Author: FairyPoweredProductions

Bread & Roses Theatre – until 22 October 2022

Reviewed by Claire Roderick

4****

Sammy Trotman – a genius or a madwoman on a stage? After watching her painfully funny performance about her mental health, you’ll probably be none the wiser, but it’s one hell of a ride.

Trotman uses spoken word, movement and comedy to portray the inequity of mental health provision – she is white and rich so her parents could pay for treatment – and the labelling and victimisation of people. Gleefully announcing that she has a disorder now that she has ticked enough boxes, Trotman veers between childish tantrums (always checking that she has the audience’s attention) and introspective admissions (with a lovely running joke about melancholy music accompanying these quieter moments).

Jake Rix intuitive direction and Trotman’s bravura performance allow the audience to forget that this is scripted and just follow the shifts in tone and fall under the spell of the sociopath on stage. The traumatic effects of her time at boarding school and the toxic masculinity of her family are all explained and acknowledged as reasons for her attention seeking – wanting to be liked and to fit in, her narcissism making her want a caregiver she could lure in – and her daddy issues are hilariously exposed in an anecdote about an ex “he was an amazing babysitter”.

The nurses in the psychiatric hospital, where she started working on her stand-up, are memorable caricatures straight out of Victoria Wood – although Trotman acknowledges that they were markedly more southern than her portrayal. Her assessments of the doctors she has seen are scathing but well-deserved, and very, very funny – with a special mention for her power ballad to “All the men who tried to fix me and made me worse.”

This is no pity party, but a clever, insightful and funny glimpse into the mind of a narcissistic sociopath that should give Sammy all the attention she craves. Well deserving of a longer run.

Mayflower Theatre, Southampton – until 22 October 2022

Reviewed by Gemma Gibson

5*****

Northern Ballet’s latest masterpiece takes you under the sea, into the magical world of The Little Mermaid. 

Choreographed by David Nixon CBE, and composed by Sally Beamish OBE, this wonderful ballet explores a story of love, sacrifice and heartbreak, all through the wonders of dance.

Marilla, the little mermaid, exchanges her life in the ocean for a chance to live on land and find Prince Adair, enamoured after seeing his picture in a locket.

Her wish is granted by Lyr, lord of the sea, but it comes at a price. The price of losing her angelic voice that Adair was drawn to in the first place. 

Unlike the Disney adaptation that everyone knows and loves, this traditional tale is a lot more dark. And yet the ballet was able to portray moments of romance, delight, anger and pain beautifully. 

Despite a not so happy ending, this ballet was just breathtaking. I can’t say it enough. Elegant, easy-to-follow choreography, incredible characterisation, all with the challenge of needing to look under water.

This was enhanced by a wonderful live orchestra, helping us fully immerse ourselves within a mermaid’s world, as well as amplifying every single emotion felt in the story.

Of course it wasn’t all doom and gloom. An explosive scene of merry couples during a celebration of the summer’s catch was pure joy to watch. And you couldn’t help but smile when Miralla’s best friend Dillion the Seahorse galloped on to the stage. Or when Marilla danced with Prince Adair for the first time.

I sometimes find it hard to interpret ballet but Northern Ballet made it easy. Plus, the whole production was just so effortless, it was easy to forget how challenging and technically demanding ballet actually is.  

The pointe work, the lifts, the kicks, the floorwork, all while embodying mermaids and sea creatures, was just perfection to watch. The dance had a very contemporary feel too, which, combined with clever use of staging and lights, catapulted this ballet into the 21st century. 

Whether a dance lover or not, this production is a must-see. 

ANNOUNCES

COURTNEY BOWMAN

TO JOIN THE CAST AS

‘KIT DE LUCA’

AND

ANDY BARKE

AS

‘HAPPY MAN/MR THOMPSON’

FROM 15 NOVEMBER

AIMIE ATKINSON AND DANNY MAC

EXTEND INTO 2023

PRETTY WOMAN: THE MUSICAL is thrilled to announce that West End sensation Courtney Bowman will star as Kit De Luca and current cast member Andy Barke will take on the role of Happy Man/Mr Thompson from Tuesday 15 November. They join Aimie Atkinson as Vivian Ward and Danny Mac as Edward Lewis who extend their stay at the Savoy Theatre, with the production booking until April 2023.  

