THE TURBINE THEATRE ANNOUNCES THEIR FIRST FAMILY CHRISTMAS SHOW DR SEUSS¹S MUCH-LOVED CLASSIC THE CAT IN THE HAT

THE TURBINE THEATRE

ANNOUNCES THEIR FIRST FAMILY CHRISTMAS SHOW

DR SEUSS’S MUCH-LOVED CLASSIC

THE CAT IN THE HAT 

ADAPTED BY KATIE MITCHELL

DIRECTED BY LILLIE COLLIER

RUNNING FROM 11 DECEMBER 2019 – 11 JANUARY 2020

Based on the much-loved tale by Dr SeussKatie Mitchell’s acclaimed stage adaptation of The Cat In The Hat, opens at The Turbine Theatre, Battersea, for a strictly limited Christmas season.

Offering the perfect festive show for young children’s first theatre experience, this  lively and engaging family show runs from 11 December – 11 January, with press night on Thursday 12 December. The production is directed by Lillie Collier, with designs by David Shields. Further creatives and full casting will be announced in due course.

From the moment his tall, red-and-white-striped hat appears around the door, Sally and her brother know that the cat in the hat is the funniest, most mischievous cat they have ever met.

With the trickiest of tricks and craziest of ideas, he turns a rainy afternoon into an amazing adventure. But what will mum find when she gets home?

The Cat In The Hat was first published in 1957 as Dr Seuss’s second book for children. It marked the transition of Theodor Seuss Geisel from successful advertising executive and political cartoonist, to world-famous illustrator and children’s author. The curious and intricate rhyming found in The Cat In The Hat is still adored decades later with over 250 million copies sold worldwide in more than 20 different languages. Katie Mitchell’sstageadaptation of The Cat In The Hat first played in the National Theatre’s Cottesloe Theatre in December 2009, before transferring to the Young Vic in 2010, and returning in a new staging at the 2014 Edinburgh Fringe Festival and Pleasance Theatre, Islington and subsequent UK tour in 2015.

The Cat In The Hat forms part of the Turbine Theatre’s inaugural season, which opened August 2019 with Harvey Fierstein’s groundbreaking play, Torch Song, directed by Olivier Award winning director/choreographer, Drew McOnie. The second production, UK premiere of new musical comedy High Fidelity, based on the acclaimed novel by Nick Hornby  and directed and choreographed by Tom Jackson Greaves, is currently running at the Turbine until 7 December.

LISTINGS

Bill Kenwright presents a Paul Taylor-Mills production

THE CAT IN THE HAT

THE TURBINE THEATRE

BASED ON THE NOVEL BY DR SEUSS

ADAPTED BY KATIE MITCHELL

DIRECTED BY LILLIE COLLIER

MONDAY 11 DECEMBER 2019 – SATURDAY 11 JANUARY 2020

Performance Schedule: Monday – Sunday at 10.30am & 12.30pm*

*Christmas & New Year’s Performance Schedule:                           

Friday 27th December – 12.30pm & 3.00pm

Monday 30th December – 12.30pm & 3.00pm    

Friday 3rd January – 10.30am, 12.30pm & 3.00pm          

No performances on 24th, 25th, 26th, 31st December and 1st & 6th January

Running Time: 50 minutes

Website: TheTurbineTheatre.com

Address: The Turbine Theatre, Arches Lane, Circus West Village, London, SW11 8AB

Box Office: 0207 851 0300

Tickets: Tickets from £7.50

Age Recommendation: Suitable for children ages 3+

Facebook/Twitter/Instagram: @TurbineTheatre

#PoweringTheImagination

London Theatre Bookings: The Turbine Theatre ticketing will be powered by leading ticket agent London Theatre Bookings. The company, which also owns The Theatre Café, will manage the ticketing. This relationship will bring with it the very first “on site” location for The Theatre Café, with a pop-up version of the ever-popular stagey coffee shop housed within The Turbine Theatre.

