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‘SCISSORHANDZ’

A MUSICAL REINVENTED

TO HAVE EUROPEAN PREMIERE AT

SOUTHWARK PLAYHOUSE ELEPHANT

FROM 23 JANUARY 2025

TICKETS ON SALE NOW

Producers Bradley Bredeweg, Kelley Parker & Brian Pendleton, with co-producers Lance Bass and Michelle Visage, are thrilled to announce the highly anticipated European premiere of Bredeweg’s critically acclaimed musical SCISSORHANDZ: A Musical Reinvented which will open at Southwark Playhouse Elephant from 23 January 2025 for an exclusive 10-week engagement closing on 29 March. There will be an official opening night on Thursday 30 January. Tickets on sale now!

SCISSORHANDZ is a fresh and funny reinvention of Tim Burton’s cult classic Edward Scissorhands. This pop-musical parody extravaganza is a celebration of those who dare to be different, packed with a killer soundtrack featuring the likes of Taylor Swift, Lady Gaga & Alanis Morissette, plus more iconic hits you know and love. This is more than just a musical; it’s a movement!

After a wildly successful, sold-out run in Hollywood, where it captivated audiences and earned rave reviews, SCISSORHANDZ is set to take London by storm.

Casting to be announced.

Michelle Visage said ““I am beyond excited to join the producing team for SCISSORHANDZ! The energy, the message, the joy—it’s everything we need right now. In a world that feels a little upside down, this show is a celebration of life, individuality, and fierce self-expression. It’s a reminder to live out loud and take up space. And let me tell you, we’re not just creating a show, we’re creating a movement. You know I’ll be throwing some fabulous parties during the run—I mean, what’s a Michelle Visage production without a little sparkle and sass? Get ready, because it’s going to be an unforgettable ride!”

Lance Bass added “Producing SCISSORHANDZ has been one of the greatest pleasures of my career and I can’t wait for London to experience this show! I think audiences in the UK will really embrace the show. It hits every note, pulling at your heartstrings and bringing every emotion to life! From the moment the curtain rises, you’re taken on a rollercoaster ride that’s both whimsical, hilarious, and deeply moving. It’s not just a musical —it’s a sensory journey, blending stunning visuals with a playlist packed with your favorite songs, making it feel like the soundtrack of your life. You’ll laugh, you’ll cry, and by the end, you’ll be on your feet, feeling like you’ve just experienced something truly unforgettable.”

The producers said “We are beyond excited to bring SCISSORHANDZ to London, a city that has always championed exciting and unique theatre. We believe this show is for anyone who’s ever felt marginalised for being unique themselves — whether that means quirky, queer, or anything in between. After an incredible run in Los Angeles, where audiences returned multiple times and even formed a dedicated following as ‘Scissorfans,’ we knew London was the perfect next step. It’s the epicentre of musical theatre and fresh, innovative work. We can’t wait to introduce this joyful, 90-minute celebration of individuality to a city that truly understands the power of embracing what makes people unique“

And finally, Director Bradley Bredeweg said “As a lonely quirky gay kid growing up in the 80s and 90s, this film meant the world to me because it spoke to anyone who felt like they didn’t quite fit in. That spirit of celebrating the weird and wonderful is at the core of SCISSORHANDZ — a tribute musical and a parody all rolled into one. Our thrill ride of a show is packed with joy and heart, and it’s about owning exactly who you are, even if you happen to have scissors for hands. In a world where people crave that kind of joy more than ever, I’m honoured to bring this story to a new audience in London.”

SCISSORHANDZ is written and directed by Bradley Bredeweg with choreography by Alexzandra Sarmiento, musical direction by Gregory Nabours, set design by James Pearse Connelly, costume design by Abby Clarke, , lighting design by Adam King, sound design by Yvonne Gilbert, casting by Harry Blumenau Casting, production management by James Anderton and general management by Wildpark Entertainment.

Website: scissorhandzthemusical.com

Instagram: @scissorhandzmusical

TikTok: @scissorhandzmusical                                                   

LISTINGS INFORMATION

23 January – 29 March 2025

Southwark Playhouse Elephant

1 Dante Place,

London,

SE11 4RX

Performances:

Previews all at 7pm

Wednesday, Thursday at 7pm

Fridays at 6pm & 8.30pm

Saturdays at 3pm & 7pm

Sundays at 2pm & 6pm

w/c 24 March

Tuesday, Wednesday, Thursday at 7pm

Friday at 6pm & 8.30pm

Saturday at 3pm & 7pm

Sunday No performance

N.B there is an additional performance at 7pm on Tuesday 18 February

Box Office

020 7407 0234 / southwarkplayhouse.co.uk

Box Office opens Mon – Sat, 10am – 6pm.

