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York Theatre Royal – Wednesday 29th May 2024

Reviewed by Michelle Richardson

4****

What musical do you know that has no plot, no lines, and no musical numbers? Showstopper! The Improvised Musical of course. This is a show like no other. An innovative, creative show, where you as the audience, mould the story and the actors on stage improvise.

The stage is stripped back, a desk with a red telephone standing out. The phone rings and a writer of musicals (Sean McCann, who narrates throughout) is given a deadline to create a new musical, he needs help. Encouraging the audience to shout out suggestions of themes, styles and show titles, which ensures that an utterly unique, one-off show is premiered every night.

For one night only our show was ‘I’ve Only Got 10 Candles’, a play on another audience member suggestion of her daughter’s 11th birthday celebration. With a cast of five, how would it unfold, whilst incorporating Shrek, Carousel, the musical styles of Sondheim and Jason Robert Brown, and not forgetting a bit of Beyonce? Set around the BBC of 1964 and the success of the Two Ronnies and their ‘Four Candles’ sketch, of course. A bit of poetic licence with the dates, but who cares as the improvisation was very inspired. A beleaguered scout, wife and kids at home, smitten with a work colleague is searching for new talent. What follows is a madcap, imaginative show where a talented 11-year-old had a 74-year-old brother, the would-be fling is really in love with the wife, and the wife is a fabulous baker and sick and tired of making shepherds pie. You really couldn’t make this up, but they sure did and produced something unique and entertaining.

The improvisers (Justin Brett, Matt Cavendish, Pippa Evans, Ali James and Adam Meggido) show off their skills and talent through teamwork, feeding off each other. They were joined onstage by a two-piece band, consisting of Jordan Clarke and Nathan Gregory. Armed with nothing but their wits and ability, they deliver a humorous, wonderful performance. It is impressive and exciting to watch.

All the requested elements, and then some were weaved into the story. ‘All The Powerful Ladies’, inspired by Beyonce, was a favourite. Performed by Evans and James, it was a masterclass of improv, with both lyrics and dance moves completely in sync. Bravo ladies!

The standout performer for me was Evans. She has a great physical presence on stage and is sharp as a pin. She produced the biggest laugh of the evening, involving cake, marzipan, and Dick Van Dyke. James and Meggido showcased their vocals skills, with lyrics and performance, whilst Cavendish and Brett adapted to any situation with ease, all exhibited fabulous comedic timing. All are clearly passionate about what they do, and this is contagious.

Showstopper! The Improvised Musical is a joy to watch, led by the audience’s imagination and executed by an ever changing, talented cast. You can guarantee that no night will ever be the same. Their infectious comedy and chemistry make for captivating and engaging experience.

Festival Theatre, Malvern – until 1st June 2024

Reviewed by Courie Amado Juneau

5*****

All I knew about tonight’s play was that it was exceptionally well regarded. I was to find out how justified that reputation was…

Beginning with Hanif Khan perfectly setting the scene with some fabulous tabla playing engulfing us instantly in the Afghanistan cultural milieu. Music plays a vital part in the proceedings – the singing bowls being particularly affecting (and what a great name for an instrument!).

The lead actor, Stuart Vincent playing Amir, was on stage all the time, always fully engaging with a massive range of emotions conveyed and he did it all perfectly throughout. This role could have been overdone but he was pitch perfect, sweeping us along into his inner turmoil in all it’s dazzling complexity.

The principle relationships orbiting our lead; his friend Hassan (Yazdan Qafouri), father (Dean Rehman) and wife Soraya (Daphne Kouma) were scripted and acted flawlessly, with a degree of compassion that spoke volumes. We genuinely cared about them all as they were wrought with sensitively and intelligence, in full technicolour widescreen. Stunning performances!

Christopher Glover (playing Rahim Kahn and Omar Faisal) had my favourite line in the entire piece: (speaking of a love across the religious divide), “…it was us against the rest of the world”, “what happened?” asked Amir… I won’t spoil the surprise but his answer gave insights into our shared human condition and truly elevates this play into a work of art.

Bhavin Bhatt as bully Assef gave us a masterclass in emotionally turning on a sixpence, going from ingratiating to menacing instantly with the briefest of looks. A shockingly effective performance. In truth, the entire cast was exceptional with all deserving a mention but due to word count limitations… I will highlight Tiran Aakel playing Ali as every scene he was in was graced with his presence.

With its abstract strips transformed with some clever lighting and back projection into an Israeli West Bank or Mexican/US style border or a city skyline, the set was highly inventive. Draped panels that swung down evoked the Afghan world with an admirable simplicity and character all its own.

