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UK TOUR DATES ANNOUNCED FOR

ROBERT ICKE’S PRODUCTION OF

PLAYER KINGS

ADAPTED FROM SHAKESPEARE’S HENRY IV, PARTS 1 & 2

STARRING IAN MCKELLEN, TOHEEB JIMOH AND RICHARD COYLE

Ambassador Theatre Group Productions today announce Player Kings, adapted and directed by Robert Icke from William Shakespeare’s Henry IV, Parts 1 and 2 is to go on a UK tour following its West End run at the Noël Coward Theatre, 1 April – 22 June 2024

The production will visit Bristol Hippodrome (3 – 6 July 2024),  Birmingham Alexandra (10 – 13 July 2024), Norwich Theatre Royal (17 – 20 July 2024) and Newcastle Theatre Royal (24 – 27 July 2024).

Ian McKellen said today, “Player Kings is a version of Shakespeare’s most English plays. So I am glad we are bringing our production across the country which they celebrate.”

Ian McKellen – ‘one of the world’s greatest actors’ (Times) – plays Falstaff in a new version of Shakespeare’s Henry IV, adapted by the award-winning writer and director Robert Icke. 

A divided country, leadership crumbling, corruption in the air. Welcome to England. 

Hal wasn’t born to be king. Only now, it seems, he will be. His father longs for him to leave behind his friends in the taverns of Eastcheap, most notably the infamous John Falstaff. War is on the horizon. But will Hal ever come good?

Bringing together Shakespeare’s two great history plays (Henry IV, parts 1 and 2), Player Kings will reign over London’s West End for twelve weeks only, playing at the Noël Coward Theatre from April, before touring to Bristol, Birmingham, Norwich and Newcastle through July 2024.

The cast comprises Ian McKellen as Sir John Falstaff, Toheeb Jimoh (Ted Lasso & Romeo and Juliet) as Prince Harry and Richard Coyle (Ink & Fantastic Beasts: The Secrets of Dumbledore) as King Henry IV, with Raphael Akuwudike (Prince John), Sara Beharrell (Snare/Davy), Samuel Edward-Cook (Hotspur/Pistol), Geoffrey Freshwater (Bardolph), James Garnon (Worcester/Justice Silence), Alice Hayes (Messenger), Henry Jenkinson (Harcourt), Nigel Lister (Northumberland/Francis) Annette McLaughlin (Warwick), Mark Monero (Peto), Hywel Morgan (Sir Walter Blunt), Joseph Mydell (Lord Chief Justice), Clare Perkins (Mistress Quickly), Daniel Rabin (Poins), David Semark (Sir Richard Vernon), David Shelley (Sheriff), Robin Soans (Justice Shallow), Tafline Steen (Doll Tearsheet/Lady Percy) and Perry Williams (Douglas/Prince Thomas) completing the cast.

Set and Costume Designer: Hildegard Bechtler; Lighting Designer: Lee Curran; Sound Designer: Gareth Fry; Casting Director: Julia Horan CDG; Fight Director: Kev McCurdy; Associate Costume Designer; Johanna Coe; Hair and Make-up Designer: Susanna Peretz; Associate Directors: Jack Bradfield and Lizzie Manwaring

Produced by Ambassador Theatre Group Productions, Gavin Kalin Productions, No Guarantees and David & Hannah Mirvish, Rupert Gavin & Mallory Factor Partnership, and Sayers & Sayers Productions.

