Carmen Review

Opera North, Leeds Grand Theatre – until 28 October 2021

Reviewed by Dawn Smallwood

5*****

It is very exciting, welcoming and heartening for Opera North to return, after an eighteen-month absence, to the Grand Theatre and host their very exciting 2021/22 Season. There isn’t an opera more fitting than Carmen, renowned as the world’s popular opera, to begin the proceedings.

Carmen, composed by Georges Bizet and the libretto written by Henri Meihac and Ludovic Halévy, was premiered in 1875. The opera was considered controversial and scandalous at the time with its lawlessness and immorality being the main themes. It is about Don José, a soldier, who is seduced and smitten by Carmen, a gypsy. At the same time Micaela, who Don José should marry on the suggestion from his mother, searches for the soldier but he is drawn to the free-spirited Carmen instead. Carmen, however, falls in love with Escamillo, a toreador, and they are both infatuated with one another.

The ever-popular Bizet musical score projects the story of people’s emotions and survivals. This contemporary opera is staged and set in a border town which foretells activities happening at a girls’ night club and at a drug smuggling camp. The strong emotions of control, infatuation, jealously, obsession, passion and tragedy play a big part in this opera. This is projected and reflected in the excellent character portrayals by Chrystal E. Williams as Carmen and Erin Caves as Don José. Both singers are supported by a dynamic and talented cast and creative team.

The opera of course is musically and lyrically supported by the well-known music and arias such as the Prelude to the first act, Carmen’s L’amour est un oiseau rebelle, Escamillo’s Toreador Song, the Ent’actes in the third and fourth act which both set the mood and tone for what fates are about to come for the characters. The singing is in French with English surtitles however the emotions are universally understood.

Directed by Edward Dick and conducted by Garry Walker, this is an emotionally and passionately charged opera which successfully begins the return of Opera North hosting operas again! Carmen is an engaging and well received opera which no doubts unite many theatregoers to enjoy Bizet’s popular opera.

Witness For The Prosecution Review

London County Hall – booking until 20 March 2022

Reviewed by Claire Roderick

4****

Lucy Bailey’s stunning production of Witness For The Prosecution returns to London County Hall better than ever.

Agatha Christie’s classic play has all the twists and turns you expect, and still draws gasps from audience members who are unfamiliar with the plot twists. The immersive production is in the perfect setting within the magnificently atmospheric council chamber, creating a real sense of authority when the court officials are present.

Beginning with Leonard Vole’s melodramatic premonition of being found guilty of murder and hanged, things are soon much more civilised as Vole (Joe McNamara) and his solicitor Mr Mayhew (Teddy Kempner) relate the facts of his case to Sir Wilfrid Robarts QC (Jonathan Firth). Vole had befriended a rich old lady (she’s in her fifties!) and become a regular visitor to her home. When she is found dead from a blow to the head after an apparent burglary attempt, the police suspect Vole. The victim’s housekeeper insists she heard Vole at the house, but his wife insists he was at home with her. However, Vole’s wife Romaine (Emer McDaid) is German – will a 1950’s jury believe a foreigner? – and her behaviour and attitude is puzzling. What is she planning, and will she stick to her story in court?

With many of the cast making their West End debuts, including the impressive McNamara, performances are all top-notch. Emer McDaid is wonderfully spiky and smart as Romaine, constantly mocking and running rings around the establishment men. Firth and Kempner’s flummoxed faces as they encounter her are hilarious. There are many more laughs with this cast – especially when Firth and Miles Richardson as his adversary Mr Myers QC are letting rip in court, both barristers viewing the courtroom as their stage and convinced they can persuade the jury with sheer force of personality and dramatic waving of arms. When arguments are lost, the deflation is physical, and extremely funny. Yvonne Gidden steals the show as the victim’s housekeeper Janet Mackenzie – her distaste for Vole is palpable, and her building indignation as she is questioned is a joy to see.

Classy and atmospheric, Witness For The Prosecution is a fantastic courtroom drama that will thrill and delight.

