Robert Lopez Trey Parker’s award winning ‘Book of Mormon’ brings its mission to Southampton-and it will make you laugh until you cry!!
We join Elder’s Price and Cunningham (Robert Colvin and Connor Peirson) as they try to speak to a tribe in Uganda and preach to them the word of God – the Book of Mormon. Hilarity ensues as this perfect pair have fights and eventually make up, as Elder Price is devastated to be in Uganda and not Orlando. Elder Cunningham (Peirson) is stupendous; both charming and entrancing, he really carries this show to perfection. Along with his perfect comedic timing and brilliant vocals (excelling in Man Up), he fills the stage and elevates the show to the highest heights! Robert Colvin as Elder Price, the long suffering ‘best friend’ of Elder Cunningham, has a lovely voice and made the audience laugh with his brilliantly selfish persona. Upon arrival in Uganda, we meet Nabalungi (Avila Tulley) the daughter of Mafala (Ewen Cummings). Both Nabalungi and Mafala are incredibly fantastic characters, paying homage to both Lopez and Parker’s writing excellence. Mafala (Cummings) sings easily the most offensive but hard hitting song ‘Hasa Diga Eebowai’ with ease and perfection. Tulley has a lovely innocence during her solo ‘Sal Tlay ka Siti’. The ensemble are also superb during this performance, with a special mention to Jordan Lee Davies as Elder McKinley. He has a brilliant stage presence and performed the role with ease and complete believability.
This show is a true testament to all cast and creatives with the costuming and set design being so exquisite. Having seen the show before on the west end, this is a stunning performance and is definitely not one to miss! Be warned there are swearing and explicit references during, so may not be suitable for under 14’s. Definitely go to catch the show and join the mission of Southampton!
Wilton’s Music Hall – until 19 February then touring until 2 April
Reviewed by Claire Roderick
4****
The trial and execution of William Corder for the murder of Maria Marten caused a sensation, with thousands showing morbid curiosity, and souvenir hunters removing pieces of Maria’s gravestone and the barn in which she was murdered, and her body hidden. Beth Flintoff’s play begins with Maria, bloody and ghostly, describing her death but wanting to share the story of her life. What follows is a moving retelling of Maria’s short life and the injustices faced by women in the 19th century.
Flintoff doesn’t shy from the hardships of country life for poor families, and the group of friends in young Maria’s Hazard Club face many hazards as they grow up with no money, no rights and no contraceptives. The double standards of the women bearing all the shame and responsibility when having a child out of wedlock while the men rack it up to experience are laid bare as the girls mature and men take interest. Only two of these men are portrayed onstage – the fathers of two of Maria’s children – Thomas Corder (older brother of her murderer) and Peter Matthews. William Corder is never seen, but the two previous relationships need to be seen to understand why Maria fell under William’s influence. His gaslighting of Maria will make your blood boil, especially as Maria herself narrates his actions whilst blaming herself; and the gradual isolation from her friends and family, and their attempts to get through to her, are painful to watch. Things don’t get much better for the women after her body is eventually found and the trial begins, as their voices and testimonies go unheeded. Flintoff gives the women one last act of defiance and sisterhood, with shades of Emilia, but with a greater sense of urgency that leaves Maria’s ghost smiling in serene approval.
This doesn’t, in essence, make for an uplifting show, but the inclusion of Luke Potter’s hauntingly evocative music and songs create magical moments of dance, joy and love. Amongst the dark narrative, director Hal Chambers highlights plenty of silliness and gallows humour – mostly from Hanora Kamen as Sarah Stowe, unapologetic and defiant as the villagers judge her, and Susie Barrett as Lucy Baalham, god-fearing and jealous of Maria. Elizabeth Crarer is magnetic as Maria – whether incandescent with love or in the depths of despair as her reality is rewritten by Calder, Crarer gives Maria a sense of wild, untameable energy which makes Calder’s actions even more heinous.
This emotional story of Maria Marten’s life is part folk tale, part social commentary, and completely absorbing – a lyrical and exuberant show that will haunt you.
Festival Theatre, Edinburgh– until 20 February 2022
Reviewed by James Knight.
