Category: Uncategorized

FULL CAST ANNOUNCED FOR

THE WITCHES OF EASTWICK IN CONCERT

AT SONDHEIM THEATRE

FOR ONE NIGHT ONLY

ON MONDAY 20 JUNE 2022

Producer Jack Maple, by arrangement with Cameron Mackintosh Ltd, is delighted to announce the full cast joining West End stars Carrie Hope Fletcher and Laura Pitt-Pulford in a special one-off concert of THE WITCHES OF EASTWICK at the Sondheim Theatre on Monday 20 June 2022, directed by Olivier Award-winning Maria Friedman.

Due to the indisposition of Giles Terera and Danielle Steers, the roles of Darryl Van Horne and Alexandra Spofford will now be played by John Partridge and Natasha J Barnes respectively.

John Partridge’s credits include Emcee in UK Tour of Cabaret, Buddy in The View Upstairs in London, Albin in UK Tour of La Cage aux Folles, Billy Flynn in UK Tour of Chicago, Zach in A Chorus Line at London Palladium. He is well known for his extensive TV work, including the long-running and much-loved role of Christian Clarke in EastEnders (BBC), winning Celebrity MasterChef (BBC), participating in BBC1’s gymnastics show Tumble and being a judge on Over the Rainbow (BBC).

Natasha J Barnes is best known for playing the role of Fanny Brice in the 2016 production of Funny Girl at the Menier Chocolate Factory and Savoy Theatre. Her other theatre credits include Spring Awakening (Novello Theatre), Falsettos (The Other Palace), Wasted (Southwark Playhouse) and American Idiot (Arts Theatre). Natasha released her debut album ‘Real’ in 2018.

Claire Moore (The Girls, Miss Saigon, Les Misérables) will play Felicia Gabriel, Nathan Amzi (In the Heights, Heathers, Jesus Christ Superstar) will play Clyde Gabriel, Alfie Friedman (The Undeclared War on Channel 4, Maria Friedman and Friends – Legacy) will play Michael Spofford and Chrissie Bhima (2022 Arts Ed graduate currently performing in Lift at Southwark Playhouse) will play Jennifer Gabriel.

Maria Friedman said “I am absolutely thrilled that John Partridge is bringing his luminous charm, charisma and talent to the role of Darryl Van Horne and that the fantastic Natasha J Barnes joins us as Alexandra.  Together with our full company, this will be a devilish treat for our audience, and I am so looking forward to making this spellbinding concert with them.” 

The ensemble will include Lydia Bannister, Isabel Canning, Aoife Dunn, Christopher Howell, Emma Knudsen, Martin McCarthy, Benjamin Mundy, Emily Ooi, Joshua Robinson, Rachel Spurrell and Rafe Watts. They will be accompanied by The Guildford School of Acting (GSA) Choir.

THE WITCHES OF EASTWICK has a book and lyrics by John Dempsey and music by Dana P. Rowe, based on the novel by John Updike and the Warner Brothers motion picture. This will be the first time the musical has been seen in London since it originally played at the Theatre Royal Drury Lane in 2000, transferring to the Prince of Wales Theatre in 2001.

The Witches of Eastwick tells the tale of the people of the little town of Eastwick. It is a town where everyone knows everything about everyone else, and it is presided over by the indomitable Felicia Gabriel. Bored with their small town lives, three women – Alexandra (Alex), Sukie, and Jane–share a desire for “all manner of man in one man” to provide excitement and variety. That man arrives, literally in a flash, in the devil-like form of Darryl Van Horne. Darryl seduces the women and teaches them powers, which they never knew they had. 

THE WITCHES OF EASTWICK has musical staging by Chrissie Cartwright, musical direction by Isaac McCullough, costume design by Jonathan Lipman, lighting design by Simon Sherriff, sound design by Adam Fisher, associate direction by Jack McCann and associate musical direction by Mike Steel.                

