PLAYHOUSE, LIVERPOOL – UNTIL SATURDAY 5TH APRIL 2025
REVIEWED BY MIA BOWEN
4****
Iqbal Khan’s production of Animal Farm is concluding its 2025 tour at the Playhouse in Liverpool this week, where I attended a packed-out premiere evening. This stage adaptation of George Orwell’s renowned novel is a powerful and thought-provoking portrayal of the allegorical tale in which a group of farm animals overthrows their human owner, Mr Jones, an irresponsible and alcoholic farmer. As the narrative unfolds, the farm transforms into an industrial abattoir where hard work goes unrewarded, the rich continue to amass wealth, and the poor only find further hardship.
George Orwell’s Animal Farm is often described as “probably the most popular and influential piece of literary propaganda in the English language.” Thus, creating a stage adaptation of this iconic work is a significant endeavour. Originally adapted for the theatre by Ian Wooldridge, the play closely mirrors Orwell’s critique of totalitarianism. It explores how leaders can manipulate ideals for their own gain, turning a revolution meant to liberate the oppressed into one in which the new rulers are just as oppressive as those who came before them. Although Orwell wrote the original novel in 1945, its themes remain strikingly relevant today, embodying the essence of Orwellian insight. Regrettably, it seems that little has genuinely changed since the story was first narrated.
The six-member cast is exceptionally skilled and talented, adept at portraying animals with a blend of humanity and their innate instincts, as well as seamlessly embodying multiple characters with diverse accents. A standout performance comes from Natalia Campbell, who plays Clover, a gentle yet strong-spirited horse. Her ability to convey Clover’s passion, even as the story’s events begin to take their toll, is remarkable; by the end, her defeat is truly heart-wrenching. Likewise, Sam Black’s portrayal of Boxer, the diligent horse, infused the stage with a sense of tragic nobility. His unwavering loyalty and sacrifice resonated deeply with the audience, leaving a lasting emotional impact.
The tone is established immediately with Ciarán Bagnall’s stark and chilling stage design, which symbolises the transformation of the farm and the oppressive atmosphere that intensifies as the pigs take control.
Animal Farm, offers a compelling, engaging, and frequently unsettling examination of politics, power, and corruption. If you appreciate intense political themes infused with dramatic elements, this production provides a gripping yet thought-provoking experience.
Windsor brings you the production of Just Between Ourselves, written by Alan Ayckbourn and directed by Michael Cabot.
Dennis (Tom Richardson) is always tinkering away in his garage – fixing things that are never really fully fixed and leaving his poor wife Vera (Holly Smith) dealing with his obsessive mother Marjorie (Connie Walker), the root of all their problems and who always feels the need to be judging Vera over every little thing she does, or doesn’t do for that matter, regarding her son Dennis and their home. It’s clear that Marjorie wants all the attention and to be in charge of her Son! Dennis on the other hand, has his head in the clouds trying to constantly fill his father’s shoes and gain his mothers love and respect. But with all the trying he is doing she loves to remind him often that he will never match his father! Unfortunately, the more effort he puts into trying to impress his mother, the more he fails to notice just how fragile his wife Vera is becoming and how she’s slowly heading down a path towards a mental breakdown!
Crossed wires and misunderstandings often occur between the couple, with Dennis’ moto that everyone just needs to laugh more to be happy along with his constant talking never letting anyone get a word or thought in. A clear disconnection between them is apparent.
During this time Dennis is trying to sell Vera’s car when Neil (Joseph Clowser) comes to take a look, as he wants to surprise his wife Pam (Helen Phillips) with a car for her birthday. Although Pam really isn’t bothered and doesn’t seem to share much of her husband’s enthusiasm on most things, including the car! As the conversation unfolds between the husbands a friendship is forged, and we see them celebrating birthdays in the company of both their wives and Dennis’s mother Majorie, who is forever in the background but always finding something to complain about whilst trying to take charge! During this time, we see much laughter and comedy.
As the friendship becomes stronger it is clear that we have two unhappy marriages over the 5 birthday celebrations, but will it end with a bang?!
I think during this production the actors showed great skill portraying mental health difficulties in the 1970’s. There were also many humorous moments, giving the show a well-balanced, relatable and honest quality that drew the audience in alongside the actors close connection that was clearly seen on stage.
Holly Smith played an extremely believable character just watching her nervously tremble and shake whilst holding a teacup upon her face a fake smile masking her true emotions every time her mother-in-law had an opinion!
