Home

Madeleine Morgan is named Stephen Sondheim
Society Student Performer of the Year

Madeleine Morgan, a student at the Royal Academy of Music, has been named the Stephen Sondheim Society Student Performer of the Year.

She was crowned following a tightly fought contest at the Sondheim Theatre.

Morgan, from the Gower in south west Wales, is on a Masters degree course at the Royal Academy of Music (RAM). Last year she played Mary Flynn in the National Youth Music Theatre production of Merrily We Roll Along at Southwark Playhouse and will next play the Baker’s Wife in RAM’s production of Into the Woods.

Gavin Rasmussen (from LAMDA) was runner-up, with Oliver Halford (Emil Dale Academy), commended.

The winner of the award – known affectionately as SSSSPOTY – received a £1,000 first prize, and the chance to headline their own Sondheim-infused cabaret in London. The runner-up was awarded £500.
A member of the Stephen Sondheim Society approached Maddie last year after seeing her in Merrily We Roll Along and told her that she must enter the SSSSPOTY competition in 2024.

Maddie said: ‘On my very first day at RAM, my wonderful singing teacher asked me about my goals for the year, and before the question had even left his lips, I blurted out: To get to the final of SSSSPOTY! The girl who played Orphan #3 in Annie is screaming right now!

“Winning the competition after that initial conversation has been quite the journey! To perform on the Sondheim Theatre stage, performing the work of Sondheim who I love so much and who writes so well for women, it is beyond my wildest dreams…

it’s a rare joy to play the complex and emotionally rich female characters created by Sondheim, and that I am so grateful to the Society for providing me with the opportunity to do just that.

“After NYMT gave me such a wonderful opportunity to play Mary, an iconic female Sondheim role, it was another full circle moment for the NYMT team see me win Student Performer of the Year. Maybe there was another potential SSSSPOTY winner on stage during their showcase from their upcoming Into the Woods this summer at Southwark Playhouse!”

Craig Glenday and Tina Foote of the Stephen Sondheim Society said: “This year, as with every year, the competition was fierce. We say that all our finalists are winners – and we see this every year as we watch the careers of those that have taken part in the prestigious competition before. Cynthia Erivo did not win the year she took part – and she has not done too badly…! Our judges came to a unanimous decision – but it was also very close indeed. It is a testament to the talent that we saw on stage. Maddie is such a worthy winner, but Gavin and Oliver were also so impressive. In fact – all our finalists produced noteworthy performances. It was a fabulous afternoon’s entertainment! We thank them all for their contribution to making SSSSPOTY such a success!”

MULTIPLE TONY AND OLIVIER AWARD-WINNING BROADWAY LEGEND

PATTI LUPONE

TO PERFORM LIVE SOLO CONCERT

‘PATTI LUPONE: A LIFE IN NOTES’

AT THE LONDON COLISEUM

SUNDAY 16 FEBRUARY 2025

FOURTH WALL LIVE and AEG are delighted to announce that legendary award-winning Broadway star PATTI LUPONE will return to the UK for the first time since her triumphant Oliver Award-winning turn in Company, to perform her solo show Patti LuPone: A Life in Notes. The concert will take place at the London Coliseum on Sunday 16 February 2025 at 7.30pm and will be LuPone’s only concert in Europe in 2025. Tickets on sale 14 June at [www.londoncoliseum.org]www.londoncoliseum.org

For Patti LuPone: A Life in Notes, Patti will perform an array of songs that are touchstones and reflections on her life growing up in America. The songs range from her youth during the burgeoning rock ‘n’ roll scene of the 1950s, to coming of age in the politically and socially turbulent ’60s, to eventually achieving success with both career and family. The concert will be her biggest ever solo concert in the UK and marks her first London performance since her performance in Stephen Sondheim’s Company in the West End in 2018.

Patti LuPone: A Life in Notes is conceived and directed by Scott Wittman, with music direction and arrangements by Joseph Thalken. Written by Jeffrey Richman.

