Author: FairyPoweredProductions

FULL CAST ANNOUNCED FOR

CHARLES COURT OPERA’S

THE NATIVITY PANTO

AT THE KING’S HEAD THEATRE

29 NOVEMBER 2019 – 11 JANUARY 2020

The King’s Head Theatre and Charles Court Opera are delighted to announce the full cast for The Nativity Panto – A Not-So Silent Night, starring Emily Cairns, Meriel Cunningham, Jennie Jacobs, Matthew Kellett and Catrine Kirkman. The panto runs from 29 November 2019 to 11 January 2020, with a press night on Tuesday 3 December 2019.

Emily Cairns previously made her Charles Court Opera debut in Buttons: A Cinderella Story (King’s Head Theatre). Her other theatre credits include The 56 (Bradford Alhambra and UK Tour with Lung Theatre), E15 (Edinburgh Fringe Festival / Battersea Arts Centre), News Revue (Canal Cafe Theatre), Triple Entendre: Love, Life and Other Stuff (Bradford Playhouse / Canal Cafe / Edinburgh Fringe Festival).

Meriel Cunningham graduated from Guildhall School of Music and Drama. Since graduating, her opera credits include Dorilla in Tempe (Wexford Festival Opera), The Return of Ulysses (The Roundhouse for Royal Opera), The Tales of Hoffmann (Grimeborn Opera Festival), H.M.S Pinafore and Ruddigore (Charles Court Opera). Her theatre credits include An Evening on Broadway (Milton Court Theatre), Guys and Dolls, Crazy For You (Silk Street Theatre for Guildhall). Meriel’s recent concert highlights include a recital of Kurt Weill Cabaret Songs at Barbican Hall and performing a selection of jazz standards with Derek Paravicini at St John Smith Square for their My Music concert series. 

Jennie Jacobs earlier this year starred as Little Buttercup in H.M.S. Pinafore (King’s Head Theatre / National Tour). Her other performing credits include Buttons: A Cinderella Story (King’s Head Theatre) and Guilty of Love (National Tour). Jennie has also been a part of the vocal groups The Rudy Vees, Graffiti Voices, ANCORA and Opera Girls. As well as performing she is a recording artist, cabaret performer, writer and comic.

Matthew Kellett is returning for his seventh pantomime with Charles Court Opera. His previous appearances have included d’Artagnon in The Three Musketeers, Billy in Billy the Kidd, El Tabasco in Pinocchio, Lord Conniving in King Tut, Buttons in Buttons: A Cinderella Story, and all seven of Snow White’s dwarfs in Mirror Mirror. He has also made many appearances with CCO outside of panto, including most recently H.M.S. Pinafore. His other recent theatre credits include The Elixir of Love (King’s Head Theatre), The Yeomen of the Guard, The Gondoliers, The Mikado and The Pirates of Penzance (UK Tour with National Gilbert and Sullivan Opera Company).

Catrine Kirkman most recently performed her new one-woman show, Unbreakable Bond, based on the star of original Savoy Operas, Jessica Bond. Her recent opera credits include H.M.S. Pinafore (King’s Head Theatre), Hansel and Gretel, Un ballo in maschera (Midsummer Opera), Cavalli’s Jason, Coronation of Poppea (English Touring Opera) The Magic Flute (Ilford Arts Festival).

This year, Charles Court Opera has taken the story that sparked the Season and sprinkled it with a generous helping of magic, whimsy and Christmas cheer to create their most joyous show yet. A cast of well-known characters will take the audience through a respectful, yet irreverent adaptation of the Nativity story, with musical numbers, laugh-out-loud puns and – as always – the entirely unexpected. From adult-only evening performances through to family matinees, The Nativity Panto is perfect for parents and children, couples, groups of friends and office parties.

Charles Court Opera’s previous pantomimes with the King’s Head Theatre include Buttons: A Cinderella Story, King Tut: A Pyramid Panto, Pinocchio and Mirror Mirror: A Snow White Pantomime.

