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Seann Walsh, Chris Harper and Aden Gillett will star in 
Yasmina Reza’s multi-award winning play

ART 

directed by Iqbal Khan

presented by Joshua Beaumont and Original Theatre

On tour from Autumn 2024 

With award-winning comedian Seann Walsh, Chris Harper (Call the Midwife, Coronation Street) and Aden Gillett (The Crown, The House of Elliot), Iqbal Khan (East is East, National Theatre and Othello, RSC) directs a brand-new production of Yasmina Reza‘s fiendishly clever and hilariously funny play ART on tour from Autumn 2024.

This multi-award winning play (winner of Best Comedy at the Olivier Awards, Tony Awards and Moliere Awards), presented by Joshua Beaumont and Original Theatre, is a razor sharp exploration of art, love and friendship that will stay with you long after the curtain falls.

A seemingly simple purchase of contemporary art – an all-white painting – ignites a hilarious debate amongst three close friends. What begins as a light-hearted discussion about art quickly descends into a riotous exploration of the blurred lines between art and reality.

The Autumn 2024 tour will visit Lighthouse Poole (29-31 Aug), Theatre Royal Bath (3-7 Sept), Norwich Theatre Royal (10-14 Sept), Mercury Theatre Colchester (17-21 Sept), Malvern Theatres (24-28 Sept), Devonshire Park Theatre, Eastbourne (30 Sept-5 Oct), Nottingham Theatre Royal (7-12 Oct), Belgrade Theatre, Coventry (15-19 Oct) and Sheffield Lyceum Theatre (22-26 Oct), with additional dates to be announced. 

The Creative Team is Director Iqbal Khan, Set and Lighting Designer Ciaran Bagnall, Composer and Sound Designer Max Pappenheim, Associate Director Olivia Millar-Ross, Production Manager Brian Watson, Costume Supervisor Nancy Surman and Props Supervisor Katie Balmforth.

For tour information and venue booking links, visit: http://www.artthecomedy.co.uk

The UK Pantomime Association announces the nominees for

The Pantomime Awards 2024 in association with Stagecoach celebrating talent on and off stage during the 2023-24 season

The UK Pantomime Association has revealed the nominees for The Pantomime Awards 2024 in association with Stagecoach, which will take place on Tuesday 18 June 2024 at 7pm at G Live in Guildford.

Founded in 2021, the UK Pantomime Association (UKPA) is a charity that explores, shares and celebrates pantomime by investigating the genre’s rich past, engaging with contemporary practice and inspiring the future. During the 2023-24 pantomime season, the third year in which the Awards have taken place, UKPA’s 70 judges had their biggest year ever, collectively visiting 259 venues to see over 728 performances, far and wide across the United Kingdom. 

Their shortlisted nominees are:

Best Choreography

• Annie-Lunnette Deakin-Foster: Sleeping Beauty, Theatr Clwyd Big Top, Mold (In-House)
• Ashley Nottingham: Jack and the Beanstalk, Birmingham Hippodrome (Crossroads Pantomimes)
• Kevan Allen: Mother Goose, Cambridge Arts Theatre (In-House)
• Myles Brown: Beauty and the Beast, Assembly Hall Theatre, Tunbridge Wells (Little Wolf Entertainment)
• Shauna Olley: Cinderella, Towngate Theatre, Basildon (Towngate Theatre and Simon Fielding Ltd)

Best Comic

Sponsored by Trafalgar Entertainment 

• Matt Slack: Jack and the Beanstalk, Birmingham Hippodrome (Crossroads Pantomimes)
• John Evans: Peter Pan, Venue Cymru, Llandudno (Imagine Theatre)
• Helen McAlpine: Aladdin, Macrobert Arts Centre, Stirling (In-House)
• Aidan O’Neill: Sleeping Beauty, Gordon Craig Theatre, Stevenage (Jordan Productions)
• Stewart McCheyne: Beauty and the Beast, Assembly Hall Theatre, Tunbridge Wells (Little Wolf Entertainment)

Best Costume Design

• Cleo Pettitt: Cinderella, Nottingham Playhouse (In-House)
• Dawn Allsopp: Snow White, Theatre Royal, Bury St Edmunds (In-House)
• Jennie Lööf: Aladdin, Macrobert Arts Centre, Stirling (In-House)
• Morgan Brind: Mother Goose, Derby Arena (Little Wolf Entertainment) 
• Ryan Dawson Laight: Mother Goose, Everyman Theatre, Cheltenham (In-House)

Best Dame

Sponsored by John Good

• Elaine C Smith: Snow White and the Seven Dwarfs, King’s Theatre, Glasgow (Crossroads Pantomimes)
• Ben Roddy: Aladdin, Marlowe Theatre, Canterbury (Evolution Productions) 
• Ray Spencer: Aladdin, The Customs House, South Shields (In-House)
• Johnny McKnight: Aladdin, Macrobert Arts Centre, Stirling (In-House)
• Phylip Harries: Sleeping Beauty, Theatr Clwyd Big Top, Mold (In-House)

