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FULL CASTING ANNOUNCED FOR
MAMMA MIA! INTERNATIONAL TOUR

Full casting has been announced for the sensational feel-good musical MAMMA MIA! which comes to Palace Theatre, Manchester from 3^rd – 14^th July 2018 as part of its international tour. Shona White (Donna Sheridan), Nicky Swift (Rosie), Helen Anker (Tanya), Tamlyn Henderson (Sam Carmichael), Daniel Crowder(Harry Bright), Matthew Rutherford (Bill Austin), Lucy May Barker (Sophie Sheridan), Phillip Ryan (Sky),Leisha Mollyneaux (Ali), Lottie Henshall (Lisa), Matt Jordan-Pidgeon (Pepper) and Michael Nelson (Eddie) will star in the production. At certain performances the role of Donna Sheridan will be played by Natalie Langston.

Completing the cast are Tom Bainbridge, Devon Braithwaite, Ambra Caserotti, Áine Curran, Martin Dickinson, Tilly Ford, Courtney George, Sarah Harlington, Samuel Hawkins, Luke Jasztal, Matt Kennedy, Stacey Leanne Mills, Hollie Nelson, Matthew Ronchetti, Ellie Rutherford, Jaydon Vijn and Jamie Wilkin.

MAMMA MIA! is Judy Craymer’s ingenious vision of staging the story-telling magic of ABBA’s timeless songs with an enchanting tale of family and friendship unfolding on a Greek island paradise. To date, it has been seen by more than 60 million people in 50 productions in 16 different languages. In 2008, MAMMA MIA! The Movie became the highest-grossing live action musical film of all time.

From West End to global phenomenon, the London production of MAMMA MIA! has now been seen by more than 10% of the entire UK population. It is one of only five musicals to have run for more than 10 years both on Broadway and in the West End and, in 2011, it became the first Western musical ever to be staged in Mandarin in the People’s Republic of China.

The hugely successful international tour, since premiering in Dublin in September 2004, has visited 85 cities across 38 countries and sold over 5 million tickets.

Shona White plays Donna Sheridan. Training: Royal Academy of Music. Theatre includes: Leda Fox-Cotton in I Capture the Castle (Watford Palace Theatre and Octagon Theatre, Bolton), Woman in The World Goes Around(Stephen Joseph Theatre), Alternate Donna Sheridan in MAMMA MIA! (Novello Theatre, London), Principal Vocalist in Sunny Side Of The Street (Jermyn Street Theatre, London), Florence Vassy in Chess (UK tour and Toronto), standby and played Elphaba in Wicked (Apollo Victoria, London), Betty in Shout (UK tour and Arts Theatre), All the Fun of the Fair with David Essex (Garrick Theatre, London), Usherette/ Magenta in The Rocky Horror Show (UK tour and Playhouse), Lisa and Sophie Sheridan in MAMMA MIA! (Prince Edward Theatre, London), Miss Gordon in Merrily We Roll Along (Donmar Warehouse) and Eponine and Cosette in Les Misérables (UK tour). Other credits include: Solo cabaret and concert artist appearances at the Pheasantry, Pizza on the Park, Queen Elizabeth Hall and the Royal Albert Hall in an Elton John concert, and guest performer on Friday Night Is Music Night (BBC Radio 2). Recordings include: When Midnight Strikes, Zipp! and All the Fun of the Fair cast recordings and The Hitchhiker’s Guide to the Galaxy soundtrack. Shona’s debut album I’ll Bring You a Song was released in 2011. She is also an experienced voiceover artist.

 

Natalie Langston plays Alternate Donna. Training: Guildford School of Acting. Theatre includes: Donna Sheridan in MAMMA MIA! (Royal Caribbean Productions), Alternate Donna Sheridan in MAMMA MIA!(International Tour), Alternate Eva Peron in Evita (Pheonix Theatre, London and UK & European Tour), Ernestine in Perchance to Dream (Finborough Theatre, London), Rizzo in Grease (Piccadilly Theatre, London), Dorcus in Seven Brides For Seven Brothers (UK Tour and Haymarket Theatre, London), Nancy in Jekyll and Hyde (UK Tour) and Lead Female Vocalist in Spirit of Broadway (China Tour). Television includes: Anita in West Side Story in Howard Goodall’s 20^th Century Greats. Rizzo in Grease The School Musical and Backing Singer for Enya appearing on shows such as This Morning and Children In Need.

 

Nicky Swift plays Rosie. Training: National Youth Music Theatre, Birmingham University and The Royal Academy Of Music where she received The Ian Fleming Musical Theatre Award. Theatre includes: Shirley in Shirley Valentine (30th Anniversary UK tour), Ethel/Coach Dunbar/Betty in Footloose (UK Tour), Madame and understudy Madame Thenardier in Les Miserables (Queens Theatre, London), Cynthia/Aunt Mimi in Lennon (Royal Court, Liverpool), Vera Lynn in Songs For Victory (UK Tour), One Night In Istanbul (Echo Arena, Dublin Gaiety and Belfast Grand Opera House), Jack And The Beanstalk, Mother Goose, Aladdin, Dick Whittington, Sleeping Beauty and Red Riding Hood (Liverpool Everyman and Playhouse), Jellylorum in Cats (Arena Tour), Vi in The Buddy Holly Story (Upstairs At The Gatehouse), Alice In The Walled Garden (Brockwell Park), Twelfth Night, Plaza Suite, The Odd Couple and A Slice of Saturday Night (QE Theatre Company on Cunard’s Queen Elizabeth), Elizabeth in Richard Taylors’ Whistle Down The Wind, (Edinburgh Festival, Sadler’s Wells and West Yorkshire Playhouse), Charlie, (Buxton Opera House), Creation and Warchild, (National Youth Music Theatre), Her Benny (Liverpool Empire), David Copperfield (UK Tour), Sixteen Gobs (Kings Head, London), Habeas Corpus and City Of Angels (Royal Academy of Music).  Television includes: Hillsborough (ITV), Voices Raised, Blue Peter, Sport Relief and The Olivier Awards (BBC). Radio includes: Loose Ends (BBC Radio 4), New Musicals with Stephen Sondheim (BBC Radio 2). Other credits include: Soloist alongside Dame Judi Dench in An Enchanted Evening at Theatre Royal Drury Lane and performances at charity galas at The Palace Theatre, The Royal Albert Hall, the O2 Arena and for HRH Prince Edward at St James’ Palace. Nicky works as a backing and session singer, supporting names such as Tom Jones, Lesley Garrett, Elaine Paige and Cynthia Erivo.

