Month: October 2022

Cahoots Theatre Company Ltd  

in association with Jamie Clark Theatre 

presents the premiere of 

Wodehouse in Wonderland 

Starring Robert Daws 

Written by William Humble 

Directed by Robin Herford 

Tour opening at Malvern Theatres on 26 January 2023 

Cahoots Theatre Company Ltd in association with Jamie Clark Theatre presents the UK premiere of William Humble’s play Wodehouse in Wonderland, starring Robert Daws and directed by Robin Herford, on a UK Tour which opens at Malvern Theatres on 26 January 2023.  

Based on the life and writings of P.G. Wodehouse, Wodehouse in Wonderland takes place in P.G. Wodehouse’s New York State home in the 1950’s. Plum, as he is known to family and friends, is working away at the latest adventures of Bertie Wooster but is interrupted by a young would-be biographer, his adored wife, daughter Snorkles, and his two Pekingese. He shares stories about how Jeeves entered his life, how he became addicted to American soap operas and why he wrote books that were ‘like musical comedies without music’. He sings songs composed by Broadway legends with lyrics written by himself, and entertains the audience with characters such as Bertie Wooster, Jeeves, Lord Emsworth, Gussie Fink-Nottle and the squashily romantic Madeline Bassett…but there’s also a darker story beneath the fun. 

Wodehouse in Wonderland features songs byJerome Kern, George Gershwin, Cole Porter and Ivor Novello.   

The production is performed by arrangement with the Wodehouse Estate. 

The 2023 Tour will visit Malvern Theatres (26-28 Jan), Yvonne Arnaud Theatre, Guildford (2-4 Feb), Theatre Severn, Shrewsbury (6-8 Feb), Theatre Royal Windsor (9-11 Feb), Derby Theatre (13-15 Feb), Key Theatre, Peterborough (16-18 Feb), Exeter Northcott Theatre (24-25 Feb), The Haymarket, Basingstoke (2-4 Mar), Churchill Theatre, Bromley (9-11 Mar), Everyman Theatre, Cheltenham (13-14 Mar), New Wolsey Theatre, Ipswich (16-18 Mar), Tivoli Theatre, Aberdeen (22-24 Mar), Queen’s Theatre, Barnstable (6-8 Apr), Alnwick Playhouse (13-15 Apr), Chelmsford Civic (17-19 Apr), York Theatre Royal (20-22 Apr), Octagon Theatre, Yeovil (25-27 Apr) and The Albany Theatre, Coventry (28-29 April). 

Robert Daws is well known for his work in television including leading roles in Jeeves and Wooster; John Sullivan’s Roger Roger and Rock and Chips; the British Comedy Award winning Outside Edge; Casualty, Midsomer Murders, Death in Paradise, Poldark, Sick Note, Father Brown, Agatha Raisin and eight series of The Royal as well as the BBC’s murder mystery series, Sister Boniface. With countless stage credits to his name, Robert has most recently been playing Pischik in The Cherry Orchard with Ian McKellen and directed by Sean Mathias. His many BBC Radio portrayals include Chief Inspector Trueman in Trueman and Riley, the long-running police detective series he co-created with writer Brian B Thompson (available on Kobo and Audible). Robert is the author of the best-selling Rock detective novels set in Gibraltar and Spain. He co-presents the popular crime fiction podcast Partners in Crime. 