4****
It’s a rare thing for a family-oriented production to open with the child protagonists’ parents dying during the Blitz. Rarer still to continue with an entirely non-verbal prologue detailing those children in the traumatic aftermath. Welcome to ‘Bedknobs and Broomsticks’, folks. Mary Poppins this ain’t.
The 1971 Walt Disney film, with music by the Sherman Brothers (also famous for Mary Poppins), clearly hoped to capitalise on the success of the Julie Andrews and Dick van Dyke spectacular. English period setting? Check. A woman with magical powers, looking after adorable children with absent parents? Check? Animated characters? David Tomlinson? All there. But while still regarded as a classic, it was never quite as popular as Poppins.
The new stage show however, aims to correct that. Despite the grim opening, and the looming threat of invasion throughout, this is still a light-hearted musical about magic, hope, and the power of just believing.
Eglantine Price (Dianne Pilkington) has been learning witchcraft via a correspondence course with ‘The Great Professor Emelius Browne’ (Charles Brunton), and now she has to take charge of three recently orphaned evacuees: Charlie, Carrie and Paul Rawlins (Conor O’Hara, Izabella Bucknell* and Aidan Oti*). After discovering her secret, Miss Price reveals to the children that she needs one last spell to defend the country against an imminent invasion. That last spell however, is going to prove very difficult to get hold of, as her witchcraft course has been cancelled…
So begins a magical journey that whisks the audience to London to find Emelius Browne and then to the Island of Nopeepo, all via a flying bed.
The magic used is superb and used to great effect. Directors Candice Edmunds and Jamie Harrison, of theatre company Vox Motus, know precisely when to let the technical wizardry do the work, and when to let older, more traditional methods, like puppetry, take the lead (Harrison also designed the set, of which the looming ruins of the Rawlins’ former house maintain a constant reminder of the trauma they have faced, and the threat that is to come). During ‘A Step in the Right Direction’, Eglantine learns to fly a broom for the first time and the results are hilarious and bewitching all at once. Little touches, such as the flying bed passing through an archway, or a person appearing mid-air when they have turn back from a rabbit, heighten the magic effortlessly.
Most of the Sherman Brother’s songs remain from the film, but new ones written by Neil Bartram to flesh out characters or moments. Some of these are more successful than others, and two songs near the climax (It’s Now, Onward) feel underpowered, and don’t manage to capture the emotion that is required at such an important point. And after the wonderful ‘Portobello Road’ I was expecting great things from ‘The Beautiful Briny’ and a dance competition between the fish and Miss Price and Emelius, but the choreography seemed simple and clumsy in comparison. Also, parents be warned: it’s a long show for little ones, despite the magic onstage.
That being said, the theatrical tricks that are used work wonders, whether it’s the incredible puppetry for the various animals that appear or the simple movement of set by the Ensemble to show our heroes’ journey when they’re not travelling by bed. Theatre has always been about magic in some form, and the cast and crew of Bedknobs and Broomsticks honour that tradition impeccably.
This summer The Lord Chamberlain’s Men, with a history stretching back to William Shakespeare himself, present the sparkling comedy, As You Like It. Tickets for this highlight of the summer calendar throughout the country are on sale now.
Following last year’s hugely successful tour of Macbeth, The Lord Chamberlain’s Men, leading proponents of open air theatre for more than 15 years, return with a joyous and celebratory production of Shakespeare’s As You Like It. The production premieres at the Brighton Festival in late May before playing at the Hay Festival and the Salisbury International Arts Festival in early June then embarking on an extensive summer tour concluding in early September. Full tour dates and details are available on www.tlcm.co.uk.
Over the summer months the company will perform in the gardens and grounds of some of the UK’s most significant, historically important and visually stunning castles, cathedrals and stately homes including: Chatsworth, Harewood House, Norwich Cathedral and Waddesdon Manor. Visiting almost 70 venues in 15 weeks there will be somewhere for everyone, but advance booking is highly recommended.
For this unique theatrical experience, audiences are encouraged to bring a chair, a picnic and a glass of something chilled as the show promises to be another authentic, excellent and magical treat from the company that brought you 2020’s sell-out smash production of Macbeth.
Acclaimed for their stylish and accessible productions The Lord Chamberlain’s Men have been wowing audiences throughout the country and internationally in their trademark style since 2004. Continually raising the bar for standards in open air theatre they have gone from strength to strength.
