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OLIVIER AWARD WINNING TITANIQUE

ANNOUNCES NEW CAST MEMBERS
JOINING THE SHIP OF DREAMS

FROM 10 JUNE 2025

AT CRITERION THEATRE
london.titaniquemusical.com

Friday 2 May, London: Eva Price and Michael Harrison are delighted to announce new cast members joining their Olivier Award Winning splash hit West End musical Titanique from Tuesday 10 June 2025. Tickets to “The West End’s funniest new musical” (Smooth Radio) are currently booking until Sunday 4 January 2026 at london.titaniquemusical.com.

Titanique won the 2025 Olivier Award for Best New Entertainment or Comedy Play.

Joining the ship of dreams from Tuesday 10 June are Luke Bayer (Everybody’s Talking About Jamie, RENT)as Jack, Richard Carson (Les Misérables, Joseph and the Amazing Technicolor Dreamcoat)as Cal, Hiba Elchikhe (The Time Travellers Wife, Aladdin) as Rose, Carl Mullaney (La Cage Aux Folles, Les Misérables) as Ruth, Tosh Wanogho-Maud (Robin Hood – Palladium Pantomime, The Drifters Girl) as The Iceberg and Caitlin Tipping (SIX, Frozen the Musical)asoffstage Understudy.  

They join original West End cast members Darren Bennett as Victor Garber / Luigi, Lauren Drew as Céline Dion, Charlotte Wakefield as Molly Brown, Adrianne Langley, Madison Swan andRodney Vubya as on-stage background vocalists, as well as offstage understudy Freddie King. 

Eva Price and Michael Harrison commented:
“We’re so thrilled by the incredible response Titanique has received from UK audiences. We’re delighted to welcome these brilliant triple threat performers aboard this Summer to bring their extraordinary talent and humour to our unsinkable team!” 
 

★★★★★
The Times, Daily Mail, Sunday Express, Sunday Mirror, Gay Times, London Theatre

When the music of Céline Dion makes sweet Canadian love with the eleven-time Oscar®-winning blockbuster film Titanic, you get Titanique, off Broadway’s most award-winning splash hit that turns one of the greatest love stories of all time into a hysterical musical fantasia.

Want to find out what really happened to Jack and Rose on that fateful night? Just leave it to Céline Dion to enchant the audience with her totally wild take, recharting the course of Titanic’s beloved moments and characters with her iconic song catalogue. Sailing on fierce powerhouse voices in show-stopping performances of such hits as My Heart Will Go On, All by Myself and To Love you More – backed by a full live band – Titanique is a one-of-a-kind theatrical voyage bursting with nostalgia, heart and campy chaos. See you aboard the Ship of Dreams, girlfriends!

Co-written by Tye Blue, Marla Mindelle and Constantine Rousouli, Titanique celebrated its Off-Broadway premiere in June 2022 at Asylum Theater, starring the musical’s co-authors Mindelle and Rousouli as Céline Dion and Jack Dawson. After several sold-out extensions, the musical transferred to the Daryl Roth Theatre on 20 November 2022 where it continues to play until 15 June 2025. As well as New York and London, the musical comedy is currently playing Sydney and Paris.

Titanique is directed by Tye Blue and choreographed by Ellenore Scott. Music Supervision, Arrangements and Orchestrations are by IRNE Award-Winner Nicholas James Connell,Scenic Design for Titanique is by Gabriel Hainer Evansohn and Grace Lauchbacher for Iron Bloom Creative Production; Costume Design is by Alejo Vietti; and Lighting Design is by Paige Seber; and Sound Design is by Lawrence Schober with casting by Pearson Casting CDG.

In addition to its recent Olivier Award wins, Titanique won seven major awards during the 2022/23 theatre season, including three Lucille Lortel Awards, the Off-Broadway Alliance Award for Best New Musical, Las Culturistas’ Culture Award for Best Indoor Performance and two Dorian Awards.

The London production of Titanique is produced by Eva Price and Michael Harrison.

ACORN ANTIQUES THE MUSICAL

TO RETURN TO THE STAGE

FOR ONE NIGHT ONLY

AT MANCHESTER OPERA HOUSE

SUNDAY 2 NOVEMBER

From the genius of Victoria Wood and based on the iconic sketch from her show Victoria Wood As Seen On TV, Hope Mill Theatre are delighted to announce that ACORN ANTIQUES THE MUSICAL will return to the stage for one night only at Manchester Opera House on Sunday 2 November 2025 for a special fundraising concert directed by Hope Mill’s own Joseph Houston and William Whelton with musical direction and supervision by Nigel Lilley and choreography by Sammy Murray.

Tickets on-sale from 10am on Tuesday 6 May.

Come along to Manchesterford, a place full of quaint, old-fashioned shops such as “Acorn Antiques” run by sisters Miss Babs and Miss Berta. They are assisted by business partner Mr Clifford, elderly tea lady Mrs Overall, and two ‘pitiful adolescents’. But before long their cosy world faces a threat from developers, who want to turn their high street into a collection of coffee bars and sexy underwear shops. As the plot unfolds, Miss Babs and Miss Berta are faced with financial woes and family secrets, including a lost triplet sister. Will the innocent antique dealers fight off the developers and a sinister loan shark? Can they find the missing will of their father? And will Miss Berta ever find true love?

This laugh out loud musical parody will be sure to have you rolling in the aisles and toe tapping along…so grab yourself a macaroon and don’t miss this special one-off performance.

Star cast to be announced.

Victoria Wood originally wrote Acorn Antiques as a weekly slot in her sketch show, Victoria Wood As Seen on TV. She based it on the long-running serial Crossroads, and radio soap Waggoners Walk. Taking swipes at soaps with their wobbly sets, overacting, cheesy dialogue and wildly improbable plots. Its premise – the lives and loves of the staff of an antiques shop – lampooned the staples of soap operas: love triangles, amnesiacs, sudden deaths and siblings reunited.

In 2005, Victoria Wood created the musical version, with the intention of giving people a “lovely, happy night in the theatre”. It was directed by Trevor Nunn with choreography by Stephen Mear and opened at the Theatre Royal, Haymarket and had a sellout season. Several key members of the original cast joined the stage production including Julie Walters, Celia Imrie and Duncan Preston – with Victoria Wood alternating with Julie Walters in the role of Mrs Overall.  The show earned several Olivier Award nominations, including Best New Musical and winning Best Supporting Actress in a Musical for Celia Imrie.

The concert will celebrate 10 years of Hope Mill Theatre, with all box office money going towards their Outreach programme, which includes Hope Mill Theatre School, as well as funding a brand-new community space within Hope Mill.