Matthew Bourne’s The Midnight Bell Review

York Theatre Royal – until Sat 2 October 2021

Reviewed by Michelle Richardson

5*****

Matthew Bourne’s latest production, is described as “intoxicated tales from the darkest Soho” and based on the novels of Patrick Hamilton. All the action takes place at The Midnight Bell, a public house and Central London in the 1930’s.

The stage is dark, murky as a lone figure dances across the floor, only to awake on a bed, he was just dreaming. He’s a bartender at The Midnight Bell, a dingy pub, where a mix of characters seek solace, eager to find love and that connection with another person.

From the onset we are captivated and fully immersed in each character, as they move effortlessly across the stage, all through the power of dance. We get to see the giddiness of new love, the joy, the desire, and anguish that it can bring.

Each dancer has their own story. A barmaid who foolishly agrees to marry a much older man, whilst secretly in love with a bartender, who is enthralled by a prostitute, an older lady fleeced by a dashing cad, a schizophrenic who is tortured soul being tormented by an out of work actress, who has a fondness for other men and a secretly gay couple. The forbidden love that these two have at a time when homosexuality was illegal is gripping, the emotion and turmoil that runs through them is palatable.

The dancers told the story with effortless ease, fluid in every movement. They took us on a journey of wanting to find love, often unrequited, the anguish of when it all went so horribly wrong. We were left feeling there is some hope, with the spinster gaining confidence, and just maybe the gay couple can really be together.

The soundtrack is interwoven with songs from the 30’s, which are mimed by the dancers, depicts the era perfectly. Sound is also used with great effect to depict a couple of schizophrenic episodes. Be warned this is an ear piercing, high-pitched noise.

The set is so very clever providing you with the atmosphere of the seediness of Soho at the time. Changes of scenery are executed with flawless effect, the use of window frames and a sign for a phone box being lowered and raised, lit up signs depicting rooms, dance hall and cinema, flicker on and off as the story unfold. On the stage table and chairs, a park bench come and go, as does the bar, the props are moved about with ease by the dancers. It is amazing to see scene changes being choreographed so well within the dance.

The Midnight Bell is a superb show, and the dancers seriously impress, not only with the dancing but the story telling, compelling to watch. Who needs words?

Bourne has stated that he believes that he has one big show left in him, we hope so, we’re certainly not ready for this to be his last swansong.

The Prince of Egypt Engagement at the Dominion Theatre Ends 8 January 2022

“THE PRINCE OF EGYPT” TO PLAY

FINAL PERFORMANCE 8 JANUARY 2022

PRODUCTION TO CONCLUDE ENGAGEMENT

AT THE END OF ITS BOOKING PERIOD

THREE EXTRA SHOWS ADDED

THE PRINCE OF EGYPT, the “huge popular hit” (LBC) based on the classic DreamWorks Animation film, will play its final performance at London’s Dominion Theatre on Saturday 8 January 2022, the end of its booking period. Extra shows have been added on 20, 21 and 28 December 2021 at 2.30pm.

Already seen by an incredible 180,000 people, The Prince of Egypt was originally announced as a limited 32-week engagement. The production extended its run prior to the closure of all UK theatres in March 2020 and subsequently re-opened on 1 July 2021. Tickets for the final 14 weeks of the engagement are available now via the official website: www.ThePrinceofEgyptMusical.com 

This “truly phenomenal production” (BBC London) tells an inspiring tale of resilience and hope. With a cast and orchestra of more than 60 artists, The Prince of Egypt features Sean Cheesman’s “astonishing choreography” (The Guardian) and Stephen Schwartz’s “miraculous music” (Time Out) – including his Academy Award®-winning song ‘When You Believe’.

Current company member Oliver Lidert will play the role of Jethro from 18 October 2021. Prior to joining The Prince of Egypt, his many West End appearances include Disney’s Aladdin, Dear Evan HansenBeautiful – The Carole King MusicalThe Book of Mormon and Disney’s The Lion King.  Marco Venturini and young performer Chenai Broadbent have also recently joined the company.

