Presented by Stuart Glover (The SpongeBob Musical, Madagascar the Musical, An Audience with Anton du Beke, Firedance and many more) the critically acclaimed magical and mystical world of Cirque Enchantmentis back by popular demand with a limited UK tour .Opening at The Royal & Derngate, Northampton on 27 January 2024 before visiting Leicester, Lincoln, Peterborough and Bournemouth.
Adynamic fairytale for all the family. Cirque Enchantmentsee’s a little girl with a big imagination enter a frozen circus wonderland and a mysterious path of good versus evil. Meeting an array of weird, wonderful and talented characters along the way. This magical production features superb choreography, breathtaking live vocals and mesmerising circus performers. With an eclectic and iconic musical soundtrack including Wings, Mad World, Sweet Dreams, The Show Must Go On, Relight My Fire, Chandelier, I’ll Put A Spell On You and many more.
Following a number fo residencies Cirque enchantment last toured in 2018 to great acclaim with audiences hailing it as “Hypnotic, Mesmerising and an escape for reality” and “A brilliant, magical, entertaining show, we will be booking again”
Stuart Glover Creative Director & Producer said“Cirque Enchantment is a show which allows the audience to switch off and enter a world of creativity and imagination in a magical and ethereal adventure which has delighted audiences across the UK & Europe . We’re very excited to be performing this beautiful show in 2024”.
The perfect tonic to the winter blues, prepare to escape reality and be enchanted and mesmerised with this perfect treat for the whole family.
THE ROYAL COURT THEATRE CREATES DIGITAL ARCHIVE ALLOWING OPEN ACCESS FOR ALL IN MAJOR NEW PROJECT – LIVING ARCHIVE
The Royal Court Theatre today announced the launch of Living Archive, their first ever standalone online archive. The digital archive holds information on every play which has ever been presented on the Royal Court stages from when it opened its doors in 1956 to the present day, totalling almost 2000 works by over 1000 writers.
The independent website will be accessible to all and can be navigated by users through pathways created by guest curator-writers. It has been designed to challenge preconceptions around what we archive, who gets to decide what is archived and how we mark historic projects. The site also features an interactive portal, where visitors are encouraged to contribute to the archive themselves. The Royal Court’s physical archive is and will continue to be held by the V&A.
Living Archive evolved out of Living Newspaper, a project the Royal Court undertook in 2020. Living Newspaper raised questions around the politics of archiving, and who gets to decide what is remembered. This led to a series of research and development performances which took place in the Royal Court Jerwood Theatre Upstairs over two weeks in June 2022. The performances in turn led to the Living Archive website, which has been in development since last year. In line with the Royal Court’s commitment to supporting and developing writers, the archive is, in the first instance, being targeted at emerging writers. This will expand and grow with time.
Living Archive presents an innovation in archiving, and marks the beginning of a total democratisation of Royal Court archive access. It is built around the idea that an active theatre archive can and should never be finished.
Vicky Featherstone, Artistic Director of the Royal Court, said, “Living Archive was born out of the long summer of 2020 which felt like it was changing the world forever. It grew from several questions: Who tells our history? Who controls what is remembered? What do we gain from obsessing over legacy and how can we create something which provides more insight into possible futures?
Living Archive is a portal into the words, passions, beliefs and craft of the writers and theatre-makers who have brought their skill, care and curiosity to the Royal Court.
This is only the beginning of what Living Archive can be. Arriving at this stage is the result of hours of interrogation, argument, research, reading, and I am deeply grateful to everyone who has poured so much into this vital project. Living Archive is not merely a celebration of the Royal Court’s extraordinary past, but a much-needed tool to fire us into new and as yet unimagined futures, standing on the shoulders of everyone who has toiled before us, each showing us worlds in new ways. It would have not been possible without the significant support and vision of Bloomberg Philanthropies and it is a privilege, as I leave the beloved Royal Court, to be part of the team who was able to make this happen.”
Sula Douglas-Folkes, Lead Researcher and Project Coordinator, said, “Participating in the Living Archive project has been both an honour and a deeply enriching experience. We’ve unearthed a wealth of plays, each rich in diversity and storytelling, which is a testament to the unexplored depth in our theatrical heritage. Our aim has been not just to bring to light unserved and underseen voices but to create a platform where these voices lead the narrative. The Living Archive stands as an educational resource, a spark for creativity, and a tribute to the storied history of the Royal Court. It’s designed to inspire writers, theatre enthusiasts, and creatives to engage with our past, and in doing so, to ignite the creation of new and meaningful work. I am immensely proud to contribute to this project, which is a significant step in preserving and celebrating our unique theatrical legacy while fostering new artistic dialogues.”
