Work — Justin J. Martin

The Inheritance

A YOUNG VIC Production

CAST
Hugo Bolton, Robert Boulter, Andrew Burnap, Hubert Burton, John Benjamin Hickey, Paul Hilton, Samuel H. Levine, Syrus Lowe, Michael Marcus, Vanessa Redgrave, Kyle Soller, Luke Thallon, Paul Hilton and Michael Walters.

Andrew Burnap and Kyle Soller in The Inheritance at the Young Vic. Photo by Simon Annand._preview.jpg

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Kyle Soller with the company of The Inheritance at the Young Vic ©Simon Annand_preview_1.jpg

Samuel H. Levine and Andrew Burnap in The Inheritance at the Young Vic ©Simon Annand(3)_preview.jpg

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Low Level Panic

A THREAD ENTERTAINMENT Production in association with RED LINE PRODUCTIONS

CAST - Australia.
JO | Amy Ingram
MARY | Kate Skinner
CELIA | Geraldine Hakewill

With Caleb Alloway, Joshua McElroy, Luke Carson, Patrick Cullen, Scott Eveleigh, David Lang, Brendon Taylor, Zoe Belfanti, Mathilda Richardson, and Sophia Marosszeky.

★★★★★ Performances
"Low Level Panic is a powerful piece that will resonate with Sydney audiences - both it's male and female members"
THEATREPEOPLE

★★★★★
"[The] production succeeds in demanding the audience’s attention, refracting voyeurism, questioning ongoing problems of sexual objectification and extensively excavating the issues at the heart of the play".
PUBLIC REVIEWS

★★★★
A must see.... Low Level Panic strikes me as the one show we need to see right now.
SYDNEY MORNING HERALD

"[a] bold, courageous production that pokes its fingers – with a punkish derision – in the eyes of convention. Director Justin Martin effectively shifts the production into a contemporary Irish setting and imaginatively interprets the text".
Brendan Daly IRISH THEATRE MAGAZINE

CAST - Irish/UK.
JO | Eimer Kilmartin
MARY | Sarah O'Toole
CELIA | Aoife Martyn

With Jerry Fitzgerald, Eric Martyn, Eoin Barton, Alannah Kelly, Alex Nilsson, and Abigail Somers.

CREATIVES
WRITER | Clare McIntyre
DIRECTOR | Justin Martin
PRODUCER | Anam Theatre.
COMPOSER/MUSIC DIRECTOR | Claire Healy

REVIEWS FOR THE IRISH PRODUCTION:
Anam’s production succeeds in demanding the audience’s attention, refracting voyeurism, questioning ongoing problems of sexual objectification and extensively excavating the issues at the heart of the play.
PUBLIC REVIEWS

A cruel wit… an impressive set and intelligent social commentary … ambitious.
Kate Coleman LE COOL

Claire McIntyre’s sharp, comic three-hander….as topical as ever.
METRO

Low Level Panic is a powerful piece of theatre, combining humour with the hard hitting topics. It’s one to see!
END NOTE

... funny, unflinching…
GALWAY CITY TRIBUNE

The Galway-based theatre company anatomises this uncompromising text with a rattling urgency while celebrating the simmering comedy around which McIntyre wraps her feminist missile.
IRISH THEATRE MAGAZINE

Nothing short of amazing….sent chills down my spine….Brilliant…..powerful.
DEREKPETERSWRITES

Anam’s innovative production succeeds in balancing high entertainment with a probing of issues that are becoming more and more pressing in our contemporary mediatised culture.
PUBLIC REVIEWS

… brave and ambitious…The level of technical difficulty of this piece is impressive and ... Inventive.
NO MORE WORKHORSE

A startling series of dream-like, freeze-frame sequences, where the characters move in a wordless symmetry, splatters this production’s canvas and lends it a cinematic quality.
IRISH THEATRE MAGAZINE

Claire Healy’s original music, lyrics and dance …. take the production smoothly into Brechtian territory, functioning both to entertain and to alienate.
THE PUBLIC REVIEWS

The soundtrack is well put together, the songs chosen underlining the here and now, with …. original music by Claire Healy adding to the piece and helping to make it more accessible.
THE RED CURTAIN REVIEW

Eimear Kilmartin is captivating as the brazen but bereft Jo; Sarah O’Toole powerfully embodies Mary’s soul-searching and scorn; and Aoife Martyn finds comedy and charm within the more marginal character of Celia.
PUBLIC REVIEWS

