Theatre Royal, Nottingham – until 23 November 2019 then touring until 6th June 2020
Reviewed by Boo Wakefield
3***
In its 50th anniversary year, the Northern Ballet are touring with a new version of Cinderella. Originally choreographed by David Nixon in 2013 and a score composed by Philip Feeney, this interpretation is set in Imperial Russia and differs from the classic Cinderella story we all know.
It starts with a long scene during which a young Cinderella is celebrating her birthday with a picnic in the countryside. The young Prince is also there and although both shy, they are attracted to each other. Her father gives her a shawl which her two stepsisters then take from her. Tragically, her father is killed trying to retrieve it and her stepmother blames Cinderella even though her own daughters are mainly to blame.
The family move to Moscow and Cinderella’s stepmother no longer sees as a daughter and confines her to the kitchen a maid. The story continues with an older Cinderella visiting the local market, a welcomed relief from the drudgery of work in the kitchen as it is full of entertainers and a magician. Cinderella helps the magician when one of his tricks fails. The Prince also happens to be at the market but does not recognise the bedraggled maid as the girl he danced with at her party. On returning home, her stepmother reminds her again of her place in the house and a tearful Cinderella takes refuge by visiting the Crustal Lake to skate. The Prince happens to be there too along with the magician, and all are impressed by Cinderella’s ice dancing.
The ballroom scene is very long, perhaps too long, although the group dancing is superb but it lacks the urgency the story needs when the clock strikes 12. Indeed, you are hardly aware this has happened, and it is followed by a curious almost pantomime chase across the stage with a bizarre backdrop with “Cinders’ in red lights which did nothing but leave you confused. It carries on on this strange note with the Prince not recognising Cinderella when he comes to the house the next day with the shoe for the ladies of the house to try on. Distraught, she goes to the Crystal Lake where the Prince, filled with remorse at his behaviour, finally declares his love.
The dancing from all the cast was breath taking and faultless, but credit must go to Antoinette Brooks-Daw as Cinderella whose performance was flawless. Minju Kang was superb as the wicked stepmother with her staccato dance steps impressing her evil character with every move. Mlindi Kulashe was also very impressive in his joint roles of Cinderella’s father and then the magician which was slightly confusing.
Overall this a very entertaining ballet, beautifully danced but was let down by some of the scenery looking as if was borrowed from a pantomime.
The British Library and Trafalgar Theatre Productions
Present
PETER NICHOLS: A CELEBRATION
TRAFALGAR STUDIOS
27 NOVEMBER, 3.00PM
STARRING
ROGER ALLAM, NIGEL LINDSAY,
LAYO-CHRISTINA AKINLUDE, LAURENCE BELCHER, JAMES HARKNESS,FAITH OMOLE,
ELLIOTT ROSS & GRACE COURTNEY
It’s been announced today that the Game of Thrones and Endeavour actor Roger Allam will lead a host of star names in a tribute show to celebrate one of the greatest playwrights of our generation – Peter Nichols: A Celebration will take place at Trafalgar Studios on Wednesday 27th November.
Roger Allam will be joined by an incredible line-up of actors from stage and screen, including Nigel Lindsay (Victoria), Layo-Christina Akinlude (The End Of The F***ing World), Laurence Belcher (X-Men: First Class), James Harkness (Star Wars – Rogue One), Faith Omole (Endeavour), Elliott Ross (Admissions) and Grace Courtney (Holby City).
They and others, under the direction of Peter Nichols‘ grandson George Nichols, will perform a series of extracts from his much loved television and stage plays including Promenade, The National Health, Forget-Me-Not-Lane and Poppy, as well as passages from his personal diaries and rare unproduced plays, kindly provided by The British Library.
George Nichols said: “I’m so proud to be working with this wonderful group of actors who are all helping us to celebrate my Grandfather’s work. It’s going to be a very special and emotional event.”
All tickets are priced at £5 and are available to purchase from ATG Tickets and London Theatre Tickets.
With thanks to The British Library Collections Trust for supporting this event. The full Archive and Oral History of Peter Nichols is accessible at The British Library for the public to view.
Peter Richard Nichols CBE, playwright, born 31 July 1927; died 7 September 2019, aged 92.
