Author: FairyPoweredProductions

National Theatre at Home to host first live stream premiere of the new musical ‘The Little Big Things’

National Theatre at Home has announced it will host its first live streamed premiere of the ‘triumphant new musical’ (★★★★★ WhatsOnStage) The Little Big Things, a production from Michael Harrison, at 7pm BST on 9 May 2024. Audiences around the world can come together to enjoy this ‘groundbreaking’ (★★★★ Time Out) production from the comfort of home on the theatre streaming platform. Viewers of the premiere can join the live conversation via social media using hashtags #TLBT and #NationalTheatreatHome.

The Little Big Things premiere is exclusively available on National Theatre at Home with a subscription (monthly cost £9.99, annual cost £99.99) providing unlimited access to the platform with new titles added every month, or through a one-off payment to watch live for £9.99.

Filmed during its run at @sohoplace, the ‘show with the biggest heart in town’ (★★★★★ Sunday Express) directed by Luke Sheppard, is based on the extraordinary true story about Henry Fraser, an avid sportsman whose life changed forever aged 17 when a diving accident led to a new life as a tetraplegic. Based on Henry Fraser’s Sunday Times best-selling autobiography, the musical follows as the Fraser family are split between a past they no longer recognise, and a future they could never foresee.

The ‘uplifting, heart-swelling’ (★★★★ Evening Standard) musical written by Joe White includes a theatrical pop soundtrack by Nick Butcher and Tom Ling and Olivier nominated choreography by Mark Smith, with Henry played by Jonny Amies and Ed Larkin.

Following the live stream, The Little Big Thingswill be available to watch on National Theatre at Home with captions, audio description and British Sign Language, providing inclusive and accessible theatre experiences for audiences worldwide.

Amy Trigg, who recently won an Olivier award for her role in The Little Big Things  said: “I’m so excited for more people to have the opportunity to experience ‘The Little Big Things’. The electricity we felt in the theatre every night was unforgettable; it’s a joy knowing that feeling is going to be accessible for so many more people. I hope the new audiences enjoy the show as much as we loved performing it!”

All titles on National Theatre at Home are available with captions, and over 85% of titles are available with Audio Description.  

Bloomberg Philanthropies is Headline Sponsor of National Theatre at Home.  

National Theatre at Home is also supported by The Linbury Trust. 

York Theatre Royal – until Saturday 27th April 2024

Reviewed by Michelle Richardson

3***

Written by R.B. Sheridan and nearly 250 years after its first foray onto stage, The School for Scandal, is a comedy of manners. Tilted Wig, under the direction of Sean Aydon, has adapted this production for the 21st century and is currently playing in York as part of its UK tour.

It is fast paced from the start, with its intricate plot, a tale of gossip, scandal, and coercion. Revolving around Sir Peter Teazle (Joseph Marcell), with his much younger wife (Lydea Perkins) squandering his money and spending time in society. This is perfect fodder for Lady Sneerwell (Emily-Jane McNeill) and her band of gossips, who love nothing more than plotting and interfering with the lives of all around them. So starts a melee of rumours and misunderstandings.

With 8 actors playing the 15 quirky characters, all, bar Marcell, are double hatting, a perfect showcase for their skill and ability, talent in abundance. As well as quick changes of characters, the physicality shown is impressive, the aim of throwing and catching of items, whilst not even looking is testimony to this. 

Shoutout to Garmon Rhys and Alex Phelps, as the two brothers, Charles and Joseph. Rhys is an energetic performer, providing much needed laughs with his physicality and facial expressions. He was very charismatic to watch. Phelp’s scene with the screen and chaise lounge was a show highlight. Tony Timberlake as the boy’s uncle Sir Oliver, shares some great comedic scenes with the duo.  Perkins as Lady Teazle is a delight as the willful young wife, frivolous, though with a tender side, and comes to realise the grass is certainly not greener. McNeill is sharp as the huge gossip monger Lady Sneerwell, and shows relish playing such a withering sensationalist.

The costumes are full-on 1950’s glamour. The colours are so vibrant, oranges, teals, pinks and greens in abundance. This contrasts with the stripped back set and its muted colours, apart from the three brightly coloured telephones, on plinths at the back of the stage. I did find it hard to follow the show when the lighting was dimmed, with a red glow, it was just a bit too dark. It was lacking in laugh out moments, though I did have a few jumps and giggles along the way. 