Also joining the company is Daniel Clift, with the cast for PRETTY WOMAN: THE MUSICAL completed by John Addison, Jemma Alexander, Becky Anderson, Matt Bateman, Patrick Barrett, Robertina Bonano, Oliver Brenin, Alex Charles, Ben Darcy, Hannah Ducharme, Elishia Edwards, Tom Andrew Hargreaves, Antony Hewitt, Helen Hill, Mark Holden, Elly Jay, Matt Jones, Kurt Kansley, Georgia Kleopa, Annabelle Laing, Will Luckett, Curtis Patrick, Hassun Sharif, Cilla Silvia and Charlotte Elisabeth Yorke.

Courtney Bowman’s theatre credits include Elle in Legally Blonde at Regent’s Park Open Air Theatre, for which she was nominated for a Black British Theatre Award, Anne Boleyn in SIX at the Arts Theatre and Lyric Theatre, Fatimah in original cast of Everybody’s Talking About Jamie at the Apollo Theatre and Sheffield Crucible, Martha in Blondel at the Union Theatre and the UK Tour of The Wind in the Willows.

Andy Barke has been part of the West End company of Pretty Woman The Musical since the show opened in 2020. His other theatre credits include UK Tours of Annie, Nativity! The Musical, Jesus Christ Superstar and Starlight Express, An Officer and  Gentleman and Legally Blonde both at Leicester Curve, BIG The Musical at Theatre Royal Plymouth and Exposure at the St. James Theatre.

Aimie Atkinson received a What’s On Stage Award nomination for her role in Pretty Woman: The Musical. She was in the original West End cast of the hit musical Six at the Arts Theatre and was nominated for an Olivier Award for her performance. Her other credits include Daniela in In the Heights at King’s Cross Theatre, Serena in Legally Blonde at Kilworth House, Chloe in Never Forget – The Take That Musical and Luisa in Zorro The Musical, both on national tour. Aimie is the winner of the prestigious BBC Radio 2 Voice of Musical Theatre Award.

Danny Mac appeared as Giles Ralston in the world’s longest running play, The Mousetrap at the St Martin’s Theatre in 2021. His many other theatre credits include Bob Wallace in White Christmas at the Dominion Theatre, Joe Gillis in Sunset Boulevard and Nino in Amelie, both on national tour, Gabey in On The Town at Regent’s Park Open Air Theatre and the West End productions of Wicked and Legally Blonde. Danny captured the nation’s hearts and received overwhelming support during his incredible time on BBC1’s Strictly Come Dancing, making it all the way to the final.

PRETTY WOMAN: THE MUSICAL features original music and lyrics by Grammy Award winner Bryan Adams and Jim Vallance, a book by Garry Marshall and the film’s screenwriter J.F. Lawton, it is directed and choreographed by the two-time Tony Award winner Jerry Mitchell.

Featured in the musical is Roy Orbison and Bill Dee’s international smash hit song ‘Oh, Pretty Woman’ which inspired one of the most beloved romantic comedy films of all time. PRETTY WOMAN the film (produced by Arnon Milchan – New Regency Productions) was an international smash hit when it was released in 1990.

Atlantic Records’ PRETTY WOMAN: THE MUSICAL (ORIGINAL BROADWAY CAST RECORDING) is produced by Bryan Adams and Jim Vallance and is now available on all DSP’s.

PRETTY WOMAN: THE MUSICAL has scenic design by David Rockwell, costumes by Tom Rogers from the original Broadway designs by Gregg Barnes, lighting design by Kenneth Posner and Philip S. Rosenberg, sound design by John Shivers, hair design by Josh Marquette, and music supervision, arrangements and orchestrations by Will Van Dyke. 101 Productions, Ltd are the Global General Management Consultant.

PRETTY WOMAN: THE MUSICAL had its world premiere at Chicago’s Oriental Theatre in March 2018 before transferring to Broadway where it ran at the Nederlander Theatre. The German production opened in Hamburg at the Stage Theater an der Elbe in September 2019 to rave reviews, and a US Tour of the show opened in October 2021. 

PRETTY WOMAN: THE MUSICAL is produced by Ambassador Theatre Group Productions, Paula Wagner, Nice Productions, LPO, New Regency Productions, Gavin Kalin Productions, Kilimanjaro Theatricals/Joshua Andrews, Hunter Arnold, Caiola Productions & Co., Roy Furman, Edward Walson, deRoy Kierstead and Stage Entertainment.

