Drawing: Liza Sadovy as Fraulein Schneider in CABARET

Autographed drawing of Liza Sadovy in Cabaret at the Playhouse Theatre on London's West End

British actress Liza Sadovy won the Olivier Award for Best Actress in a Supporting Role in a Musical for her performance as the amiable landlady Fraulein Schneider in Rebecca Frecknall’s sensational revival of CABARET at the Playhouse Theatre. The production made history, winning all four Musical acting categories with leads Eddie Redmayne and Jessie Buckley and fellow supporting actor and on-stage love interest Elliot Levey also collecting their respective awards at this month’s Royal Albert Hall ceremony.

“Sadovy is especially excellent, bringing both sweetness and steeliness to her depiction of a world- weary woman,” wrote Miriam Gibson in her LondonBoxOffice review. Liza and Elliot (as the Jewish shopkeeper Herr Schultz) are retirement-age lovers as the Nazi party is taking over the streets of Berlin in the 1930’s. They ‘swoon over a pineapple until their relationship is derailed by anti-Semitism.’ In Variety, David Benedict said, “The utter sincerity of the detailing of their relationship is so magnetic that even the pineapple song ‘It Couldn’t Please Me More’ here makes rare emotional sense,”

Liza’s career has seen her perform on both sides of the Atlantic. Her stage appearances include WICKED in the original London production as the replacement Madame Morrible, Catherine De Brie in LA BETE on both Broadway and the West End, FIDDLER ON THE ROOF, OLIVER!, PYGMALION and RICHARD II to name a few. She has also appeared in Opera productions such as THE MARRIAGE OF FIGARO, LA TRAVIATA and DON GIOVANNI. In film and TV she lists Tim Burton’s SWEENY TODD:THE DEMON BARBER OF FLEET STREET with Johnny Depp and Helena Bonham Carter, MIDSOMER MURDERS, EASTENDERS and VERA amongst her credits.

Liza signed this sketch for me on her final day at the Playhouse, before immediately starting rehearsals for Rodger and Hammerstein’s OKLAHOMA!, where the Tony Award- winning production transfers to London’s Young Vic, after its acclaimed Broadway run and US tour. It opens this week with Liza playing the town’s fun-loving caretaker Aunt Eller.

Drawing: Elliot Levey as Herr Schultz in CABARET

Autographed drawing of Elliot Levey in Cabaret at London's Playhouse Theatre on West End

The London revival of the Kander and Ebb classic musical CABARET at the Playhouse Theatre was nominated for 11 Olivier Awards, winning seven, including Best Actor in a Supporting Role in a Musical for Elliot Levey for his portrayal of the kindly old Jewish fruit seller, Herr Schultz in Berlin during the Weimar-era. After reading philosophy at Oxford University, Elliot has become a popular regular on the British stage, including the National Theatre’s 2004 revival of HIS DARK MATTERS, as Brutus in CORIOLANUS with Mark Gatiss and Tom Hiddleston at the Donmar Warehouse in 2013 and in the role of Don John in MUCH ADO ABOUT NOTHING alongside David Tennant and Catherine Tate at Wyndham’s in 2011. His film work includes Kenneth Branagh’s remake of MURDER ON THE ORIENT EXPRESS, THE LADY IN THE VAN, THE QUEEN, PHILOMENIA and on the small screen, PEAKY BLINDERS.

“Lovely work from Elliot Levey and Liza Sadovy as the landlady Fraulein Schneider… the fate of their sweet, courtly romance in the face of Nazi disapproval drives events in the story,” wrote Andrzej Lukowski in his TimeOut review. Variety critic David Benedict said, “Any scrap of sentimentality in the writing is banished by the wonderfully held tension between the two actors, who use expert comic timing to walk a tentative tightrope between hope and heartbreak.”

Elliot signed this drawing I did of him prior to a Saturday matinee at the Playhouse Theatre stage door the day before he collected his Olivier.

Drawing: Hiran Abeysekera in the Life Of Pi

Autographed drawing of Hiran Abeysekera in the Life Of Pi on West End

Lolita Chakrabarti’s puppet-powered adaption of Yann Martel’s much-loved Booker Prize winning novel THE LIFE OF PI opened in Sheffield’s Crucible theatre in 2019 to a rapturous reception, but its West End transfer was severely delayed due to the pandemic. It was worth the wait. When the breathtaking production, directed by Max Webster, finally opened at Wyndham’s Theatre last November, it was an instant smash hit, ‘A Theatrical Phenomenon’ (The Telegraph), winning five Olivier Awards at last weekend’s Royal Albert Hall ceremony, including Best New Play.

