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Hope Mill Theatre announce exciting cast for northern premiere of death row drama, The Exonerated

Actors will appear on stage, and in filmed footage, in the

true crime documentary-inspired production

Runs Thursday 6 to Sunday 16 June 2019

On sale now

An exciting cast of experienced stage and screen performers – who will appear both in person and in integrated filmed footage – has been announced for the forthcoming northern premiere of The Exonerated at Hope Mill Theatre in Manchester.

Jessica Blank and Erik Jensen’s play The Exonerated, directed by Hope Mill Artistic Director and co-founder Joseph Houston, has been reimagined in the style of a television true crime documentary and will run from Thursday 6 to Sunday 16 June 2019.

The production will blend live theatre and filmed footage to create a unique, fully integrated multimedia experience with staging inspired by true crime documentaries currently popular on television streaming services.

Casting for The Exonerated has now been announced, with rehearsals underway. Cast members will either appear live on stage at Hope Mill Theatre, or in integrated filmed footage.

The on-stage cast features Charles Angiama (One Man, Two Guvnors – Torch Theatre, My Week With Marilyn),Ben Boskovic (The Secret Garden – Barn Theatre, Paper Hearts: A High Street Musical – Upstairs at the Gatehouse), Rebecca Eastham (Not Dead Enough – UK Tour, Hollyoaks), Richard Galloway (The Trials of Oscar Wilde – Lyric Theatre, Entertaining Mr Sloane – The Plays The Thing) and Jason Lamar Ricketts (Hamlet- Royal Exchange Theatre, A Taste of Honey – Epstein Theatre). Appearing onfilm is Gary Fannin (Kingsman: The Golden Circle, 24: Live Another Day), Eva Fontaine (Emilia – Young Vic, Doctors – BBC), Lucy Greenaway (The Witches, Dundee Rep Theatre), Jack Kristiansen (Macbeth – Brighton Shakespeare Company, Romeo & Juliet – Oslo Shakespeare Company), Kevin Mathurin (The Shawshank Redemption – UK Tour, Justice League), Pippa Winslow (Strangers on a Train – Gielgud Theatre, Buried Child – Trafalgar Studios) and Law X (S.W.A.T. – CBS, To Tell The Truth – ABC).

Taken from interviews, letters, transcripts, case files and the public record, The Exonerated tells true stories of six wrongfully-convicted survivors of death row in their own words.

Moving between first-person monologues, courtrooms and prisons; six interwoven stories paint a picture of an American criminal justice system gone horribly wrong – and of six brave souls who persevered to survive it.

Artistic Director Joseph Houston, said: “I am so thrilled with the amazingly diverse cast we have found for The Exonerated. Many of our filmed actors have incredible experience and I know they will really capture the documentary style filming as well as make these heart-wrenching stories very real.

“We have also assembled an exciting group of actors who will play live in the production and multi-role many different characters to help bring these stories to life.

“I can’t wait to get started and to share The Exonerated with our audiences.”

The Exonerated premiered Off Broadway in 2002 (where it won a Lucille Lortel Award and a Drama Desk Award as well as an Outer Critics Circle Award), was made in to a 2005 film starring Susan Sarandon and Danny Glover, and then a production ran at the Riverside Studios in London in 2006.

The Exonerated is written by Jessica Blank and Erik Jensen, directed by Joseph Houston, filmography by Grant Archer, lighting design by Aaron Dootson, sound design by Elliya Evans and casting by Jane Deitch. Produced by William Whelton for Hope Mill Theatre.

It is Hope Mill Theatre’s second in-house play directed by Houston, following a highly successful run of David Auburn’s Proof in 2018.

The Exonerated runs at Hope Mill Theatre from Thursday 6 June to Sunday 16 June 2019. Press Night is Sunday 9^th June. Tickets, from £10, available from www.hopemilltheatre.co.uk

CHILDRENS CAST ANNOUNCED FOR

SUE TOWNSEND’S

THE SECRET DIARY OF ADRIAN MOLE AGED 13¾ – THE MUSICAL

AT THE AMBASSADORS THEATRE

The producers of Sue Townsend’s The Secret Diary of Adrian Mole aged 13¾ – The Musical, are delighted to announce the childrens cast taking on the pivotal roles of Adrian, Pandora, Barry and Nigel.

