Category: Uncategorized

Everyman Theatre, Cheltenham – until 9th November 2024

Reviewed by Jacqui Radford

4*****

As the author of ‘Rebus’ books, Ian Rankin has worked with Simon Reade to bring his iconic detective character to the stage. The production sees Rebus, who has recently retired, involved in an after-dinner murder mystery game that is written by the host and charged with alcohol and tension.

The audience is introduced to the guests as they begin their ruminations about the murder of a fictitious character, ‘Lord Manningham’. The set itself draws you into the secrets and tales of a stately home and its guests. As the dinner guests share their various theories, we are gradually introduced to the complex relationships between guests and their varying characteristics. All activity and drama are played out in the dining room.

For the first half of the play, it seems that the audience is part of the game and tasked with solving the mystery alongside the dinner party guests. Rebus (played by Gray O’Brien) himself makes plenty of contribution to discussions. The comings and goings of each of the guests feel a little mundane and have no bearing on solving the mystery set by their host.

At the end of the first half, the classic ‘twist in the tale’ is unveiled: a guest discovers a body in a room elsewhere in the house. Suddenly, every detail of the play so far becomes more relevant. At half time, the audience is left tracking back over the detail of the first half, desperately trying to anticipate how a death has occurred in the house, right under everyone’s nose.

In the second half, the tension and suspicion between guest rises and the possibility that anyone at the party could be responsible for murder is introduced with a vengeance. Rebus himself switches from involved guest to crime scene investigator, clearly invigorated by the opportunity to ‘get back to work’. Every movement from the first half is retraced and every interaction between guests is analysed. Rebus shows that he still has what it takes to solve a crime but not without consequence to the relationships between guests.

The brilliance of this show lies in the skilful way that the cast portray each of the characters as mere dinner guests and potential murderers in equal measure. It certainly isn’t a straightforward murder mystery play but more a case of two mysteries.

Leeds Grand Theatre – until 9th November 2024

Reviewed by Lauren Fordham

4****

Dear Evan Hansen is a poignant and passionate piece, albeit one arising from a somewhat perverse premise. It stars Ryan Kopel as Evan, an anxious, lonely, disconnected teen whose therapeutically-assigned letter to himself, printed off the school computer is taken from him by another pupil, Connor Murphy, who soon after seeing it takes his own life. The letter is seized upon by Connor’s grieving parents Cynthia and Larry as proof and comfort that Connor was not a friendless loner as they had thought and that, though ultimately unsuccessful, Evan had attempted to help Connor with his mental health. Seeing the Murphys’ delight and keen to soothe the anger of their daughter Zoe, with whom he is in love, Evan becomes increasingly close to them and enlists his friend Jared to help him make a chain of secret emails that detail his and Connor’s relationship. In the process Evan catalyses a school-wide multimedia mental health campaign christened ‘The Connor Project’ that proliferates and resonates across the US. While initially this gives him the connection with Zoe and a pseudo-powerful parasocial popularity that he craves, Evan soon finds that his lies and increasingly egotistical behaviour are being questioned by his peers and mother and he breaks down, no longer able to sustain the pretence.

For me, appreciating Ryan Kopel’s Evan was a slow burning  relationship as, while vocally unequivocally excellent, he made interesting acting choices that underplayed Evan’s anxiety and instead elevated the personality change that came with his increased popularity, giving a Jekyll and Hyde feel to the role that worked well with Killian Thomas Lefevre’s gothic interpretation of Connor Murphy.

I enjoyed Alice Fearn’s Heidi Hansen because she evokes a sense of genuine care and desire to help Evan, when she recommends he invite his peers to sign his cast as an ice-breaker activity and she is proud of him already, with meaningful sincerity, unlike her Broadway predecessor Rachel Bay Jones, who utters the words on the cast recording with a sarcastic cynical air. Her vocals also soar beautifully alongside those of Helen Anker’s Cynthia Murphy in ‘Anybody Have A Map?’ 

