The Theatre Channel is a new video-on-demand platform that brings the thrill of live theatre directly to your screen. Offering an ever-growing library of performances, exclusive interviews and behind-the-scenes content from Broadway, the West End and beyond, The Theatre Channel is the one-stop destination for theatre lovers.
The platform will launch with some incredible exclusive content: three powerhouse performers will deliver beloved musical theatre classics in My Fair Ladies. Starring Alexia Khadime (Grammy-nominated star of The Prince of Egypt, The Lion King and Wicked), Christine Allado (Grammy-nominated for The Prince of Egypt and star of Hamilton) and Emma Hatton (West End leading lady of Wicked and Evita), this concert brings together these extraordinary voices to celebrate leading ladies past and present, offering a fresh take on songs that have captured hearts around the world
Dan Koek(Les Misérables), Carl Man (Wicked) and Ashley Stilburn (Les Misérables, The Phantom of the Opera) will take centre stage in The West End Men: Unplugged. This exclusive concert brings you stripped-back acoustic performances of some of the greatest songs in musical theatre history. With stunning harmonies, this new concert showcases the power and versatility of these West End stars.
Lewis Cornay (Spongebob Squarepants the Musical) reveals his top tips for creatives, as he shares the ups and downs of his experience of writing his new musical, KIDNEY4U, in a Theatre channel-exclusive mini-series, Kidney Diaries.
A Spotlight On is an exciting interview series on The Theatre Channel, shining a light on the most talented and influential figures in theatre today. From actors and directors to designers and writers, each episode offers a behind-the-scenes look at the lives, careers, and creative processes of the stars who shape the stage. Interviews include: Alice Fearn, Cassidy Janson, Charlie Stemp, Dame Arlene Phillips, Ellen Kane, Jamie Muscato, Janie Dee, Lolita Chakrabarti, Matt Henry, Rob Madge, Samantha Bond and Sir Simon Russell Beale.
Hosted by leading personalities Mel Giedroyc, Penny Smith and Matt Hemley, A Spotlight On goes beyond the curtain to deliver in-depth conversations, personal stories and fascinating insights into the world of theatre.
Co-Founders of The Theatre Channel, Chris Wheeler and Paul Morrissey, comment, We are incredibly excited to launch The Theatre Channel, with the aim of creating a true one-stop shop for theatre video content. Our vision is to not only make world-class performances more accessible but to also celebrate the entire ecosystem of theatre, including the unsung heroes behind the scenes—those whose creativity and dedication bring the magic to life. We believe The Theatre Channel will augment the live theatre experience, giving audiences a deeper understanding and appreciation of what goes into each production. With a mix of free content and premium access through Theatre Channel+, we’re providing a platform where anyone, anywhere, can engage with the best theatre has to offer whether it’s iconic shows, exclusive interviews, or behind-the-scenes content. We’re thrilled to be part of this exciting evolution in how theatre can be experienced.
In addition to streaming incredible performances, The Theatre Channel will bring audiences breaking news and in-depth reviews from exciting content creators across the globe. More than just a streaming platform, The Theatre Channel is also a vibrant community of theatre lovers with its exclusive community forum, The Green Room, allowing viewers to connect with fellow fans.
The Theatre Channel will also be partnering with ChewBoy Productions to programme From the Fringe content celebrating the very best work from the fringe worldwide, including Tegan Verhuel’s five-star-rated Chokeslam. Georgie Bailey and Hal Darling, co founders of ChewBoy say, We’re really excited to be joining The Theatre Channel as associates, and providing a platform to enable further lives for some of the wonderful shows we’ve captured in the past 6 years. Opportunities like the Theatre Channel are vital in the new world of the arts and we’re hoping to continue to make theatre more accessible as a result of this new collaboration.
Mostly free to watch, The Theatre Channel allows audiences to enjoy a wide range of shows without any barriers. There is also a premium experience at Theatre Channel+, unlocking access to all special performances and exclusive content.
The Theatre Channel makes it easier than ever to access world-class theatre content; the iOS and Android apps allow you to watch on the move while the easy-to-use desktop platform ensures a high-quality viewing experience on any computer.
The Theatre Channel are always open to expanding their catalogue of content and welcome ideas from producers and content creators
Nottingham Theatre Royal – until Saturday 19 October 2024
Reviewed by Louise Ford
4****
Fighting for Peace
The novel Birdsong was written by Sebastian Faulks in 1993, as part of his French trilogy. In these novels, Faulks is attempting to keep the memories and stories of WW1 alive and in the public consciousness. Lest we forget.
The novel is over 500 pages and interweaves the events pre, post and during the war. To bring the novel to the stage is a huge task and this current production for Original Theatre was written by Rachel Wagstaff. Whilst the play doesn’t attempt to reproduce the novel on stage it does draw on the main themes and story from the original work. The production is in three acts and for me, the first act felt very “bitty” and rushed. Everyone seemed to be running on or off stage. The second and third acts were for me better paced and developed.
The set designed by Richard Kent is quite minimal and abstract, however, it manages to transform and transport the audience from the turn of the 20th-century drawing room to deep within the trenches in the Somme. The lighting (Jason Taylor) and music (Sophie Cotton), all enhance the transformation and settings. In addition to the music the singing in particular Brennan (played by James Findlay) was moving and at times comic which sums up the wartime songs and ditties.
The story revolves around Stephen Wraysford (James Esler), at the beginning a young Lincolnshire lad sent to France by his guardian. Stephen, uncertain and idealistic, falls in love with his host’s wife, Isabelle Azaire (Charlie Russell). Their turbulent affair and subsequent separation lead to Stephen returning to the UK and Isabelle returning to her husband
The second act is set in France around the early days of the Somme. Stephen is a lieutenant in the British Army. He has been wounded and is now in the trenches with his men. Stephen is distant from his men and bitter with the war. The idealistic young man has been replaced by a hardened soldier. As well as the rank and file soldiers there are also sappers and sewer men. Max Bowden plays Jack Firebrace, a former miner, employed in the trenches to dig tunnels, listen for the enemy and to plant explosives. One of the most poignant roles was that of Tipper (Raif Clarke), an underage lad who enlisted in the army. The relationship between the sappers and Stephen is at times touching and humorous. The dark jokes and “black” humour are all good coping mechanisms for dealing with such dreadful events and building up the camaraderie between the men.