www.playerkingstheplay.co.uk

Facebook | Instagram | X: @playerkingsplay

LISTINGS

PLAYER KINGS

Box Office: www.playerkingstheplay.co.uk

Manchester Opera House

Until 23 March 2024

On sale now

Noël Coward Theatre

1 April – 22 June 2024

On sale now

Bristol Hippodrome

3 – 6 July 2024

ATG+ Presale: 21 March at 10am

General on sale: 22 March at 10am

Birmingham Alexandra

10 – 13 July 2024

ATG+ Presale: 21 March at 10am

General on sale: 22 March at 10am

Norwich Theatre Royal

17 – 20 July 2024

Priority booking: From 25 March at 10am

General on sale: 29 March at 10am

Newcastle Theatre Royal

24 – 27 July 2024

Friends Booking: 17 April at 10am

General on sale: 25 April at 10am

Leeds Grand Theatre – until 23 March 2023

3***

The Drifters Girl takes us through the life of the band under the management of Faye Treadwell through to a major court case about the ownership of The Drifters’ brand. Told retrospectively, with very minimal staging, starting off outside the courthouse taking us back through the band’s history using Faye’s daughter Tina, who had the original idea for the musical, as the guide to the story

The band seemed to have an ever revolving door with members, with some lasting for just one show, so there’s a lot of story to be told. But, with so much ground to cover, it’s unsurprising that the narrative skips lightly through the band’s history. Whilst you get a strong flavour of the band, its evolution, and its challenges, there’s very little emotional or dramatic heft to the story. Some major parts are given a little more focus but far from enough considering their subject matter. Gender, colour, and sexuality are all touched upon but never given the depth of attention these subjects deserve.

The use of Tina (Jayden Bell-Ricketts) to drive the narrative forward is an interesting device, but the mother/daughter relationship is never built upon, so that some of the show’s emotional focal points end up lacking any real emotion.

Where the show shines, however, is in the performances. I was looking forward to seeing Carly Mercedes Dyer in the role of Treadway, after interviewing her earlier in the run.  However, her absence meant we had the pleasure of Loren Anderson in the main role, her performance was bold, sassy, but for me, a bit reserved. But what the script failed to deliver in emotional engagement, Anderson made up for in her singing, especially during Harlem Child

Alongside her are true stars of the show, namely The Drifters. However EVERY male character is played by the same four actors – Miles Anthony Daley, Ashford Campbell, Tarin Frimpong and Daniel Haswell. Either by changing a jacket, hat or just expecting us to guess who they are at that moment, and I wasn’t the only one to find this confusing.  Thankfully in the second act this was remedied with the change of accents too, making things much clearer.

The vocal are outstanding, everyone was note perfect and the live band (Dustin Conrad, James Beal, Eleanor Sandbrook, Dan Taylor, Dan Booth, Bret Vanderburg and Charlie Maguire) was exceptional.

The show is filled to the brim with Drifters songs including Saturday NIght at the Movies, Under the Boardwalk and my favourite There Goes My First Love.  So if you want to hear some outstanding vocals this is the show for you, but if you want to hear about the story of Faye and the Drifters, it might be better to check the internet first.

NB if you get visual disturbance headaches be aware of flashing lights and whilst waiting for the curtain to rise, there is a rotating record which is very discombobulating

Alphabetti Theatre, Newcastle – until 6th April 2024

Reviewed by Sandra Little

3***

Imaginary Friends at Alphabetti Theatre is a solo show written and performed by award winning writer-performer Daniel Bye. Daniel plays the part of a comic struggling to write amusing scripts for his television show.

After being affected by a tragic death, Daniel engages in conversation with, and finds some solace from, a group of imaginary friends. Some of the conversations Daniel has in his imaginary world are with his deceased brother who, we are told, thought people are fundamentally good. In stark contrast other imaginary conversations are with Piers Morgan and Tom Tugendhat. M.P. In these scenarios Jeremy Clarkson and Manic Street Preachers are also mentioned!

This performance which lasts about 1 ¼ hours covers a wide range of topics including government plans to send refugees to Rwanda, references to suicide, the use of artificial intelligence in the modern world. There is also a discussion between Daniel and his imaginary friends on the benefits of the total annihilation of the human race!

Alongside the “conversations” Daniel has with his friends he uses descriptive language effectively to convey a range of scenarios . The image of a cat stalking small birds is a recurring theme in the performance, as is the reaction of a crowd to the sight of someone (maybe Piers Morgan) standing on the ledge of a tall building. There is also a detailed description of an event that takes place on The Underground in London.

