Category: Uncategorized

DUE TO POPULAR DEMAND, TOUR EXTENDED

FURTHER 2025 DATES ANNOUNCED FOR

DEAR EVAN HANSEN

WITH PERFORMANCES AT

AYLESBURY WATERSIDE THEATRE, 10 – 14 JUNE

BIRMINGHAM ALEXANDRA, 17 – 21 JUNE

GRAND OPERA HOUSE, YORK, 24 – 28 JUNE

AND

EDINBURGH PLAYHOUSE 1 – 5 JULY

ATG Productions are delighted to announce that, due to popular demand, the brand-new Nottingham Playhouse production of the Olivier, Tony and Grammy award-winning Best Musical DEAR EVAN HANSEN will extend its UK tour for a further four weeks in 2025.

The production will now play at Aylesbury Waterside Theatre (10 – 14 June), the Birmingham Alexandra where it returns following a one-week run this month (17 – 21 June), Grand Opera House, York (24 – 28 June) and finally the Edinburgh Playhouse (1 – 5 July). Full tour schedule listed below. evanontour.com

Directed by Nottingham Playhouse’s Artistic Director Adam Penford, DEAR EVAN HANSEN opened at the Nottingham Playhouse on 9 September 2024 and is currently touring the UK.

Ryan Kopel (Newsies) plays the iconic role of Evan Hansen, alongside Lauren Conroy (Into The Woods)as Zoe Murphy and Alice Fearn (Wicked, Come From Away) as Evan’s mum, Heidi.

They are joined by Helen Anker (Mamma Mia!) as Cynthia Murphy, Richard Hurst (The Lion King) as Larry Murphy, Killian Thomas Lefevre (Bat Out Of Hell) as Connor Murphy, Tom Dickerson (Heathers)as Jared Kleinman, Vivian Panka (9 to 5 the Musical) as Alana Beck and Sonny Monaghan (discovered via TikTok) as alternate Evan.

This is the first production of Dear Evan Hansen in the UK to perform the show with an ensemble. The ensemble are Lara Beth-Sas, Will Forgrave, Daniel Forrester, Jessica Lim, Sonny Monaghan and Elise Zavou.

Morgan Large is Set and Costume Designer (Newsies, Sister Act), with Carrie-Anne Ingrouille as Choreographer (Six, Zoo Nation), Matt Daw as Lighting Designer (Pet Shop Boys, Lorde), Tom Marshall as Sound Designer (West Side Story, Sister Act), Ravi Deepres as Video Designer (School for Scandal, Woolf Works), Matt Smith as Musical Supervisor (Dear Evan Hansen, My Neighbour Totoro), Michael Bradley as Musical Director (Singin’ in the Rain, Hairspay, The Bodyguard), Natalie Gallacher CDG for Pippa Ailion & Natalie Gallacher Casting as casting director (Mean Girls, MJ The Musical, Moulin Rouge), Michelle Payne as Associate Director and Laura Llewellyn-Jones as Orchestral Manager.

Packed with some of the biggest musical theatre songs of the last decade, DEAR EVAN HANSEN has a score by Benj Pasek and Justin Paul (Oscar-winning composers for The Greatest Showman) and a book by Steven Levenson. Its many awards include the Tony® Award for Best Musical, Olivier Award for Best New Musical and the Grammy® Award for Best Musical Theatre Album.

Today is going to be a good day. And here’s why…

Meet Evan: an anxious high school kid who wants nothing more than to fit in. The thing is, on his way to fitting in, he didn’t tell the whole truth. And now must give up on a life he never dreamt he’d have. As events spiral and the truth comes out, Evan faces a reckoning with himself and everyone around him.

The production is also partnered with The Mix, the UK’s leading digital charity for under 25-year-olds.  The show deals with sensitive topics, very relevant to young people today, and this partnership ensures that anyone affected by the issues explored in the show knows where to find support. 

DEAR EVAN HANSEN is presented by ATG Productions and Nottingham Playhouse by arrangement with Music Theatre International.

