Producer Runaway Entertainment (Disney’s Newsies, Girl From The North Country, 2:22 – A Ghost Story and 101 Dalmatians the Musical) is delighted to announce the world premiere production of A KNIGHT’S TALE THE MUSICAL, based on the Columbia Pictures film written and directed by Brian Helgeland which starred Heath Ledger and Paul Bettany. The musical will open at Manchester Opera House on 11 April 2025 for a strictly limited run until 10 May 2025. It is adapted for the stage by Irish comedy writer and actor Brona C Titley, directed by the award-winning Rachel Kavanaugh and choreographed by Olivier Award-winning Matt Cole.
A Knight’s Tale has it all. Expect a truly rockin’ soundtrack, packed with chart-topping hits! Join Will Thatcher and his band of merry misfits for a Knight like no other.
Casting to be announced.
The film A Knight’s Tale was released by Columbia Pictures in 2001 written, co-produced and directed by Oscar winner Brian Helgeland (L.A Confidential, Mystic River).The film is a stylish, music driven, action packed adventure starring Heath Ledger (The Dark Knight, The Patriot), with heroic performances from Paul Bettany (Iron Man, Wimbledon), Mark Addy (The Full Monty, Down to Earth) Rufus Sewell (Dangerous Beauty, Dark City). Ledger plays William Thatcher, a 14th century peasant squire who breaks all the rules when he passes himself off as a nobleman and takes the jousting world by storm. The only thing that stands between William and his dream of becoming the World Champion of the most extreme of sports is the bad boy of the sport Count Adhemar. And when the two rivals go lance to lance at the world finals, you’d better arm yourself and hang on tight for the ride of your life!
The hit film which mixed modern music with its medieval setting garnered a lot of positive attention and has been cited by some as paving the way for hits like Netflix’s “Bridgerton.”
Brian Helgeland said: “Over twenty years ago I had the time of my life surrounded by a supreme cast and crew making a film we all fell in love with while we were joyfully making it. Sitting at a recent read through of the stage version, fashioned by Rachel Kavanaugh and Brona C Titley, I could feel that same joy and love emerging. I am grateful for the new life they are creating and very eager to see it in all its fully staged glory.“
Brona C Titley said:“When I saw A Knight’s Tale the Movie in 2001, I knew it was an instant classic. Upon innumerable rewatches, I can confirm… it still is! Adapting it for the stage has been more fun than I ever thought possible to have at work. This show is a sexy, silly, jousty, dancey, romance-y, musical extravaganza! It’s been one of the most fulfilling jobs of my career so far, and that was even before I met the incredible director, and team of legends that are working together to make it an unforgettable night out. I hope audiences love it as much as I do – do not miss this joyous, dizzy ride people!”
Rachel Kavanaugh said: “I am beyond excited to be directing Brona’s brilliant and hilarious stage adaptation of Brian’s ground breaking film. With a score of well loved rock and pop bangers, jousting, dancing, adventure and romance I hope we can give the audience a knight to remember as we follow the journey of a thatcher’s son and find out if he really can ‘change his stars’”.
A KNIGHT’S TALE THE MUSICAL is adapted by Brona C Titley, directed by Rachel Kavanaugh, and choreographed by Matt Cole with casting by Lucy Casson and children’s casting by Keston and Keston.
A KNIGHT’S TALE THE MUSICAL is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment and Isobel David, by arrangement with Sony Pictures and Brian Helgeland.
Website: AKnightsTaleMusical.com
Instagram:@aknightstalemusical
TikTok:@aknightstalemusical
Facebook: @aknightstalemusical
X: @ukknightstale
LISTINGS INFORMATION
A KNIGHT’S TALE THE MUSICAL
11 April – 10 May 2025
Manchester Opera House
3 Quay St,
Manchester
M3 3HP
Performances: Tuesdays – Saturdays at 7:30pm, Thursdays, Saturdays and Sundays at 2.30pm
N.B there will be no performances on 20, 21 April or 5 May
CASTING ANNOUNCED FOR NANCY’S CARROLL’S ADAPTATION
OF ARTHUR WING PINERO’S THE CABINET MINISTER
A MAJOR REVIVAL OFMEL BROOKS’
THE PRODUCERS – DIRECTED BY PATRICK MARBER –
COMING TO THE MENIER
With Stephen Schwartz’s The Baker’s Wife currently running at the theatre, the Menier Chocolate Factory today announces programming for its forthcoming season, including the cast for Arthur Wing Pinero’s The Cabinet Minister, adapted by Nancy Carroll, also starringas Lady Katherine Twombley and directed by Paul Foster, in his Menier debut. They are joined by, George Blagden as Valentine White, Joe Edgar as Brook Twombley, Pheobe Fildes as Fanny Lacklustre, Rosalind Forbes as Imogen Twombley, Dom Hodson as Keith (Lord Drumdurris), Dillie Keane as Lady Macphail, Nicholas Rowe as the Right Honourable Sir Julian Twombley, Laurence Ubong Williams as Mr Bernard Lacklustre and Mr Melting, Romaya Weaver as Lady Effie Vibart and Matthew Woodyatt as Sir Colin Macphail of Ballocheevin.