Blood Runs Deep Review

Epstein Theatre, Liverpool – until 2 November 2019

Reviewed by Amy Nash

5*****

In Blood Runs Deep, single mother Karen Richards (Emma Vaudrey) has just moved into a new flat with her teenage son Jake (Brandon McCaffrey). It’s the latest in a string of unexplained moves in Jake’s life, and the brief peace they find is shattered by a knock on the door from Greg (Anthony Costa). Little by little, the terrible truth Karen is trying to escape from reveals itself…

Produced by Break A Leg Productions in association with Bill Elms, Blood Runs Deep successfully carried on from its sell-out pilot production at the Unity Theatre in 2018. Curiously enough, Blood Runs Deep reminded me of Shearsmith and Pemberton’s Inside No 9 TV series – and I mean that as a huge compliment! The production made fantastic use of its setting, confining everything the audience saw to only one room. Laura Murphy’s set design and Pete Mitchelson’s lighting design came together beautifully to create a living space that could change from cosy and warm to cold and menacing in a moment. Their choice to illuminate behind the set during scenes set at night to simulate the glow of streetlamps coming through the windows and door was inspired and created many a tense moment whenever a shadow fell over them.

Instead of creating unrealistic scenarios where every important event happens in the living room of Karen’s flat, Emma Culshaw and David Paul were as careful with what they chose not to show as they were with what took place on the stage. By far the tensest moments in the play were created not by what was happening on stage, but the implication of what was taking place out of our view. Their dialogue was quick and clever, with seeds of what was to come sewn so early and so naturally into the play that it never read as foreshadowing until it was too late to predict what was going to unfold. Thrillers often live and die by their plot twists and turns, and Blood Runs Deep thrived because of them; they never felt cheap or unearned but at the same time came so quickly and unpredictably that the audience was left gasping by the end.

Anthony Costa absolutely killed the role of Greg – his performance was by far one of the most enjoyable aspects of Blood Runs Deep. Nuanced and unpredictable, he was able to capture the audience’s heart as a rough but well-meaning man with a traumatic past – and yet you were never quite sure if you could trust him. This performance was perfect for Greg, and perfect for the play as a whole, which revolved around whether you could trust even your own family. Another standout was Alice Merivale playing Zoe: Jake’s girlfriend, who is drawn into the family drama when the truth comes out. She commanded attention in every scene she was in, perfectly capturing the role of a traumatised teenager, and it was genuinely sad to see less of her on stage when the plot shifted away from her in the second act.

Blood Runs Deep was an exhilarating ride that kept the audience guessing even after the curtains went down. Though it answered the most important questions it set up at the start of the play, it was carefully crafted to leave enough loose ends to give you plenty to discuss afterwards. Overall, a well crafted, well-acted tale that sticks in your mind – and definitely worth catching at the Epstein before the end of its run.

Murder, Margaret and Me Review

The Haymarket, Basingstoke – until 2 November 2019

Reviewed by Heather Chalkley

4****

An outstanding piece of writing by Phillip Meeks, capturing the essence of Agatha Christie, Margaret Rutherford and the character of Miss Marple. As well as encapsulating true stories of both women’s life, there are many nods to their pasts, humorously delivered, that you have to concentrate on to pick up.

Rutherford’s famously distinctive facial expressions, are skilfully mimicked by Sarah Parks. Parks takes on the physicality of Rutherford through her mannerisms, posture and voice – no small feat. The funny moments are delivered naturally by Parks (Rutherford), as if she has just thought of them. Lin Blakely gives Christie a depth of emotional intelligence, particularly when revelling in the macabre and expressing difficult experiences, that she is so desperate to share. Katherine Senior is a believable Miss Marple, sitting between these two great women, providing the ethereal connection they need to become friends, eventually confidants.

The depiction of such strong characters is accentuated by the costumes. The set reflects well the country home of the era, although the busyness is distracting at times. I wonder if all the comings and goings of tables and chairs is totally necessary.

Because the play is based on the life and times of real people, it leaves you with unanswered questions and titbits of information that you just want to go away and research. At a poignant moment Christie (Parks) describes how she sees the fleeting deep sorrow sweep across Rutherford’s face. She recognises it because of her own painful secret. A quote from Rutherford herself, outside of the play, reflects this line “Every great clown has been very near tragedy.” For two people who never really wanted to meet, they are curiously close in their outlook.