The Nativity Panto will be written and directed by John Savournin with original music and lyrics by David Eaton, choreography by Damian Czarnecki, and setdesign by Rachel Szmukler, with lighting design by Ben Pickersgill, and costume design by Mia Wallden and Catrin Short Thyrsson.

This production is co-produced by The King’s Head Theatre and Charles Court Opera.

LISTINGS INFORMATION

The Nativity Panto – A Not-So Silent Night

29 November 2019 – 11 January 2020

King’s Head Theatre

115 Upper Street

London N1 1QN

‘All Welcome’ Performances: Tuesday & Wednesday at 7.00pm (excluding 5 December 2019 & 1 January 2020)

Adult Only Performances (Suitable for 16+): Thursday – Saturday at 7.00pm (including 5 December 2019 & 1 January 2020)

Family Matinees Performances: Saturday & Sunday at 3.00pm

Ticket Prices: £20.00 – £30.00 (Previews 29 November – 1 December: £16)

Concessions: £22.50

10 and Under: £10.00

Box Office: 0207 226 8561

Website: www.kingsheadtheatre.com / http://www.charlescourtopera.com

Twitter: @KingsHeadThtr / @charlescourt / #NativityPanto

Facebook: www.facebook.com/kingsheadtheatre

PAUL WHITEHOUSE TO RETURN TO

SMASH HIT MUSICAL AS GRANDAD

THEATRE ROYAL HAYMARKET RUN EXTENDED

FOR THIRD TIME UNTIL APRIL 2020 FOLLOWING PHENOMENAL DEMAND

TICKETS ON SALE 1 NOVEMBER AT 10AM FROM ONLYFOOLSMUSICAL.COM

Comedy giant Paul Whitehouse will return to star as Grandad in the West End smash hit Only Fools and Horses The Musical for four months from 6 January next year. This news comes as the show’s incredible run at the Theatre Royal Haymarket is extended for a further two months until the end of April following continued phenomenal demand for tickets. The show – which opened in February this year to an array of fantastic reviews – has sold over 300,000 tickets so far.

Paul Whitehouse said: “I’m delighted to be returning to Only Fools and Horses The Musical in the New Year to take up the role of Grandad again. It has been a real honour to watch the success of the show grow since the very beginning. The show has received an incredible amount of love from fans since it opened at the Theatre Royal Haymarket back in February and to hear it’s been extended AGAIN for a third time is music to all of our ears. I can’t wait to be back. Mange tout!”

Fans and critics alike have been praising the show in their droves: The Sun awarded five stars, hailing it “One Del of a show!”; the Daily Mirror said it was “a treat for Trotter fans” in their five-star review. The Sunday Times bestowed four stars and remarked that “Only Fools is a blast from our wide-boy past. A hearty stage adaptation of the 1980s BBC television comedy”. Evening Standard also awarded four stars, complimenting the “unashamedly British night out. A jubilant lovely jubbly!” While Daily Mail urged its readers to “raise a glass of Tittinger to Del Boy and Rodney as Only Fools and Horses storms the West End!”

It has just been announced that in the 2019 BroadwayWorld UK Awards that Tom Bennett has been nominated in the ‘Best Actor in a New Production of a Musical’ category for his portrayl of Del Boy and Paul Whitehouse has also been nominated in the ‘Best Supporting Actor in a New Production of a Musical’ category for his role as Grandad.

John Sullivan’s iconic and record-breaking television series has been turned into a home-grown West End musical spectacular. With a script and original score by John’s son, Jim Sullivan and Paul Whitehouse, the musical reacquaints fans with Britain’s most loveable rogues, to experience the classic comedy brought to life once again through 20 ingenious and hilarious songs.

Paul Whitehouse will take centre stage as Grandad, reuniting with Tom Bennett (Del Boy) and Ryan Hutton (Rodney) in this unique showstopper, featuring cherished material from the TV series. Join us as we take a trip back to 1989, where it’s all kicking off in Peckham. Directed by Caroline Jay Ranger, Only Fools and Horses The Musical also features many of the hugely loveable TV characters: Raquel, Cassandra, Trigger, Boycie, Marlene, Denzil, Mickey Pearce, Mike the Barman and the dreaded Driscoll Brothers.

