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Leeds Playhouse – until 25 January 2025

Reviewed by Dawn Smallwood

5*****

The Lion, The Witch and The Wardrobe returns to the Leeds Playhouse as part of a new national tour and 75th anniversary of when C S Lewis’ novel was published. It is also the author’s first of his seven Narnia Chronicles. Michael Fentiman’s production is based on the original production by Sally Cookson and unravels the story of four children who are relocated following an evacuation during Wartime Britian. In their new home they visit Narnia, via a magical wardrobe, where they meet talking animals and mythical creature who are under the control of the White Witch. The children are on a mission to save Narnia and also eliminate evil over good which involves their personal survival.

The spectacular and appealing story narration transfixes members of the audience with its stunning puppetry especially Aslan the legendary Lion, handled by Andrew Davison, and the stagecraft which spellbinds and delights throughout. Some of the actors play multiple characters and some double up as musicians and play their instruments simultaneously . Choreographed by Shanelle ‘Tali’ Fergus, all of the cast members energetically contribute so well to the spirit of the story, which is supported with Barnaby Race and Benji Bower’s musical composition and under the direction of Ben Goddard.

Tom Paris’ staging and costumes works so well with the story and the characters including the talking animals, the mythical creatures and the White Witch. The stage sets work spectacularly and in harmony with Jack Knowles’ lighting and Tom Marshall’s soundscapes.

Excellent portrayals of the four children by Joanna Adaran (Susan), Jesse Dunbar (Peter), Kudzai Mangombe (Lucy) and Bunmi Osadolor (Edmund) along with Katy Stephens as the wicked White Witch and Stanton Wright as Aslan who both fought evil and good in Narnia.

The Lion, The Witch and The Wardrobe absolutely appeals to all, and it is theatrically immersive and spectacular. It is appealing, fantastical and magic for escapism and yet many appreciate the important themes the story brings such as family, loyalty, bravery, the fighting for good over evil and power struggles. There are also links to the Christian faith with Aslan, the Lion, who is often considered like a Christlike figure.

An absolute treat for all the senses and it is a spectacular and unmissable production to see during the festive season.

Royal & Derngate Theatre, Northampton- until 30th November 2024

Review by Amanda Allen

3***

If I’m honest I didn’t like the game of Cluedo as a child, I could never work out who was where, with what, when and sadly last nights performance was very much like that. The frantic pace of the story unfolds in 1968 in a country house not far from London. We are introduced to the cast cantered around Rick Black, a fading rock star played by Liam Horrigan, his manager, Colonel Mustard, played by Jason Durr and his rather posh wife Mrs Peacock played by Hannah Boyce. The first half was so fast paced, with comic dialogue coming at you from every direction so quickly, you didn’t have time to laugh at one bit before you had been subjected to 2 or 3 more gags on the way! Many of them falling flat and passing the audience by. Unfortunately, many of the jokes and gags were rather worn and overdone, the “Butler / I’m not a butler I’m an actor” gag was repeated far to often and became boring.

For me the highlight was the staging and costumes, this was truly innovative and imaginative. The use of hanging and moving doors, windows, pictures and furniture to create the illusion of a large, many roomed, manor house really worked. All the cast took part in creating the scenery moves, this must have taken a great deal of choreography and practice. The set designer David Farley has done an excellent job creating the image of a large manor house with a limited space and using the transitions from one room to another as part of the story was genius. The colour of the characters depicted in the costumes was another great ploy, the only disappointment in that respect was Professor Plum (Edward Howells) who was in a multi coloured outfit that seemed a bit out of place.

Written by the Laurence Marks and Maurice Gran the story has more twists and turns than I could keep up with, I’m sure I missed quite a lot as the whole thing was at such a fast pace I think you need to see it twice to get the whole story! Many of the character’s seemed a bit two dimensional, some having detailed back stories and some remaining a mystery. I was a bit disappointed with Ellie Leach’s Miss Scarlet. She never really seemed to get going, the character was a bit flat. Reference was made to her Strictly Come Dancing win with a few dance moves, but I felt she could do more with the role, it needed exaggerating somehow.