 

Helen Anker plays Tanya. Training: Royal Ballet School and Doreen Bird College. Theatre includes: Miss Olson in Promises, Promises (Broadway Theatre, New York), Eliza in My Fair Lady (Guthrie Theater, Minneapolis), Guenevere in Camelot (Chanhassen, Minneapolis), The 39 Steps (Milwaukee Repertory Theatre), Mrs Mullin in Carousel (Houston Grand Opera), Georgia in Curtains (Paper Mill Playhouse, New Jersey), Radio Times(Queens Theatre, London) Cats, (New London Theatre, London), Crazy For You (Prince Edward Theatre, London), Oklahoma! (National Theatre and Lyceum Theatre, London), Fame (Cambridge Theatre, London), Hard Times (Theatre Royal, London), Candide in On the Town (English National Opera, London), Contact(Queens Theatre, London), Beautiful and Damned (Lyric Theatre, London), Parade (Donmar Warehouse, London), A Chorus Line, Dames At Sea, Let’s Face The Music and Dance, The Thorn Birds, It’s A Wonderful Lifeand Masterpieces (Regional theatres). Television includes: Holby City, Law and Order, White Collar and The Good Wife. Performed on 4 Tony Awards and at The Oscars. Film includes: Ted 2 and Cinderella.

Tamlyn Henderson plays Sam Carmichael. Training: Western Australian Academy of Performing Arts. Theatre includes: Stephen in The Dark Room (Theatre 503, London), Factory Foreman, cover Javert/Thenardier in Les Miserables (Australia & International Tour), Frank in Ladies in Black (Queensland Theatre, Brisbane), Herr Zeller/ cover Captain in The Sound of Music (Australia Tour), Wild Bill Hickok in Calamity Jane (Hayes Theatre Co, Sydney),  Marvin in Falsettos (Eternity Playhouse, Sydney), Bobby/ cover Cliff in Cabaret (IMG/Fran & Barry Weissler), cover Galileo/ Britney and Khashoggi in We Will Rock You (Japan Tour), Weasel in Wind in the Willows (Kew Gardens), How to Act Around Cops (Darlingurst Theatre Co, Australia), The Importance of Being Earnest (Seymour Centre, Sydney), The Gruffalo (Australia & UK Tour) and Circumspecto (Sydney Opera House). Film and Television includes: Careless Love, Cedar Boys, Redfern Now, All Saints and the self-produced web series ‘As Actors’-Manila. Other credits include: Tamlyn spent much of the mid to late ‘noughties’ creating and performing as one half of comedy duo Allsopp & Henderson.

Daniel Crowder plays Harry Bright. Training: Rose Bruford College. Theatre includes: Neville’s Island (Stephen Joseph Theatre, Scarborough), The Mousetrap (St Martin’s Theatre, London), The Potsdam Quartet (Jermyn St Theatre, London), Way Upstream (Salisbury Playhouse), Corrie! (UK Tour & New Zealand), The Duchess of Malfi (Theatre Royal, Northampton), Arthur and George (Birmingham Repertory Theatre), Lost in the Stars(Queen Elizabeth Hall, London), High Society (National Tour), The Graduate, Twelfth Night, The Madness of George III, Stig of the Dump and Seeds Under Stones (West Yorkshire Playhouse), Noel Coward Double Bill(Liverpool Playhouse), The Safari Party (Stephen Joseph Theatre, Scarborough and Hampstead Theatre), The Good Samaritan (Hampstead Theatre), Love’s Labour’s Lost, A Midsummer Night’s Dream, Twelfth Night and The Merry Wives of Windsor (Regents Park Open Air Theatre), That Woman (Royal Court) and The Red Balloon(National Theatre). Television includes: Urban Myths: Pubic Enemy (Sky Arts), The Job Lot, Ladies of Letters(ITV), Casualty, EastEnders, Doctors, Holby City (BBC), Midsomer Murders (Bentley Productions), Los Dos Bros(Talkback), Randell and Hopkirk Deceased (Working Title), Coronation Street (Granada) and The Bill (Thames). Film includes: Gulliver’s Travels (Fox Searchlight), The Avengers (Warner Bros.) and Reinventing Eddie (BBG Productions). Radio includes: How to have a Perfect Marriage (Radio 4), Jarvis Cocker in My Lighthouse (Radio 2), Lost in the Stars (Radio 3) and The Red Balloon (Radio 4).

 

Matthew Rutherford plays Bill Austin. Training: Chester University. Theatre includes: Joe B in The Buddy Holly Story (Strand Theatre, London), Sweeney Todd (Tour), Merrily We Roll Along (Watermill Theatre, Newbury), The Inland Sea (Oxford Stage Company), Stone Cold Murder (Vienna English Theatre), Carmen (Stephen Joseph Theatre, Scarborough), Marlene (New Vic Theatre), The Hired Man (The Curve, Leicester), James And The Giant Peach (The Mercury, Colchester), Love Beyond (Wembley Arena) and Allotments (Citizens Theatre, Glasgow). Film includes: Kingdom of Heaven, Caregiver, Lion of Judah, Burning Calcutta, Hate Story IV and The Silent Fall. Television includes: Commander and PREMature.

