The Tony Award-winning Titanic The Musical is to embark on a new tour of the UK from March 2023.
Produced by Danielle Tarento, Steven M Levy and Vaughan Williams in association with Mayflower Theatre, Southampton, the production will open at the Churchill Theatre in Bromley on 16 March 2023, 10 years since it made its critically acclaimed debut at Southwark Playhouse in London.
Following Bromley, the tour will then go on to Newcastle Theatre Royal, Belfast Grand Opera House, Southampton Mayflower Theatre, Birmingham Hippodrome, Norwich Theatre Royal, Cardiff New Theatre, Nottingham Theatre Royal, Wycombe Swan, Hull New Theatre, Edinburgh Festival Theatre, The Orchard Theatre Dartford, The Lowry in Salford and Sheffield Lyceum in July 2023 (There are further tour dates to be announced)
Danielle Tarento said: ‘Steven, Vaughan and I are so excited that the great ship Titanic is setting sail on a new UK Tour. I can’t believe that it’s been 10 years since that first production at Southwark Playhouse – it feels like a lifetime ago and only just the other day in equal measure! After the couple of years that we’ve all lived through, to be able to mark this anniversary by revisiting some favourite venues from the last tour and also bringing the show to some new ones feels especially joyful.’
In the final hours of 14th April 1912, the RMS Titanic, on her maiden voyage from Southampton to New York, collided with an iceberg and ‘the unsinkable ship’ slowly sank. It was one of the most tragic disasters of the 20th Century. 1517 men, women and children lost their lives.
Based on real people aboard the most legendary ship in the world, Titanic The Musical is a stunning and stirring production focusing on the hopes, dreams and aspirations of her passengers who each boarded with stories and personal ambitions of their own. All innocently unaware of the fate awaiting them, the Third Class immigrants’ dream of a better life in America, the Second Class imagine they too can join the lifestyles of the rich and famous, whilst the millionaire Barons of the First Class anticipate legacies lasting forever.
With music and lyrics by Maury Yeston (Nine, Grand Hotel) and a book by Peter Stone (Woman of the Year and 1776), the pair have collectively won an Academy Award, an Emmy Award, an Olivier Award and three Tony awards.
The original Broadway production of Titanic The Musical won five Tony Awards including Best Musical, Best Score and Best Book. This new production celebrates the 10th anniversary of its London premiere where it won sweeping critical acclaim across the board.
The director is Thom Southerland, the set and costume designer is David Woodhead, the lighting designer is Howard Hudson, the sound designer is Andrew Johnson, musical staging is by Cressida Carré and new musical arrangements are by Ian Weinberger. The cast is yet to be announced.
Grand Opera House York – until Saturday 19th March 2022.
Reviewed by Michelle Richardson
5*****
Already seen by over 30 million theatre goers worldwide, Richard O’Brien’s legendary rock ‘n’ roll musical returns to the UK as part of a worldwide tour. Promising to thrill you with fun and naughty moments. This week is quite special for the longest serving cast member, Kristian Lavercombe, who appears as Riff Raff. On Tuesday it is his 2000th appearance in the role, I got to see him in his 1999th.
As first when we sat down in our seats and looked around, there appeared to be a few empty seats and not the usual amount of fancy dress around, that soon changed. We were sitting in a packed dress circle with magnificent outfits all around. This show certainly has all the whacky and wonderful jumping at their chance to dress up, men in their wigs, stockings and suspenders, women as maids, or in brightly coloured shorts and tails. It is a sight to see, and anything goes. On this occasion we didn’t make the effort, as there were only the two of us, maybe next time.
As soon as the Usherette (Suzie McAdam, who also plays Magenta) appears on stage, looking resplendent and statuesque in her platform heels, the audience is full of rapturous applause, in eager anticipation. She belts out the fabulous Science Fiction/Double Feature, before pulling the curtain back for the show to begin.