The “utterly stand-out cast” (WhatsOnStage) of 48 are Luke Brady (Moses), Liam Tamne (Ramses), Christine Allado (Tzipporah), Alexia Khadime (Miriam), Joe Dixon (Seti), Debbie Kurup (Tuya), Clive Rowe* (Jethro), Mercedesz Csampai (Yocheved), Adam Pearce (Hotep), Nardia Ruth (Nefertari), Silas Wyatt-Barke (Aaron), Simbi AkandeCasey Al-ShaqsyJordan AndertonJoe AtkinsonDanny Becker, Felipe BejaranoPàje CampbellCatherine CornwallAdam FilipeSoophia ForoughiNatalie GreenJack Harrison-CooperKalene JeansChristian KnightJessica LeeOliver LidertDaniel LuizJay MarshScott MauriceCarly MilesAlice ReadieSamuel Sarpong-BroniChristopher ShortMolly SmithMarco VenturiniRicardo WalkerNiko Wirachman and Sasha Woodward together with young performers Chenai BroadbentCian Eagle-ServiceMaiya EastmondJersey Blu GeorgiaTaylor JenkinsMia Lakha*, George Menezes CuttsIman Pabani and Vishal Soni.  *Appearing until 16 October 2021 only.

The orchestra is Dave Rose (Musical Director); Mark Collins (Associate Musical DirectorKeyboards); Nina Foster/Fiona McCapra (job share), Sonya FairbairnPenny AinscowSebastian Rudnicki (Violins); Fiona Davies (Viola); Magda Pietraszewska (Cello); Rory Dempsey (Bass); Rupert Widdows (Woodwind); Tony Cross (TrumpetFlugelhorn); Duncan FullerDavid McQueen (Horns); John Gregson (Guitars); Murdoch MacDonald (Percussion) and Dan Ellis (Drums).

The Stage Management team is Debra Tidd (Company Stage Manager); Dominique Pierre-Louis (Stage Manager); Ryan Quelch (Deputy Stage Manager); Nuri ChangCharlotte Johnson (Assistant Stage Managers/Book Cover); Simon HumphrisChrissie Huxford and Tracey Farrell (Assistant Stage Managers).

Journey through the wonders of Ancient Egypt as two young men, raised together as brothers in a kingdom of privilege, find themselves suddenly divided by a secret past. One must rule as Pharaoh, the other must rise up and free his true people; both face a destiny that will change history forever.

The Prince of Egypt has music and lyrics by multi-Grammy® and Academy Award®-winner Stephen Schwartz (WickedGodspell), a book by Philip LaZebnik (MulanPocahontas) and features 10 new songs written by Stephen Schwartz together with 5 of his beloved songs from the DreamWorks Animation film (When You BelieveDeliver UsAll I Ever WantedThrough Heaven’s Eyes and The Plagues).

The Prince of Egypt is directed by Scott Schwartz with choreography by Sean Cheesman;set designs by Kevin Depinet; costume designs by Ann Hould-Ward; lighting design by Mike Billings; sound design by Gareth Owen; projection designs by Jon Driscoll; illusions by Chris Fisher; wigs, hair and makeup design by Campbell Young Associates; orchestrations by August Eriksmoen; musical supervision and arrangements by Dominick Amendum; musical direction by Dave Rose; casting by Jim Arnold CDG and children’s casting by Verity Naughton CDG.

The Prince of Egypt is produced by DreamWorks Theatricals (a division of Universal Theatrical Group), Michael McCabe and Neil Laidlaw together with John Gore, Tom Smedes and Peter Stern, Ramin SabiThe Araca Group, James L. Nederlander and Michael Park.

The Original Cast Recording, released by Ghostlight Records, received a 2021 Grammy® Award nomination for `Best Musical Theatre Album’.

A milestone in cinematic achievement, the classic DreamWorks Animation film has been captivating audiences across the world for more than two decades. It has been hailed as “one of the greatest animated films of all time” (Evening Standard) and “a stunning film” (The Guardian).

