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ANNE-MARIE DUFF ANNOUNCED IN THE LITTLE FOXES AT THE YOUNG VIC THEATRE 

BAFTA Award-winning actress Anne-Marie Duff (Bad Sisters, Suffragette, Nowhere Boy) is today announced to lead the cast in a savage new staging of Lillian Hellman’s The Little Foxes by Olivier Award-winning director Lyndsey Turner (The Witches, The Crucible). She will return to perform at the Young Vic Theatre for the first time in 17 years in this story of greed, ambition and a family on the edge. The production runs in the Main House from 2 December to 8 February. Tickets are available now at www.youngvic.org   

Anne-Marie Duff said: “The Little Foxes is a formidable play by a formidable writer – I couldn’t put it down. It’s a searing drama about corruption, betrayal and the relentless pursuit of power. At the heart of it is Regina, a charismatic yet ruthless character who, when the reins are unleashed, goes full force to take matters into her own hands. It’s a joy to return to the Young Vic stage and bring Lillian Hellman’s classic play to life with the brilliant Lyndsey Turner.”  

There are people who eat the earth and eat all the people on it.
Then there are people who stand around and watch them eat it.   

After a lifetime spent watching her brothers grow rich, Regina Hubbard has had enough of standing around. When a businessman offers the family the prospect of untold wealth and power, a sequence of events unfolds that sets brother against brother, father against son and Regina against the whole pack of them. 

Design is by Lizzie Clachan, Lighting Design by Lucy Carter, Sound Design by Tingying Dong, Fight Direction by Kev McCurdy, Accent Coach Penny Dyer, Casting by Jess Ronane CDG CSA.

The Little Foxes is produced in association with Second Half Productions. 

Further casting to be announced. 

Anne-Marie Duff is a multi-award-winning actress with a hugely successful stage and screen career. Notable roles include Fiona Gallagher in Channel 4’s Shameless, Queen Elizabeth in BBC’s The Virgin Queen, John Lennon’s mother Julia Stanley in Sam Taylor-Johnson’s Nowhere Boy and the eponymous heroine in Saint Joan at the National Theatre. She played Erin Wiley in Sex Education, Ma Costa in His Dark Materials and recently starred in Bad Sisters receiving the Best Supporting Actress BAFTA. This summer she returns as Dr Susannah Newman in the Channel 4 thriller, Suspect. She has worked extensively on stage for over 20 years. Her Young Vic credits include The Daughter in Law and The Soldiers Fortune. She most recently performed in The House of Shades at the Almeida. She made her Broadway debut as Lady Macbeth in 2014. She also performed the role at the National Theatre where her other credits include Collected Stories, Strange Interlude, King Lear, War and Peace, Husbands and Sons, Common. Other theatre credits include Oil (Almeida), Sweet Charity, Days of Wine and Roses (Donmar Warehouse). Her film credits include Suffragette, On Chesil Beach, The Magdalene Sisters, Notes on a Scandal. 

Lyndsey Turner is an Associate Director at the National Theatre. Her work includes: The Witches, The Crucible (also West End) and Under Milk Wood (National Theatre), A Number(Old Vic); Far Away, Faith Healer, Fathers and Sons (Donmar Warehouse); Hamlet(Barbican); The Treatment, Chimerica (Almeida); Girls and Boys, Posh (Royal Court).  

Lillian Hellman was born in New Orleans, grew up in New Orleans and New York City, and attended New York University and Columbia.  Her career as a playwright began in 1934 with The Children’s Hour, the first of several plays that would bring her international attention and praise, among them The Little Foxes, Watch on the Rhine, Another Part of the Forest, The Autumn Garden and Toys in the Attic.  Hellman was twice the recipient of the New York Drama Critics Circle Award for the best play of the year (for Watch on the Rhine and Toys in the Attic).  She was also awarded the Gold Medal for Drama from the National Institute of Arts and Letters.  In 1972 a definitive edition of all her work for the theatre was published as The Collected Plays. 

Hellman received the National Book Award for An Unfinished Woman in 1969.  She subsequently wrote two additional volumes of autobiography, Pentimento and Scoundrel Time.  In the decades before her death in 1984, Hellman divided her time between New York and Martha’s Vineyard. 

