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Palace Theatre, Manchester – until Saturday 17 March.  Reviewed by Marcus Richardson

4****

The Sound Of Music is a musical loved by generations, with songs that everyone knows and enjoys to sing along to. The film starring Julie Andrews, is an instant classic and is a work of art. Set in Austria and just before the German invasion, the play focuses on Maria Rainer a woman planning on becoming a nun but she has trouble not being able to stop singing and being late, she is the sent to work as a governess for the seven Trapp children.

The musical had a talented cast with all of the nuns and children giving superb performances. Lucy O’Byrne who played Maria was a delight watch giving the fun and loving character that charms the audience just as much as she charms the children, her vocals are suited for the character being soft and kind but also making sure she’s heard. The male lead of the show Captain Von Trapp was played by Neil McDermott, the headstrong and stubborn character may seem hard to like at first but McDermott gave the character a realistic and lovable quality that we learned to respect his authority but love his authenticity. The Mother Abbess played by Megan Llewellyn had vocals that shocked the audience with her powerful voice that stunned the audience and made everyone talking away during the interval about how she sang. I have to bring it back to the seven Trapp children because the child acting was so good, none of them were out of place and the vocals were something to listen out for. The set was spectacular and we are given these beautiful stained glass windows and beautiful staircases, in different scenes the quick to change set, there was one point where the scene change took too long and you could see that backstage didn’t have enough time and as soon as part of the stage was revealed you could see some of the magic behind the curtain, but this wasn’t too much of an issues considering how epic the set was. The live orchestra played beautifully to the voices and made sure everything happened in time adding to the immersion of the play.

I took my friend who said The Sound Of Music was her favourite musical of all time and it was her dream to see it on stage, she said the stage production lived up to the film and she even cried at points in the show, if that doesn’t sell you I don’t know what will. I also loved the show that has got too many songs stuck in my head now. The show is at the Manchester palace until the 17th

NEW CAST AND NEW TICKETS FOR WEST END PRODUCTION OF

H A R R Y   P O T T E R   A N D   T H E   C U R S E D   C H I L D

PARTS ONE AND TWO

WWW.HARRYPOTTERTHEPLAY.COM

 

Rehearsals began this week for the third West End cast of Harry Potter and the Cursed Childwho will start their performances at the Palace Theatre in London on 23 May 2018 following the final performance from the current cast on 20 May 2018.  

 

Joining the company are Jamie Ballard who will play Harry Potter, Susie Trayling as Ginny Potter and Joe Idris-Roberts as their son Albus Potter.  Jonathan Case joins to play Scorpius Malfoy.  Thomas Aldridge continues as Ron Weasley as well as Rakie Ayola as Hermione Granger and Helen Aluko as their daughter Rose Granger-Weasley.  James Howard also continues as Draco Malfoy.

 

They are joined by cast members Rosemary Annabella, David Annen, Jordan Bamford, Emma Bown, Adrian Christopher, Craig Connolly, Danny Dalton, Leah Haile, April Hughes, Martin Johnston, Gareth Kennerley, Susan Lawson-Reynolds, Ryan J Mackay, David Mara, Dylan Mason, Barry McCarthy, Sandy McDade, James McGregor, Annette McLaughlin, Tom Peters, James Phoon, Eve Ponsonby, Kate Russell-Smith, Sinéad Sharkey, Amarah-Jae St. Aubyn, Mark Theodore and Joshua Wyatt complete the 42-strong company playing a variety of characters, including seven children who will alternate two roles.  

 

In addition Harry Potter and the Cursed Child Producers Sonia Friedman and Colin Callender today announce that on 5 April 2018 at 11am BST they will release a further allocation of tickets for sale for performances from 16 January 2019 – 7 April 2019.  Tickets are priced from £15 per part and for every performance there are over 300 tickets at £20 or less per part. Details of any other ticket releases will continue to be listed on the official website, social media channels and the official newsletter.

Harry Potter and the Cursed Child is the eighth story in the Harry Potter series and the first official Harry Potter story to be presented on stage.  The critically acclaimed production received its world premiere in June 2016 at the Palace Theatre in London.  Subsequently Harry Potter and the Cursed Child has won twenty-four major theatre awards including the Evening Standard Best Play Award as well as a record-breaking nine Oliver Awards – including Best New Play and Best Director – the most awarded play in the history of the Oliviers.  The Broadway production will begin previews at the Lyric Theatre later this week on 16 March 2018 and in early 2019 the Australian production will open at Melbourne’s Princess Theatre.

