Festival Theatre, Malvern – until 1st February 2025
Reviewed by Courie Amado Juneau
5*****
The lights go down and that music starts – daaaah-dah, daaaah-dah, dada dada… a fin goes across the rear screens sea projection and then just as things are getting exciting… you’ve guessed it, The Shark Is Broken. The play, written about the filming of Jaws (specifically the final climactic scene at sea) is co-written by actor Ian Shaw and Joseph Nixon and concentrates on the actors frustration at the interminable hanging around whilst the damn shark is yet again fixed.
Ian Shaw (playing his dad Robert) gave us a heartfelt and honest portrayal which was full of genuine love and affection. It didn’t try to paint his dad as a saint and I came away really liking Mr Shaw (Sr) very much. I believe I would have thoroughly enjoyed a weekend with him, hearing his anecdotes and wisdom.
Ian looked uncannily like his father – it was astonishing – but the other actors also looked amazingly like the original actors, it was uncanny. Dan Fredenburgh (playing Roy Scheider) and Ashley Margolis (portraying Richard Dreyfuss) both gave sensational performances, far exceeding my expectations. Giving us way more than a mere impression of the actors, they truly got under the skin of the characters in full panoramic technicolor. An impressive display from everyone concerned.
There’s social commentary from the era (1975) regarding Vietnam and other contemporary events, which are exceptionally interesting. The writers cleverly weave in lots of jokes reflecting on how mad there times are and how it won’t be that mad again. The scene where they are commenting on Nixon’s legacy has a hilarious payoff which I won’t spoil, but it’s worth attending for that alone. It also casts the spotlight (pun intended) on the life of actors, the theatre and films in general. I loved these insights. Lots of jokes concerning upcoming films (which will provide a nice chance to play name that film) and at the expense of Spielberg as a wet behind the ears director.
This work is a real reminder of a simpler time when smoking and swearing were so commonplace they barely registered on the naughtiness radar. An era before CGI, of actual physical special effects – which were prone to the laws of physics, giving us the whole raison d’etre for this play! If you’ve ever wondered why the shark was so often broken, Roy will explain the physics (or pneumatics) behind it – so this is very much the play for you. Or if you just like Jaws or any of the actors, of course…
On the face of it, 3 men sitting around on a boat set with no change of scenery, no costume changes, no music or special effects to speak of, being driven half out of their skulls with boredom sounds, well, like a bit of a drag. But it’s anything but! It’s a riveting hour and a half of top quality entertainment in all respects. This ingenious script really does have something for everyone… Couple that with performances to die for and it’s honestly one of the best shows I’ve seen in a long time. Do yourself a favour and snap up a ticket while you can.
Birmingham Rep Theatre – until Saturday 1st February 2025
Reviewed by Nadia Dodd
4****
Sebastian Faulks’ famous, much loved romance and war novel Birdsong has embarked on a UK tour as part of the 30th anniversary of Sebastian’s writing. The well-known story provides the most beautiful descriptions of love, friendship and warfare now adapted for the stage.
The first act opens, with the colours red and green lighting the stage prominently and the sound of twittering birdsong in the background. The story is set in the 1900s and represents the era extremely well, this production feels timeless and modern.
The play told cleverly in three parts across different periods of time and from different character’s viewpoints. The show opens in the years before the war and sets the scene and background of the characters. There is also a crossover between the modern day and history in the past, as an ancestor of one of the main protagonists can be seen looking round various cemeteries in France, to find his relative and find out his story.
His relative’s story is told from the beginning, through the perspective of factory worker and textile manufacturer Stephen Wraysford, played by James Esler, a charmingly intelligent man with a lot of charisma. Whilst working at the Azaire family’s factory, he boards at Rene Azaire’s home, where Rene lives with his wife Isabelle and daughter Lisette.
During the first part of the show, the audience knows that the country is on the brink of war, and that provides the show with pace and anticipation regarding what will happen with the men and women in the future. That sense of speed is intensified when Stephen begins a forbidden romance with his employer’s wife. Not everyone is happy and not everything is as it seems, as the production closes for its first interval.
The second part begins with the introduction of Stephen’s unit and miner Jack Firebrace, played by Max Bowden, digging tunnels in France in 1916. Max’s depiction of Jack Firebrace is fantastic and provides the production with many humorous moments.
The camaraderie between the soldiers and the miners is explored through the main conversations and chants sung by the ensemble. Beautiful moments of reflection are provided through the songs sung by character Brennan, played by James Findlay.
As Max and the boys dig tunnels and trenches close to the River Somme, Stephen, an officer during the war, battles with his feelings of love, anger and abandonment. Friendships are formed as the men lose comrades and go through some horrific times.
As the birds tweet and the clock ticks, the adaptable scenery provides realistic depictions of the war tunnels around the Somme, as well as the living room at the Azaire’s majestic home.
During the final part of the show the relationship between Isabelle, played by Charlie Russell, and her sister Jeanne, played by Natalie Radmall-Quirke, are explored as the war draws to a close and seeks to understand how people have changed since the end of the war. Shocks and surprises dominate the final part of the show as the sisters encounter problems, memories and change.
As the show draws to a close, the modern day part of the timeline is revisited and the audience members learn about the character’s relationships as well as their futures.
Chichester Festival Theatre, Royal Shakespeare Company and Roald Dahl Story Company present the world premiere of
Roald Dahl’s
THE BFG
Adapted by Tom Wells
Chichester Festival Theatre, Monday 16 March – Sunday 12 April 2026
Full details and booking will be announced in September 2025
Chichester Festival Theatre, the Royal Shakespeare Company and the Roald Dahl Story Company have today announced the world premiere of The BFG, based on Roald Dahl’s beloved children’s novel, directed by RSC Co-Artistic Director (and former CFT Artistic Director) Daniel Evans, whose Chichester productions included Quiz, South Pacific and Our Generation.
