Feb. 28-Apr.13: Ron Domingo, Francis Jue and Jon Norman Schneider Set for Paper Dolls at the Tricycle Theatre
New York based actors Ron Domingo (Chiqui), Francis Jue (Sally) and Jon Norman Schneider (Jiorgio) are currently in London rehearsing for The Tricycle Theatre’s World Premiere of Paper Dolls, with their UK castmates Tom Berish (Yossi), Jane Bertish (Noa), Noa Bodner (Shoshana/Ensemble), Ilan Goodman (Shirazi/ Ensemble), Shimi Goodman (Ensemble), Jeffry Kaplow (Chaim), Tom Oakley (Ensemble), Angelo Paragoso (Zhan), Caroline Wildi (Adina) and Benjamin Wong (Cheska).
Paper Dolls is the second production directed by Indhu Rubasingham as Artistic Director of the Tricycle Theatre located at 269 Kilburn High Road in London. Rubasingham’s debut production, the critically acclaimed Red Velvet, recently won two Critics Circle Awards for Adrian Lester as Best Actor and Lolita Chakrabarti as Most Promising Playwright. Chakrabarti also received the Charles Wintour Award for Most Promising Playwright at the Evening Standard Awards in 2012.
Paper Dolls, written by Philip Himberg, Artistic Director of Sundance Theatre, is adapted from the documentary film by Tomer Heymann, which has won multiple awards including three at the 2006 Berlin International Film Festival.
Paper Dolls, in association with Stanley Buchthal and Bob & Co, Ltd, and adapted from the documentary film by Tomer Heymann, runs at the Tricycle Theatre from 28 February until 13 April with press night on 6 March. Design is by Richard Kent, with lighting by Oliver Fenwick, sound by Ben and Max Ringham, music by Nigel Lilley and Ben and Max Ringham, choreography by Alistair David, video design by Dick Straker, and assistant direction from Sam Pritchard. Paper Dolls was developed, in part, by The Sundance Institute Theatre Program. Click here for the full performance schedule and to purchase tickets.
“You know, Yossi, we couldn’t dress like this in the Philippines… wear earrings, dye my hair, put on make up, lipstick. It’s forbidden.”
In Tel Aviv, Israel, a group of Filipino immigrants work as live-in carers for elderly Orthodox Jewish men. Six days a week, they provide dedicated support to their employers. But on the seventh day, they transform into a homespun, sassy musical drag act. Meet the Paper Dolls!
An extraordinary true story exploring an unlikely collision of cultures and the universal desire to find ‘home’.
Tom Berish’s stage credits include The Taming of the Shrew for the RSC, Of Mice and Men at the Watermill Theatre, Newbury, Family Business at Watford Palace Theatre and Oxford Playhouse, Romeo and Juliet at the Royal Lyceum, Edinburgh, Are We Nearly There Yet? at Wilton’s Music Hall and After the End at Battersea Arts Centre. Berish’s screen credits include “Doctors” “The Last Heroes of D-Day” and “The Village,” all for the BBC.
Jane Bertish’s stage credits include The House of Bernarda Alba at The Almeida Theatre, A Round Heeled Woman at the Riverside Studios/West End,The Syndicate at Chichester Theatre/National Tour, The Duchess of Malfi at the West Yorkshire Playhouse, Copenhagan at the Watermill Theatre, Newbury, Conversations With My Father at the Old Vic/Scarborough Theatre,Phaedra at the Old Vic/Aldwych Theatre, and Golgo, Seven Lears, The Last Supper, and No End of Blame all at The Royal Court Theatre. Bertish’s screen credits include “My Dad’s the Prime Minister,” “The Sins,” “Vanity Fair,” “French and Saunders,” and “Casualty” for the BBC, and “Girls on Top” and “Sword of Honour” for Channel 4.
Noa Bodner’s stage credits include Floyd Collins at Southwark Playhouse,Judenfrei: Love and Death in Hitler’s Germany at the New End Theatre, The House of Mirrors and Hearts at the Arcola Theatre and Edinburgh Festival andLatin Fever at the Peacock Theatre/National Tour. Bodner’s screen credits include World War Z, The Crossmaker, Chatroom, and Rome.
