Category: Uncategorized

Regent Theatre, Stoke – until Saturday 26th March 2022

Reviewed by Lesley Eagles

4****

Being one of the first films I saw as a teenager this production brought all the nostalgia and memories back from the 80”s with it. The obvious opening track of “Footloose” itself followed by the familiarity of other hit songs such as “Lets hear it for the boy” and “Holding out for a hero“ made for a night of fun and excitement.

Based on the 1980’s film, Footloose tells the story of teenager Ren McCormack, played by Joshua Hawkins who moves from the big city to the small town of Bomont where he discovers that both rock music and dancing are banned. As a result this fires up Ren’s rebellious spirit who becomes determined to make changes.

While attending church, Ren meets local minister Shaw Moore (Darren Day), his wife Vi (Holly Ashton) and daughter Ariel (Lucy Munden). It isn’t long before Ren sees Ariel’s defiance of her father’s authority and begins to fall for her, showing her the joy and freedom that dance can bring. Lucy Mundens professional debut as Ariel was superb showing off her faultless vocals beautifully.

Joshua Hawkin’s performance as Ren was both energetic and engaging as he buddied up with Willard Hewitt (Jake Quickenden). Willard is embarrassed at his inability to dance, therefore an amusing performance sees Ren trying to teach him to do so and help win the heart of Rusty (Oonagh Cox)

As you can imagine a combination of both Jake Quickenden’s comic facial expressions and cumbersome character made this highly entertaining.

However one of the most memorable highlights of the show was when the very likeable Quickenden’s performance resulted in him removing his dungarees to reveal some very sparkly gold hot pants… much to everyone’s delight!

Ren went on to challenge the right to change restrictions, which would allow them to dance and listen to their choice of music freely. He cleverly does this by quoting bible scriptures to convince the minister that it’s the right thing to do. Although Shaw and the council vote against Ren’s proposal, Vi convinces her husband to hear Ren out and be the father that he once was to Ariel. Fabulous vocals from both Darren Day as the minister Shaw, and his wife Vi played by Holly Ashton shared a lovely tender scene dancing together for the first time in years when Shaw finally concedes and allows the dance to go ahead.

The performers not only bought the acting and vocals but also played multiple instruments too. Quite how they did it I’m not quite sure with the energy that was required for the dancing alone. However they did so brilliantly showing off their musicality to perfection.

By the end of the show, much like the town of Bomont, everyone in the audience were on their feet singing and dancing to the old movie classics

Festival Theatre, Malvern – until 26th March 2022

Reviewed by Courie Amado Juneau

5*****

Catch Me If You Can was written in 1965 by Jack Weinstock and Willie Gilbert, based on a French play by Robert Thomas. The plot involves a man, Daniel Corban, on his honeymoon, who reports his wife missing. He calls in the local police Inspector who begins to investigate. Soon after, a woman turns up claiming to be his wife, but he immediately refutes this claim…

That Patrick Duffy managed to inhabit the character of Corban so completely is a testament to his acting prowess and a lifetime creating a body of exceptional work on shows such as Dallas (which, of course, had every scenario in the book over the years). I confess I did momentarily (and giddily) think “Good Heavens, it’s Bobby Ewing!” before being totally immersed in the action in front of me (I mention that as a deserved compliment). Duffy delighted with his rich palette of acting chops throughout, entertaining us with an impressive range of emotions. Anyone lucky enough to have caught Duffy’s classic series Step By Step will not be surprised by his command of comedy, which is also well represented here. In short, a fantastic, nay masterful, performance and a thrill to see this legend in action close up!

Linda Purl (playing Elizabeth Corban) gave a richly nuanced performance which turned on a sixpence, depending on who she was on stage with. It looked like a lot of fun as she relished this femme fatale, displaying a gusto that was infectious.

Inspector Levine (Gray O’Brien), like our two leads, gave an exceptional, flawless, performance. His interplay with Duffy and Purl was a joy to behold. Ben Nealon (playing Father Kelleher) rounds out the stellar cast that is as strong individually as it is in ensemble! His face may not grace the advertising poster but this role is almost as important as the three principle leads and equally majestically executed.