Twitter, Facebook, Instagram, YouTube: @PrinceOfEgyptUK

Official websitewww.ThePrinceofEgyptMusical.com

Dominion Theatre safety protocols and audience procedures can be viewed here:

 www.nederlander.co.uk/safety

Tell me on a Sunday Review

Cambridge Arts Theatre, Cambridge – until 2 October 2021

Reviewed by Steph Lott

4****

tristram@tristramkenton.com

Tell me on a Sunday’, with music written by Andrew Lloyd Webber and lyrics by Don Black, is a one-woman, one act musical. Set in the 1980s, it tells the story of an English girl, Emma, from Muswell Hill, who travels to the USA to find romance. We follow the ups and downs of her life in love, travelling from New York to California and back again to NYC, in search of a man.

Superbly directed by Paul Foster, this is a wonderful revival of a show that has been performed many times. It’s a small scale show but Andrew Lloyd Webber’s score, set to conversational lyrics by Don Black is lovely. The construction is elegant, with repeated melodies that tie it all together. The set creates an intimate impression; an apartment in the 80s set against a backdrop of New York. I enjoyed the cosy simplicity of the set, with a human sized model of the Statue of Liberty and the iconic NYC skyline, which was cleverly lit to create moments of drama. The music was expertly played by the band of musicians on stage behind Jodie Beth Meyer, who was standing in for Jodie Prenger at last night’s performance. There also was no Q&A.

I was however left somewhat perplexed by this show. The performances are wonderful but I had issues with the story itself. It feels outdated and artificial. Surely a young woman travelling to NYC should be looking for more than just a man, and I wonder if this is a reflection of a show which was written by 2 men. I kept wishing that Emma would focus on something other than unsuitable men and wondered what she was doing to earn her keep! It felt empty. I noted that the audience were on the older side and I reflected on what a younger audience would make of the material.

However when I parked those thoughts I enjoyed the show. Jodie Beth Meyer plays Emma with optimism and naivety; we see her struggles in relationships as she works her way through men who are unsuitable for her, and watch as she picks herself up again as each relationship fails. Jodie Beth Meyer’s Emma is sweet, played with sincerity; vulnerable and yet optimistic as each relationship fails in turn. She brings a spirit of defiance and lingering hope to the show’s underlying sadness of disappointed dreams, and navigates the shifting emotional gears of the story with confidence and ease. As the only actor in this piece of musical theatre, this is not easy. The audience I was with last night clearly enjoyed her performance. The show itself has fantastic music and superb lyrics, with many recognisable favourites such as ‘Take that look off your Face’ and ‘Tell me on a Sunday’. These create the narrative arch, told through song. I particularly enjoyed the moments when Emma wrote to her mum and told her the stories of her adventures, describing the ups and the downs. Jodie Beth Meyer made this relationship, and the other conversations she had with lovers and friends, come alive.

This iconic 80s musical, accompanied live by West End musicians, is a great show to go and see. I’ve been humming ‘Take that look off your Face’ ever since I left the theatre.

SHEFFIELD THEATRES ANNOUNCES NEW CAST FOR SLEEPING BEAUTY

CRUCIBLE

A Sheffield Theatres and Evolution Pantomimes Production

SHEFFIELD THEATRES ANNOUNCES NEW CAST FOR SLEEPING BEAUTY


Writer and Director Paul Hendy
Choreographer Sarah Langley
Musical Director James Harrison

Friday 3 December 2021 – Monday 3 January 2022

Today, Sheffield Theatres and Evolution Pantomimes announce a new cast member for Sleeping Beauty at the Lyceum Theatre: comedy great, Janine Duvitski.
Catherine Tyldesley has made the choice not to appear in panto at this time due to personal reasons, and Sheffield Theatres and Evolution Pantomimes fully support her in this decision.  

