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HELLO SUBSCRIBERS!

ONSTAGENEWSLETTER OCT 2016

This is the best time of year! Yes, we are sorry the summer is over, but with the end of summer comes the beginning of the Mirvish Theatre Season! We are only a month away from the first show and we can’t wait to welcome you back in our theatres!

Inside you will find your tickets (unless you have print @ home) and some great information on the third and fourth shows in the 2016/17 Season.

THE AUDIENCE Royal Alexandra Theatre January 17 – February 26, 2017

THE BODYGUARDEd Mirvish Theatre February 11 – May 14, 2017

Please examine your tickets carefully and make sure you have received tickets to both shows. If you requested print @ home tickets, check your inbox and print your tickets before coming to the theatre. If you have not received all of your tickets or require changes to the date of your performances, please call Mirvish Subscriptions as soon as possible.

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With over 45 million copies sold worldwide, The Bodyguard: Original Soundtrack Album became the best-selling soundtrack of all time. It featured a whole host of Whitney Houston’s greatest hits, including her cover of “I Will Always Love You”, which sold over 12 million units alone. Here is a brief history of some of the songs from THE BODYGUARD film and musical.

1860JESUS LOVES MEWritten and composed by Bebe Winans and Cedric Caldwell.

‘Jesus Loves Me’ is a Christian hymn set to words by Anna Bartlett Warner. The lyrics first appeared as a poem in the context of a novel called ‘Say and Seal’, written by Susan Warner and published in 1860. The tune was added in 1862 by William Batchelder Bradbury. After publication the song became one of the most popular Christian hymns in churches around the world.

NEED EXTRA TICKETS TO THE BODYGUARD?

THE STORY OF THE SONGS

1974I WILL ALWAYS LOVE YOUWritten and composed by Dolly Parton.

The Jimmy Ruffin’s “What Becomes of the Broken Hearted” was origi-nally intended as the lead single from THE BODYGUARD, however it was being used for another film, so attention turned to Dolly Parton’s

‘I Will Always Love You’. Dolly had written the song for her one-time partner and mentor Porter Wagoner, from whom she was professionally splitting at the time. David Foster rearranged the song as a soul ballad and it became a massive worldwide success, appearing at number 68 on Billboard’s Greatest Songs of All Time.

1978I’M EVERY WOMANWritten and composed by Ashford and Simpson.

Recorded by Chaka Khan in 1978, ‘I’m Every Woman’ was Chaka Khan’s first hit outside of her recordings with funk band Rufus. The soul/dis-co song reached number twenty-one on the U.S. Billboard Hot 100 and number eleven on the UK Singles Chart. Whitney Houston would later record the song in 1992, turning it into a hit for a new generation.

SAVING ALL MY LOVEWritten and composed by Masser and Goffin.

‘Saving All My Love’ was originally recorded by Marylin McCoo and Billy Davis Jr in 1978. It won the 1985 Grammy award for Best Female Pop Vocal Performance.

DIRECT FROM LONDON’S WEST END

1985ALL AT ONCEWritten and composed by Osborne and Masser.

‘All At Once’ was released as a single in Japan and across several European countries from 1985-1986. Although it did not receive an offi-cial release in the U.S., the song did receive significant radio play there.

HOW WILL I KNOWWritten and composed by Merrill/Rubicam/Walden.

The up-tempo dance number was originally written for Janet Jackson. The song received nominations at the 1986 MTV Video Music Awards in the categories of Best Female Video and Best New Artist in a Video, winning in the former category.

1982ALL THE MAN THAT I NEEDBy Dean Pitchford and Michael Gore.

The song was first recorded by Linda Clifford in 1982 for her album

‘I’ll Keep on Loving You’.

Mirvish Subscribers can purchase extra tickets to THE BODYGUARD at 25% off the regular ticket price for all performances from February 11 – May 14, 2017.NEED EXTRA TICKETS TO THE BODYGUARD?

1988ONE MOMENT IN TIMEWritten by Albert Hammond and John Bettis.

This emotional track about believ-ing in yourself against all odds was recorded by Whitney for the soundtrack of the 1988 Summer Paralympic games held in Seoul, South Korea. Whitney sang it live at the opening ceremony of the Paralympics alongside artists such as The Four Tops, The Bee Gees, Eric Carmen and Taylor Dayne. The song was inspired by Elvis Presley, who Hammond imagined would have sung it at the ceremony.

