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FURTHER CAST, CREATIVE TEAM AND DATES ANNOUNCED FOR

CHEKHOV’S THE SEAGULL IN A NEW VERSION

BY DUNCAN MACMILLAN AND THOMAS OSTERMEIER,

DIRECTED BY OSTERMEIER AT THE BARBICAN THEATRE

Wessex Grove and Gavin Kalin Productions today announce further casting for Duncan Macmillan and Thomas Ostermeier’s new version of Chekhov’s masterpiece The Seagull. Joining the previously announced Cate Blanchett (Arkadina) and Tom Burke (Trigorin) are Priyanga Burford (Polina), Emma Corrin (Nina), Zachary Hart (Medvedenko), Paul Higgins (Shamrayev), Tanya Reynolds (Masha), Kodi Smit-McPhee (Konstantin), and Jason Watkins (Sorin). Further casting and creative team will be announced shortly.

Also directed by Ostermeier, the production will play a limited 6 week run at the Barbican Theatre from February 2025. Tickets starts at £20, and for every performance there are over 100 tickets at that price. The production opens on 6 March, with previews from 26 February, and runs until 5 April.

Completing the creative team are Magda Willi (Set Design), Marg Horwell (Costume Design), Tom Gibbons (Sound Design), and Jim Carnahan CSA & Liz Fraser CSA (Casting).

ON SALE DATES:

7 October:          10am-1pm Premier Patrons, Principal Patrons and Director’s Circle Patrons Priority

1pm-4pm Barbican Patrons Priority

4pm Barbican Members Plus Priority

8 October:          10am Barbican Members Priority

4pm Wessex Grove Priority

9 October:          10am Public booking opens

Audiences are invited to sign up for more information about The Seagull at www.theseagullplay.co.uk 

Wessex Grove and Gavin Kalin Productions

in association with the Barbican

present

THE SEAGULL

By Anton Chekhov

A new version by Duncan Macmillan & Thomas Ostermeier

Cast: Cate Blanchett (Arkadina), Priyanga Burford (Polina), Tom Burke (Trigorin), Emma Corrin (Nina), Zachary Hart (Medvedenko), Paul Higgins (Shamrayev), Tanya Reynolds (Masha), Kodi Smit-McPhee (Konstantin), Jason Watkins (Sorin)

Conceived & Directed by Thomas Ostermeier; Set Design by Magda Willi;

Costume Design by Marg Horwell; Sound Design by Tom Gibbons

Cate Blanchett stars as Arkadina, a celebrated actress whose larger-than-life presence dominates both the stage and her personal relationships. Arriving at her family’s country estate for the weekend, she finds herself caught up in a storm of conflicting desires. Her playwright son, Konstantin (Kodi Smit-McPhee), struggles to step out of her shadow as he pursues his own artistic ambitions and her lover Trigorin (Tom Burke), becomes the object of affection for the aspiring young actress Nina (Emma Corrin).

As their lives entwine and they each grapple with their desires, ambitions, and disappointments, Chekhov’s timeless story unfolds in a gripping tale of vanity, power, and the sacrifices made in the name of art.

Cate Blanchett plays Arkadina. She served alongside Andrew Upton as co-Artistic Director and co-CEO of Sydney Theatre Company (STC) between 2008-2013, producing 16 shows a year across 4 stages, many of which toured nationally and internationally. Notable productions include Tennessee Williams’ A Streetcar Named Desire directed by Liv Ullman; Anton Chekhov’s Uncle Vanya directed by Tamás Ascher,  Steven Soderbergh’s Tot Mom; Benedict Andrews’ productions of The War Of The Roses, Genet’s The Maids and Botho Strauss’ Gross Und Klein; the seminal adaptation of The Secret River by Neil Armfield; numerous productions by director Kip Williams; and Andrew Upton’s The Present directed by John Crowley for which Blanchett earned a Tony Award nomination for its Broadway run. Blanchett’s most recent performance in London was at the National Theatre in Martin Crimp’s When We Have Sufficiently Tortured Each Other directed by Katie Mitchell. Her screen credits include Tár, Nightmare Alley, Don’t Look Up, Ocean’s 8, Thor: Ragnorok, Carol, Blue Jasmine, I’m Not There, The Curious Case of Benjamin Button, Notes on a Scandal, The Life Aquatic, Indiana Jones and The Kingdom Of The Crystal Skull, The Lord of The Rings Trilogy and The Hobbit, The Good German, The Aviator, The Talented Mr Ripley and Elizabeth. Blanchett has won numerous awards including two Academy Awards, four BAFTAs, three Golden Globes and four Screen Actors Guild awards. Blanchett is co-Founder and Principal of production company Dirty Films for which she has produced and acted, alongside partners Andrew Upton and Coco Francini, which recently launched PROOF OF CONCEPT, providing support and opportunities to women, trans and non-binary filmmakers. She created and produced the award-winning Audible Original podcast CLIMATE OF CHANGE, and produced EVOLVER, a VR interactive experience which was selected for the first ever Immersive Competition at the Cannes Film Festival. She has presided over festival juries in Cannes and Venice, and The Venice Film Festival has twice awarded her The Volpi Cup for Best Performance. Blanchett holds a BFI Fellowship from the BFI London Film Festival, has received the Stanley Kubrick Award for Excellence in Film and has a star on the Hollywood Walk of Fame. Numerous other accolades include the Honorary Cesar, International Goya and Chaplin Awards.

