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Macabre Majestic – Theatre of Horror Season

 

Thursday 26 October – Circus of Horrors

The spectacular features an amazing amalgamation of bizarre & fantastic circus acts act’s all woven into a sensational shock / horror storey and the darkest of magic – taking the show to a whole new level, it’s driven by a mainly original soundscape & performed with a forked tongue firmly in each cheek, you’ll certainly Die Laughing.  Tickets are priced at £24.20.  Show stats at 1930hrs

Please note, this show is not suitable for children.  It is adult based with language and some nudity. If you are under 16, you will need to be accompanied by an adult.

 

Friday 27 October – Spooky Halloween Quiz

The fabulous sister duo Meg & Gillian Campbell will be hosting the quiz and keeping the whole evening running

Get your team booked in now as this is a strictly registration only event! Halloween fancy dress are positively encouraged

£2 per ticket

Doors open at 1800

 

Saturday 28 October – Double Trouble and the Curse of the Haunted Pirate Ship

This fabulous family show comes to Darlington with two performances at 1300hrs and 1600hrs.

Why not climb aboard Captain Knickerbockers vessel the good ship Naughty Nellie and join family favourites ‘Double Trouble’ for a brand new swashbuckling panto adventure this Halloween featuring a full supporting cast!  Tickets £8.50* if booked before 31st August. All tickets £10.00* after early bird. *Booking fee applies to all tickets.

 

Monday 30 October – Stage One Halloween Disco Night

The pre-drinks party at the Majestic, shots from £1 and doubles with a mixer from £2!! From 6 until late.  Halloween fancy dress is positively encouraged

 

Wednesday 1 November – The Strange Case of Dr Jekyll and Mr Hyde

A thrilling adaptation of Robert Louis Stevenson’s dark psychological fantasy, The Strange Case of Dr Jekyll And Mr Hyde immerses you in the myth and mystery of 19th century London’s fog-bound streets where love, betrayal and murder lurk at every chilling twist and turn. Gripping, stylish and thought-provoking, this is unmissable theatre. Go on…treat your dark side!  Tickets are priced at £14.30,  Show starts at 1930hrs

 

http://www.majestic-tickets.co.uk/

 

Majestic Theatre

Bondgate

Darlington

DL3 7JT

United Kingdom

53Two, Manchester – until 21 October.  Reviewed by Marcus Richardson

4*****

‘Stay Happy, Keep Smiling’ a modern play about the Lee Rigby murder. Following the aftermath of his death we explore the people who witnessed the horrific act. Set in Woolwich the place of his death, we see how these people from different walks of life and how they have been affected. We learn how people cope and how they don’t cope, we learn what can come out of this. This piece of work will resonate with you as you can find a character you can relate to, you will be moved.

 

The acting for me was very clean and natural, it just seemed like we were watching their everyday lives. A few times the characters would speak to the audience this was done amazingly at the start when they were all switching quickly between who was speaking, and when they make the eye contact you just feel everything is real; they used the small performance space so well to draw the audience in and they kept us there in that focus, which worked so well as you feel connected with the characters.

 

The stage was very compact with a few areas for scenes all in this tiny room, the only problem is that at points it just felt a little too cramped and you couldn’t get the full taste of the scene because of this, but it didn’t really hinder anyone’s performance at all, I just wish I could of seen a more open space. Everything felt natural though, from characters smoking to a simple sofa being sat on, the fence that people put flowers and cars on also kept reminding us of what this play is about, even though we are seeing how people who didn’t even know Rigby deal with his death we are constantly reminded that this is all because he died.

 

I went to 53two to go and see the show which is a unique performance space, both with its upsides and downsides. Even though Rigby was killed in 4 years ago, they play still holds relevance to society now and how we view terrorism and how we as a nation act in our own homes towards it. This is a good example of a powerful play that can educate and inspire thought into what it means to deal with issues that we hear about on the news far too often. I loved the show and I would recommend to anyone

 

 

York Theatre Royal – until 21 October 2017.  Reviewed by Michelle Richardson

4****

Middle Ground Theatre Company present Agatha Christie’s A Murder is Announced, a Miss Marple and classic whodunit mystery, adapted for the stage by Leslie Darbon.

