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Birmingham Hippodrome – until 13 July 2019

Reviewed by Joanne Hodge

5*****

From the opening orchestral medley, right through to the full-cast ‘Megamix’ reprises, Joseph was an audio-visual spectacular, and praise should be heaped upon creatives Sean Cavanagh (Design), Nick Richings (Lighting), Dan Samson (Sound) and Jeremy Wootton (Musical Direction).

Having seen a previous touring version of the show some time ago, it’s clear to see that Henry Metcalfe’s original choreography has been further enhanced by additions from Gary Lloyd.

The beloved musical, which at its first professional premiere was a mere 35 minutes, now runs at around two hours and tells the Biblical story of Joseph (a dreamer) – the favourite son of Jacob – and the complex relationship he has with his eleven brothers in Caanan. We follow Joseph as he is sold by his brothers as a slave, due to their fierce jealousy, and the roller-coaster of fortunes he encounters thereafter. From Housemaster to prisoner at the House of Potiphar, then analysing dreams for Pharaoh, resulting in his saving of Egypt in famine. Finally, as he prophesied in his youth, his brothers end up unknowingly bowing at his feet, resulting in their ultimate reconciliation.

In this re-working of the Lloyd Webber/Rice classic, directed by Bill Kenwright, much of the story is told in song, with very few spoken words. The tale is certainly in safe hands with Narrator Trina Hill, who from the first note had the audience captivated with her clear-as-crystal tone. Whether in quiet, softer moments, or belting out the highest of high notes, her voice made you feel like that whatever twists and turns Joseph’s life may take, she would be there, reassuring him – and you – in the warm blanket of her velvet vocals.

In Jaymi Hensley, Joseph has found a new and refreshing incarnation. Far from his popstar roots, he astounded with both his acting and musical talents. Every emotion was displayed through his facial expressions, and the character portrayed beautifully from tip-to-toe. He held everyone present in the palm of his hand. From the light-hearted and whimsical Any Dream Will Do to his haunting rendition of Close Every Door (I honestly had goose bumps) it seemed like he was born for this role. I could easily see his performance transferred to the current West End production.

The whole ensemble gave their all, but particular plaudits must also go to Andrew Geater, playing Pharaoh – the obligatory Lloyd Webber Elvis-esque character – with hip-swivelling aplomb. Who knew a skin tight satin suit and quiff could be so titillating?!?

Mention should also be given to the children of Birmingham’s School of Theatre Excellence, performing as The Joseph Choir, who were just angelic.

I thoroughly enjoyed the performance, the only downside was that time seemed to fly – I didn’t want it to end! I would highly recommend that should the opportunity arise to see Joseph on its current UK tour, you must go, because it’s not just due to Jaymi that this show has the X-Factor!

To Gillie, With Love
Gillian Lynne DBE – A Celebration

• ‘TO GILLIE, WITH LOVE’ SAW £70,000 RAISED FOR THE GILLIAN LYNNE AND PETER LAND FOUNDATION AT A SPECIAL EVENING AT THE GILLIAN LYNNE THEATRE, DRURY LANE ON TUESDAY EVENING
• J.R. BALLANTYNE ANNOUNCED AS THE FIRST RECIPIENT OF FUNDING FROM THE LYNNE AND LAND FOUNDATION 
• THE EVENING, CELEBRATING GILLIAN LYNNE DBE AND THE LAUNCH OF THE LYNNE AND LAND FOUNDATION, FEATURED PERFORMANCES FROM THE WORLD OF THEATRE AND DANCE INCLUDING BEVERLEY KNIGHT, SERGEI POLUNIN, TAMARA ROJO, RICHARD O’BRIEN, SIERRA BOGGESS AND RAMIN KARIMLOO

On Tuesday evening, the great and good of the dance, theatre, film and TV industry came out in force to enjoy an unforgettable evening of stellar performances in celebration of the prolific and dearly-loved director choreographer, Gillian Lynne DBE at The Gillian Lynne Theatre, Drury Lane in London.