It was always difficult being Harry Potter and it isn’t much easier now that he is an overworked employee of the Ministry of Magic, a husband and father of three school-age children.  While Harry grapples with a past that refuses to stay where it belongs, his youngest son Albus must struggle with the weight of a family legacy he never wanted.  As past and present fuse ominously, both father and son learn the uncomfortable truth: sometimes, darkness comes from unexpected places.

Based on an original new story by J.K. Rowling, Jack Thorne and John Tiffany, Harry Potter and the Cursed Child is a new play by Jack Thorne, directed by John Tiffany with movement by Steven Hoggett, set by Christine Jones, costumes by Katrina Lindsay, music & arrangements by Imogen Heap, lighting by Neil Austin, sound by Gareth Fry, illusions & magic by Jamie Harrison, music supervision & arrangements by Martin Lowe and casting by Julia Horan CDG.

Harry Potter and the Cursed Child is one play presented in two parts.  Both parts are intended to be seen in order on the same day (matinee and evening) or on two consecutive evenings.  On Thursdays there is an evening performance of Part One and on Fridays an evening performance of Part Two. On those days tickets to each part can be bought together or separately.  Tickets for Wednesday matinee and Wednesday evening performances can also be bought together or separately.

The regular performance schedule is as follows – Monday – no performance, Tuesday – no performance, Wednesday – 2pm Part One & 7.30pm Part Two, Thursday – 7.30pm Part One, Friday – 7.30pm Part Two, Saturday – 2pm Part One & 7.30pm Part Two, Sunday – 1pm Part One & 6.30pm Part Two.

Every Friday, The Friday Forty takes place at 1pm when 40 tickets are released for every performance the following week for some of the very best seats in the theatre.  Subsequent ticket releases take place each Friday for performances the following week.  Priced at £40 (£20 per part) tickets will secure a seat for

both Part One and Part Two on consecutive performances.  Customers will be selected at random for the opportunity to buy tickets online and will be able to purchase a maximum of two tickets for both Part One and Part Two in one transaction.  To ensure that as many people as possible have the chance to access these tickets, they will only be available to buy onlinewww.harrypottertheplay.com/ticket-information

For patrons with physical access needs and enquires regarding access performances call 0330 333 4410 (please note there are no general ticket sales on this number) or email [email protected]

Returned and other late-release tickets may also become available at short notice. These are not guaranteed, but any tickets that do become available will be sold on a first-come-first-served basis, online or in person at the Palace Theatre box office at full price.

Harry Potter and the Cursed Child is produced by Sonia Friedman Productions, Colin Callender and Harry Potter Theatrical Productions.

 

Box Office – 0343 208 0500

www.HarryPotterthePlay.com

www.harrypottertheplay.com/questions

@HPPlayLDN

facebook.com/HPPlayLDN

instagram.com/hpplayldn

www.pottermore.com

The Plough and the Stars

 

Previews from Thursday 15 March

Lyric Hammersmith

Following a sell-out season at the Abbey Theatre as part of the 100^th anniversary celebrations of the 1916 Easter Rising, as well as a successful Irish and US tour, The Plough and the Stars comes to the Lyric Hammersmith as a co-production with the Abbey Theatre.

Set amid the tumult of the Easter Rising, The Plough and the Stars is the story of ordinary lives ripped apart by the idealism of the time. The residents of a Dublin tenement shelter from the violence that sweeps through the city’s streets. A revolution that will shape the country’s future rages around them. What kind of Ireland awaits them?

This is a dynamic re-imagining: loyal to the spirit of O’Casey’s play whilst unleashing contemporary resonances for a modern audience.

www.lyric.co.uk | 020 8741 6850

INTERNATIONALLY ACCLAIMED

 ST PETERSBURG BALLET THEATRE PRESENTS

 

SWAN LAKE

LONDON COLISEUM

Wednesday 22^nd – Sunday 26^th August

 

The internationally acclaimed St Petersburg Ballet Theatre are set to make a welcome return to the London Coliseum this summer, with their full-length classic production of Swan Lake. The Company’s 2015 season was a total sell out with over 25,000 seats sold. The 2018 season is strictly limited and takes place between Wednesday 22^nd – Sunday 26^th August.

Arguably the world’s most loved ballet, Swan Lake tells the immortal classic love story of Prince Siegfried and Odette, a princess turned into a swan by an evil sorcerer’s curse. St Petersburg Ballet Theatre will perform this balletic masterpiece as it was meant to be seen, boasting gorgeous traditionally painted backdrops, Tchaikovsky’s moving score, a full-sized orchestra and critically acclaimed dancers performing the full-length production for London audiences. Swan Lake is undoubtedly a production everyone must experience at least once in their life.