BSL Performance:  Tue 7 January, 7.30pm 
Captioned Performances: Tue 17 December, 7.30pm & Sat 4 January, 2.30pm 
Relaxed Performances: Sat 11 January, 2.30pm & Thu 16 January, 7.30pm 
Sensory Adapted Performance: Thu 9 January, 7.30pm
Audio Described Performances: Thu 19 December, 7.30pm & Sat 18 January, 2.30pm 

Paul McGann and India Fisher to star in special one-off live recording of Big Finish’s Eighth Doctor adventure

To celebrate the 25th anniversary of licensed Doctor Who audio dramas, Big Finish Theatre, in partnership with BBC Studios, Fourth Wall Live and AEG, is proud to announce a unique full-cast live recording event, taking place at Cadogan Hall, London on Saturday 14 September 2024.

For the very first time, Doctor Who fans will be able to watch an all-star cast take to the stage to perform a brand-new audio play, The Stuff of Legend, by Robert Valentine.

Leading the cast is Paul McGann as the Eighth Doctor and India Fisher as his indomitable companion Charley Pollard. They’ll be joined onstage by Alex Macqueen as the Master alongside Nicholas Briggs, who voices the Doctor’s unstoppable arch-enemy, the Daleks.

Something is afoot in the lonely Cornish village of Merrymaid Bay. Rumours of dead men working in the tin mines have sent a chill through the community, and it’s up to the Doctor and Charley to get to the bottom of the mystery.

Can the legends of the Bucca that haunts the mines be true? And just what awesome power do the Doctor’s greatest enemies – the Daleks! – threaten to unleash upon the universe?

Tickets will be available to order at www.doctorwhoaudiolive.com from 10:00 on Friday 05 July, with prices beginning at £18.00.

Big Finish executive producer Jason Haigh-Ellery said: “25 years? It feels like 25 seconds! Producing the audio adventures of Doctor Who has been such a joy that two and a half decades has flown by – almost as if we have all been in the time vortex with the Doctor.

“We’ve enjoyed ourselves so much producing thousands of hours of audio drama adventures – and now we have the chance to show fans of the series how the audio productions are made, with a new live performance – the first time Doctor Who has been performed live on stage since 1989.”

Dominic Walker, Global Business Director at BBC Studios, added: “After 25 years of working with Big Finish on the Doctor Who audio adventures, BBC Studios is excited to now be bringing a live version to the stage. The Stuff of Legend is a fitting celebration and I am delighted that fans will be able to witness the recording of such a momentous anniversary story up close and personal.”

Cadogan Hall has limited capacity so fans are advised to book quickly to avoid disappointment.

Simultaneous to the live stage show, a full-cast studio production of Doctor Who: The Stuff of Legend will be released on 14 September 2024. Big Finish listeners can pre-order this adventure now for just £15.99 (collector’s edition CD box set + download) or £12.99 (download only) at www.bigfinish.com. This will also be available to purchase as a collector’s edition CD at the event.

All the above prices include the special pre-order discount and are subject to change after general release.

LISTEN AND LEARN AT RICHMOND THEATRE!

For One Night Only…

Amongst the mix of comedy, musicals and murder mysteries coming to Richmond Theatre this year, we are overjoyed to welcome a unique and exciting array of one-night, informative and inspirational evenings. As we approach our 125th birthday celebrations this September, audiences can immerse themselves in an enriching exploration of history, politics, the world of sport, the works of Shakespeare, and the lives of our beloved stars.

Kicking off with AN EVENING WITH CELIA IMRIE (5 Jul), the theatre welcomes Oliver Award-winning actress, Celia Imrie (Bridget Jones, Absolutely Fabulous Calendar Girls), as she takes us on a journey through her illustrious career and captivating new novel, Meet Me at Rainbow Corner. Celia will be joined by the book’s researcher Fidelis Morgan as they explore the books inspiration – the resilience and camaraderie of women during the Second World War. With an opportunity to ask questions, audience won’t want to miss the chance to find out more about Celia Imrie’s incredible career. Still interested in keeping with the theme of Britain’s treasured stars, Robert Lindsay (Citizen Smith, Me and My Girl, Anything Goes), the legendary BAFTA, Laurence Olivier, and Tony award-winning actor will delve behind the scenes as he discusses stories from his extensive career in AN AUDIENCE WITH ROBERT LINDSAY (6 Oct).