Priyanga Burford plays Polina. Her theatre credits include An Enemy of the People (Duke of York’s Theatre – Olivier Award nomination for Best Supporting Actress in a Play), Rapture (Royal Court Theatre), The Winter’s Tale, Eyam (Shakespeare’s Globe), and Consent (National Theatre). Her television work includes Innocent, Industry, Avenue 5, This Time with Alan Partridge, Press, W1A, and King Charles III; and for film, No Time To Die.

Tom Burke plays Trigorin. His theatre work includes Rosmersholm (Duke of York’s Theatre), Don Carlos (UK tour), The Deep Blue Sea, The Doctor’s Dilemma (National Theatre), Reasons to be Happy (Hampstead Theatre), Reasons to be Pretty, Macbeth (Almeida Theatre), Design for Living (The Old Vic), for the Donmar Warehouse, Creditors (also New York, winner of the Ian Charleson Award) and The Cut, and Romeo and Juliet (Shakespeare’s Globe). His television work includes Extinction, The Crown, Strike, The Musketeers, War and Peace, Utopia, The Hour,  Great Expectations, Casanova, and State of Play; and for film, Furiosa, The Wonder, Klokkenluider, True Things About Me, Mank, The Souvenir, The Invisible Woman, The Libertine, Telstar, Chéri, An Enemy to Die For, Cleanskin, Only God Forgives, The Invisible Woman and The Hooligan Factory.  

Emma Corrin plays Nina. Their theatre work includes Orlando (Michael Grandage Company at the Garrick Theatre) and Anna X (Harold Pinter Theatre – Olivier Award nomination for Best Actress and The Stage Debut Award nomination for Best West End Performer).For television, their credits include playing Lady Diana Spencer in the award-winning The Crown -for which they won a Golden Globe and Critics Choice Award, as well as receiving a SAG and Emmy nomination, A Murder at the End of the World (nomination for an Independent Spirit Award in the Best Lead Performance), and the forthcoming Black Mirror. For film, their credits include Deadpool & Wolverine, Lady Chatterley’s Lover, My Policeman, and the forthcoming Nosferatu, and 100 Nights of the Hero.

Zachary Hart plays Medvedenko. His theatre credits include The Constituent (The Old Vic), An Enemy of the People (Duke of York’s Theatre), Julius Caesar (Bridge Theatre). For television, his work includes Slow Horses, Bodies, Peaky Blinders, The Witcher: Blood Origin, Masters of the Air, Sitting in Limbo, and Doc Martin; and for film, Jericho Ridge, and Delia Derbyshire: The Myths and Legendary Tapes.

Paul Higgins plays Shamrayev. For theatre, his work includes Romeo and Juliet, The Doctor, Macbeth, Conversations After a Burial (Almeida Theatre), Local Hero (Chichester Festival Theatre), This is Memorial Device (Royal Lyceum Theatre), The Meaning of Zong (Bristol Old Vic), Aristocrats, Temple, Luise Miller (Donmar Warehouse), The Seagull (Lyric Hammersmith), Twilight Song (Park Theatre), Blackbird, King Lear (Citizens Theatre), Hope, Nightsongs (Royal Court Theatre), Children of the Sun, Caledonia, The White Guard, Paul (National Theatre), Damascus (Traverse Theatre and Tricycle Theatre), Black Watch (National Theatre of Scotland), The Tempest (Tron Theatre), Measure for Measure (RSC), A Midsummer Night’s Dream (Shakespeare’s Globe), Buried Alive (Hampstead Theatre), The Way of the World (Royal Exchange Theatre), An Enemy of the People (National Theatre, Ahmanson Theatre LA), and The Slab Boys (Young Vic). For television, his work includes The Simpsons, Slow Horses, The Ipcress Files, Beep, Cold Call, Line of Duty, Raised by Wolves, The Wrong Mans, Case Histories, Utopia, Hope Springs, Purves and Pekkala, The Last Enemy, The Thick of It, Low Winter Sun, Murder, Lucky Ones, and Staying Alive; and for film, Kill, Greed, Apostle, The Party’s Just Beginning, Couple in a Hole, Victor and Abdul, In The Loop, The Red Road, Complicity, Beautiful Creatures, Bedrooms and Hallways, Goal! and No Holds Bard.

Tanya Reynolds plays Masha. Her theatre credits include A Mirror (Almeida Theatre and Trafalgar Studios – Olivier Award for Best Actress in a Supporting Role), She Stoops to Conquer (Orange Tree Theatre), The Last Words You’ll Hear (Almeida Theatre), It’s Not Like It’s Illegal (Theatre Royal Stratford East), Scenes with Girls (Royal Court Theatre). Her television credits include The Decameron, 4Stories: On The Edge, The Baby, I Hate You, Sex Education, Breeders, and Delicious. And for film, Timestalkers, Harold, The Purple Crayon, Emma, Undergods, Fanny Lye Deliver’d, and The Revenger: an Unromantic Comedy.