The stage was also done extremely well with a house and its back door leading onto the garage, where a full sized green mini sits amongst all the chaos that happens around the stage. It looks great and worked extremely well.
This show was done fantastically, showing some hard-hitting topics and vulnerability which was delivered and portrayed respectfully on stage.
Eugène Ionesco’s Rhinoceros is a fantastically bananas satire originally written in 1959 in response to the spread of wartime facism. Fast forward to 2025, and Omar Elerian has translated (and directed) a new version. Set in rural France, an epidemic is sweeping through a small town and spoiler alert, it’s turning the community into rhinoceroses. Narrated by the “Provocateur” (Paul Hunter), the audience is immediately asked to participate. This is no ordinary theatre experience.
We first meet the central character of Berenger (Ṣọpẹ́ Dìrísù) at a cafe where he is meeting his friend Jean (Joshua Maguire). The rest of the cast create the scene through mime as stage directions are read aloud. Their discussion soon turns to an argument interrupted by various villagers dressed in white coats with wild and whimsical hairstyles including the grocer, a lady, and a logician. However, there is a rumbling (the cast gallop on the spot to create the surprisingly effective noise and dust) all around them as two rhinos thunder through the village. At first, all this sparks debate (did it actually happen?) and curiosity, but it soon becomes apparent that people are actually turning into rhinoceroses. A violent transformation artfully performed by Joshua Maguire complete with grey skin and a little tail. In the third act, things take a more serious turn as Berenger and his love interest Daisy (Anoushka Lucas) are holed up in his house, emotionally unravelling and surrounded by thundering feet and the sound of rhino calls. At this point the audience is the herd, and the call is a cacophony of buzzing kazoos conducted by the Provocateur.
There are lots of joyously madcap moments especially in the first half, and the clowning on display is top tier. John Biddle, Hayley Carmichael, Paul Hunter, Sophie Steer and Alan Williams provide much of the silliness as they rotate through several roles. Ana Inés Jabares-Pita’s set is a sparse white canvas; a space easily filled by the cast as they also produce many of the sound effects on stage, and hold props, cleverly creating beds, cafe tables, and office furniture. Ṣọpẹ́ Dìrísù is splendid as the deadpan everyman Berenger, who seems baffled to be taking part in the performance within a performance, but by the end he is a broken man, still resolute but the pain and isolation of his choices is palpable.
Rhinoceros is a fun and complex play with an important message. Thundering through themes of conformity, fascism, responsibility, herd mentality, and morality, the tone is upbeat and playful until it’s not. The performances are fantastic, and this avant-garde take on world events leaves you wondering to what extent you follow the herd.
The Studio Cast Recording of Jo – The Little Women Musical will be released globally on May 23, 2025
Jo – The Little Women Musical, a new musical adaptation of Louisa May Alcott’s iconic coming-of-age novel Little Women, with music by Dan Redfeld, book and lyrics by Christina Harding and John Gabriel Koladziej, will get a global release on Friday 23 May as a Studio Album recorded at London’s iconic Abbey Road Studios.
It features a mix of Broadway, West End and international stars and a 29-piece orchestra, produced by five-time Grammy nominee and three-time Emmy winner Nigel Wright and Dan Redfeld.
Tony Award® winner and five-time Tony Award® nominee Laura Benanti (Gypsy) is Marmee March; two-time Tony Award® winner Christine Ebersole (42nd Street) is Aunt March; Olivier nominated West End and Broadway star Julian Ovenden (South Pacific), Father; Grammy Award nominated Christine Allado (Hamilton) Jo March; two-time Tony Award® nominee Bob Gunton (Evita), Grandfather; West End star Kelly Mathieson (The Phantom of the Opera), Meg March; TV star Sophie Pollono (Young and the Restless), Amy March; Eleanor Grant (Avatar LIVE), Beth March; Rob Houchen (Titanique), Theodore “Laurie” Laurence; Chris Mann (The Phantom of the Opera), Professor Bhaer; Liam Tamne (Prince of Egypt), John Brooke; Tobias Turley (Mamma Mia!), Fred Vaughn; Miyuki Miyagi (Natasha, Pierre and the Great Comet of 1812), Sallie Gardiner.
The March sisters on the famous Abbey Road pedestrian crossing
Left to Right: Sophie Pollono, Eleanor Grant, Kelly Mathieson and Christine Allado
Photo Roger Alacron Photography, designed by Robert McKenzie
The album will be available on Friday May 23 on all platforms including Spotify, iTunes, Apple Music and Amazon Music.
