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Composer Frank Wildhorn makes theatre history with two productions of ‘Your Lie In April the Musical opening on the same night in London’s West End & Korea

1 Manga Musical * 2 Continents * 1 Night

Celebrated Broadway composer Frank Wildhorn made West End history last night (Friday 28 June) with the first preview performance of Your Lie in April, as the first manga-inspired musical to get a West End season and the first 100% all-Asian cast British musical.

The multi-Grammy, Tony, and Emmy Award nominated composer will also make global theatre history with the simultaneous opening night of a second production of Your Lie in April in Seoul, Korea.

Frank said: “I always say, music has no borders, and tonight audiences in both London and Seoul will experience our Japanese manga show, Your Lie In April, at the same time! The stars aligned and it’s a wonderful thing. I am so grateful to my London/New York/international producers and to EMK, my long time producers in Seoul. This cross cultural collaboration in bringing such a beautiful manga love story to so many people is a just incredible and a great honour. ‘Let the play begin!’ With gratitude and love.”
Your Lie in April is one of the most popular romantic stories and greatest tearjerkers in Japanese manga history. A story of love and loss set in the world of classical music competition, it begins previews at London’s Harold Pinter Theatre (Press Night Friday 5 July) and runs for a 3-month season. The UK cast features Zheng Xi Yong as Kosei, Mia Kobayashi as Kaori, Rachel Clare Chan (Tsubaki) and Dean John-Wilson (Watari).

The Korean premiere at Seoul Arts Center, also running to August, features a mix of K-Pop idols and TV and film stars triple cast and double cast as the leads, including Lee Hong-ki from FT Island, Yoon So-ho, and Kim Hee-jae as Kosei; Lee Bom-sori, Kei from Lovelyz and EL7Z Up, and Jung Zi-so from the Oscar-winning film Parasite as Kaori; Lee Jae-jin from FT Island, Kim Jin-wook, and Jo Hwan-ji as Watari; and Park Si-in and Hwang Woo-lim as Tsubaki.

Your Lie in April manga, published in 2011, has since sold over 7.5 million copies in 17 countries. It was adapted into a 22-part anime TV series in 2014, a Japanese live-action film in 2016 and a Japanese stage production in 2017.  Frank Wildhorn’s musical adaptation opened in Tokyo in 2022, followed by a Japan tour, and smashed box office records. The West End  production is its English language premiere.

Kōsei is a brilliant young piano prodigy, dubbed the “Human Metronome” for his mechanical accuracy, who has won many prestigious competitions. But his mother’s sudden death leaves him bereft and unable to play music. That changes when he strikes a friendship with the brilliant violinist Kaori, who slowly encourages him to perform again. As Kaori continues to lift Kōsei’s spirits, he realises that he loves her. But is their relationship doomed? Your Lie in April is an epic love story about two young people trying to navigate their way in the world of classical music, underscored with Frank Wildhorn’s lushly, romantic music.

Frank Wildhorn’s works span the worlds of popular, theatrical, and classical music. In 1999, Frank became the first American composer in 22 years to have three shows running simultaneously on Broadway with Jekyll & Hyde, The Scarlet Pimpernel and The Civil War. Also for Broadway: Bonnie & Clyde, Dracula, Victor/Victoria, Wonderland, and the revival of Jekyll & Hyde. The Korea Times recently proclaimed Wildhorn as “Korea’s most popular musical composer”.

Your Lie in April has music by Frank Wildhorn with Lyrics by Carly Robyn Green and Tracy Miller, English Language Book by Rinne B. Groff. The UK production is directed and choreographed by Nick Winston and co-directed by Jordan Murphy. The Korean production is directed by Choo Jung Hwa with choreography by Kim Byung Jinwith.

Your Lie in April is based on the manga Your Lie In April by Naoshi Arakawa published by KODANSHA Ltd. Original Japan stage production: Toho Co. Ltd. / FUJI Television Network, Inc.

The UK production is produced by Carter Dixon McGill Ltd., Indie Theatrical, Pinnacle Productions with Sophie Qi/Harmonia Holdings Ltd., Tim Lazcynski, and Broadway Investors Club/Neil Gooding in association with Susan Goulet, Van Dean Productions, Scott Prisand/Rob Kolson, Greg Deluca/Bertone Nascembeni, Annaleise Loxton/Chris Haman, Lettieri/Wilke/ Stark O’ Donnell, Mark & Analee Reutlinger, Piers Cottee-Jones Entertainment.