Talking about the thrill of seeing theatre in the open air, Peter Stickney, Artistic Director and Producer says, “Experiencing Shakespeare’s productions outside, where he first saw them, is a truly special thing. As the light fades and the moon shines bright, it is thrilling to think that we are looking at the same moon Shakespeare did whilst we listen to words he wrote more than 400 years ago. As we have all discovered from last year, seeing theatre outdoors is not only magical but safer too. We will continue to provide extraordinary entertainment at extraordinary venues whilst also providing somewhere audiences can more freely and happily enjoy themselves. We have been lucky enough to make and enjoy theatre in special outdoor settings for many years and I hope those looking to experience top-quality theatre will join us to enjoy this unique theatrical experience.”
Speaking about what audiences can expect this summer he said, “As You Like It is a wonderfully warm, funny and rich play. We follow our main characters as they flee or are exiled from the court to set up new lives in the Forest of Arden. There they find love, freedom and, ultimately, happiness. There is clearly much to be said for running away to the countryside and starting again! There will be plenty of songs and laughs, some classic Shakespearean cross-dressing confusion and a spot of wrestling.
This play has one of Shakespeare’s strongest and most recognised heroines, Rosalind. Determined, passionate and with a razor-sharp wit she refuses to be brought down by her circumstances and the world around her. When she is exiled from the court, she disguises herself by dressing up as the shepherd Ganymede and sets about the challenge of solving everyone’s problems and, eventually, even her own. In our production, as in Shakespeare’s day, there will be an extra layer of fun and intrigue as a man will be playing a woman who is dressed as a man whilst, at times, pretending to be a woman!
There is something particularly special about enjoying this story of the joys of nature and its powers of rejuvenation and rebirth whilst sat amongst the trees with grass under foot and a star-filled night sky above us. Truly magical. We hope you can join us for it.”
With Authenticity, ExcellenceandMagic as the watchwords of the company, audiences new and old can expect a summer treat in the fresh air of a great British summer, as The Lord Chamberlain’s Men bring their own special brand of all male Shakespeare to venues throughout the country. Don’t miss this brilliant company perform Shakespeare as he first saw it; all male, in the open air and with Elizabethan costume, music and dance.
This open air production is ‘See it Safely’ compliant and will adhere to government and industry COVID safety guidance, ensuring every effort is made to protect audiences and company members at all times.
Southwark Playhouse, London – until 5th March 2022
Reviewed by Bobbi Fenton
5*****
Can you imagine how difficult it must be for parents to lose one of their daughters, at the age of 17. It must be absolutely heart breaking, no parent should ever have to bury their child. But, what about her little sister? ‘Instructions for a Teenage Armageddon’, written and performed by Rosie Day, is a very cleverly told story, focusing on teenaged Eileen (Rosie Day), in the years after her sister, Olive’s, death. Olive died at the age of 17 after a 6-year struggle with anorexia, when Eileen was 13. This obviously turns her whole life upside down, affecting her friendships, her scouting life, and her parent’s marriage.
The stage is covered with wood chips, and has a chair, a microphone, some small wooden logs, and Eileen’s bag. It is vague enough that it allows Rosie Day to change the setting of each scene easily and quickly. There are also videos projected at certain points of the show, featuring Molly Ashby, Amanda Abbington, Philip Glenister, Isabella Pappas, Jessica Ellerby, and Maxine Peake as the people in Eileen’s life, such as her parents, friend Noelle, and scout troop. This method is brilliant, as it really works with the way that Eileen is telling it as a story.
The themes of this play are incredibly relevant in a modern society, with Eileen’s pitiful experiences being relatable to so many teenage girls. This show is guaranteed to leave you absolutely speechless, still processing it hours after it has finished. It is filled with huge revelations about Eileen herself, her sister, and her family, with her revealing her name towards the end, in a remarkable fashion. An absolute must see for anyone over the age of 13.
NATALIE PARIS AND KATIE RAMSHAW ANNOUNCED AS SPECIAL GUESTS FOR WORLD PREMIERE OF DOMINIC POWELL’S MUSICAL REVUE THE LOVE REVUE AT LONDON’S PHOENIX ARTS CLUB
Olivier Award-nominee Natalie Paris (Six) and Katie Ramshaw (Scrubs to Sparkles) will join Olivier Award-nominee Maiya Quansah-Breed (Six, Rent) and Billy Luke Nevers (& Juliet, Jesus Christ Superstar) as special guests for the world premiere of Dominic Powell’s musical revue The Love Revue at London’s Phoenix Arts Club.