This musical horror comedy tells the story of a young, innocent, and newly engaged couple, Janet (Haley Flaherty) and Brad (Ore Oduba). When their car breaks down, they decide to go for help and stumble on a castle in the middle of nowhere. Greeted by the creepy, hunchbacked butler, Riff Raff, they enter the lair of Frank N Furter (Stephen Webb), complete with his bizarre and madcap entourage. He invites the couple to stay to witness the birth of his creation, Rocky (Ben Westhead). They are both seduced, all innocence lost, by the charismatic and simply stunning, Frank N Furter, the Transexual Transylvanian.
Both Oduba and Flaherty are impressive as the young couple, both squeaky clean, until they weren’t, great comedic timing. I was quite surprised how much a good singer Oduba was and how he pulled off the nerdy Brad, plus he sure worked that bustier, suspenders and heels. Webb is sexy and mesmerizing to watch as Frank N Furter, the star of the piece, making the character his own. He really becomes the part and his rendition of I’m Going Home is quite spectacular.
The audience really make the show what it is, but there are perfectly matched by the Narrator, played by Philip Franks. I’ve seen this show a few times and he is by far the best I’ve seen, quite sensational, and I thought the others were good. He steers us through the story, with the audience shouting out replies and statements before he has even finished his line. A lot of what is said is filthy and unprintable, especially by one drunken punter, but the majority of it is all part of the experience. For a Rocky Horror virgin this can be quite shocking and how the hecklers can remember what to say and when to say it is beyond me. Franks quick-fire comebacks are right on point, so witty and topical, with mentions of Prince Andrew and £12,000,000.
By the end of the night, we were all up on our feet dancing and singing along to The Time Warp. The Rocky Horror Show is best described as an adult pantomime. It has a bonkers story line, about a cross-dressing alien from planet Transsexual in the galaxy of Transylvania, shouldn’t work, but is so does. It has fabulous music and costumes and makes for a serious great night out, a dazzling show.
From the well-known and popular book – television series. Father Brown has been brought to stage.
When Mundon Mandeville (John Goodrum) A famous actor and director is getting ready for the curtains to go up on his West End production. Father Brown (John Lyons) is invited by Mundon’s wife Miriam Mandeville (Karen Henson) to the view the acting before the big night! But as the rehearsals start and Mundon decides to go to his office for a rest, they soon discover that the prop gun that’s being used has disappeared! Suddenly with the sound of gun fire upon them, they discover Mundon dead in his office. With a shattered mirror something seems amiss. With all suspects in clear view at the time of the murder. Who could be responsible and will Father Brown slowly unravel the truth.
The cast gave a profession performance with a few laughs thrown in throughout. This production was enjoyable to watch but I did feel it was slow at times and could have picked-up pace a little.
The set was backstage of a theatre with two dressing rooms and a hallway slightly drab, with black brickwork adjoining the doors. In front of the walled hallway were large baskets and props. One dressing room had two mirrors with lighting around and gave a good effect when the lights were turned down making the room acknowledged and bright. In the background you could hear sound of leaking pipes giving it that backstage downtrodden effect.
Overall, an interesting play that was pleasant and amusing to watch.
An Hour And A Half Late is an adaptation by Belinda Lang (who also directed this fabulous production) from the French play written by Gérald Sibleyras and Jean Dell. The story concerns Peter’s attempts to leave on time for a celebratory party being thwarted by Laura (his wife) who initiates a conversation that makes them (you’ve guessed it) late.
At it’s heart the play is a study of a long time married couple or, more precisely, of their past roles and decisions and their contemplation of the future as they near Peter’s retirement and explore Laura’s anxiety about what she will do now that their last child has gone away to study and Peter spends more time at home.
We’ve always known Griff Rhys Jones (Peter) is an undisputed comic talent beloved for decades. From tonight’s performance it’s clear that his comic star burns as brightly as ever. His opening unspoken section alone is almost an acting masterclass into how to set a scene and tell a backstory with an economy of physical gestures and is worth the price of admission alone. He has a charmingly affable on stage presence which is a pleasure to behold and I was particularly taken, also, by the depth of his dramatic acting.