Tickets

Previews 23 – 29 January | All tickets £20

Standard tickets from £25  

Concessions apply to full time students, patrons over 65, patrons under 16, disabled patrons, and patrons claiming Universal Credit.

Disabled patrons may bring a companion/carer free of charge.

Southwark Playhouse has a group booking rate that offers ten tickets for the price of nine.

York Theatre Royal – until Saturday 2nd November 2024

Reviewed by Michelle Richardson

5*****

Bristol Old Vic’s production of Wonder Boy is currently playing at York Theatre Royal. The show uses state of the art live creative captioning and BSL performance, running in conjunction with traditional theatre and live music.

Sonny is a 12-year-old foster boy, struggling at home and within the education system. Finding himself at a new school, he hides in silence behind a debilitating stammer. He spends his time engrossed with his drawings and in his own world with Captain Chatter, a character created from his imagination. Contrary to the name, Captain Chatter never speaks, using BSL to communicate.

Luckily for Sonny he encounters Wainwright, the teacher that every pupil deserves, but unfortunately rarely gets. She is blunt and forthright but cares deeply. With patience and understanding, she is determined for Sonny to find his voice.

Sonny is joined on his journey by his total opposite, Roshi. Bonding together after both getting into trouble. They are forced to join the drama club and participate in the school’s production of Hamlet. She is a force of nature and just the type of friend Sonny needs.

Hilson Agbangbe, in his professional debut, is outstanding as Sonny. He had the entire audience invested in Sonny’s story. His physicality in the role, as he is battling his demons, is intense and you can feel the struggle he is going through. His portrayal was mesmerising to watch and I’m sure he has a bright future ahead of him.

Naia Elliot-Spence is another in her professional debut as Roshi. She is a whirlwind on stage and her synopsis of Hamlet was breathtaking to watch, a highlight of the show. She is another one to watch for the future.

Eva Scott is excellent as Wainwright. She is engaging to watch as the supportive teacher. Full of spirit and passionate in her teaching, whilst having to battle against the establishment, everyone deserves a voice.

Captain Chatter is played by deaf actor Ciaran O’Breen. His facial expressions and physicality on stage is animating. Completing the cast of five, is Meg Matthews as Miss Fish and mum. She switched between the roles of Sonny’s memories of his mother, and the demon headmistress with ease.

The staging was stripped back, but very effective with creative captioning being integral to the story.

Wonder Boy is a show full of vulnerability, but the story is about resilience and the power of communication.

This is a truly wonderful, imaginative and immersive show that deserves to be seen by all, over the age of 12, as there is some swearing involved. I cannot recommend it more.

Curve Theatre Leicester – Until 9th November 2024

Reviewed by Amarjeet Singh

3***

SuperYou is a self-labeled, uplifting rock musical, written and composed by Lourds Lane. It centers around the multilayered journey of a comic book/graphic artist and marketeer, Katie, defender of the marginalised and spokesperson for the downtrodden. She discovers self-empowerment and her own voice via support from her superheroine comic book creations, when she needs them the most. At least I think that’s what the story is about…

The production has real potential, but it is poorly structured and narratively incoherent, leaving the show feeling confused and rushed. There are a multitude of themes in the show, from Katie’s personal journey, battling inner demons, a love story, traumatic family issues, amongst many others. Unfortunately, this overload keeps taking us down various paths and leaves little room for any solid story development and dilutes characters, so they stay shallow. We never truly understand their motives and they make sudden shifts in their actions which jars with the trajectory they appeared to be on. This doesn’t allow us to warm to them. We flit from situation to situation in the blink of an eye and just when we think we have a grasp of what’s going on, another curve ball is thrown in.

The cast is predominately a powerhouse of powerful women, and the vocals are sensational. Vicki Manser, as Katie, is an incredible performer. She brought the house down singing a stunning rendition of ‘Fragmented’. Aaliyah Monk was delightful as the younger Katie along with Owen Lloyd, who shone as her brother. Courtney Stapleton, Kingsley Morton and the other ‘Boltz’ illuminated the stage as they belted out their individual numbers and wowed in their superhero suits designed by Cynthia Nordstorm. Set design by Anna Louizos is deceptively simple and wonderfully effective. Sliding screens act as blank canvasses upon which projections by Caite Hevner are screened, so we could see Katie’s comics being drawn in real time, which was a super clever idea.

