NEW CAST JOIN MRS. DOUBTFIRE AS THE HIT SHOW ENTERS ITS SECOND YEAR IN THE WEST END

SHAFTESBURY THEATRE, LONDON
www.mrsdoubtfiremusical.co.uk

Rehearsals begin today for new cast members who will be joining Mrs. Doubtfire on stage, as the hit family musical enters its second year in the West End.

The cast of Mrs. Doubtfire will continue to include Gabriel Vick (Avenue Q) as Daniel Hillard, Laura Tebbutt (School of Rock) as Miranda Hillard, Cameron Blakely (Newsies) as Frank Hillard, Marcus Collins (Kinky Boots) as Andre, and Micha Richardson (Come From Away) who will now play Wanda Sellner.

From Tuesday 14 May 2024, they will be joined by Charlotte Fleming making her West End debut as Lydia Hillard, Matthew Goodgame (Chicago) as Stuart Dunmire, and Ross Dawes (The Phantom of the Opera) as Mr. Jolly.

The full cast, some of whom are joining on 14 May, include Michael Afemaré, Alex Bowen, Nicole Carlisle, Joshua Dever, Joseph Dockree, Autumn Draper, Maria Garrett, Cristina Hoey, Peter Houston, Jodie Knight, Ryan Lay, Adam Lyons, Lisa Mathieson, Ellie Mitchell, Perry O’Dea, Rhys Owen, Bleu Woodward, and Tom Woollaston.

Mrs. Doubtfire also introduces Thommy Bailey Vine, Herbie Byers, and Parker Newman who alternate the role of Christopher Hillard and Rachelle Bonfield-Bell, Ellemie Shivers, and Felicity Walton who alternate the role of Natalie Hillard.

A hilarious and heartfelt story about holding onto your loved ones against all odds, Mrs. Doubtfire is the musical comedy we need right now.

Out-of-work actor Daniel will do anything for his kids. After losing custody in a messy divorce, he creates the ​alter ego of Scottish nanny Euphegenia Doubtfire in a desperate attempt to stay in their lives. As his new character takes on a life of its own, Mrs. Doubtfire teaches Daniel more than he bargained for about how to be a father.

Mrs. Doubtfire has been created by a transatlantic team of award-winning artists, with Original Music and Lyrics by Wayne Kirkpatrick and Karey Kirkpatrick, and a Book by Karey Kirkpatrick and John O’Farrell (team behind the hit Tony Award-nominated musical Something Rotten!). Direction is by 4-time Tony winner Jerry Zaks (Hello, Dolly!), Choreography by Lorin Latarro (Waitress), and Music Supervision, Arrangements & Orchestrations by Ethan Popp (Tina: The Tina Turner Musical). Scenic design is by David Korins (Hamilton), Costume Design by Catherine Zuber (Moulin Rouge! The Musical), Lighting Design by Philip S. Rosenberg (Pretty Woman The Musical), Sound Design by Brian Ronan (Beautiful: The Carole King Musical), Hair Design by David Brian Brown (Frozen), Casting by Stuart Burt (Cabaret) and Children’s Casting Director is Verity Naughton.

Mrs. Doubtfire is produced by Kevin McCollum and Jamie Wilson and is presented by special arrangement with Buena Vista Theatrical.  

AMBASSADOR THEATRE GROUP BECOMES ATG ENTERTAINMENT,

UNDERPINNED BY A NEW PROPOSITION: “PASSION BEHIND PERFORMANCE”

LONDON, NEW YORK AND COLOGNE – 15TH APRIL 2024 – Ambassador Theatre Group (“ATG”), a leading live entertainment organisation, today announced that it is rebranding as ATG Entertainment. The transformation is accompanied by a refreshed logo, design language and brand proposition: “Passion Behind Performance”.

“Now is the right time to change our name to ATG Entertainment, modernise our look and strengthen our brand proposition,” said Ted Stimpson, CEO of ATG Entertainment. “Over the past few years, we have grown quickly and, with 64 venues and over 11,500 people across Europe and North America, we are pleased to unify the Group with a brand that reflects the breadth of our business today. We are all deeply committed to supporting our Producers as they put on incredible productions that excite, move and touch our audiences and I believe this is perfectly captured with our new brand proposition, “Passion Behind Performance.”

