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FULL CAST & CREATIVES ANNOUNCED FOR THE FIRST EVER
UK & IRELAND TOUR OF THE WEST END HIT…

BONNIE & CLYDE THE MUSICAL

Fan-favourite and winner of Best New Musical (What’sOnStage Awards 2023),
BONNIE & CLYDE THE MUSICAL has announced full casting for the production’s first ever UK & Ireland tour in 2024 with tickets on sale now at bonnieandclydemusical.com. 

As previously announced, Catherine Tyldesley (Coronation Street, Strictly Come Dancing) will make her musical theatre debut as Blanche Barrow, sharing the role with Daisy Wood-Davis (Hollyoaks, Holby City) at certain venues. Danny Hatchard (Eastenders, Our Girl, Ridley Road) will also make his musical theatre debut, sharing the role of Clyde Barrow across the tour with Alex James-Hatton (Heathers, Newsies).

Katie Tonkinson (Bat Out of Hell) will play Bonnie Parker alongside Sam Ferriday (Heathers, The Cher Show) as Marvin “Buck” Barrow. R&B and Soul singer-songwriter Jaz Ellington (The Voice UK, Eurovision: You Decide) will star as The Preacher at select venues. Nate Landskroner (Waitress and Heathers) will alternate the role of Clyde Barrow at midweek matinee performances.

Announced today, AJ Lewis (Mandela, Mrs Doubtfire) will join the cast to share the role of The Preacher at certain venues and Hana Ichijo (The Sound of Music, Allegiance) will be Alternate Bonnie and Trish/Ensemble. Daniel Reid-Walters will play the role of Ted Hinton (Girl from the North Country, The Railway Children).

They are joined by Taryn Sudding as Cumie Barrow/Governor Miriam Ferguson, Alexander Evans as Henry Barrow/Deputy Johnson/Ensemble, Andrew Berlin as Captain Frank Hamer/Ensemble, James Mateo-Salt as Sheriff Schmid/Ensemble, Callum Henderson as Bud/Archie/ Ensemble, Jasmine Beel as Stella/Emma Parker/Ensemble, Oonagh Cox as Eleanore/On-Stage Swing, Michael Cortez as Off-Stage Swing/ Resident Director and Olivia Lallo as Off-Stage Swing/Dance Captain. 

The production team is made up of Company Manager – Jay Green, Stage Manager – Robert Fletcher, Deputy Stage Manager – Katie Balmforth, Assistant Stage Manager/Book Cover – Charlotte Cross, Assistant Stage Manager – Harriet Saffin LX 1 – James Stokes, Head of Video/LX 2 – Abigayle Holt, LX 3/Technical Swing – Emily Collier, LX 4 – Ella Welch, Sound 2 – Harvey Saunders Woolley, Technical Swing – Amber Waller, Head of Wardrobe – Roberta Mckeown, Wardrobe Assistant – Rebecca Tipton, Head of Wigs, Hair & Make-Up – Helen Robinson-Tsingos and Assistant Wigs, Hair & Make-Up – Louisa Nugent.

Opening at Leicester Curve on Thursday 22nd February 2024, the UK & Ireland tour will visit Guildford, Wolverhampton, Norwich, Sunderland, Cardiff, Southampton, Aberdeen, Glasgow, Woking, Bath, Manchester, Nottingham, Southend, Belfast, Bradford, Milton Keynes, Blackpool, Edinburgh, Cheltenham, Dublin, Brighton, Birmingham, Portsmouth, High Wycombe, Newcastle, Sheffield, Bromley and Northampton.

The UK & Ireland tour follows hot on the heels of two hell-raising hit seasons in London’s West End at the Arts Theatre and the Garrick Theatre. The eagerly-awaited West End cast album was released in July and is available on all streaming platforms.

Bonnie & Clyde The Musical is the story of two small-town kids from the middle of nowhere who became the biggest folk heroes in all America. They craved adventure – and each other. Fearless, shameless, and alluring, this is the electrifying story of love, adventure and crime that captured the attention of an entire nation. 