The story revolves around a middle-aged spinster Letitia Blacklock (Janet Dibley) who shares her home with an older companion Dora “Bunny” Bunner (Sarah Thomas), her two younger cousins Patrick and Julia (Will Huntington and Lucy Evans), widower Phillipa Haymes (Alicia Ambrose-Bayly) and the Hungarian refugee cook and housekeeper Mitzi (Lydia Piechowiak).

A notice appears in the local paper of Chipping Cleghorn, “A murder is announced and will take place on Friday October 29th at Little Paddocks at 6.30pm.” Villagers are intrigued by the notice, including the visiting Miss Marple (Louise Jameson), and start dropping by thinking it is all just a game. At the stated time the whole household and a couple of neighbours, Mrs Sweetenham and her son Edmund (Cara Chase and Dean Smith) congregate in the drawing room, only for the lights to go out, shots to be heard and a dead body lying on the ground. Inspector Craddock (Tom Butcher) turns up to investigate the crime with the somewhat meddling assistance of Miss Marple. We are even “treated” to another murder.

The action takes place in two drawing rooms in an early Victorian house in 1950, with all the chintz, lamps, twinsets and pearls of that time. This staging certainly looks the part and is really effective.

Whilst the whole, quite star studded, cast did a wonderful job with the witty dialogue, I really enjoyed the performances of Butcher as Inspector Craddock, wasn’t sure at first but he really shone through, Dibley as Letita and Jameson as Miss Marple. I should also mention Piechowiak’s hilarious performance of the bonkers Mitzi and her “Delicious Death” cake.

With its unexpected twists and turns that keeps you guessing, and with a few laughs thrown in, it makes for a great night out at the theatre and well worth a watch.

 

Quays Theatre, The Lowry, Manchester – October 18th 2017.  Reviewed by Julie Noller

5*****

Before I arrived at The Lowry I knew that Under Glass had begun life at Sadler’s Wells and had an award winning run at Edinburgh Fringe, meaning that I should quite possibly expect the unexpected. Collecting my tickets I checked for my seat number, oh oh there wasn’t one, meaning this also was quite possibly going to challenge my perception of normal.

As I sat with a coffee I watched the patrons leaving the first showing, most looked openly puzzled others quietly animated. My curiosity was aroused, wondering what lay ahead for us the audience. We were all gathered together, a small audience almost intimate and given a briefing, it would be very dark but don’t worry there would be staff inside to help if needed, feel free to stand, sit or perch on the carpeted floor, stools or cushions. It would not be a static performance and some movement will be needed, wriggling would not be frowned upon. Lastly we were encouraged to turn phones off completely and then leave our bags and coats in area set aside – some people felt uncomfortable leaving bags but for me I enjoyed the performance without worrying about hitting someone with my bag, this was all about me and the performers. I always take a glance at the audience before watching any performance and we all looked slightly nervous, does anyone truly like to be confronted with change against the norm?

From the programme I knew that Under Glass is a series of seven individual performance pieces, each of which takes place within a glass jar or container.

I’m priviledged to be part of an exclusive group to have watched this performance, Under Glass should have its own fan club, encouraging us to get together and discuss our own interpretation. Its all down to exactly that, the interpretation of the viewer. What was right and wrong – I have no idea but I don’t feel questioned as I was at school and expected to give the politically correct answer. My thoughts and feelings kept changing, altering my view on the lives taking place before me, was it taking place in history? Was I seeing a collision of time and space? Snippets of lives as they don’t notice how they connect with each other? At first I thought am I witnessing inside someones mind, is it mental illness? Is this person having a breakdown, retreating inside their own mind? Is this life on show monotonous and boring? Burying deep inside the same routine, the coffin that is their life. I saw a Mrs Bucket figure, I saw the loneliness of the late night phone calls just to hear another human voice. I felt scared I wanted to reach out and tell these individuals that I notice them. I heard a thousand jumbled voices all colliding within the music easily connecting lives without acknowledging each other. I wished I knew morse code, was there a secret message and I’ve missed out on it? Different areas showed us different lives and again they were all down to our interpretation, each exhibit had its own name which equally challenged that perception. End of the World cabaret, how often do we long to break free from the confines of our lives? Or box in this case? Just to feel the wet grass, to stretch and roll. Without the feeling that it’s wrong that we just don’t do that!

The couple or to use its correct name The twins, sharing a connection, trying to reach out to each other without them actually knowing, how often do we just not connect and spend precious time with those closest to us? The movements are superb almost like watching a child developing inside the womb.

