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Lyceum Theatre, Sheffield – until Saturday 17^th February 2024

Reviewed by Carol Crann
 
4****

I had heard very mixed reviews regarding this show, so I was really looking forward to finally seeing it for myself. The set was very impressive, and is a real distinctive feature of the show. It is a full-size kitchen on stage, complete with skylights, and large patio windows at the back which clearly led somewhere, you could tell they weren’t just there for effect. It’s also impossible for your eyes to miss two digital clocks counting down the time – you’re made very aware of those.

As we were taking our seats, we noticed a change in the background music. It started to become a somewhat disturbing cacophony of sound – the suspense building towards a crescendo. What follows caught everyone by surprise.

A loud scream echoed through the theatre and a bright flash of red shone from the lighting surrounding the stage as the rest of the set was plunged into darkness. It set the scene for what became a regular occurrence throughout the whole performance. And, yes, there were screams from the audience every time.

The story opens with Jenny, played brilliantly by Fiona Wade, hearing footsteps in her daughter’s room, at exactly the same time every night. Her husband, Sam (George Rainsford), is working away and she is waiting for him to come home. She has invited an old friend of his and her new partner to dinner. Sam is a real sceptic and constantly looks for the logical reason for why the strange events are taking place in their newly renovated home.

But constant references are made to the previous owners – an elderly couple who had lived there for many years, with the husband having died and left his widow to sell their home. Sam also has a reputation for always being right, much to the annoyance of the rest of the party – and the audience!

Much of the first half is taken up by the interaction between the group. Lauren (Vera Chok) gets steadily drunker as the evening progresses, whilst her partner, Ben (Jay McGuiness), becomes increasingly aware of his working class roots, as the area he was brought up in, is taken over by the trendy rich. To be honest, I struggled somewhat with the first half – it was predominantly watching tensions rising between all of the individuals as they argued about the possibilities of the house being haunted.

Their dialogue was, however, regularly being interrupted by the hideous screams of foxes outside – all of which added to the tension – and the climax of the first half is a mysterious ‘accident’ regarding their daughter’s teddy as it bizarrely ends up covered in white spirit.

The second half gets much more entertaining as emotions start to spill over, and things take a very dark turn when Ben, a believer in the afterlife and the supernatural, suggests a séance. Someone makes themselves known in quite a dramatic way, and from there the evening then takes quite a significant turn which that leaves the audience quite literally gasping with shock.

I expected to be terrified as this is billed as a ghost story, when actually it was more about the relationships between the individuals. So I wasn’t terrified, but what the play is very good at, is keeping you guessing. And that makes for great entertainment. 

It’s definitely worth going to see, but much better if you go without knowing too much about the story, so I’ll leave it there. They do, after all, ask everyone in attendance to keep the climax to themselves – so go find it out for yourself.

Royal & Derngate Northampton – Wednesday 14th February 2024

Reviewed by Amarjeet Singh

5*****

Houdini’s Greatest Escape is not only a Whodunnit, but also a Howdunnit. With a small cast consisting of the amazing Adam Elliott, Kirsty Cox, Lydia Piechowiak and Ben Higgins. This talented troupe converge to play countless characters who bring to life the story of the great Houdini, who, when framed, finds himself having to navigate a great escape of a different kind, that of a ‘wronged man’. Along with his fabulous wife Bess, he must clear his name and avoid getting murdered in the process. Throw in a medium, a mob clan, a mess of a police chief, a travelling circus, a hunk in the woods with a well-honed nose, a few Scots and many more colourful characters and what you have here is the combination for a stunning piece of theatre.

The New Old Friends a touring theatre company has established itself as a true tour deforce, I cannot begin to explain the talent that is contained within this company. It begs belief that there were only four actors on stage, performing, changing sets, changing costumes, and never missing a beat, entertaining the audience at every moment. The quality quartet had us not only following the engaging narrative, but also scratching our heads at how they managed all the quick costume changes, not to mention having us in fits of laughter. The imagination, energy, creativity, charm and of course the magic was off the charts.