I feel Helen Anker’s talents and perspective as Cynthia is underused and underrepresented in the show, I wish the cut song between Heidi and Cynthia, ‘In Bedroom Down The Hall’, where they reflect on their sons’ younger days, had been retained in order to reunify the two mothers in the same way as ‘For Good’ does in Wicked. (Fearn is a former Elphaba and ‘Good For You’ echoes the same frustrated anger of ‘No Good Deed [Goes Unpunished)

As this is such a pioneering and multimedia musical I must commend the talents and teamwork of Lighting Designer Matt Daw, Video Designer Ravi Deepres and the company Nicemonster.tv , who provided Specialist Animation. Daw’s lighting choices are simplistic but powerful. White naturalistic light complements the lyrics of For Forever as Evan sings of ‘climbing higher and higher till the sun shines on my face,’ and the warning red light alongside the scarlet cabinets of the locker room symbolises how school is a dangerous, unhappy place for Evan and other introverted students and a red rag to a bull for those who wish to oppress them. 

By contrast, Deepres works with his assistant Luke Unsworth and  Nicemonster tv to create an overpowering, complex and maze-like entrancing spectacle of multiple screens representing the response to Evan’s show-stopping ‘You Will Be Found’ speech.

The constantly scrolling hashtagged statements and overlapping audio succeed in making the audience empathise with Evan’s panic and sensory overstimulation as his guilt at lying reaches fever pitch.

Unfortunately, the overhang of the stage obscured my view of the screens so for me the effect of them was reduced.

This doesn’t detract from the power and prescience and necessity of this show, however, and I would happily see it again. It resonates deeply with anyone who has ever felt lost and lonely. Don’t slam on your brakes and make the hugely regrettable mistake of missing the show, put your foot on the accelerator and let it teach you how to ‘step into the sun’ before it disappears on 9th November!

NEW ADVENTURES ANNOUNCES FULL UK AND IRELAND TOUR DATES

FOR THE 30^TH ANNIVERSARY TOUR OF

MATTHEW BOURNE’S SWAN LAKE

The Next Generation

VISITING A TOTAL OF 19 VENUES ACROSS 29 WEEKS!

OPENING AT PLYMOUTH THEATRE ROYAL

ON 11 NOVEMBER 2024

THEN PLAYING AT THE LOWRY, SALFORD

AHEAD OF THE 22^ND NEW ADVENTURES ANNUAL CHRISTMAS SEASON

AT SADLER’S WELLS, LONDON

AND A 2025 UK AND IRELAND TOUR

New Adventures is delighted to announce full UK and Ireland tour dates for Matthew Bourne’s Swan Lake, as it returns for its 30^th anniversary with a 2024-25 tour, visiting an incredible 19 venues across 29 weeks, the most touring weeks of any dance company in the UK. New rehearsal photos are also released today.

Matthew Bourne’s Swan Lake begins at Theatre Royal Plymouth from 11 November until 16 November before visiting The Lowry, Salford from 19 November until 30 November, ahead of the 8-week annual Christmas season at Sadler’s Wells from 3 December 2024 to 26 January 2025, marking New Adventures’ 22^nd consecutive Christmas season at the venue.

In 2025, the production will tour to Aberdeen, Sheffield and Dublin, as well the previously announced Birmingham, Nottingham, Liverpool, Bristol, Southampton, Norwich, Newcastle, Edinburgh, Milton Keynes, Cardiff, Canterbury, Bradford and Glasgow. Full tour listings below.

This groundbreaking production of Tchaikovsky’s masterpiece caused a sensation when it premiered almost 30 years ago and has since become the most successful dance theatre production of all time. In celebration of that ongoing impact, Matthew Bourne’s Swan Lake will take flight once more in this major revival, as the next generation of dancers brings it to new audiences across the UK.

Making their debuts as The Swan/The Stranger are rising New Adventures stars, Harrison Dowzell, Jackson Fisch and Rory Macleod, alongside James Lovell, Leonardo McCorkindale and Stephen Murray as The Prince, Nicole Kabera and Ashley Shaw as The Queen, Katrina Lyndon as The Queen and the Girlfriend, and Bryony Wood as the Girlfriend.

