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The Crucible Theatre, Sheffield – until 19th May 2018.

Reviewed by Sophie Dodworth

3***

This is theatre with a difference and that is that Ramps On The Moon Company think that nobody should ever feel different and that everybody should be able to access and understand theatre, no matter what your disability. What a great notion? Ramps On The Moon was launched in 2016, producing touring shows which integrates D/deaf, disabled and non-disabled performers and creative team members. This and each of their productions includes creative use of audio description and integrated British Sign Language. Normally you would expect to see a sign language interpreter at the side of the stage, but what is special about this performance, is that the actors on stage take it in turns to interpret one another, depending on their placing and individual lines.

The play is set in an 18th century Australian prison colony. It follows the story of a group of convicts from start to finish as they put on the play; The Recruiting Officer by George Farquhar. British Officer Ralph Clark played by Tim Pritchett makes the effort of trying to convince his colleagues to allow convicts to put on a play. We are invited into rehearsals for the play and as time goes on, we see each of the convicts grow in confidence and in to their characters. There are some real funny moments while witnessing the groups progression.

This play is full to the brim of content and talented cast members. Each one a true individual, portraying their characters with passion and flair, thus creating believable personalities. The ensemble are key to the success of this version of the show. Tom Dawse plays a fantastic Wisehammer, very charismatic on the stage. Fifi Garfield plays a sassy and strong Dabby Bryant. Gbemisola Ikumelo plays an impactful and abrupt Liz Morden, quite captivating when on the stage. Sapphire Joy plays Mary Brenham well and respectfully while speaking for Ducking, played by Emily Rose Salter. Alex Nowak plays a strong and passionate Sideway, often having some of the best comedy moments.

This play is not just a play about convicts being imprisoned but also about being constrained by the social order, the way we think about other people and the way we see ourselves. Our Country’s Good is primarily about how important it is to see everybody as an individual and understanding who they are. This production will make you think deeply whilst watching and also afterwards, as the theme of equality and fairness of the human nature resonates in your mind.

A really interesting watch, you get to see an impeccably performed piece of theatre, whist being able to active the grey cells and consider all the underlying moral tones of the show.

Northern Stage, Newcastle – 14 May 2018

Reviewed by Andy Bramfitt

 5*****

A tragi-comedic look into how we perceive other, how they perceive us and how the two can be so drastically different depending on the view point.

The Leftovers, the latest production by Sheep Soup and written by Nic Harvey, is the story of 5 musicians whose lives are inextricably linked by the death of a Jodie; a mutual friend, confident, lover and yet, as we discover, they all seem to have known a completely different person to each other.

Set at a recording studio (wonderful designed by Lizzy Leech) , Yaz (Philippa Hogg) wants to capture her relationship with BFF Jodie in a song. She has enlisted Jim (Ben Welch) as musician and technician to help her record the song and Hayley Reigns/Rains/Reins (Sarah White), a published songstress to help write it but they are struggling to really capture the mood and style which best represents the person they knew. Was she the life and soul of the party without a care in the world, or a troubled soul who was constantly putting on an act? Was she a trusted and loyal friend or a stabs-you-in-the-back user who flitted from one good time to another?

As the story progresses we are introduced to two more of Jodie’s past – Russ (Tim Murphy) who is a once hippy traveller who knew Jodie for a year as they explored the far flung reaches and Angie (Wreh-asha Walton) for whom Jodie represented much more than a brief friendship, which sadly appears to have ended abruptly. The discovery of a box of writings, diaries and messages, along with some old voicemails, helps to unpick Jodie’s tangled life but for the others they only serve to open old wounds and shatter long held beliefs.

Each of the assembled have their own story to tell and these are done through the guise of improvised song writing in their attempt to produce the one piece that truly captures the impact Jodie had on their lives. Brilliantly directed by Adam Lenson and with the erudite and enthralling musical direction of Rob Green, The Leftovers unpeels the onion of life and shows that a throwaway comment to one person can be held as lifetime moment to another. The way that Jodie’s character and her interaction with each person is revealed is as thought provoking as it is entertaining – very much akin to 13 Reasons Why and Hannah’s tapes that destroy perceptions and expose lies. That said, there is still a great amount of comedy in the show and of course no end of genuine musical talent.

