Grand Theatre, Leeds – until Saturday 4th May 2019
Reviewed by Aimee Liddington
4****
Based on the novel by Peter James, The House on Cold Hill tells the story of a family who move into their ‘forever home’ but soon find out it was never really theirs to begin with.
Ollie Harcourt, played by Joe McFadden, and his family move into an old mansion that has been vacant for many years. Initially shrugging off the rumours of the locals, who seem to know an unusual amount about the history of the house, Ollie and his family eventually start to question the strange happenings in their dream home.
Novelist, Peter James and Stage Adaptor, Shaun McKenna have worked together to create a supernatural thriller that is peppered with humour. Ghost stories have existed since ancient times but The House on Cold Hill seems to shift the genre into the present day. The use of modern technology such as WiFi, FaceTime and even an Amazon ‘Echo’ has the audience both simultaneously charmed and spooked. Whether or not you are a believer in the supernatural, the play allows us to not only question the existence or mere definition of a ghost, but also to examine and question how technology has changed the world we live in.
If you are attracted by a cast list full of credible, well-known actors, then The House on Cold Hill is perfect for you. The two main characters, Ollie and Caro Harcourt, are played by Joe McFadden and Rita Simons who between them boast an impressive résumé of TV and film roles. Their acting experience is apparent through their seamless delivery of lines and easy movement on the stage. Nevertheless, I believe that the intrigue of the story line is largely enhanced by the introduction of the character Annie, played by Tricia Deighton. Bringing comedy and emotion to the audience, Deighton portrays everyone’s stereotypical idea of a hippie, psychic medium with great authenticity.
While one could say that the story took longer than expected to peak, by the interval I was left hanging in suspense, hungry for more. Through unexpected sounds and tricks and turns of light, the audience is transported to a world between this one and the next where anything is possible. Credit is due to the creative team, in particular Jason Taylor, Martin Hodgson and Nina Dunn who make up the lighting, sound and video and projection designers. The haunting experience would not be so poignant without their contributions.
Thoughtfully produced and directed and expertly performed, The House on Cold Hill is more than worth a watch.
JODIE PRENGER TO STAR AS ‘MISS HANNIGAN’ IN THE MUSICAL “ANNIE” AT BIRMINGHAM HIPPODROME
(Jodie Prenger as Miss Hannigan, photo credit: Matt Crockett)
Michael Harrison and David Ian are delighted to announce that Jodie Prenger will star as ‘Miss Hannigan’ in the musical “ANNIE” at Birmingham Hippodrome fromTuesday 23 July – Sunday 11 August.
Jodie Prenger is probably best known for winning the role of ‘Nancy’ in Cameron Mackintosh’s West End production of “Oliver!” through the BBC television series “I’d Do Anything”. During her run in the show at the Theatre Royal Drury Lane she received both critical and public acclaim for her portrayal of the role. Jodie recently wowed audiences playing the lead role in the national tour of “Abigail’s Party”. She has also played the title role in the national tour of the musical “Calamity Jane” and starred in the National Theatre’s hit production of “One Man, Two Guvnors” both in the West End and on tour as well as ‘Lady of the Lake’ in “Spamalot”. Jodie is also a regular presenter on BBC Radio 2.
Joining Jodie in the show will be Alex Bourne as ‘Oliver Warbucks’, Richard Meek as ‘Rooster’, Jenny Gayner as ‘Lily’ and Carolyn Maitland as ‘Grace Farrell’. The title role of ‘Annie’ is shared by Faye Katsande, Ava Smith and Freya Yates. They are joined by three teams of young performers who play the girls in Miss Hannigan’s orphanage.
Completing the cast will be Michael Anderson, Thomas Audibert, Andy Barke, Caroline Bateson, Daisy Boyles, Blaise Colangelo, Gary Davis, Ashleigh Graham, George Rae, Anne Smith, India Thornton, Matt Trevorrow, Amy West and Samuel Wilson Freeman.
This production recently ran for an extended season in the West End following a sell-out tour of the UK and Ireland in 2015/16 as well as a recent sell-out season in Toronto.