Kodi Smit-McPhee makes his professional stage debut as Konstantin. His television work includes the upcoming limited series Disclaimer and previous series Interrogation.His film work includes the upcoming releases Maria and Memoir of a Snail, and previous films The Power of the Dog (New York Critics’ Film Award, and BAFTA and Oscar nominations for Best Supporting Actor as well as a Golden Globe win for Best Supporting Actor),  Dolemite is My Name, X-Men: Dark Phoenix, Alpha, Deadpool 2, X Men: Apocalypse, Slow West, Dawn of the Planet of the Apes, All the Wilderness, ParaNorman, Let Me In (nomination for AFI Award for Best Young Actor), The Road and Romulus, My Father (AFI Award for Best Young Actor), and the forthcoming Zealot. 

Jason Watkins plays Sorin. He was nominated for an Olivier Award for Best Supporting Actor for his performance in A Servant to Two Masters for the RSC/Young Vic/West End.  His other theatre includes Frozen (Theatre Royal Haymarket), The Twits, Boy Gets Girl, Rafts and Dreams, King Lear (Royal Court Theatre), Strange Interlude, Landscape with Weapon, Our Class, Inadmissible Evidence (National Theatre), A Laughing Matter (National Theatre and Out of Joint), The Plantagenets, The Plain Dealer (RSC), Blue Kettle and Hearts Desire (Out of Joint), The Late Henry Moss, A Midsummer’s Night’s Dream (Almeida Theatre), A Farewell to the Theatre (Hampstead Theatre), The Dumb Waiter (Oxford Playhouse), and Arden of Faversham (Old Red Lion). Watkins played the title role in The Lost Honour of Christopher Jefferies, for which he won the Best Actor BAFTA. Other television includes The Crown (as Harold Wilson – SAG Award for Best Ensemble), McDonald and Dodds (as series regular DS Dodds), Anansi Boys, Des, Archie, Coma, The Catch, The Trick, Line of Duty, Taboo, Inside No 9, A Very English Scandal, Friday Night Dinner, Trollied, W1A, the animated series Batman Caped Crusader (as Pennyworth), Being Human, Housewife 49, Sex Traffic, Little Dorrit, Funland, Are You Being Served, and the documentary – Jason and Clara In Memory of Maudie. His film credits include The Phoenician Scheme, The Nest, Wicked Little Letters, Hampstead, The Children Act, The Man Who Killed Don Quixote, Wild Child, Nativity! film series (as Gordon Shakespeare), Bridget Jones – The Edge of Reason, and High Hopes; and the short film, The One Note Man (Greece International Film Festival Best Actor, Richard Harris Best Actor Award).  

Since September 1999 Thomas Ostermeier has been resident director and member of the Artistic Direction of the Schaubühne Berlin. His productions for the company include An Enemy of the People, Death in Venice, The Little Foxes – audience award of the Theatergemeinde Berlin, Richard III – Premio della Critica Teatrale, Bella Figura, Professor Bernhardi, Returning to Reims, History of Violence, Italian Night, Abgrund – co-production with Salzburger Festspiele, Youth Without God, Vernon Subutex, Ödipus, Qui a tué mon Père and The Seagull. His other theatre work includes Der starke Stamm, Vor Sonnenaufgang, Die Ehe der Maria Braun, and Susn (Münchner Kammerspiele), The Girl on the Sofa (Edinburgh Festival – Herald Angel Award), The Master Builder (Burgtheater in Vienna), The Seagull (Théâtre-Vidy, Lausanne), Knives in Hens, Nora – Nestroy Prize and Politika Prize, Hedda Gabler – audience award of the Theatergemeinde Berlin, Die Ehe der Maria Braun, Returning to Reims (Theatertreffen Berlin), John Gabriel Borkman – Grand Prix de la Critique of France, Hamlet – Barcelona Critics Prize and critic’s prize as Best International Production 2011 in Chile, The Cut – critic´s prize at the international theatre festival KONTAKT in Torun, Measure for Measure – Friedrich-Luft-Prize for the Best Theatre Performance in Berlin, La Nuit des rois ou Tout ce que vous voulez (Comédie-Française Paris) – Prix Molière for the best Production in France 2022 – as well as productions across the globe. In November 2004 Ostermeier was appointed Artiste Associé for the Festival d’Avignon by the artistic director of the festival, Vincent Baudriller, and has been presenting shows at the Festival regularly since then. In 2023 he opened the Festival d’Aix-en-Provence with his version of Brecht’s/ Weill’s The Threepenny Opera. He has been appointed Officier des Arts et des Lettres by the French ministry of Culture, was German president of the Deutsch-Französischer Kulturrat (DKFR) – German-French Council of Culture, was the recipient of the Golden Lion of the Venice Biennale, Order of Merit of the Federal Republic of Germany and the KYTHERA-Price for Culture, and is a member of the Deutsche Akademie der Künste, of the Académie de Berlin and of the Deutsch-Französischer Kulturrat, as well as receiving honorary doctorates from the Universities of Kent and Gothenberg.