As always, Northern Stage is THE place in the North East for ground breaking productions, showstopping performances and naturalistic delivery, be sure to check out their webpage for details of forthcoming shows.

Romance of the Rose Productions

“It’s almost impossible to imagine

how a musical could be more epic”

STEFAN KYRIAZIS, DAILY EXPRESS ONLINE

KNIGHTS OF THE ROSE CALLS FORTH

ANDY MOSS TO THE WEST END

Romance of the Rose Productions is delighted to announce the casting of Andy Moss (Hollyoaks, Doctors) for the West End production of Knights of the Rose, which opens on 29^th June.

Moss will play the lead character, knight Gawain. Upon a victorious return from battle he, alongside his three comrades, finds that things are far from a bed of roses. Together they prepare for the ultimate face-off against their unrelenting adversaries.

Moss is a well known face to millions after his long running role as loveable rogue, Rhys Ashworth in Channel 4’s flagship drama Hollyoaks. Playing Rhys for eight years on the show, Moss took part in some of the most explosive and award winning storylines. He also played Paul Cuthbert in the popular BBC daytime soap opera Doctors and most recently completed a national tour playing the lead role of Sam Wheat in Ghost the Musical.

“We are incredibly excited to have Andy onboard as our hero Gawain” said Racky Plews, “Andy not only embodies this heroic knight but also has the powerhouse rock vocals that bring justice to these beloved and classic songs.”

Andy joins Adam Pearce (King Aethelstan) Chris Cowley (Palamon), Oliver Saville (Hugo), Rebecca Bainbridge (Queen Matilda / Bess), Rebekah Lowings (Isabel), Matt Thorpe (Horatio), Ruben Van keer (John), Katie Birtill (Hannah) and Bleu Woodward (Emily).  Ian Gareth-Jones, Kelly Hampson and Tom Bales make up the ensemble.

Andy stated “I am thrilled to join Racky Plews (director) and the incredible cast of Knights of the Rose. I have always had a passion for both rock music and theatre and where better to bring the two together than in this high-voltage, West End stage production.”

Directed by Racky Plews and created by Jennifer Marsden, Knights of the Rose opens on 29^th June for 9 weeks only at The Arts Theatre.

Synopsis

KNIGHTS OF THE ROSE is a classic rock musical of Shakespearean proportions. Featuring the ultimate playlist including legendary ballads and timeless anthems from Bon Jovi, Muse, Meat Loaf, Bonnie Tyler, No Doubt and many more.

In this epic tale of love, betrayal and sacrifice, the noble Knights of the Rose must defend their House and their honour. Even as the chivalrous Knights return from a glorious victory, a greater threat against the kingdom stirs. As they face the greatest battle of the Age, and betrayal threatens to tear them apart, can true love and honour triumph?

Woven from a rich tapestry of literature and high-voltage classic rock, this heroic new story charges its way into the heart of London this Summer.

SET LIST INCLUDES:

Blaze Of Glory – Bon Jovi // Blood On Blood – Bon Jovi // Always – Bon Jovi // Bed Of Roses – Bon Jovi // This Is Love, This Is Life – Bon Jovi // Changes – Black Sabbath // Holding Out For A Hero – Bonnie Tyler // Total Eclipse Of The Heart – Bonnie Tyler // Hero – Enrique Iglesias // King Arthur: Third Act – Henry Purcell // The Parting Glass – Irish Folk Song // Is Nothing Sacred – Meat Loaf // Marriage Of Figaro: Part 1V – Mozart // Survival – Muse // Don’t Speak – No Doubt //Turn, Turn, Turn – Pete Seegar // Everybody Hurts – R.E.M. // Addicted To Love – Robert Palmer // Hard Times Of Old England – Steeleye Span // Wherever You Will Go – The Calling // He Ain’t Heavy He’s My Brother – The Hollies // Pilgrim– Uriah Heep

