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FULL CAST AND CREATIVES ANNOUNCED FOR

THE WORLD PREMIÈRE OF BRAND-NEW MUSICAL

FUN AT THE BEACH ROMP-BOMP-A-LOMP!!

AT SOUTHWARK PLAYHOUSE BOROUGH

Introducing the full cast and creative team for the world première of Brandon Lambert and Martin Landry’s Fun at the Beach Romp-Bomp-a-Lomp!! – the brand-new musical sees Mark Bell direct Bradley Adams (Ensemble), Tom Babbage (Joe), Ellie Clayton (Mary Joe), Damien James (Dickie), Janice Landry (Chastity), Dixie Newman (Ensemble), Katie Oxman (Chickie) and Jack Whittle (Dude). Writer Martin Landry completes the cast as the Announcer, with Composer and Lyricist Brandon Lambert taking the helm as Musical Director.

The creative team is completed by Emily Bestow (set and costume design) Andy Graham (sound design) Francesca Jaynes (choreography) and Adam King (lighting design). The production opens on 29 and 30 May at Southwark Playhouse Borough, with previews from 24 May, and runs until 22 June.

Sarah Long presents

FUN AT THE BEACH ROMP-BOMP-A-LOMP!!
Music and Lyrics by Brandon Lambert & Book by Martin Landry

24 May – 22 June

at Southwark Playhouse Borough, The Large

Cast: Bradley Adams (Ensemble), Tom Babbage (Joe), Ellie Clayton (Mary Joe), Damien James (Dickie), Janice Landry (Chastity), Martin Landry (Announcer), Dixie Newman (Ensemble), Katie Oxman (Chickie) and Jack Whittle (Dude)

Director: Mark Bell; Set and Costume Designer: Emily Bestow; Sound Design: Andy Graham; Choreographer: Francesca Jaynes; Lighting Design: Adam King; Musical Direction: Brandon Lambert

Mark Bell (The Play That Goes Wrong) directs a trip to the beach you’ll never forget in a world premiere musical by Brandon Lambert and Martin Landry: Fun at the Beach Romp-Bomp-a-Lomp!!.
It’s a hot, sunny day at the beach and everyone is gearing up for a competition that will change (or end) their lives forever: the legendary Beach Romp-Bomp-a-Lomp!!

Everyone wants to be King or Queen of the Beach, but who will get the crown? And will they all fall in love and live happily ever after? As the competition progresses through an increasingly deadly series of beach events, the biggest question of all is: can this show find yet another excuse to crowbar in a song?! YES!

Set to energetic parodies of iconic retro hits, Grease meets Squid Game in this brand new (sort-of) romp (bomp-a-lomp) of non-stop laughs, slapstick horror and explosive fun. 

Welcome to the Beach Romp-Bomp-a-Lomp!!

Bradley Adams plays Male Ensemble. His theatre credits include Something Rotten (The English Theatre, Frankfurt), Witness for the Prosecutions (London Country Hall), Postman and the Poet (The Other Palace), Disney’s Newsies (Troubadour Wembley Park Theatre), Little Red Riding Hood and Treasure Island (international tour).

Tom Babbage plays Joe. His theatre credits include The Fair Maid of the West, Boundless as the Sea, Miss Littlewood (RSC), The Motive and the Cue (Noël Coward Theatre, National Theatre), Cluedo, The Play That Goes Wrong, Peter Pan Goes Wrong (UK tours), The Wizard of Oz and Around the World in 80 Days (Brewhouse Taunton); and for film his credits include Memories: Brothers – A Lasting Legacy, Beauty, Spaceboy, Brief Intermission and Easy Ride.

Ellie Clayton plays Mary Joe. Her theatre credits include Scroogelicious (Theatre Peckham) and Magic Mike Live (Hippodrome). For television, her credits include CBBC’s So Awkward as series regular Claire; and for film, Still So Awkward Kids Camp.

Damien James plays Dickie. His theatre credits include Luna Loves Library Day The Musical, The Play That Goes Wrong (UK tours), The Curious Case Of Benjamin Button (Southwark PlayhouseElephant), Ordinary People (Hazlitt Theatre), Camelot, Othello (The Watermill Theatre), Cinderella (Lyric Hammersmith), The Rock ‘n’ Roll Panto Red Riding Hood (Liverpool Everyman) and Romeo and Juliet (Stockwell Playhouse).

