Bill Kenwright & Paul Taylor-Mills are excited to announce the cast for the eagerly anticipated recording of the hit production of Heathers the Musical, a project with Steam Motion and Sound.
The cast for the filmed production are Ailsa Davidson (Veronica Sawyer), Simon Gordon (Jason “J.D” Dean), Maddison Firth (Heather Chandler), Vivian Panka (Heather Duke), Teleri Hughes (Heather McNamara), Vicki Lee Taylor (Ms. Fleming/Veronica’s Mom), Mhairi Angus (Martha Dunnstock), Liam Doyle (Kurt Kelly), Rory Phelan (Ram Sweeney), Oliver Brooks (Kurt’s Dad/Big Bud Dean/Coach Ripper), Andy Brady (Ram’s Dad/Principle Gowan/Veronica’s Dad), Benjamin Karran (Beleaguered Geek), Chris Parkinson (Hipster Dork/Officer McCord), Jermaine Woods (Peppy Stud/Officer Milner), Eleanor Morrison Halliday (Young Republicanette), Mary-Jean Caldwell (Stoner Chick), Hannah Lowther (New Wave Party Girl) and May Tether (Drama Club Drama Queen)
Performances at The Other Palace have been taken off sale from 3 – 19 May to allow for filming to take place ahead of a future release. Performances will resume on Friday 20 May and will run through to 4 September 2022.
The musical started its UK journey with a cult following and was a box office record-breaker at The Other Palace in 2018, before transferring to the Theatre Royal Haymarket for a limited season later that year. Last year the production returned to the Haymarket for another successful West End season, while in parallel with a UK tour, before returning to it is original home, The Other Palace in November 2021 for another record-breaking run.
Steam Motion and Sound is a creative content company founded in 2003 by Brett Sullivan and Clayton Jacobsen in Sydney. They then opened offices in London then New York. Steam are the company of choice for the world’s theatrical producers and entertainment companies to film their productions in the West End and Broadway. Live Theatre Films include: Waitress, Bonnie and Clyde, Prince of Egypt (all currently in post-production); Aladdin (Disney+), Kinky Boots, Newsies, Miss Saigon, Billy Elliot, Love Never Dies, Phantom of the Opera 25th, Les Miserables 25th, Jesus Christ Superstar Arena Spectacular.
With book, music and lyrics by Kevin Murphy and Laurence O’Keefe, Heathers the Musical isbased on one of the greatest cult teen films of all time, and starred Winona Ryder and Christian Slater. The production is directed by Andy Fickman, withchoreography by Thriller Live’s Gary Lloyd, designs by David Shields, lighting by Ben Cracknell and sound by Dan Samson.
LISTINGS
Bill Kenwright & Paul Taylor-Mills present
HEATHERS THE MUSICAL
Book, Music & Lyrics by Laurence O’Keefe & Kevin Murphy
Directed by Andy Fickman
Associate Director and Choreography by Gary Lloyd
Design by David Shields
Lighting by Ben Cracknell
Sound by Dan Samson
Musical Direction by Phil Cornwell
Venue: The Other Palace
Dates:Heathers The Musical on-sale until 04September 2022
2022 Connections Festival at the National Theatre this summer with ten new plays staged by young people
Ten youth theatre companies and school groups from across the UK will be staging new plays at the 2022 National Theatre Connections Festival, which takes place in the Dorfman Theatre from 28th June – 2nd July.
Now in its 27th year, Connections champions the talent of young people across the UK, with ten new plays by established and emerging contemporary playwrights exclusively commissioned for young people to stage and perform. Over 5,400 young people participating from 228 youth groups have had the opportunity to stage their production at one of 28 leading partner theatres nationwide, from Aberystwyth Arts Centre to Theatre Royal Plymouth. Ten companies are selected to perform at the NT to represent the range of exciting work being produced nationwide.
The portfolio of plays explores topics from climate change to class and relationships, and aims to challenge young people to experience life in someone else’s shoes and tell stories about a wide range of experiences. Participants are involved with every aspect of creating and staging the play and take on a variety of backstage and off-stage roles, from operating lights and sound to set and costume design and stage management.
Rufus Norris, Director of the National Theatre said, “It is fantastic that young people have been performing in theatres right across the UK as part of Connections over the past few months and we are so excited to have the NT building buzzing with their talent in June for the culmination of the nationwide festival. We know how resilient and enthusiastic our participants have been over the past year and we’re thrilled to be able to come together to celebrate these emerging theatre-makers at the NT”.
