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Yvonne Arnaud – until Saturday 19^th October 2024

Reviewed by Heather Chalkley

5*****

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.

Cambridge Arts Theatre, Cambridge until Saturday 19^th October 2024

Reviewed by Steph Lott

5*****

On October 14, 2024, the Cambridge Arts Theatre played host to a delightful and unconventional production of WS Gilbert and Arthur Sullivan’s operetta, “The Pirates of Penzance” This all-male rendition, directed by Sasha Regan offered a fresh perspective on the timeless tale of duty, love, and, of course, piracy!

I will state from the off that I am not at all expert in Gilbert and Sullivan’s operas, so please forgive any amateurish errors! However, I will say that the whole piece from start to finish was wonderfully entertaining. From the moment the curtain rose, the all-male cast tackled both male and female roles with gusto, showcasing not only their impressive vocal ranges but also their ability to inhabit characters across the gender spectrum. This unique approach added an extra layer of comedy and intrigue to WS Gilbert’s fabulously witty libretto and Arthur Sullivan’s pretty melodies and harmonies.

 Cameron McAllister perfectly captured Frederic, the pirate apprentice torn between duty and desire, with a charming naive earnest portrayal.

In a true tour de force performance, Luke Garner-Greene took on the role of Mabel, one of the Major-General’s daughter. Garner-Greene’s ability to sing this soprano role seemed astonishing to me. He hit the stratospheric notes of “Poor Wandering One” with apparent ease. His ability to switch between his natural register and a convincing soprano was a testament to his vocal prowess and versatility. I was astonished to find this was his professional stage debut!

David McKechnie brought down the house as Major-General Stanley. His rapid-fire delivery of the iconic patter song “I Am the Very Model of a Modern Major-General” was a highlight of the evening, with every syllable crisp and clear. McKechnie’s comedic timing was impeccable, drawing plenty of laughs from the audience.

As the Pirate King, Tom Newland exuded charisma and bravado. His rich voice filled the theatre and his swaggering presence commanded attention in every scene. Newland found the perfect balance, embodying the lovable rogue at the heart of the character.

The ensemble deserves special mention for their extraordinary talent and versatility. The gentlemen of the chorus seamlessly transitioned between gruff pirates and demure maidens, their voices blending beautifully in the complex harmonies. The vocal range required to cover both male and female parts was truly impressive, and the cast rose to the challenge admirably.

Lizzi Gee’s choreography was a joy to behold, infusing the production with energy and wit. The dance numbers were executed with precision and flair. The juxtaposition of burly pirates attempting to move stealthily created moments of pure comedic gold and I particularly enjoyed the moustachioed policemen!

The costumes, with Josh Bamling as associate designer, struck a clever balance between period authenticity and theatrical whimsy. The pirates’ attire was appropriately swashbuckling, while the “female” characters’ costumes managed to suggest femininity without resorting to caricature. This nuanced approach to costuming enhanced the production’s playful exploration of gender roles.

All these elements together wove into a cohesive and thoroughly entertaining whole. Regan’s vision respects the source material while finding new ways to surprise and delight the audience. The pacing was spot-on, allowing moments of tenderness and reflection to shine amidst the comedic chaos.

In conclusion, this production of “The Pirates of Penzance” at the Cambridge Arts Theatre was a triumph of creativity and talent. The all-male cast brought a unique energy to Gilbert and Sullivan’s classic, their vocal performances were consistently strong, and the production values were top-notch. For both newcomers to the world of operetta and die-hard G&S fans, this swashbuckling spectacle offered a fresh and thoroughly enjoyable evening of theatre

GARY OLDMAN STARS IN

SAMUEL BECKETT’S KRAPP’S LAST TAPE

AT YORK THEATRE ROYAL

YTR DIRECTOR’S CIRCLE PRIORITY BOOKING OPENS FROM 6 NOVEMBER

YTR MEMBERS PRIORITY BOOKING OPENS FROM 11 NOVEMBER

PUBLIC BOOKING OPENS 16 NOVEMBER

York Theatre Royal today announces that Gary Oldman will return to the theatre where he began his career in Samuel Beckett’s seminal work, Krapp’s Last Tape. The production begins previews on 14 April, and runs until 17 May 2025.