The production features music by multi-Grammy®, Tony® and Emmy® Award nominee Frank Wildhorn (Jekyll & Hyde, The Scarlett Pimpernell, Death Note), lyrics by Tony® and Oscar® winner Don Black (Sunset Boulevard, Aspects of Love), a book by Emmy® Award nominee Ivan Menchell (Blended [movie], The Cemetery Club, Death Note The Musical). 

Bonnie & Clyde The Musical is directed and choreographed by Nick Winston (Burlesque, Death Note, Tomorrow Morning) with Set and Costume Design by Philip Witcomb (Atlantis, Stones In His Pockets, MAME), Musical Supervision from Katy Richardson (SIX, Rent, Jersey Boys), Associate Musical Supervision from Nick Barstow (Next to Normal, Bonnie & Clyde), Original Arrangements and Orchestrations by John McDaniel (Patti Lupone: Live, Annie Get Your Gun), Additional Arrangements & Orchestrations by Jen Green (Fantastically Great Women, Vanara), Lighting Design by Zoe Spurr (Fantastically Great Women, Hamlet at Theatre Royal Windsor), Sound Design by Tom Marshall (The Drifter’s Girl, Nativity The Musical, Curtains), Video Design by Nina Dunn (The Shark Is Broken, Lazuli Sky), Associate Direction and Choreography by Libby Watts (Burlesque, Wicked), Wig Design by Darren Ware(Bonnie & Clyde) and Casting Director Jim Arnold CDG (Wicked, The Prince of Egypt). 

Bonnie & Clyde The Musical is presented by Adam Paulden and Jason Haigh-Ellery for ADAMA Entertainment, an Olivier Award-winning production company with West End and UK Touring credits including Burlesque The Musical, Bonnie and Clyde in Concert, Rock of Ages, Company, Fame, Curtains, The Wedding Singer, The Last Five Years and The Last King of Scotland. 

For more information and tickets visit bonnieandclydemusical.com. 

DARLINGTON HIPPODROME REVEALS LINE-UP OF SHOWS TO KICK OFF 2024

The new spring season of shows at Darlington Hippodrome includes great comedy, drama, dance and a host of music.

The curtain has gone up on Darlington Hippodrome’s new spring season of shows which is packed with an array of showstopping performances guaranteed to fire up audiences through the opening months of 2024.

With the annual festive family panto just days away from opening, the venue is celebrating a hugely successful year of theatre. Starring pop sensation and musical theatre star Gareth gates and Jenny Ryan from ITVs The Chase, Snow White and the Seven Dwarfs is breaking all box office records and is expected to be seen by over 800,000 people by the time it closes on Sunday 31 December.

With a new line up of shows into 2024, Darlington Hippodrome has once again affirmed its commitment to present an exciting and wide-ranging programme of shows. The new spring programme includes traditional family favourites, breath-taking dance productions, hard-hitting drama and some toe-tapping musicals as part of its extensive list.

In January we see the return of the Varna International Ballet who will present Sleeping Beauty, Swan Lake and The Nutcracker from Friday 26 to Sunday 28 January.

If stand-up comedy is your thing then look no further than a night with Ed Byrne on Sunday 4 February, Frankie Boyle on Friday 1 March and Stewart Lee on Saturday 16 March.

Also in March the Icarus Theatre Collective presents a brand new stage production of Julius Caesar using state-of-the-art digital technology and classic theatrical magic.

Opera lovers will be treated to two of the very best as the Ukrainian Opera and Ballet presents Verdi’s La Traviata on Thursday 21 March and Puccini’s Madama Butterfly on Friday 22 March.

Musical theatre fans will be delighted with the wildly satirical Oh What A Lovely War from Thursday 28 to Saturday 30 March and the international hit musical Kinky Boots at the start of May presented by DarlingtonOS.

Looking a little further ahead for drama buffs, we present a different take on the Oscar Wilde classic The Importance of Being Earnest, a brand new production of School for Scandal, traditional farce with What The Butler Saw, the thrilling Haunting of Blaine Manor and the all-time favourite The Mousetrap.