Alex Bourne reprises his performance as ‘Oliver Warbucks’ after playing the role in this production of “Annie” in the West End, Toronto and on the 2015/16 tour. His many other West End credits include ‘Danny’ in “Grease”, ‘The Beast’ in “Beauty and the Beast”, ‘Billy Flynn’ in “Chicago”, ‘Khashoggi’ in “We Will Rock You” and ‘Fred/Petruchio’ in “Kiss Me, Kate” for which he received an Olivier Award nomination for Best Actor in a Musical. His other credits include ‘Daryl Van Horne’ in “The Witches of Eastwick” and the Watermill Theatre, for which he received a TMA nomination for Best Actor, ‘Sam Michael’ in the national tour of “Mamma Mia!” and ‘Lex Hogan’ in “Eugenius!” at the Other Palace.
Richard Meek’s many credits include ‘Trevor Graydon’ in “Thoroughly Modern Millie”, ‘Brad’, ‘Eddie’ and ‘Dr Scott’ in “The Rocky Horror Show” and ‘Sir Galahad’ in “Spamalot”, all on national tour. He has also appeared as ‘Leo Bloom’ in the international tour of “The Producers” as well as ‘Dustin’ and ‘Greaseball’ in the 25th anniversary cast of “Starlight Express” in Bochum, Germany.
Jenny Gayner’s West End credits include ‘Miss Wilson’ in the original cast of “The Girls” at the Phoenix Theatre, ‘Hunyak’ in “Chicago” at the Adelphi, Cambridge and Garrick theatres and “Spamalot” at the Palace Theatre. Jenny has also appeared as ‘Lina Lamont’ in “Singin’ in the Rain” and ‘Brooke Windham’ in “Legally Blonde”, both at Kilworth House.
Carolyn Maitland reprises her performance as ‘Grace Farrell’ after playing the role in this production of “Annie” in Toronto. Her West End credits include ‘Ellen’ in “Miss Saigon” at the Prince Edward Theatre, ‘Marian’ in “The Woman in White” at the Charing Cross Theatre and “Groundhog Day” and “Kiss Me, Kate”, both at the Old Vic. Her other credits include ‘Molly’ in the national tour of “Ghost” and ‘Kathy Seldon’ in Singin’ in the Rain at Kilworth House.
Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…
With its award-winning book and score, this stunning new production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.
“ANNIE” has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. “ANNIE” is directed by Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker. “ANNIE” is produced by Michael Harrison and David Ian.
Annie runs at Birmingham Hippodrome from Tuesday 23 July to Sunday 11 August. To book tickets visit birminghamhippodrome.com or call 0844 338 5000 (4.5p per minute plus your phone company’s access charge).
Edinburgh Playhouse Theatre, Edinburgh – until 4th of May 2019.
Reviewed by Hannah Plumb
4****
Rock of Ages opens on the Sunset Strip in 1987, “a sexier time” according to the pieces energetic narrator Lonny (Lucas Rush). Rock of Ages is, at its heart, a classic love story set to the backdrop of a glam rock tribute. It features over 25 well known rock anthems which the band play with such skill that it will make you feel like you are attending a White Snakes concert from the opening number.
The whole musical actually has the feel of a devilish rock panto rather than your typical musical. Lonny (Rush) almost seems like a cheeky fairy godmother, introducing the setting and the characters while playing and improvising with the audience. He tackles the role with the perfect balance of weirdness and excellent comic timing.
The piece follows your will-they-won’t-they young lovers Sherrie (Jodie Steele) and Drew (Luke Walsh) as they navigate their growing infatuation throughout a period of turmoil and change. Walsh and Steele have fantastic chemistry and are incredibly talented performers whose sharp and powerful vocals really lead the cast. Other notable performances include Franz (Andrew Carthy) the son of the rigid European developer determined on turning the rock and roll strip into a clean and boring commercial area. His physical comedy and strong voice come together to make a memorable performance.