Website: www.sondheimtheatre.co.uk

Twitter: @jackmapleprods @DMTWestEnd

LISTINGS INFORMATION

Monday 20 June, 7pm

Sondheim Theatre

51 Shaftesbury Avenue

London

W1D 6BA

Tickets: from £35

Box office: 0344 482 5151*

*Calls to Delfont Mackintosh Theatres: 03 numbers cost no more than a national rate call to an 01 or 02 number

THE AWARD-WINNING INTERNATIONAL

SMASH HIT MUSICAL 

THE BODYGUARD

TO TOUR THE UK AND IRELAND

OPENING AT GLASGOW KING’S THEATRE
ON SATURDAY 28 JANUARY 2023

Producers, Michael Harrison and David Ian are delighted to announce that the award-winning international smash hit musical THE BODYGUARD will tour the UK and Ireland opening at Glasgow King’s Theatre on Saturday 28 January 2023. Tour schedule attached with casting to be announced soon. www.thebodyguardmusical.com

Former Secret Service agent turned bodyguard, Frank Farmer, is hired to protect superstar Rachel Marron from an unknown stalker. Each expects to be in charge; what they don’t expect is to fall in love. A romantic thriller, THE BODYGUARD features a host of irresistible classics including Queen of the Night, So Emotional, One Moment in Time, Saving All My Love, Run to You, I Have Nothing, I Wanna Dance with Somebody and one of the biggest hit songs of all time – I Will Always Love You.

Based on Lawrence Kasdan’s 1992 Oscar nominated Warner Bros. movie starring Whitney Houston and Kevin Costner, THE BODYGUARD, directed by Thea Sharrock with book by Oscar winning Alex Dinelaris, had its world premiere at the Adelphi Theatre in London’s West End and was nominated for four Olivier Awards. A sell out 18 month UK and Ireland tour followed, before the show returned to the West End at the Dominion Theatre ahead of a second sell out tour of the UK and Ireland in 2018/19.  To date, THE BODYGUARD has played to over 3.6 million people in 15 countries and 45 US cities. Countries include the Netherlands, Germany, South Korea, Canada, Italy, Australia, Spain, France, the US, Austria and Japan.

York Theatre Royal – Friday 10th June 2022

Reviewed by Michelle Richardson

4****

It was great to see the small studio theatre packed out on a Friday night to see Potatohead, the creation of Freddie Hayes. This is her debut solo show, directed by Sh!t Theatre, featuring puppetry, stand-up comedy, physical theatre, film, singing, dancing and plenty of potatoes, and even more potato puns.

Hayes, dressed as a potato, welcomed us all into the studio, hugging some, chatting to others, proving a very personal touch. Potatohead, tells the story of Charlotte who has big dreams, she wants to have a face, instead of a skin with 12 eyes, and go from being a couch potato, to being a golden wonder, and being a star on television.

What follows is a take on Doctor Faustus, apparently this was written in the same year, 1592, that potatoes were first introduced into Europe, and the 7 Deadly Sins, with potatoes thrown in. With chips on her shoulder, Charlotte must decide against good or evil. With the servant of the devil, Maurice Piper, tipping the scales, evil wins out and she turns to the dark side, and must suffer the consequences.

It always amazes me how artists ever come up with these so out of the left field ideas. Hayes is so obviously talented and creative, and delivers a superb show. She had us all laughing, singing along and rooting for Charlotte. The puppet show of the7 Deadly Sins, is truly inspired and hilarious. All the puppets are fashioned with potatoes, and we even have Elvis thrown into the equation. Absolutely brilliant!

This really is a bonkers, smashing show, but it has it all. It’s full of every single potato pun you can think of. It has a penalty shootout, Gary Lineker, puppets, Elvis, karaoke, audience participation and so much more. A whole lot packed into an hour show. It really is a silly, ridiculous show, but it is so good, just like a delicious crispy jacket potato filled with cheese and sour cream.

Potatohead has a few tour dates left before performing for the whole of August at Edinburgh Fringe. Make sure you get to see it.

Btw, don’t forget to take your potato along, and make sure you dress it up.

Yvonne Arnaud, Guildford – until 10 June 2022

Reviewed by Antonia Hebbert

3***

Playwrights Sabrina Mahfouz and Hollie McNish have an awful lot they want to say. The set gives you a clue to the play’s range – it has modern changing-room shelving set against a background of faded patchwork quilts with Suffragette colours and slogans. Women’s football today and in the past is the basic framework, but mental health, intrusive journalism, racism, coming out, parenting, women getting lumbered with housework, and women winning the right to go to university all jostle for a look-in.

Two young players, Mickey and Keeley, have been picked for training camp with the England women’s squad. When asked who their heroes are, they name Emma Clarke and Lily Parr. Who they? It turns out that Clarke was Britain’s first known black female footballer, playing in the 1890s, and Lily Parr was a top scorer in the 1920s to 1950s. You might not believe that modern players would really name such historic players, but it makes a handy hook for the play, which intersperses scenes from Emma’s and Lily’s lives with those of Keeley and Mickey. Parallels are drawn between the harassment and obstacles that players faced in the past, with the public scrutiny that they face today. Mickey is hiding her romance with another player in the team, and Keeley is trying to protect her mentally fragile mother.