William Humble has written a number of highly-acclaimed films for BBC TV, including the Emmy-Award winning On Giant’s Shoulders, with Judi Dench, the BAFTA-nominated Hancock, with Alfred Molina as Tony Hancock, and Frances Barber, and Virtuoso, about the concert pianist John Ogdon, also with Alfred Molina, and Alison Steadman. Other BBC films include Ex, starring Griff Rhys Jones and Geraldine James and Royal Celebration, with Minnie Driver, Leslie Phillips and Rupert Graves. For ITV, William wrote Too Good To Be True, a two-part psychological thriller with Niamh Cusack and Peter Davison and the film Whatever Love Means with Laurence Fox, Olivia Poulet and Richard Johnson. He dramatised Rosie Thomas’s novel Every Woman Knows A Secret, P.D. James’s An Unsuitable Job For A Woman as a six-part series with Helen Baxendale and Annette Crosbie, P.D. James’s The Black Tower as a series with Roy Marsden and Pauline Collins, and Mary Wesley’s The Vacillations of Poppy Carew with Tara Fitzgerald and Joseph Fiennes. William’s stage plays include What A Performance, with David Suchet as comedian Sid Field, on tour and at the Queen’s Theatre Shaftesbury Avenue, Facades, with Frances de la Tour as Edith Sitwell and directed by Simon Callow at the Lyric Hammersmith, Fly Away Home with Hywel Bennett, Diana Quick and Roger Lloyd-Pack at the Lyric Hammersmith, Talk To Me with Alan Dobie and Robert Daws at the New End Theatre Hampstead, and Virtuoso with Oliver Ford Davies at the Wolsey Theatre Ipswich. In 2021, William’s one-person stage play The Performer, starring Stephen Fry, was successfully broadcast on Radio 4. He has written several radio plays and two comic novels.  

Much of Robin Herford’s early career was involved with Sir Alan Ayckbourn and the Stephen Joseph Theatre in Scarborough, first solely as an actor, then also as Associate Director, and finally as Artistic Director from 1986-88. By that time, he had appeared in the original production of more Ayckbourn plays than any other actor. Robin’s most successful production The Woman in Black, which he commissioned and directed in 1987, has now been running in the West End for over 30 years, and has completed 12 UK tours. Directing, and occasionally performing in this play, has taken him around the world. Most recently, Robin directed Barefoot in the Park at The Mill at Sonning. He and Robert Daws have known each other for many years. Robin first directed Robert as Dr Watson in The Secret of Sherlock Holmes at the Duchess Theatre, and most recently playing the lead in a national tour of Ayckbourn’s Ten Times Table. A shared passion for P.G. Wodehouse makes this an irresistible project for them both. 

2023 TOUR LISTINGS 

26-28 January             Malvern Theatres (on sale now) 

2-4 February               Yvonne Arnaud Theatre, Guildford (on sale now) 

6-8 February               Theatre Severn, Shrewsbury (on sale now) 

9-11 February             Theatre Royal Windsor (on sale soon) 

13-15 February           Derby Theatre (on sale soon) 

16-18 February           Key Theatre, Peterborough (on sale now) 

23-25 February           Exeter Northcott Theatre (on sale soon) 

2-4 March                   The Haymarket, Basingstoke (on sale now) 

9-11 March                 Churchill Theatre, Bromley (on sale soon) 

13-14 March               Everyman Theatre, Cheltenham (on sale now) 

16-18 March               New Wolsey Theatre, Ipswich (on sale soon) 

22-24 March               Tivoli Theatre, Aberdeen (on sale now) 

6-8 April                      Queen’s Theatre, Barnstable (on sale now) 

13-15 April                  Alnwick Playhouse (on sale now) 

17-19 April                  Chelmsford Civic (on sale now) 

20-22 April                  York Theatre Royal (on sale soon) 

25-27 April                  Octagon Theatre, Yeovil (on sale now) 

28-29 April                  The Albany Theatre, Coventry (on sale soon) 

A GOLDEN LINE-UP FOR DICK WHITTINGTON

Dick Whittington cast members came together for the first time this week (3 October), to launch this year’s spectacular pantomime at Birmingham Hippodrome.

The UK’s biggest regional panto features an all-star cast with Marti Pellow as The Ratman, Matt Slack as Dick Whittington, Dr Ranj as Spirit of the Bells, Suzanne Shaw as Alice, Doreen Tipton as Doreen the Cat and Andrew Ryan as Felicity Fitzwarren.

Later on in the day Birmingham Hippodrome opened its doors to Hippodrome Friends for an exclusive event which included an audience Q&A as well as an opportunity to meet cast members ahead of December’s production.

The production follows Dick Whittington and his trusty cat as he seeks fame, fortune, and happiness journeying to become the Lord Mayor in an action-packed adventure full of laughter, music and dance.

Featuring sets and costumes from The London Palladium, spectacular special effects and plenty of audience participation, Dick Whittington is the perfect chance for audiences to come together and share the magic of live theatre.

Dick Whittington will run at Birmingham Hippodrome from Saturday 17 December 2022 and will play until Sunday 29 January 2023.