Janine Duvitski will be playing the role of Fairy. Best known for the memorable role of Jacqueline Stewart in Benidorm, Janine is adored by British comedy audiences. Janine will be joining Sheffield’s legendary Dame, Damian Williams, alongside actor, presenter and comic Ben Thornton (Cinderella), Lucas Rush (Damian’s Pop-Up Panto!, Rock of Ages), Hannah Everest (Gypsy) and Dominic Sibanda (Hairspray). The cast will be supported by a brilliant ensemble.

Back in the Lyceum theatre, Sleeping Beauty is bigger and bolder than ever. Written and directed by regular pantomime producer Paul Hendy, this will be the fourteenth year Sheffield Theatres and Evolution Pantomimes have produced the Sheffield Lyceum pantomime.

Hilarious and fun-filled for all the family, SleepingBeauty promises to be the pantomime of your dreams, with lavish sets, hilarious jokes and everyone’s favourite ghost bench gag.

Sleeping Beauty runs from Friday 3 December 2021 – Monday 3 January 2022 at the Lyceum theatre, Sheffield. Tickets are on sale now at www.sheffieldtheatres.co.uk.

Sheffield Theatres continues to follow the industry-wide safety protocols and government guidance for indoor entertainment. All the latest information is available at sheffieldtheatres.co.uk/your-visit.

Sleeping Beauty is sponsored by CityGrab.

An Evening of Clairvoyance with Steve Holbrook Review

Yeadon Town Hall – 30 September 2021

Reviewed by Sal E Marino 

5***** 

Spirits were certainly high in more ways than one last night as an excited and eager audience entered the beautiful and historical venue that is Yeadon Town Hall to see the world-famous clairvoyant, Steve Holbrook.  As soon as Steve entered the room the atmosphere changed to one of respect with a soft glowing warmth.  A large number of hands were raised when asked who had been to one of his shows before and it was obvious there was a lot of love in the room for this man.  

Never having seen Steve before, I found his explanation of how his unique gift works really helped me understand more of what was going to go on but what stood out for me on stalks, was that when he entered straight into a conversation with a past loved one, how natural and normal it all seemed.  Not only is Steve an hilarious and highly-engaging personality but how he handled certain situations by showing loving authentic care was really moving and drew some to tears.  Always sensitive, Steve talked through some of life’s tragedies with audience members but made us all laugh too and that in itself is a gift; another one along with his amazing ability to connect with ‘spirit’.  

As people heard names and dates they raised their hands to indicate that they were the one that Steve needed to communicate with and then a fascinating conversation with the other realm unfolded.  I kept myself open and balanced throughout the performance as to how some things could be applicable to anyone or on the other hand, very personal and meaningful.  All in all, I was quite blown away by how most of the exchanges had a deep meaning for some people and that they had a very deep connection with Steve and the whole process.  On reflection, I’ve  come away with many questions but also a renewed enthusiasm for the opportunity to become more spiritually aware and very open to possibilities.  

Whether you’re a believer or not,  An Evening of Clairvoyance with Steve Holbrook, is an evening that you’re not likely to forget as it was: captivating, highly-entertaining and heart-warming throughout.  I know that I will definitely go and see Steve again and hope that I might be someone who is lucky enough to receive a message from a loved one and share that experience through him. 

Snowflakes Review

Old Red Lion Theatre – until October 16 2021

Reviewed by Emily Cliff

4****

When reviewing a piece of art, whether that be a book, an album or a play, one thing we are taught from the very offset is to never judge a book by its cover. Upon entering the tiny theatre Snowflakes is currently occupying there was absolutely no way you would have known or fathomed what was to come in the next two and a half hours. However, at the end of a shocking road full of twists and turns the theatre that seemed tiny and gloomy upon entrance, expanded into this small universe full of female empowerment, the consequences of the ever-growing modern day internet and some sarcastic humour thrown into the mix too.

The set of this show utilized the small space in a clever and subtle manner. Much like the Netflix show Criminal, Snowflakes is set in one room, with leads Marcus (portrayed by Robert Boulton) and his colleague Sarah (portrayed by Nimah Finlay) interrogating and torturing a well renowned writer Tony (portrayed by Henry Davis). The performance given by Finlay and David was outstanding. The two navigated their way through the complexity of their characters with ease and distinction. Both characters (Sarah and Tony) had internalised battles with themselves, their integrity and their beliefs, the portrayal of this through Finlay and Davis was raw, unfiltered and full of personality.