With musical contributions from Chas n Dave, the beloved theme tunes as you’ve never heard them before and an array of brand-new songs full of character and cockney charm, you’re guaranteed to have a right knees-up! Only Fools and Horses The Musical is a feel-good family celebration of traditional working class London life and the aspirations we all share.

Only Fools and Horses The Musical is a truly cushty night out. Only a 42 carat PLONKER would miss it!

✯✯✯✯✯

“One Del of a Show!”

The Sun

✯✯✯✯✯

“Viva, Hooky Street. C’est Magnifique! A treat for Trotter fans”

Daily Mirror

✯✯✯✯

“Call it comfort food for our troubled times, this show serves up some lovely jubbly”

Metro

LISTINGS INFORMATION

Theatre Royal Haymarket

Box Office: 020 7930 8800

Performances: Monday – Saturday at 7:30pm. Wednesday and Saturday matinee at 2:30pm

Website: OnlyFoolsMusical.com

Twitter: @OFAHMusica

PHILHARMONIA ORCHESTRA CELEBRATES 75TH ANNIVERSARY in 2020

• PHILHARMONIA ORCHESTRA ANNOUNCES DETAILS FOR FIRST PART OF ITS 75TH ANNIVERSARY CELEBRATIONS

• THE SEASON OPENS IN JANUARY WITH A PROGRAMME CENTRED ON 1945, THE ORCHESTRA’S FOUNDING YEAR, AND THE WORLD PREMIERE OF A MAJOR NEW COMMISSION BY MARK-ANTHONY TURNAGE
   
• WARNER CLASSICS WILL RELEASE A MAJOR 24-DISC BOX SET, PHILHARMONIA ORCHESTRA: BIRTH OF A LEGEND, OF CELEBRATED RECORDINGS AND RARE GEMS FROM THE PHILHARMONIA’S FIRST TWO DECADES
   
• PRINCIPAL CONDUCTOR & ARTISTIC ADVISOR ESA-PEKKA SALONEN CONDUCTS THE OPENING WEEKEND OF PHILHARMONIA AT 75 AT SOUTHBANK CENTRE’S ROYAL FESTIVAL HALL ON 16 AND 19 JANUARY

The Philharmonia Orchestra today announces part one of a year of programming to celebrate its 75th anniversary, marking three-quarters of a century of world-class concerts, definitive recordings, technological innovation, community-led outreach and artistic adventure. Philharmonia at 75 opens in January 2020 with a pair of concerts conducted by Esa-Pekka Salonen focusing on the orchestra’s founding year and featuring the world premiere of a new commission from Mark Anthony Turnage, Towards Alba, a Horn concerto commissioned by the Philharmonia with support from John and Carol Wates.

The Philharmonia is a world-class symphony orchestra for the 21st century. Founded in 1945, in part as a recording orchestra for the nascent home audio market, today the Philharmonia uses the latest digital technology to reach new audiences for symphonic music. VR experiences featuring music by Sibelius, Mahler and Beethoven, placing the viewer at the heart of the orchestra, have been presented at Southbank Centre, where it is Resident Orchestra, and internationally. The Orchestra is led by Finnish conductor and composer Esa-Pekka Salonen. Fellow Finn Santtu-Matias Rouvali takes over from Salonen as Principal Conductor in the 2021/22 season.

Esa-Pekka Salonen said: “The Philharmonia started as a direct result of the advent of the LP. The orchestra’s founding was a response to the technological development of the day and ever since, the Philharmonia has been at the forefront of tech in classical music. Utilising pioneering technology and constantly being at the forefront of industry developments means that the orchestra adapts easily to new frontiers and new repertoire, because development has been in its DNA since its birth.”