Elizabeth Hope and Charlotte Gosling put in powerful, compelling performances as Keeley/Lily and Mickey/Emma respectively. They do an awful lot of scene-setting and explanation as well as playing their characters, and then have to give us the sense of being in a fast moving football match at a crucial moment. Amy Revelle fills in all the other parts, competently multi-tasking as coach, commentator, referee and various sleazy journalists.

There are some fascinating stories here, for example about the aggression towards early players, the FA’s crushing of the women’s game, and journalists’ obsession with looks rather than skills. You can see why Mahfouz and McNish want to tell them, but the play feels very much a crowded vehicle, rather than a convincing whole. The plotline about Keeley’s mother is presumably meant to be important, but is dealt with so hastily that it doesn’t have much impact. And the fake-foul incident at the end made no sense to me in footballing or dramatic terms.

It’s still an engaging play, with impressive acting. Maybe the teenage girls in the audience felt inspired and empowered, rather than preached at. And it was great to be nudged to look up pioneering women footballers, whose stories are extraordinary. Interestingly, Lily Parr has a National Football Museum Hall of Fame profile, but Emma Clarke doesn’t, although other sites do her justice. Parr had a longer career, but Clarke surely deserves recognition for playing at all in the bonkers social setting of the 1890s. High-heeled boots and bonnets for football, anyone?

CASTING ANNOUNCED FOR THE WEST END RETURN OF JOSHUA HARMON’S AWARD-WINNING COMEDY

BAD JEWS

ARTS THEATRE FOR STRICTLY LIMITED 11 WEEK RUN FROM 14 JULY

A talented young company will make their West End debuts in Joshua Harmon’s comedy Bad Jews which returns to the Arts Theatre in London for 11 weeks from Thursday 14 July. They include Charlie Beaven as Jonah, Olivia Le Anderson as Melody, Ashley Margolis as Liam and Rosie Yadid as Daphne, with Danny Becker and Ellie Sager.

Tickets are now available through badjews.co.uk

Daphna Feygenbaum is a “real Jew” with an Israeli boyfriend to prove it. When her cousin Liam brings home his non-Jewish girlfriend Melody, and declares ownership of their grandfather’s necklace, it sparks a viciously hilarious brawl over family, faith and legacy.

Having premiered in New York in 2012, Bad Jews transferred to the UK where it toured nationally before celebratingtwo record-breaking, sold-out engagements in London’s West End. The original production of Bad Jews was described the play as a “blisteringly funny” (Sunday Times) and “ferociously clever” (Evening Standard) comedy about family, legacy and what you choose to believe in.

Drama Desk and Outer Critics Circle Award-winning playwright Joshua Harmon’s other stage credits include Significant Other, Admissions, Skintight, and Ivanka: A Medea For Right Now.

The original production was directed by Michael Longhurst, designed by Richard Kent, lighting design by Richard Howell and sound design by Adrienne Quartly. This revival of that production will be directed by Jon Pashley.

Bad Jews is presented by Simon Friend, Gavin Kalin and Keren Misgav.

JOEL HARPER-JACKSON,
FRANCES MAYLI McCANN AND AKO MITCHELL
JOIN THE CAST OF

AND AN ADDITIONAL DATE HAS BEEN ADDED TO THE PREVIOUSLY SOLD-OUT CONCERT PERFORMANCE

AT THE ICONIC THEATRE ROYAL DRURY LANE NOW PLAYING ON
1 & 2 AUGUST 2022

WITH FURTHER CASTING ALSO ANNOUNCED

After selling out its previously announced performance in just 7 days, the hotly anticipated Chess the Musical in Concert will add an additional date to its chequerboard, on Tuesday 2 August, alongside the announcement of the further casting of Joel Harper-Jackson as Freddie (Cock, Kinky Boots), Frances Mayli McCann (Bonnie and Clyde, Our Ladies of Perpetual Succour) as Svetlana and Ako Mitchell (Caroline Or Change, The Colour Purple) as The Arbiter.

Chess, with music by ABBA legends Benny Andersson and Björn Ulvaeus, and lyrics by the incomparable Sir Tim Rice, returns to the West End for the first time since 2018, as part of three star-led musical concerts. They will be accompanied by the London Musical Theatre Orchestra and will be presented at the Theatre Royal Drury Lane this August.

