Following its resounding success with a record-breaking run at the Theatre Royal Windsor and two sold-out weeks at Theatre Royal Bath, ‘Frank and Percy’ is poised to capture hearts and tickle funny bones at its forthcoming London stint.

Penned by emerging British playwright Ben Weatherill, ‘Frank and Percy’ presents a poignant yet witty exploration of an unexpected and heartwarming relationship between two men. United by their unwavering affection for their canine companions, Frank and Percy embark on a journey of human connection, navigating the complexities of love and companionship. Against the backdrop of a park where their dogs play freely, the play invites audiences to ponder whether Frank, a widowed schoolteacher, and Percy, a spirited elder statesman, should take the plunge into new romance or let sleeping dogs lie.

Director Sean Mathias syas, “‘Frank and Percy’ explores the fragility and joy of relationships, and what forges and strengthens bonds between humans, at a time when more than ever, we all need to love and support one another.”

The collaboration of McKellen and Allam, two titans of British theatre, promises an unforgettable theatrical experience that spans the breadth and range of the dramatic arts. McKellen’s illustrious career, which has garnered a Tony Award and six Olivier Awards, is complemented by Allam’s multifaceted contributions on stage, television, film, and radio.

Adding to the excitement, The Other Palace introduces a new writing development fund. A portion of ticket sales from future productions in the main house will contribute to this fund, specifically earmarked to support emerging playwrights and nurture the next generation of theatre makers. Details regarding the fund’s initiatives and the first open call for submissions will be announced later this year.

For more information and tickets head over to theotherpalace.co.uk.

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The story is simple: an adolescent girl begins exhibiting the signs of demonic possession. Her mother, a famous film star, finds no cure from the medical profession, so she turns to the church in a last-ditch effort to save her child…

The Exorcist phenomenon began as a novel from William Peter Blatty, which he later adapted into a screenplay for Academy award-winning director William Friedkin. The result was a brutally aggressive, documentary-realistic film in 1973 that rocked audiences through its graphic detail and fearless subject matter.

Until the new millennium, the movie was buried in a censorship ban, giving it a near-mythical status. Today, after countless releases on DVD and Blu-ray, The Exorcist lives again and is rightly considered to be one of the finest movies of its time. But is it a story that translates to stage, and can it still raise the same fears as it once did?

John Pielmeier’s workmanlike adaptation lifts dialogue directly from Blatty’s original screenplay, and these aspects shine through in some scenes, particularly between the clergy and parent Chris MacNeil. There’s a great portion of scratch-written material too, but this is less lucid; designed to overcome the practicalities of the theatrical medium, including expositional, on-the-nose dialogue which weighs down its first act.

In a tale dense with nuance, the script feels eager to overcome mystery to establish exactly who everyone is, and later spell out precisely what’s happening. Part of The Exorcist’s original mood came from elements and characters that were subtly or ambiguously sketched, but the stage version doesn’t carry such self-confidence in the work. It feels anxiously clarified.

That’s probably because the play is pitching its messaging way up to the upper circle of the theatre auditorium like We Will Rock You, and for the sake of absolute clarity is bailing out any residue of subtlety. The logic is understandable, but the source material definitely loses something in its broader pitch.

Then there’s the challenge of making Regan’s rancid bedroom feel enclosed, claustrophobic and inescapable on a cavernous stage. The show goes some way to address this with a compact set design and projection effects from Anna Fleishle, but it’s near impossible to provide a portrait-like intimacy on a theatrical scale. But that’s not to say there aren’t any scary moments — they just come in the form of noisy jump scares and effects rather than a sense of creeping, enclosing dread.

The problem of over-literal direction is demonstrated in some of the most graphic scenes. In the book and screenplay, such harrowing incidents are described bluntly and graphically, however the playbook ramps up the dialogue and direction to near gratuitous levels. Again, it’s to overcome the barriers and distance of staging subtle actions on a large format platform, but the sensitivity of say, Regan’s self abuse with a crucifix, translates awkwardly in its overblown choreography. It’s less shocking and just toe-curling awkward in its grandstanding. Perhaps it’s just me, but I’d prefer to have seen this directed with more discretion. The act is terrifying, not the explicit action.