There are so many layers to Under Glass, you watch intently trying to interpret what is unfolding before you. I loved the fact that I felt scared yet I don’t know why I was scared. I loved the fact it was confusing, making me question everything. I loved the fact that for 45 minutes I was engaged in the ultimate people watching extravaganza. I left The Lowry feeling that life on no level is actually boring or simple. We can try to understand who is around us but deep down human beings can be unpredictable and try to break free from convention… if only we don’t allow fear to shape us.

In it’s own way Under Glass is encouraging and uplifting – remember there’s no such thing as can’t, allow yourself to enjoy Under Glass while you can.

The Sherman Theatre, Cardiff – 13-28 October.  Reviewed by Michael Lock

4****

It took Chekhov two years to write ‘The Cherry Orchard’ and it is widely considered to be his greatest play. He released it as a comedy and the debate ever since the play’s original director Stanislavski staged it, has been whether Chekhov’s comedy is clear. Apparently, the original stage director and cast found it too tragic to be humorous and Chekhov died shortly afterwards leaving audiences unsure and emotionally torn. On top of this, the problem for us Brits is how we interpret this low-key plot, with its psychological ideas around miscommunication and self-consciousness. A fully comprehendible English translation of this play is hard to achieve. ‘The Cherry Orchard’ is often seen as very ‘of its time’ – a classic case of you had to be there! – in this case: Russia, 1904. So, I arrived thinking: how on earth could they respectfully re-present it for today’s audience?

Successfully is the answer, this is a very good show!

This ‘reimagining’ (as they call it) is a bold move and to be fair the team’s daring has certainly paid off! Welsh writer, Gary Owen and artistic director, Rachel O’Riordan have without doubt worked hard on adapting this classic. The cherry orchard is superimposed onto Welsh, Pembrokeshire soil. Bloumfield sits near the coast in an area where Owen himself, grew up. The cherry orchard is being sold because Rainey (Chekhov’s Ranevskaya) is not great with money and has spent out on excesses. She consumes to escape memories of the past. As in the original, the play examines social change alongside the beauty/foolishness of people. Immature characters go nowhere and apparently fail to grow or develop as part of the play’s creation. Yet, instead of Russia under Nicholas II you can feel the firm grip of Thatcher and a real sense of the economic rough and tumble under our very own ‘Iron Lady.’

The play cleverly and intricately manages to make ‘The Cherry Orchard’ a comedy that feels true to the original, while referencing a period in modern history that is a little closer to home. Peaks and troughs, with a well-considered shifting pace, make this a thoroughly enjoyable performance that might have a general appeal. There are plenty of Welshisms, as well as some funny British phrases that give us a real sense of 80’s Britain. We are treated to a high-quality comic script that gives our nervous system and belly a thorough workout, interwoven with tensions and frustrations throughout. True to its original form, social status is blurred and speaking out of turn is standard. Teenage strops from mother follow equally immature toilet humour from her foolish brother, Uncle Gab. It is not clear who is the role-model as we laugh out loud at role reversal gone mad. Light and dark humour are appropriate in balance and a spot on musical score enhances what I would consider top notch entertainment. Dexys Midnight Runners, Roxy Music and The Jam are a well-chosen accompaniment, evoking memories of Britain in the early 1980s (for those of us old enough to remember!).

We are treated to a spectacular cast who breathe a last bit of life into ‘The Cherry Orchard.’ The acting makes this a joy to behold. Denise Black as landowner Rainey is absolutely fabulous (when you see her you might get the reference). She is totally in denial and uses familiar escapisms as she buries her head from a life of mischief and regret. Reminiscent of the past (and true to the original) Rainey is unable to learn from mistakes and when the going gets tough, the tough gets the train. Rainey neither makes progress nor moves forward. Her fall depicted brilliantly, I felt pity and yet through making a mess with the money, our raised eyes accompany chuckles as we watch her on her way down. Hedydd Dylan does a super job of bringing Valerie to life and she brings so much to this mother/daughter relationship.