This is a wordy play, it is amazing that all the cast can remember all their lines so well, in their differing characters. Marcell especially has some complicated pieces, he delivers them brilliantly. Some of the vocabulary is blurred, posh voices almost shouting, the dialogue got lost in translation. Also, though the complexity of the relationships between the characters can be a bit confusing at times, there is so much going on, the cast work well together with the material they have. 

It also goes to prove that nothing has changed over the years, with gossip and scandal even more prevalent today, especially with social media and the internet. The School For Scandal is a decent night out at the theatre, you get to see some fine actors honing their craft. 

Cambridge Arts Theatre – until Saturday 27 April 2024

Reviewed by Steph Lott

5*****

Christopher Haydon’s production of Reginald Rose’s “Twelve Angry Men” at the Cambridge Arts Theatre is a masterclass in tension, drama, and the power of persuasion. It’s a riveting exploration of justice and morality. The play, written in 1954, remains as relevant as ever, captivating the audience with its thought-provoking themes and stellar performances.

The play follows the deliberations of a jury in a murder trial, where a unanimous decision is required to determine the fate of a young man accused of killing his father. Tristan Gemmill, as the fiery Juror 3, delivers a commanding performance, his character’s unwavering belief in the defendant’s guilt serving as a formidable obstacle to justice. Michael Greco, as the slick and impatient Juror 7, adds a layer of humour to the proceedings, while Jason Merrells, as the thoughtful and principled Juror 8, anchors the production with his measured and persuasive performance. However, the entire cast must be congratulated because, as each of them takes centre stage debating the fate of the young man, each of them shines like a star.

Haydon’s direction is a triumph, orchestrating the 12 actors in a dance of words and emotions. The jurors’ interactions are carefully choreographed, each movement and gesture adding to the building tension. The claustrophobic atmosphere of the jury room is palpable, with the set design, lighting, and sound working together to create a pressure cooker environment that mirrors the characters’ internal struggles.

The set, a wooden panelled jury room, serves as a perfect canvas for the actors to paint their characters’ emotions and motivations. The costumes, true to the 1950s setting, add a layer of authenticity to the production. Chris Davey’s lighting design is particularly effective, with its use of shadows and focused spots.

“Twelve Angry Men” remains as accessible and relevant to modern audiences as it was when it was first written. The play’s themes of justice, prejudice, and the importance of questioning assumptions still resonate deeply today. The standing ovation at the end of the performance is a testament to the production’s impact and the enduring power of Rose’s words.

In conclusion, “Twelve Angry Men” at the Cambridge Arts Theatre is a must-see for anyone who appreciates powerful, thought-provoking theatre. The stellar cast, masterful direction, and impeccable design elements come together to create an unforgettable experience that will leave audiences questioning their own biases and beliefs long after the curtain falls.

Southwark Playhouse – until 4 May 2024

Reviewed by Claire Roderick

5*****

While the actual matches should be the main focus of Remembering England’s run in 2020’s European Championship, the enduring images will always be crowds storming the gates at Wembley and BumFlare Man. Alex Hill’s debut play imagines what drove the man to do this (besides alcohol or drugs) and skilfully presents a story of grief, loneliness and the desperate need to belong in 60 minutes of barnstorming writing and performance.

The play begins with a boisterous and jubilant bang, football chants and songs getting the audience joining in and laughing before the flare is lit. After a radio interview where he gives a flippant reply to the question “Why?”, Billy expands on what led to his infamous act. Hill takes the audience on a breakneck journey through Billy’s life, from kickabouts in the park with best friend Adam and their first trip to watch their team play. The love and innocent joy that this friendship and shared pleasure in football becomes strained as they grow up and encounter Wine Gum and his mates in the pub. The boys’ indoctrination into Wine Gum’s firm and introduction to heavy drinking and drugs leads to a huge shift in tone from childhood euphoria to brutality as Billy’s accounts of matches become monosyllabic chants of excess and violence. As Billy is swept along by this intoxicating feeling of belonging, Adam becomes an increasingly distant figure – their traditional matchday breakfast ritual stops, and Adam is spending more quality time with Billy’s girlfriend than he is. Hill tackles male friendship and mental health brilliantly, with Billy’s frustrated and confused comments about Adam effortlessly demonstrating the need to communicate honestly. Much like England’s time at Euro 2020, Hill’s play drives the audience through expectation, high energy excitement and then quiet despair as Billy finally sees his “mates” in their true light and realises, too late, what he has lost.

