Writer, producer and lead actress Emmy Happisburgh is a powerhouse of creativity, with the skill to transport you back in time. Whether it’s a revelation or revisitation, you experience the rave culture of the 90’s through the eyes of a middle-aged mother, trying to recapture her youth.
Every generation has an element of rebellion, a coming of age, a voice for young people that reflects the macrocosm of society in the micro of youth culture. Louise (Happisburgh) now in midlife, bored and restless, has a moral dilemma. You are taken with her as she relives her wide-eyed introduction into Ecstasy and House Music, whilst suffering angst over what to tell her teenage daughter about her own youth. Happisburgh (Louise) ensures there is a steady thread of humour running through the production and is able to take the mickey out of herself in a way all grownups in the audience could relate to, especially the 50 somethings.
Happisburgh’s ability to communicate the essence of Dennie, Julie and Brian’s characters, through her physicality and voice is impressive and highly entertaining. The sound track is like another character, creating that 90’s vibe.
The serious commentary identifies the rave culture exemplified by a generation rebelling against the establishment, finding excitement, camaraderie and escapism. Thankfully Louise (Happisburgh), despite a false start, finds a great approach to talk to her daughter about drugs.
If this is your generation, go see it, you’ll love it. If it’s not your generation, go see it, get educated! This a great piece that keeps the audience engaged throughout.
As well as having an enormously successful stage history, The Vagina Monologues has sparked a movement, a charity, and millions of conversations. The material contained within its episodic pieces spans a broad spectrum of experience and emotion, it is a true rollercoaster of a production that will take any audience from giggling to weeping, horrified to intrigued and back again. With that in mind, it was fascinating to see this now classic play performed with barely a word spoken by Deafinitely Theatre (Everyday, Grounded, A Midsummer Night’s Dream), featuring a cast of deaf and hearing women and non-binary people from all walks of life. Using British Sign Language and captions, the need for spoken dialogue is eliminated as these talented actors use a simple colour palette and a tremendous amount of attitude to convey everything required to bring these stories to life.
The stories themselves focus on the vagina both as an expression of self and as the terrain on which humanity is alternately celebrated and crushed. Many of the topics covered are hard viewing, but the cast handle them all with great sensitivity. They also incorporate hand gestures as a delicate mechanism for ‘passing the mic’ to great effect. Under the brilliant direction of Paula Garfield (Love’s Labours Lost, 4.48 Psychosis, Small World), the cast are perfectly synchronised and individual performances are well balanced. Each performer has their moment to shine, as well as working in practiced harmony with each other.
It is an incredibly dense production, so to reproduce it without the use of speech is a phenomenal achievement. Undoubtedly, V (formerly known as Eve Ensler) would be thrilled to see how her creation has been interpreted here. Watching the predominantly female audience pour out into the open air, one could sense the positive impact that sharing this celebration of female empowerment had reaped.
There cannot be a person, un-dead or alive, who doesn’t know the iconic “click click” of The Addams Family – their unique brand of morbid and gloomy joy enjoyed by audiences for nearly 80 years. So it’s no surprise that the iconic cult classic goth family find themselves the subject of a musical. The show begins with ‘Thing’ leading us in a click-along to the first few phrases of the indelible theme tune. This is the same family you know and love, but with some modern issues!
Set in the impressive fading façade of Diego Pitarch’s gothic and ghoulish Addams Family mansion scenery, the whole show revolves around the discovery that Wednesday has fallen in love with a ‘normal’ boy – Lucas Beineke. Despite their families never having met, the young couple intend to get married. Wednesday confides in her father Gomez, calling upon him to ensure the planned introductory dinner is successful, while swearing him to secrecy – which causes a whole new set of problems for him with wife Morticia. The Beineke Family are invited to dine at the family home, with Wednesday asking for just ‘One Normal Night’ so that the engagement can be confirmed – which is of course impossible for a family who are anything but normal. Especially when your ancestors have risen from the graveyard, your Brother is scared of losing his torturous playmate, your Uncle is the kookiest of the lot, and the In-Laws haven’t quite got it all figured out either. The side-quests and sub-plots of the supporting characters hold our interest, despite the slightly weak and unlikely catalyst of the initial engagement.