“It is one of the most visually stunning theatre shows I have ever seen,” wrote Andrzej Lukowski in his TimeOut review. “Long after the curtain falls LIFE OF PI will make you believe in the power of theatre,” said The Times.

A father’s decision to relocate his ramshackled family zoo in the South Indian coastal town of Pondicherry to Canada begins an epic 227-day journey of hope and endurance. After the cargo ship sinks in the middle of the vast Pacific Ocean there are five survivors on a lifeboat; a hyena, a zebra, an orangutang, a Royal Bengal Tiger named Richard Parker and the extraordinary story’s protagonist and zookeeper’s son, sixteen-year-old Piscine Molitor ‘Pi’ Patel (named after a swimming pool in Paris), played by a very youthful and ebullient 35 year-old RADA graduate Hiran Abeysekera, deservedly winning the Olivier for Best Actor.

During the delay and lockdowns, Hiran recalled thinking, “like many creative people, he questioned the importance of his job, compared to nurses and other frontline workers, but then people kept taking about all the things that they were watching on their laptops and how TV and entertainment were a huge part of people’s mental health.” It reassured him.

Hiran’s personal theatrical journey began after his memorable portrayal of Alan Strang in the 2007 British Council’s Sri Lankan production of Peter Shaffer’s EQUUS in his hometown of Columbo, which caught the attention of theatre director Willi Richards, who flew him to the UK to audition for various drama schools, winning a scholarship at the prestigious Royal Academy of Dramatic Art. And so the 23 year-old began a new life in London.

Sri Lankan Sunday Times journalist interviewed Hiran in 2008. He wrote, “Some people make an instant impression on you. Some others leave you hoping you would meet them again. This young man falls into both categories.” I certainly agree, meeting Hiran at the stage door prior to a Sunday matinee last month, where he kindly signed my sketch.

Drawing: Lily Allen, Hadley Fraser, Julia Chan and Jake Wood in 2:22 A GHOST STORY

Autographed drawing of Lily Allen, Hadley Fraser, Julia Chan and Jake Wood in 2:22 A GHOST STORY on West End

One of the first productions to open on the West End after the pandemic lockdowns forced theatres to go dark for nearly 18 months was Danny Robins’ supernatural thriller, 2:22 A GHOST STORY, directed by Matthew Dunster. It opened at the Noel Coward Theatre in early August last year, becoming the hottest ticket in town. After weeks of sell-out performances, 2:22 finished its initial run on 16 October.

Described as ‘the theatrical event of the year’, it marked the West End debut of chart-topping singer Lily Allen as Jenny, who believes her new house is haunted. “There’s something in our home. I hear it every night at the same time… 2:22”, while her husband Sam (Hadley Fraser) is having nothing of it. They invite Lauren, (Julia Chan) an old friend and her new partner Ben (Jake Wood) as their first dinner guests and Jenny persuades them all to stay up until 2:22 to see what happens.

In his TimeOut review, Andrzej Lukowski wrote, “2:22 is a rare and precious example of a good West End Ghost Story.”

Because of phenomenal demand, the play transferred across town to the Gielgud Theatre with a new cast until 12 February.

Due to covid protocols, the original cast members – Lily, Hadley, Julia and Jake were unable to sign at the stage door until after the final performance when I was able to have my sketch ‘graphed by all four.

Susan Penhaligon, Louise Jameson, Lizzie Muncey and Sarah Moss in The Mousetrap

Autographed drawing of Sarah Moss as Miss Casewell in The Mousetrap at St Martin's Theatre on London's West End
Autographed drawing of Louise Jameson as Mrs Boyle in The Mousetrap at St Martin's Theatre on London's West End
Autographed drawing of Lizzie Muncey as Miss Casewell in The Mousetrap at St Martin's Theatre on London's West End

Agatha Christie’s genre-defining murder mystery play THE MOUSETRAP opened on the West End in 1952 and ran continuously until 16 March 2020, when it was discontinued as all London’s theatres went dark due to the Covid-19 pandemic, ending the longest initial run of any play in theatrical history. It will hopefully celebrate its 70th anniversary next year. As restrictions eased in England, the classic whodunnit resumed at St Martin’s Theatre on 17 May this year with two separate casts alternating each week.