Nicholas Antoniou-Tibbitts from Westminster, Aaron Gelkoff from Redbridge, Michael Hawkins from Haringey and Rufus Kampa from Buckinghamshire will alternate the role of Adrian. Molly May Gibson from Kent, Matilda Hopkins from Buckinghamshire, Rebecca Nardin from Surrey and Riya Vyas from Richmond will alternate the role of Pandora. Jack Gale from Hertfordshire, Aaron Shaw from Hertfordshire, Charlie Stripp from West Sussex and Kobi Watson from Croydon will alternate the role of Barry. Regan Garcia from Bexley, Albert Green from Buckinghamshire, Cuba Kamanu from Cambridge and Jeremiah Davan Waysome from Newham will alternate the role of Nigel. All children in the cast are between the ages of 12 – 14 years old.

The Secret Diary of Adrian Mole aged 13¾ – The Musical will open at the Ambassadors Theatre for a limited season from 15 June until 12 October 2019, with a Gala Night on Tuesday 2 July. The musical has book and lyrics by Jake Brunger, music and lyrics by Pippa Cleary and direction byLuke Sheppard.

Set in 1980s Leicester, this adaptation of Sue Townsend‘s best-selling book is a timeless tale of teenage angst, family struggles and unrequited love, told through the eyes of tortured poet and misunderstood intellectual Adrian Mole. One of the most enduring comedy characters of all time, he is the hapless, hilarious, spotty teenager who captured the zeitgeist of 1980s Britain, and this critically acclaimed production brings Adrian’s story to life for a new generation of theatregoers.

“Honestly. My family just don’t understand me. Perhaps when I am famous and my diary is discovered people will understand the torment of being a 13¾ year-old intellectual” Adrian Mole.

The Secret Diary of Adrian Mole Aged 13¾ was Townsend’s first novel and was originally published in 1982 by Methuen, but is now published by Penguin Books. It has sold over 20 million copies worldwide, been translated into 30 languages, and spawned seven sequel Adrian Mole novels. The novels have previously been adapted for the stage, radio and television.

The Secret Diary of Adrian Mole aged 13¾ – The Musical has choreography by Rebecca Howell,set and costume design by Tom Rogers, lighting design by Howard Hudson, sound design byGregory Clarke, musical direction by Mark Collins, musical supervision & orchestrations by Paul Herbert, children’s casting by Jo Hawes CDG and additional casting by Ellie Collyer-Bristow CDG.

This production is produced by Anthony Clare, Ramin Sabi, Knickerbockerglory, Mark Puddle/Vicky Graham and Curve.

Originally commissioned by Curve and Royal and Derngate, Northampton.

Website: www.adrianmolethemusical.com

Facebook: adrianmolethemusical

Twitter: @adrianmoleuk        

Instagram: AdrianMoleUK

LISTINGS INFORMATION

Sue Townsend’s The Secret Diary of Adrian Mole aged 13¾ – The Musical

15 June – 12 October 2019

Ambassadors Theatre

West Street

London

WC2H 9ND

Ticket Prices: Previews from £15

Performance Times:

Monday – Saturday 7.30pm*

Matinees – Thursday & Saturday 2.30pm

Additional matinee Tuesday 23 July

*7pm start on Tuesday 2 July

Running time: 2 hours 20 minutes (including interval)

Box Office: 0843 904 0061*

*Calls cost 7p per minute plus your phone company’s usual access charge

www.atgtickets.com  

Jack Studio Theatre – until 25 May 2019

Reviewed by Claire Roderick

4****

John Godber’s 1982 play about the lives of miner Jack and his wife Liz is inspired by his grandparents and is an emotional and nostalgic treat. The story of Jack (Jonny Magnanti) and Liz (Tracey-Ann Wood) is told in reverse, beginning with the actors introducing the characters to the audience and describing their early deaths from the dust and cancer respectively and ending with Jack asking Liz to go out with him.

Looking at the characters through a 21st century lens is problematic, but Jack and Liz are people of their time and environment and are instantly recognisable and relatable. Jack’s poetic aspirations are never quite crushed by the darkness of the pit, and Liz’s time in service and the women she grew up around ensure her focus is keeping a clean house. Their only respite from the daily routine is their annual holiday at the seaside.

Magnanti and Wood have wonderful chemistry as they take us through the couple’s story, with Magnanti keeping Jack’s constant frustration visibly simmering away and Wood brilliant as nervy Liz and a hoot as a rival Welsh miner and her grandson.