Founded in 1994, St Petersburg Ballet Theatre is renowned globally not just for its beautiful Vaganova trained dancers but also for its stunning full-length productions. Led by prima ballerina Irina Kolesnikova, the company travels internationally performing classical masterpieces from its repertoire including Giselle, Don Quixote, The Nutcracker and Sleeping Beauty. The incredibly popular Company is in such demand that it gives 200 performances every year.

Irina Kolesnikova has a wealth of leading credits under her belt, having been prima ballerina at St Petersburg Ballet Theatre since the age of 21.  Her last Odette/Odile in Swan Lake in London in 2015 was described by the Telegraph as Truly a thing of beauty and Technically flawless.

Kolesnikova will be joined on stage by an array of guest starts from the world’s leading ballet companies including principal dancer Denis Rodkin, from the Bolshoi Ballet, who has been hailed by the Guardian as Sensational.  Additional Guest Stars will be announced at a later date.

St Petersburg Ballet comes to the London Coliseum following performances in Spain, Germany, Belgium, The Netherlands, Ireland, France, Italy, Austria, USA, Brazil, Turkey, South Africa, South Korea, New Zealand, Japan, China, Macau, Singapore, Taiwan and Australia.

As producer of the tour with decades of experience in presenting quality Russian ballet around the world, Andrew Guild said,

 

“Without doubt, Swan Lake is the world’s most famous classical ballet. And no one dances it as beautifully as The St Petersburg Ballet Theatre. The full length lavish production shows Russian classical ballet on a grand scale. It’s the real thing. Gorgeous Tchaikovsky music, magnificent sets and costumes, superb Russian classical dancers and brilliant Guest Stars. I urge every ballet lover not to miss it. See it once, remember it forever.”

Tickets for Swan Lake go on general sale at 10am on Friday 16^th March, and can be purchased at https://londoncoliseum.org/swan-lake-st-petersburg-ballet-theatre

Listings Information:

Production: St Petersburg Ballet Theatre Present Swan Lake

Venue: London Coliseum, St Martin’s Ln, London WC2N 4ES

Dates: 22^nd – 26^th August 2018

Performances: Wednesday – Sunday Evenings 19:30, Thursday & Saturday Matinees 14:30

Prices: £20 – £95 plus booking fee.
Booking: https://londoncoliseum.org/swan-lake-st-petersburg-ballet-theatre

Darlington Hippodrome – until 14 March 2018.

3***

Robert J Sherman’s A Spoonful of Sherman is his showcase tribute to the remarkable talent and history of his family.  His Grandfather Al Sherman, his father Robert B Sherman and uncle Richard M Sherman and showing that talent is in the gene’s, some of his own stuff too.

With more than 50 songs in just over 90 minutes of performance this is a wander through the songs of our childhood.  Al Sherman was an accomplished Tin Pan Alley writer in his day whose songs were recorded by everyone from Ella Fitzgerald and Billie Holiday to Sinatra and Duke Ellington.   Robert and Richard, got into a song-writing partnership as a result of their father giving them a challenge once he had become convinced that neither one of them was going to be write the next great American novel and symphony. Their most celebrated years coincided with their period as staff songwriters for Walt Disney, but what is remarkable is how they then transferred themselves seamlessly to other film franchises and to Broadway in the 1970s. And the new musical versions of Chitty Chitty Bang Bang and Mary Poppins in recent years.

Directed and choreographed by Stewart Nicholls, the quintet of Sophie-Louise Dann, Glenn Facey, Jenna Innes, Mark Read and Ben Stock expertly fly through a myriad of tunes from three generations with the aid of just two pianos which Stock, as MD, ably assisted by Read, master with consummate ease.  As well as the well known songs like Winnie the Pooh, The Wonderful Thing About Tiggers, A Spoonful of Sugar, Supercalifragilisticexpialidocious, Chim-Chim-Cher-ee, I wanna Be Like You and Chitty Chitty Bang Bang. We were also treated to earlier work like You’re Sixteen and the song that brought them to Disney, Tall Paul.  And later stuff too like songs from The Slipper and the Rose and the deeply irritating It’s A Small World After All.  On to the fabulous new stuff by Robert J himself; Love Birds, Crunchy Crackers and The Dream I Never Dreamed which were showcased at the Edinburgh Fringe in 2015 from the musical Love Birds.