The new season will see a host of familiar names on the bill including Giovanni Pernice, Anton Du Beke, The Halle, Dr Michael Mosley, Smokey, Dear Zoo, Ben Fogle, Justin Hayward, and Sooty to name but a few.

Tickets are still available for Snow White and the Seven Dwarfs – grab your tickets now or you won’t be able to look yourself in the mirror!

For more information on the new season and beyond at Darlington Hippodrome or to book, visit www.darlingtonhippodrome.co.uk or call the Box Office on 01325 405405

ITV’S MAMMA MIA! I HAVE A DREAM CONTESTANT DESMONDA CATHABEL STARS AS PRINCESS JASMINE IN THE FIRST EVER UK AND IRELAND TOUR OF DISNEY’S HIT BROADWAY AND WEST END MUSICAL, ALADDIN 

BASED ON THE HIT 1992 ANIMATED FILM WITH NEW SONGS BY TONY®, OLIVIER®, GRAMMY®, EMMY® AND EIGHT-TIME ACADEMY AWARD® WINNER ALAN MENKEN

Fresh from appearing in ITV’s talent search Mamma Mia! I Have a Dream, contestant Desmonda Cathabel (whose other credits include Miss Saigon, From Here to Eternity) is confirmed to play the iconic role of Princess Jasmine in the first ever UK and Ireland tour of Disney’s Aladdin.

Presented by Disney Theatrical Productions, under the direction of Thomas Schumacher,the critically acclaimed Broadway and West End musical which launched in Edinburgh last month, will open at the Wales Millennium Centre in Cardiff with performances from Thursday 7 December before dates in Plymouth, Sunderland, Dublin, Milton Keynes, Manchester, Bristol, Bradford, Southampton, Birmingham, Glasgow, and Liverpool.

Alongside Desmonda Cathabel as Jasmine, the UK and Ireland tour of Disney’s Aladdin stars Yeukayi Ushe (Disney’s The Lion King, A Strange Loop, Kinky Boots and Motown The Musical) as Genie and introduce Gavin Adams as Aladdin.

They are joined by Adam Strong (Rock of Ages, Joseph and the Amazing Technicolor Dreamcoat) as Jafar, Jo Servi (Dreamgirls, The Color Purple)as Sultan, Angelo Paragoso (The Reporter, Miss Saigon) as Iago, Nay-Nay (Once On This Island) as Kassim, Adam Taylor (Cabaret, Everybody’s Talking About Jamie) as Omar, and Nelson Bettencourt (Disney’s Beauty and the Beast, Les Misérables) as Babkak.

The full cast also includes Hannah Amin, Dammi Aregbeshola, Rico Bakker, Daisy Barnett, Sarah Benbelaid, Erin Gisele Chapman, Tau-En Chien, Zac Frieze, Jared Irving, Juan Jackson, James Lim, Harriet Millier, Luchia Moss, Aaron Elijah Patel, Abbie Platts, Joseph Poulton, Chris Ribz, Olivier Scheers, Katie Singh, Kerry Spark, Ricardo Spriggs, Damien Winchester, Niko Wirachman.

Experience the timeless story of Disney’s Aladdin, a thrilling production filled with unforgettable magic, comedy and breathtaking spectacle! Don’t miss this extraordinary theatrical event already seen by over 14 million people worldwide, where one lamp and three wishes make the possibilities infinite.

Adapted from Disney’s 1992 animated film and centuries-old folktales including “One Thousand and One Nights”, this smash-hit musical is brought to theatrical life in a unique and dazzling way. The show continues its record-breaking run on Broadway at the New Amsterdam Theatre, and since opening there in March 2014, nine subsequent productions have launched around the world, including over 1200 performances at the Prince Edward Theatre in London’s West End. 

Aladdin features the timeless songs from the animated film, as well as new music by Tony®, Olivier®, Grammy® and eight-time Acadamy Award® winner Alan Menken (Beauty and the Beast, Newsies, Sister Act), lyrics by two-time Academy Award® winner Howard Ashman (Beauty and the Beast, The Little Mermaid), three-time Tony® and three-time Academy Award® winner Tim Rice (The Lion King, Evita, Aida) and six-time Tony® nominee Chad Beguelin (The Prom, The Wedding Singer), with a book by Beguelin, and is directed and choreographed by Tony® and Olivier® Award winner Casey Nicholaw (The Book of Mormon).   