1990I’M YOUR BABY TONIGHTWritten and Composed by Babyface and L A Reid.

The single reached number 1 in the Billboard charts and number 10 worldwide. The song received mixed reviews, nevertheless it became a huge hit.

1993QUEEN OF THE NIGHTWritten and composed by Houston/Reid/ Simmons/Edmonds.

This R&B dance track was first released as a single, where it was played so often on the radio that it rose to number 36 on Hot 100 Airplay. However, because of Billboard magazine rules (which have since been modified) it could not chart on the main Billboard Hot 100 because no commercial single was available.

I HAVE NOTHINGWritten and composed by David Foster and Linda Thompson.

The song was nominated for various awards, including Best Original Song at the 1993 Academy Awards, Best Song Written Specifically for a Motion Picture or Televi-sion at the 36th Grammy Awards of 1994, and Best R&B Single, Female at the 1994 Soul Train Music Awards. It is a popular choice of song to sing on reality TV shows, especially American Idol, where it has been sung six times since 2003.

RUN TO YOUWritten and composed by Jud Friedman and Allan Rich.

‘Run To You’ was originally intended as a break up song. A month after its release, the producer of THE BODYGUARD, Mick Jackson, called saying that he loved the song for the show, but would prefer it as a love song. The song was then completely re-written except for the title. Peaking at number 31 in the charts,

‘Run To You’ was nominated for the 1992 Academy Award for Best Original Song.

OH YESWritten and composed by Bradshaw/Turner/ Elliott.

‘Oh Yes’ was released on the album ‘My Love is Your Love’ and despite poor initial sales, it became an international hit. The album received rave reviews from critics and the album received seven nominations at the 42nd Grammy Awards. These included Best R&B Album, winning one award for Best Female R&B Vocal Performance.

1987I WANNA DANCE WITH SOMEBODYWritten and composed by Merrill and Rubicam.

The original arrangement of ‘I Wanna Dance With Somebody’ was more of a country tune, but was later transformed by Walden to make it a dance song. The song received mixed reviews from critics. Despite this the song won the Grammy Award for Best Female Pop Vocal Performance at the 30th Grammy Awards, and became Whitney’s fourth consecutive number one single, selling over one million copies.

SO EMOTIONALWritten and composed by Steinberg and Kelly.

‘So Emotional’ reached number five in the UK and number one in the Billboard Hot 100, where it became the sixth consecutive number one for Whitney Houston, and a dance chart hit. It would go and finish as the sixth bestselling song of the year and the fourth most played in clubs.

LONDON REVIEW“Beverley Knight and Ben Richards, were both on fire when I saw the new, lean THE BODYGUARD at the Dominion in London on Tuesday. Everything about it worked. And as I remarked last week, Ms Knight emerges as a bona fide West End star. No longer the soul diva doing a bit of acting in her spare time, she looks and feels very much at home on stage.” DAILY MAIL

PHOTOS OF LONDON PRODUCTION OF THE BODYGUARD BY PAUL COULTAS

THE SHOWS IN YOUR

2016/17 MAIN SEASON SUBSCRIPTION

“COOKING, STORYTELLING, & BREATHTAKING ACROBATICS!” Time Out Paris

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FIONA REID as Queen El izabeth I I

D I R E C T E D B Y

CHRISTOPHER NEWTONW R I T T E N B Y

PETER MORGAN

HHHHHDaily Mail

PRE-BROADWAY

When the world stopped, their story moved us all. 

BEST OF THE YEAR!

‘THE HOTTEST TICKET IN LONDON’

SUNDAY MIRROR

© THE BODYGUARD (UK) LTD. Designed by DEWYNTERS. Photograph by Uli Weber.

CREATED BY

BAZ LUHRMANN

LOVE IS IN THE AIR

ð THE BODYGUARD musical is based on the 1992 film THE BODYGUARD.

ð THE BODYGUARD musical opened in London at the Adelphi theatre on the 5th December 2012.

ð The musical features songs recorded by Whitney Houston including “One Moment in Time”, “I Wanna Dance with Somebody” and her cover version of Dolly Parton’s “I Will Always Love You”.