The company is completed by Matthew Amos, Benjamin Barlow Bazeley, Alistair Beattie, Ben Brown, Carla Contini, Jade Copas, Anna-Maria de Freitas, Perreira de Jesus Franque, Jamie Duncan-Campbell, Alexander Fadayiro, Savannah Ffrench, Cameron Flynn, Louis Fukuhara, Louis Harris, Kurumi Kamayachi, Sebastien Kapps, Aristide Lyons, Callum Mann, Eleanor McGrath, Jarrod McWilliams, Maisie Mwebe, Mukeni Nel, Eve Ngbokota, George-Murray Nightingale, Harry Ondrak-Wright, Barnaby Quarendon, Molly Shaw-Downie, Nikolas Shikkis, Xavier Andriambolanoro Sotiya, Tom Standing and Christina Walters.

Thrilling, bold, witty and emotive, this genre-defining event is still best known for replacing the female corps-de-ballet with a menacing male ensemble, which shattered convention, turning tradition on its head.

First staged at Sadler’s Wells in London in 1995, Matthew Bourne’s Swan Lake took the dance theatre world by storm becoming the longest running full-length dance classic in the West End and on Broadway. It has since been performed across the globe, collecting over thirty international accolades including the Olivier Award for Best New Dance Production and three Tony Awards for Best Director of a Musical, Best Choreography and Best Costume Design.

Matthew Bourne’s Swan Lake is directed and choreographed by Matthew Bourne, with set and costume design by Lez Brotherston, lighting design by Paule Constable, video and projection design by Duncan McLean, and sound design by Ken Hampton.

Fortnum & Mason is the Official Partner of Swan Lake. Edwardian Hotels is the Official Hotel Partner.

The Kings Theatre, Portsmouth – until 9 November 2024

Reviewed by Lorna Hancock

5*****

With book, music and lyrics by Willy Russell, Blood Brothers started out as a ‘Liverpudlian folk opera’, before it was taken to the West End. Directed by Bill Kenwright and Bob Tomson, the production surpassed 10,000 consecutive performances, one of only 3 musicals ever to achieve that milestone, making it one of the longest running musicals in West End history. Watching the production at The Kings, it’s not difficult to see the reasons for it’s success.

It tells the tragic tale of twins, Mickey (Sean Jones) and Eddie (Joe Sleight), separated at birth and brought up in completely different environments. Eddie’s successes in growing up in an affluent society, and the gradual demise of Mickey as a result of his lower-class surroundings. An unlikely friendship, ending in tragedy as both twins discover their secret.

The camaraderie between the brothers was touching to watch. The parts were played flawlessly, and Sean Jones’ Mickey was outstanding. I absolutely loved his comic monologue about “our Sammy” and how he wasn’t seven, he was “nearly eight” it drew us in to his very loveable character instantly.

The songs in the show are perfectly placed, and rather genius in describing the passing of time. It’s hard to pick out particular songs as they were all so brilliant. Vivianne Carlyle’s ‘Marilyn Monroe’ and ‘Reprise’ were very moving and pleasing. Whereas in contrast Scott Anson as the Narrator, with his various eerie renditions of ‘Shoe’s Upon the Table’, really intensified the situation spiralling out of control.

The cast on a whole was extremely talented, playing a whole plethora of characters from children to Policeman with ease.

The show cleverly takes us through the journey of the boys growing up, and builds up to the most dramatic end scene. The audience fell silent, as we all awaited the moment we knew was about to come. Although we knew what was coming, with the remarkable portrayal of the characters, it still shocked us and brought tears to our eyes. All accumulating to the most beautiful rendition of ‘Tell Me its Not True’, by the full company led by Carlyle’s impressive vocals, they all showcased exquisite harmonies with a stunning result.

It’s difficult to put down in words just how this musical makes you feel. You really have to experience it. I was completely entranced by the twin’s emotional journey. Such a heart-warmingly beautiful tale of friendship and tragedy. A sensational masterpiece that makes you laugh and cry, and as you leave the theatre you wish you could experience it all over again.

York Theatre Royal – until Saturday 9^th November 2024 

Reviewed by Michelle Richardson 

5*****

Who doesn’t love a bit of Jane Austen and Pride & Prejudice? For me, the Colin Firth and Jennifer Ehle rendition springs to mind. Who can forget the lake scene? If you are not aware of the book, it follows the story of five sisters in the early 19^th century. Their mother is eager to marry them off, in order to secure their futures. If she is unsuccessful they will be ruined. Due to archaic laws they wouldn’t be able to inherit, and the family wealth would go to the nearest male relative. 

