Cast of Kinky Boots meet Dudley’s school boy Drag Queen, Athena Heart
Athena Heart (centre) with the cast of Kinky Boots – Credit: Simon Hadley
The cast of Kinky Boots at Birmingham Hippodrome had a big welcome waiting for Dudley’s school boy Drag Queen, Athena Heart when she visited the production this week.
Last year, 14 year old Lewis Bailey, who performs as Athena Heart, was told by Castle High School and Visual Arts College in Dudley that he was not permitted to perform his drag act in the end-of-year talent show the day before it was to go ahead. The school cited that they thought the act was ‘not appropriate’ due to Lewis’s age. However, despite not being able to perform his act, Lewis still chose to attend that day’s non-school uniform day in drag as Athena.
Promoting the message of “just be who you want to be”, the cast welcomed Athena with open arms and words of encouragement as she headed backstage after watching the multi-award-winning production.
Currently playing at Birmingham Hippodrome until 23 March, Kinky Boots tells the story of Charlie Price, a young man struggling to live up to his father’s expectations and continue the family business of Price & Son. With the shoe factory’s future hanging in the balance, help arrives in the unlikely but spectacular form of Lola – a fabulous performer in need of some sturdy new stilettos.
Kinky Boots was nominated for 7 Olivier Awards during its West End run and won the award for ‘Best New Musical’. The production has now won every major Best Musical award across the globe and was seen by over 1.4 million people during its time in London alone.
Kinky Boots runs at Birmingham Hippodrome until Sat 23 March. To book tickets visit birminghamhippodrome.com or call 0844 338 5000 (4.5p per minute plus your phone company’s access charge).
NEW CHILDREN’S CASTING ANNOUNCED FOR THE ROYAL SHAKESPEARE COMPANY’S MATILDA THE MUSICAL
HANNAH SELK AND ZOE SIMON JOIN ISOBEL HUBBLE AND FRANCESCA MCKEOWN IN THE TITLE ROLE FROM 19 MARCH 2019
The Royal Shakespeare Company’s West End production of Matilda The Musical has announced that Hannah Selk and Zoe Simon will join Isobel Hubble and Francesca McKeown in the title role of Matilda from 19 March 2019.
To mark the arrival of the new children’s cast, a video has been released today of the four young actresses that share the role of Matilda sampling Marcus Wareing’s new Matilda The Musical inspired menu at Tredwells restaurant.
Seen by over 9 million people across more than 70 cities worldwide, the multi award-winning production is currently playing its eighth year in London, booking at the Cambridge Theatre until 24 May 2020.
Winner of 94 international awards including 23 for Best Musical, the hit show is now the longest running production to play at the Cambridge Theatre and is one of the top twenty longest running musicals in the West End having now welcomed over 3 million audience members in London.
The RSC’s Matilda The Musical UK and Ireland tour is currently in Bradford where it’ll play until 23 March before touring to Edinburgh Playhouse (2 – 27 April), Bristol Hippodrome (7 May- 8 June), Southampton Mayflower (11 June – 6 July) and Norwich Theatre Royal (16 July – 17 August).
The other young performers announced today join the London company in the three teams who play the roles of Bruce, Lavender, Amanda and the rest of the pupils at Crunchem Hall and are as follows:William Biletsky, Jaden Campbell, Lottie Cook, Toby Cohen, Lucia Coleman, Leonardo Dickens, Ta’niyah Fearon-Telfer, Skye Hastie, Elliot Kelly, Angelina Li, Alexander Morrell, Sophie Richards, Ava Sawford, Bella Simmons, Cameron Sutherland, Mia White and Isaac Wiles.
Toby Brandon, Tom Brown, Imogen Darwen, Darmani Eboji, Jimmy Fordham Reed, Archie Lewis, Sadie Victoria Lim and Rochelle Wyatt will continue in the roles of Bruce, Lavender, Amanda and the pupils at Crunchem Hall.