This story doesn’t shy away from the more disturbing aspects of human nature – especially the way that we can judge someone as inferior due to religious or cultural differences. Also the truly troubling aspects of how the dehumanizing of others can allow for atrocities and mass populous justification causing cultural myopia to the suffering of our brothers (and sisters) aka fellow human beings. It makes one question many of the assumptions we have regarding the big themes of our time – war, refugees, cultural values.. The play has plenty of humour in it too, giving it a balance that did it credit – it never feels heavy, despite the subject matter.

The audience was held riveted in rapt attention throughout! Sparkling performances from the actors, a scintillating production and a tale that needs to be told in these dark times all added up to a vital night at the theatre. Seeing it made me want to read the original novel (by Khaled Hosseini) so all kudos to Matthew Spangler for a masterful adaptation. I cannot recommend this work highly enough. A phenomenal achievement from all concerned.

ONE NIGHT ONLY PERFORMANCE OF

CSI: CRIME SCENE IMPROVISATION

TO MARK 10^TH ANNIVERSARY

ANNOUNCED AT WILTON’S MUSIC HALL

CSI: Crime Scene Improvisation today announces they will be bringing their sell out Fringe show to Wilton’s Music Hall for a one night only on Friday 12 July, marking the 10^th anniversary of the production.

The debut performance of CSI: Crime Scene Improvisation was at The Red Lion Pub, Moorgate in 2014, created and performed by Lee Apsey, Steve Bond, James Cann, Danielle Downey, Sarah Kempton and Nicola Lucey. The production has since enjoyed multiple sold out runs at festivals including Edinburgh Festival Fringe, Brighton Fringe and Leicester Comedy Festival.

CSI: CRIME SCENE IMPROVISATION

Cast and co-creators:

Lee Apsey, Steve Bond, James Cann, Danielle Downey, Sarah Kempton, Nicola Lucey

Friday 12 July at 7:30pm

No one knows who the killer is, not even the cast!

Following multiple five-star sell-out runs at the Edinburgh Fringe, CSI: Crime Scene Improvisation returns with another rip-roaring crime comedy made up entirely on the spot.

Who? What? How? The choice is yours in this fully improvised, witty and absurd murder mystery where the audience creates the crime.

Crime Scene Improvisation was winner of the ‘Best Improv’ at Leicester Comedy Festival 2023 and is now in its 10^th year.

Lee Apsey is a writer, director, producer and performer across film, theatre and digital media. His accomplishments range from award-winning feature films and TV pilots to multiple sold-out runs at the Edinburgh Fringe, Brighton Fringe and Leicester Square Theatre atop a multi-million viewership across online projects. He also co-created Your Flaws: The Musical as well the co-director of Multiverse Musical and tours performing his award-nominated freestyle rap show Slice of Rhyme.

Steve Bond’s theatre credits as an actor include Looking For Normal (Network Theatre), and Copenhagen (Edinburgh Festival Fringe). His own play The Abduction Of Elizabeth Canning was performed at LSE in 2010, and he has also written and performed for sketch group Goes Well With Cheese, in their show Zinfandel at the Camden Fringe in 2012. He has performed short-form improv shows with Spontaneity Shop, has hosted the LSE Improv Show each year since 2012, and co-founded the improv group Agents Improvocateurs.

James Cann has performed with Hoopla Improv, The Spontaneity Shop, David Shore, Brixton Village Idiots, Catfish-Banjo & Stent and the London Improvised Pantomime. He can currently be found improvising with Kerfuffle and Improv the Dead.

Danielle Downey’s credits include Chitty Chitty Bang Bang (London Palladium), Annie (UK tour), as well as her sketch show The Jerry Hall Show (Brighton Fringe Festival). Downey also creates short, animated films, several of which have been featured at exhibitions (The National Trust) and screened at film festivals (Annual Horror film Festival Vancouver).

Sarah Kempton has narrated over 100 audiobooks and voiced multiple characters in games from the Warhammer series and Jackbox among others. Kempton has played leading roles in theatre across the UK and Europe and guested in multiple sitcoms.

Nicola Lucey’s previous theatre credits include Laundry (The former Gloucester Street Magdalene Convent), The Importance of Being Earnest (National tour), Riders To The Sea (The Projects Art Centre), and Apples (The New Theatre, Ireland). Lucey is a co-founder of Twisted Focus Theatre Company with whom she has written and produced Work In Progress and Jenny Is A Raver which premiered at Smock Alley Theatre as part of The Collaborations Festival.

