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Northern Ballet wins

FEDORA – VAN CLEEF & ARPELS Dance Prize 2025 for 

Gentleman Jack

Northern Ballet’s ground-breaking new full-length production based on the life of Anne Lister has won the FEDORA – VAN CLEEF & ARPELS Dance Prize 2025. 

In October 2024 Northern Ballet announced the creation of a major new full-length ballet based on the extraordinary life of 19th century icon Anne Lister, or ‘Gentleman Jack’, the historical Yorkshire figure often referred to as ‘the first modern lesbian’ whose decoded diaries have captivated audiences around the world. Gentleman Jack will open in Leeds before touring to Sheffield, Nottingham, Salford, London, Norwich and Bradford. A co-production with Finnish National Ballet and Opera, they will perform the ballet in Helsinki in April 2028.

Established in 2013, FEDORA is a non-profit association committed to supporting and contributing to the future of opera and dance in Europe by encouraging emerging artists to renew these genres, making them more accessible for a large audience. The FEDORA prizes support artistic projects that promote international collaboration, creativity, social integration and intercultural dialogue. The FEDORA – VAN CLEEF & ARPELS Dance Prize awards productions that reimagine dance for the 21st century, rethinking how ballets are created and who they are created for. 

Gentleman Jack was selected as the winner of the FEDORA – VAN CLEEF & ARPELS Dance Prize 2025 from a shortlist of eight dance projects by an independent jury panel of experts. Previous winners include Hofesh Schechter Company, Rambert Dance Company and The Fondazione I Teatri Reggio Emilia. 

A carefully selected, majority female, artistic team will ensure that Anne Lister’s story is staged with respect and maximum impact including Sally Wainwright, series-writer of the BBC/HBO TV series Gentleman Jack; choreographer Annabelle Lopez Ochoa and New Zealand-based composer Claire Cowan who will create a new score for Gentleman Jack to be played live. 

The creative team will explore the narrative of this fiercely independent woman who defied societal norms and expectations, presenting a unique opportunity to tell her story through the powerful medium of dance, pushing artistic boundaries to explore the traditionally gendered language of classical ballet to convey Anne Lister’s complex character. 

Artistic Director Federico Bonelli said: “We are thrilled to have been awarded theFEDORA – VAN CLEEF & ARPELS Dance Prize 2025 for Gentleman Jack. I couldn’t be more delighted to have an incredible creative team, led by choreographer Annabelle Lopez Ochoa, developing this story for the stage. FEDORA’s recognition highlights what we are trying to do with this ballet, using the artform we love to tell new and different stories, in this instance telling the life of a gay woman who was a trailblazer of her time. Thank you to FEDORA for this award, we cannot wait to bring this story to life” 

Nottingham Theatre Royal – Friday 25 April 2025 and on UK Tour

Reviewed by Amy V Gathercole

4****

“A fresh take on the classic Agatha Christie style, with many twists!”

Pick up your magnifying glass, don your deerstalker, and collect your clues as you join the crew of Degrees of Errors and prepare to participate in a live improvised murder mystery.

This unique show invites the audience to become co-authors of an Agatha Christie-inspired whodunit, blending quick-witted humour with the suspense of a classic detective story.

Improv is an acting talent like no other. Having no script, no blocking to learn, and no real rehearsal is true bravery on stage. To lay yourself open, purely reacting to prompts — and in this case, audience suggestions — is impressive.

Murder, She Didn’t Write is very tongue-in-cheek in nature, and every show is different. One cast member takes on the role of the Detective, serving as the narrator and guide. They break through the fourth wall (often) to pose questions to the eager and often delightfully confused audience.

During the shenanigans, the audience crafts the narrative and suggests some plot points. Tonight’s Detective was Peter Baker, who was charming, cheeky, and charismatic in the role.

Alongside Peter, the gang on stage tonight included Rachel Procter-Lane, Sylvia Bishop, Harry Almark, Stephen Clements, and Peta Maurice, who collectively built the characters we come to embrace and eventually suspect.

Taking a Cluedo-style approach to things, each of the characters was dressed in different shades of a single colour with a name to match, keeping it visually interesting but also easy for the audience to identify who’s who.