The new cast will join the current adult company which includes Hayden Tee as Miss Trunchbull,Gina Beck as Miss Honey, Rob Compton as Mr Wormwood and until 27 March Holly Dale Spencer as Mrs Wormwood. Marianne Benedict will then return to the role of Mrs Wormwood from 28 March.
The full adult cast includes Alex Louize Bird, Gina Beck, Marianne Benedict,Rob Compton, Holly Dale Spencer, Jaye Elster, Glen Facey, Alex Hammond, Peter Houston, Jessica Joslin, Bethany Kate, Sammy Kelly, Ben Kerr, Bryan Mottram, Malinda Parris, James Revell, Gemma Scholes, Simon Shorten, Hayden Tee, Callum Train and Robert Tregoning.
Matilda The Musical is written by Dennis Kelly, with music and lyrics by Tim Minchin, and direction by Matthew Warchus. The production is designed by Rob Howell, with choreography byPeter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and the special effects and illusions are by PaulKieve.
Inspired by the incomparable Roald Dahl’s beloved book, Matilda The Musical was commissioned by the Royal Shakespeare Company and premiered at the RSC’s Stratford-upon-Avon home in November 2010, before transferring to London’s West End in October 2011, where it opened to rave reviews. The New York production of Matilda The Musical opened in April 2013 at Broadway’s Shubert Theatre and was celebrated on 10 “Top Ten” lists for 2013, including TIME Magazine’s #1 Show of the Year.
Matilda The Musical swept the board at the 2012 Olivier Awards, with a record-breaking seven awards, and won four Tony Awards and a Tony Honor for Excellence in the Theater for the four girls sharing the title role on Broadway.
The Australian and New Zealand production won a Sydney Theatre Award for Best Musical in 2015, and played sold-out seasons in Melbourne, Brisbane, Perth, Adelaide and Auckland. The show broke further records in July 2016 by winning all 13 Helpmann Awards for which it was nominated. Matilda The Musical played its first non-English language production at the LG Arts Centre in Seoul, South Korea from September 2018 to February 2019.
Matilda The Musical is produced by the Royal Shakespeare Company with André Ptaszynski and Denise Wood as Executive Producers. The production was developed with the support of Jeanie O’Hare and the RSC Literary Department.
LISTINGS INFORMATION
MATILDA THE MUSICAL Cambridge Theatre Earlham Street London WC2H 9HU
Book by Stephan Elliott and Allan Scott Directed by Paul Kerryson
Joe McFadden (Tick/Mitzi), Nick Hayes (Adam/Felicia) and Miles Western (Bernadette). Photo credit Darren Bell
PRODUCERS MARK GOUCHER AND JASON DONOVAN ANNOUNCE EXTENSION THROUGH TO SPRING 2020
JOE MCFADDEN TO STAR IN BRAND-NEW PRODUCTION OF THE CULT CLASSIC PRISCILLA, QUEEN OF THE DESERTTHE MUSICAL
PAUL KERRYSON WILL DIRECT THE SHOW WHICH WILL OPEN IN DARTFORD IN SEPTEMBER 2019 AHEAD OF A UK AND IRELAND TOU
Mark Goucher and first-time producer Jason Donovan have today announced that their brand-new production of the much-loved glittering hit musical Priscilla, Queen of the Desert the Musical will extend its UK tour dates through to 2020. The show, which was announced last year, and will star Strictly Come Dancing winner Joe McFadden, will tour the UK and Ireland from September 2019. It marks Donovan’s first time as a producer, having performed in the cast of the original West End production and two subsequent UK tours. The producing team is completed by Gavin Kalin and Matthew Gale. Priscilla, Queen of the Desert the Musical will preview in Dartford from 5 September 2019.
Full casting for the production has also been announced today. Previously announced Joe McFadden will play Tick/Mitzi, Laurence Olivier Award Winner Miles Western will take on the role as Bernadette and Nick Hayes will play Adam/Felicia. They are joined by Daniel Fletcher(Bob), Miranda Wilford (Marion), Kevin Yates (Miss Understanding), Jacqui Sanchez(Cynthia). The Divas will be played by Nikki Bentley, Claudia Kariuki, Rosie Glossop and the cast is completed by Jak Allen-Anderson, Natalie Chua, Emma Crossley, Jordan Cunningham, Martin Harding, Justin-Lee Jones, Nell Martin and Edwin Ray.