The Love Revue is an eclectic collection of songs questioning and exploring fundamental contemporary beliefs surrounding love, relationships and identity curated by stage and screen creative Dominic Powell from works within his musical theatre repertoire.
Reworking elements of Powell’s original musical Date 1 to 10 (Landor Theatre), the musical revue is a melting pot of pop, R’n’B and musical theatre are stirred with dynamic poetry and readings as lovers Peter and Ruth encounter a sizzling adventure of heartbreak and discovery confronting fears from their past.
The Love Revue will now perform for one performance only and debut at the Phoenix Arts Club at 7:30pm on Monday 21st February. Tickets for the performances, from £15, are now on sale at the Phoenix Art Theatre’s website and box office.
Maiya Quansah-Breed reunites with Dominic Powell having been featured on the Original Studio Cast Recording of Powell’s musical CASES and performed in the Barn Theatrein Cirencester’s virtual concert, The Barn Presents: The Music of Dominic Powell, celebrating Powell’s work. Maiya Quansah-Breed received an Olivier Award nomination for her performance as Catherine Parr in the original cast of the musical smash-hit Six and has since gone on to appear as Mimi in Rent (Hope Mill Theatre), Laura in the West End premiere of Scott Alan’s song cycle The Distance You Have Come and the West End premiere of Drew Gasparini’s I Could Use A Drink (Garrick Theatre).
Billy Luke Nevers is currently a cast member of & Juliet in the West End and also recently appeared in Jesus Christ Superstar at Regent’s Park Open Air Theatre, Dr Seuss’ The Grinch Musical! Live on Sky & NBC and I Could Use A Drink at Garrick Theatre. Further credits include: Bring it On (Southwark Playhouse), Spring Awakening (Curve, Leicester), The Color Purple in Concert (Cadogan Hall), An Intimate Evening with Kristin Chenoweth (London Palladium).
Quansah-Breed and Nevers have previously performed together in the West End in I Could Use A Drink at the Garrick Theatre and Roles We’ll Never Play at Vaudeville Theatre. The duo also performed their first joint cabaret at the Phoenix Arts Club in June 2021.
Maiya Quansah-Breed and Natalie Paris were both nominated for Olivier Awards for their performances in the original West End cast of Six. Katie Ramshaw and Maiya Quansah-Breed both performed in the Barn Theatre’s digital concert The Barn Presents: The Music of Dominic Powell.
Dominic Powell is a creative and producer for stage and screen with recent credits including CASES The Musical (The BRIT School), the CASES Original Studio Cast Recording and “The Barn Presents: The Music of Dominic Powell” (Barn Theatre). Dominic also curated interview series “In The Room” and concert “The Road to Prominence” for thespie.com and he has produced and premiered new writing across London in venues such as The Other Palace, Phoenix Artist Club, The Vaults, Cockpit Theatre, Park Theatre, Landor Theatre, Above the Arts and the Theatre Café. Dominic’s musical theatre repertoire is featured as part of New UK Musicals.
Come “sail the ocean blue” with Sasha Regan’s sixteen strong H.M.S. Pinafore crew at Wilton’s Music Hall
Regan De Wynter Williams Productions is delighted to announce Sasha Regan’s all-male Gilbert & Sullivan H.M.S. Pinafore crew.
The Company welcomes the return of some familiar faces as well as new shipmates…
Juan Jackson takes the helm as Captain Corcoran. Juan trained in vocal performance at Florida State University. Professional theatre credits include his award-nominated performance in Five Guys Named Moe (Gatehouse Theatre) – nominated for Best Lead Performance in a Musical (Off-West End); Rhodaspes in a showcase of exciting new rock musical Artaban The Musicalat The Actors’ Church, Covent Garden (directed by Sasha Regan). Juan has also travelled widely and worked on productions in the UK, Singapore and Australia including: Tom Collins in Rent (Drama Centre Theatre, Singapore); John in Miss Saigon (Cameron Mackintosh); The King of Siam in The King and I(The Production Company, Australia); Dr. Frank-N-Furter The Rocky Horror Show (TML Enterprises tour); Old Deuteronomy in Cats(Really Useful Company) and Dr Maiden/Fine in Next to Normal (Drama Centre Theatre, Singapore). Juan’s brilliant single “Candy” is available on all platforms: https://music.apple.com/au/album/candy-ep/1470381153
Juan is steering 16-strong crew featuring All-Male G&S regulars as well as new faces….