Aladdin is designed by seven-time Tony®-winning scenic designer Bob Crowley, seven-time Tony®-winning lighting designer Natasha Katz, two-time Tony®-winning costume designer Gregg Barnes and sound designer Ken Travis.

The production team also includes illusion designers Jim Steinmeyer and Rob Lake, hair designer Josh Marquette and makeup designer Milagros Medina-Cerdeira.  The music team is headed by music supervisor and music director Michael Kosarin, who also created the vocal and incidental music arrangements, joined by orchestrator Danny Troob and dance music arranger Glen Kelly. Ben Clare is the associate director, Kyle Seeley is the dance supervisor, Jason Trubitt is the production supervisor and Myriah Bash is the US general manager. Casting is by Jill Green CDG.

Festival Theatre, Malvern – 3rd December 2023

Reviewed by Courie Amado Juneau

5*****

Before we began, all I knew of tonight’s show was that it was a new opera made up of arias from existing works. As I entered the auditorium I noticed that there was no pit for the orchestra; just five music stands on stage. Intriguing. As a lover of smaller musical forces, what turned out to be a string quintet really piqued my interest, promising a fresh approach. Given the story was of a group of friends gathering for a party, this chamber ensemble worked a treat. In fact, whoever conceived the idea was a genius!

The musicians were all superb. With perfect balance and tone they really brought the works alive. Clean and precise, every detail of the composers intentions was revealed anew; like having an intimate snapshot of their original sketches fleshed out. I wish more opera was presented this way. The cast arrived at the party (on stage) from different areas – our host from backstage and the guests from the stalls. A fun way to start the piece as it gave the stars their individualistic entrances. The singers (Soprano Galina Averina, Mezzo Martha Jones, Tenor Richard Dowling and Baritone Tim Nelson) all had wonderful voices, being equally accomplished at their craft, giving us performances full of passion and drama throughout – including some fine dramatic and comic acting. They had a lovely rapport together and made a believable cast of friends and lovers. The opening overture perfectly set the scene of a joyous party. The arias had a logical flow, cleverly chosen to present an enjoyable narrative of unrequited love, ex’s mourning lost love and people wishing to avoid romantic entanglement. Everything one could hope for in a traditional opera, but here you had all that plus many “greatest hits” from the opera oeuvre. Indeed, one of the most impressive things is that music from such diverse periods (Handel Baroque to 20th century) hung together so seamlessly with no sense of jarring. This has to be a testament to the small ensemble soundscape, the performers themselves and the arrangements (from Artistic Director & Cellist Orlando Jopling). There was a rich, welcome, seam of humour running through the work; like Claudio’s running on “late” and many of the duets. The only thing I would have changed is I wish there’d been surtitles for those of us who aren’t multilingual. But that was a minor niggle since the arias were gifted to us so flawlessly.

The second half started with a suitably tipsy performance of Brahms Hungarian Dance No. 4. – and what a performance from violinist Sijie Chen. Spectacular doesn’t even begin to do it justice! Wow. The aria zenith moment was arguably the gorgeous “O mio babbino caro” (Puccini) – one of the most perfect ever written, in a show of non-stop opera highlights.

An unalloyed delight to hear such musical perfection in one short show. And the string quintet presentation was so brilliant I now want to hear all my favourite operas performed that way. Anyone not having attended really missed something special. Do yourself a favour and buy a ticket next time the Wild Arts group are in Malvern. I know I will. Party on Wild Arts!

Everyman Theatre, Cheltenham – until 7th January 2024

Reviewed by Jacqui Radford

4****

Mother Goose may not be the most well-known pantomime but as one that places the Dame as the title role, it is one that showcases everything that we associate with pantomime and its reliance on having a Dame in the cast. The role of Mother Goose as the Dame is taken on by Tweedy, adding acrobatics to the role as well as comedy and innuendo.