This magical new adaptation by Tom Wells (TheKitchen Sink, Jumpers For Goalposts), will open the Festival 2026 season at Chichester Festival Theatre, running from 16 March – 12 April 2026, following a winter season at the RSC in Stratford-upon-Avon from 25 November 2025 – 31 January 2026.
One extraordinary night, a young orphan named Sophie is snatched by a giant and taken far away to Giant Country. There she learns that human-eating giants are guzzling ‘norphans’ the world over. But she soon discovers that her new friend, the BFG, is different – he’s a dream-catching, snozzcumber-munching gentle soul who refuses to eat humans.
While other giants terrorise the world, the BFG ignites Sophie’s imagination, and they devise a daring plan to save children everywhere. In the end, the smallest human bean and the gentlest giant prove that a dream can change the world.
Justin Audibert, Artistic Director of CFT, said: ‘We are thrilled to be co-producing The BFG with the RSC and the Roald Dahl Story Company, and hugely looking forward to welcoming my predecessor as Artistic Director, Daniel Evans, back to Chichester. I know that our audiences – from the smallest to the largest ‘human beans’ – will love seeing Roald Dahl’s brilliantly imaginative and beloved creation come to life on stage.’
RSC Co-Artistic Directors Daniel Evans and Tamara Harvey said: ‘This inspiring story – about an unlikely alliance between an orphan, a giant and a queen – tells us that when we have the courage to make our dreams a reality, we can change the world. To be adapting Roald Dahl’s much-loved children’s novel for the stage in collaboration with the Roald Dahl Story Company and Chichester Festival Theatre is a dream come true for us. Tom Wells’ magical new adaptation builds upon the RSC’s longstanding commitment to make spectacular and moving theatre for family audiences – and we’re thrilled to be collaborating with an exceptional creative team to dream up an unforgettable theatrical experience which promises to be larger-than-life.’
Roald Dahl Story Company Artistic Director Jenny Worton added: ‘Following the triumphant success of our first two stage shows, The Witches and The Enormous Crocodile, The BFG opens a magical new chapter for us at the Roald Dahl Story Company. Our dream is to bring mischievous joy to audiences of all ages through our growing family of live shows.
‘After years of delicious inventing with Tom Wells, Daniel Evans and the wider creative team, we are excited to share our passion for this iconic story with the rest of the world. Alongside Chichester Festival Theatre, we’ve created something full of imagination and heart, just as you’d expect from the world of Roald Dahl.’
Joining Daniel and Tom on the creative team is Puppetry Designer and Director Toby Olié, Set Designer Vicki Mortimer, Costume Designer Kinnetia Isadore, Lighting Designer Zoe Spurr, Video Designer Akhila Krishnan, Illusions Chris Fisher, Composer Oleta Haffner, Sound Designer Carolyn Downing, Choreographer and Movement Director Ira Mandela Siobhan, Puppetry Co-Designer Daisy Beattie, Senior Set Design Associate Matt Hellyer, Casting Director Christopher Worrall CDG and Children’s Casting Director Verity Naughton CDG.
Booking details
Tickets for The BFG at Chichester Festival Theatre will go on sale with our next Winter season, which will start booking in September 2025.
ROYAL SHAKESPEARE COMPANY ANNOUNCES SUMMER 2025 SEASON AND BIG FRIENDLY FAMILY SHOW
Co-Artistic Directors Daniel Evans and Tamara Harvey today announce details of the RSC’s Summer 2025 season and upcoming festive family show, The BFG. This big, friendly production from the Royal Shakespeare Company, Chichester Festival Theatre and the Roald Dahl Story Company, is adapted by Tom Wells and directed by RSC Co-Artistic Director Daniel Evans in his directorial debut for the Company.
Joining the previously announced Hamlet Hail to the Thief and 4.48 Psychosis are five new Shakespeare productions directed by Joanna Bowman, Emily Burns, Yaël Farber, Michael Longhurst and Max Webster, a new version of W. Somerset Maugham’s The Constant Wife, which will see Olivier Award-winning playwright Laura Wade re-unite with Co-Artistic Director Tamara Harvey,the European premiere of Fat Ham by Pulitzer Prize-winning playwright James Ijames,andnationwide tours of Rupert Goold’s Hamletand First Encounters: King Lear.
The Summer season will welcome internationally-renowned acting talent to Stratford-upon-Avon – including returning artists Simon Russell Beale and Freema Agyeman with Rose Leslie and Nick Blood making their RSC debuts.
Across the season, the RSC will celebrate creative partnerships with Factory International, The Public Theater New York and the Royal Court Theatre. The Company will also step into new spheres of storytelling, collaborating with Brooklyn-based creative studio iNK Stories in a groundbreaking co-production combining Shakespeare and commercial video game production.
Audiences of all ages will have the opportunity to come together to watch, make and explore, with highlights including an 80-minute staging of Shakespeare’s The Two Gentlemen of Verona; Tim Crouch’s I, Peaseblossom,his hit adaptation of William Shakespeare’s A Midsummer Night’s Dream; a programme of interactive theatre workshops, free drop-in activities, family theatre trails, and the return of the RSC’s popular acting-based Summer schools for ages 8-14 and 18-25.
