Theatrical charity Acting for Others today announces that more than £110,000 was raised at their fifth annual West End Flea Market, held on Saturday 17 May at St Paul’s Church in Covent Garden. Making it their most successful event to date.
Acting for Others Co-Chairman Sir Stephen Waley-Cohen today said, “We are delighted that the West End Flea Market is going from strength to strength and the wonderful amount raised, which is significantly higher than previous years. Thank you to everyone that attended, supported, and made the event so successful.”
Book of Mormon was this year crowned the Best Dressed Stall, in the competition judged by national stars Christopher Biggins, Dame Arlene Phillips and Janie Dee. The stall included show memorabilia and exclusive props used in the show for sale, they also had a game of ‘Spooky Mormon Hoopla’ for participants to play for a chance to win a selfie or a signed polaroid.
Many other West End shows had stalls including ATG Productions, Back to The Future, Cabaret at The Kit Kat Club, Clueless, Go Live Theatre Projects, Hadestown, Hamilton, Les Misérables, Mamma Mia, Mean Girls, Moulin Rouge, Operation Mincemeat, Phantom of The Opera, SIX, Stiletto, The Book of Mormon, The Devil Wears Prada, The Lightning Thief: The Percy Jackson Musical, The Mousetrap, Mischief &The Play That Goes Wrong, TINA – The Tina Turner Musicaland Titanique, and other attractions included; Go Live Theatre Projects, Theatrical Memorabilia, Tombola, West End Charity Football Club Penalty Shoot-out, My Shot!, Peter Hannah Arts, Ensemble Games and Gifts, Encore Gifts with a Hook a Duck, Jamie’s Bakery, and several Panto Dames.
There were stars in the church taking selfies and signing posters and goodies for fans including Bronté Barbé, Luke Bayer, Christopher Biggins, Joanne Clifton, Janie Dee, Alfred Enoch, Clare Foster, Em Hoggett, Shanay Holmes, Derek Jacobi, Cassidy Janson, Lily Kerhoas, Alexia Khadime, Debbie Kurup, Josephina Lewis Ortiz, Robert Lindsay, Simon Lipkin, Toby Marlow, Ewan Miller, Lucy Moss, Grace Mouat, Natalie Paris, Mason Park Alexander, Dame Arlene Phillips, Dianne Pilkington, Peter Polycarpou, Sophia Priolo, David Rintoul, Caroline Sheen, Giles Terera, Harriet Thorpe, Rachel Tucker, Tom Read Wilson and Lucy St Louis.
With thanks to Shaftesbury Capital Plc for their generous sponsorship.
FULL CAST FOR RODGERS & HAMMERSTEIN’S DREAM BALLETS: A TRIPLE BILL
Regent’s Park Open Air Theatre today announce the full cast of Rodgers & Hammerstein’s Dream Ballets: A Triple Bill with award-winning musical theatre choreographers Julia Cheng, Shelley Maxwell and Kate Prince re-imagining the dream ballets from Allegro, Oklahoma! and Carousel. The production runs from 19 – 22 June 2025.
For Allegro, choreographed by Julia Cheng, the dancers are Asmara Cammock, Jonadette Carpio, Paris Crossley, Jevan Howard-Jones, Hannah Joseph and Stuart Thomas.
For Oklahoma!, choreographed by Shelley Maxwell, the dancers are Tanisha Addicott, Chris Akrill, José Alves Tania Dimbelo, Nahum McLean and Vanessa Vince-Pang.
For Carousel, choreographed by Kate Prince, the dancers are Deavion Brown, Tommy Franzen, Nethra Menon, Hannah Sandilands, Elijah Smith and Malachi Welch.
Creatives include Simon Hale (Orchestration & Arrangements); Joshie Harriette (Lighting Designer); Nick Lidster (Sound Designer); Alex Parker (Musical Supervisor & Conductor); Yann Seabra (Costume Designer) and Sinfonia Smith Square (Orchestra).
Drew McOnie, Artistic Director, said: “I am thrilled to be welcoming three outstanding groups of dancers to Regent’s Park for what will be a unique celebration of dance and music. I can’t wait to see how they and Shelley Maxwell, Julia Cheng and Kate Prince reimagine these timeless Rodgers & Hammerstein’s Dream Ballets for audiences at the Open Air Theatre.”
A Regent’s Park Open Air Theatre production
Rodgers & Hammerstein’s
DREAM BALLETS: A TRIPLE BILL
Choreography by Julia Cheng (Allegro), Shelley Maxwell (Oklahoma!) & Kate Prince (Carousel)
Thursday 19 June – Sunday 22 June 2025
‘Then out of my dreams I’ll go into a dream with you.’
A timeless celebration of dance and music from three of the UK’s leading musical theatre choreographers, accompanied live on stage by the 26-piece orchestra of the Sinfonia Smith Square, and set to the magical scores of Rodgers & Hammerstein’s dream ballets.
In this enchanting triple bill, the dream ballets are re-imagined for the Regent’s Park Open Air Theatre stage by award-winning musical theatre dance makers Julia Cheng (Fiddler on the Roof) who choreographs the rarely performed Allegro, Shelley Maxwell (Get Up Stand Up!) who choreographs Oklahoma!’s dream ballet and Kate Prince (Message in a Bottle, Zoo Nation) who choreographs the dream ballet from Carousel, all with extended new musical arrangements by Tony Award winner Simon Hale (Girl from the North Country).