Artistic Director of Hope Mill Theatre, Joseph Houston, said: “In celebration of our 10^th Anniversary and after the success of our previous concert staging’s, Gypsy and NINE, we are thrilled to be bringing ACORN ANTIQUES back to the stage and to its rightful home of Manchester! 20 years ago, ACORN ANTIQUES opened in the West End, starring many of the original cast members, including Julie Walters, Celia Imrie and Victoria Wood herself. In 2007 the show embarked on a tour of the UK with a revised version of the script, directed by Victoria Wood, and it is this version that we are honoured to be bringing back to audiences. Featuring much loved musical numbers including ‘Macaroons’ and ‘Tip Top Tap’ and set against the backdrop of Manchesterford, inside the iconic Acorn Antiques shop, this is a hilarious musical extravaganza and myself and Will are so honoured to be working on it alongside the Victoria Wood Estate.”

Nigel Lilley from the Victoria Wood Foundation and musical director & supervisor said: “Working with Victoria on the tour of Acorn Antiques remains the giggliest rehearsal period I can remember.  Vic was in her element – often working through the night to produce solid gold re-writes, gently giving us daily masterclasses in comic timing, and generally just delighting in those wonderful characters that she’d created so many years before.  I think Vic would be thrilled that we are dusting off our Marigolds and bringing the show back to Manchesterford – where it rightfully belongs!”

ACORN ANTIQUES THE MUSICAL is produced by Hope Mill Theatre.

Website:atgtickets.com/shows/victoria-woods-acorn-antiques-the-musical/opera-house-manchester

Facebook: @HopeMillTheatre

X: @hopemilltheatre

Instagram: @hopemilltheatre

LISTINGS INFORMATION

Manchester Opera House

3 Quay St,

Manchester

M3 3HP

Tickets from: from £35

Box Office: 0333 009 6690

EVERYMAN THEATRE, LIVERPOOL – UNTIL SATURDAY 17TH MAY 2025

REVIEWED BY MIA BOWEN

4****

Nathan Powell’s debut play, ‘Takeaway’, is the latest home-grown hit gracing Liverpool’s Everyman Theatre, running until 17 May 2025. This heartfelt and humorous piece explores themes of family, identity, and community in Toxteth, Liverpool. Directed by Amanda Huxtable, the production examines the intergenerational dynamics of a British Jamaican family as they navigate the challenges posed by gentrification and the need for cultural preservation.

Set in Hylton’s Caribbean takeaway, a beloved family-run café located in the heart of Liverpool 8, the play centres around Shelly (Bene Sebuyange). As the youngest daughter, Shelly seeks to establish her own identity in the shadow of her mother, Carol (Phina Oruche), who upholds traditional values. This familial tension extends to Shelly’s older sister, Browning (Adi Alfa), her white boyfriend, Richard (Bill Caple), and the cheerful chef of the takeaway (Wayne Rollins). The narrative unfolds against a backdrop of community unrest, turbulence times and the looming threat of luxury developments, highlighting the conflict between progress and heritage. Amid these challenges, the family must contend with new pressures. This production skilfully blends humour with poignant social commentary.

It was clear that the performance resonated with the audience on a bustling press night, as theatregoers responded warmly to the characters. During the press night, it was revealed that three out of the five actors were making their stage debut, one of whom was Adi Alfa. Her performance that evening was particularly striking; she effectively embodied a strong character with a deep connection to her heritage. In addition, Wayne Rollins provided delightful comic relief and demonstrated genuine care for the family. As the chef and a long-standing member of the takeaway staff, Rollins brought both humour and heartfelt warmth to the narrative, significantly enriching the story overall.

Georgia Wilmot’s design exuded a genuinely authentic vibe. Takeaway presents a captivating blend of humour and drama, showcasing the intricacies of family dynamics and the evolution of communities. With its relatable characters and relevant themes, it promises a truly engaging theatrical experience.

This is the first of three new productions written by Powell for The Liverpool Everyman and Playhouse in 2025. He places a strong emphasis on new writing, collaborations, diversity, inclusion, and the development of artists.

Brighton Fringe, The Level – until 1^st June 2025

Reviewed by Heather Chalkley 

3***

The excitement builds as we sample the delicious festival food and drink, people of all ages waiting in anticipation. This is our chance to get a glimpse of what is on offer under the big top at Brighton Fringe. A circus cabaret like no other! 

Revel Puck Circus is the epitome of what Fringe festivals are all about, providing an opportunity for people near and far to showcase their burgeoning talent; to entertain us in a uniquely Brighton fashion!

The ring master Nancy hosts The Rucus with lively introductions, a splash of comedy and a sales pitch for each act.

Expect the unexpected. From the quietude of Bhemoth, incorporating their flowing costume into this alternative juggling act to full bodied cabaret She’s B.Hind You, wearing the highest heels you will ever see balancing upside down on a chair (and not much else)!

Appreciate the courage and confidence. That includes the audience! InThisTogether invites you to participate in their collaborative human body balancing performance. It is quite beautiful to watch. The fun and sisterhood of The Greatest Show on Earth and high energy Neon Sun Roller Circus give you a glimpse into what it feels like to put yourself out there!

The finale performance from The Nose Dive Assembly brought the audience to a climax with their art, jeopardy and physicality, inside giant hoops on a floating stage! 

We are entertained by a medley of acts to tempt you into the festival. There is something for everyone; come drink it in, get into the spirit, whether you want a glass of milk or a full-bodied merlot!

FULL CAST AND CREATIVE TEAM ANNOUNCED FOR

JAMIE LLOYD’S PRODUCTION OF

TIM RICE AND ANDREW LLOYD WEBBER’S

EVITA

AT THE LONDON PALLADIUM

SUMMER 2025

Michael Harrison for Lloyd Webber Harrison Musicals and Jamie Lloyd forThe Jamie Lloyd Company today announce the full cast and creative team for Tim Rice and Andrew Lloyd Webber’s Evita. The production, directed by Jamie Lloyd, opens at The London Palladium on Tuesday 1 July, with previews from 14 June, and runs until 6 September 2025.

James Olivas will play Juan Perón opposite the previously announced Rachel Zegler (Eva Perón) and Diego Andres Rodriguez (Che), joined by Aaron Lee Lambert as Agustín Magaldi and Bella Brown as The Mistress / Alternate Eva.

The Ensemble are Carl Au, Gabriela Benedetti, Shakara Brown, Damian Buhagiar, Kyeirah D’Marni, Sally Frith, DeAngelo Jones, Lucas Koch, Natasha Leaver, Michael Lin, Dianté Lodge, Louis Mackrodt, Mireia Mambo, Mia Mullarkey, Perry O’Dea, Alysha Sontae, Monica Swayne, Jon Tsouras and Harrison Wilde, with Myla Carmen, Barney Hudson, Nathan Louis-Fernand, Kirsty Anne Shaw, Ricardo Spriggs and Regan Bailey Walker as Swings. Auora Breslin, Lois Haidar, Siena Merilind-Wu and Ffion Rosalie Williams share the role of The Child.