Jack’s temper and physicality is quickly brushed under the carpet, much as it would have been in real life, but Godber ensures that Jack is never wholly unlikeable. Godber includes some wonderfully witty and petty arguments that couples get into after so many years together, and there are some wonderfully tender moments as the couple reminisce about music and films. Crucially, love is shown through insults and scorn – the only overt softness we see from Jack is with his grandson in a beautifully executed scene – which is the way it was and is in many British homes. Godber captures the working-class mindset, with all its strengths and weaknesses perfectly without ever becoming overly sentimental – their life was bloody hard. Even though Godber isn’t sentimental, any audience members who grew up in mining or industrial communities may need extra tissues – even with the Yorkshire accents, there were times when I was a sobbing mess as I was transported back to my grandparents’ home in the Welsh Valleys by certain phrases and events.

A wonderful time capsule of a play full of warmth and bittersweet joy, Happy Jack is well worth a look.

Stepney City Farm until 19 May; Spitalfields City Farm 24 May–2 June, Mudchute City Farm 29–30 June

Reviewed by Antonia Hebbert

3***

Can’t decide whether to go out for a meal, see a show or socialise? Why not do all three at once? Scripts for Supper is touring some of London’s inner-city farms this summer, serving up a cheerful adaptation of The Wind in the Willows interspersed with four courses of fine food (plus cocktail and canape). It’s a very leisurely and sociable way to eat and watch, sitting outdoors at long tables, with courses served between scenes in the play. The performers double up as waiters (you have to feel sorry for actors who hoped to give up the waiting day job when they landed this part).

The plot is faithful to the 1908 children’s book by Kenneth Grahame, but it’s completely lighthearted and silly with none of the original’s dark undertow of suppressed yearnings. In this version Mole and Toad are women, and together with Ratty, Badger and a narrator they tell the story through acting, mime, vocal sound effects, singing and a few musical instruments. They perform between and around the tables, so the general effect is of jesters at a jolly feast. With no scenery and hardly any props, the actors have to work hard to get the audience to suspend disbelief, and sometimes the fun felt a bit strained. Mostly it worked, even when the rain was pouring over the performers through a gap in the tarpaulin roof. I would like to tell you who they were, but there was no programme and I can’t find them on the website – sorry.

The fine-food-with-theatre idea is the dreamchild of artistic director Annie McKenzie, who graduated from East 15 drama school in 2013 and got to the semi-finals of BBC’s MasterChef in 2016. Food writer Juanita Hennessey is head chef and menu-designer. Ah yes, the food – it was all tasty, satisfying and prettily served, with lots of fresh herbs and interesting flavours. The soup looked absolutely beautiful strewn with fresh flowers, and the (mmm, lovely) guava possett arrived in a dainty teacup. At risk of sounding like a whingey food-writer, I would say the humus toast was cut a little too thick. Some sunshine would have been nice, and it was a shame that Stepney’s farm animals were tucked away in bed. Otherwise, it was food, fun and friendliness, and who wouldn’t want that?

Greenwich Theatre – until 25 May

Reviewed by Claire Roderick

4****

Oscar Wilde gets the Lazarus treatment in this sumptuously stylish and intense production of Salomé. Wilde’s controversial take on the story of the death of John the Baptist (Jokanaan) gives Salome more agency than the Bible, with her own lust and desire being as destructive as her stepfather/uncle Herod’s.

Director and designer Ricky Dukes manages to make his minimalist set as opulent as possible through liberal coats of gold paint and scores of gold balloons in the side seating areas that bob constantly in a sparkling shimmer as if those seats were filled with bejewelled nobles and courtiers basking in the golden aura of their tetrarch. Hector Murray’s lighting design and Will Thompson’s sound design are phenomenal, elevating the tense and erotically brooding atmosphere. An interval is introduced to the one act play, with the first part building up to Salomé agreeing to dance for Herod, and the short second act the dance and the aftermath. Although the play is all about the male gaze and objectification, this is Oscar Wilde, and his language is poetic and repetitive. The script is full of similes, mostly about the moon, but has enough witty self-knowledge to have Herodias declare in frustration that “The moon is just the moon!” and Herod warn about seeking symbolism in everything, before continuing to do exactly that.