A unique opportunity to experience Rodgers & Hammerstein’s music brought to life through dance like never before.
Supported by The Thistle Trust and Cockayne Grants for the Arts, a Donar Advised Fund, held at The Prism Charitable Trust.
Presented by arrangement with Concord Theatricals.
Julia Cheng | Choreographer | Allegro
Training: Drama, Theatre & Performance Studies (University of Surrey), Dance & Drama (Université Lumière Lyon 2, France). For Regent’s Park:Fiddler on the Roof. Theatre/opera/dance work includes:The Legend of 1900 (Shanghai Grand Theatre, China); Cabaret (The Kit Kat Club, West End and Broadway); Macbeth (RSC); Untold (Theater Rotterdam, Belgium and Holland); Warrior Queens (House of Absolute, Sadler’s Wells); The Seven Deadly Sins/Mahagonny Songspiel (Royal Opera House); The Importance of Music to Girls (Kings Place).
Shelley Maxwell | Choreographer | Oklahoma!
As Choreographer:Starter for Ten (Bristol Old Vic); The Time Traveller’s Wife: The Musical (Apollo Theatre); The Secret Life of Bees (Almeida); The Ballet Boyz “England on Fire” (Sadler’s Wells); Get Up, Stand Up! The Bob Marley Musical (Lyric Theatre); Equus (Stratford East/Trafalgar Studios); ‘Master Harold’ …and the boys (National Theatre); Cinderella (Lyric Hammersmith). As Movement Director:After Life, Hansard, Antony & Cleopatra, Twelfth Night (National Theatre); Nine Night (National Theatre/Trafalgar Studios); Love’s Labour’s Lost and Tartuffe (RSC); Macbeth (Donmar Warehouse/Harold Pinter); Barcelona (Duke of York Theatre); Mlima’s Tale (Kiln); Beneatha’s Place, Untitled F*ck m*ss S**gon Play (Royal Exchange Manchester & Young Vic ); Winter, Why It’s Kicking Off Everywhere and Cuttin’ It (Young Vic); Best of Enemies (Young Vic/Noel Coward Theatre); Shifters (Bush/Duke of York Theatre); Alma Mater (Almeida); August in England (Bush); J’Ouvert (Harold Pinter); Macbeth (Shakespeare’s Globe); King Hedley II (Stratford East); Cougar and Dealing with Clair (Orange Tree); Faustus (Headlong at Lyric & Birmingham Repertory Theatre); A Streetcar Named Desire (Nuffield, Southampton); Apologia (English Theatre Frankfurt); Grey (Oval House); Rules for Living (Royal & Derngate/ The Rose, Kingston). TV & Film includes:Anansi Boys (Amazon); Joan (ITV); The Marvels (Disney); Romeo and Juliet (Sky Arts/PBS/National Theatre); ear for eye (BBC/Fruit Tree Media). Shelley Maxwell won the award for Best Choreographer at the inaugural Black British Theatre Awards in 2019 for her work on Equus.
Kate Prince | Choreographer | Carousel
Theatre includes (with ZooNation):Sylvia (Old Vic); Into the Hoods (Novello, West End); Some Like it Hip Hop (Sadler’s Wells Peacock & UK tour); Message in a Bottle (Sadler’s Wells & Universal Music, World Tour); The Mad Hatter’s Tea Party (Royal Opera House Linbury Studio & The Roundhouse); Groove on Down the Road (SouthBank Centre). TV includes:Imagine: Kate Prince – Every Move She Makes (BBC); Strictly Come Dancing; So You Think You Can Dance; The Royal Variety Show; Top of the Pops; CD:UK. Film includes:Everybody’s Talking About Jamie (Warp, Film 4, New Regency & Amazon); Message in a Bottle (PBS America); StreetDance 3D (BBC Films & Vertigo); The Holloway Laundrette (writer & co-directed, BAFTA/Channel 4). Other theatre includes:Everybody’s Talking About Jamie (Sheffield Crucible & West End); Ballyturk (National Theatre); Shoes (Sadler’s Wells); I Can’t Sing: the X-Factor Musical (Palladium); A Mad World My Masters (RSC). Events include:Nelson Mandela’s 90th birthday celebrations; Beijing Olympic & Paralympic Handover Ceremonies (ZooNation). Kate is a writer, director and choreographer and the Artistic Director of ZooNation: The Kate Prince Company which she founded in 2002. She is an Associate Artist at both The Old Vic and Sadler’s Wells, where ZooNation is also a Resident Company. Kate’s work has been nominated for five Olivier Awards, a South Bank Sky Arts Award, a WhatsOnStage Award and three Critic’s Circle National Dance Awards – winning the latter in 2024 for Best Mid Scale Dance Company. She has an MA from the University of Edinburgh, an Honorary Doctorate from the University of Winchester and an MBE for services to dance.
Asmara Cammock | Allegro
Training: The Brit School for Performing Arts and Technology, Northern School of Contemporary Dance, Runway House. Theatre and dance include: Wicked (Apollo Victoria Theatre); Cabaret (The Kit Kat Club); Lion King (UK & Ireland Tour); ACE Dance And Music (Phoenix Dance Theatre); WizKidlive concert (The O2). Commercials include: The BBC; Hyundai; Tampax; Starbucks; Google; JD Sports. Other credits include: London Fashion Week; It’s not loving if it’s not with you (The 1975 music video); Love I’m Given (Ellie Goulding music video).
