Month: October 2022

SHAFTESBURY THEATRE REVEALS

NEXT PHASE OF ITS £10 MILLION PLUS

TRANSFORMATION

INCLUDES:  NEW 1911 STALLS BAR, LOCATED 3.5 METRES

BELOW STREET LEVEL; NEW HOSPITALITY SUITE;

IMPROVEMENTS TO AUDITORIUM; STATE OF THE ART

AIR-CONDITIONING SYSTEM;

NEW LIFT & 13 NEW SPACES FOR WHEELCHAIRS

www.shaftesburytheatre.com

The Grade 2 listed Shaftesbury Theatre, the largest of the independent theatres in the West End, is undergoing dramatic and innovative extension and improvement to secure its position as one of London’s leading theatrical forces, with a building designed for the 21^st Century.

The architects, Bennetts Associates, who have previously worked on prestigious projects like the re-development of the Royal Shakespeare Theatre and the Old Vic, have already delivered an award-winning flytower and new offices, which have been in use since 2016. 

At this time Camden Council published early detail of their West End Project, which included the restoration of Princes Circus, pedestrianizing Bloomsbury Street to the Theatre’s west and enlarging the pavement on the south.  This planted the seed for expanding the Shaftesbury Theatre, including the development of the land under the road.

Bennetts Associates were briefed to develop the new spaces, creating bars and workspaces whilst also addressing accessibility and comfort in the auditorium.  Now, in October 2022, the next stage of the £10 million plus re-development designed by Bennetts can be revealed. It includes:

• The refashioning of the auditorium, providing separation between the Stalls and new spaces
• The new 1911 Stalls bar, celebrating the Theatre’s opening year. This new bar is approximately 26 metres long and 7 metres wide and 3.5 metres below street level.
• The Taffner Suite for private hospitality, in honour of Don Taffner Sr.
• New toilets; 29 ladies, 23 gents and 2 accessible
• Re-roofing to include energy efficient insulation
• A state-of-the-art air conditioning system using heat capture to reduce energy costs
• An overhaul of the historic ceilings including working platforms in the technical void above the dome ceiling
• A lift that allows people with mobility difficulties to access the Stalls
• 13 spaces for wheelchairs; with new removable seats that will eventually replace all seats throughout the auditorium
• New stores, offices and a kitchen. 

The redesignated Princes Circus will be landscaped by Camden, which will include a daytime delivery bay and an evening taxi rank.  This places the Theatre in a secure and safe environment where, subject to the Borough’s consent, the Theatre will create an outdoor food counter with a designated seating area.

In the immediate future, a further £½ million will be spent on replacing the Stalls ladies’ toilets and refurbishing and enlarging the Circle bar, to be renamed after Bertie Crewe, the Theatre’s original architect.  The Grand bar will become the Melville, named after the brothers who built the New Princes Theatre in 1911, and in the Royal Circle a new hospitality area named after the playwright and actor, Ray Cooney, who created the company that owns the Theatre.

There are two further phases of major work planned in the years ahead, including redecoration, carpeting and reseating in the auditorium, and external repairs and improvements, including a new main entrance opening onto Princes Circus and the installation of digital signage both above and below the canopy.

Yvonne Arnaud – until 29^th October 2022

Reviewed by Heather Chalkley

5*****

The Shawshank Redemption film has been part of cult viewing for over 30 years. This rewritten play of Stephen King’s book is on it’s first ever tour of the UK and does not disappoint. Experienced performers and writers Owen O’Neill and Dave Johns, do this story great justice in bringing it to the stage. It retains the core focus of the tail, bringing to life King’s original inspiration ‘God Sees the Truth but Waits’, by Leo Tolstoy, written some 100 years before.