The cast of Rock of Ages are all very talented performers who’s high energy create a fun and vibrant performance. The choreography is sharp but keeping with the rock vibes of the show and is executed effortlessly. The whole show is a lot of fun. However, there is some questionable moments involving the women in the show that can leave audience members a little uncomfortable. On top of that the German antagonists could be treated with more care (the robotic walking and salutes can be a bit much at points).
Overall, the musical is a lot of fun and if you lean in to the madness and slightly eccentric panto vibes you will have a lot of fun and a good night out.
Full cast announced for searing satire Kill Climate Deniers Pleasance Theatre, Carpenters Mews, North Road, London N7 9EF Tuesday 4th – Friday 28th June 2019
Does the end justify the means?
Joining the cast of the European premiere of Kill Climate Deniers are Home and Away’sKelly Paterniti as Bekken, the critically acclaimed stand-up Bec Hill as Catch and Coronation Street’s Hannah Ellis Ryan. Exploring in parallel a hostage situation as it teeters on the brink of calamity and what happened when writer David Finnigan first tried to stage this play, the production blends fact and fiction as Nathan Coenen stars as Finig (The Sleepover Club; Teen Wolf).
They will be seen alongside the previously announced Felicity Ward who will make her UK theatre debut as Environment Minister Gwen Malkin whose plan to stop climate change is rudely interrupted when a group of eco-terrorists storm Australia’s Parliament House during a Fleetwood Mac concert. A fun action piece wrapped in a TED talk, David Finnigan’s incendiary play Kill Climate Deniers has provoked, enraged and delighted audiences and critics alike.
After running close to the line of breaking the law in Australia against the reckless use of language to incite terrorism, prompting debate in state parliament about whether his government funding should be revoked, and being targeted by Breitbart and Infowars, David Finnigan has kindled outrage to spur people out of complacency – what would it take to get instant action to combat climate change? Terrorism and a hostage situation?
More than just a play about climate change and the end of civilisation as we know it, Kill Climate Deniers is about the power of echo chambers, about political division, about a public distrustful and disinterested in experts. This is a play about failing to talk about the issues that matter most; it features action sequences Sylvester Stallone would be proud of.
Director Nic Connaughton comments, With climate protests taking over the streets, schools, and even British Parliament, it feels right to be presenting the European premiere of David Finnigan’s brave, bold and darkly satiric play now. Whilst set within the specifics of the Australian climate change debate, it chillingly foreshadows where the public discourse in the UK could be headed. We have brought together an incredible cast of actors to bring out both the hilarity and the pathos of this startling and original new play, which is both a lesson and a warning
As part of the run at the Pleasance, there will be the Environmental Activism Post-Show Q&A on Wednesday 19th June with Extinction Rebellion and Greenpeace to discuss how to lobby for change as well as an EcoMarket on Saturday 15th June which will offer everything from sustainable clothes to eco-food. There will also be a post-show Q&A with the cast, with the creatives and a work-in-progress performance of Think Bigly about sustainability and how you, finance and policy can be part of the solution.
Writers Jack Milner and Mark Stevenson have combined all the essential elements of incongruity, improbability, stereotypes and exaggeration, to produce a classic British farce in all its glory. In the opening scene you are wondering why Seymour (Nick Hancock) doesn’t just call the police, when he discovers a burglar in his home. This is soon forgotten as you are drawn into the ever evolving, ridiculous dynamic between Hancock and Paul Bradley (Marvin Haynes: Burglar). A fantastical sting is set up in Seymour (Hancock) and Gloria Bignall’s (Carolyn Backhouse) front room that could make everyone lots of money, but it all hinges on a web of lies!
Like any good farce, Octopus Soup has dark undertones that convey a message. The context of the play is not lost on a discerning audience, highlighting parallels and overlaps between the two worlds of corporate business and organised crime. Sad to say, a relevance in today’s society that will never age. Alan (Eric Richard) and Virginia Whale (Gillian Bevan) were the stereotypical villains on both sides of the coin. It was interesting to note references to the stress this causes and its impact on mental well-being – also ageless. Some of this is portrayed by the hilarious melt downs Gloria Bignall (Carolyn Backhouse) has, starting from her first entrance!