The iconic hit musical has more glitter than ever before, featuring a dazzling array of stunning costumes, fabulous feathers and a non-stop parade of dance-floor classics including It’s Raining Men, I Will Survive, I Love The Nightlife, Finally and many more.
Based on the Oscar-winning film, PRISCILLA is the hilarious adventure of three friends who hop aboard a battered old bus bound for Alice Springs to put on the show of a lifetime. Their epic journey is a heart-warming story of self-discovery, sassiness and acceptance.
This brand new production comes from the team behind the critically acclaimed UK tours of Hairspray; with direction by Paul Kerryson, choreography by Tom Jackson-Greaves with designs by Phil R Daniels and Charles Cusick Smith, musical supervision by Stephen ‘Spud’ Murphy, musical direction from Sean Green, lighting design by Ben Cracknell and sound design by Ben Harrison. Casting by David Grindrod Associates.
The Director, Mary Swan, attempts to blend Shakespeare’s Macbeth with the events written in Liar’s Poker by author Michael Lewis, sticking to the original script. Liar’s Poker is based on the events that lead to black Monday on 19th October 1987. Swan is clever in her use of modern references in the old text, particularly with the amount of narcotics used! The physical use of the stripped back set manages to create just enough imagery to know whether you were in the bedroom, on the battlements or in a night club, all of which has a touch of the 80’s.
You have some strong players in the cast, particularly Alexandra Afryea as Lady Macbeth. She has a touch of Grace Jones about her, with added eloquence and emotional intelligence. It is worth seeing the play just for her performance. Danny Charles (Duncan/Macduff/Lennox) also has a clarity in his performance that Shakespeare’s script welcomes. Jessica Andrade (Malcolm, Lady Macduff/Witch/Doctor) and Umar Butt (Banquo/Witch/Ross/attendant) display an impressive range of accents and characters, moving seamlessly between each. Unfortunately, Riz Meedin (Macbeth) is not a believable stock market wise guy or Macbeth. The ruthless greed and passion do not come across in Meedin’s performance. His lines are too often mumbled and trip over themselves. As a whole, the cast needed more rehearsal time to polish their dialogue so that it matched the almost seamless physical performance.
This is an interesting experiment for Proteus, who are known for pushing the boundaries and experimenting. I have to commend them for their ingenuity and having the courage to give it a go.
It was announced today (Friday 15 March 2019) that renowned stage, film and TV performer Peter Polycarpouwill play Don Quixote’s squire, Sancho Panza in Man of the Mancha at the London Coliseum; the first West End production of this multi-Tony award-winning Broadway musical for 50 years.
Polycarpou joins the already announced cast of Kelsey Grammer, Danielle de Niese, Nicholas Lyndhurst and Cassidy Janson in the acclaimed musical which opens at the London Coliseum on 26 April 2019 for a limited six week season and will be performed with the ENO orchestra.
Peter is a leading artist in musical theatre, having appeared in some of this country’s most enduring West End Musicals, in plays, on film and television. His work in musicals includes Les Miserables (on stage and in the film version with Madonna), Fagin in Olivier! and Beadle Bamford in Jonathan Kent’s triple Olivier winning production of Steven Sondheim’s Sweeney Todd at The Adelphi Theatre. On TV he is well known for playing Chris Theodopoulopoudos in five series of the popular BBC1 comedy, Birds of a Feather.
Featuring the iconic song ‘Dream the Impossible Dream’,Man of La Mancha is inspired by Miguel de Cervantes’s masterpiece Don Quixote. It is produced by Michael Linnit and Michael Grade, the same team who brought to the Coliseum the smash hit productions of Sweeney Todd, Sunset Boulevard, Carousel and Chess.
