Since Access London's last post on the Queen's Theatre (home to Les Miserables), there have been improvements made to the physical Access at the theatre. Previously there were problems with one of the doorways in the theatre, leading to one of the Accessible seating areas as it was not wide enough to accommodate most manual wheelchairs! Thankfully this has been corrected and the doorway widened to accommodate wheelchairs, manual and motorised, and also scooters.
Access Info for Queen's: For wheelchair and scooter users, the entrance to the auditorium is through the fourth side door on Wardour Street – please ask a member of staff to open this for you. Level transfers are available in row D Dress Circle (may not be suitable for very low seated wheelchairs). There are places in Loge 1 and 2 that have level access. These will be suitable for wheelchairs which are maximum 1m in length and 64cm wide. Limited Mobility: 18 steps from the foyer up to the rear Dress Circle. 21 steps from the foyer down to the Stalls. 39 steps from the foyer to up the Upper Circle (this area is quite steep). Assistance dogs are allowed inside the auditorium, however Theatre Management can look after them if required. There is an Infra-red system with 12 headsets – Free hire upon production of ID. Please collect from foyer kiosk. You will be asked to sign a receipt. A £5.00 returnable deposit is required for the hire of the headsets. Please notify theatre at time of booking if you require this service. For signed, captioned and audio-described performances, patrons are requested to call: 0844 482 5166 or email access@delfontmackintosh.co.uk There is an adapted toilet with Radar lock in the foyer, accessed via a ramped corridor. Currently no bars in the theatre are accessible to wheelchair users but drinks can be brought into the auditorium. Tickets: To book discounted Access tickets (companion discount also) to see Les Miserables, call Access number and select 'Queen's Theatre' from the options on 0844 482 5137.Soprano, Victoria Farley, is a former Les Miserables cast member and part of the 25th Anniversary celebrations at the O2 in 2010. She is currently working on recording tracks in a classical/jazz crossover style, with the hope of recording an album in the near future. Victoria kindly answered some questions on Access recently and also some on her first recorded track, proving a big success on YouTube. Have a read what she has to say and check out her YouTube channel and follow on Twitter.
AL: Many theatres/arts venues in London still have little or no disabled access. How aware are you of these issues? And how aware do you think others in the business are?
VF: In all honesty, I was not at all aware of how many theatre/arts venues have restricted and even no disabled access, and I think I would be correct in saying that the vast majority of others in the industry are also unaware of this.
AL: As a singer, how important is it to you that everyone who wants to see you perform can access the venue to do so?
VF: As a performer, I feel a personal sense of responsibility to the audience at all times. To me it is of the utmost importance that every audience member has the most enjoyable time possible when visiting the theatre; in all aspects. I am also always immensely proud of the show I am in, and proud of everyone involved and it is wonderful to receive support from the audience. The fact is: No Audience, No Show. Without the support of the public, the theatre world would and could not exist. Therefore I feel ashamed that some theatres are obliged to turn away an audience member should they have a disability that cannot be accommodated. I understand there are difficulties with listed building restrictions on some of the older theatres, but in a time where health & safety, equal rights, human rights, political correctness and disability work awareness/equality are practiced in all sectors, I feel a sense of embarrassment that our sector of work is lagging so far behind.
AL: Many theatres and theatre groups currently don't promote and publicise their Access details and rates particularly well. Could this be because they don't want to sell discounted Access tickets or do you think other reasons are involved?
VF: I don’t think the discounted rates are an issue to theatres. With so much competition among the theatres, discounts and offers are promoted on a daily basis. Perhaps they are unaware of the issues faced in this matter, and that because so many venues do not offer Access, there will be certain audience members who are looking out for these tickets. It is something that must be bought to the attention of each venue, and the ones offering Access should be proud to stand up promote this, and encourage other theatres to follow suit.
AL: Some of the larger arts venues (Barbican, ROH, RAH, RFH, Coliseum) have their own Access schemes with free membership, Access rates and dedicated Access teams. Do you think such schemes could work in West End and off West End theatres?
VF: Absolutely. If you are welcomed into a place so warmly, you will be loyal to that place. As I mentioned before, the competition between each theatre is high so regular visitors and loyal members do wonders for those venues. All theatres should look into offering Access membership and rates as they will then recommend this venue to others. It would be especially worthwhile in off West End theatres as the shows change so regularly and it is always nice to welcome back familiar faces.
AL: Any message to theatres owners about the future of Access for All?
VF: Theatre owners should recognise the importance of Access for All. However large or small the venue is, they should be committed to offering whatever level of Access they can. It is unacceptable in this era to be turning away audience members because they cannot accommodate disabled members and theatres should be proud to stand up and say that they have made the difference.
AL: You've performed in shows from Les Mis (incl the 25th Anniversary concerts) to Edwin Drood...what's made you choose to record songs, and possibly an album, at this time?
VF: Having trained classically as a soprano, performing as a solo artist is something I am very used to, and before I branched into Musical Theatre, most of my performing experience were solo recitals/concerts. The idea of recording a new style of music was something I started working on 2 years ago, however I was fortunate enough to work solidly in theatre for those 2 years, so I put the recording on temporary hold. As soon as I finished pantomime this year, I took the bull by the horns and set to work whilst I had no other commitments.
AL: Why a classical/jazz crossover? Where did the idea come from?