Janice Landry plays Chastity. Her theatre credits include Frozen (international concert tour), Love and Yogurt (NY Theatre Barn), Dear Edwina (Daryl Roth Theater), Broadway Playhouse (Kaufman Center), Give My Regards to Broadway, The Irish… and How They Got That Way (Bucks County Center) and Woody Guthrie’s American Song (Saint Michael’s Playhouse).

Dixie Newman plays Female Ensemble. Her theatre credits include Anthea, Robert & Jane, Five Children and It (Egg Theatre, Bath), Right to Write (Southwark Playhouse), Women Rule Broadway (Vaults Festival) and A Christmas Carol (The Beacon); and for television, Bridgerton.

Katie Oxman plays Chickie. Her theatre credits include I Love My Family, But… (SoHo Playhouse) and A Grand Night for Singing (Pittsburgh CLO). She has also performed across the US at Prime Stage Theatre, Mountain Playhouse and the Candid Camera Live tour.

Jack Whittle plays Dude. His theatre credits include TONY! The Tony Blair Rock Opera, Posh, (UK tours), The Comedy About a Bank Robbery (Criterion Theatre) and The Play That Goes Wrong (Duchess Theatre); and for film, Gold.

Brandon Lambert is an NYC-based songwriter. Last year his musical I Love My Family, But… ran at the SoHo Playhouse. Upcoming projects include a bio-musical about Jane Goodall, and whatever insanity Martin Landry thinks of next.

Martin Landry is an NYC-based writer, actor, and musician; and plays the role of the Announcer. As a writer, his work has been produced in twelve countries, and his comedic solo show, Screlton McNodes… Live on Broadway! is available wherever you listen to music. As an actor, he’s appeared Off-Broadway, regionally, and on national tours, as well as a brief TV appearance on Only Murders In The Building. As a musician, he’s conducted Off-Broadway and regionally, and accompanied numerous Broadway stars.

Mark Bell is best known for West End, Broadway and worldwide Olivier Award-winning hit The Play That Goes Wrong. He also directed the Olivier-nominated The Comedy About a Bank Robbery which ran for four years in the West End and toured the UK, and the first Cluedo stage play. His production of Cluedo 2 is currently touring the UK. Other recent theatre includes Waiting For Godot (West End), The Tenants (NYC Springfest), Alice in Sunderland (NT New Works), Windfall (Southwark Playhouse Borough), as well as productions of Crave, The Snowfall, Electra, Agamemnon, Comedians, Breathing Corpses, The Master and Margarita and The Revenger’s Tragedy. Mark was previously co-artistic director of Liquid Theatre and taught at LAMDA for over 10 years, as well as Royal Central School of Speech and Drama, Mountview, East 15, Carnegie Mellon University and Cours Florent. Bell has directed shows in the UK, Italy, USA, Mexico and Hungary and has two further musicals in development.

LISTINGS                                                                                 FUN AT THE BEACH ROMP-BOMP-A-LOMP!! 

Southwark Playhouse Borough, The Large

77-85 Newington Causeway, London SE1 6BD

Box Office: 020 7407 0234

www.southwarkplayhouse.co.uk

24 May – 22 June

Press Night: 29 and 30 May, with all reviews embargoed until 11pm on 30 May

Pioneers’ Preview: £10 (24 May)

Preview Tickets: £16

Full Price Tickets from: £35

Concession Tickets from: £28

Performances Monday – Saturday 7.30pm, matinees Tuesday and Saturday 3pm.

FOR FUN AT THE BEACH ROMP-BOMP-A-LOMP!! 

Paul Virides Productions – General Management

James Anderton – Production Management

Verity Clayton – Company Stage Manager
Abi Morris – Deputy Stage Manager
Odette Robertson – Assistant Stage Manager
Charlotte Murray – Costume Supervisor

ABOUT SOUTHWARK PLAYHOUSE

Southwark Playhouse is a registered charity that delivers a year-round programme of entertaining and enriching work. Southwark Playhouse operates two separate venues ‘Southwark Playhouse Borough’ and its newest theatre ‘Southwark Playhouse Elephant’ which opened in January 2023. Southwark Playhouse has always prided itself in telling stories and inspiring the next generation of storytellers and theatre makers, where support for the community has been rooted at the core of the organisation.