CEO Paul Crewes said today, “When Gary visited us at the beginning of the year, it was fascinating hearing him recount stories of his time as a young man, in his first professional role on the York Theatre Royal stage. In that context when we started to explore ideas, we realised Krapp’s Last Tape was the perfect project. I am very happy that audiences will have this unique opportunity to see Gary Oldman return to our stage in this brand new production.”

With tickets from £25, priority booking for the YTR Director’s Circle opens on 6 November at 1pm, with YTR Members priority booking from 11 November at 1pm, and public booking opens on 16 November at 1pm.

To become a member and access priority booking: https://www.yorktheatreroyal.co.uk/support-us/.

Krapp’s Last Tape completes York Theatre Royal’s Spring Season joining the previously announced co-production with Wise Children of North by Northwest.

A YORK THEATRE ROYAL PRODUCTION

Gary Oldman in

KRAPP’S LAST TAPE
by Samuel Beckett

14 April – Sat 17 May 2025

Tickets from £25

Each year, on his birthday, Krapp records a new tape reflecting on the year gone by.

On his 69th birthday, Krapp, now a lonely man, is ready with a bottle of wine, a banana and his tape recorder. Listening back to a recording he made as a young man, Krapp must face the hopes of his past self. 

Gary Oldman returns to the stage in Beckett’s one-act masterpiece at York Theatre Royal in spring 2025. 

Samuel Beckett (1906 – 1989) was an Irish writer, dramatist and poet. He wrote in both English and French, and his principal works for the stage also include Endgame, Krapp’s Last Tape and Waiting for Godot. He was awarded the Nobel Prize for Literature in 1969.

Academy Award, BAFTA, SAG, BIFA and Golden Globe winner, Gary Oldman returns to York Theatre Royal where he began his professional career in 1979. He worked in the theatre for several years, from 1985 through 1989 working extensively at the Royal Court Theatre. 

With a career spanning over 30 years, winning acclaim, and every award a screen actor can win, appearing in record breaking blockbusters, playing iconic characters, Oldman is not only regarded as one of the foremost cinema greats of all time, but is one of the highest grossing actors in film history.

His many iconic screen appearances include Winston Churchill in Darkest Hour – for which he received the 2018 Academy Award as the Best Actor, the BAFTA Award as Best Actor, and also the Golden Globe, SAG Award and the Palm Desert Award, among many others; Sirius Black in the Harry Potter franchise, Commissioner Jim Gordon in Batman Begins, The Dark Knight and The Dark Knight Rises.

Other acclaimed and memorable screen appearances include Tinker, Tailor, Soldier, Spy (Academy Award and BAFTA nominations), Mank (Academy Award and Golden Globe Award nominations), Oppenheimer, The Book of Eli, Meantime, The Firm, Sid and Nancy, Prick Up Your Ears, Rosencrantz and Guildenstern Are Dead, State Of Grace, JFK, Bram Stoker’s Dracula, Romeo Is Bleeding, True Romance, Leon/The Professional, The Fifth Element, Immortal Beloved, and Dawn of the Planet Of The Apes, among many others.

Directors he has worked with include Stephen Frears, Oliver Stone, Frances Ford Coppola, Luc Besson, Alfonso Curon, Chris Nolan, Tony Scott, Ridley Scott, Steven Soderbergh, David Fincher, and Paulo Sorrentino.

In 1995 Oldman and producing partner Douglas Urbanski founded a production company, which produced Oldman’s screenwriting and directorial debut, the highly acclaimed Nil By Mouth, which won nine of seventeen major awards for which it was nominated. It was selected to open the main competition for the 1997 50th Anniversary of the Cannes Film Festival, for which Kathy Burke won Best Actress. The same year Oldman won the prestigious Channel Four Director’s Prize at the Edinburgh Film Festival, in addition to winning the British Academy Award (shared with Douglas Urbanski) for Best Film and also the BAFTA for Best Original Screenplay, which he also wrote.

Currently Oldman appears in the hugely acclaimed hit Apple TV+ series, Slow Horses, for which he has been nominated for the BAFTA, the SAG Award and a Golden Globe.

