Octagon Theatre, Bolton – until Saturday 18th May 2024

Reviewed by Lauren Fordham

5*****

The excitement I felt at reviewing this show started building when I set out on my journey from Leeds to Bolton as Magic at the Musicals radio station was coincidentally airing the title song ‘Little Shop of Horrors’, a thrill that only crescendoed when the lights went down in the theatre. I was already prepared for the highlight of the show, the fact that several of the actors are also musicians, but was still impressed when Zwelya Mitchell dos Santos as Crystal, Chardai Shaw as Ronette and Janna May as Chiffon not only powerfully belted out ‘Skid Row’ but also played guitars and keyboard, respectively. I enjoyed their colour coordinated costumes and instruments very much, in the manner of ‘Heathers The Musical,’ it made their characters memorable . They may act as backing singers on ‘Skid Row’, but in reality are stars in their own right.

Oliver Mawdsley excels as the stumbling Seymour, displaying both earnestness and desperation in the song Grow For Me ‘I’ve given you grow-lights and mineral supplements, what do you want from me, blood?’ but also passion-fuelled courage when he’s plotting to kill Orin ‘he’s so nasty, treating her rough, you need blood and he’s got more than enough.’ He has a sweet, believable chemistry with Laura Jane Matthewson, who plays Audrey in such an endearing, self-sacrificial way that evokes Eponine in Les Miserables, and indeed, though metaphorical (in the Boublil and Schoenberg epic musical) the lyrics of her demise in ‘Little are not dissimilar, ’You’ll water me and care for me and see me bud and bloom/the rain will make the flowers grow.’

Matthew Ganley is evilly enchanting as Orin, Audrey’s abusive boyfriend, who dances like he should be in Strictly and makes the prospect of a dentist appointment dreadful yet also delicious. He should also be commended for his guitar playing as well as his acting, and seamlessly slipping into multiple roles (he also plays the NBC journalist Bernstein).

Though more political than paternal, in Mushnik and Son, Andrew Whitehead’s performance as the former evokes Tevye in Fiddler on the Roof.

But in many iconic shows, it’s the work that you can’t see being done that makes the biggest spectacle and this is certainly true of Little Shop’s superstar, super-villain, the person-eating plant, Audrey II. The perfect partnership of Anton Stephans, who is her powerful, persuasive voice and Matthew Heywood, her energetic puppeteer, put her on a permanent entertainment pedestal far above other shows. Made in glorious yet gory blood-spattered green fabric by Assistant Puppet Maker Katie Duxbury, she dominates the stage.

Thanks to Puppet Director Michael Fowkes her choreographed movement looks both realistic and effortless. She, and this show, will produce fans like sunlight produces chlorophyll and its popularity will grow and grow.

This show is blooming marvellous, feed this plant with your cash, it will pull you in and devour your heart.

Battersea Arts Centre – until 18 May 2024

Reviewer Alec Legge

5*****

The show was performed in the main hall at the Battersea Arts Centre. The seating was excellent with an unrestricted view of the stage from all seats. No heads in the way due to their steep incline. A very welcome arrangement.

Emma Rice’s Blue Beard is based on an old French folk tale of a rich man’s crazed and bloody passion for murdering his wives. In this musical version the murderer is a magician, played by Tristan Sturrock, who meets Lucky, Robyn Sinclair, when Robyn volunteers to help him on stage. Then there is the illusion of Robyn being cut in half by Blue Beard. Robyn falls in love with him, marries him and goes to live with him.

Blue Beard goes on a trip leaving Robyn with the keys to his residence and saying that she is allowed to go in all the rooms situated within except for one room in particular and shows her the key to that room. Off he goes and of course it is not long before Robyn’s curiosity draws her to enter the room with her mother and sister, Played by Patrycja Kujawska and Stephanie Hockley, where they find the stinking bloody remains of all his previous wives.