LISTINGS

LOCATION: Arts Theatre – 6-7 Great Newport St, London WC2H 7JB

DATES: 29^th June – 26^th August, 2018

PREVIEWS: 29^th June – 4^th July

PRESS NIGHT: Thursday 5^th July – 7:00pm

PERFORMANCE SCHEDULE:

Monday – 7.30pm

Tuesday – Off

Wednesday – 7.30pm

Thursday – 3pm/7.30pm

Friday – 7.30pm

Saturday – 3pm/ 7.30pm

Sunday – 4pm

TICKETS:

On sale – 23^rd March

Wednesday, Thursday Matinee, Thursday Evening, Sunday and Monday                                    

£55 // £45// £33.50 // £22.50 // £15

Friday, Saturday Matinee, Saturday Evening
£65 // £49.50 // £38.50 // £25 // £20

Box Office: 020 7836 8463 // https://artstheatrewestend.co.uk/

TRACIE BENNETT TO HOST WEST END GALA OF THE 12th ANNUAL STEPHEN SONDHEIM SOCIETY STUDENT PERFORMER OF THE YEAR AND 11th ANNUAL STILES + DREWE PRIZE

The Stephen Sondheim Society and Mercury Musical Developments today announce the 12^th annual West End Gala for The Stephen Sondheim Society Student Performer of the Year and the 11^th anniversary of The Stiles + Drewe Prize. The 2018 competition is being staged at the Savoy Theatre on Sunday 10 June at 3pm, hosted by Olivier Award winner Tracie Bennett. Chris Hocking returns to direct the annual gala, with musical direction by Mark Etherington and a special guest performer to be announced!

This annual competition, co-produced by The Stephen Sondheim Society and Mercury Musical Developments, sees twelve of the top student performers from musical theatre and drama schools across the UK each perform a classic song by Stephen Sondheim and a new musical theatre song, written by members of Mercury Musical Developments. The first prize is £1,000. Writer and broadcaster Edward Seckerson returns to Chair the Student Performer judges with Rebecca Caine (the original Cosette in Les Miserables, and Christine in the original London and Canadian companies of The Phantom of the Opera), Rebecca Trehearn(Olivier Award winner for the recent London run of Showboat), Stephen Ridley (Musical Director for American in Paris and The King and I) and David Benedict (Sondheim’s official biographer).

The Stiles + Drewe Prize supports and develops new musical theatre writing via its two distinct arms. Recognising an outstanding song from a new musical and supported by The Entertainment Business, the winner of Best New Song receives £1,000 to put towards developing their work. Judging the Best New Song entries with Stiles and Drewe will be Sharon D Clarke (Caroline, or Change, The Lion King, We Will Rock You) and writer/director Susie McKenna (former Creative Director of Hackney Empire).

In addition, the winner of the Stiles and Drewe Mentorship Award – now in its third year, generously supported by Music Theatre International (Europe) – will also be announced at the Gala. One new musical and its writer(s) will be selected to receive mentorship over a 12-month period, culminating in an industry showcase. Along with Stiles and Drewe, the 2018 judges were composer Grant Olding, the Artistic Director of Royal & Derngate James Dacre and Chichester Festival Theatre’s producer Amelia Ferrand-Rook. A song from each of the three finalist shows will be performed at the event.

Olivier Award-winning writing duo George Stiles and Anthony Drewe said today, “This is without doubt an incredibly strong year for both The Mentorship and Best New Song Prize and we congratulate everyone who entered, all the finalists and shortlisted shows on your passion, imagination and wonderful writing. Keep pumping new blood into new British musical theatre!”

The Stephen Sondheim Society Chairman Craig Glenday commented, “Edward Seckerson tells us each year that the standard gets higher and higher, but having heard some of these 12 students during the heats, I can guarantee 100% that this is most certainly the case. It’s an honour to present these talented finalists with the chance to perform on the London stage – for most of them, their West End debut – and for audiences, it’s a wonderful afternoon of music and the chance to say, ‘I heard them here first!’