This production is set in 2019, which doesn’t really affect much apart from modern dress and a few sweary insertions from Herod and Salomé in times of anger or frustration. Salomé is a prince in this production, with Bailey Pilbeam portraying him as an entitled and manipulative man-child who knows exactly how to get what he wants, flirting with anybody to get his own way and completely floored by Jokanaan’s rejection. The dance of the seven veils becomes a slow, languorous striptease as Pilbeam removes his white suit, to Herod’s very obvious enjoyment. Jamal Renaldo is earthy and powerful as the prophet Jokanaan. Jamie O’Neill’s Herod is a wonderfully flawed man in an intense but funny performance cycling between arrogance, fear of losing his power and gazing lustfully at his nephew without missing a beat. His chemistry with the magnetic Annemarie Anang is deliciously toxic, as they try to hide their burning resentment behind false smiles as they entertain their Roman guests, who could ensure their power is crushed by Caesar at any moment. The rest of the cast don’t have much to do after the initial set up of the plot, but their reactions to what unfolds before them are perfectly judged.

Waterloo East Theatre – until 2 June 2019

Reviewed by Alex Sykes

4****

Set on an Australian T.V set, Summer Street tells the story of four actors who were once big stars and well known who have faded into obscurity but are given a second chance.

The opening scene is set in the 1990s, and 3 of the 4 actors have their characters killed off in strange ways, including a plague that only kills men, a plane hitting a high building and an earthquake that leaves only one survivor. Fast forward to 2003 and out of the four actors only one, Steph (Julie Clare) is still acting. Bruce (Simon Snashall) is a divorced alcoholic, Paul (Myke Cotton) is a hippy and Angie (Sarah-Louise Young) is working in a local supermarket.

The four are invited back to the show for a reunion episode by the unseen executive producer. The four cast members all reminisce about what they have been up to since the show ended whilst also rehearsing for the soap. Although Steph quits, she returns after Paul tells her that he still loves her, referring to the relationship they had in the 1990s.

However things take an unexpected twist when it turns out that Steph owns the show and instead of relaunching Summer Street she has decided to make it into a reality T.V programme. The remaining cast
eventually come around to the idea and Summer Street is relaunched in the new format.

The cast work well together and the songs fit with the story, both in the soap opera and out of it. The set works well as wooden crates are moved to represent beds, cars, dressing rooms and an abandoned mine. The costumes are also simple, with accessories or wigs used to show the different characters.

Andrew Norris, the producer, writer and director, makes the plot line easy to follow with lots of jokes keeping the audience laughing. A special mention to Pogo, the toy dog, who plays Pogo the Summer Street dog, who is just as important as the rest of the cast.

Traverse Theatre, Edinburgh-16th-18th of May 2019.

Reviewed by Hannah Plumb

4*****

Shine is a story of acceptance and of finding the light inside of us all. Kema Sikszwe, or Kema Kay as he’s known as while making music, is the writer and performer of Shine uses the piece to tell the audience his unique and inspiring story. Moving from Zambia to Newcastle’s West End at the age of three, being the only black kid in his new community and how his family navigated their new life are just some of the issues explored throughout the piece. 

However, although the piece discusses Kema Sikszwe’s extremely personal story the play overall is very relatable. It is also a coming of age story and an inspiring tale for anyone who has ever struggled fitting in or anyone who has ever felt lost. All you must do, according to Sikszwe is find your light and chase your dreams. 

The music in Shine is a really great part of the performance. The way that Sikszwe and director, Graeme Thompson have managed to blend the theatre performance and the musical performance together gives the piece a really exciting energy. Not to mention some of the songs are just very good. 

Overall, Shine is a thoroughly enjoyable show which is well created and performed. There are one or two new show kinks that I imagine will be easily ironed out. After that, I believe this show has real potential to be an important piece of theatre which could inspire many young people to deal with the darkest of times by turning on your own light. 

New Season Launch, 16th May 2019

Leeds Playhouse

Feature by Dawn Smallwood

Be My Baby marks the conclusion of the successful Pop-Up 2018/19 season which hosted a variety of productions featuring an ensemble of 10 actors. During that time Leeds Playhouse has been undergoing a capital redevelopment and is set to re-open its doors in October 2019.

A full season across the refurbished Quarry and Courtyard Theatres and its new studio space, the Bramall Rock Void was announced. Everyone has been asked to save the date, 11th to 13th October, for Playhouse’s Open Weekend which coincides with Leeds Light Night, and everyone is invited to explore the brand-new building and spaces.

To begin proceedings, Charley Miles’ There are No Beginnings (11th October to 2nd November) will be staged at the Bramall Rock Void. An insight was given about the Playhouse’s production reiterating what it’s like to be a woman during the five years when they were urged to stay at home due to the surge in attacks and murders which eventually linked to the Yorkshire Ripper.