The creative team are Fabian Aloise (Choreographer); Soutra Gilmour (Set and Costume Designer); Alan Williams (Music Supervisor and Musical Director); Jon Clark (Lighting Designer); Adam Fisher (Sound Designer); Will Burton CDG (Casting Director); Jim Carnahan (US Casting Director); Carole Hancock (Wigs, Hair and Make up Designer); Harry Blumenau (Children’s Casting/ Children’s Administration); Kate Waters (Fight Director); Lily Mollgaard (Props Supervisor); Ingrid Mackinnon (Intimacy Coordinator); Rupert Hands (Associate Director); Amy Thornton (Associate Choreographer); Cory Hippolyte (Resident Director); Paris Green (Resident Choreographer); Rachel Wingate (Associate Set Designer); Kelsh B-D (Associate Sound Designer); Lucía Sánchez Roldán (Associate Lighting Designer); Rachel Woodhouse (Costume Supervisor); Harry Barker (Assistant Sound Designer); Andy Barnwell and Rich Weedon for BW Musicians (Orchestral Management)

For Evita, there will be 5,000 tickets available across the run at £25 exclusively for under 30s, key workers and those receiving government benefits. These tickets will be available across all levels of the theatre, and go on sale at a later date. Further information to be announced.

EVITA

Lyrics by Tim Rice; Music by Andrew Lloyd Webber

Directed by Jamie Lloyd

The London Palladium

Saturday 14 June – Saturday 6 September 2025

“The truth is I never left you”

Tim Rice and Andrew Lloyd Webber’s legendary Evita returns to the West End, reimagined by the visionary award-winning director Jamie Lloyd.

Featuring an iconic score including Don’t Cry For Me Argentina, Oh What A Circus, Another Suitcase in Another Hall, and the Oscar-winning You Must Love Me.

Fuelled by ambition and passion, Eva Perón rose from poverty to become the most powerful woman in Latin America. A symbol of hope to many Argentines, her star shone brightly as she captured the nation’s heart and divided its soul. 

Produced by Michael Harrison for Lloyd Webber Harrison Musicals and Jamie Lloyd for The Jamie Lloyd Company by arrangement with The Really Useful Group Ltd.

Jamie Lloyd originally directed Evita at Regent’s Park Open Air Theatre as part of their 2019 season.

Instagram:          @OfficialEvita

Facebook:           /EvitaTheMusical

TikTok:                 @EvitaMusical

Rachel Zegler makes her West End debut as Eva Perón

Theatre credits include: Romeo + Juliet (Circle in the Square Theatre, Broadway).

Film credits include: Snow White, Spellbound, Y2K, The Hunger Games: The Ballad of Songbirds and Snakes (People’s Choice Award for Action Movie Star of the Year); Shazam! Fury of The Gods and West Side Story (NBR Award for Best Actress; Golden Globe Award for Best Actress in a Comedy or Musical).

Diego Andres Rodriguez makes his West End debut as Che

For The Jamie Lloyd Company: Sunset Blvd. (St. James Theatre, Broadway).

James Olivas | Juan Perón

Theatre credits include: American Idiot (Deaf West, Los Angeles); Destiny of Desire (The Old Globe, San Diego); Kinky Boots (Hollywood Bowl, Los Angeles); Secret Garden (Ahmanson, Los Angeles). 

Television credits include: American Horror Stories (FX); Encore! (Disney+).

Voice over credits include: Bad Kids of Crestview Academy (Momentum Pictures). 

Workshop credits include: Boop! (Broadhurst, Broadway).

Aaron Lee Lambert | Agustín Magaldi

Theatre credits include: Hamilton (Victoria Palace); Unicorn (Other Palace); Sister Act (Curve Leicester/UK Tour); Sunset Boulevard (London Coliseum), Miss Saigon (Prince Edward); Sweeney Todd (London Coliseum); Urinetown (St James, Broadway/ Apollo); Sister Act (Aberystwyth Arts); Next Thing You Know (Landor); Shrek (Theatre Royal Drury Lane); Sister Act (The London Palladium); Show Boat (Carnegie Hall); Meet John Doe (Goodspeed Opera House); But the Giraffe/Brundibar (Yale Rep/ New Victory, Off-Broadway).

Television credits include: Sing: Ultimate A Cappella (Sky 1); Bernstein – Stage and Screen (BBC Proms).

Film credits include: Miss Saigon: 25^thAnniversary Performance (Universal).

Concert credits include: Danny Elfman’s Music from the Films of Tim Burton (Royal Albert Hall/ UK Tour); All That Echoes (International Tour).

Training: Yale University & Royal Conservatoire of Scotland.

Bella Brown | The Mistress / Alternate Eva

Theatre credits include: Hadestown (Lyric); Stephen Sondheim’s Old Friends (Gielgud); Rock Follies (Minerva, Chichester).

Commercial credits include: E.ON (Familia).

Training: ArtsEd.

Carl Au | Ensemble

For The Jamie Lloyd Company: Sunset Blvd. (Savoy).

Theatre credits include: Hello, Dolly! (Cornelius Hackl); Cabaret (Lido 2 Paris); Kiss Me Kate (Barbican); Anything Goes (Barbican/ UK Tour); South Pacific (Chichester Festival); Aladdin (Cambridge Arts); High Fidelity (Turbine); Cilla The Musical (UK Tour); The Ostrich Boys (Belgrade B2); Bright Phoenix (Liverpool Everyman); Jersey Boys (Prince Edward); Bells Are Ringing (Union); The Fantasticks (Duchess); Dance: Radio (York Theatre Royal/ Roundhouse); A Christmas Carol (Birmingham Repertory); High School Musical (Hammersmith Apollo); Pendragon (UK Tour/Japan Tour); Sinking Water (Theatre Royal Stratford East).

Film credits include: The Magician’s Garden (Bohemian Pictures).

Television credits include: Waterloo Road, Doctors, Till Death Us Do Part, Casualty (BBC).

Other credits include: Feather Boy (Blacklist Entertainment); Peter & The Wolf (ACT Productions). 

Training: ArtsEd (Stephen Sondheim Prize for Student Performer of the Year). 

Gabriela Benedetti | Ensemble

Theatre credits include: Hamilton (UK & Ireland Tour); Cabaret (Playhouse); Legally Blonde (Regent’s Park Open Air).

Training: Urdang Academy.

Shakara Brown | Ensemble

Theatre credits include: Thriller Live (Lyric/ International Tour).

Television credits include: Dance 100 (Netflix); Eurovision 2023; The National Lottery’s Big Night of Musicals; The National Lottery’s New Years Bash (BBC).

Concert credits include: Diversity Tour (UK Tour); FIFA World Cup Opening Ceremony; FIFA World Cup Closing Ceremony (Al Bayt Stadium).

Commercial credits include: We Buy Any Car; Smirnoff; Married at First Sight (Channel 4); Sky Mobile (Sky).

Training: Liverpool Institute of Performing Arts & London Studio Centre.

Damian Buhagiar | Ensemble

Theatre credits include: My Fair Lady; West Side Story (Curve, Leicester); Sister Act (Eventim Apollo/ UK Tour); Grease (UK Tour); Mamma Mia! (Novello); Thoroughly Modern Millie (UK Tour); In the Heights (Southwark Playhouse/ King’s Cross); Bugsy Malone (Lyric); Jersey Boys (UK Tour). 

Television credits include: Gavin and Stacey: The Finale (BBC One).

Training: ArtsEd.