Billionaire Boy Review

Richmond Theatre, London – until 2 November 2019

Reviewed by Serena Norgren

4****

David Walliams books are woven into our literary fabric, the movies have become a Christmas television staple and now they hit the stage again in the form of Billionaire Boy, in this musical adaptation. Walliams humour, gentle irreverence and charm are at the fore of this morality tale which is firmly aimed at a younger audience warming up for the panto season.

The story centres on Joe Spud, the son of billionaire “Bumfresh” inventor Len Spud, as he persuades his dad to move him from his exclusive private school to the local comprehensive in search of a friend. David Walliams cheeky playfulness is brought to life by Neal Foster’s adaptation with clever nods to school and teachers from the opening “cross country” scene to the musical number, “Walk don’t Run” which will resonate with every child in the audience. Dressed up in slapstick and stuffed full of gags, this is nevertheless a touching cautionary tale.

The key to the success of this show is the nine person cast which brings Walliams array of quirky and colourful characters to life. With slick set and character changes from the flossing robot butler at the start to Raj the shopkeeper, the impression is one of an entire ensemble at work. Matthew Gordon does a fine job as Joe; Davy Bell in his professional debut is lovely as Joe’s earnest new friend Bob Evans. Jason Furnival, as Dad, portrays both naïvety and vulgarity in a tender way. Emma Matthews is excellent as Mrs Trafe, the school cook; almost Victoria Wood-esque in her dinner lady characterisation.

Jacqueline Trousdale’s set also deserves a special mention and not just as an homage to loo roll. “Bum Towers” is literally a tower of toilet paper which is then cleverly transformed to the school via Mrs Trafe’s café and back again. There were audible “oohs” from the young audience when the set opened up to allow Dad’s helicopter to take off and then land to deliver Joe’s homework.

In parts a bit hackneyed and over cooked for our grown-up taste maybe, but this is a colourful, warm and fun adaptation and as a half term treat for the youngsters, spot on!

Kander and Ebb’s CURTAINS with Jason Manford opens at Wyndham’s Theatre – 13 December 2019

DAN LOONEY, ADAM PAULDEN, JASON HAIGH-ELLERY

FOR DLAP ENTERTAINMENT

SALLY HORCHOW, ROGER HORCHOW

ARE DELGHTED TO ANNOUNCE

THE TONY AWARD WINNING MUSICAL

“CURTAINS”

WILL PREMIERE IN LONDON AT WYNDHAM’S THEATRE

FROM 13 DECEMBER 2019 TO 11 JANUARY 2020

Music by John Kander, Lyrics by Fred Ebb

Book by Rupert Holmes

Original Book and Concept by Peter Stone

Additional Lyrics by John Kander & Rupert Holmes

Directed by Paul Foster

Originally Produced on Broadway by Roger Berlind, Roger Horchow, Daryl Roth, Jane Bergere, Ted Hartley and Center Theatre Group. American Premiere Produced at The Ahmanson Theatre by Center Theatre Group, LA’s Theatre Company.

The producers of the Tony award winning musical “CURTAINS” are delighted to announce the show will premiere in London at Wyndham’s Theatre, playing 38 performances from 13  December 2019 until 11 January 2020.

“CURTAINS” is currently delighting audiences and critics on tour across the UK and stars comedian, actor and singer Jason Manford as Detective ‘Lt. Frank Cioffi’. He will be joined by Carley Stenson as ‘Georgia Hendricks’, Rebecca Lock as ‘Carmen Bernstein’, Samuel Holmes as ‘Christopher Belling’, Leah Barbara West as ‘Niki Harris’, Alan Burkitt as ‘Bobby Pepper’ and Andy Coxon as ‘Aaron Fox’.

The producers said today ‘We are incredibly proud of our show and delighted to be bringing it to the West End. The whole team have worked so hard to get the show to where it is today and we are thrilled we can show London audiences our wonderful production’.

This will mark the West End  premiere of Kander and Ebb’s musical which first premiered on Broadway in 2007 and ran until June 2008. The production was nominated for eight Tony awards, David Hyde Pierce took home the award for Best Actor in a Musical for the role of ‘Lt. Frank Cioffi’ – the role now played by Jason Manford in the UK.