ð “I Will Always Love You” was originally released as a country song in June 1974 as the second single from Dolly Parton’s thirteenth solo studio album entitled Jolene. ‘I Will Always Love You’ which reached number one in Billboard Hot Country Songs Chart, making it one of the top-selling singles in 1974.

ð Whitney Houston recorded a version of the song for the 1992 film THE BODYGUARD which is one of the best selling singles of all time. Whitney Houston insisted on using her touring band as opposed to a studio band.

ð THE BODYGUARD film was hugely successful at the box office, grossing more than $121 million in the U.S. and $410 million world-wide, making it one of the top 100 grossing films in film history at the time of release.

ð THE BODYGUARD soundtrack enjoyed huge success. Whitney Houston produced and contributed six songs for THE BODYGUARD soundtrack album. The album topped the Billboard 200 chart and remained there for 20 weeks.

Terms and Conditions: Offer valid on performances from February 11 – May 14, 2017. All prices are in Canadian dollars and include 13% HST and $3.25 CIF. Seating is subject to availability and restrictions apply. Offer not valid on previously purchased tickets or Subscription tickets and cannot be combined with any other offers. Offer may be terminated at any time. No refunds or exchanges.

JUNE 27 — AUGUST 20, 2017 ED MIRVISH THEATRE

FEB 11 — MAY 14, 2017ED MIRVISH THEATRE

NOV 15, 2016 — JAN 8, 2017ROYAL ALEXANDRA THEATRE

NOV 1 — DEC 4, 2016PRINCESS OF WALES THEATRE

JAN 17 — FEB 26, 2017ROYAL ALEXANDRA THEATRE

APR 27 — JUN 25, 2017PRINCESS OF WALES THEATRE

MAR 11 — APR 23, 2017ROYAL ALEXANDRA THEATRE

THE BODYGUARD FACTS

David Mirvish is pleased to announce a stellar, all-Canadian cast for Peter Morgan’s THE AUDIENCE. Directed by former

Shaw Festival Artistic Director, Christopher Newton, this award-winning play arrives in Toronto after a successful run at

the Royal Manitoba Theatre Centre.

FIONA REID AS QUEEN ELIZABETH II

ANTHONY BEKENNNIGEL BENNETTBEN CARLSON

BENEDICT CAMPBELLNAOMI CRONK

PAUL ESSIEMBREKATE HENNIG

KEVIN KLASSENJOHN B. LOWE

ROB MCLAUGHLINRAY STRACHAN

STEFANIE WIENSMELANIE WHYTE

When I taught at Oxford, I came across the

definition of an Oxford secret. It was something

one told to just one other person.

Most people in public life would find that a hard

promise to keep now. We live in an age when

almost nothing is private. Cabinet secrecy has

become a contradiction in terms; civil service

anonymity has almost disappeared. There are

perhaps just four exceptions: the doctor’s surgery,

the psychiatrist’s couch, the Catholic confessional

— and the Queen’s weekly audiences with her prime

ministers, held every Wednesday when both are

in London. It is these encounters that have been

dramatised by Peter Morgan in his West End play

THE AUDIENCE, which has opened this week to

great acclaim, including a five-star review from

Charles Spencer in this paper.

It is not clear when these audiences began. During

the Second World War, George VI invited Winston

Churchill to regular lunches at Buckingham

Palace to monitor progress. Churchill sometimes

took liberties with the monarch. In October 1942,

worried about the campaign in North Africa, he

left the lunch table to go to the telephone. His

telephone conversation evidently pleased him, since,

as the King’s private secretary has written, “he

walked back along the passage singing ‘Roll out

the Barrel’ with gusto, but with little evidence of

musical talent…”

Regular weekly audiences, however, did not begin

until the reign of the present Queen. Their purpose

is to enable the Queen and the prime minister to

discuss matters of high policy in perfect confidence,

and with the sure knowledge that their comments

will not reach outside ears.

Edward Heath (Prime Minister 1970-74) felt that

one could speak with complete confidence to the

Queen: “You can say things that you would not

say even to your Number Two.” James Callaghan

(Prime Minister 1976-79) used to say that the

THE AUDIENCE: May I speak freely, Your Majesty?