The new name, refreshed logo and design language reflect the Company’s evolution from theatre operator and capture the increasing variety of its content across music, comedy and events. The brand proposition, “Passion Behind Performance”, powerfully underscores the Group’s ongoing purpose, commitment, and dedication to support and enable producers and promoters to stage shows that entertain over 18 million people each year.

Stimpson added: “We are proud of our strong heritage and foundations that have been built over 30 years. The shows created with our producers for theatregoers by the Jujamcyn team on Broadway, and the unforgettable entertainment brought by Mehr-BB to our European audiences, have been transformational to the One Company we are today.”

Winners announced for Olivier Awards 2024 with Mastercard

• Sunset Boulevard is the big winner of the night with seven wins including both Best Actor and Actress in a Musical for its leading duo Tom Francis and Nicole Scherzinger. Jamie Lloyd wins the Sir Peter Hall Award for Best Director and the show also wins Best Musical Revival. Jack Knowles wins the White Light Award for Best Lighting Design; Alan Williams wins the Outstanding Musical Contribution Award for his musical supervision and musical direction and Adam Fisher wins the d&b audiotechnik Award for Best Sound Design 
• The National Theatre closed the awards ceremony with a special performance to mark its 60th Anniversary. The theatre won three awards: The Londoner Award for Best New Play for James Graham’s Dear England; Best Actor in a Supporting Role for Will Close’s performance in Dear England and Best Actor for Mark Gatiss’ performance in The Motive And The Cue 
• The Picture Of Dorian Gray won both categories within which it was nominated: Sarah Snook’s West End debut performance saw her win the award for Best Actress and Marg Horwell wins the Mithridate Award for Best Costume Design
• Operation Mincemeat wins Mastercard Best New Musical. Jak Malone took home the award for Best Actor in a Supporting Role in a Musical for his role in the same show
• Amy Trigg wins Best Actress in a Supporting Role In a Musical award for her role in The Little Big Things
• Haydn Gwynne was posthumously awarded the Olivier Award for Best Actress in a Supporting Role for When Winston Went to War with The Wireless
• Ceremony highlights to be broadcast tonight on ITV1 at 10:10pm and will be available to stream via BritBox in North America, Canada and Australia

officiallondontheatre.com/olivier-awards

This evening (Sunday 14th April), the Society of London Theatre has revealed the winners of this year’s Olivier Awards with Mastercard. The winners were announced at a star-studded ceremony at London’s Royal Albert Hall, hosted by Hannah Waddingham. A highlights package from the event will be broadcast at 10.10pm this evening on ITV1, and will be available to stream via BritBox in North America, Canada and Australia.

The biggest winner of the night was Sunset Boulevard with seven wins, including both Best Actor and Actress in a Musical for its leading duo Tom Francis and Nicole Scherzinger. Jamie Lloyd won the Sir Peter Hall Award for Best Director and the show also won Best Musical Revival. Jack Knowles took home the White Light Award for Best Lighting Design; Alan Williams won for the Outstanding Musical Contribution award for his musical supervision & musical direction and Adam Fisher won the d&b audiotechnik Award for Best Sound Design.

Host Hannah Waddingham opened the ceremony with a stunning performance of ‘Anything Goes’ from the musical of the same name, accompanied by musician Joe Stilgoe and the London Community Gospel Choir. Additional performances throughout the evening included Mastercard Best New Musical nominees: The Little Big Things, Next To Normal, Operation Mincemeat and A Strange Loop, alongside Best Musical Revival nominees Guys & Dolls and Hadestown and winner Sunset Boulevard, in addition to a special moment from Groundhog Day Australia. 

Mastercard Best New Musical was awarded to Operation Mincemeat, with music, lyrics & book by David Cumming, Felix Hagan, Natasha Hodgson & Zoë Roberts at the Fortune Theatre. It was a fiercely competitive category this year – a testament to the strength and creativity of London’s ever-evolving musical theatre scene. Playing Hester in Operation Mincemeat, Jak Malone took home the award for Best Actor in a Supporting Role In a Musical.

The coveted Olivier Awards for Best Actor and Best Actress went to Mark Gatiss for his role in The Motive And The Cue and Sarah Snook for her West End debut performance in The Picture Of Dorian Gray. 

Amy Trigg won the Best Actress in a Supporting Role In a Musical award for her role as Agnes in The Little Big Things at @sohoplace and the Cunard Best Revival award went to Vanya by Anton Chekhov, adapted by Simon Stephens at the Duke Of York’s Theatre.