The Addams Family is truly a comedy musical, with lots of laugh-out-loud moments to enjoy, especially some of the double-entendres. Ricardo Afonso as Gomez is deliciously charming and reassuringly authentic, enthralling us with spotless vocals, powerful stage presence, and a wonderful insight into the impossible job of being a good father with ‘Happy Sad.’ Vocal prowess is in spades with this whole company, with a special mention for the sumptuous bass tones of Dickon Gough’s Lurch – well worth waiting for, and we do have to wait for him repeatedly!
Alexandra Burke (Morticia) continues to be a dependable leading lady, the quality and commitment reinforcing her richly-deserved status as a musical theatre favourite. Giving exquisite finger-positioning and hair tosses, she somehow manages to be true to the essence of Morticia, while making it genuinely her own. Lauren Jones (Wednesday) is an “Adorable Atilla” with a very big and contemporary voice, with a believable sibling connection with Nicholas McLean (Pugsley) – he doesn’t feature much in this plot, but McLean makes the most of every second on stage.
Lesley Joseph clearly has the comedy chops for the role of Grandma, though her accent wanders slightly between British and American – perhaps that is a choice to keep us guessing as to whether she actually belongs at the family home!
However, there is no doubt at all that Clive Rowe (Uncle Fester) belongs on the stage. Endlessly endearing, a delightful and timely respite comes in ‘The Moon And Me’ – a gentle ballet and surreal wandering through Fester’s mind. Beautifully sung and delicately performed, I hope we can all find such peace to be ourselves, and be accepted for it.
In contrast, an absolutely knockout performance comes from Kara Lane as Alice Beineke during ‘Full Disclosure’ as guests are invited to participate in The Game – a goblet of truth is circulated, with some surprising secrets uncovered. Lane delivers some mind-blowing belting vocals as her dark side is revealed during her lament. Haven’t we all wanted to stand on a table in the middle of a dinner party and get it all off our chests?! Deeply satisfying, her character’s journey is one of the highlights of the show. In fact, none of the female characters are one-dimensional despite there being so many gags in the book from Marshall Brickman and Rick Elice. A cohesive but varied score with music and lyrics by Andrew Lippa, Live Before We Die/Tango De Amor stands out as a rich blood-red ruby.
The Addams Family is exactly what it says on the tin. The iconic characters you know, in the diverse setting a musical can provide. While the storyline isn’t challenging, the themes of the show – authenticity, acceptance, honesty, and knowing where you belong – are the kind of Addams Family Values we all need in our lives right now. Heart-warming, entertaining, and fortifying, this show is a guaranteed good night out for all the family.
Sonia Friedman Productions and ATG Productions are delighted to announce principal casting for the 2025/2026 UK tour of the multi Olivier Award-winning hit musical SUNNY AFTERNOON opening at the Manchester Palace Theatre on 11 October 2025. thekinksmusical.com/uktour
Stepping into the legendary shoes of The Kinks, Danny Horn will play ‘Ray Davies’, Oliver Hoare ‘Dave Davies’, Harry Curley ‘Peter Quaife’ and Zakarie Stokes ‘Mick Avory’. These four form the iconic band at the heart of Sunny Afternoon. Full casting to be announced soon.
Ray Davies said today “I’m pleased that Danny and Oliver are rejoining Sunny Afternoon after their brilliant run in Chicago and look forward to Harry and Zakarie joining the band. Well done to everyone involved in making this wonderful Sunny Afternoon musical.”
Danny Horn returns to play ‘Ray Davies’ having starred in the role for over a year in the West End. He most recently reprised the role in the North American premiere at the Chicago Shakespeare Theatre. His other theatre credits include The Bah Humbug Club at Lichfield Garrick, We’ll Dance On The Ash Of The Apocalypse at The Park Theatre, Reclaim The Night at the Arcola, The Dead Dogs at the Print Room and The Revenger’s Tragedy at Hoxton Hall. His TV and film credits include Riot Women, Doctors, World Cup Live ’66 Live at the Wembley Arena, Hetty Feather, and Doctor Who for the BBC, The Kinks Are The Village Green Preservation Society for Sky, Emmerdale and Vera for ITV.