Ron Domingo’s stage credits include The Romance of Magno Rubio at the Long Wharf Theatre, New Haven for which he received an OBIE award in recognition of outstanding achievement in an Off Broadway theatre, The King and I at Harbor Lights Theatre, The American Pilot at the Manhattan Theatre Club, and On House at the WPA Theatre. Domingo’s screen credits include “Blue Bloods,” “Person of Interest,” “Law & Order,” “As The World Turns,” “Rescue Me,” Tenderness, Robot Stories, The Motel and Slow Jam King.
Ilan Goodman’s stage credits include Red Light Winter at the Theatre Royal Bath, Tartuffe for the English Touring Theatre, Chicken Soup with Barley at The Royal Court Theatre, Danton’s Death at The National Theatre, Miss Nightingale at The Lowry/Kings Head Theatre, Six Degrees of Separation at the Old Vic and Breaking the Silence and All Quiet on the Western Front at Nottingham Playhouse. Goodman’s screen credits include “A Long Way Down,” “Diana,” “That Woman,” “Yes Prime Minister” and “Lost Cosmonauts.”
Shimi Goodman’s stage credits include A Midsummer Night’s Dream andRagtime at the Open Air Theatre, Regent’s Park, Chicago at the Cambridge Theatre, Dirty Dancing at the Aldwych Theatre and Bombay Dreams at the Apollo Victoria. Goodman’s screen credits include “Skins” and “Paul O’Grady Live.”
Francis Jue’s stage credits include Pacific Overtures at the Promenade Theatre,Thoroughly Modern Millie at the Marquis Theater, M Butterflyat the Eugene O’Neill Theater, Yellow Face,Love’s Labour’s Lost,Hamlet, and A Language of Their Own at The Public Theater. Jue’s screen credits include Joyful Noise, “The Good Wife” and “Law and Order.”
Jeffry Kaplow’s stage credits include The Grapes of Wrath at Finborough Theatre, The Plebians Rehearse the Uprising at the Arcola Theatre andSaraband at Jermyn Street. Kaplow’s screen credits include Mothers and Daughters and A Mighty Heart.
Tom Oakley’s stage credits include West Side Story for the RSC, Jersey Boys at the Prince Edward Theatre, Love Never Dies at the Adelphi Theatre, Once Upon a Time at the Adelphi at Liverpool Playhouse, Our Lady J at the Royal Festival Hall and Peter Pan at the Civic, Chelmsford. Oakley’s screen credits include Missing Christmas.
Angelo Paragoso’s stage credits include National Tours of Miss Saigon andThe Reporter for The National Theatre, Peter Pan at the Manchester Opera House, Doctor Atomic for the English National Opera, The King & I at the Royal Albert Halland, Aladdin at the Theatre Royal Stratford East.
Jon Norman Schneider’s stage credits includeDurango at The Public Theater, Ching Chong Chinaman at the Pan Asian Rep, A Play on War and Blind Mouth Singing at NAATCO,Edith Can Shoot Things and Hit Themat The Actors Theatre of Louisville/Humana Festival, Pool Boy at Barrington Stage, American Hwangap at Magic, andDurango at the Long Wharf. Schneider’s screen credits include “Veep,” “30 Rock,” “Law & Order: Criminal Intent,” “The Electric Company,” The Normals, The Rebound, and Angel Rodriguez.
Caroline Wildi’s stage credits include Noises Off at the Old Vic, Much Ado About Nothing and Romeo and Juliet for the RSC, Mansfield Park at Chichester Festival Theatre, The Admirable Crichton at the Theatre Royal Haymarket, and Ting Tang Mine and Fathers and Sons at The National Theatre. Wildi’s screen credits include Hereafter, If I Had You, EastEnders,Brookside, Deux Freres, and “Harry Potter and the Half Blood Prince.”
Benjamin Wong’s stage credits include Thoroughly Modern Millie at The Watermill, Newbury, The Twelve Tenors on European Tour and The Firework Maker’s Daughter for the Birmingham Stage Company.