Also announced today, is a major new revival of Mel Brooks’ musical adaptation of The Producers – with music & lyrics by Brooks, and book by Brooks and Thomas Meehan, which will be staged at the Menier this Christmas by Tony Award-winning director Patrick Marber who returns to the venue. Based on the classic cult film of the same name, the original Broadway production won twelve Tony Awards, which to this day makes it still the all-time record holder for the most Tony Award’s ever given to a musical. It skewers Broadway traditions, taking no prisoners as it proudly proclaims itself an “equal opportunity offender!”
The laugh-out-loud production opens on 9 December, with previews from 26 November, and runs until 1 March 2025. To receive priority booking for the production, please join the Menier Chocolate Factory’s supporter’s scheme. Further information about on sale dates and casting will be announced shortly.
THE CABINET MINISTER
By Arthur Wing Pinero
Adapted by Nancy Carroll
Director: Paul Foster; Set & Costume Designer: Janet Bird; Sound Designer: George Dennis; Composer & Musical Supervisor: Sarah Travis;Movement: Joanna Goodwin
Sir Julian Twombley is in trouble: his wife and son have run up massive debts and his political reputation is in the balance. The House of Commons is far from a safe space for him and the newspapers are sniffing blood. Can he save face and hang on to his sanity?
Arthur Wing Pinero’s breathless farce is given a new life in Nancy Carroll’s adaptation. A crack cast tackles this sparkling story of marriage, blackmail and class where all bets are off!
Arthur Wing Pinero (1855 – 1934) was an English playwright and actor. His many plays include Trelawny of the “Wells”, The Magistrate, Dandy Dick, Sweet Lavendar, The Second Mrs Tanqueray, The Magistrate and The Notorious Mrs Ebbsmith.
Nancy Carroll adapts and plays Lady Katherine Twombley. This sees her returns to the Menier following her performance in Marjorie Prime. For theatre, her other credits include Rock ‘n’ Roll (Hampstead Theatre), Manor, The Magistrate, After the Dance – Oliver Award and Evening Standard Award for Best Actress, Man of Mode (National Theatre), Betrayal (Theatre Royal Bath), The Deep Blue Sea (Chichester Festival Theatre), The Moderate Soprano (Hampstead Theatre, Duke of York’s Theatre), Young Marx (Bridge Theatre), Woyzeck (The Old Vic), Closer, The Recruiting Officer (Donmar Warehouse), House of Games, King Lear (Almeida Theatre), A Midsummer Night’s Dream (Sheffield Theatres), Arcadia (Duke of York’s Theatre), Henry IV, Parts 1 & 2 (RSC), and Mammals (Bush Theatre). For television, her work includes Father Brown, Murder in Provence, Stephen, The Crown, Agatha Raisin, Queens of Mystery, Will, Prime Suspect 1973, The Suspicions of Mr Whicher and Call the Midwife; and for film, The Gathering Storm, Iris, An Ideal Husband and Magic Mike’s Last Dance.
George Blagden plays Valentine White. His theatre credits include Company (Gielgud Theatre), Tartuffe (Theatre Royal Haymarket), The Pitchfork Disney (Shoreditch Town Hall) and Platinum (Hampstead Theatre). His television credits include Versailles and Black Mirror: Hang The DJ; and for film, Les Misérables.
Joe Edgar plays Brook Twombley. His theatre credits include Just For One Day (Old Vic Theatre) and Hitchhiker (Teastain Theatre). His television credits include Midsomer Murders – “Claws Out” and The Crown.
Phoebe Fildes plays Miss Fanny Lacklustre. Her theatre credits include Assassins (Nottingham Playhouse and Watermill Theatre), The Mousetrap (St Martin’s Theatre), A Woman of No Importance (Vaudeville Theatre), A Little Night Music (Watermill Theatre), Peter Pan (National Theatre) and Once l (Phoenix Theatre).