For audiences with a soft spot for Shakespeare, Dame Harriet Walter (Succession, Killing Eve, Ted Lasso), one of Britain’s most esteemed Shakespearean actors brings us HARRIET WALTER & FRIENDS: SHAKESPEARE WOMEN SPEAK! (27 Oct). Harriet re-imagines what some of Shakespeare’s women might have been thinking and lets them speak their minds. With new speeches for thirty Shakespearean women, expect a uniquely empowering evening as Shakespeare’s women demand centre stage!

For the history enthusiasts, William Dalrymple, historian and co-host of the chart-topping podcast Empire, brings us HOW ANCIENT INDIA TRANSFORMED THE WORLD (4 Sep), delving into the rarely told story of India’s role as a cultural and scientific superpower of the ancient world. When William’s knowledge on the world leaves audiences with a tingle to learn more, we welcome renowned British journalist, bestselling author, political insider and presenter of the chart-topping podcast The News Agents, Jon Sopel with IN CONVERSATION WITH JON SOPEL (Sep 22). Jon will offer a personal exploration of the changes that have reshaped his homeland, and what it now means to be British in a post-Brexit Britain.

For the sport enthusiasts, to cure the post cricket season blues, Richmond welcomes one of England’s greatest cricketers, Stuart Broad, in AN EVENING WITH STUART BROAD (Nov 3) one year on after taking his final wicket. He’ll reflect on the highs and lows of his sensational 17-year career as well as the new challenges he faces beyond the boundary rope.

ANDREW LLOYD WEBBER’S
STARLIGHT EXPRESS

ACCLAIMED NEW PRODUCTION

EXTENDS SEASON FOR THE THIRD TIME

AT TROUBADOUR WEMBLEY PARK THEATRE

NOW BOOKING TO JUNE 2025

www.starlightexpresslondon.com

Michael Harrison for Lloyd Webber Harrison Musicals is delighted to confirm that Andrew Lloyd Webber’s STARLIGHT EXPRESS -which opened this weekend at the Troubadour Wembley Park Theatre to huge critical acclaim across the media – has today extended booking through to June 2025.

★★★★★ “Lloyd Webber’s blockbuster makes a spellbinding return”   The Telegraph

Michael Harrison said:
“Following the sensational response to Sunday’s Opening Night, and the huge critical acclaim for the show, I am thrilled to already be extending our run at Troubadour for a third time. Starlight Express has always brought a new generation into the theatre. From our very first performance, it’s been brilliant to see young and old come together to delight in Andrew and Richard’s iconic songs and the spectacular new setting in Wembley. There is overwhelming public demand for Starlight, and we are now releasing almost 150,000 new seats for sale. The race is on to get your tickets!”

The London return of STARLIGHT EXPRESS introduces Jeevan Braich as Rusty, Kayna Montecillo as Pearl, Jade Marvin as Momma McCoy, Al Knott as Greaseball, Eve Humphrey as Dinah and Tom Pigram as Electra.

The STARLIGHT EXPRESS cast also includes Jamie Addison, Jessie Angell, Ollie Augustin, Charles Butcher, Renz Cardenas, Catherine Cornwall, Jamie Cruttenden, Kelly Downing, Isaac Edwards, Asher Forth, Sam Gallacher, Lucy Glover, Pablo Gómez Jones, Scott Hayward, Lilianna Hendy, Dante Hutchinson, Lewis Kidd, Hannah Kiss, Oscar Kong, Emily Martinez, Deearna Mclean, Marianthe Panas, David Peter-Brown, Harrison Peterkin, RED, Bethany Rose-Lythgoe, Charlie Russell, Gary Sheridan, Jessica Vaux, Jaydon Vijn, Lara Vina Uzcatia, Sharon Wattis and Ashlyn Weekes. 

The young actors are Shaniyah Abrahams, Cristian Buttaci, Alexander Brooks, Barnaby Halliwell, Mimi Soetan and Arabella Stanton.

