Theatrical charity, Acting for Others,today announces West End Flea Market 2024 will take placeon Saturday 18 May at St Paul’s Church and Churchyard, Covent Garden. Following last year’s most successful West End Flea Market to date, where they raised more than £70,000, the event returns for its fourth year. 150 early bird tickets will be available for £15 giving people automatic entry into a theatrical prize draw and early access to the flea market. Release date for early bird tickets will be announced on Acting for Others socials media platforms.
Top West End shows will set up a variety of uniquely designed stalls offering theatrical memorabilia, signed items, and the chance for selfies and autographs. Each will be tailored by the company to celebrate their productions, with themed merchandise and special limited-edition collectables with the Best Dressed Stall to be judged by a starry panel and the winner will be announced at the event.
The autograph marquee will return inside the church with entry cost at £10, which includes a free West End Flea Market 2024 poster. Entrants will queue for each time slot and celebrity. This year’s Judges, West End Stars and shows will be announced at a later date.
Keep an eye on Acting for Others socials to stay up to date on announcements:
Twitter: @ActingForOthers
Instagram: @actingforothers
West End Flea Market is organised in aid of Acting for Others, a fundraising organisation for a network of 14 UK theatrical and welfare charities supporting all theatre workers.
Chichester Festival Theatre’s Festival 2024 – the first season programmed by new Artistic Director Justin Audibert – has today been announced by Justin and Executive Director Kathy Bourne.
Festival 2024 includes seven world premieres, a spectacular summer musical, and modern masterpieces. A £1.5million fundraising appeal is being launched for a sustainable new space for emerging artists and creative development in 2025
Justin Audibert and Kathy Bourne said:
‘The Chichester audience is renowned for their sense of adventure as well as their appreciation of quality and tradition, and that’s what this season aims to honour. As always, there’s a spectacular summer musical, an exciting range of world premieres, and modern masterpieces too.
‘We travel through English history – from the Tudors to the present – through unsung heroes and rarely told stories. We’re making maximum use of the Festival Theatre’s epic quality, with bold, rich dramas that tell vivid stories and lend themselves to music and spectacle. The Minerva brings us into intimate close-up, allowing us to eavesdrop on startling and evocative events and characters.
‘We’re delighted to be working with stellar directors, writers and co-producers, and already have some wonderful actors lined up to join us. Our commitment to accessibility is paramount: we’re increasing the number and location of our more affordable seats (including 13,000 at £10 across the season), and offering generous discounts for audiences booking multiple productions, alongside our £5 Prologue seats for ages 16-30.
‘We’re also excited to launch our plans for The Nest, a new space for emerging and community artists, in 2025; and to have appointed the brilliant Miranda Cromwell and Hannah Joss as Associate Directors. We are so lucky to have such a loyal and supportive audience and look forward to seeing you this year.’
In the Festival Theatre:
– The Other Boleyn Girl by Mike Poulton, based on Philippa Gregory’s novel of Tudor intrigue, directed by Lucy Bailey
– Coram Boy, an enthralling 18th century adventure, adapted by Helen Edmundson, based on the novel by Jamila Gavin and directed by Anna Ledwich
– A brand new production of Lionel Bart’s iconic musical Oliver!, directed and choreographed by Matthew Bourne, in a new revision by Cameron Mackintosh
– Redlands, a new play by Charlotte Jones, inspired by the Rolling Stones’ Chichester trial, directed by Justin Audibert
– A spellbinding new retelling of Cinderella by Philip Wilson, with music by Jason Carr, directed by Jon Pashley
In the Minerva Theatre:
– The House Party by Laura Lomas, a new adaptation of Strindberg’s Miss Julie, directed by Holly Race Roughan in a co-production with Headlong in association with Frantic Assembly