Jonadette Carpio | AllegroCrews include: Buckness Personified, Fiya House. Theatre and dance includes:Seven Deadly Sins (Royal Opera House); East Wall (Hofesh Shechter, Tower of London); Ma Vie (Northern Ballet, Royal Opera House/Leeds Playhouse Theatre); Veljo Tormis – Curse Upon Iron (BBC Choir). Film includes: Syllabub in Cats. Jonadette is a strong female dance-artist specialising in the styles of Krump, Popping and Hip-Hop. She was a finalist on BBC Young Dancer.
Paris Crossley | AllegroCompanies and choreographers worked with include: Russell Maliphant, Boy Blue, House of Absolute, Just Us, Cirque Bijou, Kadir ’Amigo’ Memis. Competitions include: Break Ya Neck – Popping x HipHop (Winner); Get Ready For The Next Battle 2024 – All Styles (Winner); Bside Festival 2024 – 4 VS 4 All Styles (Winner); JOAT 2024 – Popping (Semi-Finalist); Random Circles 2023 – Popping (Winner); Ladies of Hip Hop 2023 – Popping (Winner); Summer Dance Forever – Popping (x3 judges rounds/Best Six); Challenge South Concept 2021 – Popping (Winner). Artists worked with include: Rita Ora; Dua Lipa; Benjamin Clementine; Ed Sheeran. Commercials include: Nike; Puma; Sweaty Betty. Paris has been an associate artist with Dance East since 2022.
Jevan Howard-Jones | AllegroTraining: London Contemporary Dance School, The Brit School. Film includes:Wicked. As Choreographer:Cable Street (Southwark Playhouse Borough & Elephant); Peter Pan (Hall for Cornwall) As Associate and Assistant Choreographer:Lion, Witch and the Wardrobe (Gillian Lynne West End/UK Tour). As Movement Director: Insurrection (Royal Opera House); Buckets (The Courtyard Theatre).
Hannah Joseph | Allegro
Training: Rambert School of Ballet and Contemporary Dance.
Companies include: Company Wayne McGregor.
Choreographers worked with include: Botis Seva, Russell Maliphant, Alesandra Seutin, Alexander Whitley and Matthew Bourne.
Performances includes:UniVerse: A Dark Crystal Odyssey, AutoBiography, Deepstaria (Company Wayne McGregor); Matthew Bourne’s Romeo+Juliet (New Adventures, Sadler’s Wells); Moschino SS24 Milan Fashion Week; London Fashion Week 2024; Hermès Brides de Gala.
As Choreographer and Performer:BBC Young Dancer 2022 (The Roundhouse); AX2 for Legacy (Royal Ballet, Linbury Theatre).
As Choreographer: SUN (Nowness); Ax.One for Festival of New Choreography (Royal Ballet)
Hannah was a finalist on BBC Young Dancer 2022.
Stuart Thomas | Allegro Training: London Studio Centre (Full Scholarship Award). Companies include: Union Dance Company; William Chase On Company, New York; Jiving Lindy Hoppers; William Louthers Dance and Theatre Co-operation; Jerusalem Dance Theatre; Souls in Motion. Theatre includes: King – The story of Martin Luther King Jr.; Josephine (The Fortune Theatre); Harvest Moon Ball (Southbank). Film includes:Voyager; Signals (Film on 4); The Technics; Rage & Desire (Film on 4). Other credits include: Red Shoes (Kate Bush music video).
Tanisha Addicott | Oklahoma!Training: Rambert School of Ballet and Contemporary Dance. Theatre and dance include: Matthew Bourne’s Romeo & Juliet (New Adventures, UK & International Tour); Shoot the Cameraman (As We Are, India Tour); Eshu at the Crossroads (Theatre Rites & Miguel Altunaga, UK Tour – Original cast); The Little Match Girl (Ballo Arthur Pita, UK Tour); My Glimmer Boo / Toasted (Blue Makwana for Sadler’s Wells Young Associates, Sadler’s Wells Theatre); The Sisters of Elva Hill / Tales of Jenny Greenteeth (Ballet Folk, UK Tour).
Chris Akrill | Oklahoma!Training: Northern Ballet Theatre. For Regent’s Park:To Kill a Mockingbird Theatre and dance includes:Osipova/Linbury (Royal Ballet, Linbury Theatre); Little Shop Of Horrors (Crucible Theatre Sheffield); Hex (National Theatre); White Hare, The Most Incredible Thing (Sadler’s Wells); To Kill a Mockingbird (The Barbican); Cabaret (Lyric Theatre); Dr Dee (English National Opera); Waiting for Godot (BeMe Theatre Munich); The Hairy Ape (The Old Vic); The Expected, The Odyssey (Wilton’s Music Hall); The White Bike (The Space); Stepmother/Stepfather, While You Are Here (The Place); The Wind in the Willows (Duchess Theatre); Pinocchio, Ghosts, Captain Alving, Three and Four Quarters, If Play is Play, The Canticles (The Royal Opera House, Linbury Theatre); Swan Lake, A Study of Entertainment (Cullberg Ballet, Stockholm); Carmen (International Tour, Cullberg Ballet); Romeo and Juliet, A Christmas Carol (UK Tour, Northern Ballet); Sleeping Beauty (Hannover Ballet). TV includes: Stan Lee’s Lucky Man (Sky One); Little Grey Fergie, House of the Dragon (HBO); Taboo (FX). Film includes:Romeo and Juliet (National Theatre); Muppets Most Wanted (Walt Disney Pictures);The Corridor (Black Dog Films, RSA Films); London Road (Cuba Pictures). As Choreographer and Movement Director:Mametz (National Theatre Wales); Imogen (Shakespeare’s Globe). As Assistant Choreographer: Home I’m Darling (National Theatre). Chris is the co-creator and co-director of the award-winning company HeadSpaceDance, which was awarded the Best Independent Company at the Critic’s Circle National Dance Award in 2017. He was nominated for Outstanding Male Performance (Modern) by the Critics’ Circle National Dance Award, the Christer Holgersons award from the Carina Ari Memorial Foundation, and the Riksteatern Award for Artistic Contributions & Excellence In Dance.
