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SONIA FRIEDMAN PRODUCTIONS ANNOUNCES THE TRANSFER OF THE CRITICALLY ACCLAIMED SELL-OUT ALMEIDA THEATRE PRODUCTION THE YEARS

RUNNING AT THE HAROLD PINTER THEATRE
FROM 24 JANUARY – 19 APRIL 2025

ADAPTED AND DIRECTED BY ELINE ARBO
BASED ON NOBEL PRIZE WINNER ANNIE ERNAUX’S LES ANNÉES

IN AN ENGLISH VERSION BY STEPHANIE BAIN

“It moved me in ways theatre often tries to but rarely achieves.” – The Independent

“There is so much emotional depth, surprise and theatrical virtuosity here that it holds you rapt across the ages.” – The Guardian

Internationaal Theater Amsterdam’s new Artistic Director Eline Arbo returns to direct her five-star, sold out “masterpiece” (The Guardian) adaptation of Nobel Prize winner Annie Ernaux’s critically acclaimed semi-autobiographical novel The Years. Having run to critical acclaim at the Internationaal Theater Amsterdam and at the Almeida Theatre from August – September 2024, it will now transfer to the Harold Pinter Theatre from 24 January – 19 April 2025.

Deborah Findlay, Romola Garai*, Gina McKee, Anjli Mohindra and Harmony Rose-Bremner reprise their “extraordinary performances” (Observer) playing one woman in this mesmerizing, personal and political story, set against the backdrop of our rapidly changing world.

“MEMORY NEVER STOPS. IT PAIRS THE DEAD WITH THE LIVING, REAL WITH IMAGINARY BEINGS, DREAMS WITH HISTORY.”

She strikes a pose and the camera shutter clicks: a child playing in the debris of the Second World War. Click. A student discovering parties and men’s bodies. Click. An activist fighting for the right to choose. Click. A wife picking out a velvet sofa. Click. A mother taking her eldest to judo. Click. A lover seducing a younger man. Click. A grandmother presenting her granddaughter to the camera. Click.

The original production and adaptation of The Years was first produced as De Jaren by Het Nationale Theater in The Hague, Netherlands, in 2022.

The creative team includes; Music Supervisor and Sound Designer: Thijs van Vuure; Set Designer: Juul Dekker; Costume Designer: Rebekka Wörmann; Lighting Designer: Varja Klosse; Casting Director: Amy Ball CDG;Associate Director: Yasmin Hafesji.

*Romola Garai will be in performances of The Years until 8 March. Further casting will be announced at a later date.

EMMA FLYNN AND KEELAN MCAULEY TO LEAD THE CAST IN CLUELESS, THE MUSICAL

AND

FIRST SONG “NEW GIRL” RELEASED

Book and original film written by AMY HECKERLING

Music by KT TUNSTALL

Lyrics by GLENN SLATER

Choreography by KELLY DEVINE

Directed by RACHEL KAVANAUGH

Based on the Paramount Pictures film, inspired by Jane Austen’s Emma

TICKETS FROM CLUELESSONSTAGE.COM

CLUELESS, The Musical today announces Emma Flynn (Beautiful/ Little Shop Of Horrors) will be making her West End debut in the role of Cher Horowitz. Keelan McAuley (Heathers, The Musical/ Grease) will join the musical in the role of Josh.

CLUELESS also releases a lyric video for the first track from their upcoming EP called “New Girl.” The song takes place as Cher begins a makeover for her new friend Tai and features vocals from Emma Flynn with KT Tunstall, who composed the score. Listen here.

Original writer-director of the Clueless movie Amy Heckerling said “I’m thrilled for Emma to bring her own take on Cher’s unforgettable charm and Keelan to make Josh his own.”

Emma Flynn said “I’m beyond excited to step into Cher’s iconic shoes and bring her to life on the West End stage. Alicia Silverstone created such a beloved character in the original Clueless film, and it’s an incredible honor to continue that legacy. I can’t wait for audiences to rediscover Cher’s wit and heart in a whole new way, and I’m thrilled to be part of such a timeless story.”

Keelan McAuley said “I’m so excited to be embodying Paul Rudd’s character from the original movie, on the stage! I especially can’t wait for audiences to hear the music in CLUELESS. KT Tunstall has created a great new score inspired by the music styles of the ‘90s. Combined with Glenn Slater’s amazing lyrics, they’ve really brought a whole new energy to the story.”