As news spreads of a murder, a group of strangers find themselves snowed in at Monkswell Manor, a stately countryside guesthouse outside of London. When a police sergeant arrives, the guests discover that a killer is in their midst. Who will be the next victim? Two of the characters are Mrs Boyle, a pompous, pretentious critical older women who is a former court magistrate played by Susan Penhaligon and Louise Jameson and Miss Casewell, a strange, aloof, masculine woman who speaks off-handedly about her horrific childhood experiences was portrayed by Lizzie Muncey and Sarah Moss.

To mark the welcome return, I drew these sketches of the four cast members and left them at the theatre prior to The reopening, which they all kindly signed and returned. I added an additional image on Susan’s drawing of her as university student Prue Sorensen in ITV’s 1976 drama series BOUQUET OF BARBED WIRE.

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: Sally Field, Bill Pullman and Jenna Coleman

Autographed drawing of actor Bill Pullman Autographed drawing of actor Jenna Coleman Autographed drawing of actor Sally Field

Jeremy Herrin’s revival of Arthur Miller’s early classic ALL MY SONS opened last month at the Old Vic theatre to critical acclaim. Amongst the stellar cast are three well known names, all making their London stage debuts. Double Oscar winner Sally Field is joined by Bill Pullman and Jenna Coleman.

Bill’s long stage career includes his role as Martin in Edward Albee’s THE GOAT, OR WHO IS SYLVIA? at New York’s John Golden Theatre in 2002, alongside Mercedes Ruehl as Stevie. When the cast changed later that year, Bill Irwin replaced Bill, and Sally took over as Stevie in her Broadway debut. Jenna is making her first professional appearance in the West End after a number of high profile TV roles, including Clara Oswald in DOCTOR WHO and the Queen Victoria in the biographical drama VICTORIA.

Considered the play that made his name, Arthur Miller wrote ALL MY SONS in 1947, inspired by real-life events at an Ohio engineering firm who conspired to supply defected aircraft engines during the World War II.

Sally, fresh from her Tony-nominated appearance on Broadway last year in Tennessee William’s THE GLASS MENAGERIE, plays Kate Keller, trying to hold her family together, while refusing to accept the death of her pilot son, Larry who has been missing-in-action for the past three years. Bill is her husband Joe, exonerated after being charged for knowingly supplying the military with damaged aircraft engine cylinder heads, causing the death of 21 pilots and Jenna plays Annie, the late pilot’s sweetheart.

I was fortunate to meet all three early on in rehearsals at the Old Vic, where they kindly signed their respective sketches for me.

The 2019 Laurence Olivier Awards – a selection of six winners

The 2019 Laurence Olivier Awards, recognising excellence in London theatre was held last Sunday at the Royal Albert Hall. Here’s a 4B pencil tribute to a selection of six winners who all signed their respective sketches over the past year.

Sharon D. Clarke, Best Actress in a Musical for her title role in CAROLINE, OR CHANGE at the Playhouse Theatre, signed in person at the theatre last December.

Autographed drawing of Sharon D Clarke in Caroline, Or Change at the Playhouse Theatre on London's West End

Patti LuPone, Best Actress in a Supporting Role in a Musical for her portrayal of Joanne in Stephen Sondheim’s COMPANY at the Gielgud Theatre, signed at the stage door in October last year.

Autographed drawing of actress Patti LuPone

Patsy Ferran, Best Actress for SUMMER AND SMOKE, signed at the Duke of York’s Theatre on 18 December 2018, following a West End transfer after a sold-out run at the Almeida Theatre.

Autographed drawing of Patsy Ferran and Matthew Needham in Summer and Smoke at the Duke of York's Theatre on London's West End

Kyle Soller, Best Actor for his role as Eric Glass in the Young Vic’s two-part epic, THE INHERITANCE at the Noel Coward Theatre, signed at the stage door in January this year.