José Alves | Oklahoma! Training: Adalgisa Rolim Ballet School, Bolshoi Theatre School (Brazil). Companies include: Ballet Company of the Young (Palace of Arts), Teatr Muzyczny w Łódz, Ballet Black, Polski Teatr Tańca, New English Ballet Theatre. Choreographers worked with include: Javier de Frutos, Will Tuckett, Ludovic Ondiviela, Arthur Pita, Mark Bruce, Annabelle Lopez-Ochoa, Cathy Marston, Sophie Laplane, Mthuthuzeli November, Peter Leung, Martin Lawrance, Gregory Maqoma, Cassa Pancho. Theatre and dance include:A Dream Within a Midsummer Night’s Dream (Arthur Pita); Second Coming (Mark Bruce); Captured (Martin Lawrence); Red Riding Hood (Annabelle Lopez-Ochoa); Dopamine (you make my levels go silly) (Ludovic Ondiviela, BBC); The Suit (Cathy Marston); Say It Loud (Cassa Pancho and Company); EIGHTFOLD: Love, Le Train Bleu (for Men in Motion Gala, London Coliseum); Melissa Hamilton’s Grand Ballet Gala (Grand Opera House Belfast). Other credits include: Samba (Ricky Martin Music Video). Joséwon the 2018 Critics’ Circle National Dance Award for Outstanding Male Classical Dancer for his role in The Suit. He is the subject of a biography, A História De Um Bailarino Incomum (2021) by Taís Fernanda Reis.
Tania Dimbelo | Oklahoma!Training: Rambert School of Ballet and Contemporary Dance. Theatre and dance includes: Good Toes Naughty Toes (Thick & Tight, Royal Opera House); England on Fire (BalletBoyz, Sadler’s Wells); Silent Lines (Russell Maliphant); Congregation (Botis Seva); Animalis (Dane Hurst, Dulwich Picture Gallery); BEAUTIFUL (Sweetshop Revolution). Film includes:Wicked; BlackBirdRedRose (short film by Mark Bruce) Other credits include: Nike (Cyber Week Campaign); EE (Full Works Plan Advertisement); Playscape (FKA Twigs music video); SS22 London Fashion Week. As Assistant Movement Director: SS25 Paris Fashion Week.
Nahum McLean | Oklahoma!Training: The Hammond School (UK), Prodanza Ballet Academy (Cuba), The Ailey School (New York). Theatre and dance include: Richard Alston Dance Company (Sadler’s Wells); West Side Story (International Tour); Inala – A Zulu Ballet (Peacock Theatre & International Tour); The Wiz 40th Anniversary Concert (SummerStage NYC); Find Your Eyes (Factory International); House of Flamenca (Peacock Theatre);Complexions Contemporary Ballet (Park Avenue Armory);Alvin Ailey American Dance Theater(Lincoln Center); Camille A. Brown and Dancers (New York City Center); New York Dance Lab (Guggenheim). Film includes: Beetlejuice, Beetlejuice (Warner Bros); Barbie (Warner Bros); Knuckles (Paramount).
Vanessa Vince-Pang | Oklahoma!Training: Rambert School Of Ballet & Contemporary Dance. Performances include: Salt Of The Earth (Venice Biennale); Human Rights 75 Concert (United Nations International Broadcast); VOGUE World (Theatre Royal Drury Lane); Jungle Book Reimagined (Akram Khan, International Tour); Tour De France (Leeds Arena); Laurence Olivier Awards (Theatre Royal Drury Lane); Phoenix Dance Theatre(International Tour). As Assistant Choreographer:Jesus Christ Superstar (Watermill Theatre). TV & Film includes:Wicked, The Marvels (Feature films) Wednesday, Sandman, Too Much, Enola Holmes 2 (Netflix); Dope Girls, Jonathan Strange & Mr Norrell (BBC); Everything But The Girl: Run A Red Light. Commercials include: Magic FM, Legoland, Swarovski x Ariana Grande, Dua Lipa x O2, Sky Arts, Tern Bicycles. Vanessa was nominated for a National Dance Award and Dancer Of The Month in the Dancing Times. She was an external examiner and mentor for the Northern School of Contemporary Dance and currently a mentor at the London Contemporary Dance School’s MA Programme. She is also a former trustee of the National Youth Ballet and ThickSkin Theatre.
Deavion Brown | Carousel Training: TDM Stage School, Liverpool Institute of Performing Arts. Theatre and dance include: Thriller Live; Message in a Bottle (ZooNation, International Tour). Film includes: Everybody’s Talking About Jamie.