Ben Onwukwe (Ellis ‘Red’ Redding) has a commanding and powerful voice as the narrator, with a hint of Morgan Freeman that captivates the audience. He becomes close friends with Andy Dufresne (Joe Absolom), quickly learning that Andy has a fortitude of character and sharp mind that will keep him sane and alive. Absolom portrays a believable character that captures the quirkiness of Andy perfectly. The formidable Mark Heenahan (Warden Stammas) carries the bullying malevolence of a man, left too long in a position of power over fellow humans, believing he has God on his side. From the manic laughter of Rooster (Leigh Jones) to the naivity of Tommy (Coulter Dittman), no character is wasted, with the supporting cast each having a vital role to play in creating the camaraderie of fellow inmates, forced together in the dark and austere environment of the prison.

The creative team ensures the sound and set resonates with what we associate as prison life. The light reprieve and interludes of pop tunes give you a bookmark for the decade you are in. The beautiful final scene is impactful in its stark contrast to the rest of the play.

If you loved the film, you’ll love the play. If you have not seen the film, come anyway. A brilliant piece of entertainment that keeps you engaged throughout.

Hull New Theatre – until 29th October 2022

Reviewed by Catherine McWilliams

4****

To the delight of the audience the cast of Bugsy Malone The Musical shimmied and shook their way on to the stage at the Hull New Theatre last night. This is a joyous production full of pzazz and you are guaranteed to leave the theatre with a smile on your face.

Bugsy Malone The Musical (play by Alan Parker, words and music by Paul Williams) is based on the 1976 film Bugsy Malone which had a cast of children. This production has a mix of adults and children. Jon Bausor’s set and costume designs are excellent, the deceptively simple set transforming easily into the various locations and the costumes evoking 1920’s New York wonderfully well. Paul Williams’ music is instantly recognisable and the band (musical director Connagh Tomkinson) were superb.

Bugsy Malone is set in 1920’s New York with the plot revolving around the rivalry between Fat Sam (Charlie Burns) and Dandy Dan (Rayhaan Kufuor-Gray), but this is a world of soft drinks and splurge guns rather than liquor and machine guns. The story is full of humour and nods to the classic gangster films.

Marcus Billany played Bugsy Malone last night, the eponymous hero of the story, who just wants to get along with his life but ends up being dragged into the rivalry. He has an excellent voice and played the part with just the right amount of naivety.

Taziva-Faye Katsande was Tallulah, a part she played with great maturity. She was so elegant as she shimmied across the stage and she has a lovely voice, a name to watch for in the future.

Charlie Burns as Fat Sam was suitably bumbling and Rayhaan Kufuor-Gray as Dandy Dan was nicely smooth. They were convincing as the two gang leaders.

Mohamed Bangura made an excellent Leroy, he brought a real sense of joy to his part and was very enjoyable to watch.

The ensemble was outstanding and Drew McOnie’s choreography was jaw dropping at times. The ensemble never missed a beat even in the most complicated routines. A highlight for me was the routine to “So You Wanna Be A Boxer”, with the cast skipping and dancing at the same time and fighting in a ring, the music is such a joy too. The car chase with strobe lighting to create the effect of the silent movies was incredibly clever and took a great deal of skill to make it look so effortless.

I had expected the audience to be full of families but this was an audience full of adults who had clearly grown up loving the film and they loved the musical too. They were quickly up on the feet at the end to sing and dance with the cast.

Bugsy Malone The Musical has transferred to the stage superbly and this young cast are fabulous. This is a cracking night out at the theatre, one for all the family – time to introduce some youngsters to the joys of Fat Sam and his friends.

Mayflower Theatre, Southampton – until 29th October 2022

Reviewed by Sally Lumley

5*****

The Color Purple is based on Alice Walker’s 1982 Pulitzer Prize winning novel of the same name. It tells the story of Celie (Me’sha Bryan) a young woman oppressed and abused first by her father, then her husband in rural Georgia at the start of the 20th century. It is an uplifting musical, showing the power of hope, sisterhood, courage and finally forgiveness, in this story of a woman finding and fighting for herself, and her place in the world.