The final act draws on the dreadful events of the Battle of the Somme and the aftermath of the war. The story goes full circle back to Stephen’s great-grandson looking for Stephen’s grave in France.
Birdsong is perhaps one of the most complicated and ambitious productions that I have watched in many years. It is a triumph of drawing the audience into the story and presenting the conflicting faces of war. It showcases the heroism, the hypocrisy and the futility of war. As we approach Remembrance Day we should all take time to remember all of the victims of war and in particular those who made the ultimate sacrifice.
Rebus: A Game Called Malice is a play involving Ian Rankin’s much loved Scottish detective, John Rebus. He is one of the most enduring characters in crime fiction, with the 25th book Rebus book just being released, with many being adapted for television, and now the stage. This stage adaption has been written by Rankin and Simon Reade.
Set in just one room, an opulent dining room, full of valuable art and books, in a mansion on an affluent street in Edinburgh, a dinner party is in full swing. The guests are partaking in a murder mystery game, devised by the hostess of the evening Harriet (Teresa Banham)., and her partner Paul (Neil McKinven). There are four guests, casino boss Jack (Billy Hartman) with the much younger, social media savvy Candida (Jade Kennedy), and finally lawyer Stephanie (Abigail Thaw), who has invited recently retired Detective Inspector Rebus (Gray O’Brien) along to the party. On the face of it, it seems a peculiar choice of dinner guests, with a strange dynamic. What would they have in common?
Though Rebus is decked out in a suit and tie, he looks scruffy and out of place amongst the others. He is that quiet one, observing at the back, whilst sipping his glass of whisky. The others are more animated in their conversations. There are comings and goings, checking up on the chef, who is nowhere to be found and has left a mess in the kitchen, topping up of liquid refreshments, to popping outside for cigarette breaks. Then a real dead body is found. Many questions are asked, who is deceased, how did he get there, what was Jack doing in the upstairs on-suite, and of course who murdered him? Of course, nothing is quite as it seems, with twist and turns, secrets and lies, a perfect recipe for any whodunnit.
Harriet appears vulnerable, but has set this dinner party up, with the murder mystery game suspiciously mirroring real events. Paul becomes more and more unhinged as jealousy of her previous husband and his secrets are revealed. Jack is a bit shady, somewhat lacking morals and secrets of his own. Why is Candida with Jack? It is certainly not what you may think. And finally, why did Stephanie invite Rebus to the party.
O’Brien’s Rebus is not as gritty as you might expect, but he is still full of charisma and is engaging to watch. It was the subtle things that drew me into his character, the way he stood, heels together, toes apart, in a v shape, the simple nuances.
It was great to see that the theatre was well attended and proves how popular Rebus is. With a running time of only an hour and 45 minutes, with interval, this is quite a short show, but I found it kept me engaged for the whole time and it was just the right length. It held the attention of the entire audience and maybe not as gritty as one might expect, a perfectly enjoyable whodunnit.
With the critically acclaimed The Fear of 13 currently running, the Donmar Warehouse today announce the full cast for the UK premiere of Dave Malloy’s Natasha, Pierre & The Great Comet Of 1812 which marks new Artistic Director Tim Sheader’s directorial debut at the venue. Sheader directs Declan Bennett (Pierre), Chumisa Dornford-May (Countess Natasha Rostova), Daniel Krikler (Fedya Dolokhov), Eugene McCoy (Prince Bolkonsky/Andrey), Annette McLaughlin (Marya Dimitriyevna), Maimuna Memon (Sonya Rostova), Jamie Muscato (Anatole), Cedric Neal (Balaga), Chloe Saracco (Mary) and Cat Simmons (Helene Kuragina Bezukhova), with Andrew Berlin, Kimberly Blake, Ali Goldsmith, Chihiro Kawasaki, Nitai Levi and Annie Majin.
The production opens on 16 December, with previews from 9 December, and runs until 8 February 2025.
Generously supported by Charles Holloway OBE, Season Supporter, and The Len Blavatnik Family Foundation.
We are grateful for additional Production Support from Sue Butcher and Crawford Harris.
THE UK PREMIERE OF
NATASHA, PIERRE & THE GREAT COMET OF 1812 Music, lyrics, book and orchestrations by Dave Malloy
Directed by Tim Sheader Choreography by Ellen Kane Musical Supervisor Nicholas Skilbeck Set design by Leslie Travers Costume design by Evie Gurney Lighting design by Howard Hudson Sound design by Nick Lidster and Gareth Tucker for Autograph Musical Director Sam Young Casting Director Pippa Ailion CDG for Pippa Ailion and Natalie Gallacher Casting Intimacy Director Ingrid Mackinnon Voice Coach Barbara Houseman Associate Director Fiona Dunn Associate Choreographer Nuno Silva Associate Casting Director Richard Johnston Resident Assistant Director Grace Duggan
9 December 2024 – 8 February 2025
“Gonna have to study up a little bit If you wanna keep with the plot Cuz it’s a complicated Russian novel Everyone’s got nine different names So look it up in your program We’d appreciate it, thanks a lot. Da da da Da da da Da da da”
Arriving in the glittering opulent world of Moscow High Society, the impulsive and romantic Natasha Rostova awaits the return of her fiancé from the front lines. But when she falls under the spell of an intoxicating aristocrat, it is up to the unlikely hero, Pierre, to pick up the pieces of her shattered reputation.
Inspired by a scandalous slice of Tolstoy’s War and Peace, multi-award-winning Dave Malloy’s dazzling, genre-defying musical is a ravishing party from start to finish.
Nominated for 12 Tony Awards on Broadway, this brand new Donmar production is directed by Artistic Director Tim Sheader in its UK premiere. His international Olivier Award-winning musical productions include Jesus Christ Superstar and Into the Woods.