– Harold Pinter’s first major success, The Caretaker, directed by Justin Audibert
– The Promise, a new play by Paul Unwin on the pioneering post-war Labour government, directed by Jonathan Kent
– The first ever John le Carré novel on stage, The Spy Who Came In From The Cold, adapted by David Eldridge and directed by Jeremy Herrin
– A co-production with Told by an Idiot of the deliciously terrifying The Cat and the Canary, adapted by Carl Grose from the play by John Willard, directed by Paul Hunter
– A festive family story created especially for CFT by Michael Morpurgo, Hey! Christmas Tree, written for the stage by Vicki Berwick and directed by Dale Rooks
Company includes Rachelle Diedericks, Philip Franks, Adam Gillen, Shanay Holmes, Billy Jenkins, Alex Kingston, Simon Lipkin, Freya Mavor, Ian McDiarmid, Will Merrick, Nadia Parkes, Lucy Phelps, Jack Riddiford, Aaron Sidwell, Andrew Woodall
13,000 £10 tickets across the season; 9,000 £5 Prologue tickets for 16 – 30 year olds
Plans for a new studio space, The Nest, for work by emerging artists, creative development and community projects in 2025
Miranda Cromwell and Hannah Joss appointed Associate Directors
Off-stage events, exhibitions, free live music, family activities, and CFT Lates
FESTIVAL 2024 PRODUCTIONS – APRIL TO OCTOBER
THE OTHER BOLEYN GIRL
By Mike Poulton
Based on the novel by Philippa Gregory
Directed by Lucy Bailey
19 April – 11 May, Festival Theatre
Henry VIII’s court is a stage for love and treachery, where the weapons of choice are sex, marriage, and the executioner’s axe. As Henry’s mistress, Mary Boleyn is a pawn in her family’s lust for power. Queen Katherine of Aragon hasn’t produced a male heir, and Mary’s ruthless uncle scents the chance of putting his niece on the throne.
But Henry’s wandering eye has fallen on another: Mary’s headstrong sister, Anne, whose ambition not only threatens to destroy her bond with Mary and their brother George, but shakes the foundation of Church and State. Can Mary take charge of her own fate?
Based on Philippa Gregory’s internationally best-selling novel, The Other Boleyn Girl is a brilliant recreation of intrigue at the Tudor court – a racy and riveting drama of events that changed the course of English history.
Mike Poulton’s award-winning stage adaptations include Uncle Vanya and Fortune’s Fool for CFT and Broadway, and Wolf Hall and Bring Up the Bodies (RSC, West End and Broadway).
Director Lucy Bailey’s recent work includes Witness for the Prosecution (London County Hall) and Much Ado About Nothing (Shakespeare’s Globe).
The cast includes Jacob Ifan (Cuffs, A Discovery of Witches) as William Carey, Kemi-Bo Jacobs (The Ocean at the End of the Lane NT/West End, The Winter’s Tale RSC) as Queen Katherine, Alex Kingston (Doctor Who, The Tempest RSC) as Lady Elizabeth, Peter Losasso (Mrs Warren’s Profession, Twelfth Night) as Francis Weston, Freya Mavor (Industry, Skins) as Anne Boleyn, Lily Nichol (Imperium RSC, Maternal) as Jane Parker, Lucy Phelps (Much Ado About Nothing Shakespeare’s Globe, Measure for Measure RSC) as Mary Boleyn and Andrew Woodall (South Downs/The Browning Version, Fracked! CFT) as the Duke of Norfolk; with Chris Green (musician and musical director) and Sarah Harrison (musician).
The designer will be Joanna Parker, lighting designer Chris Davey, composer Orlando Gough, sound designer Beth Duke, video designer Dick Straker, movement director Ayse Tashkiran, wigs, hair & make-up designer Susanna Peretz and casting director Ginny Schiller CDG.
THE HOUSE PARTY
By Laura Lomas
An adaptation of Miss Julie by August Strindberg
Directed by Holly Race Roughan
A co-production with Headlong in association with Frantic Assembly
3 May – 1 June, Minerva Theatre
A wild party. A friendship. A cherished pet. And a night that changes everything.
It’s Julie’s 18th birthday, and she’s throwing a party in her father’s extravagant townhouse. Her boyfriend has just dumped her and her long-suffering best friend Christine is trying to pick up the pieces. As the revellers pile into the booze, down in the kitchen Christine and her boyfriend Jon – son of Julie’s cleaner – clear up and dare to dream of the future.