Caught in the middle of the power struggle are little people trying to make their way in life, with ambition and ethical aspirations. Things that apparently make ordinary people do extraordinary things! We have Marvin the burglar’s (Bradley) laugh out loud malapropisms, alongside Seymour’s (Hancock) absurd efforts to pluck out of thin air alternative acronyms and translations, smoothing over the relationship between two worlds. Something that cleverly highlights the parallels and doomed to go very wrong!
The set can be mistaken for a hotel room initially, particularly with the trouser press scene. The players ability to smooth over the occasional unintended trip and prop faux pas was admirable, adding to the humour.
The addition of Terry the octopus takes this farce to a whole new level. The reason for its inclusion unveils itself in the second act. Terry is the trigger that brings the whole sham tumbling down! Great dynamic between the actors and ace direction from Joe Harmston.
The Lowry, Manchester – until Saturday 4th May 2019
Reviewed by Julie Noller
5*****
Educating Rita, written by famed Liverpudlian playwrite Willy Russell has come of age, first hitting stage and screen nearly 40 years ago; it’s fantastic to see this comedy reworked and brought back to the touring arena by David Pugh and Dafydd Rogers.
You could be forgiven for wondering if this tale of downtrodden working class heroine, seeking to better herself with the education that the system failed her would be dated and jaded but its far from that. It’s as gritty and punchy as ever having only the 2 characters on stage focuses our minds to how they develop, how they change themselves and their relationship over the course of a year.
They are hard drinking tutor Frank and young married hairdresser Rita. The acting is some of the best I’ve witnessed on stage, Stephen Tompkinson not only a highly convincing drunk, but disillusioned by the system he wanted to be nurtured in. A lecturer seeking escape from the pains in life, unable to write his poetry, a failure who drinks and only then discovering his inner voice returns. Jessica Johnson is Rita or in reality Susan who is placed under the care of Open University tutor Frank, she is equally seeking to escape and feels a failure for not knowing stuff and looks towards Frank to fill her head. She longs to sit and discuss books without using the term crap and slowly she discovers her inner voice but at what cost.
Stephen Tompkinson is commanding on stage, depressed and angry. He brings this tutor who many of us would view with contempt to life, there is more than a touch of humanity and I found myself leaning forward listening intently, jumping when he found his voice as I would at school. I equally found myself pitying him as I watched the relationship between pupil and teacher turn to that of a father and daughter. How we teach our children, long for them to grow to find their own minds and when they do, we have to watch sometimes from the sidelines hoping they find their way on this journey and that in turn they will teach us. Frank is dark at times and his days of dread turn to joy for the time when Rita seeks his help, you see how the relationship develops how Rita’s infectious enthusiasm for life and learning with how she sees a weakness by overusing her emotions he sees a strength but to become a true scholar must vanish and that in turn is sadness for what Frank sees as inevitable.
Jessica Johnson brings the infectious joy of learning and bundle of energy to life. The opening scene of her attempting to gain entrance to Franks office and her non stop nervous chatter resonates within me, we’ve all been there, an interview, the doctors surgery, school classrooms. How many of us have wondered like Rita if we are simply good enough? Jessica is warm, bright and cheery in the role, you immediately like her, drawn to her. She plays with the accent like someone who tries to develop their way in the world, it’s Scouse sometimes strong sometimes soft.
There’s many themes throughout Educating Rita for such a simple story line the characters are complex and deep. Obviously being written by Willy Russell we have class issues, shortcomings of the education system, relationship and self development not to mention change and ultimately freedom. It also deals with control brilliantly; firstly Rita is married, her husband seeking to start a family but for Rita life holds so much more but where does she start. Frank is her mentor, a listening ear albeit unwillingly at first, but slowly just that one simple thing allows Rita to grow in confidence and when her husband throws her out of the marital home – it’s a blessing in disguise for now Rita can soar, the world is her oyster. Slowly things change not only her mind and views but her dress sense.