CLUELESS, The Musical is a new musical comedy based on the Paramount Pictures film. The modern spin on Jane Austen’s Emma gets another timeless makeover from the original film’s writer-director alongside a majorly acclaimed creative team.

Cher Horowitz is the most popular student at Beverly Hills High, renowned for her unique talent at finding love for others. She’s about to embark on her biggest project yet – making over her awkward new friend, Tai, and setting her up with the most handsome boy in school. But what happens to Cher when, for the first time, everything is not perfect? This fresh musical comedy is fun, fashionable, and, like, so way cool.

CLUELESS features a book by the iconic voice of a generation, Amy Heckerling (writer-director of Clueless, director of Fast Times at Ridgemont High). Amy was pivotal in shaping the coming-of-age film genre, capturing the essence of teenage life with humor and authenticity.

The original score is by the multi-platinum singer-songwriter KT Tunstall (writer and performer of such celebrated hits as “Suddenly I See” and “Black Horse and The Cherry Tree”) and the lyrics are by GRAMMY Award® winner and three-time Tony Award® nominee Glenn Slater (The Little Mermaid, Sister Act). Together they bring a modern, musical vibe to the score blending the spirit of the 90s with a fresh contemporary sound.

CLUELESS makes its West End premiere under the direction of Rachel Kavanaugh (Chichester Festival Theatre and Regent’s Park Open Air), with choreography by Olivier Award® winner Kelly Devine (Come From Away).

LISTINGS INFORMATION

Trafalgar Theatre, 14 Whitehall. London, SW1A 2DY

First Performance: 15 February 2025

Booking Until: 14 June 2025

Performances: Monday – Saturday at 7.30pm & Thursday and Saturday at 2.30pm

Tickets from £25 Trafalgar Theatre: trafalgartheatre.com or 020 7321 5400

Website: CluelessOnStage.com

X: @CluelessOnStage

Facebook: @CluelessOnStage

Instagram: @CluelessOnStage

Blackpool Grand Theatre – until Saturday 2 November 2024

Reviewed by Debra Skelton

5*****

The film Heathers starring Christian Slater and Winona Ryder is a film that I love especially as it is from my era, so I was super excited to hear that the musical version was coming my way. I was however apprehensive as to whether this production could do justice to this iconic cult teen film but all I can say is I was worried about nothing as this musical lived upto and in fact exceeded my expectations so please do get yourself down to the Blackpool Grand Theatre before this finishes on Saturday 2nd November.

Laurence O’Keefe and Kevin Murphy’s hit musical adaptation ‘Heathers’ the musical has been overwhelmingly successful in London’s West End with record-breaking performances at London’s The Other Palace and two national tours with this black comedy and, rock musical produced by Bill Kenwright Ltd and Paul Taylor-Mills.

The story centres around Veronica Sawyer who is just another nobody who attends Westerberg High where popularity is quite literally a matter of life and death.

Things start to change for Veronica when she is taken under the wings of the three exquisite, but extremely cruel young ladies called ‘Heather’ which helps her to start living her life to its best and increasing her aspirations of being accepted.

Veronica continues to make it through school until she meets the enigmatic teen rebel JD when things very quickly spiral out of control, teaching her that it might kill to be a nobody, but its murder being a somebody.

Creating a musical with important subjects about murder, suicide, teen angst and peer pressure whilst ensuring that plenty of dark humour is included could not have been easy. By being a bit of a foul-mouthed musical comedy including far from subtle gags and sexual innuendoes and during the darkest moments (even when they’re ghosts) providing comic relief, this production has ensured that this has been done in good taste.

The soundtrack to Heathers the musical is amazing and provides just what the audience loves about 80’s music but ensuring for the modern audience that the story remains relevant to them too.

This production starred Keelan McAuley as Jason ‘J.D’ Dean, Esme Bowdler as Heather Chandler, Sedona Sky as Heather Duke, Daisy Twells as Heather McNamara, Lucy Sinclair as Ms. Flemming, Amy Miles as Martha Dunnstock, Ivan Fernandez Gonzales as Kurt Kelly, Jason Battersby as Ram Sweeney and Jenna Innes as Veronica Sawyer (the star of the show) with the support of an incredible cast. Their voices can only be described as out of this world and along with their acting talents created such a presence on stage with a standing ovation at the end.