But as the volume goes up and the shots go down, Julie concocts a twisted cocktail of privilege, desire and destruction.
Laura Lomas’s The House Party spins Strindberg’s Miss Julie into intense, fizzing life for today’s generation.
Audiences will have the option of choosing immersive tickets to be amongst the house party action.
Lomas’s recent work includes Metamorphoses (Shakespeare’s Globe), The Blue Woman (Royal Opera House) and Chaos (National Theatre Connections).
This co-production with Headlong in association with Frantic Assembly is directed by Holly Race Roughan, whose previous work at Chichester includes Hedda Tesman (2019) and A View from the Bridge (2023). Headlong celebrate their 50th anniversary in 2024; their collaborations with Chichester have also included Six Characters in Search of an Author,Enron and The House They Grew Up In.
The cast includes Rachelle Diedericks (Our Generation, A View from the Bridge) as Christine and Nadia Parkes (Kidnapped, The Bastard Son & The Devil Himself) as Julie.
The House Party has set design by Loren Elstein, costume design by Maybelle Laye, lighting and video design by Joshua Pharo, music and sound design by Giles Thomas, movement direction by Scott Graham, intimacy direction by Haruka Kuroda and casting by Matilda James CDG.
For ages 14+; please note this production contains scenes some people may find upsetting.
CORAM BOY
By Helen Edmundson
Based on the novel by Jamila Gavin
Directed by Anna Ledwich
24 May – 15 June, Festival Theatre
21 – 29 June, The Lowry, Salford
Angels and abandoned children, glorious music and murder most foul whirl through this enthralling, moving and richly colourful tale of 18th century England.
At Gloucester Cathedral, Alexander Ashbrook, heir to an aristocratic estate, has his heart set on becoming a composer; but his stern father refuses to listen and despite his love for the beautiful Melissa, flight seems his only option. Far darker conflicts are at play for Meshak, son of the brutal Otis Gardiner who preys on young unmarried mothers – promising to deliver their babies to Coram’s new Foundling Hospital but instead meting out a terrible fate.
Their stories entwine eight years later in London, where two Coram orphans, Toby and Aaron, find themselves on parallel adventures, and the great Handel is at work on a new score, Messiah, embodying the hope of love and salvation over evil.
Helen Edmundson‘s adaptation of Jamila Gavin‘s Whitbread Award-winning novel premiered at the National Theatre in 2005 before transferring to Broadway. Nominated for several Olivier and Tony Awards, it won the Time Out Live Award for Best Play. Anna Ledwich, formerly writer in residence at CFT (Pinocchio) and Artistic Director of Theatre on the Fly (2012), whose recent directorial work includes Anthropology (Hampstead), directs.
The designer is Simon Higlett, lighting designer Emma Chapman, composer and sound designer Max Pappenheim, movement director Chi-San Howard and casting director Annelie Powell CDG.
For ages 12+.
Coram Boy will run at The Lowry, Salford from 21 – 29 June, immediately following its Chichester run.
THE CARETAKER
By Harold Pinter
Directed by Justin Audibert
8 June – 13 July, Minerva Theatre
We’re in London, at the tail end of the 1950s, in a derelict room stuffed with junk, detritus and a bucket for the leaky ceiling. Enter two men: the room’s occupant, the gentle and damaged Aston, and Davies, a mercurial drifter whom Aston has brought in from the streets. Soon they’re joined by the building’s owner, Aston’s brother: the explosively unpredictable Mick.
What follows is a darkly comic, unsettling tango as the three men vie for territory, opportunity and control that remains tantalisingly out of reach.
Premiered in 1960, The Caretaker was Harold Pinter’s first major success and is now regarded as a landmark of 20th century drama, laced with astringent wit and unsentimental compassion.
Justin Audibert, Artistic Director of Chichester Festival Theatre, directs.