Philip Himberg is a writer and director and is the Producing Artistic Director of The Sundance Institute Theatre Program: one of the U.S’s foremost theatre development organisations. He directed the World Premiere of Terrence McNally’s Some Men at the Philadelphia Theatre Company, and co-wrote and directed the world premiere of Carry It On, starring Maureen McGovern. His other directing credits include William Finn’s Songs of Innocence and Experience at the Allen Room and for Sundance he directed revivals ofFiddler on the Roof, Funny Girl, and a revised version of Jerry Herman’s musical Dear World.
Indhu Rubasingham became Artistic Director of the Tricycle Theatre in May 2012 and her debut production was the award winning Red Velvet. Previous work at the Tricycle includes Stones In His Pockets, The Great Game: Afghanistan; Women, Power and Politics; Detaining Justice as part of the Not Black and White season; Fabulation; Starstruck; and Darfur: How Long Is Never? Other directing credits include Belong at The Royal Court Theatre, the Pulitzer Prize winning Ruined at The Almeida Theatre, Disconnect, Free Outgoing, Sugar Mummies, Lift Off (which received the George Devine Award) and Clubland (which received the Evening Standard award for most promising play) all at The Royal Court Theatre, The Waiting Room (which received the John Whiting Award) and The Ramayana at The National Theatre, Yellowman (with Liverpool Everyman, which received a TMA nomination for best new play and was shortlisted for the Pulitzer prize), andAnna In The Tropics (which won the Pulitzer prize) at Hampstead Theatre and Romeo and Juliet, The Misanthrope and Secret Rapture at Chichester Festival Theatre. She has also directed at Birmingham Rep, Soho Theatre, the Young Vic, and numerous productions at Theatre Royal, Stratford East.
Rubasingham has won awards including the Arts & Culture Award at the Asian Women of Achievement Awards for astounding achievements in theatre, the Carlton Multi-Cultural Achievement Award for Performing Arts, and in 2010 she jointly received the Liberty Human Rights Arts Award for The Great Game: Afghanistan.
Stanley Buchthal has produced or executively produced the following films:Love, Marilyn (Director: Liz Garbus); Marina Abramovic: The Artist Is Present (Directors: Matthew Akers & Jeff Dupre); Bobby Fischer Against the World (Director: Liz Garbus); Jean-Michel Basquiat: The Radiant Child(Director: Tamra Davis); Herb & Dorothy (Director: Megumi Sasaki); Lou Reed’s Berlin (Director: Julian Schnabel); Black White + Gray: A Portrait of Sam Wagstaff and Robert Mapplethorpe (Director: James Crump);Lockdown, USA (Directors: Rebecca Chaiklin & Michael Skolnik); The American Ruling Class (Director: John Kirby); Poster Boy (Director: Zak Tucker); Last Party 2000 (Directors: Rebecca Chaiklin, Donovan Leitch); Up at the Villa (Director: Philip Haas); Spanking the Monkey (Director: David O. Russell); Hairspray (Director: John Waters); Paul Bowles: The Cage Door is Always Open (Director: Daniel Young) and Watchers of the Sky (currently in post-production, Director: Edet Belzberg).
Bob & Co are a media advisory firm that provides guidance, fundraising and investment in film, television and Theatre Projects, and whose Executive Directors and principle shareholders are Bob Benton and Simon Flamank. Bob & Co counsel companies on a range of issues such as brand management, corporate strategy and business planning, non-executive directorships, fund-raising and industry introductions. The media investment and development aspect of the business focuses on finding promising content and getting it to production. With the desire and ability to invest in the right people, Bob & Co puts direct investment in emergent media companies, and individual investments in the development of film, theatre and television projects.
Bob and Simon each have over 20 years’ experience in both media advisory roles and the market itself; operating investment and entertainment companies at an executive level both in the UK and overseas. Simon and Bob met through their work together at Handmade Films in 2010, where their efforts led to the necessary restructuring and subsequent sale of the company.
Ron Domingo, Francis Jue and Jon Norman Schneider are appearing with the permission of UK Equity, incorporating the Variety Artistes’ Federation.
The Tricycle Theatre
269 Kilburn High Road, London NW6 7JR
Nearest tube: Kilburn (Jubilee Line)
Nearest overground: Brondesbury
Box office: 020 7328 1000
tel: 020 7372 6611
fax: 020 7328 0795