Adam Hill ‘s writing is poetic, funny and incisive, and he gives an intoxicating performance – always reminding us of the lost boy beneath the macho bravado with flashes of gentleness amongst the laddish nonsense. Sean Turner’s excellent direction and Hill’s dynamic performance create a seamless production that you simply can’t look away from.

A brilliant show that will thrill not just football fans. A fantastic debut – Hill is a name to look out for in the future.

Norwich Theatre Royal, Norwich – until Saturday 27th April 2024

Reviewed by Boo Wakefield

4****

The Boy At The Back Of The Class is a heartwarming adventure story for children, written by the prize winning author Onjali Q. Rauf and adapted for theatre by Nick Ahad. It follows the journey of 9-year-old Ahmet (Farshid Rokey), a refugee from Syria who only speaks Kurdish, as he starts at his new English school. Ahmet, traumatised by his journey to the UK and deeply anxious about his missing parents, is initially mute. He is taken under the wing of Alexa (Sasha Desouza Willcock) and her gang of friends, geeky Michael (Abdul-Malik Janneh), sporty Josie (Petra Joan Athene) and enthusiastic Tom (Gordon Millar) who try to protect him from the class bully Brendan (Joe McNamara) and the bigoted teacher Mr Irons (Zoe Zak). Alexa and her gang are sad that Ahmet’s parents are missing and set about trying to help find them, eventually journeying to Buckingham Palace to lobby the Queen (the book was written whilst the Queen was still alive).

Adults acting as 9 year-olds is not an easy ask, riven as it is with potential pitfalls – but the cast pull it off brilliantly with Sasha Desouza Willock as Alexa, on stage almost throughout, the stand out performance. Over half the audience on the performance I watched were children; from their enraptured and energised reactions they certainly didn’t feel patronised or undersold.

Overall, the play, by its nature, is a story which is told, rather than shown. On stage there are interludes of compelling theatricality, not least at the start of each half with sheets of billowing silk, and supporting sound and lighting (Giles Thomas and Ryan Day), depicting Ahmet’s sea crossing, and Ahmet’s visceral outburst at the end of the first part; but these stand out in contrast to the more deliberate story-telling of the rest of the performance. Lily Arnold’s set is clever; a stripped back school gymnasium wall allows the cast to clamber and swing like children while also enabling slick, inventive scene transitions.

But, make no mistake, this is a play about the world as seen through the eyes of 9-year-olds and is aimed, principally, at a similarly youthful audience, with a steady drumbeat of age-appropriate educational messaging about morality, inherited prejudice, ethics and compassion permeating almost every scene. As a stepping stone for pre-teens into the magic of theatre, it’s hard to beat.

Theatre Royal Concert Hall Nottingham – until Saturday 27th April 2024

Reviewed by Amarjeet Singh

4****

Drop the Dead Donkey, the smash hit satirical comedy from the 90s has been reawakened for the stage in a new production. Retaining seven of the original cast members, Gus (Robert Duncan), George (Jeff Rawle), Helen (Ingrid Lacey), Sally (Victoria Wicks), Damian (Stephen Tompkinson), Dave (Neil Pearson) and Joy (Susannah Doyle), it was sadly without Henry (David Swift) and Alex (Haydn Gwynne) who are no longer with us. A few new faces padded out the cast and we had a full newsroom.

Thirty years after first airing, original writers Andy Hamilton and Guy Jenkin’s production verbally fills in the gaps from where The TV series ended and the current day begins. From the combustion of Globe Link News, to the now, when the team are reassembled to start a new news company called ‘Truth News’, which is apparently run by algorithms, for the people by the people. However, we soon see that things are not quite what they seem and like the BAFTA award winning show, the production is full of twists and turns and calamitous capers.

This is a trip down memory lane for those who have fond recollections of the original show. As each cast member appeared on stage, they received a raucous round of applause. The characters have been through quite a few changes to bring them up to date with the modern world, some were more plausible and fleshed out then others. But some were caricatures of their TV personas, very one dimensional which didn’t lend itself too well to the stage.

The scenes where the team were broadcasting were superbly performed and directed, at other times it felt very dialogue heavy with cast members just loitering on stage waiting to be activated. Fake swiping on phones and a distinct lack of action made it feel like an extended episode and not a fully realised play. It’s an entertaining piece of theatre that is well performed. But I feel you need prior knowledge of the show to truly enjoy it. This is not one for newbies.