The attention to detail by Set Designer Patrick Connellan and Costume Supervisor Sam Newland is near to perfection. As we near the end of the play we rejoice that Rita has found the key to her knowledge but then despair again as the realisation sinks in she has swapped the control her husband had over her for the control of the fellow students who she seeks approval from. Frank may be a drunk but he sees this clearly enough but just lacks the clarity of voice to tell Rita, like a father he must attempt to show her but allow her to find her feet and thankfully she does not before she finally gives Frank a well needed haircut as he prepares to leave for Australia. Rita finally acknowledging she is Susan no longer hiding behind a fake persona equally acknowledging she is doing what she is good at.
The only wondering you may have as you leave the theatre is what becomes of pupil and tutor but that’s for you to decide and I hope like me it’s a happy ending.
New Victoria Theatre, Woking – until Saturday 4 May 2019
Reviewed by Catherine Francoise
5*****
In 2014 Matthew Bourne announced that his emotionally charged, audacious Swan Lake had become the longest running ballet in the West End and on Broadway. 5 years later in 2019 it is still packing in full houses in London, America, Japan, Australia, Israel and also on tour throughout the UK. Woking’s wonderful New Victoria Theatre was packed to the rafters and gleaned an instantaneous, rapturous standing ovation at the end. Swan Lake is the world’s most frequently performed ballet but who would have imagined New Adventure’s tremendous achievement when first performed in London 23 years ago? Judging by this first night full house standing ovation it looks set to run for decades more!
This season’s revival tour began last September and retains the essence of the original production. A central theme of doomed, forbidden love, a deeply unhappy lost Prince discovering himself which finds echoes in the real life of Tchaikovsky, composer of this magnificent score. On tour Bourne’s company have the luxury of dancing every performance to a superb recording of a full orchestra adding depth, emotion and power to every movement.
Bourne’s sensational reinvention of the Bolshoi’s 19th Century iconic beautiful swans (choreographed by Petipa) replaced traditional female corps de ballet with rather more grounded strong, edgy, irascible male swans. He says ‘…The strength, beauty and enormous wingspan of these creatures suggests to the musculature of a male dancer more readily than a ballerina in her white tutu…’ and indeed his swans’ choreography is powerful, sweeping, snatching, bouncing with long ‘necks’ prodding and intense, perfectly portraying them.
Will Bozier as the spell-binding Swan / psychopathic alter ego leather clad Stranger and Dominic North as a Prince whose journey of self-discovery is both painful and joyous, both danced and acted with such emotion, charisma and power that the standing ovation started immediately they re-appeared after the final chords had sounded at the end before the full company bows! Dramatic stuff indeed and incredibly emotional.
The 14 ‘corps de ballet’ male Swans themselves are all indispensable, characterful and remarkable. Strong, fluid, humorous yet menacing and ultimately cruel and lethal. The four clumsy baby cygnets take their moment also: witty, nervous and great fun!
Along the way, Bourne’s stylish, superb company bring character, comedy, precision, mime and wit as palace servants, royal officials, asylum nurses and society’s finest; also parodying romantic ballet with ornate costumes as butterflies, flowers, woodcutters and insects and deliberately over-exaggerated gestures ~ great fun! The disco dancers at 1960s/70s style seedy Swank’s nightclub also worth noting with a fabulous cameo fan dancer played brilliantly as a ‘Fag-Ash Lil’.
Nicole Kabera is elegance personified as ice cold Queen, Glenn Graham exudes authority as Private Secretary and Katrina Lyndon exacts every ounce of comedy as a delightful out-of-her-depth flighty, dim girlfriend/wannabe wag (Her costumes perhaps due a makeover).
The award-winning set and design by Lez Brotherston is huge and grandiose, enhanced by stunning costumes (so much attention to detail in gloves, accessories, glitz and makeup) and Paule Constable’s beautiful and evocative new lighting design brings even more atmosphere and drama to the lakeside swan scenes in particular.
Sir Matthew Bourne has created a poignant, passionate, powerful, contemporary Swan Lake for the 21st Century and an enduring legacy.
Playing at the New Victoria Theatre until Sat 4th May, with two more weeks in the UK at Newcastle Theatre Royal and the Sheffield Lyceum Theatre before going to Asia and America from July to January 2020. Absolutely your loss if you miss it!
