Name: Juno and the Paycock
Start: 2024-09-21
End: 2024-11-23
Location: Gielgud Theatre

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Ages 14+. Everyone must have their own ticket. Under 16s must be accompanied by and sat next to a ticketholder who is 18+. Under 3s will not be admitted. 

Juno and the Paycock - LON [15487]

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Children under the age of 16 must be accompanied by and sat next to an adult ticketholder (18+). Children under the age of 3 will not be admitted.

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A rogue British agent steals plans for a top-secret new weapon. Spies from the CIA and the KGB assemble at London’s Piccadilly Hotel to track down the British mole and obtain the file. When a young British couple and an older actor auditioning for the title role in the first James Bond film check into the hotel, the stakes reach boiling point in this riotous world of Cold War farce.

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Juno and the Paycock

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Juno and the Paycock - LON - 15487

Dublin, 1922, the Irish Civil War is tearing the nation apart. In the cauldron of the family’s tiny tenement flat, Juno Boyle, a beleaguered matriarch whose sharp wit is a survival tool, struggles to make ends meet and keep the family together. Her husband, ‘Captain’ Jack Boyle, fancies himself a ship's commander but sails no further than the pub. When providence comes knocking with news of a great inheritance, could the family’s troubles finally fade away?

Mark Rylance was born in 1960 in Ashford, Kent in England. During his time at school, Rylance starred in the majority of school productions including the title roles in *Romeo & Juliet* and *Hamlet*. Returning to the UK in 1978 after growing up in the USA, he trained at RADA and joined Glasgow Citizen's Theatre in 1980. He also joined the [Royal Shakespeare Company](https://www.londontheatre.co.uk/actor-profile/royal-shakespeare-company) in 1982 where he performed in Stratford and London. 

In 1995, he was appointed as the first artistic director of [Shakespeare's Globe](https://www.londontheatre.co.uk/theatres/shakespeares-globe-theatre), a role he held for a decade. During this period, he would appear and direct in every season, with works from Shakespeare, his contemporaries as well as new plays written especially for the Globe. 

2007 saw him perform in *Boeing Boeing* at the [Harold Pinter Theatre](https://www.londontheatre.co.uk/theatres/harold-pinter-theatre), which would then transfer to Broadway in 2008. For his role in [*Jerusalem*](https://www.londontheatre.co.uk/show/23938-jerusalem) at the [Royal Court](https://www.londontheatre.co.uk/theatres/royal-court-theatre) in 2009, he won the Best Actor Award from the Critic's Circle Theatre. This was followed in 2010 by a transfer to the [Apollo Theatre](https://www.londontheatre.co.uk/theatres/apollo-theatre) on Shaftesbury Avenue, for which he received the Oliver Award for Best Actor. A Broadway transfer followed in 2011 for which Rylance received the Tony Award for Best Actor.

In 2012 he returned to Shakespeare's Globe for an all-male production of *Twelfth Night* alongside Stephen Fry, and taking the lead role in a production of *Richard III*. Both productions transferred to the West End at the Apollo Theatre. He collaborated with poet Louis Jenkins on the play *Nice Fish*. 

Taking the role of King Phillipe V in *Farinelli and the King*, he performed at the [Sam Wanamaker Playhouse](https://www.londontheatre.co.uk/theatres/sam-wanamaker-playhouse) at Shakespeare's Globe in 2015, with a subsequent transfer to the [Duke of York's Theatre](https://www.londontheatre.co.uk/theatres/duke-of-yorks-theatre).

In 2015, he played Thomas Cromwell in the BBC's adaptation of *Wolf Hall* alongside Damien Lewis as King Henry VIII. He also appeared in *Bridge of Spies* directed by Stephen Spielberg opposite Tom Hanks, for his role as Rudolf Abel he received an Academy Award for Best Supporting Actor. He would go onto to work with Spielberg again in his adaptation of Roald Dahl's *The BFG*, and will also appear in his adaptation of *Ready Player One*.

In 2023, Rylance will star in *Dr Semmelweis* at the Harold Pinter Theatre. He'll play the title character, a Hungarian doctor whose pioneering medical ideas were left untouched for decades.