On his return Blue Beard finds out from a magic key that the forbidden room has been entered and attempts to murder Robyn, but with the help of her mother and sister, and in a perfectly choreographed slow motion fight the trio finally kill Blue Beard with a knife through the head.

Rice has written a sub plot where a lost brother, Adam Mirsky, is searching for a lost sister, Mirabelle Gremaud, and also added a group of sisters from the Convent of the three F’s, ‘fearful, fucked and furious’, who are led by a Mother Superior, Katey Owen, sporting a blue beard. Of her own.

In all this was a very good show, with the excellent dancing and singing performed cabaret style. There was lots of humour alongside the macabre horror side of the show. Rice states that she was influenced by the recent murders of two women in London and by the events at the vigil for one of them. She has clearly illustrated the misogynistic violence of man against women in this performance.

The addition af a silent film of a lone woman walking through the streets at night and disappearing along an alley whilst being followed by a hooded stalker was particulary spine chilling and illustrated the way Rice was affected by the recent murders.

I should also mention that the use of moveable props and the lighting effects enhanced the performance as did the background music.

All in all I thoroughly enjoyed this performance which I would recommend to all.

MAYFLOWER THEATRE AND THEATRICAL LYDIA

RAISE OVER 25 CRATES OF FOOD

DURING FOOD BANK DRIVE FOR

FEED THE COMMUNITY FOODBANK

To mark Come From Away performing at Mayflower Theatre in Southampton, Theatrical Lydia and Mayflower Theatre ran a foodbank drive which raised over 25 crates full of food which has now been donated to Feed The Community Foodbank in Southampton and is expected to supply the foodbank for over four weeks.

Mayflower Theatre and Theatrical Lydia ran the foodbank drive inline with Pay It Forward 9/11, asking members of the audience to bring along something to donate in the foodbank collection and have been overwhelmed with the generosity from audiences.

At the heart of Come From Away is a story about compassion, community, and resilience. Sharing the incredible real-life story of 7,000 stranded air passengers and the people who welcomed them into their lives with open arms and hearts, giving all that they had.

Theatrical Lydia is following the Come From Away tour all around the UK after first discovering the show in December 2019. It is here that Lydia met Laura Townsend, another firm supporter of the show who saw the show over 150 times worldwide. Laura decided that she was going to travel alongside the tour, carrying out ‘Pay It Forward’ actions in each tour stop. Unfortunately, Laura fell ill last year, and sadly passed away a short time after in June, meaning that she sadly never saw the tour come to fruition. Lydia then decided in honour of her friend that she would then be the one to tour the UK and ‘Pay It Forward’ in as many locations as possible. After noticing Lydia online, Mayflower Theatre reached out keen to help out with the ‘Pay It Forwards’ and this is where the food bank drive idea came to life.

Pay It Forward 9/11 is a global initiative that was set up by the real-life Kevin Tuerff – a real ‘Come From Away’ who features in the show itself. The global initiative aims to spread kindness as a way to honour the Newfoundlanders who inspired the production’s heartwarming true story.

Michael Ockwell, Chief Executive of Mayflower Theatre says ‘The response to our foodbank drive with Theatrical Lydia has been incredible, it really shows that when a community pull together we can achieve amazing things, we are proud of our audiences and know this will make a real impact on the community.’

Lydia Greatrix of Theatrical Lydia says ‘I’m completely taken aback by the generosity and compassion shown by the patrons of Mayflower Theatre through our Pay It Forward Food Bank Drive. Thank you to everyone who opened their hearts and cupboards and showed some true Newfoundland kindness by pulling together as a community to make this happen. I’m so pleased to hear about the huge difference all the donations are going to make.’

Kevin Tuerff, President and Founder of Pay It Forward 9/11 says ‘Mayflower Theatre’s food bank drive was a smashing success. Clearly the people of Southampton have kind hearts like the Canadians I first met on 9/11, who opened their pantries to feed thousands of refugees in need. We invite everyone to keep up this spirit and join us 1st through 11th of September for our “11 Days of Kindness” scheme.” Free registration is available at PayitForward911.org.’