The performances at the NT to celebrate the final week of this year’s Connections Festival are:
Date
Time
Play
Performed by
Tuesday 28 June
7pm
Cable Street by Lisa Goldman
Winstanley College (Wigan)
Tuesday 28 June
8.30pm
Remote by Stef Smith
On Point Theatre Company, Leyton Sixth Form College (Waltham Forest)
Wednesday 29 June
7pm
Like There’s No Tomorrow created by the Belgrade Young Company with Justine Themen, Claire Procter and Liz Mytton
Bristol School of Acting (Bristol)
Wednesday 29 June
8.30pm
Chat Back by David Judge
LORIC Players from South Wirral High School (Merseyside)
Thursday 30 June
7pm
Variations by Katie Hims
Theatreworks (Deal, Kent)
Thursday 30 June
8.30pm
Hunt by Fionnuala Kennedy
Kensington Arts (Isle of Man)
Friday 1 July
7pm
Find a Partner! by Miriam Battye
Best Theatre Arts (St. Albans)
Friday 1 July
8.30pm
You Don’t Need to Make a Big Song and Dance out of it by Abbey Wright, Shireen Mula and Matt Regan, in association with Tackroom Theatre
Suffolk New College Performing Arts (Ipswich)
Saturday 2 July
7pm
The Ramayana Reset by Ayeesha Menon, with choreography by Hofesh Shechter
Cable Streetis about two girls growing up in London’s Jewish east end in the 1930s. Leah and Kitty are blood sisters, best friends and more… but they get caught up in the political turmoil caused by Oswald Mosley’s fascist Blackshirts. As their passion and the political tensions grow stronger and stronger, pulling each of them every which way, the snare can only get tighter and tighter until something snaps.
Remote by Stef Smith
Seven teenagers’ lives all intertwine over the course of a single evening as they make their way through the park on a seemingly normal Autumn’s night. Remote is a play about protest, power and protecting yourself.
Like There’s No Tomorrowcreated by the Belgrade Young Company with Justine Themen, Claire Procter and Liz Mytton
Like There’s No Tomorrowis about climate change. Even when the evidence of imminent climate disaster across the globe is staring them in the face, as presented as the world literally cracking up before their very eyes, still no one wants to listen, they just want to carry on consuming, like they have always have and always will, won’t they?
Chat Backby David Judge
Chat Back is about the underclass – all those young people who are so ‘bad’, disempowered, alienated, ostracized, and abandoned – that even on the last day of school they still find themselves in detention. We watch a snapshot of the lives of each individual as they negotiate their way around the obstacles en route to discovering their identity, their economic power or lack of, their lyrical dexterity or lack of, and the meaning of in their lives, revealed through their desires, hopes and fears.
Variations by Katie Hims
Thirteen-year-old Alice wishes her life was completely different. She wakes up one morning to find that her life is different. In fact, it’s so different that all she wants to do is get back to normality. But how does she do that? A play about family, string theory and breakfast.
Huntby Fionnuala Kennedy
Hunt is about a group of Belfast teenagers playing their version of hide and seek. Their version entails ‘borrowing’ objects from their neighbours back gardens, and ‘dumping’ them at the ‘box’ without being caught, by either the official pursuers or the neighbours who’s gardens they are infringing upon. The more outlandish and extraordinary the object and the more difficult to acquire it is, the more kudos you score. This is a hunt they will never forget.
Find a Partner! by Miriam Battye
Find a Partner! is about the sometimes catastrophic methods we use to find that elusive thing, love. This is ‘Love Island’ scrutinised through a ‘Black Mirror’ style lens as a group of young people compete to publicly couple up and fall in love forever, or die…. quite literally. The play asks the questions, what does it really mean to love someone, does it have to be forever and does it have to be only one person?
You don’t need to make a Big Song and Dance out of it by Abbey Wright, Shireen Mula and Matt Regan, in association with Tackroom Theatre
You don’t need to make a Big Song and Dance out of it is about young people’s attitudes towards, experiences of, access to, feelings about and opinions on pornography, love and connection. Taken from the actual words drawn from interviews of 10,000 young people from across the UK, this is a verbatim musical, that tries to simply be honest and out in the open about what is often considered to be a taboo subject.