Emmy award winning and Tony nominated actor Kelsey Grammer, best known for playing Dr Frasier Crane in NBC’s hit series Cheers and Frasier will make his West End debut playing Miguel de Cervantes and Don Quixote and the international opera star and soprano Danielle de Niese will share the role of Aldonza and Dulcinea with Cassidy Jonson. Danielle will play the roles in 33 performances and Cassidy in 17.
Nicholas Lyndhurst, best known for his TV work which includes the classic series Only Fools and Horses as well as Goodnight Sweetheart and New Tricks will play the Innkeeper and Governor. His previous stage credits include the Grade/Linnit production of Carousel at The Coliseum and Trevor Nunn’s The Tempest at the Theatre Royal Haymarket.
Opera Soprano Danielle de Niese, who wasdescribed by the New York Times magazine as ‘opera’s coolest soprano’ has performed to audiences world-wide, from the Metropolitan Opera to Covent Garden as well as performing on stage with LL Cool J.
Cassidy Janson played the lead role in the recent production of Chess at the London Coliseum and the lead in the West End production of Beautiful: The Carole King Story. Cassidy is one third of Leading Ladies, a group formed in 2017 with fellow musical stars, Beverly Knight and Amber Riley.
Completing the cast of Man of La Mancha are: Eugene McCoy (Dr Carrasco/The Duke), Lucy St Louis(Antonia), Natasha Leaver (Fermina), Debra Michaels (Maria), Julie Jupp (Housekeeper), Minal Patel (Padre),Emanuel Alba (Barber), Rakesh Boury (Muleteer), Stephen John Davies (Muleteer), Paul F Monaghan(Muleteer), Ryan Pidgen (Muleteer), David Seadon-Young (Muleteer/Pedro), Samuel Thomas (Muleteer),Teddy Wills (Muleteer), Femi Akinfolarin (Muleteer), Tim Hodges (Ensemble), Luke Jackson (Ensemble),Dominic Owen (Ensemble), Joseph Poulson (Ensemble), Jocelyn Prah (Ensemble), Anna Woodside (Ensemble),Tash Holway (Swing), Helen Walsh (Swing), Luke McCall (Swing) and Alex Pinder (Swing).
Man of La Mancha will be directed by Lonny Price, who directed Linnit and Grade’s acclaimed London production of Sunset Boulevard at the Coliseum starring Glenn Close, as well as its hugely-successful subsequent Broadway transfer.
In a 16th century dungeon Cervantes and his man servant await trial from the Spanish Inquisition. In his possession he has a trunk carrying an unfinished novel, Don Quixote. As prisoners attempt to steal his possessions, Cervantes embarks on acting out his novel as his defence, transforming himself into Alonso Quijano.
Quijano, deluded, believes he is a knight errant, renames himself Don Quixote de la Mancha, and sets off on a fantastical quest with his man servant Sancho Panza.
Chivalry abounds in this classic tale of knighthood, love, loyalty and adventure.
The music in Man of La Mancha is by Mitch Leigh, lyrics by Joe Darion and book by Dale Wasserman.
‘The impossible Dream’ has become an internatonally-renowned song, and has been performed by Frank Sinatra, Elvis Presley, Andy Williams, Luther Vandross and The Temptations, amongst others.
Joining Lonny Price on the creative team is conductor David White, set designer James Noone, lighting designer Rick Fisher, sound designer Mick Potter and casting director David Grindrod CDG.
Royal Exchange Theatre, Manchester – until Saturday 23rd March 2019
Reviewed by Julie Noller
5*****
I’ll begin with the one thing that was weighing on me before I even arrived at the theatre, at nearly 2 hours long without an interval, would my mind be actively engaged for that length of time? If this is putting you off, honestly; don’t let those doubts win out. Be warned; don’t bank on any running times going to plan for now you’re on African time! The fast paced action you will somehow follow and understand totally and the only disappointment you will feel is when it’s time to leave the theatre and go home.
