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2 October 21 2021 news Beauty and the Beast suspends star over alleged ‘inappropriate language’ Georgia Snow Beauty and the Beast star Emmanuel Kojo has reportedly been suspended from the tour of the musical following allegations of inappropriate language. The actor plays the Beast in the touring production of the musical, which began at Liverpool Empire – the first stop on its newly launched UK and Ireland tour – on September 23. The show continued running there until October 16. However, according to newspaper reports, Kojo has not performed since October 9 and Alyn Hawke is playing the role in his absence. A spokesman for Disney, which is producing the show, confirmed that an investigation had been launched. He said: “We are aware of a complaint, which we take very seriously, and a thorough investigation is underway. The employee in question has been suspended until the matter is resolved.” Courtney Stapleton and Emmanuel Kojo in Disney’s Beauty and the Beast Johan Persson According to the Sun, Kojo was suspended after making “inappropriate comments to a female crew member”. Kojo stars in the musical alongside Courtney Stapleton as Belle. His previous roles have included celebrated performances in Show Boat and Oklahoma!, for which he was nominated for UK Theatre awards. The UK touring production of Beauty and the Beast delayed its opening earlier this year, and began performances last month. It is due to continue until June 2022. In April, director Rob Roth stepped down from the production, after an email he sent in support of producer Scott Rudin was made public. At the time, Rudin had stepped back from his involvement in productions in both the US and the UK, following accusations of bullying and abusive behaviour towards former employees. Beauty and the Beast is directed and choreographed by Matt West, and produced by Disney Theatrical Productions. Open letter calls on West End to improve access and increase disabled representation Giverny Masso Playwrights Jack Thorne and Morgan Lloyd Malcolm are among those who have signed an open letter calling on the commercial theatre sector to improve accessibility and disability representation. Other signatories include actors Nicole Raquel Dennis, Irvine Iqbal and Lizzie Bea, actor and choreographer Beth HintonLever, Deaf theatre critic Liam O’Dell and actor and writer Amy Trigg. Written by disability activist, photographer and writer Shona Louise, the letter is also supported by disability arts alliance #WeShallNotBeRemoved, audio description organisation VocalEyes and captioning charity Stagetext. In the letter, Louise states that a “better standard of accessibility is needed urgently” within commercial West End theatres. She writes: “Renovating a listed building may be hard, but it is not impossible, and when you care enough it is a challenge you will rise to. “Just two examples: the Shaftesbury Theatre is currently undergoing works to allow disabled people access to the stalls for the first time and the oldest working theatre in London, Theatre Royal Drury Lane, has made enormous changes to move towards giving disabled audience members an equal experience.” Louise adds: “We should not and cannot accept side entrances, restricted views, a severe lack of accessible performances, poor accessible toilet facilities and more as the standard any more. If it is this difficult for audience members, then can you imagine how challenging it is to try and work in this industry as a disabled person? “Opportunities for employment for disabled people are severely limited by the shocking inaccessibility of our theatres, combined with ignorance from others in the industry. As a photographer, I have struggled immensely to find accessible work.” The letter follows widespread criticism of West End musical Six’s transfer to the Vaudeville Theatre, due to its lack of accessible facilities. Louise said: “I have experienced barriers in this industry as both a photographer and audience member over the past few years. It’s felt almost constant at times. Too many times I have tried to book a show to find I can’t even get inside the theatre. In 2021, this feels completely unacceptable to me. “And as a theatre photographer it is even worse. I have a passion to work in this industry but there are hurdles in every direction. Disability and accessibility has not had the moment or conversation it deserves within this industry, and it’s about time that changed. Disabled people deserve a seat at the table.” Barbican creates diversity role to ‘embed equality’ in HR operations Matthew Hemley London’s Barbican Centre is to bolster its senior leadership team with a new consultancy role that aims to embed diversity and inclusion in its HR operations, following criticism of the department’s handling of discrimination reports. It comes as the Barbican prepares to release the findings of an audit into its HR department, which The Stage understands has come under scrutiny following the publication of Barbican Stories, which featured nearly 100 accounts of discrimination from current and former workers. The publication prompted an external review, alongside the audit of the Barbican’s HR that was also undertaken. Last month, The Stage revealed that staff had been leaving the organisation in the face of plummeting morale, with the HR department also criticised for being “slow to react to the issues raised in Barbican Stories”. Now, the Barbican is in the process of appointing an HR transformation consultant, who, The Stage understands, will work with the organisation on its HR strategies and be part of the senior leadership team. A City of London Corporation spokeswoman said: “This new role will sit within the Barbican Centre’s senior leadership team and, working closely with our recently appointed director of equity, diversity and inclusion [Nina Bhagwat], will focus on embedding EDI throughout its HR operations. Strengthening HR services is an essential part of the overall vision for a fully inclusive Barbican Centre, that sets an outstanding example in the cultural sector.” The Stage understands that the findings of the HR audit and the external review will be released together, and are due to be published shortly. At an all-staff meeting earlier this month, the Barbican’s management committed to change at the organisation and promised the arts venue would look “very different” in three months’ time.