Rosalind Ford plays Imogen Twombley. Her theatre credits In Clay (Upstairs at the Gatehoue), Once (UK tour), The Curious Case of Benjamin Button (Southwark Playhouse), Just So (Barn Theatre), These Trees Are Made of Blood (Arcola Theatre), The Drowsy Chaperone (Edinburgh Festival Fringe) and Mother Courage (Southwark Playhouse).
Dom Hodson plays Keith, Lord Drumdurris. His theatre credits include Bleak Expectations (Criterion Theatre and Watermill Theatre), Beautiful: The Carole King Musical (Aldwych Theatre), War Horse (Gillian Lynne Theatre), West Side Story (UK Tour) and Words and Music (Sadler’s Wells). Television credits include Life After Life; and for film, Matilda.
Dillie Keane plays Lady Macphail. Her theatre credits include A Little Night Music (Watermill Theatre), Dillie Keane Solo Tour (UK Tour), Cowardy Custard (Richmond Theatre), My Brilliant Divorce (UK tour) and The Importance of Being Earnest (Ireland tour). Television credits include Pie in the Sky and Grumpy Old Women; and for film, To Die For and Deadly Advice. She is also the co-writer, performer, composer and lyricist for comedy musical troupe Fascinating Aïda which is currently touring to celebrate its 40th year anniversary.
Known for playing Young Sherlock Holmes, Nicholas Rowe plays Right Hon Sir Julian Twombley. His theatre credits include Minority Report (Lyric Hammersmith Theatre), The Inquiry (Chichester Festival Theatre), Tammy Faye, Albion (Almeida Theatre) and Motown the Musical (US Tour). Television credits include The Outlaws, The Crown, Washington,The Killing Kind, The Importance of Being Oscar, The Fugitives, A Spy Among Friends, Da Vinci’s Demons, Riviera; and for film, Young Sherlock Holmes; Lock, StockandTwo Smoking Barrels and Nicholas Nickleby.
Laurence Ubong Williams plays Mr Bernard Lacklustre and Mr Melting. He returns to the Menier following his appearance in The Watsons. His other theatre credits include The Motive and theCue(National Theatre and Noel Coward Theatre), Word Play (Royal Court), The Welkin (National Theatre), The Deep Blue Sea (Chichester Festival Theatre), Jumpy (Theatre Clwyd) and A Winter’s Tale (Orange Tree Theatre). His television credits include The Chelsea Detective,Humans and Doctors.
Romaya Weaver is a recent graduate from Guildhall School of Music and Drama and makes her professional stage debut as Lady Effie Vibart.
Matthew Woodyatt plays Sir Colin Macphail of Ballocheevin. His theatre credits include A Song of Songs (Park Theatre), The Fair Maid of the West (RSC), Moving Stories (Sam Wanamaker Playhouse, Shakespeare’s Globe), Berlusconi (Southwark Playhouse), Piaf (Nottingham Playhouse and Leeds Playhouse), Moving Stories (Theatre Royal Haymarket), Fiddler on the Roof (Chichester Festival Theatre), One Man, Two Guvnors (UK tour). His television credits include Grandpa In My Pocket, The Passion – It Has Begun and Arrows of Desire; and for film, A Serial Killer’s Guide to Life and The Gospel of Us.
Paul Foster directs. For theatre, his work includes White Christmas, Talent, Annie Get Your Gun (Sheffield Theatres), Fascinating Aida (UK tour), Gypsy (Alexandra Palace), Curtains (Wyndham’s Theatre and UK tour), The Deep Blue Sea (Chichester Festival Theatre), The Light Princess, Sweet Charity (Cadogan Hall), A Little Night Music, Laurel and Hardy (Watermill Theatre), Tell Me on a Sunday (Watermill Theatre and UK tour), Bette Midler and Me, Flora the Red Menace (Edinburgh Festival), The Confession Room (St James’ Theatre); Darling of the Day, Bells are Ringing, Crimes of the Heart (Union Theatre), Cowardy Custard (Yvonne Arnaud Theatre and UK tour), Little One (Royal Court Young Writers Festival), Katherine Jakeways (Soho Theatre) and The Vagina Monologues (UK tour).