Declan Bennett – Pierre. His theatre work includes The Marilyn Conspiracy (Park Theatre), Boy Out the City (Writer and Creator – Lyric Theatre West End/Edinburgh Fringe), Moulin Rouge! (Al Hirschfeld Broadway), Carousel, Jesus Christ Superstar (Regent’s Park Open Air Theatre), The View Upstairs (Soho Theatre), Jesus Christ Superstar Concert (Tokyo Orb), Striking 12 (Union Theatre), Fatherland (Lyric Hammersmith), Kiss of the Spider Woman (Menier Chocolate Factory), Once (Phoenix Theatre), American Idiot (St. James Theater/Broadway/US National tour), Rent (Nederlander Theater/Broadway/US National tour), Taboo (The Venue/UK tour), The Kissing Dance (Edinburgh Festival/UK tour), It’s a Lovely Day Tomorrow and Our Day Out (Belgrade Theatre). For television, his work includes The Long Call and EastEnders – as series regular Charlie Cotton; and for film, Inside Llewyn Davis; A Beautiful Day to Die; Contagion and Broadway Idiot. Bennett has released 5 albums and 4 EPs on his own label ‘CovBoy’.
Andrew Berlin – Ensemble.His theatre work includesBonnie and Clyde (UK & Ireland tour), Oklahoma! (Wyndham’s Theatre), Kinky Boots, Priscilla, Queen of the Desert (Norwegian Cruise Lines), Elf: The Musical (Engamen Theatre), Jersey Boys (US regional premiere), A Christmas Story: The Musical (Fulton Theatre / US national tour), The Great American Trailer Park Musical (Sierra Rep. Theatre), Reefer Madness 10th Anniversary Concert (54 Below) and Tonya and Nancy: The Rock Opera (New York Musical Theatre Festival); and for television, Law and Order: Special Victims Unit.
Kimberly Blake – Ensemble. Her theatre work includesPriscilla: The Party (West End), Pretty Woman: The Musical (Savoy Theatre), Cinderella, Aladdin (Qdos), The Phantom of the Opera, Barnum (Cameron Mackintosh Ltd), Aspects of Love (Hope Mill Theatre), Chess (ENO/ London Coliseum), Company (Aberdeen Arts Centre), Half a Sixpence (Chichester Festival Theatre/Noël Coward Theatre), A Little Night Music (Yvonne Arnaud Theatre), The Sound Of Music (Regent’s Park Open Air Theatre) and Momo (Filament Theatre); and for television, How Do You Solve A Problem Like Maria?.
Chumisa Dornford-May – Countess Natasha Rostova. Her theatre work includes The Phantom of the Opera (His Majesty’s Theatre), The Addams Family – Musical in Concert (London Palladium), Evita (Curve, Leicester – nomination for Best Supporting Performance, UK Theatre Awards) and Aspects of Love (Lyric Theatre).
Ali Goldsmith – Ensemble. His theatre work includes Volcano (Attic Projects), The Hunt (Almeida/St Ann’s Warehouse, New York), Cold War (Almeida Theatre), The Burnt City and The Drowned Man: A Hollywood Fable (Punchdrunk). Dance includes Coal and Wasteland (Gary Clarke Company), The Ephemeral Life of an Octopus, TOYS, Starving Dingoes (Léa Tirabasso) and Dancehall (Emma Martin Dance/United Fall).His television work includes The Third Day; and for film, Romeo + Juliet, Rebecca, Mary Queen of Scots and The Mummy.
Chihiro Kawasaki – Ensemble. Her theatre work includes Blossfeldt, Placebo (Clod Ensemble), World Piano Day in collaboration with Float (National Gallery), The Burnt City, The Drowned Man Hollywood Fable (Punchdrunk), We are as Gods (James Cousins Company/Battersea Arts Centre), Nutcrusher (Sung Im Her) and Within Her Eyes (James Cousins Company). Her site-specific performance includesTerminal 1 (Glastonbury), Salt of the Earth (Sophie Hunter), Waldorf Project (Chapter Three/Futuro), La Traviata; Swan Lake welcome performance (Royal Opera House), The Great Masked Ball (The Lost Estate), Haenyo, Underwater film & photography (Zena Holloway) and Duchampiana (Lilian Hess, Biennale, Venice Immersive). Her opera work includes Wozzeck (Aix Festival, France), Weimar Nightfall: The Seven Deadly Sins (LA Philharmonic/Walt Disney Concert Hall) and The Rake’s Progress (Stanislavski Theatre, Moscow/Aix Festival/National Opera). Her television work includes Dope Girls, Nourouz Persian New Year, Time of Your Life and Frankenstein’s Wedding live in Leeds; and for film, The Marvels, Matilda, Catherine, Called Birdy, Cats, Brave New World, Maleficent 2, Mari and The Mummy.
Daniel Krikler -Fedya Dolokhov. His theatre work includes Fiddler on the Roof (Regent’s Park Open Air Theatre), The Motive and the Cue; The Normal Heart (National Theatre), The Book Thief (Leicester Curve/Bolton Octagon), The Secret Life of Bees (Almeida Theatre), The Tempest; A Midsummer Night’s Dream, Macbeth (Guildford Shakespeare Company), Fighting Irish (Belgrade Theatre), Pippin (Charing Cross Theatre), Present Laughter (The Old Vic), Unicorns, Almost (Bristol Old Vic/Story of Books, Hay Festival), Homos, or Everyone in America (Finborough Theatre), Pink Mist (Bristol Old Vic/UK tour), Jersey Boys (Dodger Productions), Mamma Mia! (Novello Theatre), Bare: A Pop Opera (Union Theatre) and Loserville (Garrick Theatre/ West Yorkshire Playhouse); and for television, The Halcyon.
Nitai Levi –Ensemble. Levi returns to the Donmar, having previously appeared in The Band’s Visit. His other theatre work includes The Other Boleyn Girl (Chichester Festival Theatre), Scenes From Rent (Curve, Leicester), Til It Stops (Cockpit Theatre), A Midsummer’s Night Dream and Spring Awakening (Edinburgh Fringe); and for television, We Were The Lucky Ones and Masters of the Air.
Annie Majin – Ensemble. This marks her professional stage debut.