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October 21 2021 3 thestage.co.uk/news i P h o t o G r a p h y N o r m s k Black British Theatre Awards nominations Michael Balogun (above) has been nominated for best actor at the Black British Theatre Awards for Death of England: Delroy at the National Theatre. Celebrating the achievements of black performers and creatives in the UK theatre industry, the ceremony takes place on November 21 at Old Finsbury Town Hall in London. Other nominees include performers Marisha Wallace and Tyrone Huntley, and directors Miranda Cromwell and Tinuke Craig. Campaigners battle to save Theatreland pub Matthew Hemley Campaigners are fighting to save a West End pub they fear will be lost following a planned renovation. The Nell of Old Drury in Covent Garden has been at the heart of Theatreland since the 1700s, and – as well as featuring memorabilia from shows – has provided a space to host comedy and fringe nights, as well as quiz nights and play readings. However, there are fears the pub will be stripped of its theatrical heritage before its expected reopening later this year,. Joel Marvin, who has worked in the pub as well as being a customer for the past 16 years, told The Stage he was worried the renovation would deprive the West End of “one of the last traditional theatre pubs in the UK”. He has been rallying support from the West End community, and in an email sent to the pub’s owner, Stonegate Group, said: “The pub’s bread and butter is the theatre community. Performers, front of house, backstage workers and theatrelovers. Our custom has always helped ensure the success of the pub.” He added: “I speak for the theatrical community – as an ex-employee of the Nell, theatre producer and customer of 16 years – we would be devastated if the Nell lost its theatrical charm and character. This pub is adored by so many, so we are anxious to know about the renovation plans.” Marvin said he had not received assurances that the pub’s heritage would be protected, and raised particular concern about a selection of ‘house full’ signs that have been collected from various West End shows over the years and displayed in the pub. He said he wanted to auction the signs, which were installed by the pub’s previous landlord, to raise money for the charity Acting for Others. He also expressed concern that the upstairs area of the pub, used for play readings, performances and quiz nights, would not be available for these activities when the pub reopens. “There are so many other pubs the company can jazz up and make contemporary. For a pub that already has that character, it would be horrendous if they took all the history out,” he told The Stage. A spokeswoman for Stonegate Group said: “We would like to reassure customers old and new that we are investing heavily in the site, to restore it to former glory and give the building a long-overdue renovation. It is our intention to restore, retain and reuse much of the theatre memorabilia in the pub. We are also engaging with members of local theatre community to ensure we do the right thing by the Nell.” Roy Alexander Weise to make RSC debut in 2022 Georgia Snow Roy Alexander Weise is to make his Royal Shakespeare Company debut directing Much Ado About Nothing starring Michael Balogun and Akiya Henry, as the company also reveals a nationwide new-writing project. Weise’s production will mark the return of Shakespeare to the company’s main stage for the first time since the pandemic closed theatres. The RSC has promised to put co-creation with artists, communities and schools at the heart of its plans for the coming year, with work in its season also including Henry VI: Rebellion and Wars of the Roses, performed as a double bill and created in collaboration with young people and adult participation groups. The 2022 programme is part of efforts to foster a nationwide Royal Shakespeare community, the company said, including partnerships with 12 associate theatres and more than 200 associate schools. At its centre will be 37 Plays, a new-writing project with theatres across the country encouraging members of the public, including children and adults, established and first-time writers, to create “the comedies, tragedies and untold histories of our time”. It will run throughout 2022, culminating in a festival of 37 new plays in 2023 to mark the 400th anniversary of the publication of Shakespeare’s First Folio. Acting artistic director Erica Whyman said the project would unearth new voices for different platforms – it will take place in person and online – and described the plans as “the most ambitious, public writing project in the company’s history”. On stage, Henry VI: Rebellion will be directed by Gregory Doran and Owen Horsley, with Horsley helming Wars of the Roses. They run from April 1 to June 4, with a press day on April 20. Much Ado About Nothing, which Whyman described as a fresh take on the comedy, will be the first Shakespeare play performed in the RSC’s main house since February 2020. The debut RSC show from Weise, joint artistic director of Manchester’s Royal Exchange Theatre, will star Balogun and Henry as Benedick and Beatrice. It runs from February 4 to March 12, with press night on February 15, and will feature an original score by Femi Temowo, winner of best creative West End debut at The Stage Debut Awards 2020. Weise said: “Living in a 21st-century global society, our world is much smaller and more connected, which is why I wanted to explore what a futuristic vision of society might look like. What has the potential to be different, what potential is there for change, and equally what fundamental aspects of the human condition remain unchanged?” While the Royal Shakespeare Theatre reopens for audiences, the Swan will remain closed until the summer to carry out essential capital works, including stabilising the ceiling, replacing electrical equipment and improving accessibility.