On 16 January 2020, Salonen conducts a French Horn-themed programme inspired by famous French Horn players connected with the Philharmonia, including Dennis Brain, Richard Watkins (soloist in the world premiere of Towards Alba) and Salonen himself. The performances of Richard Watkins in Turnage’s Horn Concerto and Allan Clayton in Britten’s Serenade for Tenor, Horn and Strings are supported by John and Carol Wates.

On Sunday 19 January 2020, the Philharmonia performs a concert of music composed in 1945, the year the Orchestra was founded. Salonen conducts three very different masterworks composed for a world emerging from the destruction of the Second World War: Vaughan Williams Symphony No. 6, Richard Strauss’s Oboe Concerto (with Principal Oboe Tom Blomfield the soloist) and Stravinsky’s Symphony in Three Movements. This concert is supported by the Nathan Family.

In addition to the initial concerts, and to celebrate three-quarters of a century of remarkable recordings, the orchestra is partnering with Warner Classics, which owns much of the Orchestra’s back catalogue, to release a box set of recordings from the years the Philharmonia was run by its founder, Walter Legge (1945-64).

Philharmonia – Birth of a Legend features recordings with conductors that made the early Philharmonia one of the greatest orchestras in the world: Herbert von Karajan, Wilhelm Furtwängler, Guido Cantelli, Arturo Toscanini, Otto Klemperer and Carlo Maria Giulini.

Classic recordings sit alongside rarely-heard gems. A link to the modern-day Philharmonia is made with a bonus recording licenced from the BBC, of Esa-Pekka Salonen conducting Schoenberg’s Verklärte Nacht at Royal Festival Hall in September 2018.

Philharmonia – Birth of a Legend was coordinated by Jon Tolansky. The box set will be released internationally on 24 January 2020.

HARPER LEE’S
TO KILL A MOCKINGBIRD
A NEW PLAY BY AARON SORKIN

DIRECTED BY BARTLETT SHER

Producers Scott Rudin, Barry Diller and Sonia Friedman Productions announced today that To Kill a Mockingbird, Aaron Sorkin’s new play based on Harper Lee’s Pulitzer Prize-winning novel, directed by Bartlett Sher, will open at London’s Gielgud Theatre in May 2020.

Harper Lee’s enduring story of racial injustice and childhood innocence has sold 45 million copies worldwide. 2020 will mark the 60th anniversary of its publication.  

Set in Alabama in 1934, To Kill a Mockingbird centres on one of the most venerated characters in American literature, the small-town lawyer Atticus Finch. The cast of characters includes Atticus’s daughter Scout, her brother Jem, their housekeeper and caretaker Calpurnia, their visiting friend Dill, a mysterious neighbour the reclusive Arthur “Boo” Radley, and the other indelible residents of Maycomb, Alabama.

To Kill a Mockingbird, celebrating one year on Broadway today, has not played to an empty seat and holds the benchmark of having become the most successful American play in Broadway history. A national tour of the United States opens at The Kennedy Center in Washington DC in August 2020.  

The British cast and performance dates will be announced soon.

Sign up at www.tokillamockingbird.co.uk for updates and priority access to tickets.  

Aaron Sorkin is a celebrated writer, producer and director known for his multi-award-winning work across stage and screen. Sorkin is probably best known as the creator and screenwriter of the Emmy Award-winning hit TV series The West Wing and films such as Steve Jobs and The Social Network for which he received an Academy Award, Golden Globe, BAFTA and Writer’s Guild Award for best screenplay. He is the writer-creator of The Newsroom and the Academy Award-winning 1992 film A Few Good Men, which he adapted from his 1989 Broadway play. His other credits as a playwright include Making Movies and The Farnsworth Invention.

Bartlett Sher is the multi-award-winning Director of the Lincoln Center Theater in New York, a post he has held for over a decade. His critically acclaimed stage productions include the Tony Award-winning South Pacific and Oslo, My Fair Lady and Women on the Verge of a Nervous Breakdown. He has also worked extensively in opera, staging productions at English National Opera, Metropolitan Opera, Seattle Opera and New York City Opera.