The cast is Adam Gillen (Amadeus National Theatre, ITV’s Benidorm) as Aston; Ian McDiarmid (Star Wars, Six Characters in Search of an Author CFT, Faith Healer Almeida and Broadway) as Davies; and Jack Riddiford (Romeo and Juliet Almeida Theatre, Jerusalem West End) as Mick.
The Caretaker is designed by Stephen Brimson Lewis, with lighting design by Simon Spencer, music composed by Jonathan Girling, sound design by Ed Clarke, movement direction by Lucy Cullingford and casting by Jessica Ronane CDG.
OLIVER!
Book, Music and Lyrics by Lionel Bart
Freely adapted from Charles Dickens’ Oliver Twist
New revision by Cameron Mackintosh
Directed and Choreographed by Matthew Bourne
8 July – 7 September
This spectacular new production of Lionel Bart’s iconic musical has been fully reconceived especially for CFT by director and choreographer Matthew Bourne and Cameron Mackintosh and promises to be one of the most unforgettable shows ever at the Festival Theatre.
The orphaned Oliver escapes the harsh Victorian workhouse and takes refuge in London’s murky underworld with the wily gang leader Fagin and his team of resourceful pickpockets led by the Artful Dodger. He finds a friend in the kind-hearted Nancy and when he’s wrongly arrested for stealing, Oliver meets an unexpected saviour; but is happiness truly within his grasp?
With a sensational score, including Food Glorious Food, Consider Yourself, You’ve Got to Pick-a-Pocket or Two, I’d Do Anything, Oom Pah Pah, As Long As He Needs Me and many more, the Olivier, Tony and Oscar-winning masterpiece vividly brings to life Dickens’ ever-popular story of the boy who asked for more.
Matthew Bourne is internationally renowned for reinventing classics including Swan Lake and Edward Scissorhands for his company New Adventures, as well as his Olivier Award-winning choreography for My Fair Lady and Mary Poppins (which he co-directed and also earned him a Tony Award nomination for Best Choreography) and his recent acclaimed direction and musical staging of Stephen Sondheim’s Old Friends. The stellar creative team includes designer Lez Brotherston (Fiddler on the Roof, Me and My Girl, Flowers for Mrs Harris).
The cast includes Simon Lipkin (Guys and Dolls, Avenue Q) as Fagin, Shanay Holmes (Miss Saigon, The Bodyguard) as Nancy, Aaron Sidwell (Henry VI, Wicked) as Bill Sikes, Billy Jenkins (Les Misérables, BBC’s Dodger) as the Artful Dodger and Philip Franks (The Rocky Horror Show, Witness for the Prosecution) as Mr Brownlow.
Oliver! is directed and choreographed by Matthew Bourne; co-director Jean-Pierre van der Spuy; designer Lez Brotherston; musical supervisor and conductor Graham Hurman; lighting designers Paule Constable and Ben Jacobs; sound designer Adam Fisher; video designer George Reeve; original orchestrations William David Brohn; orchestral adaptation Stephen Metcalfe; casting directors Felicity French CDG and Paul Wooller CDG; children’s casting director Verity Naughton CDG.
Oliver! is produced in association with Cameron Mackintosh. There will be a Dementia Friendly performance on 31 July; a Relaxed Performance on 22 August; and a Summer Gala on 6 September.
THE PROMISE
By Paul Unwin
Directed by Jonathan Kent
19 July – 17 August
To promise nearly fifty million people truly universal health care – ‘cradle to the grave’ – is crackers.
1945. In a country exhausted and crippled by debt after six years of war, time is up for Winston Churchill’s Tories. With a rallying cry for change, Labour wins an astonishing, landslide election victory.
Clement Attlee may be an unlikely prime minister and his cabinet of competing heavyweights – from the loyal Ernest Bevin to scheming Herbert Morrison – argue furiously about how to realise their manifesto: to make a welfare state, build millions of homes, reorganise dilapidated schools, and most dramatically, create a National Health Service that is free at the point of need.