The Ramayana Reset by Ayeesha Menon, with choreography by Hofesh Shechter
The Ramayana Reset is about Zara, a young teenage woman who has a decision to make….to like or not to like….the latest Instagram post by her friendship group. This is a piece of dance drama, using movement inspired by award-winning choreographer Hofesh Shechter. This is a BIG story that fills the stage with action –there are fires, battles, trials and weapons powerful enough to end the universe. But most importantly of all there is love….and loyalty?
Superglue by Tim Crouch
Supergluetells the story of a group of climate activists gathering at a woodland burial ground to say goodbye to a friend who died during a protest. Parallels are drawn between old age and adolescence in a play that gently invites an intergenerational understanding of the future of our planet.
Apply to take part in Connections 2023
Applications are now open to take part in next year’s Connections Festival. The National Theatre is looking for school and youth theatre companies across the UK to take part. For more information and to sign up, please visit nationaltheatre.org.uk/connections
The Mohn Westlake Foundation supports nationwide Learning programmes for young people.
The National Theatre’s Partner for Learning is Bank of America.
Connections is supported by The Mohn Westlake Foundation, Buffini Chao Foundation, The Broughton Family Charitable Trust, The Peter Cundill Foundation, CHK Foundation, The D’Oyly Carte Charitable Trust, The EBM Charitable Trust, The Golsoncott Foundation, Katie Bradford Arts Trust, Susan Miller and Byron Grote, Mulberry Trust, Henry Oldfield Trust, The Royal Victoria Hall Foundation and The John Thaw Foundation.
AT THE TURBINE THEATRE FROM 30 JUNE TO 7 AUGUST 2022
Based on real events from the perspective of the writer and the autistic community, JJ Green will lead the cast as Boy for the limited run at The Turbine Theatre.The rest of the cast will be made up by Caroline Deverill (Mother), James Westphal (Father/Doctor), Conor Joseph (Jake/Daniel), Joy Tan (Abby/Thomas/Lara) and Maya Manuel (Emily/Mrs Whiteman/Rachel).
Boy has always seen the world differently to most people. Where they see monochrome, he sees the world in vivid and brilliant technicolour.
As Boy grows up, he faces increasing pressure to conform to the black and white logic of the ‘real’ world, a way of thinking that doesn’t make sense, and forces him to suppress his unique and beautiful view of life.
A-Typical Rainbow is the World Premiere debut play by autistic writer JJ Green that asks: could a kinder, more joyful world lie at the end of the rainbow?
Katy Lipson (Producer) has said, “I am so thrilled to be presenting the World Premiere of this beautiful and relevant piece of writing. We are delighted to have assembled such a wonderful creative team and cast with multiple autistic and neurodivergent team members. We are looking forward to welcoming audiences to the Turbine Theatre this summer.”
A-Typical Rainbow is written by JJ Green, with direction by Bronagh Lagan. Composition and sound design by Max Alexander-Taylor, with associate sound design by Chris Czornyj and choreography by William Spencer. Set and costume design by Frankie Gerrard, and video design by Matt Powell. The casting director is Jane Deitch and production manager is Jack Boisseux with deputy stage manager Ryan Webster. Ollie Hancock, Tom Ramsay and Sarah Jordan Verghese are production coordinators with Chris Matanlé for Aria Entertainment as general manager and Katy Lipson for Aria Entertainment as producer.
This new play will run at The Turbine Theatre from 30 June – 7 August.
Nottingham Theatre Royal – until Saturday 28 May 2022
Reviewed by Louise Ford
4****
Dreamgirls, not just for one night only!
Big hair, big ballads and of course big dreams. The Theatre Royal Nottingham has dusted off its best gold curtains for this powerful story of the Dreamgirls.
The narrative cleverly weaves its way through the lives and dreams of a trio of girls. From their early days travelling to talent shows, hoping to be spotted to the big time in Vegas. The girls in their homemade dresses rush on to the stage all young and naive. There’s Effie White powerfully played by Nicole Raquel Dennis, the quiet home girl Deena Jones by Natalie Kassandra and the spirited Paige Peddie cheekily played by Lorrell Robinson.
The simple yet effective staging (set and costumes by Tim Hartley) allows the audience to view the action from both the front and back stage. The set moves seamlessly to allow the action to unfold and the back stage dramas to be played out in full.