SuperYou, has the elements to become a successful musical, but it needs to decide what it wants to be, what it wants to focus on and for that to be finessed into fullness.

Cambridge Arts Theatre, Cambridge – until Saturday 2^nd November 2024

Reviewed by Steph Lott

5*****

Ken Ludwig’s stage adaptation of Agatha Christie’s beloved murder mystery proves that there’s still plenty of “steam” in this classic tale. The production, which opened last night at the Cambridge Arts Theatre under Lucy Bailey’s assured direction, demonstrates how effectively this story can transition from page to stage, offering a fresh perspective even for those familiar with its various screen incarnations.

Michael Maloney’s Hercule Poirot deserves immediate recognition as a worthy addition to the pantheon of great Poirot portrayals. Following in the footsteps of legends like David Suchet, Peter Ustinov, and Albert Finney might intimidate lesser actors, but Maloney crafts his own distinct interpretation while honouring the essential characteristics that make Poirot such an enduring figure. His impeccable comic timing elicits genuine laughter from the audience, while his moments of moral deliberation in the play’s darker segments showcase his dramatic range. The famous denouement scene, in particular, demonstrates Maloney’s ability to hold the audience spellbound as he unravels the complex web of deception.

Bob Barrett brings warmth and wit to Monsieur Bouc, creating a delightful dynamic with Maloney’s Poirot. Their scenes together provide much of the production’s humour, with Barrett’s more expansive performance style complementing Maloney’s precise characterisation.

Mike Britton’s ingenious set design deserves special mention. The creative use of sliding panels and rotating elements transforms the confined space of a railway carriage into a series of distinct locations, maintaining the claustrophobic atmosphere essential to Christie’s story while allowing for fluid scene transitions. The integration of pre-recorded footage with the physical set pieces proves particularly effective, adding a cinematic dimension to the theatrical experience. Even when a minor technical hiccup occurred, the stage management team handled it with such professional smoothness that it barely registered with the audience.

The production succeeds in solving one of the key challenges in adapting this particular story: how to maintain suspense when so many audience members know the solution to the mystery. Bailey’s direction keeps the focus on the psychological aspects of the story, allowing us to become invested in the moral dilemma central to the story rather than merely the mechanics of the plot.

This adaptation understands that the appeal of Christie’s story lies not just in its clever plot twists but in its exploration of justice, revenge, and moral ambiguity. The production manages to honour both the story’s serious themes and its entertainment value, creating an engaging evening of theatre that will satisfy both Christie aficionados and newcomers to the tale.

Festival Theatre, Malvern – until 2nd November 2024

Reviewed by Courie Amado Juneau

4****

Kazuo Ishiguro’s 2005 novel Never Let Me Go tonight hits Malvern Theatres with a cast of fine young actors.

The set (from Set and Costume Designer Tom Piper) was an intriguing one, with an arc of doors and windows opening up on a rather clinical looking space populated only with some chairs and a bed. Stark and perfectly fitting for the unfolding tale – set in an alternative universe where we follow a group of children growing up at a private school, aware they have a special purpose but unaware just how special they are until they leave those safe environs and venture out into the big wide world… As such, it’s part a coming of age tale and part a dystopian tale in the grand tradition of Brave New World (and the like).

There was a wealth of talent on display. The three leads had a touching rapport which made for a highly compelling and believable love triangle. Nell Barlow (as Kathy) was on stage every moment as far as I can recall and she was nothing short of sensational. Her interplay with every other actor, in every scene, was powerful and varied – she was a joy to watch. Her friends Ruth (Matilda Bailes) and Tommy (Angus Imrie) ably supported her, with both blossoming over the course of the evening as their characters arcs unfolded. All three grabbed the chance to explore the full gamut of emotions to their uttermost, and they did it with a youthful abandon and energy that did them and the work much credit!

The entire cast were magnificent and made for an impactful ensemble. Most played multiple roles, giving full scope to the limited stage time these characters had in impressive fashion. I would like to single out for special mention Susan Aderin (playing Miss Emily, head of the school). She was pitch perfect throughout especially in her truly moving performance during the reunion with the students towards the end. Emilie Patry as Madamme (and Miss Lucy) was also extremely moving with a portrayal that was all the more powerful for its beautifully crafted understatement.