Kyeirah D’Marni | Ensemble

Theatre credits include: Hamilton (UK & Ireland Tour/ Hamburg); Cinderella (Opera House, Manchester); Aladdin (Pomegranate Theatre, Chesterfield).

Television credits include: Go For It Game Show (ITV).

Other credits include: Carnival Cruise Lines (Carnival Entertainment); P&O Australia (Grayboy Entertainment); NFL Opening Ceremony (Mass Talent); ISTD Exchange (Vietnam).

Training: Performers College.

Sally Frith | Ensemble

Theatre credits include: Chariots of Fire (Sheffield Crucible); Cabaret (KitKat Club); Pippin (Theatre Royal Drury Lane); CATS (International Tour); Legally Blonde (Curve, Leicester/ UK Tour); Spamalot (Mercury, Colchester); Spend Spend Spend (Union); Mamma Mia! (International Tour).
Television credits include: Doctors (BBC).

Workshop credits include: Jekyll and Hyde (Lambert Jackson).

DeAngelo Jones | Ensemble

Theatre credits include: Hamilton (UK/ Ireland Tour); The Bodyguard (Ronacha, Vienna); Kiss Me Kate (Opera North/ London Coliseum).

Television credits include: Bad Education (BBC).

Workshop credits include: Why Am I So Single? (Garrick).

Voiceover credits include: Supa Team 4 (Netflix).

Training: The BRIT School & Bird College.

Lucas Koch | Ensemble

Theatre credits include: Kiss Me, Kate (Barbican); Crazy for You (Gillian Lynne); Choir of Man (Arts); My Fair Lady (Curve, Leicester); Million Dollar Quartet (Barn).

Workshop credits include: La La Land (Lionsgate); Bliss (ATG).

Composing credits include: Lapin.

Training: Mountview Academy of Theatre Arts.

Natasha Leaver | Ensemble

Theatre credits include: Disaster: A 70s Disaster Movie Musical (Charing Cross); Motown: The Musical (Shaftesbury); The Beggar’s Opera (International Tour); Man of La Mancha (London Coliseum); Wonderful Town (Opera Holland Park); Hamilton (Victoria Palace); A Funny Thing That Happened On The Way To The Forum (Lido2Paris, Paris); Why Am I So Single (Garrick).

Concert credits include: WizKid (O2 Arena). 

Michael Lin | Ensemble

For The Jamie Lloyd Company: Sunset Blvd. (Savoy).

Theatre credits include: The Red Shoes (Royal Shakespeare Company); Hello Dolly!; Wizard of Oz (The London Palladium); 42nd Street (Théâtre du Châtelet, Paris); Billy Elliot, Grease (Curve, Leicester); Anything Goes (Barbican); White Christmas (Dominion); Oklahoma!; Forty Years On (Chichester Festival); West Side Story (Royal Exchange, Manchester); The Rink (Southwark Playhouse); Thoroughly Modern Millie (Kilworth House); Annie (UK Tour); Anything Goes (Crucible/ UK Tour); Thriller Live! (UK & European Tour); Pinocchio (National); Aladdin (Hackney Empire).

Concert credits include: Your Lie in April (Theatre Royal Drury Lane).

Other credits include: Disneyland Hong Kong; Hong Kong Tap Festival.

Training: Laine Theatre Arts.

Dianté Lodge | Ensemble

Theatre credits include: MJ The Musical (Prince Edward); Matilda (Cambridge); Peter Pan (The London Palladium); Carousel (Kilworth House); Best of West End (Royal Albert Hall); Coppelia (Cockpit).

Film credits include: Snow White (Disney).

Television credits include: Royal Variety Performance 2020 (ITV).

Workshop credits include: Burlesque; Play On!; Sinbad; KIN.

Music video credits include: Hip Neck Spine (Daphne Guinness); Twisted & Black British (V V Brown).

Movement director/choreographer credits include: Remembrance Monday (Seven Dials Playhouse); Charity (BFI).

Training includes: Laine Theatre Arts.

Louis Mackrodt | Ensemble

Theatre credits include: Hamilton (Victoria Palace); Robin Hood (The London Palladium); The Artist (Theatre Royal Plymouth); Treason (The London Palladium/ UK Tour); 42 Balloons (Vaudeville); Guys and Dolls (Theatre Marigny, Paris); The Producers (Royal Exchange, Manchester); Bhangra Nation (Birmingham Rep); Alonso in Lewis (King’s Head/ Edinburgh Festival); Time Flies (Theatre Royal Drury Lane); Peter Pan (Churchill/ Hull New).

Film credits include: Maersk’s Together All the Way Campaign (Copenhagen Film Company).

Television credits include: Bridgerton, The Witcher (Netflix); National Lottery’s Big Night of Musicals (BBC).

Workshop credits include: The Red and the Black; The Witches of Eastwick; 42 Balloons; Babies; Icon The K Pop Musical.

Commercial credits include: Liberty Mutual; Tropics Skincare; Herbalife.

Training: Laine Theatre Arts.

Mireia Mambo | Ensemble

For The Jamie Lloyd Company: Sunset Blvd. (Savoy).

Theatre credits include: A Chorus Line (Sadlers Wells/ Curve, Leicester/ UK Tour); Newsies (Troubadour Wembley Park); West Side Story (Curve, Leicester); The Bodyguard; Sister Act (National Spanish Tour); Hairspray (London Coliseum); Evita; Ragtime; A Midsummer Night’s Dream (Regent’s Park Open Air); Motown The Musical (Shaftesbury); Scaramouche (Teatre Victoria, Barcelona); Charlie and The Chocolate Factory (Theatre Royal Drury Lane).

Film credits include: Aladdin (Walt Disney Pictures).

Television credits include: Missing You; KAOS (Netflix); Zorro (Amazon); Servir y Proteger (Plano A Plano, TVE).

Mia Mullarkey | Ensemble

Theatre credits include: Roman Holiday (Theatre Royal, Bath); Hamilton (UK & Ireland Tour).

Training: Arts Ed.

Perry O’Dea | Ensemble

Theatre credits include: Mrs Doubtfire (Shaftesbury); Guys and Dolls (Bridge); Anything Goes (Barbican/ UK Tour); Joseph and the Amazing Technicolor Dreamboat (The London Palladium); Motown-The Musical (UK Tour); Young Frankenstein (Garrick); Grease (Curve, Leicester); Chitty Chitty Bang Bang (West Yorkshire Playhouse/ UK Tour); Oklahoma!, Joseph and his Amazing Technicolour Dreamcoat, Blood Brothers, Evita (UK Tour).

Film credits include: Blitz (Apple TV); Wonka (Warner Bros Pictures).

Other credits include: Ross Noble El Hablador Tour (UK Tour).

Workshop credits include: Revived musical (Bristol Old Vic).

Training: Arts Ed.

Alysha Sontae | Ensemble

Theatre credits include: Footloose (Southwark Playhouse); Cinderella (Fairfield Halls).

Concert credits include: Little Simz – The BRIT Awards (The O2 Arena).