Tamara Harvey and Daniel Evans said:
“Over the last twelve months, our guiding principle as Co-Artistic Directors has been to seek out the most exciting directors, writers and actors working in the UK and internationally, and ask them which stories they feel a passionate desire to tell.
“Our 2025/26 season will bring together an international roster of creative talent, where the works of William Shakespeare stand shoulder to shoulder with some of the most compelling voices in modern playwriting, from Olivier Award-winning playwright Laura Wade to the late, great Sarah Kane and the Pulitzer Prize-winning James Ijames. And then there’s Roald Dahl, one of our greatest storytellers and children’s authors, whose 1982 novel The BFG will be the inspiration for our magical festive family show in 2025, newly adapted for the stage by Tom Wells.
“Alongside five new productions from the pen of our house playwright, directed by Joanna Bowman, Emily Burns, Yaël Farber,Michael Longhurst and Max Webster, we will also celebrate the diverse ways in which Shakespeare’s characters and stories continue to prove fertile ground for re-invention and re-discovery, with the world premiere of Hamlet Hail to the Thief, a frenetic distillation of the Hamlet story, set alongside the soundtrack of Radiohead’s seminal album, and the European premiere of James Ijames’ tragi-comic family drama, Fat Ham. We’re even taking our first foray into the world of gaming with Lili, a powerful, contemporary reimagining of Shakespeare’s Macbeth set in modern Iran, currently in development for 2026.”
THE SEASON IN FULL
ROYAL SHAKESPEARE THEATRE:
Director Michael Longhurst kicks off the season with a new staging of Shakespeare’s original rom-com, Much Ado About Nothing, set in the glossy world of professional football in a new production featuring Freema Agyeman as Beatrice and Nick Blood as Benedick
Shakespeare’s great tragedy and Radiohead’s seminal album collide in the world premiere of Hamlet Hail to the Thief, adapted by Christine Jones with Steven Hoggett with music by Radiohead and Orchestrations by Thom Yorke
Yaël Farber makes her RSC debut with Shakespeare’s enigmatic story of love, loss and rebirth, The Winter’s Tale
Emily Burns returns to direct a new staging of William Shakespeare’s razor-sharp examination of hypocrisy and corruption, Measure for Measure, following her acclaimed RSC debut in 2024 with Love’s Labour’s Lost
A Royal Shakespeare Company, Chichester Festival Theatre and Roald Dahl Story Company production,Roald Dahl’s unforgettable story comes to the Royal Shakespeare Theatre stage in Tom Wells’ magical new adaptation of The BFG, directed by RSC Co-Artistic Director Daniel Evans
SWAN THEATRE:
Olivier and Tony Award-winning actor Simon Russell Beale returns to the RSC alongside Associate Artist Emma Fielding and Natey Jones in a new production of Shakespeare’s bloodiest tragedy, Titus Andronicus, directed by Max Webster, whose recent credits include The Importance of Being Earnest at the National Theatre and Macbeth at the Donmar Warehouse
Rose Leslie stars in a sparkling new version of W. Somerset Maugham’sThe Constant Wife, adapted by Olivier Award-winning playwright Laura Wade and directed by Co-Artistic Director Tamara Harvey
Originally produced Off-Broadway by The Public Theater and National Black Theatre, James Ijames’ Pulitzer Prize-winning play Fat Ham makes its European premiere with original direction by Saheem Ali, directed for the Swan Theatre by Sideeq Heard
Multi award-winning writer and performer Tim Crouch presents his magical adaptation of A Midsummer Night’s Dream:I, Peaseblossom
Richard Nelson’s moving and compelling one-man play, An Actor Convalescing in Devon, visits the Swan Theatre with RSC Associate Artist Paul Jesson
THE OTHER PLACE
4.48 Psychosis, Sarah Kane’s final masterpiece, returns 25 years on in a new co-production with the Royal Court Theatre reuniting the entire original cast and creative team. Directed by the award-winning James Macdonald with Daniel Evans, Jo McInnes and Madeleine Potter reprising their roles
Joanna Bowman directs a new 80-minute version of Shakespeare’s gloriously silly comedy of love and friendship, The Two Gentlemen of Verona
Tickets for Hamlet Hail to the Thief and4.48 Psychosisare on sale now at rsc.org.uk.
For all other shows, priority booking for Members and Supporters opens from Friday 31 January at 10am with public booking opening on Wednesday 12 February at 10am.
For further information on how to become an RSC Member or Supporter, visit here.
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ON TOUR IN THEATRES, CLASSROOMS AND COMMUNITIES
Also announced today ahead of its opening in Stratford-upon-Avon this February, Shakespeare’s epic family saga Hamlet embarks on a new tour to our partner regional theatres across England in 2026, directed by multi award-winning director and incoming Artistic Director of the Old Vic, Rupert Goold. The production will tour to towns and cities throughout the Spring, including Truro, Bradford, Norwich, Nottingham, Blackpool, Newcastle, York and Canterbury. Full casting for the UK tour is yet to be announced.
Julien Boast, Chief Executive and Creative Director at Hall for Cornwall, the first theatre on the tour, said:
“We’re proud to be standing alongside Rupert Goold and the RSC team to bring this landmark production to a wider audience. Our enduring partnership with the RSC and our national network of Associate Theatres has never been stronger, and this is partnership in the true sense of the word, with community at its heart. It is a beacon and role model for a co-created approach to touring, generating true and mutually beneficial impact that is welcomed by audiences, artists, young people and the local economy, at all our theatres”.