To Kill a Mockingbird is designed by Miriam Buether, with costumes by Ann Roth, lighting by Jennifer Tipton, sound by Scott Lehrer and an original score by Adam Guettel.

Tristan Bates Theatre – until 2 November 2019

Reviewed by Elizabeth J Smith

4****

When you look in the mirror what do you see?

This new writing from Perdita Stott, Ugly, explores a females perception of their image and the power that image can have on each of us.

In an age of technology where we are bombarded with the “right” images of how we should look, what we should wear and how our perception of these demands can influence everything in our lives.

When does this awakening of our own image begin?

The ensemble of female actors introduce us to a range of females old and young all who have issues with how they look.

We meet females who know they are pretty and suffer because of it.

We meet a child who’s mother instils a sense of worthlessness in her daughter and question why a Mother would do that to her child?

Is it that you are too fat, too thin, the wrong colour, the wrong accent, your face moves too much or too little.

The questions of ugliness are endless and as an audience we are shown the questions that we probably ask ourselves on a daily basis. The answers to these questions, if positive, will give us strength and make our world a better place but, like Samson’s hair, when cut down to negatives we lose our strength and attack from within.

Ugly takes you on a journey of exploration as to the why’s and wherefores of our deepest felt feelings about ourselves and shines the light on how futile, pointless and time wasting these thoughts can be.

Should we just stop caring? What would that look like? Or should we all try to be like a Disney princess and sing and dance our way through life, with a little help from little creatures on the way.

Congratulation to Perdita on an exceptional piece that makes you think about your own perception of ugliness. With an amazing cast of ladies who make you laugh out loud and shed tears of sadness.

My husband accompanied me to this performance and his observation was, “your not the only mad cow who thinks she’s ugly then”. Ugly is a female epidemic of our modern age. There is so much truth in this piece that if we could all care a little less about what others think of us and just
get on with life we would save 23 hours a week for better activities.

Thought provoking, masterly crafted piece of female empowerment.

Leeds Grand Theatre – until 9 November 2019

Reviewed By Dawn Smallwood

5*****

Leeds Grand Theatre is currently hosting The King and I which came direct from London’s West End and is currently on a national tour. With an international line up being led by Annalene Beechey and Jose Llana The King and I is certainly one of the most awaited musicals to be hosted at the theatre.

The King and I, a Lincoln Center Theater Production, is based on Margaret Landon’s Anna and The King of Siam and set to Richard Rodgers’ music and Oscar Hammerstein II’s book and lyrics. The musical was first premiered on Broadway in 1951 and in the West End two years later and subsequently filmed in 1956 starring Yul Brynner and Deborah Kerr.

The story is set to Anna Leonowens’ memoirs when she, a governess, was invited to Siam (Thailand) by the King during the 19th Century to teach English to his children and his wives and also to share with them an insight into the British culture. The King of Siam (Llana) wants Anna (Beechey) to be part of his ambitious plans to modernise Siam and also for the country to fight off any colonial invasions that were happening at the time.

Coming from contrasting cultures, the King and Anna initially don’t see eye to eye especially the equality and position of women. There is also reluctance from the King to honouring Anna’s contract and how she and her son, Louis (Alfie Turnbull) have to be bounded by the palace rules.

The Royal Household (Ensemble) and Anna receive eye opening experiences when they exchanged and shared cultures and traditions from the East and the West. Differences and misunderstandings are noted, clarified and put in perspective amid humourous moments. Eventually, despite the differences, mutual trust and acknowledgement emerge between the King and Anna and unbeknown at the time love begins to grow. There are some sad moments however their presence, influences and mutual understanding will surely live on in generations to come.

Set to an incredible musical score; musically led by Mr Malcolm Forbes-Peckham, with show stopping musical numbers such as the memorable Whistle a Happy Tune; catchy and entertaining but legendary Shall We Dance; and the ever wonderful and cute Getting to Know You when Anna meets the Royal Children and their mothers. In between the musical numbers one gets a glimpse of the country’s culture and traditions and also the political landscape at that time when the neighbouring countries were being colonised by different ones.