NEW BRITISH MUSICAL BASED ON
DAVID BADDIEL’S BEST-SELLING BOOK 

THE PARENT AGENCY

WITH MUSIC BY DAN GILLESPIE SELLS
(EVERYBODY’S TALKING ABOUT JAMIE)

TO OPEN AT STORYHOUSE CHESTER IN FEBRUARY

DIRECTED BY TIM JACKSON

SATURDAY 15 FEBRUARY – SUNDAY 2 MARCH 2025
[GALA NIGHT WED 19 FEB]

www.storyhouse.com
 

Monday 28 October: Producers John Berry and Anthony Lilley of Scenario Two today announce that the best-selling book The Parent Agency, by comedian and author, David Baddiel,will be brought to the stage next yearin a brand-new musical with music and additional lyrics by Dan Gillespie Sells (Everybody’s Talking About Jamie), directed by Tim Jackson (Two Strangers (Carry A Cake Across New York)).

The Parent Agency – The Musical will begin performances at Storyhouse Chester on Saturday 15 February 2025 and will play for two weeks until Sunday 2 March 2025.

Gala Night will be on Wednesday 19 February 2025.

Tickets will go on sale Friday 1 November 2024 at www.storyhouse.com.
With a presale for Storyhouse members from Monday 28 October.

The Parent Agency – The Musical will appeal to anyone who is, or has been, a child.
And also, to anyone who is, or has had, at least one parent.
And definitely, to anyone who wishes they weren’t called Barry.

Eleven-year-old Barry Bennett hates his name. In fact, it’s number one on the list of things he blames his parents (Susan and Geoff) for along with “being boring, never buying him cool stuff, being tired all the time and being too strict”. So, he makes a wish for a better mum and dad and finds himself whisked away to Youngdon in the ‘United Kid-dom’, an alternate universe where kids get to pick out their perfect parents with the assistance of the staff of the eponymous Parent Agency.

For Barry, this seems like a dream come true, although he soon learns that choosing a new mum and dad isn’t as simple as it sounds…

2024 marks the 10th anniversary of David Baddiel’s much-loved, the-grass-is-always-greener, debut adventure, which has sold over 355,000 copies worldwide. Celebrations began early this year with the publication of The Parent Agency: 10th Anniversary edition including bonus chapters.

David Baddiel’s books have achieved exceptional success and been translated into 30 languages. His children’s books have received huge critical acclaim and won some of children’s literature’s highest accolades including the inaugural Laugh Out Loud Award, for The Parent Agency.

Dan Gillespie Sells, best known as the lead singer and songwriter of The Feeling, has enjoyed widespread critical acclaim for his work in musical theatre. He composed the music for the hit West End musical Everybody’s Talking About Jamie, which received multiple Olivier Award nominations, toured internationally and was adapted in to an Amazon Original Film. Dan’s work has earned him an Ivor Novello Award, Olivier, BAFTA and BRIT nominations, and he was named Stonewall’s Entertainer of the Decade in 2015 for his contributions to the LGBT community.

Joining David and Dan on the creative team are director Tim Jackson (Two Strangers (Carry A Cake Across New York), Merrily We Roll Along), choreographer Carrie-Anne Ingrouille (SIX, Dear Evan Hansen), costume designer Sarah Mercadé (Jesus Christ Superstar, 101 Dalmatians, The Spongebob Musical), lighting designer Zoe Spurr (The Curious Case of Benjamin Button, Fantastically Great Women Who Changed The World, Bonnie & Clyde) and Assistant Director Francesca Hsieh (VANYA),with casting by Jill Green CDG and Amy Beadel CDG.

David Baddiel said:“I’m so happy that my first children’s book The Parent Agency is going to be made into a musical. It’s a book that kids tell me they love, including now young adults who first read it years ago. It takes a very real child on a very magical journey that seems to really suit big musical moments – and these have been brilliantly provided by the genius that is Dan Gillespie Sells, who’s been a total joy to work with.”

Dan Gillespie Sells continued: “I’m so excited to be working with David Baddiel on this brand new musical, I’ve always been a fan of his and I can’t wait to get in to the rehearsal room alongside a wonderful creative team to help bring this story to life”

Tim Jackson added: “There’s something magical about taking a story that kids and families already love and finding new ways to tell it on stage. I’m looking forward to working alongside David and Dan to turn this wonderful world into a theatrical experience that feels fresh and playful for audiences in Chester and beyond”