Twitter: @swkplay Facebook: SouthwarkPlayhouse

Instagram: @swkplay TikTok: swkplay YouTube: southwarkplayhouse

EVERYMAN THEATRE, LIVERPOOL – UNTIL SATURDAY 11TH MAY 2024

REVIEWED BY MIA BOWEN

3***

Upon arrival at the Everyman Theatre, I received a warm and friendly welcome and was given a rolled-up A3 scroll secured with an elastic band. As I unfurled the paper, I discovered an image of a machine head created from parts of a classic mechanical clock mechanism, alongside green numbers in vertical lines reminiscent of the Matrix movie posters. At the core of this play lies a machine with the ability to choose, examining the consequences of machines making decisions instead of humans.

The Legend of Ned Ludd takes audiences on a whirlwind journey around the world, delving into different historical moments (scenes) and locations. It examines how capitalism and globalism have affected working people. With each new scene, not only does the setting change, but it also intensifies the suspense and mood. Periodically, the storyline transports us back to Nottingham in 1816. In this setting, the renowned Ned Ludd, the original Luddite, is rallying his colleagues to resist the adoption of automated looms.

In each performance, the show’s “Machine” will randomly choose 15 scenes out of a total of 256 prepared scenes. This ensures that every night, the audience will enjoy a unique and unpredictable experience. I am almost tempted to come along to another night as the play might surprise the audience with a new and different story.

The cast features Reuben Johnson, an award-winning writer and spoken word artist, Menyee Lai with numerous stage and TV credits, and Liverpool actor Shaun Mason, a graduate of Everyman’s youth theatre. Each bringing their unique talent and perspective to the stage.

The Legend of Ned Ludd, the first of three locally produced plays planned to commemorate the 60th anniversary of Liverpool Everyman Theatre. Following this are Tasha Dowd’s Tell Me How it Ends in June and Martin McDonagh’s dark comedy The Lieutenant of Inishmore in September. It is a fitting tribute to honour the Everyman’s sixty years of creative progress and cultural impact and you can enjoy a special deal of £60 to watch all three shows.

Soho Theatre, London – until 27 April 2024

Reviewed by Claire Roderick

4****

Luke Kempner promises 60 impressions in 60 minutes, but he may be the only one counting as the audience just sit back and enjoy the onslaught of police procedural drama clichés that he also manages to cram into this dynamic and often hilarious show.

A “beloved” TV personality has been murdered, and it’s up to Superintendent Ted Hastings to solve the crime. Calling on his team: Catherine Cawood from Happy Valley, Luther, Claudia Winkleman and an uncanny Louis Theroux, and Ian McKellen thrown in as well, investigations set them on the trail of an anti-aging drug ring. But who is the villain in charge – Jurgen Klopp, David Attenborough, King Charles or could it possibly be a bent copper?

Kempner gleefully trawls through the meeting around the suspect board, the suspect interviews and prison visits. A very unexpected prison governor and a glorious lampoon of Silence of the Lambs finds Louis Theroux walking down the corridor that houses the worst offenders on his mission to try to get into the mind of the drug kingpin. And instead of Hannibal Lector looming out of the dark, Theroux has a certain ex-president trying to outwit him.

Alongside the tenuous plot, Kempner showcases his singing talents with his characters launching into songs from Wicked, Phantom of the Opera and Aladdin – Catherine Cawood’s down-to-earth northern voice surprisingly soaring into falsetto as she duets with Luther!

The jokes arrive at breakneck speed, and this fast and furious approach sometimes trips Kempner up, but he endearingly acknowledges this and creates fresh laughs as he gets back on track showcasing his impressive repertoire of voices. This is a feelgood show that covers all the bases – comedy, impressions and musical theatre. An irreverent, gag-filled, hour well spent.