If Chekhov was a child of the 80’s we might be hearing echoes of a slightly different idealism, portrayed wonderfully through Richard Mylan’s Ceri (Trofimov). The charisma he oozes and near perfect delivery makes him one to watch! Morfydd Clark’s Anya wraps Ceri around her little finger, using her charms which in turn belittle his higher thinking. Her experimentations with love and affection see her flirting her way through life and enjoying the ride. Dottie (Dunyasha), played by Alexandria

Riley is a crucial character and is a real favourite for me. She turns orders on their head and says it how it is. Simon Armstrong as Gabiel (Gaev) brilliantly blunders his way through, providing classic comic moments with a fresh coating of pebble dash. His misfire with Dottie creates audience cringe that keeps us going and totally engrossed in the second half. Last but not least, there is up and coming Lewis (Lopahkin) played by Matthew Bulgo. His solid performance amongst solid performances makes this a play I would thoroughly recommend. Character is fate left me considering the future of this proud man and his newly acquired prospects. Those dirty, well-worn boots are significant to his roots, as he drives forwards hopes and dreams beyond his means. The all-important bookshelf stands central and signifies difference between tradition and stability, contrasted with the more disposable and short life, quick fix of a more modern-day Britain.

This is most definitely comedy and I think Chekhov might be proud; the childishness and social satire leave the audience feeling empowered and more mature in their judgements. I am left sympathetic and yet feeling exhilarated from smiling my way through, laughing out loud and thoroughly enjoying this 20th century comedy remix. If you get the chance and can get in, I would highly recommend ‘The Cherry Orchard.’ браво! (Bravo!)

——————————————————————————————————————————

The Sherman Theatre’s ‘The Cherry Orchard’ is a part of the Wales’ Russia’17 season that marks the centenary of the Russian revolution with a range of events which capture the social and cultural revolutions of the era, and Wales’ historic connections with the Russia of the time.

DREAMGIRLS 
Savoy Theatre, London 
Dreamgirlswestend.com

• Critically acclaimed hit UK premiere of Dreamgirls celebrates its first birthday in the West End by announcing new cast and extending through to 2nd June 2018
• Marisha Wallace, Moya Angela, and Karen Mav will share the role of Effie White from 20th November 2017

Sonia Friedman Productions is delighted to announce that the UK premiere of Dreamgirls,which opened last December at the Savoy Theatre to widespread critical acclaim, will extend booking through to 2nd June 2018.

From 20th November 2017, Moya Angela will join Marisha Wallace and Karen Mav to play the iconic role of Effie White in Dreamgirls. The three power-house actresses will all share the role at different performances throughout the week. Asmeret Ghebremichael will continue to play Lorrell Robinson, with Joe Aaron Reid continuing in the role of Curtis Taylor Jr. Joining them will be Broadway actress Brennyn Lark as Deena Jones, Tosh Wanogho-Maud as Jimmy Early, Durone Stokes as C.C. White, Delroy Brown as Marty and Kimmy Edwards as Michelle Morris.

Established star of Broadway Marisha Wallace joined the London cast of Dreamgirls earlier this year having received rave reviews in the role of Effie White in the Dallas Theater Center production. On Broadway, she has originated roles in Disney’s Aladdin and Something Rotten!and toured the US in The Book of Mormon.

Electric vocalist Moya Angela has been a respected musical theatre actress in the US for many years, receiving great acclaim playing Effie White in the North American revival tour of Dreamgirls, touring with Disney’s The Lion King and being part of the original Broadway casts of Ghost the Musical and most recently In Transit. She wowed judges and audiences when she auditioned for the 2016 series of America’s Got Talent, reaching the quarterfinal stages.

Karen Mav has been thrilling audiences in Dreamgirls since making her professional stage debut in the production last year. She quickly made a name for herself on ITVs The X Factor, successfully making it through to the notorious Six Chair Challenge before going on to release an original Christmas single in 2015.

Producer Sonia Friedman says: “The thrill of Dreamgirls is to experience the brilliance of the human voice. Effie White is arguably the biggest sing in musical theatre history, which is why we have cast three extraordinary vocalists to play this iconic role. Audiences experience goosebumps and tingles when they hear the fantastic songs in this show, sung by the very greatest singers on this planet, and each of these three actresses put goosebumps on top of goosebumps – London theatregoers are extremely lucky and privileged to have the chance to witness their rare and awe inspiring talents”

The cast of Dreamgirls will also include Michael Afemaré, Callum Aylott, Georgia Bradshaw, Jabari Braham, Ashford Campbell, Sanchia Amber Clarke, Nicole Raquel Dennis, Nicole Deon, Rhiane Drummond, Ashlee Irish, Emma Louise Jones, Ashley Luke Lloyd, Samira Mighty, Jayde Nelson, Aston New, Sean Parkins, Kirk Patterson, Rohan Pinnock-Hamilton, Ryan Reid, Rohan Richards and Joshua Robinson.