Martyn mines the comedy of her character’s focused, ritualistic placement of her five moisturiser bottles at the side of the bath and, in the panicked way she reacts to the car horn of her new boyfriend, emphasises how Celia is already manipulating herself to fit the grooves of her man.
Brendan Daly IRISH THEATRE MAGAZINE

Eimear Kilmartin gives a strong performance, embodying Jo brilliantly from the word go, showing an innocent side, the get up and go side and the heartbreaking loneliness she feels.
THE RED CURTAIN REVIEW

In an empathetically observed depiction, Sarah O’Toole embodies the rampant tension between Mary’s desire to conform and her urge to be true to her convictions. (Jo wants Mary to “Forget who you are.”) O’Toole assiduously sculpts this conflict into her frenzied preparation for the party, as she zealously tries to crowbar herself into towering stilettoes, and the vigour with which she rips off the skin-coloured dress that makes her “feel like a tart”.
IRISH THEATRE MAGAZINE

Foul-mouthed and funny…..Low Level Panic, high level theatre.
ADVERTISER

There are many interesting insights in this production that lead you to view the world differently as you leave the theatre.
NO MORE WORKHORSE

Justin Martin’s direction on the whole is striking….direct, upfront, strong and humorous.
Alan Foran THE RED CURTAIN REVIEW

Under Justin Martin’s skilled direction, each of the main performers mines the emotional epicentre of her character, and the chemistry between all three encourages the audience to invest in their clashing, ultimately unresolved, anxieties.
PUBLIC REVIEWS

Immediate, relevant and important. [You've] got to see Low Level Panic at the new theatre by Anam Theatre.
THE RED CURTAIN REVIEW

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Last Chance: a plea for the unaccompanied children of Calais

A GOOD CHANCE THEATRE in association with THE YOUNG VIC Production

CAST
Carey Mulligan
Vanessa Redgrave
Joely Richardson
Juliet Stevenson
Samuel West

And introducing:
Leonie Benesch
Gaël le Cornec
Stavros Demetraki
John Pfumojena

PRESS: https://www.irishexaminer.com/breakingnews/entertainment/carey-mulligan-and-vanessa-redgrave-join-show-to-push-childrens-right-to-claim-asylum-760350.html

A census conducted by Help Refugees on 15 October recorded 865 children living in the unofficial refugee camp in Calais. 78% of them were alone. Many of these children have the legal right to be reunited with family members in the UK under the Immigration Act 2016.

Children and young people in the camp are at high risk of trafficking, sexual exploitation and slavery. Senior officials from multiple charities working in the camp have reported incidents of serious depression, self-harm and threats of suicide from minors in despair over the camp’s imminent destruction.

The eviction of the Calais camp was planned for today, Monday 17 October, but has since been delayed by at least a week because of the lack of solution available for the hundreds of unaccompanied minors living in the camp. However, on average each case has taken over eight weeks to process, meaning that the majority of these minors will not be admitted to the UK ahead of the camp’s demolition. At the latest count only 62 unaccompanied minors had been successfully settled with their families in the UK. Reports from the camp suggest that the destruction of cafés and restaurants will begin today, and buses have already arrived in preparation for dispersal of the population of the camp.

The Dublin III Regulation provides the legal basis for establishing the criteria and mechanism for determining the country responsible for reviewing asylum applications lodged in any member state by a stateless person. The regulation applies to 32 countries which include the EU member states, Iceland, Norway, Liechtenstein and Switzerland.

Carey Mulligan, War Child Global Ambassador, Juliet Stevenson, Safe Passage Advisory Council Member, Samuel West and others will read the treaty in full alongside Good Chance founders Joe Robertson and Joe Murphy as well as John Pfumojena and other refugees who have settled in the UK. The reading is directed by Justin Martin.

Alongside the reading on the night, artist Sue Partridge will continue The Paper People Project. In March Sue hung 291 life size cut-outs representing the unaccompanied children of Calais throughout the Jungle camp. She is now coordinating the creation of 10,000 cut-outs made by individuals in the US, Italy, France, Afghanistan, Iran, Ireland and the UK, each representing a resident of the camp. Audience members are invited to join these international participants to be traced for a cut out of themselves. A replica of the Jungle camp will also be built live in the space, and other art projects will be created throughout the evening.