The sprawling cast of the film has been carefully distilled into a more focused lineup of key characters. Sophie Ward hands over a suitably angst-ridden Chris MacNeil. She shares a strong dynamic with Susannah Edgely, providing a convincing childishness as the girl at the heart of the horror. It’s an unforgiving and mechanical role in many ways, which comes close to tripping into comical hysteria, yet Edgely pitches it just at the right side of reality.

The ill-fated Buerk, MacNeil’s camp confidant, gets some welcome development here, realised in a flourishing and fun performance from Tristram Wymark. In a small but integral role, stage and screen legend Paul Nicholas glides up as Father Merrin in a subtly withdrawn performance as the elderly priest. Again, much fanfare is made of his arch battle with the demon — something only hinted at previously yet is now a touch over-egged. The ill-fated Father Karras is sympathetically played if thinly written on the page, with Jonathan Blakeley adding some much-needed weight to his dialogue.

The Demon is voiced by the unmistakable tones of Ian McKellen, in a pre-recorded track mixed into the live action. Perhaps due to the cachet of securing McKellen, his voice feels a touch over-deployed. We hear the Demon as an offstage character almost from the off — throwing out any question of the possession being a fabrication of Regan’s imagination — and it also lacks the ethereal, androgynous roar of the screen version. Quite simply, you never escape the fact it’s McKellen, and that’s a real barrier to fearing the invisible demon.

It’s unfair to compare a film to a stage version, particularly a classic like The Exorcist, but the play’s popularity is undoubtedly riding on that reputation. The play is still entertaining, and there’s a surprising amount of production value invested in its run. From explosions to levitating bedsteads and crawling evils across walls, there’s clearly been a huge attempt to make this work within the theatrical setting. But the question remains: does it need to come to stage? Perhaps if it introduces a new generation to the story: ok, yes.

The Exorcist feels like an adaptation from the book if it were to be a B-movie remake. All of the key features are there, but they’re roughly assembled in a heavy-handed fashion. Still, the source material is so strong there’s no escaping its captivating story and troubling themes. A harrowing adventure into the shadows of humanity, this show will undoubtedly shock audiences, but the novel and the movie remain the definitive versions. Most definitely a theatrical version of The Excorcist in every sense of the word.

Cast: Paul Nicholas, Sophie Ward, Ben Caplan + voice of Ian McKellen Writer: William Peter Blatty, adapted by John Pielmeier Director: Sean Mathias Theatre: Manchester Opera House Running time: 150 minutes Dates: Tuesday 22nd to Saturday 26th October 2019.

Tickets: atgtickets.com/Manchester

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Inspired by true events, this devilishly thrilling tale has been adapted from William Peter Blatty’s original screenplay by John Pielmeier and will be directed by Sean Mathias, featuring the voice of Ian McKellen as the Demon.

The play also features Sophie Ward, best known for her roles in Holby City and Heartbeat, with Ben Caplan as Father Damien.

When the medical profession fails to provide answers to young Regan’s strange symptoms, her desperate mother Chris turns to a local priest for help. But before Father Damien can tackle what’s before him, he must overcome his own shaken beliefs, as this fight is for more than just one girl’s soul…

Widely considered the scariest movie of all time, the film adaptation of The Exorcist sparked unprecedented worldwide controversy when it was released in cinemas in 1973.

Winner of two Academy Awards, William Friedkin’s masterpiece saw audiences petrified to the point of passing out and went on to become one of the top ten highest-grossing films of all time.

Now, 45 years after its release, fans of the film and theatre alike get to experience a visually astounding, intelligent and thrilling theatrical experience…

The Exorcist is at the Opera House Manchester from Tuesday 22nd to Saturday 26th October 2019. Book online at atgtickets.com/Manchester

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The film pairs up two of our most iconic actors – Sir Ian McKellen & Dame Helen Mirren. Russell Tovey and Jim Carter co-star.

The Good Liar will be released nationwide on 8th November 2019 and tells a story about the secrets people keep and the lies they live.