Training: The BRIT School & Urdang Academy.

Monica Swayne | Ensemble

Theatre credits include: Frozen (Theatre Royal Drury Lane); The Light In The Piazza (Royal Festival Hall/ LA Opera/ Lyric Opera of Chicago), Evita (Regent’s Park Open Air); Follies (National); Me & My Girl (Chichester Festival); Aladdin (Prince Edward); Der Rosenkavalier (Royal Opera House); Mary Poppins (UK Tour); Follies In Concert (Melbourne Recital Centre); Fiddler On The Roof (Australian Tour), Last Man Standing (Melbourne Theatre Company), Nice Work If You Can Get It, Anything Goes and Dirty Rotten Scoundrels (State Theatre, Melbourne); Wicked (Australasian 10th Anniversary Tour); Mary Poppins (Australia & New Zealand Tour); West Side Story (Australian Tour).

Jon Tsouras | Ensemble

For The Jamie Lloyd Company: Sunset Blvd. (Savoy).

Theatre credits include: MJ The Musical (Prince Edward); Moulin Rouge! (Piccadilly); Be More Chill (Other Palace); Hairspray, My Fair Lady (UK Tour); Kiss Me, Kate (Welsh National Opera/ UK Tour); Dirty Rotten Scoundrels, Legally Blonde (Savoy); A Chorus Line (The London Palladium); Jesus Christ Superstar (National Arena Tour); Evita (Regents Park Open Air); White Christmas (The Lowry); Priscilla Queen Of The Desert (Palace); Lord Of The Rings (Theatre Royal Dury Lane); White Christmas (Theatre Royal Plymouth/ Mayflower, Southampton); Saturday Night Fever (European Tour); Gigi, The Hunchback of Notre Dame (Stratford Festival, Canada); Starlight Express (Bochum, Germany).

Concert credits include: My Fair Lady in Concert (BBC Proms/ Royal Albert Hall).

Television credits include: EastEnders (BBC).

Harrison Wilde | Ensemble

For The Jamie Lloyd Company: Sunset Blvd. (Savoy).

Theatre credits include: Robin Hood, The Wizard of Oz (The London Palladium); Kiss Me, Kate (Barbican); Cats, Chicago the Musical (International Tour); Mamma Mia! (Novello).

Training: Diverse Choreography Dubai & Laine Theatre Arts.

Myla Carmen | Swing

Theatre credits include: Jesus Christ Superstar (UK Tour); The Lion, The Witch and The Wardrobe (Gillian Lynne); The Queen of Hearts (Greenwich); West End Spectacular (ExCel London).

Film credits include: The Secret Santa Project (Sea High Productions).

Television credits include: The Crown (Netflix).

Commercial credits include: Lego; BP Rewards.

Training: Italia Conti, CAT Scheme & The Rhythm Studio.

Barney Hudson | Swing

Theatre credits include: Hamilton (Victoria Palace); Everybody’s Talking About Jamie (Sheffield, Crucible); Bugsy Malone (Lyric Hammersmith); Last Night a DJ Saved My Life (UK Tour); Cinderella (Barclaycard Arena).

Television credits include: X Factor, Britain’s Got Talent (ITV); FA Cup Final (BBC).

Nathan Louis-Fernand | Swing

Theatre credits include: Magic Mike Live (Hippodrome); Hamilton (Victora Palace); & Juliet (Shaftsbury); The Lion, The Witch and The Wardrobe (Bridge); The Lion King (Lyceum); Sleeping Beauty (Hackney Empire); Carousel (Opera North); Man in the Mirror (UK Tour); Oliver! (Gielgud).

Film credits include: WONKA (Warner Brothers Pictures).

Concert credits include: Jingle Bell Ball (O2 Arena); KSI Summertime Ball (Wembley Stadium); Team GB Homecoming (SSE Arena); The Blast Off Tour (UK Arena Tour).

Music video credits include: Diplo & Damien Lazarus Ft. Jungle – Don’t Be Afraid (Higher Ground); Jesy Nelson Ft. Nicki Minaj – Boys (Polydor/ Republic Universal); Lost Under Heaven (KZ Creatives); Scott Vlassis – Moonlight (Polydor); Nuuxs – Snowflakes (Goldun Egg); Swedish House Mafia & Connie Constance – When Heaven Takes You Home (SSA Recording).

Assistant choreographer credits: Andro Earth 360 Degrees (KZ Creatives).

Other credits include: UEFA 2020m Final Opening (Wembley Stadium); Street Dancer 3D (Birdgang Ltd).

Training: Urdang Academy, Sylvia Young Theatre School & Birdgang Ltd.

Kirsty Anne Shaw | Swing

For The Jamie Lloyd Company: Sunset Blvd. (Savoy).

Theatre credits include: Tina – The Tina Turner Musical (Aldwych); 9 to 5 The Musical (Daegu Opera House/ UK Tour); Cinderella (Alban Arena); Beauty and the Beast (New Royal Portsmouth); West Side Story – BBC Shakespeare Live (Royal Shakespeare Company); Peter Pan (Imagine). 

Film credits include: Wicked (Universal); The York Witches Society (Vertical Entertainment).

Ricardo Spriggs | Swing

Theatre credits include: Aladdin (Prince Edward/ UK & Ireland Tour); 9 to 5 The Musical (Savoy / UK Tour/ Daegu, South Korea); Mamma Mia!, Chicago (Royal Caribbean Cruise Line)
television credits include: Disney’s Broadway Hits (Disney+); Children In Need (BBC)
training: Leicester College of Performing Arts.

Regan Bailey Walker | Swing

Theatre credits include: Into The Woods, Sister Act (ArtsEd).

Television credits include: EastEnders (BBC).

Training: ArtsEd. 

Tim Rice

Tim Rice has worked in music, theatre and films since 1965 when he met Andrew Lloyd Webber, a fellow struggling songwriter. Rather than pursue Tim’s ambitions to write rock or pop songs they turned their attention to Andrew’s obsession – musical theatre. Their first collaboration, The Likes Of Us, did not set the musicals world alight, but their next three works together did – Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar and Evita.

Tim has since worked with other distinguished composers such as Elton John (The Lion King, Aida), Alan Menken (Aladdin, King David, Beauty and the Beast), Bjorn Ulvaeus and Benny Andersson (Chess), and Stuart Brayson (From Here To Eternity). He has also written with Freddie Mercury, Burt Bacharach, Graham Gouldman, Gary Barlow and Rick Wakeman among others. Many of his musicals continue to play around the world in a huge variety of productions, big and small.

In 2024 Tim toured England (22 towns/cities) to present an evening of his songs, mercifully performed by top singers and musicians rather than by him, to which he added reminiscence and comment, recalling their creation, success (or rejection) and the joy (usually) of working with great composers. The show, entitled My Life In Musicals, did so well that it is to be repeated in 2025, this time taking in Wales, Scotland and Ireland too.

Sir Tim’s interests beyond music, film and theatre include cricket and he founded his own team in 1973. Heartaches CC has now played over 750 matches and been on playing tours to the USA, Russia, France, Estonia, Hungary, Germany and South Africa. He was President of the world’s most famous cricket club, MCC, in 2002.