Oliver Hoare returns to play ‘Dave Davies’ having starred in the part in the West End and most recently reprised the role in the North American premiere at the Chicago Shakespeare Theatre. His other theatre credits include Anthony and Cleopatra at Chichester Festival Theatre, Dance to the Bone and A Christmas Carol at the Sherman Theatre, Cardiff, The Lion The Witch and The Wardrobe at the Birmingham Rep, Romeo and Juliet at the Tobacco Factory, The Beggar’s Opera at Regent’s Park Open Air Theatre, Sons Without Fathers at the Arcola and The Jungle Book at the West Yorkshire Playhouse. His TV and film credits include The Sixth Commandment, Casualty, World Cup ’66 live at the Wembley Arena for the BBC, Game Face for E4 and People Just Do Nothing for BBC Three. His music and composition credits include Sink, Wrong Turn 5 and Thanks for the Memories. Oliver has released three EPs with his band Oliver Hoare & The Late Great, performing at festivals around the UK including the BBC Introducing stages at Latitude and Henley Festival.
Harry Curley can currently be seen in Sing Street at the Lyric Hammersmith. His other credits include Cinderella at King’s Head, Oh! What a Lovely War at the Southwark Playhouse and UK Tour, Once at the Barn Theatre Cirencester, Summer in the City at the Gatehouse and Caligari at the New Diorama.
Zakarie Stokes makes his professional debut in Sunny Afternoon. Whilst training at the Guildford School of Acting his credits included Our Town, Alice by Heart and The Curious Incident of the Dog in the Night-Time.
SUNNY AFTERNOON celebrates the raw energy, passion and timeless sound of one of Britain’s most iconic bands, THE KINKS. Charting the euphoric highs and agonising lows, it tells their story through an incredible back catalogue of chart-toppers, including “You Really Got Me,” “Lola,” and “All Day and All of the Night.”
SUNNY AFTERNOON was the recipient of four Olivier Awards, including Best New Musical and Outstanding Achievement in Music for Ray Davies
Set against the backdrop of Britain on the cusp of the rebellious ’60s, SUNNY AFTERNOON is an exhilarating and moving celebration of the music, life, and the band that changed it all.
Following a sell-out run at Hampstead Theatre, SUNNY AFTERNOON opened to critical acclaim at the Harold Pinter Theatre in London’s West End where it ran for two years ahead of its sensational sell-out tour of the UK and Ireland throughout 2016/17.
SUNNY AFTERNOON has music and lyrics by Ray Davies with a book by Joe Penhall and original story by Ray Davies. It is directed by Edward Hall and designed by Miriam Buether with choreography by Adam Cooper. Lighting design is by Rick Fisher with sound design by Matt McKenzie and musical supervision by Elliott Ware. Musical and vocal adaptations are by Ray Davies and Elliott Ware based on original Kinks’ recordings. Casting is by Natalie Gallacher CDG for Pippa Ailion & Natalie Gallacher Casting. Hair, wigs and make up are by Carole Hancock. Associate direction is by Christopher Chase Carter, associate set design by William Fricker, associate costume design by Debrorah Andrews, associate lighting design by Eric Watkins and associate sound design by Ken Hampton.
The producers are delighted to present the Hope Mill Theatre production of GLORIOUS! which will tour the UK from 10 February 2026 with Wendi Peters reprising the role of Florence Foster Jenkins.
The critically acclaimed West End hit comedy will be screeching around the UK from February 2025. The tour celebrates the show’s 20th anniversary. GLORIOUS! audiences in its original Olivier-nominated West End long-running production starring Maureen Lipman in 2005, before coming to the silver screen, starring Meryl Streep and Hugh Grant in the film version of the play that critics simply called GLORIOUS! The show has since been seen by millions of people around the world, translated into 25 languages, and performed in 36 countries.
Peters starred in this hilarious production during its limited run at Manchester’s Hope Mill Theatre in February 2025 which received rave reviews. GLORIOUS! is the feel-good spring comedy we’ve been waiting for.
Further casting and creatives to be announced.
Stage and screen star Wendi Peters is best known for her long-running role as Cilla Battersby in the hit ITV show Coronation Street and most recently has been a regular on the BBC show Doctors as Nina Bulsara. Her other TV credits include Midsomer Murders (ITV), Hetty Feather, Hacker Time and Sadie J (CBBC). Wendi has also competed on various shows including Soapstar Superstar (ITV), Celebrity Mastermind (BBC), Celebrity Masterchef (BBC) and Celebrity Sewing Bee for Children in Need (BBC) which she won. Wendi was most recently seen as Mother Superior in the UK Tour of Sister Act. Her other theatre credits include: The Legend of Sleepy Hollow (UK Tour), You Are Here (Southwark Playhouse), BIG The Musical (West End), The Game (Northern Broadsides) and White Christmas (West End; Festival Theatre, Edinburgh & Lowry, Salford).