The show also needs special thanks to David Shields for creating such an adaptable set with the effective transformation from the school’s various rooms into Heather C’s and JD’s bedrooms and Veronica’s house and for the perfect costumes particularly when Heather D’s green uniform is swapped for red (Bucks Fizz-style), Dan Samson for the wonderful sound, Ben Cracknell for the spectacular lighting, Gary Lloyd for the creative choreography, Will Joy for the marvellous music and not too be forgotten Andy Fickman the director.

Festival Theatre, Malvern – 27th October 2024

Reviewed by Courie Amado Juneau

5*****

Malvern Concert Club once again gives the gift of another sensational musical evening’s entertainment at Malvern Theatres. Tonight it’s The Nash Ensemble in a varied programme spanning the Classical to 20th Century eras, coupling three undoubted Masters with two lesser known composers…

The evening began with Beethoven’s Piano Quintet in E flat Op.16 (1796), inspired by Mozart’s earlier quintet, the majestic tutti opening was like a fanfare before the piano takes over. Great shifts in dynamics and tempi typify Beethoven’s music and with all the florid runs and decoration it’s a wonder pianist Alasdair Beatson’s fingers didn’t get tied in knots – especially in the 3rd movement Rondo! Richard Watkins on Horn also gave us some lovely fast passages that thrilled me in the opening movement, wonderfully displaying both the composer’s genius for part writing and Mr Watkins fabulous musical technique.

Poulenc’s Trio for piano, oboe and bassoon (1926) next, with a lamenting (between the wars) melancholy inhabiting the opening before the performers join together in a playful theme like a summer fete in defiance of the impending war. The second movement’s folk song like reverie was reminiscent (to me) of Benjamin Britten. Rather wonderfully dreamy.

After the interval, Ibert’s Trio for oboe, clarinet and bassoon (1935) gave us a jaunty work that took my mind on a journey watching a family go to church one summer morning, enjoying the plainsong chant at church, before the return home with the children running on ahead followed by their parents and, finally, all bursting into their home excitedly telling the grandma who could not go of their adventure. A beautiful combination of instruments that blended wonderfully to give a kind of organ feel but with each still voice being distinctive! I particularly loved the low bassoon notes that were highly comical, played with élan by Bassonist Ursula Leveaux.

Stravinsky’s Three Pieces for solo clarinet (1918) gave Richard Hosford the chance to take centre stage in this thrilling early 20th Century piece. What a rare treat to hear this virtuosic work. The second piece reminded me of birdsong; or, to be more precise, a dawn chorus of several birds. And the finale sounded like the type of music one would hear in a Chaplin film. With some rapidly fluctuating time signatures and phrases that almost defy previous compositional styles in a deliberately uber-modern frenzy, I’m sure that some may find this a challenging addition to the programme but I (and my companion) both thought it the best piece of the evening.

And finally, Mozart’s Piano Quintet in E flat K452 (1784) – with Mozart one knows what you’re getting; with beautiful structures, logic and graceful precision throughout. The Nash’s did not disappoint, especially Gareth Hulse oboe and Richard Hosford clarinet which intertwined to thrilling effect, amply displaying what a tightly drilled unit the ensemble are! What a rousing rendition.

The ensemble thrilled all evening with their masterful, musically sincere interpretations. Their skill was particularly evident in the openings of tutti phrases and passages where they played in rounds, weaving their lustrous lines around each other – showing a gloriously joyful musicality. Bravissimo to all concerned. As ever, I eagerly await the next concert in the season.

The Lyric Theatre, Shaftesbury Avenue – 28 October 2024

Reviewed by Ava Clarkson

3***

The Lyric Theatre is the venue for West End Musical Halloween for one night only. Opening its doors for the first time in December 1888, the Lyric Theatre is the oldest surviving theatre on Shaftesbury Avenue and a perfect intimate venue for this spooktacular celebration of musical theatre.

The show is bought to The Lyric by award-winning producers of the West End Musical series which includes West End Musical Brunch, West End Musical Drive In, West End Musical Celebration, West End Musical Halloween and West End Musical Christmas as well as Musical Con, the world’s biggest musical theatre fan convention. The show promises to showcase musical theatre ‘number ones’ performed by the biggest stars of the West End. We are assured of a ghoulishly good night! The audience are encouraged to become the cast, to sing and dance along. Many people had dressed up for the occasion and looked amazing.