LISTINGS INFORMATION
MENIER CHOCOLATE FACTORY
THE BAKER’S WIFE
Until 14 September
THE CABINET MINISTER
21 September – 16 November
THE PRODUCERS
26 November – 1 March 2025
Box Office: 020 7378 1713 (£2.50 transaction fee per booking)
The stage was set, it was somewhat reminiscent of the opening of ‘Everybody’s Talking about Jamie’ – Absolutely not what you would visually expect from a production of ‘Peter Pan’. It was intriguing.
Opening the show was Lucy Davis’ Wendy, A 13-year-old girl alone in her bedroom. Lucy’s energy was electric from the moment she began to sing. Such a fantastic voice and one I would’ve liked to have heard a little more throughout the show. The first real scene consisted of Wendy having a conversation with her mother Cassandra, played by Rosie Stancliffe. Stancliffe Plays a few characters in this production, however the role of Cassandra was my personal favourite of hers. Her on stage mother/daughter chemistry with Davis was spot on.
The next significant characters we are Introduced to is that of the three lost boys played by Rosie Stancliffe, Jordan Larkin and Meena Al-Nawrasy, respectively. Each bringing dynamically different characteristics to their roles. Each working together to complement one another. I would like to point out that Larkin’s portrayal of ‘Nibs’ was one of the stand outs in the show for me. Bravo! Delicately hilarious.
Rounding off the lost boys is that of Peter Pan, brought to life by the incredibly talented Lucas Bradley Benson. His entrance was perfect, he flew! I do however wish this was the first time that the flying mechanism was used. It was put to use earlier in the show, depicting Wendy travelling to Neverland, that was fun too – however, I just think the impact, the magic and the wow factor would have hit so much harder if the first character we saw fly was indeed Peter Pan. Benson captured the essence of the traditional Pan wonderfully. I could see him play Peter in any version or vision of this beloved story. Perfect casting!
Finally we meet Captain Hook, but like you’ve never seen him before. He’s done away with his pirate boat, sword and to my disappointment even his iconic hook hand – in this version, he’s more along the lines of a dodgy cowboy biker! Kieron Michael was the Hook we never knew we needed. Funny, witty, camp and enjoyable – after all who doesn’t enjoy a good villain! He had us in the palm of his hand – and we loved being there too.
The story had the same skeleton, it hit all the main plot points you’d expect to see in any production of Peter Pan, however, it is absolutely not what you would expect when thinking of “Peter Pan”.
The simply elaborate set was used to its fullest, creating different parts of Neverland by just changing and moving slightly. It was beautiful, the trees particularly were stunning.
The cast as an ensemble were excellent… The scenes I enjoyed the most were that which consisted of everyone being on stage at the same time. Again, the character dynamics were exceptional.
The character of Tinkerbell, honestly was nothing less than you’d expect in London’s West End. The projection and the way the characters held an imaginary little fairy in their hands had the children, and the grown-ups smiling with pure joy. I loved that.
If you’re looking for something with a great message, something that’s a little bit different, then I definitely think this reimagined version of the much loved family classic is the show for you. Peter Pan and Wendy at the Gala Durham – it’s an awfully big adventure!
Witchcraft and mystery meet 80s rock with British Youth Music Theatre’s ‘Unbound’
British Youth Musical Theatre present a brand-new musical exploring community and what it is to belong. The debut stage musical by Matthew Harvey, Unbound is set to an 80’s fueled pop-rock score and features big choruses, big hair and big magic.
BYMT present a brand-new musical exploring community and what it is to belong. The debut stage musical by Matthew Harvey, UNBOUND is set to an 80’s fueled pop-rock score and features big choruses, big hair and big magic. Through BYMT’s partnerships with local schools, the production includes two young people from Birmingham, as part of a cast brought together from across the UK.
Home-schooled Iris has finally convinced her mother to let her attend Black Lake High. Ready for an ‘ordinary’ life of friends, parties and school spirit, Iris’ world is turned upside down when she unknowingly frees an ancient witch and finds herself part of the coven. Will Iris’ newfound powers help her win over her new classmates, or spell disaster for the town of Beggars Hollow?
Writer/composer Matthew Harvey was a finalist in the 2021 Stiles and Drew Best New Song Prize for The Road from his musical Now or Never (a song cycle created during the pandemic inspired by theatre’s resilience during lockdown), a recipient of the MGCfutures Bursary, and Associate Artist at The Barn Theatre. He is joined by Director Sarah Schostack (Spin, Edinburgh Fringe/Arcola) and Choreographer Steven Moore (Urinetown the Musical, Lost Nation Theater).
Matthew Harvey, writer/composer: “I couldn’t be more excited to be working with BYMT to bring Unbound to life this summer. As a composer, seeing BYMT lead the charge to develop and nurture new musical theatre fills me with hope for the future.