The storyline centres around Mother Goose facing the eviction from her family farm after leaving the circus and losing her income. Just as you’d expect in any pantomime, her misfortune cues the competition between good and evil, pitting vanity against the need to preserve a family home. A circus performer at heart, Mother Goose has her head turned by Demon Vanity.

As with all good pantomimes, this Everyman Theatre production plays well with local reference throughout. The Good Fairy of Gloucestershire delivers fortune in the guise of a golden egg laying goose. Mother Goose’s children are aptly named Caleb and Clarkson and plenty of reference is made to villages around Cheltenham.

Tweedy brings pure exaggeration to the role of a pantomime Dame, taking every opportunity to push the boundaries of adult humour, slapstick and audience involvement. For the children, there is plenty of foolish humour, outrageous costume and nail-biting circus performance.

The most impressive elements of this production are in the ‘Greatest Show on Earth’ approach promised in the introduction. An extensive combination of impressive circus skills, songs that anybody can sing along to enthusiastically, glittering costume and dance and laughter throughout leave you looking forward to the next pantomime production.

Lanternhouse Theatre, Cumbernauld – until 30th December 2023

Reviewed by Marcus Richardson

5*****

It’s Panto season! One of my favourite things about this time of year. The songs, the laughs and the ever so wacky plot.

I had the joy of going to Lanternhouse in Cumbernauld, a town just outside of Glasgow. I went to see UGLY!, a retelling of Cinderella, however this time from the perspective of one of the Ugly Stepsisters. Told through the eyes of Chantelle (Lauren Ellis Steele), the step sister who hates being called ugly, and wishes she was someone loveable.

The play is set in the fantastical, yet familiar kingdom called Wondernauld, a place with princes, fairies and also KFCs and BnMs. The script written by Gary McNair, is filled with local jokes, yet also humour someone far afield could also understand. I was constantly laughing throughout the whole show, and when I say laughing I was absolutely howling. Jo Rush, the Director of the show really elevated the performance, there were no pacing issues, the lines hit the audience, there were literally no issues in the whole show.

Steele, played the main character, while it is just a panto, she did play it with a lot of depth and emotion. We saw her good, bad and… ugly. She was so easy to connect to, I really want her to be my friend. I love a wicked stepmum (Jo Freer) in Scotland we say Maw though. Freer as the Maw is a masterclass into panto villain, capturing the hatred we have for the character, yet we can’t help but love how iconic they are. Her lines were delivered perfectly, her presence on the stage draws you in, the kids loved to hate her. You can’t have a fairytale without a fairy (Lawrence Boothman), an overly camp and energetic bundle of nothing but positive energy, a man in a large frilly pink frock. Boothman, captured that nuance in panto of including humour just for the adults, and I have thanks for that. Finally in our small cast with the character of Cinderella (Eva Beattie), I dare say the most normal character of them all, she sung with such glee and played a convincing bloke, at one point. Beattie, seemed to have the smallest role, but that didn’t stop her from bringing the performance.

The Show will be running until the 30th December, so there is plenty of time to go and watch UGLY!, with how close it is to Glasgow and other places within the central belt of Glasgow, it’s an easy and short trip for such an incredible performance.

Curve Theatre Leicester – until 3rd January 2024

Reviewed by Amarjeet Singh

3***

Evita is a powerhouse of a musical by Andrew Lloyd Webber and Tim Rice, about Eva Perón, the Argentine actress turned political icon and second wife of Argentine president Juan Perón. The story follows Evita’s struggle, her early life, rise to power, charity work, and her untimely death. Hugely successful, it led to productions in London’s West End in 1978, winning the Laurence Olivier Award for Best Musical, and on Broadway a year later. It has continued to wow audiences with each revival.

This brand-new Made at Curve production, directed by Nikolai Foster, promised to deliver a bold and visually arresting rendition, to try and match the original ambition Tim and Andrew had when they first created this extraordinary piece of musical theatre, and the opening scene was definitely in line with this. Perón’s funeral was pulled off to perfection. We were greeted with a coffin placed on a raised plinth, surrounded by trays of candles and a chorus of mourners whose movements and voices were filled with haunting grief.