Tommy Franzen | CarouselTraining: Urdang Academy. Theatre and dance include:Message in a Bottle, Some Like It Hip Hop (ZooNation). Film includes:Harry Potter and the Goblet of Fire;Mamma Mia!; Mamma Mia 2 – Here We Go Again;Aladdin; Cats; Tomorrow Morning; Snow White; Everybody Is Talking About Jamie. As Choreographer:Strictly Come Dancing. As Associate Director & Choreographer:Your Lie In April (Europe Premiere). As Assistant Choreographer:Burlesque The Musical (World Premiere). Tommy won Outstanding Male Performance at the National Dance Awards and was nominated for the Breakthrough Award at The Times Southbank Sky Arts Awards and Outstanding Achievement in Dance at the Olivier Awards. Tommy was awarded second place in BBC’s So You Think You Can Dance in 2010.
Nethra Menon | CarouselTraining: The Liverpool Institute for Performing Arts. Theatre and dance include: Cabaret (Kit Kat Club); The Mad Hatter’s Tea Party (ZooNation, Royal Opera House); Message In A Bottle (ZooNation, North American Tour); Saudi Games Opening Ceremony (King Fahd Stadium); Boomtown Festival Opening Ceremony (Winchester); Eurovision Song Contest Opening Ceremony (St. George’s Hall); Filmfare Awards(Jio Garden, Mumbai). Film includes: Jagga Jasoos, Hrudyantar.
Hannah Sandilands | CarouselTheatre and dance includes:Message in a Bottle (ZooNation, Original Cast/World Tour). Film & TV includes: Message in a Bottle: The Movie; BBC The Greatest Dancer; Better Man; The Voice UK Finals; Apartment 7A. As Assistant Choreographer:Strictly Come Dancing.
Elijah Smith | CarouselCompanies include: ZooNation: The Kate Prince Company, Flawless, Boy Blue. Theatre and dance include: The Mad Hatter’s Tea Party (ZooNation, Royal Opera House); A Night with Boy Blue (Boy Blue, Barbican); The Flawless 20th Anniversary Show (Flawless, Peacock Theatre). As choreographer: ZooNation Youth Company (Royal Opera House); D’Eli Collective (Move It); The Movement Factory (Nike Town).
Malachi Welch | Carousel Training: The BRIT school, London Contemporary Dance School. Companies include: Boy Blue Entertainment, ZooNation: A Kate Prince Company. Theatre and dance include: Disney’s The Lion King (Lyceum Theatre); Lord of the Flies (New Adventures, Sadler’s Wells); Traplord (@180 Studios); Message in a Bottle (ZooNation, International Tour); The Mad Hatter’s Tea Party (ZooNation, Royal Opera House); Our Mighty Groove (Sadler’s Wells East).
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This summer, Charing Cross Theatre will stage the world premiere of The Daughter of Time, a brand-new stage adaptation of Josephine Tey’s seminal crime novel.
Adapted by playwright M. Kilburg Reedy and directed by Jenny Eastop, the production begins performances on Friday 18 July 2025 for a strictly limited run until Saturday 13 September, with a Gala Press Night on Friday 25 July, marking what would have been Tey’s 129th birthday.
Presented by Excelsior Entertainment, Mercurius Theatre and Steven M. Levy for Charing Cross Theatre Productions Ltd., The Daughter of Time reimagines Tey’s genre-defining novel – ranked No.1 in the British Crime Writers’ Association’s list of the Top 100 Crime Novels of All Time – for the stage, blending mystery, wit and romance with a powerful inquiry into how history is written.
London, 1950.
Inspector Alan Grant, laid up in hospital, investigates the alleged crimes of Richard III and the murder of the Princes in the Tower as a “cold case file.” What begins as a distraction becomes an urgent mission, as Grant tangles with two scheming Shakespearean actors, a couple of opinionated nurses, his own sceptical deputy, and a lovesick young American historical researcher to solve his case. And along the way, he might just solve the mystery of his own heart.
Playwright M. Kilburg Reedy said, “Like so many other readers, I was fascinated by Josephine Tey’s brilliant novel when I first came across it and felt inspired to dig deeper into Richard III’s story. What drew me in was a sense of injustice done to Richard and the question of how a historical record can be distorted for political purposes – including even recent events within everyone’s living memory. As a playwright, it was a challenge to make Inspector Grant’s famous inquiry dynamic and theatrical, so I introduced some other elements and even a new character to the story, while remaining true enough to the novel’s DNA that I hope to satisfy Tey’s most ardent fans. I also hope I’ve made an argument that prods even the Richard antagonists to look at the evidence, and lack of evidence, with fresh eyes.”
Philippa Langley MBE, the researcher behind the 2012 discovery of Richard III’s remains and Deputy Chair of the Richard III Society, said, “Kilburg has written a gripping play that makes an eloquent defense case for Richard III based on Josephine Tey’s landmark work. Last summer, when Kilburg brought a company of actors to perform a staged reading of it during the Society’s 2024 Centenary celebrations at Middleham in Yorkshire, the membership and local community audience were absolutely delighted with it. The opening night on Tey’s birthday feels as if it was meant to be, and I’m incredibly excited to see the play getting the premiere it deserves.”
Director Jenny Eastop added “I read The Daughter of Time years ago and remember how astonishingly eye-opening it is, not only the truth about Richard III of course but also the ability of those in power to re-write history to create an alternate “truth”. Kilburg Reedy’s play brings the characters brilliantly springing off the page with dramatic life but is also a trumpet call from history to make us question who is in control of writing ‘truth’.”