Unbound is what happens when you combine Stranger Things, Stephen King, Hocus Pocus and an 80’s rock band. I hope audiences will enjoy watching the show as much as I’ve enjoyed writing it. With the help of our nearly 40-strong cast of talented young people and live rock band, I hope we can bring some magic, both literal and figurative, to the stage in Birmingham.”
Written and composed by Matthew Harvey, directed by Sarah Schostack and choreography by Steven Moore, Unbound will be in Birmingham Hippodrome’s Patrick Studio from 16 to 18 August.
BELOVED CHILDREN’S TV PRESENTER MAKES HER WEST END DEBUT WITH A FESTIVE LIVE SCIENCE SHOW FOR THE ENTIRE FAMILY
APOLLO THEATRE, SHAFTESBURY AVENUE
FRIDAY 6 DECEMBER 24 – SATURDAY 4 JANUARY 25
Following the success of her hit book A Very Curious Christmas, beloved children’s TV presenter Maddie Moate (CBeebies ‘Maddie’s Do You Know?) will make her West End debut with her brand-new festive show, MADDIE MOATE’S VERY CURIOUS CHRISTMAS, playing at the Apollo Theatre from Friday 6 December to Saturday 4 January, with a press performance on Sunday 8 December at 3.30pm. Tickets are on sale now here.
This seasonal adventure dives into the science of winter, uncovers the mysteries behind our festive traditions, and answers some of your most curious Christmas questions. Where does snow come from?How do crackers go BANG?And why do Brussels sprouts make you fart?!
Packed with interactive fun and brimming with festive cheer, Maddie’s live science show promises to be an unforgettable and informative holiday treat for the whole family.
Maddie Moate is a BAFTA-winning children’s TV presenter and YouTube filmmaker renowned for her passion for science, wildlife, and travel. She hosted the BAFTA-nominated CBeebies TV series Maddie’s Do You Know?, CBBC’s Show Me the Honey, Springwatch’s Wildlife Academy on BBC iPlayer, and Magnolia Network’s Make Yourself At Home on Discovery Plus.
Maddie is one of the few presenters in the world making fun, educational YouTube videos for kids and families. She has spent the past decade producing curiosity-fuelled science content for her YouTube channel which was awarded “Best Kids Channel” by Kidscreen in 2022 and has amassed more than 80 million views. In addition to her own channel, Maddie has fronted online video series for BBC Earth, English Heritage, Fully Charged, and LEGO.
Beyond digital content and television, Maddie brings science to the stage, writing, producing, and hosting shows for her audiences. In the summer 2021, she debuted her show, The Wonder Games, during a London residency at The London Wonderground, and later took it to the Edinburgh Fringe Festival’s Underbelly stage in 2022. In 2023, Maddie performed at Shakespeare’s Globe in a CBeebies adaptation of Twelfth Night. She has also been a regular in the popular CBeebies Christmas Show since 2017, and is set to perform at the Royal Albert Hall for the CBeebies Prom for the third time in 2024.
Maddie is also an accomplished author. In 2021, she published her first nonfiction children’s book, Stuff: Eco Stories of Everyday Things, with Puffin Books. Her second book with Puffin, A Very Curious Christmas, hit the shelves in hardback in autumn 2023, and will be available in paperback from 3 October 2024.
Additionally, Maddie is a patron of the Youth STEM Awards (YSA) scheme and an ambassador for The Wildlife Trust and Eureka: The National Children’s Museum. Her work continues to inspire curiosity and a love for science in children and families worldwide.
Maddie Moate said, “I can’t wait to bring my live, festive-flavoured science show to the Apollo Theatre this Christmas! I’ll be exploring the history of our favourite traditions, asking some of the more unusual Yuletide questions, and carrying out a bunch of fun and fascinating experiments as we explore the real-life science behind the Christmas period!”
The Lyric Theatre, London – until 8th September 2024
Reviewed by Ava Clarkson
5*****
A Sunday morning outing at 10am to sit in a theatre full of 3-9 year olds is not my normal weekend day out, but off to the Lyric Theatre on Shaftesbury Avenue I went to review The Gruffalo live on stage. As a mum of grown up boys, neither wanted to accompany me, so me and a friend ventured out. As a mum I have watched and loved The Gruffalo cartoon and read the book to sleepy children many times. The nostalgia of these memories made me want to review this play. The Gruffalo was published in 1999 by one of the best loved children’s authors Julia Donaldson. Julia has written some of the most loved children’s books since then and held the high accolade of children’s poet laureate from 2011-2013.