This musical has some difficult themes and is at times a challenging watch. However, for this reason the audience finds themselves completely invested in Celie’s journey, and there was spontaneous cheering in the moments when she found the courage to stand up for herself. The pivotal moment comes in the second half, with the show stopping number “I’m Here” which was perfectly delivered by Me’sha Bryan, bringing the house down.

It is the quality of the performances that make this show stand out. The vocals were perfection throughout from the whole cast, with beautiful soulful harmonies, and soaring solos showcasing their talents. Me’sha Bryan delivers a raw and vulnerable Celie, managing to convincingly portray the character across four decades and through a difficult emotional journey. Analisa Lamola was an audience favourite as Sofia; with commanding stage presence, she showed incredible range in her character’s journey. Rosemary Annabella Nkrumah was outstanding as the gutsy Shug Avery whose note perfect performance of “Push Da Button” was a real highlight. The cast more than do justice to the rich score, packed with 30 songs ranging from soulful blues to uplifting gospel and bar room jazz.

The set design, by Alex Lowde, creates the sense of Celie as the centre of her world. The size of the scenery feels oppressive and helps to create the feeling that she is trapped by the world around her, as she fights to reclaim her life. The use of lighting, and in particular projection, (Joshua Pharo) is particularly effective in bringing in one of the play’s themes of nature and it’s feeling of freedom and spirituality.

The Color Purple is an empowering and uplifting show that received a well-deserved standing ovation in Southampton last night. Flawless soulful vocals and emotive performances, showing the triumph of the human spirit against all the odds, make this a show that will stay with the audience for a long time.

Malvern Forum Theatre – until 29th October 2022

Reviewed by Julie Bellerby

5*****

This production was very uplifting and energetic, and amazingly performed by the artists. This was definitely girl power at its finest!

Written by Toby Marlow and Lucy Moss, the show is about the six wives of Henry the VIII who battle it out with a singing contest to find who had the worst time at his hands. Costumes designed by Gabriella Slade were stunning, depicting each ‘Queens’ character with a futuristic sexy look.

The six girls were all very strong, superb singers, pitch perfect, it is impossible to choose one girl who shone more than the others, a well matched team. The 80 minute run without an interval was demanding on the performers, but ran seamlessly throughout.

The stage setting was minimalistic and subtle behind the girls and had the ‘ladies in waiting’ band on a raised staging. Very good musicians, wonderful to see an all-female cast.

With lots of feel good factor, the production took you out of reality, you were transported to a different plane with a surreal situation which would have been entertaining at any point of history, if only that were possible.

You should see this production, amazing performance, I wish I could give SIX stars!

Festival Theatre, Malvern – until 29th October 2022

Reviewed by Courie Amado Juneau

5*****

SiX, written by Toby Marlow and Lucy Moss, has taken the world of musicals by storm since it was first performed in 2018. After seeing it tonight I can understand why.

The show tells the story of Henry VIII’s wives, but taking a modern spin on the way the story is told. The wives each take turns in presenting their story, in the format of a pop concert, trying to portray themselves as the one who suffered most at the hands of their husband. The one who garners the most sympathy will become the lead singer of the band.

The Queens collectively introduce themselves as Six before launching us into the opening number “Ex-Wives”. An exhilarating start which breathlessly segues into an introduction of the band, called Ladies In Waiting (carrying on the Tudor theme and onstage throughout). This show has obviously been rigorously researched as evidenced by “Greensleeves” being woven into Anne Boleyn’s song (legend has it that Henry wrote the song for her).

The first two Queens, Catherine of Aragon (Chloe Hart) and Anne Boleyn (Jennifer Caldwell) were the funniest in their personal interplay together and they had powerful, witty songs – Boleyn’s was “Don’t Lose Ur Head”. But Jane Seymour (Natalie Pilkington) singing “Heart of Stone” gave (for me) the emotional zenith of the evening with a power ballad of excruciating beauty.