CSI: CRIME SCENE IMPROVISATION

LISTINGS

Wilton’s Music Hall

Wilton’s Music Hall, 1 Graces Alley, Shadwell E1 8JB

Box Office: 020 7702 2789

Friday 12 July at 7:30pm

Tickets from: £8 / £6.50 (concessions)

Crime Scene Improvisation

www.crimesceneimpro.com

Facebook: @CrimeSceneImpro

Twitter: @CrimeSceneImpro

Instagram: @CrimeSceneImpro

Full cast announced for Toby Marlow and Lucy Moss’
new big fancy West End musical
WHY AM I SO SINGLE?
Garrick Theatre, 2 Charing Cross Road, London WC2H 0HH
From Tuesday 27th August 2024

The full cast has been announced for Toby Marlow and Lucy Moss’ all-new, highly anticipated second musical, WHY AM I SO SINGLE? This new production from the multi-award-winning writers of SIX the Musical follows two best friends through the ups, and mostly downs, of their dating lives in the era of Tinder (and Bumble and Grindr and Hinge). This very relatable musical comedy is the ultimate show for best mates, serial daters and anyone who’s ever wondered why they’re so single?

The three cast already announced are: Jo Foster (& Juliet; Just For One Day, West End) and Leesa Tulley (SIX, UK tour; Kin, Theatro Technis) who play the leading – and eternally single – besties. They are joined by Noah Thomas (Everything Now, Netflix; Everybody’s Talking About Jamie, West End), who plays the honest friend we all love and need in our lives.

The alternate leads are Jordan Cambridge-Taylor (Schwartz at 75, Lyric Theatre) and Collette Guitart (Just For One Day, Old Vic). The ensemble cast are Jemima Brown (Critics’ Circle National Dance Award-nominated, Tom Dale Company), Josh Butler (Bronco Billy, Charing Cross Theatre), Natasha Leaver (Hamilton, West End), Ran Marner (Jack and the Beanstalk, Imagine Theatre), Jamel Matthias and Olivia O’Connor in their professional and West End debuts, Joshian Angelo Omaña (Everybody’s Talking About Jamie, West End), Natasha Wilde (42 Balloons, The Lowry) and Rhys Wilkinson (Just For One Day, Old Vic)

The swings are Callum Bell (Guys & Dolls, Bridge Theatre), Owen McHugh (Clueless The Musical, Churchill Theatre) and Caitlin Redpath in her West End debut, and Ebony Clarke (Everybody’s Talking About Jamie, West End), who is also the Resident Choreographer

WHY AM I SO SINGLE? features a score of original songs by the dynamic, award-winning writing team of Marlow & Moss. From catchy pop songs that you won’t be able to stop singing, hilarious pastiches of well-known musicals, dazzling disco anthems and orchestral epics, Marlow & Moss’ score will capture audiences’ hearts – and ears – this autumn.

Marlow & Moss’ new comedy musical will take audiences on a journey through the ups and downs of dating, friendships and love (in all its forms) in the modern world. Told through the eyes of two best friends, whether you’re 22 or 62, you’ll relate to WHY AM I SO SINGLE?. This hilarious, high-octane musical will have West End audiences swiping right this autumn.

The production is directed by Lucy Moss; with choreography by Ellen Kane (Matilda the Musical, Working Title Films; Dear England, National Theatre/West End); orchestrations, vocal arrangements and musical supervision by Grammy and Olivier Award-nominated Joe Beighton (SIX the Musical, West End; 42 Balloons, The Lowry); set design by Moi Tran (A Play for the Living in A Time of Extinction, Barbican; Peaky Blinders, Rambert); costume design by Max Johns (Choir Boy, Bristol Old Vic, As You Like It, Shakespeare’s Globe); lighting design by Jai Morjaria (My Son’s A Queer (But What Can You Do?) and Accidental Death of an Anarchist, West End); sound design by Grammy and Tony Award-nominated Paul Gatehouse (The Little Big Things, @SohoPlace; Mandela, Young Vic); and music production and additional orchestrations by Future Cut (Rihanna, Shakira, Lily Allen, Tom Jones). The production manager is Phoebe Bath (The Lion, the Witch and the Wardrobe, Birmingham Rep; Noises Off, West End and UK tour) with the casting direction from Harry Blumenau and Sarah-Jane Price from Harry Blumenau Casting (Death Note, West End; Derren Brown’s Showman, Apollo Theatre).

WHY AM I SO SINGLE? is produced by Kenny Wax, George Stiles and Ameena Hamid.

Kenny Wax is a past President of the Society of London Theatre (SOLT). He has 25 years of experience working across award-winning and hit shows in the West End, on Broadway and all over the world. His work includes Mischief Theatre productions The Play That Goes Wrong, Peter Pan Goes Wrong and Mind Mangler: Member of the Tragic Circle, Marlow and Moss’ Tony Award-winning global hit SIX currently running in London, New York, Toronto, and on a UK and North American tour, and Fantastically Great Women Who Changed the World, based on the book by Kate Pankhurst, about to open at The Other Palace. Kenny’s Olivier Award-winning shows include Top Hat, Once On This Island, Hey Duggee and The Worst Witch. He is thrilled to be a Producer on Toby and Lucy’s second show.

