been a long time in the making.

In a previous interview, Peter Arnott described Propaganda Swing as ‘picking up’ where Kander and Ebb’s musical Cabaret left off in its exploration of the fate of artists operating in 1930s Berlin. Can you explain what he meant by this?

Propaganda Swing picks up from Cabaret, the Kander and Ebb musical in the sense that it’s set at in the immediate aftermath of the explosion of the Berlin jazz scene. During the late 1920s, Berlin was the biggest centre for Cabaret and jazz in Europe and the musical Cabaret ends just as that’s beginning to turn sour as the Nazi regime begins to take a grip on the politics of the day. Propaganda Swing picks up from there in the sense that the Nazis are fully in control, they’ve banned jazz music and they’ve eliminated any music played that was written by Jewish composers. The Nazis relationship to jazz was a fascinating one. In one sense, they saw it as a degenerate, Western art form but on the other hand, they understood its power as a medium of light entertainment and it’s that conflict that lies at the heart of the play.

The play takes its inspiration from a series of real-life propaganda broadcasts which ran weekly throughout the late 1930s and early 40s on shortwave radio. What attracted you to the story of ‘Charly and His Orchestra’ and why do you think this story deserves to be told?

It’s just an incredibly fascinating story - the story of a group of jazz musicians who had been closed down, weren’t able to play the music they adored who were picked up by the propaganda ministry and put into Lord Haw Haw’s propaganda broadcasts. Under the supervision of the Nazi Ministry for Public Enlightenment and Propaganda, what these musicians eventually ended up doing was re-writing the lyrics to some of the most popular jazz standards of the day into vicious, anti-semitic, diatribes which were then put out on air to these popular tunes. What’s also interesting is that it was only by being involved in these broadcasts that the band were able to pick up new music, to travel across Europe, to access these otherwise ‘outlawed’ forms of entertainment. So, whilst in one sense, the piece explores the compromises of artists operating under in an oppressive political climate, what it’s also saying is that, ultimately, it was music that won through. The musicians who 2

made up Charly’s orchestra went on to become some of the most successful operating in Europe post-war. I think the play offers a compelling study of how artists were forced to respond to the circumstances they found themselves in. Whether it was right or wrong to engage with these propaganda broadcasts, whether the music was more important than the politics, all of those themes, I think, still reverberate today.

Propaganda Swing is what’s known as a co-production and the second of the Belgrade’s artistic collaborations with Nottingham Playhouse following Charlie Peace – His Amazing Life and Astounding Legend in 2013.

Can you explain a little more about what this means and the particular advantages of this type of collaboration?

The advantages of co-production are less for a Director as such, more for an Artistic Director. It’s a way to be able to get work of a certain scale, new work and – in this case both theatre company’s share the creation costs so the risk for either side is halved in terms of money invested in the show and by definition, the co-production doubles the reach of the piece. If truth be told, almost all work commissioned now needs to be co-produced following the cuts that have been landing for the last few years and in particular, co-productions of new work as audiences become more risk averse.

We understand that this production features a cast of actor-musicians. What role does music play in the staging of this production and what, as a Director, are the particular challenges of working with actors who are also trained musicians? How does this impact upon the rehearsal process?

I’ve just come out of casting which is actually one of the most nerveracking periods in proceedings. There’s something scarily definitive about it! For this particular production, I need a company of actor musicians who all need to be of a certain standard. Anyone who knows a little about the jazz of this period will appreciate that this piece features some really intricate music and music really is at the heart of the production. To be honest with you, I’ve never really worked with a company of actor-musicians before so I’m not entirely sure what lies ahead of me but what I do know is that I need actors who can play clarinet, trombone, trumpet, strings – all sorts! What’s also clear from the onset is that considerable amounts of the rehearsal period are going to have to be put aside to learn the songs and play the jazz. That’s where our Musical Director, Hilary Brooks comes in. We’ll have to see how I get on!

What can people expect from Propaganda Swing?

The main objective for me is really is to produce a spectacular piece of theatre. There’s a live jazz band playing some of the greatest music of the era. The play takes place in a radio studio and the show never leaves that studio setting so at the heart of the piece is a real sense of theatricality. And despite the darkness of the story, there’s a great deal of humour in this piece too!

Propaganda Swing plays on the Belgrade Main Stage from Sat 13 – Sat 27 September. For tickets, please call the Belgrade Box Office on 024 7655 3055 or visit www.belgrade.co.uk where tickets are cheaper.