The cast is completed by Emma Caffrey as ‘Bambi Bernet’, Adam Rhys-Charles as ‘Daryl Grady’, Martin Callaghan as ‘Oscar Shapiro’, Minal Patel as ‘Johnny Harmon’ and Mark Sangster as ‘Sidney Bernstein’. Joining them in the ensemble is, J.R. BallantyneKathryn Barnes, Pamela Blair, Charlie Johnson, Robin Kent, Thomas-Lee Kid, Ben Mundy, Gleanne Purcell BrownSamuel John-Humphreys and Nia Jermin.

From the Tony Award-winning creators of ‘Cabaret’ and ‘Chicago’, this production tells the story of Jessica Cranshaw, star of the new Broadway-bound musical Robbin Hood, who has been murdered on stage on opening night! The entire cast and crew are suspects. Time to call in the local detective, Frank Cioffi, who just happens to be a huge musical theatre fan. With a nose for crime and an ear for music, Frank has his work cut out trying to find the killer whilst giving the show a lifeline.

The producing team is made up of Dan LooneyAdam Paulden and Jason Haigh-Ellery for DLAP EntertainmentSally Horchow, Roger Horchow and Walport Productions. The production was originally produced on Broadway by Roger Berlind, Roger Horchow, Daryl Roth, Jane Bergere, Ted Hartley and Center Theatre Group. The American Premiere was produced at The Ahmanson Theatre by Center Theatre GroupLA’s Theatre Company.

Music is by John Kander, lyrics by Fred Ebb (“Cabaret” and “Chicago”), book by Rupert Holmes, original book and concept by Peter Stone with additional lyrics by John Kander and Rupert Holmes.

The production is directed by Paul Foster (“Kiss Me Kate” and “Annie Get Your Gun” for Sheffield Crucible), choreographer is Alistair David (“Ghost” West End and UK tour and “Seven Brides for Seven Brothers” and “The Sound of Music” both for Regent’s Park Open Air), Musical Supervisor & Arrangements are by Sarah Travis (Curve Associate Artist, “Sweeney Todd”, “Sister Act”), Set Design by David Woodhead, Costume Design by Gabriella Slade, Lighting Design by Tim Mitchell, Sound Design is by Tom Marshall and Casting Director is Jim Arnold CDG.

The musical opened in Bromley on 4 October and has been delighting critics and audiences since.  After its London run the show will continue on tour and will open on 14 January 2020 at New Wimbledon Theatre. The tour will then visit, SunderlandLiverpool, Llandudno, Norwich, Northampton, Blackpool, Glasgow, Leicester, Wolverhampton before finishing its run in Southampton at the Mayflower Theatre on 11 April 2020.

Suitable for ages 12+

LISTINGS INFORMATION:

CURTAINS

Wyndham’s Theatre, Charing Cross Rd, Covent Garden, London WC2H 0DA

Box Office: 0844 482 5120

Performances: Monday – Sunday performances (Monday to Wednesday 7.30pm, Thursday and Saturday 2.30pm and 7.30pm, Sunday 3.00pm)

Website: https://curtainsmusical.com

Instagram: curtainsthemusical

Facebook:  https://www.facebook.com/CurtainsMusicalUK

Twitter:  @MusicalCurtains

TOUR DETAILS 2019:

Until Saturday 2 November

Sheffield Lyceum

www.sheffieldtheatres.co.uk

0114 249 6000

Tuesday 5 – Saturday 9 November

BIRMINGHAM The Alexandra 

www.atgtickets.com/birmingham

0844 871 3011

Tuesday 12 – Saturday 16 November                    

DARLINGTON Hippodrome

www.darlingtonhippodrome.co.uk

01325 405405

Tuesday 19 – Saturday 23 November

BELFAST Grand Opera House

www.goh.co.uk

028 9024 1919

Tuesday 26 – Saturday 30 November                    

DARTFORD Orchard Theatre

https://orchardtheatre.co.uk/

01322 220000

Tuesday 3 – Saturday 7 December                         

Stoke-On-Trent Regent Theatre

www.atgtickets.com/stoke

0844 871 7649

TOUR DETAILS 2020:

Tuesday 14 – Saturday 18 January                           

LONDON New Wimbledon Theatre 

www.atgtickets.com/wimbledon

0844 871 7646

Tuesday 21 – Saturday 25 January                      

SUNDERLAND Empire

www.atgtickets.com/sunderland

0844 871 3022

Tuesday 28 January – Saturday 1 February                 

LIVERPOOL Empire  

www.atgtickets.com/liverpool

08448 713017

Tuesday 4 – Saturday 8 February

LLANDUDNO, Venue Cymru

https://venuecymru.co.uk

01492 872000

Tuesday 11 – Saturday 15 February

NORWICH Theatre Royal

www.theatreroyalnorwich.co.uk

01603 630 000

Tuesday 25 – Saturday 29 February

NORTHAMPTON Royal & Derngate

www.royalandderngate.co.uk

Tuesday 3 – Saturday 7 March

BLACKPOOL Opera House

www.wintergardensblackpool.co.uk/our-venues/opera-house

Tuesday 10 – Saturday 14 March                    

GLASGOW King’s Theatre 

www.atgtickets.com/glasgow

0844 871 7647

Monday 16 – Saturday 21 March                    

LEICESTER Haymarket Theatre

www.haytheatre.com

0116 296 1236

Tuesday 31 March – Saturday 4 April                 

WOLVERHAMPTON Grand Theatre  

www.grandtheatre.co.uk

01902 42 92 12

Tuesday 6 April – Saturday 11 April

SOUTHAMPTON Mayflower

www.mayflower.org.uk

02380 711 811

Beverley Knight to star as legendary manager of the iconic group in new musical

BEVERLEY KNIGHT

TO STAR AS LEGENDARY MANAGER OF THE DRIFTERS

IN NEW MUSICAL ABOUT THE ICONIC GROUP

Hit songs include Stand By MeSaturday Night at the Movies,

Under The Boardwalk, Save The Last Dance For Me

and Kissin in the Back Row of the Movies

Premieres in Newcastle before West End season at Garrick Theatre

Michael Harrison and David Ian today announce The Drifters Girl, a brand new musical starring Beverley Knight, which tells the remarkable story of one of the world’s greatest vocal groups The Drifters and the woman who made them. It will make its World Premiere at Newcastle Theatre Royal next year, before transferring to the Garrick Theatre in London for a strictly limited season of 20 weeks.

The Drifters Girl, to be directed by Jonathan Church (Singin’ In The Rain), will begin performances in Newcastle on Saturday 5 September 2020, playing until Saturday 19 September. Performances at the Garrick Theatre start on Thursday 1 October 2020.

Beverley Knight stars as Faye Treadwell, the legendary manager of The Drifters, who, alongside her husband, fought for three decades to turn Atlantic Records’ hottest vocal group into a global phenomenon.

From the highs of hit records and sell out tours to the lows of legal battles and personal tragedy, The Drifters Girl charts the trailblazing efforts of the world’s first African American, female music manager and how she refused to ever give up on the group she loved. Thirty years, and hundreds of hit songs later, there is no doubt that Faye Treadwell was and always will be, The Drifters Girl.

With an incredible soundtrack of some of the most famous songs in history, including Save The Last Dance For Me, Under The BoardwalkKissin In The Back Row Of The MoviesStand By MeCome On Over To My PlaceSaturday Night At The Movies and many more, The Drifters Girl will play for just 15 performances in Newcastle before transferring to London for a limited 20 week season.

Beverley Knight is the Queen of British Soul. She has enjoyed several Top 10 Albums, including the platinum selling Voice: The Best Of Beverley Knight. Her most recent solo album Soulsville was released in June 2016 and went straight into the UK Top 10. She was awarded an MBE by the Queen in 2007 for services to British music and charity, has won three MOBO Awards, and been nominated for Best Female at the Brit Awards three times and for the prestigious Mercury Music Prize. 2019 sees her celebrating 25 years in the music business with a live album, ‘BK25’, recorded with the Leo Green Orchestra at the Royal Festival Hall, out November 8th on Warner Music.