Victoria Ugwoeme, Manager of Feed the Community Foodbank says ‘We want to say a massive thank you to everyone who donated to support the Food Bank Drive organised by Mayflower Theatre and Theatrical Lydia. Southampton audiences have shown how kind-hearted they can be, we are overjoyed by the sheer volume of donations which will help ensure our service users don’t go hungry. Thank you to the audiences of Come From Away.’

To find out more about Pay It Forward 9/11 please visit: https://www.payitforward911.org/

To find out more about Theatrical Lydia’s mission please visit her Instagram: https://www.instagram.com/theatricallydia/

Laurels Theatre Whitley Bay – until 4th May 2024

Reviewed by Sandra Little

5*****

This autobiographical play is written and performed by Sam Macgregor and Jack Robertson and is directed by Eilish Stout-Cairns. It was first performed at Edinburgh Fringe Festival in 2023 and is based on Sam’s true life experience of living with Alopecia. Sam plays himself in this play and Jack plays all of the other larger than life characters that enter Sam’s life.

The play begins with a very funny, yet poignant, eulogy for lost hair and Sam explains that hair loss really does create feelings of loss and grieving. The audience then witness Sam’s experience when visiting an extremely unhelpful doctor who suggests red meat and spinach could be the solution to Sam’s Alopecia!

Other scenes are based on Sam’s experience of dating when bald and for this part of the play Jack’s portrayal of prospective Geordie girlfriends is incredibly funny, and includes some very cringeworthy comments about Sam’s hair loss and the wig he chooses to wear. Within this very amusing dialogue serious issues about hair loss are considered.

The spoof of “ The One Show” continues the hilarious but also upsetting theme that runs through the narrative. The audience witnesses Sam being interviewed by a Geordie One Show presenter and there’s a great bit of dancing from Sam at the end of this scene!

Towards the end of this play the audience are introduced to Sam’s agent and are told about Sam’s acting and modelling offers. The blue paint story was fascinating and funny for a host of reasons!

Included in this hilarious script is a great deal of serious and interesting information about Alopecia and our views of body image and beauty in relation to hair are questioned. Apparently there is very little research relating to Alopecia and yet, as Sam explains, our hair gives us an identity and confidence whereas people with Alopecia have lower self esteem, a poorer quality of life and poorer body image.

This play is based very firmly on Sam’s experience of living with Alopecia, and whilst these observations were often told in a very amusing and entertaining way, the important serious messages were never far from the surface.

This one hour play performed by two actors with a few basic props was one of the best pieces of drama I have seen in a while! It made me laugh, and almost cry on occasions. This play is funny and entertaining but equally there are aspects of the script that really tug at the heart strings. It definitely deserves to move to a bigger theatre and be available to a wider audience after its run at Laurels.

Wilton’s Music Hall – until 11th May 2024

Reviewed by Celia Armand Smith

4****

Herman Melville’s classic tale adapted here by Sebastian Armesto is brought to life by a multi-talented ensemble of actors and musicians. Created by Simple8 in association with Royal & Derngate, this production of Moby Dick is about one man’s quest for knowledge, another man’s need for a revenge, and a whale that absolutely does not want to be harpooned.

At the beginning, we meet Ishmael, a young sailor in Massachusetts who wants to see the world and so goes in search of a whaling boat. On his way he befriends the gentle harpoonist Queequeg and together they board the Pequod, captained by the infamous Ahab. Captain Ahab is seeking vengeance against Moby Dick, the giant white sperm whale who took his leg on a previous voyage. He obsessively charts the seas and tracks the whale pods in the hope of finding and killing Moby Dick.