Album pre-launch party events will be held in New York on Monday 19th May and in London on Thursday May 22nd featuring artists from the recording.
Album creative team: Dan Redfeld – Composer, Conductor, Orchestrator, Studio Album Co-Music Producer Christina Harding – Co-Lyricist & Book John Gabriel Koladziej – Co-Lyricist & Book JoAnn M. Hunter – Director Nigel Wright – Studio Album Co-Music Producer Brian Purcell – Executive Producer
Nigel Wright, Co-Music Producer said: “I have to say this album is glorious and a real highlight in my career. Simply stunning!”
Dan Redfeld, Composer and Co-Music Producer, said: “The Jo album is a magical listening experience. We are excited for the world to hear Jo and the brilliance of the studio cast and orchestra on this recording, which is literally the complete show. It has been a privilege to work alongside Nigel Wright and team Jo!”
The full show will be presented at a future date to be announced as a semi-staged concert in London, directed by JoAnn M. Hunter (20 Broadway shows to her credit as a Choreographer including Bad Cinderella and School of Rock).
Jo – The Little Women Musical studio album will be released by Center Stage Records, led by the Grammy Award and Tony Award® winning producer, Van Dean.
The March Family Left to Right: Kelly Mathieson, Christine Allado, Sophie Pollono, Laura Benanti, Eleanor Grant, Christine Ebersole, Julian OvendenLeft to Right: Liam Tamne, Rob Houchen, Bob Gunton, Tobias Turley, Miyuki Miyagi and Chris Mann
Photos by Roger Alacron Photography, Aidan Hall Photography, Lens by Lamar (Erin Lamar)
Jo – The Little Women Musical studio album track list
ACT ONEJanuary 1866 1. Prelude – Jo, Meg, Beth & Amy
December 1861 2. The Pickwick Portfolio – Jo, Meg, Beth & Amy 3. Journey – Jo
New Year’s Eve, 1861 4. A Ball Tonight – Company, Meg, Jo & Sallie 5. Scene Gavotte – Jo & Laurie 6. Waltz/A Ball Tonight Reprise – Laurie, Jo, Meg, Sallie & Company
1862 7. The Simple Truth – Meg 8. First Orchestral Interlude – John, Meg, Jo, Laurie & Amy 9. (A World of) Dreams & Figments – Amy 10. Little Women – Marmee, Meg, Jo, Beth & Amy 11. To Swear My Love to You – Meg & John 12. The Pickwick Portfolio (Reprise) – Jo, Beth, Amy & Meg 13. Can’t We Keep Pretending – Jo 14. Scarlet Fever (Scene) & A Prayer for Beth – Jo, Beth, Meg, Grandfather Laurence, Amy & Laurie 15. An Ode on Aunt March’s Urn – Aunt March, Laurie, Amy 16. Orchard House (Scene) – Marmee, Grandfather Laurence & Company 17. The Blessed Rose- Amy, Meg, Jo, Aunt March, Laurie, Grandfather & Company 18. Father’s Return – Beth, Grandfather, Jo, Aunt March, Laurie Meg, Amy, Marmee & Father 19. The Blessed Rose & Second Orchestral Interlude – Jo, Laurie, Beth, Father, Amy, Meg, Marmee, Aunt March, Grandfather Laurence & Company
Summer, 1865 20. The Heart of a Woman – Father 21. The Wedding & Journey Reprise Meg, John, Laurie, Jo, Amy, Marmee, Beth, Father, Laurie, Grandfather & Aunt March 22. Embrace the World /Little Women Reprise – Beth, Jo, Marmee & Father 23. The Life We’ll Know – Jo & Laurie 24. Fly Away – Jo ACT TWO
25. Entr’acte – The Jo Orchestra 26. Sincerely, New York – Company, Jo, Bhaer, Mrs. Kirke 27. The Tales That I Tell – Jo, Mysterious Soprano & Company 28. A Friend Like You – Bhaer & Jo 29. Between the Earth & Sky – Marmee, Beth & Meg 30. Heaven Sous Le Soleil – Aunt March, Fred, Amy, Laurie, Coco and The Countess & Company 31. Un Cocktail or Two… – Aunt March 32. The Argument – Laurie & Amy 33. No Turning Back – Laurie & Aunt March 34. Waltz (Reprise) – Jo & Bhaer 35. When Nighttime Falls – Bhaer & Jo 36. My Captive Heart – Amy & Laurie 37. Coming Home (Scene) – Father, Jo, Marmee, Beth 38. Moments – Beth & Jo
January, 1866 39. The Darkest Midnight /The Attic (Scene) – Jo, Bhaer & Marmee 40. This is Our Story – Jo 41. On the Platform (Scene) – Jo & Bhaer 42. Finale Ultimo – Jo, Bhaer & Company
The Arts Theatre in central Soho is a great venue for a night out, especially a night out in a pub! The Choir of Man has come back to London’s West end and has made the Arts Theatre its permanent home. The theatre has been around since 1927 and has an eclectic history. Over the years it has produced experimental shows including Samuel Becketts “Waiting for Godot” which had its world premiere here back in 1955.