Last year’s Special Award winner, Arlene Phillips returned to accept the Gillian Lynne Award for Best Theatre Choreographer alongside James Cousins for Guys & Dolls at the Bridge Theatre. 

Stranger Things: The First Shadow by Kate Trefry at the Phoenix Theatre won two awards: the Noël Coward Award for Best New Entertainment or Comedy Play and the Blue-i Theatre Technology Award for Best Set Design went to Miriam Buether for set design & 59 Productions for video design.

The Bush Theatre’s Sleepova by Matilda Feyiṣayọ won the Unusual Rigging Award for Outstanding Achievement in Affiliate Theatre and the TAIT Award for Best New Opera Production went to Innocence by the Royal Opera at the Royal Opera House. The Outstanding Achievement in Dance went to Isabela Coracy for her performance in NINA: By Whatever Means, part of Cassa Pancho’s Ballet Black: Pioneers at the Barbican Theatre. The award for Best New Dance Production went to La Ruta by Gabriela Carrizo, part of Nederlands Dans Theater – NDT 1 at Sadler’s Wells. In his final year in the role, Antonio Pappano won the Outstanding Achievement in Opera award for his role as Music Director of the Royal Opera House. 

The Best Family Show winner was Dinosaur World Live by Derek Bond at Regent’s Park Open Air Theatre.

This year’s In Memoriam segment paid tribute to some of the industry titans we have lost this year from both on and off stage, including Haydn Gwynne, who was posthumously celebrated as she won the Olivier Award for Best Actress in a Supporting Role for When Winston Went to War with The Wireless. Her children accepted the award in her honour and gave a touching tribute to Gwynne as a formidable and revered artist as well as a much loved mother.

The National Theatre closed the awards ceremony with a special performance to mark its 60^th anniversary. Written by James Graham with direction by Elin Schofield, the performance saw Joseph Fiennes reprise his role as Gareth Southgate in Dear England, which won The Londoner Award for Best New Play, to lead an ensemble cast including Janie Dee, Adrian Lester, Meera Syal, Callum Scott Howells and Fra Fee alongside a choir of 30 National Theatre alumni performers. Showcasing the scale of the National Theatre’s contribution to the arts, including a film marking the creation and development of the NT’s South Bank home voiced by Dame Helen Mirren, the performance culminated with a rousing rendition of ‘You’ll Never Walk Alone’ from the musical Carousel. 

Eleanor Lloyd, President of SOLT said: “The Olivier Awards have once again showcased the best of London theatre and the huge talent of this incredible sector. Congratulations to all of the worthy winners and every nominee for your immense and valued contribution.”

The Olivier Awards continued their partnership with Mastercard as headline sponsor for its 14th year. 

Charlie Carrington, Senior Vice President, Marketing and Communications for UK and Ireland at Mastercard said: “We are delighted to partner once again with the Olivier Awards to celebrate the best talent and performances London theatre has to offer. Mastercard continues to work closely with the creative industries, supporting inclusivity and championing all those performing on stage and behind the scenes, whilst bringing fans closer to their passion for theatre. Congratulations to all of tonight’s winners and we look forward to another wonderful year of theatre ahead.” 

Mastercard cardholders were offered exclusive access to tickets and VIP experiences for the biggest night in theatre. More once-in-a-lifetime theatre experiences can be found on priceless.com.

Clothing partner Mithridate sponsored the award for Best Costume Design, which was won by Marg Horwell for The Picture Of Dorian Gray. They also generously dressed a number of attending nominees, presenters and VIP guests, including David Tennant, Fra Fee, Madeleine Mantock, Georgina Onuorah and John McCrea.

The Olivier Awards are grateful to additional category sponsors Cunard, The Londoner, The Lynne & Land Foundation, The Noel Coward Foundation, as well as production partners Blue-I Theatre Technology, d&b audiotechnik, TAIT, Unusual Rigging and White Light, Champagne partner Taittinger, and additional partners Global, Heart of London Business Alliance, Newman Displays, See Tickets, Mobile Entertainment Platform partner TikTok and Fujifilm for their ongoing support. 

Olivier Awards 2024 with Mastercard Photos (c) Joanne Davidson

Forum Theatre, Malvern – 12th April 2024

Reviewed by Courie Amado Juneau

4****

Mozart’s Great Mass in C minor stands in the shadow of its more famous sibling, the Requiem. This work doesn’t perhaps get the recognition and adulation it deserves but tonight, in Malvern, we got to experience its majesty and power in person. Mozart wrote it in gratitude for his wife recovering from illness and to me it has a rather romantic tinge to it – or perhaps a more earthly heartfelt air than many an austere and sober church setting might elicit.