Best Direction

• Hannah Chissick: Beauty and the Beast, Assembly Hall Theatre, Tunbridge Wells (Little Wolf Entertainment) 
• Kathryn Rooney: Snow White and the Seven Dwarfs, King’s Theatre, Glasgow (Crossroads Pantomimes)
• Sally Reid: Aganeza Scrooge, Tron Theatre, Glasgow (In-House)
• Simon Fielding: Cinderella, Towngate Theatre, Basildon (Towngate Theatre and Simon Fielding Ltd)
• Steve Boden: Sleeping Beauty, The Hexagon, Reading (Imagine Theatre) 

Best Ensemble

Sponsored by Drama Kids

• Grace Chan, Liam Dean, Grace Durkin, Oscar Fonseca, Tristan Ghostkeeper, Angus Good, Luke Jarvis, Shannon McAvoy, Helen Rose and Ebony Roy-Palmer: Jack and the Beanstalk, Birmingham Hippodrome (Crossroads Pantomimes)
• Poppy Blackledge, Rexford Boadu, Jack Buchanan, Amelie Cohen, Evangeline Jarvis-Jones, Ben MacGillivray, Ellie May Wilson and Nathan Ryles: Goldilocks and the Three Bears, Theatre Royal Plymouth (Crossroads Pantomimes)
• Natalie Tedesco, Alistair Fitton-Weir, Alison Hunter and Sean Van Oostrum: Beauty and the Beast, Beacon Arts Centre, Greenock (In-House)
• Danielle Cato, Oliver Imeson, Sophie Karaolis, Sarah Jane Lowe, Louis Parkins and Luke Stone: Mother Goose, Cambridge Arts Theatre (In-House)
• Jasmine Robinson, Lyla Gilchrist, Abigail Stewart, Isabel Clacher, Kate Connolly, Danielle Lamie, Francesca Fleming, Xanthe Whelan, Caolán James, Connor Riding and Joe Barlow: Beauty and the Beast, The Globe, Pleasure Beach Resort, Blackpool (Stageworks Worldwide Productions)

Best Lighting Design

Sponsored by Production Light and Sound

• Ben Cracknell: The Adventures of Pinocchio, Theatre Royal Newcastle (Crossroads Pantomimes)
• Jamie Corbidge: Cinderella, Swansea Grand Theatre (Imagine Theatre)
• Johanna Town: Sleeping Beauty, Theatr Clwyd Big Top, Mold (In-House)
• Adam Murdoch: Treasure Island, Telford Theatre (Shone Productions)
• Rory Harkin: Jack and the Beanstalk, Millennium Forum Theatre, Derry / Londonderry (In-House)

Carmen Silvera Award for

Best Magical Being

• Amanda Henderson: Jack and the Beanstalk, Rhyl Pavilion (Anton Benson Productions)
• Jennie Dale: Beauty and the Beast, Lyceum Theatre, Sheffield (Evolution Productions)
• Courtney Bowman: Aladdin, Marlowe Theatre, Canterbury (Evolution Productions)
• Lara Beth-Sas: Jack and the Beanstalk, Kenton Theatre (Immersion Theatre)
• Natalie Hayes-Cowley: Aladdin, New Theatre Royal Lincoln (In-House)
• Katy Ashworth: Beauty and the Beast, Princess Theatre, Torquay (Jordan Productions)

Best Contribution to Music

Sponsored by Howden Insurance

• Chris Wong: Aladdin, Marlowe Theatre, Canterbury (Evolution Productions)
• Dan De Cruz: Dick Whittington and his Cat, New Wolsey Theatre, Ipswich (In-House)
• Dave Culling and David Randall: Beauty and the Beast, Assembly Hall Theatre, Tunbridge Wells (Little Wolf Entertainment)
• Ong Cheng Kan: Dick Whittington, Salisbury Playhouse (In-House)
• Tom Self: Dick Whittington, Queen’s Theatre Hornchurch (In-House) 

Best Early Career Newcomer 

Sponsored by Staffordshire University

• Abi Fullard: Snow White, Wyllyotts Theatre, Potters Bar (Jordan Productions)
• Jewelle Hutchinson: Cinderella, Nottingham Playhouse (In-House)
• Joseph Cramsie: Aladdin, Winding Wheel Theatre, Chesterfield (Paul Holman Associates) 
• Max Mirza: Cinderella, Theatre Royal Winchester (Play to the Crowd)
• Mia Overfield: Jack and the Beanstalk, York Theatre Royal (Evolution Productions)

Best Newcomer to Pantomime

• Benjamin Armstrong: Aladdin, Lighthouse Theatre, Poole (In-House)
• David Suchet: Peter Pan, Bristol Hippodrome (Crossroads Pantomimes)
• Kevin Clifton: Aladdin, Marlowe Theatre, Canterbury (Evolution Productions)
• Lucy Frederick: Jack and the Beanstalk, Stratford East (In-House)
• Mariana Aristizábal Pardo: Cinderella, The Theatre, Chipping Norton (In-House)