Michael Yeargan’s sets are breathtaking and eye catching which compliment Donald Holder’s creative lighting, Scott Lehrer’s soundscapes and Catherine Zuber’s colourful costumes. The production has a lavish stage presence throughout which sells the performances so well. Every scene is a highlight especially the The Small House of Uncle Thomas ballet with Tuptim (Paulina Yeung) narrating and the Royal Singers and Dancers (Ensemble) performing – choreographically pleasing with the story being colourfully told with dance and movement.

Bartlett Sher directs a production that one in the audience is engaged and transfixed from beginning to end. The King and I offers a lot as far as entertainment is concerned with plenty of cultural exchanges. The cast delivers a legendary musical which will live on in generations to come. It’s a must see musical and one understands why it was a sold out season in London’s West End and it is evident why this touring production is currently being well received and supported.

UK tour announced for the premiere of Night of The Living Dead™ – Remix

“They’re coming to get you Barbara”

To celebrate Halloween, imitating the dog and Leeds Playhouse are delighted to announce the full UK tour for the premiere of their unique shot-for-shot stage recreation of George A. Romero’s classic 1968 zombie movie – Night of The Living Dead™ .

Night of the Living Dead ™- Remixwillrun at Leeds Playhouse from the 24 January-15 February. It will then tour to Liverpool Playhouse (18-22 Feb), Exeter Northcott (25-26 Feb), Theatr Clwyd (28-29 Feb), Brewery Arts Centre, Kendal (2-3 Mar), Nottingham Playhouse (10-11 Mar), Dundee Repertory Theatre (13-14 Mar) and HOME, Manchester (18-21 Mar).

In 1968, Night of the Living Dead started out as a low-budget independent horror movie telling the story of seven strangers taking refuge from flesh eating ghouls in an isolated farmhouse.

Fifty years on, seven performers enter the stage armed with cameras, a box of props and a rail of costumes. Can they recreate the ground-breaking film, shot-for-shot before our eyes, using whatever they can lay their hands on?

With 1,076 edits in 95 minutes, it’s a heroic struggle. Success will require wit, skill and ingenuity and is by no means guaranteed.

Romero’s original was an apocalyptic vision of paranoia, the breakdown of community and the end of the American dream. In their new stage production, masters of digital theatre, imitating the dog, create a love-song to the original 1960s film, a remaking and remixing which attempts to understand the past in order not to have to repeat it.  Their version is in turns humorous, terrifying, thrilling, thought-provoking and joyous. Above all, in the retelling it becomes a searing parable for our own complex times.

imitating the dog have been making ground-breaking work for theatres and other spaces for 20 years. Their work, which fuses live performance with digital technology, has been seen by hundreds of thousands of people in venues, outdoor festivals and events across the world. Past productions have included Hotel Methuselah, A Farewell to Arms and most recently Heart of Darkness.

Leeds Playhouse is one of the UK’s leading producing theatres; a cultural hub, a place where people gather to tell and share stories and to engage in world class theatre. It makes work which is pioneering and relevant, seeking out the best companies and artists to create inspirational theatre in the heart of Yorkshire.

Presented by courtesy of Image Ten, Inc,  Night of The Living Dead ™ – Remix is directed by imitating the dog’s co-artistic directors Andrew Quick and Pete Brooks. Casting will be announced in the coming weeks.

For more information visit www.imitatinthedog.co.uk (Twitter: @imitatingthedog)

Rosie Kay Dance Company returns to Leeds

to discover what makes dance beautiful

Rosie Kay Dance Company

Fantasia

Thursday 21 November

Stanley & Audrey Burton Theatre, Leeds

theatreleeds.com

Returning to Leeds after a sold-out visit in 2017, Rosie Kay Dance Company is back at the Stanley & Audrey Burton Theatre next month with their latest production, Fantasia. Bringing ballet and tutus into the 21^st century, Fantasia will be performed on 21 November 2019 for one night only.