Animated storytelling skills and a high energy solo performance raise diverse questions and observations about our relationships, climate change and the extinction of the human race! Dan asks if the death of a loved one is the same as the end of the world for example, he suggests that if the human race was wiped out we would reach net zero quite quickly and also maintains that, “if you let yourself fall people will catch you.” This latest offering from Alphabetti certainly leaves the audience with plenty of thought provoking material.

In terms of props to assist with his delivery, Dan relies on a Costa coffee cup and a Monster Munch crisp packet!

To enable everyone to engage with theatre Alphabetti have a “Pay what you feel” policy for some performances and this policy applies to Imaginary Friends until Saturday 23rd March.

Mayflower Theatre  – until 20th March 2024

Reviewed by Heather Chalkley

4****

Director Olivia Fuchs has taken on one the most complex operas of the 20^th century, combining the genre’s of opera and circus, to create a unique performance that has to be seen to be believed. The score is considered to be Britten’s masterpiece and is brought to life by conductor Leo Hussein. 

A dark story of loss and obsession, lead tenor Marc Le Broc (Gustav Von Aschenbach) takes us on a journey,  through the torment and change in Aschenbach’s search for inspiration. Having lost his creative flow, the acclaimed author flees to Venice. Le Broc (Aschenbach) begins as the embodiment of an upright, calm and controlled German citizen, his body language and musical tone perfectly capturing the change as he falls into an obsessive malady, chaos gradually taking over. The focus of his obsession, Tadzio, is played by NoFit Circus member Antony Cesar, a beautiful golden youth that never speaks or barely notices Aschenbach. Cesar’s (Tadzio) exceptional skill and strength takes your breath away, combining the art of dance and circus to deliver his story. 

The many layers of the piece are delivered by the commanding voices of fellow tenors Roderick Williams and Timothy Morgan. Alongside the ensemble, showing you the darker side of Venetian life and the grip of the plague that eventually takes the life of Aschenbach (Le Broc). Combined with the deliciously fluid performance by NoFit Circus, the two genres fit strangely well together. 

The stripped back set and use of projected images cleverly creates the atmosphere and illusion of Venice. You can focus on the performers without distraction. The final scene is exquisite, depicting the moment when Tadzio swims out into a perfect azure sea, seemingly beckoning Aschenbach to join him and Aschenbach finally dies.

Britten himself was dying when he wrote this piece and it is thought he poured himself into the story. Not an opera for the faint-hearted, certainly one that captivates until the very end. 

Festival Theatre, Malvern – until 23rd March 2024

Reviewed by Courie Amado Juneau

5****

Witnessing the horrific news report of a family drowning at sea whilst fleeing war-torn Syria, Onjali Q. Raúf got busy founding ORAT (O’s Refugee Aid Team) as well as writing the novel The Boy At The Back Of The Class. I didn’t know the work before tonight but judging by the buzz in the foyer I had the feeling I’d been missing out on an important work. How right I was!

The opening set the tone perfectly by evoking the refugee’s challenge in overcoming the sea’s violence (and other impenetrable barriers) depicted in visceral fashion through music and dance. The adaptation (by Nick Ahad) wastes no time in introducing our main characters and straight away I knew this play had an empathetic loveliness at its heart.

In her introduction Alexa (Sasha Desouza-Willock) told us about losing her dad: “…I’m OK with not being OK” she said. A lesson to us all which drew my first tear of the evening. I found her portrayal to be thoroughly likable and engaging, with just the right mix of wide eyed wonder and indignation at the world that a 9 year old would have. Farshid Rokey as Ahmet (the eponymous boy) was also outstanding. He showed enormous emotional range and, like his character, he took us on a real journey.