The stand out performance and sheer stage presence for me goes to Brandon Lee Shears who plays Mr Jimmy Early. An over the top performer, with an eye for the ladies and a snappy dresser to boot, whose energetic dance routines wow the audience and the girls!
The story charts the changes in musical tastes from gospel and soul music to disco and power ballads. At the same time the inequalities, racism and sexism in both the music industry and wider society are explored.
It’s a night of sequins, choreography, dance routines, drive and ambition. Where everyone isn’t on the same side whether they are family or friends.
The costume and set changes are something to behold. At one point the audience gasped at the audacity of the change! Also a special shout out for the wigs (hair design by Josh Marquette) they really enhanced the costumes.
In all a great evening’s entertainment with lots of energy and soul which the audience really loved.
Alphabetti Theatre Newcastle – until Saturday 4th June 2022
Reviewed by Sandra Little
5*****
The setting for this play is the belly of a whale however, it is definitely not how you might imagine the belly of a whale to be! There are a variety of quirky props that we are told have been washed into the whale over the years. These props are used by Albert ( Steve Byron) to make the place feel homely and comfortable. Albert has been living in the belly of the whale for 25 years but has no idea why he is there! Albert is joined one day by Robbie ( Luke Maddison ), a young man in his twenties, who brings boundless energy, and some interesting pieces of information, into Albert’s life.
As the play unfolds we see a friendship develop between this unlikely pair and it becomes clear that there are numerous aspects of modern day life that Albert has no idea about. On one occasion Robbie explains to Albert the concept of a vegan sausage roll. Further conversations include discussions as far ranging as touch screen ‘phones, Raoul Moat, Google, YouTube and Strictly. This developing friendship also explores the theme of “ being a man” in today’s society and 25 years ago.
Throughout the play we don’t know why the two men are in the whale but we do know that they both wish to escape. Arthur misses his wife and daughter and Robbie is desperate to get back to his girlfriend. The only way out of the whale is through the blowhole, which seems an impossible task. The blurb which accompanies the play asks “Could Robbie be the solution Albert has been waiting for all these years ?” and also poses the question, “Why are they here in the first place?” .At the very end of the play these two questions are answered, but maybe not in a way you might expect. This short play, with a running time of about an hour, includes some quite thought provoking dialogue alongside several “ laugh out loud” moments. The ending caused me to reflect on incidents that were woven into the story. I came away thinking again about the significance of the Bangles song, “Eternal Flame” for example, and developed my own theory about the flickering light the two men attended to on several occasions during the performance. There are a lot of issues to consider in this short play with only two actors!
This is the second play I’ve seen at Alphabetti; a tiny theatre with a “pay what you feel” policy. As with the first, this play did not disappoint.
Produced by Peachplant Productions ( Lucy Curry and Carl Wylie) and Alphabetti Theatre.
Birmingham Hippodrome – until Saturday 21st May 2022
Reviewed by Emma Millward
5*****
From the moment the cherry pie decorated curtain rises, the audience are pulled into another world at ‘Joe’s Pie Diner’, it’s a sight that feels somehow comforting and familiar after seeing so many diners over the years in movies and TV shows. We are introduced to Jenna (Chelsea Halfpenny), Becky (Wendy Mae Brown) and Dawn (Evelyn Hoskins) who work at the Diner. Jenna is in a loveless marriage to the abusive Earl (Tamlyn Henderson) and finds out she is pregnant. She finds solace in her love of baking the inventive pies that she creates daily at the Diner. She meets and begins an affair with Dr Pomatter (Matt Jay Willis) her awkwardly cute Gynaecologist. She dreams of winning a pie making contest so she can use the prize money to start a new life.
It’s not all sweet humour though, and the violent interactions between Jenna and her husband are some of the more disturbing scenes in the show which definitely shocked the audience. Then by complete contrast, we are soon laughing again with hilarious scenes such as the introduction of Ogie (played brilliantly by George Crawford) who turns up at the Diner to woo Dawn with the hilarious ‘Never Ever Getting Rid of Me’. Another more risqué scene with the three leading ladies getting up close and personal with their men drew a mixture of gasps and howls of laughter from the audience. Most definitely not a show for the whole family to watch together! I will never look at ‘Pineapple Upside Down Cake’ in the same way again!
The set design for the show makes clever use of the space. The Diner set spins around to become the Doctor’s office. The Orchestra led by Musical Director Ellen Campbell are onstage throughout the Diner scenes, where they interact with the ensemble and really become a part of the story.