PATTI LUPONE is a three-time Tony Award winner for her performances as Joanne in Marianne Elliott’s award-winning production of the Stephen Sondheim and George Furth musical Company, Madame Rose in the most recent Broadway revival of the Jule Styne-Stephen Sondheim-Arthur Laurents classic Gypsy and the title role in the original Broadway production of Andrew Lloyd Webber and Tim Rice’s Evita. Her Olivier Award wins include ‘Best Actress in A Supporting Role’ in a Musical for Company and ‘Best Actress in a Musical’ for Les Misérables and The Cradle Will Rock. Her film work includes Beau is Afraid, The School for Good and Evil (Netflix), Last Christmas, Cliffs of Freedom, The Comedian, Parker, Union Square, Driving Miss Daisy and Witness. TV/Streaming work includes Hollywood, Pose, Mom, Crazy Ex-Girlfriend, Penny Dreadful (Critics Choice Award nomination), Girls, American Horror Story (“NYC” and “Coven”), 30 Rock, Glee, Frasier (Emmy nominated) and four seasons as Libby Thatcher on ABC’s Life Goes On. This fall, Miss LuPone will return to Broadway to co-star with Mia Farrow in Jen Silverman’s comedy The Roommate, directed by Jack O’Brien and will co-star in the new Marvel series Agatha All Along, on Disney+.”

LISTINGS INFORMATION

Sunday 16 February

London Coliseum
St Martin’s Lane
London
WC2N 4ES

Performance: 7.30pm

Tickets from £18

Box Office: 020 7845 9300

Website: www.londoncoliseum.org
Instagram: @pattilupone

THE PHANTOM OF THE OPERA

AT HIS MAJESTY’S THEATRE

CELEBRATES 15,000 PERFORMANCES

IN THE WEST END

On Saturday 8 June 2024, Andrew Lloyd Webber’s THE PHANTOM OF THE OPERA celebrated its 15,000^th performance in the West End, making it only the third production in history to reach this milestone after The Mousetrap and Les Misérables. The show premiered at Her Majesty’s Theatre (now His Majesty’s Theatre) on 9 October 1986 and is currently booking until Saturday 29 March 2025.

THE PHANTOM OF THE OPERA currently stars Jon Robyns as The Phantom alongside Lily Kerhoas as Christine Daaé, Joe Griffiths-Brown as Raoul, Kelly Glyptis as Carlotta Giudicell, Matt Harrop as Monsieur Firmin, Adam Linstead as Monsieur André, David Kristopher-Brown as Ubaldo Piangi, Francesca Ellis as Madame Giry and Maiya Hikasa as Meg Giry. At certain performances, the role of Chistine Daaé is performed by Chumisa Dornford-May.

The cast is completed by Hollie Aires, Federica Basile, Corina Clark, Michael Colbourne, Leonard Cook, Colleen Rose Curran, Lily De-La-Haye, Hywel Dowsell, Connor Ewing, Serina Faull, Florence Fowler, James Gant, Eilish Harmon-Beglan, Yukina Hasebe, Samuel Haughton, Thomas Holdsworth, Jacob Hughes, Grace Hume, Janet Mooney, Tim Morgan, Eve Shanu-Wilson, Tim Southgate, Zoë Soleil Vallée, Jasmine Wallis, Victoria Ward, Ralph Watts, Simon Whitaker, and Andrew York.

THE PHANTOM OF THE OPERA is widely considered one of the most beautiful and spectacular productions in history, playing to over 160 million people in 46 territories and 195 cities in 21 languages. Andrew Lloyd Webber’s romantic, haunting and soaring score includes Music of the Night, All I Ask of You, Wishing You Were Somehow Here Again, Masquerade and the iconic title song.

THE PHANTOM OF THE OPERA is produced by Cameron Mackintosh and The Really Useful Group Ltd. Music by Andrew Lloyd Webber, Lyrics by Charles Hart, and Additional Lyrics by Richard Stilgoe. Book by Richard Stilgoe and Andrew Lloyd Webber, based on the novel ‘Le Fantôme de l’Opera’ by Gaston Leroux, with Orchestrations by David Cullen and Andrew Lloyd Webber. Musical Supervision is by Simon Lee. The Production Design is by Maria Björnson and the Set Design is adapted by Matt Kinley with Associate Costume Design by Jill Parker, Lighting is by Andrew Bridge with Associate Lighting Design by Warren Letton, Sound is by Mick Potter. The Musical Staging and Choreography is by Gillian Lynne, recreated and adapted by Chrissie Cartwright. Originally Directed by Harold Prince, this production is Directed by Seth Sklar-Heyn.

Forum Theatre, Malvern – until 9th June 2024

Reviewed by Courie Amado Juneau

5*****

Malvern Concert Club very proudly presented the Brodsky Quartet performing all 15 of Shostakovich’s String Quartets. What an undertaking – and prospect!