Written and directed by Feargus Woods Dunlop, with movement direction from Sam Archer, set design by Caitlin Abbott and costume design by Connie Watson, Houdini’s Greatest Escape is sensational. Nonstop entertainment, well thought-out humour, ranging from visual gags, witty wordplay and the most hilarious skit performed by Adam Elliott, involving 4 characters at once, I still can’t get my head around how he managed it so seamlessly, it really was magic. A special mention goes to Kirsty Cox and Nelly, they truly must be seen to be believed. Inventive, captivating and enthralling, this is a show not to be missed. The genius of this show is that there is something here for everyone. It’s so so clever, especially the inventive ways of utilising the sets. Mystery, mayhem and even a little romance. Throw in some slapstick, appropriate breaking of the fourth wall, super sets, dodgy accents and some literal hair-raising moments and you have a truly exceptional piece of entertainment, not to mention you get to solve a crime. Don’t let this masterpiece of theatre escape you.

Adelphi Theatre, London – February 13 2024

Reviewed by Mandi Riggi

3***

The Rocket Man at the Adelphi was an enjoyable night, exploring the tunes of Elton John, performed by the talented and charming Jimmy Love, who doesn’t take himself very seriously. Close your eyes, and you might think you’re actually at an Elton John concert, except for when the backup singer stops harmonizing and tries to take over the show.

The star of the show is Jimmy Love, who immediately disarms his audience when he introduces himself as a professional Elton John impersonator. He follows this up by promising a terrible evening for those who aren’t Elton fans. After finishing the song “Take Me to the Pilot,” he walks to the edge of the stage and says, “Take me to the toilet.” And so the night continues, filled with songs and spectacle, sprinkled with one-liners that bring laughter.

The audience has a lot of fun singing along, but perhaps these diehard fans don’t fully realise how much the backup singer is trying to make the show about herself. I was particularly taken out of the experience when she began belting over Jimmy Love’s version of “Tiny Dancer.” Front and centre, she claims the stage as her own, when it really belongs to Jimmy, who is the true artist here and doesn’t even need her. It’s his show after all.

The band of musicians is excellent, and the songs are very well presented. However, the imagery on the screen is sadly quite dated, ranging from visuals of fireworks to unoriginal graphics. I couldn’t help but wonder why, during the song “Tiny Dancer,” a feather floats over images of cityscapes from New York and San Francisco. As Jimmy informed us, the song was actually written and dedicated to a woman from Los Angeles, whom the songwriter eventually married.

Overall, everyone seemed to thoroughly enjoy themselves. Personally, I loved Jimmy’s disarming charm and bold singing talent. However, I do hope that the backup singer calms down a bit in the future.

Announcing the first rock musical featuring an original score for 50 years – tickets for the regional performance of Eternal Love: The Musical go on sale. . .

Eternal Love: The Musical
An Original Rock Musical That’s Been 20 Years in the Making!

Is a Lad from Oldham About to Give Sir Cameron Mackintosh and Sir Andrew Lloyd Webber a Run for Their Money!?!

Independent theatre show producer Steve Steinman is on a mission to single-handedly release the West End’s stranglehold on musical theatre!

Tickets for his brand-new production, the vampire-themed Eternal Love: The Musical, went on sale this week at the UK’s leading venues. It’s thought to be the first rock musical featuring an original score for 50 years.

And, despite no West End premiere, it’s going to be a monumental hit – with ticket sales across the regions exceeding all expectations.

Intentionally, Steve Steinman has ensured there will be no glitzy London premiere.

“There’ll be no red carpet, no rent-a-celeb, and no pally-up to the critics,” he says. “I’ll leave all that to Sir Carmeron Mackintosh and Sir Anderew Lloyd Webber. That’s their world.”

The speciality of the Oldham-born, producer/director/performer’s production company – Steve Steinman Productions – is to bring hit touring theatre shows to the masses.