Previously announced casting included Samantha Barks (Frozen, Les Misérables) as Florence and Hadley Fraser (2:22 A Ghost Story, City of Angels) as Anatoly.

The ensemble will be made up of Joseph Craig, Darius J James, Aoife Kenny, Jessica Lee, Nick Len, Natasha May-Thomas, Alice Readie, Stuart Rouse, Phoebe Samuel-Gray, Grant Thresh and Libby Watts, with more to be announced.

Chess’s creative team are as follows — Director and Choreographer: Nick Winston, Associate Director and Choreographer: Alexzandra Sarmiento, Musical Director: Freddie Tapner, Designer: Ruth Sutcliffe, Lighting Designer: Ben Cracknell, Sound Designer: Tom Marshall, Video Projection Designer: Duncan McLean, Casting: Harry Blumenau and Lighting Programmer: Chris Winn.

Chess the Musical in Concert is part of three concerts presented in August at Theatre Royal Drury Lane. It precedes concert stagings of Kinky Boots the Musical in Concert on 8 August and Treason the Musical in Concert on 22 and 23 August.

ROYAL SHAKESPEARE COMPANY ANNOUNCES SOCIALLY-DISTANCED SEATING AT SELECTED PERFORMANCES IN 2022

• Socially-distanced seating available for performances of Richard III on Wed 27 July at 7:15pm, All’s Well That Ends Well on Wed 21 September at 7:15pm and A Christmas Carol on Tuesday 22 November at 7:15pm in the Royal Shakespeare Theatre.

The Royal Shakespeare Company has today announced socially-distanced seating for its upcoming productions of Richard III, All’s Well That Ends Well and A Christmas Carol running in the Royal Shakespeare Theatre in Stratford-upon-Avon in 2022.

The news arrives ahead of the opening of the Company’s new production of Richard III, directed by Gregory Doran and featuring Arthur Hughes in the title role; the first disabled actor to take up the role in the RSC’s history.

Catherine Mallyon, RSC Executive Director said; “For some audience members, particularly those with underlying health conditions and those who may consider themselves vulnerable, we understand that attending a theatre performance may feel difficult. To address these concerns, we will provide socially-distanced seating at selected performances in the Royal Shakespeare Theatre throughout 2022. We hope that this offer – alongside our regular programme of Assisted performances, – including our hugely popular Relaxed Performances of Matilda The Musical at the Cambridge Theatre – will mean that those who might otherwise feel unable to attend live theatre have the opportunity to do so confidently.”

The venue will operate at a reduced capacity, with a proportion of auditorium seats held off for social-distancing throughout. Audiences who opt for socially-distanced seats will be positioned with an empty row in front of and behind them and with one empty seat between parties. Audiences sat in the socially-distanced seating will be asked to wear a face covering, unless exempt. Adjoining bars and toilets will be socially-distanced and reserved exclusively for those who have requested a socially-distanced seat or seats. To ensure socially-distanced access, these facilities will only open when the auditorium opens.

The decision follows the success of the RSC’s previous socially-distanced stagings of The Comedy of Errors and The Magician’s Elephant in 2021 and Much Ado About Nothing in the Spring of 2022, which were developed in line with the Seven Inclusive Principles produced by #WeShallNotBeRemoved and its partners. The principles have shaped the cultural sector’s pandemic recovery through the lens of disability and relevant equality legislation.

Andrew Miller, RSC Trustee, Cultural Consultant and Broadcaster, added “Covid remains a risk to many disabled and clinically vulnerable people and presents an ongoing barrier to engagement with theatre and other life enhancing events. The RSC’s previous socially-distanced performances provided me with an important bridge from total shielding to becoming comfortable in a full auditorium once again. Whilst many cultural organisations have returned to business-as-usual without mitigations, I warmly welcome the RSC’s commitment to providing much needed access for people to enjoy live theatre in an actively managed environment, and in so doing offering leadership to the wider sector.”

Tickets for all performances with socially-distanced seating are available to book via the RSC Box Office on 01789 331111 from midday to 6pm, Monday to Friday.

Tickets for all three productions, including TikTok £10 Tickets for 14-25s, can be booked at www.rsc.org.uk

Matilda The Musical Relaxed Performance

Also taking place this month and following the sold-out success of six previous relaxed performances, the RSC’s next Relaxed Performance of Matilda The Musical will take place at The Cambridge Theatre, London on Sunday 19 June at 3pm.