 

Lucy May Barker plays Sophie Sheridan. Theatre includes: Sophie in MAMMA MIA! (UK Tour), Ilse in Spring Awakening (Lyric Hammersmith and Novello Theatre, London), Marina in Earthquakes in London and Millie in Really Old Like Forty Five (National Theatre), Mercy Lewis in The Crucible (Regent’s Park Open Air), Clarissa in The Reluctant Debutant (UK tour), Johanna in Sweeney Todd (Chichester Festival Theatre and Adelphi Theatre, London), Cherry Buck in Ben Travers’ Thark, as part of the inaugural season at the Park Theatre, Baby Belgrave in Ace of Clubs (Union Theatre), Ado Annie in Oklahoma! (UK tour) and Betty in Pine (Hampstead Theatre). Film includes: Nursemaid in The Woman in Black. Television includes: George in The Culshaw & Stephenson Impressions Show, Belinda De Lacey in Scoop! and Chris in Doctors. Other credits include: Lucy can also be heard in the radio dramas Lost in Mexico, The Russian Gambler (BBC Radio 4) and Charlotte Pollard (Big Finish).

 

Phillip Ryan plays Sky. Theatre includes: Sky in MAMMA MIA! (UK Tour), Trainspotting (Edinburgh Festival), Defect for Perfect Pitch and a workshop of Head’s Up for No Fun Productions.

 

Leisha Mollyneaux plays Ali. Training: Arts Educational Schools and The BRIT School for Performing Arts & Technology. Theatre includes: Young Stella in Follies (National Theatre), Onstage Swing in Carousel (English National Opera), Ensemble/Assistant Dance Captain in Love Never Dies (Hamburg, Germany) and Ensemble in Jack and the Beanstalk (The Courtyard Hereford). Other credits include: Rags The Musical in Concert (Lyric Theatre), Dancer for What’sOnStage Awards 2014 (Prince of Wales Theatre), Soloist in Friday Night is Music Night (BBC Radio 2), The Olivier Awards 2013 & 2014 (Royal Opera House) and Kerry Ellis in Concert (London Palladium).

 

Lottie Henshall plays Lisa. Training: Mountview Academy of Theatre Arts. Theatre includes: Our House (UK Tour) and The Braille Legacy (Charing Cross Theatre) and backing singer for Page by Paige (Royal Albert Hall). Television Includes: Doctors (BBC).

 

Matt Jordan-Pidgeon plays Pepper. Training: Wilkes Academy. Theatre includes: Ensemble / 1st cover Pepper in MAMMA MIA! (Novello Theatre, London) and Ensemble in Cinderella and Peter Pan (First Family Entertainment). Other credits include: Dancer in Lucozade and Ribena flash mob, Iceland corporate event (ICC Birmingham), The Arc of Nirvana (Dancers Inc), Dancer Soccer Aid and Mercedes Benz Show. Matt is four times world tap dance champion.

 

Michael Nelson plays Eddie. Training: Mountview Academy of Theatre Arts. Theatre includes: Our House (UK Tour), An Evening Of Dirty Dancing (UK Tour), The Rink (Workshop), Get Em’ Off (Above The Stag), Alice in Wonderland (St Paul’s Church), Jack And The Beanstalk (Glasgow SEC Hydro), 7Airs (Ledbury Poetry Festival), Potters Theatre Company (Norfolk), Aida Cruises and Aladdin (The Courtyard, Hereford). Television includes:Adidas Commercial for the World Cup and Kenickie in Grease The School Musical (Sky 1).

 

With music & lyrics by Benny Andersson & Björn Ulvaeus, MAMMA MIA! is written by Catherine Johnson, directed by Phyllida Lloyd and choreographed by Anthony Van Laast. The production is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce and Bobby Aitken, and musical supervision, additional material and arrangements by Martin Koch.

The MAMMA MIA! International Tour is produced by Judy Craymer, Richard East & Björn Ulvaeus for Littlestar in association with Universal and NGM.

THE LAST SHIP

 

• STING TO PERFORM WITH CAST AT SPECIAL
  ONE-OFF OUTDOOR FESTIVAL PERFORMANCE OF HIS DEBUT MUSICAL

 

• SHOW RETURNS TO NEWCASTLE FOLLOWING SELL-OUT, SMASH-HIT RUN AT NORTHERN STAGE EARLIER THIS YEAR

 

• AT SPILLERS WHARF, NEWCASTLE ON MONDAY 28 MAY 2018

 

• TICKETS ON SALE NOW

 

A unique one-off outdoor performance of The Last Ship, that will include its creator Sting who will be performing live alongside the cast, is to be held in Newcastle later this month, alongside the very river that helped inspire and shape the show.

A performance of The Last Ship – which has music and lyrics by Sting – will play at Spillers Wharf, Newcastle Quayside on the banks of the Tyne on Monday 28 May 2018.

Sting is to appear alongside the cast of The Last Ship at the huge event, and will perform previously unreleased music from the production.

This landmark outdoor performance follows a sell-out, critically-acclaimed UK premiere run at Northern Stage in Newcastle earlier this year.

The UK and Ireland tour is running until July, where it will finish at The Lowry, Salford.

Tickets for the Spillers Wharf performance are on sale now and to book tickets visit https://bit.ly/2J4a1YT

 

When a sailor named Gideon Fletcher returns home after seventeen years at sea, tensions between past and future flare in both his family and his town. The local shipyard, around which the community has always revolved, is closing and no-one knows what will come next, only that a half-built ship towers over the terraces. With the engine fired and pistons in motion, picket lines are drawn as foreman Jackie White and his wife Peggy fight to hold their community together in the face of the gathering storm.

 

The Last Ship features an original score with music and lyrics by Sting as well as a few of his best-loved songs; Island of Souls, All This Time and When We Dance.