Frankly, all the cast were amazing. I wish I had triple the word count to give each a congratulatory paragraph, all perfectly capturing those essential childlike qualities. The actor’s all doubled as adults too, with great elan. I’ll briefly mention Abdul-Malik Janneh as Stan the Taxi Man being particularly enjoyable. Also Zoe Zak and Joe McNamara in their multitudinous roles, having real fun as the nasties (Brendan the Bully and Mr Irons) but were charming too as Mr and Mrs Marbles. Gordon Millar’s Frank was hilarious, wasn’t he? Naaaaahh! Trust me, you’ll understand when you see the play. Petra Joan-Athene as Josie (a joyous ball of unstoppable energy), Adam Seridji as Mr Hart (aptly named), Ryan Rajan Mal (as off-stage swing) and Megan Grech as Mrs Sanders each gave their fabulous all and rounded out this perfect casting. Superb use of music and sound effects (from composer Giles Thomas) and an inventive set that evoked a grand scale and multiple, diverse locations (thanks to Set Designer Lily Arnold) also added enormously to the whole experience.

An inspirational play with a simple yet vital message – that kindness is a powerful force which should be deployed often and widely. This message came most prominently, loud and clear, from two of the most important adult characters in the piece; Alexa’s mum and her teacher Mrs Khan, both played by Priya Davdra in a powerhouse performance that drew its quiet authority from her commanding stage presence and beautiful acting. Wonderful!

There’s never been a more relevant social piece for our times. I can’t be the only one who thought it would be a good idea if this were to be played daily at the Houses of Parliament. Thank you to everyone in this fantastic production for introducing me to such a wonderful show. A show that you will carry with you long after you leave the theatre.

Nottingham Theatre Royal – until Sunday 24 March 2024

Reviewed by Amy V Gathercole

3***

Fun for all the family (no matter their age), as the classic alternative fairytale from DreamWorks iis brought to the stage with all the beloved favourites from Donkey (a very charismatic Brandon Lee Sears), Princess Fiona (Joanne Clifton) and of course Gingy the gingerbread man (voiced by Georgie Auckland).

For those who don’t know the film Shrek, it’s a fairytale with a fair few differences that has lots of messaging about acceptance and family. Shrek is a Scottish ogre who is very happy with life, living by himself in his swamp. One day he wakes up to find he’s been invaded by a whole host of fairytale favourites (a very talented ensemble cast featuring favourites like Pinocchio and Big Bad Wolf among many more recognisable characters) as the local Lord Farquaad (James Gillan) has evicted them all from his lovely Duloc.

In order to get rid of these unwanted guests, Shrek embarks on a hero’s quest, alongside the very chatty Donkey to rescue Princess Fiona from a tower. The stage adaptation remains true to the film’s spirit and humour, just with added theatrical flair. Which is at its best in the scenes rescuing Princess Fiona, as we meet Dragon – my favourite costume in the show and the best vocal in the show too, belonging to Cherece Richards.

I’m a huge fan of the film, Donkey being my favourite and that’s the same here. Brandon Lee Sears as Donkey was great; he really kept the energy up throughout the show and that, coupled with the dedication that Antony Lawrence as Shrek goes through each night he performs – it takes over 2 hours for him to get all of the makeup and face cast etc. on!

Interestingly, the musical is 2 hours and the 2001 film is only 90 minutes, so the show has had the opportunity to flesh out some of the characters, add in some new plotlines and in some cases this works really well. For instance, Joanne Clifton is well known as a professional dancer (she previously won Strictly Come Dancing), so Princess Fiona is given her own elongated dance number alongside the ensemble. Where it doesn’t work so well is with adding more time to Lord Farquaad, I was never quite sure how to take his character; he’s less evil than in the film but that almost takes away his agency and you don’t quite believe he’s the villain.

The show thankfully features lots of the best and most memorable lines from the film. Sadly, as is the case when a lot of films are re-created for the stage, the music doesn’t get to come along with it, so don’t expect to find Smash Mouth’s famous ‘All Star‘ in the infamous swamp scene. But there is a bit of a party at the end of the show for the audience to join in with an equally well-known song.