Cast announced for Hansel and Gretel Chiswick Playhouse, 2 Bath Road, London W4 1LW Wednesday 4thDecember 2019 – Saturday 4th January 2020
The magnificent cast has been announced for Chiswick Playhouse’s enchanting re-imagining of Hansel and Gretel. Leading the way into the magical forest is Pippa Conway (Oh, What A Lovely War!, Gulbenkian Theatre; Dracula, The Ballroom; Mary and Joseph, Southwark Playhouse) as Gretel alongside Joshua Oakes-Rogers (The Dead Room, BBC Four; Body and Sold, Park Theatre; Vespertilio, VAULT Festival) as Hansel.
Also joining the cast are Serena Flynn (Baubo: Goddess of Filth, Soho Theatre; Prune; Edinburgh Fringe) as Stepmother and Witch and Tomi Ogbaro (A Midsummer Night’s Dream, Regent’s Park Open Air Theatre; Sweet Charity, Watermill Theatre; Seagulls, Octagon Theatre) as Father and Tony The Cockroach.
With a dazzling original soundtrack by composer Leon Parris (Bananaman The Musical, Enid Blyton’s The Famous Five, Stig of the Dump), this musical extravaganza will take audiences on an exciting adventure away from the realm of computer games and social media to a charming forest with a tap-dancing cockroach, lollipops and a candycane house. As Hansel and Gretel become lost among the silver trees, they find themselves in the snare of a witch with penchant for single-use plastic and a hankering for the only remaining sustainable food source: children.
Director Lucy Jane Atkinson comments, It’s a joy to work with such a multi-talented and playful cast of actors and singers to bring this new exciting piece to life. We are having a fantastic time in the rehearsal room and are hopefully creating something very special!
A NEW PLAY BY TOM STOPPARD, DIRECTED BY PATRICK MARBER
Sonia Friedman Productions today (20 November 2019) announces final casting for the world premiere of Tom Stoppard’s Leopoldstadt to be directed by Patrick Marber.
Now booking to 13 June 2020, Leopoldstadt begins previews at Wyndham’s Theatre on 25 January 2020 with opening night on 12 February 2020.
Faye Castelow, Felicity Davidson, Avye Leventis and Sadie Shimmin join the previously announced adult cast – Sebastian Armesto, Jenna Augen, Rhys Bailey, Joe Coen, Mark Edel-Hunt, Clara Francis, Ilan Galkoff,Caroline Gruber, Sam Hoare, Natalie Law, Noof McEwan, Dorothea Myer-Bennett, Jake Neads, Aaron Neil, Alexander Newland, Yasmin Paige, Adrian Scarborough, Griffin Stevens, Ed Stoppard, Luke Thallon, Eleanor Wyld and Alexis Zegerman.
Jarlan Bogolubov, Ramsay Robertson and Joshua Schneider join the previouslyannounced children’s cast – Toby Cohen, Zachary Cohen, Olivia Festinger, Tamar Laniado, Maya Larholm, Daniel Lawson, Louis Levy, Libby Lewis, Jack Meredith, Chloe Raphael, Beatrice Rapstone and Montague Rapstone comprising three sets of five children.
Set designs are by Richard Hudson, with costume designs by Brigitte Reiffenstuel, lighting by Neil Austin, sound and original music by Adam Cork, and movement by EJ Boyle. Casting is by Amy BallCDG,with children’s casting by Verity Naughton.
Vienna in 1900 was the most vibrant city in Europe, humming with artistic and intellectual excitement and a genius for enjoying life. A tenth of the population were Jews. A generation earlier they had been granted full civil rights by the Emperor, Franz Josef. Consequently, hundreds of thousands fled from the Pale and the pogroms in the East and many found sanctuary in the crowded tenements of the old Jewish quarter, Leopoldstadt.
Tom Stoppard’s new play, directed by Patrick Marber, is an intimate drama with an epic sweep; the story of a family who made good. “My grandfather wore a caftan,” says Hermann, a factory owner, “my father went to the opera in a top hat, and I have the singers to dinner.” It was not to last. Over the next fifty years this family, like millions of others, was to re-discover what it meant to be Jewish in the first half of the 20th century. Leopoldstadt is a passionate drama of love, endurance and loss. It is Stoppard’s most humane and heart-breaking play.