Full information on performance schedules can be found on the official website.

The Original London Cast Recording of hit West End musical Dreamgirls is available via Sony Masterworks Broadway.

Dreamgirls is Directed and Choreographed by Olivier and Tony Award®-winning Casey Nicholaw (The Book of Mormon, Disney’s Aladdin and Something Rotten!), with Set Design by Tim Hatley, Costume Design by Gregg Barnes, Lighting Design by Hugh Vanstone, Sound Design by Richard Brooker and Hair Design by Josh Marquette. The Musical Supervisor is Nick Finlow, the Orchestrator is Harold Wheeler, with Additional Material by Willie Reale.

Swarovski is delighted to be the Set and Costume Design partner for Dreamgirls, bringing to life the incredible visions of Tim Hatley and Gregg Barnes. Over one million Swarovski crystals have been incorporated into the production, adorning 275 costumes and 3 crystal curtains.

Let your soul sing with the dazzling multi-award winning Dreamgirls at the Savoy Theatre, London. With an extraordinary story and the unforgettable, spine-tingling vocals that are sending audiences wild at every single show, this spectacular musical production soars with the classic songs, ‘And I Am Telling You I’m Not Going’, ‘I Am Changing’, ‘Listen’ and ‘One Night Only’.

Meet The Dreams – Effie, Lorrell and Deena – three talented young singers in the turbulent 1960s, a revolutionary time in American music history. Join the three friends as they embark upon a musical rollercoaster ride through a world of fame, fortune and the ruthless realities of show business, testing their friendships to the very limit.

With Book and Lyrics by Tom Eyen and Music by Henry Krieger, the original Broadway production of Dreamgirls, Directed and Choreographed by Michael Bennett opened in 1981 and subsequently won six Tony Awards®. The original cast recording won two Grammy awards for Best Musical Album and Best Vocal Performance for Jennifer Holliday’s ‘And I Am Telling You I’m Not Going.’ In 2006 it was adapted into an Oscar winning motion picture starring Beyoncé Knowles, Jennifer Hudson, Eddie Murphy and Jamie Foxx.

Moya Angela, Asmeret Ghebremichael, Brennyn Lark and Marisha Wallace are appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity.

LISTINGS:

 

Savoy Theatre, Strand, London WC2R 0ET
Performances
Monday to Saturday evening performances at 7.30pm

Wednesday and Saturday matinee performances at 2.30pm

 

Box Office

 

Website:         Dreamgirlswestend.com
Telephone:     0844 871 7687
Prices:             From £20
At every performance there will be 125 accessibly priced seats for £25 or under available in advance, including 15 £20 Front Row Lottery tickets available on the day exclusively through the TodayTix app.

 

Social Media

Website – Dreamgirlswestend.com
Twitter handle – @DreamgirlsLDN
Facebook page – DreamgirlsLDN
Instagram account – DreamgirlsLDN
Hashtag – #DreamgirlsLDN

Bridewell Theatre – until 21 October.  Reviewed by Jessica Brady

4****

Based on the novel by Mary Shelley, Sedos presents FRANKENSTEIN! Written over 100 years ago still draws in audiences with its mystery. The heart of this tale was far advanced for its time, dealing with themes such as the existence of God, acceptance, hate and what it means to love, it follows the development of a strange creature and watch its uprising and downfall as we also witness the man who thought he had made waves in science but in fact created a monster.

This play version written by Nick Dear is a wonderful adaptation and the company of Sedos have created a great performance out of it! The set was inventive and worked perfectly for this production with four projections creating a constantly changing backdrop it was easy to distinguish settings and the projections themselves were visually stunning, attention was paid to the rest of the scenery too and the details were all there to elevate the standard of this production. The lighting design was particularly impressive with the use of a fork lightning effect cascading over the audience when the show begins linking up to the machine with ‘The Creature’ attached to it as it comes to life.