Wendi Peters said “I’m so thrilled to be visiting Florence again, and to bring GLORIOUS! to all the beautiful theatres around the UK in 2026. It’s fun, heartbreaking but, above all, glorious!!”
Florence Foster Jenkins is about to blow your mind…and possibly your eardrums.
Dubbed ‘the worst singer in the world,’ Glorious! is the true story of American socialite Florence Foster Jenkins, who was known for her flamboyant costumes, enigmatic performances, and decidedly off-key voice.
GLORIOUS! is written by Peter Quilter (End of the Rainbow and the movie, Judy) and directed by Kirk Jameson (Song From Far Away, Madagascar the Musical) with musical supervision by Nick Barstow, set & costume design by Ingrid Hu, casting by Harry Blumenau CDG CDA, lighting design by Mike Robertson, sound design & assistant musical supervision by Mark Goggins, Italian translation & dialect coaching by Judith Blazer, costume supervision by Lorraine Parry, wig design by Helen Keane and artwork by FEAST Creative.
GLORIOUS! Is presented by Thomas Hopkins (This Bitter Earth – Soho Theatre, The Talented Mr Ripley – UK tour, Rose starring Maureen Lipman The Ambassadors Theatre), Craig Haffer & Sherry Wright (Tony Award winning producers of ThisBitter Earth at Soho Theatre, Midnight In Garden of God and Evil – pre Broadway, West End & Broadway production of Plaza Suite at The Hudson & The Savoy Theatre).
Thinking he will never have another success after the hugely popular Pagliacci, Ruggero Leoncavallo (Alasdair Buchan) has great plans to write an opera based on Scènes de la vie de bohème by Henri Murger. He decides to tell his caring friend Giacomo Puccini (Sebastien Torkia) about his new idea only to learn that he too has read the same book and is also thinking about writing an opera called La bohème. What are the chances? Puccini of course denies being so devious, but this is a feud that will take them all the way to Vienna, by way of Venice, Gustav Mahler, and the rollercoaster of emotions that is creative output.
In That Bastard, Puccini!, the two composers race to finish their operas, while Leoncavallo’s long suffering wife Berthe (Lisa-Anne Wood) acts as umpire, soloist, and at times Puccini’s even more long suffering wife Elvira, and at one point the great Gustav Mahler. James Inverne’s splendidly madcap play about musical rivalry is peppered with clever research and modern parlance, creating a world that is easy to inhabit as an audience member. All three members of the cast are excellent, nimbly navigating the plot and the humour of which there is much. Sebastien Torkia is slick and hits every hilarious beat with precision as the suave Puccini, and Alasdair Buchan as the downcast and downtrodden Leoncavallo is quick to win sympathy with the audience as he constantly tries to catch up with Puccini who seems to be always one step ahead (and not afraid to gloat about it). Lisa-Anne Wood beautifully brings the music to life as she sings arias next to the piano, at one point being pulled this way and that in a composer tug of war.
Daniel Slater’s production is buoyant and pacey and the quieter more poignant moments are handled with a delicate touch. The set by Carly Brownbridge is a simple parlour with large scale musical notation adorning the floor, and clever concealed cupboards in the wooden panelling contain different props each time they are opened. The tables, chairs, and chaise longue transform into gondolas, cafes, and places for an onlooker to perch.
As someone who has been opera adjacent for most of their life, That Bastard, Puccini! is a fun and informative examination of two composing giants fighting for their moment in the spotlight, and I think we all know who won this particular battle. I did however listen to Pagliacci on my bike ride home, so I think Leoncavallo can count that as a win.
Nottingham Theatre Royal – until Saturday 2 August 2025
Reviewed by Louise Ford
5*****
It’s Tina Time!
The production is based on Tina Turner’s best-selling memoir, I Tina, written by Katori Hall with Frank Ketelaar and Kees Prins. They were also involved in adapting the book for the stage. The original show premiered in the West End, seven years before transferring to Broadway. The Executive Producers are Tina Turner and Erwin Bach. The show’s Director is Phyllida Lloyd.
The show cleverly interweaves 23 of Tina’s songs to tell the story of her life. Tina isn’t portrayed as a victim but rather shows her drive and tenacity to overcome life’s obstacles to become the star that she always dreamed of becoming. Tina was finally inducted into the Rock and Roll Hall of Fame in 2021 as a solo artist.