New Frame Productions and Wild Mountain Productions  

with The Hippodrome London  

present a new concert series 

LIVE AT LOLA’S 

A Musical Chat Show with Stars of the West End 

Join host Greg Barnett with special guest performers  

Christine Allado, Hadley Fraser, Isaac Hesketh and Carly Mercedes Dyer 

at Lola’s Underground Casino at The Hippodrome  

on Thursday 8 December 2022  

New Frame Productions and Wild Mountain Productions will follow up their successful Monday Night at the Apollo and West End Acoustic shows, with the launch of a new live concert series – Live at Lola’s – opening with a festive theatrical celebration on 8 December 2022 at Lola’s Underground Casino at The Hippodrome, in the heart of the West End.  

Greg Barnett will host the intimate evenings of music and theatrical chat, inviting audiences ‘behind the curtain’ for up close and personal interviews with some of the most popular stars of stage and screen. On 8 December, the inaugural line-up of guest performers will include Christine Allado (The Prince of Egypt, Hamilton, In The Heights), Hadley Fraser (City of Angels, Chess, 2:22 A Ghost Story), Isaac Hesketh (Legally Blonde, Rent, The Book of Mormon) and Carly Mercedes Dyer (Anything Goes, The Color Purple, A Chorus Line). Featuring special memories from throughout their careers and ovation-worthy performances of their favourite songs, Live at Lola’s will showcase these leading lights of musical theatre as you’ve never seen them before.   

With show-stopping hits from the musicals alongside classics from the worlds of pop, soul and jazz, the evening will feature something for everyone. 

The Live at Lola’s performance will be followed by Overtures, London’s favourite musical theatre singalong event. Considered to be London’s answer to the renowned Marie’s Crisis Café in New York, Overtures Piano Bar offers a spontaneous evening out with just the crowd, the piano, the pianist and the showtunes. 

To book for Live at Lola’s on Thursday 8 December 2022 at 7.00pm, at Lola’s Underground Casino at The Hippodrome (Leicester Square), visit https://www.eventbrite.co.uk/e/live-at-lolas-tickets-443191897897 (booking opens 2pm on Friday 21 October). VIP Seating/General Admission options are available. Limited tickets are available, so early booking is advised. 

LISTINGS 

Show: Live at Lola’s – A Musical Chat Show with Stars of the West End 

Date: Thursday 8 December 2022 

Time: 7.00pm; doors open 6.30pm 

Venue: Lola’s Underground Casino at The Hippodrome, Cranbourn St, London WC2H 7JH 

Running Time: 90 minutes (no interval) 

Box Office: https://www.eventbrite.co.uk/e/live-at-lolas-tickets-443191897897  

Tickets: £27.50 – £42.50 including booking fees 

• VIP Admission includes sofa or table seating nearest to the stage and a poster signed by the performers. 
• General Admission includes unreserved seated tickets. 
• All audience members will have the chance to submit questions for the performers. A selection of these will be asked during the show. 
• Over 18’s only. Please bring photo ID. 

Dirty Dancing – The Classic Story on Stage
announces cast as it returns to the West End
Dominion Theatre, 268-269 Tottenham Court Road, London W1T 7AQ
Saturday 21st January – Saturday 29th April 2023

Following its record-breaking run earlier this year, Dirty Dancing – The Classic Story on Stage shimmies and shakes its way back to the Dominion Theatre in 2023 for a limited time only. Reprising their roles from the 2022 West End cast, Michael O’Reilly (West Side Story, Leicester Curve; Matthew Bourne’s Lord of the Flies, Theatre Royal Plymouth) and Kira Malou (Fame, Troubadour Wembley Park Theatre; Penny on Mars, Disney Plus) step once again into the dancing shoes of Johnny and Baby. O’Reilly made his professional debut straight from drama school in the role of Johnny in the 2018 tour.