He has recently recorded a series of talks for BBC Maestro on Writing and Performing in Musical Theatre. He writes and presents a podcast (entitled Get Onto My Cloud) about his sixty-year career– playing hits and flops, out-takes and number ones.

He dedicates considerable time to several British educational institutions and charities, many connected with sport for disadvantaged children. He is a patron of the Bob Willis Fund (along with Bob Dylan!), an enterprise inspired by the late great English cricketer, dedicated to raise prostate cancer awareness.

He crops up here and there in all branches of the media drawing on his extensive knowledge of the history of popular music. He has won several awards, mainly for the wrong thing or for simply turning up, but since you ask: 1 Emmy, 5 Grammys, 3 Tonys and 3 Oscars, making him an EGOT. His shows have spent more weeks on Broadway than those of any other British lyricist. He was knighted by Her Late Majesty the Queen in 1994. Despite hints, he is not retiring just yet.

Andrew Lloyd Webber

Andrew Lloyd Webber has composed the scores of some of the world’s most famous musicals. Lloyd Webber has had shows running across the world for decades, including continually in London’s West End for 50 years.

When Sunset Boulevard joined School of Rock, CATS, and The Phantom of the Opera he equalled Rodgers & Hammerstein’s record of four shows running simultaneously on Broadway. He is one of the select group of artists with EGOT status, having received Emmy, Grammy, Oscar, and Tony Awards. 

Lloyd Webber owns six London theatres including the iconic London Palladium and Theatre Royal, Drury Lane. Reopened in July 2021, the latter was completely restored and renovated at a cost of over £60 million. It was one of the biggest projects ever undertaken by a private theatre owner in recent times. His mantra is that every penny of profit made from his theatres is ploughed back into the buildings. 

Lloyd Webber is passionate about the importance of musical education and diversity in the arts. The Andrew Lloyd Webber Foundation provides 30 performing arts scholarships every year for talented students with financial need and supports a range of projects such as the Music In Secondary School Trust and commissioning research into diversity in theatre. 

Andrew Lloyd Webber has composed music for globally significant moments, including Olympic ceremonies and World Cup celebrations. He has been asked to compose for many royal occasions, the most recent being “Make a Joyful Noise”, an Anthem for the Coronation of King Charles III. 

Andrew Lloyd Webber was knighted in 1992, created an honorary life peer in 1997, and made a Knight Companion of the Most Noble Order of the Garter by King Charles III in 2024. 

Jamie Lloyd directs. His credits for The Jamie Lloyd Company include Much Ado About Nothing and The Tempest (Theatre Royal Drury Lane), Romeo & Juliet (Duke of York’s Theatre), Sunset Blvd. (St. James Theatre, New York/Savoy Theatre – winner of seven Olivier Awards including Best Director and Best Musical Revival; Evening Standard Theatre Award for Best Director), The Effect (National Theatre/The Shed, New York), A Doll’s House (Hudson Theatre, New York – nominated for six 2023 Tony Awards including Best Direction of a Play and Best Revival of a Play), The Seagull (Harold Pinter Theatre), Cyrano de Bergerac (Playhouse Theatre/Harold Pinter Theatre/Brooklyn Academy of Music, New York – Olivier Award for Best Revival; Critics’ Circle Theatre Award for Best Director), Betrayal (Harold Pinter Theatre/Bernard B. Jacobs Theatre – nominated for four 2021 Tony Awards including Best Direction of a Play and Best Revival of a Play; Critics’ Circle Theatre Award for Best Director), Pinter at the Pinter (Harold Pinter Theatre), The Maids, The Homecoming, The Ruling Class, Richard III, The Pride, The Hothouse and Macbeth (Trafalgar Studios).

LISTINGS

The London Palladium

Box Office: evitathemusical.com / 020 3925 2998

Saturday 14 June – Saturday 6 September 2025

Rachel Zegler is not scheduled to perform on Monday 14 July, Monday 28 July, Monday 11 August and Monday 25 August 2025. The role of Eva Perón for these performances will be played by Bella Brown.

Access Performances

Audio Described Performance:   Saturday 12 July at 2:30pm

Captioned Performance:               Saturday 9 August at 2:30pm

BSL Performance:                           Saturday 23 August at 2:30pm

Cloudburst Productions today announces the London run of A Manchester Anthem at Riverside Studios (Studio 3), following its highly successful sell-out seasons at the Edinburgh Fringe Festival 2023 and VAULT Festival 2023. 

Winner of the Pleasance Pick of VAULT Festival Award, ‘Show of the Week’ winner, and Off Fest nominee, Nick Dawkins’A Manchester Anthem, opens at Riverside Studios on 20 August, with previews from 19 August, and runs until 13 September, following a limited run at Hope Mill Theatre, Manchester, opening 31 July, with previews from 29 July, running until 2 August. Izzy Edwards will direct Tom Claxton who will reprise his role as Tommy in this hit solo show.

Nick Dawkins said today, “”I’m thrilled to be bringing this story to life with such a talented team of wonderful people. A Manchester Anthem hopes to encapsulate the intense excitement that comes with deciding to leave your hometown, as well as the fear that comes with that decision about how it will change and shape who you are. It’s a look at growing up and the family, friends and favourite songs we use to define ourselves. It’s funny, it’s heartfelt, and, I think, really has something in it for everyone. I can’t wait for audiences to join Tommy on this unforgettable night out”.

Cloudburst Productions Ltd presents

A MANCHESTER ANTHEM

by Nick Dawkins

Original Direction: Charlie Norburn; ProductionDirector: Izzy Edwards; Designer: Anna Niamh Gorman; Performer: Tom Claxton

Hope Mill Theatre, Manchester

29 July to 2 August

Riverside Studios, London

19 August to 13 September

Flashing lights. Sticky floors. Dancing shoes. Tommy, a young working-class Mancunian, has been accepted into Oxford. He’s the first in his family to go to uni – the first on his street in fact… Join him on his last big night in Manchester before leaving the city he loves and disappearing South. Expect humour, heart and a night out to remember.

Izzy Edwards is a director and dramaturg currently working in creative development at Sonia Friedman Productions. As a freelance artist, she has developed work in both the US and UK with artists including Lauren Gunderson, Punchdrunk, and Mark Ravenhill. Her credits include anthropology (Dramaturg, Hampstead Theatre), The Time Traveller’s Wife (Assistant Director, Storyhouse Chester), and La Boheme (Associate Director, King’s Head Theatre).

Nick Dawkins is an award-winning playwright and dramaturg with an MA in Writing for Stage and Broadcast Media from The Royal Central School of Speech and Drama. A Manchester Anthem has won multiple awards including Pleasance Pick of the VAULT Festival, Show of the Week VAULT Festival and Broadway Baby’s Bobby Award. His work has also been performed at The Space, Southwark Playhouse, The Vaults and The Pleasance Theatre.