Eternal Love: The Musical is the latest chapter in their Vampires Rock trilogy, and features Steinman once again in the lead role of the nefarious vampire Baron von Rockular.

The production marks the pinnacle of a tough, 35-year music career for the self-made, proud-of-his-Northern-roots, tell-it-how-it-is, entrepreneur. During an impressive, against-all-odds, rise to the top, Steinman has amassed seven million ticket sales, two number one albums and six chart-topping singles.    

With his tongue firmly planted in his fang-filled cheek, Steinman describes his elevation to the heights of producer, director and performer of a sure-fire hit musical ‘a 35-year overnight success’.

“The original Vampires Rock premiered 20 years ago, using the jukebox musical blueprint to become a regional theatre phenomenon,” says Steve.

“Its sequel, Vampires Rock: Ghost Train, fills theatres throughout the country to this day.”

The eagerly-awaited, full-blown pop rock musical Eternal Love opens its nationwide tour in January 2025, and promises to take the Vampires Rock story to its next, successful chapter.

Turning adversity to his advantage is the trademark of Steve’s career – the pandemic being the catalyst for Eternal Love: The Musical.

“Lockdown forced Vampires Rock off of the road,” he says, “providing me with the opportunity to record two hit albums of exceptionally strong original material, which forms the backbone of the new musical’s score.

“Couple to that a fan base that most rock stars would envy, earned from years of constant touring, and I am more than ready for the biggest gamble of my life.

“I would be so bold to say Eternal Love is the first musical to feature original rock compositions combined with an original storyline for 50 years – since The Rocky Horror Show.”

With the promise of a cast of 20 talented performers; choreography by Zena Gushart (MJ the Musical, Bat Out of Hell: The Musical, Footloose, Officer and a Gentleman); live musicians towering over the proceedings; the reprise of popular characters from the two Vampires Rock productions – including Baron von Rockular, The Vampire Queen and Bosley the Janitor; an original score featuring Amazon Rock Chart and iTunes Chart, chart toppers; a storyline that picks up where Vampires Rock Ghost Train ends; and scenery that would make many a West End production blush. . . Eternal Love: The Musical is set to take producer/director/performer Steve Steinman to the next level.

“Theatregoers across the UK will be the first to experience the rarity of a brand-new, original pop rock musical,” says Steve. “For very many musical theatre enthusiasts, it will truly be a first.

“Featuring West End production values, Eternal Love: The Musical will equally delight both true fans of musical theatre and music lovers who may not have never considered attending a musical before.”

As far as Eternal Love: The Musical and the West End itself is concerned, Steinman has this to say: “The West End is a very expensive closed shop, where fortunes are made – and lost.

“This honest, hard-working lad from Oldham is happy to make his mark as a musical theatre producer by bringing an original pop rock spectacular to the masses.

“I honestly have absolutely no West End ambitions at all, in fact quite the opposite.

“I’ve specialised in bringing theatre shows that exude West End production values to people’s doorsteps for 20 years. I’d find expecting our fanbase to travel into London to see Eternal Love: The Musical a little arrogant.”

So, Sir Cameron Mackintosh and Sir Andrew Lloyd Webber shouldn’t be quaking in their boots. . .

“Not just yet, anyway!” laughs Steve.

Tickets for Eternal Love: The Musical are now on sale – https://vampiresrock.com/eternal-love-2025/

Birmingham Hippodrome – until 17th February 2024

Reviewed by Emma Millward

5*****

Based on the best-selling, Booker Prize winning book by Yann Martel, which was made into a four-time Academy Award film, directed by Ang Lee. Adapted for the stage by Lolita Chakrabarti, Life of Pi first premiered at the Crucible Theatre in Sheffield in June 2019, before moving to Wyndham’s Theatre in London in 2021. It went on to wow the West End crowds with its immersive sights, sounds and, of course, the puppets. It would subsequently win five Olivier Awards, including Best New Play and, in an historic first, all seven performers of Richard Parker the Tiger were collectively awarded ‘Best Actor in a Supporting Role’.