Hampstead Theatre, London – until 23rd November 2024

Reviewed by Celia Armand Smith

4****

It’s February 1976, and a fishing trawler called the Graham Greene has capsized off the coast of Iceland with loss of life. This new play from Richard Bean is set against the brutal backdrop of the fishing industry in 1970s Hull, and the Icelandic vote on banning foreign fishing within 200 miles of its coastline. Donald Claxton (John Hollingsworth) has taken over the family business from his father and oversees a large fleet of fishing trawlers (including the Graham Greene) navigating treacherous waters. After hearing the news of the sinking of the ship, he embarks on the “widows’ walk”, where he must visit the grieving households of lost fishermen with strict instructions regarding walking, tea, eye contact, and breaks. While sitting grimly in his office checking the docks through a darkened window, he contends with the news, as well as his grumpy father (Paul Hickey), an edgy young vicar (Matthew Durkan), a skipper who isn’t very good at catching fish (Adam Hugill), and a fishwife who wishes bad things on her husband (Laura Elsworthy). With some external encouragement and a heavy feeling of guilt and responsibility, Claxton flies out to Reykjavik to go and bring the remaining members of the Graham Greene home.

Act one takes place in Anna Reid’s fantastically atmospheric office set with large windows overlooking the dock, helping to create a vivid image of the industry, the town and those who exist within it. In act two we are transported to a more colourful 1970s hotel foyer in Iceland, where angry Jack Jopling (Matthew Durkan) and his frostbitten finger, Quayle (Paul Hickey) the folkloric mariner, Baggie (Matt Sutton) who is awaiting news from his pregnant wife, and the lovely Snacker (Adam Hugill) are waiting on land to return to Hull. They are all being watched over by Enhildur (Sophie Cox), the somewhat reluctant hotel owner. Joined in the hotel by Claxton, the group tell tales of the sea, myth and legend, and ghost stories. Where the first act is slow and pensive, dwelling on the transience of life and the brutality and uncertainty of an industry that relies on the sea, the second act is more comedic and pacey. Both halves are equally brilliant in their storytelling despite some strange twists and turns in the narrative.

Under the direction of Emily Burns, the performances are first-rate. Hollingsworth’s performance as Claxton is charming and thoughtful with an edge of sleaze. The rowdy group of sailors offer the other side of the employee/employer divide. Casual labourers with the knowledge that at any moment their lives could end in the icy depths of the North Sea, but with huge heart and a few laughs along the way. “Reykjavik” is a sweetly melancholic portrait of the fishing industry and the community at the centre of it. It’s heartfelt and informative, and most of all extremely enjoyable.

The Kings Theatre, Southsea – until 26th October 2024

Reviewed by Sally Lumley

4****

The Addams Family musical follows the spooky characters we all know and love from the classic tv shows and movies. Wednesday (Megan Parkes) has fallen in love with “normal” boy Lucas (Finlay Hughes), and they want to get married. She confides her secret to her father Gomez (Luke Henley) who is plunged into an impossible predicament – does he keep a secret from his wife Morticia (Laura Bowler), or betray his daughter’s trust? When Lucas brings his straight-laced parents for dinner at the mansion, a night of hilarious, macabre chaos unfolds.

Benchmark Musical Theatre have breathed new life into these well-known characters, and it is clear that this enthusiastic, talented cast have had a lot of fun bringing them to the stage. Martin Bristow perfectly encapsulated chaotic Uncle Fester; the madcap uncle with a huge heart had the audience laughing every time he was on stage. While the story line about his love for the moon was a little bizarre (even for the Addams Family), his Wicked moment was delightful. I don’t want to give away any spoilers, but I did think that it was a shame in the final scene when he was replaced with a cardboard cutout. For balance though, I should say that my son thought this was the best moment of the show! Other standout performances were delivered by Megan Parkes as Wednesday, and Emma Hall as Lucas’s mother Alice, whose vocals really shone.

Benchmark are an amateur company but this production, from the set to the performances, did not feel amateur at all. While I didn’t find any of the songs particularly memorable, Benchmark have created some wonderful set pieces which will stay with us. The Full Disclosure sequence was perfectly executed and had the audience in stitches, while the Tango De Amor had all the passion we know to expect from Gomez and Morticia.

From the moment the familiar Addams Family theme music began at the start, with the whole theatre was singing and clapping along, I knew we were in for a spooktacular treat. This is lighthearted, funny and perfect timing for the start of half term. With Halloween next week, a trip to see The Addams Family is the perfect way to start spooky season.