Duncan Macmillan is an award-winning writer and director. His work has been performed throughout the world, including at the National Theatre, the Royal Court, Old Vic, Almeida, Barbican, St Ann’s Warehouse, Melbourne Theatre Company, Berliner Ensemble, Schaubühne Berlin, Hamburg Schauspielhaus, Burgtheater Wien, Vesturport, Kansallisteatteri, Nationaltheatret Oslo, at the Salzburg Festival, in the West End and on Broadway. His screen work has been shown at the London and Berlin film festivals, on the BBC, Netflix and HBO. Plays include People, Places and Things, Lungs; Every Brilliant Thing; Rosmersholm (adapt. Henrik Ibsen); 1984 (adapt. George Orwell, co-written and co-directed with Robert Icke); City of Glass (adapt. Paul Auster) and 2071 (co-written with Chris Rapley); The Forbidden Zone; Wunschloses Unglück (adapt. Peter Handke); and Reise durch die Nacht (adapt. Friederike Mayröcker), which was selected for Theatertreffen and Festival d’Avignon and awarded the Nestroy Preis for Best German Language Production. People, Places and Things, 1984 and Rosmersholm were all nominated for Olivier Awards.

THE LONDON PALLADIUM TO HOST THE 25^TH ANNUAL WHATSONSTAGE AWARDS IN ASSOCIATION WITH AUDIENCEVIEW

WhatsOnStage today announces that the ceremony for the 25^th Annual WhatsOnStage Awards, in association with AudienceView, will take place at The London Palladium in 2025 – as the awards celebrate turning a quarter of a century.

Taking place at 7pm on Sunday 9 February 2025, the evening will see winners crowned across a range of categories. Theatregoers will also enjoy a host of exclusive live performances from top stage talent, accompanied by a 24-piece orchestra. The event is co-produced with creative directors Alex Parker and Damian Sandys.

Tickets will go on general sale from 11am on 4 October 2024 via LW Theatres.

Now in their 25th year, the WhatsOnStage Awards are the only major theatre awards decided by the theatregoers themselves. 

WhatsOnStage’s Darius Thompson and Alex Wood said today: “”As we kickstart the process for the 25th Annual WhatsOnStage Awards in association with AudienceView, we look back at the millions of votes that have been cast over the last quarter of a century. What these awards celebrate, beyond all else, is that brilliant relationship between creatives and audiences – those who have turned up, night after night, to cheer on and applaud performance in all its forms. 

“We can’t wait to get back to The London Palladium next year. The team at LW Theatres were so wonderful, patient and collaborative during our first outing there last February, and we’re already cooking up some fantastic surprises to mark our silver anniversary.”

Nominations will open on 7 November, with further information to be announced shortly.

WhatsOnStage is proud that the 2025 awards ceremony is sponsored by industry-leading organisations: 5RB, AKA Promotions Ltd, AudienceView, Avalon, Boulevard Events, Concord, Dewynters, Disney’s Hercules, Edwardian Hotels, Hexagon Print, LOVEtheatre, Music Theatre International, Newman Displays, Outernet Venues, Preevue, Re:Water, RSVP-ify, SINE Digital, Steeldeck Rentals Ltd, Tandem Marketing, Theatrical Rights Worldwide, Ticketmaster, Travelzoo and White Light.

awards.whatsonstage.com

lwtheatres.co.uk 

Twitter: @WhatsOnStage #WOSAwards
Instagram: @WhatsOnStage

TikTok: @WhatsOnStage

Festival Theatre, Malvern – until 5^th October 2024

Reviewed by Courie Amado Juneau

5*****

1984.  The very title rings down to us like a literary version of the Roman Empire – colossal in scale and influence.  I was very much looking forward to seeing what this new adaptation would look like.

Before the play had begun we were drawn into the drama and dystopian world as a giant screen at the rear showed us in the audience shuffling in and waiting expectantly.  Big Brother really was watching us, right form the off!  This omnipresent feature also conveyed various locations during the play, allowed exchanges with colleagues and the news announcements etc.  Just like modern day life – the screen is menacingly always there.

The stage was a stark affair which successfully conveyed the right mood and author’s intentions. There was also (to my eye) a clear nod towards the freedom fighters of the P.O.U.M. era in Barcelona and the stage costumes – especially the red tie around the waist.  A big pat on the back to set, costume and video designer Justin Nardella for his work tonight.

Was it my imagination or did the writers put in many other cultural references that weren’t in the original – such as the dehumanizing of immigrants that both harkened back to the dark days of the 1930’s whilst mirroring our own troubled times – evoking thoughts of Gaza for instance?  Powerful stuff.

The cast was magnificent with fantastic performances all around!  Mark Quartley (playing Winston) gave us every facet of the human condition during the story – from emotionally downtrodden servant of the regime to bon viveur and from defiant to broken man.  A powerhouse performance that deserves much credit, he was truly pivotal.