Janie Dee (playing Laura) had arguably the greater emotional arc during the play. To make a character who is facing inner turmoil in the beginning so very likeable and to extract the level of empathy she did was quite a feat, evidence of what a superb performance this was. I felt for, I laughed with and I rooted for her. She was magnificent.
But it was the journey the couple took together that was most impressive. They shone most brightly as a totally believable couple, not just individually. I was particularly impressed by the range of emotions they wrought; pathos, concern, upset, frustration, surprise… and all done with a naturalness that does their acting (and Lang’s direction) credit. Flawless performances with a genuine chemistry between them. It is a fast paced show having very little let up in the conversation and yet it felt totally natural and never hurried.
Whether you’re in a long term relationship, are of a certain age (nearing retirement) or are finding yourself looking at an empty nest, you will no doubt see yourself at some point in this play – and will love it too. I honestly didn’t think the play would be as funny as it was and I wasn’t the only one judging by the guffaws reverberating around the auditorium.
A thoroughly enjoyable evening out and one I would recommend unreservedly – in fact, tickets for this show should be given on the NHS as couples therapy! Just try not to squirm too much when you recognise your quirks lampooned in the dialogue. An unadulterated joy and a very deserved 5 stars.
WEST END PREMIÈRE OF HORRIBLE HISTORIES – TERRIBLE TUDORS
TICKETS ON SALE FROM MIDDAY
Birmingham Stage Company today announces Horrible Histories – Terrible Tudorswill make its West End première at the Garrick Theatre this summer. The show opens on 2 August, with previews from 28 July and runs until 2 September.
This brand-new production marks the company’s tenth year in the West End, which happily coincides with the Birmingham Stage Company’s 30th anniversary. The company has recently been nominated for an Olivier Award for its production of David Walliams’ Billionaire Boy.
Horrible Histories – Terrible Tudors is directed by Neal Foster, designed by Jacqueline Trousdale, lighting by Jason Taylor, music by Matthew Scott, sound by Nick Sagar, with choreography by Kenn Oldfield.
Birmingham Stage Company presents
Horrible Histories – TERRIBLE TUDORS
Garrick Theatre
28 July – 2 September
We all want to meet people from history. The trouble is everyone is dead!
So it’s time to prepare yourselves for Terrible Tudors live on stage!
From the horrible Henries to the end of evil Elizabeth, hear the legends (and the lies!) about the torturing Tudors. Find out the fate of Henry’s headless wives and his punch up with the Pope. Meet Bloody Mary and see Ed fall dead in his bed. Survive the Spanish Armada as they launch their attack!
It’s history with the nasty bits left in!
Terry Deary is the creator of Horrible Histories and one of Britain’s best-selling authors of the 21st Century. He’s also the tenth most-borrowed author in British libraries. There are around 50 Horrible Histories titles with total sales of 25 million in 40 countries. Deary is also the author of over 200 fiction and non-fiction books for young people including his series of books Dangerous Days.
Neal Foster is Actor/Manager of Birmingham Stage Company which since its foundation in 1992 has staged over one hundred productions. The company has become one of the world’s leading producers of theatre for children and their families, including Horrible Histories Live on Stage for seventeen years in the UK, Dubai, Abu Dhabi, Qatar, Bahrain, Hong Kong, Singapore, New Zealand and Australia. Foster has written and directed all of the most recent Horrible Histories shows including Barmy Britain – Parts One, Two, Three, Four and Five (Garrick Theatre, Apollo Theatre and Sydney Opera House); Groovy Greeks and Incredible Invaders for a national tour and Wicked Warwick at Warwick Castle. His first fictional adaptations were David Walliams’ Gangsta Granny and Billionaire Boy, both of which transferred to the Garrick Theatre and have been nominated for an Olivier Award. Horrible Histories shows are recommended for ages 5 to 105 (106 year olds may not like them!)