Our host West End star Shanay Holmes (Miss Saigon, The Bodyguard, Oliver!) appears in full Beetlejuice costume and welcomes us to enjoy a hauntingly good evening! With freakishly fun show tunes from the darker side of musicals including Sweeney Todd, Little Shop of Horrors, The Rocky Horror Picture Show, Phantom of The Opera, Beetlejuice and The Addams Family amongst others!

The show starts with all the cast performing together belting out – “When You’re an Addams” (from The Addams Family). Shanay introduces her “leading ghouls” one at a time including Courtney Bowman (Six, Legally Blonde and soon to star in Kinky Boots) Erin Caldwell (Six, Pretty Woman, Heathers) Nathania Ong (Les Misérables, Into the Woods, Hamilton) Tobias Turley (Mamma Mia, West Side Story, Heathers) and Jon Robyns (Les Misérables, The Phantom of the Opera).

Each performer has their time on stage and treat us to songs from musicals. Jon Robyns treats us to a spine-tingling performance of “The Music of the Night” from The Phantom of the Opera. His voice is truly haunting. A standout performance came during the first half from Nathania Ong as she sang “World Burn” (Mean Girls). Her vocal range and performance were by far the best of the night. Another notable performance was Sally Potterton and her electric violin. Expertly playing a truly eerie performance of The Exorcist Theme. Jon Robyns bought the fun with The Monster Mash and Ghostbusters with a very dubious duct tape and hoover hose forming the proton pack! A finale with all the cast and dancers bought back on stage singing a very upbeat “Day O” and “Jump in the Line” ensured the whole audience were on their feet.

Sadly, the theatre was only half full, but the audience did join in with gusto, dancing and sang along to the much-loved songs. The second half seemed to lose its way slightly, with pop performances of Toxic and Superstition. The show at times felt under-rehearsed and although all performers have phenomenal vocals, they stumbled during some of the songs.

Overall, an enjoyable night out. This seems to be a popular series of shows for hard core musical theatre fans. Indeed, if you are looking for a group singalong, then this is the show for you.

13 GOING ON 30

THE MUSICAL

TO OPEN AT

MANCHESTER OPERA HOUSE

FROM 21 SEPTEMBER 2025

ROYO, Revolution Studios, Wendy Federman and Phil Kenny are delighted to announce the world premiere production of 13 GOING ON 30 – THE MUSICAL, opening at Manchester Opera House for a limited season from 21 September 2025. The musical is based onthe 2004 rom-com classic from Revolution Studios starring Jennifer Garner and Mark Ruffalo, is written by the film writers Josh Goldsmith and Cathy Yuspa and will be directed by the award winning, Andy Fickman.

Tickets on sale at 13:30 on Wednesday 13 November.

Casting to be announced.

Jenna Rink is an adorably awkward 13-year-old girl who wishes she could skip over the misery of high school. When her birthday wish comes true, Jenna magically wakes up as an adult to find herself “thirty, flirty and thriving” as the editor of a fashion magazine with a seemingly perfect life. But as she gradually unravels the mystery of what kind of person she has become, she goes on a journey to work out what — and who — really matters.

Film writers Josh Goldsmith and Cathy Yuspa, who have also written the book of the musical, said “When we wrote the movie 13 Going on 30, we never dreamt that on the film’s 20th anniversary, we’d get the chance to see a whole new generation fall in love with Razzles and feel thirty, flirty, and thriving. It’s been a joy to work with ROYO, Revolution Studios, songwriters Alan Zachary & Michael Weiner, and director Andy Fickman to bring this story to life as a stage musical. We were thrilled by the audience’s response to our workshop last year, and now we can’t wait to officially open in Manchester at the legendary Opera House — the launchpad of so many iconic musicals. So bring your family, your friends, maybe a date, or just come alone — don’t be shy, we’re all nice. Hope you have as much fun seeing the show as we had making it!”

13 GOING ON 30 – THE MUSICAL will have songs by Michael Weiner and Alan Zachary (First Date (Broadway), High School Musical: The Musical: The Series (Disney+). It is directed by Andy Fickman (Heathers, She’s The Man).

13 GOING ON 30 – THE MUSICAL is produced by ROYO, Revolution Studios, Wendy Federman and Phil Kenny, with Todd Garner, Marla Levine and Dean Stolber.