The play tells the story of Piscine ‘Pi’ Patel (Divesh Subaskaran, making his professional debut) who, against all odds, survives a tragedy at sea. We first see him in a hospital bed being questioned about his 227 days as a castaway. The scenery on stage swiftly changes, and we find ourselves in Pondicherry Zoo, India. We are introduced to the animals, who immediately captivate the audience. Following the economic instability of Indira Gandhi’s ‘The Emergency’, Pi’s father (Ralph Birtwell) makes the decision to immigrate to Canada. His family and their animals set sail on a Japanese cargo ship that is destroyed in a huge storm, in one of many amazingly atmospheric scenes. Pi is left stranded on a lifeboat alongside a Hyena, an Orangutan, a Zebra and a Bengal Tiger called Richard Parker. Pi is left to assert his dominance over the wild animals and fight for survival as they turn on each other. Throughout the show, Pi’s family reappear as ethereal presences, guiding his survival and offering advice. 

Puppet Designers Nick Barnes and Finn Caldwell (also Movement Director) have created incredible puppets for the show. Every moment has been carefully thought out, choreographed and performed by an ensemble of talented performers. In the case of Richard Parker, five performers all work in perfect unison to bring the big cat to life. He licks his paws, tilts his head inquisitively, and it genuinely feels like there is actually a real tiger on the stage. My daughter’s opinion of Richard Parker? “I liked his whiskers!”. 

Set and costume designer Tim Hatley’s award-winning set design takes in small locations such as a hospital ward to the vast Pacific Ocean. The sets throughout the show are breathtaking. Video Designer Andrezej Goulding’s clever projections kept us informed of how many days had passed, but also created a beautiful backdrop to the scenes, especially the starlit ocean sky. Director Max Webster has been at the helm since the play’s creation in 2019, and it is not hard to see why he has received many awards and nominations for this show. 

Be warned, some parts of the production are hard to watch. This is a show depicting wild animals, so there is gore, violence and a sense of threat throughout. It may be a little too much for younger children. 8+ years is the show’s recommended viewer age, so discretion may be needed. 

All in all, Life of Pi is definitely a collaborative effort where the combined talents of all involved produces something spectacular and thought-provoking that stays with you long after you have left the theatre.

The London Palladium – 13th February 2024

Reviewed by Fiona Leyman

3***

“They’re creepy and they’re kooky, mysterious and spooky. They’re altogether ooky, “The Addams Family”.

I’m betting you couldn’t help yourself, but to sing that line above? The Addams Family have been in our lives since the 1930s, turning this iconic dysfunctional family into the cult classic it is today. Can this family’s success continue on stage as it has on our screens for all these years?

The Princess of Darkness, Wednesday Addams has fallen in love with Lucas (Ryan Kopel), a ‘Normal’ young man whose family is coming for dinner. After telling her father she intends to marry him, she makes him promise not to tell her mother Morticia (Michelle Visage). Gomez is trapped! He has never kept secrets from his wife before. Does he break the trust of his eldest daughter, or keep a secret from his wife? Could keeping this secret mean the end of Gomez and Morticia Addams marriage forever?

Running for only two days at the London Palladium was always going to be a challenge for Set Designer Diego Pitarch. Elaborate sets were out of the question, and with such a large stage to fill, how could he transform the iconic theatre in the Addams Family’s mansion? Unfortunately, most of the stage was bare. The static backdrop was limited, bland, and not what you’d expect in the Addams Family’s home. The odd chaise lounge, torture rack, or interrogation chair was wheeled in to fill in the gaps on this large stage. Unfortunately, due to the length of time this musical was on stage, Pitarch was unable to fully design the production to its full potential. He did, however, successfully transform the performers into an array of stunning costumes. All of the family members were easily identifiable, with their costumes remaining true to their original form. Wednesday, played by Chumisa Dornford-May (Aspects of Love), on the other hand, has grown up. She ditched the classic black collared dress in favour of skin tight leggings and platform boots, turning her in to a real rock chick. An appropriate look for a teenage Wednesday.