Prima Facie announces partnership with The Schools Consent Project
Rehearsals underway, with performances beginning Friday 15 April 2022 | Harold Pinter Theatre
Producer James Bierman is today thrilled to announce a partnership between the forthcoming production of Prima Facie and charity The Schools Consent Project.
Prima Facie, which yesterday started rehearsals, will begin performances at the Harold Pinter Theatre on Friday 15 April and play a strictly limited 9-week season.
Throughout the season, the production is giving away free tickets to 10 partner school groups that work with the charity, so they can bring their students to see the show and access further ancillary support. Alongside this the production will be donating and raising money throughout the run to support the essential work the charity does to educate young people in the UK about consent.
Prima Facie 1st day of rehearsals ;
Company ;
Suzie Miller – Playwright ;
Jodie Comer ;
Justin Martin – Director ;
14th March 2022 ;
London, UK ;
Credit: Helen Murray
Set up in 2014 by barrister Kate Parker, The Schools Consent Project is a charity which sends lawyers into schools to teach 11-18 year olds the legal definition of consent and key sexual offences. Their aim is to normalise these sorts of conversations amongst young people; to empower young people to identify and communicate their boundaries, and to respect them in others. To date, they have spoken to over 20,000 young people across the country.
Kate Parker commented:
“The Schools Consent Project is delighted to be partnering with Jodie, James and the whole Prima Facie team during its two-month run at the Harold Pinter Theatre. The play shines a critical spotlight on the themes of consent, the criminal justice system and the female experience – topics we discuss daily with young people in classrooms across the country in our lawyer-led workshops on consent. The production is radical for a West End stage, as is its willingness to have a wider community reach. We are very excited about the impact of this partnership on the behaviour and thinking of the young people we work with.
Jodie Comer commented:
“The Schools Consent Project is something that I wish had been available to my friends and me growing up. It’s crucial that we include younger people in this important conversation. It’s an honour to be able to partner with this great initiative.”
Rebecca Lucy Taylor commented:
“I often get asked how can it change? What can be done. An us vs them mentality is pointless. The system is instilled from birth and the only way to make real long lasting change that isn’t born out of fear or force is education. The complicity of women in our ‘behaving’ goes hand in hand with the entitlement given to and encouraged in men. If I had been taught in school to even slightly ask for more my life would have played out differently. I am thrilled to support and work with this charity and find a way to effect change together.”
James Bierman commented:
“All of us involved in PRIMA FACIE are honoured to be able to highlight and support the essential and brilliant work that Kate and her team at THE SCHOOLS CONSENT PROJECT do up and down the country. To try and change the horrific levels of sexual assault we have in this country we have to change the way we as a society see and talk about consent. By educating young people the Schools Consent Project team are making the future a better place.”
Prima Facie, directed by Justin Martin, stars Jodie Comer. She will play Tessa in this gripping, one-person play which takes us to the heart of where emotion and experience collide with the rules of the game.
Tessa is a thoroughbred. A young, brilliant barrister who loves to win. She has worked her way up from working class origins to be at the top of her game; defending; cross examining and lighting up the shadows of doubt in any case. An unexpected event forces her to confront the lines where the patriarchal power of the law, burden of proof and morals diverge.
Prima Facie is produced by James Bierman for Empire Street Productions.
LISTINGS INFORMATION
PRIMA FACIE Writer Suzie Miller Director Justin Martin Set & Costume Design Miriam Buether Lighting Design Natasha Chivers Sound Design Max and Ben Ringham Composer Rebecca Lucy Taylor Video Treatment Studio
CAST Jodie Comer
HAROLD PINTER THEATRE Panton Street London SW1Y 4DN
TICKETS Box Office: 0333 009 6690 Ticket prices start from Pay What You Can
Darlington Hippodrome – until Saturday 19 March 2022
5*****
There is nothing like a good thriller to get the brains whirring and the ideas forming; and this latest production, from the legendary Bill Kenwright, is an excellent thriller.
Written in the late sixties by Jack Weinstock and Willie Gilbert, based on a french play by Robert Thomas, the plot has more twists and turns than a rollercoaster. Right up to the final reveal you are trying to work it out – and in my case getting it wrong – but it’s a very satisfactory if unexpected denouement.