In Autumn 2025, even more young people will experience their first taste of Shakespeare in their classrooms and communities with First Encounters: King Lear directed by Justine Themen. The 12-week tour of schools, theatres and community venues begins in September 2025. The production will open in Leamington Spa, after which it will tour to Cornwall, Skegness, Nottingham, Canterbury, Stratford-upon-Avon, Norwich and Peterborough. The Autumn tour will see the RSC further expand its reach across the country with first-time visits to the Isles of Scilly and Southampton.
This 80-minute version of Shakespeare’s masterful tragedy joins the previously announced Spring tour of First Encounters: The Tempest directed by Aaron Parsons. The touropens from 6 February in Birmingham with visits to County Durham, Middlesbrough, Hartlepool, York, Hull, Bradford, Stratford-upon-Avon, Stoke-on-Trent, Nottingham, Newcastle upon Tyne, Corby, Blackpool, Cumbria and Northampton. The two First Encounters tours give an estimated 24,000 young people the opportunity to experience a Shakespeare production in their school hall or local theatre this year.
They join the previously announced tour of the RSC’s multi award-winning Matilda The Musical,which begins its second major tour of the UK and Ireland in October, opening in Leicester on 6 October 2025. Based on Roald Dahl’s best-selling novel with literacy and books at its heart, the show has already been seen by 12 million people across 100 cities worldwide. The musical will celebrate 15 years on stage when it opens at Leicester Curve before traveling to Bradford, Liverpool, Plymouth, Sunderland, Edinburgh, and Manchester where it will run through March and April 2026. Further tour dates to be announced.
Daniel Evans and Tamara Harvey added:
“As a national theatre company based in the heart of the Midlands, we believe passionately in the power of Shakespeare and live performance to inspire creativity, ignite the imagination and to change lives for the better. At a time when creative learning provision in English schools has reached an all-time low, our newly announced First Encounters touringproductionof King Lear will help ensure that thousands more pupils and teachers have the opportunity to enjoy a live performance of Shakespeare or live theatre in their own hometown or city in 2025.”
NEW FRONTIERS – LILI: A SCREEN LIFE THRILLER VIDEO GAME INSPIRED BY THE WORLD OF SHAKESPEARE’S MACBETH
Announced last week is a new collaboration between the RSC and iNK Stories, a New York city based independent game studio and publisher, to create Lili. Set in contemporary Iran, this interactive, video game puts Lady Macbeth, one of Shakespeare’s most iconic female leads, front and centre.
This cross-industry collaboration marks the RSC’s debut in video gaming. Featuring Cannes Best Actress winner Zar Amir as Lady Macbeth (Lili), the game is co-produced by her Paris-based Alambic Productions. Zar draws from her lived experience as an Iranian woman in exile who has courageously confronted her own battles against authoritarian gendered oppression.
Lili is a screen life thriller video game which gives players access to Lady Macbeth’s personal devices, combining the skill and artistry of theatre and film to tell this interactive story. Players will be immersed in a stylized, neo-noir vision of modern Iran, where surveillance and authoritarianism are part of daily life. The gameplay will feature a blend of live-action cinema within an interactive game format, giving players the chance to immerse themselves in the world of Lady Macbeth and make choices that influence her destiny.
Macbeth’s witches are reimagined as hackers, with surveillance cameras and cyber-infiltration putting the player at the heart of the story and giving them a unique perspective into the world of the play. This modern twist on the Macbeth story explores themes of technological domination, the manipulation of information, and institutional violence, reflecting the dark realities of inequities in our digital age.
Tamara Harvey and Daniel Evans, RSC Co-Artistic Directors said:
“From its first performance, Macbeth was always exhilarating: its sudden opening with thunder and lightning raises audience adrenaline levels and propels them as participants, not just spectators, into the jittery, action-driven narrative. Lili creates similar effects for audiences. As a storytelling medium, gaming today is what theatre has always been; a chance to explore worlds, inhabit story, and experience something at once personal and communal. Centring this tense thriller around Lady Macbeth rather than her husband is radical and transformative. It turns the play’s questions around gender, identity and power inside out.”
ADAMA Entertainment are delighted to announce that EastEnders star Max Bowden, WhatsOnStage Award nominee Paul Jacob French and Tori Allen-Martin will star as Rico ‘Ratzo’ Rizzo, Joe Buck and Cass respectively in the world premiere of MIDNIGHT COWBOY – A NEW MUSICAL which will open at Southwark Playhouse Elephant on 4 April 2025.
This powerful adaptation has a book by Bryony Lavery (writer of the Tony-nominated play Frozen), which breathes new life into the classic story, exploring the depths of friendship and ambition, and soundtrack by three-time Ivor Novello Award-winning composer Francis “Eg” White, who has written songs for Adele, Sam Smith, Florence + The Machine and James Morrison.
Max Bowden is best known for playing Ben Mitchell in the BBC 1 soap EastEnders. Prior to this he had a leading role in Waterloo Road (BBC 1) and starred in the 2015 UK tour and 2020 online production of Original Theatre Company’s production of Birdsong. He returned to the production in the role of Jack Firebrace in the 2024 UK tour.
Paul Jacob French was nominated for Best Performer in a Musical at the 2023 WhatsOnStage Awards for his portrayal of Kenickie in the West End production of Grease (Dominion Theatre). He has most recently starred in An Officer and a Gentleman (UK & Ireland tour), Annie! (UK tour) and The Wizard of Oz (Curve Theatre).