The lighting and sound (from Adam King and Lucy Baker-Swinburn) were also crucial parts of the show. Not only did we have actors reacting live and in the moment to suggestions and ideas, but there was also a live pianist on stage. The pianist provided musical accompaniment to the mood, hilarity, and tension with sound effects and instrumental riffs galore.

Throughout the performance, the actors maintained a remarkable connection with the audience, often breaking the fourth wall to incorporate reactions or respond to spontaneous comments.

The cast’s ability to build off their audience’s energy and suggestions seamlessly demonstrated their incredible skill and quick thinking, including references and jokes that were Nottingham-based, which was a great touch.

Tonight’s performance included audience suggestions such as, a proposed meeting of a speed awareness course and a goat yoga session, but neither were the winner. The audience went down the darker route of death and the occult instead, with the murder taking place at the opening of a mortuary

It may head in very unhinged directions, but the audience leaves the theatre laughing, having embraced the madness unfolding before them.

So, if you’re up for something a little more experimental, prepare your ‘finger of suspicion’ and join the gang as they predict, commit, and solve a murder.

Murder, She Didn’t Write is visiting theatres across the UK in 2025 and you can purchase your tickets here https://www.murdershedidntwrite.com/tour-dates

Taylor Jay Productions announces London revival of Ryan Scott
Oliver’s 35mm: A Musical Exhibition at Phoenix Arts Club
Phoenix Arts Club, 1 Phoenix Street, London WC2H 8BU
Monday 7th July – Tuesday 8th July 2025

Following their Offie-nominated hit production of [title of show] at Southwark Playhouse,
Taylor Jay Productions returns to the Phoenix Arts Club with a bold new staging of 35mm:
A Musical Exhibition by Richard Rodgers Award-winner Ryan Scott Oliver.

A theatrical song cycle like no other, 35mm weaves together music and photography in a
genre-bending exploration of love, obsession, ambition, and art. Each song is inspired by a
striking photograph by Broadway photographer Matthew Murphy, brought to life through
an electrifying blend of rock, pop, and contemporary musical theatre.

Directed by Dean Johnson (Bare, BKLYN the Musical, Once) with musical direction by Ben
Ward ([title of show], UNHEARD), this two-night-only London revival promises a powerful,
immersive experience where “every snapshot tells a story.” Social Media and Marketing is
by Samuel Seventeen Social and the production is General Managed by Taylor Jay.
Full casting to be announced.

DEM PRODUCTIONS PRESENT THE BARN THEATRE PRODUCTION,
IN ASSOCIATION WITH BARN THEATRE, SIMON FRIEND ENTERTAINMENT, AND BOB&CO

A ROLE TO DIE FOR

LONDON TRANSFER ANNOUNCED FOR BARN THEATRE’S CRITICALLY ACCLAIMED NEW COMEDY
ABOUT CASTING THE WORLD’s MOST ICONIC SPY

WRITTEN BY JORDON WALLER
DIRECTED BY OLIVIER AWARD WINNER DEREK BOND

MARYLEBONE THEATRE
SATURDAY 26 JULY 2025 – SATURDAY 30 AUGUST 2025
TICKETS AVAILABLE HERE

A London transfer has been announced for the critically acclaimed new comedy, A Role To Die For, written by Jordan Waller and directed by Olivier Award winner Derek Bond, following its world premiere earlier this year at Cirencester’s Barn Theatre.

A Role To Die For will transfer to the Marylebone Theatre, playing from Saturday 26 July until Saturday 30 August, with a national press performance on Thursday 31 July.

 She’s not just casting a role. she’s gambling with a legacy.

It’s the eve of the biggest casting reveal in Hollywood: Deborah is about to announce the next face of the world’s most legendary spy franchise. The tux is pressed, the martinis are chilled… until the rumours start flying. Her perfect pick? Caught in a scandal that would make even their on-screen alter ago look tame.

With a ticking clock and a legacy on the line, Deborah must make an impossible choice: stick to the sleek, suited formula the world knows, or dare to let the next generation redefine a global icon.

A razor-sharp, laugh-out-loud comedy about identity, legacy, and the explosive battle between tradition and progress, A Role to Die For will leave you shaken, stirred, and seriously entertained.

A Role to Die is written by Jordan Waller, andwill be directed by Olivier Award winner Derek Bond, withdesign from Cory Shipp.

Full casting and creatives to be announced.