£70,000 was raised for the Foundation which has been set up to enable talented young performers to achieve their dreams by providing scholarships and grants to reach their full potential in the choreographic arts, drama and musical theatre.  

Peter Land is delighted to announce J.R. Ballantyne as the first recipient of the Foundation. J.R. received funding towards his drama school fees enabling him to complete his training at Arts Education. In the last few weeks J.R has made his professional and West End debut in Joseph and The Amazing Technicolor Dreamcoat at The London Palladium. Credits whilst training include Henry and Dance Captain in Disney’s Newsies and Christopher Belling in Curtains and has been cast in the forthcoming UK tour of Curtains.

J.R. Ballantyne said:

“I am extremely grateful to the Lynne and Land Foundation for believing in and supporting me and I am honoured to be the first recipient of this scholarship. Without their help I would not have completed my final year of training at ArtsEd and may very well have been robbed of the opportunity to accept the two job offers I have whilst in training. Thanks to their support I was able to complete my final year of training; attain a work visa and therefore able to accept the two job offers I have had, the first of which – Joseph and the Amazing Technicolor Dreamcoat opened previews last week at The London Palladium; and I am now in a position to graduate from ArtsEd this September.

Unfortunately I never had the good fortune to work with Dame Gillian but through the experiences I’ve had since being supported by the foundation – leaving ArtsEd, working with her dear friend Andrew Lloyd Webber on Joseph And The Amazing Technicolor Dreamcoat at The London Palladium where she achieved great success throughout her career – through these experiences I have come to feel very close to her and her enduring spirit. She has always been and will continue to be a great idol to me and a role model for the benefits of hard work, determination and kindness.”

Peter Land said:

“J.R. is the perfect first recipient. With the Foundation’s financial intervention, he was able to graduate and land his first job in the West End in Joseph and The Amazing Technicolor Dreamcoat at The London Palladium. He is talented in all the areas that Gillie loved to foster: dancing, acting and singing. He also plays a mean piano.”

A year and a day after Gillian sadly passed away, ‘To Gillie, With Love’ saw stars of the world of dance, theatre, film and TV come together to show their admiration and thanks to this unique and remarkable individual who helped, guided and inspired so many.

Celebrating iconic moments from her lifelong and extensive career, the evening featured Anthony Barclay; Christopher Biggins; Sierra Boggess; Greg Castiglioni; Lorna Dallas; Katy Elizabeth-Treharne, Ben Forster; Anna Francolini; Jason Gardiner; Nickolas Grace; Celia Graham, Michael Howe; Ramin Karimloo; Hannah Kenna Thomas; Jeremy Kerridge; Beverley Knight; Peter Land; Emily Langham; Iain Mackay; Robert Meadmore; New Adventures Company; Caroline O’Connor; Jonjo O’Neil; Richard O’Brien; Sergei Polunin; Peter Polycarpou, Stuart Matthew Price; Hugh Quarshie; Jack Rebaldi; Liz Robertson; Tamara Rojo; Myra Sands, Wayne Sleep; Una Stubbs, Julia Sutton, Hannah Waddingham and Elisha Willis. The evening also featured a choir with students from Arts Ed and the Royal Academy of Music and ensemble of dancers.

The evening was curated and produced by Peter Land and Lean Two Productions and directed and staged by Chrissie Cartwright, Gillian’s long-time collaborator on Cats, musical direction by Peter McCarthy, lighting design by Michael Robertson, sound design by Adam Fisher.  The evening was supported by LW Theatres and Cameron Mackintosh Ltd. 

Gillian’s direction, staging and choreography broke records across the globe with her collaboration on two of Andrew Lloyd Webber’s most famous musicals: Cats and The Phantom of the Operawhich can still be seen nightly throughout the world. The New London Theatre, where Gillian pioneered her ground-breaking choreography on Cats in 1981, was lovingly renamed in her honour by Andrew Lloyd Webber in June 2018 making Lynne the first non-royal woman to have a West End Theatre named after her. 
 