There was no shortage on talent on stage, with each actor bringing their own unique style to their roles. As Uncle Fester, Sam Buttery (The Voice UK) delivered a hilarious performance. She was the night’s standout performer, capturing Fester’s quirky, loveable attitude while also playing to the audience. Kara Lane (Mary Poppins, Rebecca) delivered an unforgettable performance as Alice Beineke. Her transformation from dutiful wife to crazed wild woman was brilliant. Ramin Kariloo (Phantom of the Opera) as Gomez Addams brought the house down with his incredible vocals, slick style, and charismatic persona. Director Matthew White chose his leads well, making sure the spotlight shone brightly on them. Birds of a Feather icon Lesley Joseph’s performance as Grandma was unique. Her accent kept switching between American and Cockney, so I was unsure, and surprisingly, neither Gomez nor Morticia knew where Granny came from. Dickon Gough (As You Like It) was a big hit with the audience as he reprised his role as Lurch, grunting and moaning throughout the performance.

If given a West End residency, this production has the potential to be a huge success. This would allow for more extravagant set designs, worthy of the Addams Family’s household name. Unfortunately, pictures from the UK Tours in 2017 and 2021 in the Souvenir Brochure revealed what we missed on stage in London. This performance also had a few technical issues with microphones, resulting in missed dialogue and lyrics. Although not every line or song hit the mark, it was a pleasant enough show all the same.

The Addams Family – The Musical Comedy is completely kooky, not particularly spooky, and an overall easy-going show for both adults and children.

Curve Theatre Leicester – until 17th February 2024

Reviewed by Amarjeet Singh

4****

The story of Jesus Christ Superstar is pretty straightforward, it’s the story of Jesus last days before he is crucified, not the kind of material you would think would lend itself to a rock opera, but when did that stop the mavericks Webber and Rice. Thrilling audiences over the years you would have thought it difficult to put a new spin on things, but tonight’s performance proved otherwise. It was a truly tremendous performance.

Under the explosive direction of Timothy Sheader, this production gripped you from the off. Don’t be fooled by the predominantly static, industrial set. Strewn with girders and an off-kilter crucifix you might think the simplicity spells sedentary storytelling, not a chance. The set, designed by Tom Scutt, transforms with shadow and smoke and every inch of the stage was utilised to perfection, illuminated by stunningly lit moments from lighting designer Lee Curran. The combined skills of the design and direction artist bought this production to life, creating scenes which had depth, emotion, and pure drama. Tom Scutt costumes contributed to the wonderful old meets new feel of this production, trainers and sandals, swathes of materials flowed greys, whites and browns which added to Drew McOnie’s contemporary choreography, pulsating with passion and dynamism portraying every emotion of each character. The choreography and direction were sensational, attention to detail was paid to every moment. Dancers displaying inner turmoil, formation pieces and Judas literally dropping the mike was quite the heart stopper. There were stand out moments where the action stopped and you felt as if you were looking at a renaissance painting, The Last Supper, Mary, and Peter watching Jesus receive his lashes. Ladened with symbolism, delicious with darkness, Judas with his hands slick with the silver of his misdeeds, haunted like Lady Macbeth was an amazing touch.

The cast are incredible. Ian McIntosh as Jesus was spellbinding. He commanded the stage with aplomb even during his quiet moments. His voice was exquisite, and he delivered pure emotion though every note, facial expression, movement with his rendition of “Gethsemane” captivating the audience. Shem Omari James was wonderful as Judas, bringing on big notes and even bigger battles with inner turmoil. Hannah Richardson was an absolute delight to watch as Mary, her version of ‘Everything’s Alright’ was lovely, but it was her rendition of “I Don’t Know How to Love Him” that absolutely blew me away, stunning vocals and performance. The cast as a whole were superb as were the ensemble.