Set in the remote Catskill Mountains, over the Labor Day weekend, in the mid 1960’s, newly wed Daniel Corban (Patrick Duffy) is failing to enjoy his honeymoon after his wife Elizabeth went missing after a little argument the week previously. Inspector Levine (Gray O’Brien) is investigating this case, on top of a missing necklace at a nearby hotel.
When Father Kellerher (the divine Ben Nealon) arrives with the missing Elizabeth (Linda Purl). Daniel denies ever meeting her, and off we go on around two hours of joyful escapism. A well written thriller with some laugh out loud funny moments too.
The story moves on at an even pace, with a surprise plot and red herrings thrown in for good measure. Surprisingly wordy, there are no stilted or fumbling moments. Duffy plays his part well, moving through a whole range of emotions – fear, bewildered, happy, sad resignation and anger up to the conclusion. Whilst O’Brien is the one to watch, surely the Inspector should be helping the confused old man, but he’s a fun character and you are rooting for him to solve the case. Ben Nealon is really fun, is he a Priest, is he a Gangster? Who knows, his dark and brooding Father appearing at the most unexpected times and places, full of ambiguity and intrigue from the first moment he appears. Linda Purl makes you think a lot about her character – is she the missing Elizabeth or not.
The set is also expertly crafted; since all of the action of the play takes place in the living room of the honeymoon cabin, it needs to be richly fleshed out. Julie Godfrey’s design with Chris Davey’s lighting and Matthew Bugg’s sound, all under the direction of Bob Tomson made the set feel like a fully realised space.
Catch Me if you Can is a masterclass for the armchair, or in this case theatre chair, detective. Completely engaging and captivating the attention of the audience from beginning to end.
Some of us just have more imagination than others.” CHER
The producers of the brand new production of The Cher Show are delighted to announce the full cast joining Debbie Kurup, Danielle Steers and Millie O’Connell, all starring as Cher – Star, Lady and Babe respectively.
Lucas Rush will play Sonny, Jake Mitchell will play Bob Mackie, Sam Ferriday will play Greg Allman and Tori Scott will play Georgia. Joining them are Jordan Anderton, Jasmine Jules Andrews, Carla Bertran, Catherine Cornwall, Áine Curran, Sam Holden, Samantha Ivey, Aston Newman Hannington, Ingrid Olivia, Clayton Rosa, Chay Wills and Guy Woolf.
Back Row: Guy Woolf, Ingrid Olivia, Jake Mitchell, Carla Bertran, Sam Holden, Jordan Anderton, Sam Ferriday, Danielle Steers, Lucas Rush, Millie O’Connell, Debbie Kurup, Chay Wills, Tori Scott, Clayton Rosa. Bottom Row: Aston Newman Hannington, Jasmine Jules Andrews, Catherine Cornwall, Áine Curran, Samantha Ivey
With book by Tony and Olivier Award-winning Rick Elice (Jersey Boys, The Addams Family, Peter andthe Starcatcher), direction by Arlene Phillips (Saturday Night Fever, Starlight Express, Grease), choreography by Oti Mabuse (two-time Strictly Come Dancing champion) and costume design by Gabriella Slade (Six, In The Heights, Spice World 2019 Tour), the UK & Ireland Tour will open at Leicester’s Curve on 15 April 2022 and will continue through to 1 April 2023.
From a young child with big dreams, the shy daughter of an Armenian American truck driver, to the dizzying heights of global stardom, The Cher Show tells the incredible story of Cher’s meteoric rise to fame. Cher takes the audience by the hand and introduces them to the influential people in her life, from her mother and Sonny Bono, to fashion designer and costumier Bob Mackie. It shows how she battled the men who underestimated her, fought the conventions and, above all, was a trailblazer for independence.
The musical is packed with 35 of her biggest hits, including ‘If I Could Turn Back Time’, ‘I Got You Babe’, ‘Strong Enough’, ‘The Shoop Shoop Song’ and ‘Believe’.