As a producer, director, choreographer and performer, throughout the course of her life Gillian was involved in more than 60 productions in the West End, 11 feature films and hundreds of TV productions. 

For further information about the Foundation please visit www.lynneandlandfoundation.co.uk

Shakespeare’s Rose Theatre, York – until Saturday 31st August 2019

Reviewed by Katie Goldsbrough 

4**** 

Overall this is a great experience for any Shakespeare enthusiasts. From the theatre itself to the performance. The actors walk amongst the groundlings (those that have purchased standing tickets and are right in front of the stage) at times, so you are fully immersed.

The set is almost entirely wooden so it would have fit in well in Shakespeare’s time. Be prepared for the archaic language which sometimes leads to parts of the play being difficult to follow. The level of acting however, helps you to understand what’s happening when the language is hard to follow for those less used to this way of speaking.

The set was cleverly designed with very little need for changes between scenes.  The music was simple and effective adding to the ambience throughout and helping pace the play.

The acting overall was very good, led by David Oakes playing the title character of Hamlet, he grabbed the attention of the audience and engaged very well with the audience. He particularly stood out among a very good cast. Others to look out for include Richard Standing playing Claudius, King of Denmark who projected very well throughout and had great stage presence and Serena Manteghi playing Ophelia, who did ‘mad’ very well indeed, she also had a superb singing voice, which was displayed in the brief performance she gave in her role.

The costumes were very good and fit well with the period, however the ghost of King Hamlet played by Fine Time Fontayne was wearing a sort of veil over his costume which was removed during the performance, this seemed unnecessary and did not add to the costume which without that wasn’t too bad and was believable as a ghost. Being an open air theatre we were lucky with lovely sunny weather, in the seated area you would be mostly protected from the weather however, if you chose to embrace the experience and view the play as a groundling you would be in for an unpleasant time if the unpredictable Bristish weather wasn’t at it’s best, although you could argue that’s all part of the experience. 

Overall this is a great authentic experience with excellent direction from Damian Cruden, with a unique set design and great acting throughout.

A must see for any Shakespeare lovers.

TYGER DREW-HONEY TO STAR ON STAGE IN ‘THE RIOT CLUB’ SATIRE POSH

Joe Prentice Productions presents
TYGER DREW-HONEY in POSH BY LAURA WADE
UK TOUR 3 SEP – 26 OCT 2019

Joe Prentice Productions today announces a new production of Olivier Award winning writer Laura Wade’s critically acclaimed dark comedy Posh, starring Tyger Drew-Honey (TV’s Outnumbered). Heading out on a five-week UK tour, Posh will open at Oxford Playhouse on Tuesday 3 September and will tour to Cambridge Arts Theatre, Theatre Royal Bath, Rose Theatre Kingston and Theatr Clwyd, Mold until 26 October 2019. Full casting to be announced. 

‘One of the best plays of the decade’ Daily Telegraph

Turning the spotlight on the privileged elite, Posh charts a night of debauchery, indulgence and violence as members of ‘The Riot Club’, a private gentleman’s dining society, explore their innermost hatreds of the working classes. First staged at the Royal Court Theatre in London during the 2010 general election, the play’s punchy dark humour and provocative political themes struck a chord with audiences and proved both a critical and sell-out success. The production soon transferred to the West End in May 2012, where it ran for twelve weeks at the Duke Of York’s Theatre. In 2014, Posh saw global fame with its big screen incarnation, ‘The Riot Club’, starring Max Irons, Sam Claflin, Natalie Dormer and Tom Hollander. Now in 2019, as the Tory leadership race reaches fever pitch, this first ever UK tour of Wade’s biting satire is as topical and relevant as ever. 