Barber Shop Chronicles was written by self confessed poet Inua Ellams, who after receiving a flyer back in 2010 all about how barbers should be taught the basics in counselling started to develop and the very idea of how much impact barbers have on everyday lives. How the men would lounge in their local barbers around his home in Peckham, this revived memories of his early days in Nigeria. What began life as 60 hours of recordings from researching barbers shops around Africa and London was slowly whittled down and polished into those nearly 2 hours of dissecting one day and life in six cities.
The action begins before the play even starts, there’s music, there’s dancing so take your seat early or you may miss a treat. A theme that repeats throughout; it bonds the stories and characters together, for isn’t music and dance a sort of universal language that speaks to our very soul? The interaction with the audience is fantastic and watching men and women pulled up out of their seats before they’ve had a chance to remove coats and relax is interesting, are we an audience or just part of the performance?
The Globe, no one can fail to notice, how you choose to interpret it is down to the individual. It hangs suspended from the ceiling as a central object. It’s educational, cities are lit up when it’s their segment in the story. Not everyone has a great grasp for geography. But is it there as a reminder that we are all living together on one planet, Earth. How we may leave our homes, where we were born, but how big or small the world feels, it’s people who make it so. The rope lights that are spread out across the upper floors reminded me of the World Wide Web or perhaps telephone lines how they make time and miles appear meaningless. Around the world we can still be connected, regardless of what we may believe. Barber Shop Chronicles is so full of ‘banging tunes’ you can’t help but move in your seat, wanting to jump up. You’ll be smiling throughout, it’s certainly fast paced the way the set can be switched around to reflect all six cities. This contrasts brilliantly against the day to day existence within the barber shops, where life is so chilled you wonder how they survive. This is only a small cast of twelve actors, most take multiple roles, leaving the arena and changing costumes. This does not impact with your enjoyment in any way.
The concept of the barber shops at first I found puzzling, perhaps because I’m a woman? But what I came away believing is that simply visiting the barber shop is for a majority of these men the equivalent of women getting together for a coffee, it’s to chat, to share laughter and tears. And put the world of politics and football to rights! My sad moment has to be how self sacrificial the barber can be; Anthony Ofoegbu as Emmanuel portrays this with great empathy and perfection in how he stands back and allows the petulance and almost toddleresque rants of Mohammed Mansaray as Samuel wash over him. His sadness indeed becomes apparent at the very end and it is a heartbreaking moment as he confesses after being ribbed throughout about how no one ever sees his wife. In a simple statement we discover how his wife died only months earlier, how do they not know? These people who visit daily, these friends. How much we are caught up in our own lives and fail to truly see those closest to us.
It’s not all poignant moments there is certainly many humorous moments, some so incredibly subtle it will take a keen eye to see them. My laugh out loud moment has to be an audience member being offered a crisp, almost as if they were sitting waiting in a chair to be called forward for a cut. The debate rages on throughout should English be the dialect of choice or should Pidgin be used, not once did I feel confused by the switch in language. The overall story is extremely easy to follow. It brings to life an understanding of being human. To witness the stories develop is poetic justice. So many morals interwoven it’s not hard hitting but in it’s own way it’s sharp. London appears to be the connecting city, London we like to see portrayed as cosmopolitan with an eclectic culture. Sometimes in life the one father figure you have may just be your barber, he knows what an important role he has. But who will be the listening ear for him. If offered a chance to watch Barber Shop Chronicles again, well I wouldn’t hesitate.
Following the huge success of 9 TO 5 THE MUSICAL at the Savoy Theatre in London’s West End, the producers of the show are delighted to announce that a second production of the hit musical will play 11 cities throughout the UK and Ireland, opening at the Alexandra Theatre Birmingham on 6 September 2019, before visiting Manchester, Milton Keynes, Liverpool, Glasgow, Woking, Aberdeen, Cardiff, Sunderland, Edinburgh and Dublin
Dolly Parton (Music/Lyrics)
The London production continues at the West End’s Savoy Theatre where it is currently booking until 31 August 2019. It stars Caroline Sheen as ‘Violet Newstead’ (until 23 March 2019), Amber Davies as ‘Judy Bernly’,Natalie McQueen as ‘Doralee Rhodes’, Bonnie Langford as ‘Roz Keith’ and Brian Conley as ‘Franklin Hart’.Louise Redknapp re-joins the cast as ‘Violet Newstead’ from 25 March – 29 June 2019. The show opened in the West End last month, where Dolly Parton attended the premiere and joined the cast on stage at the finale.
