Treason the Musical in Concert plays the Theatre Royal Drury Lane August 22–23. The performances follow recent concert versions of Chess and Kinky Boots at the famed London venue.

The cast is led by Carrie Hope Fletcher as Martha Percy, Bradley Jaden as Thomas Percy, Simon-Anthony Rhoden as Robert Catesby, Les Dennis as Robert Cecil, Emilie Louise Israel as Eleanor Brooksby, Rebecca Lachance as Anne Vaux, Daniel Boys as King James, Cedric Neal as Earl of Northumberland, Waylon Jacobs as Jack Wright, and Adam Pearce as Thomas Wintour. Poet and activist Debris Stevenson, who provides narrative material for the concert, is also the narrator.

The artists are backed by the London Musical Theatre Orchestra.

Treason, the new musical about the gunpowder plot, features music by Ricky Allan and a book and lyrics by Allan and Kieran Lynn.

Hannah Chissick directs with choreography by Taylor Walker, musical supervision by Nick Pinchbeck, musical direction by Alan Berry, orchestrations by Matthew Malone, lighting design by Simisola Majekodunmi, sound design by Tom Marshall, video design by Gino Green, casting by Harry Blumenau, dramaturgy by Hannah Chissick, and sound by Callum Wills and Olly Smith.

The company stage manager is Rachael Downey, the deputy stage manager is Bryony Relf, and the assistant stage manager is Emily Mei-Ling Pearce.

Visit LWTheatres.co.uk.

Less than Rent Theatre and 59E59 Theaters’ co-production of Graham Techler‘s The Panic of ’29 completes its run at Off-Broadway’s 59E59. Previews began July 23 for the dark comedy, which officially opened July 31.

The Panic of ’29 explores a wild alternate reality ending to the Roaring Twenties following the crash of the stock market. Dot, who is secretary to the New York Stock Exchange’s vice president, skips town after the Great Crash and joins a band of misfits, kicking off a decades-spanning journey.

Starring are Will Roland (Be More Chill), Olivia Puckett (Dear Evan Hansen), Brian Morabito (Romans), Joyelle Nicole Johnson (Love Joy), Jaela Cheeks-Lomax, Rachel B. Joyce (The Collision), Julia Knitel (Beautiful: The Carole King Musical), Jared Loftin (tick, tick…BOOM!), Jack Maloney (Pippin), Will Turner (SeaWife), and RJ Vaillancourt (Saint Joan).

Devin Kessler (Yes), Brian Morabito (Romans), Jacob Presson (Our Town), and Rachel Ravel (Halston) serve as understudies for the production.

Max Friedman directs the production, in addition to serving as set designer. Friedman is joined on the creative team by costume designer Corina Chase, lighting designer Jamie Roderick, sound designer Margaret Montagna, props designer Brandy Hoang Collier, and dramaturg Nora Brigid Monahan. Orchestrations and arrangements are by Barrett Riggins, and fight and intimacy direction are by Lexi Orphanos. Karen Schleifer serves as production stage manager, with Kate Holland as stage manager. McKenna Quigley Harrington is associate producer.

For tickets and more information, visit 59E59.org.

This week Playbill catches up with British actor Callum Francis, who is currently playing Lola in the new Off-Broadway production of Kinky Boots at Stage 42.

Francis first played Lola, whose broken heel helps mend a broken wing for a foundering shoe-maker, in the London company of the Harvey Fierstein-Cyndi Lauper musical at the Adelphi Theatre. He later played the role in the Australian tour, winning the 2017 Helpmann Award for Best Male
Actor in a Musical. Subsequently, Francis opened the U.K. tour of Kinky Boots before playing the part on Broadway at the Al Hirschfeld
Theatre. The actor’s additional Australian credits include The Phantom of the Opera, Girl From the North Country, and Rent, while his other West End credits include Miss Saigon, The Lion King, and Ghost: The Musical. 

Checking In With… Lavender Men Playwright and Star Roger Q. Mason

What is your typical day like now?
I wake up and eat before waking my body up. This show is fun, but it can hurt at times being in the heels. So I will roll out my legs and back to ease into the day. I shower and move the voice a little before heading out to get fresh air, be it a walk with friends and their dogs, or lunch. I’ll squeeze/force myself into a gym session before heading in to work to start makeup.

You’ve previously played Lola in London, Australia, and on Broadway. Are there any parts of the role or the musical that seem particularly poignant/relevant following the events of the past two years?
Honestly, it is all relevant. Kinky Boots has a way of finding itself in countries, cities, towns where it needs to be. America needs it right now. For everyone, the past two years haven’t been filled with joy—and that’s exactly what Kinky brings—JOY! Interestingly enough (along with many other important things that have finally come under the spotlight over the past few years), gender has evolved and changed in wonderful ways. Therefore, Kinky Boots has had to follow. Harvey Fierstein has made many changes to the book that are even more celebratory and welcoming to every single human that watches.

