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 Marylebone Theare – until 7^th January 2024 

Reviewed by Ben Jolly 

3*** 

Opening at Marylebone Theatre last night was the return visit of Mark Shanahan’s A Sherlock Carol. Shanahan takes two of Victorian London’s most iconic fictional characters and brings them together to play in the same universe; it is a continuation of the Dickens tale culminating with Holmes himself reluctantly tangled up in a plot with the only temptation to pull him out of his recent depression… murder!  

Set several years after “The Final Problem” – Holmes’ final altercation with arch enemy Moriarty, Holmes is feeling jaded, older, and more susceptible to the woes of everyday life. He has become a recluse, and his long-term isolation has birthed paranoia, convincing himself that he’s being spiritually followed by the deceased former foe. 

That is, until a visit from a fully grown and matured Tiny-Tim (he is now known as Dr Robert Cratchit, thank you very much) who has sought out the legendary detective to solve the murder of his former benefactor and much-loved family friend, Mr Ebenezer Scrooge! The game is afoot! 

Combining worlds, especially ones that hold such high renown is no mean feat and Shanahan is clearly fluent in both. His plot, although thin and at times a little drawn out is full of jovial references and his cleverly thought-out dialogue is evident throughout. Shanahan is without doubt a fan of both Holmes and Scrooge, and fundamentally this is what makes the piece as heart-warming as it is. His characters remain truthful, and it is from this firm root that this love letter of a play can be appreciated. 

The cast of six have no easy task with the task of piling character on top of character without having so much as a breath in between. Yet still, each has their own distinguishable characteristics, vocally and physically which can be credited by both performer and writer. There is no weak link here, and the team of players work like a well-oiled machine to keep the comedic pace flowing. There are times when the dialogue and story flutter between drama and comedy but this play lands firmly when the laughs are rolling in, it would of course work with much more gusto if it leaned more into a specific genre instead of toeing the line of both. 

As a production, it is visually highly polished and wonderfully executed thanks to set design by Anna Louizos and lighting by Rui Rita. The direction by playwright Mark Shanahan is clear, concise and bleeds of nostalgia for the genre, which is most clear through the expertly executed use of character dialogue. The play merely needs a clearer construct and bolder decision regarding genre for it to really land. Perhaps this world is too small for these two formidable characters; can they, should they co-exist? After all, there’s a reason why Agatha Christie never put Poirot and Marple on the same case! Ultimately, it is for the audiences to decide and the fanboy of Holmes and Scrooge in me is delighted to see these two together. 

Festival Theatre, Malvern – 30th November 2023

Reviewed by Courie Amado Juneau

5*****

Any excuse to hear String Quartets live and I’m there. Any excuse to visit the wonderful Malvern Theatres and I’m also there. So tonight, with all that and the addition of a Piano Quintet, was like Christmas coming early!

From the very first notes it was evident that the Chiaroscuro Quartet are a class act. Clean, precise playing and the almost dance like quality to the performance – the first half standing with performers swaying with the music was a delight. Their range of dynamics and expressiveness was extraordinary – from full bodied to almost silent, ethereal held notes. Impressive. I also really loved their eye contact which showed an intimate connection to each other.

Tonight’s first piece was Haydn’s Quartet Op9 no 4 in D minor, the ladies giving us a passionate reading which definitely benefited from the use of the gut strings and historical bows which they use. Our first violinist, Alina Ibragimova, dazzled with some high, florid runs in the first movement. An emotional slow movement led to the final one in which I appreciated seeing (as well as hearing) the tune going around the ensemble; giving the players the chance to wow us with their forensic timing.

The second piece was Beethoven’s Op 59 No 2 Quartet in Eminor. The sheer power that the Quartet managed to achieve with wonderful, tight, dramatic, chordal work, really digging into the strings in the opening movement was inspiring. I really loved Claire Thirion (cellist) repeated figures that set the other musicians off – like winding up a spinning top… The filigree passages shared between musicians were exceptionally precise, giving the work a clarity that only players of the highest caliber could achieve. The second movement gave us some lovely melodious, stratospheric first violin playing against the sustained chords from the supporting trio. Beautiful! The end movement’s tripping figures were rather playful and our musicians attacked these with admirable enthusiasm and energy, culminating in the piece hurtling towards a breathless finish and a crowd about to get sore hands from clapping!