Writer Jordan Waller said, “After a brilliant run at the Barn Theatre this year, I couldn’t be happier that the show is coming to the Marylebone Theatre with our genius director — Bond, Derek Bond.”

A Role To Die For is produced by DEM Productions, in association with Barn Theatre, Simon Friend Entertainment, and Bob & Co.

Critical acclaim for A Role To Die For at Barn Theatre

The show is a tonic, and deserves an audience beyond Cirencester as we all drum our fingers waiting for the real deal.

Dominic Cavendish, Telegraph
****

 This wickedly-funny world premiere is a real crowd-pleaser.

Wilts and Glos Standard
*****

 A Role To Die For certainly left us shaken with laughter and stirred by the thoughts.

West End Best Friend
****

GO LIVE THEATRE ANNOUNCES 

FIRST RELAXED PERFORMANCE OF

Go Live Theatre today announces a new partnership with Kevin McCollum, David Furnish, Jamie Wilson and Nederlander Theatres to stage the first ever relaxed performance of The Devil Wears Prada, a new musical taking place at the Dominion Theatre on Saturday 7 June 2025 at 1:30pm. With up to 2,000 audience members expected, this will be Go Live Theatre’s largest Relaxed Performances to date.

Through this collaboration, Go Live Theatre will deliver an inclusive and welcoming experience for children, young people and families with learning difficulties, special educational needs and/or disabilities.

The performance will be carefully adapted to support neurodivergent audience members, including those on the autism spectrum and individuals with sensory or communication needs. As with all Go Live Relaxed Performances, there will be subtle changes to the sound and lighting and specially trained front-of-house staff will be on hand throughout the afternoon to help anyone who requires assistance.

Sita McIntosh, Chief Executive of Go Live Theatre, said today: “We are incredibly grateful to Kevin McCollum, David Furnish, Jamie Wilson, Nederlander Theatres and The Garek Trust for their help in making this relaxed performance of The Devil Wears Prada possible. At Go Live Theatre we believe that theatre is for everyone and enabling children and families, who struggle to attend mainstream shows, to enjoy what so many of us take for granted is a vital thread of our work. Having attended many relaxed performances I can testify to the sheer joy and excitement in the auditorium, it’s very special.”

Thanks to the incredible generosity of The Garek Trust, tickets are available at significantly subsidised prices making it possible for families who may not otherwise have access to theatre to attend.

Go Live Theatre has a long-standing commitment to accessibility. Since its inception as Mousetrap Theatre Projects in 1997, the charity has enabled more than 250,000 children and young people to experience live theatre, a number that continues to grow every year.

Go Live works with children and young people from disadvantaged and/or vulnerable backgrounds, as well as those with Special Educational Needs and Disabilities (SEND), for whom a trip to the theatre might otherwise be out of reach, whether due to economic, physical or social barriers.

The organisation presented the very first relaxed performance of a West End show back in 2012 with Shrek the Musical and since then have been able to offer a multitude of shows including Sister Act, Wicked, Matthew Bourne’s Nutcracker!, 101 Dalmatians, The Play That Goes Wrong, and Mamma Mia! 

TICKET INFORMATION:

For more information about this Relaxed Performance and to book tickets, please visit: www.golivetheatre.org.uk. 

Darlington Hippodrome until Saturday 26th April (2 performances on the 26th)

Reviewed by Andrew Bramfitt

A 5* star (or should that be 5 SKULL) show.

A Rock ‘n’ Roll Revelation: Steve Steinman’s “Eternal Love” Electrifies Darlington Hippodrome!

Steve Steinman has done it again! The visionary behind a long line of record-breaking shows has unleashed his latest masterpiece, “Eternal Love,” upon the stage of Darlington Hippodrome, and the result is nothing short of sensational. This isn’t just a musical; it’s a full-throttle rock experience that will leave you breathless.

“Eternal Love” marks a bold new chapter in Steinman’s Vampires Rock saga. Written and composed by the maestro himself, the show boasts an original score (including tracks from twice number one album) that is both epic and exhilarating. From the moment the curtain rises, you’re transported to a dark, fantastical world filled with vampires, passion, and heart-pounding rock anthems. Fans of previous versions of Vampires Rock will instantly recognise Steve’s inimitable style; raw power, tons of charisma and no small amount of allure.