Tori Allen-Martin is a regular in BBC 1 comedy Here We Go. She was previously seen as a leading regular in 4 series of BBC’s London Kills and as a regular on Channel 4’s Pure. Her other television credits include; Mrs Sidhu Investigates (Acorn); Significant Other (Hatrick); Plebs: The War (the finale) (Rise films); The Other Half (Ranga Bee Productions), Flatshare (42 for Paramount+); Back To Life (Two Brothers Pictures); and Pandemonium (BBC).
Her stage credits include: I Wish You Well (Criterion and Edinburgh Fringe), Samuel Takes A Break (The Yard Theatre), Then, Now and Next (Southwark Playhouse), Park Bench (Park Theatre), One Man, Two Guvnors (New Wolsey, Ipswich/Nuffield Southampton), The Season (Glass Half Full Productions and Tim Johanson), The Hardest One (The Other Palace/ Criterion) and Hair the Musical (European tour).
Also starring in MIDNIGHT COWBOY – A NEW MUSICAL will be Elena Breschi (Fantastically Great Women Who Changed The World, UK Tour & The Other Palace; Kindertransport, Nottingham Playhouse) as Delores, Joanne Henry (Bridgerton, Netflix; West Side Story, West End & UK tour) as Grandma Sally, Nick Len (Wicked UK Tour; West End, Chess, West End) as Swing, Hollie-Ann Lowe (Burlesque The Musical, Manchester Opera House; Dirty Dancing, West End) as Swing, Dean Makowski-Clayton (Little Fiend, Phoenix Arts Club; Marie Curie, Charing Cross Theatre) as Student, Christian Maynard (Miss Saigon, Sheffield Crucible; & Juliet, West End)as Tombaby, Phoebe Roberts (Grease, UK tour; Annie!, UK Tour)as Chalkline Annie, Tim Rogers (An Officer and a Gentleman, UK & Ireland tour; West Side Story, UK tour) as Woodsy Niles, Rohan Tickell (Rock of Ages, West End; Phantom Of The Opera, West End & Australia) as Mr O’Daniel, Matthew White (The Mousetrap, West End; Bat Boy, Southwark Playhouse) as Towny.
The new musical is based on the novel by James Leo Herlihy which inspired the beloved triple Academy Award-winning 1969 film, starring Jon Voight and Dustin Hoffman. Midnight Cowboy captures the gripping tension of dreaming big whilst trying to survive the grind of New York City.
Joe Buck is a young man desperate to escape his dead-end past. Leaving everything behind, to seek wealth and glory in the big city, he meets a man just as lost as he is – Rico ‘Ratso’ Rizzo. The pair join forces, prepared to do whatever it takes to achieve their dreams, even if it means surrendering a part of themselves. But New York ain’t no dream – it’s a jungle and survival requires sacrifice…
MIDNIGHT COWBOY will have direction and choreography by Nick Winston with musical arrangements, orchestrations and musical supervision by Charlie Ingles, set and lighting design by Andrew Exeter, costume design by Sophia Pardon, sound design by Yvonne Gilbert, creative development by Nick Winston, production management by James Anderton, musical direction by Ellie Verkerk, associate direction and choreography by Libby Watts, associate set and costume design by Natalia Alvarez, props supervision by Katie Balmforth, costume supervision by Josh Bamling, intimacy direction by Lucy Fennell, dialect coaching by Mary Howland, casting by Sarah-Jane Price, company stage management by Peter Barnett, deputy stage managementby Samantha Kerrison, lighting programming by Ryan Dunnett, assistant stage management by Antonia Howlett, technical assistant stage managementby Callum Wallace, the technical swing is Izzy Moore, the head of lighting/technicalswing is Harrison Smith, head of wardrobeis Gemma McErlane and thewardrobe assistant Emily Souch.
MIDNIGHT COWBOY is produced by ADAMA Entertainment.
Further casting announced for the return of smash-hit play Dear England by James Graham
The Olivier Award-winning ‘Best New Play’ returns to the National Theatre in March, followed by a 4-week run at the Lowry, Salford
The National Theatre today announces further casting for its highly anticipated return of James Graham’s smash-hit production ofDear England as rehearsals begin on the South Bank. The Olivier Award-winning play will be staged at the Olivier theatre from 10 March to 24 May 2025, followed by a 4-week run at the Lowry in Salford from 29 May to 29 June 2025.
Written by playwright James Graham (Punch, Young Vic; Sherwood, BBC One) and directed by the Almeida Theatre’s Artistic Director Rupert Goold (Patriots, Ink; AlmeidaTheatre/West End/Broadway), Dear England is an epic examination of nation and game, which has been updated following the 2024 UEFA EURO tournament to reflect Gareth Southgate’s final chapter as England manager.
Liz White (Life on Mars) will play the role of Pippa Grange, sports psychologist and Head of People and Team Development at The Football Association from 2017 – 2019, joining previously announced cast member Gwilym Lee (SAS Rogue Heroes, Bohemian Rhapsody) who will play the role of Gareth Southgate.
The cast also includes returning performers Josh Barrow as Jordan Pickford, Gunnar Cauthery as Gary Lineker, Tony Turner as Greg Dyke, John Hodgkinson as Greg Clarke and Ryan Whittle, who is this time taking on the role of Harry Kane. They will be joined by new cast members Matt Bardock as Mike Webster, Jude Carmichael as Marcus Rashford, Gamba Cole as Raheem Sterling, Ryan Donaldson as Harry Maguire, Felixe Forde as Alex Scott, Kadell Herida as Jadon Sancho, Joshua Hill as Jordan Henderson, Martin Marquez as Sam Allardyce, Tane Siah as Bukayo Saka and Tristan Waterson as Dele Alli.
