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FURTHER TOURING DATES ANNOUNCED FOR

CAMERON MACKINTOSH’S

EPIC PRODUCTION OF

BOUBLIL AND SCHÖNBERG’S LEGENDARY MUSICAL

BRADFORD ALHAMBRA 19 SEPTEMBER – 20 OCTOBER 2018

SUNDERLAND EMPIRE 24 OCTOBER – 17 NOVEMBER 2018

THEATRE 11, ZURICH 28 NOVEMBER 2018 – 13 JANUARY 2019

Cameron Mackintosh is delighted to announce further touring dates for his acclaimed production of Boublil and Schönberg’s legendary musical MISS SAIGON. Further to the previously announced dates, MISS SAIGON will now also play Bradford Alhambra (19 September – 20 October 2018), Sunderland Empire (24 October – 17 November 2018) and Theatre 11, Zurich (28 November 2018 – 13 January 2019). Full tour schedule below.

 

This tour of MISS SAIGON opened at Leicester Curve to sell-out business in July this year and has continued this success with rave reviews and nightly standing ovations in Birmingham and currently Dublin.

This new production was first seen in the West End in March 2014 where it opened to record-breaking advance sales and critical acclaim with Dominic Cavendish in The Daily Telegraph writing “This thrilling new production spills out beyond the theatre and speaks directly to the times we live in”. The show swept the board at the 2015 Whatsonstage.com awards winning a record breaking nine awards, the most awards ever won by a single show in the 15-year history of the awards including: Best West End Show and Best Revival of a Musical. In March this year, it opened on Broadway where it plays to nightly ovations and was nominated for the Tony Award for Best Revival of a Musical. The New Yorker recently called it a “Dynamite Broadway revival”.

 

MISS SAIGON tells the story of the last days of the Vietnam War, 17 year-old Kim is forced to work in a Saigon bar run by a notorious character known as the Engineer. There she meets and falls in love with an American GI named Chris but they are torn apart by the fall of Saigon. For 3 years Kim goes on an epic journey of survival to find her way back to Chris, who has no idea he’s fathered a son.

MISS SAIGON has music by Claude-Michel Schönberg with lyrics by Richard Maltby Jr. and Alain Boublil, adapted from original French lyrics by Alain Boublil, with additional lyrics by Michael Mahler. The new production is directed by Laurence Connor with musical staging by Bob Avian and additional choreography by Geoffrey Garratt.  Production design is by Totie Driver and Matt Kinley based on an original concept by Adrian Vaux; costume design by Andreane Neofitou; lighting design by Bruno Poet; projections by Luke Halls; sound design by Mick Potter; and orchestrations by William David Brohn.

Since its London premiere in 1989, Cameron Mackintosh’s production of Alain Boublil and Claude-Michel Schönberg’s legendary musical MISS SAIGON has become one of the most successful musicals in history.  The original Broadway production of MISS SAIGON opened on April 11, 1991 with what was the largest advance sale in Broadway history ($37 million).  The show went on to play for nearly ten years and 4,063 performances seen by more than 5.9 million people. MISS SAIGON has been performed in 28 countries, over 300 cities in 15 different languages, has won over 40 awards including 2 Olivier Awards, 3 Tony Awards, and 4 Drama Desk Awards and been seen by over 35 million people worldwide. 

