Drawing: Gwendoline Christie

English actress Gwendoline Christie returned to the London stage in the Autumn of 2019 to play the Queens, Titania and Hippolyta, in Nicolas Hytner’s immersive production of Shakespeare’s A MIDSUMMER NIGHT’S DREAM at the Bridge Theatre.

She previously played the Queen in the Barbican’s staging of the Bard’s CYMBELINE in 2007 and Mag Wildwood in BREAKFAST AT TIFFANY’S at the Theatre Royal Haymarket two years later. In 2010 she was Lucifer in DR FAUSTUS at the Royal Exchange in Manchester. The 191cm (that’s 6′ 3″ in the old money) Gwendoline has portrayed dominate roles on both the small and large screens, playing Brianne of Tarth in HBO’s fantasy-drama series GAME OF THRONES and First Order storm trooper Captain Plasma in STAR WARS:THE FORCE AWAKENS (2015) and THE LAST JEDI (2017). She received her first Emmy nomination for the former in 2019.

Gwendoline kindly signed both my sketches at the Bridge in October 2019.

Drawing: Justina Gringyte as Carmen

Autographed drawing of Justina Gringyte in Carmen

Lithuanian operatic mezzo-soprano and the 2015 International Opera Awards Young Singer of the Year, Justina Gringyte returned to the London Coliseum earlier this year to reprise the titular role in the English National Opera’s production of Georges Bizet’s CARMEN. The exotic and wilful Spanish gypsy girl is Justina’s signature role and considered one of the summits for a mezzo.

After initial studies at the Lithuanian Academy of Music and Theatre, she continued her learning at the Royal Welsh College of Music and Drama, Italy’s Accademia Musicale Chigiana and at the National Opera Studio in London. Between 2011-2013, Justina was a member of the prestigious Jette Parker Young Artists Programme at the Royal Opera House. During the 2014/15 Opera season she played Maddalena in RIGOLETTO at the Royal Opera House and the Bolshoi Theatre and Hansel in HANSEL UND GRETEL for the Vilnius City Opera, but it was the role of Carmen that dominated that and the following season. She performed it for the ENO, staged at the London Coliseum, the Scottish Opera, the Lithuanian National Opera and the Novosibirsk Opera and Ballet Theatre known as the ‘Siberian Coliseum.’ She also appeared in semi-staged performances in Moscow and St Petersburg.

The London and Scottish productions were radically different. The ENO’s was very contemporary, set in the 1970’s near the end of Franco’s regime, using the English translation with some edgy character breakdowns… and a few cars. The Scottish production was performed in its original French, set in 1825…. with a few tables. The one similarity: no big flamenco dancing scenes. Richard Bartley in his Spectator review described Justina’s “smokey voiced” Carmen as “terrific.” She also returned to the role for the Lithuanian National Opera from October 2017- May 2018 and again the following year.

Justina signed my sketch at the Coliseum during the final week, which completed its limited run on 27 February, before the coronavirus pandemic closed the West End.

Sam Tutty in Dear Evan Hansen

Autographed drawing of Sam Tutty in Dear Evan Hansen at the Noel Coward Theatre on London's West End

Twenty-one year old Sam Tutty made his West End debut late last year to rave reviews. Playing the title character in the London run of the Broadway musical sensation DEAR EVEN HANSEN, Sam, a recent graduate from the Italia Conti Academy of Theatre Arts, plays a teenager with social anxiety. DEAR EVAN HANSEN was written by Benj Pasek and Justin Paul and opened on Broadway at the Music Box Theatre in the Winter of 2016. It was nominated for seven Tony Awards, winning six.

The story of teenage isolation has provided and encouraged open dialogue about its themes of mental illness and youth suicide. Evan Hansen is assigned by his therapist to write daily letters to himself about why every day will be good, which becomes the catalyst for the plot-hence the title DEAR EVAN HANSEN.