Sam Kipling (Josephine); Richard Russell Edwards (Cousin Hebe); David McKechnie (Sir Joseph Porter) and Matthew Facchino (Ensemble/cover Ralph) all return to the All-Male Company together with Tom Duern (Ensemble/cover Buttercup) – Tom produces the hugely successful concert series Roles We’ll Never Play. Collectively, they have all appeared in many of the All-Male G&S Operetta series over the years including in the award-nominated The Pirates of Penzance in the West End.
Sam Kipling’s recent credits include his widely acclaimed performance as Sir Clifford Chatterley in Lady Chatterley’s Lover – The Musical(Shaftesbury Theatre, directed by Sasha Regan) and he was nominated for an Off-West End award for his role as Alf in Benjamin Till’s multi award-nominated BRASS (2018).
Richard Russell Edwards first played the role of Cousin Hebe in 2013 at the Union Theatre for which he received the Craig Dodd Theatre Prize, Actor in a Featured Role, before appearing at the Hackney Empire and subsequent UK tours. Recent credits: Red Lobster in Pinocchio – The Greatest Wonder of The Age (Lyric Belfast).
David McKechnie received critical acclaim as the Major-General in Sasha Regan’s All-Male The Pirates of Penzance (West End), and reprises his role in H.M.S. Pinafore as Sir Joseph Porter, a role he first played in 2014 (Hackney Empire). Other recent roles: Captain Keller in The Miracle Worker (Chelmsford Theatre) and Geoffrey in Stepping Out (Stephen Joseph Theatre, Scarborough).
Since The Pirates of Penzance, Matthew Facchino has appeared in roles including: The Regulars Concert (Hope Mill Theatre); Soloist in Roles We’ll Never Play (Apollo Theatre). Other credits include: Anthony in Sweeney Todd (English Theatre Frankfurt).
Tom Duern continues to produce his sell-out concert series Roles We’ll Never Play in the West End(Lyric Theatre 2022, Vaudeville Theatre 2021 & Apollo Theatre 2020).
Introducing our new shipmates….
Danny Becker will play our lovestruck hero Ralph Rackstraw. Danny’s recent theatre credits include: Moses & Aaron u/s in the original cast of The Prince Of Egypt(Dominion Theatre); Aladdin u/s in Disney’s Aladdin (Prince Edward Theatre); Fabrizio Naccarelli u/s in The Light In The Piazza (Royal Festival Hall & The Dorothy Chandler Pavilion, Los Angeles); Jamie in The Last 5 Years(The Other Palace); Don Lockwood in Singin’ In The Rain (Gaiety Theatre); Follies(Royal Albert Hall); The Who’s Tommy (Greenwich Theatre); The Twelve Tenors (Asian Tour & Monte-Carlo) and Artaban in Artaban The Musical(Covent Garden).
Scott Armstrong will play the role of delightful “Little Buttercup”. Scott’s theatre credits include: Beast/Prince Beauty and the Beast (Nottingham Playhouse); Motown the Musical (UK tour); Chess (The Royal Albert Hall); Room on the Broom (UK and International Tours); Narrator in The Gruffalo (UK Tour and Garrick Theatre, West End); Mike Nulty in Irving Berlin’s White Christmas (Pitlochry Festival Theatre); Brendan in Liz Lochhead’s Perfect Days (Pitlochry Festival Theatre) where he won the Leon Sinden Audience Award for Best Supporting Actor in a Play; Marvin Shellhammer in Meredith Wilson’s Miracle on 34th Street (Pitlochry Festival Theatre); Lancelot in Monty Python’s Spamalot(English Theatre Frankfurt); Franz Liebkind/ cover Max Bialystock in The Producers (International Tour).