Eugene McCoy – Prince Bolkonsky/Andrey. His previous work for the Donmar includes Guys and Dolls. His other theatre work includes The 39 Steps (Trafalgar Theatre/UK tour), Legally Blonde (Regent’s Park Open Air Theatre), The Man In The White Suit (Wyndham’s Theatre/Theatre Royal Bath), Man of La Mancha (English National Opera), A Christmas Carol; Groundhog Day (The Old Vic), The Pajama Game (Shaftesbury Theatre/Chichester Theatre), American Psycho (Almeida Theatre/Headlong), Jersey Boys (Prince Edward Theatre), Little Shop of Horrors, They’re Playing Our Song (Menier Chocolate Factory UK tour), Oklahoma! (Chichester Festival), Mamma Mia! (Prince of Wales Theatre) and West Side Story (Cyprus). For television his work includes Unforgotten and Little Crackers; and for film, Wonka, Matilda and Paddington 2.
Annette McLaughlin -Marya Dimitriyevna. Her theatre work includes Player Kings (Noël Coward Theatre/UK tour), The Box Of Delights, Volpone, Love’s Sacrifice, The Jew Of Malta, Measure for Measure, Heresy of Love (Royal Shakespeare Company), 42nd Street (Théâtre du Châtelet, Paris), Scandaltown (Lyric Hammersmith), Matilda The Musical (Cambridge Theatre), Harry Potter and the Cursed Child (Palace Theatre), Pinocchio; Love’s Labour’s Lost, Anything Goes, Singin in The Rain (National Theatre), Twelfth Night (Shakespeare’s Globe), Billy Elliot (UK tour), Our Town, The Odyssey, Lysistrata (Almeida Theatre), Apocalypse Meow: Crisis is Born (Southbank Centre), Dick Whittington (Hackney Empire), Brief Encounter (UK, US and Australian tour/St Ann’s Warehouse, Brooklyn/Studio 54, Broadway), She Loves Me, How to Succeed in Business Without Really Trying, 5/11 (Chichester Festival Theatre), Chicago The Musical (Adelphi Theatre/ Cambridge Theatre), Anything Goes (Theatre Royal Drury Lane), Written on the Heart (Duchess Theatre), Noises Off (Birmingham Rep), Lenny (Queen’s Theatre), Damn Yankees (Adelphi Theatre), Beauty and the Beast (Dominion Theatre), Crazy for You (Prince Edward Theatre), Romeo and Juliet, A Midsummer Night’s Dream, Henry IV Part 1, High Society (Regent’s Park Open Air), The Women (The Old Vic), The Vagina Monologues (UK tour), Tomorrow Morning (New End, Hampstead), Imagine This (Theatre Royal Plymouth), Into the Woods (Derby Playhouse), Handmaidens of Death, What the Women Did (Southwark Playhouse), Dreams From a Summerhouse (Newbury Watermill Theatre), Horse and Carriage, Singin in the Rain, Stepping Out (West Yorkshire Playhouse), Godspell (Haymarket Theatre Basingstoke), BBC Proms – Sondheim at 80, Trevor Nunn – A Celebration (Royal Albert Hall)and the Opening of the Welsh Millenium Centre in Cardiff. For television, her work includes Outrageous, Silent Witness, Grantchester, The Frank Skinner Show and Law & Order UK; and for film Legionnaire and Lunar V1.
Maimuna Memon -Sonya Rostova. Her theatre work includes Grapes of Wrath (National Theatre), Manic Street Creature (Southwark Playhouse/Paines Plough Roundabout – Stage Award For Acting and Fringe First Award), Standing at the Sky’s Edge (National Theatre/Sheffield Theatres – Olivier Award for Best Actress in a Supporting Role), Living Newspaper Edition 6 (Royal Court Theatre), Nine Lessons and Carols (Almeida Theatre), The Band Plays On (Sheffield Theatres), Jesus Christ Superstar (Regent’s Park Open Air Theatre), Ghost Quartet (Boulevard Theatre), Hobson’s Choice, Into the Woods (Royal Exchange Theatre), Electrolyte (Wildcard/Pleasance Dome), Lazarus (King’s Cross Theatre)and The Busker’s Opera (Park Theatre). Her writing and composing credits include Grapes of Wrath (National Theatre), Portia Coughlan, Lessons and Carols, Nine (Almeida Theatre), Manic Street Creature (Edinburgh Fringe/ Southwark Playhouse), Henry VIII (Globe Theatre), Electrolyte (Edinburgh 2018/19 and National Tour) and Welcome to Iran (Stratford East/ BBC Radio 3). Her television work includes Time, Domino Day, Sherwood and Unforgotten.
Jamie Muscato – Anatole. His theatre work includes Moulin Rouge! (Piccadilly Theatre), Les Misérables The Staged Concert (Sondheim Theatre), West Side Story (Leicester Curve), Heathers (Theatre Royal Haymarket/ The Other Palace), Big Fish (The Other Palace), Lazarus (King’s Cross Theatre), A Subject of Scandal and Concern (Finborough Theatre), Stay Awake Jake (The Vaults), Bend it Like Beckham (Phoenix Theatre), Sweeney Todd (Welsh National Opera), House of Mirrors and Hearts (Arcola Theatre), Dogfight (Southwark Playhouse), The Light Princess (National Theatre), Rock of Ages (Shaftesbury Theatre), Love Story (Duchess Theatre), Les Misérables (25 Anniversary tour) and Spring Awakening (Novello/ Lyric Hammersmith). For television his work includes Chemistry of Death, The Undeclared War, Pistol, The Trial of Christine Keeler and Cilla; and for film, The Colour of Spring, The Nun and Les Misérables.
Cedric Neal – Balaga. His theatre work includesGuys And Dolls – Olivier Award nomination for Best Supporting Actor in a Musical (Bridge Theatre), 42nd Street (Théâtre du Châtelet), Back To The Future (Adelphi Theatre), The View Upstairs (Soho Theatre), Chess (London Coliseum), Motown (Shaftesbury Theatre), After Midnight (Brooks Atkinson Theatre), The Gershwin’s Porgy and Bees (Regent’s Park Open Air Theatre), Dreamgirls (Signature Theatre), Stagger Lee, Death of a Salesman and It’s A Bird, It’s a Plane…It’s Superman (Dallas Theatre Centre).