The story starts with a silhouette of Tina meditating before a black out screen, which transforms into her childhood town in Tennessee. Tina was born in the late 1930s, Anna Mae Bullock, in a poor cotton-picking community. Her father is a cut above the pickers as he is both an overseer and a Baptist Pastor at the local church. Anna Mae is shown out singing and outperforming the other members of the congregation. Anna Mae Bullock is played as a child by Sophia St Louis, she has a great stage presence and a fine pair of lungs. Anna Mae’s sister Alline is played by Shaniyah Abrahams as a child, the bond between the two siblings is touching and lasts throughout their lifetime. Anna Mae’s family life is hard and difficult to watch. Her mother, Zelma, is played by Letitia Hector and her father, Richard, by Rushand Chambers.
When Anna Mae moves to St Louis at the age of 16, to live with her glamorous mother and fun-loving sister, she transforms from the dowdy country cousin to the sophisticated city dweller. The adult Anna Mae is brilliantly played by Jochebel Ohene . Whilst Alline is played by Loren Anderson as an adult.
It is Anna Mae’s spectacular singing voice which brings her to the attention of Ike Turner, the leader of the Kings of Rhythm band. The role of Ike is played by David King-Yombo. Ike is initially seen as a charismatic musical genius before descending into a controlling and abusive womaniser. His descendant is exacerbated by his drinking and drug taking. It’s a tricky role to play, but we do get some understanding of his own troubled upbringing and the machismo of the time.
The first half of the show is a tough watch, whilst there are some lighter moments, it doesn’t shy away from the issues faced by people of colour and particularly women growing up in America in the 1950s and 1960s.
The second half is more upbeat and charts Tina’s divorce from Ike and her launching her solo career. Solo success did not come easily for her. We see Tina performing in Las Vegas and struggling to keep her home and family together. She is supported through this by her sister.
Tina’s breakthrough came rather unexpectedly in Europe, in an unlikely collaboration with Heaven 17 and producer Phil Spectre. And the rest is history. With a dynamic stage presence, the shortest skirts(so that her legs are free), the longest legs in show business, and her blonde shaggy hair, Tina Turner burst back on the world’s music stage. Her powerful and uplifting voice delivers the iconic 1984 Private Dancer album.
The story comes back full circle to the opening scene where Tina is meditating before her triumphant concert. The stage opens up, and we are in the audience of one of the great comeback concerts. The audience is treated to a full Tina private concert, which has the audience on their feet clapping and singing away, celebrating Tina’s success.
The production is slick and energetic. The use of lighting and projection instead of scenery enhances the production.
The award-winning star of the BBC’s Boiling Point Vinette Robinson and the Olivier Award-winning Luke Treadaway will play Emilia and Cassio in the highly anticipated new West End production of Shakespeare’s OTHELLO which begins performances at the Theatre Royal Haymarket on 23 October 2025.
They join the previously announced David Harewood as Othello, Toby Jones as Iago and Caitlin FitzGerald as Desdemona.
Vinette Robinson said: ‘I’m absolutely delighted to be making my West End debut in this new production of Shakespeare’s Othello, and I am very much looking forward to exploring the play with this incredible cast and wonderful creative team.’
Luke Treadaway said: ‘I am beyond excited to be starting rehearsals for Othello – a play I’ve never seen before but one that is so ingrained in our theatrical culture. It will fascinating to be a part of it and I can’t wait to get started in September.’
The explosive new production is directed by Tony Award-winner Tom Morris (War Horse) with music by PJ Harvey. This epic story of manipulation, jealousy and toxic masculinity explores the darker side of power, rage and desire.
Performances begin at Theatre Royal Haymarket, London’s West End venue that specialises in short-run, star-led high quality productions from 23 October 2025 until 17 January 2026.
This is the first of a series of contemporary Shakespeare productions created by Tom Morris for Chris Harper Productions to be staged in the West End over the next five years.
Joining Tom Morris and PJ Harvey on the creative team are Ti Green (Designer), Jon Nicholls (Sound Design and Additional Music), Richard Howell (Lighting Design), Anna Cooper CDG (Casting), Dominic Skinner (Make-up Design), Suzanne Scotcher (Hair & Wigs Design), Katie Henry (Associate Director), Bethan James (Assistant Director), Sabia Smith (Costume Supervisor), Mariama Bojang (Assistant Costume Designer), Sheena Linden (Company Manager), Damian Partington (Production Manager) and Samantha Adams (Dramatherapist).