Driven by the passionate and courageous radical Ellen Wilkinson, and the visionary firebrand Nye Bevan, a very British revolution is in the air. But in the face of bitter opposition, is this an audacious pledge of hope or a promise too far?
Paul Unwin’s new drama is a fascinating, deeply pertinent portrayal of the people who moulded modern Britain and what it cost them.
Paul Unwin is co-creator of TV’s longest-running medical drama Casualty.
Jonathan Kent, whose previous Chichester productions include Gypsy, Sweeney Todd and Young Chekhov Trilogy, directs.
The Promise will have lighting design by Peter Mumford and casting by Annelie Powell CDG.
John le Carré’s
THE SPY WHO CAME IN FROM THE COLD
Adapted for the stage by David Eldridge
Directed by Jeremy Herrin
23 August – 21 September
All cats are alike in the dark.
At the height of the Cold War, disillusioned British spy Alec Leamas is persuaded by the head of The Circus and veteran agent George Smiley to stay ‘in the cold’ for one last risky operation against the powerful leader of the East German Secret Service.
But Leamas has committed a cardinal error: he’s fallen in love. After a lifetime of deception and betrayal, can there be room for humanity in the ruthlessly manipulative world of international espionage?
The first ever John le Carré novel to be adapted for the stage, this award-winning 1963 thriller has been hailed as a modern masterpiece.
David Eldridge’s plays include Beginning and Middle for the National Theatre, and his adaptation of Festen (Almeida, West End and Broadway). Director Jeremy Herrin, whose Chichester work includes This House, Another Country and South Downs, returns following recent London productions of A Mirror and Ulster American.
The casting director will be Jessica Ronane CDG.
REDLANDS
By Charlotte Jones
Directed by Justin Audibert
20 September – 18 October
These kids – they’re taking over the world – they’re the new aristocracy, man and the old guard don’t like it.
In the quiet market town of Chichester, the most famous members of the most infamous rock group in the world are on trial.
1967. At Keith Richards’s country house Redlands in deepest West Sussex, the Rolling Stones are enjoying a bohemian night in with the likes of Marianne Faithfull and George Harrison, until the constabulary swoop down and charge Keith and Mick Jagger with drug offences.
Only one man can defend the two icons of the 60s revolution: Michael Havers, leading QC and future attorney general. But the furore also brings into the spotlight his own relationship with his son, aspiring teenage actor Nigel Havers, who’s been drawn into Marianne’s orbit…
This riotous, psychedelic and hugely entertaining account of possibly the most bizarre English court case ever held evokes a turning point in cultural history and the clash between the generations.
Charlotte Jones’s plays include The Meeting (CFT 2018), and the multi award-winning Humble Boy (National Theatre, West End and Broadway).
Justin Audibert, CFT’s Artistic Director, makes his Festival Theatre debut.
A fictional account, inspired by the famous ‘Redlands’ trial of the Rolling Stones.
The set designer will be Joanna Scotcher, the composer and orchestrator will be Benjamin Kwasi Burrell, and the casting director Ginny Schiller CDG.
THE CAT AND THE CANARY
Adapted by Carl Grose
From the play by John Willard
Directed by Paul Hunter
A co-production with Told by an Idiot
27 September – 26 October
As midnight strikes, a storm rages over the wilds of Bodmin Moor. The surviving descendants of the long-deceased Cyrus West have gathered in his remote mansion to discover which of them is the chosen heir to his fortune. As the wind rattles the house, so does news that the most dangerous inmate from the nearby asylum is on the run. Menace lurks around every corner and nothing is what it seems…
The Cat and the Canary has woven its macabre fascination for over 100 years. Carl Grose adapts John Willard’s fabulous period piece into a deliciously terrifying and terrifyingly funny tale that will have you on the edge – or possibly right out – of your seat.
A co-production with Told by an Idiot, renowned for their unique visual flair and playfully inventive storytelling including Charlie and Stan (Minerva 2020), directed by their Artistic Director, Paul Hunter.
The cast includes Will Merrick (Skins, Dead Pixels).