VF: Just after I finished the Les Mis tour, I worked abroad for 6 months. I was singing lots of different genres of music, one of these being jazz. Jazz was a style I hadn’t worked on before and I loved it! When I started working on the idea of releasing a track, I couldn’t decide between jazz, and my first love: classical. Both are so very different, and would be marketed towards completely different listeners. And then it hit me: why not try a mixture of the two!
AL: It's the first song you've recorded. What was the process like?
VF: The process was quite long and tricky. Classical and jazz are completely different genres. Musically they are worlds apart, and they styles in which they are written differ in almost every way. Trying to merge the two in a way that was still sympathetic to the original aria wasn’t an easy one to work out and I did go through a stage of thinking “There is a reason why this hasn’t yet been tackled – it doesn’t work!” I was persistent however, and eventually we worked out a formula.
AL: Who and what are your musical influences?
VF: I have certainly been inspired by singers such as Il Divo, who have crossed classical with pop in order to make it more accessible to people who wouldn’t usually enjoy classical music, whilst still pleasing those that do listen to it. There have been many like Il Divo who are also achieving this. I have always been inspired by the greatest classical singers such as Andrea Bocelli, Pavarotti and Cecilia Bartoli, who literally raise the roof with their singing ability!
AL: If an album is to be made (fingers crossed), what songs and ideas have you got for it?
VF: I am currently working on a number of songs for a potential album. I also hope to be performing my own gigs soon. I am mainly sticking to the most celebrated and recognisable arias, although I will be throwing in some surprises! I shouldn’t be naming any numbers yet, as with the complications of creating new arrangements I could end up scrapping some of them, but ‘Nella Fantasia’ and ‘Canto Della Terra’ will definitely be amongst the mix.
Thank you once again Victoria for answering those questions and supporting Access London and Access for All. Please check out Victoria's YouTube channel and her newest classical/jazz recording... Victoria Farley, O Mio Babbino Caro Video . You can keep up to date with Victoria's latest news and projects via her website www.victoriafarley.com . And by following her on Twitter @victoria_farley .
After several months away, Access London is back! Thank you to everyone for your messages and support over the last few months, very much appreciated. Also finally back on Twitter after a break
My Facebook and Twitter feeds have been full of status updates and excitement about this Summer's much anticipated UK tour of the Three Phantoms concert - not surprising as it's a fantastic show, great tunes, funny and performed by some incredibly talented singers. I've had quite a few messages asking about Access to the venues it's touring to. As it's a pretty extensive UK tour (followed by another in the Autumn), I can't give detailed info for all theatres involved. The blog is predominately about London venues, so I'll look at the New Wimbledon Theatre where the tour arrives to in a couple of weeks time. I will include links to the Access pages of all the other venues though, so if you're not in London, check them out and get yourselves to your nearest venue.
The Show: Three Phantoms UK Summer tour opened in Dartford last week. Over the next 6 weeks, they are touring the UK extensively. "Earl Carpenter, Matthew Cammelle and Stephen John Davis (our current cast) have all played, to huge acclaim, the mysterious Phantom at Her Majesty’s Theatre in London and between them have given over 3,000 of the show’s 10,000 performances. Established and respected musical theatre performers in their own right, they have been regularly entertaining audiences worldwide in some of the world’s most popular musicals.
They are joined onstage by the fantastic Rebecca Caine, whose performance as Christine Daaé in the original cast of The Phantom of the Opera opposite Michael Crawford and the Canadian premiere alongside Colm Wilkinson, was acclaimed on both sides of the Atlantic and who remains an equally respected artist with a career encompassing musicals and opera."
"this outstanding show features over 20 songs from Les Misérables, West Side Story, Chicago, Kiss Me Kate, My Fair Lady and Wicked to name but a few. The beautiful staging of this concert, evoking the drama and excitement of the great musicals concludes by celebrating the world’s most successful entertainment phenomenon - The Phantom of the Opera."
New Wimbledon Theatre: For wheelchair users (scooter users need to check with venue first) the Stalls are Accessible via the Russell Road Entrance. There is a wheelchair Accessible lift to Access the area and wheelchair spaces have a seat for a companion next to/nearby. If you are transfering into a theatre seat then please let the box office know. For those with limited mobility but who are able to do some stairs then aisle seats in the Stalls are bookable but note that there are steps between rows. An induction loop is available at the box office for those who are hard of hearing. Adapted toilets and a bar are Accessible in the Stalls area. Assistance dogs are allowed into the auditorium but please let the box office know before, when you book your tickets, as only a limited number are allowed per show. Three Phantoms is at the New Wimbledon on Tuesday 18th and Wednesday 19th June 2013, both shows starting at 7.30pm. To book Access tickets (at a discounted rate or companion free rate), call the Access booking line on 0844 871 7677.
June Dates and Access bookings: Tuesday 4th - Wednesday 5th June at Bristol Hippodrome, tickets HERE . Thursday 6th - Friday 7th June at Theatre Royal Brighton, tickets HERE . Saturday 8th June at Leeds Grand Theatre, tickets HERE . Monday 10th - Tuesday 11th June at Wycombe Swan Theatre, tickets HERE . Wednesday 12th June at Birmingham Symphony Hall, tickets HERE . Thursday 13th June at Oxford New Theatre, tickets HERE . Friday 14th - Saturday 15th June at Worthing Pavilion Theatre, tickets HERE . Sunday 16th June at Milton Keynes Theatre, tickets HERE . Tuesday 18th - Wednesday 19th June at Wimbledon New Theatre, tickets HERE . Thursday 20th - Saturday 22nd June at Darlington Civic Theatre, tickets HERE . Tuesday 25th - Wednesday 26th June at Hull New Theatre, tickets HERE . Friday 28th - Saturday 29th June at Sunderland Empire, tickets HERE . Sunday 30th June at Carlisle THe Sands Centre, tickets HERE .