The relaxed performance provides a comfortable environment for everyone, with

elements of the production adapted to reduce anxiety and stress, including adjustments to lighting and sound levels to soften their impact. The ambience of the auditorium and theatre ‘rules’ will be relaxed, with everyone free to make noise and move around without restriction. Designated ‘chill-out’ areas outside the auditorium will provide soft seating and activities for those who need to take a break. The production will also be captioned and audio-described with an accompanying touch tour.

All theatre staff, crew and company members also receive specialist training to anticipate a wider range of different audience needs.

Tickets for the relaxed performance are at the reduced rate of £15.00, £25.00, £35.00 and £45.00, bookable online at http://uk.matildathemusical.com/tickets/accessibility/ or via telephone (020 3925 2998) with LW Theatres where trained staff are available to speak to bookers to ensure their specific needs are considered when allocating seats. TikTok £10 Tickets are available on the day of performance in person from 10am at the Cambridge Theatre Box Office.

All bookers will be sent a visual story to help familiarise themselves with the plot, characters and setting before arrival. Detailed event and transport information is available from http://uk.matildathemusical.com/tickets/accessibility/

A full list of RSC accessible performances are available at https://www.rsc.org.uk/your-visit/access/assisted-performances

THE OTHER PALACE

ANNOUNCES THE PREMIERE OF NEW BRITISH MUSICAL

MILLENNIALS

RUNNING FROM 8 JULY – 7 AUGUST 2022 IN THE STUDIO

It’s time to spill the tea, as continuing the Summer ’22 Studio Programme is the brand-new British musical, Millennials.Written and composed by Elliot Clay, this powerful and uplifting collection of songs runs the gamut of modern pop-music and sends musical theatre hurtling into the 21st Century.

Elliot Clay is an award-nominated composer, lyricist, and actor for musicals, plays and film. He wrote and starred in his debut musical ‘The State of Things’ (Jack Studio Theatre) and has performed on the West End and UK and International Tours including Million Dollar Quartet, Peter Pan, Oliver!, The Wizard of OZ.

Millennials turns up the microphone on the lives, the losses, and the frustrations of young people in the modern world.
A generation that is so often defined by tabloid headlines, tweets and, of course, avocados, has picked up the mic and transported us inside their extraordinarily ordinary lives.

Paul Taylor-Mills said, “I’m so proud to be presenting the world premiere of Millennials, a brand new British musical by first time writer Elliot Clay. The show started its life at MTFestUK and it is brilliant to see that the festival is providing the necessary platform to allow musicals to move into fully produced shows. This is one of four shows to be fully produced from the festival.

Millennials sets the tone for the type of work we want to create at The Other Palace and I’m excited to start creating this brand new musical with an incredible team.”

Elliot Clay said,“After four years of writing, I couldn’t be more thrilled that Millennials is having its premiere at The Other Palace Studio this summer. Some of my favourite musicals growing up were song cycles, so it’s been an exciting challenge putting my own twist on the form and exploring a generation of stories through this collection of pop songs.

The three singles we released during lockdown had a brilliant response online and I’m so happy that everyone will now be able to come and experience them live.

I feel very lucky to be making my professional debut as a writer and to be working with such a fantastic team bringing our show to life!”

Millennials is produced by The Other Palace, andhas book, music and lyrics by Elliot Clay, with direction by Hannah Benson. Orchestration by Auburn Jam and choreography by Tinovimbanashe Sibanda, with design and lighting design from Andrew Exeter.

LISTINGS

MILLENNIALS

THE OTHER PALACE 

8 JULY – 7 AUGUST 2022

GALA NIGHTS – Wednesday 13 and Thursday 14 July 2022
Music, Book, and Lyrics by Elliot Clay

Performance times:
Previews:                                Friday 8 July, 6:30pm and 9:00pm

                                     Saturday 9 July, 6:30pm and 9:00pm
                                     Sunday 10 July, 6:00pm
                                     Tuesday 12 July, 8:00pm

Gala Nights:                            Wednesday 13 July, 8.00pm

                                     Thursday 14 July, 8:00pm

From 15 July – 7 August:        Tuesdays – Thursdays, 8.00pm

Fridays and Saturdays, 6.30pm and 9.00pm
             Sundays, 6.00pm

Venue: The Other Palace

Address: 12 Palace Street, London, SW1E 5JA

Website: www.theotherpalace.co.uk

Your ticket to Millennials grants you entry to the Studio, which will be transformed into an immersive theatrical event. Doors open 30 minutes prior to show start. 

If you have any access requirements, including if you require a seat for the duration of the performance, please contact the box office prior to booking your ticket on 0207 592 0302 or email [email protected]. 