Eleanor Wyld perfectly captured the full panoply of emotions needed to play Julia (Winston’s partner in “crime”).  I loved her free spirit where the panic was just below the surface.  I was utterly convinced, which made Winston’s journey all the more believable.

Keith Allen was shockingly effective in the role of O’Brien.  He showed admirable restraint which made the moments when he unleashed his full tortuous vitriol all the more powerful.  

Parsons, Winston’s neighbour, was the real surprise of the evening though with a stunning portrayal from David Birrell.  His scenes in captivity were the most impactful of the evening – I’ve rarely seen such a thrillingly real portrayal of panic and terror.  

A masterpiece brought to the stage with visceral honesty and sincerity – this is a telling of the tale to savour and all involved should be very proud of themselves.  The work is not an easy watch – especially Winston’s interrogation which was so horrific it was hard to fathom how they managed it within the confines of a live, stage performance.

With taut, muscular direction (from Lindsay Posner) and adaptation (from Ryan Craig) and a stellar cast at the top of their game, this is a play that is not to be missed.  Not joyous but very enjoyable, it was a thought provoking evening that will live long in the memory of all who witness it and one I wholeheartedly recommend.

The Crucible, Sheffield – until 12 October 2024

Reviewed by Sal E Marino

5*****

Intense, dramatic and spectacular perfectly describes Chris Bush’s adaptation of Henrik Ibsen’s A Doll’s House which is currently showing at the Crucible, Sheffield.  As the mum of an A Level English Literature student, I primarily took my daughter to see this play in order to help her with her studies but have come away astounded by what I witnessed on the stage!  I can honestly say there was not a minute went by when either of us weren’t mesmerised and fully engaged in Nora Helmer’s story of self-discovery and transformation.

Siena Kelly, who plays Nora quite simply blew me away with her performance.  I loved Nora by the end of the play and she now stands up there as one of my all-time, most favourite and inspirational literary characters.  The courage and bravery she finds to step out of the life that her childhood and society have conditioned her to live in was not only moving to watch but the way Kelly plays it – exhilarating!  The tension just builds and builds until, without giving too much away, you know you are witnessing not just a life-changing decision but one that comes from the soul and is a paradigm shift in the whole of the world at large. 

When Henrik Ibsen first penned A Doll’s House, around one hundred and fifty years ago, it was so shocking for the Victorian audience to watch that the ending was changed for a while to help soothe the public’s reaction. They simply weren’t ready for such a disruptive concept that could shatter households.  Furthermore, it’s even crazier to think that what was reflected in that ‘Doll’s House’ is still relevant and playing out in homes today.  Torvald, Nora’s husband played by the equally brilliant Tom Glenister, could be called out as being a true villain but he, like Nora, is also just taking on a role that he had been primed to play.  His beliefs that his wife is his property and that she must behave like he wants her to was constructed when the term ‘bread-winner’ was invented many years ago. Like other men of that time and indeed even today, he had simply not evolved enough to see a woman as his equal and continued to ‘play’ with her but also continue to be ‘played’ himself by the systems of commerce and materialism. 

In complete contrast to the state of the Helmers, who by the end of the play present as a broken couple, are Krogstad (Eben Figueiredo) and Christina (Eleanor Sutton).  These two lay their souls bare to one another by admitting their mistakes and misfortunes and from that pure honesty find a freedom that allows true love.  Christina tells Nora to ‘have faith’ but that faith comes in place where Nora thought she’d never find it, in herself.  Other characters in Ibsen’s masterpiece are Dr Rank (Aaron Anthony) who as the play unfolds turns out to be a foil character to Torvald and Anna (Mel Lowe), Nora’s ill-fated replacement.

This whole production is outstanding and the creative team must also share the well-deserved kudos and praise for devising a most functional and attractive set.  The ‘house’ with its soft lighting and simple Christmas theme is a superb back-drop that makes the scene changes faultless and creates interesting shadows that conjure up different moods and atmospheres.  When Nora declares that she’s tired of bells and costumes and changes from a glittering fancy dress attire to somber black, the audience knows it’s a key moment in the play.  “Aren’t you too old to be playing with dolls?” and “I am a product of your image.” are lines that Nora delivers with heart and soul.  These words become a game-changer for her as she shines brightly with a truth which needs no glittering trinkets to reflect her inner light. 

A Doll’s House is unforgettable, gripping and electrifying – it takes you on Nora’s sensational and powerful journey and perhaps on reflection your very own too! 

Everyman Theatre Cheltenham – until Saturday 5th October 2024

Review by Kathie Hodges

5*****

Ghost the Musical brings the unforgettable 1990 film to life with its iconic soundtrack, emotional depth and supernatural twist. The musical follows the tragic love story of Sam played by Josh St. Clair and Molly played by Rebekah Lowings, whose lives are shattered when Sam is murdered.

Stuck between life and death, Sam must rely on a quirky psychic, Oda Mae Brown played wonderfully by Jacqui Dubois, to protect Molly from potential danger while attempting to say the goodbye they never had.