Listings 

YORK THEATRE ROYAL

St Leonard’s Place, York YO1 7HD

Box Office: 01904 623568

ALADDIN

3 December 2024 – 5 January 2025

BLACK IS THE COLOR OF MY VOICE

26 February

CAPULETS AND MONTAGUES

1 March

SHAKESPEARE’S SONGS

28 February – 1 March

NORTH BY NORTHWEST

York Theatre Royal

18 March – 5 April

HOME Manchester

29 April – 10 May

Liverpool Playhouse

20 – 24 May

https://www.everymanplayhouse.com

KRAPP’S LAST TAPE

14 April – Sat 17 May 2025

FULL CAST ANNOUNCED FOR

BAT OUT OF HELL – THE MUSICAL

2025 UK TOUR

The producers of the Award-winning Bat Out Of Hell – The Musical, featuring Jim Steinman and Meat Loaf’s greatest hits, are delighted to announce the full cast joining the 2025 UK tour. Performances will begin on 6 January 2025 at Edinburgh Playhouse, running through to 20 September 2025 in Northampton.

Joining the previously announced Glenn Adamson as Strat, Katie Tonkinson as Raven, Rob Fowler as Falco and Sharon Sexton as Sloane will be Georgia Bradshaw (A Night With Janis Joplin, Peacock Theatre) as Zahara, Ryan Carter (Ain’t too Proud, West End) as Jagwire, Carla Bertran (Jesus Christ Superstar, UK Tour) as Tink, Luke Street (Jesus Christ Superstar, UK Tour) as Ledoux and Carly Burns (Rehab The Musical) as Valkyrie. 

Completing the cast are Leo Abad (Hello Dolly, West End), Peter Camilleri (MAMMA MIA! UK & International Tour), Joshua Dever (Mrs Doubtfire, West End), Reece Duncan (Rock of Ages, UK Tour), Georgia Holland (We Will Rock You, UK Tour), Georgia Iudica-Davies (Heathers, The Other Palace), Natalie Pilkington (SIX the Musical, UK Tour), Harriet Richardson-Cockerline (ITV’s Starstruck), Sophie-Rose Emery (Lead vocalist for Aida Cruises), Catherine Saunders (SuperYou, Leicester Curve), Ethan Tanner (The Boybands, UK Tour), Craig Watson (Cruel Intentions, The Other Palace), James Wilkinson-Jones (An Officer and a Gentleman The Musical, UK & Ireland Tour) and Beth Woodcock (The Rocky Horror Show, International Tour). 

At certain performances the role of Strat will be played by Luke Street, the role of Falco by Joshua Dever, the role of Sloane by Beth Woodcock and the role of Ledoux by Reece Duncan.

Inspired by the spectacular arena tour of Australia and New Zealand, this reimagined show promises to be a thrilling experience, featuring a dynamic eight-piece rock band on stage and sprawling multi-level platforms that will transport you through the diverse worlds of Bat Out of Hell, and featuring some of the most iconic rock songs ever recorded!

Bat Out Of Hell – The Musical wowed critics and public alike when it played limited seasons at Manchester Opera House, London Coliseum and London’s Dominion Theatre. The musical also had successful runs in Canada, Germany and New York, a residency in Las Vegas and the international tour took the show to the UK, Ireland, Germany, Australia and New Zealand. Bat Out of Hell – The Musical won the Radio 2 Audience Award for Best Musical at the Evening Standard Awards and was nominated for 8 WhatsOnStage Awards, including Best New Musical.

Bat Out of Hell became one of the best-selling albums in history, selling over 68 million copies worldwide.  16 years after the release of the original album, Steinman scored again with Bat Out of Hell II: Back into Hell, which contained the massive hit I Would Do Anything for Love (But I Won’t Do That).

For the stage musical, the legendary and award-winning Jim Steinman incorporated iconic songs from the Bat Out of Hell albums, including You Took the Words Right Out of My Mouth, Bat Out of Hell, I Would Do Anything for Love (But I Won’t Do That) and Two Out Of Three Ain’t Bad, as well as the previously unreleased song What Part of My Body Hurts the Most.

As the Lost boys and girls flee into the tunnels below the city from its ruler Falco, his teenage daughter Raven locks eyes with fearless leader of the Lost, the immortal Strat, and the immensity of their love-at-first-sight-obsessions threaten to destroy both of their families. Experience the thrill of the electrifying songs of Jim Steinman and Meat Loaf’s epic collaboration: “Bat Out of Hell.”

Bat Out of Hell – The Musical has book, music and lyrics by Jim Steinman, direction by Jay Scheib, with musical supervision and additional arrangements by Michael Reed, additional choreography by Xena Gusthart, set and costume design by Jon Bausor, original wig designs by Linda McKnight, video design by Finn Ross, lighting design by Patrick Woodroffe, sound design by Gareth Owen, orchestrations by Steve Sidwell, original casting by David Grindrod CDG, UK Tour casting by Anne Vosser and General Management by Julian Stoneman & Jack Maple for MPSI Ltd.