July Dates and Access Bookings: Monday 1st - Wednesday 3rd July at His Majesty's Theatre Aberdeen, tickets HERE . Thursday 4th - Saturday 6th July at Theatre Royal Glasgow, tickets HERE . Thursday 11th July at Liverpool Philharmonic Hall, tickets HERE .
Welcome back to Access London and Thank You once again for helping to support Access for All to the Arts. Firstly, Merry Christmas to all the readers and supporters and here's to more changes and improvements to Access in 2013. 2012 has seen many positive changes and feedback from theatres and arts venues on Access. This includes the Royal Albert Hall who do have some serious issues to look at in terms of physical access as well as communication. However, they've made a positive start on it this year after many of the issues raised by Access London have been looked at and I thank you all for sending me stories of your experiences there. I am hopeful things will continue to improve in 2013. Other Arts venues continue to improve their already excellent Access lists and schemes including, Southbank Centre, The Barbican and The National and I hope that some of these ideas can one day be transferred to West End theatres/groups. Thank you once again to everyone who sends in feedback of theatres and venues you've visited and their Access, whether good or bad.
As passionate as I am about Access London and the issues it raises and fights for, I couldn't do it without the support of singers, actors and dancers who give their time and show support for what Access London aims to achieve. Below are Christmas messages from some who have been amazing with their support and I'd like to take this opportunity to again thank every single one of them, it really is much appreciated. To the readers, I hope you enjoy reading the messages as much as I did. Merry Christmas Everyone. x
Michael Xavier: "Sending lots of love and Christmas cheer to all those who support Access London. Thank you for your efforts and may 2013 be a lucky year for you all. x"
Michael is currently playing Cornelius Hackl in Hello, Dolly! at the Leicester Curve until the 19th January 2013. To book tickets, see their website www.curveonline.co.uk . You can follow Michael on Twitter @michaelxavierMX
Rebecca Caine: "One of my New Year resolutions is not to take anything for granted. The fact I am able to see any show I want is something I never thought about until I realised that many venues are not accessible to disabled people. Something that is so easy for me and gives me such joy should be accessible to everyone. Thankyou Claire for all your work in this area. And let's hope that 2013 sees more and more venues making sure that theatre is accessible to everyone."
You can keep up to date with all of Rebecca's concerts for 2013 on her website www.rebeccacaine.com . You can also follow her on Twitter @RebeccaCaine
Nick Wyschna: "Happy Christmas to all readers and supporters of Access London from all of us at Guildford Fringe Theatre Company. It's a pleasure to be associated with Claire and I pledge our support in any way we can in the coming years. Much love, Nick Wyschna."
You can keep up to date with Guildford Fringe's shows and news by signing up to their newsletter HERE . Or check out their website www.guildfordfringe.com . You can also follow Nick on Twitter @NickWyschna
AJ Callaghan: "Wishing you a very Merry Christmas and a wonderful New Year. Please spread the festive cheer and remember those less fortunate with a simple gesture of buying someone, cold and alone, a hot drink and a sandwich and don't forget our four legged friends by donating a can of food to an animal rescue centre. It's the small gestures that make Christmas special."
AJ is currently in Les Miserables at Queens Theatre, London and covers the role of Fantine. Her next Fantine dates are the 11th and 12th January 2013. To book Access tickets for Les Miserables, call the Access line on 0844 482 5137. You can also follow AJ on Twitter @AJCallaghan1
Will Barratt: "Very Merry Christmas to all the readers of Access London. Thank you for enjoying and supporting the arts, as I fully support Access for All. x"
Will was part of the cast of Sweeney Todd at The Adelphi this year. To keep up to date with his news and projects, follow him on Twitter @willbarratt83
Jo Loxton: "Wishing everyone at Access London a fantastic Christmas and wonderful new year and here's to more support for Accessible Theatre in 2013! Much Love xxx"
Jo will be joining the cast of Dear World as it makes its UK Premiere at the Charing Cross Theatre from the 4th February 2013. For tickets, visit their website www.charingcrosstheatre.co.uk . You can also follow Jo on Twitter @Joloxton
Chris Jenkins: "Huge Season's Greetings to Claire and all her lovely readers. Eat, Drink and be Happy!"
Chris is currently performing in Spamalot at the Playhouse Theatre in London. To book Access tickets to see Spamalot, call the Access line on 0844 871 7677. You can follow Chris on Twitter @chrisjenko
Sofia Escobar: "Christmas is a magical time, a time for love, for family, for music and all round happiness! I wish you all a wonderful Christmas filled with joy and sparkles!"
Sofia is currently playing Christine Daae in Phantom of the Opera. To book Access tickets to Phantom, call the Access line on 08444 124648. You can also follow Sofia on Twitter @sofia_escobar
Lee Bowen: "Wishing everyone involved and all readers of Access London a very Merry Christmas and a Happy New Year. Let's make 2013 an even bigger year for Access London, and push out the message that theatre is for everyone, and we all have the right to enjoy the rich variety of the arts."