DUE TO PHENOMENAL DEMAND

JOHN CLEESE’S

FAWLTY TOWERS – THE PLAY

EXTENDS WEST END RUN FOR A SECOND TIME AT

APOLLO THEATRE SHAFTESBURY AVENUE

NOW PLAYING UNTIL 1 MARCH 2025

ADDITIONAL TICKETS ON SALE FRIDAY 25 OCTOBER AT 10.00AM FROM FAWLTYTOWERSWESTEND.COM

John Cleese’s Fawlty Towers – The Play, “the funniest show in town” (Daily Express), today announces that it is extending its West End run for a second time. Currently playing at London’s Apollo Theatre Shaftesbury Avenue, the critically acclaimed production will now run until Saturday 1 March 2025. Tickets for the extended dates will be on sale on Friday 25 October at 10.00am from FawltyTowersWestend.com.

Comedy legend John Cleese, who originally co-wrote the “greatest British sitcom of all time” (Radio Times) with Connie Booth, has taken three of his favourite original TV episodes – ‘The Hotel Inspector’ and ‘The Germans’ from series one and ‘Communication Problems’ from series two – and adapted them into a two-hour play, complete with a new finale, for the West End stage.

On announcement of the extension, John Cleese said: “When we came up with the idea of bringing Fawlty Towers to the West End, I never thought it would get the reception that it has. It’s been almost exactly 50 years since we recorded the pilot at BBC Television Centre and I’m delighted that audiences still think it’s as funny as ever. As a result, we’ve been able to extend the West End run not once, but now twice! I believe that farce is funniest in a theatre with a live audience, and I’m very happy that this extension gives more people the chance to see our superb cast in action.”

Directed by Caroline Jay Ranger, this “as good as comedy gets” production (Sunday Times) opened in May to rave reviews. The show stars Adam Jackson-Smith as Basil; Anna-Jane Casey as Sybil; Hemi Yeroham as Manuel; Victoria Fox as Polly and Paul Nicholas as The Major.

The play also features many of the beloved characters from the original TV sitcom on stage for an unmissable evening of “Fawltless” (Mail on Sunday) comedy: Mrs Richards played by Rachel Izen; Mr Hutchinson / German Guest played by Steven Meo; Miss Tibbs played by Kate Russell-Smith; Miss Gatsby played by Nicola Sanderson; Mr Thurston / German guest played by Greg Haiste; Mr Walt / Dr Finn played by Danny Bayne; Taxi Driver / Mr Firkins / Mr Kerr / Mr Sharp played by Neil Stewart, German guest played by Emma Fenney and Hotel Guests: Mia Austen, John Hasler, Dale Superville. Completing the company of players are Ben Jacobson and Suzy Bloom.

Following a tip off that hotel inspectors may be visiting and eager to impress, Basil attempts to ingratiate himself with guests that he suspects are there to critique the establishment. The situation is further plagued by a party of Germans, the deaf and dotty guest-from-hell, Mrs Richards, whose infuriating complaints prevent him from hiding a gambling win from his ever vigilant and bossy wife, Sybil. Together they run their hotel with a little help from the unflappable Polly, and very little help at all from Manuel, the trainee waiter from Barcelona who is the butt of Fawlty’s frustration.

Fawlty Towers was first broadcast on BBC Two on 19 September 1975. The iconic TV show went on to win many awards and plaudits including two BAFTAS for Best Situation Comedy and in 2000 it was voted the best British programme of all time in a British Film Institute poll. Set in a fictional hotel in the seaside town of Torquay, just 12 half hour episodes of the iconic comedy were made.

The sitcom is based on a real-life hotel owner, Donald Sinclair. John Cleese came up with the idea for the character Basil Fawlty when he stayed at Sinclair’s Gleneagles Hotel in Torquay and became fascinated with his incredibly rude behaviour.

