Director in demand We sit down with Max Webster, who has three high-profile shows this autumn alone and is fast becoming one of theatre’s hottest directors
Big Interview, pages 12-14
MANUEL HARLAN
Cleo Sylvestre –
a trailblazing actor, writer
and singer
Obituary, page 30
The Bruntwood at 20 How Europe’s biggest playwriting prize – this year celebrating its 20th anniversary – became part of British theatre fabric
Focus, pages 24-25
‘I was 2ft away from Ian McKellen’s virtuosic display and I remember feeling ecstatic’ Michael Grandage, My Favourite Play page 28
MARC BRENNER
THESTAGE.CO.UK
HESTAGE.CO.UK
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OCTOBER
M A N U E L H A R L A N
M A N U E L H A R L A N
Oedipus
Rev iewed this week in The Stage
Our reviewers on new openings from across the UK, including Mark Strong and Lesley Manville in Oedipus, as well as The Duchess (of Malfi) and Becoming Nancy p15-23
M A R C B R E N N E R
The Duchess (of Malfi)
I O R
M A R K S E N
Becoming Nancy
UK Theatre Awards winners announced
M A N U E L H A R L A N
KATIE CHAMBERS
Welsh National Opera and Shakespeare’s Globe were among the organisations to triumph at the UK Theatre Awards, presented by Steps star Faye Tozer on October 20.
Leeds Playhouse’s revival of Oliver! picked up the most gongs of the evening, scooping both the best musical production accolade and the best performance in a musical award for Jenny Fitzpatrick’s turn as Nancy.
Other winners at the ceremony held at 8 Northumberland Avenue in London were Polka Theatre, named the UK’s most welcoming theatre, and Graeae’s artistic director Jenny Sealey, who was honoured for her outstanding contribution to British theatre.
Tinderbox Theatre’s Rhino at Lyric Theatre Belfast and Belgrade Theatre’s Swim, Aunty, Swim! were among the productions to be crowned winners across the 18 categories, for best play revival and best new play, respectively. The Belgrade also scooped the best design award with the National Theatre of Scotland and Aberdeen Performing Arts, with Kenneth MacLeod winning for Dracula: Mina’s Reckoning.
Performance awards went to David Shields, who won best actor in a play for Punch at Nottingham Playhouse, and
Chumisa Dornford-May, who won best supporting performance (in a musical or a play) for Evita at Leicester’s Curve.
Best director was won by Drew McOnie for his stage adaptation of The Artist at Theatre Royal Plymouth.
Meanwhile, WNO’s production of Death in Venice in collaboration with circus company NoFit State bagged the achievement in opera prize following its triumph at the inaugural Sky Arts Awards last month.
Achievement in dance was won by Aakash Odedra Company and Aditi Mangaldas Dance Company for their production of Mehek, which ran at London’s Sadler’s Wells following its premiere in Abu Dhabi.
The Royal Shakespeare Company’s work with young people earned it the award for excellence in arts education, while Stephen Joseph Theatre’s production of Beauty and the Beast was named the best show for children and young people.
The Globe’s bilingual production of Antony and Cleopatra, performed in both English and British Sign Language, was celebrated for its excellence in inclusivity.
Other offstage awards winners included Chichester Festival Theatre for excellence in sustainability, Theatr Genedlaethol Cymru for excellence in touring for its production of Parti Priodas, and Buxton Opera House and Pavilion Arts Centre, which was given the workforce award.
RX fallout: board member leaves
MATTHEW HEMLEY
Actor Eva Scott has left the board of the Royal Exchange in Manchester after just two months, following the cancellation of A Midsummer Night’s Dream in September.
Scott, who has performed at the theatre, took up the board position in July.
But according to Companies House, Scott left the board on September 26, days
after the theatre cancelled its entire run of the production, directed by Stef O’Driscoll.
As reported by The Stage, the show was cancelled on September 14 after the theatre and O’Driscoll were unable to reach agreement on certain elements of the production.
The Stage exclusively revealed how references to the Israel-Gaza conflict were at the heart of the cancellation, with one of the points of contention understood to have been the inclusion of “Free Palestine” graffiti on a piece of set.
No reason has been given for Scott’s departure from the board. Both Scott and the Royal Exchange declined to comment.
Joseph Millson Forsyte Saga star on his dream roles and inspirations Page 29
The Stage Awards New venue and prize category for 2025 event Page 3
Lyn Gardner Critics must play a part in embracing risk-taking work Page 7
Scottish crisis Can Scotland’s theatre history inform its future? Page 10
Want a new job? Two pages of vacancies in the theatre sector Pages 26-27