The set was highly detailed, with drawers that acted as steps, seats and dance platforms.  Amazing choreographed piano’s and intricate details from the songs hidden in plain view – a jar of “Toot Sweets”, a model of Cinderella’s carriage, a model of certain flying car, Mary Poppins parrot umbrella and a very old but much loved Winnie the Pooh bear sat on a shelf.

A Spoonful of Sherman is a nostalgic trip down memory lane.  Ending with some of their most memorable songs that we were encouraged to join in with because who doesn’t love a good old-fashioned sing along?  It’s an uncomplicated show with some fascinating insights and songs you will know and love.

In Darlington until Wednesday 14th and on tour around the UK

• THE ROYAL SHAKESPEARE COMPANY ANNOUNCES SIX NEW DATES FOR THE UK & IRELAND TOUR OF MATILDA THE MUSICAL 
• 2019 WILL SEE MATILDA THE MUSICAL PLAY PLYMOUTH, BRADFORD, EDINBURGH, BRISTOL, SOUTHAMPTON AND NORWICH
• OFFICIALLY OPENING AT LEICESTER CURVE ON 15 MARCH 2018, MATILDA THE MUSICAL WILL ALSO VISIT DUBLIN, SUNDERLAND, MILTON KEYNES, BIRMINGHAM, MANCHESTER AND CARDIFF LATER THIS YEAR

The Royal Shakespeare Company has announced that the UK and Ireland Tour of Matilda The Musical will extend into 2019, touring to six more cities and accompanied by a specially devised education programme, Change My Story, for schools.

Winner of over 85 international awards, including 16 for Best Musical, the Matilda The Musical tour will celebrate its official opening night at Leicester Curve this Thursday (15 March), where it will play until 24 March. The West End production will continue to play at the Cambridge Theatre, where it is now in its seventh year and is booking until 10 February 2019.

In 2019 Matilda The Musical will play Theatre Royal Plymouth (15 January – 16 February 2019), the Alhambra Theatre, Bradford (19 February – 23 March 2019), Edinburgh Playhouse (2 – 27 April 2019), The Bristol Hippodrome (7 May – 8 June 2019), Mayflower Theatre, Southampton (11 June – 6 July 2019) and Norwich Theatre Royal (16 July – 17 August 2019).

Tickets for Plymouth, Bradford, Edinburgh, Bristol and Norwich will go on general sale on 23 March following a priority booking period between 19 and 22 March. Tickets for Southampton dates will go on sale on 10 April following a priority booking period between 3 and 9 April.

The 2018 tour dates are Leicester Curve (5 – 24 March 2018), Dublin Bord Gáis Energy Theatre (4 – 28 April 2018), Sunderland Empire (8 May – 2 June 2018), Milton Keynes Theatre (5 – 30 June 2018), Birmingham Hippodrome (3 July – 8 September 2018),Manchester Palace (18 September – 24 November 2018) and Cardiff Wales MillenniumCentre (4 December – 12 January 2019).

Matilda The Musical is written by Dennis Kelly, with music and lyrics by Tim Minchin, and direction by Matthew Warchus. The production is designed by Rob Howell, with choreography by Peter Darling, orchestrations, additional music and musical supervision by Christopher Nightingale, lighting by Hugh Vanstone, sound by Simon Baker and the special effects and illusions are by Paul Kieve.

As previously announced, for the first five venues of the tour Craige Els will reprise the role of Miss Trunchbull, having played her in the West End for three years between 2014 and 2017. He will be joined by Carly Thoms as Miss Honey and Sebastien Torkia as Mr Wormwood as well as former West End cast-mate Rebecca Thornhill as Mrs Wormwood. The title role of Matilda will be shared by Annalise Bradbury, Lara Cohen, Poppy Jones and Nicola Turner for this period. Casting for the tour’s later dates, including venues in 2019, will be announced in due course.

In the UK and Ireland, the production will be accompanied by Change My Story, a new RSC education programme inspired by Matilda The Musical and devised in collaboration with each touring theatre partner to help build long term partnerships between school communities and theatres.

The programme includes:

• Up to 50 Matilda The Musical Champion Schools – a two year initiative with local state schools and partner theatres in the tour locations.  Selected schools will work with RSC artists in residence to stage and perform a special 45 minute edit of Matilda The Musical as their school play. In the second year they will collaborate with 5 other local schools and lead on new creative projects
• Professional  Development courses for teachers to use Matilda The Musical as a springboard for creative writing
• Mrs Phelps’ Library Workshops for primary schools, led by RSC and local theatre artists, exploring different storytelling techniques
• Further details can be found at http://uk.matildathemusical.com/tour/schools/matilda-school-resources/.