Barbara Windsor Award for

Best Principal Lead

• Alexandra Mardell: Goldilocks and the Three Bears, Theatre Royal Plymouth (Crossroads Pantomimes)
• Alistair So: Aladdin, Marlowe Theatre, Canterbury (Evolution Productions)
• Nikhil Singh Rai: Jack and the Beanstalk, Stratford East (In-House)
• Louise McCarthy: Aganeza Scrooge, Tron Theatre, Glasgow (In-House)
• Hannah Everest: Beauty and the Beast, Princess Theatre, Torquay (Jordan Productions)

Best Script

• Anna Jordan: Jack and the Beanstalk, Stratford East (In-House)
• Eric Potts and Steven Wren: Sleeping Beauty, Eden Court, Inverness (Imagine Theatre) 
• Paul Hendy: Aladdin, Marlowe Theatre, Canterbury (Evolution Productions)
• Susie McKenna: Jack and the Beanstalk, Broadway Theatre, Catford (Joy Productions)
• Johnny McKnight: Aladdin, Macrobert Arts Centre, Stirling (In-House)

Best Secondary Lead

• Marcus Jones: Rapunzel, Georgian Theatre Royal, Richmond N.Yorkshire (In-House)
• Lewes Roberts: Beauty and the Beast, Devonshire Park Theatre, Eastbourne (Eastbourne Theatres in association with Jordan Productions)
• Lotti Brogan: Dick Whittington, King’s Lynn Corn Exchange (Jordan Productions)
• Caitlin Ware: Snow White and the Seven Dwarfs, Blackwood Miners’ Institute (Rainbow Valley Productions)
• Kevin Mornas: Rumpelstiltskin, Millgate Arts Centre, Saddleworth (The Big Tiny)

Best Set Design

Sponsored by Blue i Group

• David Shields: Snow White, Grand Theatre Wolverhampton (In-House)
• Jack Lane: Beauty and the Beast, Capitol Theatre, Horsham (In-House)
• Jasmine Swan: Sleeping Beauty, Mercury Theatre, Colchester (In-House)
• Richard Evans: Snow White, Harrow Arts Centre (Immersion Theatre)
• Simon Cossons: Jack and the Beanstalk, Stag Theatre, Sevenoaks (Sevenoaks Theatre Productions)

Best Sisters

• Iain Lauchlan and Andy Hockley: Cinderella, Belgrade Theatre, Coventry (Belgrade Theatre and Imagine Theatre)
• James Holmes and David Dale: Cinderella, Buxton Opera House (In-House)
• Folarin Akinmade and Rebecca Levy: Cinderella, Everyman Theatre, Liverpool (In-House)
• Laura Gomez Gracia and Ian Crowe: Cinderella, The Theatre, Chipping Norton (In-House)
• Jamie Morris and Tarot Joseph: Cinderella, Malvern Festival Theatre (UK Productions)

Best Sound Design

• Beth Lewis: Beauty and the Beast, Roses Theatre, Tewkesbury (In-House)
• Luke Hyde and James De Silva (Associate): Dick Whittington, King’s Lynn Corn Exchange (Jordan Productions)
• Nigel Bayliss: Sleeping Beauty, Theatre Royal Bath (UK Productions)
• Stephen Rickard: Cinderella, Rotherham Civic Theatre (Imagine Theatre)
• Tom Lishman: Snow White and the Seven Dwarfs, Grand Opera House, Belfast (Crossroads Pantomimes)

Best Supporting Artist

• Zain Abrahams: Aladdin, Marlowe Theatre, Canterbury (Evolution Productions)
• Anna Soden: Jack and the Beanstalk, York Theatre Royal (Evolution Productions)
• Richard Alan, Dick Whittington, The Playhouse Theatre, Weston-super-Mare (Parkwood Theatres)
• Ben Tanner: Mother Goose, Derby Arena (Little Wolf Entertainment)
• Inês Sampaio: Cinderella, The Core at Corby Cube (Little Wolf Entertainment)

Best Villain

Sponsored by Breckman & Company

• Will Jennings: Dick Whittington, Salisbury Playhouse (In-House)
• James Stirling: Robin Hood, The Maltings, Ely (KD Theatre Productions)
• Wendi Harriott: Sleeping Beauty, Watersmeet Theatre, Rickmansworth (Paul Holman Associates) 
• Glyn Morgan: Snow White and the Seven Dwarfs, Blackwood Miners’ Institute (Rainbow Valley Productions)
• Tom Lister: Aladdin, Blackpool Grand Theatre (UK Productions)

Best Pantomime (under 500 seats)

• Aganeza Scrooge, Tron Theatre, Glasgow (In-House)
• Dick Whittington, Exeter Northcott Theatre (Exeter Northcott Theatre and Le Navet Bete) 
• Dick Whittington and his Cat, New Wolsey Theatre, Ipswich (In-House)
• Snow White and the Seven Dwarfs, Blackwood Miners’ Institute (Rainbow Valley Productions)
• Snow White, Theatre Royal Bury St Edmunds (In-House)

Best Pantomime (500 – 900 seats)

• Cinderella, Towngate Theatre, Basildon (Towngate Theatre and Simon Fielding Ltd)
• Dick Whittington, Salisbury Playhouse (In-House)
• Sleeping Beauty, Gordon Craig Theatre, Stevenage (Jordan Productions)
• Cinderella, Belgrade Theatre, Coventry (Belgrade Theatre and Imagine Theatre)
• Dick Whittington, King’s Lynn Corn Exchange (Jordan Productions)