This personal musical inspired by Sting’s own childhood experiences, shows the collective defiance of a community facing the demise of the shipbuilding industry alongside a poignant and moving romantic tale of childhood sweethearts and the adults they grew up to become.

Featuring an awe-inspiring and impressive set by Olivier Award-winning 59 Productions, this is the UK and Ireland premiere of The Last Ship, Sting’s heartfelt and empowering new musical.

The cast includes Joe McGann (Jackie White), Charlie Hardwick (Peggy White), Richard Fleeshman (Gideon Fletcher) and Frances McNamee (Meg Dawson) and is competed by Michael Blair (Yard Worker), Joe Caffrey(Billy Thompson), Matt Corner (Young Gideon & Yard Worker), Susan Fay (On Stage Swing) Marvin Ford (Ferryman & Yard Worker), Orla Gormley (Cathleen & Yard Worker), Annie Grace (Mrs Dees), Sean Kearns(Freddy Newland & Old Joe), Katie Moore (Ellen Dawson), Charlie Richmond (Adrian Sanderson), Parisa Shahmir (Young Meg), Kevin Wathen (Davey Harrison), James William-Pattison (Yard Worker/On Stage Swing) and Penelope Woodman (Baroness Tynedale).

The show is directed by Lorne Campbell, the artistic director of Northern Stage and has set design by 59 Productions – team behind the video design for the 2012 London Olympic Games.

 

The Last Ship has a new book by Lorne Campbell, original book by John Logan and Brian Yorkey, orchestrations by Rob Mathes, musical direction by Richard John, costume design by Molly Einchcomb, movement direction by Lucy Hind, lighting design by Matt Daw and sound design by Seb Frost. Other members of the creative team are dramaturg Selma Dimitrijevic, associate director Jake Smith, casting director Jenkins McShane Casting and associate musical director Sam Sommerfeld.

 

The Last Ship is produced by Karl Sydow and Kathryn Schenker with Northern Stage.

 

York Grand Opera House – until 12th May
Reviewed By Marcus Richardson
5*****

The Kite Runner is a novel, written by Khaled Hosseini, that a lot of people have heard of; a gripping tale of war, friendship and loyalty. When first adapted to stage in 2007, the play brought to life Amir’s story on a different platform to paper. The story follows a wealthy Afghan boy and his father, we are given the insight into how Amir views his servant and how society has already written their lives out for them.

The story is one demands emotion and attention, from the very start we are given tales of kites in the sky and snow on the ground, the cast beautifully painted a picture of the gusts of wind that sent kites soaring. Amir played by Raj Ghatak, was on stage most of the time switching between his American modern and his history of an Afghan child, we were shown the naivety and shyness of a child and then later the regret of his adult self, it was incredible to see this in the same scene as we watch the character jump in and out of his history. Amir’s relationship with his Servant Hassan played by Jo Ben Ayed is one of the main focuses of the play, their relationship its seen as one-sided loyalty with an adult Amir regretting his own loyalty to Hassan, their relationship as children is one of innocence and adventure, the two actors on stage really brought this bond between the two characters to life. Amir’s relationship to his Father is also an important part of the play, and it is said in the play in Muslim culture blood is one of the most important things about a man, we only know Amir’s father as Baba played by Gary Pillai, we have one of the strongest contrast of characters with his father standing up to any injustice and shows what it means to be a man. The whole cast created this ambience that fitted the scenes so well from parties to weddings and when the time demanded focus and sombreness they added to the scene.

The use of a Tabla drummer (Hanif Khan) who played the drums during scenes and through the use of live music and cultural importance of the instruments made some scenes harrowing with sounds made from singing bowls, the silence of the rest of the stage and audience added to this, it made you think about what was happening on stage and highlights the darker moments of the play. The stage itself has two large kites that hid certain moments of action and then represented Amir’s home, these visuals worked really well and you were given the sense of a hope through the just of projection on these two kites.

For me the play was captivating from start to finish, the injustice of the play really messed with me as a watcher and I just wanted to shout or do something to stop what was happening on stage, it is a very sensitive play, the issues are still very real and the way that they were addressed on stage is very clever, the acting during this production was masterful and I don’t think I’ve been more invoked by a piece of theatre and how it plays with our feelings. At times during the show I was just gawping at the plot, it felt real and relevant. I would recommend this show to anyone, but there are a lot of issues that are not suitable for children. Its important that issues like these are addressed and made aware, this show will play with your emotions and you will take away more than just an amazing night at theatre but you take away insight how war can affect people.

The Lowry, Manchester – until Saturday May 12th 2018

Reviewed by Julie Noller

5***** 

Titanic – The Musical, a disaster as a musical? Not exactly something that sits comfortably with most people. The story of RMS Titanic is ingrained in British folklore, it’s as British as fish and chips. The stories of human endeavour have been passed down through generations; Titanic is not remembered for it’s magnificent feat of engineering but as Britain’s greatest maritime accident, one that to many should never and could never happen. This production is based the book written by Peter Stone, with music and lyrics by Maury Yeston.

Not surprisingly upon entering the theatre, you know what is going to happen, yet it doesn’t make watching the inevitable any less uncomfortable to your soul. It’s a five time Tony award winner and from the outset you can see why, it’s stunning yet simple stage set captivates you like a giant galvanised lego kit. Characters are busy, scurrying around bringing their wares to fill this giant floating city on her maiden voyage, they leave the stage wonder into the auditorium; making us feel like the waiting family members, poised with hankies in hand to wave off our loved ones heading to America. Checking the programme before taking my seat, I noted no Rose, no Jack and no nod to Celine Dion not a bad thing as sometimes a song or character can overpower a story. This version is in my opinion more realistic to the era, everyone adores a love story but this is 1912, Georgian Britain, Victoria had been dead for a decade. It was a Britain that expected greatness beyond all things. That expectation was ultimately to be Titanics downfall.