Ameena Hamid is a producer and general manager who was named Best Producer at the Black British Theatre Awards 2022 for her work on the critically acclaimed production of The Wiz. Hamid is just 24 and having started her West End career in 2020, she is the youngest producer to work on the West End. Producer Credits include: Woman Life Freedom! (GDIF); Invisible (59E59TH); The Wiz (Hope Mill Theatre). Co Producer and Associate Producer credits include: Bonnie & Clyde (Garrick Theatre & UK Tour); Dick Whittington (Phoenix Theatre); Death Drop (Criterion Theatre and Garrick Theatre).

George Stiles is a multi-award-winning writer who has worked on Honk! (National Theatre/UK Tour and Worldwide); Mary Poppins (West End, Broadway, International and UK Tour) and Cameron Mackintosh’s new version of Half A Sixpence (Chichester Festival Theatre and West End). George is also one of the producers of SIX, a journey that has brought him deep joy, helping to guide Marlow & Moss’ breakout hit around the world. With his writing partner, Anthony Drewe, his passion for nurturing new musical theatre is celebrated through the annual Stiles+Drewe Prize.

LES DENNIS TO PLAY BILL BRYSON IN MAJOR UK TOUR

OF

OPENING AT RICHMOND THEATRE TUESDAY 14 JANUARY 2025

Simon Friend Entertainment is delighted to announce that Bill Bryson’s smash-hit memoir,                Notes From A Small Island, will journey to the stage in a national UK Tour starring TV favourite Les Dennis as much-loved writer Bill Bryson. The tour opens at the Richmond Theatre on Tuesday 14 January 2025.

This stage adaptation celebrates one of the nation’s most beloved books by one of the country’s most treasured authors. Notes From A Small Island spent three years in The Sunday Times bestsellers list and sold over two million copies. BBC Radio 4 listeners voted it as the book which best represents England. 

“A comic pleasure! In the Watermill’s adaptation of Bryson’s tribute to this sceptred isle, nostalgia and warmth abound.” The Telegraph

First staged at the Watermill Theatre in 2023, after it’s Richmond engagement the national tour will visit: Nottingham, Theatre Royal; Glasgow, Theatre Royal, Norwich, Theatre Royal, Salford; The Lowry; Cardiff, New Theatre; Sheffield, Lyceum Theatre; Shrewsbury, Severn Theatre; Bromley, Churchill Theatre; Malvern, Festival Theatre; Woking, New Victoria Theatre; Birmingham, Alexandra Theatre; Southend, Palace Theatre; Leicester, Curve Theatre;Brighton, Theatre Royal; Milton Keynes,Milton Keynes Theatre; Aberdeen, His Majesty’s Theatre and Leeds, Grand Theatre.

Further dates and full casting to be announced.

From Calais to the Highlands, Bill travels the length and breadth of Britain, but how can the nation that produced Marmite and Gardeners’ Question Time hold such a special place in this American’s heart?

Les Dennis is one of the UK’s best-known entertainers with a career in showbusiness spanning over 50 years. 

Born in Liverpool, Les came to prominence as a comedian in the 1970s after honing his act on the northern Working Men’s Club circuit and turning pro after a winning set on New Faces. 

More success in TV comedies followed in the 1980s when he starred in The Russ Abbot Show and The Les Dennis Laughter Show, and formed a hugely popular double-act with comedy partner Dustin Gee, cut-short by Dustin’s untimely death. 

Les cemented his place as a mainstay of Saturday night television as the host of ITV’s Family Fortunes between 1987 and 2002.  In 2023 he returned to Saturday night TV with a fleeting but fun turn on BBC’s Strictly Come Dancing.

In recent years Les has enjoyed a thriving career as an actor, starring with the Royal Shakespeare Company, the English National Opera and in numerous hit plays and musicals in the West End and on tour, as well as a regular role on Coronation Street.  A dad of three, Les lives in Cheshire with his wife, his two youngest children, and their menagerie of pets. 

Theatre includes:  Twelfth Night (Shakespeare North Playhouse), 42nd Street (Sadlers Wells & Tour), Spring & Port Wine (Bolton Octagon), Only Fools & Horses The Musical (Theatre Royal Haymarket), HMS Pinafore (ENO, Coliseum), Hairspray (Coliseum), Venice Preserved and The Provoked Wife (RSC), End of the Pier (Park Theatre), The Miracle of Great Homer Street (Liverpool Royal Court), The Addams Family (Tour), She Loves Me (Menier Chocolate Factory), Down the Dock Road (Liverpool Royal Court), The Perfect Murder (Tour), Spamalot (West End), Hairspray (UK tour), Jigsy (Liverpool Royal Court – Best Actor, LPD Arts), When We Are Married (WYP), 

Eurobeat (No. 1 tour/West End), Certified Male (Edinburgh Festival), The Servant of Two Masters (Wales Theatre Company), Misery  (Oldham Coliseum), Neville’s Island (Birmingham Rep), South Pacific (Birmingham Symphony), Art (UK tour), Cherished Disappointments in Love (Soho), Chicago (Adelphi), Just Between Ourselves (Theatre Royal Bath), Skylight (Watermill) Me and My Girl (Adelphi). 