Production Designer Bob Sterrett said, “The Daughter of Time has everything that’s fun – a murder mystery, a cold case file, a love story, and Kings and Queens with an added Shakespearean edge.”
Steven Levy, Director of Charing Cross Theatre, commented, “Our theatre is perhaps best known for its musical productions, but we make a concerted effort to present at least one dramatic production each year that really stands out to us. We are proud to be presenting The Daughter of Time, a play which we believe is a uniquely entertaining and challenging work that our audiences will derive immense pleasure from.”
Greg Frankenfield, for Excelsior Entertainment, added, “This is a play for our times – exploring misinformation, public perception, and the fight for truth. It couldn’t be more relevant.”
The Daughter of Time, based on the novel by Josephine Tey, is written by M. Kilburg Reedy, directed by Jenny Eastop, with set and costume design by Bob Sterrett, lighting design by Oliver McNally, composition by Haddon Kime, sound design by Andrew Johnson, hair, make-up and wigs by Diana Estrada Hudson, casting by Neil Rutherford, production management by James Anderton. The Daughter of Time is produced by Excelsior Entertainment, Mercurius Theatre, and Steven M. Levy for Charing Cross Theatre Productions Limited.
Full casting and creative team to be announced shortly.
JACK HOLDEN COMMISSIONED BY THOMAS HOPKINS PRODUCTIONS TO WRITE NEW BOOK FOR A NEW VERSION OF
BOY GEORGE’S TABOO
An utterly FABULOUS new take on the original musical that sparked conversations everywhere!
Producer Thomas Hopkins has been developing a new version of Boy George’s hit musical Taboo for the last few years and is pleased to announce that he has now commissioned a new book by Olivier-nominated writer and performer Jack Holden (best -known for his critically-acclaimed West End production of Cruise and more recently KENREX at Sheffield and Southwark Playhouse) and Boy George, based on the original book by Mark Davies Markham.
Taboo is not just a musical; it’s a vibrant portrait of a brief yet unforgettable era—the dazzling 1980s London. These were years of glorious self-indulgence, set against the backdrop of mass unemployment and societal upheaval. The youth of the time rebelled, expressing themselves through audacious fashions and a decadent nightlife scene. They were the ‘New Romantics,’ spearheading a cultural movement that left an indelible mark on pop, fashion, and global culture.
This week, a closed reading of the first draft is taking place in London, where select Broadway and West End producers and venues will gather to discuss the next pivotal steps for this exciting production.
Thomas Hopkins said, “This event marks a significant moment in the evolution of Boy George’s Taboo, as industry insiders get a first glimpse of what promises to be the rebirth of this groundbreaking musical. This time, the production is ready to SLAY!”
Jack Holden said, “I’m absolutely delighted to be collaborating with the legend that is Boy George on the phenomenon that is Taboo.”
Boy George said, “I feel the time is right for a new vision of TABOO as through its vibrant themes of identity and creative expression, Taboo serves as a poignant reminder that in this ever-evolving world, we must stay true to ourselves and celebrate individuality.”
Jack Holden said, “Taboo is filthy, fabulous and full of heart — reworking the book is an outrageous joy. Boy George’s world still bites, sparkles, and aches with everything it means to be different, daring and loved.”
Further details on next steps for the show to be announced in due course.
Bath Forum – 17th May. Touring until 8th June 2025
Reviewed by Jacqui Radford
4****
After a ‘break in service’, Strictly Come Dancing stars, Aljaž Škorjanec and Janette Manrara are back on tour. Promising ‘A Night to Remember’, the show is big on dance, big on music and big on energy. It is a show that appeals to dance fans and big band lovers alike.
As you would expect, Aljaž and Janette have incorporated classic Latin and Ballroom dance into the show and their routines; fulfilling anticipation for stalwart fans and acknowledging the effect that ‘Strictly Come Dancing’ has had on UK audiences. However, they have also incorporated opportunities for more dance styles and new stars to showcase their own style and interpretation. Contemporary, Lindy Hop and even Tap dance are featured, supporting their stance that all styles of dance should be celebrated. The supporting dancers embraced the occasion and brought high energy to the stage; the only downside being that we saw less of Aljaž and Janette.
The live music is held together by Tom Seals with his ‘boogie woogie’ style, his live band and singer Jill Marie Cooper. The combined group provide incredible Jazz and Blues style music for songs that include Frank Sinatra classics, Elvis, Michael Jackson and more recent tunes such as Benson Boone’s ‘Beautiful Things’.
Aljaž and Janette have picked out the ‘best in the business’ to support them to deliver a show that feels like a huge jazz bar celebration. They clearly love what they do, have a deep connection with each other and huge respect for the contribution that live music makes to live dance performance.
The show celebrates big band music, a full range of dance styles and ultimately the joy and extra dimension that combining live music and dance brings to a night out. The promise of ‘A Night to Remember’ is fulfilled. All that is missing is a promise that Aljaž and Janette will be back with more shows this year!
Royal and Derngate Theatre Northampton – 17th May 2025
Review by Amanda Allen
5*****
The Birmingham Royal Ballet’s latest initiative, BRB2: Diaghilev and the Birth of Modern Ballet is Carlos Acosta’s Ballet Celebration, its designed to spotlight rising stars and delivers a double bill that pays homage to ballet’s transformative past while celebrating its dynamic present. The production is a tightly curated journey through the revolutionary works of the Ballets Russes, the early 20th-century company that redefined the art form. Visually rich and stylistically diverse, the program includes faithful renditions of iconic pieces like Les Sylphides and Le Spectre de la Rose. These works not only demonstrate the dancers’ versatility but also contextualize Diaghilev’s influence as a curator of innovation.