It transferred to London’s Noel Coward Theatre with previews beginning in October 2019, before opening on 19 November. “It captures the agonies of youth, allows the songs to grow out of the action and boasts a great role, here memorably taken by Sam Tutty for its lead actor,” wrote the Guardian’s veteran critic Michael Billington.

Sam had stiff competition for the lead role during auditions-competing against 8,000 other aspirants. After 13 callbacks he was offered the alternate Evan Hansen before finally securing the lead. He has since won the WhatsOnStage Award for his performance and is nominated for an Oliver, which was due to be presented at the Royal Albert Hall in April, but was cancelled due to the coronavirus. An announcement of the winners is expected this Autumn.

Sam signed my sketch at the Noel Coward stage door in January this year prior the shutdown of the production due to the pandemic, but is due to reopen “as early as practical” in 2021.

Drawing: Olivia de Havilland

Drawing of actress Olivia de Havilland

One of the last surviving stars of the Golden Age of Hollywood, Dame Olivia de Havilland passed away peacefully at her home in Paris on Saturday, just a few weeks after her 104th Birthday. Her career spanned five decades, from 1935-1988, including 49 films. At the time of her death she was the oldest living performer to have won an Oscar.

Dame Olivia was renowned for playing strong, beguiling characters in difficult circumstances. The first of her Academy Award nominations, was for Best Supporting Actress, as Melanie Hamilton in the 1939 classic GONE WITH THE WIND. She won the Best Actress Oscar twice, the first for her performance as WW II fire warden Josephine ‘Jody’ Norris in TO EACH HIS OWN (1946) and her second, three years later as Catherine Sloper, a women who is controlled by her wealthy father and betrayed by her greedy lover in William Wyler’s THE HERIESS. She also won a Golden Globe for the role.

Dame Olivia continued to act until the late 1980’s winning her second Golden Globe Award in 1986 for ANASTASIA:THE MYSTERY OF ANNA. She also featured on the stage, appearing three times on Broadway, ROMEO AND JULIET (1951), CANDIDA (1952) and A GIFT OF TIME (1962). In 2017 she was appointed a Dame Commander of the British Empire, the oldest recipient of the honour.

Last year I sent this sketch to Dame Olivia with a signature request, but it was returned with the attached letter, which is self explanatory.

RIP Dame Olivia.

Letter from actress Olivia de Havilland

Drawing: Neil Simon

Drawing of writer Neil Simon

Proclaimed by TIME magazine as ‘the patron saint of laughter,’ writing colossus Neil Simon passed away in late August 2018, aged 91. Considered the most popular playwright since Shakespeare, I drew this sketch of Neil and sent it to him a year earlier, hoping to have it signed, but it was returned with a letter form his office saying that Mr Simon was no longer able to fulfill requests for autographs, but did appreciate my letter and drawing.

Neil dominated Broadway like no other playwright over the past half-century. In the New York Times obituary, Charles Isherwood wrote “Mr Simon ruled Broadway when Broadway was still worth ruling.” Hardly a year passed from 1961 to 1993 without a new Simon production. His unparalleled career spanned four decades, with over 30 plays and musicals, starting with COME BLOW YOUR HORN in 1961 until 45 SECONDS FROM BROADWAY in 2001. He also wrote as many screenplays, mostly adaptations of his theatre scripts.

His breakthrough play was BAREFOOT IN THE PARK (1963), followed by a string of smash hits, THE ODD COUPLE (1965), PLAZA SUITE (1968), THE PRISONER OF SECOND AVENUE (1971) and THE SUNSHINE BOYS (1974). His final play was ROSE’S DILEMMA in 2003, produced off-Broadway and in Los Angeles. From 1965-1980 Neil’s plays and musicals racked up more than 9,000 performances, a record not even remotely touched by any other writer of the era. In 1966 he had four Broadway shows running simultaneously.