Playwright Laura Wade said: ‘Power, privilege and entitlement are as much in the news now as they were when Posh was first performed, so it feels like a good time to bring the boys back to the table…’ 

Oxford’s prestigious and red-blooded Riot Club are back, but this time on one condition. They must behave. Keep it out of the Daily Mail. Preserve the reputation of the club. After the mishaps of this exclusive Oxford group at their last dinner, their President has promised its ex-members not to bring the club back into public disrepute. At a tough political time, the reputation of the PM cannot be tarnished. As the booze flows and the mood turns sour, will the brotherhood prevail or will the lawyers of those with the deepest pockets preserve these bright young men’s futures?

Tyger Drew-Honey is most notable for his role as ‘Jake’ in the multi award-winning BBC sitcom Outnumbered, his series of topical and daring BBC documentaries Tyger Takes On, and as Dylan in BBC sitcom Cuckoo. Other TV credits include: Scream Street, Citizen Khan, Death in Paradise, Midsomer Murders, The Ministry of Curious Stuff, Threesome, Armstrong and Miller, The Large Family, and Doctors. His film credits include: A Midsummer Night’s Dream, Friday Download – Up All Night and Horrid Henry. He has also recently finished filming as Jon Craven on feature film, Me, Myself, and Di. Tyger makes his stage debut in Posh playing ‘Alistair Ryle’, the toff with a chip on his shoulder.

Laura Wade is a multi award-winning playwright and screenwriter. Her most recent West End play, Home, I’m Darling won the 2019 Olivier Award for Best New Comedy. The play premiered at Theatr Clwyd in 2018 before transferring to the National Theatre followed by the Duke of York’s and a national tour. Her stage adaptation of Jane Austen’s unfinished novel The Watsons directed by Samuel West premiered at Chichester Festival Theatre in November 2018 and has just announced its West End transfer to the Menier Chocolate Factory this autumn, from 20 September to 16 November 2019. Other work includes: the stage adaptation of Sarah Waters’ Tipping The Velvet (Lyric Hammersmith & Royal Lyceum Edinburgh); Posh (Royal Court Theatre and Duke of York’s Theatre); Kreutzer vs Kreutzer (Sydney Opera House and Australian Tour); Alice (Sheffield Theatres), Olivier award nominated plays Colder Than Here (Soho Theatre & New York MCC Theater) and Breathing Corpses (Royal Court Theatre); Other Hands (Soho Theatre); and Young Emma (Finborough Theatre). In 2006 she won the Pearson Most Promising Playwright Award. Her screenplay The Riot Club, an adaptation of her 2010 stage play Posh, premiered at Toronto International Film Festival 2014. Laura is currently under commission to the Royal Court, Hampstead Theatre and The Lyric, Hammersmith. 

Posh is written by Laura Wade, Directed by Lucy Hughes, with Set & Costume Design by Will Coombs, Lighting Design by Gary Bowman, Sound Design by Domenico Menghini. Posh is produced by Joe Prentice Productions.  

THEATRE ROYAL, GLASGOW – UNTIL SATURDAY 6TH JULY 2019

REVIEWED BY SIOBHAN WILSON

4****

I have never seen this Alfred Hitchcock movie, and this is not a show that I would normally choose to go and see, but I am so very glad I did go and see it. You are immediately sucked in to the setting with the pre-show announcement being in, I think, Austrian but it could have been German (my languages in that area of Europe are not great). And as the curtain pulls back the Nazi flags drop. Set pre-WWII, this is the story how strangers end up on a train together travelling back to the UK from Austria. An elderly lady Mrs. Froy (Juliet Mills) aids a young lady, Iris (Lorna Fitzgerald) following a head bump at the station prior to boarding. During the journey things go array and Mrs Froy disappears. None of the train remembers Mrs. Froy being there and Iris manages to convince a young suitor Maximilian (Matt Barber) to aid her in trying to find Mrs. Froy with some dangerous consequences to not just themselves but all patrons on the train. There is a gun shootout with loud bangs and flashes that were not expecting so those of you that are faint-hearted have been warned.