The Korean production is produced by Sophy Jiwon Kim/ EMK Entertainment Co., Ltd.

Savoy Theatre – until 16 February 2024

Reviewed by Claire Roderick

5*****

The Plastics have finally made it to London and arrive in slick pink style – and not just on Wednesdays. Tina Fey’s classic comedy (we’ll all ignore the remake) is sugar coated to create a bright and breezy, but still bitingly sharp musical comedy that you can’t help but love.

Tina Fey has updated the book from the Broadway production, with up-to-date references that zip and fizz as resolute outsiders Janis (Elena Skye) and Damian (Tom Xander) deliver a mandatory friendship lecture relating the cautionary tale of Cady Heron.

Most people in the audience seemed to be very familiar with the film, with favourite lines and setups eliciting whoops of delight, but the musical doesn’t rely on prior knowledge, instead building the world of North Shore High School quickly and clearly.

Cady Heron (Charlie Burn) craves socialisation, so convinces her mother to leave their idyllic but isolated life in Kenya for Illinois. Observing and comparing the social behaviour of the teenagers around her to the animals she grew up with, Cady is clueless, but is soon taken under the wing of Janis and Damian. Cady makes the mistake of falling for Aaron (Daniel Bravo), the ex of Regina George (Georgina Castle). Regina – queen bee of NSHS, and head of the Plastics – takes an interest in Cady, so Janis and Damian seize the opportunity for mischief and encourage Cady to join the Plastics and spy. Cady’s newfound popularity is intoxicating and she does everything she can to keep it and becomes as toxic as Regina. Both girls have a sweet redemption arc in the musical (even if Regina’s is mostly fuelled by strong painkillers) which makes for a jolly and uplifting finale that feels perfect.

Jeff Richmond and Nell Benjamin pack the show with great tunes, with Elena Skye’s barnstorming I’d Rather be Me and Georgina Castle’s intensely powerful World Burn being a couple of highlights. Charlie Burn is fantastic as Cady, while Georgina Castle has an absolute ball as Regina, preening and drawling brilliantly. The show gives Elèna Gyasi’s Gretchen more agency, and Gyasi takes her moments to shine superbly, while Grace Mouat’s take on Karen is gleefully dum, showcasing Mouat’s comic skills in a scene stealing performance. Tom Xander and Elena Skye are an amazing double act as Damian and Janice and Zoë Rainey is an absolute hoot as Mrs George – obsessed with social media in this modern version.

Scott Pask’s design has minimal set with Finn Ross and Adam Young’s bright video backdrop providing colourful locations. Director Casey Nicholaw’s choreography at first leans into the animal behaviour theme a little too much, but is jolly and exuberant, with the talented ensemble bringing lots of energy to the musical numbers.

Fantastically written– both hilariously biting and archly sweet – with an incredible cast, Mean Girls is the perfect and ridiculously enjoyable summer musical.

Wyndham’s Theatre – until 21 September 2024

Reviewed by Claire Roderick

5*****

Transferring to Wyndham’s Theatre after a sell-out run at the Donmar Warehouse, Next to Normal feels bigger and even better. The cast from the Donmar production return, recreating their incredible onstage chemistry.

On Chloe Lamford’s sleek townhouse set, Dan (Jamie Parker) shelves his own grief and trauma and instead focuses his energy on his wife Diana (Caissie Levy) and “dealing” with her bipolar disorder. Diana’s erratic behaviour is devastating for Dan and their daughter Natalie (Eleanor Worthington-Cox), who feels invisible as Diana can only focus on their son Gabe (Jack Wolfe). The dysfunctional family relationships swirl with grief, obsession, love, guilt and pain – but nobody shares their feelings truthfully, except Diana in cruel but funny bursts.