Lee will be playing Mr Upfold in Benjamin Britten's Albert Herring during Britten's centenary year and celebrations in 2013 with Mid Wales Opera that will be touring to London. You can follow Lee on Twitter @LeeBowenTenor
John Owen-Jones: "To all at Access London....Nadolig Llawen! JOJ"
For details of John's concerts in 2013, see his website HERE . John's newly released single 'May Each Day' can also be purchased from HERE . You can follow John on Twitter @johnowenjones
Danny Whitehead: "Dear readers of Access London, I would like to take this opportunity to wish you a very Merry Christmas and hope that 2013 will bring health and happiness. I am a firm believer that Theatre and the arts play a vital role in our communities and that is why I am so passionate about performing and enjoy it so much. "The role of theatre in our society is difficult to define, for the theatre has almost an infinitive number of functions". Because of this, the importance of how accessible theatres, concert halls and arts venues are for absolutely everybody is extremely high. The fantastic work Access London do in highlighting this fact to theatres and venues is something that is particularly close to my heart as my mum and dad have worked and cared for adults and children with mental and physical disabilities for over twenty years. I have become very close to a lot of the people they work with and they have wanted to come and support me in many of the shows and concerts I have performed in, this has been getting easier to organise over the past year or so with venues improving their access and hospitality for all audience members. This improvement is down to the likes of Access London sharing information and bringing the issue of equal access to the theatre Management. I hope that 2013 is the year when all theatres realise how important it is to have Access for All! Have a fantastic Christmas!! Danny Whitehead xx"
Danny was in the recent production of South Pacific that was at London's Barbican before touring the UK. To keep up to date with Danny's news and projects, follow him on Twitter @DannyWhitehead_
Victoria Farley: "As a professional actress, I understand the importance of supporting the arts, and I thank everyone who keeps this industry flourishing by their continued interest and support. I would like to believe that every person has the opportunity to participate in the rich culutural and artistic sector this country has to offer, regardless of any given disability. Earlier this year I was made aware of the Access London scheme and was shocked to realise how many London theatres/institutions are unable to accommodate certain disabilities. Learning about the scheme has given me the determination to help make a difference, and to encourage people to give some support to the people who support us. I would like to wish all readers a very Merry Christmas. I hope you enjoy some festive cheer and sparkly celebrations. I wish 2013 to bring love and support to this important scheme and equal opportunities for all. Lots of love and a big Christmas smile, Victoria x"
Victoria played Rosa in The Mystery of Edwin Drood earlier this year at the Arts Theatre and is currently Wendy in Peter Pan at the Towngate Theatre. To book tickets, see their WEBSITE . You can follow Victoria on Twitter @victoria_farley
Richard Halton: "To all readers of Access London, Wishing you a very Merry Christmas and a happy and healthy 2013! xx"
Richard is a singer, both opera and musical theatre, and a vocal coach. To keep up with all of Richard's news and projects, see his website HERE . You can also follow him on Twitter @richiehalton
Simon Shorten: "Wishing all the readers of Access London an amazing Christmas and new year. Thank you all for your continued support. x"
Simon is currently in Phantom of the Opera and is House Cover for The Phantom. To book Access tickets for Phantom, call the Access line on 08444 124648. You can keep up to date with Simon's news and projects for 2013 on his website HERE . You can also follow Simon on Twitter @SiShorten
Claire Cook: "Wishing all at Access London a wonderful Christmas and a Happy and exciting New Year! Best wishes to all, Claire xxx"
Claire is currently Dance Captain for Phantom of the Opera at Her Majesty's Theatre. You can follow Claire on Twitter @CookClaire
Paul Keating: "Wishing everyone a wonderful Christmas & New Year. I hope you get to enjoy some time off! I'm making the most of life without the '8 show week' this year and intend to gorge myself, whilst relaxing with my family & friends. Thank you all for supporting London Theatre Access throughout 2012!"
Paul played the Scarecrow in the recent production of the Wizard of Oz at the London Palladium. To keep up to date with Paul's news, follow him on Twitter @1PaulKeating
Welcome back to Access London and Thank You once again for supporting Access for All to the Arts.
London's Southbank is home to many arts venues including The National Theatre building which houses three theatres, The Olivier, The Lyttelton and The Cottesloe. With many productions running at the same time, there's always something different to watch at The National.
The Magistrate, a farce set in Victorian London, is currently playing at The Olivier... "With his louche air and a developed taste for smoking, gambling, port and women, it’s hard to believe Cis Farringdon is only fourteen. And that’s because he isn’t. Agatha his mother lopped five years from her true age and his when she married the amiable Posket.
Well, when I heard the new dad was a police magistrate, I was scared. Said I to myself, “If I don’t mind my Ps and Qs, the Guv’nor – from force of habit – will fine me all my pocket-money.”
The imminent arrival of Cis’ godfather sends Agatha incognito to the Hôtel des Princes to warn him of her deception. But it’s also where her son has cajoled his otherwise staid stepfather into joining him for a binge. High-spirited carousing leads to a police raid and a night of outrageous mishap as the trapped guests make desperate attempts to conceal themselves from the law and from each other. Indignities escalate at court the next day where Posket, the police magistrate, must preside."