THE GOVERNMENT INSPECTOR

GHOSTS AND YONDERLAND CO-CREATOR, WRITER AND PERFORMER MARTHA HOWE-DOUGLAS JOINS FELLOW TV STARS KIELL SMITH-BYNOE AND DAN SKINNER IN A BRAND-NEW PRODUCTION OF GOGOL’S SATIRICAL MASTERPIECE

OPENING AT THE MARYLEBONE THEATRE

3 MAY – 15 JUNE 2024

 TICKETS ON SALE NOW HERE

Martha Howe-Douglas – best known as one of the co-creators, writers and performers of hit BBC Comedy Ghosts and Sky 1’s Yonderland – will join her fellow stars Kiell Smith-Bynoe and Dan Skinner in the brand-new adaptation of Nikolai Gogol’s satirical masterpiece, THE GOVERNMENT INSPECTOR, premiering at the Marylebone Theatre from 3 May – 15 June 2024, with a press night on Wednesday 8 May.

“There’s no money in honesty!”
A comedy about hypocrites, hysterics and hustlers.

Martha will join the company as ‘Mrs Swashprattle’ to replace the previously announced Vicki Pepperdine, who is stepping away from the show for personal reasons.

Howe-Douglas co-wrote and performed the role of ‘Lady Button’ in five series of Ghosts, the critically acclaimed and BAFTA nominated hit TV show that recently went out on a high with a Christmas special in December 2023. She played alongside Kiell Smith-Bynoe as ‘Mike’ who’ll be playing ‘Percy Fopdoodle’ opposite her on stage.

Previous work includes playing various roles in all 5 series of the hit children’s TV show, ‘Horrible Histories’ (BBC). She also appeared in series 1 of the BBC drama ‘Doctor Foster’.

The Government Inspector will be her first stage work since 2003.

As previously announced, Dan Skinner (Shooting Stars, This Time with Alan Partridge, The Kennedys) will play  ‘Governor Swashprattle’ – once again playing a husband and wife pairing with Howe-Douglas; in all 3 series of the fantasy comedy ‘Yonderland’ (Sky 1) he played ‘Peter Maddox’ opposite Martha as ‘Debbie Maddox’, a show she also co-wrote.

Completing the company are Peter Clements (The Incident Room – New Diorama Theatre, Frau Monde: Farewell to the Theatre – Hackney Showroom) as ‘Ivan Brabble’, Chaya Gupta (Hansel and Gretel – Shakespeare’s Globe Theatre, We’ll Have Nun Of It – Edinburgh Fringe & The Other Palace) as ‘Miss Swashprattle’, David Hartley (Macbeth & Henry VI – Shakespeare’s Globe, Measure for Measure – Shakespeare’s Globe & US Tour) as ‘Reverand Jargogle’, Nigel Hastings (And Then Come The Night Jars – Theatre503, UK Tours and Film Adaptation, Dmitry – Marylebone Theatre) as ‘Dr Mumpsimus’, Christopher Hunter (Mr Selfridge – ITV, Romeo and Juliet – Royal Shakespeare Company) as ‘Postmaster Cumberworld’, Daniel Millar (The Pillowman & The Play That Goes Wrong – West End, King Lear & Frankenstein – National Theatre) as ‘Fudgel’, Anna Savva (The Durrells – ITV, Henry VIII – Shakespeare’s Globe) as ‘Judge Woofit’, Dan Starkey (Doctor Who – BBC, Class Dismissed & Wizards vs. Aliens – CBBC) as ‘Ivan Grubble’ and Alison Ward (NewsRevue – Canal Café Theatre, Big Field – BBC3) as ‘Cyril/Marigold’.

This hilarious new adaptation sets the action in a small parochial town in late 19^th century Britain, where the corrupt local officials mistake an over-privileged, vainglorious liar, who just happens to be passing through the town, for a high-ranking government inspector. Desperate to cover up their crimes and escape censure, the town’s Governor and his cronies pull out all the stops to try and bribe this dishonest buffoon with money, wine and women.

Martha Howe-Douglas said, “I am delighted to be joining the company of The Government Inspector – my first Theatre role since 2003.”

The Government Inspector has cemented its reputation as one of the greatest comedies in world literature and ensured that wherever a corrupt and hypocritical government is in power, this play finds its way to the stage.