Soprano Hannah Fraser-Mackenzie, gave us our first hairs up on the back of the neck moment with a truly heavenly, soaring Christe Eleison. The other soprano soloist, Sam Cobb, was equally impressive. But honestly, as the works progressed, all the soloists were sublime, each and every one of them with the most mellifluous and sonorous of voices.

The second half gave us Bach’s Magnificat in D. As one would expect with Bach there’s a logic to the piece with some lovely symmetry between the sections – building up the tension towards the louder movements, only to release it and repeat this structure again. His employment of more sparse instrumentation and soloists to portray personal suffering and larger forces for such movements as He Shows Strength also displayed what a genius composer he was. This all results in an impressive operatic effect that’s all the more powerful than if the full forces were deployed throughout.

The Mozart was superb, the Bach superber (I know, but I was feeling jocular so it seemed an apt word). Generally speaking I’m not the biggest fan of Johann Sebastian’s music – almost certainly due to having been tortured by one of his lute transcriptions for my Grade 8 Classical Guitar exam many moons past. But this piece has turned my head; it’s dramatic yet light and frothy, unified yet varied, grand yet intimate.

The orchestra was on fine form as always and truly magnificent sounding – especially the enlarged brass, timpani and increased strings. But, for all that, I was tickled pink by the sections featuring just the continuo and singer(s) as you could really hear the fabulous organ playing and, especially, when the oboe and 2 flutes played on their own – what a beautiful combination and playing!

Sonically the evening was a triumph. As before, however, I feel like the text as presented in the programme could be much clearer. The Great Mass text was especially bad – it was for the most part just a massive wall of words which made following it (for those of us who don’t speak Latin) in the dimly lit auditorium a real challenge. The addition of some judicious use of spaces in the text for the Gloria and Credo would have solved this problem. For some this won’t be a big thing but I like to understand how the music is supporting the words (and vice versa).

The Armonico Consort under the expert hand (no baton) of Christopher Monks gave us another evening of sparkling entertainment and I cannot wait for their return in June with The Fairy Queen. World class entertainment once again.

Grand Opera House, York – until Saturday 20th April 2024

Reviewed by Aimee Forsyth

5*****

Andrew Lloyd Webber and Tim Rice’s take on the story of Joseph and his ‘coat of many colours’ is gracing our stages again! This well-known and well-loved production is brought to life with energy and pizzazz by York Stage and The Really Useful Group Ltd. through an array of talent, imaginative staging and lighting and gorgeous colourful and glittering costumes. There is a joy and campness that would lift anyone’s spirits with an end of show climax complete with audience dancing, singing and confetti.

The show opens with the breathtakingly talented Hannah Shaw who plays the omnipresent narrator who ties the story together seamlessly. With an excitable and engaging energy, she draws the audience in with her animated facial expressions and outstanding singing voice. Hannah is accompanied by a troupe of equally gifted co-stars including Reuben Khan who plays the role of Joseph with strength and vigour. These two are only examples of the amazing talent that is displayed in this production – Jacob’s 11 other sons all work fantastically together as masters of comedy and the Wives/Ensemble are equally as talented in their trio of skills of acting, singing and dancing. Verity Carr is particularly engaging and when she is on stage, you will find yourself drawn to her due to her zest and enthusiasm.

Of course, the audience is always waiting for the most iconic number ‘Any Dream Will Do’ and Reuben Khan certainly does not disappoint in his rendition of this acclaimed song. That being said, the band of brothers put up some stiff competition to steal the limelight with their take on ‘Those Canaan Days’ which showcases the chemistry of the actors and their multifaceted talent. Another favourite has to be ‘Benjamin Calypso’ which is led by Cyanne Unamba-Oparah who plays the role of Judah. This song is in the traditional song style of Trinidad and brings about the feel-good vibes of the Caribbean.