LIVERPOOL PLAYHOUSE – UNTIL 27TH APRIL 2024

REVIEWED BY JEN HUGHES DALEY

4****

Based on the best selling novel by Khaled Hosseini, directed by Giles Croft and adapted for stage by Matthew Spangler, prepare for a heart wrenching, intense and emotive bringing to life of the journey of two best friend in 1970’s Kabul. The boys, Amir ( Stuart Vincent) and Hassan ( Yazdan Qafouri ) portrayed their friendship beautifully. Slingshots, kites and mischievous play, all depict the innocence of childhood. Childhood not yet tainted by the consequence of theft. But how those very same symbols of childhood change and cause pain and revenge is truly breathtaking. Layer after layer of distress enveloped the stage as waves of emotion and tension ripped through the audience under the soothing sounds of Hanif Khan’s percussion.

Friendship, loyalty, betrayal, love, competition, guilt and wanting, these themes run through the veins of the performance, but not more than theft …..“When you kill a man you steal a life, when you tell a lie , you steal someone’s right to the truth”. How can a joyful neighborhood kite race change the lives of two boys forever? The answer to that can be found in the menacing, spine tingling, Assef (Bhavin Bhatt) . Special mention to this award-winning best newcomer at the Asian Media Awards. Every word spoken was spat with venom. His clenched fists and threatening presence were truly chilling.

Trigger warning for some scenes of strong language depictions of sexual violence, suicide, weapons and gun shots. This is gripping, gritty and raw. It sits proudly on a stage of minimal props and set. The white, seemingly innocent, fluttering like lingers above the stage. But underneath it is the unravelling relationships bound by loyalty and lies.

This is a must see, and for me is now a must read. It’s a performance that I will always remember as one presented in the simplest yet powerful of ways.

WORLD PREMIERE OF NEW MUSICAL

HERE & NOW

ADDS ADDITIONAL WEEK

OF PERFORMANCES AT

THE ALEXANDRA, BIRMINGHAM

DUE TO POPULAR DEMAND

NOW RUNNING FROM 9 NOVEMBER – 30 NOVEMBER

Due to phenomenal demand, including The Alexandra’s fastest selling on-sale in history, which saw 50% capacity sold within 24 hours, the producers of the brand new musical HERE & NOW, presented by UK pop sensation, Steps, are delighted to announce that the show will play an additional week at The Alexandra, Birmingham. HERE & NOW will now run in Birmingham from 9 – 30 November 2024. Tickets for the additional week will go on sale at 12noon on Monday 29 April.

Featuring Steps’ most beloved hit songs, HERE & NOW has an original book by Shaun Kitchener and is produced by the band and ROYO with Pete Waterman. It will be directed by Rachel Kavanaugh, with choreography by Olivier Award winning Matt Cole and Matt Spencer-Smith as musical supervisor, orchestrations and arrangements.

Casting to be announced.

Welcome to seaside superstore Better Best Bargains, where it’s Friday night, the vibe is right, and everyone’s dancing in the aisles. But when Caz discovers the shelves are stocked with lies and betrayal, the summer of love she and her friends dreamed of suddenly feels like a tragedy. Have they all lost their chance of a ‘happy ever after’? Or does love have other plans in store…

Steps said, “We were thrilled and grateful for the response we received when we announced the show, people were queuing up outside the theatre from 3am to purchase tickets! The past few weeks we have been workshopping the script and songs; it is so exciting to see it lift off the page. We can’t wait to share this with you!”

Steps (Claire Richards, Faye Tozer, Ian ‘H’ Watkins’, Lee Latchford-Evans and Lisa Scott-Lee) are the UK’s most successful mixed sex pop group of all time, with 14 top five singles, 4 number one albums, 22 million record sales, 500 million streams & 11 sold-out national arena tours under their belts. The band’s hits include #1 singles Tragedy/Heartbeat and Stomp, the gold certified One For Sorrow & Better Best Forgotten, the silver certified 5,6,7,8, Last Thing On My Mind, Love’s Got A Hold Of My Heart, Chain Reaction, all of which will feature in the musical alongside many more.

Steps’ 2017 comeback tour sold out all 300,000 tickets, making it one of the biggest pop tours of the year. The band have since continued to release new music including two further iTunes #1 singles, the Sia-penned What The Future Holds in 2020 and the Michelle Visage duet Heartbreak In This City in 2022. In 2022 Steps celebrated their 25th anniversary with a headline summer tour and released the #1 album Platinum Collection which means they join ABBA, Rolling Stones and Stereophonics as the only groups in UK history to score #1 albums in four consecutive decades.