This original piece of theatre directed by Jesse Jones skillfully captures life on a whaling boat, all tension and exhilaration as they set out to find the whale. The production is soundtracked by musicians who are part of the ensemble led by musical director Jonathan Charles. They innovatively create the sounds of life at sea using instruments and parts of the set designed by Kate Bunce. When first seen, i is a simple construction of scaffolding rigs, but as the play comes to life so does the set. The sides swing in, and the crew of the ship assemble, hoist, and climb, using every part to great effect. Wilton’s Music Hall is a grand old Victorian venue, all distressed decor and iron pillars which echoes the inside of the a ship, making it perfect for this production.

While this adaptation sometimes has a bit of an issue with pacing and some of the characters feel underdeveloped, the ensemble are superb. Mark Arends as Ishmael is all naivety and excitement, while Guy Rhys is fantastic in the role of the mysterious Captain Ahab. Countering Ahab’s dogged determination, is the sensible Starbuck, played with a calm certainty by Hannah Emanuel. The whole cast sings, shifts the set about, and plays an instrument whether it’s a violin or a scrubbing brush.

While this adaptation of a classic tale that everyone knows (“it’s about a whale?”) at times lacks depth, the beautiful execution by an extraordinary cast and crew of talented people more than makes up for it. Catch this compelling theatrical experience as it tours the country this spring and summer, you won’t regret it. And who knows, maybe I’ll read the book.

FULL CAST AND CREATIVES ANNOUNCED FOR

THE WORLD PREMIÈRE OF BRAND-NEW MUSICAL

FUN AT THE BEACH ROMP-BOMP-A-LOMP!!

AT SOUTHWARK PLAYHOUSE BOROUGH

Introducing the full cast and creative team for the world première of Brandon Lambert and Martin Landry’s Fun at the Beach Romp-Bomp-a-Lomp!! – the brand-new musical sees Mark Bell direct Bradley Adams (Ensemble), Tom Babbage (Joe), Ellie Clayton (Mary Joe), Damien James (Dickie), Janice Landry (Chastity), Dixie Newman (Ensemble), Katie Oxman (Chickie) and Jack Whittle (Dude). Writer Martin Landry completes the cast as the Announcer, with Composer and Lyricist Brandon Lambert taking the helm as Musical Director.

The creative team is completed by Emily Bestow (set and costume design) Andy Graham (sound design) Francesca Jaynes (choreography) and Adam King (lighting design). The production opens on 29 and 30 May at Southwark Playhouse Borough, with previews from 24 May, and runs until 22 June.

Sarah Long presents

FUN AT THE BEACH ROMP-BOMP-A-LOMP!!
Music and Lyrics by Brandon Lambert & Book by Martin Landry

24 May – 22 June

at Southwark Playhouse Borough, The Large

Cast: Bradley Adams (Ensemble), Tom Babbage (Joe), Ellie Clayton (Mary Joe), Damien James (Dickie), Janice Landry (Chastity), Martin Landry (Announcer), Dixie Newman (Ensemble), Katie Oxman (Chickie) and Jack Whittle (Dude)

Director: Mark Bell; Set and Costume Designer: Emily Bestow; Sound Design: Andy Graham; Choreographer: Francesca Jaynes; Lighting Design: Adam King; Musical Direction: Brandon Lambert

Mark Bell (The Play That Goes Wrong) directs a trip to the beach you’ll never forget in a world premiere musical by Brandon Lambert and Martin Landry: Fun at the Beach Romp-Bomp-a-Lomp!!.
It’s a hot, sunny day at the beach and everyone is gearing up for a competition that will change (or end) their lives forever: the legendary Beach Romp-Bomp-a-Lomp!!

Everyone wants to be King or Queen of the Beach, but who will get the crown? And will they all fall in love and live happily ever after? As the competition progresses through an increasingly deadly series of beach events, the biggest question of all is: can this show find yet another excuse to crowbar in a song?! YES!

Set to energetic parodies of iconic retro hits, Grease meets Squid Game in this brand new (sort-of) romp (bomp-a-lomp) of non-stop laughs, slapstick horror and explosive fun. 