Colonel Dijon Mustard played by Jason Durr, a TV favourite from Casualty and Holby, was one of the standout performances of the evening. His over exaggerated American accent and enthusiastic portrayal of the rock star Manager was most entertaining. Mrs White played by Dawn Buckland was also extremely entertaining popping up all the time in unexpected places. The surprise arrival of Rev Green (Gabriel Paul) was another highlight, his character loomed large over the stage and the rest of the cast. Played with just the right amount of both soft concern and menace he forged an immediate connection with the audience. The only downside for me in his appearance was the overworked Al Green / Hal Green joke, I think anyone in the audience younger than me would struggle to get the musical references to Al Greens songs. In conclusion, for me, the second half was much better than the first with more action, more characters and more murders than the first half. I enjoyed the performance but would like to see a bit more connection with the audience and a slowing down of the dialogue particularly in the first half. If you are a fan of the Cluedo game go along and see Cluedo2 you will enjoy a good night out and an evening of funny, easy, entertainment.

Sheffield Lyceum – until 30 November 2024

Reviewed by Adam Craddock

3***

This Tuesday it was time to jump to the left, a step to the right and do the time warp again as I took in this weeks offering from Sheffield Theatres, The UK tour of Richard O’Brien’s Rocky Horror Show. Starring Jason Donovan as Dr Frank N Furter this promised to be a night of raucous fun and over the top comedic drama and boy did it deliver.

The show follows Brad and Janet on their accidental adventure of finding their real selves at the mysterious “Frankenstein Place” and all the strange characters they run into while there. But let’s face it, it’s the Rocky Horror Show… we knew all that already! Let’s get into this cast’s take on it…

Connor Carson and Lauren Chia play Brad and Janet respectively, both bringing strong performances with Carson in particular giving us a vocally stunning performance. Chia was solid as Janet and had that all American girl next door vibe that is an absolute pre-requisite for playing the character. Job Greuter was fair as Riff Raff, with a delicious rock vocal but performance wise nothing out of what you would necessarily expect from the character we all know and perhaps lacking its own spin. Similar could be said for Natasha Hoeberigs as Magenta, with once again nothing necessarily wrong but the lack of a personal touch on a character we have seen done before many a time. Morgan Jackson was great as Rocky, with a great on stage rapport with his other actors and his athletics paying fruits with his tumbling skills. Jayme-Lee Zanoncelli was brilliant as Columbia with just the right balance of quirkiness needed for the part and some mighty impressive tap ability.

And then we have the TWO absolute stars of the show for me, Jason Donovan as Dr Frank N Furter and Nathan Caton as The Narrator. Donovan played Frank in a very interesting way, less as the polyamorous sex bomb that you sometimes see and more as a haggard old cow that has been there, done it and got the T shirt. Donovan excelled in the dialogue sections and his vocal was mighty impressive but I did feel that at times that there was a disconnect between his vocal and his acting through song when he had to just stand and sing rather than play off others. And the less said about his dancing the better, with him visibly forgetting what he was doing with the choreography at times (who can muck up the Time Warp!) and him obviously looking round at his fellow cast members for prompts at times. All in all though, despite these flaws I did very much enjoy his take, with these imperfections almost playing into his take on the character as being a bit done with it all. Caton meanwhile was pure perfection as The Narrator, with the ability to deal with the audiences heckles in such an intelligent way that only someone with his stand up comedy background could deliver. He had a beautiful richness to his voice but could switch it up to the London road man for a bit of comedy effect when needed. Of all the over the top characters and star names in this show, the one that myself and my partner came away talking about was Caton! Bravo!

All in all I had a thoroughly enjoyable evening at The Rocky Horror Show, with a solid night of theatre if overall nothing remarkable. I would say to definitely pick this up at Sheffield Theatres if you want a show where you know you are going to get exactly what it says on the tin.