Jazz Evans also makes his first All-Male Company début as Dick Deadeye. Theatre credits include: Lars/Zelda/Mason in musical Madagascar (Kirk Jameson, Selladoor) 2018; Prince Herbert/Not Dead Fred/Historian, Spamalot UK Tour (Selladoor) 2017; Prince Herbert in Spamalot (Mercury Theatre Colchester); Harry in State Fair (Cadogan Hall, London Musical Theatre Orchestra); Prince Albert in Made In LDN (Cockpit Theatre); Alfie/Prince Edward H.R. Haitch (Iris Theatre, St. Paul’s Actors’ Church). Come and “sail the ocean blue” with Jazz!
The Company welcomes Matthew McDonald to the crew as Boatswain/Cover Captain. Recent roles include: Lapiscine in Beauty and The Beast (Civic Theatre, Chelmsford); Charles Clarke in Titanic The Musical China Tour 2019 and UK and Ireland Tour 2018 (Tarento Productions, Thom Southerland); Josua Rose/Kirby in Little Miss Sunshine UK and Ireland Tour (Arcola Theatre and Selladoor).
Zac Adlam(Dance Captain/Swing/Ensemble/Cover Boatswain) joins the ship. Theatre Credits: Ensemble/Busboy in She Loves Me (Sheffield Crucible); Ensemble in Cinderella (Theatre Royal Nottingham); Ensemble in Grease(Harmony of the Seas RCCL); Ensemble in Aladdin (Cambridge Arts Theatre); Jack in the Box in Toys the Musical(Dubai); Ensemble/Dance Captain in Peter Pan(White Rock Theatre); Ensemble in The Golden Age of Dance(Theatre Royal Drury Lane).
Trevor Lin makes his All-Male G&S début (Swing/Female Ensemble). Trevor graduated from the Royal Conservatoire of Scotland in 2021 having appeared as Jack in Into The Woods and Principal Dancerin The Pajama Game. Since graduating, Trevor’s professional credits include: Soloist in Roles We’ll Never Play: Emerging Talent Concert (The Union Theatre); Ensemble/Cover Prince in Cinderella (Watersmeet) and Arbuthnot/Ensemble in the world premiere of The Pantomime Life of Joseph Grimaldi (Kenneth More Theatre).
Oliver Ramsdale boards the ship (Assistant Choreographer/Ensemble/Cover Dick Deadeye). Oliver’s recent credits: White Christmas UK Tour 2021 (Curve Theatre Leicester); Ensemble in Chicago (Tarento Productions); Ensemble/Cover Ralph Sheldrake in White Christmas The Musical (Dominion Theatre); Ensemble and u/s Robbie, Dirty Dancing (UK Tour, Playful Productions); Ensemble/On Stage Swing The Glenn Miller Story (London Coliseum, Bill Kenwright and Bob Tomson); Ensemble, Dick Whittington (London Palladium, Qdos Entertainment); Munkustrap/Swing/2nd Cover Rum Tum Tugger Cats International Tour 2016 and Macavity/Admetus/Swing in Cats (London Palladium) directed by Trevor Nunn.
Joshua Clayton(Ensemble/Cover Hebe) steps on board. Joshuatrained at Bird College Conservatoire of Dance and Musical Theatre. Roles included: Robbie Hart in The Wedding Singer (Bird College); Angel in Rent (Doreen Bird Foundation Theatre) and singer in Jersey Boys (Orchard Theatre). Since graduating with a BA Honours in Dance and Musical Theatre, Joshua has performed in a series of productions for Rixos Hotels in the United Arab Emirates.
Patrick Cook boards the H.M.S. Pinafore (Ensemble/Cover Sir Joseph Porter) Patrick trained for his Diploma in Dance and Performance at the Dance Factory in Australia. He recently received acclaim for his London début as Robert “Robbear” Lamanteur in Gentlemen Prefer Blondes(The Union Theatre) directed by Sasha Regan, which won Best Musical Production in the Off-West End Awards 2020. Other credits: Ensemble in We Will Rock You (Royal Caribbean); various roles in Brigadoon(State Theatre Victoria).