Leopoldstadt, the sixth collaboration between SFP and Tom Stoppard,reunites Stoppard, Marber and Friedman who last collaborated on Travesties in 2017.
Leopoldstadt is co-produced with Gavin Kalin Productions, Scott Rudin, Tulchin Bartner Productions, Scott M. Delman/Patrick Gracey in association with Rupert Gavin, 1001 Nights Productions, Nica Burns, Burnt Umber Productions, Bradford W. Edgerton, Eilene Davidson Productions, Richard Winkler.
New casting is announced for the extended run of the critically acclaimed 30th Anniversary production of Fame the Musical playing for a strictly limited season at the newly opened Troubadour Wembley Park Theatre, located in the heart of North West London’s new cultural neighbourhood from 23 Dec – 26 Jan.
Cast members Keith Jack, Hayley Johnston, Molly McGuire, Jamal Crawford, Louisa Beadel, Simon Anthony, Alexander Zane, Katie Warsop, Duncan Smith, Spencer Lee Osborne, Courtney George, Tom Mussell, Ryan Kayode, Lauren Crooks, Daisy Edwards, Jay Le Marrec will remain with the company in their current roles.
New cast include Kira Malou (Iris Kelly), Josie Benson (Miss Sherman) Georgia Tapp (Carmen Diaz) Joshua Steel (Joe Vegas) Rebecca French and Eddie Myles (Ensemble).
Based on the 1980 phenomenal pop culture film, Fame – The Musical is the international smash-hit sensation following the lives of students at New York’s High School For The Performing Arts as they navigate their way through the highs and lows, the romances and the heartbreaks and the ultimate elation of life. This bittersweet but uplifting triumph of a show explores the issues that confront many young people today: prejudice, identity, pride, literacy, sexuality, substance abuse and perseverance.
Fame the Musical is presented by Selladoor Productions (Footloose, Avenue Q, Little Shop of Horrors and Flashdance – The Musical) with Gavin Kalin Productions, Dan Looney & Adam Paulden, Stephen McGill Productions and Jason Haigh-Ellery in association with BrightLights Productions and Big Dreamer Productions.
Fame is Directed and Choregraphed by Nick Winston with Design by Morgan Large, Lighting design by Prema Mehta and Sound Design by Ben Harrison. Mark Crossland is Musical Supervisor.
Featuring the Oscar-winning title song and a cast of outstanding dancers, singers, musicians and rappers as they transform from star struck pupils to superstars. Fame – The Musical will indeed live forever.
Having attended the previous Novello Orchestra concert at the Wales Millennium Centre which was titled Night at the Musicals, I already had extremely high expectations for Movie Mixtape: Songs from the Silver Screen but the extraordinarily talented performers and players managed to surpass the already high standard.
Like itʼs predecessor Movie Mixtape was a cabaret-style show which had performers come up and sing some songs based on a theme. They were accomplices by the incredibly Novello Orchestra and strangely the audience were encouraged to sing-a-long to the songs which did become difficult for some of the bigger musical numbers but people in the audience joined nonetheless. It was a fun-filled evening with many songs from movies I personally have seen and many I have not. Even the songs and movies I had not heard before, I enjoyed so much that I have now started a new list of film that I have to watch as the songs from them are so good. The show could be seen as a celebration of the music of movies and the lights, audience participation and energy helped add to the celebratory vibe of the show and also made the show even more enjoyable to watch.
The actual orchestra themselves were incredible as always. What’s great about these show in the three-part series is that the orchestra is situated on stage and so are visible to the audience at all time which I believe is fantastic as the orchestras in shows often go unnoticed and under-appreciated. There was a wide selection of mega-mixes and fanatic songs which truly showcased the Novello’s talent and craftsmanship. My personal favourite was the Ghostbusters theme tune being played to open the show. This show was both fun, nostalgic and iconic which encompasses the entire concept of the whole show so this was a very clever inclusion especially as it opened the whole concert.