We go on a journey with ‘The Creature’ [played by Jonathon Cooper] from his ‘birth’. We watch him gasp for his first breath, attempt to stand and walk and when his creator Victor Frankenstein [played by Stephen Russell] sees his formation for the first time he runs away in horror at the sight of the terrifying figure. The story continues when he is seen by various people and is shunned, beaten and cast out for his hideous physique until he finds a kind blind man who doesn’t judge him for his appearance but instead helps him. We see the development of the creature’s speech and humanity forming through the kindness of the man as he teaches him how to write, and read and it appears that the creature is good, not evil and something to be destroyed. From this kindness comes great tragedy as the man who gave the creature a voice is eager for his son and his son’s wife to meet him as he is certain they will accept the creature, but this is not the case and they treat him unkindly like the rest of the people who have come across him. From this, the creature snaps and burns the house down with the family in it. The creature, no longer the good man he set out to be, comes to the decision that he will find his creator and get him to answer for his actions and create him a female companion just like him to combat his loneliness and allow him to love and be loved as he so desires.

The story is timeless and requires a lot from its main character, Jonathon Cooper does not disappoint. He is by far the standout of the production, with his excellent physical theatre skills and wonderful characterisation of the creature being the driving force and shows incredible command and intelligence in this role. I was blown away by Jonathon and found his performance to be very powerful and truthful. Stephen Russell as Frankenstein was just the right amount of erratic and crazy to portray the role and you could feel the horror seeping from him as he interacted with the creature, a great choice for casting as they both had an interesting chemistry that worked well in this instance. Regardless of being an amateur company, the show was well performed by the cast and the audience loved it giving a standing ovation!

There were a few things that jarred with me slightly in points of which firstly the pace of the action felt a little slow at times and I felt like the tension that was needed in some of the scenes didn’t quite reach the pinnacle which was a shame as it could have been a show stopper! Secondly the music choices in scenes and scene changes were a little disjointed as some were grungy, classical and another that sounded a little like yoga music broke the through line of the story for me as I wasn’t sure what overall style they were going for. Was it contemporary?, was it a classical interpretation? Personally I would have much preferred a score that was all the same style as it became distracting when I heard them. Nevertheless I still thoroughly enjoyed the production and would recommend it particularly for this time of year with Halloween just around the corner it will certainly get you in the SPOOOOOKY mood!

ADRIENNE WARREN TO PLAY TITLE ROLE IN WORLD PREMIERE OF

T I N A

OPENING AT ALDWYCH THEATRE SPRING 2018

Today, 17 October 2017, Adrienne Warren was announced by Tina Turner as the actor who will portray her in the world premiere of the new musical TINA.  Directed by Phyllida Lloyd, TINA will open at the Aldwych Theatre in April 2018.  Performances will begin on 21 March 2018 with press night on 17 April 2018.  Produced by Stage Entertainment, TINA is currently booking to 16 June 2018.

Written by Katori Hall with Frank Ketelaar and Kees Prins and directed by Phyllida Lloyd, with choreography by Anthony van Laast, set and costume designs are by Mark Thompson, musical supervision by Nicholas Skilbeck, lighting by Bruno Poet sound by Nevin Steinberg and orchestrations by Ethan Popp.  Further casting for TINA will be announced in due course.

Adrienne Warren said: “Growing up watching Tina, I knew how to shake my hips before I could tie my shoes!  I am so grateful to our creative team and producers for entrusting me with this responsibility.  I say responsibility, because I am a Tina Turner fan first. I am elated, honoured and humbled.  Meeting and working with Tina is and will always be one of the great moments of my life.  Can’t wait to see you in London!”

Tina Turner said:  “It has been my joy to introduce Adrienne today.  From the moment I met her at our last workshop I saw her exceptional talent. Playing this role will require immense physical and emotional commitment, and bravery too. We are thrilled to have found Adrienne, and I very much look forward to spending more time together and developing a special friendship I know will grow even stronger as we prepare the production for the Aldwych Theatre. We can’t wait to welcome her to the show.”

 

From humble beginnings in Nutbush, Tennessee, to her transformation into the global Queen of Rock ‘n’ Roll, Tina Turner didn’t just break the rules, she rewrote them. This new stage musical, presented in association with Tina Turner herself, reveals the untold story of a woman who dared to defy the bounds of her age, gender and race. 