Inspired by the incomparable Roald Dahl’s beloved book, Matilda The Musical was commissioned by the Royal Shakespeare Company and premiered at the RSC’s Stratford-upon-Avon home in November 2010, before transferring to London’s West End in October 2011, where it opened to rave reviews. The New York production of Matilda The Musical opened in April 2013 at Broadway’s Shubert Theatre and was celebrated on 10 “Top Ten” lists for 2013, including TIME Magazine’s #1 Show of the Year.

Matilda The Musical has now been seen by more than 7.7 million people worldwide, having played in over 60 cities with more than 5500 performances in the West End, on Broadway, across North America and in Australia and New Zealand.

Matilda The Musical swept the board at the 2012 Olivier Awards, with a record-breaking seven awards, and won four Tony Awards and a Tony Honor for Excellence in the Theater for the four girls sharing the title role on Broadway. The North America production toured 52 cities.

The Australian and New Zealand production won a Sydney Theatre Award for Best Musical in 2015, and played sold-out seasons in Melbourne, Brisbane, Perth, Adelaide and Auckland. The show broke further records in July 2016 by winning all 13 Helpmann Awards for which it was nominated.Matilda The Musical will have its first non-English language production at the LG Arts Centre in Seoul, South Korea from September 2018 until February 2019.

Matilda The Musical is produced by the Royal Shakespeare Company with André Ptaszynski and Denise Wood as Executive Producers. The production was developed with the support of Jeanie O’Hare and the RSC Literary Department.

2018 LISTINGS

Leicester Curve
Monday 5 – Saturday 24 March 2018
Box Office: 0116 242 3595
www.curveonline.co.uk

Dublin Bord Gáis Energy Theatre
Wednesday 4 – Saturday 28 April 2018
Box Office: +353 (1) 677 7999
www.bordgaisenergytheatre.ie

Sunderland Empire Theatre
Tuesday 8 May – Saturday 2 June 2018
Box Office: 0844 871 3022*
www.atgtickets.com/venues/sunderland-empire

Milton Keynes Theatre
Tuesday 5 – Saturday 30 June 2018
Box Office: 0844 871 7652*
www.atgtickets.com/venues/milton-keynes-theatre

The Birmingham Hippodrome
Tuesday 3 July – Saturday 8 September 2018
Box Office: 0844 338 5000**
www.birminghamhippodrome.com

Manchester Palace Theatre
Tuesday 18 September – Saturday 24 November 2018
Box Office: 0844 871 3019*
www.atgtickets.com/venues/palace-theatre-manchester

Wales Millennium Centre, Cardiff / Canolfan Mileniwm Cymru
Tuesday 4 December 2018 – Saturday 12 January 2019
Box Office: 029 2063 6464
www.wmc.org.uk

* Calls cost 7p per minute, plus your phone company’s access charge.
** Calls cost 4.5p per minute plus your phone company’s access charge.

2019 LISTINGS

Theatre Royal Plymouth
Tuesday 15 January – Saturday 16 February 2019
Box Office: 01752 267 222
www.theatreroyal.com

The Alhambra Theatre, Bradford
Tuesday 19 February – Saturday 23 March 2019
Box Office: 01274 432 000
www.bradford-theatres.co.uk

Edinburgh Playhouse
Tuesday 2 – Saturday 27 April 2019
Box Office: 0844 871 3014*
www.atgtickets.com/venues/edinburgh-playhouse/

The Bristol Hippodrome
Tuesday 7 May – Saturday 8 June 2019
Box Office: 0844 871 3012*
www.atgtickets.com/bristol-hippodrome

Mayflower Theatre, Southampton
Tuesday 11 June – Saturday 6 July 2019
Box Office: 02380 711 811
www.mayflower.org.uk

Norwich Theatre Royal
Tuesday 16 July – Saturday 17 August 2019
Box Office: 01603 630 000
www.theatreroyalnorwich.co.uk

* Calls cost 7p per minute, plus your phone company’s access charge.

www.matildathemusical.com
Twitter: @MatildaMusical
Facebook: @MatildaTheMusical
Instagram: @MatildaTheMusical
#matildaontour

WEST END LISTING

MATILDA THE MUSICAL
Cambridge Theatre, Earlham Street, WC2H 9HU
Booking until 10 February 2019
Tuesdays 7pm
Wednesday – Saturday 7:30pm
Wednesday & Saturday 2:30pm
Sundays 3pm

Box Office: Cambridge Theatre 020 7087 7745 / RSC Ticket Hotline 01789 403493
No booking fee.