This adaptation by Isobel McArthur, is like nothing you have ever seen before, a completely fresh take on a true classic. 

The show starts before we are even aware. Five maids are scattered around the theatre, cleaning, even as the audience are taking their seats. It isn’t until they make their way to the stage that we realise the show has started. The maids from Longbourn House, wearing black boots and chemises, set the scene, and are at the  heart of the entire show, moving the plot along. 

The five actors, Susie Barrett, Emma Rose Creaner, Rhianna McGreevy, Naomi Preston Low and Christine Steel, play all the roles, morphing from one character to another, all with different accents, with consummate ease. This is all done seamlessly within seconds, with something so simple as the addition of a jacket, a pair of spectacles, a slip of a dress. It was impressive to watch and I am in awe there were no slip ups. 

All the characterisations are fabulous, from simpering Collins, highly strung Lydia, dastardly Wickham, dashing Bingley, to smouldering Darcy. Make sure you look out for Mr Bennet.  

Have I mentioned that there is singing? I did say that this was a fresh take on the iconic work of Jane Austen. Throughout, all of a sudden a mini boom box and microphone appear and they burst into song. Not only could the extremely talented cast act, sing and dancing, but they also played a piano, recorder and glockenspiel. 

Have I also mentioned that this is funny? As well as the serious stuff, the show it littered with humour, the sound of laughter resonated throughout the theatre. What with some of the imaginative costumes and surprising props used to great effect, it just added to the comedy factor.  

This is an hilarious adaptation, a modern take on a traditional story, with imaginative creativeness. A wonderful uplifting production that is funny and had everyone laughing and smiling.  

This is the best show that I have seen this year. A must see, I encourage all to go out an buy a ticket, especially for Jane Austen fans, you will not be disappointed. 

Mayflower Theatre, Southampton – until 9th November 2024

Reviewed by Gil Gardiner

5*****

It was fantastic! Amazing cast, great music and very entertaining modern twist on a Shakespeare’s tragic love story.

When Shakespeare (X factor’s Matt Cardle) is persuaded by his wife Anne Hathaway (Lara Denning) to change Romeo and Juliet’s ending, Juliet (Geraldine Sacdalan) is given a second chance of life, going on a wild trip from Verona to Paris with Anne, her best friend May (Jordon Broatch) and Nurse (Sandra Marvin). Things go awry when an unlikely love triangle unfurls and, spoiler alert, Romeo miraculously comes back to life.

We are treated to a hilarious and empowering adventure filled with iconic pop hits by Max Martin. The show is a non-stop party with a soundtrack featuring hit after hit after hit, songs like “Baby One More Time,” “Since U Been Gone,” “Oops I Did It Again” and “Roar.” The music is cleverly woven into the narrative, creating a fun and energetic atmosphere.

The cast is incredibly talented, with standout performances from the leads and the ensemble. The chemistry between the actors is palpable, adding to the overall enjoyment of the show. Geraldine Sacdalan was excellent as Juliet, a rising star that I’m sure we will hear much more of in the future. Lara Denning also deserves special mention whose comic timing was matched by strong pure vocals; her rendition of Celine Dion’s “That’s The Way it Is” left the audience with goosebumps.

The production is visually stunning, with dazzling costumes and a dynamic set design. The lighting and sound design are also top-notch, enhancing the overall experience.

& Juliet is a fun, feel-good musical that is sure to leave you smiling. The audience were itching to get up and dance, and were straight up on their feet in the encore “Roar”ing their approval. There is no wonder that the show won three Olivier awards when it was in the West End. If you like your musicals rammed with pop hits you’re in heaven here – 30 pop songs delivered in two and a half hours. The messages of inclusivity, gender sensitivity and girl power hit all the right notes for a modern audience. It is a perfect choice for a night out with friends or family

BROADWAY’S SMASH HIT PRODUCTION OF
THE GREAT GATSBY

IS COMING TO THE WEST END IN 2025

DAZZLING NEW MUSICAL ADAPTATION OF

F.SCOTT FITZGERALD’S ICONIC NOVEL 

TO OPEN AT THE LONDON COLISEUM

PERFORMANCES BEGIN 11 APRIL 2025
Tickets on sale Wednesday 27 November 2024
Sign-up for priority booking at Londongatsby.com
 

Wednesday 6 November 2024, London: ProducerChunsoo Shin is thrilled to announce his smash hit new musical adaptation of F. Scott Fitzgerald’s landmark novel The Great Gatsby will make its West End debut at The London Coliseum next spring, one year on from its Broadway opening in April 2024. Preview performances of The Great Gatsby will begin on Thursday 11 April with a press night on Thursday 24 April (7pm). The show will run until Sunday 7 September 2025.