The cycle was presented mostly chronologically and every quartet was a masterpiece, but several deserve special mention. The third – where Shostakovich found his stride and original voice – was one such. Every movement was played by the renowned Brodskys (Krysia Osostowicz and Ian Belton (violins), Paul Cassidy (viola) and Jacqueline Thomas (cello) with an understanding borne of a lifetime of playing this wonderful music. Their reading was precise, emotional, energetic and had a sumptuous range of dynamics to magically animate the music. The players truly inhabited the score and they were visibly moved, needing some reflective silence at the culmination. Coming just after the D-Day Commemorations, with wars in Ukraine and Palestine raging, what a sad indictment that this anti-war music is still so apt, so current, so now and so needed.

The 5th for its breadth, scope and ambition was another. Coupled with playing that was almost religious in its passionate fervor it was a rare joyful treat. The 8th was a further towering achievement that left me reeling. From 1960, it was the composer’s self penned epitaph. As it finished, the musicians seemed suspended as if weightless, so totally engrossed in the moment that they needed some time to re-acclimatize back into the room.

The real revelation, however, was the last day which (unbelievably) just got better and better! I had heard these works on CD but experiencing them in person was something else entirely. Especially when played this perfectly. The Brodskys probably won’t have realized but next week is “Loneliness Awareness Week” and the timing could not have been more perfect to give us Quartet No. 13. This was billed in the remarkably helpful, informative and entertaining programme notes (written by violist Cassidy) as, variously; “…a troubled soul cannot escape the walls of his tortured mind” and “…ends up alone”. Absolutely spot on. Words feel inadequate to explain fully the performances we witnessed and the emotions they unleashed. For me, this was the highlight of the entire series, closely followed by the last Quartet (no. 15) which was breathtaking throughout.

In The Brodsky’s hands the works positively glowed with vibrant delight! Shostakovich would have been rightly proud I’m sure, especially with readings of such utter conviction. I loved the introductions which gave us an insight into the works, the composer’s life, his methods and thought processes. They increased the enjoyment enormously whilst giving us the chance to get to know our performers. It takes a monumental level of stamina and concentration to play any 15 String Quartets in a marathon session over two and a half days but the Shostakovich cycle demands more than many others. What a phenomenal achievement to have gifted us the opportunity to hear this cycle in all it’s glory. And to have done it with such attention to detail, charisma and affection was an even more remarkable achievement. Thank you all concerned for giving us this life affirming musical experience that will live forever in my heart and memory. Absolutely flawless from first note to last!

York Theatre Royal – until Saturday 8th June 2024

Reviewed by Michelle Richardson

3***

York Theatre Royal’s latest production, Moby Dick, is a new adaptation of Herman Melville’s 1851 novel, by Sebastian Armesto. Bought to the stage by Simple8 and Royal & Derngate.

Ishmael (Mark Arends), the narrator of the tale, is desperate to sign on to a whaling ship. On meeting Queequeg (Tom Swale), they both manage to embark on the Pequod. It is a while before we meet its fanatical Captain, Ahab (Guy Rhys). Despite his orders, Ahab’s only mission is to capture the white whale, Moby Dick, who took his leg on a previous encounter, and exact his revenge. He is more and more possessed as the hunt continues.

As soon as entered the auditorium, the atmosphere was set, a mist encapsulating the almost empty stage. With scaffolding on stage, the cast bring on planks of wood, utilising, to create different sets, from ship decks to bars. Pieces of wood were also used to create a whale, or at least an outline. This was visually impressive, with the cast holding the pieces aloft.

The whole cast worked tirelessly throughout the show, with moving the set around, to their glorious sea shanties, which really lifted the show. The musical director, Jonathan Charles was busy as the ensemble, singing and playing several instruments. I would also like to mention William Pennington as one of the standout performers.

I couldn’t fault the acting at all, they were all excellent, but I did find the adaptation was lacking and unfortunately not as engaging as I would have liked. At times the intensive dialogue was a bit too shouty and I did struggle to hear one of the cast, their voice drowned out in the melee.

The show is thought provoking with the subject matter of killing whales, a topic that is still controversial to this day. The most striking part of the show was the end of Act One and the slaughtering of a whale. Visually it was shocking, and stunning how it was depicted, but also hit home how barbaric and bloody this practice is.

A show with some excellent sea shanties, acting, staging and physical theatre, that could have been more powerful in it’s storytelling.