A special mention goes to distinguished veteran actor Hugh Futcher, bringing Sidney (the coffee shop owner) wonderfully to life. A hilarious display that, sadly, graced the stage for too few scenes! But every moment brought limitless pleasure.

The lodge set is rather sumptuous as are the period clothes, both transporting us to that most stylish of decades! The ladies especially benefit from this gorgeous era’s wardrobe!

The script kept us guessing throughout with an almost maze like convolution to the plot. Right till the very end I wasn’t sure what was true or false or why. It’s no surprise to learn that one of the original screenwriter’s worked on Scooby Doo! The final twist in the tale packs a punch that Agatha Christie would have been proud of!

Brilliantly written, exceptionally acted, a cast to thrill and delight all wrapped up in a plot (and characters) that you can’t easily pin down. In short, absolutely everything you could possibly want for a perfect night out! A very richly deserved 5 stars from all concerned and an unreserved recommendation to Catch it If You Can!

THE ALEXANDRA THEATRE, BIRMINGHAM – UNTIL SATURDAY 26TH MARCH 2022.

REVIEWED BY NADIA DODD

3***

The musical set in the swinging 60’s doesn’t have much of a storyline as such, a basic love story but certainly has some great tunes from the era when people had started to discover television, radio and live music. A time of innocence before streaming music would have ever been thought of.

The book by Laurence Marks and Maurice Gran contains a few gags but nothing to have you doubled over belly laughing in the aisles. The story follows Bobby (played by David Ribi) and Laura (played by Elizabeth Carter) who are two young lovers but also musical performers, trying to navigate their relationship around having to spend time apart performing at different locations.

The cast link almost every other sentence to then lead into another song. It is a feel good show no matter if you could remember the music of the 60’s or not! Looking across the few rows in front of me within the stalls you could see heads bopping and swaying from side to side, obviously in appreciation.

It’s a very loose storyline, the show is aimed to showcase the music and the stunning vocals of the cast. The funniest moments were bought to the stage by David Benson who plays a few smaller parts but the main one being the brilliant Kenneth Williams. He did a fantastic impersonation of Kenneth which did raise some laughs. He has played this part before in a one man show, so he has this down to a tee.

The voice over at the start of the show reminds the audience that all the music played throughout the show is live, there’s a great band consisting of the guitar, bass, trombone, sax, clarinet, keyboard and of course drums. Lack of story content should not reflect on how incredibly talented this cast are.

Mark Winter, is featured in the show, a former pop star. He plays a manager for Laura who wants her boyfriend, Bobby also to get a break in stardom. Mark sang a medley of his old hits which the audience seemed to enjoy.

I would encourage anyone who loves the 60’s rock and roll era to go along, you won’t be disappointed, forget trying the follow the story, you will soon find yourself clapping your hands and stomping your feet to the music.

Theatre Royal Brighton – until 26th March 2022

Reviewed by Sue Bradley

4****

As we walk into the auditorium we are met by an elegant, beautifully furnished one-room set which clearly signals the style and context of this two-hander. This is a play where the spoken word is (nearly) everything.

The story opens with Peter Travers (Griff Rhys Jones), clearly waiting for someone. For the first few minutes, there is no dialogue – instead Griff brings his considerable comic talent to amusing us with his impatience. When Laura, his wife (Janie Dee) arrives, he is keen to be off but is instantly frustrated by her sudden and unexpected refusal to leave for their pre-arranged dinner at their friends’ house. 

Peter is a successful tax adviser approaching retirement; Laura is his slightly younger wife who has made a life as a home-maker, raising the children and supporting her husband. The last of their children has just left home, they are now first-time grandparents and soon Laura’s husband will be spending a lot more time at home. This is Laura’s cue to start asking questions about her role in life, and she’s not coming up with any easy answers.

For the next hour and a half we are taken, in real time, on a light-hearted emotional rollercoaster that will twist and turn through topics as diverse as sex, creativity, self-worth, and ageing.