★★★★ ““A scorcher of a revival – the like of which I have never seen before”   Daily Mail

As a child’s train set magically comes to life and the engines race to become the fastest in the world, Rusty the steam train has little hope of winning until he is inspired by the legend of the ‘Starlight Express’.

Seen by over 20 million people across the world, STARLIGHT EXPRESS is a true theatrical event, fully immersing audiences of all ages inside a world of speed, song and storytelling, as the incredible cast of 40 whizz around and above, performing some of musical theatre’s most beloved songs, including AC/DC, Make Up My Heart, Light at the End of the Tunnel and the iconic Starlight Express. 

★★★★ “A Neon fever dream you’ll watch with your mouth wide open” Independent

STARLIGHT EXPRESS has music by Andrew Lloyd Webber and lyrics by Richard Stilgoe, is directed by Luke Sheppard, with set designer Tim Hatley, costume designer Gabriella Slade, lighting designer Howard Hudson, sound designer Gareth Owen, video designer Andrzej Goulding, new orchestrations by Matthew Brind with Andrew Lloyd Webber, Musical Supervision by Matthew Brind & David Wilson,  Musical Direction by Laura Bangay and Casting by Pearson Casting.

With thrilling new choreography by Ashley Nottingham, STARLIGHT EXPRESS also sees the return of Arlene Phillips as creative dramaturg.

The Starlight Auditorium at Troubadour Wembley Park Theatre is a state-of-the-art cultural destination in Wembley Park, London’s most exciting new neighbourhood, only 12 minutes from central London. The venue is a short 5-minute walk from the tube, moments away from iconic Olympic Way. There are great parking options on site and the theatre is easily accessible via the M25 and M1.

LISTINGS

For Information
www.starlightexpresslondon.com 

Social Media
Facebook, Instgram and Tik Tok @starlightexpressldn
X – StarlightLondon 

CAMERON MACKINTOSH

ANNOUNCES NEW CASTING FOR

ANDREW LLOYD WEBBER’S

THE PHANTOM OF THE OPERA

AT HIS MAJESTY’S THEATRE FROM MONDAY 29 JULY 2024

Cameron Mackintosh is delighted to announce new casting for Andrew Lloyd Webber’s THE PHANTOM OF THE OPERA at His Majesty’s Theatre from Monday 29 July 2024. THE PHANTOM OF THE OPERA is currently booking until Saturday 29 March 2025.

Dean Chisnall joins the company as The Phantom, alongside Joanna Ampil as Carlotta Giudicelli, Martin Ball as Monsieur Firmin, Helen Hobson as Madame Giry and Millie Lyon as Meg Giry. Continuing in the show will be Lily Kerhoas as Christine Daaé, Joe Griffiths-Brown as Raoul, Adam Linstead as Monsieur André and David Kristopher-Brown as Ubaldo Piangi. At certain performances the role of Christine Daaé will be played by Eve Shanu-Wilson.

Also joining the cast are Anya Alindada, Lily Allen-Dodd, George Arvidson, Embla Bishop, David Burilin, Fergus Dale, Emily George, Molly Hall, Will Hawksworth, Nicholas Hepher, Mandy Kwan, Jess Michelmore, Johnny Randall,

The cast is completed by Leonard Cook, Colleen Rose Curran, Michael Colbourne, Hywel Dowsell, Connor Ewing, Serina Faull, Florence Fowler, James Gant, Melanie Gowie, Samuel Haughton, Eilish Harmon-Beglan, Janet Mooney, Tim Morgan, Zoë Soleil Vallée, Jasmine Wallis and Victoria Ward.

Dean Chisnall most recently appeared as Jean Valjean in Les Misérables at the Sondheim Theatre, having previously played the same role on the UK Tour as well as in the West End Concert version. Previous West End credits include Shrek The Musical at Theatre Royal, Drury Lane and on the UK Tour, Love Never Dies and Evita, both at the Adelphi Theatre, La Cage aux Folles at the Playhouse Theatre, Never Forget at the Savoy Theatre and on a UK Tour, and The Woman In White at the Palace Theatre. Dean’s other theatre credits include the UK Tour of Blood Brothers, The Secret Diary Of Adrian Mole at the Menier Chocolate Factory, and ‘Working’ at Southwark Playhouse.