After the break was Brahms Piano Quintet op 34 in F minor. The piano’s owner, Peter Salisbury, gave us a very interesting talk about about tonight’s Bechstein piano, tuned down from A440 to A435 – as were the strings to match. This gave the Brahms added poignancy and a slightly darker edge.

Pianist Cédric Tiberghien gave us a performance that was muscular yet tender with plenty of rubato to stretch the phrases and add drama – everything you could want in a romantic work! I was also very taken with Brahms use of pizzicato passages. The violist’s (Emilie Hornlund) tone was sheer perfection and her ensemble work with the other players was sumptuous. The lady playing 2nd violin deserves special mention as she was spellbinding throughout and I could barely take my eyes of her (her facial expressions in response to the music were almost like acting!) – unfortunately the brochure I had didn’t give her name (it had a gentleman listed).

Spectacular music presented from world class performers. The musical stars really came out tonight in Malvern, far surpassing top marks. I can’t wait for the next concert in the series, nor seeing tonight’s musicians again.

JULIAN CLARY TO PLAY HEROD IN

THE AWARD-WINNING PRODUCTION

OF THE GLOBAL PHENOMENON JESUS CHRIST SUPERSTAR

AT MAYFLOWER THEATRE THURSDAY – SATURDAY OF RUN.

It is today announced that Julian Clary will play the role of Herod in the Olivier Award-winning reimagined production of Tim Rice and Andrew Lloyd Webber’s celebrated musical JESUS CHRIST SUPERSTAR at Mayflower Theatre. Julian joins the lead cast, Ian McIntosh (Jesus), Shem Omari James (Judas) and Hannah Richardson (Mary), playing Herod Thursday 28 March to Saturday 30 March 2024 at Mayflower Theatre*.

Julian Clary said: ‘I am thrilled to be re-united with this wonderful production again. My Herod – Sally Bowles meets Captain Hook – has been missing the amazing, talented cast and the standing ovations.’

Produced by David Ian for Crossroads Live and Work Light Productions who present the Regent’s Park Open Air Theatre production, JESUS CHRIST SUPERSTAR is currently on a critically acclaimed major 2023/2024 UK tour 2023/24 UK.

★ ★ ★ ★ ★ ★

“Jesus Christ Superstar like you’ve never seen it before!”

Theatre Talk

★ ★ ★ ★

“Open your mind to this punchy, modern retelling”

Manchester Evening News

Featuring lyrics and music by Emmy, GRAMMY, Oscar and Tony winners Tim Rice and Andrew Lloyd Webber, this production was reimagined by London’s Regent’s Park Open Air Theatre where it originated and is helmed by director Timothy Sheader and choreographer Drew McOnie. Completing the creative team is design by Tom Scutt, lighting design by Lee Curran, sound design by Nick Lidster and music supervision by Tom Deering.

A global phenomenon that has wowed audiences for decades, JESUS CHRIST SUPERSTAR’S iconic 1970s rock score was originally released as a concept album and opened on Broadway in 1971 at the Mark Hellinger Theatre.

The original London production ran for over eight years. By the time it closed, after 3,358 performances, it had become the longest-running musical in West End history at that time. Jesus Christ Superstar has been reproduced regularly around the world in the years since its first appearance, with performances including a Broadway revival in 2012, an ITV competition TV show called Superstar that led to casting Ben Forster as Jesus in an arena tour of the show, and a production at the Regent’s Park Open Air Theatre celebrating 45 years since the musical’s Broadway debut.

JESUS CHRIST SUPERSTAR is set against the backdrop of an extraordinary series of events during the final weeks in the life of Jesus Christ, as seen through the eyes of Judas. Reflecting the rock roots that defined a generation, the legendary score includes ‘I Don’t Know How to Love Him’, ‘Gethsemane’ and ‘Superstar’.

This production of JESUS CHRIST SUPERSTAR won the 2017 Olivier Award for Best Musical Revival and the 2016 Evening Standard Award for Best Musical, selling out two consecutive engagements in 2016 and 2017. The production played a West End engagement at the Barbican in 2019 before returning to Regent’s Park Open Air Theatre in concert version during the summer of 2020. The UK Tour runs in tandem with the hugely successful North America tour of the production which has to date played over 700 performances in over 90 venues since the tour opened in October 2019.