I honestly have no words that can describe my feelings towards Lucie Jones during this concert. I was over the moon when it was announced that she would be singing at this event as I have been an avid fan for quite some time and was already aware of her vocal abilities prior to the concert but she knocked everyoneʼs socks off. SHE WAS OUT OF THIS WORLD! She did a powerful rendition of Sky-fall which rivalled even the original sang by Adele, she sang Let it Go from Frozen which was 1000% better than the likes of the Demi Levato cover and I would even personally say it was better than the original Idina Menzel. She sang the most moving rendition of Moon River that I have ever heard and her final solo of I Will Always Love You from The Bodyguard was worth the price of the tickets in its own. Normally when my overview of songs are brief itʼs because there isnʼt a lot to say but in this case, I am actually lost for words (which is the worse thing a reviewer can be) but Lucie Jones is a phenomenon all while being a likeable and friendly personality. If you arenʼt already you need to keep an eye on Lucie as she is destined for incredible things.
Also on this card was H from Steps. I lost a bit of the hype as being slightly too young to be a fully-fledged Steps fan but I still enjoyed the songs he sang. He started with Tragedy from Saturday Night Fever which was gloriously fun and had even the conductor dancing which was fun to see. He had so much energy and stage presence although at the time he was giving off defiant childrenʼs entertainer vibes this wasnʼt really a problem. His crowning moments came in his duets. Falling Slowly from Once was an extremely moving and emotional duet, with fellow performer Staffan Hughes, that had me in tears throughout. It was a strong and powerful song that Ian “H” Watkins sang after delivering a heart filled message of love and acceptance. His other duet of I’ve had the Time of my Life from Dirty Dancing with Lucie Jones was incredible and displayed the chemistry between these two performers beautifully. However, there was no lift at the end of the song that I was personally hoping for but it was amazing nonetheless.
Stefan Hughes was a special guest for this evening and delivered some beautiful vocals. His cover of King of the Swingers from Jungle Book was incredible although he did seem visibly awkward during dance breaks etc and it was clear that he was first and foremost a singer and used his skills to deliverer many wonderful songs from the silver screen. This production brought in a co-host which was different from the last concert. In the previous one, David Mahoney conducted and also was the compere whereas in this show Connie Fisher helped introduce many of the acts. I personally did not enjoy this co-hosting as it at times looked chaotic and also Connie delivered her sections very formally which gave me award nomination vibes rather than cabaret performance but this is all up to personal preference.
My only qualm with this show was that the finale number which combined all the performers and a local choir was somewhat disappointing. All the other performances in this night were so spectacular and This is Me from The Greatest Showman fell a bit flat. Donʼt get me wrong it was still a really great number but I donʼt believe it reached the heights that the other songs in this show did.
Overall I would rate this production 4 and a half stars out of 5 and would recommend everyone to keep an eye out for there next event which will be announced soon!
If I was reviewing Nativity the movie then I could easily be accused of having a biased as one of my close friends had a starring role in the film. But this is Nativity the Musical which landed at the Wales Millennium Centre and will stay there until the 23rd of November.
For the most part, the musical is simply the film put into the stage. The producers of the show wanted to keep the story and the essence of the show as familiar to the audience as possible. The story revolves around a group of school kids who put on the most spectacular nativity that you have ever seen which leads to hilarious and heartfelt consequences. As it is set around Christmas the show evokes a festive feeling from the audience which is only exaggerated on stage and allows it to be accessible to all ages. It kept its fun-filled nature while also at, some points, moving the audience to tears. One scene that was particularly mirrored from the original is the rock opera adaptation of the King Herod story, done by a rival school. This is a famously strange and uncomfortable watch for the audience in the film and created exactly the same emotions during this stage adaptation.
What was really interesting about the musical version specifically is that it had been carefully constructed and layered so that the show had something for all ages. There were euphemisms, references to current affairs (Brexit specifically), references to historic events and heartfelt and emotional scenes that young audience members may just gloss over. This is a genius way to engage every single person in the audience while preventing the older viewers to feel dragged to a childrenʼs show. A key part of this production was the movement/choreography during the musical numbers. The official choreographers (including Andrew Wright and Rebecca Louise) were able to create dancers that were accessible to all the cast (including the children) as well as it being relevant and reflected the school they were from etc. This was a very clever concept that allowed the show to be very easy to follow and watch so the team should be praised for this accordingly.