Producer Karl Sydow is especially thrilled to welcome back a number of former cast members who have been fantastic in the show and are sure to delight the fans once again in 2023: Charlotte Gooch (Singin’ in the Rain, UK Tour) who returns to the role of Penny Johnson, Georgina Castle (Cinderella, Gillian Lynne Theatre) as Lisa Houseman, alongside Lynden Edwards (A Little Night Music, Garrick Theatre) as Jake Houseman, Jackie Morrison (The Last Ship, US tour) as Marjorie Houseman, Colin Charles (We Will Rock You, Dominion Theatre) as Tito Suarez, Michael Remick (Follies, National Theatre) as Max Kellerman and Tony Stansfield (Little Women, Hope Mill Theatre) as Mr Schumacher.

Joining them in Dirty Dancing for the first time are Danny Colligan (Les Misérables, Sondheim Theatre) as Billy Kostecki, Alastair Crosswell (Singin’ in the Rain, UK Tour) as Neil Kellerman and Lydia Sterling, making her West End debut as Elizabeth.

Completing the cast are Chrissy Brooke, Inez Budd, Lily Laight, Hollie-Ann Lowe, Callum Fitzgerald, Nathan Ryles, Joel Benjamin, Shaquille Brush, Carly Miles, Ben Middleton, Lee Nicholson, Ayden Morgan, Miles Russell, Tom Parsons, Morgan Burgess, Tom Mussell, Christopher Fry and Charlotte Coggin who returns after making her surprise West End debut early in 2022 in Dirty Dancing when she went from working as an usher at the Dominion to starring on its stage overnight!

Exploding with heart-pounding music, breathtaking emotion and sensationally sexy dancing, this triumphant stage production, inspired by the hit film, follows the iconic story of Baby and Johnny. Featuring the hit songs ‘Hungry Eyes’, ‘Hey! Baby’, ‘Do You Love Me?’ and the heart-stopping ‘(I’ve Had) The Time Of My Life’, Dirty Dancing – The Classic Story On Stage is once again directed by Federico Bellone (West Side Story, Milan; Sunset Boulevard, Milan) and choreographed by Austin Wilks (Dirty Dancing – The Classic Story on Stage, UK tour and Dominion Theatre).

The creative team are completed by Lighting Designer Valerio Tiberi (Ghost the Musical, Italian national tour), Sound Designer Chris Whybrow (Carousel/Half a Sixpence, Kilworth House Theatre) and Supervising Musical Director Richard John (Legally Blonde, Savoy Theatre; Dirty Rotten Scoundrels, Savoy Theatre).

Produced by Karl Sydow
in association with Lionsgate and Magic Hour Productions

The Orange Tree Theatre, Richmond – until 12th November 2022

Reviewed by Bobbi Fenton

5*****

‘The Solid Life of Sugar Water’ is a phenomenal work of art, portraying the raw and intense emotion that comes with losing a baby. Phil (Adam Fenton) and Alice (Katie Erich) tell the story of their whole relationship, through a nonlinear narrative, in unbelievable detail. They describe when they first met, each of their dates, their first kiss, the first time they had sex, and their wedding. Although there is one thing they can’t seem to talk about much. Through being very open and honest with the audience about their relationship and sex life, they create a façade of being completely open and not hiding anything in order to shield their own inability to talk about the baby that they lost. It feels almost like a distraction, by talking about all of their happy memories in a comical way, they manage to trick the audience into thinking that there is nothing wrong. This builds tension up until the very end of the play, and a scene in which Alice and Phil finally manage to talk about that night, without feeling the need to cut each other off with another funny story. In this scene we see a parallel between the two characters, as we see Phil re-enacting and describing the first time they had sex, while we see Alice giving birth to her baby, screaming at the doctors to ‘cut the baby out’.

I have to mention the extremely talented movement director, Isolte Avila. A large amount of the scenes use non-naturalistic movement to represent multiple different things, such as both actors having a tug of war with a bedsheet signifying them having sex, or when Alice is giving birth at the end.

I don’t think there is a single pair of actors I could ever imagine portraying these two characters as perfectly as Adam Fenton and Katie Erich. Every line of the play is projected onto the wall for everybody to read, and yet the lines that are spoken differ slightly from the projected lines. Whether intentional or not, I found this made it much easier to suspend my disbelief as it made it feel a lot more like two real people telling stories about their relationship from memory rather than telling a story they’ve rehearsed over and over. If it weren’t for the lines being projected on the wall, I could believe that this entire show was a work of purely talented improvisation.

This absolutely heartfelt show is a masterpiece, full of brilliantly timed comedy and incredibly well delivered sorrow, portraying the harsh reality of the aftermath of losing a baby.