MISS SAIGON UK TOUR 2017/2018

www.miss-saigon.com

WEDNESDAY 4 OCTOBER – SATURDAY 18 NOVEMBER 2017

BORD GAIS ENERGY THEATRE, DUBLIN

www.bordgaisenergytheatre.ie – +353 (1) 677 7999

WEDNESDAY 29 NOVEMBER 2017 – SATURDAY 6 JANUARY 2018

WALES MILLENNIUM CENTRE, CARDIFF

www.wmc.org.uk – 029 2063 6464

WEDNESDAY 17 JANUARY – SATURDAY 17 FEBRUARY 2018

FESTIVAL THEATRE EDINBURGH

www.edtheatres.com – 01315296000

WEDNESDAY 21 FEBRUARY – SATURDAY 17 MARCH 2018

MAYFLOWER THEATRE, SOUTHAMPTON

www.mayflower.org.uk – 02380 711811

WEDNESDAY 21 MARCH – SATURDAY 12 MAY 2018

MANCHESTER PALACE THEATRE

www.atgtickets.com/venues/palace-theatre-manchester – 0844 871 3019

WEDNESDAY 16 MAY – SATURDAY 23 JUNE 2018

THE BRISTOL HIPPODROME

www.atgtickets.com/venues/bristol-hippodrome – 0844 871 3012

WEDNESDAY 4 JULY – SATURDAY 4 AUGUST 2018

THEATRE ROYAL PLYMOUTH

www.theatreroyal.com – 01752 267222 

WEDNESDAY 15 AUGUST – SATURDAY 15 SEPTEMBER 2018

NORWICH THEATRE ROYAL

www.theatreroyalnorwich.co.uk    01603 63 00 00

WEDNESDAY 19 SEPTEMBER – SATURDAY 20 OCTOBER 2018

BRADFORD ALHAMBRA

www.bradford-theatres.co.uk 01274 432 000

ON SALE 31 OCTOBER 2017

WEDNESDAY 24 OCTOBER – SATURDAY 17 NOVEMBER

SUNDERLAND EMPIRE

www.atgtickets.com/venues/sunderland-empire  0844 871 3022

ON SALE 27 OCTOBER 2017

WEDNESDAY 28 NOVEMBER 2018 – SUNDAY 13 JANUARY 2019

THEATRE 11, ZURICH

www.musical.ch/de/theater11zuerich

ON SALE SOON

Cockpit Theatre 12 October – 4 November.  Reviewed by Claire Roderick

4****

Shakespeare’s magnificent hatchet job on Richard III is given a full blooded and energetic airing by Front Foot Theatre. The story of Richard of York’s Machiavellian plotting to wrest the throne from his brother Edward IV, dispatching his other brother Clarence and his two young nephews along the way before being defeated by the righteous Richmond – the future Henry VII – is a labyrinth of betrayal and revenge where the audience knows exactly what is going to happen to the antihero, but enjoys the ride as he hurtles towards his comeuppance.

Director Lawrence Carmichael is a movement specialist and fight director, and boy does it show in this production, from the moment the cast clash swords in the initial battle to the final battle and Shakespeare’s brown-nosing final speech by Henry Tudor, the momentum of the piece never lets up. The only sources of a kind of stillness are the older female characters Queen Margaret (Angela Harvey) and the Duchess of York (Fiona Tong) whose powerful speeches are delivered with a prowling menace and inner fury in stunning performances. Most of the cast play multiple roles, but minor costume tweaks make it clear who is who, and Carmichaels fluid direction creates the illusion of a much larger company. Using puppets as children seems to be in fashion at the moment, but it works well here, giving the characters an otherworldly innocence that makes their uncle’s crime more heinous.

Amongst all the evil, greed and misogyny, there is also plenty of room for humour. Shakespeare’s comedy characters are always uneven, but the two murderers and the gossiping citizens are played skilfully. Even in the more serious scenes, the reactions of characters in the background are not to be missed, drawing giggles and belly laughs in equal measure. Luke MacLeod in particular has a wonderfully droll demeanour, with his Bishop of Ely bringing the house down with his bowl of strawberries.

Kim Hardy is a charismatic Richard, with subtle nods to his deformities that become more pronounced the more depraved or cornered he gets. His relationship with Buckingham (Guy Faith) is played beautifully, with both men wavering between acting like evil megalomaniacs and naughty schoolboys in their relationship.

There are no nods to modern events and politicians in this production. Instead Carmichaels has clarified the flow of the play and kept his characters rooted firmly in the past, creating a thrilling, dynamic and stylish Richard III that makes its almost 3 hour running time fly by.