With a cast that includes, John Lithgow, Nancy Carroll, Peter Polycarpou, Joshua Mcguire, Beverly Rudd, Sarah Ovens and Christina Cole, it's one not to miss. The Magistrate will also be broadcast Live via National Theatre Live to selected cinemas nationwide on January 17th 2013. Performances at The Olivier run until the 10th February 2013, please see the National Theatre's website for more details on dates and times of performances.
National Theatre Access: All entrances have wide, glass swing doors. There are semi-automatic doors on either side of the main riverside entrance. There is also free parking available to blue badge holders in the underground car park (take your blue badge, theatre ticket and car park ticket to the information desk to receive your free exit ticket). Wheelchairs are also available to borrow at The National but please ring in advance to check availability and to book on 020 7452 3000. The backstage tours run at The National are fully accessible, please notify box office of any requirements when you book. Free cast lists are available in large print and braille from the front information desk. For those requiring audio-described performances, a free mailing list is available in large print, braille or CD format, please phone 020 7452 3238 to order your copy.
The National has an audio-described programme and touch tours for those with visual impairments and captioned performances for deaf or partially hearing patrons. There are also relaxed performances. Audio Described Performances for The Magistrate: Friday 4th January 2013 (7.30pm) and Saturday 5th January 2013 (2.00pm) with a touch tour at 12.30pm. Captioned Performances of The Magistrate: Thursday 10th January 2013 (7.30pm) and Tuesday 22nd January 2013 (7.30pm).
The Magistrate is playing in The Olivier Theatre. Access Information: To reach both the stalls and circle, use the lifts from either the foyer or underground car park. Stalls: 5 wheelchair spaces are available at the back of the stalls and the back row (R) is one small step up. All other seats are accessed via steps (25 down to the front). Please note that there is no handrail on the centre aisle (Level 2). Circle: Level access is available to Row G. There are 18 steps down to the front at Row A. The steps are steep but there are handrails (Level 3). Assistance dogs can be taken into the auditorium or front of house staff can look after them for you.
The National Theatre's Access List is free to join for those with a disability. You can print off, fill in and post the form from the website or fill it in online and email it to them. It enables you to describe the requirements you have. Once the form has been processed, you will be given a password for their online bookings or you can ring the box office for tickets on 020 7452 3000 and will be entitled to their concessionary rates on tickets. It's well worth the few minutes it takes to fill in the form!
Welcome back to Access London and Thank You once again for helping to support Access for All to the Arts.
Chariots of Fire: "Adapted from the legendary Oscar-winning movie, this spectacular and ingenious retelling of Eric Liddell's and Harold Abrahams' quest to become the fastest men on earth is an electrifying and immensely moving tale of two men's rivalry, and their unwavering determination to conquer the world in the face of prejudice, immovable beliefs and overwhelming odds.
Featuring the original, hugely iconic Vangelis score and a magnificent ensemble cast, Chariots of Fire brings alive the incredible true story of two British athletes whose honour, sacrifice and courage brought them glory and immortality on the greatest sporting stage of all."
Chariots of Fire is 'running' at the Gielgud Theatre, on Shaftesbury Avenue, until the 2nd February 2013. Performances are on Monday-Saturday evenings at 7.45pm and Wednesday and Saturday matinees at 3.00pm. Please note that there will be some changes to the performance schedule over the Christmas and new year period. To see the schedule for this time visit The Gielgud Theatre Website For Country, For Honour, Forever.
Access Information: If you are a wheelchair or scooter user, just notify someone at the front of the theatre upon arrival and a side Exit door will be opened for you on Rupert Street (third door along). There is one step at this door but there is ramp that can be placed over it to allow for access. There is step-free access to the foyer bar where there is also an accessible WC.
There are 2 dedicated wheelchair spaces in the dress circle (at either end of row B). Alternatively, if you can transfer, seats B5 and B30 in the dress circle are step-free. The theatre has an infra-red system with 12 headsets that can be borrowed from the foyer - note that a receipt must be signed for the use of these upon presenting ID. Assistance dogs are allowed into the auditorium, alternatively, staff can sit with the dog during the performance. Everyone at the theatre is extremely helpful and has great disability awareness. Please be aware that strobe lighting and a starting pistol are used during this production.
Discounted Access tickets are available to those with a disability and a companion (depending on availability at each performance). To book Access tickets for Chariots of Fire, please call Delfont Mackintosh Theatres Access line on 0844 482 5137 and select the option for the Gielgud Theatre. This takes you directly through to the box office at the theatre.
Welcome back to Access London and Thank You once again for helping to support Access for All to the Arts. This post heads away from central London and towards the London/Essex border, to the Brookside Theatre and their current production, Deathtrap.
The theatre is based within the Romford War Memorial Social Club, a fitting tribute as today is Remembrance Day...."The Brookside Theatre is a voluntarily run organisation and the home of Stage One Theatre Company, an award-winning, Romford-based theatre group established in 1991.
The theatre is based within the Romford War Memorial Social Club (RWMSC) on Eastern Road and the main purpose of all events held at the theatre is to raise money and awareness for the club which is a registered charity as well as a registered war memorial.
The RWMSC was officially opened on the 11th October, 1953, by the Lord Lieutenant of Essex, Lt.-Col Sir Francis Whitmore, to commemorate the residents, civilians and service personnel of Romford who tragically lost their lives during WWII. The main purpose of the charity is to provide social activities to the senior citizens of Romford and Havering.
