2020/21 Tours

If you are interested in any of these productions, or would like to request an information pack, please email tim@pemberleyproductions.co.uk

 
 
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The Jungle

Meet the hopeful, resilient residents of The Jungle – the short-lived, self-governing society that emerged within a sprawling refugee camp in Calais, France. Take a seat in an Afghan Café, where men, women and children fleeing war and persecution created a world offering warm hospitality amidst squalor and danger.

After taking London by storm this “devastating, uplifting show” (The Guardian) transferred to St Ann’s Warehouse, New York and The Curran Theatre, San Francisco

“The jungle arrives in New York with astonishing poignancy and power”

New York Times (Critic’s pick)

“Conjures life”

New Yorker

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Romantics anonymous

Adapted by Emma Rice from the French-Belgian film Les Émotifs Anonymes, with lyrics and music by Christopher Dimond and Michael Kooman, this new musical is a treat for all the senses. Filled with all the joy and pain it takes to survive and love in the modern world, Romantics Anonymous is a tale that will lift any heart.

Originally staged at the Globe Theatre in London, Emma Rice directs this critically acclaimed new production.

Romantics Anonymous is undertaking an eleven-week tour in the 19/20 season to:

The Wallis Annenberg Center, Los Angeles

Shakespeare Theatre, Washington DC

…and one other venue still to be announced

“A sweet tale to melt any heart”

Daily Mail

“A sweetly funny, gorgeously tender musical rom-com”

The Times

“A multifaceted gem, chock-full of love, generosity and joy”

The Guardian

 
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Emilia

400 years ago, Emilia Bassano wanted her voice to be heard. It wasn’t. Could she have been the “Dark Lady” of Shakespeare’s sonnets? What of her own poems? Why was her story erased from history? Emilia and her sisters reach out to us across the centuries with passion, fury, laughter and song.

Morgan Lloyd Malcolm’s powerful new play transferred from The Globe to London’s West End in 2019. This extraordinary story of Shakespeare’s dark lady of his sonnets features an all-female company of actors, designers, director, writer, technical staff and producers.

A fire-cracker production… a hit

The Times

“a landmark moment in the history of Shakespeare Globe”

The Independent

“A call to arms”

The Guardian

 
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Ensemble basiani

Ensemble Basiani have toured the USA on four seperate occasions over the last decade including performances at Lincoln Center, Cal Performances, The Broad, University Musical Society (Ann Arbor) and Stanford Live. They have been described as “mesmerising” and a “truly unique sound”.

They return to the USA in fall 2019, as well as being available for touring in fall 2020.

“Ensemble Basiani stole the show”

New York Times

“World-music fans won’t want to miss this group…thrilling and spiritually moving”

LA Times

 
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Witness for the prosecution

Lucy Bailey’s production reinvents this classic thriller for a modern audience and has proved that Christie’s work, done well, still attracts a wide audience. It’s a play about the institutions of power and the fairness, or otherwise, of the judicial system. Of course, with a killer twist. Or two!

Lucy Bailey is the director, with set and costumes by multi Olivier award-winning William Dudley, lighting by Chris Davey and sound design by Tony award-winner Mic Pool. 

In 2018 it was nominated for Best Revival at both the Olivier Awards and WhatsOnStage Awards. 

We are working to bring a proscenium version of the show to North America and Canada in Spring 2021.

Booked in conjunction with Broadway Booking Office.

Agatha Christie’s ingenious courtroom drama

The Guardian

Sheer entertainment. This revival is near perfect

Huffington Post

 
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AN INSPECTOR CALLS

Following our 18/19 US tour, that smashed box office targets and earned critical acclaim everywhere it played, this hugely relevant masterpiece, directed by Stephen Daldry, will return to North America in the 20/21 season.

This visionary, radical and challenging production of JB Priestley’s epic drama has been hailed as the theatrical event of the its generation. Seen by four million people.

“A Broadway phenomenon”

Washington Post

 
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The Woman in black

Susan Hill’s acclaimed ghost story comes dramatically alive in Stephen Mallatratt’s ingenious stage adaptation. Now entering its 30th year in the West End, Robin Herford’s gripping production is a brilliantly successful study in atmosphere, illusion and controlled horror.

Booked in conjunction with Broadway Booking Office.

"A MASTERPIECE"

The Guardian

"A REAL TREAT. ENTERTAINMENT AT ITS VERY BEST "

Daily Telegraph

 
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inside wagner’s head

Olivier Award-winning actor and star of Four Weddings and a Funeral, A Room with a View and Shakespeare in LoveSimon Callow, turns his attention to the life and legacy of Richard Wagner, one of opera’s most influential and controversial figures, in his bicentenary year. Wagner’s life was fiercely passionate in every aspect: political exile, tempestuous love affairs, provocative writings - and, not least, his astonishing creative output, which revolutionised opera.

Initially commissioned for Stephen Fry’s Deloitte Ignite, a month-long festival at the world-famous Royal Opera House, London, to celebrate the bicentenary of Wagner and Verdi, Simon Callow performs this very special one-man show once again

“Callow pithily hits the mark”

Evening Standard

“Commands one’s attention”

Telegraph

 
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Stormy weather

Camilla Beeput and a live band of five recreate the life and career of the legendary Lena Horne.

Set on the night Lena Horne takes to the stage for her celebrated Broadway run of her one woman show, this production is a chance to learn about the career and extraordinary life of someone who challenged the way Hollywood perceived women of color.

Developed with Olivier award winner Clarke Peters, this show celebrates some of Horne’s greatest hits alongside original compositions by composer Alex Webb.

“A bravura display - sometimes sexy, sometimes icily androgynous… by the end of the evening a star had been reborn.”

The Times