Executive Director of MMD Victoria Saxton said, “Showcase and Development opportunities such as these are vital to support the creation of excellent new British musical theatre writing. There is so much talent amongst the MMD membership and we can’t wait for the public and industry to witness this. Our hope is that this is just the start of the development journey for all the writers taking part”

To be Frank

Joe Pasquale talks to Vicky Edwards about playing Frank Spencer in the stage world premiere of Some Mothers Do ‘Ave ‘Em.

I hope the insurance is comprehensive and the Stage Manager has a well-stocked first aid kit when the world premiere of Some Mothers Do ‘Ave ‘Em goes on national tour.

“Oh blimey, yes!” says the effervescent Joe Pasquale, who will play Frank Spencer, the character made famous on TV in the 1970s by Michael Crawford and that had a nation chorusing his ‘Ooh, Betty!’ catchphrase

“We have a stunt coordinator and I’m doing it all – hanging by my ankles, chicken chasing and all sorts. But we’re not doing it as Michael’s version of Frank Spencer; that would be an insult to Michael. I’m putting my personality into it, which is how to make it believable. There’s a difference between child-like and childish and Frank isn’t childish; he believes in what he’s doing.

“We did three workshops and at the last one we had an invited audience who were across an age range of between eighteen and seventy. All the younger people didn’t know the show or have a frame of reference with Michael, but they laughed their socks off. Even the older people who remember the original, forgot Michael doing it in within five minutes – the script is so good,” enthused Joe, explaining that the show is based on an original story about Frank trying to get on a TV talent show.

“It’s still set in the 70s, so you get the mustard wallpaper, tank tops and all the trimmings. It is so funny and you can take the whole family to see it. Apart from panto and maybe musicals there aren’t any theatre shows that people of all ages can enjoy together, but this is proper family comedy.”

Agreeing that he is something of an adrenalin junkie (as well as slumming it on – and winning – I’m a Celebrity fourteen years ago, Joe has also appeared in TV documentaries that have entailed him being trained by the SAS and imprisoned in Costa Rica) he jokes: “If it’s not dangerous or life threatening then I’m not interested anymore. I read the book Feel the Fear and do it Anyway fifteen years ago and it made me think. Now, if I’m not sure about doing something, I automatically say OK; let’s do it. You might as well live while you can.”

Asked how the show came about, Joe recalls playing King Arthur in the Monty Python musical comedy Spamalot in the West End a couple of years ago. Stuck in an airless dressing room at the height of summer, wearing chainmail and kingly robes, a broken fan was about as much use as a chocolate fire guard. Setting about taking it to pieces, cleaning it and putting it back together again (“I was sweating my knackers off”), when he turned the power back on the fan exploded. The show’s director Christopher Luscombe and staff director Guy Unsworth were present and both roared with laughter, calling it a pure Frank Spencer moment. A seed was sown and Guy sought out Raymond Allen, writer of the original TV series. Fate was smiling. Allen, it transpired, was a big fan of Joe’s. Unsworth set about writing a script and now, two years, several script edits and three workshops later, the show is underway.

“We have been working really hard on it, Guy in particular,” says Joe, admitting that when he first met “this very well spoken young lad who looked like an American football player” he questioned what the youngster could possibly teach him about comedy.

“I soon realised that he knew everything; he’s a natural,” marvels Joe. “He suggests the smallest change; a tiny nuance to get the comedy out of a line, and he’s always right. He’s also a real historian on British comedy. I think he’ll be one of the biggest directors in the West End.”

Joined by a cast that includes Susie Blake as Mrs Fisher, Frank’s disapproving mother-in-law, Moray Treadwell as Mr Luscombe, David Shaw-Parker as Father O’Hara and Chris Kiely as Desmond, playing his long-suffering wife Betty is Spamalot co-star Sarah Earnshaw.