The West End & UK Tour of Bat Out of Hell – The Musical is produced by Michael Cohl, Tony Smith & David Sonenberg with executive producer Julian Stoneman.

Website:  BatOutOfHellMusical.com

Instagram, X & Facebook: @BatTheMusical

2025 TOUR SCHEDULE

6 – 11 January                                   Edinburgh Playhouse

                                                           atgtickets.com/edinburgh

13 – 18 January                                 Portsmouth Kings Theatre

                                                           kingsportsmouth.co.uk

20 – 25 January                                 Liverpool Empire Theatre

                                                           atgtickets.com/liverpool

27 January – 1 February                   Bromley, Churchill Theatre

                                                           churchilltheatre.co.uk

3 – 8 February                                   Cardiff New Theatre

                                                           trafalgartickets.com/new-theatre-cardiff

10 – 22 February                               Birmingham The Alexandra

                                                           atgtickets.com/venues/birmingham

24 February – 8 March                      Manchester Palace                                 

                                                           atgtickets.com/venues/manchester

10 – 15 March                                    Aberdeen His Majesty’s Theatre

                                                           aberdeenperformingarts.com

17 – 22 March                                    Peterborough New Theatre

                                                           newtheatre-peterborough.com

31 March – 5 April                             Cheltenham Everyman

                                                           everymantheatre.org.uk

7 – 19 April                                         Glasgow King’s Theatre

                                                           www.atgtickets.com/glasgow

21 – 26 April                                       Leeds Grand Theatre                                                                   0113 243 0808

                                                           leedsheritagetheatres.com           

28 April – 3 May                                 Sheffield Lyceum                                                                         On Sale Soon

                                                           sheffieldtheatres.co.uk

5 – 10 May                                         Woking New Victoria Theatre

                                                           atgtickets.com/new-victoria-theatre

12 – 17 May                                       Plymouth Theatre Royal

                                                           theatreroyal.com

21 May – 7 June                                London Peacock Theatre

                                                           sadlerswells.com

9 – 14 June                                        Leicester Curve

                                                           curveonline.co.uk                                                                                                       

16 – 28 June                                      Milton Keynes Theatre

                                                           atgtickets.com/milton-keynes-theatre                                                                        

30 June – 5 July                                Stoke Regent Theatre                                         

                                                           atgtickets.com/stoke                                                                                                  

21 – 26 July                                       Wycombe Swan

                                                           wycombeswan.co.uk

4 – 9 August                                       Southend Cliffs Pavilion

                                                           thecliffspavilion.co.uk

18 – 23 August                                   Sunderland Empire

                                                           atgtickets.com/sunderland-empire

25 – 30 August                                  Dartford Orchard Theatre                                                             01322 220000

                                                           orchardtheatre.co.uk

1 – 13 September                              Bristol Hippodrome

                                                           atgtickets.com/bristol

15 – 20 September                            Northampton Royal & Derngate             

                                                           royalandderngate.co.uk                                                                                             

Further dates to be announced

*Calls cost 7p per minute plus your phone company’s access charge

World renowned vocalist Georgi Mottram 

presents 

Magic of Hollywood

at the Charing Cross Theatre on 3 November 2024

With special guest performers Rob Houchen, Jasmine Faulkner
and Finlay McKillop

Georgi Mottram, international singing sensation and West End star, is set to dazzle London’s Charing Cross Theatre on Sunday 3 November at 5.30pm for one night only, with an unforgettable evening of magical music from Hollywood.

Magic of Hollywood, a concert of the most beloved showstoppers from the silver screen, will feature tunes ranging from Hans Zimmer to the golden days of The Sound of Music, Camelot and more – inviting audiences to relive the magic of these timeless classics.

Georgi will be joined for the evening by acclaimed West End star Rob Houchen, best known for his leading roles in Les Misérables, The Light in the Piazza and South Pacific. With a growing reputation both on the West End and beyond, Rob’s stunning vocals and dynamic stage presence promise to deliver a breathtaking musical journey for all in attendance. 

Classical crossover star Jasmine Faulkner and TikTok sensation Finlay McKillop will also be appearing as Georgi’s special guests. 