I have had to drop this a star due to the Official (Joe Reisig) regularly speaking in German which I could not understand – apart from the obscenities. He is an extremely stern and commanding character which Joe conveys impeccably. However, I felt I was missing information by not understanding the German. It did not have an overall effect on the story though. Having commented on the performance how authentic is accent sounded even when he was speaking English, we later discovered he was Dutch, so an inspired casting choice.

The set was very simple yet effective, the sound and lighting coupled with the actor’s intricacies made you really feel as though you were on the train with them. These include, but are not limited to, slight sway or shuffle as if the train was moving as well as the perfect synchronisation of action when the train was stopping or starting.

The twist at the end we did not expect and thoroughly pleased us leaving us with a lovely moment to leave the theatre with. If you want to know what the twist is you should go and get your tickets now!

Bristol Hippodrome – until 6 July 2019

Reviewed by Kim Hitchcock

4** -**

The 1987 classic Dirty Dancing has danced its way into Bristol, to provide an evening of enjoyment and laughter that will lift your spirits and make you re-imagine the first time you saw the beloved film. 

Johnny and ‘Baby’ have the classic falling in love story, one that Michael O’Reilly and Katie Eccles portrayed with ease and believability. Their dancing and on stage passion was consistent and easy to see why they have been cast. The infamous lift was met with an overwhelming round of applause and standing ovation, which after waiting for – it was everything we wanted and more. Their dancing was stellar, with difficult moves being executed with ease to provide wonderful viewing. Their technique in each dance style was sharp and pleasing to watch, highlighting the pair’s talents. Simone Covele as Penny was also a joy to watch and during Do You Love Me was also executed perfectly and led the audience to another well deserved applause. 

Gillian Bruce’s choreography stayed true to the film, giving a nostalgic experience for the audience and when coupled with Roberto Comotti’s set design transported us to Kellerman’s to live out their story alongside them. Federico Bellone has directed this masterpiece to be not only a reflection of the timeless film, but also a re-imagination, with his own twist. The ageless lines that are synonymous with the film ‘Nobody puts Baby in the corner’ and ‘I carried a watermelon?!’ were delivered with poignancy and integrity, leaving the audience reminiscent.

The final dance (I’ve had) The Time of my Life was danced with exceptional talent, passion and love showing the audience that the cast really were having the time of their lives, doing what they do best. In the still of the night, this show will leave you wondering Do you love me? And the answer for this, should most definitely be…..YES!

THEATRE ROYAL ANNOUNCES EXHILARATING NEW AUTUMN 2019/SPRING 2020 SEASON

Newcastle Theatre Royal has announced a jam-packed programme of new shows as it launches its Autumn 2019/Spring 2020 season.

Bursting with spectacular musicals, mesmerising dance, powerful drama and laugh-out-loud comedy, the new season will bring the finest touring productions in the country to the North East.

Musical fans will be spoilt for choice with the story of Emilio and Gloria Estefan – On Your Feet (Mon 13 – Sat 18 Apr 2020), Sister Act (Mon 25 – Sat 30 May 2020), Buddy – The Buddy Holly Story (Mon 1 – Sat 6 Jun 2020), the West End smash-hit SIX! – The Musical (Mon 22 – Sat 27 Jun 2020) and Once – The Musical (Mon 29 Jun – Sat 4 Jul 2020) all set to thrill audiences throughout spring and summer.

Dance will dazzle and delight audiences as they enjoy Scottish Ballet’s The Snow Queen (Wed 12 – Sat 15 Feb 2020), Rambert (Tue 24 – Thu 26 Mar 2020) and Acosta Danza (Tue 7 – Wed 8 Apr 2020). Strictly stars Aljaž and Janette take to the floor in Remembering the Oscars (Sat 11 Apr 2020) and Matthew Bourne’s The Red Shoes (Tue 21 Apr – Sat 2 May 2020) returns by popular demand.