Meet the Team Kate Evans Communications Officer – Press and Digital Media What is your role at the Belgrade Theatre?

I work as part of the Belgrade’s Communications Team. As Communications Officer for Press and Digital Media, my job is all about ensuring that the theatre continues to enjoy a high, positive profile within the local and national media. As such, a big part of my role involves maintaining and developing effective relationships with the press, both on and offline whether through print, radio or social and other online media. It’s my responsibility to come up with cost-effective and creative ways of spreading word of mouth about our programme and the work of the Belgrade within the wider community.

How long have you worked here?

I’m new to the team having worked here just over three months. I studied for my degree in Coventry so this city has always felt like my second home. It’s been fantastic getting stuck into the operations of the theatre and coming to terms with the multiple strands of the theatre’s work these last few weeks!

How did you get into your job?

As a student, I always saw myself working within the creative industries. After graduating from the University of Warwick with a degree in English, I went on to study for a Research MA. From there, I spent my time pursuing unpaid placements within theatres including Warwick Arts Centre in Coventry and the Crescent Theatre in Birmingham where I worked as a volunteer. My first ‘proper’ job in Marketing was at the Grand Theatre in Wolverhampton where I worked as Marketing Officer for New Media followed by a year’s Maternity Cover as PR Manager. Four years later and here I am!

What are the most exciting and challenging parts of your job?

As Press Officer, no two days at the theatre are ever the same!

It’s a highly responsive and, at times, tremendously exciting job which puts you into contact with lots of different types of people and situations. One of the most exciting aspects of my role is helping to tell the story of a production in development from the first viewing of the model box set right through to hosting a media call at the final dress rehearsal! That and the dressing up of course. At some point or other in the course of a career in PR, you’ll inevitably be asked to don a panto ‘horse’ costume and parade about a busy town centre!

Have you ever experienced any real disasters?

No disasters as yet (touch wood!) although you do get to use some rather unusual phrases! In PR, you’re constantly responding to situations as they arise. Inevitably in this industry, there’s a chance that an actor or actress may be taken ill or that a technical fault might cause a show to go up late. That’s the nature of live entertainment and its part of my job to be prepared for any eventuality!

What are your favourite shows that you have seen at the Belgrade Theatre?

I will never forget seeing One Night In November when it first premiered at the Belgrade. The intimacy of the space lent the production such incredible urgency and it was clear from the collective response of the audience that night just how much this story meant to the city and how raw those emotions remained after nearly 60 years. That for me, is what the live theatre experience is all about!

What shows are you most looking forward to seeing in the new season?

As something of a jazz fan, I’m incredibly excited about Propaganda Swing this Autumn. The fate of Berlin’s artistic community in the 1930s has always fascinated me and the story of ‘Charly and his Orchestra’ has to be one of the most interesting and paradoxical of the era. The more I research the show, the more fascinated I become! The fact that this production also features a cast of professional actor-musicians playing some of the greatest jazz music of the era is a hugely exciting prospect. I’m also hoping to pick up a few vintage fashion tips from wardrobe along the way!

Exclusive Friends of the Belgrade Theatre Events The following shows have gone on sale since the last newsletter. Tickets are on sale now and seats have been held for Friends of the Belgrade Theatre. Call our Box Office team on 024 7655 3055 or visit www.belgrade.co.uk to book now.

Show

Dates

Description

West End Experience

Monday 29 September

Transporting you on a journey through the musicals and into the heart of London’s Theatreland!

Halfway to Paradise

Wednesday 1 October

Billy Fury was Britain's own Elvis - & the girls loved him! Now 31 years after his sad death, his own band the original FURYS TORNADOS re-play live his timeless hits

Stones in His Pockets

Saturday 4 October

A Hilarious and moving tale of a quiet Irish community turned upside down by the arrival of a Hollywood movie shoot.

Three Minute Heroes

Saturday 4 October – Saturday 25 October

Join five local heroes as they bond, fight, love and play their way through the late ‘70’s and early ‘80s.

Talon

Thursday 4 November

Now in their seventeenth year together Talon have been recognised by the ‘Agents Association of Great Britain’ at the ‘National Tribute Awards’ as the ‘OFFICIAL UK No. 1’ Eagles tribute show.