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October 21 2021

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thestage.co.uk/news i P h o t o G r a p h y

N o r m s k

Black British Theatre Awards nominations

Michael Balogun (above) has been nominated for best actor at the Black British Theatre Awards for Death of England: Delroy at the National Theatre. Celebrating the achievements of black performers and creatives in the UK theatre industry, the ceremony takes place on November 21 at Old Finsbury Town Hall in London. Other nominees include performers Marisha Wallace and Tyrone Huntley, and directors Miranda Cromwell and Tinuke Craig.

Campaigners battle to save Theatreland pub

Matthew Hemley

Campaigners are fighting to save a West End pub they fear will be lost following a planned renovation. The Nell of Old Drury in Covent Garden has been at the heart of Theatreland since the 1700s, and – as well as featuring memorabilia from shows – has provided a space to host comedy and fringe nights, as well as quiz nights and play readings. However, there are fears the pub will be stripped of its theatrical heritage before its expected reopening later this year,.

Joel Marvin, who has worked in the pub as well as being a customer for the past 16 years, told The Stage he was worried the renovation would deprive the West End of “one of the last traditional theatre pubs in the UK”. He has been rallying support from the West End community, and in an email sent to the pub’s owner, Stonegate Group, said: “The pub’s bread and butter is the theatre community. Performers, front of house, backstage workers and theatrelovers. Our custom has always helped ensure the success of the pub.”

He added: “I speak for the theatrical community – as an ex-employee of the Nell, theatre producer and customer of 16 years – we would be devastated if the Nell lost its theatrical charm and character. This pub is adored by so many, so we are anxious to know about the renovation plans.”

Marvin said he had not received assurances that the pub’s heritage would be protected, and raised particular concern about a selection of ‘house full’ signs that have been collected from various West End shows over the years and displayed in the pub. He said he wanted to auction the signs, which were installed by the pub’s previous landlord, to raise money for the charity Acting for Others. He also expressed concern that the upstairs area of the pub, used for play readings, performances and quiz nights, would not be available for these activities when the pub reopens.

“There are so many other pubs the company can jazz up and make contemporary. For a pub that already has that character, it would be horrendous if they took all the history out,” he told The Stage.

A spokeswoman for Stonegate Group said: “We would like to reassure customers old and new that we are investing heavily in the site, to restore it to former glory and give the building a long-overdue renovation. It is our intention to restore, retain and reuse much of the theatre memorabilia in the pub. We are also engaging with members of local theatre community to ensure we do the right thing by the Nell.”

Roy Alexander Weise to make RSC debut in 2022

Georgia Snow

Roy Alexander Weise is to make his Royal Shakespeare Company debut directing Much Ado About Nothing starring Michael Balogun and Akiya Henry, as the company also reveals a nationwide new-writing project. Weise’s production will mark the return of Shakespeare to the company’s main stage for the first time since the pandemic closed theatres.

The RSC has promised to put co-creation with artists, communities and schools at the heart of its plans for the coming year, with work in its season also including Henry VI: Rebellion and Wars of the Roses, performed as a double bill and created in collaboration with young people and adult participation groups.

The 2022 programme is part of efforts to foster a nationwide Royal Shakespeare community, the company said, including partnerships with 12 associate theatres and more than 200 associate schools. At its centre will be 37 Plays, a new-writing project with theatres across the country encouraging members of the public, including children and adults, established and first-time writers, to create “the comedies, tragedies and untold histories of our time”.

It will run throughout 2022, culminating in a festival of 37 new plays in 2023 to mark the 400th anniversary of the publication of Shakespeare’s First Folio.

Acting artistic director Erica Whyman said the project would unearth new voices for different platforms – it will take place in person and online – and described the plans as “the most ambitious, public writing project in the company’s history”.

On stage, Henry VI: Rebellion will be directed by Gregory Doran and Owen Horsley, with Horsley helming Wars of the Roses. They run from April 1 to June 4, with a press day on April 20.

Much Ado About Nothing, which Whyman described as a fresh take on the comedy, will be the first Shakespeare play performed in the RSC’s main house since February 2020. The debut RSC show from Weise, joint artistic director of Manchester’s Royal Exchange Theatre, will star Balogun and Henry as Benedick and Beatrice. It runs from February 4 to March 12, with press night on February 15, and will feature an original score by Femi Temowo, winner of best creative West End debut at The Stage Debut Awards 2020.

Weise said: “Living in a 21st-century global society, our world is much smaller and more connected, which is why I wanted to explore what a futuristic vision of society might look like. What has the potential to be different, what potential is there for change, and equally what fundamental aspects of the human condition remain unchanged?”

While the Royal Shakespeare Theatre reopens for audiences, the Swan will remain closed until the summer to carry out essential capital works, including stabilising the ceiling, replacing electrical equipment and improving accessibility.

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