Each ticket includes 1 complimentary can of Vodka & Soda from our friends at &SODA. Soft drink alternatives will be provided.
The venue operates Challenge 25, so please ensure to bring your ID to redeem your complimentary &SODA drink.

Palace Theatre, Manchester – until Sunday 18th June 2022.

Review by Rebecca Hampson

4.5****

Delightful, Delicious, De-Lovely!

With a 50 strong diverse cast of incredible talent, this musical is not one to miss. Featuring Oliver Award winning talent in the form of Denis Lawson and Simon Callow, as well as Musical Theatre Royalty such as Kerry Ellis and Bonnie Langford, this energising performance of ‘Anything Goes’ offers spectacle and wonder in every musical number.

The standout performance of the night was seen in the impeccable number of ‘Anything Goes’ where director and choreographer Kathleen Marshall’s vision shone bright with exceptional timing and staging as well as a delectable lighting design by Hugh Vanstone.

Kerry Ellis as Reno is spectacular in “Friendship” alongside Denis Lawson as Moonface Martin. The chemistry between the two actors in role is mesmerising and offers a comedic element through their rivalry for the spotlight. I particularly enjoyed a moment where the two actors break the fourth wall mid-song address the audience watching allowing us to feel involved in the performance.

Samuel Edwards is fantastic as Billy Crocker, his vocals especially outstanding in the number “Easy to Love” alongside Hope Harcourt played by Nicole-Lily Baisden. This beautifully lit number shows chemistry and desire between the two characters who long to be with one another.

The audience and I enjoyed a comedic moment from Bonnie Langford as Evangeline Harcourt as her character meets Edwards as Billy in disguise. Billy tells her the ship is sinking and melodramatic moment provides a light-hearted beat as we see Harcourt drape pearls over her shoulder in a panic and allows us as an audience to fall more in love with Billy Crocker in his mission to win over Hope Harcourt played by Nicole-Lily Baisden.

Special mention must go to the behind-the-scenes creatives and especially Lighting Designer Hugh Vanstone for the spectacular use of colour and gobos which created the illusion of water placing the audience on board the ship amongst the actors. Notable mention must also go to Costumer Designer Jon Morrell for the exquisite take on 1930s fashion which is complemented with Set Design by Derek McLane

Amongst Theatre Royalty the star of the show in my eyes was Carly Mercedes Dyer as Erma who delighted the audience with her spectacular vocals in ‘Buddie, Beware’. Her charisma and talent radiated off the stage and the audience and I were enchanted by her.

Running in Manchester until June 18th this is one musical you do not want to miss!

Look Who Came To The Kit Kat Club Last Night…

Last night CABARET at the Kit Kat Club was thrilled to welcome the production’s original Emcee, Eddie Redmayne and Sally Bowles, Jessie Buckley who watched the show and met the current Emcee, Fra Fee and Sally Bowles, Amy Lennox, afterwards.

This unique production of CABARET opened in December last year to critical and audience acclaim, widely praised as the ultimate theatrical experience. Last month, the production won a record-breaking seven Olivier Awards, the most for any musical revival in Olivier history, as well as three prestigious Critics Circle Awards.

In a time when the world is changing forever, there is one place where everyone can be free… Welcome to the Kit Kat Club, home to an intimate and electrifying new production of CABARET. This is Berlin. Relax. Loosen up. Be yourself. 

The Kit Kat Club has laid siege to the Playhouse Theatre. The performers have infiltrated the premises. The artists have staked their claim. Who knows for how long they’ll stay, but for now they are enjoying the party. The party at the end of the world.

Transforming one of London’s most famous theatres with an in-the-round auditorium and reimagined spaces, before the show guests are invited to enjoy and explore the Kit Kat Club with pre-show entertainment, drinks and dining all on offer. When booking, guests receive a ‘club entry time’ to allow enough time to take in the world of the Kit Kat Club before the show starts. But of course, the show really starts when you first join us in the club…

One of the most successful musicals of all time CABARET features the songs Wilkommen, Don’t Tell Mama, Mein Herr, Maybe This Time, Money and the title number. It has music by John Kander, lyrics by Fred Ebb, book by Joe Masteroff. Based on the play by John Van Druten and stories by Christopher Isherwood.

CABARET is directed by Rebecca Frecknall, set and costume design is by Tom Scutt with choreography by Julia Cheng. Musical supervision and direction is by Jennifer Whyte with lighting design by Isabella Byrd and sound design by Nick Lidster. The casting director is Stuart Burt and the associate director is Jordan Fein.