The story follows the love-struck Vampire Baron as he searches for eternal love, with the narrative woven together seamlessly by Steinman’s powerful original music interspersed with some pretty zany comedy and no end of special effects.. The songs are not just interludes; they drive the story forward, amplifying the emotion and energy of every scene.

What truly sets “Eternal Love” apart from other ‘jukebox musicals’ is its unique blend of musical theatre and rock concert. The performances are electrifying, with the cast delivering each song with raw passion and incredible vocal prowess. The band is tight, the choreography is sexy and dynamic, the costumes would grace any Hammer Horror movie and the set design is both visually stunning and immersive atmospheric. Specific shout out to Darlington’s own Luke Thomson in his 1st production as Lighting Designer – previously Luke was a stagehand at the Civic/Hippodrome and is now a ‘leading light’ in the new wave of show designers – congrats to ‘one of our own’ Luke.

Steve himself is, as always, a charismatic force of nature. He commands the stage with his signature blend of dark humour, rock star swagger, and theatrical flair. The supporting cast shines just as brightly, each bringing their own unique energy and talent to the production. John Evans as the baron’s sidekick Bosley, is as always, the Bobby Ball to Steve’s Tommy Cannon, but now he’s got more songs to sing and he’s truly amazing. The Rock and Roll numbers and his opening song The Phoenix Rises is pure Iron Maiden-esque storytelling at it’s finest and John gets to showcase his brilliant voice. Tanyth Roberts as Medusa is another daring to topple Steve from his top dog position – her duet with the Baron on “There’s Something of the Night About You” as a definite homage to Paradise by the Dashboard Light, packed full with sexual tension and the fury of a woman scorned.

“Eternal Love” is more than just a show; it’s an experience. It’s a celebration of rock music, a thrilling journey into a world of gothic romance, and a testament to Steve’s unparalleled creative vision. If you’re looking for a night of unforgettable entertainment, look no further. This is a must-see for rock fans and theatre lovers alike. And while you’re there, grab the soundtrack album too, packed full of brilliant, new rock songs.

Darlington Hippodrome is the perfect venue for this rock spectacle, providing an intimate yet grand setting for Steinman and his talented cast. “Eternal Love” is a triumph, and it’s clear that Steve Steinman’s creative fire is burning brighter than ever. Don’t miss this opportunity to witness theatrical history in the making!

Curve Theatre, Leicester – until 10 May 2025

Reviewed by Leanne W

4****

The launching of the UK stage production of the cult classic Muriel’s Wedding coincides with the 30th anniversary of the film’s release. The Musical has previously played in Sydney, Australia in 2017 with a tour of the country in 2018, but this production at Curve Theatre, Leicester is the UK premier.

The story follows Muriel (Megan Ellis, who has been perfectly cast as the lead), who dreams of getting married but lives a dead-end life in Porpoise Spit, with a dead-end family and a nasty group of so-called friends. She hooks up with old school pal Rhonda (Annabel Marlow) moves to Sydney and finds herself in an exciting new life; with club nights, a job and the affections of Brice (Ethan Pascal Peters). The performance is interspersed with some ABBA classics – and delightfully appearing in the roles as the afore mentioned group are Bronte Alice-Tadman as Frida (and Dierdre), Jasmine Hackett as Agnetha, Aaron Tsindos as Benny and Jamie Doncaster as Björn. There is a delightful amount of multi-rolling from the entire cast throughout the performance.

Taking an opportunity to get married, Muriel agrees to take payment to marry Olympic swimming hopeful and Russian national Alexander Schkuratov, played by Stephen Madsen reprising his role from the World Premier in Sydney, thus gaining him Australian citizenship. Their meeting at the swimming pool is great fun, with a full suite of highlights – set (Poolside), costume, musical number (Mr and Mrs Schkuratov) and comedic moments.

The music is fun, there are some fabulous comedic moments and some superb casting. Costumes are vibrant and fun. I enjoyed several aspects of the set, including the clever use of AV screens to create various scenes, phone screens, neon signs and the use of the revolving stage. I enjoyed seeing my fellow audience join the wedding, however from my seat I missed much of the wedding due to the backs of the pews being so tall. The wedding shop scenes, where Muriel indulges herself as would-be bride, were delightful with the mannequins beautifully choregraphed. There were some moments in this updated version, which struck me as a little odd, the large old 80’s style phone in the scene where Muriel eventually calls home and Rhonda’s mum in a shell suit (her previous outfits not suggesting a preference for the style of the era).