The Choir of Man was created in 2016 by Nic Doodson and Andrew Kay over a pint in a beer garden. What has evolved from that pint is an energetic ball of feel good fun – a sell out sensation that has toured the world. Quite simply put – a group of men in a pub, talking, drinking and singing together. The show doesnt have a story as such – but promises a love letter which addresses music, human connections and the institution that is the great british pub. The play has a focus on mens mental health and has a charitable collaberation with CALM – the Campaign against living miserably.
You are invited to arrive at the theatre 1 hour before and enjoy a drink at the bar – what is unexpected is that the said bar is indeed the stage and becomes the central location of the show. As we near the start time, the cast members come onto the stage and mingle with the bar goers who are yet to take their seats, indeed there seems to be no urgency for them to leave.
Looking out from our circle seats, we have a great view. The cast are assembled in a line on the stage and the band are above them looking down, but as the night goes on band and cast move effortlessly around the building.
The choir is made up of 9 – Paul McArthur (Poet), Oliver Jacobson (Barman), George Knapper (Handyman), Benji Lord (Joker), David Booth (Romantic), Jason Brock (Romantic), Rob Godfrey (Beast), Ifan Gwilym-Jones (Maestro) and Toby Francis (Swing). Paul McArthur introduces us to the show and welcomes us to “The Jungle” – the name of the pub and the opening song.
During the 90 minute show, the audience are invited on stage, the cast walk around handing out free beer and catapult crisps into the audience. The songs are well-loved faviourites and everyone claps and sings along. The choir’s voices are outstanding. Accapella numbers are interspersed with full band numbers. A stand out song showing the full range of the choir’s reach was Sia’s Chandelier – no instruments but just beautiful voices haunting the audience. Songs ranged from Adele’s “Hello” through to “500 miles” by The Proclaimers – certainly a song for everyone could be found.
During the show we have meaningful monologues performed with passion by Paul McCarthur – his voice draws you into each story he is telling. Stories about each cast member, where their favourite pubs are and what home means to them. We feel like we are invited to know them individually and hear a little of their life off stage.
The performance is a toe-tapping extravaganza of fun and is over in the blink of an eye. At just 90 minutes with no interval, this really is a high energy show. You cannot help but smile and immerse yourself in the show – indeed you feel part of it, you are simply having a night out in your favourite bar.
I am sure this show will run and run and tour again – it is the perfect night out with friends and highly recommended. A 5 star night in the pub!
The Barn Theatre, Cirencester – until 10th May 2025
Reviewed by Josie Aburrow Smith
5*****
In the Mouth of the Wolf is another great Built By Barn production. It is based on the book by Michael Morpurgo and sensitively adapted for stage by Simon Read. This is the 6th book by Micheal Morpurgo that has been on the stage at the Barn Theatre.
It’s really important to remember when watching this that it is based on the true story of Micheal Morpurgo’s uncles.
The play starts with Francis being the subject of an episode of This is Your Life (this was a TV programme where guests were surprised with a presentation of their past). Francis then goes back through his past and how many people, some who are not with us anymore, shaped his life. Its starts with him as child and his relationship with his brother, Pieter, and his father. Francis becomes a dedicated pacifist and is very against war and killing. There is an event which occurs that will change the course of Francis life forever.
The 3 actors are outstanding. Francis is played by John Hastings. According to Michael Morpurgo he even has Francis’s shoulders. He faithfully portrays his character with dignity and integrity. Shaun McCourt is Pieter and a number of other characters. He is a dashing young man of the era. Helena Antoniou is Nan (Francis wife) and a wide variety of other people. She easily transitions between the roles with such skill that you hardly notice. One particular moment is the seamless motion in which she whips off her bridal veil and convincingly turns it into a baby.