Wild Cabaret, Glasgow – 22 October 2107.  Reviewed by Alice Sharp

5*****

In a cosy wee venue, tucked into a street in the Merchant Square area of Glasgow you will find the Wild Cabaret. On entering the venue tonight there was an immediate buzz. It is a while since I have been in such an intimate venue where I often think the artist performing must be brave and full of confidence and tonight Keith Jack was exactly that.

 

The whole show was a whistle top tour of movies from different eras, in a variety of styles and incredibly engaging. Jack was immediate, he opened the show with a fabulous rendition of Viva Las Vegas that brought the house down, gently moved on to a beautiful heartfelt version of Love me Tender and rocked into a fabulous rendition of Jailhouse Rock.

 

The whole evening was given a narrative by Jack, who was easy going and humorous, it felt as if you were in his sitting room, among friends until he began his next number. Then you were transported to the film set or location of whatever movie the song was from. His banter was warm and friendly and highlighted his love of sharing his superb voice.

 

His ease as he introduced Darren, Ben and Scott his band and his two backing singers, Alice and Danielle before they all launched into Staying Alive with much whooping and clapping was ace and then his Love is All Around  was just as good as Pellow, if not better.

 

Its been ten years since Jack was runner up in Any Dream Will Do, he was reflective of this during the show as he suggested that he was now able to grow a beard, had lost the need for straight hair and got curly and may have put on a few pounds. I would suggest that Keith has grown into himself. His Lullaby version of I Just Called to Say I Love You was like a tender caress. The powerful use of his voice and tones of each word brought an emotional connection to the surface of every member of the audience. Just before the interval he introduced Vivace Theatre School choir finishing with I Believe I Can Fly. What a thrill for each of the children to be involved in such an experience, adding their voices to that of Jacks. I am left wondering why we have not heard more of Jack in the last ten years?

Act two began a spine tingling Beauty and the Beast, without any video animation you just had to close your eyes and listen to his amazing voice to believe you were in the ballroom as the characters danced to his tune. Ramping things up we then were treated to Dirty Dancing’s She’s Like the Wind followed by Eye of the Tiger with us all being invited to ‘Rock Out.’

Jacks Musical Director Scott and Jack then offered an enchanting medley of Bright Eyes, Somewhere Out There from An American Tail and There Can be Miracles from Prince of Egypt. Batman Forever was our next stop on the tour with Kiss for a Rose it was beautiful and almost haunting. We then went thundering into Born to be Wild from Easy Rider and the show was brought to a close in a gradual crescendo with Run to You from the Bodyguard and Everything I do, I do it For You from Robin Hood.

The whole evening was energetic, and personal. Keith Jack deserves to be listened to . It was not a magical mystery tour but a look back on songs that mean something to the artist and tonight to me the listener. I will look out for Keith Jack and would recommend his show to one and all.

Park Theatre 17 October – 11 November.  Reviewed by Claire Roderick

4****

The idea of time as an expanding balloon, where events never disappear, just expand with spaces growing between them for new events to occur, is explained in gloriously geeky terms by one of the characters in Elizabeth Kuti’s Fishskin Trousers. The legend of the wild man of Orford, along with the cold war research station on Orford Ness are gifts for a talented writer, and Kuti plays with this theory of time and space to weave a spellbinding tale of three people linked by the Suffolk village of Orford.

Three people sit around a circle of beach debris, never interacting or even acknowledging each other’s existence. Mab (Jessica Carroll) tells her tale of the strange creature caught in the fishermen’s nets in the waters off Orford Ness in the twelfth century, and how she felt a connection with the creature and volunteered to feed him. In 1973, scientist Ben (Brett Brown) relates information about his work on a secret radar system with a wide-eyed grin before admitting his confusion about aural interference that sounds like a scream. In 2003, local girl Mog (Eva Traynor) returns to Orford on the eve of her 30th birthday with a huge decision weighing her down after the end of her affair with a married man.