Leeds Playhouse has an exciting Creative Engagement Programme which continues to expand with its new initiatives and more opportunities particularly for young people. The Leeds Playhouse Youth Theatre will be presenting Influence (31st October to 2nd November), commissioned jointly with six other regional theatres, and will be presented in the new Leeds City College’s School of Creative Art Theatre, and marking an exciting new partnership with the college.

The programme also extends to supporting adults with learning disabilities and will host Beautiful Octopus Club (14th October) and Lemn Sissay, known for his adaptation of Benjamin Zephaniah’s Refugee Boy which lead to theatre to become the World’s first ever Theatre of Sanctuary, will be paying a visit for one night (7th October) to share his new book.

Furnace is reputedly known for supporting and developing new productions and also up and coming artists. The following productions that have benefited from the celebration of new work are as follows; Lung Theatre’s Trojan Horse (3rd to 5th October), which will be Courtyard’s first production when the doors re-open and its popular festival in November will feature Furnace Scratch, Tess Seddon’s Amateur Politician (work in progress) and Jim Cartwright’s Northern Soul (script reading).

Leeds Playhouse always welcome visiting productions including Northern Ballet’s Dracula, (29th October to 2nd November), Rifco Theatre and Watford Palace Theatre’s Mushy: Lyrically Speaking (8th to 12th October), Co-production of My Beautiful Laundrette (15th to 26th October), Graeae’ and Theatre Royal Plymouth’s One Under (5th to 9th November), English Touring Theatre and Sheffield Theatres’ Reasons to Stay Alive (12th to 16th November), and Breach Theatre’s It’s True, It’s True, It’s True (21st to 23rd November),

Cartwright Productions’ Jellyfish (28th to 30th November), and the popular Barber Shop Chronicles (20th to 23rd November) after a successful tour will make a return visit.

Leeds Playhouse ensures there is something for everyone particularly at Christmas with the Playhouse’s production of The Wizard of Oz (20th November to 25th January), directed by James Brining, Leeds Playhouse’s Artistic Director. Particularly for children and babies, The Night Before Christmas (30th November to 28th December) and Snow Mouse (10th to 21st December) respectively and also other productions during the autumn schools’ half term holiday; Jackie and the Beanstalk, The Very Hungry Caterpillar and Tabby McTat.

The Leeds Playhouse inclusively invites everyone to its theatre and experience as always another exciting and diverse season of productions which will appeal to many and no doubt address what matters here and everywhere.

Leeds Playhouse – until 1 June 2019

Reviewed by Dawn Smallwood

4****

Amanda Whittington’s Be My Baby is the final production of this exciting 2018/19 Pop-Up Season. This joint all-women Leeds Playhouse and Mind The Gap production, is directed by Jacqui Honess-Martin and is about four expectant young women who are at St Saviours, a church run maternity home, for unmarried women who have fallen pregnant. The matron (Susan Twist) inflexibly intends them to give their babies up for adoption, mainly against their will, to the Welfare Service.

Set in the early 1960s where, compared to today, women didn’t really have any say in the final decision making concerning their child and the guidelines were strongly influenced by the church and a patriarchal political system/culture. Not to mention the very little or no access to family planning support and support concerning the women’s mental health and emotional wellbeing. The play explores the social, political and religious contexts of the story and also the women’s unheard feelings for their plight concerning their babies. Set to popular music at the time the four women are given an Open Mic as a platform to express themselves through song.

The lead character is Mary (Simona Bitmate) who arrives at St Saviour with her mother (Jo Mousley) and after learning about the typical arrangement she is determined to keep her baby. Three other characters; Queenie (Crystal Condie), Dolores (Tessa Parr) and Norma (Anna Gray) are introduced and intermittently tell their stories and circumstances which eventually brings them to the maternity home. Strong themes, though suttle, such as pregnancy, violation including rape and sexual assault, inequalities, discrimination, self consciousness including body image are raised. They are strongly encouraged to forget and get over giving up their baby for adoption and not taking in account the emotional and psychological consequences the women have to face. Decisions that are made in their interest are patronised but their stories shared are contradictory.

Set to Amanda Stoodley’s staging and clever captioning, Be My Baby is performed excellently from the members of the Playhouse’s Ensemble and also Anna Gray, from Mind The Gap. Their portrayals are moving and certainly reflect the realities of the circumstances at that time. The play is disturbingly summarised with regards to women’s rights however with some human touches and camaraderie from the women.