The creative team includes:

Written by John Cleese & Connie Booth

Adapted for the stage by John Cleese

Directed by Caroline Jay Ranger

Set and Costume Designer – Liz Ascroft

Lighting Designer – Ian Scott

Casting Director – Anne Vosser

Assistant Director – Denise Ranger

Resident Director – Chris Kiely

LISTINGS INFORMATION

Apollo Theatre, Shaftesbury Avenue, W1

Booking until: 1 March 2025

Performances: Tuesday – Saturday at 7:30pm. Wednesday, Thursday and Saturday matinee at 2:30pm

Website: FawltyTowersWestend.com

Instagram: @FawltyTowersWestEnd

Facebook: @FawltyTowersWestend

X: @FawltyTowersWE

New musical WHY AM I SO SINGLE? will end its limited season at London’s Garrick Theatre, with its final performance on 19th January 2025 Garrick Theatre, 2 Charing Cross Road, London WC2H 0HH

Final performance – Sunday 19th January 2025

This ‘riotously life-affirming’ (The Times) all-singing, all-dancing musical by Toby Marlow and Lucy Moss has captured the hearts of audience members and critics alike, receiving twenty-two 5* and forty 4* reviews.  Despite the nightly standing ovations and tremendous word of mouth, it has proved difficult to make a brand-new musical commercially sustainable in the current economic climate.

The producers have said, We are extremely proud of the production and thank all the cast, musicians, creatives, and backstage team who have worked together to bring something daring and original to the West End. We are not discounting the possibility of bringing the show back into London in the future and, with discussions about potential productions in the US and around the world already underway, we are confident that it is just the beginning for this extraordinary show.

Authors Toby Marlow and Lucy Moss have said, We are so grateful to our truly remarkable cast who have brought this work to life at every performance with such passion, talent, and commitment. We are so grateful to our wonderful company and creatives who have put all their humour and heart into our show. We are so grateful to everyone who has worked hard behind the scenes to bring WHY AM I SO SINGLE? to the West End. We are so very grateful to the producers for taking such a risk on an original, ambitious musical like this and making our wildest dreams come true. And finally, we are SO grateful to everyone who has seen the show so far, and we hope more of you will be able to come and see it in the coming months! We are, of course, pretty sad that it’s coming to an end earlier than we’d hoped but we are very proud of the show and are super excited to see what the potential future journey looks like. We cannot WAIT for you all to listen to more of the music, which we’re working away at right now and, not to boast, but we think it’s going to BEE pretty great ;).

WHY AM I SO SINGLE? was originally booking until 13th February 2025; any customers who have purchased tickets after 19th January will be contacted by their ticketing provider.

WHY AM I SO SINGLE? is produced by Kenny Wax, George Stiles and Ameena Hamid.

Southwark Playhouse – until 23 November 2024

Reviewed by Claire Roderick

4****

Musicals about grief aren’t always uplifting, but this new musical soars with emotion and acceptance.

Fifteen-year-old Malia (Robyn Rose-Li) dreams of being a writer, but an idyllic summer at writing camp soon sours, with her YA story Fly More Than You Fall, about a bird with broken wings trying to get to the top of a mountain, being mocked as a children’s book by the other campers. Reality hits even harder when her parents arrive with the tragic news that Malia’s mother Jennifer (Keala Settle) has stage 4 cancer and she returns home for one last summer together.

Malia’s mother is a teacher and, despite her failing health, continues to critique and encourage Malia to complete her story. The first act deals with Malia and her father’s (Cavin Cornwall) anticipatory grief as they struggle with their need to care for Jennifer and make her remaining time comfortable, and their anger that she is leaving them. This grief is evident in Malia’s writing as the bird Willow (Maddison Bulleyment) and her companion Flynn (Edward Chitticks) struggle to deal with each other’s emotions.

There is no need to see Jennifer’s death in this show – the absence she leaves in Malia and her father’s lives is the crucial point. Act 2 begins at the funeral, and the darker tone and slower ballads jar with the few upbeat numbers brilliantly, depicting the puddle jumping that young teenagers can still experience as they navigate their feelings. Writers Eric Holmes and Nat Zegree wisely choose not to have Keala Settle appear with supernatural/dream advice for Malia as this would cheapen and Disneyfy Malia’s journey. Instead, Malia stutters and takes false turns after the funeral but finds a way to begin healing thanks to sound (and often hilarious) advice from her writing friend Caleb (Max Gill) with a delightful running joke about messaging and emojis never getting old. Malia and her father appear to grow apart after Jennifer’s death, portrayed by fine physical acting from Cornwall and Rose-Li, and the moments of anger and cruelty hit hard, but also ring true. As Malia and her father begin to find common ground and accept that they have a long way to go, Willow’s story gets wrapped up and Willow risks leaving the mountain. This may seem simplistic, but Willow’s story is supposed to have been written by a teenager, and this is an easily accessible representation of Malia’s feelings – and Bulleyment and Chitticks are absolutely fabulous.

