The new season includes the world premiere of site-specific Homegrown - a response to recent events at Bethnal Green Academy and two brand new shows at the Arcola. Following the huge success of the rep seasons in 2013 and 2014, the NYT is to return to the Ambassadors Theatre with three new productions in October, one of them documented in development as part of a new collaboration with Sky Arts.
The company will also return to Latitude Festival on 17th July with Poet Laureate Carol Ann Duffy’s The World’s Wife. Electricity and My Beautiful City will play at the Arcola Theatre 26th to 27th June, Homegrown will play at Raines Foundation Upper School in Bethnal Green during August and the 10-week rep season will start on 25th September 2015.
The three shows in this year’s West End rep season include: Consensual – a brand new play about consent and sex education written by Evan Placey and directed by Pia Furtado; Wuthering Heights, in a new adaptation of Emily Brontë’s novel by Stephanie Street directed by Emily Lim and The Merchant of Venice - Shakespeare’s play abridged especially for schools by Tom Stoppard, directed by NYT Associate Director Anna Niland.
Roseby also announced that 2015 will see the NYT in collaboration with The Christmas TV & Film Company to create a specially commissioned film for Sky Arts. The film mixes documentary and drama and will star some of Britain's best young acting talent. SweetSexteen (working title) will follow the NYT as they develop Consensual. Sweet Sexteen will air on Sky Arts this summer as part of the channel's new 'Sex Season' which features a collection of programmes examining the subject through the prisms of art, literature and culture.
Roseby said: “This season will celebrate the diversity, vibrancy and talent of Britain’s youth, with fearless new voices. Much has been said about the current challenges young people from disadvantaged and ‘diverse’ backgrounds face trying to access our industry. We are the only company in the UK putting brave young talent on the West End stage in front of large audiences in a season of this scale. I call on those concerned about access to do something about it by supporting the National Youth Theatre’s free opportunities. They are accessible to all, empower talented young people to learn on stage in front of an audience and lead to professional employment in the creative industries”.