Best Pantomime (over 900 seats)

• Aladdin, Marlowe Theatre, Canterbury (Evolution Productions)
• Jack and the Beanstalk, Birmingham Hippodrome (Crossroads Pantomimes)
• Mother Goose, Derby Arena (Little Wolf Entertainment) 
• Sleeping Beauty, The Hexagon, Reading (Imagine Theatre) 
• Snow White and the Seven Dwarfs, King’s Theatre, Glasgow (Crossroads Pantomimes)

The Special Awards, which celebrate productions representing the values that the Association seeks to promote, as well as an award for Outstanding Achievement, are also to be announced at the ceremony.

Simon Sladen, Chair of the UK Pantomime Association, said: “We can’t wait to celebrate pantomime excellence at The Pantomime Awards in June at G Live. The pantomime industry has such a wealth of talent, which we’re proud to recognize and champion. Congratulations to all the nominees and thank you to everyone who keeps audiences entertained up and down the country each festive season.” 

Andy Knights, CEO and Lisa Stead, COO of Stagecoach Performing Arts, said: “We are very excited to be the headline sponsor at this year’s Pantomime Awards. At Stagecoach Performing Arts, we take pride in seeing the positive impact that the arts can have on the lives of children and young people. For many, pantos are the first introduction they will have to theatre, and this can spark a lifetime love of, and engagement with, the arts. We know many of our students, and many of the adults that are a part of the Stagecoach community, will have been in the audiences of the nominees and we are looking forward to celebrating all the winners at the ceremony!”

Tickets for The Pantomime Awards 2024 in association with Stagecoach, which will feature live performances, celebrity presenters and the winners’ announcements, are now on sale through G Live’s Box Office:  https://trafalgartickets.com/g-live-guildford/.

For more information, visit: https://pantomimeassociation.co.uk.

NEW YORK’S MULTI

AWARD-WINNING

MUSICAL COMEDY TO DOCK IN

THE WEST END

Thursday 2 May 2024 – Producers Eva Price & Michael Harrison today announced plans for New York’s ‘must-sea’ musical comedy, Titanique, to dock in London.

When the music of Celine Dion makes sweet Canadian love with the eleven-time Oscar®-winning blockbuster film Titanic, you get Titanique, off Broadway’s most award-winning splash hit that turns one of the greatest love stories of all time into a hysterical musical fantasia.

Titanique has taken New York by storm – extending multiple times since its premiere in 2022, it has also been recognised with critical acclaim and multiple awards. Now it is coming to the UK.

Venue and performance dates will be announced at a later date. To be the first to board Titanique, sign up at www.titaniquemusical.com

Want to find out what really happened to Jack and Rose on that fateful night? Just leave it to Celine Dion to enchant the audience with her totally wild take, recharting the course of Titanic’s beloved moments and characters with her iconic song catalogue. Sailing on fierce powerhouse voices in show-stopping performances of such hits as My Heart Will Go On, All by Myself and To Love you More – backed by a full live band – Titanique is a one-of-a-kind theatrical voyage bursting with nostalgia, heart and campy chaos.

Co-written by Tye Blue, Marla Mindelle and Constantine Rousouli, Titanique celebrated its Off-Broadway premiere in June 2022 at Asylum Theater, starring the musical’s co-authors Mindelle and Rousouli as Celine Dion and Jack Dawson.  After several sold-out extensions, the musical transferred to the Daryl Roth Theatre on November 20, 2022.

Producer Eva Price said:

“It has been thrilling to produce Titanique in New York these last two years. The show delivers a balm to the soul; it really is a gift to audiences – near, far, wherever they are. This hilarious new musical has been bringing so much joy to New Yorkers that its time to dock our ship of dreams in international waters. I am thrilled Londoners will soon experience the unhinged delight that Titanique brings night after night to Americans.”

Titanique is directed by Tye Blue (RuPaul’s Drag Race), and choreographed by Ellenore Scott (Funny Girl, Little Shop of Horrors). Music Supervision, Arrangements and Orchestrations are by IRNE Award-Winner Nicholas James Connell.

Titanique won seven major awards during the 2022/23 theatre season, including three Lucille Lortel Awards, the Off-Broadway Alliance Award for Best New Musical, Las Culturistas’ Culture Award for Best Indoor Performance and two Dorian Awards.

The London production of Titanique will be co-produced by Eva Price and Michael Harrison.

All further information, including casting, to follow at a later date.

REVIEWS IN NEW YORK

“Just when you think it couldn’t get better, Titanique makes you love it more, with a glow-up

in a bigger theater that makes the show even more impactful and irresistible!  Yet, there’s still a scrappy, endearing “let’s put on a show” energy to it, that gives the musical its Titanic-sized charm. YOU’RE GUARANTEED TO LAUGH YOUR ICEBERG OFF.”