“Haus of Holbein” (introducing Anna of Cleves (Jessica Niles) brought a huge grin to my face with the neon green edged ruffs and sunglasses. To compose a song in the House music style and have it sit seamlessly with the other songs in a musical setting shows a deft touch that does the creators credit!

Our final Queens (Katherine Howard, Leesa Tulley and Catherine Parr, Alana M Robinson) rounded out the musical evidence for the prosecution (of Henry) with two more emotionally charged barnstormers before the final ensemble number (more on that later)…

The costumes were stunning and had subtle allusions to each wife’s fate (Boleyn and Howard wore chokers, signifying their beheading) as well as, naturally, green sleeves for Boleyn. Not only visually striking but beautiful too.

The set was minimalist (basically a set of panels edged with lights) yet effectively employed to convey a church door and cross (for a religious moment) whilst hinting at a talent show backdrop. It also mirrored the theme of the dresses, tying the whole production together nicely. For a show to have no costume or scenery changes and yet to hold our attention throughout is a testament to the quality of the music, script and performances. Impressive!

In the end the ex-wives pooled their resources and came together to reclaim their own voices from history, recognising their importance as individuals in their own right, not just as adjuncts of their husband’s legend. Uplifting stuff.

A sparkling production from all concerned on every level. I enjoyed it far more than I imagined I would (given that I’m stuck in the 50s-70s music wise). I’m genuinely looking forward to seeing it again. SiX of the best – a spankingly good show!

JEREMY JORDAN

AND HIS BAND

AGE OF MADNESS

ANNOUNCE

GEORGE MAGUIRE AND

RACHAEL WOODING

WITH THEIR BAND

THE LONESOME FRETS

AND

SAMMIE JAY

TO PERFORM ALONGSIDE THEM

HERE AT OUTERNET

ON SUNDAY 13 NOVEMBER 2022

Jeremy Jordan and his band AGE OF MADNESS are delighted to announce that George Maguire and Rachael Wooding with their band, THE LONESOME FRETS and singer-songwriter SAMMIE JAY will be joining them at their debut UK shows HERE at Outernet on Sunday 13 November 2022 at 7.30pm. Tickets are on sale now from www.fw-live.com/aom

Jeremy Jordan said, “I am beyond excited to bring my band to London and we’re thrilled to be adding George and Rachael’s band, The Lonesome Frets and Sammi Jay to the line-up for this great night.  George and I shared the stage for Bonnie and Clyde in Concert at the start of this year, so it’s fantastic to be reunited through our mutual passion for our bands and music, he and Rachael will blow you away!”

AGE OF MADNESS is the passion project of Broadway, television and film actor Jeremy Jordan in collaboration with long-time friend and guitarist Mikael. Combining elements of modern alt rock with nostalgic throw backs to the 90s/2000s and a touch of the classical, AGE OF MADNESS are storytellers in epic rock form, their songs a testimony to where we came from and where we stand in today’s world.

THE LONESOME FRETS are George Maguire and Rachael Wooding. They met as performers on the London stage and began writing and gigging together in 2016. They have created a unique sound which focuses on well-crafted and catchy lyric driven songs. Their dynamic live shows are completed by a four-piece band and together the six deliver a tight and exciting show. The pair are no stranger to rock n roll royalty with George having worked on projects with both Ray and Dave Davies and Pete Townshend and Roger Daltry and Rachael with Brian May.

SAMMIE JAY is a singer-songwriter whose powerful voice encompasses several genres of music. Her professional career started playing Little Cosette in Les Misérables in the West End, followed by appearing on television in Nickelodeon’s Big Time Rush. Staging her own band in Nashville with a solo performance on the prestigious Grand Old Oprey, Sammy Jay has duetted with Paul Rodgers of Bad Company and Free and performed concerts at University Studios Hollywood, Monte Carlo and supported Shalamar at The London Palladium.