Leeds Playhouse – until 29 June 2024

Reviewed by Sal E Marino

5*****

Leeds Playhouse and Opera North have once again created a musical masterpiece with Lerner and Loewe’s widely acclaimed My Fair Lady, based on George Bernard Shaw’s play Pygmalion. Brilliantly directed by James Brining with set and costume design by Madeleine Boyd, choreographed by Lucy Hind and with phenomenal musical scores directed by Oliver Rundell – My Fair Lady has been a resounding success and brought the magic of musicals back to the heart of Leeds. The whole production was undeniably slick and brimming with high energy in every beat, step and lyric.

Both dramatically and visually effective, My Fair Lady tells the story of Eliza Doolittle, a poor cockney flower girl who is transformed into being able to pass as a duchess with the help of phonetician Henry Higgins. Katie Bird is simply perfect as Eliza; her voice fills the theatre with that spine-tingling sensation that only very few can achieve. Complimenting Katie’s sparkling performance is John Hopkins portraying Professor Higgins and he brings a different kind of sparkle which is encapsulated in his humour and the chaotic way in which he expresses his supressed feelings. When singing ‘I’m an ordinary man’ to fellow bachelor Colonel Pickering (Dean Robinson), Hopkins totally embodies the part of the arrogant, impatient professor.

Fast-paced and inventive, the cast of My Fair Lady are every inch world-class and give magnificent performances in every role they play. The transformation from street workers to high society socialites is ingenious as it’s done so smoothly with creative props and costumes that take you from scene to scene within seconds. The chorus ensembles are truly impressive and so joyous at times. ‘Get me to the church on time’ fills one glee and you just find yourself singing along and joining the party. Richard Mosely-Evans (playing Eliza’s hapless father Alfred Doolittle) is at the centre of this number and his jaunty moves and cheeky chappie persona just make you smile and chuckle. Another superb characterisation with a beautiful voice is Ahmed Hamad as Freddy Enysford-Hill and when he sings the all-time classic, ‘On the street where you live’, it makes one glow inside with nostalgia.

My Fair Lady bustles with pretty much everything your heart could desire – sing-along tunes, feel-good vibes and spectacular performances from start to finish. Unfettered joy was felt all around the theatre when I saw it and I’m sure it will be the same when you do too.

Leicester Square Theatre – 5 June 2024

Reviewed by Claire Roderick

4****

With the Mash Report cancelled by both the BBC and Dave, Rachel Parris says she is learning to be more impartial in her comedy – but with the Tories practically writing the satire themselves, her efforts do not last long in her latest show. Although, for balance, Starmer isn’t given a free ride either. Political jokes abound, but this show is about Parris finding her poise as she reaches 40. All the traditional things she railed against 5 years ago are now facts of her life as a wife, mother, stepmother and *gasp* homeowner, and Parris asks the big questions about whether life really does begin at 40.

Easily switching from a self-deprecating and cringeworthy parenting anecdote to a biting political critique, Rachel Parris’s easy charm wins over the audience immediately and enables her to go into full primary school music teacher mode leading the audience in a wonderful singalong about what women want. With songs about internet scams, the queues at Dover (obviously not because of Brexit!) and a heartfelt tribute to Liz Truss with a version of Candle in the Wind that begins “Goodbye Lettuce Liz” throughout the evening, Parris’s musical numbers are highlights of the show. Rounding up the show with an acapella folk song celebrating all the joy and pain of life before turning 40 and rubbishing the ridiculous adage, and a magnificent James Bond theme spoof celebrating a woman’s perfect role model – the Bond Girl (her opinions are strong, but not vocal) – Rachel Parris is definitely entering her 40s on a high.

Rachel Parris is touring with Poise until 20th October. Tickets are on sale from: https://www.rachelontour.com/

Soho Theatre – until 22 June 2024

Reviewed by Claire Roderick

4****

It’s the night of the Royal Variety Performance, and we are down in the basement for an open dress rehearsal as Jazz Emu tries to find the perfect song that will win him a knighthood. Apparently, that’s how it works, but unfortunately the evil Kelly Clarkson is also performing, and some unfortunate allegations about him are surfacing, so Jazz’s chances are looking slim.

New to the insane world of Jazz Emu (Archie Henderson), I didn’t know what to expect, but the loveable nonsense makes for a brilliant hour of musical comedy. With a huge ego and an enormous lack of self-knowledge, but also an endearing hapless silliness – imagine the offspring of Liz Truss and Andrew Tate raised by Flight of the Conchords – Jazz Emu is a fantastic entertaining character.