Also joining the company are Jass Beki, Courtney George, Will Harrison-Wallace, Jordan Ford Silver, Philip Labey and Ellouise Shakespeare-Hart. The cast will also be playing additional roles as part of the ensemble.
The wider creative team for Dear England includesset designer Es Devlin,costume designer Evie Gurney,lighting designer Jon Clark, co-movement directors Ellen Kane and Hannes Langolf, video designer Ash J Woodward, co-sound designers Dan Balfour and Tom Gibbons, additional music by Max Perryment,revival director Elin Schofield, casting director Bryony Jarvis-Taylor, dialect coach Richard Ryder, voice coaches Cathleen McCarron and Tasmin Newlands, associate lighting designer Ben Jacobs, revival movement associate Thomas Herron, associate sound designer Johnny Edwards, casting associate Lilly Mackie and staff director Connie Treves.
The country that gave the world football has since delivered a painful pattern of loss. Why can’t England’s men win at their own game? The team has the worst track record for penalties in the world, and manager Gareth Southgate knows he needs to open his mind and face up to the years of hurt to take team and country back to the promised land.
Dear England was originally commissioned by the National Theatre and developed with the theatre’s New Work department. It had its world premiere in the Olivier theatre on 20 June 2023. Following a sold-out run,Dear England transferred to the Prince Edward Theatre, in London’s West End, from 9 October 2023 to 13 January 2024, where it broke box office records. Dear England was subsequently released to cinemas through National Theatre Live on 24 January 2024 and has been screened almost 2,500 times across the UK. The BBC has also commissioned a four-part drama of Dear England based on the stage production for BBC One and BBC iPlayer which will broadcast later this year.
Nottingham Theatre Royal – until Saturday 1 February 2025
Reviewed by Louise Ford
3***
Diversity Nirvana
The setting for this production of Coming to England is, of course, a good old fashioned analogue television. It’s the adaptation, by David Wood, of Floella Benjamin’s book about her and her family’s journey from the idyllic island of Trinidad to the, less than idyllic, Motherland, England. This production is directed by Denzel Wesley.
Whilst the story clearly references Floella’s success in children’s TV, championing children’s rights and her Parliamentary work. It doesn’t dwell on these amazing achievements. It is rather a story told from a child’s point of view of family and change. The production works perhaps best for children as it covers a lot of issues and historical events without labouring the points. It is rather a jumping off point for conversations and discussions. It is also a surprisingly short production at 1 hour 40 minutes including the interval. Which makes it ideal for schoolchildren. Having said that it is a great watch for adults too.
The story is roughly divided into three parts and is told from the perspective of Floella (Julene Robinson) who is on stage for nearly all of the production. She is in turn joyful, brave and naive.
Joyful is her family’s island home which is full of colour, music and love. She is one of six siblings born to the dapper Dardie (Charles Angiama) and loving Marmie (Maryla Abraham). This idyllic childhood is brought to an abrupt halt when Floella’s parents decide to take up the Motherland’s appeal to help rebuild the country’s greatness after the Second World War. Dardie and Marmie head off with the two youngest children.
Floella has to be brave as she endures this separation and the brutal treatment of the four remaining siblings at the hands of their foster parents.
After 15 months Floella’s parents have saved up enough money to pay for the children to sail to join the family in London.
There is a lovely musical vibe throughout the production and all of the cast have great singing voices. It is a joyful production which the audience really enjoyed. It was great to see a younger more culturally diverse audience.
As mentioned already the production is framed within a TV screen, the actual set design is quite minimal. An interconnecting set of two blocks are moved around to form the island home, the ship and the flat. The addition of a few props helps to augment the stage. As the story is told from a child’s point of view, Floella and her siblings are for most of the production dressed as children. They wear fancy frocks, ankle socks, t-bar shoes for the girls and shorts, shirts and sandals for the boys. The clever use of colours highlights the differences between the island and England.
Floella naively imagines that the family will be welcomed by the Motherland and live in luxury and comfort. Floella is confronted with cold weather, grey skies, drab clothes and racist comments and messages . However under Mamie’s guidance and loving care the young Floella is urged to turn away from anger and violence and to embrace positivity and love.
As Marmie wisely counsels Floella, winners are always smiling.
The organisers of the Stalls to Stage Awards are proud to announce its inaugural cohort of winners, following an industry ceremony at the Bush Theatre, London on Sunday, 26 January 2025.
Established to celebrate the best of Theatre, the Awards saw 105 nominees across 25 categories. Shows opened between 1st October 2023 and 30th September 2024 were eligible for consideration by a team of creators, art makers and theatre fans, the shortlist of which were then voted upon by the general public, with 3500 votes and counting.
In the Plays and Musicals categories, ROMEO & JULIET led the Play awards with Tomiwa Edun and Freema Agyeman awarded Best Supporting Actor/Actress in a Play respectively. Andrew Scott was recognised as Best Actor in a Play for his performance in VANYA, with Denise Gough and Heather Agyepong jointly named Best Actress in a Play for PEOPLE, PLACES AND THINGS and SHIFTERS. HADESTOWN led the Musicals category with Melanie La Barrie and Dónal Finn awarded Best Supporting Actress and Best Actor in a Musical. NEXT TO NORMAL also took home two awards with Jack Wolfe and Caissie Levy winning Best Supporting Actor and Best Actress in a Musical (the former alongside Mitchell Zhangazha for MJ THE MUSICAL).