LES MISÉRABLES

LUCIE JONES RETURNS AS ‘FANTINE’ IN
THE WEST END PRODUCTION FOR 8 WEEKS ONLY
FROM 23 DECEMBER 2024 TO 15 FEBRUARY 2025

KATIE HALL WILL PLAY ‘FANTINE’ IN
LESMISÉRABLES THE ARENA SPECTACULAR WORLD TOUR,
BEFORE RETURNING TO LONDON’S SONDHEIM THEATRE
FROM 17 FEBRUARY 2025

Cameron Mackintosh is delighted to announce that Lucie Jones will return to the role of ‘Fantine’ in the West End production of Boublil and Schönberg’s LES MISÉRABLES for 8 weeks only from 23 December 2024 to 15 February 2025 and that Katie Hall will join the Arena Spectacular World Tour from 26^th December 2024 to 16^th February 2025.

Multi award-winning musical theatre actress, singer and radio presenter Lucie Jones returns to Les Misérables having previously performed the roles of ‘Fantine’ at the Sondheim Theatre and ‘Cosette’ at the Queens Theatre. Other notable credits in Wicked, Waitress, Pippin, Ghost, The Baker’s Wife, A Christmas Carol, Legally Blonde, American Psycho, RENT, We Will Rock You, and The Wedding Singer. Lucie recorded her own album, “Lucie Jones – Live at The Adelphi”, in 2021, was a finalist on The X Factor in 2009 and on the Eurovision Song Contest in 2017.

Katie Hall who is currently playing ‘Fantine’ in London will perform the role in the World Tour of LES MISÉRABLES THE ARENA SPECTACULAR for a limited time from 26 December 2024, in Manchester, Newcastle, Gothenburg, Stockholm, Malmo & Amsterdam, before returning to the Sondheim Theatre from 17 February 2025. Katie Hall has performed the roles of ‘Cosette’ and then ‘Fantine’ in Les Misérables  at the Sondheim Theatre, Queens Theatre, at the 25^th Anniversary Concert, and on UK and International tours. She also appeared in the Oscar-winning film adaptation of Les Misérables. Further stage credits include The Phantom of the Opera, West Side Story, English National Opera’s Sweeney Todd, productions with Grange Park Opera including Fiddler on the Roof and Oklahoma!, Schikaneder for VBW, Vienna and she has performed at the BBC Proms in The Golden Age of Broadway. 

The cast of LES MISÉRABLES at the Sondheim Theatre also includes Ian McIntosh as ‘Jean Valjean’, Stewart Clarke as ‘Javert’, Jacob Dachtler as ‘Marius’, Amena El-Kindy as ‘Éponine’, Annabelle Aquino as ‘Cosette’, Luke Kempner as ‘Thénardier’, Claire Machin as ‘Madame Thénardier’, and Robson Broad as ‘Enjolras’.

The company is completed by Matt Bateman, Michael Baxter, Emily Olive Boyd, Daniel J Brian, Ella May Carter, Adam Colbeck-Dunn, Matthew Dale, Irfan Damani, Sophie-May Feek, Matt Hayden, Christopher Jacobsen, Jessica Johns-Parsons, Sam Kipling, Anouk van Laake, Mia Lamb, Sarah Lark, Matthew McConnell, Aaron-Jade Morgan, Ben Oatley, Adam Pearce, Jordan Simon Pollard, Danielle Rose, Jonathan Stevens, Georgia Tapp, Noah Thallon, and Imaan Victoria.

LES MISÉRABLES entered its 40^th record-breaking year in London this October. To kick off the celebrations, the show launched its first World Tour with the highly anticipatedLES MISÉRABLES THE ARENA SPECTACULAR, which opened in Belfast before playing limited dates in Glasgow, Sheffield, Aberdeen, Manchester, Newcastle, Luxembourg, Geneva, Trieste, Milan, Copenhagen, Oslo, Zurich,  Gothenburg, Stockholm, Malmö and Amsterdam before moving to Australia, Taiwan, Japan, and  South Korea, with more worldwide destinations to be announced. Simultaneously, and for the first time ever, 11 leading amateur companies in the UK will present their own staging of the full show across the country in 2025.

The staged production continues to triumph around the globe with local language productions currently on or in preparation, and it continues to break box office records on tour in North America. Earlier this year, the remastered and remixed Oscar-winning movie was released again in several countries around the world.