Juliet Stevenson says, “The Safe Passage UK programme has brought 62 children from Calais safely and legally to the United Kingdom under this legislation, but time is running out for the rest of the unaccompanied minors in the camp. The prime minister and home secretary must act urgently to reunite these families and protect these vulnerable young people.”

Joe Murphy and Joe Robertson add, “When Good Chance built its first theatre of hope in the Jungle last September, we were overwhelmed by the number of unaccompanied children living there, all needing a space of welcome and comfort to express themselves and feel safe.

That many of those same children are still living there now over a year later, in ever more desperate conditions, is an outrage. With a hard eviction looming, they are running out of time.

We have a moral responsibility to look after them, and a legal responsibility too. LAST CHANCE reading is a call to the government to ensure all the children of Calais are safely housed before the eviction begins, to speed up the Dublin III process, and for the Dubs Amendment transfers to begin as soon as possible.”

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The Crown: Series 1

A NETFLIX ORIGINAL SERIES in association with LEFTBANK PICTURES

Good Chance/No Chance

A GOOD CHANCE THEATRE in association with THE SOUTHBANK CENTRE Production

CREATIVE
CONCEIVED by Justin Martin and the residents of The Jungle Refugee Camp, Calais
DIRECTOR Justin Martin
ARTISTIC ASSOCIATE Amy Reade

Let The Right One In

A NATIONAL THEATRE OF SCOTLAND and ROYAL COURT PRODUCTION

★★★★★
Exquisitely beautiful staging.
THE GUARDIAN

★★★★★
Unforgettable. Explosive. One of the most original shows of the year.
THE OBSERVER

★★★★★
Beautifully intimate and be dazzlingly epic.
TIME OUT

★★★★★
A rare theatrical bravura that makes it positively engrossing.
LONDON THEATRE

★★★★
A strange, tender love story that will chill you to the marrow and break your heart.
THE INDEPENDENT

CAST
Rebecca Benson Eli
Graeme Dalling Jonny
Paul Thomas Hickey Kurt, Jocke , Nils, Dad, Stefan
Stephen McCole Halmberg, Mr Avila
Angus Miller Torkel, Janne, Jimmy
Cristian Ortega Micke
Martin Quinn Oskar
Ewan Stewart Hakan
Susan Vidler Oskar’s Mum

CREATIVES
Adaptation Jack Thorne
Director John Tiffany
Associate Director Steven Hoggett
Set and Costume Design Christine Jones
Staff/Associate Director Justin Martin
Associate Movement Director Vicki Manderson
Music Ólafur Arnalds
Lighting Design Chahine Yavroyan
Sound Design Gareth Fry
Associate Costume Designer Aileen Sherry
Fx Design Jeremy Chernick Special
Design Associate Tim McQuillen - Wright
Casting Director Anne Henderson
Casting Associate Laura Donnelly

PRODUCTION TEAM
Chris Hay Production Manager
Jessica Richards Company Stage Manager
Emma Skaer Deputy Stage M anager
Greg Sharman Assistant Stage Manager
Niamh O’Meara Props Technician
Martin Woolley Stage Supervisor
Fergus Lockie Sound Supervisor
Marianne Maxwell NTS Producer

The Kitchen

A BAA Production

CAST
PROPRIETOR | Rachelle Harvey
CHEF de CUISINE | Robin Thomas

Kitchen Staff
SOUS CHEF | Michelle Wittrup

Poissoner
POISSONER | Matthew Bradford
POISSONER | Annie Lumsden

Patisserere
CHEF de PARTIE | Tyson Peters
CAFE | Cassandra Belfrage
ASSISTANT PASTRY CHEF | Mitchel Edwards

Entremelier
POTAGER | Blake Barnard
KITCHEN PORTER | Stevie White
KITCHEN PORTER | Eliza Wood

Skylight

CAST
Carey Mulligan
Bill Nighy
and
Matthew Beard

CREATIVES
WRITER David Hare
DIRECTOR Stephen Daldry
SET and COSTUME DESIGN Bob Crowley
ASSOCIATE DIRECTOR Justin Martin
SOUND DESIGN Paul Arditti
LIGHTING DESIGN Natasha Katz
COMPOSER Paul Englishby
PRODUCER Robert Fox Ltd