Tickets for Dick Whittington can be booked at www.birminghamhippodrome.com or by calling 0844 338 5000*

 *0844 calls will cost you 4.5p per minute plus your phone company’s access charge.

BIRMINGHAM HIPPODROME, BIRMINGHAM – UNTIL SATURDAY 15TH OCTOBER

REVIEWED BY NADIA DODD

5*****

First time for me watching this musical but I’ve certainly watched the film plenty of times and if you are expecting the same as the film you may be slightly (only slightly) disappointed. New songs such as Take Me To Heaven, The Life I Never Led and Raise Your Voice certainly do create earworms for the audience to clap their hands and tap their feet along to.

What a way to show the importance of unity, sisterhood and then friendship between the wanna be hit singer and a group of nuns.

The musical is set in the late 1970’s in Philadelphia where the audience is introduced to Deloris Van Cartier, played by Sandra Marvin. Wanting to be a regular entertainer at her married, gangster boyfriends club. Deloris gets turned down, then accidently witnesses him committing a murder and has to end up in police protection.

Where can such a vibrant and outspoken character be placed where no one would think of looking for her – a convent of course! Convent life was always going to be difficult for Deloris to adjust to but when they discover common ground in music and singing, Deloris helps the choir attract more people from the local community to join the congregation in turn raising more money for the church to secure its future which was looking extremely bleak.

If Sandra Marvin was nervous about filling those boots of the talented Whoopie Goldberg, she certainly did not let this show. Her voice was powerful and strong. She bought the comedy to her character with some fabulous facial expressions too even when wearing her habit!

What a stellar cast Sister Act has to offer, in addition to Sandra, there’s Lesley Joseph playing the Mother Superior, Clive Rowe playing the police officer Eddie Souther and Lizzie Bea ….. what a voice ….. playing the timid and shy Sister Mary Robert who Deloris, known to her as Sister Mary Clarence helps to evolve out of her shell, unveiling this powerful voice that just mesmerises the audience.

Bright colourful costumes including sequins and glitter. Fabulous bright lighting and staging plus so many joyous, heavenly and talented voices this musical just has it all. Throw in the comedy and it’s no surprise why the crowd were on their feet clapping and cheering tonight.

Gaiety Musical Theatre Festival to launch in 2023
bringing unique festival experience to the fans
Ragley Hall, Alcester, Warwickshire, B49 5NJ
Sunday 30th April 2023

The highly anticipated Gaiety Musical Theatre Festival is launching in April 2023 at Ragley Hall, Warwickshire. Following its postponement in 2022, this one-of-a-kind epic multi-stage festival will bring together some of the biggest West End and Broadway stars for a day packed with musical theatre performances and experiences. With two professional stages, a silent disco, theatre village, backstage hub, community bandstand, a funfair and food and drink stalls, Gaiety Musical Theatre Festival promises to be a must for any musical theatre fan.

The first of the headliners of the 2022 postponed festival are returning for the re-launched event in 2023. Fresh from her toe-tapping turn in Anything Goes, Kerry Ellis (We Will Rock You; Wicked) will be joined by fellow headliners and Britain’s Got Talent winners Collabro, in one of their last ever performances; stage and TV star Lee Mead (Joseph and the Amazing Technicolor Dreamcoat; Wicked; Legally Blonde: The Musical); Olivier Award-winning singer and actress Cassidy Janson (& Juliet; Beautiful: The Carol King Musical; Avenue Q); and Over the Rainbow contestants and musical stars Lauren Samuels (Bend It Like Beckham; Grease; We Will Rock You) and Sophie Evans (Wicked; The Wizard of Oz; Lord of the Dance).

The amazing line up will perform their favourite musical theatre songs on the Main Stage, accompanied by the London Musical Theatre Orchestra (Royal Albert Hall; London Palladium; Dominion Theatre). Further names are to be announced in due course.

As well as the amazing Main Stage line up, festivalgoers can dance the day away to their favourite Broadway belters in the silent disco tent, browse a wide variety of independent and official show merchandise in the theatre village and get involved with an exciting programme of events and activities across the 20 acre site.