The heartfelt performances by St. Clair and Lowings manage to capture the intensity of the couples love and tragic loss. St. Clairs singing voice is incredibly powerful and flawless while Lowings is utterly beautiful, and I dare anyone not to cry when she sings ‘With You’. In fact for me in terms of emphasising the grief of the pair, this moment was it. The famous number ‘Unchained Melody’ is a pivotal moment of course, evoking nostalgia for fans of the original film, but for me Lowings singing ‘With You’ was the moment I wished I had stocked up the tissues as advised. It was truly the most heart wrenching vocal performance of the night, showcasing perfectly her angelic voice. Original songs by Dave Stewart of Eurythmics, enriched the production with a mix of pop and rock and a really fun number for the Hospital Ghost played joyfully by Les Dennis.

The set is wonderfully creative and rapidly changing from the New York apartment where the couple lived, to the streets of New York to the famous Underground train scene.
The special effects do a great job in representing the ghostly world.

The show’s choreography though competent, was ever so slightly lacking. That said for any small part of the show that may have been lacking, after all it’s incredibly hard to adapt to stage such a hugely successful movie, Jacqui Dubois who plays the psychic Oda Mae Brown makes up for it in boat loads. Her timing is perfect, her sassy personality shines through and the audience are completely captivated by her performance and her outfits.

If you loved the movie, this is one to watch for its blend of romance, drama, and light hearted moments.

Yvonne Arnaud Theatre – until Saturday 5th October 2024

Reviewed by Carly Burlinge

4****

Cluedo 2 the classic boardgame that we all know and love and have played many times comes to life at the Yvonne Arnaud Theatre in Guildford.

The classic who done it story unfolds with the well know characters Colonel Mustard (Jason Durr) Miss Scarlett (Ellie Leach) Mrs Peacock (Hannah Boyce) Mrs White (Dawn Buckland) Professor Plum (Edward Howells) and Reverend Green (Gabriel Paul). Who are also joined by Rick Black (Liam Horrigan) and Wadsworth (Jack Bennett) to name a few. The production opens with all characters in a 17-bedroom Mansion, owned by Rick Black, who has invited them all there for the preview of his new album. Suddenly thunder roars lightning strikes the lights go out and when they come back on all the characters appear holding the famous Cluedo murder weapons and Mr Black jokingly states that “no one gets out of here alive”!!!

As they all come together for his masterpiece to be revealed in his study/studio. They discover that he has been murdered! But when all the guests take a closer look, its not your run of the mill murder it extravagant with the victim having be stabbed, throttled, shot and hit on the head potentially with the weapons they were previously seen holding. Now several motives and suspects come in to play with everybody looking at each other. wondering who’s the guilty party!

Each individual actor played their own parts extremely well, but as an entire cast they all came together brilliantly with on point comedic timing bouncing off each other showing the obvious great connection that they shared on stage.

I particularly loved Mrs Whites character that had attitude, she isn’t afraid to say what’s on her mind whilst putting the fright into them all, before she goes off to steam the veg – very entertaining!

Wadsworth also offers much comedy shown through physical actions by prancing across the stage with much energy bursting into lyrics, as well as his constant insistence that he is an actor playing a butler and not actually a butler!

The stage was set with the boardgame as a backdrop and a model of the 17-bedroom mansion in front. The windows of which lit up showing you which rooms they were in alongside doors being brought onto the set a very simple but effective way to let the audience know where they were situated in the house. Some amazing choreography was used alongside simple props such as portraits and a billiard table to create the illusion of the cast’s movements between rooms causing the audience to laugh out loud.I really enjoyed this production it was very entertaining, and I would recommend going to see it whilst you can.

Richmond Theatre – until Saturday 5th October 2024

Reviewed by Carly Burlinge

5*****

Richmond Theatre brings you the stage version of Birdsong by Rachael Wagstaff, based on the novel written by Sebastian Faulks, celebrating its 30th anniversary.

It tells the story of Stephen Wraysford (James Esler) a young Englishman sent to Amiens France by his Guardian, Pre-World War I, to visit a local factory run by Rene Azaire (Sargon Yelda) to study their methods. Whilst there he stays with the Azaire Family in their home and finds himself falling in love with Isabelle Azaire (Charlie Russell); the unhappy wife of Rene. Stephen and Isabelle embark on a passionate love affair and are ultimately discovered, which makes them flee to be together.

We next meet Stephen engulfed in the horrors of the trenches. Where he’s a changed man, bitter, cynical and no longer full of the hope of youth. During this time, we learn about how his relationship with Isabelle played out, and see the effect that his encounters with fellow soldiers, often as their lieutenant, has on him, especially when dealing with their loss. Stephen strikes up an unlikely friendship with a sapper, Jack Firebrace (Max Bowden), who is working on tunnels deep beneath no-man’s land with his team to lay explosive charges to take out the enemy. Firebrace’s personality is the polar opposite to Stephen’s; a lovable, jack the lad performer, with a large heart, that has also been broken.