The performances on all levels are spine chilling; the songs verging on operatic are full of information that tell a thousand stories. We see steady hands at the helm for this tour of the UK and Ireland, with returning stalwarts Greg Castiglioni, Phil Rahm and Simon Green. Together in the second act they bring such vibrant passion to life in a moment of dismay and realisation. As each in turn looks to blame the other and accepts fault. Thomas Andrews (Greg Castiglioni) is portrayed as a proud designer, here was a true engineering feat a floating city, he points the finger at J. Bruce Ismay (Simon Green) for pushing the Titanic to the point of breaking in his quest for a new Atlantic crossing record. Ismay a man of the upper classes born into privilege, all he has ever known has been silver spoon fed to him. The White Star Line were ships built with decadence, every comfort for those paying First Class had been considered even if it meant cutting back on those lifeboats, for Titanic was unsinkable. Unsinkable she may have been if Ismay had let her be, settle in to life at sea. Instead he pushed her to breaking point. Captain Smith (Philip Rahm) a true sea-dog, should’ve retired but the lure of taking the helm for Titanic’s maiden voyage was a swansong he felt unable to resist. A captain of the old order, ignoring the new upcoming technologies which may well have prevented a disaster, we see a man determined to dine his passengers and even he is cajoled into pushing this great ship onward towards New York at a rate that exceeded any safety advice. Little did he know he would gain notoriety as one of Britain’s most well known Captains but not as the hero he expected. The Passengers and crew aboard The Titanic are typical to the era and each and every one has a different personality, you feel drawn to them, long for their stories and cleverly we hear those stories and piece together how they come to be on board. The lower decks are boarded by the working classes, their stories of optimism and longing for a new life, they strive to better themselves for in America, anything can happen. Jim Farrell (Chris McGuigan) and Kate Mullins (Emma Harrold) are escaping poverty in Ireland, Kate is escaping for a future both for herself and unborn child, Jim longs to be a policeman – an impossibility in Ireland for him. They agree to marry on board and dream of a life free from restraint. Second class are those split between having seen what the Upper classes have, those who long to taste that life and those just content. Edgar Beane (Timothy Quinlon) is the long suffering husband to socialite wannabe Alice (Caire Machin) a truly likeable character seeking the fun and in a true American style seeks more in life. Lady Caroline Neville (Claire Marlowe) is eloping with Charles Lightoller (Alistair Barron) the son of a grocer. They are listed as married it’s a Downtonesque style story across the classes, she doesn’t miss her father or lifestyle yet when she is recognised cannot bring herself to say that she’s a second class passenger. First Class well from the lovable Strauses (Dudley Rogers and Janet Mooney stepping in at the last minute) who remain together until the final moments lovingly dancing together bringing a tear to many an eye. They enjoy a life of luxury, maids and waiters cater to every whim of the first class passengers. The panic stricken crew whose fete is sealed, Harold Bride (Oliver Marshall) as the young radio operator who has no friends except for his radio set, remains at post to send out the newly recognised SOS destress call. It’s one of many heart stopping moments to know these people will not make it out alive. Sitting forward in my chair, I needed to remind myself to relax and breathe. As the screen closes on those who have failed to survive, we see the backs of the survivors looking up at a very long list of over a thousand names at the Titanic memorial. If I had’ve had a rotten tomato then I surely would’ve thrown it at J. Bruce Ismay for daring to believe it was his right to take a seat on a lifeboat all of which were painfully under occupied yet remained so despite the screams because of an acute fear and knowledge that Titanic had too many passengers to save. It ends as it begins with bright faces seeking to board Titanic yet with a difference the survivors look down on those ghosts of loved ones as if reliving the moment. For moments time stand still, the sadness unbearable.

Titanic –The Musical is a stunning production from start to finish and despite the story being known to see it this way, emotive and passionate unleashes the belief that it should never have happened. It doesn’t point the finger at one person but simply introduces us to a catalogue of disastrous decisions that led to Titanic never being forgotten and the men who commissioned, built and sailed her being just as memorable. I am totally in awe and wish I could turn back time to watch it all over again. This is the drama of real life, brought to life in the greatest memorial ever offered.

LAST CHANCE TO SEE

GORE VIDAL’S CRITICALLY ACCLAIMED POLITICAL THRILLER

 

THE BEST MAN

 

STARRING MARTIN SHAW

JEFF FAHEY, MAUREEN LIPMAN, JACK SHEPHERD

HONEYSUCKLE WEEKS & GLYNIS BARBER

 

MUST END ON 26 MAY AT THE PLAYHOUSE THEATRE

 

★★★★

Daily Telegraph, The Guardian, Daily Express, Sunday Express, Evening Standard, Metro, Daily Mail, Radio Times, London Theatre, New European

 

After opening to critical acclaim and extending its West End run, audiences have just three weeks left to catch Gore Vidal’s sharp political drama The Best Man, before it closes on 26 May at thePlayhouse Theatre.

 

Astonishingly, The Best Man, which was written and produced nearly 60 years ago, is just as politically pertinent as the day it was written. With the impending arrival of Trump’s ‘Working Visit’ to the UK looming, The Best Man is possibly one of the most thought provoking and relevant plays currently running in London’s West End.

 

Martin Shaw is William Russell, esteemed ex-Secretary of State and US presidential candidate, with something of a philandering reputation. Jeff Fahey is Joseph Cantwell, an ambitious populist newcomer, opposing Russell for the party nomination.

 

Running neck and neck, the only thing that might separate the candidates are endorsements from a respected Ex-President (Jack Shepherd) and party big-wig (Maureen Lipman). As the race heats up the campaign gets personal, involving Russell’s estranged wife Alice (Glynis Barber) and Cantwell’s wife Mabel (Honeysuckle Weeks). But where does compromise end and corruption begin? How far will they each go to become the most powerful man in the world? And who in the end will be proven to be “the best man”?