The set was minimal with a few props which was very cleverly adapted for each scene. It effortlessly switched between being a school room, an aeroplane and many other different locations, this was designed by Yoav Segal. The lighting design, by Ryan Day, set the mood. Composition and sound design was by Ella Wahlström. The play is directed by Philip Wilson.
This play is a poignant reminder of World War II and some extraordinary characters who should not be forgotten.
Age Guidance: 8+ Smoke, haze, strobe lighting, gunshots and death (though I would suggest 10+ as they will have studied World War II at school so will have a better understanding)
First hitting British TV screens in 1981, John Sullivan’s Only Fools and Horses soon cemented its place as one of the nation’s most beloved sitcoms. The show still holds the record for the biggest UK audience for a sitcom, when 24.3 million viewers tuned in to watch the 1996 episode ‘Time on Our Hands’. It was somewhat inevitable that the show would take to the stage. Although John Sullivan had toyed with the idea before his death in 2011, his son Jim Sullivan decided to make it a reality and approached Paul Whitehouse to join him on writing duties for both the script/score and lyrics for the show, with additional lyrics by Chas Hodge of Chas & Dave fame. They took on the task of condensing 64 episodes of the show into a two-hour play. The show premiered in 2019 at Theatre Royal Haymarket, London.
Set in Peckham in 1989, the show tells the story of Derek ‘Del Boy’ Trotter (Sam Lupton), his younger brother Rodney (Tom Major, making his professional debut), and their Grandad (Paul Whitehouse) and the weird and wonderful people that surround them. As the lights went down, we were immediately greeted with familiar sights and sounds from the TV show. The Nags Head pub in the background, the marketplace where Del sells his dubious wares, and of course the Trotters’ flat in Nelson Mandela House were among the cleverly used revolving sets (designed by Alice Power) and video backgrounds (designed by Leo Flint).
The main storylines centre around Del meeting his future wife Raquel (Amanda Coutts) through a dating agency, Technomatch. We also get to see Rodney and Cassandra (Nicola Munns) planning their upcoming wedding. Del lands himself in trouble when he does an ill-advised deal with local hardmen, Danny Driscoll (Christopher Arkeston) and Tony Driscoll (Darryl Paul), to get Rodney and Cassandra the money for a deposit on the flat of their dreams. There are references to the original show throughout, from the era-appropriate costumes (Liz Ascroft) to Trigger’s famous broom, a chandelier, and a certain yellow vehicle may just make an appearance too.
Along the way, we see plenty of well-known characters from the show: the eternally confused Trigger (Lee VG), Denzil (Bradley John), and Boycie (Craig Berry) and his flamboyant wife, Marlene (Nicola Munns in a dual role). Some characters get their own songs, such as the charming ‘Tadpole Song’ that Boycie and Marlene sing at the fertility clinic. While Trigger slightly baffles everyone with ‘Gaze into My Ball,’ a song about fortune telling! I think they hit the perfect balance with the songs: the mix of lively ‘knees-up’ music mixed with heartfelt ballads, with a few old, familiar tunes thrown in for good measure, including ‘Lovely Day’ by Bill Withers and ‘Holding Back the Years’ by Mick Hucknall (sang beautifully by Gloria Acquaah-Harrison). Of course, it wouldn’t be Only Fools and Horses without the original theme tune ‘Hooky Street’ and some classic Chas & Dave tunes thrown in!!
The show has an incredibly versatile ensemble cast, many of whom play dual roles. However, Sam Lupton as Del Boy inevitably steals the show. His performance and mannerisms are spot on. He manages to avoid going down the impressionist route of just mimicking David Jason. All in all. It’s a show filled with laughter, questionable French phrases, and songs that will remain stuck in your head for a very long time!
Actress, singer and musical theatre star Sharon Sexton sat down with fairypowered to answer 20 questions. Sharon is currently playing Sloane on tour in Bat Out of Hell the Musical. Due to appear at Leeds Grand Theatre from 21 April, tickets available here
Let’s start with a few favourites
Favourite show (whether you have been in it or not)?
Phantom of the Opera has a really special place in my heart as it is the first big scale production that I had ever seen and it was the moment I knew this is what I wanted to do.
Favourite book?
One Day by David Nicholls
Favourite theatre?