Disclaimer: those of a nervous disposition, allergic to terror and frights and bumps in the night, should attend with caution…
The Cat and the Canary will be designed by Angela Davies; the casting director will be Matilda James CDG.
HEY! CHRISTMAS TREE
Written by Vicki Berwick
From an original idea by Michael Morpurgo
Directed by Dale Rooks
7 – 29 December
Enchanting, funny and heart-warming, this festive story about the importance of finding friendship and somewhere to call home, was created especially for Chichester Festival Theatre by Michael Morpurgo.
Tree is rescued from the forest on Christmas Eve by Mavis, the motorbiking park ranger, who lives with her cheeky cat Winston and 9-year-old Yulia, who doesn’t want to talk and is a long way from home.
Tree has never had Christmas before and isn’t sure about all the decorations he has to wear. But he meets Father Christmas and the Snow Woman, and with Yulia to care for him, he starts to dance. The seasons come and go, Tree grows taller, and soon Christmas comes around once again. And alongside the gifts in their stockings is the best present of all.
Inspired by Michael Morpurgo’s book of poems My Heart Was a Tree, and written for the stage by Vicki Berwick, it’s a perfect first festive theatre trip for 3 to 7 year olds.
Dale Rooks, whose Chichester productions include The Butterfly Lion, Running Wild and The Wind in the Willows, directs.
Hey! Christmas Tree will have music and lyrics by Eammon O’Dwyer.
For ages 3 – 7. Relaxed Performance on 29 December.
Chichester Festival Youth Theatre
CINDERELLA
Written by Philip Wilson
Music by Jason Carr
Lyrics by Philip Wilson and Jason Carr
Directed by Jon Pashley
17 – 31 December, Festival Theatre
You are invited to the prince’s ball this Christmas!
Transport yourself into a spellbinding new retelling of this classic folk tale, full of wonder and delight. Meet a wicked stepfamily, a handsome prince in search of a wife and a missing slipper… But wait: there are also three magical dresses, a wish-giving tree, and help for Cinderella from a very unexpected source.
Packed with thrilling theatricality and delightful comedy, Cinderella is written by Philip Wilson (Grimm Tales), with original live music and songs by Jason Carr, and directed by Jon Pashley (CFYT’s A Midsummer Night’s Dream).
Chichester Festival Youth Theatre follows five-star versions of Sleeping Beauty, Pinocchio and The Jungle Book with another festive feast of magical storytelling.
Cinderella will have set designs by Simon Higlett and costume designs by Abigail Caywood.
For ages 7+. Relaxed Performance 30 December.
FESTIVAL 2024 EVENTS
A lively programme of events and activities will complement the shows on stage.
Join Philippa Gregory for a conversation about The Other Boleyn Girl, and delve deeper into the world of Tudor costume design and the Redlands trial with free foyer exhibitions. The Cat and the Canary Experience Weekend will offer an insight into Told by an Idiot’s unique theatre-making. Free Pre- and Post-Show Talks, with the director and cast members, are held for each production.
We continue the conversations around gender equality in our Fizz and Feminism events, and host events celebrating positive community action to tackle climate change for Green Week.
A Summer Gala performance of Oliver! on 6 September will support bursary places for the Youth Theatre. Knees-up on the Park will be a day of entertainment for all, and there’s free live music in the Minerva and Summer Sessions.
CFT Lates, our monthly series of late night entertainment for ages 16+, returns with spoken word, comedy, drag and cabaret, and there’s a post-show celebration like no other with The House Party Silent Disco.
Family Friendly activities range from free Family Fun sessions and storytelling to a Family Jamboree, and the return of The Brick People and Creation Station.
THE NEST
Incubating, hatching and showcasing the creative talent of the future
Previously at Chichester, The Tent, Theatre on the Fly and The Spiegeltent have been venues offering something different to our usual programming. With an increasingly urgent need for more space to develop creative projects and support emerging artists, we are planning a new venue to incubate creativity in our community, hatch new work in progress and nurture growing artists.