The Lyric Theatre is perfectly placed in the heart of the West End and is the oldest surviving theatre on Shaftesbury Avenue. It was originally built as an Opera house and this shows inside as the acoustics were amazing – even over a packed audience of children shouting at the characters, you could easily hear the performers.
The production of The Gruffalo is by Tall Stories, a registered charity touring the UK and bringing classic stories combined with music and laughter to all. The charity was founded in 1997 by Olivia Jacobs and Toby Mitchell and vows to bring theatre to all with accessible relaxed performances and removing barriers which might normally prevent families coming along. They also offer free community tickets for all children to enjoy the magic of theatre.
The stage is set and looks exactly like I remember in the book – the deep dark wood has been recreated and as the lights go down the children’s anticipation (and mine) ramps up. The Gruffalo is about a clever mouse who tricks his predators using his brains by telling them about his scary (but made-up) friend The Gruffalo. He avoids being eaten by explaining the gruffalos favourite meals are roasted fox, boiled owl and scrambled snake, and in turn he becomes the scariest animal in the woods.
During the whole show we see just three performers. The star of the story, the little brown mouse, was played by Elouise Warboys, a petite and energetic performer who fitted the role perfectly. She bounced around the stage and perfectly portrayed “Mouse” in all his glory – the scared mouse we see at the start of the story through his journey to become brave and overcome his enemies. Kemi Clarke played the three enemies of Mouse – Fox, Owl and Snake. Each character had its own personality and Kemi morphed into each one beautifully. For me he was the star of this show – the songs each of his characters brought to the audience were engaging and funny and catchy in equal measures. As Fox he bought smugness to the stage, with a madness style song, strutting around with confidence. As Kemi became “Owl”, the vibe became 1920’s flapper style with a very catchy song “Flap a dapper ding dong day” which everyone joined in with. The best was yet to come, as Kemi morphed into “Snake” in a gold lame jumpsuit, the disco ball came out and the audience was treated to a 1970’s style show, lights flashed, the audience clapped and Snake encouraged us to “be more snake” whilst breakdancing on the stage. I certainly don’t remember this part of the book…. But everyone loved it!
The 3rd member of the production, David Scotland, had been narrating in the background, but it was clear he was starting to become The Gruffalo in front of our eyes. As the gruffalo finally emerges from the shadows, you can see that David is perfect for this part. He is very tall and has a commanding gruff scottish accent, but also has a soft and playful side which he brings to the character. The audience finally have the gruffalo on stage and sing along to “It’s just what Gruffalo’s do”. The children are encouraged to growl and clap and most of the parents help out enthusiastically too.
As the story comes to a close you can see that the audience is thoroughly engaged, clapping, singing and enjoying the show. The show goes on for just 1 hour which is the perfect time to hold the children’s attention. A standing ovation is given to these amazing performers who brought the book to life on stage. I encourage children to take their adults along, or like me grab a friend and enjoy the nostalgia and warmth of this lovely timeless story.
Michael Harrison and the Really Useful Group are delighted to announce a new Kids Go Free promotion for The Wizard of Oz this summer. The beloved musical, based on the iconic story by L. Frank Baum begins a strictly limited four-week summer season at the Gillian Lynne Theatre on Thursday 15 August following a record-breaking UK and Ireland tour. Those planning to go over the rainbow can take advantage of this offer either in person at the box office, or online via this BOOKING LINK.
The promotion includes one free child ticket per full price adult. The offer will appear as two tickets at 50% off each and excludes Sat 17th Aug Mat, Tues 20th Aug Mat, Weds 21st Aug Mat, Fri 23rd Mat & Fri 30th Aug Mat. Subject to availability.
Featuring the iconic original score from the Oscar-winning MGM film (which celebrates its 85th year in 2024), with much-loved songs including Over The Rainbow,Follow The Yellow Brick Road and We’re Off To See the Wizard – with additional songs from Andrew Lloyd Webber and Tim Rice – this spectacular production is a magical experience for all the family.