Boublil and Schönberg’s magnificent iconic score of LES MISÉRABLES includes the classic songs, I Dreamed a Dream, On My Own, Stars, Bring Him Home, Do You Hear the People Sing?, One Day More, Empty Chairs at Empty Tables, Master Of The House and many more. Several of its songs have become real life anthems of revolution wherever in the world people are fighting for their freedom. Seen by over 130 million people worldwide in 53 countries and in 22 languages, LES MISÉRABLES is undisputedly one of the world’s most popular musicals.

LES MISÉRABLES

Sondheim Theatre, Shaftesbury Avenue, London W1D 6BA

Currently booking until 6 September 2025

Prices: Tickets from £25 – No booking fee applies

Box Office: 0344 482 5151

Website: www.lesmis.com

Social Media:
www.facebook.com/lesmisofficial/
www.twitter.com/lesmisofficial
www.instagram.com/lesmizofficial
www.tiktok.com/@lesmisofficial
#LesMiz

Hull New Theatre – until 2nd November 2024

Reviewed by Dawn Bennett

5*****

If, like me, you’ve seen and enjoyed the film of the same name you will know the story and how good it is but nothing could have prepared me on how much I loved the show last night. From the first note from the outstanding orchestra (under musical director Jessica Viner) to the last bow, the fabulous cast had me and the Hull New Theatre audience in the palm of their hands and they well deserved the standing ovation.

The show tells the story of Caractacus Potts (Adam Garcia), a rather eccentric inventor, who lives with his two children Jeremy (Charlie McGuire), Jemima (Isla Ithier) and Grandpa Potts (Liam Fox). The children meet Truly Scrumptious (Ellie Nunn) who is not impressed with Caractacus’s parenting skills. He buys a car to repair for his children and then the magic appears. The Baron (Martin Callaghan) and Baroness (Jenny Gayner) of Vulgaria want the car and will stop at nothing to get it. They send their spies Boris (Adam Stafford) and Goran (Michael Joseph) to get the car and when they can’t get it, they decide to do the next best thing and kidnap the inventor, except they get Grandpa Potts instead! Caractacus, Truly and the children take Chitty and go to Vulgaria to rescue Grandpa and find out that Chitty can fly! They realise when they get there that as the Baroness hates children there are no children anywhere. They have a Childcatcher (played by The Vivienne) who soon finds the Potts children. And then the story unfolds….

Stand out performances for me were Adam Garcia who is every inch the leading man showing his amazing acting, dancing and singing skills. Adam Stafford and Michael Joseph were brilliant as Boris and Goran, they had excellent comic timing and some of the jokes that were a bit risqué and went over the heads of the younger members of the audience but totally hilarious. The Vivienne was gloriously evil as The Childcatcher and they totally embodied the character. Also, a shout out to the Ensemble who put their heart and soul into their performances and were magnificent!

The show was fast paced, funny, the cast were magnificent and this is one production that I would highly recommend. If you can manage to get one of the very few tickets left in Hull or fancy going to see them elsewhere in the tour you certainly won’t be disappointed.

Mayflower Theatre, Southampton- until 2 November 2024

Reviewed by Lorna Hancock

4****

Most people know Grease from the 1978 movie, the iconic and much adored love story of Danny Zuko (John Travolta) and Sandy Olsson (Olivia Newton-John). However, this stage production directed by Nikolai Foster, goes back to the original much grittier 1971 book by Warren Casey and Jim Jacobs. 

After growing up with the film version and being a very big fan of it, to be completely honest, I’m not one hundred percent sure exactly how I feel about this production. It takes away the rose-tinted view, of American adolescence in the 50s that the film portrays. Personally I don’t feel the characters are as likeable. The T-Birds revert back to the original much edgier “Burger Palace Boys’ carrying guns and weapons. The lecherous ways of Zuko (Marley Fenton) and Kenickie (Ben Nicholas)  certainly took any romance out of the story. I actually found myself slightly disappointed that Sandy gave her self up for Danny at the end. 

The story, set in Chicago is much rougher than the Paramount Movie. It looks more at the ups and downs of the relationships of all of the characters, rather than focusing on Danny and Sandy, which makes the storyline slightly different. The placement of the songs has changed which felt peculiar when knowing the film so well. There was also the addition of a few lesser known songs from the original. 

Although an interesting lesson into the history of the musical, I found myself getting slightly hung up, on the differences between what I was watching and something I know and love so much. I think the only way to look at this is not to compare it, but to think of it as a completely different production. 

The set, with its gym equipment and lockers, encapsulated the feel of an 1950s American high school. It transports you back to the grit and grind of Chicago, to hang out with the Pink Ladies and Burger Palace Boys. 