James Esler gave an outstanding performance as Stephen Wraysford, wonderfully showing the audience every nuance of his character, from the highs of love and hope to the lows of despair. His performance was complimented and enhanced by the compelling, on-stage connection with Charlie Russell, making their relationship believable and real to the audience. As a professional stage debut for James Esler, this production is a fantastic showcase for his talent. A special mention must go to Brennan (James Findlay) for his inspiring and haunting performance of the folk song “Ned of the Hill”, which was evocative and spine tingling.

The sound effects used created such an atmosphere that transported the audience into the horrific reality of trench life in a dramatic and believable way. The set and props were simple, but effective, enhancing the performance rather than detracting from it. The influence of choreography on the scene changes was subtle and yet impressive, with the attention to detail in the prop placement within the house scenes reminiscent of silver service at a dinner table.

This show draws upon raw emotion in all respects, captivating the audience throughout, with some very dramatic scenes, which kept the audience at the edge of their seats. There was laughter and tears, all from such great talent and a strong connection from all of the actors involved – they were just superb. This is by far one of the best shows I have ever seen, which ended with a standing ovation. What a compelling performance.

Cambridge Arts Theatre, Cambridge – until Saturday 5th October 2024

Reviewed by Steph Lott

5*****

From the moment the curtain rose at last night’s performance of Alan Bennett’s The History Boys at The Cambridge Arts Theatre, there was a palpable energy on stage. This was a fantastic production of Bennett’s witty and thought-provoking play, directed by Sean Linnen. The cast of young men, portraying a group of bright sixth formers preparing for their Oxbridge entrance exams, exuded a charm and vibrancy that immediately drew the audience into their world. The chemistry between the actors was evident, creating a believable portrayal of school camaraderie in the 1980s.

Yazdan Qafouri’s portrayal of Scripps was particularly noteworthy. His nuanced performance captured the character’s intelligence and introspection, providing a thoughtful counterpoint to the more boisterous personalities on stage. Qafouri’s delivery of Bennett’s razor-sharp dialogue was impeccable, and his moments at the piano added a lovely musical dimension to the production.

In his professional stage debut, Archie Christoph-Allen impressed as the charismatic and self-assured Dakin. Christoph-Allen brought a perfect blend of cockiness and vulnerability to the role, making Dakin’s journey of self-discovery both compelling and relatable. His scenes with Hector (played by Simon Rouse) and Irwin (played by Bill Milner), were particularly captivating.

Lewis Cornay’s Posner was a standout performance. Cornay beautifully captured Posner’s unrequited longing for Dakin, and his struggle with his sexuality, with a passionate delicacy on stage. His vocal performances were nothing short of spectacular, bringing a poignant beauty to the musical interludes that punctuate the play.

The set design by Grace Smart was both practical and evocative, effortlessly transforming from classroom to staffroom to various other locations. The creative scene changes, accompanied by music and movement, added a dynamic visual element that kept the pace lively and engaging.

The History Boys is a multi-dimensional piece of theatre about many things. It discusses education, and brilliantly highlights the contrast between the two teaching philosophies represented by Hector and Irwin. The tension between knowledge for its own sake and knowledge as a means to an end was beautifully described, leaving the audience to ponder these issues for themselves.

The play’s exploration of how history should be studied and interpreted felt particularly relevant in our current era of “alternative facts” and contested narratives. The boys’ clever and sometimes outrageous discussions of historical events were not only hilarious but also served as a pointed commentary on the malleability of historical narrative.

Alan Bennett’s script, with its perfect balance of humour and pathos, was given full justice by this talented cast. From laugh-out-loud moments to scenes of profound emotion, the performance took the audience on a rollercoaster ride of feelings. Bennett’s ability to make us laugh, cry, and think was on full display.

In conclusion, this production of The History Boys at The Cambridge Arts Theatre was a triumph. The combination of Bennett’s brilliant writing, Linnen’s inspired direction, Smart’s evocative design, and the extraordinary talent of the young cast resulted in a memorable evening of theatre. For anyone who loves a production that both entertains and challenges The History Boys is for you.

TREVOR DION NICHOLAS AND RACHEL TUCKER
JOIN THE LONDON CAST OF

HADESTOWN

FROM 15 OCTOBER 2024, THE LONDON CAST WILL INCLUDE:

TREVOR DION NICHOLAS AS HADES
AND RACHEL TUCKER AS PERSEPHONE

MADELINE CHARLEMAGNE (EURYDICE), MELANIE LA BARRIE (HERMES) AND DYLAN WOOD (ORPHEUS) WILL CONTINUE IN THEIR ROLES ALONGSIDE

BELLA BROWN, ALLIE DANIEL AND FRANCESSCA DANIELLA-BAKER (FATES) 

THE CRITICALLY ACCLAIMED PRODUCTION EXTENDS AT THE LYRIC THEATRE, LONDON UNTIL 28 SEPTEMBER 2025

New casting is announced for the multi award-winning Hadestown at the Lyric Theatre, London. From 15 October 2024, stars of musical theatre Trevor Dion Nicholas (Disney’s Aladdin, Next To Normal, Hamilton) will play Hades and Rachel Tucker (Sunset Boulevard, Wicked, Come From Away) will play Persephone.