 

Adrienne Warren will make her West End stage debut as Tina.  Her most recent theatre credit was in Shuffle Along at the Music Box Theatre on Broadway, for which she received a Tony nomination.  Her other US theatre credits include Bring it On the Musical at St. James Theatre, Dreamgirls at the Apollo Theater, which was followed by a National Tour, and The Wiz at Encores City Center.  She has toured and recorded with the multi-platinum selling Trans Siberian Orchestra in which she received her first Platinum and Gold records.  Her television credits include the Amazon Pilot Point of Honor, Orange is the New Black, Blue Bloods, Royal Pains, People in New Jersey, Irreversible, andBlack Box.  In March this year, she made her Carnegie Hall debut with the New York Pops.

With a career that has spanned more than half a century, the legendary rock performer Tina Turner is one of the world’s best-selling artists of all time.  She first rose to fame in the 1960s partnering with her then-husband Ike Turner, achieving great acclaim for their live performances and catalogue of hits.  Later, Turner enjoyed an international solo career with her 1984 albumPrivate Dancer earning her widespread recognition and numerous awards, including three Grammys.  She went on to deliver more chart-topping albums and hits, receiving a further eight Grammy Awards and reportedly selling more concert tickets than any other solo performer in history. The revered singer was introduced into the Rock and Roll Hall of Fame in 1991 and has often been voted as one of the most successful female Rock ‘n’ Roll artists of all time.

 

Katori Hall is a writer and performer from Memphis, Tennessee.  In 2016, her play Children of Killers was performed as part of the National Theatre’s Connections Festival.  Her play The Mountaintop, premiering at Theatre503 in 2009, received a transfer to Trafalgar Studios and became the winner of the 2010 Olivier Award for Best New Play, and following the West End run the play opened on Broadway in October 2011 starring Samuel L Jackson and Angela Bassett.  Hall’s other writing includes the award-winning Hurt Village currently in development for a feature film, Hoodoo Love, Remembrance, Saturday Night/Sunday Morning, WHADDABLOODCLOT!!!, Our Lady of Kibeho, Pussy Valley and The Blood Quilt.  Earlier this month Hall was named Artistic Director of the Hattiloo Theatre in Memphis. 

Phyllida Lloyd returns to the West End where she has previously directed the world premiere of MAMMA MIA!, currently still running in London after 18 years.  Her production subsequently opened on Broadway and worldwide becoming a global phenomenon before she directed a film version for Universal Pictures.  More recently she has directed a Shakespeare Trilogy for the Donmar at King’s Cross – Henry IV, Julius Caesar and The Tempest, all of which were also seen in New York where she has previously directed Taming of the Shrew at the Public Theatre andJosephine and I at Joe’s Pub at The Public, a transfer from The Bush.  Previously for the Donmar Warehouse she directed Mary Stuart which transferred to the Apollo Theatre and then Broadway,The Threepenny Opera and Boston Marriage.  She directed Six Degrees of Separation, Hysteriaand Wild East all for the Royal Court, The Rime of the Ancient Mariner with Fiona Shaw at the Old Vic Tunnels, Brooklyn Academy of Music and Epidaurus, The Way of the World, Pericles, What the Butler Saw, The Prime of Miss Jean Brodie and The Duchess of Malfi all for the National Theatre,Artists and Admirers and The Virtuoso for the Royal Shakespeare Company.  Her other film credits include The Iron Lady, starring Meryl Streep in the role of Margaret Thatcher, and Gloriana.  Lloyd has directed many productions for the Royal Opera House and English National Opera and as well as winning multiple awards for her work, in 2012 she was awarded a CBE.

TINA is produced by Stage Entertainment, Joop van den Ende and Tali Pelman, in association with Tina Turner.

 

Adrienne Warren is appearing with the support of UK Equity, incorporating the Variety Artistes’ Federation, pursuant to an exchange program between American Equity and UK Equity.

 

LISTINGS INFORMATION

Theatre:                           Aldwych Theatre, Aldwych, London WC2B 4DF

Dates:                              initial booking period 21 March – 16 June 2018

Press Night:                       17 April 2018 at 7pm

Performances:                   Monday – Saturday at 7.30pm, Thursdays and Saturdays at 2.30pm

                                      Nb first midweek matinee 12 April 2018

Box Office:                         0845 200 7981

Website:                           www.tinathemusical.com

Facebook:                         TinaTheMusical

Twitter:                            TinaTheMusical

Instagram:                        TinaTheMusical