Stewart J. Charlesworth’s pastel-coloured set – a representation of wings made from hundreds of sheets of writing paper – and the bright costumes may lull you into thinking that this is a schmaltzy show for children, but the emotional heart is much more sophisticated. Holmes and Zegree have written a beautiful story about loss, grief and how there is no Hero’s Journey guidebook to follow in real life. The songs are fantastic, with the title song reprised many times to great effect as an inspirational/celebratory mantra. There is teenage attitude and snark scattered throughout the show and Holmes and Zegree highlight the dramatic egocentricity of teens in the fabulous song The Worst. Under Christian Durham’s assured direction, the incredible cast soar. Max Gill is a comic wonder, winning the audience with their facial reactions before uttering a word and providing a bucketful of heart when Malia is struggling, and Keala Settle is as brilliant as you would expect – with vocals that effortlessly convey the pain of her character, and her songs with Robyn Rose-Li are the highlights of the show. Rose-Li’s performance is wonderful – full of emotion and fragility – and that voice!

Full of heart and hope, Fly More Than You Fall is a touching and insightful musical, beautifully staged and performed by a stellar cast. Unmissable.

Theatr Clwyd to open with a tick, tick… BOOM!

Theatr Clwyd’s Artistic Director, Kate Wasserberg has announced an explosive opening season for their newly re-developed building

Following its major redevelopment Theatr Clwyd will re-open in 2025 with a new production of tick, tick…BOOM! Directed by Kate Wasserberg, Jonathan Larson’s smash hit musical comes hot on the heels of her West End production of Boys From the Blackstuff. The opening production will be followed by On Wednesdays We Wear Pink, a piece created and performed by Theatr Clwyd’s young people, the season will also include Alan Ayckbourn’s darkly comic thriller Snake in the Grass and Welsh playwright Chris Ashworth-Bennion’s The Red Rogue of Bala.

Artistic Director Kate Wasserberg said:

“This is a watershed moment for Theatr Clwyd and an absolute honour for me as Artistic Director. I am delighted to open this state-of-the-art building with a season that showcases the extraordinary wealth and diversity of talent to be found in Wales. This season reflects our communities and invites audiences back home to us, whatever your taste. We have musicals, comedies, thrillers, new takes on Welsh classics and our iconic pantomime as well as new work in the Welsh language in Wrexham.”

The opening show will be the hit musical tick, tick…BOOM! (2 Jun-28 Jun) by Jonathan Larson, the visionary creator of the cult-classic RENT. Kate Wasserberg, who has directed at the National Theatre and in the West End, directs this musical about the exciting mess of being young, chasing your dreams and reaching for greatness.

On Wednesdays We Wear Pink will be a joyous exploration of fashion and identity throughout history. Created and performed by young people working with a professional creative team, the show will be directed by Theatr Clwyd’s Gwennan Mair.

In the summer, Theatr Clwyd will once again partner with Theatr Genedlaethol Cymru, Wales’ National Welsh language theatre company. Four new short plays about the North Wales experience will be commissioned and performed in Welsh at the National Eisteddfod in Wrexham.

Snake in the Grass (15 Sep-4 Oct) is Alan Ayckbourn’s darkly comic thriller about family, secrets and murder. Produced with the Octagon Theatre, Bolton, the show will be directed by Wales’ Francesca Goodridge.

Welsh writer Chris Ashworth-Bennion’s The Red Rogue of Bala (3 Nov-22 Nov) will have its world premiere. The hilarious, fast-paced drama set in the heart of Denbighshire is based on notorious jailbreaker, poacher and thief, Coch Bach y Bala. Directing this show is Wales’ Dan Jones, Artistic Director of The Other Room, Cardiff.

Also announced in 2026 and beyond is a new production of Under Milk Wood, Dylan Thomas’ greatest work, created as part of Craidd, a ground-breaking project improving mainstream theatre representation for and with Deaf, disabled and neurodivergent people.

Theatr Clwyd and Chichester Festival Theatre will stage Emily White’s award-winning play about climate change and family in West Wales; Welsh writer Emily Burnett will premiere her hilarious family drama and Nia Morais will write a new take on a Victorian gothic classic. William Shakespeare’s Twelfth Night will be directed by Juliette Manon as a glorious celebration of queer culture.