Trevor Dion Nicholas plays Diana’s various doctors with aplomb, as medication, talk therapy and ECT are all attempted to improve Diana’s mental health. The show’s portrayal of mental illness and treatment should have dated more since its 2009 premiere, but unfortunately most still rings true. The devastating effect of Diana’s condition, and Dan’s denial, is portrayed stunningly by the stellar cast and Brian Yorkey’s scintillating book doesn’t shy away from showing the unpredictable rollercoaster of loving and living with Diana. It is in Tom Kitt and Brian Yorkey’s songs that the characters’ true souls shine through as the emotive rock score soars to incredible heights. The cast’s vocals are pristine. Caissie Levy’s devastating performance as Diana will haunt you, and Jamie Parker will break your heart as his brilliantly frustratingly upbeat Dan delivers THAT line in act 2. The pair portray the co-dependent couple intuitively and expertly. Jack Wolfe is an absolute superstar as Gabe, stalking around the stage and delivering killer vocals in I’m Alive, and Eleanor Worthington-Cox conveys Natalie’s confusion and isolation with a raw and gut-wrenching hopelessness. Jack Ofrecio plays Natalie’s boyfriend Henry with a sweet earnestness as their relationship plays out echoing that of her parents.

This is a musical that grabs your heart with its power and beauty. The stunning cast will break you heart and lines and lyrics will stay with you long after the curtain falls. A truly unmissable show.

Park Theatre, London – until 27 July 2024

Reviewed by Sitarah Locke

4****

Retellings of Marilyn Munroe’s demise are not nearly as rare as she was, and it is refreshing to encounter one which paints her with dignity. This version of events, written by Vicki McKellar and Guy Masterson, seeks to explain what may have taken place at Munroe’s Hollywood bungalow between the hours of 10pm and 4:20am on 4th and 5th August 1962. Thus, in true thriller fashion, it unravels a timestamped mystery behind why the same seven figures who toasted her latest picture deal three days earlier, all wind up in her home again that fateful night…and what they are doing during those misplaced hours before finally phoning the police.

The whole thing takes place in Marilyn’s living room – which hosts all the class and gold trim of a starlet’s house, made home by her booze and books (hat tip to set designer Sarah June Mills). The stage itself is in the round and turns slowly throughout the performance, as the characters spiral and replay the night’s events.

Two corresponding timelines, just a few hours apart, also take turns – a smart way of breaking up what would otherwise be a long evening of seven actors on sofas. This gives Marilyn Munroe (Genevieve Gaunt) herself some stage time, whilst very much alive. Gaunt’s masterful portrayal balances Munroe’s fragile mental state and distrust with a determinedness to defend her honour and beliefs. The force of nature is played as such, and not as simply the gullible beauty that some other interpretations have defaulted to. While entertaining us with the glitz, glam and famous sass, Gaunt also succeeds in the harder task of making Munroe entirely relatable.

She is helped in this by a close-knit cast. Notable performances include Susie Amy as a convincing Pat Newcomb, Marilyn’s press secretary and friend who fiercely defends her in life and death. Declan Bennett creates chemistry with every member of the cast as actor Peter Lawford, dancing between devil’s advocate and devil. Meanwhile, Sally Mortemore gives a standout performance as housekeeper Eunice Murray. Although Murray herself was one of the least standout personalities among Marilyn’s usual company, she played a key role in her daily life…and in recounting her death.

A thriller it may be, but the night was not without several laughs from the audience. How can we not? Marilyn herself was a magnetic entertainer, and entertained we were. While this play focuses solely on her death, it reminds us that she was – and always will be – larger than life.

★★★★★

“Fresh, subversive, essential”

Daily Telegraph

ADDITIONAL DATES AND FURTHER CASTING

ANNOUNCED FOR ROCKY HORROR SHOW

UK TOUR 2024 / 2025

TICKETS ON SALE NOW FROM ROCKYHORROR.CO.UK

The producers of Richard O’Brien’s legendary rock ‘n’ roll musical the Rocky Horror Show, today announce a three-month extension – adding additional dates from February – May 2025 – and further casting for the 2024/25 major UK Tour.

Theatregoers in 11 additional towns and cities across the country will get to be thrilled by the musical extravaganza’s extension through to May 2025. New venues include Milton Keynes, Cheltenham, Swindon, Dartford, Birmingham, Darlington, Shrewsbury, Brighton, Oxford, Richmond and Stoke. Tickets for these additional dates are on sale now from RockyHorror.co.uk.