The Wizard of Oz’s London run stars JLS sensation Aston Merrygold* as The Tin Man and RuPaul’s Drag Race UK winner and Dancing On Ice star The Vivienne as The Wicked Witch of the West, alongside principal company members also currently starring in the UK and Ireland touring production: Allan Stewart(Stones in His Pockets, West End, UK Tour, Toronto; STV Hello, Good Evening, Welcome) and Alex Bourne (Annie, West End, UK Tour, Toronto; Hairspray, UK Tour) as The Wizard,Aviva Tulley (Book of Mormon, UK Tour) as Dorothy, Benjamin Yates (ITV’s Emmerdale; Jersey Boys, West End) as The Scarecrow, Nic Greenshields (Love Never Dies West End; Les Misérables West End, International Tour) as The Cowardly Lion, Emily Bull (9 to 5, UK Tour; Matilda UK Tour) as Glinda The Good Witch and Abigail Matthews as Toto (Bleak Expectations, West End; War Horse, West End).* FemiAkinfolarin (Treason, UK Tour; Moulin Rouge! The Musical, West End) will appear as The Tin Man at certain dates.
The company is completed by: David Burrows, Adam Craig, Cole Dunn, Tyler Ephraim, Olivia Kate Holding, Thomas Kalek, Sadie Levett, Kelsie-Rae Marshall, Martin McCarthy, Rose Ouellette, Fanja Parent, Alexandra Regan, Nathan Routledge, and Sydney Spencer.
The Wizard of Oz on tour is presented by Michael Harrison, Gavin Kalin Productions, David Mirvish, Crossroads Live, Rupert Gavin and Mallory Factor, Jake Hine, and Playing Field, by arrangement with the Really Useful Group Ltd. Originally produced at Curve.
Music by Harold Arlen Lyrics by E.Y. Harburg Additional Music by Andrew Lloyd Webber Additional Lyrics by Tim Rice Adaption by Andrew Lloyd Webber and Jeremy Sams Orchestrations by David Cullen Orchestrations adapted by George Dyer
From the book by L. Frank Baum
Based Upon the Classic Motion Picture owned by Warner Media, and produced with the permission of Warner Bros. Theatre Ventures and EMI Music Publishing
Director Nikolai Foster Choreographer Shay Barclay Set Designer Colin Richmond Projection Designer Douglas O’Connell Costume and Puppet Designer Rachael Canning Lighting Designer Ben Cracknell Sound Designer Adam Fisher
Creative Consultant Mark Kaufman
Musical Supervisor George Dyer
Casting by Debbie O’Brien Props Supervisor Marcus Hall Props Wigs, Hair, and Makeup Designer Elizabeth Marini
Having been a fan of SpongeBob SquarePants on tv and the film in my younger years, I was excited to hear they’d made a musical -I was even more excited when I heard the first chorus of this amazing cast singing as they knocked my socks off!
A very easy storyline-SpongeBob (Casper Horn) along with his best friends Sandy Cheeks (Ella Burgos) and Patrick Starr (Stanley Searl) must save the town of Bikini Bottom from a volcano, that if it erupts will wipe out the whole town! With determination, grit and a lot of effort this wonderful trio manage to save the town and become Heroes! I was absolutely astounded at the sheer talent this cast had, but Casper Horn as our eponymous hero knocked it out of the park. He was the perfect embodiment of SpongeBob – his vocals, mannerisms and reactions were spot on at every turn. There was one moment during ‘Just a Simple Sponge’ that Horn actually made me recoil in sheer joy at how impressive he was. Burgos and Searl were also perfectly cast in their roles as Sandy and Patrick, giving gravitas and vocals that one can only dream of! I was enthralled at every moment during the show because of these three, but also the ensemble were brilliant. They were completely focussed, giving a professional performance. One member of this ensemble caught my eye each time he was on stage with his brilliant dancing and energy, bringing the extra edge to the production-a massive well done to Bobby Watkins for this. Costumes were provided by D and S Costumes, which solidified the image being created on stage.
Overall, this is the perfect production directed by Paul Clements and one that every member of the company should be proud of. I was so taken aback by this amazing cast and cannot wait to see how these young people will start to storm the West End in years to come. I’m just disappointed it doesn’t have a longer run, so that more people can enjoy these hard work and talent this cast has.
BARD IN THE BOTANICS FESTIVAL, GLASGOW– UNTIL 27 JULY2024
REVIEWED BY RACHEL FARRIER
5*****
I’ve seen a number of Shakespeare’s comedies given the Bard in the Botanics treatment in the last few years and they have all been a treat, so I am happy to say at the outset of my review that this production of The Merry Wives of Wishaw did not disappoint.