In 2012, Stage One Theatre Company performed the first fundraising event for the RWMSC at the Brookside Theatre. This event marked the first of many planned to help fund the renovations and support to the RWMSC, a worthwhile charity within the community.
With its 60th anniversary in October 2013, further funds are needed to complete renovation works to both the main hall and also the front building, which houses the commemorative panels listing the names of the fallen which were donated by the US Air Force in recognition of the hospitability they received when stationed in Romford during WWII.
Independent of any council or applied funding, The Brookside Theatre is entirely self sufficient, thanks to kind donations, ticket sales, membership subscriptions and the 'Friends’ of The Brookside Theatre. Any person over the age of 16 is welcome to join the volunteers working at the theatre and will be encouraged and taught to develop skills: whether that be acting, marketing, set building, sound or costume design etc. The Brookside Theatre is proud to survive through the dedication of its volunteers."
Brookside's current production is the comedy thriller, Deathtrap, which runs until Saturday 17th November (evening performances at 8.00pm and Wednesday and Saturday matinees at 2.00pm). "A play to kill for... Writer Sidney Bruhl's luck has run out. Once the toast of Broadway, he hasn't had a hit play in years...
Young and aspiring playwright, Clifford Anderson, a student of one of Sidney's writing classes, just so happens to have written the perfect play - 'Deathtrap'. Desperate for success, Sidney would do anything to claim Clifford's play as his own. And then he comes up with a killer idea..."
Written by Ira Levin and Directed by Neil Reynolds ( @neilreynolds ), Deathtrap's cast includes, CJ de Mooi (Sidney Bruhl) James Meunier (Clifford Anderson) Helen Jeckells (Myra Bruhl) Nicki French (Helga ten Dorp) Clifford Hume (Porter Milgrim).
Access Information: Parking spaces for those with Access needs can be pre-booked via the box office. The theatre is located behind another building and there isn't a great deal of street lighting around, so please be aware of this when arriving and leaving in the dark. From the car park, there is a gentle ramp up to the entrance, with handrails on either side. The building itself is all on one level, so there is no issue with stairs. The box office is lowered and there is plenty of room inside for wheelchair or scooter users. Although, there is level access to toilet facilities, at the present time, there is no adapted accessible toilet - an issue I am told is being looked at. The chairs in the theatre are not fixed and so seating can be arranged and adapted to suit the needs of those with disabilities - please notify box office at time of booking. There are ticket concessions available for disabled patrons and one companion. To book Access tickets, please call the box office on: 01708 755775. For all other tickets and to find out more about the theatre and its productions, please visit their website at www.brooksidetheatre.com
Welcome back to Access London and Thank You once again for helping to support Access For All to the Arts.
Opening on the 8th of October 1985 at The Barbican Theatre, Les Miserables is the world's longest running musical and will celebrate its 27th birthday in just over a weeks time. After a short run at The Barbican Theatre, the show transferred to The Palace Theatre in London's West End in December 1985 and spent 18 years there. In 2004, the show moved to its current home at The Queen's Theatre on Shaftesbury Avenue.
Access Information - Queen's Theatre: If you are a wheelchair or mobility scooter user or cannot manage stairs, please inform a member of staff upon arrival and they will escort you round to the Accessible entrance. The Accessible entrance to the auditorium is through the fourth side door on Wardour Street. If you are able to transfer from your chair, level transfers are available in row D (may not be suitable for very low seated wheelchairs) in the Dress Circle. Chairs and scooters will be taken and stored at the bottom of the stairs, next to the foyer. If you are a scooter user and prefer not to leave your key with a member of staff, you can drive the scooter there yourself and walk back up to your seat (back up a ramped walkway with handrails).
For those needing/wishing to remain in their chairs, spaces are available in Loge 1 and 2 for you and a companion. These will be suitable for wheelchairs which are maximum 1m in length and 64cm wide.
For those who can manage some stairs, the Queen's has: 18 steps from the foyer up to the rear Dress Circle. 21 steps from the foyer down to the Stalls. 39 steps from the foyer up to the Upper Circle (this area is quite steep).
Assistance dogs are allowed into the auditorium or staff can sit with them during the performance.
Queen's is fitted with an infra-red system and there are 12 headsets available to use upon request and with the production of ID (please inform booking line if you require this service).These are available from the foyer (please ask a member of staff if you are unable to manage stairs), a receipt must be signed and £5 returnable deposit left.
There is an Accessible WC next to the foyer, it can be accessed by radar key, or ask a member of staff for assistance to open it. None of the bars at Queen's are Accessible without negotiating stairs but drinks can be brought into the auditorium to those with disabilities.
There is a discounted Access rate available to those with a disability, for you and a companion. Please note, there are a very limited number of Access discounted seats per performance and, for such a popular show, early booking is advised if you'd like to take advantage of these rates. To book Access seats and for all other Access information, please call the box office directly on 0844 482 5137 and press the option for the Queen's Theatre.There are occasional captioned and audio-described performances of Les Miserables scheduled. For details of the next performance, please call 0844 482 5166.
A lot of readers have been asking me what singers and actors' knowledge and opinions of Access (and sometimes lack of Access) to our theatres and arts venues means to them. So, I've put some of your questions to them and will be posting a series of mini Q&As with some fabulously talented people. As this post's Access information was on Les Miserables, today's mini Q&A is with both the Original Cosette, Rebecca Caine, and current Les Mis cast member (and cover Fantine) AJ Callaghan. Thank you very much to both for their constant support.