 

The play mirrors the often surprising results of campaigning, and the all-too-often unscrupulous world of politics.

 

The Best Man is produced by Bill Kenwright and directed by Simon Evans, with set and costume design by Michael Taylor, lighting design by Chris Davey and composition and sound design by Ed Lewis.

LISTINGS

 

BILL KENWRIGHT PRESENTS

THE BEST MAN

www.Kenwright.com

 

Written By Gore Vidal

Directed By Simon Evans

Playhouse Theatre

Until 26 May 2018

 

Performances:                       

Monday – Saturday evening: 7.45pm

Thursday and Saturday matinee: 3pm  

 

Ticket Prices: From ￡15

Address: The Playhouse Theatre, Northumberland Ave, London, WC2N 5DE

Box Office: 0844 871 7631

 

ATG Tickets: www.atgtickets.com

LET IT BE RETURNS WITH UK PREMIERE OF NEW SHOW

Cast announcement coincides with 48^th anniversary

of Let It Be album release

 

Brand new Part II imagines The Beatles’ reunion concert that never was – a rare treat for fans

 

 

Let It Be: A Celebration Of The Music Of The Beatles returns to the UK for a national tour starting in Summer 2018, and comes to the Opera House, Manchester from 22^nd – 27^th October.

 

Today, the talented cast who will portray the Fab Four in the show have been revealed, coinciding with the 48th anniversary of Let It Be the album which was released on 8 May 1970.

 

Let It Be was the 12^th and final studio album released by The Beatles, almost a month after the band split and went their separate ways. The album release also came shortly before the film of the same title opened in cinemas.

 

And now, Let It Be: A Celebration Of The Music Of The Beatles returns to the UK with a brand new second half of the popular show, giving audiences a rare glimpse of how the band may have continued as a four-piece. Fans will see The Beatles reunite for one night only, set a decade after the group went their separate ways.

 

A cast of talented musicians will take to stages across the country as the Fab Four, wowing audiences with their effortless and indistinguishable portrayal as John, Paul, George and Ringo. The performers have already toured the show to some of the biggest stages in the world including Broadway.

 

The cast are revealed as Michael Gagliano who will play John Lennon, Emanuele Angeletti as Paul McCartney, John Brosnan as George Harrison and Ben Cullingworth as Ringo Starr. The band will be joined on stage by musical director Michael Bramwell on keyboards.

 

Producer Jeff Parry comments: “I grew up listening to The Beatles, they sparked a passion for music which, for me personally, has gone on to become so much more – a career, and a way of life. Their talent, hunger and incredible ambition inspired me to follow my dreams too. The Beatles were so much more than a group. And it’s unbelievable to think that Let It Be was released 48 years ago. It still sounds as current as it did back in 1970.

 

“Our strong cast of Michael, Emanuele, John and Ben, along with musical director Michael, are going to give audiences a show they have never experienced before – The Beatles’ concert that never was. Developing the show with the new Part II has been a complete labour of love and I am so excited to now introduce this brand new element to UK fans.”

 

Let It Be has firmly established itself as a successful West End and international touring show. And now the smash-hit stage show has been updated and is back on tour, featuring a brand new Let It Be Part II – which has never been seen before in the UK.

 

The show is a celebration of the phenomenal music of The Beatles, and has already been seen by more than two million people worldwide, including an acclaimed run in the West End and two UK tours.

 

Let It Be features many of the Fab Four’s best loved songs including A Hard Days Night, Day Tripper, Sgt. Pepper’s Lonely Hearts Club Band, Twist and Shout, I Want To Hold Your Hand and Strawberry Fields Forever.

 

Beatles fans are invited to join John, Paul, George and Ringo for a great night of live music. Enjoy the early beginnings at the word famous Cavern Club, through to the height of Beatlemania.

For more information, or to book, visit www.atgtickets.com/Manchester.

Sean Holmes announces his departure from the Lyric Hammersmith

The Lyric Hammersmith today announces that Sean Holmes will step down in October 2018, after almost a decade as Artistic Director and Joint Chief Executive. Sean joined the Lyric in January 2009.

During Holmes’ tenure at the Lyric, he has directed 22 shows including the Olivier Award Winning Blasted, which received the 2011 Outstanding Achievement in an Affiliate Theatre award. His ground-breaking Secret Theatre project reinvented the traditional approaches to making theatre as well as the theatre-going experience. One of the most prominent achievements during his joint tenure with the then Executive Director Jessica Hepburn, was the planning, fundraising and completion of a major capital development project, completed in 2015. Holmes’ production of Bugsy Malone – the first stage version in over a decade – reopened the theatre to great critical and audience acclaim. Diversity and access for young people has remained a priority – both the audience demographic and through the Lyric’s outreach work – which has increased dramatically under his and current Executive Director, Sian Alexander’s joint leadership. Sean Holmes’ final directing projects at the Lyric wereThe Plough and The Stars – a revival of his 2016 production to mark the centenary of the Easter Rising and a remount of A Midsummer Night’s Dream currently on a major national tour.

Holmes’ productions for the Lyric include: The Plough and The Stars (also at Abbey Theatre Dublin and a Irish/US Tour), The Seagull, Terror, Shopping and F**king, Bugsy Malone, A Midsummer Night’s Dream (UK Tour/Manchester Royal Exchange/Brisbane Festival/Dublin International Festival), Herons, Secret Theatre Shows 1, 2, 3, 5 and 7, Cinderella, Desire Under the Elms, Morning, Have I None, Saved, Blasted (winner Olivier Award 2011, Outstanding Achievement in an Affiliate Theatre), A Thousand Stars Explode in the Sky, Ghost Stories (also Duke of York’s/Liverpool Playhouse/Panasonic Theatre, Toronto/Arts Theatre), Three Sisters and Comedians.