Belinda Lang has made a great job of translating and adapting from the French original, written by Gérard Sibleyras and Jean Dell. The dialogue zips along and the pace never drops. Griff and Janie make a likeable pair whose characters clearly love each other, even if they have forgotten exactly who the other person is. By the time we reach the final curtain, both characters have come to understand a little more about themselves and each other.

This is not a show for the young – or even the young at heart; more for those who would like to feel young at heart again. That is not to say that this play is distressing – far from it. It taps into a set of experiences with which a very many mature couples will identify, to one degree or another, and it does so in a very entertaining manner.

You are unlikely to find any answers to the deeper questions of existence. but you might just be prompted to ask some questions of yourself and your partner which it might be fun to answer.

Theatre Royal, Nottingham – until 26th March 2022

Reviewed by Boo Wakefield

3***

Moving a story from a book to the stage can be difficult, moving a thriller onto the stage even harder.

Theatre Royal, Nottingham presented Looking Good Dead, written by Peter James, during its UK tour. It is a story that follows the Bryce family, Tom and Kellie and their tech savvy teenage son Max. Times are fraught for them as Tom’s business is failing, money worries are escalating, and Kellie never stops spending money. Tom finds a memory stick on the train and instead of handing it in, brings it home to see if he can find out who it belongs to so that he can return it. He and Max open the file on the memory stick which immediately links them to a subscription-only SMS website where they witness a horrific murder being live-streamed. The murderers find out that the Bryces have seen the murder and events quickly spiral out of control with deadly threats and kidnappings.

The set (Michael Holt) is very clever with the main stage focusing on the Bryce’s kitchen/dinner. The police station set is rolled on an off at an alarming frequency at one side and the SMS cellar is on a high stage at the back. This is all made possible with clever lighting (Jason Taylor) making each area a clear focus during the quick changes. Much of the story is based around details from laptops and phones and the possible use of some sort of projection showing what was happening could have made it feel more up to date rather relying on the actors telling us.

Adam Woodyatt (Tom), currently on a break from Eastenders, fits well into the over-stressed husband who has expanded his business too quickly and can’t control his wife’s spending but falls short of expressing the horror and stress he surely must have felt when his life hurtles out of control culminating with his wife and son’s kidnapping. Likewise, Laurie Brett’s Kellie starts convincingly as a relapsing alcoholic and shopaholic but when chained up in the SMS cellar fearing for her life, her terror and fight for life seemed to ebb away.

In tonight’s performance, Armani Watt stood in for Ian Houghton as Jonas Kent and played the wealthy American businessman perfectly.

Harry Long plays the chief detective role well, although had little room to expand it. He was able to have several amusing moments with Branson (Leon Stewart) his sidekick, which lightened the mood.

This is a believable story with several good twists (which I won’t spoil for you) which bring together the end of the play tidily. The book would no doubt expand on the background of the characters which the play just wasn’t able to. Even though it was entertaining, I desperately wanted to suspend disbelief but aside from one moment with the hooded murderer unexpectedly appearing, the tension just wasn’t there.

The Watermill Theatre’s newly created Youth Ensemble present

THE GIRL OF INK AND STARS

Thursday 31 March to Saturday 2 April

Book Online at watermill.org.uk or via the Box Office on 01635 46044

The Watermill Theatre has a reputation for producing high-quality youth theatre productions that are both enthralling and entertaining. This spring they are delighted to welcome their newly created Youth Ensemble who will take to the stage to impress and inspire audiences in a new adaptation of Kiran Millwood Hargrave’s novel The Girl of Ink and Stars, adapted by Becca Chadder.

For the first time, The Watermill’s Youth Ensemble will be made up of young people aged 11+ who take part in one of the theatre’s regular weekly groups, including participants from their specialist access groups for young people who are Home Educated, have Autism, have added complications in their lives or are Deaf/deaf or have a hearing impairment. The Watermill are delighted to form this brilliant company of actors who will come together and tell a unique and inspiring story. 