Festival Theatre, Malvern – until 30th November 2024

Reviewed by Courie Amado Juneau

5*****

Ghost The Musical is, as the title suggests, based on the famous Ghost film (from 1990). Originally hitting the West End 20 years after the film, tonight Malvern got to enjoy the show.

The band, lead by Musical Director Jordan Alexander, were on fine form – with the strings and keys soaring forth with a lush romantic theme that was to recur throughout to great effect. It’s a beautiful score from Dave Stewart and Glen Ballard with the original songs standing the test of time and sitting proudly among their more famous counterparts (more of that later)…

Rebekah Lowings (playing Molly Jenson) and Josh St. Clair (Sam Wheat) were both amazing. They made a thoroughly convincing couple with genuine chemistry – especially in the iconic potter’s wheel re-enactment, which was even better than in the film due to a liberal dunk in the humour pond! Their emotional portrayals made us believe in and care for them, but it was their voices which impressed most with singing that was both mellifluous and full of conviction.

All the cast were fantastic, with the chorus line appearing in many perfectly formed guises. I was blown away by Molly Cleere’s singing as Mrs Santiago – short on stage time but long in the memory. And Garry Lee as the Subway Ghost in a full blooded and full throttle performance deserves special mention too. Jules Brown (as Willie Lopez) and James Mateo-Salt (Carl Bruner) also gave the leads solid support.

And what can one say about Les Dennis? Legend. His comedy pedigree shone through and provided a lovely contrast to the leads emotional roller-coaster, stopping the work becoming too heavy. His singing was a revelation too (as Hospital Ghost) in a charming song (and dance) routine that made one smile.

Jacqui Dubois had the responsibility of emulating Whoopi Goldberg’s role – and she did herself proud with an Oda Mae Brown that delighted. She was funny and genuinely touching. Her musical number “I’m Outta Here” was one of the highlights, surrounded by a ladies chorus dressed in outfits made from dollar bills…

…exemplary work there from Set and Costume Designer Mark Bailey, whose stage was an ingenious creation giving the panorama of New York in miniature whilst conjuring the claustrophobia of the city. The perfect backdrop. I loved the moving panels that were cunningly used to convey the ghost’s later descent into Hell.

Unchained Melody, naturally, loomed large all evening. It’s reappearance at the end was sensitively handled but it’s introduction near the start was even better – beginning on guitar and then… well, I won’t spoil the surprise but take my word for it; brilliant. Molly’s “With You” song was the emotional high point of the work for me – Ms Lowings’s voice was so gorgeous that I could barely catch my breath.

So, did Ghost The Musical live up to the promise? It sure did. I wasn’t the only man in the audience with a tear in my eye, a song in my ear and a warm feeling in my heart as I left the auditorium. A triumph of storytelling that was jam packed with wonderful acting, singing and dancing. For lovers of love, I heartily recommend this show.

Blackpool Grand Theatre – until Saturday 30 November 2024

Reviewed by Debra Skelton

5*****

I have to say, I was not sure what to expect (too be honest, I thought it was a tribute to Dolly Parton herself) but in fact I was completely wrong, however, I was not disappointed, this show is just amazing and a must see.

Here You Come Again has had several successful productions across the United States and was originally written by two-time Emmy award-winning comedy and songwriter Bruce Vilanch with Gabriel Barre (Director) and Tricia Paoluccio (Dolly Parton).

The show has now been adapted by acclaimed British playwright Jonathan Harvey (Gimme, Gimme, Gimme and Coronation Street) for the UK and can be seen at The Blackpool Grand Theatre until 30th of November.

The story centres around 40-year-old Kevin who has recently split up from his boyfriend and is now back home in Yorkshire living with his parents in his childhood home.

As this is during Covid lockdown, he ends up being confined in the attic which happens to be his bedroom with his parents having to use disinfected trays to pass food and other items to him.