Having never seen The Merry Wives of Windsor before, I made sure to look up a plot summary online beforehand. The consensus of the internet seemed to be that The Merry Wives of Windsor is very far from Shakespeare’s finest play, and Gordon Barr (who adapted and directed this production) says as much in his programme notes. So perhaps transplanting it to a current day Scottish central belt suburban context was a stroke of genius, because the central conceit of the play – in Barr’s own words a ‘feminist farce’ using disguise and pretended seduction to bring down a pompous and conniving womanizer – convinces and amuses as well as any of Shakespeare’s more famous comedies.
Alan Steele reprises his role as Falstaff, having appeared in the same role in Henry IV last summer (apparently, Elizabeth I so enjoyed the character in Henry IV that she compelled Shakespeare to bring him back in a different play), and this thread of continuity is another excellent trick for Bard in the Botanics regulars. Steele is magnificent in portraying the bombastic, sleazy fallibility of the man, and the scene in which he ends up in a pink wheelie bin will stay long in my memory – it was one of several moments where I was crying with laughter.
Isabelle Joss and Claire Macallister as Nell Page and Alice Ford (the ‘Merry Wives’) are an absolute treat, and Joss’s portrayal of a very recognisable (to a Scottish audience, at any rate) mammy feels like the comedy glue which holds the production together, in the best possible way. The wives’ increasingly hilarious schemes for outwitting Falstaff draw in all the other characters, and Kyle Gardiner as the salon-owning, money grabbing but spineless Abraham Slender is a delight.
Eimi Quinn and Johnny Panchaud shine as the genuine, love-struck couple Ned and Anne, and their sweet (and funny) romance tempers the cynical and world weary take on love and relationships of the older characters.
As a side note, the whole cast should also be commended for battling through the cacophany of a police helicopter and sirens at a nearby incident during the first half – unexpected outside events are always a risk for an outdoor production but the show went on without a hitch.
The musical finale of this production is the unexpected cherry on the cake of an absolutely brilliant night, and the standing ovation from the audience was absolutely justified. If I can get along to see it again in the coming week, I will.
Another star studded night in Malvern, this time in the company of the almost legendary Tony Blackburn and a lorra lorra music from the 60’s (arguably the best decade).
The evening began with the obviously well drilled and musically accomplished Sounds of the 60’s All-Star Band and singers Tor and Ian giving us a taster of what the evening held in store, via a medley including Runaway, Let’s Twist Again and Only The Lonely and the crowd went (gently) wild. And that was all before the great man himself came on!
After a brief introduction and a wonderfully cheesy joke or two – more on that later – we were off again with another medley from the early 60’s which heavily featured Cliff. You can forget how powerful songs like Move It were back in the day – Britain’s first, genuine Rock ‘n’ Roll record still has it.
Apart from more endless cheesy jokes (have I mentioned those?) there’s plenty of anecdotes about Tony’s career including his time on Radio Caroline and Radio 1 and, as you’d expect from someone who is approaching 60 years of professional broadcasting, he knows how to spin an interesting yarn.
Both singers were fabulous and whilst not quite scaling the heights or visceral power of Tom or Tina (then again, who does?) they nevertheless gave it plenty, hit all the right notes and knew how to please, please me (sorry, the crowd).
A flower power section gave the audience members in full Sgt Pepper gear (plus wigs) a moment in the spotlight and for Tony to indulge in some playful ribbing. All good naturedly – he takes the mickey out of himself more than anyone else, especially his own musical achievements (he’s released 29 singles y’know!).
Motown featured heavily and it’s obvious it’s one of Tony’s loves. There were also anecdotes about his shmoozing with pop royalty such as Gene Pitney and Frank (yes Frank) Sinatra! Really, just an excuse to have another medley of hits – and why not? Everyone loved it
It’s strange being feet away from someone who’s been in your living room for decades. Like having a friend over. The love flowed between stage and stalls and back again all evening. He may disparage them but I loved his jokes – my favourites being the ones about buying fruit and undersized jumpers (no punchline spoilers there).
Inevitably, plenty of your favourite songs will be left out. Personally, I’d have liked more Beatles, some Rolling Stones and even Black Sabbath to show the breadth of what the 60’s gave. As it was, there was The Kinks You Really Got Me – a song that is as shockingly visceral now as it was way back then.
So, an evening that was as much a celebration of the man, broadcasting generally and popstar name dropping as it was Tony. A pleasurable couple of hours in the company of some new friends, having fun. Nothing controversial, nothing upsetting, just good clean entertainment. How fitting and how wonderful in this day and age when the news is often so gloomy and TV has forgotten what “light” entertainment means. Well done that man, see you next time around.