Choreography is by Matt Cole, musical supervision, orchestrations and arrangements by Matt Spencer-Smith, set design is by Tom Rogers, costume design is by Gabriella Slade, lighting design by Howard Hudson, sound design by Adam Fisher, wigs, hair and makeup design by Sam Cox, casting by Will Burton for Grindrod Burton Casting, associate direction by Matt Hassall, associate choreography by Jane McMurtrie with associate sound design by Ollie Durrant.

Website: TheStepsMusical.com

Instagram: @TheStepsMusical

X: @TheStepsMusical

TikTok: @TheStepsMusical

Facebook: @TheStepsMusicalUK

LISTINGS INFORMATION

HERE & NOW

9 – 30 November 2024

The Alexandra

Suffolk Queensway,

Birmingham,

West Midlands,

B5 4DS

Performances: Tuesdays – Saturdays at 7:30pm, Thursdays, Saturdays and Sundays at 2.30pm

N.B there will only be a 7:30pm performance on Saturday 9 November, Sunday 10 November and Thursday 28 November, and an additional 2:30pm performance on Wednesday 27 November.

There will also be an audio described performance on Tuesday 19 November and a signed performance on Thursday 21 November.

Tickets from £13

www.atgtickets.com/venues/birmingham

National Theatre at Home to host first live stream premiere of the new musical ‘The Little Big Things’

National Theatre at Home has announced it will host its first live streamed premiere of the ‘triumphant new musical’ (★★★★★ WhatsOnStage) The Little Big Things, a production from Michael Harrison, at 7pm BST on 9 May 2024. Audiences around the world can come together to enjoy this ‘groundbreaking’ (★★★★ Time Out) production from the comfort of home on the theatre streaming platform. Viewers of the premiere can join the live conversation via social media using hashtags #TLBT and #NationalTheatreatHome.

The Little Big Things premiere is exclusively available on National Theatre at Home with a subscription (monthly cost £9.99, annual cost £99.99) providing unlimited access to the platform with new titles added every month, or through a one-off payment to watch live for £9.99.

Filmed during its run at @sohoplace, the ‘show with the biggest heart in town’ (★★★★★ Sunday Express) directed by Luke Sheppard, is based on the extraordinary true story about Henry Fraser, an avid sportsman whose life changed forever aged 17 when a diving accident led to a new life as a tetraplegic. Based on Henry Fraser’s Sunday Times best-selling autobiography, the musical follows as the Fraser family are split between a past they no longer recognise, and a future they could never foresee.

The ‘uplifting, heart-swelling’ (★★★★ Evening Standard) musical written by Joe White includes a theatrical pop soundtrack by Nick Butcher and Tom Ling and Olivier nominated choreography by Mark Smith, with Henry played by Jonny Amies and Ed Larkin.

Following the live stream, The Little Big Thingswill be available to watch on National Theatre at Home with captions, audio description and British Sign Language, providing inclusive and accessible theatre experiences for audiences worldwide.

Amy Trigg, who recently won an Olivier award for her role in The Little Big Things  said: “I’m so excited for more people to have the opportunity to experience ‘The Little Big Things’. The electricity we felt in the theatre every night was unforgettable; it’s a joy knowing that feeling is going to be accessible for so many more people. I hope the new audiences enjoy the show as much as we loved performing it!”

All titles on National Theatre at Home are available with captions, and over 85% of titles are available with Audio Description.  

Bloomberg Philanthropies is Headline Sponsor of National Theatre at Home.  

National Theatre at Home is also supported by The Linbury Trust. 

York Theatre Royal – until Saturday 27th April 2024

Reviewed by Michelle Richardson

3***

Written by R.B. Sheridan and nearly 250 years after its first foray onto stage, The School for Scandal, is a comedy of manners. Tilted Wig, under the direction of Sean Aydon, has adapted this production for the 21st century and is currently playing in York as part of its UK tour.

It is fast paced from the start, with its intricate plot, a tale of gossip, scandal, and coercion. Revolving around Sir Peter Teazle (Joseph Marcell), with his much younger wife (Lydea Perkins) squandering his money and spending time in society. This is perfect fodder for Lady Sneerwell (Emily-Jane McNeill) and her band of gossips, who love nothing more than plotting and interfering with the lives of all around them. So starts a melee of rumours and misunderstandings.