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Nice Fish [2700]

Nice Fish

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The Harold Pinter Theatre, established and adorned with Victorian architecture in 1881, is one of the most notable theatre venues in the heart of London. Originally known as the Royal Comedy Theatre, it later adopted the name of 'Harold Pinter', honouring the famous playwright. The theatre is situated conveniently in the centre of the bustling West End, an ideal location for tourists and locals alike. The interior is decorated with an impressive array of original features aligned with its historical era of inception, creating an aesthetically pleasing atmosphere for theatre-goers. The theatre has an audience capacity of 796 people across four levels, with the seats divided into Stalls, Dress Circle, Royal Circle and Balcony. Over time, it has been home to many outstanding performances, including shows like 'The Homecoming', 'Moonlight', and 'Betrayal'. The Harold Pinter Theatre undoubtedly offers a memorable and culturally enriching experience for all those who visit.

### How to Get to the Venue 

Harold Pinter Theatre is accessible and well-connected, located at Panton Street in the City of Westminster. The closest Underground stations are Piccadilly Circus and Leicester Square, both within a short 5-minute walk. Numerous buses service the area regularly, making it straightforward to reach using public transport. For those driving, the MasterPark at Whitcomb Street and NCP at Denman Street are the nearest parking options.

Harold Pinter Theatre - LON

Harold Pinter Theatre

The Harold Pinter Theatre is a historic venue in London's West End, known for hosting many notable performances. Convenient and easily accessible by public transit.

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Jerusalem - LON [23938]

Jerusalem

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Jez Butterworth’s 2009 tragicomedy [*Jerusalem*](https://www.londontheatre.co.uk/show/23938-jerusalem "Jerusalem"), starring Mark Rylance as Johnny “Rooster” Byron, has long been heralded as among the greatest plays of the decade, if not century. So, does this feverishly anticipated revival – once again led by Rylance and Mackenzie Crook as sidekick Ginger, and directed by Ian Rickson – cement its place in theatre history? In short: hell yes. 

Like all great state-of-the-nation epics, it feels different, but just as potent, in this new context. It can certainly be read as a Brexit play, with Rooster’s group of rural, working-class misfits clinging to a fantasy version of a past England. Davy, who works in the local abattoir, boasts that his ears pop if he even leaves Wiltshire, and sniffs that BBC Points West is now in thrall to Belgium. But it reaches further than one referendum: it’s an empathetic exploration of the outsider, and of our national myth-making.

Most importantly, Rylance’s titanic performance as the gypsy Rooster really is one for the ages. His entrance is spectacular: he bursts out of his Airstream trailer in the woods, tattooed, sunburnt and limping, barrel chest puffed out, and skips into a handstand over the water trough. He then retrieves an egg from his squawking chickens, chucks the shell into the audience, mixes up a hangover cure with milk, vodka and speed, and downs it in one – to rapturous applause.

It immediately establishes Rooster the showman. He used to be a motorcycle daredevil and now has a captive audience of disaffected young people who come to buy drugs, party at his Bacchanalian raves, and hear his outlandish stories. Those tales work their rough magic on us too: the one about his birth to a virgin mother via a stray bullet, or his meeting with the giant who built Stonehenge on the A14, “about half a mile past the Little Chef.”

That mix of the mystical and the mundane, with very specific local references and idioms, is key to Butterworth’s filthily funny and utterly beguiling drama, which all takes place on St George’s Day, as the local town of Flintock holds its annual fair. His characters can wax lyrical about the historic May pastoral revels or powerful ley lines one minute, and in the next laugh over Rooster drunkenly smashing up his TV. 

Rylance’s twinkling-eyed host has a rebellious, libertarian spirit, which again chimes with some of our current debates. He despises the new estate built nearby, and is at war with the bureaucracy. Kennet and Avon Council, represented by two po-faced council workers in yellow vests with clipboards, are determined to evict him, but Rooster claims an ancient ownership to this land that runs much deeper than permits and petitions.

Is he a hero or a menace? He claims that these kids would otherwise be in worse danger, hanging out at bus stops or, in the case of the missing Phaedra, left at the mercy of her thuggish stepfather. But I felt far more unease this time around at seeing underage girls getting high with older men, particularly given Rooster’s casually misogynist (and occasionally racist) language. Butterworth’s writing of the female characters is weaker too, and he slots them into confining boxes: the innocent nymph, the pushy tramp and the joyless mum.

Yet, as the mood darkens, Butterworth does interrogate his magnetic protagonist. Rooster’s anarchic behaviour is far less entertaining when he’s neglecting his young son and letting his ex down – or, worse, tempting her with cocaine. He gradually becomes a pathetic figure as we learn that his waifs and strays actually make fun of him, and that he’s been repeating this same pattern with each new generation for decades. Nothing ever changes.