9 TO 5 THE MUSICAL features a book by Patricia Resnick, the legendary film’s original screenwriter, and an original Oscar, Grammy and Tony award-nominated score by multi Grammy Award winner, country legend and pop icon Dolly Parton.
Dolly Parton said today “I am beyond thrilled to the response from across the pond to 9 to 5 The Musical. The overwhelmingly positive fan reaction to this universal story tickles every rhinestone on my body! I can’t wait for more people throughout the UK and Ireland to enjoy it and sing along”.
9 TO 5 THE MUSICAL tells the story of Doralee, Violet and Judy – three workmates pushed to boiling point by their sexist and egotistical boss. Concocting a plan to kidnap and turn the tables on their despicable supervisor, will the women manage to reform their office – or will events unravel when the CEO pays an unexpected visit?Inspired by the cult film this hilarious new West End production is about teaming up, standing up and taking care of business!
9 TO 5 THE MUSICAL is written by Patricia Resnick, with music and lyrics by Dolly Parton. It is directed by Jeff Calhoun, choreography by Lisa Stevens, design by Tom Rogers, lighting design by Howard Hudson, sound design by Poti Martin, video design by Nina Dunn, original arrangements by Stephen Oremus & Alex Lacamoire, original Broadway orchestrations by Bruce Coughlin, musical supervisor, reductions & extra arrangements by Mark Crossland, musical direction by Andrew Hilton and casting by Victoria Roe.
Based on the 20th Century Fox Picture. Originally produced on Broadway by Robert Greenblatt, April 2009.
9 TO 5 THE MUSICAL is produced by Ambassador Theatre Group, Selladoor Worldwide and Gavin Kalin Productions with Benjamin Lowy Productions, Glass Half Full Productions, Showtime Theatre Productions, Hartshorn – Hook Productions, Harmonia Holdings and Kilimanjaro Live.
LISTINGS INFORMATION
9 TO 5 THE MUSICAL
Savoy Theatre, Savoy Court, London, WC2R 0ET
Currently booking until 31 August 2019
Box Office: 0844 871 7687
Performances: Monday – Saturday 7.30pm, Wednesday and Saturday 2.30pm
Joseph Rowntree Theatre York until 16th March 2019
Reviewed by Sara Garner
3***
High School Musical is modern adaptation of Romeo & Juliet and Grease rolled into one enthusiastic musical production and that’s certainly what we got last night – buckets of enthusiasm.
It’s a story about two high school juniors from rival cliques – Troy Bolton (Mitchell Strong), captain of the basketball team, and Gabriella Montez (Lucy Griffiths), a shy student that has just moved to a new school who excels in mathematics and science. Together, they try out for the lead parts in their high school musical, and this causes division among all the school’s students. Despite other students’ attempts to spoil their dreams, Troy and Gabriella resist peer pressure and rivalry, inspiring others along the way not to “stick to the status quo”. High school diva Sharpay Evans (Jasmine Towse) and her twin brother Ryan (Liam Smith), will do anything not only to disrupt the friendship and romance between Troy and Gabriella but also to get the leads in the school musical.
It was a slow burner with technical issues throughout the performance leaving the audience straining to hear some of the dialogue and singing. It got better as time went along. There were also some stage management issues that need improving leading to the play appearing clumsy in some scenes.
This said it was a very enthusiastic performance by all the cast, the detention scene with Miss Darbus played brilliantly by Emma Sharpe was hilarious and had the audience is fits of laughter. Jack Scott’s (Sam Strickland) Wildcats News flashes and Zeke Baylor (Yee Tsai Sern) school boy crush on Sharpay kept us entertained throughout the performance. Sharpay’s sassy attitude and Ryan’s under shadowed little brother was portrayed well, as was the two leads Tory and Gabriella and they were well supported by the entire cast.