His arsenal of sarcastic wit with an emphasis on the frictions of urban living involving typically imperfect characters, unheroic figures who are at heart, decent human beings were the hallmarks of his work. He has more combined Oscar (4) and Tony Award (17) nominations than any other writer, winning three Tony’s for THE ODD COUPLE, BILOXI BLUES (1985) and a Special Award in 1975 for his overall contribution to American Theatre. His Academy Award noms were for THE ODD COUPLE (1969), THE SUNSHINE BOYS (1976), THE GOODBYE GIRL (1978), which did win a Golden Globe and CALIFORNIA SUITE (1979). He also won four Writers Guild Awards and received four Emmy nominations among his many accolades that included the Pulitzer Prize for Drama LOST IN YONKERS in 1991. He was the only living playwright to have a New York theatre named after him in 1983.

I was very fortunate to collect Neil’s signature a few years ago, when he signed and dedicated a poster from his 1988 farce Rumors for me.

Drawing: Jason Manford, Carley Stenson and Rebecca Lock in Curtains

Autographd drawing of Jason Manford, Carley Stenson and Rebecca Lock in Curtains at Wyndham's Theatre on London's West End

Kander and Ebb’s charming musical mystery comedy caper CURTAINS opened on Broadway at the Al Hirschfield Theatre in the spring of 2007 starring David Hyde Pierce as Lieutenant Frank Cioffi. Described as the ‘fun companion’ to the duos CHICAGO and CABARET, this classic whodunnit was nominated for eight Tony Awards with David winning for Leading Actor in a Musical.

The UK production, featuring comedian-singer Jason Manford in the lead role, premiered at Bromley’s Churchill Theatre last year, beginning a nationwide tour that included a belated but brief, unexpected five-week festive season filler at the Wyndham’s Theatre in London’s West End, due to the early closing of THE MAN IN THE WHITE SUITE.

Set in Boston in the 1950’s, the Broadway-bound musical ROBBIN’ HOOD OF THE OLD WEST is flopping, when its untalented star, Jessica Crenshaw is murdered during her opening night curtain call. Homicide cop and show tune-obsessed Frank is brought in to solve the case. Jason was joined by Carley Stenson as the show’s composer Georgina Hendricks, who replaces Jessica as the leading lady and Rebecca Lock as the brassy co-producer Carmen Bernstein.

The continuing UK tour was cancelled last month during its run at the Haymarket Theatre in Leicester due to the coronavirus pandemic. A recorded version streamed last week with profits going to the Funds For Freelancers charity.

Jason, Carley and Rebecca signed my montage sketch at the Wyndham’s Stage door in early January.

Drawing: Victoria Lucie and Molly Roberts in The Mousetrap

Autographed drawing of Victoria Lucie and Molly Roberts in The Mousetrap at the St Martin's Theatre on London's West End

The world’s longest continuously running play for the past 68 years, Agatha Christie’s THE MOUSTRAP in London’s West End has finally ended its ‘initial’ run. On March 16 this year, when the British Prime Minister issued a statement in response to the Covid-19 pandemic advising people to avoid gathering in theatres, cinemas, bars and restaurants, the producers appropriately ‘suspended’ all performances until 30 June at the earliest. All theatre’s are now dark until further notice after the lockdown was formalised a week later.

The timeless tale of ‘whodunnit’ by the ‘Queen of mystery’, involving a small group of people who gather at Monkswell Manor, where a murder takes place during a blizzard, opened at the Ambassadors Theatre on 25 November 1952, running until Saturday 23 March 1974, before transferring next door to St Martin’s on the Monday. It has become a West End staple ever since.

One of my recent routines is to draw the actresses playing the strange and aloof Miss Casewell and the Manor’s co-proprietor, Mollie Ralston after each cast change – in this case, Victoria Lucie and Mollie Roberts respectfully, who now have the distinction of being part of final cast of THE MOUSETRAP’s ‘initial’ run. Victoria is making her West End debut and has just finished a TV pilot for NOIR-MAN. Mollie is the Artistic Director for Poleroid Theatre and is a regular on stage and screen, receiving multiple Off West End Award nominations.

Both signed my sketch prior to the lockdown.