With sustainability at its heart, we have found an ideal structure previously located at the Pleasance Theatre in London and used at the Edinburgh Festival. Usable year-round and fully wheelchair accessible, this 119-seater studio will have a thrust stage to match our sister theatres and removable stacked seating giving plenty of flexibility.
Sited among the trees next to the Festival Theatre, a £1.5million fundraising appeal has been launched (kickstarted with £250,000 from CFT’s own reserves) to create and open The Nest in 2025. Watch this space!
ASSOCIATE DIRECTOR APPOINTMENTS
The award-winning director Miranda Cromwell has been appointed Associate Director; and Hannah Joss, formerly Resident Director at the National Theatre Studio and at the Almeida Theatre, has been appointed Associate Director (Literary) at Chichester Festival Theatre.
Miranda will contribute to the creative energy of the theatre, in the particular the work of the acting and creative companies during the Festival season, while Hannah will be working on commissioning new work, generating ideas and liaising with agents and producers.
Miranda Cromwell’s productions embrace new and devised work, musicals and classic texts, including co-directing the Olivier and Black British Theatre Award-winning Death of a Salesman at the Young Vic, West End, and as solo director on Broadway. Other recent work includes Mlima’s Tale (Kiln Theatre), Rockets and Blue Lights (National Theatre/Royal Exchange Manchester/BBC Radio 3), andbreathe…(Almeida Theatre), and The Beekeeper of Aleppo (Nottingham Playhouse).
Hannah Joss was previously Resident Director at the National Theatre Studio, a director in the most recent Old Vic 12 cohort, Resident Director at the Almeida Theatre and Baylis Assistant Director at the Old Vic. She is also an Open Door mentor. As Director, her theatre work includes: Fake Melania (Old Vic), Original Death Rabbit (Jermyn Street Theatre), Carry On Jaywick (Vault Festival/HighTide/UK tour), Paper. Scissors. Stone (Live Theatre, Newcastle), Eigengrau (Kings Head Theatre), The 11th Hour (the Egg, Theatre Royal Bath).
Everyman Theatre, Cheltenham – until 17th February 2024
Reviewed by Jacqui Radford
4****
Noises Off, written by Michael Frayne is a play within a play that is fast paced farce. Anyone who remembers farce from the 70s and 80s can easily identify traits of their favourite productions. In some ways the play is a trip down memory lane but also reminds us how comedy has changed over time.
The play is spread across three acts, each portraying the same scene of a fictional farce ‘Nothing On’, but as it careers from a dysfunctional dress rehearsal, through the first live performance and culminating in the most nonsense end of run performance.
The set design and changes are used brilliantly to mark the transition from each ‘performance’. We see them from alternating backstage and front of house perspectives. All adding to the sense of anticipation and increasing fits of giggles.
The entire performance is fast paced but the final act is an energetic and cleverly choreographed treat that combines all the best elements of slapstick. Think of misplaced props, revolving doors, ill-fitting clothes and banana skins and you get the picture.
This performance had a stellar cast that included Liza Goddard, Paul Bradley and Simon Shepherd but special mention has to go to Lisa Ambalavanar who somehow manages to add comedy to sticking to the script when all around is mayhem.
If you love farce, you will not be disappointed. If you’ve never experienced an on-stage performance that includes farce, this is a fantastic introduction. It’s hard to do the play justice without any spoilers!
Yvonne Arnaud Theatre, Guildford – Touring the UK until 30 June 2024.
Reviewed by Rebecca Lobb
4****
A New Old Friends production presents a comedic evening of illusions, frolics and whodunnits.
The story starts with Harry Houdini (Ben Higgins) and his wife Bess (Lydia Piechowiak) in England, desperately seeking a performance slot at King Edward’s gala. Harry knows this performance will help showcase his death-defying escapology stunts on a global scale. And with Bess as his loyal side kick nothing is stopping him…until he is framed for murder by a gang of criminals who have a secret pact with the local police. So can Harry and Bess clear their names and prove who the real murderer is?