Holmes’ distinctive programming choices have presented an extraordinary scope of work – both experimental and accessible. Having introduced Pantomime to the Lyric, it is now firmly established as a local tradition and celebrating 10 years in 2018, bringing a fresh inventive approach to the traditional form. Alongside Bugsy Malone, The Seagull and Saved, Holmes has placed such shows as Philip Venables’ operatic setting of Sarah Kane’s final play 4.48 Psychosis, Things I Know to be True from Frantic Assembly and State Theatre Company Australia, and the massively influential international co-production Three Kingdoms.

Ticket prices have remained accessible, and the longstanding programme of Free First Nights has now welcomed more than 50,000 people who live and work in Hammersmith and Fulham to the Lyric for free, and often for their first theatre experience.

The Lyric’s capital development project began in 2012, and the theatre fully reopened in 2015 revealing a contemporary and inviting front of house makeover, as well as impressive state of the art facilities in the new Reuben Foundation Wing. In the three years since opening, these new facilities (including a dance studio, music practice rooms, a recording studio, film & TV studio, editing suite, 50 seat cinema, a digital playspace and a sensory space for disabled children) have enhanced the scale of the Lyric’s theatre productions, whilst also dramatically increasing the range and volume of work with young people from all backgrounds. Notably, the Evolution Festival, established in 2016, which showcases the talent and creativity of Londoners aged 18-25 and has led to ongoing development of some of these productions. During his tenure at the Lyric, Sean Holmes has invested considerably in the careers of young directors, writers and actors from a wide range of backgrounds, through mentoring and proactive support.

The end of Holmes’ tenure at the Lyric will see a 3-month refurbishment of the theatre’s 550 seat Victorian Matcham auditorium and the modernisation of the Studio theatre, beginning in June 2018.

Sean Holmes says: “I’ve been incredibly lucky over the last nine years to have been the Artistic Director of the Lyric Hammersmith. During that time, it has been a home to the weird, the wonderful and the unexpected. The youthful exuberance of Bugsy Malone, the game changing attack of Three Kingdoms, the populist magic of Ghost Stories, Filter’s derangedDream, the fierce blast of Blasted, our beloved Panto and the unique experiment of Secret Theatre are just some of what we’ve produced. There have been successes and failures – some glorious – but the Lyric has always remained defiantly itself.  A local, London, national, international theatre, proud of its Hammersmith roots and open to all. It has been my privilege in that time to work with a host of committed, passionate and creative collaborators and I want to thank them all – staff and artists, board members and associates, theatres and companies, supporters and funders and most especially the young people whose energy and sense of ownership makes the Lyric what it is – warm, inclusive, welcoming, provocative and messy. I’m going to miss it very much, but I feel it’s time for a new generation to take over the helm and look forward with great anticipation and excitement to seeing a new artistic vision illuminating the theatre I love.”

Sian Alexander, Executive Director says: “It’s been a joy and a privilege to co-lead the Lyric with Sean in the final three years of his tenure. We will truly miss him and his unique spirit and energy. He leaves the Lyric in rude health and I look forward to continuing to build on all we have achieved.”

Lisa Burger, Chair of the Board says: “From the Olivier Award Winning Blasted to Bugsy Malone and from The Plough and the Stars to Secret Theatre, Sean has directed an extraordinary range of work for the Lyric.  Diversity and work with and for children and young people has been a focus during his tenure and this has increased in impact and reach following the completion of the Reuben Foundation Wing in 2015.  On behalf of the Board I want to express huge gratitude for an incredible nine and a half years and wish him the very best as he returns to a freelance directing career.”

The search for Holmes’ successor will begin at the end of May.

HAIRSPRAY THE MUSICAL

UK TOUR

Directed by Paul Kerryson

Choreographed by Drew McOnie

NEW CAST ANNOUNCED FOR UK TOUR OF HAIRSPRAY

New casting has today been announced for the UK Tour of Hairspray as it continues to travel the length and breadth of the UK and Ireland. Having entertained big, bold and beautiful audiences across the country to critical and public acclaim since opening last summer, Hairspray will travel to Llandudno, Canterbury, Southend, Wycombe Swan, Cheltenham, Stoke, Oxford, Newcastle, Eastbourne, Dublin, York, Swansea and Bournemouth.

 

Joining the cast will be Raquel Jones (The Bodyguard, Jesus Christ Superstar) who will be returning to the role of Lil’ Inez having played the part for two years during the West End run of the production at Shaftsbury Theatre. Shak Gabbidon-Williams will be making his professional debut as Seaweed and Dan Partridge (Mama Mia!, Sleeping Beauty)  takes over the role of Link Larkin from Edward Chitticks.

 

Established musical theatre performer Graham MacDuff will now play the role of Wilbur Turnblad alongside Gemma Lawson as Amber Von Tussle and Rosie O’Hare now in the leading role of Tracy Turnblad.

 

Brenda Edwards will continue in the role of Motormouth Maybelle alongside Jon Tsouras (A Chorus Line) as Corny Collins. Matt Rixon (The Ladykillers, Around the World in 80 Days) as Edna Turnblad, Gina Murray (Chicago and Full Monty) as Velma Von Tussle, Annalise Liard-Bailey as Penny Pingleton.

Further cast includes: Adam Price, Lucinda Lawrence, Marion Fagbemi, Brianna Ogunbawo, Amana Jones, Emma Warren, Kirsty Ingram, Courtney Brogan Smalley, Ross Clifton, Ben Darcy, Brian O’Muiri, Ziggy Tyler Taylor, Abz Kareem, Reece Richards, Shay Barclay, Abiola Efunshile and Lindsay McAllister.

Full dates and tickets are available at www.hairsprayuktour.com/tour-dates.