Film includes: Sideshow, Wounded (winner of Best Feature, Marbella Film Festival), Intimate Relations. 

Television includes: Death In Paradise, The Madame Blanc Mysteries, Moving On, Birds of a Feather, Coronation Street, Holby City, Midsomer Murders, Hotel Babylon, New Street Law, Extras, The Quest 2, Casualty, Mersey Beat, Doctors, Brookside, Les Dennis and Dustin Gee’s Laughter Show.

Notes From A Small Island reunites the Watermill Theatre’s original creative team and is Adapted by Tim Whitnall, Directed by Paul Hart, Designed by Katie Lias with Lighting Design by Ali Hunter, Sound Design by Ed Lewis and Projection Design by George Reeve.

Originally produced at The Watermill Theatre.

Notes From A Small Island is produced by Simon Friend Entertainment.

• THE MULTI-AWARD-WINNING WEST END STAR CARRIE HOPEFLETCHER TO LEAD THE MAJOR UK & IRELAND TOUR OF CALAMITYJANE.
• THE WHIP CRACKIN’ MUSICAL COMEDY CLASSIC WILL OPEN AT AYLESBURY WATERSIDE THEATRE ON 14 JANUARY 2025, MARKING 10 YEARS SINCE THE SHOW LAST HIT THE ROAD

Jamie Wilson Productions is delighted to announce the revival of The Watermill Theatre’s whip-crackin’ production of the Broadway and West End hit musical Calamity Jane starring Carrie Hope Fletcher which will tour the UKand Irelandfrom January 2025 prior to the West End.

Calamity Jane will open at Aylesbury Waterside Theatre on 14 January 2025 followed by Manchester Opera House, Southend Cliffs Pavilion, Sunderland Empire, New Victoria ,Woking, Leeds Grand Theatre, Wales Millennium Centre, Birmingham Hippodrome, Nottingham Theatre Royal, Brighton Theatre Royal, Norwich Theatre Royal, Edinburgh Festival Theatre, Liverpool Empire, York Grand Theatre, New Wimbledon Theatre, Canterbury Marlowe, Southampton Mayflower, Sheffield Lyceum, Stoke Regent Theatre, Blackpool Opera House, Glasgow Kings, Curve Leicester, Plymouth Theatre Royal, Milton, Keynes Theatre, Truro Hall For Cornwall, Dublin Bord Gais, Llandudno Venue Cymru, Bradford Alhambra, Wolverhampton Grand and Bromley Churchill Theatre. For the full details please visit www.CalamityJaneMusical.com.

Marking ten years since the show hit the road the production reunites the previous creative team with Direction by Curve Artistic Director, Nikolai Foster (An Officer and a Gentleman, Kinky Boots), Co-Direction and Choreography by Nick Winston (Shrek The Musical, Burlesque The Musical), Orchestration and Music Supervision by Catherine Jayes (The Color Purple, Merrily We Roll Along), and Set and Costume Design by Matthew Wright. This production will have Lighting Design by Tim Mitchell, Sound Design by Ben Harrison and Casting by Debbie O’Brien. 

Carrie Hope Fletcher is athree-time WhatsOnStage Best Actress in a Musical winner.  She most recently originated the title role in Andrew Lloyd Webber’s Cinderella (Gillian Lynn Theatre, West End). Her previous credits include Veronica in Heathers, Wednesday in The Addams Family and Eponine in Les Misérables. Carrie is a 2022 GRAMMY nominee for two competing albums for Best Musical Theatre Album – Cinderella (Original Concept Album) and Les Misérables: The Staged Concert (Live Album).  Carrie went out on her first solo tour in 2023 which was entitled An Open Book – she toured the UK (including a sold-out performance at the London Palladium) and the show was a huge celebration of her career so far. She embarks on her second solo tour, Love Letters, in Autumn 2024. Alongside theatre, Carrie has also written several best-selling novels and has huge social media presence with over 635,000 subscribers to her YouTube channel with over 1 million views every month.

Carrie Hope Fletcher said “Calamity Jane is one of those roles that doesn’t come around all too often. She’s action, romance and comedy all packed into one character, and I can’t wait to take on the challenge of filling her shoes!”

Producer Jamie Wilson said “With this new version of Calamity Jane first opening at The Watermill Theatre in 2014, I am delighted to be collaborating with them again to finally bring this wonderful production back to theatres all over the country after a 10-year absence.  We have been waiting for the right moment and artist to step into Calamity’s boots and bring this hilarious and joyful musical back to the nation, and we are thrilled that Carrie Hope Fletcher will be leading the company as the iconic Calamity Jane. Carrie is one of the UK’s most talented artists who’s broad fan base will introduce this much beloved musical to audiences across the country.”