With 8 actors playing the 15 quirky characters, all, bar Marcell, are double hatting, a perfect showcase for their skill and ability, talent in abundance. As well as quick changes of characters, the physicality shown is impressive, the aim of throwing and catching of items, whilst not even looking is testimony to this. 

Shoutout to Garmon Rhys and Alex Phelps, as the two brothers, Charles and Joseph. Rhys is an energetic performer, providing much needed laughs with his physicality and facial expressions. He was very charismatic to watch. Phelp’s scene with the screen and chaise lounge was a show highlight. Tony Timberlake as the boy’s uncle Sir Oliver, shares some great comedic scenes with the duo.  Perkins as Lady Teazle is a delight as the willful young wife, frivolous, though with a tender side, and comes to realise the grass is certainly not greener. McNeill is sharp as the huge gossip monger Lady Sneerwell, and shows relish playing such a withering sensationalist.

The costumes are full-on 1950’s glamour. The colours are so vibrant, oranges, teals, pinks and greens in abundance. This contrasts with the stripped back set and its muted colours, apart from the three brightly coloured telephones, on plinths at the back of the stage. I did find it hard to follow the show when the lighting was dimmed, with a red glow, it was just a bit too dark. It was lacking in laugh out moments, though I did have a few jumps and giggles along the way. 

This is a wordy play, it is amazing that all the cast can remember all their lines so well, in their differing characters. Marcell especially has some complicated pieces, he delivers them brilliantly. Some of the vocabulary is blurred, posh voices almost shouting, the dialogue got lost in translation. Also, though the complexity of the relationships between the characters can be a bit confusing at times, there is so much going on, the cast work well together with the material they have. 

It also goes to prove that nothing has changed over the years, with gossip and scandal even more prevalent today, especially with social media and the internet. The School For Scandal is a decent night out at the theatre, you get to see some fine actors honing their craft. 

Cambridge Arts Theatre – until Saturday 27 April 2024

Reviewed by Steph Lott

5*****

Christopher Haydon’s production of Reginald Rose’s “Twelve Angry Men” at the Cambridge Arts Theatre is a masterclass in tension, drama, and the power of persuasion. It’s a riveting exploration of justice and morality. The play, written in 1954, remains as relevant as ever, captivating the audience with its thought-provoking themes and stellar performances.

The play follows the deliberations of a jury in a murder trial, where a unanimous decision is required to determine the fate of a young man accused of killing his father. Tristan Gemmill, as the fiery Juror 3, delivers a commanding performance, his character’s unwavering belief in the defendant’s guilt serving as a formidable obstacle to justice. Michael Greco, as the slick and impatient Juror 7, adds a layer of humour to the proceedings, while Jason Merrells, as the thoughtful and principled Juror 8, anchors the production with his measured and persuasive performance. However, the entire cast must be congratulated because, as each of them takes centre stage debating the fate of the young man, each of them shines like a star.

Haydon’s direction is a triumph, orchestrating the 12 actors in a dance of words and emotions. The jurors’ interactions are carefully choreographed, each movement and gesture adding to the building tension. The claustrophobic atmosphere of the jury room is palpable, with the set design, lighting, and sound working together to create a pressure cooker environment that mirrors the characters’ internal struggles.

The set, a wooden panelled jury room, serves as a perfect canvas for the actors to paint their characters’ emotions and motivations. The costumes, true to the 1950s setting, add a layer of authenticity to the production. Chris Davey’s lighting design is particularly effective, with its use of shadows and focused spots.

“Twelve Angry Men” remains as accessible and relevant to modern audiences as it was when it was first written. The play’s themes of justice, prejudice, and the importance of questioning assumptions still resonate deeply today. The standing ovation at the end of the performance is a testament to the production’s impact and the enduring power of Rose’s words.

In conclusion, “Twelve Angry Men” at the Cambridge Arts Theatre is a must-see for anyone who appreciates powerful, thought-provoking theatre. The stellar cast, masterful direction, and impeccable design elements come together to create an unforgettable experience that will leave audiences questioning their own biases and beliefs long after the curtain falls.