Being alone surrounded by belongings from his youth and just his own thoughts, Kevin comes across his old but much-loved record player along with Dolly Parton albums that he cherished.

To no surprise during this challenging time, Kevin enters crisis mode and wonders “What Would Dolly Do?” and who is best to answer this question is no other than Dolly herself who literally comes to life from one of Kevin’s posters.

Dolly then helps Kevin to navigate through his troubles via her brilliant back catalogue of songs and with her wit, humour and charm, Dolly teaches Kevin a whole lot about life, love and how to pull yourself up by your bootstraps.

This show is packed with all the iconic songs of Dolly Parton such as ‘Here You Come Again’, ‘Islands In the Stream’, Jolene, I Will Always Love You, 9 to 5 and so many more amazing songs.

Dolly is played by the remarkable Broadway star Tricia Pauluccio who speaks and sings just like her and truly embodies the spirit that has made Dolly an enduring icon. Tricia proved you can sing Dolly’s songs which are notoriously difficult to perform by not missing a single note – truly amazing.

Kevin is played by the exquisite West End star Steven Webb whose presence on stage is unmatched with his comic timing which is outstanding, and his personality literally fills the stage. Steven is such an engaging performer and is just first-rate, he is likeable, endearing and funny which goes a long way to make this show a success.

Tricia and Steven were joined on stage throughout the show by an excellent four-piece live band who also provided voices for some other characters such as Kevin’s parents. The live music and backing voices was such a great addition to making this show a success.

Special thanks also needs to go to Paul Wills for the engaging set which provided a look back to Kevin’s past and the costumes which were stunning (especially Dolly’s) which included plenty of sparkle and rhinestones, Lizzi Gee for choreography, Tim Deiling for Lighting, Tom Marshall for Sound and Richard John for Music.

Shakespeare North Playhouse – until 11 January 2025

Reviewed by Carla Whittaker

4****

Nick Lane’s adaptation of Alice in Wonderland, directed by Nathan Powell, is a delightful, imaginative reimagining of Lewis Carroll’s iconic tale, with a festive local twist that is as heartwarming as it is whimsical. Playing at the Shakespeare North Playhouse in Prescot until 11 January 2025, this vibrant production not only breathes new life into the classic but also integrates charming local references, from Prescot High Street to Waterfields bakery, creating a performance that feels both nostalgic and refreshingly contemporary.

In this adaptation, the plot follows an older Alice, now out Christmas shopping, when she spots a familiar white rabbit and tumbles back into the strange and surreal Wonderland. The whimsical world Alice enters is filled with bizarre creatures and curious adventures, as she navigates the fantastical landscape once more. What truly sets this production apart is its unique framing device: a lively retelling of the story by a set of animated playing cards. This creative touch added an extra layer of humour and accessibility, while grounding the fantastical tale in a very real, relatable local context. The festive twist—set around a Christmas funfair—infused the performance with warmth and joy, making it the perfect seasonal treat.

The show is a delightful blend of community, and celebration, with a strong emphasis on audience engagement. The chemistry between the actors was palpable, bringing the fantastical characters to life with infectious energy. Cleverly placed local references ensured that the performance resonated deeply with the audience, while the vibrant costumes and atmospheric lighting enhanced the magical world onstage. The production’s combination of playful humour, enchanting visuals, and interactive moments kept everyone—young and old—captivated from start to finish.

Nathan Powell’s direction infused the performance with an exuberant energy that felt alive with laughter and joy. The set was bright, colourful, and wonderfully magical, creating an enchanting environment without overwhelming the space. Sascha Gilmore’s costume design was a true standout, cleverly conveying each character’s identity with striking visual details, all while ensuring fluid movement and seamless transitions. This was essential for maintaining the show’s dynamic pace, especially during rapid costume changes, which were handled flawlessly.