Career con man Roy Courtnay (Ian McKellen) sets his sights on his latest mark: recently widowed Betty McLeish (Helen Mirren), who is worth millions. And he means to take it all. But as the two draw closer, what should have been another simple swindle takes on the ultimate stakes.

Legendary actors Helen Mirren (Oscar winner for The Queen) and Ian McKellen (two-time Oscar nominee for Lord of the Rings: The Fellowship of the Ring and Gods and Monsters) star together on screen for the first time in this suspenseful drama.

Bill Condon, the Oscar-winning screenwriter of Gods and Monsters, directs The Good Liar from a screenplay by Jeffrey Hatcher (the excellent and underrated Mr. Holmes), based on the widely acclaimed novel by Nicholas Searle.

Jóhannes Haukur Jóhannesson, Lewis Jones, Phil Dunster, Nell Williams, Lily Dodsworth-Evans, Michael Culkin, Bessie Carter, Celine Buckens, Laurie Davidson, Julian Ferro and Aleksandar Jovanovic also co-star in the drama.

The film is produced by Greg Yolen and Bill Condon. Richard Brener, Andrea Johnston, Aaron L. Gilbert, Jason Cloth, Anjay Nagpal, Jack Morrissey, and Nick O’Hagan executive produce.

The creative filmmaking team includes director of photography Tobias Schliessler (Beauty and the Beast, Mr. Holmes), production designer John Stevenson (BAFTA nominee, Burton and Taylor), editor Virginia Katz (Beauty and the Beast, Mr. Holmes), and costume designer Keith Madden (miniseries Patrick Melrose, Mr. Holmes).

The music is composed by two-time Oscar nominee Carter Burwell (Three Billboards Outside Ebbing, Missouri, Carol).

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When the medical profession fails to provide answers to young Regan’s strange symptoms, her desperate mother Chris turns to a local priest for help. But before Father Damien can tackle what’s before him, he must overcome his own shaken beliefs, as this fight is for more than just one girl’s soul…

Bill Kenwright presents the nationwide tour of the spine-tingling live production in a devilishly thrilling drama adapted for stage by John Pielmeier and directed by Sean Mathias (Waiting for Godot, No Man’s Land), featuring the voice of Ian McKellen as the Demon.

William Friedkin’s 1973 Academy Award-winning film adaption of The Exorcist, thrilled audiences across the globe and gained a huge cult following. Now, 45 years after the film’s release, fans of the film and theatre alike get to experience a visually astounding, intelligent and haunting theatrical experience.

Opening at the Theatre Royal Windsor on 2nd September 2019, the production will then visit Glasgow, Wimbledon, Stoke, Milton Keynes, Birmingham, Manchester, Dublin, Edinburgh, Inverness, Aberdeen and Bromley, with further dates and star casting to be announced soon.

The Exorcist is at the Opera House Manchester from Tuesday 22nd to Saturday 26th October 2019. Book online at atgtickets.com/Manchester

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It is announced today that Ian McKellen will feature in the West End premiere of The Exorcist as the voice of the Demon.

From 20th October at the Phoenix Theatre, the stage adaptation of William Peter Blatty’s iconic best-selling novel will be unleashed onto the London stage for the very first time in a uniquely theatrical experience directed by Sean Mathias and adapted by John Pielmeier.

“Oh please, Mother, make it stop!”

When the medical profession fails to provide answers to young Regan’s strange symptoms her desperate mother Chris turns to a local priest for help. But before Father Damien can tackle what’s before him, he must overcome his own shaken beliefs, as this fight is for more than just one girl’s soul…

As previously announced, Jenny Seagrove will play Chris MacNeil opposite Peter Bowles as Father Lankester Merrin, Adam Garcia as Father Damien Karras, Todd Boyce as Doctor Strong, Elliot Harper as Father Joe, Isla Lindsay as Sharon, Mitchell Mullen as Doctor Klein, Tristram Wymark as Burke and Clare Louise Connolly as Regan.

Widely considered the scariest movie of all time, the film adaptation of The Exorcist sparked unprecedented worldwide controversy when it was released in cinemas in 1973. Winner of two Academy Awards, William Friedkin’s masterpiece saw audiences petrified to the point of passing out and went on to become one of the top ten highest grossing films of all time.