Many theatres/arts venues in London still have little or no disabled access. How aware are you of these issues? And how aware do you think other people in the business are?RC: I wasn't at all aware and I'm shocked. I don't think most of us have much of an idea about these issues.
AJC: From working front of house at The Theatre Royal, Drury Lane and talking to some of the disabled patrons, I am actually very aware of this. Drury Lane has a very good system in place which highlights the discrepancies in other venues. Unfortunately, due to the way theatres are built and because of the time they were built, not all of them have street level access to the auditorium. For instance, just across the road from Drury Lane, is The Fortune Theatre; this theatre has a very small entrance and access to all seating is either up or down stairs, which could be extremely problematic for a disabled patron.
With regards to other people's awareness, I'm not really sure. It's not a conversation I've heard backstage recently but this doesn't mean people aren't aware.
As a singer and actor, how important is it to you that everyone who wants to see you perform can access the venue to do so?RC: It’s very, very important to me!
AJC: Very Important. Everybody should have access to the arts.
Many theatres and theatre groups currently don't promote and publicise their Access details and rates particularly well. Could this be because they don't want to sell discounted Access tickets or do you think other reasons could be involved?RC: I don't know. Maybe. In the end it's all about the bottom line, sadly.
AJC: Unfortunately, Theatre has become part of the corporate world. Making money is a very high priority, if not top of the list of aims for most shows these days. Therefore I hate to say it, but I think maybe it is a case of wanting to sell the seats at top price, rather than advertise a discounted rate, no matter who is affected as a result.
Some of the larger arts venues (Barbican, RFH, RAH, ROH, Coliseum) have their own Access schemes with free membership, large info packs, Access rates, dedicated Access teams. Do you think such schemes could work in West End and off West End theatres?RC: Interesting about those larger venues as they are subsidised. Yes, I believe it would work in the West End also.
AJC: Definitely! As I mentioned earlier, Drury Lane has a brilliant access scheme. A separate entrance with a doorbell, which welcome’s the patrons at street level, taking you directly to the access seats. The disabled toilet is also in this area and the seats are set on a wider aisle, making it easier for people who aren't transferring to sit comfortably. An access host is employed on site whose job it is to ensure the well-being of access patrons and that all venue information is relayed proficiently. With a bit of thought and effort, I'm sure this system could be brought in to most, if not all, West End theatres.
Any message to theatre owners and groups about the future of Access for All at their venues?RC: GET ON WITH IT. Theatre is for all.
AJC: Just that arts audiences should not be defined in any way. Theatre should be accessible to all and as a theatre owner, it is your responsibility to make this possible.
Once again, a big Thank You to both Rebecca and AJ for taking the time to answer those. Rebecca will be returning to The Pheasantry (on the King's Road, London) to perform No, No Cosette! again on the 12th and 13th October. A fabulous evening... "Internationally acclaimed operatic and musical theatre soprano reveals her dark side. Music by Blitzstein, Vernon Duke, Turnage, Ravenhill/Offenbach, Kern, Porter, Novello, Yeston, Coward and more. With Nathan Martin on piano." The Pheasantry, unfortunately, can only be Accessed via a flight of stairs. If you can manage these, then it's a night not to be missed. To book for the 12th October, go HERE . For the 13th October, go HERE . For details of Rebecca's concerts, in Canada this Autumn and Winter, see her WEBSITE . Follow Rebecca on Twitter @RebeccaCaine .
AJ is currently performing in Les Miserables until June 2013. Her next dates as Fantine are: 1st & 2nd October, 11th-20th October and 29th November-1st December. To book Access seats for Les Miserables, call 0844 482 5137. Follow AJ on Twitter @AJCallaghan1 .
Access Info for Queen's: For wheelchair and scooter users, the entrance to the auditorium is through the fourth side door on Wardour Street – please ask a member of staff to open this for you. Level transfers are available in row D Dress Circle (may not be suitable for very low seated wheelchairs). There are places in Loge 1 and 2 that have level access. These will be suitable for wheelchairs which are maximum 1m in length and 64cm wide. Limited Mobility: 18 steps from the foyer up to the rear Dress Circle. 21 steps from the foyer down to the Stalls. 39 steps from the foyer to up the Upper Circle (this area is quite steep). Assistance dogs are allowed inside the auditorium, however Theatre Management can look after them if required. There is an Infra-red system with 12 headsets – Free hire upon production of ID. Please collect from foyer kiosk. You will be asked to sign a receipt. A £5.00 returnable deposit is required for the hire of the headsets. Please notify theatre at time of booking if you require this service. For signed, captioned and audio-described performances, patrons are requested to call: 0844 482 5166 or email access@delfontmackintosh.co.uk There is an adapted toilet with Radar lock in the foyer, accessed via a ramped corridor. Currently no bars in the theatre are accessible to wheelchair users but drinks can be brought into the auditorium. Tickets: To book discounted Access tickets (companion discount also) to see Les Miserables, call Access number and select 'Queen's Theatre' from the options on 0844 482 5137.
Soprano, Victoria Farley, is a former Les Miserables cast member and part of the 25th Anniversary celebrations at the O2 in 2010. She is currently working on recording tracks in a classical/jazz crossover style, with the hope of recording an album in the near future. Victoria kindly answered some questions on Access recently and also some on her first recorded track, proving a big success on YouTube. Have a read what she has to say and check out her YouTube channel and follow on Twitter.