The 2023-2024 UK Tour of JESUS CHRIST SUPERSTAR is produced by David Ian for Crossroads Live and Work Light Productions. The original production was produced by London’s Regent’s Park Open Air Theatre.

*for all other performances the role of Herod is played by Timo Tatzber.

Facebook & Instagram: @JesusChristSuperstar | Twitter: @JCSTheMusical

Tickets for Jesus Christ Superstar (Monday 25 – Saturday 30 March 2024) are on sale at mayflower.org.uk or 02380 711811.

JOANNA AMPIL AND MARIA FRIEDMAN

ANNOUNCED AS FURTHER HEADLINE ARTISTS FOR

“MY FAVORITE THINGS:

THE RODGERS & HAMMERSTEIN

80^TH ANNIVERSARY CONCERT”

WITH 40-PIECE ORCHESTRA

AT LONDON’S THEATRE ROYAL DRURY LANE

FOR TWO PERFORMANCES ONLY ON TUESDAY, 12 DECEMBER  2023

Today, The Rodgers & Hammerstein Organization announce that recent R&H leading lady Joanna Ampil (Rodgers & Hammerstein’s South Pacific) and four-time Olivier Award^® winner Maria Friedman will additionally headline My Favorite Things: The Rodgers & Hammerstein 80th Anniversary Concert. Also announced today, Anna-Jane Casey, Lily Kerhoas and Jordan Shaw join the company. Tickets are available, with some production holds just released.

Previously announced headliners include two-time Olivier Award^® winner Michael Ball; television, film and stage actor Daniel Dae Kim; Emmy^®, two-time GRAMMY^® and six-time Tony Award^® winner Audra McDonald; Olivier Award^® nominee Julian Ovenden; West End sensation Lucy St. Louis; Tony Award winner Aaron Tveit; Olivier Award nominee Marisha Wallace; and two-time Tony, two-time Golden Globe^® and Emmy Awardnominee Patrick Wilson.

Featuring a 40-piece orchestra, the gala will be presented for two performances only on Tuesday, 12 December, at London’s newly restored Theatre Royal Drury Lane – the same venue that premiered the original West End productions of Rodgers & Hammerstein’s Oklahoma!, Carousel, South Pacific and The King and I.

Directed and staged by Tony Award-winning director and choreographer Christopher Gattelli, with associate choreography by Simon Hardwick, the celebration of the historic partnership of Richard Rodgers and Oscar Hammerstein II will feature the Rodgers & Hammerstein Concert Orchestra, conducted by Simon Lee, along with a West End chamber choir, dance ensemble and surprise guest appearances. Artist lineup subject to change – Ashley Park has withdrawn owing to scheduling conflicts.

Tickets are currently on sale at RH80Concert.com.

Presented by The Rodgers & Hammerstein Organization, the concert is produced by Concord Originals, Concord Theatricals and Kilimanjaro Live/JAS Theatricals.

THE CHOIR OF MAN

JOINS UP WITH BIG DROP BREWING CO AS THE SHOW’S
OFFICIAL ALCOHOL-FREE BEER PARTNER, AS COMPANY RAISES OVER £6,000 FOR MOVEMBER

THOUSANDS OF NEW TICKETS ALSO RELEASED – NOW BOOKING AT THE ARTS THEATRE UNTIL 2 JUNE 2024 – BOOK HERE

CHRISTMAS WITH THE CHOIR OF MAN RELEASED TODAY – 6-TRACK EP AVAILABLE HERE AND AT THE ARTS THEATRE

[Friday 1 December 2023] The Choir of Man – The Olivier-nominated international stage sensation now in its second singsational year in London’s West End – will be joining up with the Big Drop Brewing Co – the world’s first brewer dedicated to alcohol-free beer – as the show’s Official Alcohol-Free Beer Partner. From Friday 1 December, Big Drop will supply the show with a variety of non-alcoholic beer for the cast to drink on stage during the show, with future plans to offer audience members who come up to the on-stage bar during the pre-show a choice of alcoholic and non-alcoholic beer, and at the bar at the Arts Theatre, to be announced in the new year.

Welcome to THE JUNGLE, the best pub in the world.

Here, an (extra)ordinary cast of nine guys combine beautiful harmonies and foot-stomping singalongs with first-rate tap dance and poetic meditations on the power of community.