Othello is produced by Chris Harper Productions with Len Blavatnik & Danny Cohen for Access Entertainment. Further casting for the production will be announced at a later date.
Mark Hadfield will star as Agatha Christie’s famous Belgian detective, Hercule Poirot, in Lucy Bailey’s new production of the UK & Ireland Tour of DEATH ON THE NILE. Fiery Angel will bring Ken Ludwig’s adaptation of the Agatha Christie classic to the stage, following sell-out tours of And Then There Were None and Murder on the Orient Express. Death on the Nile reunites writer Ken Ludwig, director Lucy Bailey(Witness for the Prosecution)and producers Fiery Angel in association with Agatha Christie Limited for the European premiere of a new adaptation of the globally celebrated Agatha Christie story on a nationwide tour.
The UK & Ireland Tour will open on 26 September at the Lowry in Salford, with a national press night on Thursday 9 October at Richmond Theatre. More dates have been added to the tour: Chichester Festival Theatre, Cheltenham Everyman Theatre, Malvern Festival Theatre, Aberdeen’s His Majesty’s Theatre, Glasgow Theatre Royal, York Grand Opera House, Sheffield Lyceum Theatre, Edinburgh Festival Theatre, Brighton Theatre Royal, The Alexandra Birmingham, Nottingham Theatre Royal, Dublin’s Gaiety Theatre, Belfast Grand Opera House, Norwich Theatre Royal, Cambridge Arts Theatre, finishing on 23 May 2026 at Plymouth Theatre Royal.
Mark Hadfield said of taking on the role of Poirot, “I am delighted and excited to be playing the iconic role of Hercule Poirot in the forthcoming production of Agatha Christie’s Death on the Nile, directed by Lucy Bailey and produced by Fiery Angel. I’m also thrilled that this production, adapted by Ken Ludwig, will be touring the UK & Ireland, and have no doubt that it will be enjoyed by both those who already admire Christie’s genius and those yet to discover it.”
Mark Hadfield’s film credits include Belfast, Into the Woods, Hamlet and Frankenstein. His many TV credits include Outlander, Maigret, Trollied, Wallander, Doc Martin, People Like Us, Cracker, The All New Alexei Sayle Show and The Buddha of Suburbia. Mark’s most recent theatre credits include Dr Strangelove (West End), Accidental Death of an Anarchist (West End), Cymbeline and Tamburlaine for the RSC, Road (Royal Court), The Libertine (Bath and West End) and Richard III (Almeida).
On board a luxurious cruise under the heat of the Egyptian sun, a couple’s idyllic honeymoon is cut short by a brutal murder. As secrets that have been buried in the sands of time finally resurface, can the world-famous detective, Hercule Poirot, untangle the web of lies and solve another crime?
Further casting is to be announced.
DEATH ON THE NILE will be directed by Lucy Bailey and designed by Mike Britton, with lighting design by Oliver Fenwick, sound design by Mic Pool and movement direction by Liam Steele. Lucy Waterhouse will be associate director and Helena Palmer casting director.
Agatha Christie Limited (ACL) has been managing the literary and media rights to Agatha Christie’s works around the world since 1955. Collaborating with the very best talents in film, television, publishing, stage and on digital platforms, ACL ensures that Christie’s work continues to reach new audiences in innovative ways and to the highest standard.
The company is managed by Christie’s great grandson James Prichard.
Current ACL theatre productions include Witness for the Prosecution at London County Hall and a hugely successful UK tour of Murder on the Orient Express in collaboration with Fiery Angel.
FIERY ANGEL
Headed by Edward Snape and Marilyn Eardley, Fiery Angel is an award-winning international production company based in London’s West End.