This production reunites the play’s original cast, and these actors know their characters inside out. The three interwoven monologues, staring slowly with Mab, soon build to a lyrical rhythm as the characters’ fates merge and their connections are revealed. All three are outsiders – Mab, unmarried and wild, with some beautifully nuanced pointers to her own ASD; Ben eager to project capability and confidence, but haunted by the death of his Stanford roommate; and Mog, suffering from depression, chasing unhealthy relationships but only really connecting with the children she teaches. Carroll makes the most of the showiest role with the most poetic language – full of twitches and a lilting old Suffolk accent that sweeps you along on her wave of words. Brown’s light comedic touches as Ben will make you fall a little bit in love with the character (like an Australian Raj Kuthrapali) and choke up in his final scene. Traynor is measured and convincing as Mog, racking up the growing despair in each monologue with consummate skill.

Kuti excels in giving each character a different voice and rhythm, and switching between characters at just the right moments, dropping hints and echoed words into the next monologue. Director Robert Price Keeps the feel of a tale told at a fireside – there is little movement, just wonderfully expressive acting, and for a story about strange noises, there is a very effective lack of sound after the wind and gulls as the audience take their seats. Instead there is simply a picture of a sonar reading dominating the stage, and the eerie descriptions of sound by the characters.

This is storytelling at its best, leaving you feeling as if you’ve been curled up with a wonderful book for the past 90 minutes when the lights come up. It is like Jackanory (in its glory days) for adults – a magical story told with passion and charm by talented performers.

SPECIAL GUESTS ANNOUNCED
Joe Stilgoe’s Christmas at the Lyric

Presented by Lyric Hammersmith and EBP

Joe Stilgoe & His Mighty Big Band – Monday 04 December 2017
Joe Stilgoe’s Christmas Party – Monday 11 December 2017
Joe Stilgoe’s White Christmas – Monday 18 December 2017

Hot off the press Jamie Parker (Harry Potter and The Cursed Child, Guys and Dolls, High Society, The History Boys), and other celebrity guests will join Joe and his band for London’s best Christmas Party on Monday 11 December and Katherine Kingsley (Olivier nominated for Singin’ in the Rain), Anna-Jane Casey (Billy Elliott, Annie Get Your Gun, Chicago, Spamalot), Peter Horsfall (Kansas Smitty’s) will join Joe on Monday 18 December for Joe’s take on Irving Berlin’s classic, White Christmas.

Joe Stilgoe has twice topped the UK jazz chart, been featured on countless radio programmes for Radio 2, 3 & 4, presented on BBC4, Radio 2 and JazzFM, has written award-winning songs, starred in The Old Vic’s 2015 production of High Society, and he has an established international concert career, collaborating
with John Wilson, Curtis Stigers, Claire Martin, the RLPO and BBC Concert Orchestra among many others. He has had sell out runs at the Edinburgh Fringe and is a regular favourite at the world-famous home of jazz, Ronnie Scotts.

FULL CASTING ANNOUNCED
Jack and the Beanstalk
By Joel Horwood
Co-directed by Jude Christian and Sean Holmes

A Lyric Hammersmith production

Saturday 18 November 2017 – Saturday 06 January 2018

Press Performance: Saturday 25 November 2017
The Lyric Hammersmith announces the full casting for its Christmas panto, Jack and the Beanstalk, co-directed by Artistic Director, Sean Holmes and Jude Christian, an Artistic Associate of the Lyric. Daniel Fraser will play Jill and Kraig Thornber will play Dame Lotte Trottalot. They join the previously announced
Kayla Meikle who plays Daisy the Cow, Faith Omole who plays Jack, Cherrelle Skeete who plays Fairy Cucumber and Vikki Stone who plays Fleshcreep. The ensemble is built up of six young performers, as part of the Lyric Hammersmith’s commitment to nurturing young talent.

With plenty of magic beans, a loveable cow, an enormous beanstalk, a gigantic giant and a massive adventure, this year’s panto looks set to be the biggest ever. Join Jack on his quest for fortune as Jack and the Beanstalk gets the full Lyric treatment with wonderful characters, live music, dancing, singing and
loads of laughs.

Hull New Theatre – until 21 October 2017.  Reviewed by Catherine McWilliams

4****

I think I held my breath for this entire performance of The Boy in Striped Pyjamas, I was, like the majority of the audience, mesmerised. Last night I was in a theatre where nobody moved or fidgeted or rattled sweet papers, the entire audience drawn into the story unfolding on stage.