“Each of us carries the map of our lives on our skin, in the way we walk, even the way we grow”

Inspired by her cartographer father, Isabella longs to follow in his footsteps and explore her island home of Joya. But when her best friend goes missing, her dreams of adventure come true sooner than she thinks. She must lead the search party into the dangerous Forgotten Territories before it’s too late…

The Girl of Ink and Stars is directed by The Watermill Theatre’s Outreach Director, Heidi Bird:

“We are thrilled to introduce our newly formed Youth Ensemble who have come together to tell this gripping and unique tale. Our brilliant cast is made up of young people aged 11+ who take part in one of The Watermill’s regular weekly groups. I am incredibly touched and proud to see how these young people have rehearsed with such energy, humour and kindness to create this magical tale – we can’t wait to share the adventure with audiences!”

There will be audio described and British Sign Language integrated performances during the run.

The Watermill Theatre has been pioneering ways to bring British Sign Language on stage. The sign integrated performance of The Girl of Ink and Stars will not only include a mix of hearing and deaf signers, but a mix of adults and young people.

Heidi Bird explains: “We run a drama group specifically for deaf young people and it’s important that our deaf young people have the option to act in our Youth Ensemble productions. Additionally, two deaf young actors have chosen to take on the challenge of also performing sections in BSL for the sign integrated show.”

“We’ve had the very good fortune of working with a fantastic associate director on this production, Mary-Jayne Russell de Clifford. Mary-Jayne is Deaf herself and has a wealth of experience in directing and performance BSL. Our young sign performers have been able to work with Mary-Jayne throughout rehearsals, giving them loads of time to develop and learn.”

One young performer explained “it’s really exciting to know that my deaf friends will come and watch me and know exactly what’s going on because of me“.

The Outreach team are also mentoring two hearing young people in the cast to create an audio described performance, painting a picture of what’s happening on stage for audiences who are blind or partially sighted. Taking one act each and working with The Watermill’s in-house audio describer, the young people are writing their own description scripts to broadcast as a live narration via a personal headset.

One young audio describer explained, “it’s weird but fun to think of the show from a totally different side. I’m loving having to work out how to say everything in the gaps between everyone talking!”

The Girl of Ink and Stars runs from Thursday 31 March to Saturday 2 April with a BSL integrated performance on Saturday 2 April at 2.30pm and an audio described performance on Saturday 2 April at 7.30pm.

Royal & Derngate Theatre, Northampton – until 26 March 2022

Reviewed by Eli King

2.5**

Departing on it’s 20th Anniversary Tour, this musical classic is a whirlwind of well-loved hit songs paired with an eclectic, exuberant ensemble. With music from the legendary band Queen, the energy is palpable. Even though the original songs are masterpieces in their own right, the cast are able to transform and warp the songs to truly become their own – without straying too far from the originals.

In an introduction from Ben Elton, he declares the show features “a live band, live vocals and live rock.” For jukebox musicals, there are often issues with the audience singing along, but Ben Elton nipped that in the bud also. “There are 23 world class singers in this stage who can sing better than you, so don’t sing along”. That doesn’t mean to say that you have to sit still in complete silence, there are many opportunities to clap, wave your arms and dance in your seat.

Let’s not forget Freddie’s iconic call and response, too

The show begins with a Star Wars-esque into, where the LCD screen background has text scrolling up it to imitate the well known franchise. This is not where the media reference end, either, there are many many more. Perhaps too many. The staging was rather minimal, with the LCD screen doing most of the work, but there was a semi-transparent screen displaying the band on an elevated platform as they played key moments.

Young people going into this show with no context, prepare to cringe. Whilst the performers are undoubtedly extremely talented and they deserve high praise and recognition, there are many parts of the show that either fall flat or get strong responses for the wrong reasons.

Fundamentally, We Will Rock You treats young adults as mindless Internet obsessed zombies and is very anti-technology. Whilst yes, streaming services did lead to the decline in physical CD sales, they are not responsible for the ‘death of rock’. A lot of this show is a badly done commentary on the expansion of technology and media whilst using mainstream movie to heavily influence the styles and storyline. It’s rather hypocritical, which might be the point, but it is unclear.