This production will have you singing along to the classics and dancing throughout. ‘Joseph and the Amazing Technicolor Dreamcoat’ is a timeless classic and York Stage and The Really Useful Group Ltd. certainly do it justice

DUE TO OVERWHELMING DEMAND

ROB MADGE’S

REGARDS TO BROADWAY

ADDS A SECOND SHOW AT THE GARRICK THEATRE

NOW PLAYING 2.30PM & 7.30PM ON SUNDAY 26 MAY 2024

Due to overwhelming public demand, award-winning actor and writer Rob Madge will now play two performances of their brand-new show ROB MADGE’S REGARDS TO BROADWAY at the Garrick Theatre in London – at 2.30pm and 7.30pm on Sunday 26 May.

“It’s two weeks before I’m due to make my Broadway debut. I’m midway through packing my suitcase, putting my passport in its cute little holder from Dunelm (maybe after New York I’ll be able to afford a John Lewis one) and I receive a phone call. “Hey Mr Producer!” I sing in the style of Andrea McArdle. I then see my agent is also on the line. I know what it is. They want Jinkx Monsoon to play me on matinees to get a few more bums on seats but I have told them, she can’t do a Brummie accent.

“Rob”, I hear, “We are going to have to postpone”. White noise. Like that sound effect when someone gets diagnosed with an illness on Coronation Street. My legs give way and I fall onto the bed (cos I’m dramatic like that). I look at the open suitcase, resigning myself to the fact I will never get my John Lewis passport holder. Four in a Bed’s on the telly.

In the space of one phone call, I’ve gone from potential Broadway star and Tony Award winner to unassuming armchair critic of Seaside Shores B&B.”

When Rob was 12 they used to put on shows in the living room. When Rob was 26 their show about putting on shows in the living room was meant to transfer to Broadway. When Rob was 27 this Broadway transfer got postponed. Join Rob as they return to their family home in the Midlands and experience the greatest humbling of their life. “They’ve come home at last” – Nicole Scherzinger, 2023.

ROB MADGE’S REGARDS TO BROADWAY is accompanied by Pippa Cleary. The show is produced by Lambert Jackson.

Rob is a theatre maker, writer, and actor.

Rob’s one-person show My Son’s A Queer (But What Can You Do?) had sell-out runs at the Turbine Theatre, Edinburgh Festival, Garrick Theatre and The Ambassadors in the West End. It won WhatsOnStage, Attitude and Stage Debut Awards and received an Olivier nomination for Best Entertainment or Comedy Play.

Other theatre credits include Tink in Peter Pan and Pat the Cow in Jack and The Beanstalk (London Palladium), Millennials (The Other Palace), Bedknobs and Broomsticks (World Premiere – UK Tour) and Les Miserables (UK Tour).

Rob was named one of The Stage’s Rising Stars for 2024.

TICKETS: https://nimaxtheatres.com/shows/rob-madges-regards-to-broadway/

Insta: robmadge02

X: rob_madge_02

TikTok: rob_madge_

Instagram and Facebook: @lambertjacksonproductions

Twitter: @ljprods

Soho Theatre (Downstairs), London – until 20 April 2024

Reviewed by Emily Smith

4****

Spencer Jones, perhaps best known for his roles in Upstart Crow, Mr Winner or The Mind of Herbert Clunkerdunk, has just opened his new show ‘Spencer Jones: Making Friends’ at London’s Soho Theatre. The show started with Spencer asking the audience who had seen him before, to a cheer of around half the room. When he then asked who hadn’t, the other half cheered (myself included), and he stated “Ah, some of this might not be for you… but either way, you’ll have a story” – and a story I have indeed…

It’s hard to quite articulate what happened during the show because, frankly, I’m not entirely sure myself. There were songs, masks, carboard cut-outs, and a variety of home-made props, all used to tell the story of how Spencer and his family moved to Devon during the COVID lockdown. For me, this thread running through the show really was a thin thread, unravelling as much as Spencer seemed to be! It was certainly something to witness and left most of the audience feeling as though they’d stepped into a fever dream – but not necessarily in a bad way!

The real ingenuity in the performance came in the use of the loop medal for the songs. My personal favourite was based on the surplus of eggs that his chickens produced in Devon. This is probably because my own aunt and uncle moved to Devon and I have experienced first-hand the flogging of extra eggs and witnessed the industrial sized jars of pickled eggs! To this effect, I’d call him the Ed Sheeran of comedy. He is incredibly talented in producing these songs on-stage, while keeping the audience on the journey with him, and I almost wish more of the act had focussed on these rather than the GCSE art projects he so proudly presented to the audience throughout. In his own words… “you can’t pay the mortgage with that” and I have to agree.