Tickets go on sale Wednesday 27 November via londongatsby.com. Sign-up today for priority booking.

F. Scott Fitzgerald’s timeless, seminal novel comes to the West End stage in a dazzling new musical. The Great Gatsby opened at The Broadway Theatre in April 2024 direct from a record-breaking, sold-out world premiere at Paper Mill Playhouse in New Jersey in late 2023. 

One of the most popular novels of all time, The Great Gatsbyhas sold over 30 million copies worldwide since its release in 1925 and continues to sell over 500,000 per year. The novel has been translated into over 42 different languages, and has been adapted for TV, radio plays, video games, and multiple films – including the acclaimed Baz Luhrmann feature film starring Leonardo DiCaprio.

Get ready to roar because the Tony Award®-winning new musical THE GREAT GATSBY is coming to London and will be the party of the century. Fresh from its current smash-hit success on Broadway, this “shimmering, sparkling spectacle” (Variety) “explodes with life and energy” (Entertainment Weekly).

Meet mysterious millionaire, Jay Gatsby. He entertains the rich and famous with riotous parties at his Long Island mansion yet never joins in. Gatsby longs instead to reunite with his former flame Daisy Buchanan, but Daisy comes from another lifetime, long before the money…

Chunsoo Shin, the lead producer of The Great Gatsby musical, said
“I am thrilled to bring this timeless, glamourous, and resplendent production to the UK’s West End, after such success in the US and on Broadway. The London Coliseum is a spectacular venue that complements the lavish aesthetic and vibrant energy of our show. With its grand architecture and historic charm, it offers the perfect setting to transport audiences back to the opulence of the 1920s.”

The show features music and lyrics by Tony Award® nominees Jason Howland (Beautiful: The Carole King Musical, Little Women) and Nathan Tysen (Paradise Square), a book by Jonathan Larson Grant winner Kait Kerrigan (The Mad Ones), and is directed by award-winning Marc Bruni (Beautiful: The Carole King Musical) with choreography by Dominique Kelley (So You Think You Can Dance), Tony Award®-winning costume design by Linda Cho (Anastasia, A Gentleman’s Guide…) and Outer Critics Circle Award winning scenic and projection design by Paul Tate de Poo III (Spamalot, Tommy at The Kennedy Center).

The creative team is completed by lighting designer Cory Pattak (Spamalot), sound designer Tony Award® winner Brian Ronan (Beautiful, The Book of Mormon), hair and wig designers Drama Desk Award winner Charles G. LaPointe (The Cher Show, Spongebob Squarepants) & Rachael Geier. Arrangements are by Jason Howland, Orchestrations are by Jason Howland and Kim Scharnberg (Jekyll & Hyde), and the music producer is Grammy Award winner Billy Jay Stein for Strike Audio (Beautiful – cast album). Casting is by Jill Green Casting, CDG (The Devil Wears Prada, Aladdin, Warhorse).

The Great Gatsby is produced by Chunsoo Shin, acclaimed Korean musical producer, 5-time winner of Korea’s most prestigious theatrical award and OD Company president. Mark Shacket serves as Executive Producer, with General Management by Short Street Productions Ltd. Worldwide management of The Great Gatsby is by Foresight Theatrical.

Casting to be announced.

Hall for Cornwall, Truro, Cornwall – until the 9th November 2024

Reviewed by Kerry Gilbert

5*****

Get ready to relive the soundtrack of your youth at Now That’s What I call a Musical!

In celebration of 40 years of NOW That’s What I Call Music! a new jukebox musical is touring the UK, and I was lucky enough to watch it at the Hall for Cornwall! Titled ‘NOW That’s What I Call a Musical’, comedian Pippa Evans has written the script and Strictly Come Dancing’s Craig Revel Horwood has directed and choreographed the musical journey back to the eighties and a time of video stores, big hairstyles, hours of fun at the local pub and many dreams for the future.