What made this adaptation even more unique was its incorporation of local flavour, the use of Scouse terminology and references to familiar landmarks created an immediate connection with the audience, grounding the surreal world of Wonderland in the heart of Prescot and making the performance feel even more immersive.

The performances were nothing short of stellar. Helen Carter imbued Alice with spirited charm, making her journey both relatable and thoroughly engaging. Kelsie Gordon-Harrison’s portrayal of the Cheshire Cat was a comedic highlight—her

gymnastics and energetic performance had the audience in stitches. Martha Godber’s Queen of Hearts struck the perfect balance between cruel authority and charismatic villainy, with her powerful and “edgy” vocals adding gravitas to her role.

Milton Lopes’s natural charisma and impeccable comedic timing made his performance a joy to watch, and Tia Larsen’s take on the White Rabbit was simply sensational. Ditching the traditional fluffy costume, Larsen’s character was instead intricately designed and delivered with hilarious flair, offering a fresh and engaging interpretation of the beloved character. The entire cast displayed remarkable versatility, effortlessly transitioning between various roles and keeping the energy alive throughout the performance.

The lighting design was a critical element in setting the mood, building tension, and adding depth to key moments. It was atmospheric without being overpowering, drawing the audience further into the world of Wonderland. Similarly, the sound design was bold and impactful, amplifying key moments with striking intensity while never overshadowing the action. These technical elements, along with the vibrant performances, created an immersive, magical experience that truly brought Wonderland to life.

This production of Alice in Wonderland is a testament to creativity, community, and the magic of live theatre. The cast’s electric energy and passion for their roles were evident, and their enthusiasm was infectious, creating a truly heartfelt performance that resonated with the audience long after the curtain fell.

With its clever use of local references, stunning performances, and enchanting design, this modern yet festive adaptation of Alice in Wonderland offers a magical experience that will leave audiences smiling and thoroughly entertained. It’s a must-see for families, theatre enthusiasts, and anyone looking for a joyful holiday outing. Don’t miss this brilliant production at the Shakespeare North Playhouse—it’s a perfect festive treat that captures the timeless charm of Wonderland while infusing it with local warmth and charm.

Parking at the venue is limited, so it’s best to arrive early. While parking is free, spaces can be hard to come by. The foyer area was also quite cramped, which made accessing the bar and other facilities a bit challenging. Additionally, a local dance group performed prior to the show, which was brilliant, but it may have been better suited to the stage, as it obstructed access to the toilets and bar. The gallery exhibition, showcasing Lewis Carroll’s original story, was unfortunately too crowded to fully enjoy, but it offered an interesting glimpse into the history behind the tale.

However, the volunteers at the theatre were incredibly helpful and plentiful, ensuring that all attendees were well looked after throughout the evening. From guiding guests to their seats to offering assistance with any questions, the volunteers added a warm and welcoming touch to the overall experience.

Theatre Royal, Nottingham – until Saturday 30th November 2024

Reviewed by Chris Jarvis

5*****

What a brilliant production! Exceptional dancers within an amazing set that was easily transformed from a graveyard to the Scrooge & Marley office, Cratchit family home, Ebenezer’s bedroom, and numerous other settings. The production design by Lez Brotherston OBE was brilliant and the costumes outstanding, particularly the Ghosts. The music, although brilliant was recorded rather than played by a live orchestra.

From the Charles Dickens novel of the same name, this production was based on an original outline by Christopher Gable OBE and developed jointly by him and Carl Davis. Northern Ballet, under Artistic Director Frederico Bonelli, brought this production to life. The choreography by Massimo Moricone was exciting and emotional in equal measure.

Act 1 opens with Scrooge (Filippo Di Vilio) as the only mourner at the funeral of his business partner Jacob Marley (Harry Skoupas).