Northern Ballet have adapted John Boyne’s novel “The Boy in Striped Pyjamas”, with choreography by Daniel de Andrade and an original music score by Gary Yershon. The story revolves around the young Bruno who moves with his family to the concentration camp “Out-With” when his Father becomes the Commandant there. He forms an unlikely friendship with Shmuel a young inmate of “Out-With”, the boy in the striped pyjamas.

This is a ballet where the music, the costumes, the lighting and the scenery enhance the dancing and feed into the tension and the horrors that are happening. The clever use of bright colour in Gretel and her mother’s clothes as they arrive at “Out-With” and the prettiness of Gretel’s dresses contrasting with the striped uniforms. Lighting that gave us light and shade and horrifying shadow. Electric fences that never left the stage and were a constant reminder of the reality of life. The music constantly built up the tension and then lightened it again.

Whenever The Fury ( Mindi Kulashe) slithered onto the stage the horror truly arrived and I swear the temperature in the theatre dropped by several degrees. The lighting, costume and music increased the malevolence on stage, this was an outstanding performance of evilness.

Matthew Koon gave a superb performance as Bruno, channeling a young boy’s movements beautifully, showing us gawky movements and the sheer joy of being alive. Filippo di Vilio’s, as Shmuel, at times reflected Bruno’s joy but clearly showed the horror and poignancy of his situation. Mention should also go to Antoinette Brooks-Daw as a very coquettish and spoilt Gretel.

Of course this is a story that cannot have a happy ending, but is certainly one that is thought provoking. As I left the theatre the talk around me was of the sacrifices made in the war and the necessity to stand up against evil.

REVIEW: MAMMA MIA (Sunderland Empire) ★★★★★

October 19, 2017 

For: West End Wilma 

https://www.westendwilma.com/review-mamma-mia-sunderland-empire/

Telling the story of Donna and Sophie Sheridan, set to the music of Abba, Mamma Mia is a tale of love, empowerment and family.

On the eve of her wedding to Sky (Phillip Ryan), Sophie (Lucy May Barker) confides to her bridesmaids – Ali (Fia Houston-Hamilton) and Lisa (Blaise Colangelo) – she has read her mum’s diary and invited the three men she suspects to be her father to her wedding.

So when Sam (Peter Saul Blewden filling in for Jon Boyden), Bill (Christopher Hollis) and Harry (Jamie Hogarth) all turn up on her island, Donna (Helen Hobson) is beyond shocked and has to confess to having three lovers and not knowing who Sophie’s dad is to her best friends Tanya (Emma Clifford) and Rosie (Gillian Hardie).

Catherine Johnson has written a creative masterpiece, the songs all fit perfectly into the story. And whilst you may think the music of Abba is just cheesy pop, hearing the songs “acted” out in the show proves what amazing musicians Benny Andersson and Bjorn Ulvaues really were. The lyrics tell amazing stories and the emotion in some is intense. Helen Hobson’s version of Winner Takes it All is an emotionally charged powerhouse performance. And whilst we are in tears one minute there are laughs too with Gillian Hardies hilarious and seductive take on Take a Chance on Me and Emma Clifford’s flirtation with Pepper (Morgan Jackson standing in for Louis Stokil) in Does Your Mother Know.

This is a big tour, which has been on the road since April but seems as fresh as if it was their first day. The sets are magnificent in their simplicity turning in seconds into a taverna, a bedroom, a chapel and a beach. The costumes are wonderful, the multitudes of blues and creams making you feel you are right there on the Greek island with them and the music of the live band – Richard Weeden, Tom Chester, Mark MacDonald, Robbie Gibson, Duncan Floyd, Matt Isaac and Gordon Davison is just devine.

This is the ultimate feel good night out, who can resist singing along to the classic songs and having a good sing and dance at the end where there is a real party atmosphere. Afterall, how can you fail to be entertained by a show that warns patrons of a nervous disposition that the show contains platform boots and white lycra?