Hamish Pirie, Royal Court Associate Director,said, “Living Archive is a natural extension of the Royal Court’s work as an opportunity for the writers of the past to support the writers of the future.”
In October 2023, the Royal Court also announced The Unfinished Archive. This was a public call-out orchestrated by artists Matilda Feyiṣayọ Ibini, Shahid Iqbal Khan and Tom Ryalls for people’s memories of seeing D/deaf, Disabled or neurodivergent work. The artists intend to collate these memories into texts, building an archive that does not currently exist for Disabled work, which will eventually come to contribute to Living Archive.
The Living Archive project has been commissioned by Royal Court Artistic Director Vicky Featherstone, led by Royal Court Associate Director Hamish Pirie, Lead Researcher and Project Coordinator Sula Douglas-Folkes and Bloomberg Tech Fellows Robert Smael, Royal Court Head of Sustainability and Operations, and Katherine Osborn, Royal Court Director of Development. Dr Nicholas Holden, University of Greenwich, is a specialist on the Royal Court’s history and is project consultant and associate researcher on the Living Archive.
Living Archive was developed with the support of Bloomberg Philanthropies’ Digital Accelerator Grant for Arts and Culture, which supports arts organisations through strategic improvements to technology infrastructure. Bloomberg has supported the Royal Court for more than 20 years.
The V&A have been generous supporters of this initiative and are ongoing contributors to Living Archive. The Royal Court greatly values this vital partnership and look forward to developing and deepening this collaboration.
The Royal Court’s physical archive is and will continue to be held by the V&A. The V&A have been generous supporters of this initiative and are ongoing contributors to Living Archive. The Royal Court greatly values this vital partnership and look forward to developing and deepening this collaboration.
Society of London Theatre announce search for next cohort for their pilot scheme, ‘Associate Membership’
Society of London Theatre have announced their plans to search for their next cohort of Associate Members.
The ‘Associate Membership’ pilot was launched in March, designed to identify producers and future theatre industry leaders in London who would not be eligible for other categories of SOLT membership.
The first cohort, who will be Associate Members for another year, are Aidan Grounds, Ameena Hamid, Charlotte Holder, Chuchu Nwagu, Fiona Steed and Sarah Jordan Verghese.
SOLT are now beginning the search for up to six more individuals to join the scheme for a period of 2 consecutive years.
SOLT are encouraging applications from groups who have historically been under-represented within their membership over the last 114 years, ensuring that the membership becomes more inclusive and representative of society in its broadest sense and reflects the people of London.
The aim of Associate Membership is to support future theatre industry leaders in the early-mid-stages of their careers. Membership will be free of charge and will offer a range of member benefits to encourage career progression and to provide experience and access to best working practices.
Eleanor Lloyd, independent producer and President of SOLT, commented:
“At SOLT we have a responsibility to look to the long-term future of the theatre industry and ensure that we welcome the emerging talent who will be that future.
“This programme is designed to give upcoming professionals, especially those who will diversify our community, the access, guidance and support that SOLT has to offer. After a successful start last year, we’re excited to begin the search for our next cohort.”
Aidan Grounds, current associate member, said:
“Becoming an Associate Member of SOLT has been transformative at a pivotal point in my career. It has given me the confidence and contacts to set up my own company – the support of a mentor has been invaluable, and becoming an Olivier voter as part of the scheme is an added bonus.”
Ameena Hamid, current associate member, said:
“Being part of the SOLT Associate Member program has been truly wonderful. It has opened doors to higher-level industry conversations, providing invaluable insights as I continue to develop my producing career. The warm welcome from the membership and the SOLT team has made this journey even more fulfilling. I’m genuinely excited to continue my membership this year and hopefully beyond.”
Charlotte Holder, current associate member, said:
“Becoming a SOLT Associate member has given me an invaluable insight into how SOLT champions, supports and sustains our industry. Being able to connect with the other members has allowed me to grow in ambition and confidence, giving me access to new rooms that previously felt out of reach, something that I know has inspired me and will impact my practice long after my associateship ends.”