There were some issues with the microphones throughout, which detracted at times and appeared to be somewhat irritating to Spencer too, but what can you expect when you’re constantly poking your head through cardboard cutouts and donning obscure masks!?

Spencer’s energy, albeit frantic, was infectious. It was a case of surrendering to the experience and riding the wave. Personally, I came out a bit scrambled – much like the surplus of eggs he had sung about – but overall had an enjoyable evening!

Forum Theatre, Malvern – 11th April 2024

Reviewed by Courie Amado Juneau

5*****

I’d never experienced the Dudok Quartet Amsterdam before so didn’t know what a treat I’d been missing. After tonight’s thrilling concert I now know and will try not to miss them ever again.

The introductions were informative, genuinely interesting and humorous and added enormously to the evening. Through them we learnt about the instruments being used and also lots of background on the artists and selected works. We also discovered the group’s immense humour and mission.

First up, Mozart’s last String Quartet No.23 in F (1790) giving the Dudok’s the opportunity to wow us with their crisp phrasing through the work’s flowing melismatic lines coupled with tight tutti chords! The gorgeous second movement really stood out as did the final movement’s gravity defying semiquaver runs. The quartet’s reading favoured, I felt, the Romantic side (rather than the Classical) and was a revelation as it gave the piece a lushness and space to breathe, shedding new light on this popular work.

Watching the quartet’s attentiveness to each other was a masterclass in chamber ensemble playing. It was a revelation to see how the band engaged with the audience, often directly facing us and making eye contact meaning we felt as much a part of this intimate musical dialogue as they were. It wasn’t just us watching the band, it was everyone in the room being fully immersed and engrossed in the music.

The second work brought us right up to date with Joey Roukens “What Remains” (2019). The title of the first movement, “Strange Oscillations”, was a perfect description with beautiful minimalist architecture and some lovely crunchy chords. The quartet stayed laser focused through the myriad of techniques demanded upon them. A quiet intensity suffuses this work, ranging from spine tingling, almost imperceptible notes to ethereal glissandi evoking glacial landslides. I found the slow movement rather effecting, with some delicious ghostly effects. A lovely contrast with the other pieces in the programme and a very welcome addition – especially when we were told that tonight was the works English premiere!

After the interval we had one heavyweight piece; Tchaikovsky’s String Quartet No.3 in E flat minor (1876). A serious work with gravitas and a very emotional core – especially in the funereal third movement as it was written in memory of the composer’s lost friend. But the moment that blew me away was hearing the first bars of the second movement where the melody is spread across the players from first violin to second violin (Judith van Driel and Marleen Wester respectively) to viola (Marie-Louise de Jong) and cello (David Faber) – the timing was sheer perfection; it was worth coming just for those few bars alone!

Rapturous ovations were rewarded with an extra piece: Tchaikovsky’s “March” from The Seasons in a fabulous transcription by cellist David. And that wasn’t all – we were given freebies and got to thank the group in person!

A sensational evening of classical masterpieces old and new played by a vivacious, thoroughly engaging quartet on sparkling form, it was everything wonderful about String Quartets and music in general. The quartet’s flawless playing was a joy to behold. I can’t wait for the next Malvern concert and (hopefully) the rapid return of the Dudok Quartet.

WRITTEN BY LAURENCE O’KEEFE & KEVIN MURPHY

KICKS OFF ITS THIRD NATIONAL TOUR @sohoplace
FOR SIX WEEKS ONLY

WINNER OF

BEST NEW MUSICAL

WHATSONSTAGE AWARDS

****

Daily Telegraph, The Independent, Metro, Daily Express, Daily Mail,

The Stage, Attitude, Sunday Express, The Arts Desk, Broadway World

*****

The New European, City AM

Class has moved to @sohoplace from 22 May to 6 July for Heathers the Musical.

Following a smash hit West End run at the Theatre Royal Haymarket in 2018, two national tours and record-breaking runs at London’s The Other Palace, the WhatsOnStage ‘BEST NEW MUSICAL’ winner, the beloved musical will be back in the West End for only six weeks before embarking on its third tour from 24 July at the Theatre Royal Windsor.

Experience Heathers the Musical differently – reallyup close and personal @sohoplace, the West End’s newest theatre…how very!

Produced by Bill Kenwright Ltd and Paul Taylor-Mills, this high octane, black comedy, rock musical based on one of the greatest cult teen films of all-time that starred Winona Ryder and Christian Slater, is back with a bang!