Mike Wilson, producer of Gaiety Festival comments, We are delighted that Gaiety Festival is back, and bigger than ever! Our production team continue to work tirelessly to stage an event unlike anything seen before; a festival where musical theatre fans from across the country can immerse themselves in the best entertainment and experiences on offer. Today’s announcement is just the beginning, and we can’t wait to share even more exciting news over the coming months as we count down to the big day. It’s going to be spectacular!

The outdoor Gaiety Festival will bring the best of musical theatre to the stunning grounds of Ragley Hall Warwickshire, a magnificent stately home near Shakespeare’s birthplace, Stratford-upon-Avon. Alongside standard, family, and VIP tickets, there will be return travel packages from Birmingham, London, Stratford-upon-Avon, Warwick, Worcestershire and Coventry from Gaiety Festival’s Official Coach Partner, Big Green Coach, so musical fans from around the country can easily get to Ragley Hall.

Gaiety Festival will launch with 2,000 early bird tickets at £25. This incredible offer will allow musical theatre fans the chance to grab their spot at the festival straight away, at an amazing discount of over 40%. Since LMTO’s public launch in June 2016, the orchestra has performed in concert at venues including the Royal Albert Hall, the London Palladium, the Dominion, the Lyceum and Cadogan Hall to sell-out crowds and rave five-star reviews. LMTO is Orchestra-inResidence at Bishopsgate Institute. www.lmto.org.

Marylebone Theatre – until 5th November 2022

Reviewed by Alun Hood

4****

At a time when attracting audiences is a challenge thanks to the dreaded cost of living crisis and onslaught of autumn, one can only applaud in admiration the audacity of opening a new theatre space. Even more remarkably, Marylebone Theatre debuts with a challenging political-historical drama by a long dead German writer set in 1600s Russia and Poland, about a real life figure whose name is unlikely to be recognised by your average ticket-buying punter. But here we are, with an inaugural production of Schiller’s Dmitry, as re-imagined and completed (the playwright died before finishing his original manuscript) by Peter Oswald and director Tim Supple….and it turns out to be stirring stuff.

To be fair, Oswald has form with adapting and reshaping Schiller (he fashioned a gripping Don Carlos, and his Donmar version of Mary Stuart with Janet McTeer and Harriet Walter was a massive international hit fifteen years ago) and Tim Supple has sundry classical credits under his belt at the Young Vic, the RSC and beyond, so we are in safe hands here. Once again, Oswald provides a verse text that is muscular, vivid and, crucially, never sounds like a translation. If it’s a little hard to follow at times, that’s more a fault of the original source material, but the story – the deposed Russian Tsar’s son, allegedly murdered in infancy and subsequently near-deified, turns up as an adult in early 1600s Poland to incite political and religious war, but is it really him? – is fascinating enough to repay the effort of concentration. There are shades of Martin Guerre, Anastasia and even Macbeth in this tale of violent power grabs, false, or at least unreliable, memory, and mistaken identity

Dmitry often feels more like a thriller than a bone dry history play, and Supple’s predominantly modern dress staging embraces and enhances that with almost constant underscoring – everything from Thrash metal through Hans Zimmer-style orchestral moodiness to religious choral flamboyance – and a rapid pace that enthrals but could occasionally benefit from slowing down a tad to allow us in the audience to absorb the astonishing story. And it really IS astonishing: allegiances switch in the blink of an eye, a breathtaking deceit is embarked upon, battles are fought and the push-pull of religious observance with political expedience is laid bare.

It’s engrossing material that resonates across the centuries, and it’s shot through with shards of macabre humour. Supple’s staging is heavy on the symbolism, both secular and, most strikingly, the religious, invoking the passion of Christ and other iconography in a series of tableaux depicting Dmitry’s demise, but never feels overdone.

The performances are uniformly terrific, and alive to the whiplash-inducing variations in tone and plot development. Lesser actors might struggle with rendering these flawed, intriguing figures into something consistently credible, but not Supple’s cast. Tom Byrne finds a relatable ordinariness as well as a natural authority and compelling dynamism in the young man who initially has no idea if he’s really of Tsarist lineage or not. Poppy Miller is very powerful as the former Tsarina relegated to an anonymous religious life before seeing her fury and pain devastatingly reactivated.