The programme opened with a rendition of Les Sylphides, a Classic, fluid and emotive start. The dancer’s glide across the stage with serpentine grace, their bodies echoing the sensibility that Acosta has championed in recent years. The choreography is sculptural and organic, pushing the dancers beyond classical confines while highlighting their adaptability. Performed in a beautifully classic style this was an excellent introduction to an afternoon of sublime movement.
The second half opens with “Sheherazade”, a bravura pas de deux that demands both explosive power and classical precision. Here, the lead pair deliver a dazzling performance, with secure pirouettes, immaculate lines, and commanding stage presence. It’s hard to believe these dancers are still at the start of their professional careers. The rest of the Second half showcased a vibrant selection of short works that highlight the versatility and commitment of the young dancers. From the very first piece, the ensemble demonstrates maturity beyond their years, with technically secure performances underscored by emotional depth. There’s an infectious passion on stage — a clear sign that Acosta’s nurturing influence and global vision have left an indelible mark on this next generation. The standout performance for me was The Firebird, which crackled with bold colour and precise foot work. The young BRB2 dancers rose to every challenge, embodying the mythical with astonishing control and nuance. Their energy was infectious, bringing fresh perspective to century-old choreography.
The entire programme was beautifully fluid, offering many a shift in tone and style. Acosta’s curation shows excellent classic choreography with a young ensemble at its best, reinforcing the importance of heritage in ballet, while also making a bold statement about its future. What sets this performance apart for me is not only the calibre of dancing but the palpable sense of purpose. BRB2 is not merely a showcase; it is a statement — an investment in the future of British ballet. The dancers’ commitment and potential shine through in every phrase, and the audience is left with the sense that they are witnessing stars in the making.
The staging and set designs are simple but elegant with lighting and costume choices that allow the dancers and choreography to remain the central focus. The programme moves at a brisk and satisfying pace, never lingering too long on any one mood or style making for a performance that ended far to soon for me. This is a wonderful way to introduce a new audience to the classical style of ballet with a contemporary twist, and I would encourage anyone to go along and see it if you can because by the time the curtain fell, it was clear that BRB2 is more than just a training ground — it’s a launchpad. Carlos Acosta’s vision is as inclusive as it is inspired, and this Ballet Celebration proves that the future of ballet is not only secure but scintillatingly bright.
Henry VIII’s wives have been reimagined as wisecracking pop divas, and now Ava Pickett explores the lives of “everyday” women as Henry bends the world to realise his dynastical aspirations.
Three friends meet up in a field in Essex, Anna (Siena Kelly) – wild and unafraid to use her sexuality, Jane (Liv Hall) – less worldly and determined to be a good girl, and Mariella (Tanya Reynolds) – unable to marry the man she loves and hating her life as a midwife. It is clear from the beginning that this field is the only place that they feel free to share their true ideas and be themselves. When Jane runs frantically to tell Anna the news from London about the king, Anna isn’t interested as she thinks it will not affect her life. When the news turns out to be that the king has arrested his queen Anne Boleyn and charged her with treason however, the women react with disbelief and trepidation.
What follows over the period up to Anne Boleyn’s execution is a chilling story of the men around them becoming emboldened as they cite Anne Boleyn’s alleged crimes and paint her as the Whore of Babylon who bewitched their saintly king. The misogyny and hypocrisy of the respectable men of the town becomes increasingly dangerous for each woman in different ways. Anna – the most obvious parallel with Boleyn is wanted and hated by the men. She is a wanton shameful woman, but the men who have slept with her are blameless. Jane – the good girl like her queenly namesake – does exactly what is expected of her, pious and good, but discovers that this doesn’t bring her happiness, and Mariella lives on a knife edge, knowing that her midwifery is a dangerous job where the death of a baby or mother could have terrible consequences for her.
Although the town’s men are talked about, only two appear in the play. Richard (Adam Hugill), who meets up with Anna for sex in the field but marries another woman, and William (Angus Cooper), Mariella’s love who made a better match but obviously still cares for her. These men are written very cleverly, with Richard very obviously reflecting the general attitude towards girls like Anna, and William’s gentle nature cracking to reveal the anger and suspicion simmering beneath the surface.
This all sounds a little hard going, but Pickett has written sparky and irreverent dialogue for the three women. The lifelong friendship is believable through what is left unsaid between them, and the actors’ chemistry is utterly beguiling. They speak with modern rhythms and sound like three girls chatting at a bus stop except their topic of conversation is survival in a hostile time. The laughs come thick and fast, with lots of gallows humour about the horrific reality of their lives that cast a light on the unchanged attitudes of modern society.
Liv Hall is funny and sweet as Jane, but excels as her darker, steely will to survive emerges. Siena Kelly shines as Anna, never still and embodying the sense of being trapped in this unfulfilling existence, but her fire and fury never quite builds up her courage to move on. Tanya Reynolds is devastatingly sad and strong as the tragic Mariella – the anchor of the trio.
Lyndsey Turner directs with heart and urgency as Jack Knowles’s bucolic yet threatening lighting creates a sense of time on Max Jones’s set. The sudden loud between scenes are a little jarring but build tension.