They join Madeline Charlemagne as Eurydice, Melanie La Barrie as Hermes, Dylan Wood as Orpheus, with Bella Brown, Allie Daniel and Francessca Daniella-Baker as the Fates. 

Lauren Azania, Tiago Dhondt Bamberger, Beth Hinton-Lever, Waylon Jacobs, and Christopher Short continue to play the Workers, with Lucinda Buckley, Winny Herbert, Ryesha Higgs, Miriam Nyarko, and Simon Oskarsson as Swings.

Today the producers are also pleased to announcethat at 12 noon on Thursday 3 October, the critically acclaimed production will extend bookings for performances from 11 February to 28 September 2025. The current cast, including Trevor and Rachel, are scheduled to perform until 9 February 2025, with further casting updates to follow.

Winner of 8 Tony® Awards including ‘Best Musical’ and a Grammy® Award for ‘Best Musical Theatre Album’, Hadestown continues its critically acclaimed run in London’s West End, five years after its sold-out engagement at the National Theatre in 2018.

Blending modern American folk music with New Orleans-inspired jazz, the Original Broadway Cast Recording of Hadestown is one of the most streamed cast albums of all time with over 350 million streams to date.  It won the Grammy Award® for ‘Best Musical Theatre Album’,topped Billboard’s Broadway Cast Recording chart and debuted at #8 on the Top Album chart.

Hadestown features music, lyrics, and book by acclaimed Grammy®-winning singer-songwriter and BBC Radio 2 Folk Award-winner Anaïs Mitchell, who originatedHadestown as anindie theatre project and acclaimed album.  Mitchell then transformed the show into a genre-defying new musical alongside artistic collaborator and Tony® Award-winning director Rachel Chavkin, whose theatre credits include Mission Drift (National Theatre) and American Clock (The Old Vic).

Hadestown takes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.  A deeply resonant and defiantly hopeful theatrical experience, Hadestown invites you to imagine how the world could be.

The Hadestown creative team features Obie Award® winner and Chita Rivera Award® winner David Neumann (choreography), Tony Award® winner Rachel Hauck (scenic design), four-time Tony® Award nominee Michael Krass (costume design), two-time Tony Award® winner Bradley King (lighting design), Tony® Award winners Nevin Steinberg and Jessica Paz (sound design), Liam Robinson (music supervision and vocal arrangements), Tony® Award winners Michael Chorney and Todd Sickafoose (arrangements and orchestrations), Ken Cerniglia (dramaturgy), Maria Crocker (UK Associate Director), and Tarek Merchant (Musical Director). Casting for the London production is by Jacob Sparrow.

Hadestown is produced in London by Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy and the National Theatre in association with JAS Theatricals.

Sheffield Lyceum – until 5 October 2024

Reviewed by: Natasha Aspden

4****

On a dreary, rainy October night with a serious case of flu I needed something to inspire me to venture outside and get myself into gear. Luckily I had tickets booked to see Heathers the Musical at Sheffield Lyceum and this cure was far greater than any Lemsip or Olbas stick you’d normally try!

With a set ripped straight out of the west end production at The Other Palace and lighting, sound and effects to boot we were off to a head start and I have to say the rest of the show didn’t disappoint.

Upon arrival we were informed that Jenna Innes would not be playing Veronica tonight and May Tether would be on as cover. Always happy to see an understudy step up and take the spotlight, I was thrilled to see what May could do with the part. May brought a certain fun quirkiness to the role in a different sense to any Veronica I’ve seen before, being much more nerdy but also quite plain faced with her humour. She also blended like caramel on the ear with Keelan McAuley as JD, who again played the role completely differently to how I have seen it done before. McAuley’s JD was much more visibly unhinged from the beginning, skipping out on some of the mysterious brooding that others have gone for in favour of a more comical and visual performance. His slightly rocky tone to his vocal also brought a different tone to the music than what I have heard before and I have to say I was very pleasantly surprised by a Bon Jovi esque JD.

The three Heathers, Chandler, Duke and McNamara played by Esme Bowdler, Sedona Sky and Daisy Twells respectively were all good in the roles, lacking in energy possibly early on but definitely growing into the show and absolutely killing it by the end. Jason Battersby and Ivan Fernandez Gonzalez were both solid as Ram Sweeney and Kurt Kelly respectively, with Battersby putting in a top drawer comedic performance on the night. Lucy Sinclair and Conor McFarlane were both hilarious as Ms Fleming and Ram’s dad, with Sinclair taking the notorious “Steve” segment further than I have EVER seen it taken before, asking the unfortunate audience member to demonstrate some tongue action from the swinging sixties to the audience, of course eliciting a suitable reaction from the crowd.

However my absolute standout of the night was Amy Miles as Martha Dunnstock. Miles was pitch perfect in the role, both in terms of the vocal and her delivery and tenderness in the part. Lovably innocent and endearingly believing she absolutely stole the show in this smaller role for me and was well worth the watch on her own.

Overall, this latest tour of Heathers the Musical keeps up with the exceptionally high standards of the past and juts out on its own at the same time. This show is well worth a watch whether it be your first time or your thousandth. Get yourself down to Sheffield Lyceum by 5th October to avoid missing out.