A prime example is the Lucius Malfoy meets Neo mashup that is Khashoggi (Adam Strong). Oddly, that is not the only Matrix reference within the musical either.

In a musical using Queen’s music, it was interesting to have links to Elvis Presley, Spice Girls, Britney Spears and many more. However, these references and lyric quotations were far too often and felt shoehorned in, making the delivery stiff and a bit cringey. The cast themselves did their best to create a believable and immersive storyline, but the LCD screen with a couple props just didn’t cut it for me. Some people may prefer the more simplistic approach though and find it easier to follow, it’s all personal preference.

Killer Queen is described as vaudeville camp, and the character certainly fits that description. Whilst Jennifer O’Leary is a phenomenal vocalist, the costume team really let her down for the most part. As the only plus-size woman in the cast, her clothing seemed to fit significantly less flattering than the rest of the ensemble. The exception to this was during ‘Fat Bottomed Girls’ where she looked stunning in a fitted corset and lace shawl, so they proved that it’s possible, they just didn’t do it for the rest of the show for some reason. Initially, I thought it could be because Killer Queen is the villain, however her sidekick Khashoggi has an impeccably tailored suit on that made her ill-fitting jacket pale in comparison.

Alongside the smattering of pop-culture references, there was also a vast amount of sexual references that had nothing to do with the song or plot line which was just odd. In the rare instance it fitted in with the song or the storyline, it made total sense and was done well, but the constant hip gyrating made it feel like a Steel Panther music video.

They certainly ended each act on the best performances. Act 1 ended with a full-ensemble rendition of The Show Must Go On, followed by We Will Rock You ending act 2, of course. With The Show Must Go On gaining a whole new lease of life during the pandemic, it was extra poignant that the whole cast were involved and truly excelled for that track.

Throughout the entire show Scaramouche (Elena Skye) was a skeptic and was often the only person talking since, constantly asking the egotistical protagonist Galileo (Ian Mcintosh) if he was done talking yet. Even as far as calling the lead an ‘arrogant self-obsessed toss-pot’ and I’d have to agree.

The women in this cast were the backbone of this production, with Laura Ava-Scott and Martins Ciabatti Mennell truly owning every single moment they were onstage. Each Bohemian says ‘I don’t know’ at least 3 times, and quite frankly, if you asked me what happened during half of the show, I’d probably say the same.

The swings performing last night were Karen Walker, Dominic Booth and Jacob Fearey. To keep up with any undercover/swing performers, be sure to follow WestEndCovers on Twitter, they always have the latest updates.

Whilst there are important themes including consent, real-life friendship and that being the ‘chosen one’ isn’t always everything, there are some uncalled for additions. The covid and mask jokes were unnecessary, not funny, and just didn’t add anything to the storyline.

If you want to go to a show and just listen to the music and vibe, this is perfect for you. However, if you like a fully developed storyline and relationships between characters, I’d give it a miss.

ARCOLA THEATRE ANNOUNCE FULL CAST FOR

THE WORLD PREMIÈRE OF

BARNEY NORRIS’ NEW PLAY WE STARTED TO SING

ARCOLA THEATRE ANNOUNCE FULL CAST FOR

THE WORLD PREMIÈRE OF

BARNEY NORRIS’ NEW PLAY WE STARTED TO SING

Arcola Theatre today announces the full cast for the world première of Barney Norris’ new play We Started To Sing, which marks the reopening of the theatre since March 2020. Barney Norris directs Barbara Flynn, David Ricardo-Pearce, Naomi Petersen, George Taylor and Robin Soans. The production opens on 23 May, with previews from 19 May, and runs until 18 June

STUDIO 1

ARCOLA THEATRE PRESENTS

WE STARTED TO SING

Written and Directed by BARNEY NORRIS

Cast: Barbara Flynn, David Ricardo-Pearce, Naomi Petersen, George Taylor and Robin Soans.

Frankie Bradshaw (Designer); Bethany Gupwell (Lighting Designer); Jamie Lu (Sound Designer);

Josephine Tremelling (Production Manager)

19 May – 18 June 2022

“I wish there could be a day where families came together and just said it all to each other. Because then everyone would know it all, and there’d be nothing left to hurt anyone.”