Beverley has also made several, highly acclaimed performances in the West End. Her debut in London was in the star role of Rachel Marron in The Bodyguard in 2013. In 2014 she received an Olivier Award Nomination as Best Actress in a Musical for her much praised role of Felicia Farrell in the Tony Award winning hit show Memphis The Musical, and in 2015 she played the iconic role of Grizabella in Cats at The London Palladium. In 2018 she starred as Emmeline Pankhurst in much praised new funk and hip hop musical Sylvia at The Old Vic, for which she won a best supporting actress award at the inaugural Black British Theatre Awards.

The Drifters Girl, with abook by Ed Curtis, will be directed by Jonathan Church, designed by Anthony Ward, choreography by Karen Bruce, lighting design by Ben Cracknell and music supervision and orchestrations by Chris Egan.

Further casting and full creative team will be announced at a later date.

The Drifters Girl is produced by Michael Harrison and David Ian.

For further information, please see www.thedriftersgirl.com

The Donmar Warehouse’s Olivier Award-winning production of CITY OF ANGELS Hits the West End!

The Donmar Warehouse’s Olivier Award-winning production of

CITY OF ANGELS

Book by Larry Gelbart | Music by Cy Coleman | Lyrics by David Zippel

Hits the West End!

  • Rosalie Craig (Company), Hadley Fraser (Les Misérables, Young Frankenstein) and Rebecca Trehearn (Showboat) reprise their roles.
  • Emmy and Grammy Award nominee Vanessa Williams (Ugly Betty, Desperate Housewives) makes her West End debut.
  • Josie Rourke reunites the production’s entire creative team including Stephen Mear (Choreographer) and Robert Jones (Designer).

Josie Rourke’s critically acclaimed and Olivier Award winning production of City of Angels makes its West End transfer five years since opening at the Donmar Warehouse in 2014. The musical will play at the Garrick Theatre for a limited season, with previews from Thursday 5 March 2020, reuniting the production’s entire creative team.

A screenwriter with a movie to finish.

A private eye with a case to crack.

But nothing’s black and white when a dame is involved.

And does anyone stick to the script in this city?

This is Tinseltown. You gotta ask yourself: what’s real…and what’s reel

Josie Rourke’s “ingenious, stupendous revival” (The Telegraph) premiered in 2014, when it was hailed as “a blissful evening” (The Stage) that’s “smart, seductive and very funny” (Evening Standard). With a swinging score by Cy Coleman and David Zippel and a brilliantly witty book by Larry GelbartCity of Angels is a musical love letter to the glamorous world of old Hollywood and film noir.

The West End production will star Hadley Fraser* as Stine, Rosalie Craig* as Gabby/Bobbi, Rebecca Trehearn* as Donna/Oolie and making her West End debut, Vanessa Williams, in the role of Carla/Alaura.

The cast also includes Marc Elliott* as Panchos/Munoz, Nick Cavaliere* as Sonny, Adam Fogarty* as Big Six, Mark Penfold* as Luther Kingsley, Rob Houchen as Jimmy/Dr Mandril, Joshua St Clair as Peter Kingsley and Cindy Bellot, Sadie-Jean Shirley, Manuel Pacific and Ryan Reid as the Angel City 4.

*Original Donmar Warehouse Company. Further casting to be announced.

Josie Rourke, Director of City of Angels said:

“City of Angels was a landmark experience for me at the Donmar. We all longed to hear Cy Coleman’s classic score, and see this incredible design on a bigger stage. Nica’s passion for the show has brought about this reunion, and I’m very grateful that through her championing, audiences will have the chance

to see this classic production in the West End.

In the five years since I directed the show, I’ve experienced making movies first-hand, and I will return to this Hollywood story with a little more insight! It is a joy to reunite with Rosalie, Hadley, and Rebecca (who made these characters their own), and to have the icon Vanessa Williams make her West End debut as femme fatale, Alaura, in the production.”

Nica Burns, Producer of City of Angels said:

“Only 17,500 people had the opportunity to see Josie Rourke’s outstandingly brilliant production of this terrific, multi-award-winning musical – the equivalent of only a month in a West End playhouse.  It has taken 5 years to reunite the original creative team and finally give a wider audience the chance to see this sensationally sexy, musical masterpiece.  A strictly limited season so don’t miss out a second time. Book your tickets now!”