However, as the production continued it became confused. There seemed to be very little sense of being in Argentina, and although the scaffolding lined stage and the exposed lighting rigs, designed by set and lighting designers Michael Taylor and Joshie Harriette, added style, ultimately, in this telling, Evita and her story get lost in gimmicks, bells and whistles. Most notably a huge screen which projects live images from a handheld camera. This is excessively used and negates the beauty of being in a theatre. The execution is sloppy at some points as you are focused on a massive screen showing an empty step, or someone’s foot, instead of the actors on stage. Had this technique been used sparingly it may have added to the production, but instead it hindered and detracted.

Martha Kirby was vocally stunning as Eva Perón, but lacked the emotional gravitas needed to fully get to grips with and portray this very extraordinary woman. There is no progression or development from her character as a young actress to the polished political figure. Offered the superb ‘Rainbow High’ to show this transformation, again it’s lost in smoke and literal mirrors. Stuck as a flirty, flighty teen, I was left indifferent to this Perón and unconvinced by her plight. ‘Don’t Cry For Me Argentina’ was sung with sublime clarity but the performance was dispassionate and unanimated, capturing neither Perón‘s charisma, integrity or sincerity. Additionally problematic, is a marked lack of chemistry between Kirby and Gary Milner, who plays Juan Perón. When they sing their destiny duet, ‘I’d Be Surprisingly Good For You’, its awkward, rushed and they stand static with dancers coming in to do what they appear unable to do, connect physically.

Chumisa Dornford-May blew the theatre away with her rendition of ‘Another Suitcase in Another Hall’, combining emotion with a performance powerful enough to bring a lump to my throat. Tyrone Huntley’s narrator is powerful, but you’re never quite sure of his position in the piece. The ensemble brought tons of energy to the production, and it was great to see members of the Young Curve Company amongst them.

This production of Evita is in parts, beautiful to look at, with a wonderfully talented cast, but the confused context, the inconsistencies in performance, the imbalance between production values and characterisation, makes it overall, a tantalising glimpse of what we might have been watching had it been a more coherent and substance driven show.

Salisbury Playhouse – until Sunday 7 January 2024

Reviewed by Alexandra Browning

4****

Embark on a journey to Salisburyshire, where the stage is adorned with twinkling lights, dazzling costumes, and the infectious laughter of a festive extravaganza. As the curtains rise, we are welcomed into the enchanting world of “Dick Whittington,” a Christmas panto that seamlessly weaves tradition with a modern touch. Fairy Bowbells (played by Natalie Winsor) sets the stage, revealing the urgent need for help in Salisburyshire due to the mischievous acts of the panto villain, King Percy Rat, played with a wickedly entertaining charm by Will Jennings.

The panto unfolds with the spirited entrance of Dick Whittington, portrayed by the charismatic Will Carey, armed with his trusty Dictaphone. Alongside his loyal companion, Cosmo the cat, they emerge as the dynamic duo determined to bring change to the city. King Percy Rat, though a villain, adds a comedic twist to the plot, skilfully engaging the audience in laughter with his diabolical suggestions.

The heart of the story takes our heroes, Dick and Cosmo, on a brave adventure to the bustling city of London. Guided by the whimsical Fairy Bowbells, they navigate through challenges, eventually stumbling upon a less-than-ideal London – dirty, dingy, and reeking of despair. However, salvation comes in the form of Mama’s Café, a beacon of hope where they encounter Alice Fitzwarren, played by the charming Olivia Hewitt-Jones. Alice swiftly becomes an integral part of Dick’s plan to rescue both London and Salisburyshire from their dire predicament.

“Dick Whittington” unfolds as a tale of courage, camaraderie, and the transformative power of hope, wrapped in the festive magic of a Christmas panto. With a stellar cast and a delightful mix of humour and heart-warming moments, this production promises an unforgettable yuletide adventure for audiences of all ages.