At times the show did cross the line of musical production to pantomime especially in the later parts of the show (which isnʼt necessarily a bad thing) it led to some audience participation which involved using their phones to ‘illuminate the stageʼ when the power was cut. This is something that I personally have never seen before and helps makes this show even more fun and unique. The closing numbers of the show were bright, colourful and vibrant which, in my opinion, is the perfect way to send this fun-filled show and made the audience leave with a massive smile on their face and the feeling of Christmas in their hearts.
Obviously, the focal point of the nativity is the children who play the role of the students at St Bernadetteʼs Catholic school. They have to be talented performers, hilariously funny and also have the ahh factor which all the kids in this production did in abundance. Most importantly every child appeared to enjoy being on stage which made the show even more enjoyable to watch. Each child showed tremendous talent and I can’t wait to see where they all end up in the future.
Mr Poppy in this production was played by Scott Paige. This is the lovable, over-excitable teaching assistant who wants to put on the nativity spectacular but is met with a lot of resistance. Scott played this role with a camp and over the top personality that just worked effortlessly with the character from the cheesy quotes (often based on his t-shirts) to the flamboyant dancing and mannerism, he was able to balance this with the softer more innocent side of the character who sucked all the sympathy from the audience with ease. This was a relatable and incredible portrayal of the character for which Scott showcased his acting abilities. Mr Poppy was one of the highlights in the show and delivered many of the comedic moments/jokes.
Two minor roles that I found particularly interesting were Angel Gabrielʼs mum and the rival school’s teacher. Mr Shakespeare, played by Charles Brunton, gave a very exaggerated portrayal of the jealous teacher which led to his performance in the aforementioned King Herod rock opera. His mannerisms and physicalisation drew an obvious comparison to a Squidward from Sponge-Bob Squarepants which actually works perfectly for this role. The Angels mum (who isnʼt named in the programme) was amazing during the number titled ‘good newsʼ where she dueted with her son. She was an incredible singer and dancer and really helped to elevate that number to the level it needed to be at.
Overall this is an incredibly fun, family-friendly and festive show that is an effective homage to the film. I would encourage everyone to watch this production as it will have you dancing in the way home and get you into the Christmas spirit (whether you want to or not!) I would rate this show 4 out of 5 stars.
Bill Kenwright has announced the appointment of his first artistic director at Theatre Royal Windsor.
Commencing May 2020, a WINDSOR THEATRE ROYAL SUMMER SEASON will take place each year, under the directorship of SEAN MATHIAS.
Bill Kenwright says: “Since I acquired Theatre Royal Windsor over twenty years ago there have been several changes in regional theatre. Most producing houses have been affected, probably none more so than Theatre Royal Windsor, which has no public subsidy whatsoever.
As the next chapter in trying to establish Windsor Theatre Royal, again, as a major theatrical force, I’ve asked Sean to be the theatre’s artistic director for a four monthly annual season. We’ve talked about it for a couple of years now – and I am really pleased to say that he has agreed to start next year. He is not only a great director but also a passionate lover of all things theatre.”
Sean Mathias said: “Theatre Royal Windsor is an absolute gem of a theatre and I’m delighted and honoured that Bill has invited me to helm my first summer season there. I hope to bring a company of some of our best actors together to explore and invigorate classic texts and to give audiences a dynamic experience that will put Windsor centre stage once more in our ever-changing British theatre landscape.”
SEAN’S INAUGURAL SEASON WILL RUN FROM MAY – SEPT2020 and will include HAMLET andTHE CHERRY ORCHARD.
Sean Mathias is one of this country’s foremost directors. His multi-award-winning career includes productions at the National Theatre, The Kennedy Centre, The Mark Taper Forum, Paris, Sidney and Cape Town, and many productions on Broadway.
Anne-Marie and Jon Woodley who manage the Theatre Royal said: “Sean is undoubtedly one of the UK’s finest directors, and after working with him on the Exorcist this Summer he is also an absolute joy to have around! Windsor is very lucky indeed!!”
Sean Mathias is a British Theatre Director, Film Director and Writer.
He has written a number of plays including the award winning A Prayer for Wings, and the screenplay for the award-winning BBC film The Lost Language of Cranes.