The set then moves to the Scrooge & Marley money lending business on Christmas Eve 7 years later, where Scrooge and his overworked and underpaid assistant Bob Cratchit (Joseph Taylor) are hard at work. Bob tries to introduce some Christmas cheer into the office as we enjoy his incredible dancing. However, the miserable Scrooge is unimpressed and sets him back to work. Scrooge’s nephew (Yu Wakizuka) and wife (Alessia Petrosino) make an unexpected festive visit, but Uncle Ebenezer continues to show his curmudgeonly displeasure.

Bob Cratchit is finally allowed join his family for Christmas and Scrooge returns to his lodgings where he has a very disconcerting experience – a visit from the ghost of Jacob Marley who is condemned to an existence of endless torment as a phantom, following his own selfish ways and warns Ebenezer to expect the same unless he changes his ways.

Act 2 Scrooge is visited by three ghosts, The Ghost of Christmas Past (Dominique Larose), the Ghost of Christmas Present (Andrew Tomlinson) and the Ghost of Christmas Yet to Come (Harry Skoupas).

The Ghost of Christmas Past takes Scrooge back in time to a joyful party at the home of the Fezziwig Family, his first employer. As a young man his greedy nature is already obvious. The antics and dancing of Mr and Mrs Fezziwig (Antoni Cañellas Artigues and Helen Bogatch) are hilarious as well as spectacular!

The Ghost of Christmas Present takes him to the home of his employee Bob Cratchit where he sees that despite having little money, food or possessions, they are very happy and content, unlike himself.

Act 3 The Ghost of Christmas Yet to Come appears in an incredible costume to transport Scrooge forward in time to the Cratchit’s home where the family are mourning the loss of their son and brother Tiny Tim (Jack Ogrizovic) – just so cute!

Throughout these visits Scrooge appears to experience emotions he’s forgotten he’d ever felt and back in his bedroom he finds his bed transformed to a headstone and he is haunted by tormented phantoms and watches a funeral with no mourners and realises that it is his own.

Scrooge becomes a ‘new man’ following these touching or terrifying experiences and decides he must change. We see him transform into a charitable, caring person instead of the lonely miserable and mean man he had become. We are then delighted with his incredibly expressive dancing.

This is a stunning production of A Christmas Carol and not just traditional ballet. It was great to enjoy the humour interspersed throughout and there was always so much happening on stage. I was beyond impressed by the adaptability of the dancers who perform different parts on different nights, so need to know not just one part, but numerous. It was also lovely to see the children from Gedling Ballet School in what must have been a very special pre-Christmas experience!

WEST END STARS JOIN FORCES TO MAKE WAVES FOR UK PREMIERE OF NEW YORK’S CULT HIT PARODY MUSICAL

TITANIQUE DROPS ANCHOR AT CRITERION THEATRE FROM 9 DECEMBER.
CAST BOARDING THE SHIP OF DREAMS:

DARREN BENNETT (Singin’ In The Rain)
LAUREN DREW (Six)
JORDAN LUKE GAGE (Bonnie & Clyde)
STEPHEN GUARINO (I’m Dying Up Here)
ROB HOUCHEN (Les Misérables)
KAT RONNEY (Hex)
CHARLOTTE WAKEFIELD (Spring Awakening)
LAYTON WILLIAMS (Everybody’s Talking About Jamie)
 

london.titaniquemusical.com

Rehearsal photos released today of the star cast set who will lead the UK Premiere of Titanique in the West End.

Dropping anchor at The Criterion Theatre from Monday 9 December 2024 will be Darren Bennett (Don in Singin’ in the Rain, Teen Angel in Grease West End) as Victor Garber / Luigi, Lauren Drew (Catherine of Aragon in SIX UK Tour, Brook Wyndham in Legally Blonde Regents Park) as Céline,  Jordan Luke Gage(Clyde in Bonnie & Clyde, Romeo in & Juliet West End) as Cal, Stephen Guarino (Showtime’s I’m Dying Up Here, Netflix’s Eastsiders, Titanique LA and Green Room 42) as Ruth, Rob Houchen (Marius in Les Misérables West End, Eugene in Eugenius! Off-West End) as Jack, Kat Ronney (Rose in Hex, Laertes in Hamlet National Theatre) as Rose, Charlotte Wakefield (Wendla Bergman in Spring Awakening, Gemma in The Great British Bake Off Musical West End) as Molly Brown and Layton Williams (The Emcee in Cabaret, Jamie in Everybody’s Talking About Jamie West End, Strictly Come Dancing Finalist) as the Iceberg.