Rosie Kay’s newest work fuses dance and science to create an exquisite performance of pleasure, beauty and finesse. Following work with neuroscientists in the UK and Denmark’s Center for Music in the Brain, Rosie Kay explores how dance can trigger sensations of pleasure and fulfilment in the brain, and what makes dance so beautiful to watch and experience.

Fantasia is a work of pure joy inspired by music and the body’s response to it, featuring three bold female dancers as they discover love, loss, emotion and joy. With sumptuous costumes that defy expectation, this production explores the currently unfashionable aesthetic concept of beauty.

With a soundtrack of Vivaldi, Purcell, Beethoven and Bach, arranged by Annie Mahtani, Fantasia features designs by Louis Price and lighting by Mike Gunning.

Rosie Kay, Artistic Director and choreographer says: ‘The audience will come in and be transported over an hour with delightful dance that is designed to draw you in and entertain you. This will be a deceptively simple yet complex work that will stir your heart and your mind.’

Tickets for Fantasia by Rosie Kay Dance Company at the Stanley & Audrey Burton Theatre, Leeds are on sale now and can be booked online at theatreleeds.com or by calling the Box Office on 0113 220 8008. Tickets are priced at £18.50.

Theatre Royal, Windsor – until 2 November 2019

Reviewed by Liberty Noke

3***

I have to be honest that before tonight I had never seen Footloose not even the film version. Although I was familiar with the songs as I’m sure most people are, so was looking forward to this show.

The opening number Footloose was the classic we all know and love but with a slight modern twist. The dancers performed with infectious energy that made me want to dance along with them. Anders Callaway gave a very convincing performance of Ren, a teenage boy from Chicago who moves to the small town of Bomont with his mother after his father abandoned them. He is shocked to find out that dancing has been outlawed by the Reverend but with the help of some new friends Ren convinces the Reverend to allow dancing once more.

Samira Muusa brought plenty of sass to the role of Ariel and I found Rana Abid-Ali’s portrayal of Vi rather moving as you could hear the character pain in her voice as she sang.

It was fantastic to see so many talented young people in this cast and although this was an amateur youth performance the cast were professional. At one point the table on the stage broke and fell to the ground. Despite laughter from the audience the cast continued as if nothing had happened. The entire cast also maintained convincing American accents throughout most notably Thomas Witheridge playing Willard.

Overall a very enjoyable show with lots of fantastic musical numbers. I would definitely watch Rare Productions perform again.

FESTIVE FAVOURITE THE SNOWMAN RETURNS TO THE OPERA HOUSE

“A Joyful Celebration of Life” Sunday Express

Raymond Briggs’ festive favourite The Snowman has whisked generations of children off to a wintery wonderland for a festive adventure year on year. Now Birmingham Repertory Theatre’s magical live stage show journeys to the Opera House Manchester from 7-10 November.

Based on the much-loved film and book, the enchanting stage adaptation features exquisite dancing, magic and live music, including the unforgettable classic Walking in the Air.

The family favourite follows the story of a young boy’s adventures when his snowman comes to life on Christmas Eve. Featuring a dazzling array of colourful characters including dancing penguins, a beautiful snow princess, her wicked beau Jack Frost and of course, Father Christmas himself, The Snowman is the perfect Christmas treat for the family and a wonderful introduction to dance for the very young.

Inspired by the film directed by Dianne Jackson and produced by John Coates, The Snowman has become a must-do Christmas activity, “guaranteed to melt the heart of even the most cynical Scrooge” (The Guardian). Featuring choreography by Robert North, direction by Bill Alexander, design by Ruari Murchison, lighting by Tim Mitchell and timeless music and lyrics by Howard Blake, the performance has been seen by millions.

The Snowman is visiting the Opera House as part of a UK and international Tour.

Suitable for all ages

LISTINGS

Thursday 7 November – Sunday 10 November
Manchester Opera House
https://www.atgtickets.com/shows/the-snowman/opera-house-manchester/