Several of the Production Team had been involved in the previous Australia production. Directed by Simon Phillip with choreography by Andrew Hallsworth. The remaining creative team is comprised of music supervisor, orchestrator and arranger Isaac Hayward, set designer Matthew Kinley, costume designs from Gabriela Tylesova, lighting designer Natasha Chivers, video designer Andrzej Goulding, and sound is crafted Adam Fisher.

The production itself is great, a feel-good show with some unique moments and catchy musical numbers. What is missing though, which would see the audience leave a desperate to return, would be a proper finale and encore. I was anticipating that I would be up on my feet having a dance to Dancing Queen and other ABBA classics heard in the show – ABBA were there after all! But no, the show ends, the cast bow and we all went home, left wanting that little bit more.

I really enjoyed the show, I hope it tours so more can enjoy a joyful evening out with highs, lows, joy laughter and some sad moments – and a reminder that life is for living. It’s not the most creative musical but it is good fun and sometimes that’s more important.

The Crazy Coqs, Piccadilly Circus, London W1 – 23 April 2025

Reviewed by Phil Brown

3***

One of the immense pleasures of a reviewing gig is the opportunity to enjoy fresh experiences and expand one’s horizons.  Music theatre veteran, Lorna Dallas (originally from Carrier Mills, Illinois, but an honorary Brit) certainly delivers on both counts.  

She has been a star of hit musicals both sides of the pond since the 1970s and has a truly extensive and distinguished career as a singer and actress (also recipient of the 2020 New York Bistro Award for ‘Consummate Cabaret Artist’), but this deeply personal and intimate performance at the delightful Crazy Coqs was my first taste of one of her one-woman shows live in cabaret.  

Her latest show – the well crafted Snapshots – developed in conjunction with director Barry Kleinbort and first performed in 2024, is an exercise in unabashed nostalgia.  It essentially browses Lorna’s career ‘photo album’, to cherry pick significant musical moments and memories in an extraordinarily varied and hard working career.  In doing so, she revives long forgotten classics alongside the odd obscure number from the past as well as premiering material from a new musical, Travels in Vermeer. These snapshots are linked with some fascinating anecdotes of a self confessed ‘demented diva’ ever ready to perform and who apparently never said no to such opportunities.  Overall, it has the feeling of a career summation, possibly a fond farewell, but judging by her evident work ethic, I suspect not.

The marriage of two superb instruments – Lorna’s expressive soprano voice, undiminished by age, and music director Simon Beck’s immaculate piano creates a cabaret evening of the highest class over the course of around 21 songs, and 75 minutes.  (Some songs are combined into medley form).

Whilst long time musical theatre obsessives could be familiar with the majority of the material, It has to be said that Lorna’s nostalgia may only chime with a (declining) audience of a certain age, being mostly decades old (one song being over a century), even though a couple had appeared in UK pop charts back in the 60s.  As she said after singing the one new song (Stillness) – “OK Simon, back to the dead guys…” 

Lorna opens with the exquisitely wistful Always Something There to Remind Me (Bacharach/David) a massive hit for Sandy Shaw in the 60s) and a well chosen introduction to the Snapshots theme.  Her wide ranging set list covers the crême de la crême of British and American songsmiths from Bacharach to Sondheim.  Particular highlights for me are the reflective Snapshots/Walking Among My Yesterdays medley, the yearning Song on the Sand (Gene Barry), the funky Blues in the Night (Arlen/Mercer), and the sorrowful The Last Time I Saw Paris (Hammerstein/Kern).   However, despite the touching and amusing lead-in, it’s difficult not to picture Tommy Steele whenever I hear Flash, Bang Wallop (Heneker).