Tobacco Factory, Bristol – until 22 October 2022

Reviewed by Lucy Hitchcock

5*****

Deb Pugh and George Mann have constructed an absolute masterpiece depicting the Greek Myths known and loved by many. This one woman show is incredibly moving and intense with elements of humour and darkness.

Deb Pugh is our one and only cast member, portraying the gorgon Medusa, explaining how she came to be the most feared of her sisters and the life she was forced to live. This perfectly crafted piece is only one act, but there is so much packed in – you will not be disappointed! Pugh is a force of nature, with exquisite talent and the ability to story tell and engage an audience with ease. We hear the stories of Medusa, Ajax, the battle of Troy, Achilles and many more Greek Gods told in the most exciting way. Together with lighting designer and sound engineers Ali Hunter and Sam Halmarack, Pugh doesn’t lose focus for a second. The lights and sounds marry perfectly to Pugh’s movements and help to show the light and dark of the stories-both figuratively and literally. I was totally enamoured with Pugh’s performance from the very beginning-the piece starting with a single snarl that set the tone for the show. This beautifully simple stage was taken up by Pugh’s enormous presence, as she navigates it perfectly in order to tell the tales. I came out of the performance having learnt about gods I had never heard of-beautifully highlighting the importance and impact of live theatre. Pugh broke the fourth wall, further creating a bond with the audience and with her natural comedic timing, she was able to have us in silence and then laugh in a split second.

This really is a testament to George Mann’s direction and Deb Pugh’s talent!

Empire theatre, Sunderland – until Saturday 29 October 2022

Reviewed by Alexandra Sykes

5*****

Nothing makes a cold, wet October night better than a trip to the theatre, so seeing The Book of Mormon for the first time was an amazing night. 

Funny from the word go, The Book of Mormon tells the story of how the Mormons were founded and how present day Mormons – Elder Price and Elder Cunningham (Robert Colvin and Conner Peirson) – were sent to Uganda to convert the locals, however Elder Price actually wanted to be sent to Orlando in Florida and Elder Cunningham is definitely the most unconventional Mormon going. 

Joining the Elders on their religious journey are Elder McKinley (Jordan Lee Davies), the senior Mormon for District 9 in North Uganda who encourages the new additions to turn off any confusing feelings they may have, implying that he himself is gay. The local villagers, led by Mafala Hatimbi (Ewen Cummins) mostly ignore the Mormons as they are constantly under threat from local warlord General Butt F***ing Naked. Things start to look up for the Elders when local girl Nabulungi (Aviva Tulley) starts listening to Elder Cunningham, despite him mixing up the holy text and plot lines from various films he has seen.  All’s well that ends well with the locals converting to Mormons and visiting other locals to try and convert them. 

With catchy songs and a well used set, this musical is a brilliant night out that will leave you in stitches from laughing so much. A personal highlight was watching the Mormon Elders tap dance to Turn It Off, especially whilst wearing pink, sparkly waistcoats. 

An absolutely brilliant night out full of laughs and singing along which will keep you smiling for days afterwards.

The Cabaret Geek presents  

The Wizard of Poz: Defying Bigotry 

at Two Brewers in Clapham this December  

The Adult Pantomime with a filthy mouth and a big heart  

starring Paulus ‘The Cabaret Geek’  

The Two Brewers Annual Adult Panto will this year be The Wizard of Poz: Defying Bigotry, presented by The Cabaret Geek, with a festive run at the popular Clapham cabaret venue from 7-9, 14-16 and 21-22 December 2022.  

From the same creative team who brought Pilates in the Caribbean, Alice in Poundland, Hairy Poppins and Dial M for Death to The Battersea Barge, this filthy-mouthed show with a big heart will unpack the myths surrounding HIV in the 21st century with levity and love. 

It’s the 1980’s in Ashby De La Zouch. Kevin is transported by tornado in place of his friend, Dorothy (who got COVID and had to cancel). There he meets the wrath of The Wicked Witch of West Acton (Ealing-Adjacent), whose only wish is to own her sister’s comfy High-Top trainers – oh, and to destroy any living being having an active sex life. Can Kevin save the sex lives of his friends from doom? Can he protect the red High-Top trainers from the witch? Is there anywhere you can park your broom in West Acton – and is that really the price of butter in the 80’s? Aided by Grrrlinda the Good, The Tin Scarecrow (cost of living crisis, we’ve all had to make sacrifices), and a Lion who is obsessed with Greggs the baker, Kevin embarks upon a quest to visit The Wizard of Poz and to discover finally whether that brick road is more ‘Sunflower’ or ‘Babouche’.  