Chloe Saracco makes her professional stage debut asMary. Saracco graduated from the Royal Academy of Music and Harvard University. In 2023, she was the recipient of the HRH Princess Alice Duchess of Gloucester Prize.
Cat Simmons – Helene Kuragina Bezukhova. Her theatre work includes Saving Grace (Patrick Gracey Productions Ltd), Mum (Francesca Moody Productions), Come From Away (The Abbey Theatre, Dublin/West End), The Lady In The Van (Theatre Royal Bath), One Love (Birmingham Rep), Sweet Charity (Royal Exchange Theatre), Henry V (Regent’s Park Open Air Theatre), A Midsummer Night’s Dream (Lyric Hammersmith), Jane Wenham: The Witch of Walkern (Watford Palace Theatre), Sid (Mercury Colchester/HighTide), Hopelessly Devoted (Paines Plough/Tricycle Theatre), Lightning Child, Macbeth (Shakespeare’s Globe), Oliver! (Cameron Mackintosh Ltd), Decade (Headlong), And I and Silence (Finborough Theatre), Coming Home (Arcola Theatre), Been So Long (Young Vic/English Touring Theatre), AMERICA – Visions of Love (Winter Guests), Aladdin (The Old Vic), We Happy Few (Malvern Theatres), Simply Heavenly (Young Vic Theatre), Fame! (Cambridge Theatre), Jesus Christ Superstar and Whistle Down The Wind (Really Useful Group). For television, her work includes Out There, Halo, All Creatures Great and Small, Mary & George, Malpractice, The Holiday, Killing Eve, Moving On, Ordinary Lies, Vera, The Bill – as series regular DC Kezia Walker, Soko Leipzig, Family Affairs – as series regular Scarlett Anderson, No Angels, Girl’s Weekend, Big C and Children’s Ward; and for film, Chuck Chuck Baby, Dune: Part 2, Silent Hours, A Silent Night, Tubby & End, Macbeth On Screen, Postcode and Life and Lyrics.
Dave Malloy is an award-winning composer, writer, performer, and orchestrator. He has written music for eighteen musicals, including Three Houses, a post-pandemic open mic night parable about magic, madness, and the end of the world; The Witches, an adaptation of Roald Dahl’s novel at the National Theatre; Love Around the Block, a musical commissioned by Hermѐs for the grand opening of their new flagship store in New York City; Moby-Dick, a four-part musical reckoning with Herman Melville’s epic; Octet, a chamber choir musical about internet addiction; Natasha, Pierre & The Great Comet of 1812 (12 Tony nominations, including Best Musical, Score, Book, and Orchestrations); Ghost Quartet, a song cycle about love, death, and whiskey; Preludes, a musical fantasia set in the hypnotised mind of Sergei Rachmaninoff; Three Pianos, a drunken romp through Schubert’s “Winterreise”; Beowulf—A Thousand Years of Baggage, an anti-academia rock opera; Beardo, a reinterpretation of the Rasputin myth; Sandwich, a musical about killing animals; and Clown Bible, Genesis to Revelation told through clowns. He has won three Obie Awards, a Smithsonian Ingenuity Award, a Drama Desk Award, a Lortel Award, a Theater World Award, the Richard Rodgers Award, an ASCAP New Horizons Award, and a Jonathan Larson Grant; has been a MacDowell fellow and Composer-in-Residence at Ars Nova; and is a Residency 5 Writer at the Signature Theatre. His upcoming work includes a musical adaptation of the film Black Swan.
Tim Sheader is Artistic Director and Joint Chief Executive of the Donmar Warehouse. He was previously Artistic Director of Regent’s Park Open Air Theatre where he directed over 20 productions, including the Olivier and Evening Standard Award-winning musicals Into the Woods (also Central Park’s Delacorte Theater), Hello Dolly, Crazy For You (also West End), and Jesus Christ Superstar which, following two sold out seasons at Regent’s Park and a transfer to the Barbican, has been touring the US for three years, is currently on tour in the UK and opens in Australia this September. His critically acclaimed production of To Kill a Mockingbird also toured the UK ending with a sell-out run at the Barbican. Committed to taking the company’s work to as wide an audience as possible, he oversaw further UK tours of productions including Pride and Prejudice, Lord of the Flies and Running Wild. His other stage work includes The Monstrous Child (Royal Opera House), My Fair Lady (Aarhus Theatre), Barnum (Chichester Festival Theatre), The Magistrate (National Theatre), Don Pasquale (Opera National de Lorraine and upcoming in Lausanne and Nice).
Preview discounts apply to the first four performances only
Standing £15 to be released at a later date
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The Donmar Warehouse is fully wheelchair accessible. Guide dogs and hearing dogs are welcome in the auditorium. There is a Loop system and a Radio Frequency system fitted in the main auditorium and there are also hearing loops at all the front of house counters.
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SEASON AT A GLANCE
THE FEAR OF 13 Until 30 November 2024 Captioned: Monday 18 November 7.30pm Audio described: Saturday 16 November 2.30pm
NATASHA, PIERRE AND THE GREAT COMET OF 1812 9December 2024 – 8 February 2025 Captioned: Monday 27 January 7.30pm Audio described: Saturday 1 February 2.30pm
BACKSTROKE 14 February 2025 – 12 April 2025 Captioned: Monday 31 March at 7.30pm Audio described: Saturday 5 April at 2.30pm
INTIMATE APPAREL 20 June 2025 – 9 August 2025 Captioned: Monday 28 July at 7.30pm Audio described: Saturday 2 August at 2.30pm
DONMAR WEST END:
MACBETH Directed by Max Webster HAROLD PINTER THEATRE Until 14 December 2024
MACBETH IN CINEMAS Filmed live at the Donmar Warehouse From 5 February 2025 Cinemas and tickets macbethdonmarcinema.com
DONMAR WAREHOUSE
The Donmar offers a uniquely intimate theatre experience where no audience member is ever more than four rows from the action. In our converted warehouse in the heart of the West End, we bring together exceptional artists to tell powerful, popular and inclusive stories. For over 30 years we’ve been making celebrated productions of classic plays, new work and intimate musicals that illuminate the human experience and thrill theatre-goers at our home base and further afield through transfers and on screen. We enable talented emerging artists to find new routes into the industry, and create opportunities for local young people to experience the artform as both audience members and makers. Through our productions and participation programmes we inspire audiences and artists of all backgrounds to embrace the experience of live theatre as a catalyst for inquiry, compassion, connection and joy.