The Production awards were given to STRANGER THINGS: THE FIRST SHADOW, HADESTOWN and HAMILTON (UK & Ireland Tour) for Best Play (with Miriam Buether also winning Best Set Design for the show), Best Musical and Best Touring Production respectively. Jamie Muscato’s solo concert at Cadogan Hall, presented by FOURTH WALL LIVE and WESTWAY MUSIC,alongside the staged concert production of Spring Awakening at Victoria Palace Theatre, produced by JACK MAPLE and EVELYN HOSKINS, also received a special mention.
The Performance category celebrated lesser-known roles, underrepresented artists and emerging talent. Having just led an audience acclaimed world premiere run in WHY AM I SO SINGLE?, Jo Foster was awarded Best Non- Binary Performer, with Grace Hodgett Young (SUNSET BOULEVARD and HADESTOWN) and Francesca Amewudah-Rivers (ROMEO & JULIET) recognised for Best Graduate and Best Professional or West End Debut. The work of swings and takeover performances were also highlighted in Madeline Charlemagne and Lauren Azania’s individual performances in HADESTOWN, earning them Best Takeover and Best Performance by a Cover/Alternate respectively.
The final batch of winners paid tribute to the unsung heroes driving change in the constantly evolving theatrical landscape. Clint Dyer & Roy Williams, Lynette Linton and Jacob Sparrow were recognised for their playwriting, directorial and casting achievements earning Best Writer for DEATH OF ENGLAND, Best Director for SHIFTERS and Best Casting for HADESTOWN, THE HOT WING KING and THE BIG LIFE. Rob Madge and Amy Trigg’s advocacy efforts did not go unnoticed, as they each received the Award for LGBTQ+ Champion and Disability Champion.
Finally, in loving memory of the community spirit exemplified by individuals and organisations within the industry, the late Gavin Creel was honoured with the Special Recognition Award, renamed after the actor himself for future years moving forward.
Speaking of the memorable event, Bri O’Reilly, Founder and Director of Stalls to Stage said, ‘When I decided in September to do the Stalls to Stage Awards, I didn’t for a moment imagine it would get the response that it did when I posted nominees. The joy that it created was not something I had anticipated at all, never mind the sheer number of votes that flooded in. When I decided in October that if I’m doing it then I should really do it and put on a whole night of celebration, all I had was unmedicated ADHD and a healthy dose of delusion. I could not have fathomed the response from our guests last night. The warmth, the joy, the love, it was beyond palpable, I still feel it now. Thank you isn’t enough but it’s all I have right now. A huge congratulations to all the winners, and all the nominees, and here’s to Year 2!’
The rejoiceful ceremony was attended by distinguished guests, nominees and performers from across the performing arts industry, hosted by Marcus Collick with a roundup of presenters including Christina Bennington, Natalie Kassanga, Rolan Bell, Ronkẹ Adékọluẹ́jọ́, Sharon Rose, Dylan Wood, Ryan Reid, Reda Elazouar, Jamael Westman and Jyuddah Jaymes.
New Wimbledon Theatre, London – until 1 February 2025
Reviewed by Emily Smith
5*****
& Juliet is the untold story of what would have happened if Juliet had survived and thrived (!), instead of taking her own life after she found Romeo dead. The rewriting of this classic story is told through two narrators, Shakespeare (Jay McGuiness) and Anne (Lara Denning), who are jointly writing the new version of events, while quarrelling throughout and throwing in some twists and turns.
& Juliet is packed full of well-known, catchy pop songs, ranging from boyband classics like I Want It That Way to pop rock power ballads such as Since U Been Gone and Roar. These have all been carefully interwoven around the narrative such that there’s almost constantly someone breaking into song in each scene and they all work seamlessly. I challenge anyone to sit still and not bop along to this show – by the end of the night the whole audience were waving their arms from side to side, or on their feet dancing!
The set (Soutra Gilmour), lighting (Howard Hudson) and sound (Gareth Owen) design were all brilliant for this touring production and were on-par with the previous West End versions. No glitz and glam has been lost by bringing this production to local theatres; there were still bright flashing lights, a great sound system and various set pieces such as chandeliers descending from the ceiling!
Whilst the music and staging are brilliant, it is the stand-out cast that bring this show to life, alongside the live band. Gerardine Sacdalan was born to play Juliet! She is an absolute force, delivering flawless vocals alongside energetic choreography with a vibrance that was truly mesmerising. She looked like she was living her best life and I can’t sing her praises enough!
Lara Denning (Anne) was another standout performance, providing powerhouse vocals and incredible acting skills with perfect comedic timing. She had the audience captivated with her rendition of That’s The Way It Is and truly captured the emotion of the song. Jordan Broatch (May) also delivered beautiful vocals, especially during I’m Not A Girl, Not Yet A Woman.
Liam Morris stepped in to cover the role of Romeo at this press evening and did a great job. While his vocals were not as outstanding as his peers, he made up for that with his great comedic timing, pulling off Romeo’s inflated ego a little too well!
Ranj Singh, better known as TV’s Dr Ranj, makes his musical theatre tour debut in & Juliet as Lance, and I was pleasantly surprised at his vocal skills! That being said, his French accent (if you can call it that) could do with a little more workshopping. Jay McGuiness delivered an emotional yet comedic performance as Shakespeare, though for me he was not the strongest vocalist of the evening. Kyle Cox (François, aka Frankie The Boy) and Sandra Marvin (Angeliqué) also delivered great vocals and comedic performances, alongside the entire ensemble who helped bring the show to life.
& Juliet is a feel-good show that’s full of catchy well-known songs, delivered by an incredibly talented cast that are truly at the top of their game. & Juliet is absolutely worth a trip to the theatre – you won’t be disappointed!