“Sarah’s role is so much more difficult. She has to be softer and so likable, but she’s brilliant,” says Joe, confessing that he’s a terrible on-stage ‘farter’ and that Sarah knows all about playing long-suffering having been downwind of his lively bottom during the run of Spamalot. “She calls me the Unstoppable Moron,” he chuckles.

Unstoppable is certainly right. As well as the tour of Some Mothers, Joe continues to do stand-up and has just had a book of his short horror stories published.

“It’s a book for adults called Deadknobs and Doomsticks. I’m a bit of a horror buff and when I did an Open University course in geo-science and geology, as a by-product I did some writing courses.”

Sending his stories to an author friend for feedback, his chum promptly forwarded them on to his publisher who saw the potential and immediately told Joe to write some more.

Reminiscent of the Duracell Bunny in terms of energy, does Joe find acting in a long tour a tiring prospect?

“My life is a sitcom, so, no acting required for this one [another infectious laugh], but touring in Some Mothers will be a lot easier than my stand-up show. Then I usually do forty one-nighters at different theatres. A week in one place will be like a holiday,” he beams, adding that there are certain dates he is particularly looking forward to.

“I like to get out and about. I don’t just sit there watching the telly. I get the local pamphlets from the hotel and go see whatever there is to see and get to know a place.”

As for playing Frank, dare-devil Joe is mindful that he has already had his fair share of ‘industrial injuries,’ including getting stuck inside a bingo machine, breaking his toe while tap dancing and dislocating a shoulder in panto.

“It’s got danger written all over it for me,” agrees Joe cheerfully. “I wouldn’t want to be my understudy.

“But the world is a miserable place sometimes and we need to empty our bins, mentally. The only way to do that is release some laughter and you’ll laugh for two hours solidly at this, I promise.”

Radiating warmth as naturally as Frank Spencer causes chaos, Joe’s mum certainly ‘ad a very funny, talented and lovable lad.

www.somemothersdoaveem.com

Vicky Edwards©

MITCH SEBASTIAN RETURNS TO BRIDEWELL FOR Q&A AT
SEDOS’ PRODUCTION OF PIPPIN

Director, choreographer, writer and performer Mitch Sebastian returns to the Bridewell Theatre this Thursday (17 May 2018), 20 years after he directed Pippin at the venue, to see a new production of the show and answer the audience’s questions.

Mitch will join members of the Sedos Pippin company for a post-show Q&A discussing his role in the recent history of the now-popular show, from directing a seminal production at the Bridewell 20 years ago — the first to use the “Theo ending” — and the Menier Chocolate Factory production in 2011, to working with Pippin’s music and lyric writer Stephen Schwartz to develop the recent Broadway revival.

Mitch Sebastian is an Olivier and WhatsOnStage Award-nominated British theatre director, choreographer and performer. He created and directed The Rat Pack: Live from Las Vegas which ran for four years in the West End and was artistic director of Kilworth House Theatre for several years. As a performer, he appeared in the European premieres of the Sondheim shows Follies and Pacific Overturesas well as the original cast of Stephen Schwartz’s Children of Eden. As a choreographer and director, he has worked on numerous West End shows, as well as with the Royal Shakespeare Company and the Peter Hall Company at the Old Vic.

The Q&A is free for ticket holders and there are fewer than 30 tickets left for this performance. Wednesday night’s performance is sold out, with tickets still available for Tuesday, Friday and both Saturday shows.

Sedos’ Pippin opened last Wednesday (9 May) and has been receiving excellent reviews:

• “If ever a show was crying out for a large scale return to the West End, then Pippin is
the one and, my advice is to all the members of Sedos, give up the day jobs and take it there” — London Theatre 1 (*****)

• “For my money the show is good enough to transfer West, half a mile up the road. Certainly, many of the cast could have a second string to their bows in the commercial theatre any time they wanted” — Sardines (*****)

• “Pippin is a triumph… highly recommended” — The 730 Review (****)

•  “A genuinely moving piece of drama” — Remote Goat (****)