The cast as a whole are extremely talented with remarkable vocals, excellent characterisation and perfectly coordinated choreography. With Joe Gash playing a superb Vince Fontaine (and Teen Angel) he really links the whole show together.

The stand out thing for me in this performance, had to be the fabulous choreography by Arlene Phillips. It was eye-catching throughout the show, and was spectacularly showcased during the Hand Jive at the School dance. 

Overall, this may not have been what I expected, but it is a brilliant production in it’s own right. The songs that we are all so fond of are impressively performed, with an interesting education into the origins of the musical.

Pleasance Theatre, London N7 – until Thursday 31st October 2024

Reviewed by Phil Brown

3***

On paper, the idea of using the London postcodes as the structure for an autobiographical exploration of one’s life in the capital, seems not only interesting, but inspired.  And it cunningly offers scope to update the content as time goes by.  To present it in an interactive style for the audience to choose which postcodes to examine is a really clever touch.  

On stage though, I felt this otherwise well performed show didn’t fully follow through on the initial promise of the concept.  The audience was engaged and responsive throughout but, overall, the show was more quietly amusing than uproariously funny.  Still well worth seeking out, especially considering we only experienced around 50% of the full story.

16 Postcodes is on a limited run at the quirky Pleasance Theatre in North London after a well reviewed stint at the Edinburgh fringe.  It’s a 60 minute (no break) one woman show by Irish expatriate, Jessica Regan, very ably supported by a sound engineer.   

Jessica Regan is undoubtedly a fluent, natural and engaging storyteller with the ability to sell damp or vermin solutions to all of her many landlords.  She has a nice turn of phrase on occasion and can drop into character with ease.  There could have more of these facets in the course of the show which was mostly descriptive, and occasionally came across as a script recital.  

The stage set is simple – the 16 Postcodes in question (from Acton to Walthamstow) are listed on cards pegged to a line of fairy lights along the back wall.  Having introduced her first exposure to postcodes (which apparently don’t exist in Ireland outside of Dublin) as being the boy band E17, Jessica then set about her initial experiences as a 22 year old in London applying for and being accepted by drama school.  After that came Acton followed by audience choice.  I think we got through Stamford Hill, Hammersmith, Primrose Hill, Brixton, Camberwell and finally Walthamstow which completes the circle back to boy band E17!  Personally, if asked, I would have liked to have heard about Surbiton which seems slightly out of place amongst the inner London locations…

 20 years in London and 16 different postcodes tells a somewhat depressing story that might well feature on “The News Where You Are” one evening at six thirty. Respect to Jessica for her resilience in pursuing a performing career in one of the most precarious professions there is, not to mention a settled home life in London.   In common with many performers who use adversity for material she has at least got a show out of the hard times, and one that I think could keep growing into something very special.

MORE STARS ANNOUNCED FOR ‘A MARVELLOUS PARTY’ – A CELEBRATION OF NOËL COWARD ON SUNDAY 17 NOVEMBER 2024

Alfred Enoch, Derek Jacobi, Ian McKellen, Joshua James, Samantha Spiro, Marisha Wallace and Lia Williams, join the previously announced Hugh Bonneville, Gyles Brandreth, Judi Dench, Lindsay Duncan, Cush Jumbo, Robert Lindsay, Hilton McRae and Giles Terera in the charity gala performance, A Marvellous Party, at London’s Prince of Wales Theatre on Sunday 17 November 2024, with further special guests appearing on the evening.

Also participating are Chichester Festival Youth Theatre, New Adventures and Wise Children Theatre School, in addition to Noël Coward Foundation bursary recipients, and a group of actors who regularly perform Coward’s work.

Daniel Evans directs, with musical direction by Tom Brady, and the evening features excepts, including previously unseen material, from Coward’s plays, sketches and songs.

The gala also marks the culmination of Coward 125, the two-year long celebration of Noël Coward’s life and work, and is in aid of The Queen’s Reading Room, the Noël Coward Foundation and Acting For Others.

The Prince of Wales Theatre has generously been provided by Sir Cameron Mackintosh.

All performers appear subject to availability.

A Marvellous Party is produced by Julian Bird for Green Room Ents.

Date:        Sunday 17 November 2024

Venue:     Prince of Wales Theatre (A Delfont Mackintosh Theatre)

                Coventry Street

                London W1D 6AS

Time:       7:30PM

Booking: delfontmackintosh.co.uk

                Box Office 0344 842 5151

                For access bookings, please call 0344 482 5137