Welcome to the Beach Romp-Bomp-a-Lomp!!

Bradley Adams plays Male Ensemble. His theatre credits include Something Rotten (The English Theatre, Frankfurt), Witness for the Prosecutions (London Country Hall), Postman and the Poet (The Other Palace), Disney’s Newsies (Troubadour Wembley Park Theatre), Little Red Riding Hood and Treasure Island (international tour).

Tom Babbage plays Joe. His theatre credits include The Fair Maid of the West, Boundless as the Sea, Miss Littlewood (RSC), The Motive and the Cue (Noël Coward Theatre, National Theatre), Cluedo, The Play That Goes Wrong, Peter Pan Goes Wrong (UK tours), The Wizard of Oz and Around the World in 80 Days (Brewhouse Taunton); and for film his credits include Memories: Brothers – A Lasting Legacy, Beauty, Spaceboy, Brief Intermission and Easy Ride.

Ellie Clayton plays Mary Joe. Her theatre credits include Scroogelicious (Theatre Peckham) and Magic Mike Live (Hippodrome). For television, her credits include CBBC’s So Awkward as series regular Claire; and for film, Still So Awkward Kids Camp.

Damien James plays Dickie. His theatre credits include Luna Loves Library Day The Musical, The Play That Goes Wrong (UK tours), The Curious Case Of Benjamin Button (Southwark PlayhouseElephant), Ordinary People (Hazlitt Theatre), Camelot, Othello (The Watermill Theatre), Cinderella (Lyric Hammersmith), The Rock ‘n’ Roll Panto Red Riding Hood (Liverpool Everyman) and Romeo and Juliet (Stockwell Playhouse).

Janice Landry plays Chastity. Her theatre credits include Frozen (international concert tour), Love and Yogurt (NY Theatre Barn), Dear Edwina (Daryl Roth Theater), Broadway Playhouse (Kaufman Center), Give My Regards to Broadway, The Irish… and How They Got That Way (Bucks County Center) and Woody Guthrie’s American Song (Saint Michael’s Playhouse).

Dixie Newman plays Female Ensemble. Her theatre credits include Anthea, Robert & Jane, Five Children and It (Egg Theatre, Bath), Right to Write (Southwark Playhouse), Women Rule Broadway (Vaults Festival) and A Christmas Carol (The Beacon); and for television, Bridgerton.

Katie Oxman plays Chickie. Her theatre credits include I Love My Family, But… (SoHo Playhouse) and A Grand Night for Singing (Pittsburgh CLO). She has also performed across the US at Prime Stage Theatre, Mountain Playhouse and the Candid Camera Live tour.

Jack Whittle plays Dude. His theatre credits include TONY! The Tony Blair Rock Opera, Posh, (UK tours), The Comedy About a Bank Robbery (Criterion Theatre) and The Play That Goes Wrong (Duchess Theatre); and for film, Gold.

Brandon Lambert is an NYC-based songwriter. Last year his musical I Love My Family, But… ran at the SoHo Playhouse. Upcoming projects include a bio-musical about Jane Goodall, and whatever insanity Martin Landry thinks of next.

Martin Landry is an NYC-based writer, actor, and musician; and plays the role of the Announcer. As a writer, his work has been produced in twelve countries, and his comedic solo show, Screlton McNodes… Live on Broadway! is available wherever you listen to music. As an actor, he’s appeared Off-Broadway, regionally, and on national tours, as well as a brief TV appearance on Only Murders In The Building. As a musician, he’s conducted Off-Broadway and regionally, and accompanied numerous Broadway stars.