Theatr Clwyd’s redevelopment is one of Wales’ most culturally significant projects. The transformative project will deliver a much-improved visitor experience, dedicated spaces for community and engagement programmes and enhanced income-generating and world class theatre making facilities and all within a greener, more efficient building, safeguarding high-quality cultural experiences in North Wales for current and future generations.

Selected performances will go on sale this year. Theatr Clwyd members will receive priority booking from 28 October. Booking opens to the public from 11 November. To book, visit Theatr Clwyd’s website (www.theatrclwyd.com) or the box office on 01352 344101.

DOM HARTLEY-HARRIS JOINS ALL STAR CAST OF
MOZART: HER STORY – THE NEW MUSICAL

BROADWAY & WEST END STARS HEADLINE
PREMIERE PERFORMANCES AT THEATRE ROYAL DRURY LANE
SATURDAY 16 & SUNDAY 17 NOVEMBER 2024:

 Gabrielle Brooks (Get Up! Stand Up! The Bob Marley Musical),
Tyrone Huntley (Hello, Dolly!),
Laura Pitt-Pulford (Standing at the Sky’s Edge),
with Anthony Rapp (Rent),
Vinny Coyle (Phantom of the Opera), Yvette Gonzalez-Nacer (Hadestown),
Emily Squibb (Matilda The Musical).

Tickets are on sale: www.lwtheatres.co.uk/whats-on/mozart-her-story/

Thursday 24 October 2024, London: Producer Tegan Summer is delighted to announce Dom Hartley-Harris joins the all-star cast of Mozart: Her Story – The New Musical assembling at Theatre Royal Drury Lane for two special performances on Saturday 16 and Sunday 17 November 2024. This brand new musical, based on the life of Mozart’s sister, Nan, marries Mozart’s classics with over twenty contemporary original compositions by Tegan Summer (Book & Lyrics) & Gregory Nabours (Music & Additional Lyrics).

Dom Hartley-Harris whose recent theatre credits include George Washington in Hamilton (Victoria Palace), Preacher in Bonnie & Clyde (Garrick Theatre), Curtis Taylor Jr in Dreamgirls (UK Tour) and Collins in RENT (Hope Mill Theatre) will take on the role of Leopold Mozart – Wolfgang Amadeus and Nan Mozart’s father.

Dom joins the previously announced cast of Gabrielle Brooks (Get Up! Stand Up! The Bob Marley Musical, Shadow and Bone) as Nan Mozart, Tyrone Huntley (Hello, Dolly!, Dreamgirls) as Wolfgang Amadeus Mozart,withAnthony Rapp (Rent, Star Trek: Discovery) as Count Franz von Walsegg, Laura Pitt-Pulford (Standing at the Sky’s Edge, Sunset Boulevard) as Anna Maria Mozart, Vinny Coyle (Phantom of the Opera, Follies) as Johann Baptist zu Sonnenburg, Yvette Gonzalez-Nacer (OBC Hadestown, In the Heights) as Constanze Weber, and Emily Squibb (Matilda The Musical, Beauty and the Beast) as Karoline von Walsegg / Cover Nan.

The ensemble cast are completed by Emily Panes, Elisabeth Snegir, Daisie Mariella, Jordan Fox, Harry Chandler, Bethaney Wellings-Davies, Evie-Leigh Savage, Jacob Wye, Larissa Gerske, Maxfield Haynes, Addison Ector and Charlotte Edmonds.

Dom Hartley-Harris said:
“I am incredibly excited to be part of this amazing team, both those in the cast and creatively. The Rock/Classical fusion seems so unique to me. I feel privileged to have the opportunity to help tell this story, one that carries themes that remain important today.”

Tegan Summer (Aspects of Love, For Black Boys Who Have Considered Suicide When The Hue Gets Too Heavy) – Lead Producer, Book Writer, Lyricist added:

“Dom is a wonderful, dedicated talent; I look forward to him breathing new life into our patriarch, Leopold Mozart.”

“I am delighted to bring Mozart: Her Story – The New Musical to the West End stage and particularly thrilled to be presenting an original piece of musical theatre. The show reflects socially-relevant themes of female empowerment and inclusion, and is in the safe hands of our phenomenally-talented and passionate cast.”