Joanna Ampil’s West End credits include playing ‘Kim’ in Miss Saigon at Theatre Royal, Drury Lane and at the 10th Anniversary Performance, ‘Mary Magdalene’ in Jesus Chris Superstar at the Lyceum Theatre, ‘Eponine’ in Les Misérables at the Palace Theatre, ‘Fantine’ in Les Misérables at the Queen’s Theatre, and ‘Christmas Eve’ in Avenue Q at the Noel Coward Theatre. Her other theatre credits include ‘Bloody Mary’ in South Pacific at Sadler’s Wells and Chichester Festival Theatre, ‘Grizabella’ in Cats at the New Wimbledon Theatre and on UK and European tours, ‘Mimi’ in the European Tour of Rent, ‘Sheila Franklin’ in Hair at the Gate Theatre, and ‘Maria’ in West Side Story, ‘Maria Von Trapp’ in The Sound of Music, ‘Jenna’ in Waitress and ‘Nellie Forbush’ in South Pacific in Concert, all in Manila. Joanna was also cast as the first female Engineer in Sheffield Theatre’s 2023 reimagined Miss Saigon.

Martin Ball returns to The Phantom of the Opera having previously played Monsieur André at Her Majesty’s Theatre. His other theatre credits include West End productions of Beauty and the Beast at the London Palladium and on a UK Tour, the original company of Wicked at the Victoria Apollo Theatre, Mamma Mia! at the Prince of Wales Theatre, Top Hat at the Aldwych Theatre and on a UK Tour, and Les Misérables at the Queen’s Theatre and on a UK tour. He has also appeared in A Christmas Carol at the Rose Theatre, Kingston, the UK tour of Mary Poppins (for which he won a TMA for Best Supporting Actor), Dead Funny at the Nottingham Playhouse, and Charley’s Aunt at the Sheffield Crucible.

Helen Hobson’s theatre credits include the original West End cast of Come From Away at the Phoenix Theatre, Mamma Mia! at the Novello Theatre, Prince of Wales Theatre and in the UK and International Tour. Other West End credits include Blood Brothers at the Phoenix Theatre and on a UK tour, the UK Premiere of Stephen Sondheim’s Passion at the Queens Theatre, Chess at the Prince Edward Theatre, and Les Misérables at the Palace Theatre. Other theatre credits include The Human Comedy at the Young Vic, The Sound of Music at Regent’s Park Open Air Theatre, Sunny Afternoon at the Hampstead Theatre, Only The Brave at the Wales Millennium Centre, The Lady in the Van and Stepping Out, both at the West Yorkshire Playhouse, and UK Tours of Cats and My Fair Lady.

Millie Lyon trained at Laine Theatre Arts, and The Phantom of the Opera will mark her West End and professional debut. Whilst training, Millie appeared in productions of Cinderella at The Lowther Pavilion and Dick Whittington at Nottingham Theatre Royal.

Eve Shanu-Wilson is in the current cast of The Phantom of the Opera, understudying the role of Christine Daaé. She previously trained at Guildford School of Acting. Her credits while training include Rita in Sweet Smell of Success and Jessica Crenshaw in Curtains.

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

WEST END CHARITY FOOTBALL CLUB ANNOUNCE THE
RETURN OF THE BIG WEST END WALK
ON SUNDAY 8 SEPTEMBER

West End Charity Football Club today announces the return of The Big West End Walk taking place on Sunday 8 September. Following the incredible success of last year’s walk which raised over 3.5K for Acting for Others, the event is back and will be led by West End Charity Football Club Captain Jon-Scott Clark (Hamilton, Miss Saigon) and Jonny Phillips (Les Misérables) who launched the event in 2023.

West End stars and famous faces will take to the streets to join the team in walking to 58 West End theatres covering 15 miles across London. This year they are offering the chance for the public to join the team for the Big West End Walk 24, details of how to be entered into the competition are available via the West End Charity Football Club’s Instagram page. Three friends will be drawn and invited to join the challenge on Sunday 8 September.

The three competition winners will be notified on 25 August.

The route will be shared publicly after the event so supporters can take on the challenge in aid of Acting for Others.