City of Angels is produced in the West End by Nica Burns, Ian Osborne, Eilene Davidson, Adam Blanshay Productions.

One week to go until much anticipated release of Hayden Tee’s latest album ‘Face to Face’

ONE WEEK TO GO UNTIL MUCH ANTICIPATED RELEASE OF HAYDEN TEE’S LATEST ALBUM ‘FACE TO FACE’

  • ONE WEEK TO GO UNTIL THE FULL ALBUM ‘FACE TO FACE’ WILL BE RELEASED DIGITALLY AND IN STORES.
     
  • ‘THE SMELL OF REBELLION’ FROM HAYDEN TEE’S ‘FACE TO FACE’ IS NOW AVAILABLE TO STREAM ON SOUNDCLOUD.
     
  • STREAM ‘THE SMELL OF REBELLION’ HERE.

Hayden Tee’s third full album, ‘Face to Face’, will be released digitally and in stores one week today, Friday, November 8, 2019 and is currently available for pre-order at www.BroadwayRecords.com and Amazon.com.  Face to Face features songs from Tee’s starring roles in Matilda The Musical, Les Misérables1776, and expands his repertoire with songs by Jason Robert Brown, Andrew Lloyd Webber, Adam Guettel, Kander & Ebb and more.   Arranged by Nigel Ubrihien, backed by a symphony orchestra, and featuring a duet with John Owen-JonesFace to Face is a sumptuous celebration of musical theatre.

Broadway Records has released a first listen track from Hayden Tee’s much anticipated upcoming album Face to Face.  The Smell of Rebellion is now available to stream on SoundCloud. The release celebrates Tee’s recent Broadway World UK nomination for Best Long Running West End Show Performer for his portrayal of Miss Trunchbull in the Royal Shakespeare Company’s Matilda The Musical in the West End.  The Smell of Rebellion is performed by Miss Trunchbull in Act 2 of the show.  

Mamma Mia Review

Alhambra Theatre, Bradford – until Saturday 23 November 2019

Reviewed by Aimee Liddington

5*****

On a Greek island, a wedding is about to take place. Sophie Sheridan, played by Emma Mullen, is about to marry the love of her life, Sky, played by Toby Miles. Sophie has been brought up by her mother Donna Sheridan, who is played by Sharon Sexton, and doesn’t know who her father is. During the lead up to her wedding, Sophie does some snooping in her mother’s diary and sends wedding invitations to three potential fathers. Mamma Mia is a heart-warming tale which explores love in all of its forms. From family love, to friendship and to romance, this smash hit musical based on the songs of ABBA really leaves you remembering what life is all about.

Many of the actors in the production have fantastic singing voices but the real stars of the show are Emma Mullen and Sharon Sexton who play Sophie and Donna Sheridan. The pure mother and daughter relationship that is portrayed in their rendition of Slipping Through My Fingers is enough to bring a tear to the eye. However, the real pinnacle of the show is Sharon Sexton’s performance of The Winner Takes It All – her vocal range is really showcased in this song and has the audience mesmerised and wrapped up in the character’s emotion.

The heartfelt ballads are interjected with pockets of humour and comedy. Nicky Swift, who plays Rosie, and Helen Anker, who plays Tanya, can take a lot of responsibility for this. Their attempt to cheer up their best friend with a performance of Chiquitita is easily one of the most hilarious parts of the show. Equally Nicky Swift’s performance of S.O.S with Jamie Kenna, who plays Bill Austin, is hysterical. Additionally, the group ensemble pieces such as Gimme! Gimme! Gimme! and Voulez Vous are extremely well choreographed and timed which allows the vibe to switch from emotional to humorous in very short spaces of time.

Finally, a review of Mamma Mia would not be complete without a mention to the fantastic band who really do justice to Benny Andersson and Björn Ulvaeus’ musical masterpieces. From the overture all the way to the encore, the band give 100% to ensure the audience is dancing in (and sometimes out!) of their seats.

A fabulous show full of glitter, groove and platform heels. If you’re a fan of ABBA, or not, watching this production is an incredible experience and will certainly leave you feeling like one.