Daniel York Loh does thrilling, fiery work as the ruling Tsar Boris Godunov, matched by a turn of extraordinary passion and wayward energy by Piotr Baumann as a Cossack warrior. Aurora Dawson-Hunte’s Princess betrothed to Dmitry is an intriguing mixture of ferocity and acquiescence that feels refreshingly modern but not implausibly so, and Mark Hadfield invests her father with the appropriate mixture of authority and comic bafflement. In another striking performance, Clifford Samuel brings a riveting watchfulness, and a particularly strong command of the verse, to one of the few characters with a full handle on the bewildering facts surrounding the unconventional hero.

Robert Innes Hopkins’s set extends the blonde wood of the auditorium onto the stage in a sort of natural continuation that feels fitting for the first production in a brand new theatre. However, the suspended overhead grid, in similar wood, slightly impedes the directing of Jackie Shemesh’s moody lighting, leaving key figures in darkness at dramatic moments while lesser characters are fully illuminated. Max Pappenheim’s vivid, edgy and pretty much constant soundscore is quite wonderful though, almost like another character in the play.

It will be interesting to see a production at the Marylebone that seeks to transform the space a little more. As it is, the venue is attractive and comfortable, but feels like a lecture theatre and performance space hybrid. Still, it’s exciting to welcome a new central London theatre, and highly impressive that they’re opening up with a bold, grandiose, high quality production that would not look out of place on one of the National stages or at somewhere like the Donmar or the Almeida. Bravo.

Salisbury Playhouse, Salisbury – until 8 October 2022 

Reviewed by Gemma Gibson 

5***** 

Spike Milligan was a comedy genius, inspiring the likes of Monty Python and Eddie Izzard with his witty humour, unique sketches, and hilarious one-liners. 

Ian Hislop and Nick Newman’s latest show ‘Spike’ pays homage to just that, as we explore the inner workings of this complex comic during the booming fifties and his successful radio show – The Goon Show. 

As comrades Harry Secombe and Peter Sellers become overnight celebrities, chief writer and fellow goon Spike finds himself pushing the boundaries of comedy to make The Goon Show one of the most loved features on the airwaves… albeit with a bit of resistance from the BBC. The Big Brother Corporation as he put it.  

Reflecting on the life of such a unique and inspirational comic, it was a given this production had to be funny, and it did not disappoint.  

Right from the start – a brief introduction to BBC sound effects from Janet (played by Margaret Cabourn-Smith), I was already laughing and hooked. Transported to the world of retro radio, I could have watched that for the two hours. 

The leading comedy trio however, Spike, Harry and Peter, played by Robert Wilfort, Jeremy Lloyd, and Patrick Warner, were of course the stars of both The Goon Show and ‘Spike’.  

Their physical comedy, timing for a punch line, and fun-to-watch chemistry and banter, all while staying true to character, left the audience bellowing with laughter throughout.  

A subtle look to the audience here, chaotic dance moves and a trumpet there, Wilfort’s interpretation of Spike is to be truly commended. He embodied Spike’s energy, enthusiasm and unique, and sometimes satirical, humour brilliantly. 

What was also great about this show was that it went beyond Spike’s fame as a goon, tapping into his war experiences and how this affected both health and humour.  

This was done incredibly through flashbacks, cleverly tied into the storyline to explain Spike’s goon-like behaviour. It made the audience look deeper into his funny side and background, a moving, humanising layer to the show.  

The sound and lighting of course enhanced ‘Spike’, but it truly deserves a shout out for creating the shifts between past and present. 

If you enjoy fast-paced sketches, jokes, jokes, jokes, and just plain silly-ness, this show will provide just that, while helping you learn all about one of the greats that brought this style to the forefront of British radio comedy. 

Two hours of explosive scenes, endless puns, a sprinkle of romance and a close encounter with a potato peeler – it’s not to be missed. 

Theatre Royal Nottingham – until Saturday 8 October 2022

Reviewed by Louise Ford

4****

Oh Carole!

Before I start this review I think it is wise to confess that I don’t own a copy of Tapestry (although I have heard of it!) and who knew so many songs were written by the King/ Goffin partnership! More than 400 of their compositions have been recorded by over 1,000 artists and includes more than 100 hit singles.