Mark Bell is best known for West End, Broadway and worldwide Olivier Award-winning hit The Play That Goes Wrong. He also directed the Olivier-nominated The Comedy About a Bank Robbery which ran for four years in the West End and toured the UK, and the first Cluedo stage play. His production of Cluedo 2 is currently touring the UK. Other recent theatre includes Waiting For Godot (West End), The Tenants (NYC Springfest), Alice in Sunderland (NT New Works), Windfall (Southwark Playhouse Borough), as well as productions of Crave, The Snowfall, Electra, Agamemnon, Comedians, Breathing Corpses, The Master and Margarita and The Revenger’s Tragedy. Mark was previously co-artistic director of Liquid Theatre and taught at LAMDA for over 10 years, as well as Royal Central School of Speech and Drama, Mountview, East 15, Carnegie Mellon University and Cours Florent. Bell has directed shows in the UK, Italy, USA, Mexico and Hungary and has two further musicals in development.

LISTINGS                                                                                 FUN AT THE BEACH ROMP-BOMP-A-LOMP!! 

Southwark Playhouse Borough, The Large

77-85 Newington Causeway, London SE1 6BD

Box Office: 020 7407 0234

www.southwarkplayhouse.co.uk

24 May – 22 June

Press Night: 29 and 30 May, with all reviews embargoed until 11pm on 30 May

Pioneers’ Preview: £10 (24 May)

Preview Tickets: £16

Full Price Tickets from: £35

Concession Tickets from: £28

Performances Monday – Saturday 7.30pm, matinees Tuesday and Saturday 3pm.

FOR FUN AT THE BEACH ROMP-BOMP-A-LOMP!! 

Paul Virides Productions – General Management

James Anderton – Production Management

Verity Clayton – Company Stage Manager
Abi Morris – Deputy Stage Manager
Odette Robertson – Assistant Stage Manager
Charlotte Murray – Costume Supervisor

ABOUT SOUTHWARK PLAYHOUSE

Southwark Playhouse is a registered charity that delivers a year-round programme of entertaining and enriching work. Southwark Playhouse operates two separate venues ‘Southwark Playhouse Borough’ and its newest theatre ‘Southwark Playhouse Elephant’ which opened in January 2023. Southwark Playhouse has always prided itself in telling stories and inspiring the next generation of storytellers and theatre makers, where support for the community has been rooted at the core of the organisation.

Twitter: @swkplay Facebook: SouthwarkPlayhouse

Instagram: @swkplay TikTok: swkplay YouTube: southwarkplayhouse

EVERYMAN THEATRE, LIVERPOOL – UNTIL SATURDAY 11TH MAY 2024

REVIEWED BY MIA BOWEN

3***

Upon arrival at the Everyman Theatre, I received a warm and friendly welcome and was given a rolled-up A3 scroll secured with an elastic band. As I unfurled the paper, I discovered an image of a machine head created from parts of a classic mechanical clock mechanism, alongside green numbers in vertical lines reminiscent of the Matrix movie posters. At the core of this play lies a machine with the ability to choose, examining the consequences of machines making decisions instead of humans.

The Legend of Ned Ludd takes audiences on a whirlwind journey around the world, delving into different historical moments (scenes) and locations. It examines how capitalism and globalism have affected working people. With each new scene, not only does the setting change, but it also intensifies the suspense and mood. Periodically, the storyline transports us back to Nottingham in 1816. In this setting, the renowned Ned Ludd, the original Luddite, is rallying his colleagues to resist the adoption of automated looms.

In each performance, the show’s “Machine” will randomly choose 15 scenes out of a total of 256 prepared scenes. This ensures that every night, the audience will enjoy a unique and unpredictable experience. I am almost tempted to come along to another night as the play might surprise the audience with a new and different story.

The cast features Reuben Johnson, an award-winning writer and spoken word artist, Menyee Lai with numerous stage and TV credits, and Liverpool actor Shaun Mason, a graduate of Everyman’s youth theatre. Each bringing their unique talent and perspective to the stage.