A stunning debut from Ava Pickett – 1536 is a darkly funny and disquieting slice of Tudor life.
This scintillating revival of Nick Payne’s beautiful love story is staged with a beautiful simplicity.
Beekeeper Roland (Freddy Williams) and physicist Marianne (Costanza Pucci Di Montaltino) meet at a barbeque. Their relationship plays out through multiple possibilities and universes towards a tragic end. Payne’s exploration of the effects of a different choice or chance can have in life cleverly portrays varying iterations of Roland and Marianne’s relationship in multiple universes. Dialogue is repeated with different outcomes or attitudes, there are some humorous dead ends and a darker vision of the future.
George Derry’s precise and insightful direction keeps the premise clear, with the simple but wonderfully effective use of hanging mirrors reflecting the actors and audience a visual reminder of the multiple possibilities at any given time. (Although Marianne also explains that time doesn’t exist at an atomic level so their love will endure.) Summer Keeling and Tasmin Wickmerante’s lighting signals changes in universes clearly and the intimacy of the space makes the production more heartbreaking as the couple’s stories evolve.
Freddy Williams is a warm and lovable Roland, playing wonderfully against Costanza Pucci Di Montaltino’s initially more standoffish Marianne. They play the awkwardness with great humour, and Marianne’s gradual mellowing as she becomes more comfortable (in some universes) is delightful. The actors’ chemistry is astonishing, the pair portray the excitement, silliness, frustration, anger and despair of the characters in a beautifully natural way, never veering into melodrama. Both shift body language and vocal tone with masterful subtly as the play shifts between universes, and the result is captivating.
Richard Bean’s 2010 adaptation of David Mamet’s House of Games brings the intriguing world of con artists and scammers to the Hampstead stage. There is a reason why podcasts and documentaries about people who inhabit this (of late largely online) space are so popular and Jonathan Kent’s production is a fun look at this world of devious thrills. .
In a bright tidy office, we meet Margaret (Lisa Dillon), a famous psychiatrist who is in session with trust fund kid turned gambler Billy (Oscar Lloyd). Billy is waving a gun around and talking about the shadowy world of the House of Games where he has racked up huge debts. Margaret, in need of new material for an upcoming book deadline does what anyone would do in this situation (?!) and decides to go and investigate. She goes down to the seedy dive bar, and it’s here we meet Mike (Richard Harrington) and his charismatic ragtag bunch of poker playing pals. There’s Bobby (Andrew Whipp) the hopeless Hell’s Angel bartender, George (Sion Tudor Owen) the sweary drunk distraction, and Joey (Robin Soans) the put together elderly gent in a suit and tie. As soon as she arrives to clear Billy’s debt, Margaret is drawn into the exciting world of confidence tricks and though she is there just to observe, she’s all in and the game is afoot.
Richard Bean’s adaptation does a commendable job of translating screen to stage especially in the utilisation of Mamet’s pacey dialogue and there is a feeling of low level peril throughout. It is however Ashley Martin-Davis’ split level set that is the star of the show. With fun little details in every corner, Margaret’s office is complete with Peter Mumford’s noir shutter blind lighting. The cleverest trick of the show being the switch from bar to office and back again.
At 100 minutes straight through, the pace doesn’t quite manage to maintain throughout, and what should be an exciting final reveal tails off with a dragging predictability. There is some great comic work from the gang of low level criminals, but it seems that this comes at the expense of some emotional depth.
Overall, House of Games is an entertaining evening. It’s clever, stylish, and slick, and no matter what the setting or the platform, I will always enjoy a tale of conmen, scammers and grifters.
The Sociable Plover returns to the Old Red Lion Theatre in a triumphant twentieth anniversary production. The two-hander thriller by Tim Whitnall premiered in June 2005 in the perfectly rustic and intimate space in Islington, subsequently going on to tour the world before returning to the scene of the crime from whence it sprang.
Avid bird watcher and The Weakest Link enthusiast, Roy Tunt is just one sighting away from completing his list of every bird species recorded in Britain. On this thunderous, cold December morning, he has decided that with the perfect conditions in place, today will be the day he succeeds in fulfilling his life-long goal. That is, until mysterious stranger, Dave arrives in a flash of thunder to invade both Roy’s space and mind. What follows is a thrilling and witty two-hander peeling back the layers and back stories of these two individuals, gaining insight into their history and psyche, resulting in dramatic conclusions.
With a closed space and time setting, this pressure cooker of a play does not disappoint with its eerie psychological setup and humorous dialogue. As with any two-hander, the balance in chemistry between the two leads is crucial. Calum Lill as Dave executes the spot-on realism with a clean precision that is required for the space. He discovers every nuance and emotional beat within the material and has the ability converse with matter-of-fact suave only to raise the stakes within a single breath when the plot calls for. Jack Robertson is immensely charismatic in his portrayal of Roy; his characterisation choices result in a wonderful and loveable amalgamation of Hyacinth Bucket and Roy Cropper. The performance from Robertson sometimes overshadows Lill’s more nuanced performance resulting in a shift in balance throughout, however, the two actors are eventually in-sync as the play reaches the denouement.
Under the direction of Christa Harris, this wonderfully paced and concise 70-minute play never lingers or dwindles. Every moment is both necessary and entertaining, successfully delivering a truly nail-biting theatrical evening.