Writer and actor Robert Boulton kept the audience on the edge of their seats with the wit and comedic likeness to that of the Hangover films with the added intensity of Netflix’s Black Mirror and Behind her Eyes. Something like this is incredibly difficult to relay to stage without the big budget cameras, crew lighting and set design of these Hollywood films and TV shows; and yet every member of the team behind this show managed to do it so effortlessly and seamlessly.

The plot likened itself to that of Promising Young Woman with an ending that is far more satisfying to the female audience than the film in which it is similar. The emotional growth of the characters is something that can be applauded in both the actors portraying them and the writer (Robert Boulton) and director (Micheal Cortell) creating them. In this aspect of the show Finlay bought her character to life with emotional integrity, and a bitter revenge on sexism in the workplace, no matter how abstract that workplace might be. She showed honestly how women everywhere face it day to day and often brush it off with smart and sarcastic comments after each mansplained soliloquy. Each sexist comment made towards the character of Sarah chips and chips away at her until by the end, there are no more funny jokes or sarcastic comments left to cover the cracks.

This story is a perfect example of the consequences of social media. It really makes you think, in a dystopian future or a future not so far from the present, the fate of someone’s life could be rested on a like or a heart react; their life is hanging in the balance of social acceptance which is something many teenagers and even adults face in day to day life today. In his own words Robert Boulton comments ‘I want to make people laugh through the darkness’, and he certainly did just that.

John Thomson to join Hairspray at Blackpool Winter Gardens this Christmas

JOHN THOMSON JOINS THE CAST OF HAIRSPRAY 

FOR A CHRISTMAS SEASON

AT BLACKPOOL WINTER GARDENS

  • JOHN THOMSON WILL BE PLAYING WILBUR TURNBLAD STARRING ALONGSIDE BRENDA EDWARDS AS MOTORMOUTH MAYBELLE IN THE SMASH HIT HAIRSPRAY UK TOUR FOR 3 WEEKS FROM 13 DECEMBER TO 2 JANUARY
  • THE ORIGINAL TOURING PRODUCTION OF HAIRSPRAY AS CREATED BY PAUL KERRYSON AND DREW McONIE IS NOW ON ITS THIRD HIT UK TOUR 
     

It is announced today that television and comedy star John Thomson (Cold Feet, The Fast Show) will join the smash hit UK tour of Hairspray as Wilbur Turnblad this Christmas for three weeks at Blackpool Winter Gardens (13 December – 2 January).

In his first ever musical theatre stage role, John will be joining musician, actress and television presenter Brenda Edwards (Chicago, We Will Rock You, The X Factor, Loose Women and Songs of Praise) who has starred as Motormouth Maybelle since the tour opened in Jun 2021 as well as previous runs of the tour. West End leading man Alex Bourne (Annie, Mamma Mia!, We Will Rock You) will continue in the role of Edna Turnblad.

Katie Brace makes her professional stage debut as Tracy Turnblad with Akeem Ellis-Hyman as Seaweed, Rebecca Thornhill as Velma, Richard Meek as Corny Collins, Ross Clifton as Link Larkin, Jessica Croll as Amber Von Tussle, Rebecca Jane Davies as Penny Pingleton and Charlotte St. Croix as Little Inez.

The full cast includes: Elizabeth Armstrong, Bernadette Bangura, Natalia Brown, Shaquille Brush, Liam Dean, Andrew Dillion, Amandla Elynah, Zoe Heighton, Ceris Hine, Paul Hutton, Jamie Jonathan, Hayley Johnston, Joshua Nkemdilim, Rosie O’Hare, Alexanda O’Reilly, Joshua Pearson, Joseph Poulton and Elliotte Williams-N’Dure.