Performances begin at the Edinburgh Playhouse Tuesday 3 December 2024
Michael Harrison is delighted to reveal further casting for the second tour of the acclaimed London Palladium production of Joseph and the Amazing Technicolor Dreamcoat. Joining the tour’s previously announced Pharaohs – and Joseph alumni –Donny Osmond and Joe McElderry, are Christina Bianco as Narrator and Adam Filipe as Joseph. The 2025 tour opens at the Edinburgh Playhouse for a magical Christmas season – and Donny’s only UK tour dates – from Tuesday 3 December 2024. Tickets for all dates are on sale now at www.uk.josephthemusical.com.
Marking his first UK performances on stage as Pharaoh, global entertainment icon and celebrated star Donny Osmond returns to this production, having previously played the titular role of Joseph in over 2,000 performances. This iconic portrayal was later captured on film in 1999 alongside Joan Collins, Richard Attenborough, and Maria Friedman, filmed at Pinewood Studios.
Joe McElderry shares regal duties across the tour performing asPharaohin this sensational production of Tim Rice and Andrew Lloyd Webber’s iconicmusical, having last performed as Joseph during an extensive 2017 / 2018 UK tour. Joe joins the tour at the Sunderland, Empire Theatre; Canterbury, Marlowe Theatre;Nottingham, Theatre Royal; Belfast, Grand Opera House; Leeds, Grand Theatre; Wimbledon, New Theatre; Blackpool, Winter Gardens; Woking, New Victoria Theatre; Newcastle, Theatre Royal; Plymouth, Theatre Royal; Leicester Curve;and Sheffield, Lyceum Theatre. Please see Notes To Editors for dates.
Further Pharaoh casting is to be announced.
Playing all dates across the tour are Christina Bianco as Narrator and Adam Filipe as Joseph. Christina Bianco is a two-time Drama Desk Award nominee, who made her West End debut starring in the Menier Chocolate Factory’s production of Forbidden Broadway at the Vaudeville Theatre. She captured international acclaim as a YouTube sensation with her ‘diva’ impression videos gainingover 25 million views and more recently delighted audiences as Glinda in The Wizard of Oz at The London Palladium. Adam Filipe’s credits include Titanic The Musical (UK Tour); Prince Of Egypt, Original West End Cast and Les Misérables (Queens Theatre). Concert Credits: vocalist for Lea Salonga: Stage, Screen & Everything In Between (UK Tour) and Houdini in Side Show: in Concert (London Palladium).
The 2025tour completing company are also announced today with Hugh Cotton asReuben and Will Haswell as Simeon. The rest of the company comprise Aaron Archer; Bella Baldock;Daniel Bowskill; Imogen Bowtell; Taylor Bridges; Joseph Browlie-Johnson; Joseph Craig; Davide Fienauri; Ellie Greenway; Oliver Hawes; Kiera Haynes; Siobhan James; Ben Lancaster; Nicole Lupino; Bradley Perret; Harvey Shulver; Jessica Sutton; Charley Warburton; Jenna Warne and Alex Woodward.
The production’s children’s company consists of Luke Beggs, Sofija Bele, Sidney Bond, Chloe Boyle, Coco Chapman, Charlie Cox, Max Crisp, Shae Marie David, Isabelle Chiara Dawodu, Josh Desai, Erin Donovan, Jasper Eglin, Safia Francis, Ernest Fransella, Marisia Georgiannaki, Poppy Graham, Coco-Lili Hodder, Poppy Kunorubwe, Eliott Marsden, Alex Neophytou, Shyanne Ononiwu, Rio-Blake Power, Leia O’Sullivan, Zachary Richardson, Daniel Rodriguez Castillo, Felix Schmitt, Dexter Seaton, Azalea-Belle Sharp, Arthur Tennant and Raine Williamson.
Released as a concept album in 1969, the stage version ofJoseph and the Amazing Technicolor Dreamcoathas become one of the world’s most belovedfamily musicals. The multi-award-winning show – Tim Rice (lyrics) and Andrew Lloyd Webber’s (music) first major collaboration – has been performed hundreds of thousands of times including multiple runs in the West End and on Broadway and international tours in over 80 countries worldwide. Featuring much-loved pop and musical theatre classics, including Any Dream Will Do, Close Every Door, There’s One More Angel In Heavenand Go, Go, Go, Joseph, the London Palladium production received a rapturous reception during its 2019 and 2021 summer seasons, ahead of its first major UK tour in 2022.
Joseph and the Amazing Technicolor Dreamcoat is directed by Laurence Connor. Laurence’s credits include the acclaimed London production of School of Rock and the Tony-Award nominated production on Broadway, the recent London productions of Miss Saigon, Chess and Cinderella, the international arena tour of Jesus Christ Superstar and he is also the Co-Director of the new version of Les Misérables which has enjoyed worldwide success including Broadway, UK and US tours.
JoAnn M Hunter (who has 20 Broadway shows to her credit, including School of Rock and On A Clear Day You Can See Forever) is the show’s choreographer; Set and Costume Design are by the award-winning Morgan Large, Ben Cracknell is Lighting Designer; Gareth Owen, Sound Designer; Sam Cox is Wigs, Hair & Make Up Designer; John Cameron, Orchestrator; John Rigby, Musical Supervisor and Musical Director; Nikki Woollaston is Associate Director; Thalia Burt, Associate Choreographer; David Grindrod CDG, Casting Director and Amy Beadel, Children’s Casting Director.