The 2024 Class of Westerberg High will be announced shortly.

Greetings and salutations! Welcome to Westerberg High, where popularity is a matter of life and death, and Veronica Sawyer is just another of the nobodies dreaming of a better day.

But when she’s unexpectedly taken under the wings of the three beautiful and impossibly cruel Heathers, her dreams of popularity finally start to come true.

That is until JD, the mysterious teen rebel, turns up and teaches her that it might kill to be a nobody, but it’s murder being a somebody.

The award-winning writing team, Laurence O’Keefe and Kevin Murphy’s hit musical adaptation has enjoyed successful runs in Los Angeles and New York, and its European premiere saw it become the highest grossing show at The Other Palace, having sold over 20,000 tickets across the initial run and selling-out prior to its opening gala performance. It had similar success transferring to the Theatre Royal Haymarket. The show then broke records again back at its original home, The Other Palace, as the longest running show in the venue’s history.

The musical is directed by acclaimed American screen and stage director Andy Fickman, with choreography by Gary Lloyd, design by David Shields, lighting by Ben Cracknell and sound by Dan Samson.

LISTINGS

BILL KENWRIGHT & PAUL TAYLOR-MILLS PRESENT

HEATHERS THE MUSICAL

@sohoplace
22 MAY – 6 JULY 2024
Book, Music and Lyrics Kevin Murphy & Laurence O’Keefe

Based on a film by Daniel Waters

Directed by Andy Fickman

Choreography and Associate Director Gary Lloyd

Design by David Shields

Lighting by Ben Cracknell

Sound by Dan Samson

Musical Director Will Joy

Gala Night: Tuesday 28 May

Age Recommendation: 14 years+

Address: Soho Place, 4 Soho Pl, Charing Cross Rd, London W1D 3BG

Box Office: 0330 333 5961

Ticket Prices: From £25

Performance Schedule:          Monday – Thursday 7.30pm

             Friday 5pm & 8.30pm

             Saturday 2.30pm & 7.30pm

Half Term Performance Schedule – Monday 27 May – Saturday 1 June:

                                                Monday 27 May          No performance

                                                Tuesday 28 May          2.30pm & 7.30pm

                                                Wednesday 29 May    7.30pm

                                                Thursday 30 May        2.30pm & 7.30pm

                                                Friday 31 May             7.30pm

                                                Saturday 1 June          2.30pm & 7.30pm

Riverside Studios – until 21^st April 2024

Reviewed by Heather Chalkley

4****

Talented playwright Aaron Thakar has his debut with this current and thought provoking play about AI. You are drawn in by the human relationships, the humour that brings with it, and the concept of AI potentially becoming a relationship guidance service within your very home.

Leslie Ash (Pippa) is a believable character that will resonate with many single women of a certain age. Paul Giddings (Martin) blends with Ash (Pippa) in a way that only couples that have been together for a long time can, despite being divorced. The comfortable body language and inevitable arguments are cleverly written and directed. Jake Mavis (Noah) delivers perfectly timed shallowness and depth to his character, surprising us all by his youthful insight. Ella Jarvis (Ellie) his girlfriend, together bringing the most laughs. Jarvis (Ellie) is intense and emotional, creating a great drunken scene that lays bare all her feelings of inadequacy, that so many people will relate too. It gets hilariously ugly! The dependency that Ash (Aaron Thakar) has on the AI advisor Agape (Katherine Moran), is a great vehicle for expressing his feelings of inadequacy and uncertainty in his relationship with Lilah (Destiny Mayers). Mayers (Lilah) is strong in her stage debut as a successful career woman that struggles with Ash’s dependence on Agape. The key take away is they are all human with very human emotions, that need a critical friend in times of crisis, however small.

The central character is Agape (Moran). Sitting centre stage in their homes, looking like any innocent virtual assistant. Smooth talking with an uncomfortable level of intrusion into their lives that is accepted immediately by the characters. The play revolves around the impact that it has on the relationship dynamics. Perhaps it goes a little too far. Perhaps this is the future. This plausible development of AI is cleverly conceived and comes with a warning.  It raises the question, do we need AI to repair every relationship? Perhaps some are better broken. 

Aaron Thaker (writer) and Ella Jarvis (producer) teamed up with Director Hannah Mcleod, make an impactful team with a bright future ahead of them.