CAST ANNOUNCED FOR THE RETURN OF KISS ME, KATE

• 2018 tour includes dates in London, Leeds, Edinburgh and Ravenna

 

• Includes many of Cole Porter’s greatest hits, including ‘ANOTHER OP’NIN, ANOTHER SHOW’, ‘SO IN LOVE’, ‘ALWAYS TRUE TO YOU (IN MY FASHION)’ and ‘TOO DARN HOT’

 

An outstanding cast has been announced for the return of Opera North’s award-winning production of Cole Porter’s classic musical comedy, Kiss Me, Kate, opening at Leeds Grand Theatre in May, then touring to the Ravenna Festival, to the London Coliseum for a two-week run in June, and moving to the Festival Theatre, Edinburgh in July.

 

Cole Porter’s riotously inventive homage to the sparkling wit of Shakespeare, Kiss Me, Kate is an irresistible celebration of the joy and madness of working in theatre.

On the opening night of a musical version of The Taming of the Shrew in 1940s Baltimore, the tempestuous love lives of actor-manager Fred Graham and his leading lady (and ex-wife) Lilli Vanessi are set to collide. Throw in Fred’s current paramour Lois Lane and her gambler boyfriend Bill – plus a couple of gun-toting gangsters who somehow get caught up in the show – and the stage is set for a funny and farcical battle of the sexes!

Stephanie Corley joins the cast of Kiss Me, Kate for the first time, in the role of Lilli Vanessi/ Kate. Stephanie has previously sung the title role in Opera North’s The Merry Widow, and has most recently played Tina in Jonathan Dove’s Flight at Scottish Opera.  In a role which he made his own in the original 2015 production, Quirijn de Lang is back as Lilli’s ex-husband and tormentor-in chief, Fred Graham/Petruchio. His many recent roles at Opera North include Sam in Bernstein’s Trouble in Tahiti and Count Almaviva in The Marriage of Figaro.

 

Turning Fred’s head, Zoë Rainey comes to the role of Lois Lane/Bianca flushed with the success of An American in Paris at the Dominion. As well as knowing her way around the Great American Songbook, Zoë is an accomplished dramatic actor, and was a member of the stellar company assembled by Sir Kenneth Branagh for his 2015 residency at the Garrick.

 

Dancer, singer and actor Alan Burkitt returns as Bill Calhoun/Lucentio, having played the role during Welsh National Opera’s run of Kiss Me, Kate in 2016 – which he followed with another trip to Tin Pan Alley in the lead role of Top Hat. Also returning from previous runs, Joseph Shovelton and John Savournin will reprise their scene-stealing turn as the dopey mobsters gifted one of Cole Porter’s most brilliant works, ‘Brush Up Your Shakespeare’.

 

Recently seen in the UK tour of Sister Act, Aiesha Pease exchanges her habit for Hattie’s apron and ‘Another Op’nin’, Another Show’. Talented singer and dancer Stephane Anelli, recently Dandini in Hackney Empire’s celebrated Cinderella, will lead the ensemble in ‘Too Darn Hot’ as Paul. His other West End roles have included Cosmo in Singin’ in the Rain and Tony Manero in Saturday Night Fever.

 

A veteran of stage and screen, James Hayes has the distinction of having appeared in more National Theatre productions than any other living actor. He returns as Harry Trevor/Baptista, after making his first foray into musicals in Opera North’s original production. Another An American in Paris alumnus, Jack Wilcox, plays Hortensio, while Malcolm Ridley, who has previously worked with the National Theatre (War Horse, West End) and Donmar (Ivanov) plays Harrison Howell.

 

Richard Mantle, General Director, Opera North comments:

 

“Kiss Me, Kate is a real treat of a show, boasting what is probably Cole Porter’s richest, most accomplished theatrical score. It’s serious fun, and Opera North’s landmark production approaches it with the respect it demands, benefiting from David Charles Abell’s critical edition of the score and recognizing the huge range of musical and dramatic skills that it calls for.

 

“It’s with this in mind that we have brought together a formidably gifted cast from the worlds of opera and musical theatre, to join the internationally-acclaimed forces of the Orchestra and Chorus of Opera North. We’re thrilled to be bringing this stunning production back to the stage in 2018, and to perform for audiences in Leeds, Ravenna, London and Edinburgh.”