A world-class vocalist, Georgi has graced stages from Broadway’s 54 Below to the London Palladium (Camelot). She is a No.1 Classical Charting soprano and Classic Brit Award Nominee and was hailed by ITV as ‘Classical Rising star’. She has captivated audiences globally, and as a billed artist on Last Night of the Proms, West End Proms and the Proms on Thames with the London Symphony Orchestra. With performances for royalty at Windsor Castle, Westminster Abbey and Houses of Parliament, she’s also performed at West End LIVE, BBC’s Friday Night is Music Night and so much more. Georgi’s versatile talent and charisma shines across genres. 

This special performance at Charing Cross Theatre offers a unique opportunity to experience these four powerhouse talents live. 

For more information about Magic of Hollywood, and to book tickets, visit charingcrosstheatre.co.uk/theatre/magic-of-hollywood. 

LISTINGS INFORMATION

Title: Magic of Hollywood

Venue: Charing Cross Theatre, The Arches, Villiers Street, London WC2N 6NL 

Date & time: Sunday 3 November, 5:30pm

Running time: 1 hour 20 minutes, no interval

Tickets: Stalls £22.50, Meet & Greet Front Row £60.00

Box office: charingcrosstheatre.co.uk/theatre/magic-of-hollywood / 08444 930 650

Access information: charingcrosstheatre.co.uk/your-visit/access-information 

Lambert Jackson Presents

SONDHEIM IN THE CITY

IN CONCERT WITH MELISSA ERRICO

AT CADOGAN HALL IN LONDON ON SATURDAY 12 JULY 2025

Tony Award-nominated Broadway superstar, recording artist and author Melissa Errico will bring SONDHEIM IN THE CITY – IN CONCERT to London in 2025, playing for one night only at Cadogan Hall on Saturday 12 July, in a celebration of Sondheim that no musical theatre lover should miss.  Melissa will be joined on stage by Olivier-Award-winning West End legend Julian Ovenden.

Melissa Errico has been praised by the New York Times as “one of Sondheim’s deepest-hearted yet lightest-touch interpreters” while The Wall Street Journal called her 2018 album, Sondheim Sublime, “The best all-Sondheim album ever recorded.”

Her new album SONDHEIM IN THE CITY (Concord), is Melissa’s kaleidoscopic vision of Sondheim’s songs of urban life, which Gramophone magazine said, “takes the musical theatre compilation album to a new level.”

A street fair of New York scenes and moments, it summons back to life the poetic vision of a man who once confessed that his entire creative life had been spent in a twenty-block radius of Manhattan. From the wide-eyed newly-wed for whom a basement room with a quarter-inch view is all that she needs, to the cynical nouveau from New Rochelle who can’t choose between uptown and downtown for her bitter pleasures, Melissa celebrates and embodies New York characters, and their follies, of all kinds – with a clear arc of passage along the way.

From innocence (“What More Do I Need?” and “Another Hundred People”) passing into experience (“The Little Things You Do Together”, “Everybody Says Don’t”) and arriving at the plaintive, bittersweet ambivalence that is Sondheim’s tonic note on “Good Thing Going” and “Sorry-Grateful” and the deeply emotional, and redemptive “Being Alive”, Melissa sings Sondheim as no one else can.

“Sondheim in The City,” Melissa Errico’s tribute to Sondheim’s urbanity, feels like a New York house tour of thrill and heartbreak…You can almost hear the martini glasses clink—and shatter.” – The New York Times

SONDHEIM IN THE CITY – IN CONCERT has arrangements and musical direction by Ted Firth and is produced in London by Lambert Jackson.

Ticket Link: https://cadoganhall.com/whats-on/melissa-errico-sondheim-in-the-city/

Instagram and Facebook: @lambertjacksonproductions

Twitter: @ljprods

Instagram: @melissa_errico_fairymom

CASTING ANNOUNCED FOR

THE UK PREMIERE OF

WRITTEN BY CRAIG WRIGHT
DIRECTED BY IYA PATARKATSISHVILI

RUNNING AT RIVERSIDE STUDIOS
FROM 15 NOVEMBER – 14 DECEMBER 2024

Casting is now complete for the London debut of Craig Wright’s gripping play, The Unseen which will open at Riverside Studios next month.

The cast features BAFTA Cymru Award-winning actor Richard Harrington (Fisherman’s Friends: One and All; Home I’m Darling) as Wallace and Waj Ali (Carnival Row; King Lear) as Valdez, two prisoners incarcerated together, with Ross Tomlinson (Allelujah; This Is Going To Hurt) as Smash, a prison guard.