Multi award-winning Ian McKellen has had a 55 year long career on stage and on screen. For the Royal Shakespeare Company he has played Romeo, Macbeth, Iago and King Lear and at the National Theatre, has appeared in productions of Coriolanus, Richard III, Uncle Vanya and The Seagull. He gained his first Oscar nomination for Gods and Monsters and his second for Gandalf in the Lord of the Rings trilogy. He is Magneto to Patrick Stewart’s Xavier in the X-Men movies, Richard III and most recently Mr Holmes. He is currently starring in King Lear in Chichester and was last seen on stage in London with Patrick Stewart in No Man’s Land.

The Exorcist is designed by Olivier Award-winning Designer Anna Fleischle (Hangmen), Lighting Design by Philip Gladwell (Five Guys Named Moe), Composition and Sound Design by Adam Cork (London Road), Projection Design by Jon Driscoll & Gemma Carrington (Brief Encounter) and Illusion Design is by Ben Hart (Impossible). Associate Director is Alexander Lass.

To book, see: http://www.atgtickets.com/shows/the-exorcist/phoenix-theatre/

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Sir Ian, one of Park Theatre’s key Ambassadors and champions from its inception, is performing Shakespeare, Tolkien, Others & You in order to raise funds for its work.

Over nine special performances from one of the world’s finest actors, Sir Ian will reprise some of his renowned performances, from Gandalf to Macbeth. Audiences will have opportunities to ask questions and participate in the performance, as well as hearing Sir Ian discuss his work with other notable actors and directors. An intimate and unforgettable evening with one of the world’s finest actors.

Sir Ian McKellen said: “I’m performing at Park Theatre to help raise funds for the charity. In a short time the theatre has established itself on both the theatrical and local maps. But with no public subsidy for core costs they need to bring in donations of around £250,000 every year just to keep the doors open. The monies raised from the higher ticket prices for this production will support their core ambition of producing accessible theatre throughout the coming years and furthering their work with the local community. A number of £10 seats will also be available on the day. I do hope you’ll support this wonderful cause.”

Artistic Director Jez Bond said: “As one of our country’s leading actors, I can’t imagine there is anyone better placed to understand both the power and importance of smaller scale theatres and the challenges they face. Ian has been a staunch supporter since the building was a hard-hat site – and I continue to be grateful for and humbled by his incredible generosity. He has donated his time to help raise vital funds by performing this show – and I am honoured to be working with him to bring it to the stage.”

To book, see www.parktheatre.co.uk.

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The film, which opens in cinemas on 17th March stars Emma Watson as Belle
and Dan Stevens as the Beast / Prince Adam.

Beauty and the Beast refashions the classic characters from the tale as old as time for a contemporary audience, staying true to the original music while updating the score with several new songs.

Beauty and the Beast is the fantastic journey of Belle, a bright, beautiful and independent young woman who is taken prisoner by a beast in his castle. Despite her fears, she befriends the castle’s enchanted staff and learns to look beyond the Beast’s hideous exterior and realize the kind heart and soul of the true Prince within.

The film also stars Luke Evans as Gaston, the handsome, but shallow villager who woos Belle; Oscar winner Kevin Kline as Maurice, Belle’s eccentric, but lovable father and Olaf himself Josh Gad as Lefou, Gaston’s long-suffering aide-de-camp.

Golden Globe nominee Ewan McGregor also stars as Lumiere, the candelabra; Oscar nominee Stanley Tucci plays Maestro Cadenza, the harpsichord; Gugu Mbatha-Raw is Plumette, the feather duster, six-time Tony Award winner Audra McDonald plays Madame Garderobe, the wardrobe; Oscar nominee Ian McKellen is Cogsworth, the mantel clock; and two-time Academy Award winner Emma Thompson plays the teapot, Mrs. Potts.

Directed by Oscar winner Bill Condon and with a screenplay based on the 1991 animated film, the film is produced by Mandeville Films’ David Hoberman and Todd Lieberman.

Eight-time Oscar-winning composer Alan Menken, who won two Academy Awards (Best Original Score and Best Song) for the 1991 animated film, provide the score, which will include new recordings of the original songs written by Menken and Howard Ashman, as well as several new songs written by Menken and three-time Oscar winner Tim Rice.