Now in its 2ND SINGSATIONAL YEAR in London’s West End, and brimming with hits from artists such as Queen, Luther Vandross, Sia, Paul Simon, Adele, Guns & Roses, Avicii and Katy Perry to name but a few, this is a pub like no other!

An uplifting celebration of community and friendship with something for everyone – including free beer! Enjoy 90 minutes of feel-good, foot-stomping entertainment unlike anything else in the West End.

The Choir of Man co-creator and director Nic Doodson said, “I’m personally delighted to be partnering with Big Drop to provide non-alcoholic beer for the cast on stage. The Choir of Man is not all about the alcohol – in fact, if anything, we spend more time talking and singing than we do drinking. It’s nice to have a beer in your hand when you’re talking to a mate – but it doesn’t have to mean you get drunk…you’re more often your best self when you fully in the room. Big Drop and The Choir of Man both believe in sharing good times responsibly and we’re particularly delighted to be working with a company that supports Movember, just like we do. Cheers”.

The Big Drop Brewing Co has also teamed up with Movember, the leading charity for men’s mental health, producing a golden-coloured Citra IPA called ParadisMo. As Movember 2023 draws to a close, The Choir of Man company celebrated their fundraising efforts with some ParadisMo at the Arts Theatre – to date, they have manged to raise over £6,000 for the charity.

Rob Fink, Founder of Big Drop, said, “This project is an absolute joy to be involved in and, as partnerships go, is genius. We were already producing the official beer of Movember and being able to pour it on tap in this hugely popular West End run is a natural extension to that. You can now enjoy an authentic evening at the pub and the theatre in one hit and not suffer any ill-effects. The same goes for the cast who need to be top of their game day in, day out. If you love beer and you love musicals this surely goes on your bucket list.”

In addition, thousands of new tickets have also been released for next year, with availability at the Arts Theatre until 2 June 2024.

Christmas with The Choir of Man – a new 6 track album featuring classic Christmas songs all given the incredible The Choir of Man treatment, is also released today via all streaming platforms,  and with physical CDs available to purchase from the Arts Theatre.

THE CHOIR OF MAN previously played three sell-out seasons at the Sydney Opera House and multiple sold-out US and European tours. Following its last run at the Arts Theatre from October 2021 to April 2022, it received an Olivier nomination for Best Entertainment or Comedy Play, and then went on to play in Coventry as part of the City of Culture Assembly Festival season and at the Edinburgh Fringe Festival. The show re-opened at the Arts Theatre in October 2022, and has continued to see many sold-out shows, with loyal audiences returning again and again. The show also has a formal fundraising partnership with suicide prevention charity CALM (The Campaign Against Living Miserably), with the aim to raise £10,000 for the charity’s vital work.

THE CHOIR OF MAN is created by Nic Doodson and Andrew Kay, directed by Nic Doodson, with musical supervision, vocal arrangements and orchestrations by Jack Blume, movement direction and choreography by Freddie Huddleston, monologues written by Ben Norris, scenic design by Oli Townsend, lighting design by Richard Dinnen, costume design and associate scenic design by Verity Sadler, sound design by Sten Severson, casting by Debbie O’Brien. Hollie Cassar serves as musical director and associate musical supervisor.

The show is produced by Immersive Everywhere, Nic Doodson, Andrew Kay, Wendy & Andy Barnes, Gavin Kalin and Hunter Arnold.

Website: choirofmanwestend.com

Facebook: @thechoirofman

Twitter & Instagram: @choirofman

Charing Cross Theatre – until 13 January 2023

Reviewed by Claire Roderick

5*****

He’s Behind You! – the creative team behind the Above the Stag pantos – have hit the sweet spot again with Sleeping Beauty Takes A Prick. This wickedly funny filthfest is guaranteed to warm the wickedest of hearts with its silliness and energy.

In the tiny Eastern European country of Slutvia, evil Prince Camembert (Chris Lane) realises his path to the throne is blocked when his nephew Prince Arry is born. In short measure he murders the king and curses the infant prince with the traditional prick on the finger means death spell. Luckily Daisy the fairy (Jordan Stamatiadis) is on hand to tweak the curse – now Prince Arry will only die if, in his mother’s delicate terms, someone puts their sword in his scabbard before his 21st birthday. Of course, on the eve of this milestone birthday a fabulous and horny alien lands in Slutvia and the curse strikes – leaving Arry and his mother (don’t ask) asleep and hidden for 100 years while Camembert turns the country into the miserable pariah of Europe (and won’t let anyone represent Slutvia at Eurovision but himself). Arry and Queen Gertrude’s quest to rewrite Camembert’s version of history doesn’t go quite to plan, but this is after all a panto – so happy endings are inevitable.