The West End Charity Football Club team includes: John Addison (School of Rock, Pretty Woman The Musical), Matt Blaker (Jesus Christ Superstar, The Phantom of the Opera), Jon Scott Clark (Hamilton, Miss Saigon), Danny Colligan (Les Misérables, Dirty Dancing) Vinny Coyle, (Aspects of Love, The Phantom of The Opera) Ellis Kirk (Dear Evan Hansen, Heathers), Jo Parsons (Les Misérables), Jonny Phillips (Les Misérables) and Captain of the Women’s team, Courtney Stapleton (Beauty and the Beast, SIX).

Supporters can sponsor the event with donations at ww.actingforothers.enthuse.com/pf/the-big-westend-walk-2024

COMING TO THE OTHER PALACE

FROM 13 SEPTEMBER – 10 NOVEMBER

Following electrifying try-out performances at The Lyric Theatre last year, Bill Kenwright Ltd and Paul-Taylor Mills present the brand-new musical, come gig, come ballet, now back for a full reign. This time, one of the most prolific monarchs in history has found her (rightful) home at a palace…The Other Palace, to be exact from 13 September 2024 for a strictly limited season.

From some of the most exciting figures in modern British theatre, Cake: The Marie Antoinette Playlist continues its journey, following a successful UK tour at the start of 2023 and five performances in the West End last September, it now returns for a limited season in London this autumn.

Cake: The Marie Antoinette Playlist has an award-winning creative team, including Morgan Lloyd Malcolm (Emilia – The Globe), Tasha Taylor Johnson (The Cat In The Hat), singer-song writer and Jack McManus with Bronagh Lagan (Cruise) and Christopher Tendai (Closer To Heaven) joining as director and choreographer respectively, as they build on Olivier winner Drew McOnie (In the Heights; Jesus Christ Superstar) original show.

Reprising their roles will be West End star Zizi Strallen (Mary Poppins; Strictly Ballroom) as Marie Antoinette, and the original Catherine of Aragon in the award-winning musical SIX, Renée Lamb (Be More Chill; SIX) as Jeanne with further casting to be announced.

Combining a multi-genre pop score with 18th century France, Cake: The Marie Antoinette Playlist, retells a story that sparked a revolution.
Marie Antoinette’s reign was blighted by gossip and scandal. But when she is implicated in a crime to defraud the crown jewellers of a diamond necklace, it is not just her reputation at stake, but the monarchy and France itself.

Cake was originally commissioned by Paul Taylor-Mills (Heathers; In the Heights) and promises to re-define our expectations of what a musical can be.

Paul Taylor-Mills (Artistic Director of The Other Palace):

“I’m delighted we are bringing CAKE to The Other Palace for a full run, as this brand-new genre busting musical continues to evolve following on from its try-out last year. Completing our 2024 programme of new musicals and developing work, from Cruel Intentions the Musical at the start of the year to Babies currently receiving rave reviews, and Fantastically Great Women Who Changed The World over the summer, the London Premiere of The Lightning Thief, this will literally be the icing on the CAKE!

Cake: The Marie Antoinette Playlist has book by Morgan Lloyd Malcolm and Tasha Taylor Johnson, music and lyrics by Jack McManus and Tasha Taylor-Johnson, directed by Bronagh Lagan based on the original staging by Drew McOnie with additional choreography by Christopher Tendai. Set and costume design by Sami Fendall, lighting design by Joshie Harriette and casting by Will Burton.

LISTINGS

BILL KENWRIGHT LTD & PAUL TAYLOR-MILLS PRESENT

CAKE: THE MARIE ANTIONETTE PLAYLIST

THE OTHER PALACE 

13 SEPTEMBER – 10 NOVEMBER 2024

Book by Morgan Lloyd Malcom and Tasha Taylor Johnson
Music and Lyrics by Tasha Taylor Johnson and Jack McManus

Directed by Bronagh Lagan based on the original staging by Drew McOnie

Additional choreography by Christopher Tendai
Based on an idea by Paul Taylor Mills  

Performance Schedule: Tuesday – Friday at 7.30pm
                                        Saturday at 2.30pm and 7.30pm