The show-stopping moment came towards the end of the second act with the most famous song from the show ‘She Used To Be Mine’. Chelsea Halfpenny’s performance was powerful and emotional. It was met with prolonged applause and cheers from the audience.
The whole cast shines, so it is really hard to single out any of them as the stand-out performance, as they all worked so well together and this chemistry will only improve as the UK tour progresses. Although I think Michael Starke (of Brookside/The Royal fame) really did shine as the Diner owner Joe when he sang ‘Take It From An Old Man’. As did little Lulu (Evelyn Kent) who was only briefly onstage at the end of the show, but received the loudest cheers and applause of the whole cast during the inevitable standing ovation during the curtain call.
Waitress serves up a sugary sweet mixture of something for everybody. It’s funny, dramatic, heartwarming and bittersweet all in one show. I am sure I will have the words ‘Sugar, Butter, Flour’ going around my head for days.
If you want to turn back time and celebrate Cher’s six-decade-long career of being the Goddess of pop, The Cher Show is for you. The musical runs chronologically with three talented musical stars conveying Cher at different stages of her life and career. These three ladies with their striking outfits, spectacular songs and glamour, raised the roof at the Opera House on Tuesday evening.
The musical portrays the rise to fame of a shy 16 year old, then known as Cherilyn Sarkisian. As the audience, you witness her relationship with her mum, Georgia and Sonny, their marriage breakdown, further relationships, the pressure of fame and her constantly re-inventing herself. The show features some 35 hits throughout including Believe, Strong Enough, I Got You Babe, The Shoop Shoop Song, Turn Back Time and many more.
Portraying the icon that is Cher, is never going to be easy but the three leading ladies are superb. In her younger years, Millie O’Connell (Six, Be More Chill, Rent) plays Cher as a Babe, showing her more introvert side, the vulnerable teen on her journey to stardom and meeting Sonny. O’Connell is vibrant and her dancing skills are impressive. Then Danielle Steers (Six, Bat Out Of Hell) takes over as Lady, the rising star with her marriage crumbling and having no time away from work for her family life. Steers’ mannerisms are a joy to watch, she tears up the stage with her musical numbers and she is my favourite Cher. Debbie Kurup (The Prince Of Egypt, Rent) transforms into Star, showing how she has become a star in her own right, not only with her singing but with a successful acting career. Kurup wows the audience with her remarkable vocals and outstanding performance.
One of the, if not the stand out musical number of the evening was Jake Mitchell as Bob Mackie, in Ain’t Nobody’s Business If I Do, with his flair and impressive tap dancing skills. Tori Scott as Georgia, Cher’s mother, gives a knockout yet sensitive performance with stunning vocals.
With Arlene Phillips (Lord of the Dance) as the director and Oti Mabuse (double Strictly winner) as the choreographer, the dance performances are flawless and help the story flow through the decades. Ben Cracknell (Joseph and the Amazing Technicolor Dreamcoat), who is responsible for the lighting gives this show the live music concert wow factor. Tom Rogers’ (9 to 5) impressive set design forms the backdrop to the whole production. Gabriella Slade (Six, Bedknobs and Broomsticks) ingeniously reflects each era and mood of the time with her fantastic and outrageous costumes.
The Cher Show is glamorous and flamboyant entertainment from start to finish!
The Mountaintop by Katori Hall CREDIT Geraint Lewis
Memphis, Tennessee, the night before 4th April 1968. In room 306 of the Lorraine Motel, Dr Martin Luther King Jr is restlessly trying out his speech for the next day. He has been campaigning for civil rights for years, suffering arrests and assassination attempts. He’s hugely famous, but at this moment he’s alone with his hopes, fears and uncertainties. We get a sense of the strain he is under as he checks the phone for bugging devices, then calls room service for coffee.
And in bursts the cheeky, chirpy, fabulous chambermaid Camae, with coffee, cigarettes and bags of charm. King is enthralled and infuriated. He thinks she may be a honeytrap, but things take a much more interesting turn. Via flirting, shouting, pillow fights and a hotline to God (black and female), Camae and King explore his passion to make America better, his flaws, ambitions and self doubts. Ultimately Camae gets King to confront his imminent death, and accept that he must ‘pass the baton’.