Hairspray had been due to begin performances in August 2020 but was delayed due to the pandemic. Performances finally began at Theatre Royal Plymouth in June 2021 under socially distanced requirements and the hugely popular production has now opened up to full capacity audiences as it makes its way across the country and is booking up to April 2021. 

Hairspray is directed by Paul Kerryson with choreography by Olivier Award-winning Drew McOnie, designs by Takis, lighting design by Philip Gladwell and sound design by Ben Harrison.

It’s Baltimore 1962, where Tracy Turnblad, a big girl with big hair and an even bigger heart, is on a mission to follow her dreams and dance her way onto national TV. Tracy’s audition makes her a local star and soon she is using her new-found fame to fight for equality, bagging local heartthrob Link Larkin along the way.

Hairspray is based on the 1988 film of the same name which starred Divine and Ricki Lake by cult filmmaker John Waters. With music and lyrics by Academy Award, Tony and Emmy winning duo Marc Shaiman and Scott Wittman and book by Mark O’Donnell and Thomas Meehan, Hairspray originally opened to rave reviews on Broadway in 2002 and subsequently won eight Tony Awards. The production opened in London at the Shaftesbury Theatre in 2007 and won four Olivier Awards including Best New Musical. Proving to be an international success, Hairspray has also opened in South Africa, Japan, South Korea, China and Dubai. Following the musical’s phenomenal success on stage, a film of the musical was released in 2007 which starred John Travolta, Michelle Pfeiffer and Zac Efron.

SATURDAY NIGHT FEVER RETURNS! THE WEST END PREMIERE OF THIS NEW PRODUCTION PLAYS AT THE PEACOCK THEATRE FROM 1 FEBRUARY – 26 MARCH 2022

SATURDAY NIGHT FEVER RETURNS! 

THE WEST END PREMIERE OF THIS NEW PRODUCTION 

PLAYS AT THE PEACOCK THEATRE  

FROM 1 FEBRUARY – 26 MARCH 2022 

Ignite The Inferno. Feel The Fever. Like Never Before. 

Bill Kenwright’s production of Saturday Night Fever returns to the stage in 2022, in London’s West End for a strictly limited 8-week run at the Peacock Theatre, running from 1 February – 26 March.  

Saturday Night Fever tells the story of Tony Manero and his reckless road to dancing success. The musical features the Bee Gees’ greatest hits including Stayin’ Alive, How Deep Is Your Love, Night Fever, Tragedy and More Than a Woman, with special permission for this production to use added Bee Gees songs including Too Much Heaven and Words.  

The ‘70s classic Paramount/RSO movie based on the New York Magazine Article Tribal Rites of the New Saturday Night written by Nik Cohn in 1976 was an instant hit when it was released in cinemas. The album remains the best-selling movie soundtrack of all time. 

Whilst paying homage to the movie, this musical revival promises more music and hot new choreography. The new production also specially features onstage actor-musicians in the roles of the Bee Gees, singing the hit soundtrack alongside a talented cast.  

Bill Kenwright says, “When I first saw the film over forty years ago, like the rest of the world I was not only mesmerised by a terrific small budget movie, but also by the soundtrack. It was that feeling of being carried along by Maurice, Robin and Barry’s searing vocals and melodies that I wanted to feature in my theatre production, and which led to me include a live band on stage replicating that experience as well as we can.” 

The production is directed and produced by Bill Kenwright, with choreography by Olivier Award-winning Bill Deamer, design by Gary McCann, lighting by Nick Richings, and sound by Dan Samson. The stage adaptation is by Robert Stigwood in collaboration with Bill Oakes.  

Casting will be announced in due course. 

SATURDAY NIGHT FEVER 

THE PEACOCK THEATRE 

Dates: 1 February – 26 March 2022 

Press Night: 2 February 2022 – 7.30pm 

Address: Portugal Street, London, WC2A 2HT 

Box Office: 020 7863 8000 (Mon-Sat 12pm-6pm) |tickets@sadlerswells.com 

Theatre Website: sadlerswells.com 

Website: kenwright.com                                 

Twitter: @BKL_Productions 

Instagram: @bklproductions