Other highlights are the between songs introductions, explanations and amusing personal reminiscences, such as her extraordinary time in Kismet at the Shaftesbury Theatre playing to packed houses until 10.30pm, then dashing across town to the Savoy for the 11pm cabaret, incentivised by Wimbledon centre court tickets.  And at the same time, she was also flying to Cologne every morning to record Stranger in Paradise in German before returning for the two evening shows.  Wow!  I also loved the clever adaptation of Cole Porter’s Let’s Fly Away – “Let’s fly away and find a land that’s warm and tropic, where Donald Trump is not the topic…” 

Overall, after a long and celebrated life in showbiz, Lorna Dallas clearly still loves being on stage, entertaining people, and retains an enthusiastic support base.  There is so much to admire  – her energy, warmth, artistry and professionalism are all inspirational.  She makes a wonderful role model for aspiring performers across the arts.  The show itself is high quality, heartfelt entertainment, but perhaps the material is now a touch too old for modern audiences.

Hampstead Theatre Downstairs, London – until 17th May 2025

Reviewed by Celia Armand Smith

4****

The stage is piled high with newspapers, records, toys and games, and lots of cardboard boxes in Chloë Lawrence-Taylor’s new play, Personal Values. Bea and Veda are sisters who haven’t spoken since their father’s funeral (Bea keyed something bad on the side of Veda’s car) and emotions are running high. Bea is being swallowed by the contents of her house, and Veda is being swallowed by health and life concerns. As their relationships with the house and each other are pushed to breaking point, Lucy Morrison’s production examines grief, our connection to objects and memories, and the trauma passed between generations.

On a rainy day, Veda (Holly Atkins) stops by unexpectedly to check on her sister Bea (Rosie Cavaliero) who lives the secret life of a hoarder behind an immaculately painted front door. The sisters manoeuvre through their childhoods and memories, some good, some painful, and the objects that have been left behind. There is something uncanny about Veda, and Naomi Dawson’s crowded set coupled with Holly Ellis’ flickering lighting design indicate that something is not quite right. Max Pappenheim’s soundtrack interrupted by some jazzy keyboard demo music rumbles along in the background.

At 60 minutes long, a lot of ground is covered, and Atkins and Cavaliero keep the plot ticking along at pace as they cover life, death, and the imminent crumbling of the worlds they have created for themselves. Personal Values offers a funny and tragic inside look at a world often hidden away, showing all of the chaos that families bring with them, and how grief affects us all in different ways.

RESTAURANT PARTNERSHIP TO CONTINUE WHETTING THE APPETITE OF THEATRE GOERS

Following a successful 18-month collaboration, the Grand Opera House York and Ate O’Clock and Social8 Lounge Restaurant have extended their partnership, offering more mouthwatering savings and experiences for York theatre goers.
 
Ate O’Clock will continue as the Grand Opera House York’s official restaurant partner, where over the last 12 months, customers have been able to save 10% off their bill when dining. For a bit of fun, customers were treated to themed cocktails to mark the arrival of iconic shows such as the Rocky Horror with the ‘Let’s do the time warp’ cocktail, not forgetting the delicious Ate O Clock, Only Fools and Horses pie and mash special. During panto season some lucky families were given kids eat free vouchers. More fun, drinks, dishes and money saving offers will be served up over the next 12 months.
 
Laura McMillan, Grand Opera House York Theatre Director says, “I look forward to another year of collaborating with Ate O Clock, providing more memorable experiences for York’s theatre goers, combining delicious food and cocktails with the best live entertainment”.

Emily Crampton, Ate O’Clock and Social8 Lounge Restaurant Manager says, “We have absolutely loved partnering with the Grand Opera House York, so it was the easiest yes when Laura asked us if we wanted to continue. Hospitality is all about giving guests an experience they won’t forget and being able to offer discounted pre-show meals & after-show drinks means we get to be part of providing the ultimate evening out”.
 
Grand Opera House York ticket holders can continue to enjoy pre-show dining, saving 10% on their final bill when booking a table at the Ate O’Clock Restaurant between the hours of 1.30pm and 5.30pm.

 Now is the time to start planning your big night out – with a packed programme of shows, from the whip-crackin’ musical classic Calamity Jane to the Olivier, Tony and Grammy award winning Dear Evan Hansen and the side-splitting comedy Friends! the Musical Parody, there’s something for everyone. 

Sign up online to receive the latest Grand Opera House York updates by visiting [www.atgtickets.com/york]www.atgtickets.com/york. You can also sign up to receive the latest updates from Ate O’Clock by visiting [www.ateoclock.co.uk]www.ateoclock.co.uk