It might seem redundant of me to mention the soundtrack here for those who are familiar with it, but for those who are not, it’s incredible. With an array of exceptional talent behind this production of Jesus Christ Superstar, how could it not be an outstanding offering. Glitter gripping until its bitter end, an absolute triumph.

The Arcola Theatre, London – until 2 March 2024

Reviewed by Mandi Riggi

3***

“When You Pass Over My Tomb” is a thought-provoking and somewhat humorous play that attempts to explore the theme of death through a meta-theatrical lens. The playwright, Sergio Blanco, borrows from various sources, including famous literary works and macabre historical events, creating a mishmash of “body parts” that ultimately feel disjointed and unfinished. While the first half of the play showcases wit and cleverness, the second half feels rushed and underwhelming.

The protagonist, Sergio, portrayed adeptly by Al Nedjari, is a self-indulgent man whose literary legacy blurs the line between truth and fiction. Khaled, energetically played by Charlie MacGechan, is an Iranian inmate at London’s Bethlem Hospital with a disturbing affinity for necrophilia.

Sergio, in his quest for a unique way to die, proposes the idea of donating his body to Khaled for his posthumous desires. Thus, the play transitions from a macabre concept to a somewhat clinical love story. We follow Sergio on his existential journey to an assisted-suicide clinic on Lake Geneva, where he meets Dr. Godwin, portrayed convincingly by Danny Scheinmann, who is willing to help him with his suicide. Despite Sergio’s lack of illness, Dr. Godwin has no qualms about assisting him. The clinic’s proximity to the birthplace of Frankenstein’s monster, with a view of the villa where Mary Shelley wrote her famous novel, adds an intriguing backdrop to the story.

While Sergio’s initial idea for control over his own demise carries a humorous tone, the lack of conflict and resistance along his journey highlights the shallow depth of the narrative. The play’s attempts at cultural allusions to death, encompassing religious imagery and references to popular culture, often feel forced and fail to provide meaningful insight. Additionally, the revelation of Khaled’s Iranian background, along with the mention of his parents’ tragic fate at the hands of revolutionary guards, seems more like a superficial attempt to be unconventional rather than serving a purpose in the story.

“When You Pass Over My Tomb” presents death as an inevitable part of life, but its reliance on borrowed ideas and disjointed structure left me, as an audience member, feeling unsatisfied and disconnected from the characters’ experiences. Although I had hoped to be enamoured by the play, I ultimately found it difficult to fully embrace and appreciate

Royal & Derngate Theatre, Northampton – until 17th February 2024

Review by Amanda Allen

4****

Seeing The Mousetrap is on many peoples buckets lists, as is fitting with its seventy year plus run. I was thrilled to be able to see the opening night of the 70th Anniversary touring production at The Northampton Derngate Theatre where its running until Saturday 17th February. The Mousetrap follows the classic Agatha Christie murder mystery novel, from the moment you are told there’s a murder you want to know ” whodunnit?” This is exactly what I was asking myself from the curtain rising until the end of the show when the cast finally disclosed the answer.

In keeping with the 1950’s setting of the play, the staging was wonderfully detailed, setting the scene with floral covered sofas and an overindulgence of small props, pictures, cushion, lamps, radio, telephone etc. These were all essential to the plot and well used by all the characters, but they all added to the slightly shambolic setting giving a real impression of a newly opened guest house. The staging was slightly let down by a none ringing telephone and out of time light switch, but I am sure these were just 1st night glitches.

For me there was no standout performance. A generally strong cast had the audience invested in the story from the beginning. Gwyneth Strong gave us a very dislikeable Mrs Boyle, with a suitably haughty, slightly miserable, complaining demeanour. Shaun McCourt was excellent if a little irritating in his portrayal of Christopher Wren, he gave the character enough camp flamboyance to make you sympathetic to him, without actually liking him very much, yet he still left enough to extend his characters mannerisms when required by the plot. Todd Carty totally owned the character of the Major, his presence instantly commanding the stage whenever he appeared. Steven Elliot (who is also resident director) as Mr Paravicini was able to express more with a timely raised eyebrow than many actors could hope to do in an entire performance!