Writers Jon Bradfield and Martin Hooper are masters of creating a perfect balance of nostalgic fun and filth, and do not let the audience down this year. There are gags set up so obviously you can see them from space (as there should be in a panto), brilliantly judged jokes about current affairs and some slick one liners that draw gasps before the audience erupts in laughter. Traditional elements are included with a sly wink, or subverted brilliantly (and judgementally by the imperious queen). Jon Bradfield’s songs allow the audience to take a breath between the onslaught of jokes and silly shenanigans and are performed wonderfully by the cast.

Director Andrew Beckett knows the assignment, and the show is a mix of chaotic stupidity and slickness, with David Shields’ fabulously garish and wobbly set and Sandy Lloyd and Robert Draper’s costume design drawing applause for Gertrude’s costumes. The finale at the races is a stunner.

Matthew Baldwin’s Queen Gertrude is a masterclass in damehood. Performing as if she is in a Shakespeare play and surrounded by idiotic minions, Gertrude is a fabulous creation – snooty, arch and utterly hilarious. Baldwin’s viciously funny “wooing” of audience members is a joy to behold as you squirm in second hand embarrassment for the lucky men involved. Chris Lane is wonderful as the camp and cruel villain, popping up everywhere with a glorious gloating nonchalance, while Jordan Stamatiadis is lots of fun as the coke snorting, maiden-chasing fairy godmother. Tom Mann is wide eyed and energetic as Arry and Myles Hart is weirdly wonderful as Zupp. Nikki Biddington and Matthew Gent are fantastic as the “commoner” love interests, expertly setting up the laughs for the insane royals they meet – who knew there was so much fun to be had with horse semen?

Frenetic, filthy and fabulous fun, this is the best adult panto in town.

Union Theatre – until 23 December 2023

Reviewed by Claire Roderick

4****

Tinderella – Two Big Balls, One Happy Ending is a riot of rude and raunchy fun. This adult panto has all the traditional ingredients – fairy tale plot, audience singalong, birthday shoutouts and the cast singing “If I were not in pantomime…” – immersed in a cesspit of fabulously filthy jokes. Allowing the audience to decide what Buttons calls them is a brave move after pre-show drinks – we settled on the demurer option of “slags” on press night.

Writers Leonard Hatter and Pedro El Toro don’t deviate far from the traditional tale of Cinderella, with poor Tinderella (Laura Mead) doing all the work at Hard On Hall. (Dad has buggared off to Benidorm and her two stepsisters Chlamydia (Edward Denby) and Clitoria (Alan Kelly) take all the money she makes on Only Fans.) Buttons (Joshua David) loves Tinderella, but she is oblivious, and goes dogging on Clapham Common whenever she needs to go out and get wood. When Prince Charming (Lauren Bimson) throws one of his legendary balls – he has the biggest balls in the land – Fairy G (Gabriel Mokake) tries to help Tinderella meet the prince. Maleficent (Monty Camisa-Bundy) has other ideas – wanting to set Tinderella up with her ginger prince and use Tinderella’s social media savvy to make Maleficent and the ginger prince relevant again.

It’s all shambolically silly and the jokes are fired off at breakneck speed by the game cast. Kelly and Denby are hilarious as the ugly sisters, and their “seduction” of men in the front row is rib-ticklingly terrifying. Mokake and Camisa-Bundy are gloriously OTT as the good and evil fairies and Joshua is a hoot as Buttons in an energetic performance. Mead and Brimson are wonderful as the fairytale couple, with Brimson’s thighslappingly louche Charming dropping double entendres with every breath and Mead’s Tinderella the only sane character onstage, brilliantly displaying disbelief and confusion as the madness unfolds around her.

Director Robert McWhir keeps things moving along at a brisk pace, with no chance for the audience to lose interest as the plot gallops along after Tinderella leaves a more personal item than a shoe on the palace steps, leading to a very untraditional climax as Charming tries to find the perfect fit.