Drawing: Hugo Weaving in The Visit

Autographed drawing of Hugo Weaving in The Visit at the National Theatre

Veteran Australian actor Hugo Weaving returned to the London stage last month in the National Theatre’s production of Fredrich Durrenmatt’s visionary 1956 revenge play THE VISIT or THE OLD LADY COMES TO CALL, directed by Jeremy Herrin. Adapted by Tony Kushner and set in mid-twentieth century, in Slurry, a poverty-stricken industrial town in Western, New York where billionaire heiress Claire Zachanassian returns after leaving 45 years earlier as a pregnant 16 year-old to seek revenge on her former lover Alfred Ill, who dumped her back then. The locals hope her arrival signals a change in their fortunes, but they soon realise that prosperity will only come at a terrible price. Hugo played Alfred and Lesley Melville was Claire.

The production unfortunately was cancelled in mid-March due to the coronavirus pandemic, but Hugo signed and returned my drawing of him as Alfred I left at the National’s stage door before final curtain.

Drawing: Rosamund Pike in Hitchcock Blonde

Autographed drawing of Rosamund Pike in Hitchcock Blonde at the Lyric Theatre on London's West End

Rosamud Pike played the ‘Blonde’ in Terry Johnson’s HITCHCOCK BLONDE, which opened at London’s Royal Court theatre in April 2003, before transferring to the Lyric in Shaftesbury Ave in the West End. The play interweaves between three time zones – a 1919 short film featuring a blonde woman that later fascinated ‘the master of suspense’, influential English film director Alfred Hitchcock, 1959, during the filming of his best-known film PSYCHO, where the blonde acts as a body double for Janet Leigh in the famous shower scene and in 1999 when a media studies professor and one of his students, a blonde woman, discover the 1919 short film and re-examine Hitchcock’s work through its lens.

Rosamund’s screen credits include her role as undercover M16 double agent Miranda Frost in the 2002 Bond film DIE ANOTHER DAY with Pierce Brosnan and the disappearing wife, Amy Dunne in David Fincher’s 2014 psychological thriller GONE GIRL, earning her SAG, Golden Globe, BAFTA and Academy Award nominations. This year she won a Primetime Emmy for her performance as Louise in the British Comedy about a disintegrating marriage, STATE OF THE UNION.

Rosamund was a guest on Dermot O’Leary’s BBC Radio 2 show at its studios in Wogan House earlier this month to discuss her latest role as Nobel Prize-winning Polish scientist Marie Curie in RADIOACTIVE, where she signed my sketch.

Drawing: Stephen Schwartz

Autographed drawing of composer Stephen Schwartz

I had the good fortune to meet one of the great contemporary composers and lyricists last night at the West End opening for his new musical THE PRINCE OF EGYPT at London’s Dominion Theatre. Winner of three Academy Awards, three Grammys, and nominated for six Tony Awards and an Olivier, Stephen Schwartz added ten new songs to the original five he wrote for the original 1998 DreamWorks Animation feature for the stage adaption, which is directed by his son Scott. He won the Best Original Song Oscar for ‘When We Believe’.

Stephen made his name with GODSPELL in 1971, his hippy-era, communal-clownish presentation of Christ’s parables and now returns to the Good Book with the story of Moses as a once prince of Egypt who leads the children of Israel out of Egypt. It debuted at Mountain View Centre for the Performing Arts in Silicon Valley, California in October 2017 and had its international premiere at The Fredericia Theatre in Denmark in April 2018, followed by a summer season at the Royal Danish Theatre in Copenhagen last year.

Stephen’s stage hits include PIPPIN (1972) and WICKED (2003) and his film successes GODSPELL (1973), POCAHONTAS (1995), THE HUNCHBACK OF NOTRE DAME (1996) He won a Golden Globe, a Grammy and two Oscars for Original Score and Original Song (‘Colours of the Wind’) for POCAHONTAS.

In 2015 he was the recipient of the Isabelle Stevenson Tony Award.
Luckily I caught Stephen after he did his press interviews at the Dominion Theatre, where he was happy to sign my portrait sketch.