Beautiful is the incredible story of singer- songwriter, Carole Klein/ King (Molly-Grace Cutler) and  is told through her songs . It charts the rise of pop music from the 1960s to the 1970s. The King/Goffin songs have a depth and emotion that is a million miles away from the light pop songs in the charts of the early 1960s, as one character points out these songs (Stupid Cupid, Yakety Yak or Splish Splash) could have been written by a dolphin.

The play is book-ended by King performing solo at New York Carnegie Hall. However the story starts with  King at home in Brooklyn with her mother (Claire Greenway), a music teacher who wants King to follow in her footsteps and be a teacher, rather than pursue a career as a writer. King’s early life isn’t really touched upon, her father is a largely absent figure (he never appears in the play)  and is only mentioned by her mother as an adulterer, who will always be the love of her life. King is seen playing the piano and composing lyrics. Although it is mentioned how clever she is and that she skipped two grades and is in classes two years above her age, it isn’t really explored what drives her to compose.

King meets Gerry Goffin (Tom Milner) at High School and there is a mutual attraction and their song writing partnership is born. With a school friend King decides to take one of her compositions to the genial music mogul Don Kirshner (Garry Robson). He takes on her song and the rest is history. In the writers hot house there is another pair of writers Cynthia Weil (Seren Sandham-Davies) and Barry Mann (Jos Slovick) . The friendly rivalry between the pairs to produce songs and the elusive No 1 is nicely portrayed.

The story is interspersed with embryonic songs, picked out by King on the piano which then develop into full blown productions complete with sharp suits, sequins, furs and glamour (costumes by Edd Lindley)

The over arching feeling of the play is the pressure and chaos of the music industry where writers struggle to get the peace and space to write. It all seems very frenetic and pressurised.

The beauty of the play is the music. The instruments are played by all members of the cast from percussion to piano to saxophone, it’s smart and slick. The contrast between the big band glitzy sound to the quiet solo performances by King is very moving.

All in all whilst we don’t learn a great deal about the back stories of the main characters there are enough hints and clues to give an outline, it is rather a tapestry of songs and music covering the rise of pop music in the 1960s.

Presented by Raw Material & Capital Theatres in association with the National Theatre of Scotland 

Festival Theatre, Edinburgh – until 8^th October then various venues around Scotland

 Reviewed by Rachel Farrier

4****

This production is the fourth in ‘The James Plays‘ history cycle by Rona Munro, which brings to life the Scottish medieval court from a fascinating and fresh perspective. Based upon individuals who appear in the histories written of James IV’s court, the central characters of Ellen and Anne are ‘moorish’ women who arrive in Scotland, having escaped the plague that has killed their families in Spain. Historically they were part of a larger group of entertainers who were part of the life of the court, and the events of the play are told from their perspective. As they jostle to find their place within the court, their fortunes rise and fall according to the whims of those around them. The play brilliantly and masterfully examines both the misogyny and racism that was at work in all levels of society in that time, whilst weaving plays within the play which allows the characters to brilliantly reflect on their own place in the story. 

Much of the play has a wonderful playful energy, with sharp and incisive humour – Keith Fleming as the Makar William Dunbar exemplifies this and the thread of his humour sustains and enlivens many a scene. Danielle Jam and Laura Lovemore as Ellen and Anne are strong centres of the play, and their capricious friendship is movingly portrayed with both ferocity and gentleness. 

 Daniel Cahill is an exceptional King James IV – by turns the charismatic and swaggering leader, as well as the frustrated and reflective monarch who longs to travel but cannot. 

Sarita Gaboney brilliantly portrays the 17 year old Queen Margaret who is expected to conform and behave in a way that she finds impossible for her years, a teenager-trapped-as-Queen.

I really enjoyed and appreciated the on-stage music provided by Gameli Tordzo, which brings an unobtrusive but authentic soundscape to the production. 

I came away from the play feeling that I would need to see it several times in order to appreciate it fully, as there are so many fascinating stories and perspectives to examine. There were a number of school parties in attendance at the performance last night, and I found myself envying them for the opportunity they will have to fully appreciate this play as they study it in depth. 

Michael Ball to star in Andrew Lloyd Webber’s Aspects of Love, reimagined for the 21st century and directed by Jonathan Kent.