Far Away

A saySIX and LIL ARTISTES Production

CAST
Caroline Lee
Paul Ashcroft
Suzannah McDonald

and introducing:

Skylah Cox
and
Savannah Vote

CREATIVES
WRITER Caryl Churchill
DIRECTOR Justin Martin
CHOREOGRAPHER Tom Hodgson
ASSISTANT DIRECTOR/CHOREOGRAPHER Claire Healy
PRODUCER Holly Shanahan for saySIX Productions.
LIGHTING DESIGN Luke Hails
SOUND DESIGN James Gavin Henderson
SET AND COSTUME DESIGN Tom Hodgson, Justin Martin and Holly Shanahan

"If it's a party, why's there so much blood" - Joan,

Written in 2000, this unnerving fairytale has proven prophetic in its surmise of the events of the past decade. Set in an unknown "far away" the play is as much the journey of a society as it is of the main character Joan, who grows from questioning youth to apathetic adult.

Australia is as much a "far away" for a British playwright as any fairytale and the play's observation of the progression of moral slippage and human apathy are as potent now as ever before.

Caryl Churchill’s ‘Far Away’ has proven almost visionary in its surmise of the events of the past decade. Written in 1999, the play takes us with Joan on her journey from questioning youth into the overwhelming apathy of adulthood, in a world where all of nature is at war.

Described overwhelmingly as “chilling”, “ravishing” and “prophetic”, twelve years after its premiere the play remains as relevant now in our own Australian “far away” as ever before.

REVIEWS
The title of Caryl Churchill’s Far Away is a provocation. Its dystopian nightmare might seem far out – only Churchill could dream up a theatrical world that combines totalitarianism and, ah, millinery – but it is also ‘far in’. However weird it seems on the surface, this is a sinister, disturbing and blackly comic diagnosis of an all too familiar way of living.

It begins with a portrait of innocence made complicit in violence, of a child sullied by dehumanising rhetoric. A young girl is staying at her aunt’s house in the countryside. Joan (Skylah Cox, Savannah Vote) has climbed out her bedroom window after bedtime and glimpsed horrors in the dark; aunt Harper (Caroline Lee) must explain them.

The scene attains a pallid, lunar sense of menace. The illusion of nature consumes the space. Cox’s wide-eyed curiosity and guileless acceptance are slowly eclipsed by Lee’s heavily-lidded eyes, thin smile, and the shadows of lies crossing her face like fast-moving clouds.

Just as you think you know what’s going on, Churchill changes tack. An adult Joan (Suzannah McDonald) is making high-class hats in a factory, while flirting with another milliner (Paul Ashcroft).

Beautiful hats and a tentative romance have the ugliest context, and in the final scene language itself erupts into a state of total war – grotesque poetry that captures the absurdity of humanity turning against itself and the environment that sustains us.

Justin Martin’s direction creates a chilling atmosphere, drawing out effective performances that trace the vanishing possibilities of being human in dark times. Tom Hodgson’s basic but thoughtful choreography gulls the audience into active complicity in murder as entertainment.

Perhaps the most distressing, from an art lover’s perspective, is Churchill’s dire analysis of the way aesthetics can be deployed to make immoral action possible.
CAMERON WOODHEAD - THE AGE
(http://www.fortyfivedownstairs.com/wp2016/uncategorized/the-age-reviews-far-away/)

If...you want to be surprised, even a bit disturbed by a visit to the theatre – try ‘Far Away’, a play that’s on at 45 Downstairs in Flinders Lane, written by the award-winning English playwright Caryl Churchill. I’ve been thinking about this play ever since I saw it last weekend. Churchhill is known for her non-naturalistic approach to theatre – she’s a political playwright...politics in the broader sense of power and the uses and abuses of it. The play is divided into three different scenes and as the first one opens, we see a child who has woken up in the middle of the night approaching a woman in a kitchen. We learn the woman is her aunt and the child gradually reveals that she’s just witnessed a deeply disturbing scene outside in the garden. There’s been violence and blood and the child is trying to make sense of it all. And the aunt is trying to first of all explain what the child has seen, but then – we realize – she’s trying to cover up what’s been happening. We see the world from the child’s perspective as she tries to understand adult behaviour that, on the face of it, is simply terrifying. We’re in moral quicksand as the aunt keeps changing her story. What IS going on out there in the garden shed? – we never really find out.