The play certainly reminds how far women’s rights have come today from nearly 50 years ago with regards to equality and legislation. However there is a lot a work yet to be done for women with regards to the criminal justice system, equality and diversity, employment laws around pregnancy and maternity leave and also those who have mental health and learning disabilities. It isn’t just limited to women in exclusive groups but in many other groups and cultures particularly female asylum seekers and refugees where accessing health care (including antenatal and postnatal care) is getting increasingly impossible.

Be My Baby is poignantly moving and there are a lot of issues resonate to themes where many can compare and relate to what matters to them. It is definitely recommendable.

TRAVEL BACK IN TIME TO HG WELLS’ VICTORIAN ENGLAND FOR THE MARTIAN INVASION OF 1898…

•     New for 2019: Jeff Wayne’s The War of the Worlds: The Immersive Experience will take audiences to another world through immersive theatre, virtual reality, holograms and other state-of-the-art technology

•     Opens 31 May with tickets from £49.50 – www.dotdot.london/TWOTW

•     Featuring never-before-seen Victorian set design, virtual reality environments and multi-sensory immersive theatre surprises

•     The experience lasts 110 minutes including a 20 minute intermission in the immersive Red Weed Bar

•     Opening on Leadenhall Street in the City, nearest tube Aldgate

New for 2019: Book early to be the first to live through HG Well’s Martian invasion of 1898 in Jeff Wayne’s Musical Version of The War of The Worlds: The Immersive Experience opening on Friday 31 May. 

Jeff Wayne’s Musical Version of The War of The Worlds, the all-time best-selling double album that terrified generations, has been transformed into a never-before-seen interactive 110-minute adventure. The multisensory experience will combine Jeff’s Musical Version, immersive theatre, virtual reality, augmented reality, holograms and other cutting-edge technology giving audiences the chance to survive the Martian invasion of 1898. Live and virtual actors will lead groups of up to 12 to walk, crawl and travel into the heart of the story from the moment they step inside. The show is split into two-acts and includes an interval in the immersive Red Weed bar where you can enjoy a drink and listen to extended versions of Jeff Wayne’s The Red Weed.   

The journey will encompass key aspects of Jeff Wayne’s The War of The Worlds, the scenes include:

The Theatre

Meet George and Carrie in hologram form and travel back into George’s memories through the use of a magic lantern, a zoetrope and 360 degree projection mapping.

The Observatory 

Walking in Head Astronomer Professor Ogilvy’s shoes, audiences are taken on a dazzling tour of the Royal Observatory to experience the magic of constellations and planets whilst spotting a peculiar object heading straight to Earth.

Horsell Common 

Smell the freshly cutgrass, and feel the misty chill that hangs in the air as you walk across Horsell Common. Approaching a silver cylinder, you are suddenly met with slithering, animatronic tentacles as the powerful baseline of Jeff Wayne’s iconic soundtrack kicks in. As you try to escape a deathly pyrotechnic Martian Heat Ray, you experience everything from the scent of burning flesh to writhing dead bodies.

George Herbert’s House

Considered the ‘Horror Room’ of the experience, this room is not for the faint hearted. Audience members will break into George Herbert’s house and enjoy tea and biscuits before being plunged into complete darkness and immersed in terror as the Martians slowly close in. The scene climaxes in a terrifying flash of strobe lighting and ambisonic surround audio, it’s the first interaction with the Martians, and by no means the last.

Journey to London 

Get ready to battle through war-zone England as you encounter fully animated 300ft Martian Fighting Machines. All players travel through large-scale social VR environments as you try to reach London. The volumetric-captured actors mean that everyone in the group will have a different experience.

Forever Autumn/Thunder Child

The first act ends with a climactic naval battle as audiences are placed in boats with motion simulators – as you try to flee the attacking Martians you’ll be able to feel the water, wind and chill in the air, as you escape down the River Thames in a steamer chasing HMS Thunderchild.

Dead London

In the final scene of the show, audiences are taken on one unforgettable journey. By jumping into hot-air balloons the audience will feel themselves soaring over England in Virtual Reality. The wind and smoke billows in your face where the biggest surprise is saved until last the final moments of the show, all scored by the iconic final song on Jeff Wayne’s album.  

Tickets start from £49.50 and are available to book now at www.dotdot.london/TWOTW. The experience lasts 110 minutes including a 20 minute intermission in the immersive Red Weed Bar.