Tom Claxton reprises his role of Tommy. His theatre credits include, Romeo & Juliet (Regent’s Park Open Air Theatre), Kick, Heart of Hammersmith (Lyric Hammersmith). His film credits include Boys in the Boat. His television credits include Domino Day, One Day, SAS: Rogue Heroes, Doctors, and Still So Awkward. 

A MANCHESTER ANTHEM

LISTINGS

Hope Mill Theatre

113 Pollard Street

Manchester, M4 7JA

Box Office: 0161 275 9141 / [email protected]

https://hopemilltheatre.co.uk

Tickets available here: https://hopemilltheatre.co.uk/event/manchester-anthem/

Age Guidance: 15+

TICKETS

£23.50, concession £21.50.

29 July – 2 August

Performances Tuesday to Friday at 7:30pm

Performance on Saturday 2:30pm and 7:30pm

Riverside Studios (Studio 3)

101 Queen Caroline Street, Hammersmith

London W6 9BN

Box Office: 020 8237 1010 / [email protected]

https://riversidestudios.co.uk

19 August – 13 September

Tickets available here: https://riversidestudios.co.uk/see-and-do/a-manchester-anthem-174673/

Age Guidance: 15+

TICKETS

From £20.00, concession £18.

Performances Monday to Wednesday at 7:45pm

Performances on Thursdays at 2pm and 9pm

Performances on Fridays at 7pm

Performances on Saturdays 1:45pm and 6:15pm

The Barricade Boys will headline The Big Free Fringe Weekend on Guildford High Street, 9 – 10 August 2025

The Big Free Fringe Weekend, a weekend of free, family-friendly events organised by Guildford Fringe, celebrating local community and culture, will return to Guildford High Street on Saturday 9 and Sunday 10 August, and it is set to be bigger and better than ever.

The weekend will kick off with an open-air evening performance at 6.30pm by internationally renowned theatrical vocal group The Barricade Boys. Fresh from their acclaimed runs on Broadway and in the West End, the group will perform from the iconic Guildhall Balcony, with audience members invited to bring a blanket or seat to enjoy the show.

From 12 – 4pm on Sunday, Guildford High Street will come alive with a wide range of free family entertainment, including street theatre, live music, arts and crafts, and delicious street food.

All events are completely free to attend, with donation points available for anyone who is able to contribute to keep the Fringe going. Guildford High Street will be closed to traffic from Saturday evening through to Sunday evening to make way for the weekend’s events. The weekend will be supported by Medirek, who will be supplying first aid services.

The Big Free Fringe Weekend is just one of many Guildford Fringe events happening in 2025. Others recently announced include an inaugural Guildford Comedy Festival (7-11 July), and Guildford Fringe Festival, the town’s largest independent arts festival, which this year runs in the Autumn (5-20 September). Set up in 2013, The Fringe is an open access, multi-arts festival. Rounding off this year, Guildford Fringe’s pantomimes are now on sale, with tickets selling fast. For family audiences, comes an enchanting new production of Cinderella at Godalming Borough Hall from 13-28 December. For grown-ups only, embark on an uproarious Adult Panto adventure with Jack and his Giant Stalk at the Back Room of the Star Inn from 20 November-10 January.

To find out more about the free Barricade Boys performance on Saturday 9 August, visit guildfordfringefestival.com/events/the-barricade-boys-on-the-balcony

To find out more about the free Family Fun Day on Sunday 10 August, visit guildfordfringefestival.com/events/fringe-family-fun-day

CAST ANNOUNCEMENT

MAX RUNHAM AND TENDAI HUMPHREY SITIMA 

STAR IN THE WORLD PREMIERE OF BRIXTON CALLING

INSPIRED BY SIMON PARKES’ BEST-SELLING MEMOIR LIVE AT THE BRIXTON ACADEMY

AN ELECTRIC NEW PLAY WITH LIVE MUSIC 

WRITTEN BY ALEX URWIN. DIRECTED BY BRONAGH LAGAN

PRODUCED BY KICK IT ANYWHERE IN ASSOCIATION WITH 

SOUTHWARK PLAYHOUSE  

23 JULY –  16 AUGUST 2025

Actor and musician Max Runham (National Theatre, Royal Exchange Theatre) has been cast in Kick It Anywhere’s upcoming production of Brixton Calling, the world premiere of an electric new play with a live soundtrack of reggae, punk, rock and rave, alongside actor and musician Tendai Humphrey Sitima whose West End credits include A Strange Loop, The Play That Goes Wrong and The Immersive Great Gatsby.

Brixton Calling is inspired by Simon Parkes’ bestselling memoir Live at the Brixton Academy, the remarkable true and deeply personal story about a 23-year-old outsider who bought the derelict cinema for £1 in 1983, called it The Academy and transformed it into the world-famous music venue that changed everything. Set during a time of complex social and political change, this nostalgic love letter to a place and sound that defined an era is brought to life by writer Alex Urwin at Southwark Playhouse Borough from the 23 July to 16 August, just fifteen minutes from where it all happened. 

Runham who also plays the guitar in this drama has been cast in the role of Parkes and will perform together with Sitima on guitar and keyboard. Runham comments: “My relationship to music made the draw of this play and the story behind such an iconic venue so much more powerful. I was born with one arm, which has made my approach to music unique and again, made the connection to Simon’s story deeper for me on a personal level.”

Aria Entertainment’s Katy Lipson (KENREX at Southwark Playhouse Borough, Olivier-nominated Cruise at Duchess Theatre) comes on board as the show’s associate producer and reunites with Cruise director Bronagh Lagan on this production.

Director Bronagh Lagan comments: “Brixton Calling isn’t just a play — it’s a riot of sound, story, and spirit. Set against the fire of ’80s Brixton —a place where pain met power, and out of the cracks, something electric grew. A time of unrest, resistance, and radical creativity — this show hits hard, plays loud and grabs you by the collar and doesn’t let go.”

Writer Alex Urwin and producer John Dinneen add: “Brixton Calling is a joyous time capsule for music fans and just as importantly, an entry point into the big questions of how all of music, politics, South London and Britain changed through the ‘80s and ‘90s – for better and for worse – and the legacies of that change we’re still working through today. We can’t wait to transport audiences back in time to experience the legendary moments that became part of this country’s music history.”

Simon Parkes adds: “The ‘80s and ‘90s was such a great era of music. London was changing, Brixton was a political hot potato and I just happened to be in the right place at the right time and didn’t take no for an answer. The Academy turned into a theatre of dreams hosting the biggest names in music and politics. 

Reliving those times through Alex’s stage play will be an emotional thrill ride. I hope this story will inspire people to think anything is possible, all you need is self-belief, an absolute passion and a little bit of luck on your side.”

With generous support from Arts Council England, Kick It Anywhere is delighted to be using this project to work with the community-focused music, events, and apparel charity, The Soulstice Collective, to deliver workshops related to the play to young people from South London – the next generation of creative talent. 

Kick It Anywhere is also working with groups across South London – including Raw Material Music – a community music and creative arts centre, Deaf Rave and Pop Brixton – to capture the spirit of the story and create a platform for brilliant creatives across music and theatre.