The Group singing was full of enthusiasm and got audience excited who joined in throughout the performance. A fun way to spend a couple of hours on a cold windy night supporting local theatre and York St Johns – Musical Production Society.
This Gilbert & Sullivan classic is brought to life beautifully with modernisation threaded throughout.
The curtain rises to audible gasp from the audience to the beautifully painted yet simply put together set. The opening let people a little restless in its length. It was difficult to focus on the incredible musical ensemble as the rotating projector was making you feel dizzy. Luckily once the people emerged, the show really began. The script allowing the modern take to continue with Gilbert & Sullivan’s vision of freedom to address political issues right here in the UK by setting the Opera in the far off country of Japan.
In the little town of Titipu, Japan, where you can get punished to death for flirting, The High Executioner, Ko-Ko is set to marry one of his wards named Yum-Yum when her long lost love interest, Nanki-Poo, comes into the village to find her. The story unfolds that the Mikado is concerned that nobody has been executed in Titipu for over a year, and an execution must then be carried out in within a month. So, The High Executioner on advice from the ‘The High Everything Else’ agrees that Nanki-Poo can marry Yum-Yum so long as he gets executed after a month, which would allow Nanki-Poo to marry Ko-Ko as planned. The promised Katisha, comes in search of Nanki-Poo as he bailed on her the night before the wedding, with hilarious consequences. An unexpected visit from the Mikado, really sends the town into a tizzy. The twists and turns through this come unexpectedly, the comical timing and delivery was impeccable.
Colin Tovey as Ko-Ko was inspired. His whole performance was effortless and hilarious. He had the air of a Jester of the Court whilst holding the audience in the palm of his hand leading the story down the tumultuous path. His ability to deliver was second to none. He managed to address the modern political issues & PC warriors in a style that Gilbert & Sullivan would have been proud of.
Simon Boothroyd as Pooh-Bah the High Everything else has something very familiar about him and his dry sarcastic humor immediately likens him to that one uncle who sits in the corner at parties trying to make every situation as awkward as possible in the most comical way. Simon’s expressive face means that he can impact the scene without even saying a word.
I would recommend this to anyone especially as in introduction to the opera. There are scripted and lyrical sections which makes it a smooth and enjoyable experience.
Cameron Mackintosh and Disney are delighted to announce that Petula Clark and Joseph Millson will join the Company to play the Bird Woman and George Banks in the new production of Mary Poppins, which returns to its original West End home at the Prince Edward Theatre from 23 October 2019. They join the previously announced Zizi Strallen in the title role and Charlie Stemp as Bert.
The magical story of the world’s favourite Nanny arriving on Cherry Tree Lane has been triumphantly and spectacularly brought to the stage with dazzling choreography, incredible effects and unforgettable songs. The stage version of Mary Poppins, brilliantly adapted from the wonderful stories by PL Travers and the original beloved Walt Disney film, continues to be a smash hit around the world since it opening in London 15 years ago.
Petula Clark by Pip
Petula Clark became a star in the UK at nine years old singingfor the troops stationed in England during World War II. Many years later she moved to France and soon became an European star recording in English, French, Italian, German and Spanish. While still living in Paris, English songwriter Tony Hatch presented her with his new composition, Downtown, which became a worldwide hit and led to a string of top ten records, winning her two Grammy awards and making her an international star. She later met with Charlie Chaplin who penned one of her further major hitsThis Is My Song. She has performed in her own TV shows in the UK, the US and France and has starred in the iconic films Finian’s Rainbow with Fred Astaire and Goodbye Mr. Chips with Peter O’Toole. She has been seen on stage in West End and on Broadway, and has just finished a triumphant US tour. During her extensive career spanning eight decades she sold over 70 million records. Clark was made a Commander of the Order of the British Empire in 1998 and was installed as a Commander of the Ordre des Arts et des Lettres on France in 2012.