With over 100 million record sales, an Academy Award®, an Emmy®, a Grammy®, three Golden Globes® and an award from The Council of Fashion Designers of America, Cher has influenced popular culture more than most. Her on-screen career started in 1971 with her weekly television show that attracted 30 million viewers a week, and went on to include starring roles in iconic films from Moonstruck, for which she won the Oscar for Best Actress, to Mamma Mia: Here We Go Again!, which prompted the New York Magazine to realise “every single movie—no matter how flawless—would be infinitely better if it included Cher.” Her ‘Farewell Tour’ became the highest grossing music tour in history – in true Cher fashion, she followed up her ‘Farewell Tour’ with two further sell-out, worldwide arena tours. She is the only artist in history to have a number one hit in the Billboard chart for six consecutive decades; an achievement that caused Vogue to deem her “eternally relevant and the ruler of outré reinvention”. She became known as the Queen of Reinvention.
In the 1990s, she established The Cher Charitable Foundation to support causes around the world. She has been a long-time donor and supporter of Habitat for Humanity, The Intrepid Fallen Heroes Fund and Keep A Child Alive, an organisation that helps to combat the AIDs epidemic. Most recently, she co-founded Free the Wild to help rescue Kaavan the Asian elephant from Islamabad zoo.
Written by Tony Award-winning Rick Elice, The Cher Show made its debut on Broadway in 2018 in a production that earned two Tony Awards and delighted fans from around the world. This new production will be the European premiere.
The Cher Show UK & Ireland Tour will have set design by Tom Rogers, musical supervision, orchestrations and arrangements by Rich Morris, lighting design by Ben Cracknell, sound design by Dan Samson, music production by Gary Hickeson, wigs, hair and make-up design by Sam Cox, associate direction by James Cousins, associate choreography by James Bennett, musical direction by Danny Belton and casting by Will Burton CDG.
The Cher Show UK & Ireland Tour is produced by ROYO with Fiery Angel, Cuffe & Taylor/LIVE NATION and Playing Field in association with Tilted, Aria Entertainment and JONES Theatrical Group.
FULL CASTING ANNOUNCED FOR THE RETURN OF JEZ BUTTERWORTH’S
J E R U S A L E M
FOR A STRICTLY LIMITED 16-WEEK SEASON AT THE APOLLO THEATRE
DIRECTED BY IAN RICKSON
Today producer Sonia Friedman announced that joining the previously announced Mark Rylance and Mackenzie Crook, who will reprise their celebrated roles as Johnny “Rooster” Byron and Ginger respectively in Ian Rickson’s production of Jez Butterworth’s Jerusalem, are Kemi Awoderu (Pea), Alan David (The Professor), Shane David-Joseph (Mr Parsons), Gerard Horan (Wesley), Ed Kear (Davey), Charlotte O’Leary (Tanya), Indra Ové (Dawn), Jack Riddiford (Lee), Barry Sloane (Troy Whitworth), Niky Wardley (Linda Fawcett) and Eleanor Worthington-Cox (Phaedra). Kobe Champion-Norville, Jesse Manzi and Matteo Philbert will share the role of Marky and joining as understudies are Abigail Green, Amanda Gordon, Callum Sheridan-Lee, Greg Snowden and Anthony Taylor. Final casting will be announced at a later date.
Sonia Friedman Productions and the Royal Court Theatre are delighted to present the return of Jerusalem to London’s West End for a strictly limited 16-week engagement. Previewing at the Apollo Theatre from 16 April 2022 with the opening night on 28 April 2022, Jerusalem will run until 7 August 2022.
Forty day seats for each performance will be available for purchase in person at the Apollo Theatre box office on the day of the performance from 10am. Limited to two tickets per person, they will be £10.00 for preview performances and £15.00 post opening. In addition, every Monday from the week commencing 18 April, 300 seats will be released for that week’s performances on jerusalemtheplay.co.uk at 10am. Limited to four tickets per person, prices for previews will be from £10.00 with post opening prices from £15.00.