An exceptional cast – led by previously announced singing superstar Jason Donovan – will be bringing their biggest party yet to audiences across the country. Also joining the fun is Stephen Webb, who will be returning to the cast to reprise the legendary role of Frank N Furter – having played it both on tour and in the West End to critical acclaim – at select performances and venues in 2024. Adam Strong (We Will Rock You / Disney’s Aladdin) will be making his Rocky debut, playing Frank from February 2025.

Brad will be played by Connor Carson, Janet by Lauren Chia, Riff Raff by Job Greuter and Magenta / Usherette by Natasha Hoeberigs. Columbia will be played by Jayme-Lee Zanoncelli, Rocky by Morgan Jackson and Eddie / Dr Scott by Edward Bullingham.

Completing the cast are Phantoms Ryan Carter-Wilson, Arthur Janes, Hollie Nelson, Erica Wild with on-stage swing Alex Hetherington and on-stage swing/dance captain Stacey Monahan. Casting for The Narrator will be announced soon.

This upcoming tour includes a limited engagement at London’s Dominion Theatre from 6 September – 20 September 2024, plus a Christmas season at the Liverpool Playhouse from 3 December – 4 January 2025.

Producer Howard Panter said: “I’m delighted to announce that we are extending the 2024/2025 tour for a further three months in the spring next year. We’ve assembled a first class cast to deliver a guaranteed party at every performance, as the show continues to thrill audiences across the UK.”

The Rocky Horror Show defies space and time as it continues to captivate audiences around the world featuring all the outrageous characters and infectious energy that has made the show a global phenomenon for over five decades. Directed by Christopher Luscombe, the smash hit show features all the famous musical numbers which have made the Rocky Horror Show such a huge hit for 50 years and counting, including “Sweet Transvestite”, “Science Fiction/Double Feature”, “Dammit Janet” and, of course, the timeless floor-filler, “Time Warp”.

The show tells the story of Brad and his fiancée Janet, two squeaky clean college kids who meet Dr Frank’n’Furter by chance when their car breaks down outside his house whilst on their way to visit their favourite college professor. It’s an adventure they’ll never forget, with fun, frolics, frocks and frivolity, bursting with timeless songs and outrageous outfits. The Rocky Horror Show is a guaranteed party, which famously combines science-fiction, horror, comedy and music while encouraging audience participation – meaning, of course, getting dressed-up in the most outrageous fancy dress.

The Rocky Horror Show first began life in 1973 before an audience of just 63 people in the Royal Court’s Theatre Upstairs. It was an immediate success and transferred to the Chelsea Classic Cinema, before going on to run at the Kings Road Theatre, 1973-79 and the Comedy Theatre in the West End, 1979-80.

Since it first opened, the Rocky Horror Show has become the longest continuous run of a contemporary musical anywhere in the world. The show has been seen by over 30 million people worldwide in more than 30 countries and translated into 20 languages as it continues to delight audiences on its sell-out tour.

In 1975 it was transformed into a film called ‘The Rocky Horror Picture Show’. This film adaptation took over $135 million at the Box Office and is still shown in cinemas around the world more than 40 years after its premiere, making it the longest running theatrical release in cinema history. Many stars including Russell Crowe, Tim Curry, Susan Sarandon, Jerry Springer, Jason Donovan and Meatloaf have appeared in the Rocky Horror Show over the past 50 years.

Ready to thrill you with fun and naughty moments, the Rocky Horror Show is the boldest bash of them all. But be warned, this show has rude parts!

ON STAGE SEATING ANNOUNCED FOR SHIFTERS, BUSH THEATRE’S SMASH HIT PLAY AT THE DUKE OF YORK’S THEATRE

BY BENEDICT LOMBE. DIRECTED BY LYNETTE LINTON

STARRING HEATHER AGYEPONG AND TOSIN COLE 

Eleanor Lloyd Productions, Chuchu Nwagu Productions and Sonia Friedman Productions announce today the release of on-stage seating for Shifters, the award-winning play by Benedict Lombe, transferring from the Bush Theatre to the Duke of York’s Theatre this summer for a limited season. 