Praise for Simon Parkes’ 2014 best-selling memoir Live at the Brixton Academy: A riotous life in the music business which inspired this new play

‘The king of gigs’, The Sunday Times

‘full of raucous tales’, The Independent

‘Parkes has some astonishing and revealing stories to tell’, The Bookbag

London is a city of countless music venues but in my eyes playing Brixton was the true sign of a successful band. I’ve been fortunate enough to play there a number of times now, firstly as part of the NME Awards tour but subsequently as the headline act – and the feeling of prestige never gets old’  Russell Lissack, Bloc Party

‘Brixton was always the one. It was so authentic as a venue, it’s when things became ‘real’. A proper old Victorian beer hall of a place with a century’s sweat and ale steeped into the woodwork and plaster, and the faded glamour of that mighty proscenium arch. The first time I stood on that stage was in The Libertines supporting Morrissey. All my life I’d wanted to be an actor playing to an adoring theatre crowd, and here I was in front of a sea of stony faces with beer cans bouncing off my head.’ Carl Barat, The Libertines

Cast

Max Runham                          Simon Parkes and multi-rolling characters

Tendai Humphrey Sitima        Johnny Lawes and multi-rolling characters 

Creatives

Playwright:                              Alex Urwin

Director:                                  Bronagh Lagan

Producer:                                John Dinneen

Associate Producer                 Katy Lipson/Aria Entertainment 

Full creative team details will follow shortly.

Darlington Hippodrome – until 10 May 2025

Reviewed by Adam Craddock

5*****

It was an absolute pleasure to be invited along to review Darlington Operatic Society’s Spring 2025 production of Everybody’s Talking About Jamie at Darlington Hippodrome. It has been over 10 years since I had last seen a production by DOS and I am pleased to say that their standards have not dropped in this time!

Everybody’s Talking About Jamie follows Jamie New and his turmoil and ultimate triumph in finding his way through life as a 16 year old gay school boy in Sheffield who wants to become a drag queen, and his mother Margaret New supporting him through this journey of self discovery.

Harrison Bateman stars as the eponymous Jamie New. Bateman is fabulously eccentric and sassy as Jamie, with a brilliant innocence to his portrayal. He was strong in terms of movement and vocal and really grew into the more tender parts as the show progressed. Samantha Morrison was sublime as Margaret New. The bond between her and Bateman was palpable and her performance of “He’s My Boy” left my partner and I with goosebumps. Bravo!

Zoe Kent was strong as Ray, with an excellent comedic timing and command of her stage. Eva Ferguson was brilliant as Pritti Pasha, with a beautiful naturalism to her performance and a vocal to die for! I loved her performance of “It Means Beautiful”, although I think the use of the imagination chorus in this number was a mistake, taking the focus away from the beautiful lyric and Ferguson’s sublime performance. Other numbers I did not mind this new spin on the show but it didn’t feel needed here.

Ellen Dunbavin-Lomas was excellent as Miss Hedge, with an exceptional performance of “Work of Art” showcasing her magnificent vocals. Cam Scriven and Jonathan Wilson-Downs were both solid as Wayne New and Dean Paxton respectively, both brilliantly awful! Scott Edwards, Nick Robinson and James Bearpark were good as Laika Virgin, Tray Sophisticay and Sandra Bollock respectively, with strong comedic performance all around and a lovely sense of humanity to them.

However my absolute highlight of the show was Julian Cound as Hugo/Loco Chanelle. Cound gave a masterful performance, blending a brilliant realism to his performance with an outstanding vocal. His portrayal of this role matched up to those I have previously seen in the West End and on tour. Well done indeed!

I was gobsmacked by the production values on display for an amateur production. The set was brilliant, with a video wall being used at the back of the stage to prevent clunky scene changes. The various settings were all spot on and not one part visually looked weak, including the lighting which was perfect. The band were on top form tonight, sounding as good as any accompaniment I have heard. My only gripe with the production side was the sound. Balance between the principal cast was all spot on but the featured ensemble sound balancing was all over the place, with mics dropping out on a few occasions throughout the show, leaving the cast to deal with this as best they could.

However this was barely even a niggle on what was a marvellous night and one that I would gladly repeat. I would highly recommend the performance to anyone and you should catch this production before it closes on Saturday 10th May and see why Everybody’s Talking About Jamie!

Royal Shakespeare Theatre Stratford-Upon-Avon – until 7th June 2025

Reviewed by Amarjeet Singh

5****

A play so full of death yet in this production, it pulsates with life, director Max Webster’s rendition of Titus Andronicus is a bloody belter. The earliest of Shakespeare’s tragedies and of his Roman plays, Titus Andronicus’ protagonist’s ill-considered decisions, though perceived as honourable, lead to his ultimate downfall in quite the spectacular fashion.

Traditionally there is a tendency to go all out on the gore and shock factor, however, this offering plays more with the mind. Murders occur from a distance, allowing us to fill in the gaps. Mutilations take place before your eyes, but not quite, which makes for a more terrifying experience. The slow creep and undulation of peripheral characters between and during speeches brought true suspense and terror that no brash and bold conflict could induce. Don’t get me wrong, there is blood aplenty, but it’s appropriately used for effect and to enhance the story.

Joanna Scorcher’s set and costume design is minimalist monochrome, reminiscent of a totalitarian state. Black and grey hues adorn a white stage with bare benches, a robotic remote-controlled noose and hooks are summoned from above. Splashes of blue mark the Goths from the Romans, the motif effective as you notice the shifts in power and control. Plastic sheeting, bright red nozzles and hoses are in view, with the anticipation of a drenching along with plastic guards around the stage, but all is not what it seems. Lee Curran’s lighting enhances every moment along with eerie, unnatural movement direction by Jade Hackett and an absorbing soundscape by Tingying Dong. They add a nuanced depth to the piece, with the otherworldly, spotlit howl opening act 2 inducing shivers. Fight and intimacy director Rachel Bown-Williams and Ruth Cooper Brown bring a real authenticity to some of the more difficult scenes.

The performances as a whole are brilliant. Simon Russell Beale takes an understated approach with his Titus, bringing warmth and humility, but ultimately becomes increasingly haunted by his unwise choices. Letty Thomas’ Lavinia is at times too painful to watch, with her severed limbs, having experienced the trauma of rape and ultimately released from her shame. The poignancy of her performance is perfect. Joshua James’ Saturninus, fluctuates between frustrated teen to stoney statesman, his comedic timing is brilliant and offers light relief. Wendy Kweh as Tamora balances the grief and fury of a mother bereft beautifully. Jeremy Ang Jones and Marlowe Chan-Reeves as her sons Demetrius and Chiron are sinister. Akin to prowling hyenas, almost dance like in their portrayal, with elements of parkour, the feeling of danger and destruction are always present. Natey Jones is a powerful and mesmerising Aaron. He explores every facet of this complex character to its fullest, relentless in his emotional mining.

This is a potent and powerful production of Titus Andronicus, which is relentless in drawing your every sense into the story making for a tremendous piece of theatre