The Wizard of Poz promises musical numbers from The Wiz, Wicked and the beloved Judy Garland movie, performed by a fabulous line-up of top cabaret and theatre performers.  

The cast is led by Paulus, ‘The Cabaret Geek’ – BBC’s All Together Now judge (as The Wicked Witch of West Acton) with Poz Daddy’s Jamie Anderson (as Grrrlinda The Good), C J Hopkins (as Kevin, A Friend of Dorothy), Paula Brett (as The Tin Scarecrow), Emma Maywood (as Lion), Annemarie Lewis Thomas (as Auntie Em) and Nathan Evans (as The Wizard of Poz).  

The creative team is Annemarie Lewis Thomas (Musical Director), Jamie Anderson (Director), Paulus, ‘The Cabaret Geek’ (Writer/Producer), Paula Brett (Dance Captain) and Belle De Beauvoir (Costumier/Choreographer). The production team is Sean Mooney (Company Manager) and Nathan Evans (Technician).  

Disclaimer: this show has no trigger warning, no spoilers and should not be viewed by anyone with a delicate disposition. It is basically filth. Also, there might be strobe lighting. 

The Wizard of Poz plays Two Brewers (114 Clapham High Street) from 7-9, 14-16 and 21-22 December 2022. Tickets: https://thecabaretgeek.com/panto/. Strictly for ages 18+. 

LISTINGS 

Show: The Wizard of Poz: Defying Bigotry 

Producer: The Cabaret Geek 

Venue: Two Brewers, 114 Clapham High Street, London SW4 7UJ 

Date: 7-9, 14-16 and 21-22 December 2022 (press night: 8 December) 

Time: doors 7.15pm; show 8.00pm. 

Running Time: tbc 

Box Office: https://thecabaretgeek.com/panto/ 

Tickets: £22 

Accessibility: Accessible Toilets, Complimentary Ticket for Assistant, Service Animals Welcome, Step Free Access, Wheelchair Accessible 

Eleanor Lloyd Productions and Eilene Davidson Productions present

Vardy v Rooney: The Wagatha Christie Trial

• A VERBATIM PLAY OF THE VARDY V ROONEY TRIAL WILL BE STAGED IN THE WEST END FOR ONE NIGHT ONLY.
• LISA SPIRLING’S RESTAGING IS ADAPTED BY LIV HENNESSY FROM THE HIGH COURT TRANSCRIPT.
• DATE AND VENUE TO BE ANNOUNCED SOON. SIGN UP HERE TO BE THE FIRST TO KNOW WHEN TICKETS GO ON SALE.

For one night only, theatre audiences will be able to watch the trial that gripped the nation.  Adapted from seven days of the High Court transcript by Liv Hennessy (finalist in the Paines Plough’s Women’s Prize for Playwriting) and directed by Lisa Spirling (Artistic Director of Theatre503), Vardy v Rooney: The Wagatha Christie Trial will bring the dramatic legal action to life. 

From sting operations to sensational headlines, this verbatim production will reveal what went on behind closed doors in the case that turned social media sleuthing into high drama. Audiences will see first-hand, and in the words of Rebekah Vardy and Coleen Rooney, how the extraordinary week in court played out.

Vardy v Rooney is a story stranger than fiction, with lurid one-liners and revelations blurring the boundaries of tabloid and court case, social media and soap opera. This unique moment in British media history captivated the country but while public debate raged, only a handful of people witnessed what happened in the trial. Now audiences can watch the intrigue and intricacies of the case live on stage in the West End.  Further details to be announced soon. 

Producer Eleanor Lloyd said: ‘The way the trial gripped the nation – myself included – demonstrated to me straight away how well this story would translate to the stage; the twists and turns of the case were so intriguing you couldn’t write it.’

Director Lisa Spirling said: ‘This trial asks key questions about the complex boundaries between privacy and celebrity in modern Britain and what it is to be a so-called ‘WAG’.  I’m thrilled to be collaborating with Eleanor, Eilene and Liv to bring this extraordinary court room script to life.’