 

Kiss Me, Kate is conducted by James Holmes (Carousel, 2012/2015), a former Head of Music at Opera North and a leading exponent of musical theatre, and directed by Jo Davies, who is responsible for a string of five-star successes for Opera North, including Ruddigore, Carousel, The Marriage of Figaro and of course, Kiss Me, Kate itself. Sets and costumes are designed by Colin Richmond, while the “sizzling” choreography is by Will Tuckett (Royal Ballet, English National Ballet) whose recent shows include West Side Story (Sage Gateshead), The Wind in the Willows (ROH and West End transfer) and Elizabeth (ROH and Barbican Theatre).

 

kissmekatethemusical.co.uk

 

KISS ME, KATE

Music and Lyrics by Cole Porter

Book by Bella and Samuel Spewack

Critical edition by David Charles Abell and Seann Alderking

For full casting and creative listing please see release attached

 

Performance dates:

 

Leeds Grand Theatre

Box office: 0844 848 2720 or kissmekatethemusical.co.uk

Wed       23 May 2018                       Kiss Me, Kate                     7.15pm

Thu        24 May 2018                       Kiss Me, Kate                     2.15pm

Thu        24 May 2018                       Kiss Me, Kate                     7.15pm

Fri           25 May 2018                       Kiss Me, Kate                     7.15pm

Sat          26 May 2018                       Kiss Me, Kate                     2.15pm

Sat          26 May 2018                       Kiss Me, Kate                     7.15pm

Teatro Alighieri, Ravenna, Italy

Box office: ravennafestival.org

Thu        7 Jun 2018                           Kiss Me, Kate                     8.30pm

Fri           8 Jun 2018                           Kiss Me, Kate                     8.30pm

Sat          9 Jun 2018                           Kiss Me, Kate                     3.30pm

Sat          9 Jun 2018                           Kiss Me, Kate                     8.30pm

London Coliseum

Box office: 020 7845 9300 or londoncoliseum.org

Wed       20 Jun 2018                         Kiss Me, Kate                     7.30pm

Thu        21 Jun 2018                         Kiss Me, Kate                     2.30pm

Thu        21 Jun 2018                         Kiss Me, Kate                     7.30pm

Fri           22 Jun 2018                         Kiss Me, Kate                     7.30pm

Sat          23 Jun 2018                         Kiss Me, Kate                     2.30pm

Sat          23 Jun 2018                         Kiss Me, Kate                     7.30pm

Tues       26 Jun 2018                        Kiss Me, Kate                     7.30pm

Wed      27 Jun 2018                        Kiss Me, Kate                     7.30pm

Thu        28 Jun 2018                        Kiss Me, Kate                     7.30pm

Fri           29 Jun 2018                        Kiss Me, Kate                     7.30pm

Sat          30 Jun 2018                         Kiss Me, Kate                     2.30pm

Sat          30 Jun 2018                         Kiss Me, Kate                     7.30pm

 

Festival Theatre, Edinburgh

Box office: 0131 529 6000 or edtheatres.com

Wed       4 July 2018                          Kiss Me, Kate                     7.15pm

Thu        5 July 2018                          Kiss Me, Kate                     7.15pm

Fri           6 July 2018                          Kiss Me, Kate                     7.15pm

Sat          7 July 2018                          Kiss Me, Kate                     2.15pm

Sat          7 July 2018                          Kiss Me, Kate                     7.15pm

Kiss Me, Kate is a co-production with Welsh National Opera.

Salisbury Playhouse – until 17 March.  Reviewed by Jo Gordon

5*****

Set in a lavish retirement home for aged musicians, Quartet introduces us to four senior opera singers who are struggling to settle into old age and the changes it brings with it. Wilfred Bond (Paul Nicholas) a rather randy fellow with an eye for the ladies, Reginald Paget (Jeff Rawle) a quiet man that just wants the simple pleasure of marmalade at breakfast and Cecily Robson (Wendi Peters) an eccentric, sweet woman who is struggling more and more to define past memories from the present and vehemently welcoming people home from Karachi all happily reside together chatting about the old days, coping with the new chapter in their lives and past loves lost. When a new resident arrives in the form of Reginald’s ex wife, the once revered singer Jean Horton (Sue Holderness)  causes quite a stir and some upset until they plan to  perform at an annual concert to celebrate Giuseppi Verdi’s (AKA Jo Green) birthday.

As strained relationships are healed and the four, in all their eccentric glory come together and overcome their fear of leaving their younger selves behind to the rally cry of “NSP” (no self pity), the show must go on!

A simple but beautiful set where I could easily imagine kaftan wearing, velvet clad thespians and opera stars wafting around regaling stories of the days they were at their peak and adored by the masses.