Completing the company are Freddie King (Gentlemen Prefer Blondes, Union Theatre), Adrianne Langley (Sixties Girls, Dusseldorf), Madison Swan (The Book of Mormon, West End),Rodney Vubya (The Book of Mormon, Original West End Production) and Kristina Walz (Titanique, Daryl Roth Theatre). 

Eva Price and Michael Harrison said:
“We’re overjoyed to see this production come to life in the UK, and thrilled to have brought together this dream team to launch our West End season. When we first set out to cast Titanique, we knew we needed an ensemble that could bring the perfect mix of humour, heart, and talent to this wildly fun show. We can’t wait to welcome them all aboard the ship in London and for audiences to experience the star power this cast will bring to our story.”

Titanique will have its press night at the Criterion Theatre on Thursday 9 January 2025.
Tickets are on sale at https://london.titaniquemusical.com

When the music of Céline Dion makes sweet Canadian love with the eleven-time Oscar®-winning blockbuster film Titanic, you get Titanique, off Broadway’s most award-winning splash hit that turns one of the greatest love stories of all time into a hysterical musical fantasia.

Titanique has taken New York by storm – extending multiple times since its premiere in 2022, it has been recognised with critical acclaim and multiple awards. It recently opened in Sydney in September 2024 to rave reviews.

Want to find out what really happened to Jack and Rose on that fateful night? Just leave it to Céline Dion to enchant the audience with her totally wild take, recharting the course of Titanic’s beloved moments and characters with her iconic song catalogue. Sailing on fierce powerhouse voices in show-stopping performances of such hits as My Heart Will Go On, All by Myself and To Love you More – backed by a full live band – Titanique is a one-of-a-kind theatrical voyage bursting with nostalgia, heart and campy chaos.

Co-written by Tye Blue, Marla Mindelle and Constantine Rousouli, Titanique celebrated its Off-Broadway premiere in June 2022 at Asylum Theater, starring the musical’s co-authors Mindelle and Rousouli as Céline Dion and Jack Dawson. After several sold-out extensions, the musical transferred to the Daryl Roth Theatre on November 20, 2022.

Titanique is directed by Tye Blue (“RuPaul’s Drag Race”, Rumer Willis’ Over the Love Tour), and choreographed by Ellenore Scott (Funny Girl, Little Shop of Horrors). Music Supervision, Arrangements and Orchestrations are by IRNE Award-Winner Nicholas James Connell. Scenic Design for Titanique is by Gabriel Hainer Evansohn and Grace Lauchbacher for Iron Bloom Creative Production; Costume Design is by Alejo Vietti; and Lighting Design is by Paige Seber; and Sound Design is by Lawrence Schober with casting by Pearson Casting CDG.

Titanique won seven major awards during the 2022/23 theatre season, including three Lucille Lortel Awards, the Off-Broadway Alliance Award for Best New Musical, Las Culturistas’ Culture Award for Best Indoor Performance and two Dorian Awards.

The London production of Titaniqueis co-produced by Eva Price and Michael Harrison.

Titanique plays The Criterion Theatre from Monday 9 December 2024.

ACTING FOR OTHERS PODCAST BACKSTAGE CURRY
ANNOUNCES NEW ROSTER OF GUESTS

Including Harriet Thorpe, Jenny Seagrove, Sally Hughes, Cheryl Baker, Mark Farrelly, Jill Saward and Bill Sharpe

Acting For Others podcast series Backstage Curry, presented by actor and presenter Mark Curry, have announced a new roster of guests each spanning across music, theatre and screen, with the podcast giving insight to each guest’s individual journey into the entertainment industry.