The Legend of Ned Ludd, the first of three locally produced plays planned to commemorate the 60th anniversary of Liverpool Everyman Theatre. Following this are Tasha Dowd’s Tell Me How it Ends in June and Martin McDonagh’s dark comedy The Lieutenant of Inishmore in September. It is a fitting tribute to honour the Everyman’s sixty years of creative progress and cultural impact and you can enjoy a special deal of £60 to watch all three shows.

Soho Theatre, London – until 27 April 2024

Reviewed by Claire Roderick

4****

Luke Kempner promises 60 impressions in 60 minutes, but he may be the only one counting as the audience just sit back and enjoy the onslaught of police procedural drama clichés that he also manages to cram into this dynamic and often hilarious show.

A “beloved” TV personality has been murdered, and it’s up to Superintendent Ted Hastings to solve the crime. Calling on his team: Catherine Cawood from Happy Valley, Luther, Claudia Winkleman and an uncanny Louis Theroux, and Ian McKellen thrown in as well, investigations set them on the trail of an anti-aging drug ring. But who is the villain in charge – Jurgen Klopp, David Attenborough, King Charles or could it possibly be a bent copper?

Kempner gleefully trawls through the meeting around the suspect board, the suspect interviews and prison visits. A very unexpected prison governor and a glorious lampoon of Silence of the Lambs finds Louis Theroux walking down the corridor that houses the worst offenders on his mission to try to get into the mind of the drug kingpin. And instead of Hannibal Lector looming out of the dark, Theroux has a certain ex-president trying to outwit him.

Alongside the tenuous plot, Kempner showcases his singing talents with his characters launching into songs from Wicked, Phantom of the Opera and Aladdin – Catherine Cawood’s down-to-earth northern voice surprisingly soaring into falsetto as she duets with Luther!

The jokes arrive at breakneck speed, and this fast and furious approach sometimes trips Kempner up, but he endearingly acknowledges this and creates fresh laughs as he gets back on track showcasing his impressive repertoire of voices. This is a feelgood show that covers all the bases – comedy, impressions and musical theatre. An irreverent, gag-filled, hour well spent.

LIVERPOOL PLAYHOUSE – UNTIL 27TH APRIL 2024

REVIEWED BY JEN HUGHES DALEY

4****

Based on the best selling novel by Khaled Hosseini, directed by Giles Croft and adapted for stage by Matthew Spangler, prepare for a heart wrenching, intense and emotive bringing to life of the journey of two best friend in 1970’s Kabul. The boys, Amir ( Stuart Vincent) and Hassan ( Yazdan Qafouri ) portrayed their friendship beautifully. Slingshots, kites and mischievous play, all depict the innocence of childhood. Childhood not yet tainted by the consequence of theft. But how those very same symbols of childhood change and cause pain and revenge is truly breathtaking. Layer after layer of distress enveloped the stage as waves of emotion and tension ripped through the audience under the soothing sounds of Hanif Khan’s percussion.

Friendship, loyalty, betrayal, love, competition, guilt and wanting, these themes run through the veins of the performance, but not more than theft …..“When you kill a man you steal a life, when you tell a lie , you steal someone’s right to the truth”. How can a joyful neighborhood kite race change the lives of two boys forever? The answer to that can be found in the menacing, spine tingling, Assef (Bhavin Bhatt) . Special mention to this award-winning best newcomer at the Asian Media Awards. Every word spoken was spat with venom. His clenched fists and threatening presence were truly chilling.

Trigger warning for some scenes of strong language depictions of sexual violence, suicide, weapons and gun shots. This is gripping, gritty and raw. It sits proudly on a stage of minimal props and set. The white, seemingly innocent, fluttering like lingers above the stage. But underneath it is the unravelling relationships bound by loyalty and lies.

This is a must see, and for me is now a must read. It’s a performance that I will always remember as one presented in the simplest yet powerful of ways.