It’s probably not classed as a theatre but I absolutely love performing in the Crazy Coqs in London, they are such a wonderful company to work with, the sound is amazing, the atmosphere is so special because the audience are in the palm or your hand and it’s so intimate. I have many, many fun memories of wonderful concerts and shows here.
Favourite song?
There are too many to choose from, but if I must make a decision today, then I will say Let’s Dance by David Bowie.
Favourite music?
I’m a big 70s music fan so I love the music of Fleetwood Mac, Led Zeppelin, Bowie and I’m also a big closet Motown fan.
Favourite food?
I love a good omelette
Favourite drink?
Gin & Tonic
What is your favourite role?
That I’ve played – Sloane. That I would like to play, Mamma Rose.
What was your first role?
Narrator in Joseph and the Amazing Technicolour Dream Coat aged 10
And what role would you really like to play?
Oh I’ve mentioned it already but I’ll give you a second one – Mrs Lovett in Sweeney Todd
If you weren’t a performer what would you be?
A teacher
What made you decide to be a performer?
It was never really a conscious decision, I have been performing since I can remember and it was always what I wanted to do. I always followed my passion and when I learnt that it was possible to do large scale productions and do this as a profession, I was quite young but that was it. Decision made.
Do you enjoy touring?
I enjoy it because I have my family with me but other than that I have toured enough now. It’s fun when you’re young and have nothing but a backpack and freedom to explore and sleep in and enjoy places at your leisure. As you get older life becomes more complicated and responsibilities make it trickier to tour – life is too short to be away from the ones you love and the home comforts you create, so I’m a bit more selective now about touring. Bat Out Of Hell is always a joy to tour with as my husband is on the road with me and our little boy is small enough to also come along. The show feels like our extended family.
What advice would you give 16 year old you?
Dream bigger.
Do you fancy branching out in Producing or Directing?
I have a Masters in Directing for Theatre, as it’s something I used to do a lot of but I stepped away from it for a while to focus on performing but I may turn my hand to it again. It’s a totally different skill set and is all encompassing, but I love it.
What was the last stage show you saw and really enjoyed?
The Curious Case of Benjamin Button The Musical in London’s West End. It took my breath away.
Favourite line from any show?
That’s showbiz kid – from Chicago
If you could be anyone else for the day, who would it be?
Probably my son, just to get a little insight into his wonderful world and imagination.
What are the nicest/weirdest things you have ever received from fans?
The weird ones are too weird to mention, but I do get some lovely gifts, especially personalized dolls, bikes, t-shirts, really thoughtful and useful little presents.
Can you tell us what you will be up to next?
Myself and my husband are recording an album with all of our original songs under our SEXTON & FOWLER label, with a London producer and Studio, so we are really excited about this and we will be launching an album tour in the autumn.
Bat Out of Hell the Musical is on tour around the UK. Tickets can be found here
Due to popular demand, award-winning producer Jack Maple is delighted to announce an additional performance for the professional premiere of The Hunchback of Notre Dameat the Prince Edward Theatre, a Delfont Mackintosh Theatre, on Sunday 24 August 2025 at 6pm. This performance will be signed with tickets held exclusively for access patrons. This will be in addition to two performances on Sunday 17 August 2025.
Tickets for Sunday 24 August 2025 will go on-sale on Thursday 3 April 2025 at 10am for Access Patrons and DMT+ Members with general on-sale at 11am.
Casting to be announced.
The Hunchback of Notre Dame has music and lyrics from the 1996 animated film by Alan Menken and Stephen Schwartz and additional songs written for the musical by the two Oscar winners, a book by Peter Parnell and will be directed by Jonathan O’Boyle with musical direction by Olivier Award-winner Alan Williams. The concert will have choreography by Olivier Award nominee Mark Smith (The Little Big Things, Founder of Deaf Men Dancing), lighting design by Jamie Platt (Something Rotten in Concert), costume design by Alice McNicholas (Spring Awakening 15th Anniversary Reunion), casting direction by WhatsOnStage Award-winner Harry Blumenau (Why Am I So Single?) and production management by Toby P Darvill for Production Solutions Group.
This extraordinary production brings to life Victor Hugo’s timeless tale of love, power, and redemption, set against the majestic backdrop of Notre Dame Cathedral. With a story that still resonates today, this unique concert performance will captivate both longtime fans and newcomers alike. Prepare for an evening of soaring melodies, passionate performances, and the beauty of a timeless tale brought to life like never before!