You’ll laugh, you’ll sing, you’ll squirm, and you will try to hide as the ugly sisters come close – a brilliantly bawdy night out for those lucky enough to get tickets before the run sold out.

Alexandra Palace – until 7th January 2024

Reviewed by Fiona Leyman

2**

“Marley was dead to begin with”.

A Christmas Carol is one of the most iconic Christmas tales ever written. A story about a man’s miserable existence and hatred of Christmas, and his redemption and love for those around him. This story has been adapted in more ways than I can count, and we can all agree that we’ve seen it in some form or another, whether on screen, on stage, or in a book. Michael Caine in A Muppets Christmas Carol was my first introduction to this story as a child. This has and always will be my favourite Christmas story of all time. This is the 3rd time this week alone that I have seen this tale been told on stage. Screen adaptations range from Bill Murray’s 80s classic Scrooged to Alastair Sim’s in the 1951 feature film Scrooge. All memorable, all unique, all masterpieces. Can Mark Gatiss’ adaptation stand up to these greats?

There is no more beautiful setting for this ghost story. Alexandra Palace, which was constructed in 1875, is a sight to behold in the North London borough of Haringey. A structure that towers over the capital and retains its original interior design. The broken walls, cracked bricks, and exposed ornate ceilings capture the essence of this Victorian tale.

Illusion Designer John Bulleid creates some eye-catching effects throughout the theatre. From ghosts appearing on the walls to apparitions on door knockers, there is something for everyone. This was a unique feature that I had never witnessed on stage before. The clever lighting and staging transported the audience to Victorian London. Large filing cabinets were used to create the iconic Scrooge & Marley counting house, as well as his dark and dingy bed chambers. Each easily transitioning to the various elements of this story.

Sadly, this adaptation fell flat after these special effects. Keith Allen, who is better known for his film and tv roles, played Ebenezer Scrooge. Allen is undeniably talented, but his portrayal of Ebenezer Scrooge left an unpleasant taste in my mouth. Unfortunately, his acting was as wooden as the stage he walked on, and audiences struggled to connect with his character.

The story felt rushed and disorganised. Additionally, there was some confusion as to why certain actors were playing some of the story’s more iconic roles. There are some very talented child actors on this stage, so the casting of Ryan Weston as Tiny Tim baffles me. Don’t get me wrong: Ryan is gifted, but this pivotal role in the story should have been played differently. Jokes were met with awkward, forced laughter from the audience and failed to hit the mark.

As the Narrator, Geoffrey Beevers (Dr Who, Miss Potter, Hamlet) is an absolute delight. A seasoned actor of over 50 years, his stage presence is something to be admired, and Mark Gatiss’ twist at the end with his character was an unexpected surprise.

This Charles Dickens 1843 story is a classic, a masterpiece, and a tale that has and will stand the test of time. Unfortunately, this cannot be said for this version of the story. “Bah Humbug” is all I have to say about this adaptation, which regrettably only receives 2 Stars.

MORE MRS O!

‘Sharon Osbourne – CUT THE CRAP’ adds extra West End dates due to overwhelming demand

Extra performances announced due to overwhelming demand!
Sharon Osbourne CUT THE CRAP!
Live and uncensored on stage

Journalist, author and TV presenter Jane Moore will interview Sharon on stage

Joining Sharon on stage at each performance   will also be surprise VIP guests from her glittering career

extra shows
Fortune Theatre, West End
Sunday 28 January
at 3pm & 6pm

It is also announced today that journalist, author and TV presenter Jane Moore, best known as a columnist for The Sun newspaper and as a panellist and anchor on the ITV chat show Loose Women, will interview Sharon on stage.

Joining Sharon on stage at each performance  will also be surprise VIP guests from her glittering career.

For over two decades, Sharon Osbourne has been a force to be reckoned with on our TV screens. Both on and off camera she’s had to battle the scrutiny that comes with life in the limelight – and has never been a stranger to controversy.

Now she makes the leap to the West End stage  – live and unleashed – in Sharon Osbourne  – Cut The Crap!  

Sharon promises to reveal all about some of the hardest years of her eventful life – from the anguish of a broken marriage and heavy metal icon husband Ozzy’s infidelities to the constant spectre of drug abuse in her family, the loss of friends, betrayal by colleagues, and her ongoing battles with mental health issues.