WORLD PREMIERE OF NEW MUSICAL

HERE & NOW

ADDS ADDITIONAL WEEK

OF PERFORMANCES AT

THE ALEXANDRA, BIRMINGHAM

DUE TO POPULAR DEMAND

NOW RUNNING FROM 9 NOVEMBER – 30 NOVEMBER

Due to phenomenal demand, including The Alexandra’s fastest selling on-sale in history, which saw 50% capacity sold within 24 hours, the producers of the brand new musical HERE & NOW, presented by UK pop sensation, Steps, are delighted to announce that the show will play an additional week at The Alexandra, Birmingham. HERE & NOW will now run in Birmingham from 9 – 30 November 2024. Tickets for the additional week will go on sale at 12noon on Monday 29 April.

Featuring Steps’ most beloved hit songs, HERE & NOW has an original book by Shaun Kitchener and is produced by the band and ROYO with Pete Waterman. It will be directed by Rachel Kavanaugh, with choreography by Olivier Award winning Matt Cole and Matt Spencer-Smith as musical supervisor, orchestrations and arrangements.

Casting to be announced.

Welcome to seaside superstore Better Best Bargains, where it’s Friday night, the vibe is right, and everyone’s dancing in the aisles. But when Caz discovers the shelves are stocked with lies and betrayal, the summer of love she and her friends dreamed of suddenly feels like a tragedy. Have they all lost their chance of a ‘happy ever after’? Or does love have other plans in store…

Steps said, “We were thrilled and grateful for the response we received when we announced the show, people were queuing up outside the theatre from 3am to purchase tickets! The past few weeks we have been workshopping the script and songs; it is so exciting to see it lift off the page. We can’t wait to share this with you!”

Steps (Claire Richards, Faye Tozer, Ian ‘H’ Watkins’, Lee Latchford-Evans and Lisa Scott-Lee) are the UK’s most successful mixed sex pop group of all time, with 14 top five singles, 4 number one albums, 22 million record sales, 500 million streams & 11 sold-out national arena tours under their belts. The band’s hits include #1 singles Tragedy/Heartbeat and Stomp, the gold certified One For Sorrow & Better Best Forgotten, the silver certified 5,6,7,8, Last Thing On My Mind, Love’s Got A Hold Of My Heart, Chain Reaction, all of which will feature in the musical alongside many more.

Steps’ 2017 comeback tour sold out all 300,000 tickets, making it one of the biggest pop tours of the year. The band have since continued to release new music including two further iTunes #1 singles, the Sia-penned What The Future Holds in 2020 and the Michelle Visage duet Heartbreak In This City in 2022. In 2022 Steps celebrated their 25th anniversary with a headline summer tour and released the #1 album Platinum Collection which means they join ABBA, Rolling Stones and Stereophonics as the only groups in UK history to score #1 albums in four consecutive decades.

Choreography is by Matt Cole, musical supervision, orchestrations and arrangements by Matt Spencer-Smith, set design is by Tom Rogers, costume design is by Gabriella Slade, lighting design by Howard Hudson, sound design by Adam Fisher, wigs, hair and makeup design by Sam Cox, casting by Will Burton for Grindrod Burton Casting, associate direction by Matt Hassall, associate choreography by Jane McMurtrie with associate sound design by Ollie Durrant.

Website: TheStepsMusical.com

Instagram: @TheStepsMusical

X: @TheStepsMusical

TikTok: @TheStepsMusical

Facebook: @TheStepsMusicalUK

LISTINGS INFORMATION

HERE & NOW

9 – 30 November 2024

The Alexandra

Suffolk Queensway,

Birmingham,

West Midlands,

B5 4DS

Performances: Tuesdays – Saturdays at 7:30pm, Thursdays, Saturdays and Sundays at 2.30pm

N.B there will only be a 7:30pm performance on Saturday 9 November, Sunday 10 November and Thursday 28 November, and an additional 2:30pm performance on Wednesday 27 November.

There will also be an audio described performance on Tuesday 19 November and a signed performance on Thursday 21 November.

Tickets from £13

www.atgtickets.com/venues/birmingham