Southwark Playhouse – until 4 May 2024

Reviewed by Claire Roderick

5*****

While the actual matches should be the main focus of Remembering England’s run in 2020’s European Championship, the enduring images will always be crowds storming the gates at Wembley and BumFlare Man. Alex Hill’s debut play imagines what drove the man to do this (besides alcohol or drugs) and skilfully presents a story of grief, loneliness and the desperate need to belong in 60 minutes of barnstorming writing and performance.

The play begins with a boisterous and jubilant bang, football chants and songs getting the audience joining in and laughing before the flare is lit. After a radio interview where he gives a flippant reply to the question “Why?”, Billy expands on what led to his infamous act. Hill takes the audience on a breakneck journey through Billy’s life, from kickabouts in the park with best friend Adam and their first trip to watch their team play. The love and innocent joy that this friendship and shared pleasure in football becomes strained as they grow up and encounter Wine Gum and his mates in the pub. The boys’ indoctrination into Wine Gum’s firm and introduction to heavy drinking and drugs leads to a huge shift in tone from childhood euphoria to brutality as Billy’s accounts of matches become monosyllabic chants of excess and violence. As Billy is swept along by this intoxicating feeling of belonging, Adam becomes an increasingly distant figure – their traditional matchday breakfast ritual stops, and Adam is spending more quality time with Billy’s girlfriend than he is. Hill tackles male friendship and mental health brilliantly, with Billy’s frustrated and confused comments about Adam effortlessly demonstrating the need to communicate honestly. Much like England’s time at Euro 2020, Hill’s play drives the audience through expectation, high energy excitement and then quiet despair as Billy finally sees his “mates” in their true light and realises, too late, what he has lost.

Adam Hill ‘s writing is poetic, funny and incisive, and he gives an intoxicating performance – always reminding us of the lost boy beneath the macho bravado with flashes of gentleness amongst the laddish nonsense. Sean Turner’s excellent direction and Hill’s dynamic performance create a seamless production that you simply can’t look away from.

A brilliant show that will thrill not just football fans. A fantastic debut – Hill is a name to look out for in the future.

Norwich Theatre Royal, Norwich – until Saturday 27th April 2024

Reviewed by Boo Wakefield

4****

The Boy At The Back Of The Class is a heartwarming adventure story for children, written by the prize winning author Onjali Q. Rauf and adapted for theatre by Nick Ahad. It follows the journey of 9-year-old Ahmet (Farshid Rokey), a refugee from Syria who only speaks Kurdish, as he starts at his new English school. Ahmet, traumatised by his journey to the UK and deeply anxious about his missing parents, is initially mute. He is taken under the wing of Alexa (Sasha Desouza Willcock) and her gang of friends, geeky Michael (Abdul-Malik Janneh), sporty Josie (Petra Joan Athene) and enthusiastic Tom (Gordon Millar) who try to protect him from the class bully Brendan (Joe McNamara) and the bigoted teacher Mr Irons (Zoe Zak). Alexa and her gang are sad that Ahmet’s parents are missing and set about trying to help find them, eventually journeying to Buckingham Palace to lobby the Queen (the book was written whilst the Queen was still alive).

Adults acting as 9 year-olds is not an easy ask, riven as it is with potential pitfalls – but the cast pull it off brilliantly with Sasha Desouza Willock as Alexa, on stage almost throughout, the stand out performance. Over half the audience on the performance I watched were children; from their enraptured and energised reactions they certainly didn’t feel patronised or undersold.

Overall, the play, by its nature, is a story which is told, rather than shown. On stage there are interludes of compelling theatricality, not least at the start of each half with sheets of billowing silk, and supporting sound and lighting (Giles Thomas and Ryan Day), depicting Ahmet’s sea crossing, and Ahmet’s visceral outburst at the end of the first part; but these stand out in contrast to the more deliberate story-telling of the rest of the performance. Lily Arnold’s set is clever; a stripped back school gymnasium wall allows the cast to clamber and swing like children while also enabling slick, inventive scene transitions.

But, make no mistake, this is a play about the world as seen through the eyes of 9-year-olds and is aimed, principally, at a similarly youthful audience, with a steady drumbeat of age-appropriate educational messaging about morality, inherited prejudice, ethics and compassion permeating almost every scene. As a stepping stone for pre-teens into the magic of theatre, it’s hard to beat.