Then in the second scene the child has grown up and is a young woman working in a hat factory. But we gradually find out that the hats are to be worn by prisoners just before they’re put to death. What is going on? The prisoners come out chained together but wearing these glamourous Melbourne Cup-style hats and do a parade, accompanied by jolly band music, a scene which is simultaneously hilarious and sickening.

In the final scene things get weirder and weirder. The whole world is at war, but as in George Orwell’s ‘1984’, the enemy keeps changing – sometimes it’s the Brazilians, sometimes it’s the crocodiles or the deer, or perhaps even the river is at war with the people.

There is an incredibly dystopian view of the future embedded in this play which touches you somewhere very deep and very dark. Good and evil, truth and fiction, are never clear and morality is in a constant state of slippage. It might seem a bit like some of your weirdest nightmares ,where you’re struggling to make sense of what’s going on and maybe relieved when you finally wake up and discover it was all coming from your sub-conscious.

The underground theatre space in 45 Downstairs adds to sense of claustrophobia. This is a play produced on a small budget but with beautiful acting by the performers playing the three main characters – Caroline lee, Paul Ashcroft and Suzannah MacDonald.

This is the kind of theatre that I like – it takes you to a completely different place, asks you difficult questions, and rather than offering you pat answers, it leaves you wondering.
IAN PRIOR - 774 DRIVE, ABC RADIO
(http://www.fortyfivedownstairs.com/wp2016/news/774-drive-abc-radio-reviews)

The Audience

CAST - UK PRODUCTION
ELIZABETH Helen Mirren
JOHN MAJOR Paul Ritter
GORDON BROWN Nathanial Parker
WILSON Richard McCabe
WINSTON CHURCHILL Edward Fox
ANTHONY EDEN Michael Elwyn
MARGARET THATCHER Haydn Gwynne
DAVID CAMERON Rufus Wright
JAMES CALLAGHAN David Peart
EQUERRY Geoffrey Beevers
YOUNG ELIZABETH Bebe Cave, Maya Gerber and Nell Williams

CAST - BROADWAY PRODUCTION
ELIZABETH Helen Mirren
JOHN MAJOR Dylan Baker
GORDON BROWN Rod McLachlan
WILSON Richard McCabe
WINSTON CHURCHILL Dakin Matthews
ANTHONY EDEN Michael Elwyn
MARGARET THATCHER Judith Ivey
DAVID CAMERON/TONY BLAIR Rufus Wright
JAMES CALLAGHAN Tony Ward
EQUERRY Geoffrey Beevers
YOUNG ELIZABETH Sadie Sink, Elizabeth Teeter.

CAST - UK REVIVAL
ELIZABETH - Kristen Scott Thomas.
JOHN MAJOR Michael Gould
GORDON BROWN Gordon Kennedy
WILSON Nicholas Woodeson
WINSTON CHURCHILL David Calder
ANTHONY EDEN David Robb
MARGARET THATCHER Sylvestra Le Touzel
DAVID CAMERON/TONY BLAIR Mark Dexter
EQUERRY David Peart
YOUNG ELIZABETH Marnie Brighton, Madeleine Jackson-Smith, Izzy Meikle-Small

CREATIVES
WRITER Peter Morgan
DIRECTOR Stephen Daldry
SET and COSTUME DESIGN Bob Crowley
ASSOCIATE DIRECTOR Justin Martin
SOUND DESIGN Paul Arditti
LIGHTING DESIGN Rick Fisher
COMPOSER Paul Englishby
PRODUCER Playful Productions, Robert Fox Ltd and Leftbank Pictures.

Skin Tight

A GROUNDSWELL DIVISION Production

CAST
Holly Shanahan
Michael Whalley

Billy Elliot The Musical

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Harvey And Freida

CAST
Caroline Faber
Tony Bell

CREATIVES
WRITER Ben Ellis
DIRECTOR Justin Martin

52

A BRONOWSKI Production

CAST
Kelso Winnick, Fi Pearson, Aoife Madden,

CREATIVE
CONCEIVED by Justin Martin and Devon DeMayo
DIRECTORS Justin Martin, Devon DeMayo, Niki Samer.

The Dumb Waiter

CAST
Vince Gil
and
Teague Rook

CREATIVES
WRITER Harold Pinter
DIRECTOR Justin Martin
SET and COSTUME DESIGN Danielle Brustman
LIGHTING DESIGNER Luke Hails