• “It was not good. It was very good… Go to the Bridewell and give some support to these guys. They deserve it!” — London Theatre Reviews (****)

•  “The whole production is more polished and entertaining than many professional shows… In the hands of Sedos, Pippin is a gem of a musical” — Fairy Powered Productions (****)

•  Joe Thompson-Oubari and Corin Miller “are a tour de force excelling in their vocals, their acting and their dance” — Musical Theatre Musings

LISTINGS DETAILS

Pippin

Book by ROGER O.HIRSON

Music and lyrics by STEPHEN SCHWARTZ

Box office: sedos.co.uk

Until 19 May

7.30pm Tuesday-Saturday, plus Saturday matinee at 2.30pm

Bridewell Theatre, Bride Lane, London, EC4Y 8EQ

Tickets: £14.50-21

Bridge Theatre – until 26 May

Reviewed by Claire Roderick

4****

The harsh realities of rural life are brought into sharp relief in Barney Norris’s Nightfall. Set on a farm in Hampshire, the conflict and expectations of different generations come to the surface as childhood friend Pete returns after spending time in prison. Pete was Lou’s boyfriend and her brother Ryan’s best friend, spending most of his time on the farm rather than at his home on the council estate. Lou and Pete’s father Des died while Pete was away, and neither the siblings nor their mother Jenny have come to terms with their grief. When Pete helps Ryan in a scheme to make a little extra illegal cash, things begin to unravel for Jenny and her dream of the future.

The economic fragility of farming is represented by the huge oil pipeline dominating the set, signalling before the play starts that this is a farm in trouble, even though we later learn that Des agreed to the pipeline for spiteful as well as monetary reasons. Designer Rae Smith has created a realistic farm garden, with an old septic tank next to the garden furniture, farm machinery rusting away and the patchy lawn of a family with more important things to worry about. The huge stage was a little overwhelming at first, until you realise that director Laurie Sansom has the characters always removing themselves to a safe distance, never quite making the connections they need to understand each other.

Ophelia Lovibond and Sion Daniel Young are devastating as Lou and Ryan, both portraying grief, guilt and reluctant duty in contrasting but convincing ways. Claire Skinner gives a fascinating performance as Jenny, at first seeming funny and snarky in a wine buzz haze, but as things slip out of our control, revealing the devious and manipulative hardness beneath as she fights to keep her family together, whether they want it or not. Ukweli Roach slowly reveals Pete’s strength and honour in a restrained but likeable performance.

Norris’ deft writing touches on many relevant topics for rural families – the balance of clinging to tradition and family history, and economic and pragmatic choices that free future generations from debt; the need for younger generations to strike out on their own and find their own way in the world rather than dutifully follow the family’s expectations. Jenny’s selfish grief, sanctifying her bully of a husband and manipulating her children to keep them near, is beautifully written – with some lines making the audience gasp with horror. And most satisfyingly, there are no obvious happy endings for any of the characters, only a slight hope for change.

With a wonderful cast and superlative writing, Nightfall is a must-see.

Bridewell Theatre – until 19 May

Reviewed by Claire Roderick

4****

You have to pinch yourself at times to remind yourself that the cast of Sedos’ Pippin are all amateur performers. In fact, the whole production is more polished and entertaining than many professional shows.

Stephen Schwartz’s musical is not to everybody’s tastes, with some productions overcompensating for the slim plot with gimmicks and circus or magic tricks. Director Chris Adams keeps things simple, using the fantastic space of the Bridewell Theatre imaginatively, and giving the players and their makeshift scenery the true feel of a ragtag bunch of artists. The talented band are up in the balcony behind the stage, with conductor Ed Curry in full view ready to receive instructions, and criticism, from the Leading Player (Corin Miller).

The show follows Pippin, son of Charlemagne, on his quest for fulfilment in life, guided by the Players. As his stepmother Fastrada plots to gain the throne for his half-brother Lewis, Pippin searches for his own corner of the sky and his own glory. He tries being a soldier, sex, drugs and finally patricide – and all before the interval – before trying out an ordinary life with an ordinary family (much to the disgust of his guide) before the much-promised finale.