– People Magazine

“VERY FUNNY! The ‘Titanique’ Musical Finds Its Sea Legs…. Near, far, wherever you are, Celine Dion will be there, in this camp reimagining of the maritime blockbuster that revs up into increasing absurdity.”

– New York Times

“TITANIQUE IS F*CKING GREAT. SWIM, DON’T WALK, to see this Celine Dion jukebox fantasia!”

– Vulture

“SENSATIONAL, HILARIOUS AND DERANGED!  Big Celine Dion fans will howl at Marla Mindelle’s

outrageously funny performance. Titanique is, by a nautical mile, the funniest musical in town!”

– The New York Post

“The silliest, smartest, gayest, FEVER-DREAM MIRACLE! A sold-out smash created to manifest pure joy”

– The Daily Beast

The Lyceum Theatre, Sheffield – until 4th May 2024

Reviewed by Sophie Dodworth

4****

The 39 Steps stops at The Sheffield Lyceum on its first UK tour in eight years. This play is the longest running play in West End history! The 39 Steps was a novel written by John Buchan in 1915. Alfred Hitchcock then turned it into the classic spy film in the 1930s, becoming popular with many. Follow the entertaining adventures of the handsome, typically British Richard Hannay as he experiences murder and beautiful women. This comedy thriller is rather gripping and features four actors, playing 139 roles in just 100 minutes!

The stage adaptation by Patrick Barlow is written so innovatively. It is so fast moving with gags aplenty, and a slapstick feel to it in parts. The audience absolutely love it and it seems like they are all dedicated 39 Steps fans. The set is extremely well designed, it really gives you that sense of being in the 1930s and the details are spot on thanks to Peter Mckintosh, set and costume designer.

The cast are extremely well suited to this production with their super energies and comedic timing, which are both essential. Eugene McCoy really stands out in his moment as Mr Memory (amongst many), great comic that he is. Tom Byrne plays Richard Hannay perfectly and it would be almost impossible to see anyone fit this role better than Byrne. He has great charisma and charm and is consistent with his character all the way through. Maddie Rice needs to really get a medal for some of the speedy changing characters that she gets through, often switching rapidly from person to person just by either using hats (sometimes 3 at a time!) or an outfit which has a character on the left of the costume and one on the right, bringing out the character by turning sideways. Safeena Ladha plays all three of her characters like the true professional she is, with her previous experience of multi-rolling she makes it look like its easy!

This is a must-see if you are a 39 steps fan…even if not, it is worth a shot if you are into fast-paced fun and action that keeps you on your toes!

Your Lie In April The Musical to open for a 12-week West End season at The Harold Pinter Theatre

Every seat at the first five previews – more than 5,500 in total – will be the same price: £25

Carter Dixon McGill Ltd, Indie Theatrical, Pinnacle Productions, Scott Prisand, Sophie Qi  
in association with Rob Kolson, Liesl Wilke, Mark & Minna Seitelman, Lorraine Lettieri, Mark & Analee Reutlinger, Piers Cottee-Jones Entertainment
present

Your Lie In April The Musical

Based on the manga Your Lie In April by Naoshi Arakawa
published by KODANSHA Ltd.

Music by Frank Wildhorn
Lyrics by Carly Robyn Green and Tracy Miller
English Book by Rinne B. Groff  Book by Riko Sakaguchi

A 12-week West End season

The Harold Pinter Theatre
Panton St, London SW1

28 June – 21 September

Just two months after two sold-out critically acclaimed concerts, new musical Your Lie in April The Musical is to get a fully realised West End production for a 12-week season.

One of the most popular romantic stories and greatest tearjerkers in Japanese manga history, Your Lie in April will start previews at The Harold Pinter Theatre, Panton St, London SW1, on 28 June and run to 21 September.

Every seat at the first five previews – more than 5,500 in total – will be the same price: £25.

Tickets will go on general sale Thursday 2 May at 12noon.

Your Lie in April has music by multi-Grammy, Tony, and Emmy Award nominated Broadway composer Frank Wildhorn (Bonnie & Clyde, Jekyll & Hyde, Death Note The Musical) with Lyrics by Carly Robyn Green and Tracy Miller.

Following his mother’s death, teenage piano prodigy Kōsei Arima finds himself unable to play music.  But when he strikes a friendship with the brilliant violinist Kaori Miyazono, she slowly encourages him to perform again.

The 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 opened in Tokyo in 2022, followed by a Japan tour, and smashed box office records. This production is its English language premiere.

Frank Wildhorn said today: “Your Lie In April is a love letter to the beautiful power of music – to heal, to take us through life’s adventures, to create our most precious memories… I’ve never had more fun than creating this music!”

Cast and creative team to be announced.

Producers: Carter Dixon McGill Ltd, Indie Theatrical, Pinnacle Productions, Scott Prisand, Sophie Qi in association with Rob Kolson, Liesl Wilke Mark & Minna Seitelman, Lorraine Lettieri, Mark & Analee Reutlinger, Piers Cottee-Jones Entertainment.