Written by Katori Hall, The Mountaintop won the Olivier Best New Play Award in 2010. Its name and inspiration come from King’s eerily prescient speech on 3rd April, the day before he was assassinated. ‘I’ve been to the mountaintop. … And I’ve looked over. And I’ve seen the Promised Land.’ We know that the play foreshadows King’s death, but it’s actually bright and funny. This is King (played by Luke Wilson) as a very human hero – he’s troubled and anxious with smelly feet and faltering marriage, but all this makes him more truly heroic. Boni Adelyi is simply enchanting as Camae, somehow managing to be authoritative, vulnerable, cheeky and profound in quick succession. She graduates from Guildhall School of Music and Drama this year, and this is her hugely impressive professional debut.
Sandra Falase’s set has a lot of charm too – a 1960s room, suspended in the shadowy stage. Near the end, Camae steps out of the room space and gives a roll-call of those who will take up the civil rights cause. It’s rather unsubtle compared with what has gone before, but poignant too – this is struggle that is far, far from over.
On a more boring note, sit near the front and centre if (like me) you have any hearing problems – the Yvonne Arnaud doesn’t have the clearest sound, and this play is strongly accented.
New Wimbledon Theatre – until Saturday 21 May 2022
Reviewed by Carly Burlinge
5*****
Set in the Razzle-Dazzle of the 1920’s – brings you the story of Chicago where six women are facing the death sentence in a city where murder is entertainment and everyone wants fame for all the wrong reasons! The story comes alive with Roxy (Faye Brookes) a nightclub dancer/housewife who murders her lover when he threatens to walk away from her. Thinking she has an easy way out with her husband Amos (Jamie Baughan) covering her story only for him to find out she’s not as innocent as she makes out. This causing friction, where tempers arise and with trust now gone, she finds herself stuck in the local jail for murder! With things looking down she turns to a well know lawyer Billy (Russell Watson) who with a large fee has the ability to manipulate the outside world using the power of the press to achieve an entertaining story of vulnerability that might just see her walk away with freedom but is that what she really wants.
But with success comes competition and throughout she meets her match with another inmate Velma (Djalenga Scott) who wants to break free but when her way of freedom has taken a back step because of Roxy things begin to fire up and competition becomes intent.
During this story-line the production offers a full scene of murder, greed, violence, corruption, and adultery with Roxy and Velma at the heart of it all offering the audience exceptional dance with a provocative manor that was magnificent to watch just sexy and captivating. So much talent and a connection that was unreal.
Their voices alongside their acting were just a pleasure to take in whilst accompanied by an outstanding orchestra that was in full view that engaged with the audience throughout.
The choreography was first class and so in sync was a delight to watch so much skill!
What a tremendous over dramatised show that in my eyes was perfection. Totally astonishing and definitely one to watch!
Feel transported straight to the 1920’s in the toe tapping dance spectacular Singin’ in the Rain. Pop on the old glad rags and get ready for a little singing and dancing. Singin’ in the Rain is an eclectic mix of feel-good music and talented dancing.
Inspired by the classic Metro-Goldwin-Mayer film, this musical leaves you humming feel-good show tunes. You are introduced to Monumental Pictures and their cast and crew on a recording for ‘The Royal Rascal ’following the premiere, you are introduced to the heartthrob Don Lockwood (portrayed by Sam Lips) and Lina Lamont (portrait by Jenny Gayner). Gayner plays the perfect Lamont with her fantastic Betty Boop-esque accent. Garner is the perfect fit for the role with looks, the consumes and the voice, a triple threat. Garner goes on to sing the Lamont number ‘What’s Wrong with Me?’ with the perfectly-imperfect voice.
As the show goes on, you are introduced to the talented actress Kathy Selden, who is portrayed by Charlotte Gooch. As Lamont’s main competition on screen and off screen, the Lamont -Selden competition is noticeable and both ladies seem to have a good fight. Kathy Selden wins the audience over very quickly with her lovely personality, witty comebacks and extraordinary dancing skills. Gooch plays the role marvellously as her dancing past supports the role perfectly.
A stand out part of the show was the “Gotta Sing Gotta Dance” breakdown as you are transported to Broadway with bright costumes and fitting flapper dresses. However, nothing could top the rain and the singing that comes with it. In both musical renditions of ‘Singin’ in the Rain’, the waterworks are flowing, and both times the number is performed left the audience in a standing ovation.