Sussex. London. Wiltshire. Northamptonshire. Wales. Over three decades, a family spreads across the country, and the chord they once made together starts to fray. How will the distance growing between them change the music of their lives?

Barney Norris returns to the Arcola with a brand-new play – We Started To Sing is a love song to the people who raised him, and a hymn to the bravery of our brief lives.

Barney Norris’ previous work at Arcola is Eventide (2015) and Visitors (2014) – the latter which won the Critics’ Circle Award and the Off West End Award for Most Promising Playwright. His other plays include Nightfall (Bridge Theatre), While We’re Here (Bush Theatre), Echo’s End (Salisbury Playhouse), and acclaimed adaptations of Kazuo Ishiguro’s The Remains of the Day, and Federico García Lorca’s Blood Wedding. His novels include Five Rivers Met on a Wooded Plain, Turning for Home, and The Vanishing Hours.

Barbara Flynn’s theatre credits include Elegy, Versailles, The Bullet (Donmar Warehouse), High Society (Old Vic), Copenhagen (Lyceum Theatre, Sheffield), Hamlet, Sorry (Crucible Theatre), An Experiment with an Air Pump, The Perfectionist, Short List (Hampstead Theatre), The Revengers Tragedy, King Lear, Antigone, Tales from Hollywood, Early Days, The Philanderer, Plunder, (National Theatre), Agamemnon’s Children, Women of Troy (Gate Theatre) and The Way of the World (Lyric Hammersmith). Her recent television credits include Death in Paradise, Doctor Who, The Durrells, 1864, Pat and Cabbage, Moving On, The Borgias, Just Henry, Cranford, 10 Days to War, The Marchioness Disaster, Cracker, The Line of Beauty, Elizabeth I, Malice Aforethought, Sea of Souls and Sea of Souls. Her recent film credits include The Christmas Candle, Cheerful Weather for the Wedding, Burlesque Fairytales, Miss Potter, You’re Dead and King Lear.

David Ricardo-Pearce’s theatre credits include Kiss Me Kate (Watermill Theatre), The Last Yankee Hamlet, Romeo and Juliet, The Hired Man (Octagon Theatre), The Lorax (Old Vic), The Middlemarch Trilogy, De Montford (Orange Tree Theatre), A Midsummer Night’s Dream (Bristol Old Vic), The Rover (Hampton Court Palace), The Big Fellah (Lyric Hammersmith), Anyone Can Whistle, Saturday Night (Jermyn Street Theatre), Annie Get Your Gun (Young Vic Theatre), Privates on Parade (West Yorkshire Playhouse/Birmingham Rep), The Car Cemetery (Gate Theatre), Two Cities (Salisbury Playhouse) and Tom’s Midnight Garden (Unicorn Theatre). His television credits include Traitors, Trauma, The Spa, Outnumbered, Extras and Border Crossing.

Naomi Petersen’s theatre credits include Baskerville! (Mercury Theatre), The Girl Next Door, Birthdays Past Birthdays Present, Joking Apart, Better off Dead (Stephen Joseph Theatre), By Jeeves (The Old Laundry Theatre), The Sorcerer’s Apprentice (Ambassador’s Theatre), I Am Telling You I’m Not Going (Pleasance Theatre), Tender Loving Care (New Theatre Royal Plymouth), The Witches of Eastwick (Watermill Theatre), Angus, Thongs and Even More Snogging (West Yorkshire Playhouse) and Schnapps (Lyric Hammersmith). Her television credits include Drifters and Jitterman and for film; At First Sight.

George Taylor’s theatre credits include The Moderate Soprano, The Trial of Ubu (Hampstead Theatre), Character Solos (St James Theatre), People Like Us (Old Vic/Pleasance Theatre), A Woman Wtith Kindness (National Theatre) and The Duchess of Malfi (Oxford Playhouse). His recent televisions credits include X Company and Partners in Crime, and for film; Sherlock Holmes: A Game of Shadows, The Lady in the Van, You & I, Howards End and Wanderlust.  