Audience members across the full 9 week run from 12 August to 12 October will now be given the rare opportunity to sit up close and immerse themselves in the intensity of the story. This fierce new romance sees Heather Agyepong (School Girls; or The African Mean Girls Play, Lyric Hammersmith) and Tosin Cole, currently starring in Netflix’s much anticipated blockbuster Supacell released just this week, reprise their electrifying performances as former lovers in this smash hit play.

On sale from today will be 60 seats per performance available for the first four weeks of the production at only £40. Available to book here

In addition, Tosin Cole, who previously played character Ryan Sinclair in the BBC’s Doctor Who and also Tyrone Downie in Bob Marley:One Love earlier this year, has also been unveiled as one of Screen International’s ‘Stars of Tomorrow’, a renowned annual showcase which spotlights the most talented up-and-coming actors and filmmakers in the UK and Ireland.

Previews for Shifters are from Monday 12 August with tickets from £20. Fifty percent of tickets for the first four weeks are available at £40 or under. 

This epic and universal love story is about the enduring power of memory and young love. Meet Dre and Des, they are young, gifted, Black. He stayed. She left. Years later they come crashing back into each other’s lives, carrying new secrets and old scars. Caught in the space between memory and reality, they struggle to navigate the shifting borders that threaten to rewrite their past and reshape their future. 

Shifters’ transfer to the Duke of York’s Theatre, St Martin’s Lane, London marks a ground-breaking moment for Benedict Lombe who follows in the footsteps of Natasha Gordon (Nine Night) and Yasmin Joseph (J’Ouvert) as the third Black British female playwright to have her play staged in the history of the West End. 

Set and Costume Design by Alex Berry, Lighting Design by Neil Austin, Sound Design by Tony Gayle, Composition by Xana, Movement and Intimacy Direction by Shelley Maxwell, Production Dramaturg is Deirdre O’Halloran, Voice Coach is Joel Trill and Casting by Heather Basten CDG.

Shifters was originally commissioned by Bush Theatre, supported by Jerwood Foundation

Social Media handles

@ShiftersPlay

LISTINGS

www.shifterstheplay.co.uk/

Shifters

Written by Benedict Lombe and Directed by Lynette Linton

Duke of York’s Theatre, St Martin’s Lane, London, WC2N 4BG

First Performance 12 August 2024

Final Performance 12 October 2024

Mondays to Saturdays at 7.30pm

From 24th August Wednesdays and Saturdays at 2.30pm

Thurs 22nd August at 2.30pm

Box Office: www.atgtickets.com

Group Bookings: 020 7206 1174

Access Bookings: 0333 009 5399

Standard Tickets: From £20

Sisco Entertainment Present

AVENUE Q IN CONCERT

ORIGINAL LONDON CAST REUNION

ON 10 NOVEMBER 2024 AT THE SONDHEIM THEATRE

MARKING 18 YEARS SINCE THE UK PREMIERE PRODUCTION

Avenue Q will return to London for a once-in-a-lifetime reunion on Sunday 10th November, with two very special concert performances at The Sondheim Theatre.

Avenue Q is finally coming of age! 18 years old and just as naughty, the original London company featuring Jon Robyns (Princeton/Rod), Julie Atherton (Kate/Lucy), Simon Lipkin (Nicky/Trekkie/Blue Bear), Giles Terrera (Gary Coleman), Ann Harada (Christmas Eve), Sion Lloyd (Brian) and Jacqui Sanchez (Mrs T/Yellow Bear), are back together for one huge 18^th Birthday party.

Part flesh, part felt and packed with heart, Avenue Q is the mischievous, badly behaved but irresistibly charming musical about the lovably hopeless characters on a downtown New York Street trying to make sense of life’s burning issues: love, work, relationships and, above all, just how are you supposed to pay the bills with a BA in English?

Winner of the Tony “Triple Crown” for Best Musical, Best Score and Best Book, Avenue Q premiered in London at the Noël Coward Theatre (formerly the Albery Theatre) in 2006 and played at total of 1,179 performances in the West End (also at the Gielgud Theatre and Wyndham’s Theatre) before it closed in October 2010.

Brilliantly funny, with a terrific batch of songs performed by a cast of hugely talented performers and puppets, Avenue Q really is the musical like no other.

Not for the easily offended.

Avenue Q in Concert is produced by Scott Garnham and Simon Schofield for Sisco Entertainment and directed by Julie Atherton, with musical direction by James Doughty.