Based on the much-loved Doris Day movie, this foot-stomping new production features all the sure-fire classic songs including The Deadwood Stage (Whip-Crack-Away), The Black Hills of Dakota, Just Blew in from the Windy City, and the Oscar-winning Secret Love.

Meet the fearless, gun slingin’ Calamity Jane – biggest mouth in Dakota territory and always up for a fight. She’ll charm you hog-eyed though, especially when trying to win the heart of the dashing Lieutenant Gilmartin, or shooting insults at the notorious Wild Bill Hickok. But when the men of Deadwood fall hard for Chicago stage star Adelaid Adams, Calamity struggles to keep her jealousy holstered. Her heart’s a thumpin’… but who for?

What are you waiting for, you wild coyotes?  Whip-crack-away!

Full casting will be announced in due course.

Calamity Jane was adapted for the stage by Charles K. Freeman from a screenplay by James O’Hanlon, produced by Warner Bros. With music by Sammy Fain, lyrics by Paul Francis Webster and Orchestral & vocal arrangements by Philip J. Lang.

“The Brits have made the year’s funniest musical…a hit in London’s West End and may head across the Atlantic…rewriting the playbook for originality.…Against the odds, the “Operation Mincemeat” gang has found its way to the big time.”

Peter Marks, The Washington Post

“irrepressible wartime musical is a West End triumph”
Emma John, The Guardian

“Hilarious tale makes Mincemeat out of its rivals…Before curtain I talked to a fan seeing this for the seventh time. I wondered why anyone would see the same show seven times. Now I know”

Neil Armstrong, The Mail On Sunday

“LAUGHING so hard I could barely breathe is not what I expected for a musical about a World War II top-secret plan.…the perfect invasion of the West End. Long may they occupy it.”
Thea Jacobs, The Sun

“the feel-good West End musical of the summer…The reviews for the show have been ecstatic… the overwhelming impression is of hopefulness, expansiveness, possibility and joy.”

Alexis Soloski, The New York Times

67 ★★★★★ reviews and counting

Thursday 30^th May – After the debut performance of the new cast (13^th May 2024) of the Oliver Award-winning Operation Mincemeat, ATG has given the musical, originally slated for an eight-week run, a ninth extension through 25^th January 2025.

Emily Barber (Netflix’s Bodies & Bridgerton, HBO’s Industry, Sky’s Dreamland) and Chlöe Hart (Six, Hairspray, Wicked) have joined Christian Andrews, Seán Carey and Claire-Marie Hall to form the new cast, while George Jennings (Nell Gwynn, A Christmas Carol) and Jonty Peach (SuperYou, Stranger Sings!) have joined Holly Sumpton and Geri Allen to form the Company.

David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts, the musical’s writers and composers, said: “We’re delighted, proud and only a bit jealous of the amazing reaction to our new fantastic cast- and so happy that as a result they will be delighting crowds into 2025. Sangria!”

Tickets will be available on general sale on Friday 14^th June at 10am from the Official Box Office here.

After the success of the Monday ballot, which was introduced to ensure tickets get into the right hands, this has now been expanded to include Tuesday and Saturday shows. Monday ticket prices remain frozen at £39.50, and the popular fortnightly £25 ticket lottery continues here (the next draws are on Monday 3^rd & 17^th June). The first ballot draw for the new booking period from 18^th November to 25^th January will take place on Wednesday 12^th June at 6pm. Link here.

Too British for Broadway? Operation Mincemeat’s producers are seeking feedback from American audiences who have seen the show. The survey linked here closes on June 3^rd at 12pm.

—

The year is 1943 and we’re losing the war. Luckily, we’re about to gamble all our futures on a stolen corpse. 

Singin’ in the Rain meets Strangers on a Train, Noel Coward meets Noel Fielding, Operation Mincemeat is the fast-paced, hilarious and unbelievable true story of the twisted secret mission that won us World War II. The question is, how did a well-dressed corpse wrong-foot Hitler? 

The production is directed by 2023 Olivier Award nominated  Robert Hastie (Standing at the Sky’s Edge, National Theatre – 2023 Best New Musical Olivier Award winner), following providing directorial support for the Riverside Studios run, while Olivier Award nominated Jenny Arnold (Jerry Springer: The Opera, National Theatre) continues as Choreographer. Also from Standing at the Sky’s Edge at the National Theatre on the creative team are: 2023 Olivier Award nominated  Ben Stones (Sylvia, The Old Vic) as Set and Costume Designer, Tony Award, six-time Olivier Award and Bafta Award winning Mark Henderson (Girl From the North Country, Broadway & Noël Coward Theatre) as Lighting Designer and Olivier Award winning Mike Walker (Jerry Springer: The Opera, National Theatre) as Sound Designer.  Grammy Award winning and Tony, Emmy & 2024 ‘Outstanding Musical Contribution’ Olivier Award nominated Steve Sidwell (Beautiful: The Musical, Broadway & Aldwych Theatre) is Orchestrator and Vocal Arranger, while 2024 ‘Outstanding Musical Contribution’ Olivier Award nominated Joe Bunker is Musical Director. Georgie Staight is Associate Director and Paul Isaiah Isles is Associate Choreographer. Casting is by Pearson Casting. The extraordinary debut musical is written and composed by SpitLip – David Cumming, Felix Hagan, Natasha Hodgson and Zoë Roberts.