                                        Sunday at 1.30pm and 5.30pm

Run Time: 90 minutes

Age Guidance: 12 years+

Ticket Price: from £26

Venue: The Other Palace

Address: 12 Palace Street, London, SW1E 5JA

Box Office: 020 7592 0302

Website: theotherpalace.co.uk

Twitter/X: @cakemusical

Instagram: @cakemusical

Facebook: @cakemusical

TikTok: @cakemusical

#CakeMusical

BARD IN THE BOTANICS FESTIVAL, GLASGOW - UNTIL 6 JULY 2024

REVIEWED BY RACHEL FARRIER 

5*****

Glasgow’s Botanic Garden is a very fine outdoor setting for a summer’s evening performance if the rain holds off (it did) and the midges are not too fierce ( they tried their best..). The stage is small and the surroundings intimate – I have seen and loved several years with of productions of this festival now, and never fail to be astounded by the achievements of a tiny cast, with the most basic of staging and ‘effects’. In this production all sound effects are provided by the actors themselves using microphones at the edges of the stage, with entirely convincing results. 

This magnificent adaptation of Jane Eyre by Jennifer Dick is electrifying from the very start, and manages to convey the steely character and, yes, feminism of the protagonist without falling into the trap of becoming anachronistic that threatens contemporary productions of classic novels. I will confess that my last brush with Jane Eyre was in school over 30 years ago and I am not sure that tedious English lessons really brought to life the wonder that is the central character of this tale. The novel may have been written by Charlotte Bronte almost 200 years ago but Jennifer Dick’s portrayal of Bronte’s central character feels fresh and innovative and as a thought-provoking and powerful to today’s audience as the novel must have seemed to its early readership. Dick transports the story to Scottish setting and the use of Scottish places, landscapes and dialect works perfectly, and certainly delighted this Scottish audience. 

Stephanie McGregor in the titular role deserves her own 5 stars; she takes us with her, to the depths and the heights of all that Jane feels and experiences. It is rare that a stage play moves me to tears but I found myself furious, distraught and elated along with our heroine over the course of the evening. Dick manages to lift passages from the novel and place them in the script so perfectly that they feel as if they might have been written yesterday, for the way in which they depict the ‘steely self’ of a young woman who quietly but fiercely refuses to be defined by the expectations and social parameters of her time. 

McGregor is surrounded by a very fine, small cast who all play multiple roles and stay either on stage or just off it, in full view of the audience, throughout the production, creating some beautifully expressive moments when Jane is sketching what she sees around her. Stephen Arden is outstanding in a diversity of roles, bringing some much-needed humour to the roles of Rochester’s wee French ward, Adele Varens, and Miss Murray the school teacher, as well as conveying the infuriating piety of the Reverend St John Rivers. Alan Steele, another Bard in the Botanics regular, also brings levity but also a reassuringly solid presence in the form of Fairfax, Rochester’s self descibed ‘ghillie’. Johnny Panchaud portrayal of the fallible and complex Mr Rochester is also superb. He is both brooding and mecurial, and is wisely never quite likeable enough to fall into the role of ‘troubled hero’, as previous productions might have had him. Dick’s telling of this story manages the difficult task of sympathetically bringing to light the character of Mrs Rochester (‘the mad woman in the attic’) through Jane’s insightful (and furious) perspective. 

Both my teenage daughter and I were spell-bound by the tale before us, and even the cloud of midges that descended on the audience in the second half did not break the spell. This wonderful production cannot be recommended enough. 

Forum Theatre, Malvern – 29th June 2024

Reviewed by Courie Amado Juneau

5*****

The always fabulous Armonico Consort brings Henry Purcell to Malvern Theatres with an intriguing and enticing performance of The Fairy Queen. Director Christopher Monks gave us a really helpful pre-performance introduction, giving valuable insight into this semi-opera and why it was being presented tonight (as originally envisaged) as interspersed episodes during a performance of A Midsummer Night’s Dream.

The chamber orchestra – a string quartet, harpsichord, 2 trumpets, timpani and choir – may have been small but it was perfectly formed. Small enough to clearly hear the harpsichord (played by the inimitable Mr Monks) but large enough to provide all the myriad colours demanded of it. The instruments appeared to be period ones and I’m imagining that we were also hearing gut strings and original bows. They certainly had a lovely mellow sound, eminently suited to this most intimate of musics.