Award winning comedy actress and EastEnders star Nina Wadia is joined by musical theatre performer Melissa Jacques, who bring the focal characters of Gemma and April to life. Plus, credit must go to the actresses playing the younger Gemma and April, Nikita Johal and Maia Hawkins, they make an impressive duo, both exceptionally talented with incredible vocals.

The acting from the whole cast is strong, from the background ensemble to the main cast. Gemma’s slimy husband Tim (Kieran Cooper in 1989 and Chris Grahamson in 2009) is wonderfully easy to hate, brother Frank (Luke Latchman in 1989 and Shakil Hussain in 2009) has a nerdy adorableness, and Gemma’s parents (Poppy Tierney and Christopher Glover in both years) are a refreshing look at love in the older generation.

Set in 1989 and 2009, the production focuses on the friends in 2 pivotal moments of their lives: finishing school aged 18 and then 20 years later, weighed down by the realities adulthood and reflecting on the nostalgia of their school days. There’s a double timeline throughout, younger teenage Gemma and April, are ever present, sharing their dreams. The script simultaneously moves to a school reunion, held in a Brummie local pub, The Palace, twenty years later. To a chorus of Sisters Are Doing It For Themselves, and Tainted Love, comes a familiar bittersweet story or damaged friendships, love and loss.

It really is a fun filled evening and bursting with hits from Whitney Houston, Wham!, Blondie, Tears For Fears, Spandau Ballet and so many more. I loved the parts which took you right back to sharing your Walkman headphones with your best friend, escaping the boring day to day and dancing like nobody is watching. To top it off the audience were delighted with a special appearance from Carol Decker from T’Pau singing China in Your Hand, it was sensational and gave me goose bumps!

The highlights of the production are Pippa’s hilarious script and the comedy performances. I enjoyed the fun personalities on stage and the references to growing up in the iconic decade. The material is over the top, from the humorous choreography and era-appropriate costume design to the unique way that lyrics are brought into the dialogue. When the sing-along-come-dance-along began, there wasn’t a single person left in their seat. And the final applause went on several minutes.

If you’re looking for a good night out, look no further, you can’t go wrong with a night of pure nostalgia and jukebox musical bliss!

Festival Theatre, Malvern – until 9th November 2024

Reviewed by Courie Amado Juneau

5*****

Summer 1954 pairs two works by playwright Terence Rattigan. The first half presented us with the weighty Table Number Seven: a tale of a boarding house and its residents who discover one amongst them, Major Pollock, has been suspected of propositioning men. The whispers and zealous vigilantism kicks into gear as the Major faces his own nature and what that means for him, his friendships and his immediate future.

The Major was wonderfully wrought with fear, angst, and ultimately an inner nobility by Nathaniel Parker giving us a commanding figure who gradually showed his vulnerability until he was totally emotionally prone. A superb character study. Sian Phillips was equally fantastic as his nemesis Mrs Railton-Bell. Her old fashioned morality was sympathetically portrayed, amply showing why she has commanded stage and screen during her glittering career.

Miss Meacham (Richenda Carey) was an absolute joy with her self assured and independent thought. She was my favourite character, along with Jeremy Neumark Jones’s portrayal of Charles Stratton (for much the same reason). Sybil Railton-Bell, touchingly played by Alexandra Dowling, also deserves special mention for a magnificent performance blending vulnerability with inner fortitude.

I wonder what people in the year 2100 will make of our current attitudes. Probably the same as we think of the attitudes displayed here, from the 1950’s… It gives one pause to ponder.

The second act was The Browning Version (1948). Set in a boarding school, it centres around Master Crocker-Harris who is on the eve of a change of schools due to an 18 year gestational malaise and period of ill health.

Nathaniel Parker (as Crocker “Crock”-Harris) and Lolita Chakrabarti (as his wife) were fabulous in the first act and even more so as they returned for the second half with much meatier characters. I really enjoyed their full throttled, committed embodiment of both. They had me on the edge of my seat, watching (at times) from behind my hands.

Again, as in the first act, a superb cast supported the leads with Bertie Hawes giving us a suitably energetic schoolboy Taplow. A small but pivotal role I nonetheless loved it. Simon Coates (as Headmaster) was also very enjoyable and believable; piling yet more disappointment on poor Crock. And Jeremy Neumark Jones again graced the stage as Master Frank Hunter, giving this rather selfish character a likability and (somewhat) final redemption.