Joining Tegan and Gregory on the creative team are Stephanie Klemons (Director) Colette Freedman (Dramaturgy), Dwight Roden & Desmond Richardson founders of Complexions Contemporary Ballet (Choreography), Andy Walmsley (Scenic Designer), Christine Darch (Costume Design), Davidè Torchio (Hair) Prema Mehta (Lighting Design), Chris Whybrow (Sound Design), and Jill Green Casting (Jill Green & Associates Olivia Laydon and Tom Shiels). 

A multi-genre musical with a dominant rock classical fusion.

Based on the life of one of the greatest composers of all time, Mozart: Her Story – The New Musical, shines a unique light on a classic story told through the eyes of Nan, Wolfgang’s rebellious sister, who attempts to break through the misogynistic confines of the era with her courage and prodigious genius.

The woman in the shadows, behind the man in the sun.

Wolfgang’s sister, Nan Mozart, is a brilliant composer who struggles to be seen and heard in the male-dominated 18th century Court. When the young virtuosa, who is arguably more talented than her brother, is silenced and banned from all artistic endeavours, she rebels. In this untold story of the greatest composer of all time, his insatiable sibling and conflicted father embark on a journey of love, hate, tragedy, and redemption.

A Contemporary Story
Taken From History
Inspired By True Events

Mozart: Her Story – The New Musical is produced by Tegan Summer Theatricals with General Management by Anthology Theatre Productions.

Cambridge Arts Theatre, Cambridge – until Saturday 26^th October 2024

Reviewed by Steph Lott

5*****

Lindsay Posner’s haunting new production of George Orwell’s ‘1984‘ at the Cambridge Arts Theatre proves that this dystopian masterpiece has lost none of its power to disturb and provoke. In fact, watching this adaptation in our current climate of surveillance technology and information manipulation makes it feel more relevant than ever.

From the opening moments, Justin Nardella’s ingenious set design creates an atmosphere of paranoid claustrophobia. The clever integration of video elements and pre-recorded footage serves to blur the lines between reality and manipulation – a central theme of Orwell’s work. Nardella’s costumes effectively establish the grim uniformity of Oceania while allowing enough individual character to remind us of the humanity being suppressed.

Keith Allen brings a chilling authority to O’Brien, making the character’s false warmth all the more unsettling when it gives way to cold brutality. His performance in the notorious Room 101 sequences is particularly powerful – so much so that several audience members felt compelled to leave during these scenes. Indeed, the production might have benefited from trigger warnings, given the visceral impact of these moments.

Mark Quarterly delivers a compelling portrayal of Winston Smith, capturing both the character’s furtive rebellion and his fundamental vulnerability. His journey from quiet defiance to complete psychological destruction is masterfully rendered. Eleanor Wyld’s Julia provides a perfect counterpoint as his lover and fellow rebel, bringing a vital energy to their forbidden romance that makes their eventual betrayal all the more devastating.

David Birrell deserves special mention for his portrayal of Parsons. His portrayal of the earnest and naïve Parsons highlights the tragedy of a man who has so thoroughly internalized the Party’s doctrine and yet is, like everyone else, ultimately betrayed and destroyed.

The production’s use of multimedia elements is particularly effective, creating a sense of constant surveillance and exposure, while also questioning the nature of historical truth – a theme that resonates strongly in our era of “fake news” and digital manipulation. The integration of camera work and projected footage serves both to disorientate the audience and to underscore the ways in which reality can be manufactured and controlled.

Posner’s direction maintains a relentless tension throughout, gradually tightening the screws until the audience feels almost as trapped as Winston himself. The claustrophobic dread builds incrementally, making the final scenes all the more impactful for their careful preparation.

While some might question the need for another adaptation of ‘1984‘, this production proves that Orwell’s vision remains disturbingly prescient. By emphasizing the human cost of totalitarianism through strong performances and innovative staging, it brings fresh urgency to this familiar warning about the fragility of truth and freedom.

This is not comfortable viewing – nor should it be. It’s a production that will leave you very uneasy, questioning not only the nature of truth and reality but also how easily both can be manipulated by those in power. In an age of increasing surveillance and information control, this timely revival serves as a powerful reminder of why Orwell’s cautionary tale continues to resonate.