The set is truly modern in the sense that it’s a combination of physical set pieces and digital projection throughout our journey into this storybook fantasy world.The costumes were fun and detailed and really catered to each and every character in every colour you can imagine too.

The style of the show is a little bit panto, and the production may not consistently convey the polished feel of a professional show at all times, but it certainly has its moments where the quality and dedication shine through.

I did love that making the songs original allowed the opportunity for some more modern takes to be created, such as ‘Freak Flag’ – an ensemble number where all the fairytale characters unite and share their feelings about their unique qualities and diversity. It stood out as an anthem of acceptance, which is a great message for younger audience members especially.

“Fun for all the family (no matter their age)!”

Aylesbury Waterside Theatre – until 23 March 2024

Reviewed by Susan Portman

5*****

Following the death of a much-loved husband, a group of ordinary women in a small Yorkshire Women’s Institute are prompted to do an extraordinary thing and set about creating a nude calendar to raise money for charity.

But upturning preconceptions is a dangerous business and none of the women are prepared for the emotional and personal ramifications they will face as the fabulous and funny calendar brings each woman unexpectedly into flower.

The story of the Calendar Girls launched a global phenomenon: a million copycat calendars, a record-breaking movie, stage play and now a musical written by Gary Barlow and Tim Firth which coined the term “craughing” – the act of crying and laughing at the same time!

With unforgettable songs, every performance continues to add to the millions already raised for Blood Cancer UK and prove that there is no such thing as an ordinary woman.

Calendar Girls the Musical brings together a stunning cast of music, stage, and television stars. Laurie Brett (EastEnders), Liz Carney (The Full Monty, The Mousetrap), Maureen Nolan (The Nolans, Blood Brothers), Lyn Paul (The New Seekers, Blood Brothers), Helen Pearson (Hollyoaks), Samantha Seager (Coronation Street) and Honeysuckle Weeks (Foyle’s War) star as the ladies, who turn preconceptions upside down, but are they prepared or the emotional and personal ramifications they will face as they each come in to bloom?

As I took my seat, I knew that this show would be very emotional for me, centred as it is around cancer and loss. I also have cancer, and I have never let it dominate my life so I really wanted to see this. As I held hands with my husband, the curtain rose to reveal a truly remarkable stage set which is best described as a replica of the inside of a Methodist Church Hall – the very kind that a group such as the Women’s Institute would meet. Credit straight away to the team who created it. It was beautifully lit and the backdrops were amongst the best I have ever seen, from instantly ‘creating’ the inside of a hospital ward to driving along the M1 motorway – yes folks, if someone can dream it, others can do it. It was simple but brilliant as many of the very best ideas are. Scene changes were made by the actors in a clever and seamless manner.

I am writing this review from a slightly unusual perspective. I don’t want to pick out one or two cast members as being ‘the best’ because they were all so good that each must have their fair share of the praise. The seven actresses (for that is what I still call them) not only delivered a beautiful, poignant show, they clearly loved working together, and sparked off one another, which in turn infected the audience who sat laughing and even crying (a few tears were shed) watching the story unfold.

For me it did not matter who had previously starred on what TV programme, or who has been in other plays, it was about this performance in front of me tonight. The whole show has a gorgeous gentle British humour, filled with laughter and sadness – brimming over with pathos throughout. Many of the best one-liners were delivered by the ‘older’ of the characters Jessie, played by Lyn Paul. She spoke for many of us ‘older ones’ with a wise head. Her timing was spot on. I particularly enjoyed the exchanges between Samantha Seager (Chris) and Laurie Brett (Annie) because they just looked as if they were best friends and it never felt at any moment that they were acting. Seager delivered with childlike energy and confidence, and the two seemed to inspire one another to deliver the best they could for the audience – and they did.