Guests announced today include actresses Harriet Thorpe and Jenny Seagrove, Artistic Director of The Mill at Sonning Theatre Sally Hughes, Bucks Fizz’s Cheryl Baker (winner of the 1981 Eurovision Song Contest), actor and writer Mark Farrelly, and Shakatak’s Jill Saward and Bill Sharpe.

The series, which was launched in June this year with guests including Alexia Khadime, Bonnie Langford and Debbie McGee, raises funds for Acting For Others, encouraging listeners to donate via the charity’s website or donations link – https://actingforothers.co.uk/donate/. All episodes are currently available to listen to wherever you get your podcasts.

In each episode, Mark delves into the detail of what it takes to create theatre, live shows and events; discussing the process, discipline required, challenges faced and the rewards’ gleaned in a career in the arts. These unique, peering under the bonnet conversations give honest authentic insights to the questions we’d all love to ask our fantasy dinner party guests. 

Mark Curry is set to appear as General Waverley in White Christmas at the Mill at Sonning. His credits as a presenter include Blue Peter, Celebrity Antiques Road Trip, Make Me a Dealer, Catchphrase, Record Breakers, Curry For Breakfast (Talk Radio), Change That and Record Breakers. As an actor, his theatre credits include Wicked (Apollo Victoria, London), Ten Times Table, Wife Begins at Forty, The Rocky Horror Show, Tons of Money, And Then There Were None, Far From The Madding Crowd (UK tours), The Small Hours, Appetite, Dangerous Corner (Theatre Royal Windsor), Victor Victoria, Company (Southwark Playhouse), Talent (The Menier Chocolate Factory) and The Woman In Black (Fortune Theatre). His film credits include Bugsy Malone and The Flying Scotsman.

www.actingforothers.co.uk

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Hull City Hall – 24th November 2024

Reviewed by Dawn Bennett

5*****

What a brilliant way of spending a Sunday afternoon, watching the Hull Philharmonic Orchestra play A Family Concert, Heroes and Villains. With a history of performing for over 130 years I was expecting good things from them but what a delight they were and so talented!

Under Musical Director, Simon Chalk, and leader Richard Quick, they played music from a variety of different composers some instantly recognisable and some new.

We listened to Fanfare for the Common Man and then Billy the Kid (Ballet Suite) which included pieces Mexican Dance and Gun Battle, composed by Aaron Copeland.

Poppies, which was by local composer Sam Mavor, was a glorious piece of music composed in the autumn of 2022 and inspired by the remembrance poppy, worn to remember the conflicts of the two World Wars and later conflicts. It was such a beautiful piece of music and very moving and was conducted by Elaine King.

Following on from Poppies was Hymn to the Fallen from the film Saving Private Ryan composed by the brilliant John Williams.

After the interval We had Fanfare to the Uncommon Woman composed by Joan Tower.

We then had Wojciceh Kilars Suite from Dracula. I really enjoyed these pieces particularly The Storm which was dark, foreboding and very atmospheric.

The King of the spaghetti western music, composer Ennio Morricone, Moment for Morricone was instantly recognisable with the music from The Good The Bad and The Ugly and Once Upon a Time in the West.

The last piece of music played was another masterpiece from composer John Williams the Superman March from the Superman film, fabulously played and when it ended it brought the audience to their feet in a well-deserved standing ovation.

All the pieces, apart from Poppies, were conducted by Simon Chalk, and what a wonderful conductor he was and his explanations about the pieces made an enjoyable concert even more so.

The choirs, Hull University Camerata Singers, Hymers Junior School Choir (Year 6) and Hymers Senior School Choir were very good. Their singing helped to bring the pieces alive.

This was a really fabulous concert and I look forward to watching them again in the near future and I would really recommend everyone to go and see them. Definitely not one to miss!