Theatre Royal, Windsor – until 14 January 2024

Reviewed by Joanna Huggett

5*****

The Theatre Royal Windsor Pantomime is back and is as traditional and wonderful as ever in its 85th year! Audience participation was off the scale from the start with a mixture of excitement and anticipation. The main stay of its success over many years; are the incredible Steven Blakeley, who plays Widow Twankey as well as writing the script, Kevin Cruise who plays Wishee Washee and the fantastic Basil Brush.

Twankey’s Poodle Parlour was a stand out slapstick performance which had both the audience and cast in stitches.

Robby Khala as Aladdin gave an energetic and convincing performance. Both he and Carmen Law, who played Princess Jasmine, gave great vocal and dance performances and made a very convincing couple.

Both Anita Harris, as The Empress and Pattie Boylaye, as Genie of the Lamp, gave gravitas to the show and played their parts with humour and sparkle befitting their many years in show business.

Paul Zenon, as Abanazar, was an excellent baddy who turned out to have a much softer side!

The ensemble (Isabella Everett, Elliot Owen-Cowles, Trezel Sergeant, Darcy Kim, Anthony Pereira and Mia Welsh) provided great vocal and dance backing throughout as well as standing by in their roles as understudies.

Act 2 was great with a brilliant Barbie sequence which had us all on our feet, also an impressive magic carpet ride. This was rounded off with the much anticipated rendition of The Twelve Days of Christmas. The show closed with a spectacular coronation and wedding finale. We can’t wait until next year! We recommend early booking to avoid disappointment! 🙂

Leicester Square Theatre – until 6th January 2024

Reviewed by Fiona Leyman

4****

“Scrooge was pissed to begin with”.

From the creators of Sh!t-Faced Shakespeare, the team at Sh!t-Faced Showtime are back with this not so classic telling of Charles Dickens A Pissedmas Carol. As you’ve probably guessed from the title, there is something quite different about this tale. Scrooge is absolutely, blind stinking drunk! Disregard everything you know about this timeless Christmas story, because you will probably see little of this here.

Our merry inebriated Scrooge this evening was played by John Mitton, who knocked back 2 small bottles of Merlot, half a bottle of Jim Bean Whisky, and who knows how many beers to prepare himself for a performance of a lifetime. During his ‘performance’ he states, “It’s at this point I know I have failed as an actor”. On the contrary, this was pure comedy gold, and the audience erupted into loud laughter throughout. James Murfitt left little to the imagination in his very tight gold leggings as Charles “Dick-in’s”. He tried his best to keep Scrooge on script and on time (failing miserably) for the entirety of the performance.

Somehow and I honestly don’t know how this came about, this tale took an unexpected turn as Scrooge decided he was at Hogwarts, and for the remainder of the show, the Harry Potter theme continued. Spells were being cast, The Ghost of Christmas Past became Dobby, and Scrooge is reminded repeatedly that he is “Not a Wizard”. Modern Cultural references flew in as John failed to remain in character, got distracted by Mike from Stranger Things calling to him through the Christmas lights and decided that he was now Tiny Tim’s father.

The improvisational skills of the sober actors on stage were impressive. They play seamlessly off drunken Scrooge and his inaudible ramblings, managing to continue this strange storyline in the way he is envisioning it. This in turn made this show even funnier as you did not know what was going to happen next. This is the amazing thing about improv comedy, what happens one night, may not happen the next, making each performance unique to the audience watching it.

This show is full of chaos, drunken ramblings and laugh out moments, as some of the best improv actors, try and control the stage around them. Katy Baker, Issy Wroe Wright, Hal Hillman and Daniel Quirke wow the audience with their incredible voices during their array of Christmas and not so Christmas songs. I never imagined The Proclaimers 500 Miles could be turned in to a Christmas Carol, but they somehow managed to pull it off.

I’ve said in previous reviews that A Christmas Carol was my favourite Christmas story of all time. I’ve seen so many different adaptations on this tale (some good, some not so much), but in the darkest depths of my imagination, I could not have possibly constructed the version that unfolded at the Leicester Square Theatre. You do wonder how much of this is just acting, as opposed to being intoxicated, but this is unique concept (probably drunk when they came up with it), that will make audiences laugh, smile and forget their troubles at this wonderful time of the year.