Check out the new clip and featurette below:

[brid video=”118315″ player=”531″ title=”Beauty and The Beast Dinner Invitation Official Disney HD”]

[brid video=”118319″ player=”531″ title=”Beauty and the Beast Empowered Belle Official Disney HD”]

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Directed by Sean Mathias, this production of No Man’s Land received highly acclaimed reviews at the Cort Theatre in New York whilst in repertory alongside Waiting for Godot, also starring stage and screen friends, McKellen and Stewart and directed by Mathias. The production of Waiting for Godot had transferred from London where it celebrated a sell-out run at the Theatre Royal Haymarket, the last time these masters of British theatre shared a West End stage.

One summer’s evening, two ageing writers, Hirst and Spooner, meet in a Hampstead pub and continue their drinking into the night at Hirst’s stately house nearby. As the pair become increasingly inebriated, and their stories increasingly unbelievable, the lively conversation soon turns into a revealing power game, further complicated by the return home of two sinister younger men.

Patrick Stewart (Hirst) says: “I saw the original production of No Man’s Land three times in one week at Wyndham’s Theatre and would have seen it more if I could have afforded the tickets. I made a promise to myself that one day I would play Spooner or Hirst but to be doing it back at Wyndham’s with Ian McKellen was a fantasy I never entertained.”

Ian McKellen (Spooner) says: “Playing Spooner to Patrick’s Hirst on Broadway was a constant joy, which is why I am delighted to be back with him in the West End.”

Further casting has yet to be announced.

See www.NoMansLandThePlay.com for more details.

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In 1947, the world famous sleuth has retired to a remote Sussex farmhouse, living in relative anonymity with only his housekeeper Mrs Munro and her young son Roger for company. Cantankerous, demanding and frustrated with the mis-representation of him in Watson’s best-selling novels, he diverts his attention to an unsolved case. As the mystery deepens, Sherlock tries desperately to recall the events of 30 years ago that ultimately led to his retirement.

Starring Academy Award nominee Laura Linney (The Savages) as housekeeper Mrs Munro, Frances de la Tour (Harry Potter) and newcomer Milo Parker, Mr. Holmes is adapted from Mitch Cullin’s 2005 novel A Slight Trick of the Mind and is directed by Academy Award winning filmmaker Bill Condon (Gods and Monsters).

To be in with a chance of winning one of 3 sets of Mr Holmes merchandise, including a copy of the film on Blu-ray, a novel and a poster, just answer the question below.

The competition closes at 23.59 (GMT) on Friday 20th November 2015.

*You can enter once per day to increase your chances of winning but please note, only one entry per day will be counted*

Mr Holmes is available to own on DVD, Blu-ray™ and to download now.

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X-Men: First Class defied the odds back in 2011 and came in as one of the most accomplished comic book films in recent memory. It achieved this level of success through deep characterisation, stunning attention to detail and an encompassing story that somehow linked the original trilogy and the Wolverine off-shoots into one cohesive unit. So the daunting challenge that awaited X-Men: Days of Future Past was how to build upon this legacy. Thankfully X-Men: Days of Future Past manages to continue this trend with a hugely entertaining blockbuster that delivers a very enjoyable time-travel element to the Marvel universe.

When news of the X-Men: Days of Future Past – Rogue Cut surfaced it certainly peaked interest. With Anna Paquin’s scenes cut entirely from the theatrical release, it now surfaces on this special edition Blu-ray and it’s worth the wait. Originally cut for narrative purposes, the Rogue Cut actually makes the film a much more coherent and satisfying affair. The cut is around 17 mins longer too so this isn’t just an odd appearance thrown in for the sake of it. Every minute is relevant and plays a big part in the finale and to the overall structure of the film. The Rogue Cut completely changes the movie and is a very welcome addition to the story.

Early indications were positive that the film would be a success, especially given the X-Men casts’ eagerness to all reprise their roles. With James McAvoy and especially Michael Fassbender enjoying enormous success since First Class, their return to the franchise must have helped the likes of Halle Berry, Ellen Page and Shawn Ashmore sign up to realise a fan-boy dream of amalgamating these generations of heroes into a linear and cohesive timeline.