Joseph Millson’s extensive theatre credits include Apologia at Trafalgar Studios, The Rover for the Royal Shakespeare Company for which he won the Best Performance in a Play Award at the 2017 UK Theatre Awards, Mr Foote’s Other Leg at the Theatre Royal Haymarket, Macbeth at Shakespeare’s Globe, Much Ado About Nothing, King John and the Spanish Golden Age Season for the RSC/West End, Rocket to the Moon, Pillars of the Community and Every Good Boy Deserves Favour for the National Theatre, Love Never Dies at the Adelphi Theatre for which he won the WhatsOnStage Award for Best Supporting Actor in a Musical and The Priory for the Royal Court Theatre. His more recent television work includes Catch 22, Grantchester,Ransom, Banished, 24 Live Another Day, as well as regular roles in The Last Kingdom, Campus, Holby City and The Sarah Jane Adventures. His film credits include Casino Royale, I Give It A Year, All The Devils Men, Dragonheart Vengeance, Angel Has Fallen, No Vacancies, Burning Men, Tango One, The Dead 2 and Devil’s Bridge.
Zizi Strallen’s previous theatre credits include Fran in Strictly Ballroom The Musical at the Piccadilly Theatre, Follies at the National Theatre, Mary Poppins on tour in the UK, Ireland and in Dubai, Matthew Bourne’s The Car Man and Cinderella at Sadler’s Wells and on tour, Cats and Scrooge at the London Palladium, Hairspray and Chicago at Leicester Curve, Merrily We Roll Along at the Harold Pinter Theatre, Rock of Ages at the Shaftesbury Theatre and The Music Man for Chichester Festival Theatre.
Award-winning Charlie Stemp can currently be seen in the UK tour of Rough Crossing and was last on stage in the West End in Snow White at the London Palladium. His previous theatre credits include Barnaby Tucker opposite Bette Midler and Bernadette Peters in the Broadway production ofHello, Dolly!, Dick Whittington at the London Palladium and his critically acclaimed performance as Arthur Kipps in Half a Sixpence at the Nöel Coward Theatre, a role he first performed at Chichester Festival Theatre. His further theatre credits include Wicked at the Apollo Victoria and the international tour of Mamma Mia!
The original music and lyrics by Richard M. Sherman and Robert B. Sherman include the classic songs Jolly Holiday, Step in Time, Feed the Birds and Supercalifragilisticexpialidocious. New songs and additional music are by the Olivier award-winning British team of George Stiles and Anthony Drewe.
Book is by Academy Award®-winning screenwriter and Downton Abbey creator, Julian Fellowesand this production is co-created by Cameron Mackintosh. The producer for Disney Theatrical Productions is Thomas Schumacher.
This production of Mary Poppins has orchestrations by William David Brohn with dance and vocal arrangements by George Stiles. It has a new sound design by Paul Gatehouse and new lighting by Hugh Vanstone and Natasha Katz. Co-choreography is by Stephen Mear. The reimagined set and costume designs are by Bob Crowley. Co-direction and choreography is by Matthew Bourneand direction by Richard Eyre.
The stage production of Mary Poppins originally opened in the West End in December 2004, running for over 1,250 performances. During this time, the production won two Olivier Awards and an Evening Standard Award. Subsequently the Tony Award®-winning Broadway production ran for over six years. This new production of the show will be seen for the first time in London following record-breaking runs in Australia, North America, the UK and Ireland, New Zealand, Holland, Mexico, Austria, Switzerland, Dubai, Japan and Germany, where the production recently entered its second hit year in Hamburg. Mary Poppins is also the biggest hit musical ever in Italy where it is currently running in Milan, with several further new productions to open in Europe over the next three years.
LISTINGS INFORMATION
Theatre: Prince Edward Theatre, Old Compton St, Soho, London W1D 4HS
Dates: 23 October 2019 – 29 March 2020
Opening night: 13 November 2019
Performances: Mondays, Thursdays, Fridays and Saturdays at 7.30pm
Thursday, Saturday and Sundays at 2.30pm
Family Night performances on Wednesdays at 7pm
See website for Preview performance schedule
Prices: Tickets from £15
Reduced price tickets for Family Nights and Preview performances