JEREMY JORDAN is a Broadway performer who is best known for Newsies (Tony, Grammy, Drama Desk nominations), Bonnie and Clyde (Theatre World Award), American Son, Little Shop of Horrors, West Side Story, Waitress and Rock of Ages. On television he has appeared as a series regular on Supergirl, Smash, and Disney’s Tangled. His film credits include The Last 5 Years, Joyful Noise, American Son, Newsies. He will soon star as the tenacious record industry giant, Neil Bogart, in the upcoming feature film, Spinning Gold. Jeremy is also a singer-songwriter whose concerts and cabaret shows have won awards and acclaim worldwide.

Fourth Wall Live (FWL) is a live entertainment company that produces events, concerts and on-stage shows. This January FWL presented Bonnie & Clyde the musical in concert for two nights to a sold-out audience at Theatre Royal Drury Lane starring Broadway favourite Jeremy Jordan. This concert broke Drury Lane box office records selling out a 2-night run in less than 6 minutes.

FWL regularly brings Broadway artists to the UK, previous concerts include Broadway and TV regulars Chita Rivera, Keala Settle, Laura Benanti, Sierra Boggess, Kelli O’Hara, Laura Michelle Kelly, Megan Hilty, Tituss Burgess, Jeremy Jordan, Matthew Morrison, Erich Bergen, Eden Espinosa, Julia Murney and Cynthia Erivo. Other concerts include West End and UK Stars solo concerts including Michael Ball, Matt Cardle, Kerry Ellis, Oliver Tompsett, Hannah Waddingham, Sharon D Clarke, Bonnie Langford and Jenna Russell. 

Tori Amos’s musical The Light Princess was presented to critical acclaim, as a special one-off concert in the summer of 2018. Rodgers + Hammerstein’s Cinderella and Zorro The Musical were presented with musical-all-star-casts in 2019 and 2020 respectively to sold out audiences.

Fourth Wall Live also regularly partners with the Hippodrome Casino, in November-December 2020 they produced 25 nights of socially distanced entertainment, proudly being the first live concert event post lockdown in the UK.  Season two at the Hippodrome concerts ran from September 2021 to December 2021 and featured 20 nights of musical entertainment from the world of musical theatre and pop cross over.

Cast announced for new musical adaptation of CINDERELLA at Dundee Rep

Sat 26 Nov – Sat 31 Dec 2022

https://dundeerep.co.uk/whats-on/cinderella

Book by Lynda Radley 

Music by Michael John McCarthy

Directed by Jemima Levick

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Continuing its season theme of Titles & Revivals, Dundee Rep is delighted to announce the cast for its new musical re-telling of Cinderella, a bold new adaptation premiering on 26 November. Filling the iconic glass slippers – or, in this instance, wellies! – of Ella is Hannah Visocchi whilst Dundee Rep Ensemble member Annie Louise Ross plays her stepmother Lenore. Taking on the roles of her evil stepsister, and now stepbrother, is Leah Byrne and Adam Greene. The role of Apollo King will be played by John Macaulay and his son Liam King, played by Jatinder Singh Randhawa. The Ensemble’s Emily Winter plays the role of Ella’s mother, Cora and Sebastian Lim Seet and Karen Young together take on the roles of Ella’s boots, Rightie and Leftie.

This new production, directed by Jemima Levick, Artistic Director of A Play, A Pie and A Pint, takes the story and central character in a bold new direction. Granting Cinderella more agency than in previous iterations, this is a story with a strong moral sense on the importance of knowing when to trust those around you and when to ask for help. This production also grounds its supernatural elements firmly in the natural world, tying in with a central environmental message that will hopefully inspire audiences long after leaving the theatre.

The clock strikes midnight. Young farmer Ella has big dreams, but her stepbrother and stepsister are more interested in their Insta posts than helping her. Never one to give up hope, Liam shows up and Ella’s world gets a little wilder…

Cinderella is written by Lynda Radley, celebrated Irish dramaturgist and writer with music by theatrical composer and musician Michael John McCarthy and Isaac Savage as the Musical Director. Kenneth MacLeod serves as the production Set and Costume Designer with Colin Grenfell as Lighting Designer and Vicky Manderson as Movement Director. Tom Penny on Sound Design and the Ensemble’s Ewan Donald as Assistant Director complete the Creative Team behind this inspiring re-telling of the classic fairy tale is a musical festive must-see for all the family this Christmas!