Choreographed by Olivier Award-winning Drew McOnie with direction from Paul Kerryson.

It’s Baltimore 1962, where Tracy Turnblad, a big girl with big hair and an even bigger heart, is on a mission to follow her dreams and dance her way onto national TV. Tracy’s audition makes her a local star and soon she is using her new-found fame to fight for equality, bagging local heartthrob Link Larkin along the way.

 

Hairspray is a musical based on the 1988 film of the same name which starred Divine and Ricki Lake by cult filmmaker John Waters. With music and lyrics by Marc Shaiman and Scott Wittman and book by Mark O’Donnell and Thomas Meehan, Hairspray originally opened to rave reviews on Broadway in 2002 and subsequently won eight Tony Awards. The production opened in London at the Shaftesbury Theatre in 2007 and won four Laurence Olivier Awards including Best New Musical. Proving to be an international success, Hairspray has also opened in South Africa, Japan, South Korea, China and Dubai. Following the musical’s phenomenal success on stage, a film of the musical was released in 2007 which starred John Travolta, Michelle Pfeiffer and James Marsden.

Jack Studio Theatre – until 19 May

Reviewed by Claire Roderick

5*****

Barry Hines’ book A Kestrel for a Knave, and Ken Loach’s film of the book Kes, have a special place in British culture. Even the inclusion of the book in the English curriculum hasn’t stopped the love for this story of a down-trodden young boy finding hope, purpose and love from raising and training a kestrel. Robert Alan Evans’ stage adaptation, with a cast of only two, manages to blend the very best aspects of the novel and the film, and in director Kate Bannister’s expert hands, this play is a mini-masterpiece. Although still raw and real, Bannister brings a softer touch to the story without shying away from the nonchalant cruelty of the characters.

I was a little worried that my opinions may have been coloured by my attachment to the book and the film, but my friend from New Zealand, who had never heard of Kes (and whose comment “It’s a play about training a kestrel? Riiiiiiiiight…” summed up her attitude before we entered the theatre) sat riveted throughout and turned to me with a gasp and tears in her eyes as she realised what was going to happen to poor Kes.

The play starts with a man (Rob Pomfret) bouncing violently around memories and places from his youth, before Billy Kasper (Simon Stallard) is seen, cradling the fledgling Kes. Billy’s life in the Northern mining town is full of hardship and violence, from being punched by his older half-brother Jud as he wakes up each morning to the bullying from boys and staff at school. With his single mum letting what little money she has run through her fingers and cadging Billy’s wages from his paper round, and Jud only interested in him when he needs a bet put on, Billy’s life develops meaning as he learns how to train Kes.

Karl Swinyard’s set is beautifully evocative, with the Caspers’ kitchen probably reminding everyone in the audience of their gran’s home and a few lockers and slammable desk bringing back the horror of school. Ben Jacobs’ lighting design provides a sense of movement and time, and the luscious, nostalgic tones when Billy is with his lure and Kes are straight out of the Hovis ads. Kes is never seen, but Jack Barton’s sound design has the audience ducking at times as the sound of spinning lures and flapping wings soar around the theatre.

Simon Stallard is phenomenal as Billy, personifying the perpetual victim, head down, trying not to be noticed, and effortlessly becoming a beacon of energy as he captures the joy and potential within the boy as he revels in his freedom, trust and responsibility with Kes. Rob Pomfret gives an astonishing performance as the protagonists in Billy’s story. He transforms into Billy’s mum, Jud, and schoolteachers with consummate ease, using different jackets to signal each character, although he honestly didn’t need them as each character was so clear in their identity and mannerisms. As the older Billy, he will melt the hardest of hearts as he tries to stop his younger self making the same mistakes and describing their devastating consequences. I could watch these two actors all day – a pair of simply brilliant performances.

Get a ticket while you can. You’re in for a treat – Kes is a lovingly crafted production that is hard-hitting, hopeful and will make your heart soar.

The Bunker – until 26 May

Reviewed by Claire Roderick

3***

Rigby’s misadventures on the London lesbian scene, or the desert, as she witheringly describes it, are hilariously depressing. Writer Izzy Tennyson plays Rigby full of ticks that are both endearing and irritating and slowly reveals the reasons for the main characters’ idiosyncrasies.

Rigby narrates and sets the scene, interrupting the action with bitingly honest comments that she can’t voice to the women around her. Finding it easier to be with older women, Rigby’s relationship with Toad (Rebekah Hinds), slightly overweight, lover of lesbian bingo and devoted to her cat, ends and Rigby starts seeing Toad’s ex-fiancée, Witch (Grace Chiltern), a tattoo artist who gets turned on by her lovers’ shame. When Rigby realises who Witch is, she doesn’t stop seeing her, even though she knows the situation is “grotty”.

Tennyson’s clever writing sees Rigby verbally attacking lesbian tribalism and the pecking order in the gay scene, as the lesbians gather in a cellar listening to the pounding music of the “gay boys” above. Lots of serious points are made in scattershot style as Rigby tries to explain herself. The story gets darker, and the laughs sparser as we discover more about Witch and Rigby. Rigby’s recollections of a psych review doctor (Anita-Joy Uwajeh) branding her as “suicidal, but not suicidal enough”, followed by the late introduction of Rigby’s sick mother (Clare Gollop) explain more about Rigby’s needs in an almost silent scene than the last hour of her constant talking. Seemingly throwaway lines that could easily have been missed in Tennyson’s initial rapid-fire delivery are revisited, making the glimmer of hope for a healthy future and relationship as the lights fade more meaningful.

Director Hannah Hauer-King keeps the movement fluid and makes the most of the available space, stopping this wordy play from becoming stale, and the talented cast, led by the astonishing Tennyson, perform with total commitment. There are a few moments that lose energy, but overall, Grotty is a sharp, funny, slightly disturbing play that audiences of any gender or sexuality will enjoy.