In 2009/2010 Sean was the Artistic Director of Theatre Royal Haymarket and his legendary production of Waiting for Godot played two seasons at the theatre, as well as touring the UK and internationally. In 2013 he directed and co-produced Two Plays in Rep, comprising Beckett’s Godot and Pinter’s No Man’s Land on Broadway at the Cort Theatre. His production of No Man’s Land, starring Ian McKellen and Patrick Stewart, was the highest grossing play in the history of the Wyndham’s Theatre. Earlier this year he directed the UK premiere of Martin Sherman’s play Gently Down the Stream at the Park Theatre. He directed the award-winning film Bent.
He has won various awards including WhatsOnStage Award, Evening Standard Award, Critics’ Circle Award, a Fringe First at Edinburgh and the Prix de la Jeunesse at Cannes.
Recent productions include:
A PRAYER FOR WINGS Kings Head Theatre
IAN MCKELLEN ON STAGE 2019 The Harold Pinter Theatre & The Hudson Theatre Broadway
GENTLY DOWN THE STREAM Park Theatre
SAVAGE LOVE Public Theater New York
THE EXORCIST Phoenix Theatre, London
GENTLY DOWN THE STREAM Public Theater, New York
NO MAN’S LAND West End and Broadway
THE UNBUILT CITY New York Stage and Film
WAITING FOR GODOT Theatre Royal Haymarket
Theatre Royal Windsor is situated in the shadows of Windsor Castle and is one of the few completely unsubsidised producing theatres that operates all year round outside London. When the famous theatre was on the brink of administration in 1997 Bill Kenwright, who as a young actor in the 60’s and 70’s had been hugely encouraged by John Counsell, took over the theatre’s lease. His company Bill Kenwright Ltd has been looking after the future of this beautiful theatre ever since.
By Anna Spearpoint and Louise Beresford, Directed by Carla Kingham
From 4 – 31 December 2019
Back by popular demand, writers and performers Anna Spearpoint and Louise Beresford take to the stage in Theatre503’s The Fairytale Revolution: Wendy’s Awfully Big Adventure. They met performing in last year’s panto, Cinderella and the Beanstalk, and after months gazing lovingly into each other’s funny bones, they return to our new writing venue with a brilliant brand-new hilarious family friendly.
We all know how a panto is meant to go (oh no we don’t): the hero wins, the villain loses, someone gets married and they all live happily ever after… until now! Get ready for Wendy wanting to be a pirate and Captain Hook yearning to be a poet. Together with The Baker Swife they embark on a thrilling journey to Enchantia in search of a brand-new story.
We also believe (oh yes we do) that we’re the only all-female panto in the entire world (all challenges accepted). Plus, we’re proudly flying the local flag high once more, with Anna Spearpoint from just around the corner in Battersea.
BREAKING NEWS: Contrary to recent coverage by the Sun and the Daily Star, it is in fact the case that our Wendy just really wanted a new adventure all on her own (and there is at the very least one “bawdy joke” about Aladdin’s lamp). Our panto is a celebration of superb storytelling and a magical, glorious Christmas show for families. Why not come along and let our new story speak for itself?
LISTINGS DETAILS:
Dates and times: 4 – 31 December, show times vary so please see website for full schedule
Tickets: £19/£15/£12 (£10 previews); 5 x £5 tickets evening performance
Broadcaster, writer and activist Gemma Cairney will narrate ABBA: Super Troupers The Exhibition, which opens at The O2 on Friday 6th December 2019. The exhibition ispresented by Entertainment Exhibitions International (UK) Ltd (EEI) in association with ABBA The Museum in Stockholm.
The new exhibition will occupy a 14,000 square foot space within London’s home of music. Through a series of immersive and interactive rooms, ABBA: Super Troupers The Exhibition explores each of the band’s eight albums and the wider socio-political backdrop against which they were released.
Running from 6th December 2019 to 31st August 2020, ABBA: Super Troupers The Exhibition brings to life the world of chart-topping Swedish pop sensation ABBA (Agnetha Fältskog, Björn Ulvaeus, Benny Andersson, and Anni-Frid (“Frida”) Lyngstad) in an experience that charts their music, lyrics, creative process and influence as one of the most iconic pop bands of the modern age.
Gemma Cairney is one of the BBC’s foremost presenters. She has hosted programmes on BBC Radio 1, Radio 4 and 6 Music, has been part of the BBC’s Glastonbury presenting team, and fronted special programmes and documentaries across the BBC. She has been awarded two Sony Gold Awards, and her interview with Grace Jones for Amazing Grace won the Best Music Show Rose d’Or.