Autographed drawing of Kyle SOller and Andrew Burnap in The Inheritance at the Noel Coward Theatre on London's West End

Kobna Holbrook-Smith, Best Actor in a Musical for his role as Ike Turner, in TINA,THE MUSICAL, signed at the Aldwych Theatre’s stage door late last year.

Autographed drawing of Kobna Holdbrook-Smith in Tina The Musical at the Aldwych Theatre on London's West End

Chris Walley, Best Actor in a Supporting Role for playing the teenager Davey in THE LIEUTENANT OF INISHMORE, also signed at the Noel Coward stage door last summer.

Autographed drawing of Chris Walley in The Lieutenant of Inishmore at the Noel Coward Theatre on London's West End

Drawing: Gemma Barnett in A Hundred Words For Snow

Autographed drawing of Gemma Barnett in A Hundred Words For Snow at the Trafalgar Studios on London's West End

Tatty Hennessy’s ‘outrageously funny and deeply moving’ coming-of-age tale… with polar bears, A HUNDRED WORDS FOR SNOW has transferred to London’s West End with a flurry of excellent reviews and accolades after successful appearances at The Vaults and the Arcola Theatre last year.

Directed by Lucy Jane Atkinson, the one hour, one person play, which mixes polar exploration with teenage awkwardness will run in the Trafalgar Studio 2 until the end of the month. Oxford school of Drama graduate Gemma Barnett plays Rory – short for Aurora – a young woman determined to scatter her dad’s ashes at the North Pole. It was a trip they had planned before he suddenly died in an accident, one last expedition, which the Guardian’s Michael Billington called an “extraordinary story. “The play explores the difficulties and desires of growing up and searching the unknown in a melting world, covering the themes of climate change, feminism and self-discovery.”

As Tatty points out, it’s very relevant, given the UN’s latest stark and startling Climate Chang report. “How traumatic, isolating and overwhelming it must be to lose someone you love and to lose them at 15, to be grieving during puberty,” said Gemma in an interview for London Theatre Direct.

I caught up with Gemma last Saturday at the stage door after her matinee performance, described by James FitzGerald in his WhatsOnStage review as “impassioned and intoxicating,” where she signed my sketch.

Drawing: Danny Dyer in The Dumb Waiter

Autographed drawing of Danny Dyer in The Dumb Waiter at the Harold Pinter Theatre on London's West End

A “propa nawty geezer” is how one interviewer described the parts English actor Danny Dyer is famed for, the  generic ‘hard man-with-a-heart’. He returned last month to the West End stage as a killer in Harold Pinter’s THE DUMB WAITER, which was part of the Pinter Seven double bill with A SLIGHT ACHE.

It concluded the PINTER AT THE PINTER season, Jamie Lloyd’s ambitious box-set approach to all of the Nobel Laureate’s 21 one-act plays over the past 21 weeks at the theatre named after him.

THE DUMB WAITER, written in 1957 is set in a basement of a Birmingham restaurant, where two cockney hit men, Gus and Ben are preparing to execute an unknown victim as a dumb waiter (a shelf on pulleys) descends from above with food requests. Danny played Ben alongside Martin Freeman as Gus.

Jamie said that Danny, who had a close friendship with the playwright was one of Harold’s favourite actors and considered him a protégé “There were no airs and graces about Harold,” said Danny, “I learned so much from him that set me up for the rest of my career.”  THE DUMB WAITER is Danny’s fourth Pinter play. He met Harold in 1999, who cast him as the waiter in CELEBRATION at London’s Almeida Theatre, which transferred to New York’s Lincoln Centre in 2001 as part of the Harold Pinter Season. He followed that with the role of Foster in NO MAN’S LAND at the National Theatre and in 2008 as Joey in THE HOMECOMING back at the Almeida.

Danny’s breakthrough came in 1997 in the cult film HUMAN TRAFFIC as the mad raver Moff. He later said in a Guardian interview that it wasn’t much of a transition “That role was me. I was still living it then. It was the only audition where the first question was “Do you take drugs?” I said, “Yes, I love drugs.” They said, ‘Perfect.”  Since 2013 he has played The Queen Victoria pub’s landlord Mick Carter in the BBC TV soap EASTENDERS, winning three National Television Awards.

I left this sketch of Danny as Ben at the stage door on the final day of the PINTER AT THE PINTER season and it came back signed and dedicated with a nice inscription.