Due to overwhelmingly popular demand, The Royal Lyceum Theatre Edinburgh, Caledonia Productions and Gavin Kalin Productions today announce a two week extension of brand-new musical Wild Rose, written by Nicole Taylor (One Day, Three Girls, The C Word, The Nest) and directed by John Tiffany (Harry Potter and the Cursed Child, Black Watch).
Wild Rose – one of the most anticipated productions to première at The Royal Lyceum Theatre, Edinburgh – will now run until 19 April 2025. Tickets for previews and weekends throughout the run, are already flying out the door, with best availability remaining on weekdays. The extension is now on sale.
The production begins its life in Scotland where the piece is set, opening at The Royal Lyceum Theatre in Edinburgh in 2025. Based on the critically acclaimed award-winning film of the same name written by Taylor, directed by Tom Harper and produced by Faye Ward (Fable Pictures), the production opens on 14 March, with previews from 6 March, and now runs until 19 April.
Released to critical acclaim in 2018, the film, blessed with an incredible soundtrack, won the BAFTA Scotland Award for Best Feature Film, Best Writer for Nicole and Best Actress for Jessie Buckley – the latter was also nominated for a BAFTA Film Award. It was nominated and won several other awards, including 10 Independent Film Award nominations, winning the Best Independent Film Award for Best Music; as well as several awards for Best Original Song for Glasgow (No Place Like Home) including the Critics’ Choice Award.
The Royal Lyceum Theatre Edinburgh, Caledonia Productions and Gavin Kalin Productions present
WILD ROSE
A NEW MUSICAL
By Nicole Taylor
Director John Tiffany; Choreography Steven Hoggett & Vicki Manderson; Set Design Chloe Lamford;
Costume Design Katrina Lindsay; Lighting Design Jessica Hung Han Yun; Sound Design Tony Gayle;
Music Supervision, Orchestration and Arrangements Sarah Travis & Davey Anderson;
Video Design: Lewis den Hertog; Casting Director Charlotte Sutton CDG and Children’s Casting Director Kahleen Crawford Casting
Executive Producers: Faye Ward of Fable Pictures and Nia Janis of Playful Productions
6 March – 19 April
SING YOUR OWN SONG.
There is only one thing in Rose-Lynn’s life that has ever made sense: country music.
Fresh out of jail for past mistakes, and bursting with incredible raw talent, charisma and cheek, the free-spirited Rose-Lynn dreams of escaping Glasgow to make it as a singer in Nashville.
But her mother Marion has had a bellyful, insisting that she settle down, ditch the fantasy, and focus on raising her two young kids.
Rose-Lynn reluctantly agrees to take a cleaning job and finds an unlikely champion in her new boss Susannah, bringing her dream closer than ever. Now Rose-Lynn must decide if risking everything will really pave the road to Nashville.
From Nicole Taylor, BAFTA-winning writer of the original film and global sensation One Day, and renowned director John Tiffany (Harry Potter and the Cursed Child, Once),Wild Rose is an uplifting and heartwarming new musical about motherhood, dreams and finding your three chords and the truth.
This world premiere production will feature songs from country music legends including Dolly Parton, Carrie Underwood, Wynonna Judd, Chris Stapleton, Caitlyn Smith, The Chicks, and Patty Griffin, alongside the film’s award-winning original song Glasgow (No Place Like Home).
Based on the film written by Nicole Taylor, directed by Tom Harper and produced by Faye Ward for Fable Pictures.
Dawn Sievewright returns to The Royal Lyceum Theatre, where she previously appeared in Twelfth Night (also Bristol Old Vic). Sievewright received critical acclaim and an Olivier Award nomination for her role in Our Ladies of Perpetual Succour – an NTS production which also played at Live Theatre, National Theatre and in the West End at the Duke of York’s Theatre. Her other theatre credits includes A Midsummer Night’s Dream (RSC), No Love Songs (Dundee Rep and Traverse Theatre), The Welkin (National Theatre), Spuds (A Play, A Pie and A Pint), My Left/Right Foot (NTS), Pinocchio (National Theatre), The A-Z of Mrs P (Southwark Playhouse), Glasgow Girls (Theatre Royal Stratford East, National Theatre of Scotland, Citizens Theatre), Legally Blonde (Savoy Theatre) and Quadrophenia (UK tour). Her television credits include The Undertow, Shetland and Star Wars: Andor; and for film Man & Witch and Never Seen the Sea.
Acclaimed screenwriter Nicole Taylor’s credits for television include Three Girls (which won five BAFTAs including for Best Writer and Best Mini Series), The C Word and The Nest. She most recently adapted David Nicholls’ novel One Day into a critically acclaimed smash-hit 14-part series for Netflix. For film, Nicole wrote the multi-award-winning Wild Rose.
John Tiffany studied Theatre and Classics at Glasgow University. He trained at the Traverse Theatre and has been an Associate Director at the National Theatre of Scotland and the Royal Court. For his work on Harry Potter and the Cursed Child, John received Tony and Olivier Awards. He directed Once at NYTW and on Broadway, for which he received a Tony Award. For the Royal Court, his work includes Road, Hope, and The Pass. For the National Theatre of Scotland his work includes Black Watch, for which he received an Olivier Award, Let the Right One In (also West End and international tour),Macbeth (also Broadway), Enquirer, The Missing, Peter Pan and The Bacchae. Other credits include The Glass Menagerie at American Repertory Theater (also Broadway, EIF and West End) and The Ambassador at BAM. Tiffany was a Radcliffe Fellow at Harvard University in the 2010-11 academic year.