The Government Inspector is adapted and directed by Patrick Myles, with set and costume design by Melanie Jane Brookes, lighting design by Ric Mountjoy, sound design by Jamie Lu, and casting consultancy by Matilda James.

Royal & Derngate Theatre, Northampton – until Saturday 27th April 2024

Review by Amanda Allen

5*****

What a treat! How lucky are we to have this production in Northampton! If I could give it 6* I would. From the opening, projected story book screen right through to the joyous singalong ending, it was spectacular. Taking an animated film and transferring it to a live stage performance is never an easy thing to do. Thanks to some incredible costumes and set design coupled with fabulous performances by ALL the cast it was done amazingly.

Telling the story of the Ogre Shrek played by Antony Lawrence and his journey to find true love with Princess Fiona played by Joanne Clifton, it followed the original screen story with beautiful, imaginative sets and costumes. Antony peeled back all of the Ogre, Shrek’s, onion like layers showing us the many facets of his character

The set and costume design team lead by Philip Witcomb did a terrific job with so many costumes and costume changes to manage. Many of the actors, in fat suits as well as full make-up, excelled themselves, dancing, singing and acting, all in character. The dancing was exceptional, we expect Joanne Clifton to be a great dancer, befitting her status as a world champion, but I didn’t expect her to be such a great actor and singer as well, She expressed the character of Fiona perfectly. Antony as Shrek must have been exhausted at the end of his performance, being on stage for most of the show again singing, dancing, and displaying all the characteristics expected of our favourite Ogre. My favourite part was when they realised, they had a lot in common with a burping and wind passing competition! Hilarious!

The group dance numbers were executed with great energy and accuracy, In particular the company dancing as Rats and the 3 blind mice set pieces, complete with hats and canes, were performed with great style by the company with fabulous feel-good music to accompany them. The Knights dancing complete with arm and leg chains showed us that good use of props can elevate a performance to a different level The actors portraying the young Shrek and the young Fiona were all outstanding, showing the development of the character’s from childhood to adult hood in a beautifully understated way.

The kingdom of Duloc ruled over by Lord Farqaad (James Gillan) was beautifully imagined, the signposting based on the famous Las Vagas sign was a great detail. For me the standout performance was from Brandon Lee Sears as the Donkey, his connection with the audience, execution of his dance moves, songs and dialogue all whilst in a heavy, furry, donkey costume, complete with big ears and an amazing tail, was exceptional. Everyone was in love with Donkey. He managed to portray the nuances of his character brilliantly throughout the show. The puppetry of the dragon was also brilliantly done, and her songs were sung with great feeling by Cherece Richards who also played the wicked witch.

By the end of the performance everyone was on their feet, smiling, laughing and happy. Judging by the audience reaction this show which is suitable for all ages, is not to be missed.

CASTING ANNOUNCED

LEE MEAD

TO STAR AS ‘EDDIE SOUTHER’

ALONGSIDE

ALEXANDRA BURKE

AS ‘DELORIS VAN CARTIER’

RUTH JONES

EXTENDS RUN AS ‘MOTHER SUPERIOR’

LEMAR, ALISON JIEAR

AND CARL MULLANEY

ALSO EXTEND

IN THE

AWARD-WINNING

PRODUCTION OF 

AT THE DOMINION THEATRE

The producers of the award-winning production of SISTER ACT THE MUSICAL are delighted to announce that stage and screen talent Lee Mead will star as Eddie Souther from Monday 10 June 2024. Following her acclaimed return to London’s West End, Ruth Jones will now also extend her run as Mother Superior until Saturday 3 August 2024.

Also extending in their roles will be Lemar as Curtis Jackson, Alison Jiear as Sister Mary Patrick, and Carl Mullaney as Monsignor O’Hara. They join the previously announced Alexandra Burke as Deloris Van Cartier, Lesley Joseph as Sister Mary Lazarus and Lizzie Bea as Sister Mary Robert.

Ruth Jones said, “I’m having a crackin’ time playing Mother Superior and am not ready to hang up my habit just yet! It’s such a pleasure to be part of this uplifting production, and to see the joy it brings our audiences night after night. And I’m looking forward to welcoming Alexandra and Lee to the convent so that they can be part of it too!’