The inventive and creative Holes (Wed 26 – Sat 29 Feb 2020) and the Olivier award-winning A Monster Calls (Wed 6 – Sat 9 May 2020) will see drama take centre stage and audiences can enjoy some comedic relief with Alan Ayckbourn’s hilarious Ten Times Table (Mon 4 – Sat 9 Nov), Fascinating Aida (Sun 23 Feb 2020), Stewart Lee (Fri 27 – Sat 28 Mar 2020) and Some Mother’s Do ‘Ave ‘Em (Tue 12 – Sat 16 May 2020).

Following the sell-out success of his previously announced evening performance, Sir Ian McKellen has added a matinee date for his on-stage tour (Sun 19 Aug 2019).

Tickets for all new shows in the Autumn 2019/Summer 2020 season go on sale to the general public at 9am on Fri 5 Jul 2019 but Friends of the Theatre Royal can book now visit www.theatreroyal.co.uk/support/become-a-friend for more information.

Tickets can be purchased online at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 08448 11 21 21 (Calls cost 7p per minute plus your phone company’s access charge).

Sheffield Lyceum – until Saturday 6 July 2019

4****

As we come to the end of Pride month and celebrate the 50th anniversary of the Stonewall Riots (widely considered to constitute the most important event leading to the gay liberation movementand the modern fight for LGBT rights), the 50th Anniversary revival of Hair the Musical arrives into Sheffield in a riot of colour and free love.

This “tribal love rock musical” is full of themes as important now as it was then – love and peace and freedom.

The first act introduces the tribe – Berger (Jake Quickenden), Woof (Bradley Judge), Sheila (Daisy Wood-Davis), Jeanie (Alison Arnopp), Crissy (Kelly Sweeney) and Claude (Paul Wilkins) who dreams of Manchester, England and who gets called up for the draft and the war against Vietnam.  The story follows the tribe as they try to convince a confused Claude not to join up. As he considers burning his draft card the tribe strip naked in a scene which is simplistic and beautiful, almost too subtle, staged at the very back of the stage with such soft lighting that you were almost unaware it was happening.

The second act is one long “trip”, after the tribe smoke the leaves of the “twiggy”, the plant they have cultivated.  The end of the second act – and I’m not giving away the ending – as a brutality about it which is a shocking black mark amongst the riot of colour.

Hair is full of well known songs Aquarius, Ain’t Got No, I Got Life, Good Morning Starshine, and Let The Sun Shine In and some less known ones – I particularly enjoyed Crissy’s rendition of Frank Mills and Cassie (Natalie Green) and Dione (Aiesha Pease) both have outstanding voices.

Maeve Blacks set, Ben Rogers lighting and William Wheltons choreography all add to the original Book and Lyrics by Gerome Ragni and James Rado and Galt Macdermot’s music with arrangements by Gareth Bretherton.  Katy Lipson and Aria Entertainment, Senbla and Hope Mill Theatre have created an iconic and worthy 50th anniversary celebration that deserves to be seen and enjoyed by all

CHARLIE RUSSELL PRODUCTIONS ANNOUNCE PIANO_PLAY AT EDINBURGH FESTIVAL FRINGE

Charlie Russell Productions present

The World Première of

PIANO_PLAY

Written by Calum Finlay

Directed by Matt Hassall

Edinburgh Festival Fringe, Underbelly, George Square

Charlie Russell Productions today announce the world première of Calum Finlay’s Piano_Play. The production directed by Matt Hassall, stars Ed Zanders as Tom. It opens at Underbelly on Saturday 3 August, with previews from 31 July and runs until 29 August. 

Bach + Beethoven + Britney = Tom

Tom needs to tell you something. But, he’s not very good with words so he’s going to play some music for you. Then he hopes that you’ll finally understand.