Lucy O’Byrne and Mark Moraghan are to join the cast of the quirky off-Broadway hit musical Little Miss Sunshine for its UK tour which begins at Churchill Theatre, Bromley on 16 May 2019.
Irish actress and singer Lucy O’Byrne will star as Sheryl, the matriarch of the eccentric Hoover family. Lucy shot to fame on The Voice (BBC) in 2015 and was the runner-up that year. Her theatre credits include Eva Peron in Evita (UK, Ireland & Germany Tour), Fantine in Les Misérables (Queen’s Theatre – West End), Maria in The Sound of Music (UK and Ireland Tour), River Woman in Therese Raquin (Park Theatre) and Tzeitel in Fiddler on the Roof (Gaiety Theatre-Dublin). She has appeared on Friday Night is Music Night-Live from the London Palladium (BBC Radio 2), BBC Proms in the Park (BBC) and as Sam & Jessica in Ballybraddan (RTÉ/Monster Animation). Lucy appears on The Sound of Music (EP), NOW That’s What I Call Classical and Therese Raquin (Original Cast Recording) Her album ‘Debut’ is available now.
Mark Moraghan will be Grandpa (the role that won Alan Arkin an Academy award). Mark recently appeared as Tim Richards in Emmerdale and is perhaps best known for his roles as Adrian Mortimer in Coronation Street, Owen Davis in Holby City, Ray Wyatt in Dream Team, Greg Shadwick in Brookside and Eddie Quinn in London’s Burning. His theatre credits include Priscilla Queen of the Desert (Palace Theatre, London), The Rise and Fall of Little Voice (Bolton Octagon) By The Waters Of Liverpool (Empire Theatre Liverpool) Royal Court 80 (Royal Court Liverpool), You’ll Never Walk Alone (Royal Court Liverpool, Kuala Lumpur, Singapore and Jakarta), One Night in Istanbul (Liverpool Echo, Gaiety Theatre Dublin and GOH Belfast), Peter Pan (Assembly Hall, Tunbridge Wells), Franklyn J Hart in 9 to 5 (National Tour), Nightmare on Lime Street, You’ll Never Walk Alone, Our Day Out andFunny Money (all for Royal Court, Liverpool), My Fair Lady (Liverpool Philharmonic); Come Fly With Me(Millennium Centre Cardiff); Twopence to Cross the Mersey (Liverpool Empire); Strictly Murder (UK Tour); Eric’s (Liverpool Everyman); Bad Blood (Key Theatre); Bouncers, Little Match Girl, Barbarians, and Arabian Nights (Unity Theatre); Macbeth (Art Theatre Company); Fears and Miseries of the Third Reich (Liverpool Playhouse and Young Vic); The Beaux Stratagem (Liverpool Playhouse); The Jungle Book (Cleveland Theatre Company); and High Rise Dreamer (Liverpool Lunchtime Theatre Company) and most recently Jack and the Beanstalk, Floral Theatre New Brighton. Mark is the narrator of the popular children’s TV show Thomas the Tank Engine. He follows fellow Liverpudlian’s Ringo Starr & Michael Angelis and is the voice of the programme in all English language territories including the US.
The rest of the Hoover family remain unchanged from the Arcola Theatre’s run with Gabriel Vick as Sheryl’s husband Richard, two-time Olivier nominee Paul Keating as Sheryl’s brother Frank and Sev Keoshgerian as Sheryl’s son Dwayne. The role of Olive will again be shared by Evie Gibson, Sophie Hartley Booth and Lily Mae Denman.
Ian Carlyle (Larry/Buddy), Imelda Warren-Green (Linda/Miss California) and Matthew McDonald (Joshua Rose/Kirby) also continue in their roles. Joining the cast are Jaimie Pruden and Jacob Jackson.
Completing the cast are the ‘Mean Girls’ who will be performed by Alicia Belgarde, Scarlet RocheandElena Christie.