Lee Mead said, “I’m beyond thrilled to be taking over the role of ‘Eddie’ in this wonderful show with such a talented cast! I can remember first seeing the show back in 2009 at the Palladium and thinking how much fun it was. Summer 2024 looks like it’s going to be an exciting one!”

Lesley Joseph will take over the role of Mother Superior from Monday 5 to Saturday 31 August 2024.

The company is completed by Caroline Bateson, Natalia Brown, Damian Buhagiar, Tricia Deighton, Lori Haley Fox, Lauren Hall, Chloe Hopcroft, Tom Hopcroft, Bradley Judge, Claudia Kariuki, Graham MacDuff, Castell Parker, Emma Ralston, Anne Smith, Michael Ward and Jermaine Woods.

The production currently stars Beverley Knight as Deloris Van Cartier and Clive Rowe as Eddie Souther until Saturday 8 June 2024.

Lee Mead won the nations hearts when they voted him their Joseph in BBC1’s Any Dream Will Do. Since then, Lee has gone on to star in the West End in Joseph and the Amazing Technicolor Dreamcoat at the Adelphi Theatre, Legally Blonde at the Savoy Theatre, Wicked at the Victoria Apollo and most recently We Will Rock You at the London Coliseum, as well as touring the UK as Caractacus Potts in Chitty Chitty Bang Bang and Billy Flynn in Chicago. Lee has also appeared on screen establishing himself as a TV favourite on BBC1’s Casualty and Holby City in the role of Lofty, as well as Motherland and The Dumping Ground.

Based on the iconic movie, this sparkling tribute to the universal power of friendship, sisterhood and music tells the hilarious story of the disco diva whose life takes a surprising turn when she witnesses a murder. Under protective custody she is hidden in the one place she won’t be found – a convent! Disguised as a nun and under the suspicious watch of Mother Superior, Deloris helps her fellow sisters find their voices as she unexpectedly rediscovers her own. 

SISTER ACT has direction by Bill Buckhurst, choreography by Alistair David, Set and Costume Design by Morgan Large, Lighting Design by Tim Mitchell, Sound Design by Tom Marshall, Wigs, Hair & Make-Up Design by Sam Cox, Musical Supervision by Stephen Brooker and Musical Direction by Neil MacDonald. Casting is by Stuart Burt. 

SISTER ACT features original music by Tony® and 8-time Oscar® winner Alan Menken(Disney’s Aladdin, Enchanted), lyrics by Glenn Slater, book by Bill and Cheri Steinkellner with additional book material by Douglas Carter Beane. SISTER ACT is produced by Jamie Wilson, Kevin McCollum, Gavin Kalin Productions, Evolution Productions, Stephen C Byrd, The Council, Tulchin Bartner Productions, Tilted, Robbie Wilson, Curve and Willette & Manny Klausner.

Hull New Theatre – until 27th April 2024

Reviewed by Dawn Bennett

5*****

The New Adventures cast brought the Hull New Theatre audience to their feet last night with an epic production of Edward Scissorhands.

I’ve seen quite a lot of New Adventure’s shows but hadn’t managed to see this one and I certainly wasn’t disappointed. It was funny, moving, joyful and beautifully danced. Sir Matthew Bourne is a brilliant choreographer and has the knack of being able to fill all of the stage with action so wherever you are sat or wherever you look something is going on. Lez Brotherston’s gorgeous set and costume design brought the production to life, they were colourful and dramatic but didn’t distract you from the fabulous dancing, they just enhanced it. The music score was from Tim Burton’s Edward Scissorhands film that was composed by Danny Elfman and now with new music and arrangements by Terry Davies, was stunning. The story was adapted for the stage by Caroline Thompson who, along with Tim Burton, wrote the original narrative in the film.

Even with the fantastic pedigree of the people who are involved with and produced this show it wouldn’t come together without the brilliant dancers who are all so talented. Edward Scissorhands played by Hull born Liam Mower and his ability to project feelings of humour, fear and love just through dance and without saying a word is breathtaking … what a talent he is. The Boggs family, who take in Edward, were hilarious and really stood out, from Edwards love interest Kim Boggs (Jade Copas) Bill Boggs (Dominic North) Peg Boggs (Sophia Hurdley) to Kevin Boggs (Xavier Andriambolanoro Sotiya, New Adventures Emerging Artist of 2023).

New Adventures never fails to deliver top quality productions, they are always thought provoking and Edward Scissorhands with its story of friendship, diversity and hope is no exception. It is really one not be missed.