Jazz is a team player – he even sings about how he’s the best at that – and backed by The Cosmique Perfectión in Sergeant Pepperesque outfits, the music is infectiously upbeat with a plethora of earworms. I have had Still Waiting and My Brothe on loop for an unhealthy amount of time today. The hilarious songs are enough to create a memorable show, but Jazz’s quest for the knighthood (and the Royal Pardon that comes along with it) allows for some great bits that weave together to create a weird narrative including his battle to switch Siri to a less annoying mode, an internet scam and a sinister PR agent. Absolutely bonkers.

A bizarre and brilliant hour of toe-tapping and side-splitting nonsense. Trust me, you’ll love it!

Jazz Emu’s Edinburgh Festival Fringe show will be at the Pleasance 31st Jul – 25th Aug https://www.pleasance.co.uk/event/jazz-emu-knight-fever

He will be touring in February/March 2025

WATCH “AND NOW I RISE”

THE UPLIFTING NEW MUSIC VIDEO FOR

WRITTEN AND COMPOSED
BY LOURDS LANE

TICKETS ON SALE NOW FOR
THE WORLD PREMIERE OF
THE NEW SUNG-THROUGH ROCK OPERA AT
CURVE, LEICESTER

FROM 22 OCTOBER – 9 NOVEMBER 2024

“And Now I Rise” is the latest video and single from SuperYou Musical with vocal and electric violin performance by the show’s creator, Lourds Lane. The song is sung by “Rise,” the socially awkward misfit superhero in SuperYou Musical who learns to embrace all of who she is with her mantra, ”If I can’t fix it, I will feature it!”

The song is an anthem for anyone who has ever been bullied, felt “othered” or doesn’t feel like they fit in, and captures the essence of SuperYou Musical’s core themes of resilience and self-love. The diverse cast of about 100 individuals in the music video are all real people playing themselves, including those who are LGBTQIA+, neurodivergent, differently abled, navigating various mental health issues, and those who have experienced racism, sexual abuse, trafficking, addiction, ageism, sexism, depression, and crippling grief. Collectively, they have learned to embrace who they are and wear their ‘scars with pride.’

Every person in the cast was interviewed about their “pain to power” stories and their real-life experiences are shared weekly in an inspiring video series on the SuperYou Musical social channels called “SuperYouman Stories” on #SUPERYOUSUNDAY.

View the video here: HERE

The music video and single of “And Now I Rise” was made possible through a grant awarded to Lourds Lane by The NYC Women’s Fund for Media, Music and Theatre by the City of

The New York Mayor’s Office of Media and Entertainment in association with The New York Foundation for the Arts. 

Music and Lyrics for “And Now I Rise”: Lourds Lane. Director: Guilherme Lepca, Production by:  SuperYou Musical and Smart Diseños, Music Video Story and “SuperYouman Stories” Concept: Lourds Lane, Editing and Animation: Smart Diseños, First Assistant Director: Richard Calvache, Casting: Ian B. Connor and Wojcik Casting Team, Producer: Jennifer Mary Mears, Executive Producer: All Awesome LLC /MelissaJones/Lourds Lane, Music Production: Lourds Lane and Baba Z. Buerger.

The single for “And Now I Rise” is available now on all streaming platforms. 

SuperYou runs at Curve 22 October to 9 November and tickets are now on general sale. To find out more, visit www.curveonline.co.uk, call 0116 242 3916 or visit Curve’s Box Office in-person.

SuperYou is an uplifting musical, written and composed by Lourds Lane, that centres around the transformative journey of a comic book artist who discovers self-love and her own voice as her superheroine creations spring to life. The new sung-through rock opera version of the show will have its first fully staged UK production at Leicester’s Curve theatre this autumn.

After making its West End debut for a sold-out, one night only concert at The Lyric Theatre in 2023, this new rendition of the beloved cult hit is a complete reimagination, now rewritten and presented entirely through song.

The musical’s score is a dynamic rock soundtrack that seamlessly incorporates a wide range of musical styles, including pop, hip hop, swing, blues, gospel, country, and soulful power ballads. Through its instantly memorable soundtrack, SuperYou delves into themes of discovering inner strength, while fostering acceptance, inclusivity, and kindness, both towards others and, crucially, oneself, making it a tale that feels particularly relevant and timely in today’s world.

Initially planned for an off-Broadway debut, SuperYouwas the first theatrical production to perform during the pandemic, staging concerts on socially distanced pick-up trucks at a drive-in, in upstate New York. These pandemic concerts garnered national and international attention, and a film was later released as a popular documentary on Broadway on Demand.