Based on the Academy Award-winning film by Michael Arndt, Little Miss Sunshine is the off-beat musical comedy created by the Tony Award-winning team of James Lapine (who collaborated with Stephen Sondheim on Into the Woods and Sunday in the Parkwith George) and William Finn (25th Annual Putnam County Spelling Bee, Falsettos). This new production is directed by Arcola’s Artistic Director Mehmet Ergen with design by David Woodhead, musical direction by Arlene McNaught, musical supervision by Mark Crossland, lighting design by Richard Williamson, sound design by Olly Steel, and choreography by Anthony Whiteman.
The Hoover family has more than a few troubles, but young Olive has her heart set on winning the Little Miss Sunshine beauty contest. When an invitation to compete comes out of the blue, the Hoovers must pile into their rickety, yellow VW camper van. Can it survive the 800-mile trip from New Mexico to California – and more importantly, can they? This inventive and uplifting musical celebrates the quirks of every family, the potholes in every road, and the power of overcoming our differences.
Frank Galvin, an alcoholic lawyer, is approached with a case against the Catholic Church. The case is of medical malpractice in a church-owned hospital: a young woman, given the wrong type of anaesthesia before childbirth, must now spend the rest of her life in a vegetative state, permanently hooked up to machinery.
It’s a classic David vs Goliath tale, first a book, then an Oscar-nominated film and now Middle Ground Theatre brings it to the stage on its second tour. It’s a compelling story – using and inverting what are now well-known tropes in the courtroom drama.
Not a second is wasted in Margaret May Hobbs’ script. Although we spend most our time with Frank Galvin (Ian Kelsey), we see the other camp preparing as well. Christopher Ettridge portrays defence lawyer J Edgar Concannon with a spirited zeal, carefully orchestrating how his defendants (Dr Rexford Towler and Dr Daniel Crowley, played by Paul Opacic and Michael Lunney, respectively) should present themselves during the trial.
The stage is split in the first act – one side as Galvin’s office, to allow plot development, and the other in Meehan’s Bar, where we get to know Galvin better personally. It’s here that Galvin meets Donna St Laurent (Josephine Rogers), a young woman looking for work as a waitress, and a welcome distraction for Galvin as he prepares his case. The second half is given over purely to the courtroom, a tense battle of wits and understanding of the law, with Galvin fighting not only against Concannon’s seemingly better odds, but also Richard Walsh’s battle-hardened judge, Eldredge Sweeney.
Performances are strong all round, and special mention must go to Michael Lunney and Richard Walsh, who are double cast as Eugene Meehan and Dr Daniel Crowley, and Bishop Brophy and Eldredge Sweeney respectively. Through their performances and clever use of wigs and make-up, it was nigh impossible without glancing at the programme to tell they were the same person each time. Denis Lill as Moe Katz, Galvin’s mentor, also steals every scene he’s in. And finally, Anne Kavanagh as Mrs McDaid, as the plaintiff’s mother, gives a heart-wrenching performance, especially when she rebukes Galvin for turning down the Church’s settlement of $300,000, calling into question Galvin’s personal motives for taking on what seems like an unwinnable case.
The Verdict is a compelling courtroom drama, which, combined with powerful performances, pulls the audience into its world, keeping us riveted to the final moment.
The global smash hit musical MAMMA MIA! celebrated its 20th anniversary in London’s West End at the Novello Theatre on Saturday 6 April. Now, in the musical’s 21st year, the producers are delighted to announce some major cast changes in the London production from Monday 10 June 2019. Mazz Murray, who has previously played Tanya in the London production, will be returning to the musical, but this time as Donna, and Kirsty Hoiles will join her as Tanya. Also new to the musical will be Cameron Burt as Sky, Melissa Nettleford as Ali, Sophie Matthew as Lisa, Taylor Bradshaw as Eddie and Danny Nattrass as Pepper. They will be joining Ricky Butt as Rosie, Richard Trinder as Sam, Neil Moors as Harry, Stephen Beckett as Bill and Lucy May Barker as Sophie. Caroline Deverill continues to play the role of Donna at certain performances.