Operation Mincemeat won the 2024 ‘Best New Musical’ and ‘Best Actor in a Supporting Role in a Musical’ Olivier Awards, following receiving six nominations. These awards trail winning the 2024 ‘Best New Musical’ WhatsOnStage Award and the ‘Best West End Show’, ‘Rising Star’ and ‘Best Understudy’ West End Wilma Awards. Previously on the show’s journey, Operation Mincemeat has picked up the Off-West End award for ‘Best Musical Production’ and ‘Best Company Ensemble’ and The Stage Debut Award for ‘Best Composer/Lyricist’.

Operation Mincemeat is presented in the West End by Avalon (in association with SpitLip), who have supported since the Southwark Playhouse runs. The show was commissioned by New Diorama Theatre, co-commissioned by The Lowry, and also supported by the Rhinebeck Writers Retreat.

Royal & Derngate Theatre, Northampton – until Saturday 1st June 2024

Review by Amanda Allen

5*****

Now I know why everybody is talking about “Everybody’s talking about Jamie” and the loss to the world of a Forklift Truck driver…. What a show! From the opening ensemble number to the last glimpse of Jamie in his finery this show romped along on a rollercoaster of emotion and reminders of just how bad and good teenage life and school could be.

Telling the story of Jamie New, brilliantly and believable played by Ivano Turco, Jamie is “different”. He likes to dress in his mums clothes and he has a dream, to be a drag queen…. in Sheffield. When most of his 16 year old classmates are considering a future as a WAG, a reality TV star or in best friend Pritt’s case, (played perfectly by Talia Palmathanan), a doctor, he decides to ignore his careers teachers advice that he is best suited to be a fork lift truck driver and go his own individual way in the world. With a strong positive depiction of a unique personality this story has something for everyone. The deep connection between Jamie and his mum Margaret, played by Rebecca Mckinnis, was wonderfully demonstrated by brilliant dialogue, acting and songs, we all felt part of their story. The way Margaret tried to support and protect her son from the world and all the bad stuff in it, like his disapproving and unaccepting dad, was marvellous. The strong friendship between Margret and Ray (Sejal Keshwala) was a lesson in how to act out understated, emotional connections, both actors are exceptional talents. Margarets singing voice was just amazing, incredible range, perfect pitch and a wonderfully expressive sound.

The dance moves of the ensemble were perfectly suited to the time and the choreography allowed the individual characters of the students to shine through the crowd. The powerful imagery of the Red shoes given to Jamie as a birthday present, was used to perfection and how Jamie danced and strutted in those high heels I do not know! Full marks must go to the costume department, from the relative simplicity of the school uniforms that could be danced in, the drab, boring house mum clothes for Margaret, to the incredible drag outfits, the costume and wardrobe department excelled themselves. Along with fabulously clever staging and imaginative lighting, the whole look of the show fitted the narrative perfectly. The way the desks morphed into a wall in front of his house for Jamie to sing ‘The wall in my head’ was brilliantly imaginative.

The big name in the show was Kevin Clifton who played Hugo/Loco Chanelle, I half expected his character to overshadow the others, but he played his part to perfection, understated, a bit past it, slightly worn out, a perfect foil for the shiny new Jamie. Georgina Hagen as Miss Hedge is also worth a mention, going from strong pop ballad to rapping, strutting singing on the desks in her classroom with ease. The singing talent of Pritti Pasha was unexpectedly amazing, this shy, geeky, weird, yet strong best friend suddenly found her voice in “it means beautiful” it made me cry as did “He’s my boy” sung with brilliant emotion by Margaret.

This is a terrific show, very of its time, happy, uplifting, joyous and wonderful, but I really want to know how they changed the Loco Chanelle white dress into a red one on stage in less than 4 seconds! Go and see it and see if you can work that one out!

Hall for Cornwall, Truro, Cornwall – until 1st June 2024

Reviewed by Kerry Gilbert

5*****

“A magnificent story alongside a visual masterpiece. It’s magic in every sense of the word!”

Seated in a packed audience at the Hall for Cornwall, I sensed the feeling of excitement and anticipation radiating from the auditorium, preparing myself for a captivating experience from this theatrical adaption of Yan Martel’s renowned novel.