LISTINGS INFO

Carter Dixon McGill Ltd, Indie Theatrical, Pinnacle Production, Scott Prisand, Sophie Qi
in association with Rob Kolson, Liesl Wilke, Mark & Minna Seitelman, Lorraine Lettieri,
Mark & Analee Reutlinger, Piers Cottee-Jones Entertainment
present

Your Lie in April The Musical

Based on the manga Your Lie In April
by Naoshi Arakawa
published by KODANSHA Ltd.
Book by Riko Sakaguchi
English Language Book by Rinne B. Groff

Music by Frank Wildhorn
Lyrics by Carly Robyn Green and Tracy Miller
Music Arrangement and Orchestration
by Jason Howland

The Harold Pinter Theatre
Panton Street,
London
SW1Y 4DN

28 June – 21 September

running time: 2 hours 15 mins (inc interval)

age recommendation: 8+

Tickets from £25
All seats at the 1st 5 previews £25

Tickets go on general sale Thursday 2 May at 12noon

Booking link: https://www.atgtickets.com/shows/your-lie-in-april/harold-pinter-theatre

Social media:
Twitter / Instagram /TikTok
@YourLieMusical

website www.yourlieinapril.co.uk

Based on the manga Your Lie In April by Naoshi Arakawa published by KODANSHA Ltd.
Original production: Toho Co.ltd. / FUJI Television Network, Inc.

RODGERS AND HAMMERSTEIN’S

CAROUSEL, A CONCERT

FULL CASTING ANNOUNCED!

AT THE ROYAL FESTIVAL HALL, SOUTHBANK CENTRE

7PM ON SATURDAY 13 JULY 2024

Rodgers and Hammerstein’s CAROUSEL is coming to the Royal Festival Hall for a one-night-only concert this July. 

CAROUSEL, A CONCERT will star Jamie Muscato as bad-boy carousel barker Billy Bigelow, Christine Allado as Julie Jordan and Rebecca Caine as Nettie Fowler.

Joining them are Ahmed Hamad as Enoch Snow, Charlotte Jaconelli as Carrie Pipperidge, David Mildon as The Narrator, Tim Prottey-Jones as Jigger Craigin and Verity Quade as Mrs Mullin, alongside a Trinity Laban Musical Theatre Ensemble and a 30-piece orchestra. 

Presented by Lambert Jackson and Positive Sum, the Concert is directed by Emma Butler (Side Show in Concert, Never Have I Ever at Chichester Festival Theatre, Annie Get Your Gun in Concert) with musical direction by Adam Hoskins (Once in Concert, Side Show in Concert, Songs for a New World in Concert).

Chosen as Time Magazine’s ‘Best Musical of the 20th Century’, CAROUSEL’s much-loved score includes some of the most powerful music ever written for the stage; ‘You’ll Never Walk Alone’, ‘Mister Snow’ and ‘If I Loved You’. 

This timeless, classic musical is an extraordinary celebration of hope, redemption and the power of love.

Tickets are on sale now: https://www.southbankcentre.co.uk/whats-on/performance-dance/rodgers-and-hammersteins-carousel

Instagram and Facebook: @lambertjacksonproductions

Twitter: @ljprods

Festival Theatre, Malvern – until 4 May 2024

Reviewed by Courie Amado Juneau

5*****

Cluedo 2, as the title suggests, brings the much loved classic boardgame to life once again, with a brand new story from the reliable pens of Maurice Gran and Laurence Marks.

Before the actors entered, the backdrop of the manor house with the classic Cluedo board behind it, at a skewed angle (thanks to Designer David Farley) was a perfect exemplar of scene setting. As was the fantastic ‘60s soundtrack (lots of lovely Beatles tunes got my boat afloat toute suite).

Not wanting to give the game away re whodunnit, with what and in which room (man, that feels good), I’ll just say that the entire cast was superb with Jason Durr (Colonel Mustard) and Gabriel Paul (Reverend Green) giving us a brace of Americans with the requisite larger than life bluster and convincing accents to boot. Meanwhile, Liam Horrigan brought rock star Rick Black (and several others) to psychadelacolour life. Jack Bennett as Wadsworth the butler delivered a standout performance with a manic, pedantic and joyously twisted character to die for (or is that to kill for?). Truly thespianic – he is an actor you know…

The ladies of the cast were all wonderful and an equal to the men, with Ellie Leach leading as the iconic Miss Scarlett. Hard to believe it is her stage debut! The scenes between her and Mrs Peacock (Hannah Boyce) had a frisson of cattiness that was a joy to behold. Mrs White’s “fruity” interjections (delivered with relish by Dawn Buckland) in the kitchen was possibly the funniest moment of the evening and her character was my favourite overall (alongside the aforementioned, marvelous, actor/butler).

Great costumes bringing that most stylish of periods (1968) to life; Debbie Bennett (Costume Supervisor) excelled herself. I thought the use of music, used especially effectively for the transitions between rooms and the “searches/chases”, gave proceedings more than a touch of Scooby Doo – with some wonderful hilarity involving pictures/picture frames. A faithful homage that obviously emanated from a place of love and respect and took one back to simpler, happier times. Anna Healey (Movement Director) and Mark Bell (Director) gave us some lovely allusions to Strictly, cleverly woven into several action scenes. I’m a massive sucker for a slo-mo vignette and the cast did this so well tonight.