The Unseen delves into the human spirit’s resilience under oppressive regimes and will be directed by Iya Patarkatsishvili, with set and costume design by Simon Kenny,playing at Riverside Studios from 15 November 2024. Accompanying the play will be a series of post-performance discussions featuring special guest speakers and the UK premiere of international exhibition Faces of Russian Resistance.

Craig Wright’s play, first seen at the Humana Festival in 2007 and subsequently at New York’s Cherry Lane Theatre is a powerful exploration of the human spirit’s capacity for connection, even in the direst of circumstances. It challenges audiences to confront the realities of power, cruelty, and the costs of survival.

In a brutal totalitarian regime, two strangers are imprisoned for reasons unknown. Wallace and Valdez communicate only through their cell walls, navigating waves of hope and disillusionment whilst seeking an escape route.

Finding solace in one another they create their own philosophies in an attempt to assign meaning to their state of confinement. Meanwhile, their torturer finds himself torn between his duty and his own self-revulsion and plans a showdown that will change everything.

GUEST SPEAKERS

A series of post-performance events have been programmed in conjunction with the production, focusing on the play’s themes and contemporary human rights issues. Special guests to be announced, with support from the Russian Democratic Society.

FACES OF RUSSIAN RESISTANCE

Acclaimed exhibition, Faces of Russian Resistance, will make its UK premier at Riverside Studios to coincide with the production of The Unseen. The exhibition focuses on Russians who oppose the Putin regime and paid for it with their freedom. Its heroes are not only politicians who led an open struggle for the freedom of Russia. These are ordinary citizens who did not believe false propaganda and did not accept the invasion to a neighbouring country. There are men and women, young and old, political activists, artists, scientists, students, fathers and mothers. They were all jailed for years, some of them — for decades.
www.politzk.com/en

The Unseen is written by Craig Wright, directed by Iya Patarkatsishvili, has set and costume design by Simon Kenny, lighting design by Anna Watson, sound design by Mike Walker with James Robert Moore as associate director. The composer is Danny Short, who also executive produces alongside, Peter Huntley and Callum Runciman for Smart Entertainment.

Waterloo East Theatre – until 26 October 2024

Reviewed by Claire Roderick

4****

After a run at Theatre at the Tabard last year, Peter Hamilton’s tragicomedy comes to Waterloo east with a new director and new cast.

When Ashley Davenport’s (Richard Linnell) never-ending gap year took him to India, he came face to face with Yama, King of Death (Tanya Katyal) and decides to turn his back on life and embrace death. Booking himself into the exclusive Gethsemane Garden Village Retirement Home, he is met with incredulity by the staff and residents – but money talks – so Ashley becomes the newest resident at the ripe old age of 24.

The comfortable but repetitive, institutionalised lives of the elderly residents as they reminisce about past lives and fatalistically look to the future are at odds with the staff – undocumented immigrants who share their stories of abuse and captivity from their perilous entry to the UK. Hamilton plays with culture clashes between teenagers and the elderly, the entitlement of the rich compared to those struggling to survive in a cruel and unfair world, and whimsical riffs on happiness, life, and death.

All these threads felt a little disconnected in the previous production, but director Ross McGregor uses music and movement with the entire cast to create a mystical feel and a more coherent play. James Maxwell’s elephant animation is fantastic, and Lucy Moxon’s design – with a simple screen allowing scenes in different locations to flow almost seamlessly – Johnathan Simpson’s lighting, Alistair Lax and Michael Bird’s sound, and Susie Hamilton and Lucy Ioannou’s art design add layers of weird and wonderful atmosphere, while movement directors Will and Dorie Pinchin create a gentle ritualistic dance of life and death. The addition of Yama, constantly watching and silently influencing the characters helps the plot, making journeys to and returns from the lilac room, and Miguel’s (Ryan Crellin-Simpson) sad choice more reasonable and emotional.

Richard Linnell is great fun as the entitled and clueless Ashley, bouncing bemusedly off the effusive but tragic Mr Krish (Jamie Zubairi). The residents (the fantastic Ian Crowe, Annette Holland, Sian Howard, and Moray Treadwell) have become less caricatures with more humanity and an underlying melancholy, making their sillier moments much more affecting.

A fun, thought-provoking and thoughtful production about life, death and free will. Well worth a look.