During the pandemic, while many shows stopped activity and shut down, SuperYougained what Playbill calls “a substantial cult following” for its online content and concept album of demos with over 23 million views on TikTok. #FANCOVERFRIDAY emerged as fans worldwide created their own SuperYoumusic renditions, a trend continuing until today, four years later.

Due to its online popularity and viral videos, SuperYou quickly sold-out Carnegie Hall for two nights in July 2022, and then proceeded to win BroadwayWorld’s Best New Musical Award in Milwaukee for its developmental presentation the following year.  With an impressive debut at London’s Musical Con in 2022, SuperYoureturned last year as a “teaser” ahead of the West End concert at The Lyric Theatre in November.

SuperYou Musical has book/music/lyrics and co-arrangements by Lourds Lane, direction and choreography by JoAnn M. Hunter, music supervision by Wendy Bobbitt Cavett, scenic design by Anna Louizos, costume design by Cynthia Nordstorm with video design by Caite Hevner, lighting design by Ryan O’Gara and sound design by Tony Gayle. Casting by Pearson Casting and is produced by Melissa M. Jones / All Awesome LLC with general management by Anthology Theatre Productions.

Awkward Productions’ viral sensation Gwyneth
Goes Skiing heads on UK & Ireland Tour
September – December 2024

Awkward Productions are taking their viral sensation Gwyneth Goes Skiing on a UK & Ireland tour this autumn. Gwyneth Goes Skiing will return to the slopes after two sold-out and critically acclaimed runs in London, as well as a sold-out run across the globe in Park City, Utah, where the real trial happened. There, the show was enjoyed by both Gwyneth and Terry’s legal teams, as well as witnesses and jurors from the trial itself – with one describing the show as “99.9% accurate” and another as “more entertaining than the actual trial”. This ever-evolving show from the harbingers of queer chaos is a story of justice, betrayal and optometry, recounting the biggest case to rock the legal world since law was invented. The show makes the audience the jury, asking them to decide who’s guilty and who’s gooped.

Gwyneth Goes Skiing stars Linus Karp as the Goop-founding, Door-Sliding, Shakespeare InLoving, consciously-uncoupling Hollywood superstar Gwyneth Paltrow, and Joseph Martin as her nemesis, Terry Sanderson, a retired Optometrist from Utah. The show follows Awkward Productions’ multiple award-winning, Edinburgh Fringe sell-out hit Diana: The Untold and Untrue Story.

In an exciting development for Gwyneth Goes Skiing, Emmy and Golden Globe winner and Broadway legend Darren Criss will provide the singing voice of Terry Sanderson. Criss is best known for playing the role of Blaine Anderson in Glee (alongside the real Gwyneth Paltrow!), as well as his lead role in The Assassination of Gianni Versace: American Crime Story. Criss has also starred on Broadway in How to Succeed in Business Without Really Trying and Hedwig and the Angry Inch

Alongside Criss, Edinburgh Comedy Award Winning comedian, actress and singer Cat Cohen will lend her voice as Gwyneth Paltrow on the vocal track with absolute bops including I Wish You Well and See You In Court

Cat Cohen’s live comedy performances combine stand-up with cabaret-style songs. The comedian, actress, and singer’s first Netflix comedy special, The Twist…? She’s Gorgeous, was released in 2022. As an actress, she has appeared on comedy series such as High Maintenance, Broad City, Search Party, and What We Do in the Shadows.

Drag legend, television personality, make-up mogul and singer-songwriter Trixie Mattel makes a special on-screen appearance as Gwyneth Paltrow’s mother, Blythe Danner. In 2015, the world fell in love with Trixie on the seventh season of RuPaul’s Drag Race, and in 2018, she went on to win RuPaul’s Drag Race All Stars

Gwyneth Goes Skiing recounts the collision in 2016 on the slopes of Deer Valley and the court case seven years later that enthralled the world. Gwyneth Goes Skiing features a whole lot of fiction, a sprinkling of verbatim lines from court transcripts and delightfully catchy original music by Leland (RuPaul’s Drag Race; Cher’s Christmas; Troye Sivan’s Something To Give Each Other). Audiences are advised that Gwyneth Goes Skiing is BYOJE (bring your own jade eggs).

Praise for Awkward Productions’ work:

Absurd, camp, chaotic, and hilarious – Attitude Magazine, ★★★★★

Perfectly imagined and brought to life on stage with vision and heaps of silliness – The National, ★★★★★