The original creative team will return for this 2022 production – designer ULTZ, lighting designer Mimi Jordan Sherin, composer Stephen Warbeck,sound designer Ian Dickinson for Autograph and castingdirector Amy Ball CDG.
Jez Butterworth’s award-winning play, which premiered at the Royal Court in 2009, returns to the West End following record-breaking sold-out runs at the Royal Court and the Apollo Theatres in 2009, 2010 and 2011, as well the Music Box Theater on Broadway in 2011.
On St George’s Day, the morning of the local county fair, Johnny Byron is a wanted man. The Council officials want to serve him an eviction notice, his son wants his dad to take him to the fair, Troy Whitworth wants to wreak his revenge and a motley crew of mates wants his ample supply of drugs and alcohol.
You may not have heard of Steve Steinman before, but he appeared in Stars in Their Eyes as Meatloaf nearly 30 years ago and has been busy touring with his own shows ever since. I have been fortunate to have watched Steve Steinman’s Vampires Rock Ghost Train several times before, this was the fourth, and all at the Grand Opera House York. Steinman is the writer, producer, director and plays the lead. This particular show has been touring for the past 19 years. It promises to be a classic rock musical sensation, that rocks the nation.
With tweaks each tour, it does follow a similar story and just gets better each year. Baron von Rockula (Steinman) wants new virginal blood to replace his Vampire Queen (Emily Clark). Instructing his ever-faithful sidekick Bosley (John Evans) to find him an innocent, along comes Roxy Honeybox (Claire Micallef). After a ride on the Ghost Train she is pursued by the Baron, and his entourage of sexy vampires. His Queen is incensed with his fascination with “this day walker” and is more than a match for the Baron. We can’t forget Van Halensing and his quest to finally hunt down and rid the earth of the Baron.
There is great chemistry amongst the cast and you can tell that Steinman, Evans, Clark and Trixabelle Bold, one of the sexy vampires, have worked together for many years. Evans is always a crowd pleaser as the janitor and Van Halensing and doesn’t disappoint here. I was so happy to see him in his iconic zebra print leggings and blue pvc pants on top, bringing the house down with Jump, long may it continue.
As always, the vocals are powerful and handle the rock ballads perfectly. In the last year Steinman has released his own original album, Take a Leap of Faith, and singles, Journey Home and Everything They Said Was True. The title soundtrack slotted perfectly into the show.
The Lost Boys, the excellent musicians, take us through tracks from Queen, AC/DC, Meat Loaf, Journey, Guns n Roses, Van Halen and many more. On stage the whole time, performing on different levels, they had the whole theatre rocking. For this tour The Lost Boys were stripped back and if I’m honest I would have loved to have seen more guitar action. They were still outstanding throughout the show.
This was the first time I’ve caught it on a weekend and not on a “school night”. With having no work on the Saturday either we made an afternoon of it, a few drinks, and a bite to eat beforehand. We visited Plonkers for our food, just opposite the theatre, and several crew members were there with previous ones, including local guitarist Henry Bird. It would have been great to see him back on stage with the show, with blood dripping down his chest, did miss that bit.
Steinman’s shows always have a loyal following and once you have seen his shows you can understand why, he loves his audience. They might not have the best scripts around, but they are such huge fun, with current references and gaffs galore, you can tell they are having a ball on stage. Steve Steinman Productions must be one of the hardest working outfits out there, with this show and Anything for Love, always on tour.
This is 2 ½ hours of pure unadulterated bonkers entertainment. Even though I’ve seen the show several times I’ve never been up dancing on my feet and singing along so much, the energy on the night was so out of the ballpark. I don’t know if that was because it was the last night of the tour, or because I had no constraints. Whatever it was it was brilliant.
Make sure you catch this vampire pantomime rock concert next year, you won’t be disappointed. They are now touring with Anything for Love, and you can catch them back at the Grand Opera House in York in October.