Gemma’s acclaimed TV documentaries include History of Feminism (BBC Learning) and Riots: The Aftershock and Dying for Clear Skin (BBC 3). She is also an Ambassador for Oxfam, and in this capacity recently raised over £26,000 for Oxfam’s The Music Circle Rumble in the Jumble celebrity jumble sale. Gemma is also a supporter of Women’s Aid.
Commenting on today’s announcement, Gemma Cairney says:
“I am delighted to have been asked to narrate ABBA: Super Troupers The Exhibition. The project sounded far too fun and uplifting not to get involved. For me, ABBA are the absolute epitome of pop music and complete masters of their craft, having written some of the most universally joyful songs of all time. I think there’s a time in everyone’s life where they start thanking ABBA for the music. Whether you are a long-standing fan or have come to the band more recently, ABBA: Super Troupers The Exhibition will immerse you in the wonder of the ABBA’s legacy. Join us in celebrating the phenomenon!”
The exhibition has been conceptualised and curated by Jude Kelly CBE, a renowned theatre director andformer artistic director at The Southbank Centre (2006-2018) and approved by ABBA.
ABBA burst onto the UK music scene with a dazzling win on 6th April 1974 at the Eurovision Song Contest at the Brighton Dome, introducing the irresistible song that would become their first UK chart-topper, “Waterloo”. ABBA: Super Troupers The Exhibition examines ABBA’s rise to global superstardom through a series of atmospheric rooms, exploring each of ABBA’s 8 multi-million selling albums, alongside the band’s personal and public journey.
Transforming the traditional exhibition experience, this innovative take on the ABBA story takes visitors to the heart of the journey of each band member. Incorporating lyrics, costumes, instruments, experiential backdrops of the key events and locations that defined and shaped the band, album artwork, photography, film and more, ABBA: Super Troupers The Exhibition examines the band’s universal popularity. From their multi-layered sound to their iconic look, the exhibition goes behind-the-scenes to examine the heavy-weight influence of one of the most enduring acts of all time.
ABBA: Super Troupers The Exhibition will display an array of objects that include:
· Personal artefacts from each musician’s youth that provide an insight into their pre-ABBA lives, including Björn’s school report, his military book and photographs from his time in service, and pictures of a 13-year-old Frida in a jazz band as a beatnik teenager.
· Key items from the height of the band’s heyday, reflecting on both the personal – such as a collection of behind the scenes photos taken of the band on their ‘77 Australian “Arrival” tour – and the professional, with iconic items from the height of their success, including:
A limited-edition replica of the ‘Star Guitar’ played at Eurovision ’74, signed by all four members.
o Over 40 Gold Discs from ABBA’s personal archive, including “Dancing Queen”, their biggest selling single, worldwide.
o A collection of exquisitely designed, image-defining costumes and personal clothing.
· A recreation of superfan Andrew Boardman’s Manchester living room, a veritable shrine to ABBA memorabilia. Andrew began collecting 40 years ago, having fallen under the band’s spell when, at age 16, he first attended an ABBA concert. This room explores the notion that ABBA may have the most ardent and committed fans of any contemporary band.
Visitors will be fully immersed in the ABBA story through the ABBA: Super Troupers The Exhibition’s theatrical staging, including:
· A recreation of the Eurovision Song Contest stage at the Brighton Dome, where, from lush deep theatre seats, fans will watch the performance before experiencing the excitement of the vote reveal.
· Multiple photo-opportunities, where attendees can capture themselves beside:
A full-sized replica of the helicopter that graced the cover of “Arrival’.
Replicas of the iconic “Super Trouper” album cover costumes.
A life-size replica of the scoreboard that saw ABBA secure Eurovision Song Contest victory (despite null points from the United Kingdom…).
· A glimpse inside the band’s POLAR Studios, where the hard-working pop perfectionists refined their defining harmonised sound, with interactive elements that include a voice recording booth and mixing desk.
· Ending the experience on a hedonistic high, guests are invited to sing, dance, add to fan mail, explore memorabilia and indeed say “Thank You For The Music” in The Legacy finale, as a specular audio-visual backdrop documents the very best of the band’s monumental successes.