A play about obsession and classical music. For classical music lovers and for people who don’t know they love it yet.

Calum Finlay writes. His credits include debut play What Goes On in Front of Closed Doors (Edinburgh Festival Fringe). As an actor his credits include Hamlet, Mary Stuart (Almeida Theatre) and Switzerland (Ambassadors Theatre).

Ed Zanders plays Tom. His theatre credits include Sweeney Todd (Lausanne, Switzerland), Mischief Movie Night(UK tour), Parade (Vivo D’Arte, Frogmore Paper Mill). As an arranger his credits include West End Miscast(Actors Church, Covent Garden) and Piaf (Charing Cross Theatre)

Matt Hassall directs. His credits include Mixtape, The Factory and We Were Told There Would Be Dancing (Royal Exchange Theatre, Manchester). Hassall was a resident director at  Almeida Theatre and the Young Company Director at  Royal Exchange Theatre 2014-2018.

Piano_Play                                                                                                                                        LISTINGS

The Other Palace

Saturday 13 July

Tickets £10

Edinburgh Festival Fringe

Underbelly, George Square

31 July – 29 August, 1.20pm

Tickets: £6.50 – £10

Box Office: 0131 510 0395/ website

Twitter: @thepianoplay

Multi-award-winning West End smash hit musical 

SIX
comes to Birmingham Hippodrome in 2020

Nominated for five 2019 OIivier Awards, including Best New Musical, Best Choreography and Best Costume Design, the West End smash hit SIX, written by Toby Marlow and Lucy Moss, will come to Birmingham Hippodrome from Tuesday 21 – Saturday 25 July 2020.

From Tudor queens to pop princesses, SIX sees the six wives of Henry VIII take to the mic to tell their own personal tales, remixing five hundred years of historical heartbreak into a 75-minute celebration of 21st century girl power.

SIX is the phenomenon everyone’s losing their head over. The show’s 2018 debut at the Edinburgh Festival Fringe hastened its West End transfer which opened in January 2019. The production is currently enjoying an open-ended run in London at the Arts Theatre playing to sold out houses. The cast, yet to be announced, are backed by the show’s all-female band, The Ladies in Waiting.

The songs from the show have proved to be a chart storming sensation with weekly streams totalling more than 2 million. These Queens may have green sleeves, but their lipstick is rebellious red. Think you know the rhyme, think again… Divorced. Beheaded. LIVE!

SIX writers Toby Marlow and Lucy Moss said; “We are SOOOO excited and thrilled and grateful that we get to share the story of these badass Queens – and the UNREAL talents of these women – with so many more people all over the UK! We’ll see you there!!! WOOOOOOOO!!!”

Chris Sudworth, Director of Artistic Programme at Birmingham Hippodrome added; “We are incredibly excited to be bringing this hit home-grown British musical to Birmingham for the very first time. From seeing the show during its very beginnings at the Edinburgh Festival, I have watched this production grow and grow in popularity, gaining rave reviews and sell-out standing ovations and now we can’t wait for our audiences to experience this very special show. Long reign SIX at Birmingham Hippodrome!”

SIX is written by Toby Marlow and Lucy Moss, with Direction by Lucy Moss and Jamie Armitage, Choreography by Carrie-Anne Ingrouille, Set Design by Emma Bailey, Costume Design by Gabriella Slade, Lighting Design by Tim Deiling, Sound Design by Paul Gatehouse, Musical Orchestration by Tom Curran, Musical Supervisor Joe Beighton, Associate Choreographer Freya Sands, Musical Director Katy Richardson, Associate Musical Director Arlene McNaught. SIX is produced by Kenny Wax, Global Musicals and George Stiles.

SIX will come to Birmingham Hippodrome from Tuesday 21 – Saturday 25 July 2020. Tickets will go on sale this August with a priority on sale period for Birmingham Hippodrome Friends and Patron scheme members.