Avenue Q has music and lyrics by Robert Lopez and Jeff Marx and a book by Jeff Whitty.

Ticket Link: https://tickets.delfontmackintosh.co.uk/gateway.aspx?E=N&QL=S4078|VSON|RIN5|DXO4|GShowDatesCombo.aspx

Sondheim Theatre (A Delfont Mackintosh Theatre)

Shaftesbury Avenue, London, W1D 6BA

Box Office 0344 482 5151

Access Bookings 0344 482 5137

www.delfontmackintosh.co.uk

Kevin Kennedy joins riotous new tour bringing
iconic punk songs to life across the UK
Pretty Vacant – The Story of Punk and New Wave

Bringing to life iconic punk songs and legends is the riotous new show Pretty Vacant, heading on tour this winter across the UK and Ireland! Joining the previously announced show as the Narrator is Coronation Street star Kevin Kennedy. Taking audiences on a nostalgic journey from the beginnings of punk in the 1970s, to is later movements in the 80s and 90s, this high energy, punk rock show tells the story of a music genre that changed the world for the first time ever

Kevin Kennedy, who was in Paris Valentinos with Johnny Marr and Andy Rourke, who later formed The Smiths – brings his real-world band experience to this epic punk show. Kennedy is best known for his role as Curly Watts in Coronation Street, and his stage career including We Will Rock You and Rock of Ages on the West End

Narrator Kevin Kennedy comments, I’m so excited to be joining the cast of Pretty Vacant. When punk exploded on the scene in 1977, it truly was a revolution it changed our music, our fashion and every aspect of the arts! I witnessed it all… Let’s do it again… together

Pretty Vacant will see Punk and New Wave hits, attitude and fashion brought to the stage by a talented cast of musicians, singers and dancers on a punk journey that will thrill audiences, from original punk fans to audiences new to the genre. Pretty Vacant will feature hits originally performed by The Sex Pistols, The Clash, Blondie, The Damned, Ramones, Buzzcocks, The Undertones, The Police, The Jame, Siouxsie and The Banshees, The Pretenders, Joy Division, The Stranglers and so many more on this incredible rollercoaster journey through Punk and New Wave!

Hall for Cornwall, Truro – until Sunday 30 June 2024

Reviewed by Kerry Gilbert

4****

“Plenty of imagination and humour in this production which will appeal to children of all ages – and their respective adults!”

The bestselling children’s author David Williams and the award-winning Birmingham Stage Company have teamed up for a brand new production of the family adventure Awful Auntie.

This is the first time I’ve witnessed anything by David Walliams, and it didn’t disappoint! This production has it all, a ghost, car chase, and a killer owl, not to mention very talented actors and puppets! Awful Auntie features a host of much loved characters who are brought to larger than life in this laughter ridden stage version. The dark nature of the show is lightened with humour, a lot of which comes from Gibbons (Zain Abrahams), a wonderful butler that is so dizzy he provides laughs every time he is on stage, usually doing something to entertain as the moving set is changed to the next position. Be prepared for jokes about farting, weeing and being fed regurgitated owl food and other child friendly humour. There’s nothing like the talk of bottoms and farts to get the children giggling, everything you would expect from David Walliams.

I won’t give too much away if you haven’t read the book, but as a quick taste of the plot I can tell you that Stella Saxby (Annie Cordoni), is a 12 year old heir to a manor house Saxby Hall, who sets off to London with her parents, only to wake 3 months later with her Aunt Alberta (Neal Foster) looking after her. Nothing is as it seems, and Stella must become Sherlock Holmes to discover what happened and she ends up in a fight for her life against her own Awful Auntie. Together with resident ghost Soot (Matthew Allen) she regains what’s rightfully hers and saves her life.

Jacqueline Trousdale’s wonderful set is Saxby Hall which revolves to take the characters and audience into different rooms while also providing a backdrop for events on the roof and in the gardens.

The performance was adapted by Neal Foster and the production also features a host of wonderful puppets designed and directed by Yvonne Stone. The use of the puppets was fantastic, to show the more perilous aspects of the story, and was very charming and captivating. The smaller members of the audience eyes lit up watching them hanging from the roof. Emily Essery plays Wagner, the puppet Owl who is Aunt Alberta’s pet – and helps her keep a beady eye on Stella. Yvonne Stone has also created smaller puppet versions of the characters so that the external action can take place alongside the same set.