Going into Life of Pi, I had limited knowledge of the story, but I knew that it was a tale of survival and adventure. What I didn’t expect was how much of an emotional rollercoaster it would be, from the humorous banter between Pi and her extended family to the powerful segments about seeing the natural world from an entirely different perspective. Adwitha Arumagam plays Pi and in her impressive professional debut, she portrays the complex character with ease, encouraging the audience to laugh and reflect along with her. She is supported by a phenomenal cast of performers (including Goldy Notay and Ralph Birtwell as Pi’s Mother and Father). The entire cast bring the story to life with sensitivity and conviction, completely capturing the audience’s imagination and attention.

Life of Pi is an extraordinary tale of Piscine Molitor “Pi Patel”, a young Indian boy from Pondicherry, India, delving into themes of spirituality from a young age. After a cargo ship sinks in the middle of the vast Pacific Ocean, he endures 227 days adrift and there are five survivors stranded on a single lifeboat – a hyena, a zebra, an orangutan, a 17 year old boy and a Bengal tiger.

The stage visuals were exquisite. Starting in India at Pi’s father’s Zoo, the audience was treated to remarkable puppetry showcasing giraffes, horses, zebras, an orangutan, hyenas, butterflies, and the humorously named Bengal tiger, Richard Parker (due to a clerical error). Each enchanting animal puppet was manipulated by single or multiple actors who also mimicked the creatures’ sounds. The puppeteers nearly vanished from sight, allowing the puppet to emerge as living beings themselves through the power of imagination.

The transitions between scenes are almost dreamlike with animated projections, enchanting music and the swift movement of set pieces, perfectly capturing the state of Pi’s mind as he recounts the 227 days at sea and the past and present events blur together. An additional, much appreciated touch is the projection of typewriter text onto specific elements of the set to illustrate the timeline after a scene change. This aids the flow of the piece, which is largely set in the expansive ocean where time effectively stands still.

Throughout most of the play, the backdrop depicted the vast sea where Pi and her companions grappled with the challenges of survival on a lifeboat with scarce provisions. There is one particular moment where Pi and Richard Parker are underneath the night sky. When lighting and projections are presented with a couple of constellation-inspired lighting props, it is quite possibly the most beautiful night sky scene that I have ever witnessed on stage.

This show is an astounding story of courage and endurance which thoroughly deserved a standing ovation. Featuring unrivalled puppetry and beautiful sets, the creative team have brought this memorable story to life on stage with care and heart. This is a show not to be missed, so don’t miss the opportunity to witness it whilst you can!

The Exchange 1856 North Shields – until 2nd June 2024

Reviewed by Sandra Little

Presented by Astravaganza Entertainment and directed by David Ducasse

4****

This stage version of Disney’s Beauty and the Beast is currently being performed at North Shield’s recently renovated cultural hub. The magic created on stage here is spellbinding and the performance had the feel of a major production.

Most people are familiar with the Disney version of this story, know the characters involved and understand the the underlying themes of love and acceptance. We have the delightful and independent Belle, played by Amelia Cavagan. She is a strong female role model for little girls in the audience and is not simply a pretty princess! The beast is played by Danny Emmerson-Ducasse and is suitably gruesome! In addition there is Gaston, who we all love to hate, played by Lewis Wilkinson. The other main character in the story is Belle’s inventor father Maurice who is played by Gary McGrogan. Unfortunately there are too many other members of the cast to name but all make a significant contribution to the story. Praise must also be given to the children ( especially Chip played by Leo Humphreys in Tuesday’s performance) who were so professional throughout. It is difficult to choose a favourite character from this huge ensemble, but if pressed I think I would have to choose Belle; I simply loved her facial expressions which contributed so much to the story.

Other aspects of this performance that made this version so special include the costumes, the special effects, lighting, computer graphics and of course the music . The costumes were simply stunning! They were so lavish and luxurious that they gave this show a very high class feel. Special effects, including pyrotechnics, added high drama to key moments in the story, lighting was often dramatic and definitely contributed to setting the mood for each scene. Much of the scenery was from computer generated images projected onto a backdrop and these cleverly designed images played an important part. The main hallway of the palace for example, felt very grand, as did the library that was revealed to Belle. The music in this show is taken directly from the Disney version of Beauty and the Beast so there are songs that we all know and love that were sung beautifully by the cast. It is testament to the quality of this show that, despite knowing the story has a happy ending there were times when I was on the edge of my seat and holding my breath!

Granted seating at the venue is mainly on one level, the stage seemed a little small at times and some very minor tweaks to sound levels would help. However, bearing in mind that tickets are only £16, this show is exceptional value and probably means that children who would not normally experience a visit to the theatre were able to do so. It was definitely a performance of the quality you could expect when watching a much more expensive production in a larger theatre.