She says: “Extra shows added  – how wonderful! I can’t wait to see you all the theatre. It’s going to be very interesting – my show in my own words. Talking a lot! Hope to see you there.”

A  huge TV star on both sides of the Atlantic from more than 20 years, Sharon Osbourne was a much loved judge and mentor on ITV’s ‘The X Factor’ from its first series in 2004. On the 10th series her act Sam Bailey was the winner, marking Sharon’s first victory as a mentor.

Sharon, her heavy metal icon husband Ozzy and their kids  first burst onto our screens in 2002 in MTV’s ground-breaking fly-on-the-wall reality show, ‘The Osbournes’, which followed the family’s crazy life in Beverly Hills.

In 2007 she joined the judging panel on the second season of America’s Got Talent, along with Piers Morgan and David Hasselhoff.

Her first autobiography, ‘Extreme’ was published in October 2005. It went to Number 1 on the Sunday Times Bestseller List, where it remained for 15 weeks and sold over 621,000 copies in hardback, becoming the biggest-selling autobiography since British records began. It won Biography of the Year at the British Book Awards and went on to sell more than two million copies, becoming the most successful female autobiography ever.

Sharon is now back home and resident in the UK, and says it’s time to start a new chapter – and lay rest many of the demons of her past.

In this not-to-be-missed LIVE experience audience members will be able to question Sharon directly about her and her extraordinary life as she really ‘’Cuts The Crap’’ live on stage.

LISTINGS INFO

Thomas Hopkins & Guy Chapman
in association with Jacob Howe-Douglas,
Alex Decon & Julian Stoneman

present

Sharon Osbourne
CUT THE CRAP!

Sunday 21 January, 2024
at 3pm & 6pm

Sunday 28 January
at 3pm & 6pm

Fortune Theatre
Russell Street
London
WC2B 5HH

Tickets: £15 – £60

Online: ATGtickets.com
http://sharonosbournelive.co.uk/

Telephone Booking: 03330 096 690
‍Groups Bookings: 020 7206 1174‍
Access Bookings*: 0333 009 5399

Wednesday 24 January, 2024
at 7.30pm

The Alexandra, Birmingham
Suffolk Queensway,
Birmingham
West Midlands, B5 4DS

Tickets: £30 – £60

VIP Meet & Greet tickets:
£100

Online: ATGtickets.com
http://sharonosbournelive.co.uk/

MAYFLOWER THEATRE AND MAST MAYFLOWER STUDIOS ANNOUNCE A NEW PUBLIC AWARENESS CAMPAIGN FOCUSSING ON AUDIENCE BEHAVIOUR

SEE THE SHOW, DON’T BE THE SHOW – THERE’S NO EXCUSE FOR ABUSE

Southampton’s Mayflower Theatre and MAST Mayflower Studios are pleased to announce the launch of a brand-new public awareness campaign, aimed at encouraging kind and respectful audience behaviour towards theatre staff from patrons. A series of posters and digital screens around both venues will picture individual friendly and dedicated team members, with reminders of appropriate behaviour, with a personal touch.

Michael Ockwell, Chief Executive and Creative Director explains, “The idea for this new campaign came after observing reports of audience behaviour issues in other venues across the country – from customers causing show stops, assaulting Front of House staff and creating the need for police attendance. We asked for the views of our colleagues from across the organisation, including Front of House staff, artistic and executive leadership, and our marketing team, as it is important that our team feel safe in their job.

Whilst we are fortunate in Southampton to see very few of these issues on a regular basis, we decided to reinforce our dedication to our staff by reminding our customers of the friendly faces of our organisation, what they do, and most importantly, that they’re human and doing their best to ensure that everyone has the most enjoyable experience possible.”

Tasha Finch, Head of Customer Operations added, “We wanted to be proactive with this campaign knowing that customer behaviour not only within our industry, but in all walks of life is getting more and more challenging. It was important for both of our venues to involve our staff, so they are represented in this campaign – these are real people on our front line. We have had so much positive feedback from our teams with this initiative and the messaging in the campaign is to enjoy your visit to our venues but be considerate and kind to the people who are there to help you.”

In addition to the venue signage, patrons will receive pre-visit emails with further reminders, and the campaign will also feature prominently on the theatres’ websites.