What at first seems like a paean to tradition then curdles into tragic stasis. Everyone is trapped in jobs or lives they hate, including Ginger, unemployed plasterer and wannabe DJ. Crook playing him older is even more effective, since he’s expressing adolescent dreams as a weary grown man. He and Rylance have built up a remarkable dynamic: co-dependency laced with both affection and needling nastiness.

There’s great support also from Gerard Horan as publican and reluctant Morris dancer Wesley, Alan David as the befuddled Professor, and, playing the wistful songbird Phaedra, Eleanor Worthington-Cox (who, when *Jerusalem* last stormed the West End, was starring as one of the original [Matildas](https://www.londontheatre.co.uk/show/305-matilda-the-musical "Matilda the Musical")). 

Ultz’s detailed once again set mixes natural beauty, given a golden hue by Mimi Jordan Smith’s ethereal lighting, with mouldering rubbish. Wild and whimsical, uproarious and desolate, Butterworth’s play is still a mighty force of irrepressible live theatre. 

[*Jerusalem is at the Apollo Theatre to 7 August.*](https://www.londontheatre.co.uk/show/23938-jerusalem "Jerusalem")

*Photo credit: Mark Rylance (Photo by Simon Annand)*

'Jerusalem' review — Mark Rylance's titanic performance is one for the ages

The Apollo Theatre opened on 21 Feb. 1901. The theatre is named after the Greek god of the arts, and was built to house musical theatre productions.

The late 20th-century saw many plays at the Apollo Theatre, including *Separate Tables* starring John Mills, *Mrs Klein* starring [Zoe Wanamaker](https://www.londontheatre.co.uk/actor-profile/zoe-wanamaker), and *A Madhouse in God* starring [Vanessa Redgrave](https://www.londontheatre.co.uk/actor-profile/vanessa-redgrave).

During a performance of the Olivier Award winning play [*The Curious Incident of the Dog in the Night-Time*](https://www.londontheatre.co.uk/show/the-curious-incident-of-the-dog-in-the-night-time) on 19 Dec. 2013, a large section of the ceiling collapsed, potentially caused by the heavy rain London had experienced that week, and 88 people were injured. 

Recent shows at the Apollo Theatre include *Jerusalem* starring Mark Rylance, and the West End premiere of *Everybody's Talking About Jamie.*

## Apollo Theatre Seating Information

The auditorium has three levels – Stalls, Dress Circle and Grand Circle. The Stalls seats offer excellent views of the stage. Views in the outer seats are hindered by the overhang of the Dress Circle.

The Dress Circle seats may offer little legroom and little raking in the seating. The last two rows of seats sit on a higher level and offer better views than those in front.

The Grand Circle has a shallow ranke. The last two rows of seats are also built up higher.

Apollo Theatre - LON

Apollo Theatre

The Apollo Theatre-LON is a historic, Grade II listed venue in London's West End. It's renowned for its wide variety of shows, and is within walking distance from several Tube stations.

The Gielgud Theatre is an iconic heritage venue located in the heart of London's bustling West End. Showcasing a wide array of performances ranging from dramatic plays, to musicals, to stand-up comedy, the theatre has been a magical place of storytelling since its doors first opened in the late 1800s. Upon entering the theatre, patrons are greeted by a stunning interior complete with opulent gold leaf detailing, royal red plush seating and ornate carved plaster. The plush Royal Circle boasts excellent sightlines, while the intimate, yet spacious Dress Circle and Stalls ensure every audience member feels close to the action. With a seating capacity of 986 spread across three levels, the theatre boasts an intimate atmosphere making every show a unique experience. 

**How to get to the venue:** Located at Shaftesbury Avenue, one of the easiest methods of reaching is by Tube. The closest station is Piccadilly Circus on the Bakerloo and Piccadilly lines. There are also many bus routes which stop close to the theatre making it easily accessible from all parts of the city. For those driving, a nearby Q-Park Theatreland car parking facility is available, though the theatre encourages use of public transport due to high congestion in the area.

Gielgud Theatre - LON

Gielgud Theatre

The Gielgud Theatre is an iconic, intimate London theatre, featuring lavish interiors, located in West End accessible by Tube, bus or car.

Read all about Mark Rylance (Bridge of Spies, Wolf Hall) performances on the West End stage at LondonTheatre.co.uk

Mark Rylance - Stars on Stage | London Theatre

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