Corin Miller is fantastic as the Leading Player, cajoling, bullying and seducing Pippin into making dubious choices on his journey. She is almost constantly on stage, prowling like a caged tiger as she watches Pippin’s experiences, and is a powerhouse vocally and physically. Her chemistry with Pippin (Joe Thompson-Oubari) is incredible, with Thompson -Oubari subtly giving Pippin more and more confidence, purpose and strength as the show progresses. Charlie Welch is sweet but spiky as Catherine, making the most of the antagonism between Miller’s and her own character. Kris Webb (Charlemagne), Vicky Terry (Fastrada) and Paul Nicholas Dyke (Lewis) provide great comic relief, and Annie Houseago steals the show as Pippin’s grandmother with an irresistible singalong rendition of No Time at All.

Roger O. Hirson’s book is flawed, with a few underwhelming jokes, but the cast do their utmost with what they’re given. The musical numbers are memorable and choreographer Paul Brookland Williams mixes Fosse with modern and classical styles to create energetic routines performed with skill by the cast.

In the hands of Sedos, Pippin is a gem of a musical – fiercely fun and revelling in its strangeness. One not to miss

WEST END BARES

RETURNS FOR 2018

SUNDAY 28 OCTOBER

AT THE SHAFTESBURY THEATRE

TICKETS ON SALE NOW

After two years of sold-out performances at the Novello Theatre, WEST END BARES, theatre’s hottest annual fundraiser will bare more than ever before as it moves to the Shaftesbury Theatre on Sunday 28 October at 7pm and 9.30pm in aid of the Make A Difference Trust with tickets on sale NOW. Last year’s sold-out performances, hosted by Graham Norton, raised £57,633 and featured performances by Olivier Award winner Rebecca Trehearn,  Marisha Wallace from “Dreamgirls” and special guest hosts Summer Strallen, Adam Garcia, Dianne Pilkington, Tom Allen, Mark Gatiss, Ian Hallard, Celinde Schoenmaker and Oliver Savile.

Artistic Director, David Grewcock said today, “From our first spectacular six years at the legendary Café de Paris, to two sold out years at the Novello Theatre, I am thrilled that the demand for tickets for WEST END BARES keeps getting bigger.  Moving to the Shaftesbury Theatre for 2018 will allow even more people to join us for one of the West End’s biggest fundraisers as we dare to bare like never before.  We have massive plans for this year to make the ninth edition of WEST END BARES the biggest yet which will help us continue to raise vital funds for the Make A Difference Trust”

This year’s theme and celebrity guests will be announced in the summer. Previous celebrity supporters have included Eddie Izzard, Dame Judi Dench, Michelle Visage, Samantha Bond, John Barrowman, Ramin Karimloo, Bianca Del Rio, Joe Lycett and Beverley Knight.

The event is based on the original concept ‘Broadway Bares’ by legendary Broadway and West End director and choreographer Jerry Mitchell to benefit Broadway Cares/Equity Fights Aids.

The Make A Difference Trust is a UK based charity with a vision of a world free from HIV and AIDS. Building on the legacy of 25 years of fundraising by the Theatre industry, they continue to make the vision a reality having distributed over £1.6million in grants to support individuals experiencing hardship across the UK as well as over £1million to support projects with their UK and international partners. For further information about the Make A Difference Trust please visit www.madtrust.org.uk

Tickets for WEST END BARES are on sale now and are priced at £25 – £80.

Tickets are available from www.madtrust.org.uk or the Shaftesbury Theatre booking line 020 7379 5399 and in person at the Shaftesbury Theatre Box Office. Booking fees apply.

VIP tickets are available directly from MAD Trust by calling 020 7231 9719 and include access to the pre-show drinks reception, VIP entrance to the theatre with a drink on arrival, £10 of MAD money, the best seats in the House for the legendary Rotation and access to the Exclusive After Party. Booking fees apply.