Recent productions include: Till the Stars Come Down (West End), War Horse (UK Tour), The Duchess (West End), King Lear (West End and The Shed, New York), Murder on the Orient Express (UK and Ireland Tour), Kathy and Stella Solve A Murder! (West End and UK Tour), The 39 Steps (West End, UK Tour), And Then There Were None (UK, Ireland and China Tour), The Good Life (UK Tour), Hairspray (West End), Touching the Void (West End), The Son (West End), The Night of the Iguana (West End), Fleabag (West End), Home, I’m Darling (West End and UK Tour), Long Day’s Journey into Night (West End, New York and Los Angeles), Mary Stuart (West End and UK Tour), Mel Brooks’s Young Frankenstein (West End), Love From A Stranger (UK Tour), Kenneth Branagh Theatre Company (The Winter’s Tale, All On Her Own/Harlequinade, Red Velvet, The Painkiller, Romeo and Juliet, The Entertainer in the West End), Ben Hur (Tricycle Theatre), The 39 Steps (9 years in the West End, 3 UK Tours, 3 years on Broadway and presented in over 40 territories worldwide including Olivier, Tony and Moliere Award wins), To Kill a Mockingbird (Barbican Theatre and UK Tour), The Scottsboro Boys (West End), The Ladykillers (West End and UK Tour), Ghost Stories (West End), Dial M for Murder (UK Tour). Fiery Angel has acted as a co-producer alongside The National Theatre on its West End productions of Nine Night, The Curious Incident of the Dog in the Night-Time and The Lehman Trilogy.
As part of Fiery Angel Entertainment: Rob Brydon (Lyceum Theatre, UK Tour), Jon Culshaw (UK Tour), Amy & Carlos: Reborn (UK Tour), Everybody Dance with Claire Richards (London Palladium, UK Tour), Legends: The Divas (UK Tour), Dolly Parton’s Smoky Mountain Christmas Carol (Queen Elizabeth Hall), Tubular Bells (Royal Festival Hall), Circus 1903 (Royal Festival Hall, Eventim Apollo), Guys and Dolls (Royal Albert Hall), Barry Humphries’ Weimar Cabaret (Barbican Theatre) and Our Finest Hour (UK Tour).
As part of The Children’s Theatre Partnership: Pig Heart Boy (UK Tour), The Boy at the Back of the Class (UK Tour), Unexpected Twist (UK Tour), Animal Farm (UK Tour), Holes (UK Tour), The Jungle Book (UK Tour), Running Wild (UK Tour), The Boy in the Striped Pyjamas (UK Tour), Goodnight Mister Tom (West End and 3 UK Tours, Olivier Award-winner) and Swallows and Amazons (West End and UK Tour).
As part of Fierylight Productions: Smartest Giant in Town (UK Tour and West End), Peppa Pig Live! (West End, UK Tour, US Tour and Australian Tour), Ben & Holly’s Little Kingdom (UK Tour) and Octonauts & The Deep Sea Volcano Adventure (UK Tour and US Tour).
I’ve seen The Rocky Horror Show a lot (since before their 21st birthday and they are now on their 51st year!) so I did wonder if I would enjoy watching a completely new cast and the answer is yes, I absolutely did!
From the first moment when the usherette (Natasha Hoeberigs) introduces the show this fabulous cast held the audience in the palm of their very talented hands!
This is the story of Brad (Alex Hetherington) and Janet (Lauren Chia) two strait-laced kids, who on the way back from a wedding, get a flat tyre and have to go and ask for help at spooky house they have just passed. They are greeted by manservant Riff Raff (Job Greuter) who along with Magenta (Natasha Hoeberigs) and Columbia (Jayme-Lee Zanoncelli) introduce Brad and Janet into the warped world of the owner of the house Frank N Furter (Adam Strong). There are all sorts of things going on in the house, but what happened to Eddie and who is Dr Scott? (both played by Edward Bullingham) and why did Frank make Rocky (Morgan Jackson)?
Adam Strong was an outstanding Frank N Furter, brilliant vocals and when he sang, I’m Going Home you could have heard a pin drop in the theatre. So, so good!
The band, led by Musical Director Josh Sood, were played all the very recognisable tunes from Sweet Transvestite, Time Warp and I’m Going Home and many more.
The narrator (Nathan Caton) helps the story move along, batting back the audience comments with style, he was very funny. The ensemble was, as always, amazing!
The Rocky Horror Show is fast paced, hilarious, very cheeky and definitely not for the fainthearted! If you want to have a brilliant night out, don’t miss this excellent show, go early and see all the people in costumes playing homage to their favourite characters.
This is a show not to be missed, whether it’s your first time of watching or you’re a seasoned Rocky Horror audience member you won’t be disappointed. And me? Well, I’m back on Saturday night for the last performance because seeing it once isn’t enough!!