Website: www.1330musical.com
TikTok: 1330musical

X:1330musical

Instagram: 1330musical

LISTINGS INFORMATION

21 September – 12 October 2025

Manchester Opera House

3 Quay St

Manchester

M3 3HP

www.atgtickets.com/manchester

Box Office: 020 7223 2223

Tickets: from £15

Performances:

Tuesday – Saturday 7.30pm, Thursday & Saturday 2.30pm, Sunday 3pm

DUE TO POPULAR DEMAND, TOUR EXTENDED

FURTHER 2025 DATES ANNOUNCED FOR

DEAR EVAN HANSEN

WITH PERFORMANCES AT

AYLESBURY WATERSIDE THEATRE, 10 – 14 JUNE

BIRMINGHAM ALEXANDRA, 17 – 21 JUNE

GRAND OPERA HOUSE, YORK, 24 – 28 JUNE

AND

EDINBURGH PLAYHOUSE 1 – 5 JULY

ATG Productions are delighted to announce that, due to popular demand, the brand-new Nottingham Playhouse production of the Olivier, Tony and Grammy award-winning Best Musical DEAR EVAN HANSEN will extend its UK tour for a further four weeks in 2025.

The production will now play at Aylesbury Waterside Theatre (10 – 14 June), the Birmingham Alexandra where it returns following a one-week run this month (17 – 21 June), Grand Opera House, York (24 – 28 June) and finally the Edinburgh Playhouse (1 – 5 July). Full tour schedule listed below. evanontour.com

Directed by Nottingham Playhouse’s Artistic Director Adam Penford, DEAR EVAN HANSEN opened at the Nottingham Playhouse on 9 September 2024 and is currently touring the UK.

Ryan Kopel (Newsies) plays the iconic role of Evan Hansen, alongside Lauren Conroy (Into The Woods)as Zoe Murphy and Alice Fearn (Wicked, Come From Away) as Evan’s mum, Heidi.

They are joined by Helen Anker (Mamma Mia!) as Cynthia Murphy, Richard Hurst (The Lion King) as Larry Murphy, Killian Thomas Lefevre (Bat Out Of Hell) as Connor Murphy, Tom Dickerson (Heathers)as Jared Kleinman, Vivian Panka (9 to 5 the Musical) as Alana Beck and Sonny Monaghan (discovered via TikTok) as alternate Evan.

This is the first production of Dear Evan Hansen in the UK to perform the show with an ensemble. The ensemble are Lara Beth-Sas, Will Forgrave, Daniel Forrester, Jessica Lim, Sonny Monaghan and Elise Zavou.

Morgan Large is Set and Costume Designer (Newsies, Sister Act), with Carrie-Anne Ingrouille as Choreographer (Six, Zoo Nation), Matt Daw as Lighting Designer (Pet Shop Boys, Lorde), Tom Marshall as Sound Designer (West Side Story, Sister Act), Ravi Deepres as Video Designer (School for Scandal, Woolf Works), Matt Smith as Musical Supervisor (Dear Evan Hansen, My Neighbour Totoro), Michael Bradley as Musical Director (Singin’ in the Rain, Hairspay, The Bodyguard), Natalie Gallacher CDG for Pippa Ailion & Natalie Gallacher Casting as casting director (Mean Girls, MJ The Musical, Moulin Rouge), Michelle Payne as Associate Director and Laura Llewellyn-Jones as Orchestral Manager.

Packed with some of the biggest musical theatre songs of the last decade, DEAR EVAN HANSEN has a score by Benj Pasek and Justin Paul (Oscar-winning composers for The Greatest Showman) and a book by Steven Levenson. Its many awards include the Tony® Award for Best Musical, Olivier Award for Best New Musical and the Grammy® Award for Best Musical Theatre Album.

Today is going to be a good day. And here’s why…

Meet Evan: an anxious high school kid who wants nothing more than to fit in. The thing is, on his way to fitting in, he didn’t tell the whole truth. And now must give up on a life he never dreamt he’d have. As events spiral and the truth comes out, Evan faces a reckoning with himself and everyone around him.

The production is also partnered with The Mix, the UK’s leading digital charity for under 25-year-olds.  The show deals with sensitive topics, very relevant to young people today, and this partnership ensures that anyone affected by the issues explored in the show knows where to find support. 

DEAR EVAN HANSEN is presented by ATG Productions and Nottingham Playhouse by arrangement with Music Theatre International.