Joseph and the Amazing Technicolor Dreamcoat is produced by Michael Harrison.
Birmingham Repertory Theatre – until 2nd November 2024
Reviewed by Emma Millward
5*****
Becoming Nancy started life as the 2011 debut novel by Terry Ronald. This very British show first premiered in Atlanta, Georgia, in 2019. Making its UK premiere at Birmingham Rep, the show has gone through some adaptations and gained a few songs along the way. The show boasts an impressive creative team, with two-time Tony award-winning director and choreographer Jerry Mitchell (Kinky Boots, Legally Blonde) at the helm, a book by Elliot Davis and lyrics by George Stiles and Anthony Drewe, with additional songs by Terry Ronald and Elliot Davis.
The first thing that struck me as I took my seat in The Rep’s vast auditorium was the anticipation from the audience. As the lights went down and the band started to play, there was applause and cheers you would expect to hear at the curtain call. This crowd was ready and eager to see this show!
We meet David Starr (Joseph Peacock), a sweet daydreamer who loves to act and wants to play Fagin in the school production of Oliver! His hopes are dashed when drama teacher Mr McClarnon (Stephen Ashfield, reprising his role from the original Atlanta show) decides David would make the perfect Nancy. David is reluctant to accept the part as he already suffers relentless bullying from Jason Lancaster (Seb Harwood) and Marcia Tubbert (Layla Armstrong-Hughes) for being different and being best friends with Frances Bassey (Paige Peddie), a young black girl who also suffers at the hands of racists. David’s family are also not happy about this turn of events, especially his father Eddie (Mathew Craig), who doesn’t want his son wearing a dress on stage. David’s mother Kath (Rebecca Trehearn) and Aunt Val (Genevieve Nicole) are torn between wanting to support David and being worried about the consequences of him playing such a part.
Set in East Dulwich, London, in 1979, a time when bigotry and racism were still rife. There are some hard-hitting moments throughout that still ring true today. David meets carefree Maxie Boswell (Joseph Vella), who will play Bill Sykes in the school play. There is an instant attraction that fuels the outrage of the people around them, not least the school football coach Bob Lord (Richard Meek), who is determined to stop the show going ahead. In order to try to stop everyone questioning his sexuality, David pretends to date Abigail Henson (Daisy Greenwood), who has the extra catchy tune ‘Abigail Henson’ sang about her at the start of Act 2.
The songs throughout range from feel good toe-tappers to touching, often heartbreaking songs. ‘About Six Inches From Your Heart’, sang with pitch perfect vocals by Rebecca Trehearn, drew tears as well as cheers from the crowd. While Paige Peddie excels in all her solo songs, especially her turn as Donna Summer, which showcased her amazing vocal talents. A special mention must be given to Stephen Ashfield, Rebecca Trehearn and Genevieve Nicole, who play dual roles within the show, as Sting, Debbie Harry and Kate Bush, who come to life from the posters on David’s wall to give him guidance throughout. The subtle mannerisms of the pop star they are portraying during the song ‘You Do You’ drew much laughter and was definitely one of my favourite parts.
The applause, cheers and prolonged standing ovation when the show came to an end is testament to how entertaining this show is. Although it features a very strong ensemble cast who all deserve praise, I would say Joseph Peacock and Paige Peddie stole the show with their performances. Hopefully, this show will get the chance to tour the UK, so more people get the chance to experience a show that is funny, heartbreaking, and thought-provoking in equal measure.
Hairspray is set in 1962 in Baltimore. It tells the story of Tracy Turnbland, an oversized teenager, who has a dream of dancing on “The Corny Collins Show”. Tracy’s signature big bouffant hair leads her to get detention with the African-American students in the school. Whilst in detention they teach her some of their dance moves. These new moves win her a place on The Corny Collins Show and overnight she becomes a star. She faces bullying from the producer, Velma and her popular daughter, Amber. Tracy uses her newfound fame to promote racial integration on the television show and eventually succeeds in her mission. Tracy Turnblad teaches everyone to look past the colour of skin and fight for every human being’s equal rights.
Tracy Turnblad is played by Katie Brace and Alexandra Emmerson-Kirby and in this performance, we had the pleasure of being entertained by Katie Brace. Katie portrayed the character well and showed lots of energy.
In this performance there were quite a few changes with understudies stepping into the roles. Olly Manley stepped into the role of Link, Shemar Jarrett played Seaweed, Sasha Monique the role of Motormouth, Ryan Appiah-Sarpong was Gilbert and Shaniquah played one of the Dynamite’s. With all the changes this did lead to there only being two performers in Dynamite group instead of three.
Some of the vocals during the performance were a little bit poor but considering all the changes I think the cast did a really good job.
In the musical Edna Turnblad is always played by a male and my favourite part of the show was when Edna Turnblad (Neil Hurst) and Wilbur Turnblad (Dermot Canavan) did “You’re Timeless To Me”. Both characters throughout the performance had the audience in laughter, they had improvised jokes and really had a connection with each other, and you could see they really did enjoy performing.
The best vocal performance by far was Sasha Monique when she sang “I Know Where I’ve Been”, this truly was amazing, she reminded me of Whitney Houston.
The costumes were bright and colourful and the dancing was energetic.
Ryan Craig’s adaptation of 1984 carries all the intensity and drama contained within Orwell’s book. The essence of the story is clearly represented in the dialogue. Be prepared for a gripping, gruelling performance that has you wincing!
Mark Quartley (Winston) lets you into his bones with his constant gaze and firm grip on reality. Winston (Quartley) knows Big Brother has become a totalitarian oppressor with leaders that truly believe in what they are doing, however barbaric. He is grasping at whatever hope he can to escape. Quartley’s (Winston) depiction of pain in the mind and body is masterful.
Julia (Eleanor Wyld) offers a brave confidence in her wilful rule breaking, finding ways to evade Big Brother. She would go mad if it wasn’t for it. Wyld’s (Julia) performance is brazen, conveying a sense of deep fear and repressed anger that sneaks out and is released through the sexual exploits of Julia.