Liz Carney, Maureen Nolan, Helen Pearson and Honeysuckle Weeks were all equally excellent in their roles too. Nolan (Ruth) and her scene wit her ‘Russian friend’ a bottle of vodka was tremendous and all of them – the whole cast – filled the theatre with their wonderful singing voices accompanied by a first-class band (Director Jordan Alexander) and some subtle lighting effects.

There were two male players in this show. Colin R Campbell played John Clarke or ‘Clarkie’ and he, as the husband of Annie delivered a hugely thought-provoking and polished performance which would see his character perish from cancer in the first Act. The way that he described life, and his precious plants in particular was inspirational and even though this was ‘just a show, his performance was so accomplished that it felt desperate to ‘lose him’ as he finally succumbed to the disease – yet never stopped dreaming of the future, and visiting Tibet.

The audience were gripped with emotion throughout as we saw his gradual decline which the co-writers, Gary Barlow and Tim Firth found an ingenious way to reveal, which I shall leave to people to see for themselves. It felt like we (the audience) had lost a family member – that’s the best testament to his performance that I can give.

Andrew Tuton played Rod, the photographer and of course it was his job to capture the images of the ladies for the calendar. He played his part very memorably too, showing that he was initially rather shy about the idea (he photographed wildlife after all) but growing into the idea and finally capturing the images in a very imaginative manner (well done stage team) and one could see that he was trying to do his best for the ladies, his deceased friend and the Institute as a whole. We were all ‘with him’ on his quest and this was down to his excellent performance.

There are many life lessons in this story. We have to accept that grief is the price we pay for love, that time spent with friends and family is incredibly precious and that when we do lose people, life really can still go on – especially when sharing our grief with others. All of this came as a stark reminder only because of the masterful performances and delivery of the cast. As they suggested, plant a seed, then light rain and sunlight will help it grow. Let me be clear, this only worked because every single member of the cast and supporting team worked together. It is testimony to their work and brilliance that I can write this review with very mixed but positive emotional feelings, ready to face my own challenges with cancer with renewed vigour. I thank the cast and ‘crew’ for that gift.

Giving this full marks is as easy as planting a sunflower seed.

Hull New Theatre – until 23rd March 2024

Reviewed by Dawn Bennett

5*****

Hessle Theatre Company brought the music and magic of Gershwin to Hull last night and what a fabulous show it was. The company were formed in 1922 and since 1958 have brought many premier musicals to the New Theatre stage and last night was no exception.

Set in 1930 the story starts backstage at Bela Zangler’s (Ian Appleyard) theatre where Zangler’s Follies have performed their last show of the season. Bobby Child (Ben Bailey) has always wanted to perform on Broadway and sees auditioning for Zangler as the way in, but things don’t go to plan as stamping on Zanglers foot, at the end of his audition, gets him, not surprisingly, rejected!

Bobby is the son of a rich banking family, and his very bossy mother Lottie (Gina Garton) needs Bobby to go to the rundown town of Deadrock, Nevada, and serve a foreclosure notice on the theatre which owes money to the bank. To get away from his mother, overbearing fiancée Irene Roth (Georgia Wormald) and his shattered dreams, Bobby flees New York and arrives in Deadrock.

Deadrock is in cowboy country and Polly Baker (Elinor Kirby) is the only woman within a fifty-mile radius and doesn’t take any nonsense from the men of the town. Her father, Everitt (Kevin Hickson) receives a letter from the bank saying that they are going to repossess his theatre and doesn’t know what he can do to save it.

After meeting Polly and seeing the theatre Bobby pulls in a few favours and gets in touch with Tess (Sarah Brodie) from Zanglers Follies to come to Deadrock to put on a show with the rest of the Follies and save the theatre. We meet the cowboys in Lank Hawkins (Richard Foot) Bar and Hotel and mayhem ensures when the Follies decide to put them in the show with them and try to teach them to sing and dance. The men of the town haven’t seen many women, especially glamorous show girls so it’s a bit chaotic! When Polly realises who Bobby is and what he is doing in Deadrock she rejects him and his plan. Can Bobby and Polly save the theatre, why are there two Bela Zangler’s and will Polly ever see Bobby for the person he really is?