Director Jemima Levick said: “I’m delighted to be returning to The Rep to direct this year’s family Christmas show, Cinderella. Lynda and Michael John have created an absolutely joyous version of this classic tale, while pulling the story into the here and now. The songs are dangerously catchy and bring with them some much needed fun for the end of 2022. I’m so excited to share it with the audiences in Dundee.”

Writer Lynda Radley said: “It has been a delight to create this new musical for Dundee Rep. Our aim was to harness the magic of the Cinderella story and give it an updated heroine, lots of laughs and some beautiful new songs. Our Ella is tenacious, covered in mud, and working hard to achieve big dreams. Can she, and her boots, figure out how to save Willow Grove farm before her stepmother ruins everything?”

Theatre Royal Brighton – until 29th October 2022

Reviewed by Sue Bradley

4****

The National Institution that is The Mousetrap is now 70 years old and its appearance in Brighton is part of a national tour that will take in over 70 venues.

The Mousetraptells a nowfamiliar tale – in fact, it has become almost a meme  –  from the short story Three Blind Mice, first published in 1947 and then included in the 1950’s collection of short stories by Agatha Christie. It brings together a diverse set of characters, each with a secret or two to hide, and traps them in a snow-bound manor house. One of them may be a murderer…

There are good reasons why this play has had such a long life. At its premiere, it pretty much defined the genre of murder-mystery with a twist, and whilst the trope may have been copied and developed many times, this is still the original and worth seeing for that fact alone.

Watching this production really felt like reading the book.  We are treated to an almost comforting depiction of a bygone era. The set and the characters made you feel like you were curling up with a good book in front of a warm fire on a cold winters day. Whilst there is no obvious attempt to bring the characters or dialogue up to date, this production handles the plot twists and turns with a light touch and there are many gentle laughs and comic moments.

From the hoity-toity Mrs Boyle (Gwyneth Strong), the forceful Sergeant Trotter (Joseph Reed) to the mumbling Major Metcalf (Todd Carty, better known many of the audience as Tucker from Grange Hill or Mark Fowler from Eastenders,) and the hyper-energetic Cristopher Wren (Elliot Clay), the cast were clearly having fun. A special mention for Kieran Brown, standing in as Mr Paravicini, whose comic villainy was very watchable and gave no hint that he is the understudy for the part, standing in for John Altman (who played Nick Cotton, again from Eastenders).

This production played to a packed and very appreciative house; the roar of applause at the end was almost deafening. And, as to Whodunnit? Well, in keeping with the now traditional plea from the cast not to reveal the ending, I will only say that, to find out the secret of the longevity of this play, you should come and see it for yourself!

Please find below production images of the new cast of MAMMA MIA! at the Novello Theatre in London.  The new cast began on 10 October.

The global smash hit musical originally opened in London at the Prince Edward Theatre on 6 April 1999, before transferring to the Prince of Wales Theatre in 2004, and then to the Novello Theatre in 2012.  The London production of MAMMA MIA! has been seen by over 10 million people and has broken box office records in all three of its London homes.  

The London cast stars Mazz Murray as Donna, Josie Benson as Tanya, Gemma Goggin as Rosie, Norman Bowman as Sam, Christopher Dickins as Harry, Stephen Beckett as Bill, Meg Hateley as Sophie, Miles Henderson as Sky, Natasha Heyward as Ali, Olivia Lallo as Lisa, Lucca Chadwick-Patel as Eddie and Jake Bailey as Pepper, with Jennifer Adab playing Donna at certain performances.

With music & lyrics by Benny Andersson & Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. 

MAMMA MIA! is produced by Judy Craymer, Richard East & Björn Ulvaeus for Littlestar in association with Universal.