James Dacre’s programme notes state; “in both conclusions we see the green shoots of people defying the orthodoxies of the time, taking small but decisive steps out of the shadows… …and becoming a person in their own right. We see people starting to live truthfully and think independently”. Insightful stuff. In that respect, both works are linked by a common theme – and one that is as vital today as it has ever been.

This was a highly enjoyable evening’s entertainment with a superb cast, inventive revolving set and beautiful presentation. A thought provoking mirror held up to our own morals and attitudes, there’s much to think about here and even more to delight in. I have no hesitation to wholeheartedly recommend this fabulous pairing.

Nottingham Theatre Royal – until Saturday 9 November 2024

Reviewed by Amy V Gathercole

4****

“Full of big songs, memorable moments and even bigger hairstyles! – Hairspray is always a favourite, and this new production remains big, bold, and beautiful”

Hairspray is a show that, on the surface, is purely joyful and full of happy moments with wonderful songs. However, if you delve a little deeper, the lyrics take on a different meaning, full of important messages and warnings about a time and situation full of hurt and harm.

The much-loved musical is based on the 1988 John Waters’s cult classic film, inspired by real-life events in Baltimore on The Buddy Deane Show. It’s inspirational and imaginative and set in the swinging 1960s, a time when everything was changing, new mindsets were developing, but not everyone was listening. Sadly, some of these themes are still relevant in today’s world, hence the importance of this show.

We meet our heroine, Tracy Turnblad (Alexandra Emmerson-Kirby) at the start of the show with a fast-paced and memorable number with Good Morning Baltimore, as she introduces herself, her city, and her dreams to the audience. She dreams of one big happy world where segregation isn’t an issue, of dancing on The Corny Collins Show and of course, of the boy of her dreams – Link Larkin (Olly Manley). Alexandra gives a wonderful performance and really embraces the energy, passions and intelligence of Tracy and her vocals are very impressive!

You can’t help but fall in love with every member of the Turnblad family. It’s such a wholesome one, full of support, love, and, most importantly, love. The role of Tracy’s mum Edna (Neil Hurst), is all encompassing. Many people have famously played the iconic role in drag, and Neil was brilliant with his comedic timing and his ability to ad-lib too. It’s an important role as, following her daughter’s success, she finally feels seen and is reminded of her own dreams and that it’s never too late to go after them.

Stuart Hickey plays Tracy’s joke-loving and supportive dad. The “You’re Timeless to Me” duet with Edna is a highlight of the show, combining comedy with heart. Nina Bell as Tracy’s devoted friend Penny and her beau Seaweed (Jaiden Lodge) round out the gang of friends as they fight for what’s right.

Velma Van Tussle (Kirsty Sparks) is a villain role that, for me is very similar to a classic Disney villain. She refuses to change, listen, and make a positive difference in her privileged position.

Sparks plays her convincingly and almost made me want to shout “booooo” at the stage! As the producer of The Corny Collins Show, she’s the rich white lady with all the power and really makes you believe in her hatred of integration, which she tries to impress upon to her mini-me daughter, Amber von Tussle (Issie Wilman).

Brenda Edwards and Paul Kerryson have co-directed this 2024/25 tour. Brenda was once discovered in a talent search herself on X-Factor—just like Tracy in the show’s plot. So it’s all come full circle for her as she swaps on stage as Motormouth Maybelle for being hands on as a director.

The current actress playing the very important role of Motormouth Maybelle, Michelle Ndegwa, gives a stand-out performance. She was discovered for this role in a nationwide talent search, and this is her professional theatre debut. When she performs “I Know Where I’ve Been” there are goosebumps. What an impressive vocal she has and with most of her lines in the script rhyming, it just flows beautifully.

The set combines physical and interchangeable physical pieces mixed with projections throughout successfully in a blended design by Takis. It takes a more modern direction with the number of locations that feature and allows for some very quick set changes to keep up with the fast-paced dance numbers and action of the show

Hairspray is visiting over 33 theatres on this UK tour, over 2024 and into 2025 – you can find your nearest theatre here: Hairspray UK Tour