The full cast of this show are outstanding, their singing, acting and dancing were first rate and their comic timing made the whole show very easy to watch. It came across that is had obviously been very well rehearsed and the cast seemed to be enjoying it as much as the audience.

The band, led by musical director Sarah Lucy Penny, were amazing and I hadn’t realised how many of the songs I actually knew. They included “Embraceable You”, “Someone to Watch Over Me”, “I Got Rhythm” and many more.

Hessle Theatre Company absolutely deserve full houses every day for this must-see production, so please go and watch it. You won’t be disappointed!!

The Other Palace, London – until 24 March 2024

Reviewed by Julia Spargo

5*****

A brief one-woman show called Karen featuring feminine rage was always going to pique my interest, but I wasn’t expected to be hit in the face with a tsunami of emotions and universal experience.

Sarah Cameron-West is our unnamed protagonist. She arrives on stage, sucking on a Calippo, as time is called on her four-year relationship by her boyfriend, Joe, on her birthday. The first five minutes are filled with her ensuing emotions as she digests this development and tries to persuade, cajole, and then becomes very, very cross. The rest of this one-hour show follows the aftermath of her break-up, as she realises Joe is leaving her for her office colleague, Karen.

Once I got over my very brief initial discomfort of Sarah Cameron-West unselfconsciously locking eyes on a member of the audience whilst enacting her side of a conversation (and for the break-up scene, that member of the audience was me), I allowed myself to be entertained. And entertained, I was. God, I laughed. I almost think Cameron-West could have done the full show with her facial expressions alone and we still would have enjoyed ourselves. Her initial hysteria at Joe moves on to a (partially true) relaying of the story to her (again, absent) friend, before coming face-to-face with Karen in the workplace. There was no need for other actors. Cameron-West has scripted and produced the show so beautifully the audience misses nothing and is fully involved in every conversation. We’ve all been there; the painful, unexpected break-up. The encounter with the office nemesis. The negative feedback from a boss. The casual but hurtful remark from a family member. So relatable is this story, and so beautiful are Cameron-West’s nuanced reactions, that the humour is there to be enjoyed in abundance. There are moving moments too. The glorious and utterly uninhibited scene of the protagonist prancing around in Karen’s lacy red thong, before screaming with rage in her own beige M&S briefs was particularly poignant.

Staging is minimal. Very few costume changes. A few sound effects, and great use of lighting to highlight the protagonist’s interior monologue as she remains (mostly) calm during an encounter with Karen about a stolen yoghurt. The minimal production leaves us mostly fixated on Cameron-West and her beautiful face. Go and see it, while you can still see it up close in a small venue like The Other Palace. You’re in for a treat.

FULL CAST CONFIRMED FOR THIS SUMMER’S

NEW PRODUCTION AT THE LONDON PALLADIUM

COMPANY LED BY

FOUR-TIME OLIVIER AWARD WINNER

IMELDA STAUNTON

Production also stars ANDY NYMAN,

JENNA RUSSELL, TYRONE HUNTLEY, HARRY HEPPLE & EMILY LANE

The show reunites Imelda with DOMINIC COOKE,

the director of their acclaimed production of Follies

Jerry Herman’s unforgettable score includes

Put On Your Sunday Clothes, Before the Parade Passes By,

It Only Takes a Momentand Hello, Dolly!

Performances begin at The London Palladium on Saturday 6 July 2024

Wednesday 20 March, London: Michael Harrison is thrilled to announce the complete cast for this summer’s new production of Hello, Dolly!, as one of the most iconic musicals of all time comes to The London Palladium.

With an unforgettable score by the legendary Jerry Herman, Hello, Dolly! will begin performances at The London Palladium on Saturday 6 July 2024 for a strictly limited 10-week season (Press Night: Thursday 18 July).