With an incredibly experienced cast (OK I will admit… I had a childhood crush on Paul Nicholas in his Just Good Friends era,I was more than excited to be in the same space as him!) and lots of very funny comedy moments, it makes for a wonderful production. Wilfred and Reginald deliberated about what is art and came to the conclusion that “Art is meaningless if it doesn’t make you feel” and I have to agree, you will experience a range of emotions throughout the play that will make you question your own outlook on growing older but it reminds you that despite the wear and tear on the outside there will always be a a 20 something soprano’s spirit within.

Empire Cinema Haymarket – until 2 September.  Reviewed by Claire Roderick

5*****

Emma Rice’s musical adaptation of Brief Encounter returns to the Empire Cinema after ten years, and still has the power to entrance and excite. Noel Coward’s oh so British love story, set in the stifling social order of post war Britain has been lampooned for many years, but Emma Rice’s loving treatment of the story is filled with nostalgia, passion and gentle knowing humour.

When Laura gets some grit in her eye on the station platform, doctor Alec assists her. A tentative romance blossoms, but they are both married, and cannot escape their responsibilities without being harshly judged by society. Rice keeps this central romance very true to Coward’s original characters, with stilted language and lingering silent glances, but introduces two contrasting love affairs highlighting the class divide. The darkness of Coward’s film remains, but the supporting characters are brought to live in vibrant and exuberant colour.

The mix of projection and live action still impresses, with the cinematic scenes feeling perfect in the large cinema auditorium. There is the hint of the technicolour magic experienced when Dorothy goes to Oz as the black and white films dissolve and the bright colours onstage shine through. Thrown in with the technical wizardry is Kneehigh’s signature homespun ethos, charming the audience with model trains and scene stealing toy dogs. Noel Coward’s songs are used to glorious effect, with Stu Barker’s music perfectly fitting the period setting. A standout sequence involves Laura and Alec silently interacting as Jos Slovick sings Go Slow Johnny with an amazingly luxurious tone that wouldn’t have been out of place at one of Coward’s soirees. In familiar Kneehigh style, before the show begins, the musicians and cast (in vintage usher outfits) wander around the auditorium, playing, singing and exchanging banter with the audience. The cast are superb, with Isabel Pollen heartbreakingly brilliant as Laura and Jim Sturgeon decent and dashing as Alec. Comic relief comes from Jos Slovak and Beverly Rudd as young flirty couple Stanley and Beryl, and Lucy Thackeray and Dean Nolan as Myrtle Bagot and Albert. Thackeray is hysterical as Myrtle, capturing the swift slips between the pretentious accent used for customers and her true working-class roots. Her not quite clandestine romance with Albert is a refreshingly physical, and funny, antidote to the frustrating stiffness Laura and Alec must show.

Charming, nostalgic, witty, clever, and touchingly romantic, Brief Encounter blends the best of cinema and theatre to create an unforgettable magical experience – and they even provide a hanky.

For King and Country
The Colab Factory, 84 Long Lane, London SE1 4AU
Wednesday 18th April – Sunday 10th June 2018

It’s December 1940 and a Nazi invasion force has landed on the south coast of England

For King & Country offers audiences a chance to immerse themselves in this gaming style experience where decisions taken in the bunker will shape the course of history! Reinventing the wheel of immersive theatre, Parabolic Theatre present an escape room-like experience with a high level of interaction where the audience determine the direction and flow of the story

This exciting interactive production offers audiences a chance to live through Britain’s ‘Darkest Hour’, making many of the tough decisions that Churchill himself made. With London in crisis, parliament is recalled and with all the members of both houses meeting in Westminster, the audience represent a small group of backbench MPs and their families – designated survivors – who have been taken to a secure location. They are completely unaware of the imminent events that will thrust them into the limelight and put the fate of the country in their hands. Can you save the British people from Hitler and his Third Reich, or will the war be over by Christmas?

For King & Country is an immersive theatre experience where every single night is different. The actors have no scripts, just a complete understanding of the alternative world they are creating aided by in-depth historical research. The audience are not just watching; at some point everyone will play the protagonist in one way or another

Director Owen Kingston comments, This is a show about making tough decisions and prompting debate. It’s like parliament at its worst and at its best all rolled into one. It’s a model of modern democracy with the pressure turned all the way up until the pipes start to burst. And you know what? People rise to the challenge. It’s an impossible scenario, yet people bust a gut to win because the fate of the whole country is on the line. History itself is on the line. They won’t let history fall apart on their watch