Higgins and Piechowiak delivered a very playful and whimsical performance as a couple, and Piechowiak’s personality particularly shone in the second act highlighting that behind every successful man, there is a woman like Bess who is ready to protect. This is one thing the writers Heather and Fearg really wanted to highlight in this story.
Undoubtedly the star of the show was Adam Elliott who played many characters including Hardeen, Chief Doyle and the Barkers. He displayed high energy throughout and provided perfect comedic timing. He was also supported alongside Kirsty Cox who played several female characters, such as Ma Barker, Officer Dibble and Agatha. Together they were both flawless, and at times I even considered if they had body-doubles because they had so many different characters to portray, often in the same scene!
This play is still in its very early stages, and a few tweaks could be made, such as the train rooftop scene left a little to be desired, and you could often see a performer changing an accessory or pulling the curtain behind the scenes, which was slightly distracting. The set also appeared quite low budget, but I commend the cast, as they not only acted but they also managed all the props and scene changes.
It was very clear from the beginning that this is a very hardworking cast of just four people, sometimes playing multiple roles, who offered a lot of laughs, magical illusions and charisma. It was enjoyable from start to finish!
Festival Theatre, Malvern – until 17th February 2024
Reviewed by Courie Amado Juneau
4.5****
The Circle by Somerset Maugham tells the story of a family reunion that takes an unexpected turn when the misfortunes of the father are revisited upon the son.
The story opens on a sumptuous set evoking the spleandour of a country pile as Arnold is nervously anticipating the arrival of his estranged mother, who he hasn’t seen for 30 years. His wife, Elizabeth, extended the invitation but hadn’t counted on the unexpected arrival of Arnold’s father – nor his mischievous scheming.
Olivia Vinall played Elizabeth with an understated exuberance that befits the era and which was impressively dramatic. I find it hard to warm to anyone contemplating splitting up a marriage but Olivia gave the part such a laudable integrity and compelling gentleness that I found myself rooting for her and hoping she would do the right thing. I just wasn’t sure what the right thing was…
…and therein lies the rub, since this is a very ambiguous play. It doesn’t moralise, nor offer any definitive answers. Instead it explores the full spectrum of familial quandaries from a multitude of angles and leaves one both questioning societal morality alongside ones own. A very illuminating exercise.
The two men in Elizabeth’s life – husband Arnold (Pete Ashmore) and his friend Teddie (Daniel Burke) who she realizes she has fallen in love with, are polar opposites but both actors brought these men to life with passionate portrayals.
From her opening scene’s rather haughty austerity to the more contemplative moments with the two central loves of her life to imparting her hard earned wisdom during the chat with Elizabeth, Jane Asher (as Kitty, Arnold’s mother) showed why has has been such a legend of the stage and screen for so long, giving us a nuanced character study that was never anything less than totally compelling. The scene where she reacts to her old photo and ensuing discussion with her partner was particularly effective and touching.
Clive, Kitty’s ex-husband, was played by Clive Francis with a beautifully light comic touch and a relish that was a joy to behold. I loved his almost under the radar opportunistic meddling. Such delicious peskiness. His former friend (and Kitty’s partner for the last 30 years) Hughie (Nicholas Le Prevost) was equally marvellous although in a totally different way. I found myself totally in sympathy with him. His waffling vocal dismissal was hilarious and a character trait I shall attempt to develop myself.
Like an Agatha Christie where the weapons are words instead of daggers, I was riveted from start to finish, being totally drawn into this domesticated universe of polite warfare. Not so much a whodunnit as a howcouldtheyhavedunnit (or even a howcouldtheyavoiddoingit): it holds an entertaining mirror up to old fashioned attitudes, discussing social mores as history repeats itself a generation apart. A shockingly everyday ending was the final icing on the cake with an unfortunate (or fortunate, depending on your point of view) inevitability which displayed the author’s genius.
A study of the complexities of life, love, honour and duty – if you love Oscar Wilde you will love this play – especially given the stellar cast at the top of their game. I certainly loved and can wholeheartedly recommend it.
Lyceum Theatre, Sheffield – until Saturday 17th 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.
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. . .
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.