Comedy was very much to the fore with lots of breaking of the fourth wall (especially either side of the interval). The theme of English idioms being misunderstood by the Yanks was a rich, recurring seam of comedy gold. The first half was fun, the second half took off like a rocket and didn’t let up till the numerous superb twists in the tale rounded things off most satisfactorily.

Anyone who saw Cluedo in its original run will know what to expect and will love this new tale from the same universe. With all the clever wordplay from the writers, whose vast pedigree precedes them, and some delicious Play That Goes Wrong moments there’s something for everybody. I cannot recommend this show highly enough – it’s murderously good fun! The actors dunnit, with the script, in the theatre – and will be doing it again until Saturday night, so don’t miss it as they dunnit so well!

Birmingham Hippodrome – until 4 May 2024

Reviewed by Amarjeet Singh

4****

Willy Russell’s Blood Brothers is an epic tale set in Liverpool spanning the 60’s, 70’s and 80s. With powerful themes of poverty, class divides, superstition and fate, it centres around the destiny of 2 boys, separated at birth but whose lives are intrinsically drawn together with devastating consequences.

Mrs Johnstone is a struggling, working class, single mother, having been left with a brood of children by her philandering husband. Pregnant with twin boys when he leaves, and barely able to make ends meet, she takes a cleaning job with a wealthy childless couple who are desperate to have a baby of their own. Upon learning of her dire straits, the lady of the house, Mrs Lyons, lures Mrs Johnstone into making a pact, that on the surface will solve everyone’s problems, but in actuality, leads to tragedy, as Mrs Johnstone agrees to let Mrs Lyons take one of the twin baby boys. The pact turns sour, things go awry. But for the safety of the boys, both women agree to never tell them the truth, parting ways and futures. But blood will tell, and the boys reconnect time and time again, their lives shaped by their environments, yet they become best friends and “blood brothers” until the realities of the world take hold and their differences become too stark to ignore, leading to a truly explosive conclusion.

Blood Brothers is powerful, provocative and deals with a lot of thought-provoking themes, which are still as relevant today as they were when the play was first written. However, there was humour aplenty amongst the heartbreak with some truly laugh out loud moments. The scenes depicting the boys as children were magical. Niki Colwell Evans is incredible as Mrs Johnstone. Watching her character grow as she transitions through the ages and witnessing her express a variety of emotions is stunning. She perfectly captured the distress, despair and the drain of a mother who has given up a baby. Her powerful voice is exquisite. Sean Jones’ depiction of Mickey as a 7-year-old completely captured his cheeky childhood capers. He had the audience utterly captivated as he rode in on an imaginary horse and firing his gun. Total brilliance. I wasn’t quite sure if Scott Anson as the Narrator, was supposed to be hamming it up, as it was quite comical rather than dramatic when he appeared on stage as the very present and rather heavy handed ‘Harbinger of Doom’, stating the obvious. Well played if so, with a great voice. The cast as a whole were an incredibly talented team of actors and singers, jumping from role to role in the blink of an eye, they fully embraced the character they were embodying.

With an end scene that shocked and stunned, Blood Brothers garnered a standing ovation and thunderous round of applause from an audience who were completely entertained by a superb cast.

RUNAWAY ENTERTAINMENT PRESENTS THE UK TOUR OF

FAYE TOZER JOINS THE COMPANY OF 101 DALMATIANS IN NEW MUSICAL ADAPTATION TOURING THE UK AND IRELAND IN 2024 

Actor and pop icon Faye Tozer will be playing Cruella de Vil in Norwich, Canterbury, Leicester and Wolverhampton, joining the previously announced dates of fellow Cruella Kym Marsh, who opens the UK and Ireland tour in June. 

The new musical version of Dodie Smith’s classic book, 101 Dalmatians is written by Douglas Hodge (music and lyrics) and Johnny McKnight (book), from a stage adaptation by Zinnie Harris. The director is Bill Buckhurst, with sets designed by David Woodhead, costumes designed by Sarah Mercadé and choreography by Lucy Hind. Musical supervision is from Alfonso Casado Trigo, orchestration by Jack Hopkins, the puppets are designed by Jimmy Grimes, with lighting by James Whiteside and sound design from Chris Whybrow. The musical director is Leigh Thompson, and casting director is Lucy Casson. 