NEW BRITISH MUSICAL BASED ON
DAVID BADDIEL’S BEST-SELLING BOOK 

THE PARENT AGENCY

WITH MUSIC BY DAN GILLESPIE SELLS
(EVERYBODY’S TALKING ABOUT JAMIE)

TO OPEN AT STORYHOUSE CHESTER IN FEBRUARY

DIRECTED BY TIM JACKSON

SATURDAY 15 FEBRUARY – SUNDAY 2 MARCH 2025
[GALA NIGHT WED 19 FEB]

www.storyhouse.com
 

Monday 28 October: Producers John Berry and Anthony Lilley of Scenario Two today announce that the best-selling book The Parent Agency, by comedian and author, David Baddiel,will be brought to the stage next yearin a brand-new musical with music and additional lyrics by Dan Gillespie Sells (Everybody’s Talking About Jamie), directed by Tim Jackson (Two Strangers (Carry A Cake Across New York)).

The Parent Agency – The Musical will begin performances at Storyhouse Chester on Saturday 15 February 2025 and will play for two weeks until Sunday 2 March 2025.

Gala Night will be on Wednesday 19 February 2025.

Tickets will go on sale Friday 1 November 2024 at www.storyhouse.com.
With a presale for Storyhouse members from Monday 28 October.

The Parent Agency – The Musical will appeal to anyone who is, or has been, a child.
And also, to anyone who is, or has had, at least one parent.
And definitely, to anyone who wishes they weren’t called Barry.

Eleven-year-old Barry Bennett hates his name. In fact, it’s number one on the list of things he blames his parents (Susan and Geoff) for along with “being boring, never buying him cool stuff, being tired all the time and being too strict”. So, he makes a wish for a better mum and dad and finds himself whisked away to Youngdon in the ‘United Kid-dom’, an alternate universe where kids get to pick out their perfect parents with the assistance of the staff of the eponymous Parent Agency.

For Barry, this seems like a dream come true, although he soon learns that choosing a new mum and dad isn’t as simple as it sounds…

2024 marks the 10th anniversary of David Baddiel’s much-loved, the-grass-is-always-greener, debut adventure, which has sold over 355,000 copies worldwide. Celebrations began early this year with the publication of The Parent Agency: 10th Anniversary edition including bonus chapters.

David Baddiel’s books have achieved exceptional success and been translated into 30 languages. His children’s books have received huge critical acclaim and won some of children’s literature’s highest accolades including the inaugural Laugh Out Loud Award, for The Parent Agency.

Dan Gillespie Sells, best known as the lead singer and songwriter of The Feeling, has enjoyed widespread critical acclaim for his work in musical theatre. He composed the music for the hit West End musical Everybody’s Talking About Jamie, which received multiple Olivier Award nominations, toured internationally and was adapted in to an Amazon Original Film. Dan’s work has earned him an Ivor Novello Award, Olivier, BAFTA and BRIT nominations, and he was named Stonewall’s Entertainer of the Decade in 2015 for his contributions to the LGBT community.

Joining David and Dan on the creative team are director Tim Jackson (Two Strangers (Carry A Cake Across New York), Merrily We Roll Along), choreographer Carrie-Anne Ingrouille (SIX, Dear Evan Hansen), costume designer Sarah Mercadé (Jesus Christ Superstar, 101 Dalmatians, The Spongebob Musical), lighting designer Zoe Spurr (The Curious Case of Benjamin Button, Fantastically Great Women Who Changed The World, Bonnie & Clyde) and Assistant Director Francesca Hsieh (VANYA),with casting by Jill Green CDG and Amy Beadel CDG.

David Baddiel said:“I’m so happy that my first children’s book The Parent Agency is going to be made into a musical. It’s a book that kids tell me they love, including now young adults who first read it years ago. It takes a very real child on a very magical journey that seems to really suit big musical moments – and these have been brilliantly provided by the genius that is Dan Gillespie Sells, who’s been a total joy to work with.”