Gareth Evans (Ensemble/Cover Josephine)
Gareth trained at the Guildford School of Acting where he received a first class honours degree. Professional credits include: Peter in the BAFTA award-winning BBC drama In My Skin seasons 1/2; Teifion in Jam on S4C; Roger in Grease (Gary Lloyd); Teifion in Tuck (WMC); lead vocalist high tenor in The 12 Tenors Millennium Tour; a member of VOX on Pitch Battle (BBC), and he has also appeared in Ed Sheeran’s music video Cross Me.
The cast will be joined on stage by Ashley Jacobs (Musical Director). Ashley’s theatre credits include: Sweet Charity (Institute of the Arts, Barcelona); Betty Blue Eyes (Performance Preparation Academy); Mack & Mabel(Performance Preparation Academy); Songs for a New World (LAMDA), and The Show Shanties.
Lizzi Gee (Choreographer) joins the crew after having recently choreographed another version of the H.M.S. Pinafore for the English National Opera Company. Lizzi has collaborated with Sasha Regan on all her all-male series over the past decade, most recently with the West End award-nominated The Pirates of Penzance. Other opera credits include: The Merry Widow and Iolanthe (ENO); Porgy and Bess (Grange Park Opera), and Hansel and Gretel (Regent’s Park/ENO). Lizzi is an Associate Artist of The Old Vic Theatre.
Further announcements for our creative team will be made shortly.
Gilbert & Sullivan’s much-loved operetta will run at Wilton’s Music Hall from 16th March – 9th April before sailing to the Theatre Royal Winchester from 21st April – 27th April 2022.
Sasha Regan’s All-Male H.M.S. Pinafore opens at Wilton’s Music Hall on 16th March, running until 9th April 2022 Tickets:https://www.wiltons.org.uk/whatson/698-h-m-s-pinafore Box Office: 020 7702 2789 Address: 1 Graces Alley, Whitechapel (just off Ensign Street), London E1 8JB
Welcome to a Bee Gees karaoke night, with tightly choreographed, slickly performed routines. If you’ve seen the movie, danced to the tunes and are looking for a show that will entertain more than challenge, this is a good choice.
Richard Winsor as Tony Manero pulls off the Travolta moves, all fluid hips and fancy footwork. It’s impeccable, but somehow doesn’t ring true – this wasn’t the style of a New York kid from the wrong side of the tracks, rather that of a professionally trained dancer – and there’s not enough variation in the choreography as a whole. But Winsor makes good eye candy – the scene where he dons the famous white suit draws plenty of woops from the (largely female) audience. Hey, if you’ve got it, flaunt it.
The story is faithful to the original film, including the Seventies misogyny that is integral to the plot – from Tony and his friends’ attitude to women to his parents’ dysfunctional relationship. The performance goes down well with the crowd – not quite dancing in the aisles, but certainly on their feet and clapping along at the end. It’s an uplifting finale, despite the grit and tragedy of how the story unfolds.
The faux ‘Bee Gees’ are on stage pretty much throughout, providing a live soundtrack – head to toe in shiny suits, with beards and wigs to complete the look. It feels more pastiche than homage, though I’m sure that’s not the desired effect. It would take an absolutely exceptional set of voices to really do justice to the original songs – sadly, though good, these were not those exceptional voices. And while Bobby C (Kevin O’Dwyer), Stephanie (Olivia Fines) and Annette (Jasmin Colangelo) all get to sing solos, Tony doesn’t. It’s a shame – it’s a piece screaming out for the lead role to do a big vocal number. This is produced and directed by Bill Kenwright, so seasoned theatre-goers will know what to expect. But there’s something soulless about this show – it will undoubtedly be a hit but I’m not 100% convinced it deserves to be. If you love the music and enjoy a musical, this will certainly tick the boxes, but you’re unlikely to be entirely wowed by this. It’s the latest in a long line of bringing successful movies to the stage as musicals – this has the advantage of a great original soundtrack, but that is its greatest redeeming feature. Is the winning formula beginning to fade?
JOE McELDERRY RETURNS TO NEWCASTLE THEATRE ROYAL PANTO
Following a triumphant debut Newcastle Theatre Royal panto season, Joe McElderry will make a popular return in the festive spectacular Cinderella (Tue 29 Nov ’22 – Sun 15 Jan ’23).
Having proved a firm favourite with audiences, Newcastle’s own Joe will join the previously announced comedy superstar Danny Adams and returning favourites Clive Webb and Chris Hayward, playing the role of The Fairy Godfather in Cinderella.