The success of the film lies squarely with the writing teams’ masterful direction and vision, coupled with an ensemble of acting talent that all push themselves to the limit. James McAvoy and Patrick Stewart’s portrayal of Charles Xavier is faultless and they captivate every time they are onscreen. McAvoy’s builds upon his wonderful camaraderie with the entire cast but his central relationship with Erik is where the film really becomes interesting, especially when their relationship is explored in the future through Patrick Stewart and Ian McKellen.

Hugh Jackman leads the line exceptionally well and shows us just how versatile an actor he is. It’s impossible to see anyone else have the impact and magnetism of Wolverine in the entire Marvel film universe, with Jackman the rock that grounds this very tricky unification. Jackman looks amazing throughout, his comedy and wise-cracks are vintage Logan and he makes the bridging of the past and future franchises look effortless when it’s anything but. Hugh Jackman is sensational here, especially given the weight of expectation resting on his shoulders and the fact that so much hinges on his performance.

The large supporting cast are all excellent with Game of Thrones regular Peter Dinklage stealing all of his scenes as the man responsible for ushering in a new age of war. Jennifer Lawrence has a much larger role to play as Raven/Mystique and she is at the centre of much of the film. There are many familiar faces popping up throughout the film too and they give fans plenty of opportunity to get excited.

Anna Paquin’s additional scenes showcase a great side-story involving the older Charles and Erik having to rescue her along with Iceman. Paquin does very well given her short screen time and creates a great triangle of drama along with Ellen Page’s Kitty Pryde and Shawn Ashmore’s Bobby. Evan Peters is entertaining and delivers some solid comic relief as Quicksilver and Nicholas Hoult is always reliable as Beast, sharing good chemistry with Jackman and McAvoy along the way.

X-Men: Days of Future Past likes grand spectacle and it delivers some truly immense action set-pieces. Having the film work with real-life events (like the death of JFK) grounds the story and makes the fantastical seem plausible and effective too. The soundtrack is awesome and plays to the subtleties of the marvellous script and the dedication to the source material will keep die-hard comic book fans very happy. Even the costume and period set design of X-Men: DOFP is superb and really evokes 70’s style (especially through Hugh Jackman who looks amazing throughout the film in tinted shades driving a Buick). This perfectly contrasts the totalitarian, bleak depression of the future-scenes with their dark and twisted tonal shifts.

Marvel Comics have had a very successful film-run of late with every one of their properties doing astounding box-office business. X-Men may fall under 20th Century Fox’s banner (as opposed to Marvel Studios) but their universe is fast becoming the only comic stable to look out for. With an infinite amount of X-Men characters to take inspiration from, the X-Men franchise looks to be just as expansive and encompassing a universe in its own right so don’t expect to see a team up with The Avengers anytime soon. If you stay until the very end credits of DOFP you’ll also see a teaser for the plot of the next movie, proving that there are many more journeys for us to take with these Mutants.

X-Men: Days of Future Past – The Rogue Cut does a very good job building upon its foundations. It may not better First Class but its ability to unite so many differing story-threads means that this franchise has a new, vibrant lease of life. X-Men: Days of Future Past – The Rogue Cut is a real statement of intent from Fox & Marvel and a must-own release, proving that this Director’s Cut version is a relevant, involving and important chapter in the X-Men legacy.

X-Men: Days of Future Past- The Rogue Cut is out now on Blu-ray and DVD.

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Starring Sir Ian McKellen, Laura Linney and Frances de la Tour, Mr Holmes is directed by Bill Condon. The movie is adapted from from Mitch Cullin’s 2005 novel A Slight Trick of the Mind.

In 1947, the world famous sleuth has retired to a remote Sussex farmhouse, living in relative anonymity with only his housekeeper Mrs Munro and her young son Roger for company. Cantankerous, demanding and frustrated with the mis-representation of him in Watson’s best-selling novels, he diverts his attention to an unsolved case.

As the mystery deepens, Sherlock tries desperately to recall the events of 30 years ago that ultimately led to his retirement.

Mr Holmes will be released on 19th June 2015.

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