This is a very funny play with humour, suspense and impressive stagecraft which makes this production a standout that will appeal to all ages in the audience.

Regent’s Park Open Air Theatre, London – until 20 July 2024

Reviewed by Emily Smith

4****

The third production of the Regent’s Park Open Air Theatre 2024 summer season is The Secret Garden, adapted by Holly Robinson and Anna Himali Howard from the book by Frances Hodgson Burnett. I don’t think a better setting could be chosen for this production than the beautiful outdoor theatre set within London’s Regent’s Park, nestled within the trees and made even more special by the twinkling fairy lights.

The entire cast were phenomenal; most were on-stage throughout as narrators of the story, as well as performing defined roles. The switch between one person speaking, to multiple people in unison, gave emphasis to different parts of the story and helped powerfully deliver poignant lines. The second half of the play brought more humour than the first which added some light relief for the audience and helped us bond with the characters even more.

Sharan Phull’s performance as the Robin was captivating; she was wide-eyed and enchanting throughout with clever movement both in her hand gestures as the Robin, and in her movement around the stage with an Indian flair. Hannah Khalique-Brown’s portrayal of Mary Lennox allowed the audience to go on a journey of self-discovery with her, through the friendships she forms with Dickon (Brydie Service), Martha (Molly Hewitt-Richards) and Colin (Theo Angel), with the audience becoming increasingly invested as the show progresses. The entire cast put on a stellar performance, with clear delivery of their lines, humour where appropriate, and charm all round.

The casting (by Polly Jerrold) was also very authentic yet not entirely traditional. For example, Theo Angel is a non-binary Indian and Irish actor who uses an ambulatory wheelchair – seemingly perfect casting for the character of Colin – and Brydie Service is a disabled actor from Lancashire, who played the male role of Dickon, who uses a stick for mobility. In this production, these two male characters even share a romance – a deviation from the original – yet it did not feel out of place. While the use of adult actors to portray children is not without challenge, the authenticity felt through the brattish and childlike behaviour was believable.

Leslie Travers’s set is simple, yet clever, and while the cast begin near the front of the stage, the wall then recedes to the back of the stage, making way for the various props that are used. The lighting design by Jai Morjaria was incredible; it brought distinct atmospheric shifts throughout the production, made even more magical by the dusk setting. There was charming music playing throughout (by Ford Collier and Kate Griffin), which really brought the Indian roots of the story to the forefront of the production through Tingying Dong’s sound design.

The use of inanimate objects as animals via clever puppetry was also notable, and the authentic noises that accompanied their portrayal were incredible – notably Amanda Hadingue’s (Mrs Medlock’s) crow! Laura Cubitt (puppetry consultant) did a fantastic job bringing these creatures to life.

As an open air theatre, of course the production is subject to the elements. We were incredibly lucky to be there on one of the hottest days of the year, just after the sun had disappeared behind the trees, making it an ideal temperature to be sat outside to watch the show. Flocks of birds passed overhead and a few pigeons made swoops for the audience in the higher seats but all-in-all the outdoor environment suited the production.

There were some minor microphone issues and a small malfunction with a wheelchair. In addition, the use of ribbons, paper garlands and paper fans for the garden, while bright and colourful, was not as effective as perhaps it could have been given the garden is such a focus of the show. Though some may call this a clever use of materials that require minimal upkeep, for me it could have been more magical and more visually representative of flowers and plants. There were also many doors brought on stage throughout, but none were ever opened or stepped through, seemingly only there for visual effect.

The theatre can be found within Regent’s Park in London, a 10–15 minute walk from Baker Street station. This walk is straightforward if you follow the directions provided on the website, though some may find this a little harder to find than the traditional West End theatres! The walk back in the evening, in the dark, is a little more challenging with some uneven pavements which may be worth noting for those less mobile. The doors open 90 minutes before the show begins and there are some nice seating areas (tables with benches and a lawn) for anyone wanting to grab some food or drinks in the beautiful setting beforehand.

This charming production of a well-loved classic story is performed in a beautiful setting, with an incredibly talented cast, and is not one to be missed this summer!