Since winning The X Factor in 2009, Joe McElderry has solidified his reputation as one of the country’s finest singer-songwriters, which has seen him enjoy an extensive and successful career spanning music, television and musical theatre.
Producer and Director of Cinderella, Michael Harrison said: “Joe received such a rapturous welcome from our Newcastle Theatre Royal audience last Christmas I just had to invite him back to join Danny, Clive and Chris for Cinderella this year. Joe is the ultimate showman – bringing incredible musical talent and hilarious comedy interaction with Danny to the show. Cinderella, which will feature set and costumes from our London Palladium production, is already shaping up to be our biggest Newcastle Theatre Royal panto to date.”
Chief Executive of Newcastle Theatre Royal, Marianne Locatori added: “Joe was a wonderful addition to an already spectacular cast; he proved to be a real hit with our audiences who were blown away by his stunning vocals and sense of fun and we are delighted that he will be joining us once again for Cinderella.”
Produced by the world’s biggest pantomime producer, Crossroads Pantomimes, with all of the traditional pantomime ingredients Newcastle Theatre Royal audiences expect from the North East’s premier panto, Cinderella.
Join Cinders as she goes from rags to riches, outwits her very wicked sisters and meets her dashing Prince Charming. The clock is ticking, so book your tickets now!
Cinderella plays at Newcastle Theatre Royal from Tue 29 Nov 2022 – Sun 15 Jan 2023. Tickets are priced from £12.50 and can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.
DLAP Group are delighted to announce that George Maguire and Natalie McQueen will star as Buck and Blanche Barrow in the West End premiere of the cult-favourite BONNIE AND CLYDE THE MUSICAL at the Arts Theatre from Saturday9 April 2022. Further casting to be announced in due course. www.bonnieandclydemusical.com
Olivier Award winner George Maguire and West End star Natalie McQueen reunite to reprise their roles as Buck and Blanche Barrow following the phenomenal response to their performances as part of Bonnie and Clyde In Concert at the Theatre Royal Drury Lane in January 2022.
George Maguire is the winner for the Olivier Award for Best Supporting Actor in a Musical for his performance as ‘Dave Davies’ in Sunny Afternoon. His other theatre credits include 35mm: A Musical Exhibition at The Other Palace Studio, Oliver! at the London Palladium and the European tour of Rent.
Natalie McQueen’s West End credits include playing ‘Doralee Rhodes’ in 9 to 5 The Musical at the Savoy Theatre, Wicked at the Apollo Victoria Theatre and Kinky Boots at the Adelphi Theatre. Her other theatre credits include the UK tour of Wonderland, Murder Ballad at the Arts Theatre and Starlight Express at The Other Palace.
At the height of the Great Depression, Bonnie Parker and Clyde Barrow went from two small-town nobodies in West Texas to America’s most renowned folk heroes and the Texas law enforcement’s worst nightmares. Fearless, shameless, and alluring, Bonnie & Clyde is the electrifying story of love, adventure and crime that captured the attention of an entire country. The show features the songs “Raise A Little Hell”, “This World Will Remember Me” and “Made In America”.
When Bonnie and Clyde meet, their mutual cravings for excitement and fame, combined with a desperate need to lift themselves out of the endless banality and poverty of West Dallas, set them on a mission to chase their dreams. Their bold and reckless behaviour turns the young lovers’ thrilling adventure into a downward spiral, putting themselves and their loved ones in trouble with the law. Forced to stay on the run, the lovers resort to robbery and murder to survive. As the infamous duo’s fame grows bigger, their inevitable end draws nearer.
BONNIE AND CLYDE THE MUSICAL has a book by Ivan Menchell (Blended [movie], The Cemetery Club, Death Note The Musical), a Tony Award nominated score by Frank Wildhorn (Jekyll and Hyde, The Scarlett Pimpernel), lyrics by Don Black (Tell Me On a Sunday, Sunset Boulevard, Mrs Henderson Presents). The production will be directed by Nick Winston (Director of the feature film Tomorrow Morning, MAME, The Royal Variety Performance) with Set and Costume Design by Philip Whitcomb (Atlantis, Stones In His Pockets, MAME) and Musical Supervision from Katy Richardson (SIX, Rent, Jersey Boys).