AUDIENCETHE

D I R E C T E D B Y CHRISTOPHER NEWTON

W R I T T E N B Y

PETER MORGANA CO-PRODUCTION WITH

THE ROYAL MANITOBA THEATRE CENTRE

By Vernon Bogdanor | As originally published in The Telegraph (London) March 6, 2013

Few dynasties have stood the test of time like the House of Windsor. Fiona Reid (Calendar Girls, Vanya and Sonia and Masha and Spike) returns to the Mirvish stage to don the crown of Queen Elizabeth II as she meets with each of her Prime Ministers for a private audience every week for more than 60 years.

weekly audiences were like visits to a psychiatrist. He could

use the Queen as a sounding-board for his views on policies

and personalities, knowing that she would never divulge

what he thought.

To ensure confidentiality, no private secretaries are present,

and no minutes are taken; nor do freedom of information

laws apply. If that were not so, the audiences would lose

their value. While the Queen would never obtrude her own

political views upon her prime ministers, she might well want

to inquire into the aims and purposes of proposed government

legislation. Such an inquiry could easily be misconstrued

as criticism of the government, and would compromise the

Queen’s position, which depends upon her political neutrality.

She must always remain free from the slightest taint of

partisanship. That is because she is not only head of state,

she is also head of the nation — or rather of the multi-

national state that Britain, since devolution, has become. In

this role, the Queen must represent all of her people, not just

those who adhere to a particular political creed. She and the

other members of the Royal family are the only people in the

country who have no political history.

But this does not mean that the Queen has no influence,

that she is a mere automaton. Queen Victoria’s favourite

prime minister, Benjamin Disraeli, once said, “The principles

of the English [sic] Constitution do not contemplate the

absence of personal influence on the part of the Sovereign;

and if they did, the principles of human nature would

prevent the fulfilment of such a theory”.

The Queen’s longest-serving prime minister, Margaret

Thatcher, wrote in her memoirs that “Anyone who imagines

that they [the audiences] are a mere formality or confined

to social niceties is quite wrong; they are quietly businesslike

and Her Majesty brings to bear a formidable grasp of current

issues and breadth of experience.”

Edward Heath told Panorama in February 1993 that the

Queen can exert influence through an “exchange of views”,

but that she would never tell a prime minister what he

or she should or should not do. Her methods would be

more subtle.

A dean of St Paul’s once asked the Queen what she could do

if a prime minister submitted a name for an ecclesiastical

appointment with which she was not happy. “Nothing

constitutionally,” she replied, “but I can always say that I

should like more information. That is an indication the

prime minister will not miss.” Perhaps the Queen uses the

same technique in audiences.

James Callaghan recorded in his autobiography how in early

1976 the Queen encouraged him, as foreign secretary, to

take an initiative, which he already had in mind, to resolve

the Rhodesian problem. “Inevitably, the Queen’s opinion

was enough to tip the scales, for she is an authority on the

Commonwealth and I respected her opinion,” Callaghan

wrote. “I have always thought that the Queen’s initiative

on Rhodesia was a perfect illustration of how and when the

monarch could effectively intervene to advise and encourage

her Ministers from her own wide experience and with

complete constitutional propriety.”

Precisely because the privacy of the audiences is respected,

no one can know what is said there. There is and can be

no evidence that anything in THE AUDIENCE actually

happened. The play is an intelligent reconstruction of what

might have happened, rather than what did. Peter Morgan

has had to speculate. But it is fascinating speculation.

The Queen has so far been served by 12 prime ministers,

two more than served Queen Victoria. Her first, when she

came to the throne in 1952, was Winston Churchill, the

great war leader, enjoying a second, peacetime, innings at

No 10.

Churchill had first entered Parliament in 1900, when Queen

Victoria was on the throne. His knowledge and experience

was by now formidable and it would not be surprising if

the Queen had been somewhat in awe of him. Even so, it

appears that the audiences were great fun. The Queen’s private

secretary at the time wrote in his diary that he “could not

hear what they talked about, but it was, more often than not,

punctuated by peals of laughter, and Winston generally came

out wiping his eyes”.

By contrast, the current prime minister (at the time of

publication), David Cameron, was not even born when the

Queen came to the throne. At the time of his birth, in 1966,

the Queen had already reigned for 14 years. Indeed, she now

Mirvish Subscribers can purchase extra tickets to THE AUDIENCE at Subscriber prices, except price four, for all performances from January 17 – February 26, 2017.