Robin Soans’ recent theatre credits include Uncle Vanya (Hampstead Theatre), Echo’s End (Salisbury Playhouse), Visitors (Bush Theatre/UK tour), Hamlet, As You Like It (RSC). His television credits include Victoria, Doctor Who, Endeavour – Fugue and Doctors. For film, his credits include The Princess Switch 3, The Princess Switch: Switched Again, The Princess Switch, Red Joan, Victoria and Abdul and Viceroy’s House.

LISTINGS

WE STARTED TO SING

Arcola Theatre

24 Ashwin Street, London, E8 3DL

19 May – 18 June 2022

Monday to Saturday at 7.30pm

Wednesday and Saturday matinees at 3pm

Relaxed performances: Wednesday 8 June 2022 at 3pm and 7.30pm

Touch tour available before Wednesday 25 May 2022 at 7.30pm performance

Box Office: 020 7503 1646

www.arcolatheatre.com

Tickets from £12 – £30

QUEEN’S THEATRE HORNCHURCH ANNOUNCES CASTING FOR UPCOMING MUSICAL

THE SECRET DIARY OF ADRIAN MOLE AGED 13 ¾

THE MUSICAL

Queen’s Theatre Hornchurch production

Book and Lyrics by Jake Brunger | Music and Lyrics by Pippa Cleary

Queen’s Theatre Hornchurch today announce full casting for their brand new fresh and joyful musical adaptation of The Secret Diary Of Adrian Mole Aged 13 ¾ – the Musical (28 April – 21 May 2022).

Based on Sue T‎ownsend’s best-selling book, this outrageously funny tale of teenage angst and unrequited love features one of the most endearing comedy characters of all time. 

Life’s pretty hard when you’re a misunderstood and spotty teenager living in a cul-de-sac in 80s Leicester. Adrian’s life simply can’t get any worse – until new girl Pandora joins a class and captures his heart. But can Adrian win her love and escape from the school bully and his chaotic family life?

Cast includes James Hameed Be More Chill (The Other Palace, Shaftesbury Theatre) in the title role of Adrian, Ben Williamson-Jones (Spend, Spend, Spend!  At Guildford School of Acting)as Barry, Claire Storey (Malvolio in Twelfth Night Shakespeare Rose Theatre, York) as Grandma, Dominic Gee-Burch (Footloose  UK & International Tour and The Gruffalo’s Child  – Lowry, Salford and Alexandra Palace, London)as Mr Lucas/Mr Scruton, Lauryn Redding (What’s On Stage nominated ‘Bloody Elle: A Gig Musical’ at the Royal Exchange Theatre)as Doreen/Miss Elf, Luke Thornton (Love Letters at Queen’s Theatre Hornchurch)as Nigel, Sally Cheng (Twelfth Night and Christmas Carol at the RSC)as Pandora, Sioned Saunders (Amelie, Criterion Theatre) as Pauline Mole,  Tom Self (Trinity Laban Conservatoire of Music & Dance – Leverhulme Musical Theatre Trust Scholar) asBertand Steve Simmonds (Love Letters at Queen’s Theatre Hornchurch) as George Mole.

James Hameed said: ‘I’m looking forward to bringing this material to a whole new audience, with a fresh new take. It’ll be wonderful returning to the Queens Theatre Hornchurch, I first did a show there back when I was six years old so it’s more like a homecoming!’

From the team behind Priscilla, Queen of the Desert and Made in Dagenham, this new production of a hit West End musical, based on the classic novels which also inspired the iconic ITV sitcom, has an infectious score that will make you laugh whilst tugging at your heartstrings.

‘A show for all ages’ Daily Telegraph

‘Warm and joyful energy’ Evening Standard

The musical will be directed by Douglas Rintoul assisted by Adam Dear with Musical Direction by Tom Self and Choreography from Sundeep Saini, Set & Costume Design is by Alfie Heywood, Lighting Design by Sherry Coenen, Sound Designer by Chris Murray with Accent Coaching from Charmian Hoare.