Keith Allen is perfectly suited to the character of O’Brien, his ability to convey a twisted humanity well known. Allen allows you to physically feel the evil of every crime against humanity that this character imbues. The stuff of nightmares!
David Birrell (Parsons) gives a standout performance of an everyday husband and father, doing everything he can to comply and do his best for his family. Like every foot soldier loyal to Big Brother, he believes himself to always be at fault, even praising his daughter for her disparaging attitude towards him. In the dreaded room 101, Birrell (Parsons) delivers a broken and tortured soul to the audience that is emotionally gut wrenching.
Although written 78 years ago, by today’s standards you are left with a sense of possible things to come and knowing it is possibly near the reality for those in countries ruled by dictators. There are parts of the play that reflect our UK reality today. Orwell continues to provoke thought and challenge the status quo.
Aylesbury Waterside Theatre= until 17 October 2024
Reviewed by Julia Spargo
3***
Lord of the Dance opens with a flamboyant video about the history of the show, and its creator, Michael Flatley, leaving us in no doubt that while he no longer dances in the show, his presence must still be felt. Soon afterwards, the show begins with the “Little Spirit” (Cassidy Ludwig), ushering in the eponymous melody with her penny whistle, surrounded by female dancers clad in white. Thereafter follows a short first act, where we are introduced to the characters of Lord (Matt Smith), the Dark Lord (the incredible Zoltan Papp), the Lord’s love interest Saoirse (Tiernagh Canning), her rival Morrighan (Andrea Papp Kren), via interludes from musical numbers. Erin the Goddess (Celyn Cartwright) sings the beautiful Mo Ghile Mear with an unexpected chorus from the dancers, and fiddlers Giada Costenaro Cunningham and Helena Gullan must be given special mention for their incredible prowess at playing while dancing in stilettos.
There is no doubt, Lord of the Dance is a spectacle. Technically brilliant, it is a visual extravaganza with video graphics and lighting used to create a sense of place and infuse the show with its own brand of Celtic folklore. The costumes are dazzling, with many changes, including one on stage where the women whip their dresses off with such speed I missed it, to continue dancing in black bikinis embroidered with Celtic symbols, to the gasps of the audience. The men, too, whip their tops off on a couple of occasions, but more in context; in a show of strength against the Dark Lord and his army. Kudos to Team Dark Lord, who perform throughout in leather trousers. I have been out clubbing in leather trousers, and it was not an experience I ever wish to repeat. Frequently, I found my attention wandering to the costume team and how they clean the huge number of high-maintenance leather or sequinned garments.
I felt the first half of the performance lacked cohesion and I found myself a bit confused about the storyline. The second half had more of a flow, enabling the audience to follow a plot, but I felt the Lord vs Dark Lord fight scenes lacked the tension and arrogance needed from Matt Smith in a dance-off when faced with the swaggering, masked Dark Lord in his leather trousers.
I wondered if some parts of the show were a relic from past times and the ego of its creator. The finale, which saw the Lord showcasing the undeniable talent of his dance troupe while picking various female members of the cast to either kiss or dance with felt dated, and indeed Matt Smith looked uncomfortable himself. On a couple of occasions he almost looked apologetic for being expected to dance with such hubris. I wished in a way that his confidence would match his talent.
The show concludes with another odd video about the show’s history (let not the performance speak for itself?) and for at least the third time reminds us that there have been “25 years of standing ovations” which felt more like a direction than a celebration. Then followed a very odd few minutes of video of not one but three Michael Flatleys showcasing their footwork against a white backdrop. The ego is alive and well.
Festival Theatre, Malvern – until 19th October 2024
Reviewed by Courie Amado Juneau
5*****
I was new to The History Boys so had no preconceived notions for tonight. Alan Bennett’s other works were known to me though, so I knew I was in for a quality script and a potential emotional roller coaster ride.
The “boys” opened the show with an a cappella rendition of St Elmo’s Fire – very apt for setting the scene since we enter the story as the boys received their O-Level results and were about to move on to their A-Levels. Music was used to great effect throughout with songs deployed to punctuate (or underline) and the choice of those tunes really helped to heighten the emotional impact of the scenes or individuals within them – as such, it was part musical and part movie type soundtrack. Very impressive. In fact, the 80’s soundtrack was so masterfully interwoven in the fabric of the piece that I was surprised to learn the work’s premiere was only 2004!
The ensemble was a strong one with everyone on top form, bringing their A-game and adding to the onstage action superbly. It’s therefore hard to give everyone the praise they deserve due to this review’s word count; so apologies for anyone not mentioned individually.
Having said that, I think that Lewis Cornay (Posner) was superb. A special talent with a wonderful singing voice (in multiple languages), he brought a poignancy that was subtle yet vivid at the same time. He was ably accompanied (live on piano on stage!) by Yazdan Qafouri (Scripps) who, apart from his musical prowess, was a quasi-narrator and the conduit to shine light on other character’s stories. Archie Christoph-Allen (Dakin) was probably the most confusing and yet somehow honest of all the boys and Archie’s performance was thoroughly enjoyable due to a sensational performance.
The teachers Gillian Bevan (Mrs Lintott) and Bill Milner (Irwin) both gave us richly nuanced portrayals that were a joy to behold whilst Milo Twomey (Headmaster) was suitably officious and hissable with a focus on league tables and governor’s rather than the pupil’s wellfare. But it was Simon Rouse (Hector) who had the saddest story arc with the actor doing a marvellous job of sensitively portraying this troubled character.
Mr Bennett didn’t shy away from exploring many difficult subjects in this play and the full panoply of human emotion was worked through. There really was very little out of bounds one feels and he threw the kitchen sink at it. Although at times it was an uncomfortable watch it was, overall, a very joyful work infused with many laughs along the way.
A thought provoking piece that stays with one long after you have left the auditorium, the actors enjoyed the rousing and much deserved applause from the very appreciative audience. It’s no wonder that this piece was the launching pad for James Corden’s glittering ascent – it’s a showcase for those on stage. An opportunity to see this work doesn’t come around every day and I would encourage everyone to catch this production (in effect its 20th anniversary tour). Another fantastic triumph from the stage at Malvern Theatres, bravo to all involved.