Dan Gillespie Sells continued: “I’m so excited to be working with David Baddiel on this brand new musical, I’ve always been a fan of his and I can’t wait to get in to the rehearsal room alongside a wonderful creative team to help bring this story to life”

Tim Jackson added: “There’s something magical about taking a story that kids and families already love and finding new ways to tell it on stage. I’m looking forward to working alongside David and Dan to turn this wonderful world into a theatrical experience that feels fresh and playful for audiences in Chester and beyond”

Hampstead Theatre, London – until 23rd November 2024

Reviewed by Celia Armand Smith

4****

It’s February 1976, and a fishing trawler called the Graham Greene has capsized off the coast of Iceland with loss of life. This new play from Richard Bean is set against the brutal backdrop of the fishing industry in 1970s Hull, and the Icelandic vote on banning foreign fishing within 200 miles of its coastline. Donald Claxton (John Hollingsworth) has taken over the family business from his father and oversees a large fleet of fishing trawlers (including the Graham Greene) navigating treacherous waters. After hearing the news of the sinking of the ship, he embarks on the “widows’ walk”, where he must visit the grieving households of lost fishermen with strict instructions regarding walking, tea, eye contact, and breaks. While sitting grimly in his office checking the docks through a darkened window, he contends with the news, as well as his grumpy father (Paul Hickey), an edgy young vicar (Matthew Durkan), a skipper who isn’t very good at catching fish (Adam Hugill), and a fishwife who wishes bad things on her husband (Laura Elsworthy). With some external encouragement and a heavy feeling of guilt and responsibility, Claxton flies out to Reykjavik to go and bring the remaining members of the Graham Greene home.

Act one takes place in Anna Reid’s fantastically atmospheric office set with large windows overlooking the dock, helping to create a vivid image of the industry, the town and those who exist within it. In act two we are transported to a more colourful 1970s hotel foyer in Iceland, where angry Jack Jopling (Matthew Durkan) and his frostbitten finger, Quayle (Paul Hickey) the folkloric mariner, Baggie (Matt Sutton) who is awaiting news from his pregnant wife, and the lovely Snacker (Adam Hugill) are waiting on land to return to Hull. They are all being watched over by Enhildur (Sophie Cox), the somewhat reluctant hotel owner. Joined in the hotel by Claxton, the group tell tales of the sea, myth and legend, and ghost stories. Where the first act is slow and pensive, dwelling on the transience of life and the brutality and uncertainty of an industry that relies on the sea, the second act is more comedic and pacey. Both halves are equally brilliant in their storytelling despite some strange twists and turns in the narrative.

Under the direction of Emily Burns, the performances are first-rate. Hollingsworth’s performance as Claxton is charming and thoughtful with an edge of sleaze. The rowdy group of sailors offer the other side of the employee/employer divide. Casual labourers with the knowledge that at any moment their lives could end in the icy depths of the North Sea, but with huge heart and a few laughs along the way. “Reykjavik” is a sweetly melancholic portrait of the fishing industry and the community at the centre of it. It’s heartfelt and informative, and most of all extremely enjoyable.

The Kings Theatre, Southsea – until 26th October 2024

Reviewed by Sally Lumley

4****

The Addams Family musical follows the spooky characters we all know and love from the classic tv shows and movies. Wednesday (Megan Parkes) has fallen in love with “normal” boy Lucas (Finlay Hughes), and they want to get married. She confides her secret to her father Gomez (Luke Henley) who is plunged into an impossible predicament – does he keep a secret from his wife Morticia (Laura Bowler), or betray his daughter’s trust? When Lucas brings his straight-laced parents for dinner at the mansion, a night of hilarious, macabre chaos unfolds.

Benchmark Musical Theatre have breathed new life into these well-known characters, and it is clear that this enthusiastic, talented cast have had a lot of fun bringing them to the stage. Martin Bristow perfectly encapsulated chaotic Uncle Fester; the madcap uncle with a huge heart had the audience laughing every time he was on stage. While the story line about his love for the moon was a little bizarre (even for the Addams Family), his Wicked moment was delightful. I don’t want to give away any spoilers, but I did think that it was a shame in the final scene when he was replaced with a cardboard cutout. For balance though, I should say that my son thought this was the best moment of the show! Other standout performances were delivered by Megan Parkes as Wednesday, and Emma Hall as Lucas’s mother Alice, whose vocals really shone.

Benchmark are an amateur company but this production, from the set to the performances, did not feel amateur at all. While I didn’t find any of the songs particularly memorable, Benchmark have created some wonderful set pieces which will stay with us. The Full Disclosure sequence was perfectly executed and had the audience in stitches, while the Tango De Amor had all the passion we know to expect from Gomez and Morticia.

From the moment the familiar Addams Family theme music began at the start, with the whole theatre was singing and clapping along, I knew we were in for a spooktacular treat. This is lighthearted, funny and perfect timing for the start of half term. With Halloween next week, a trip to see The Addams Family is the perfect way to start spooky season.