AL: Many theatres/arts venues in London still have little or no disabled access. How aware are you of these issues? And how aware do you think others in the business are?
VF: In all honesty, I was not at all aware of how many theatre/arts venues have restricted and even no disabled access, and I think I would be correct in saying that the vast majority of others in the industry are also unaware of this.
AL: As a singer, how important is it to you that everyone who wants to see you perform can access the venue to do so?
VF: As a performer, I feel a personal sense of responsibility to the audience at all times. To me it is of the utmost importance that every audience member has the most enjoyable time possible when visiting the theatre; in all aspects. I am also always immensely proud of the show I am in, and proud of everyone involved and it is wonderful to receive support from the audience. The fact is: No Audience, No Show. Without the support of the public, the theatre world would and could not exist. Therefore I feel ashamed that some theatres are obliged to turn away an audience member should they have a disability that cannot be accommodated. I understand there are difficulties with listed building restrictions on some of the older theatres, but in a time where health & safety, equal rights, human rights, political correctness and disability work awareness/equality are practiced in all sectors, I feel a sense of embarrassment that our sector of work is lagging so far behind.
AL: Many theatres and theatre groups currently don't promote and publicise their Access details and rates particularly well. Could this be because they don't want to sell discounted Access tickets or do you think other reasons are involved?
VF: I don’t think the discounted rates are an issue to theatres. With so much competition among the theatres, discounts and offers are promoted on a daily basis. Perhaps they are unaware of the issues faced in this matter, and that because so many venues do not offer Access, there will be certain audience members who are looking out for these tickets. It is something that must be bought to the attention of each venue, and the ones offering Access should be proud to stand up promote this, and encourage other theatres to follow suit.
AL: Some of the larger arts venues (Barbican, ROH, RAH, RFH, Coliseum) have their own Access schemes with free membership, Access rates and dedicated Access teams. Do you think such schemes could work in West End and off West End theatres?
VF: Absolutely. If you are welcomed into a place so warmly, you will be loyal to that place. As I mentioned before, the competition between each theatre is high so regular visitors and loyal members do wonders for those venues. All theatres should look into offering Access membership and rates as they will then recommend this venue to others. It would be especially worthwhile in off West End theatres as the shows change so regularly and it is always nice to welcome back familiar faces.
AL: Any message to theatres owners about the future of Access for All?
VF: Theatre owners should recognise the importance of Access for All. However large or small the venue is, they should be committed to offering whatever level of Access they can. It is unacceptable in this era to be turning away audience members because they cannot accommodate disabled members and theatres should be proud to stand up and say that they have made the difference.
AL: You've performed in shows from Les Mis (incl the 25th Anniversary concerts) to Edwin Drood...what's made you choose to record songs, and possibly an album, at this time?
VF: Having trained classically as a soprano, performing as a solo artist is something I am very used to, and before I branched into Musical Theatre, most of my performing experience were solo recitals/concerts. The idea of recording a new style of music was something I started working on 2 years ago, however I was fortunate enough to work solidly in theatre for those 2 years, so I put the recording on temporary hold. As soon as I finished pantomime this year, I took the bull by the horns and set to work whilst I had no other commitments.
AL: Why a classical/jazz crossover? Where did the idea come from?
VF: Just after I finished the Les Mis tour, I worked abroad for 6 months. I was singing lots of different genres of music, one of these being jazz. Jazz was a style I hadn’t worked on before and I loved it! When I started working on the idea of releasing a track, I couldn’t decide between jazz, and my first love: classical. Both are so very different, and would be marketed towards completely different listeners. And then it hit me: why not try a mixture of the two!
AL: It's the first song you've recorded. What was the process like?
VF: The process was quite long and tricky. Classical and jazz are completely different genres. Musically they are worlds apart, and they styles in which they are written differ in almost every way. Trying to merge the two in a way that was still sympathetic to the original aria wasn’t an easy one to work out and I did go through a stage of thinking “There is a reason why this hasn’t yet been tackled – it doesn’t work!” I was persistent however, and eventually we worked out a formula.
AL: Who and what are your musical influences?
VF: I have certainly been inspired by singers such as Il Divo, who have crossed classical with pop in order to make it more accessible to people who wouldn’t usually enjoy classical music, whilst still pleasing those that do listen to it. There have been many like Il Divo who are also achieving this. I have always been inspired by the greatest classical singers such as Andrea Bocelli, Pavarotti and Cecilia Bartoli, who literally raise the roof with their singing ability!
AL: If an album is to be made (fingers crossed), what songs and ideas have you got for it?
VF: I am currently working on a number of songs for a potential album. I also hope to be performing my own gigs soon. I am mainly sticking to the most celebrated and recognisable arias, although I will be throwing in some surprises! I shouldn’t be naming any numbers yet, as with the complications of creating new arrangements I could end up scrapping some of them, but ‘Nella Fantasia’ and ‘Canto Della Terra’ will definitely be amongst the mix.
Thank you once again Victoria for answering those questions and supporting Access London and Access for All. Please check out Victoria's YouTube channel and her newest classical/jazz recording... Victoria Farley, O Mio Babbino Caro Video . You can keep up to date with Victoria's latest news and projects via her website www.victoriafarley.com . And by following her on Twitter @victoria_farley .