An Evening with Pam Ayres

Friday 5 November

Pam Ayres brings her latest show to the Belgrade Theatre following the recent publication of her new book of poetry,YOU MADE ME LATE AGAIN!

Oh No It Isn’t!

Saturday 6 – Saturday 27 December

Four actors are performing a Christmas panto. For the audience it’s a fun, yuletide treat – for the actors on stage, it’s a matter of life and death! We soon discover that the cast are all embroiled in a plot to kill each other.

*Only Actors’ and Writers’ Circle members who have provided the Theatre with an email address will receive at least 48 hours priority booking when a performance goes on sale. Actors’ and Writers’ Circle members who provide the theatre with a postal address alone, will be informed of new shows which have gone on sale with each quarterly newsletter and a limited number of tickets will be held for each performance for members of the Actors’ and Writers’ Circles to book on a first come first served basis for 7 days after the newsletter is sent.

Check our What’s On guide or visit www.belgrade.co.uk for more details.

The Belgrade Bulletin

We are also planning some fun campaigns to raise awareness about the Theatre’s charitable status and how the generous donations of the public can help the work on stage and in the community – check out the light bulb display in the foyer that shows how many light bulbs we use each month and the cost of lighting up the stage.

Community & Education Spring 2014 has been a busy time for the Community & Education department, producing three successful shows with our participants. The Young Company production of The Tempest was produced in association with Frantic Assembly and played to sell-out audiences for its week-long run. For the first time we took part in the prestigious National Theatre Connections Festival with Pronoun by Evan Placey which had been written specifically for young people and was performed by our Senior Youth Theatre. Finally, our Acting Out students performed Bassett by James Graham as their final performance piece which was the culmination of their 2 year Performing Arts BTEC qualification.

Into the summer term we are continuing to invite resident artists to work with our community participants to share their artistic practice.

Forthcoming residencies include companies such as Vamos and the RSC, and skills in working with text and a-cappella singing. The experiences and ideas so far will be shared in a ‘crucible’ event for participants and artists in the summer before they start developing more concrete performance ideas.

Production It has been a busy few months for the production department but as the season comes to an end, work begins on preparing for the new season. The workshop department is recreating a piece of 1930’s Berlin for Propaganda Swing as well as bringing us a piece of old Peking with Aladdin. The technical team too will be busy over the summer making sure that the stage and all of the sound and lighting equipment are ready for another season.

Front of House We are coming into a fairly busy couple of months within the Op’s team as preparations are being made for maintenance and jobs that will take place during our “dark” period over the summer. We are also looking ahead to next season, the main focus being contacting Visiting Companies to obtain the relevant information in advance of their arrival following the summer period.

July is a very busy time for us as we have several large dance hires in at this time of year that require us to be extremely organised as we can play host to up to 300 children at any one time.

Communications It’s all change in the Communications Department as we welcome two new members to the existing team, Communications Officer for Press and Digital Kate Evans and Communications Apprentice, Mica Warner, a post recruited through the Creative Access Scheme which helps tackle the under-representation of ethnic minorities in the media.

The team have recently announced a number of exciting new additions to the Belgrade’s Autumn season including the return of Bob Eaton’s Three Minute Heroes and the B2 Xmas show ‘Oh No It Isn’t’ with a further announcement to follow in mid-June. Preparation for the Belgrade’s next brochure mailing is now underway as are a number of exciting outdoor promotional appearances over the summer including a visit to the Godiva Festival in July (featuring the original stars of 2Tone, The Selecter).

Events and Conferencing We have had a busy few months with a number of small scale events taking place in our Meeting Rooms, but we have also played host a Jobs Fair, Blue Coat School’s end of year Prom, the Performing Arts Showcase and the Lions Club Coventry showcase.

We are really pleased that our events services are becoming so popular as the money earnt through these events is reinvested back into the work that we do, not just on our stages, but also in the community, supporting the personal development of young and older people at risk of isolation or exclusion from education or society as a whole.

Book Now 024 7655 3055 or via www.belgrade.co.uk

The Belgrade Theatre is a registered charity, no. 219163

Development The Development Team is currently preparing for the Belgrade Theatre Unplugged events taking place in July. These events see rehearsed readings of upcoming plays performed in and around Coventry and Warwickshire, taking the work to other venues (often not made for theatre performances) provides some challenges so there is A LOT to prepare.