Amy Spinks playing Miss Caswell was always in character, bold, sure of herself, supremely confident, slightly detached from everyone else, she surprised us all with the change in character to soft and caring at the end of the show. Detective Sgt Trotter was played very convincingly by Michael Ayiotis who seemed to be working in overdrive in comparison to the steady pace other characters, delivering some excellent comic timed moves many involving with skis. In all and excellent cast supported a great rendition of this classic play. I’m sure as the first night nerves calm, this will surely become a tighter and much more polished performance.

Although running pretty much unchanged for 70 plus years this play managed to be both completely outdated whilst still being entertaining and relevant to today’s theatrical expectations. The now standard who-done-it format with the final reveal having been copied by many tv shows from Agetha’s own Miss Marple to most notably the long running TV show “Death in Paradise”. This is a well tried and tested format that is proven to work.

The Mousetrap is a rite of passage suited to young and old alike, that everyone should try and see. With a little bit of everything from farce to murder I would definitely recommend seeing it whilst you can, it’s an excellent show right on your doorstep, no need to travel to London for a west end worthy performance and no, in keeping with a 70 year old plus tradition, I will not be telling you who did it!

RACHAEL STIRLING STARS AS THE ‘QUEEN OF DRURY LANE’ IN THE DIVINE MRS S, A NEW PLAY BY APRIL DE ANGELIS

Rachael Stirling will star as Sarah Siddons aka the ‘Queen of Drury Lane’ in The Divine Mrs S, a new play by April De Angelis directed by Anna Mackmin, which will have its world premiere at Hampstead Theatre from 22 March – 27 April.

Sarah Siddons was the first truly respected female actor in theatre, achieving an astonishing level of celebrity at the end of the 18^th century. April De Angelis’ backstage comedy recalls the origins of celebrity culture – before fame automatically granted wealth and power. The play is a Hampstead Theatre and AKO Foundation Next Decade commission and it has recently been nominated for the Susan Smith Blackburn prize.

Double Olivier Award nominee Rachael Stirling recently appeared in Private Lives at the Donmar Warehouse and is also known for her screen roles in Detectorists and Tipping the Velvet. Her other theatre credits include Anna in the Tropics (Hampstead Theatre), Plenty (Chichester Festival Theatre) and Love Love Love (Lyric Hammersmith).

Joining Rachael will be Anushka Chakravarti (The Crucible, National Theatre), Eva Feiler (Black Chiffon, Park Theatre), Dominic Rowan (The Jungle, West End; Giving, Hampstead Theatre; Catastrophe, Channel 4), Sadie Shimmin (Leopaldstadt, Wyndham’s) and Gareth Snook (Wise Children, Old Vic).

In 1800 Sarah Siddons was universally acclaimed as the greatest actress of all time holding complete sway over public and critics alike. However she was subject to direction from the men in her life – her bone-headed brother who runs the theatre and chooses her roles, and her faithless husband who signs her contracts and collects her fees. Siddons decides it’s time to become the leading lady of her own life, harnessing her star power as the world’s first female celebrity and taking control of her own destiny – but she reckons without the absurdly comic plot-twists of a life on the stage.

Anna Mackmin returns to Hampstead for the first time since directing Di and Viv and Rose, which transferred from Downstairs, to Main Stage and eventually the West End. Her other productions include Dancing at Lughnasa, The Real Thing and Hedda Gabler (all Old Vic).

Anna Mackmin is joined by designer Lez Brotherston, lighting designer Mark Henderson, composer and sound designer Max Pappenheim and fight director Maisie Carter. 

The Divine Mrs S plays the main stage at Hampstead Theatre from 22 March until 27 April.

Tickets are available from £10 and are on sale now via hampsteadtheatre.com