Michael Ball to star in Andrew Lloyd Webber’s Aspects of Love, reimagined for the 21^st century and directed by Jonathan Kent. 

Michael Ball said: “Aspects of Love holds a very special place in my heart.  I am absolutely delighted to revisit Andrew Lloyd Webber’s glorious score in a re-imagined chamber production in the West End from May next year.  I am so happy to be collaborating again with the brilliant director Jonathan Kent who was so inspiring when we worked together on Sweeney Todd.

We are just at the start of our journey so the big question is will I be singing my favourite song Love Changes Everything – what do you think? All will be revealed soon…”

With lyrics by Don Black and Charles Hart, and produced by Nica Burns, Aspects of Love will play at the Lyric Theatre, Shaftesbury Avenue.

Performances from 12 May 2023
Press Night 25 May 2023
Tickets go on sale 5 October 2022

Further details to be announced 

WEBSITE: www.aspectsoflove.com

PAUL O’GRADY

TO STAR AS

‘MISS HANNIGAN’

IN THE UK TOUR OF

THE MUSICAL

ANNIE

Michael Harrison and David Ian are delighted to announce that Paul O’Grady will star as ‘Miss Hannigan’ in their smash hit production of the musical ANNIE when it plays Newcastle Theatre Royal (7 – 11 March 2023), Edinburgh Playhouse (21 – 25 March 2023), Mayflower, Southampton (24 – 29 April 2023), Liverpool Empire (5 – 10 June 2023), Dublin Bord Gais Energy Theatre (28 August – 2 September 2023) and Bristol Hippodrome (20 – 25 November 2023).

Casting for the role of ‘Miss Hannigan’ in other venues on the tour to be announced in due course. www.anniethemusicaltour.uk

BAFTA Award winning television, radio and stage star PAUL O’GRADY returns to Annie having first played the role of Miss Hannigan at the Victoria Palace Theatre in 1998. His other theatre credits include playing the Child Catcher in Chitty Chitty Bang Bang at the London Palladium and many pantomimes including Cinderella and Goldilocks and the Three Bears at the London Palladium. On television he is best known as the host of ITV’s Paul O’Grady: For the Love of Dogs, Paul O’Grady’s Great British Escape, The Paul O’Grady Show, Channel 4’s Blind Date and BBC One’s Blankety Blank. He is also a highly celebrated writer, having written both autobiographical and fictional books and recently completed a 14 year run as a presenter on BBC Radio 2.

Set in 1930s New York during The Great Depression, brave young Annie is forced to live a life of misery and torment at Miss Hannigan’s orphanage. Determined to find her real parents, her luck changes when she is chosen to spend Christmas at the residence of famous billionaire, Oliver Warbucks. Spiteful Miss Hannigan has other ideas and hatches a plan to spoil Annie’s search…

With its award-winning book and score, this stunning production includes the unforgettable songs ‘It’s the Hard Knock Life’, ‘Easy Street’, ‘I Don’t Need Anything But You’ and ‘Tomorrow’.

ANNIE has Music by Charles Strouse, Lyrics by Martin Charnin and a Book by Thomas Meehan. It is directed by Curve’s Artistic Director Nikolai Foster with set and costume design by Colin Richmond, choreography by Nick Winston, lighting by Ben Cracknell and sound design by Richard Brooker.

ANNIE UK TOUR 2023

LISTINGS

Tuesday 7 March – Saturday 11 March 2023

Theatre Royal Newcastle

www.theatreroyal.co.uk

Tuesday 21 March – Saturday 25 March 2023

Edinburgh Playhouse

www.atgtickets.com/edinburgh-playhouse

Monday 24 April – Saturday 29 April 2023

Southampton, Mayflower Theatre

www.mayflower.org.uk

Monday 5 June – Saturday 10 June 2023

Liverpool Empire

www.atgtickets.com/liverpool-empire

Monday 28 August – Saturday 2 September 2023

Dublin Bord Gais Energy Theatre

www.bordgaisenergytheatre.ie

ON SALE SOON

Monday 20 – Saturday 25 November 2023

Bristol Hippodrome

www.atgtickets.com/bristol-hippodrome

ON SALE 18 OCTOBER 2022 AT 12.00NOON