I say “I’m imagining” because, unfortunately, the programmes had sold out early. This was a real shame as I’m unable to name individual elements as I normally would – this includes aria titles…

…an early one of note being the duet with William Towers and Robert Davies (I think) providing the first hilarity of the evening. Will, we are told, very much took to the dress (and blonde wig) with little encouragement needed and gave us a spirited performance in (ahem) manfully resisting the gentleman’s charms. As some wag in the audience noted, this could be a candidate for the worst first date ever! Even so, it made for a most mirthful spectacle.

I loved the song in which the dreamy, off-kilter state was conjured by the harpsichord and slapstick glissandi by cellist Hetti Price. The comical musical interludes continued with the violinists (Kelly McCusker and Edmund Taylor) thoroughly enjoying themselves as fairies, emerging from behind the backdrop to indulge in a musical pas de deux. The Armonico Consort always makes full use of the entire auditorium and, in this context, the aforementioned Mr Davies’s drunken segment also deserves special mention – with some amazing physicality as he stumbled down the stairs between the audience; I’m not sure how he avoided injury! The ensuing song was another highlight of the evening with, as always, all soloists being absolutely top notch.

We were also graced with the commanding presence of Oz Clarke (yes; wine expert, broadcaster and actor extraordinaire) bringing his rich, rounded tones and a full bodied thespianic fruity afterglow to the stage as the narrator. In truth, I was amazed at how accomplished the acting of every performer was – I had seen them a number of times and marvelled that they could produce such exemplary dramatic (re dialogue delivery – and Shakespeare to boot!) stagecraft. Genuinely impressive.

I wasn’t sure where Purcell ended and Shakespeare began, such was the invention in staging on display. Ultimately it didn’t matter as the combination of the two works enhanced both, with the Consort once more showing enormous skill and love for the music. They looked like they were having a ball and I know we in the audience were; this was the best I’ve ever seen them – and I mean every one of them. A joy from start to finish, I cannot wait for their next visit. Bravissimo to all concerned!

Birmingham Hippodrome – until Saturday 31st August 2024

Reviewed by Nadia Dodd

5*****

Birmingham are you in for a treat ….. 10 weeks to catch this fast paced, non-stop from start to finish production.

Shaq Taylor has been cast as Alexander Hamilton, one of America’s founding fathers. The story follows Hamilton from the age of 19 years, an immigrant from the West Indies, onto becoming George Washington’s right-hand man (Charles Simmons) during the Revolutionary War and then becoming the new nations first Treasury Secretary. All music and lyrics are by Lin-Manuel Miranda which have been inspired by the book Alexander Hamilton by Ron Chernow.

I saw Shaq last as the Beast, from Beauty and the Beast and you can see why he has been given this amazing opportunity to play the lead in the first UK and Ireland tour of the show. Hamilton is such a challenging in-depth male role in musical theatre.

The show follows his marriage to Elizabeth “Eliza” Schuyler, played by the gorgeous Maya Britto his flirtatious and possibly romantic friendship with her sister Angelica, (Aisha Jawando) his years-long political rivalries with Aaron Burr (Sam Oladeinde) and Thomas Jefferson, (Billy Nevers) America’s first political sex scandal, and much more, Hamilton charts the extraordinary rise and fall of perhaps America’s least well-known founding father.

There are battle scenes as part of the revolutionary war story, but they are not graphic and are mostly told through stylised movement, narration, and some sound effects. The rotating area of the stage also helps with the stylised movement, the ensemble work hard telling the story through dance and also moving any additional props required for that particular scene.

The music was captivating, my favourite being ‘The Room Where it Happens’ which is still in my head as I type this. King George played by Daniel Boys, just brilliant. So funny and such a camp comedic role that he made his own, the audience loved him. The show went from serious, funny to extremely emotional sensitive scenes, linking with ease.

I believe the show’s success has many factors. Diverse casting, with people of colour in almost all of the leading roles, marrying rap and hip-hop with more traditional musical theatre styles creates an entirely new sound unlike anything that has hit the stage before. It’s emotional, it’s political, it’s an epic story about a fascinating man… and on top of all that, it’s just spectacularly entertaining.