How do you think your performance as Lola has changed over the years?
I like to think she is the same Lola that I’ve always known—but I’m older than when I started doing it. I like to think I’m wiser, so she has a more grounded seriousness to her that I think the Callum of 2016 didn’t necessarily have.

Do you have a favorite memory, either onstage or off, from your time spent in the London production of Kinky Boots?
The London production was such an amazing experience. It was my fourth West End show, but my first time entering the world of Jerry Mitchell. The cast were so, so brilliant, and I learned so much from every experience. I was a swing and cover Lola. I have such respect for every department off stage and every person on it—it was so rewarding stepping into so many different tracks in the show. I still, to this day, have all the plots in my head. Swing brain never leaves you! But I think overall, playing opposite one of my best mates, Killian Donnelly, was the highlight. We both eventually got to bring our roles to NYC (sadly not together), but he taught me everything about how to be a great leading man and a stellar cast member. Don’t tell him I said that though.

During this time of reflection and re-education regarding BIPOC artists and artistry, particularly in the theatre, what do you want people (those in power, fellow artists, audiences) to be aware of? What do you want them to consider further?
Lots of change has happened in the past two years. Lots more still needs to happen. We praise our industry for telling stories and showing glimpses into people’s lives, but there are still so many to be told. I hope to see more of these stories about different communities and different walks of life being told in mainstream musicals. That way, everyone can be present at the table and feel seen. And, also, like the audience get when they watch Kinky Boots, they can leave having learnt something new—having lost themselves in someone else’s story for two hours.

What, if anything, did you learn about yourself during the past two years that you didn’t already know?
I learnt so much about my purpose. As performers, we’re always hungry for the next big job or big thing. For the first time, we all had to stop and relax. With my partner, I created a charity in Australia that strives for better representation in the Australian arts industry. I learnt that that is something much more important to me than the next big thing. Leaving something like that behind is a really wonderful feeling.

Do you have any other stage or screen projects in the works?
At this moment in time I do not. Kinky Boots is my entire focus. It needs to come back with a bang, so it has all my attention to make sure it does. Plus, moving home across the globe isn’t straightforward—no time for anything else—ha!

What organization would you recommend people learn more about or donate to during this time of change?
The organization I just mentioned that I co-founded is called We The Industry. Have a read, and see if there is anything that would inspire you to make a change, wherever you are. But there are so many amazing organizations out there.

Checking In With… The Panic of ’29 Star Olivia Puckett

Stage and screen stars (and married couple) Katie Finneran (Tony winner for Noises Off and Promises, Promises) and Darren Goldstein (The Little Foxes, Ozark) are the latest additions to the star-studded staged reading of Thornton Wilder‘s Our Town September 4 at the John W. Engeman Theater in Northport, Long Island.

As previously reported, the cast will be led by Emmy winner and Tony nominee Edie Falco (The Sopranos, The House of Blue Leaves) and Chris Messina (Argo, Away We Go). Also joining the one-night-only event are Tony nominees Marin Ireland (Reasons to Be Pretty) and Ben Shenkman (Proof) as well as Drama Desk winner Liza Colón-Zayas (Halfway Bitches Go Straight to Heaven), Matthew Del Negro, Joe Roseto, Cezar Williams, Kalyne Coleman, and Natalie Seus.

The 7 PM performance, produced by the family of Philip and Phyllis Messina, will benefit Northwell Health’s Huntington Hospital’s Neurosurgery Department.

Wilder’s work also includes The Skin of Our Teeth, The Matchmaker, short plays, and novels.

The John W. Engeman Theater is located at 250 Main Street in Northport. Tickets, priced $200, are available by visiting EngemanTheater.com.

Making its New York premiere, Chester Bailey by Emmy winner Joseph Dougherty (thirtysomething, My Favorite Year) will take the Francis J. Greenburger Mainstage Off-Broadway at Irish Repertory, with previews beginning October 12. The play will officially open October 19 and run through November 13.

Starring will be father and son duo Tony winner Reed Birney (The Humans) and Ephraim Birney (The Americans).

The World War II-set work follows a young man, Chester Bailey, recovering from the war under the care of Dr. Philip Cotton, an older and also-wounded man who is meant to help Bailey accept reality.

Ron Lagomarsino (Driving Miss Daisy) will direct, leading a creative team which will feature scenic design by John Lee Beatty, costume design by Toni Leslie-James, lighting design by Brian MacDevitt, and sound design by Brendan Aanes. April Ann Kline serves as the production stage manager.

Chester Bailey received its first reading at San Francisco’s American Conservatory Theatre in 2012. Another reading followed in 2015 at Irish Rep, leading to a workshop and a 2016 world premiere at American Conservatory Theatre. Both Reed and Ephraim Birney have starred in productions at West Virginia’s Contemporary American Theatre Festival and Massachusetts’ Barrington Stage Company.

For tickets and more information, visit IrishRep.org.