Featuring a breathtaking symphonic score by legendary composer Alan Menken (Beauty and the Beast, The Little Mermaid) and lyrics by Stephen Schwartz (Wicked, Pocahontas). Prepare to be swept away by iconic songs like ‘Out There’, ‘God Help the Outcasts’, and ‘The Bells of Notre Dame’, all performed by a full orchestra, choir, and an all-star West End cast.
The Hunchback of Notre Damefirst opened in Berlin in 1999, with a book by James Lapine, under the German name DerGlöckner von Notre Dame where it ran for over 1200 performances and was seen by 1.4-million people. In 2014, a new version premiered in San Diego with a new book by Peter Parnell and additional songs from Menken and Schwartz. This version has gone on to be produced by multiple US regional theatres and has had productions in Japan, Germany and Australia.
LISTINGS INFORMATION
THE HUNCHBACK OF NOTRE DAME IN CONCERT
Sunday 17 August & Sunday 24 August 2025
Prince Edward Theatre
Old Compton St
London
W1D 4HS
Performances: Sunday 17 August – 3pm & 7:30pm, Sunday 24 August – 6pm
Tickets: from £30
Box Office: 0344 482 5151
Further information regarding accessibility at the Prince Edward Theatre and how to book tickets can be found at: [www.delfontmackintosh.co.uk/accessibility]www.delfontmackintosh.co.uk/accessibility
Nottingham Theatre Royal – until Saturday 5 April 2025
Reviewed by Louise Ford
4****
A moral dilemma in Poirot’s most perplexing case to date.
I confess to having a soft spot for Agatha Christie and her Belgium detective. In this novel the murder in the “locked room” in an English Manor House is transported overseas into a murder on a train stranded in the snow. An ingenious plot device which adapts surprisingly well to the stage. This adaptation is by Ken Ludwig and directed by Lucy Bailey.
It’s 1934 and we are in Istanbul, at perhaps the best restaurant in town, waiting to head to the railway station. We are all bound for Calais on The Orient Express. With spats and a modest moustache Poirot enters the stage. In this production Poirot is played by Michael Maloney. He commands the stage as Hercule complete with affectations, mannerisms and, of course, the little grey cells.
Poirot has received an urgent message which requires him to travel to London immediately, unfortunately the train is, unexpectedly, fully booked. Fortunately Poirot runs into his old friend, and Director of the railway line, M Bouc (Bob Barrett). M Bouc agrees to give up his first class sleeper to Poirot. And we are all aboard the train heading towards the Yugoslavian border.
Our travelling companions are a Cosmopolitan group, some of whom may not be who they seem. There is the beautiful Hungarian Countess Elena Adreyni (Mila Carter) who captures Poirot’s heart and admiration. The fussy Russian Princess Dragomiroff (Debbie Chazen), who is travelling with her pious companion from Sweden, Greta Ohlsson (Rebecca Charles). From America there is the much married, and on the look out for husband number 4, Helen Hubbard (Christine Kavanagh); the shady businessman Samuel Ratchett (Simon Cotton) who is travelling with his nervous secretary Hector MacQueen (Paul Keating). Finally there is the ill matched (are they a couple), pair of Mary Debenham (Iniki Mariano) and The Colonel (Rishi Rian). The cast is paired down from those is the novel and in some cases the characters have been combined. However this means that the plot is easy to follow and the characters are given time to develop, without it becoming too confusing. The opening scenes when we hear, through the eyes and ears of Poirot, snatches of conversations and glimpses of the characters is a brilliant way to meet the travellers.
The star of the show is of course The Orient Express herself. In her heyday she was the height of luxury and glamour, taking travellers to the mysterious and exotic East. The glamour and sense of travel is wonderfully created by Mike Britton, with added video design by Ian William Galloway. The huge wheels first appear on stage and easily dwarf the actors as they file on the platform. The set effortlessly moves from carriages to sleeping compartments to the dining room. The cast moving some of the props around to help the flow.
The costumes also deserve a shoutout . They were designed by Mike Britton, and really capture the luxury and opulence of the era, in particular the glorious dresses worn by Princess Dragomiroff and the impressive fur coat worn by Mr Ratchett.
My one, minor, criticism is that there was perhaps too much comedy, particularly in the second half. I felt that it jarred with the seriousness of the crime. However the comedy sat well in the first half and added to the excitement of the journey to come.
The little grey cells once more solve the insolvable.