NEED EXTRA TICKETS TO THE AUDIENCE?

“ F U N N Y A N D T R U T H F U L , G O O D - H E A R T E D , S P I K Y, F U L L O F S U R P R I S E S .” THE TIMES (LONDON)

enjoys a far longer experience of politics than anyone else

in public affairs.

It would not therefore be surprising if 21st century prime

ministers were somewhat in awe of the Queen. Her

knowledge, based on assiduous reading of Cabinet papers,

reports from ambassadors, parliamentary papers and

reports of major conferences, as well as meetings with

every prominent political figure over the past 60 years,

must be unrivalled.

George V, who rather underrated his abilities, and who

was on the throne for 26 years, from 1910 to 1936, once

remarked, “I am not a clever man, but if I had not picked

up something from all the brains I’ve met I’d be an idiot.”

The Queen might well say to a 21st-century prime

minister: “A measure similar to the one you are suggesting

was proposed around 25 years ago when you were still at

university. You probably do not remember, but it did have

some bad results. Perhaps you might have a look at what

happened and discuss it with your colleagues.”

A prime minister is under no obligation to accept such a

suggestion, but he would be unwise to dismiss it without

serious consideration. It is in any case of great value for

a prime minister to have to explain himself regularly to a

well-informed monarch with no political axe to grind. It

is a salutary reminder that the holder of political power is

a temporary incumbent and that his task is to govern in

the interests of the whole nation, not just of those who

voted for him.

THE AUDIENCE casts a shaft of light on relationships

between the Queen and her various prime ministers,

and therefore on the workings of modern constitutional

monarchy, a system of government which, far from

undermining democracy, serves to strengthen and

sustain it.

And if the conjunction of monarchy and democracy

may seem contradictory, it is worth bearing in

mind Freud’s aphorism that it is only in logic that

contradictions cannot exist.

Vernon Bogdanor is professor of government at

King’s College, London. His books include ‘The Monarchy

and the Constitution’ (Oxford University Press)

“ F U N N Y A N D T R U T H F U L , G O O D - H E A R T E D , S P I K Y, F U L L O F S U R P R I S E S .” THE TIMES (LONDON)

Terms and Conditions: Offer valid on performances from January 17 to February 26, 2017, except in price level four. All prices are in Canadian dollars and include 13% HST and $3.25 CIF. Seating is subject to availability and restrictions apply. Offer not valid on previously purchased tickets or Subscription tickets and cannot be combined with any other offers. Offer may be terminated at any time. No refunds or exchanges. OFF Mirvish shows may contain mature content, sexuality and nudity.

A NEWLY RENOVATED ROYAL ALEXANDRA THEATRE

The renovations to the Royal Alexandra Theatre are now complete. Mirvish Subscribers will be among the first to experience the magnificent reopening of the theatre with the pre-Broadway engagement of COME FROM AWAY. After a $2.5 million renovation, the theatre interior now glistens from the extensive restoration of the handcrafted plaster work and beautiful mural that hangs above the stage. The highly anticipated installation of brand new seats will now provide audiences with plenty of legroom and comfort on all three levels of the theatre! It’s the Royal Alex like you have never seen, or sat in, before!

RECEIVE MONEY BACK ON YOUR

SUBSCRIPTION SEAT ALL SEASON LONG!

SubscriptionSubscriptionSubscriptionReferral Program

Coming to the theatre with family and friends is the best way to enjoy your

Subscription. This season, Mirvish is happy to give you an even better reason to introduce someone to the Subscription family!

Receive 10% OFF your Subscription seat every time you refer a friend or

family member throughout the season, plus they will also receive 10% OFF their Subscription seat.

How do I make a referral?There are two ways:

1 A current Mirvish Subscriber can call to make a referral and place a Subscription order.

2 The new Subscriber can call with a current Subscriber’s information and place a new Subscription order.

416-593-4225 / 1-800-771-3933

JUST FOR YOU!

You can still own one of the original theatre seats from the Royal Alexandra Theatre!

Visit or call Mirvish Subscriptions at 416-593-4225 or 1-800-771-3933