Director Douglas Rintoul said: ‘We’re excited to get started on this hugely enjoyable, hilarious, and quintessentially British musical. It’s just what we’ll need this spring, and I can’t think of a better way to end my time here at Queens Theatre Hornchurch. We’ve put together a top tea, (you’ll recognise many from other hit musicals and pantos at the Queen’s who are stoked about bringing one of the UK’s best-loved comedy characters to life. This is going to be a great night out for all generations.’

Tickets are on sale now for this must-see musical for Spring.  Book now and find out more at www.queens-theatre.co.uk. The Theatre will also be providing an Audio Described performance (14 May ) a Dementia Friendly performance (05 May) and a Relaxed Performance (07 May) for more details visit the website.

HAMPSTEAD THEATRE ANNOUNCES CAST & CREATIVE TEAM FOR THE UK PREMIERE OF CHÉ WALKER’S WOLF CUB, RUNNING FROM 8 APRIL UNTIL 7 MAY 2022

Hampstead Theatre is delighted to announce the cast and creative team for the UK premiere of Wolf Cub, running at Hampstead Downstairs from 8 April until 7 May. 

Blending poetic beauty with brutal honesty, Wolf Cub is a visceral odyssey written and directed by Ché Walker.  Making her Hampstead Theatre debut, Atlanta native Clare Latham will perform in this one-person play.  Latham’s previous credits include Fairview (Soho Rep/Theatre For A New Audience, Off Broadway); Danny and the Deep Blue Sea and A Parable (Southwark Playhouse); Blue Surge and Don’t Smoke In Bed (Finborough Theatre).  Television work includes Mr Robot and Suspicion.

Walker is joined by designer, Amy Jane Cook, lighting designer, Bethany Gupwell, sound designer John Leonard, composer Sheila Atim and assistant director Emma Tolleson.

Ché Walker playwright and director ofWolf Cub said:

“I am excited to be creating Wolf Cub with this amazing team of artists.  Clare Latham is an incredible actor that I have had the great privilege of working with over the years.  Clare is from the Southern United States where, Maxine, the fierce heroine at the heart of this odyssey originates from.  I can’t wait to see what she does with the role.”

My eyes turn yellow. Fur springing out all over me and the fangs snapping in my gums…

1980s, America.  Teenage Maxine has teenage problems.  There’s moving from Rural Georgia to Urban Los Angeles with her booze-sodden Dad, there’s high school, boys, drugs, murder, Nicaraguan Contras, CIA, the LA uprising, the Northridge Earthquake…. Not for the faint-hearted or Ronald Reagan.  Blazing through a turbulent coming of age, and now trapped in a country sick with injustice, Maxine’s eyes are yellow, her hands are claws and she has a howl desperate for release…

Ché Walker makes his Hampstead debut.  Previous writing credits include The Frontline and The Lightning Child (both Shakespeare’s Globe), Fleshwound (Royal Court) and Been So Long (Netflix).  Previous directing credits include Been So Long (Young Vic), Klook’s Last Stand (Park Theatre), The Glory of Living (Battersea Arts) and Macbeth (Southwark Playhouse).

***

The world premiere of The Fever Syndrome, Alexis Zegerman’s thrilling portrait of a brilliantly dysfunctionalfamily, begins previews on Hampstead Theatre’s Main Stage on 24 March.  Directedby Roxana Silbert, Hampstead’s Artistic Director, The Fever Syndrome features Lisa Dillon, Jake Fairbrother, Alexandra Gilbreath, Robert Lindsay, Sam Marks, Bo Poraj and Alex Waldmann.  They are joined in the cast by Nancy Allsop and Charlotte Pourret Wythe.  The Fever Syndrome will run until 30 April.   

The Animal Kingdom, Ruby Thomas’ critically acclaimed new play, is currently running at Hampstead Downstairs until 2 April.  Directed by Lucy Morrison, The Animal Kingdom is an observation of family dynamics told with wit and compassion, featuring Paul Keating, Martina Laird, Jonathan McGuinness, Ashna Rabheru and Ragevan Vasan.