Also new to the cast will be Natasha Agnew, Daniel Clift, Jonathan Cordin, Amelia-Rose Fielding, Shailan Gohil, Callum Heinrich, Frankie Jones, Grace Moorhouse, Jodie Nolan, Dan O’Brien, David O’Mahony, Rochelle Sherona, Megan Speirs, Garrett Tennant, Michael Tyler, Harrison Wilde and Simon Willmont, who will be joining Chloe Ames, Lauren Hampton and Jennifer Hepburn.
Since premiering in London in 1999, the irresistible feelgood musical has captured the hearts of millions around the globe. The sunny, funny tale of a mother, a daughter and three possible dads on a Greek island idyll, all unfolding to the magic of ABBA’s timeless pop masterpieces, has now been seen live on stage by 65 million people across the world, and turned into two record-breaking movies – MAMMA MIA! The Movie and MAMMA MIA! Here We Go Again.
To date, MAMMA MIA! has been seen in 50 productions in 16 different languages grossing more than $4 billion at the box office. In 2011, it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China. MAMMA MIA! is also currently playing a German-language tour in Germany, Austria and Switzerland, a Dutch-language production in Utrecht and a Mandarin-language production in China. Upcoming productions include a UK and International Tour and productions in Korea, Berlin and Denmark.
MAMMA MIA! originally opened in London at the Prince Edward Theatre on 6 April 1999, before transferring to the Prince of Wales Theatre in 2004, and then to the Novello Theatre in 2012.
The London production of MAMMA MIA! has been seen by over 9 million people, played over 8,000 performances and has broken box office records in all three of its London homes. MAMMA MIA! is currently booking to Saturday 7 March 2020.
Produced by Judy Craymer, MAMMA MIA! The Movie became the highest grossing live action musical film of all time upon its release in 2008. A second film, MAMMA MIA! HERE WE GO AGAIN, opened in July 2018 and is the most successful live musical movie sequel of all time.
With music & lyrics by Benny Andersson & Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. The production is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce & Bobby Aitken, and musical supervision, additional material & arrangements by Martin Koch.
MAMMA MIA! is produced by Judy Craymer, Richard East & Björn Ulvaeus for Littlestar in association with Universal.
LISTINGS INFORMATION
Novello Theatre
Aldwych
London WC2B 4LD
Ticket Prices: From £15.00
Performances until 14 September 2019 – a £2.25 per ticket booking fee applies to tickets booked online, and a £2.75 per ticket booking fee applies to tickets booked by phone. No booking fee on tickets purchased in person at the Novello Theatre Box Office.
Performances from 16 September 2019 onwards – a £2.50 per ticket booking fee applies to tickets booked online and by phone. No booking fee on tickets purchased in person at the Novello Theatre Box Office.
All prices include £1.25 restoration levy.
Early Bird Pricing – anyone booking four months or more in advance of the performance they are attending (Monday to Thursday performances only) will save £20 on Band A and Premium tickets, but only through Delfont Mackintosh Theatres, either online, in person at the theatre, or by calling the Novello Theatre Box Office.
A limited number of seats released daily for that day’s performance(s) at 10:00AM, in person at the Box Office.
Performance Times:
Monday – Saturday 7.45pm
Matinees – Thursday & Saturday 3.00pm*
*extra Tuesday matinees 6 & 20 August 2019, 22 October 2019 & 18 February 2020
Christmas 2019/20 Performance Schedule
Monday 23 December 3.00pm and 7.45pm
Tuesday 24 December NO PERFORMANCE
Wednesday 25 December NO PERFORMANCE
Thursday 26 December 7.45pm
Friday 27 December 3.00pm and 7.45pm
Saturday 28 December 3.00pm and 7.45pm
Monday 30 December 3.00pm and 7.45pm
Tuesday 31 December 3.00pm and 7.45pm
Wednesday 1 January 7.45pm
Thursday 2 January 3.00pm and 7.45pm
Friday 3 January 7.45pm
Saturday 4 January 3.00pm and 7.45pm
Currently booking to 7 March 2020
The performance lasts 2 hours and 35 minutes (including a 15-minute interval)