To register for more information, visit www.HelloDollyLDN.com

Multi-Olivier and BAFTA Award-winning Imelda Staunton plays meddlesome socialite turned matchmaker Dolly Levi, as she travels to Yonkers, New York to find a match for the miserly, unmarried ‘half-a-millionaire’ Horace Vandergelder. But everything changes when she decides that the next match she needs to make is for herself.

The production will also star:

Andy Nyman – who will play Horace Vandergelder – is a multi-award-winning actor, writer and director. Most recently he won unanimous acclaim for his memorable portrayal of Tevye in the celebrated production of Fiddler On The Roof at the Menier Chocolate Factory and its subsequent transfer to the Playhouse Theatre.

Nyman’s acting credits include the Royal Court production of Hangmen and the West End hit Ghost Stories, which he also created and starred in the film adaptation. His various TV roles include Winston Churchill in Peaky Blinders and he has frequently collaborated with illusionist Derren Brown, co-writing and co-directing four of his stage shows.

Olivier Award winner Jenna Russell will play Irene Molloy. Jenna recently starred in the UK premiere of The Bridges of Madison County. She won an Olivier Award for Best Actress in a Musical in 2006 for her performance in Sunday In The Park With George at the Menier Chocolate Factory (a performance she later reprised on Broadway) and was nominated for her work in the Menier’s 2012 revival of Merrily We Roll Along. She also appeared in the acclaimed, London premiere production of Fun Home the Young Vic.

Tyrone Huntley, who will play Barnaby Tucker. Tyrone was nominated for an Olivier Award for his performance as Judas in the widely acclaimed production of Jesus Christ Superstar at Regent’s Park Open Air Theatre. He was also previously in the original London casts of Dreamgirls and The Book of Mormon.

Harry Hepple, who will play Cornelius Hackl, has previously performed in Follies at the National Theatre and Romantics Anonymous at Bristol Old Vic.

The production today announces that Emily Lane (Frozen, Theatre Royal Drury Lane) will play Minnie Fay.

The full company includes: Leo Abad, Craig Armstrong, Lindsay Atherton, Gemma Atkins, Alan Bradshaw, Jabari Braham, Kevin Brewis, Jenni Bowden, Daisy Boyles, Samara Casteallo, Olly Christopher, Brendan Cull, Hayley Diamond, Jacqueline Hughes, Ashlee Irish, Jodie Jacobs, Shirley Jameson, Paul Kemble, Emily Langham, Michael Lin, Amira Matthews, Laura Medforth, Matt Overfield, Tom Partridge, Wendy-Lee Purdy, Edwin Ray, Phil Snowden, Kraig Thornber, Gavin Wilkinson and Liam Wrate.

With music and lyrics by Jerry Herman (La Cage aux Folles, Mack and Mabel, Mame) and book by Michael Stewart (42nd Street, Mack and Mabel, Barnum), Hello, Dolly! is one of the most iconic musicals of all time. Jerry Herman’s timeless score includes ‘Put On Your Sunday Clothes’, ‘Ribbons Down My Back’, ‘Before the Parade Passes By’, ‘Elegance’, ‘It Only Takes a Moment’ and of course, ‘Hello, Dolly!’.

This brand-new production reunites Imelda with director Dominic Cooke,following their spectacular, critically acclaimed production ofStephen Sondheim’s Follies at the National Theatre.

Hello, Dolly! also reunites Imelda Staunton with producer Michael Harrison. Their production of Gypsy at the Savoy Theatre was awarded the Olivier Award for Best Musical Revival, and for which Imelda also won the Olivier Award for Best Actress In A Musical for her acclaimed portrayal of Momma Rose.

Hello, Dolly! is produced by Michael Harrison, Gavin Kalin, Aaron Glick, Creative Partners Productions, Jonathan Church Theatre Productions, Crossroads Live and Jake Hine.