Singer, Actress, TV personality and West End star Faye Tozer is probably best-known for BRIT Award winning pop band Steps who had number one hits with Tragedy and Stomp and have sold over 25 million records worldwide! Their 10th album The Platinum Collection celebrating 25 years reached an impressive No.1 in the official charts and they have proudly just completed their 10th UK Arena tour. Faye is no stranger to theatre and stage with musical theatre credits  including the brand new production of 42nd Street (UK tour) Singin’ in The Rain (Sadler’s Wells, Toronto and UK Tour), Everybody’s Talking About Jamie (Apollo Theatre), In The Spotlight (UK Tour), Over The Rainbow (Tour), Me And My Girl (UK Tour), Love Shack (UK Tour), Saucy Jack And The Space Vixens (The Leicester Square Theatre) and Tell Me On A Sunday (UK Tour). You may also have seen her gracing your TV screens on Ru Paul’s Drag Race (BBC), The Graham Norton Show (BBC), The One Show (BBC) Ant and Dec’s Saturday Night Take Away (ITV), Gogglebox (Channel 4), Midsomer Murders (ITV), Strictly Come Dancing (BBC), Tonight at the London Palladium,  All Round to Mrs Browns, The Sooty Show, Alan Carr Chatty Man, Steps On The Road Again (Sky Living), Sing If You Can (ITV), Steps The Reunion (Sky Living), Lorraine (ITV)  This Morning (ITV), Loose Women (ITV) and many, many times on Top Of Tops (BBC) back in the day! Faye also loves a Game Show for Charity, she’s appeared on Celebrity Catchphrase, House of Games, The Chase, Pressure Pad, The Crystal Maze, Pointless, The Hit List, Catch Point and Never Mind The Buzzcocks. Faye’s presenting work includes E Today, Pepsi Chart Show and SMTV Live. Film credits include St Georges Day, Mixed Up and Lady Godiva Back In The Saddle. 

When fashionista Cruella de Vil plots to swipe all the Dalmatian puppies in town to create her fabulous new fur coat, there’s trouble ahead for Pongo and Perdi and their litter of adorable, tail-wagging young pups.

This classic canine caper is brought to life on stage with spectacular puppetry, show-stopping choreography, hilarious songs and irresistible puppies!

Faye Tozer said: “I’m going into my wicked era with this dream role – it really doesn’t get much better than Cruella de Vil! When they offered me the part, I just jumped at the chance. I love that it’s something people probably don’t expect me to do and can’t wait to create my own version of her for this incredible new musical.”

After launching in Wimbledon the production will visit Birmingham, Norwich, Canterbury, Leicester, Manchester, Belfast, Wolverhampton, Newcastle, Southend, Dublin, Liverpool, Milton Keynes, Woking, Cardiff, Southampton, Aberdeen, York, Glasgow, Edinburgh, Oxford and Brighton. 

Written by Douglas Hodge (music and lyrics) and Johnny McKnight (book)

Stage adaptation by Zinnie Harris

Director Bill Buckhurst

Set design David Woodhead

Costume design Sarah Mercadé 

Choreography Lucy Hind

Musical supervision Alfonso Casado Trigo

Orchestration Jack Hopkins

Puppets design Jimmy Grimes

Lighting design James Whiteside 

Sound design Chris Whybrow

Musical director Leigh Thompson

Casting director Lucy Casson

Original production first performed at Regent’s Park Open Air Theatre, London in 2022

For more information visit www.101dalmatians.co.uk

Facebook: /101Dalmatians  | Instagram/TikTok: @101DalmatiansUK

Norwich Theatre Royal – until Saturday 4th May 2024

Reviewed by Boo Wakefield

3***

The Syndicate is the stage adaptation of the successful BBC show written by the late Kay Mellor. Her daughter, Gaynor Faye directs the play and performs the role of Kay, an over-enthusiastic representative from the lotto company. Gaynor Faye’s son, Oliver Anthony, plays the role of Jamie, the jack-the-lad shop worker, making this production a family affair.

Set in a small supermarket, the syndicate comprises of Bob (William Ilkley) the father figure who is the manager of the store, and his employees: Leanne (Rosa Coduri-Fulford) a struggling single mum whose previous life is catching up with her, the un-worldly and unlucky Denise (Samantha Giles), Stuart (Benedict Shaw) whose complicated home life has him running in circles and his brother Jamie. Due to financial burdens, Stuart’s partner Amy (Brooke Vincent) pushes him to find a solution to their problems, resulting in an attempt to steal from the shop with the help of Jamie, an act which goes terribly wrong.

There are several layers to the plot, with the overarching framework being a syndicate of five Yorkshire shop workers winning a lottery jackpot of £24 million. Within this framework each character has their own sub-plot and, despite the inevitable protestations that the win won’t change them, each is affected very differently. Perhaps with the exception of the shop manager Bob (played superbly by William Ilkley), the other four lead characters have flawed personalities and past behaviours which the play reveals to us and which the win exposes mercilessly. As a salutary tale of the potential pitfalls and unintended negative consequences of sudden significant wealth on those least equipped by life experience to cope with its affects, it’s a powerful play.

It tries to be a comedy but the humour is, at best, that of a middling sitcom, at worst a bit lame. Save for the briefest moment before Bob is violently assaulted during a robbery, the play is absent true theatricality, instead being structured in a series of deliberate set pieces and events, with the linkages between those set pieces not helping the flow: frequent darkened set changes; a rather prosaic set design; and short bursts of pop songs about money all tend to jar rather than help.

The play opens by emphasising that the characters are normal folk who live routine, not to say bland and mundane, lives. No problem with that of course, but the challenge is lifting them into compelling characters we can enjoy and feel we relate to. It’s no easy ambition given the start point, unfortunately it’s one that never quite comes off. If you want theatre which makes visible rather than repeats the visible then this is not for you; but if you enjoy a feelgood stage-based sitcom, then this is for you.