Fiona Steed, current associate member, said:
“Becoming an Associate Member has been a career affirming moment for me – knowing that I have SOLT’s support/guidance in everything I do across the duration of the membership has been a real confidence boost. I have already made great use of the brilliant training opportunities, readily available employment advice and new industry connections. I can’t wait to see what the next 18 months holds.”
Sarah Jordan Verghese, current associate member, said:
“Being a SOLT member felt untenable to me, especially financially, so being an associate member has made this an accessible venture for me. The networks and resources that the membership provides isn’t support I can find anywhere else, so it has been extremely useful for my learning and development.”
Lyric Hammersmith Theatre – until 6th January 2024
Reviewed by Fozia Munshi-Nicholson
5*****
A truly spectacular take on an old family favourite. I took my children aged 4-20! And they all without exception loved the performance.
The classic fairy tale is given a modern twist and is set in Shepherds Bush. Tilly La Belle Yengo is our feisty Cinders, she does the household chores and runs her own (slightly odd) business, with only a Gerbil as a best friend. Tilly’s Cinders was very likeable she clearly had a ball (see what I did there) playing the part, she and Damien James’s somewhat hapless Prince Henry had a sweet chemistry together.
However, In all shows, there is always one star who steals the show, and this one is no different, Emmanuel Akwafo’s Lady Jelly Bottom did just that, without giving too much away by the end we decided Lady Jelly Bottom was our second favourite, Cinderella being the clear favourite (well it is her show). The ugly sisters played by Charlie Cameron as Muffy and Meghan Treadway as Gusset were both hilarious as the mean (not so) ugly sisters, their dance moves were truly something to behold.
The show is skilfully performed with some surprising twists, it kept us rivetted to our seats, the poor put upon set director deserves a mention too (you need to see the show to find out why), although they are not in the programme.
Jodie Jacobs fairy godmother is great fun, and her magic totally surpasses the conventional pumpkin into a carriage trope.
The show was fresh and fun, and the cast clearly thoroughly enjoyed themselves sweeping us all along with them in the riotous retelling of our favourite fairy tale. There were gags for older audiences, and younger audience members were kept enthralled by the story unfolding in front of them too, with some great renditions of favourite songs along the way, Lady Jelly Bottoms rendition of Cher’s ‘If I could turn back time’ did not leave a dry eye in the house, tears of laughter that is.
This is a panto, but it’s very different from the usual, although it has all the ingredients of a classic panto, it’s style and performance is new and fresh and thoroughly engaging.
After much discussion my two youngest aged six and four agreed this Cinderella show was a hundred stars. I can’t say I disagree.
Olivier Award-nominated, worldwide smash and West End favourite The Choir of Man, is releasing a six track Christmas EP, Christmas with The Choir of Man on Friday 1 December.
The EP is a must have for fans of the show and fans of Christmas! With classic Christmas songs including This Christmas, Driving Home for Christmas and The Christmas Song all given the incredible The Choir of Man treatment, and introducing a brand-new original song Spend the Rest of Christmas, the EP is a joyous and uplifting celebration for the holiday season.
Not only is this EP a brand-new collectable for The Choir of Man and musical fans, but also features an all-star line-up of Choir of Man cast members who have been seen on stage across the world!
The EP will be available on CD from the home of The Choir of Man, the Arts Theatre in London’s West End and will also be available digitally from all the usual digital stores.
Meanwhile, THE CHOIR OF MAN continues its sell-out West End run at the Arts Theatre, with new tickets just released for dates until June 2024.
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
Westway Music is the UK’s only dedicated musical theatre label. Launched in 2021, the label has released music by Samantha Barks, Ramin Karimloo, Kerry Ellis, John Barrowman, Lee Mead, Rachel Tucker, Cassidy Janson, Jason Manford, Rachel John, Joe Stilgoe, Peter Jöback and the original cast recording of West End musical My Son’s A Queer.
Neil O’Brien from Westway Music said, “I am incredibly excited to be releasing this great collection of Christmas music on Westway. The show is just perfect for the festive season and already one of go to shows for Christmas this year in the West End and beyond!”
Jack Blume, music producer, arranger and orchestrator of Christmas with The Choir of Man said, “It’s been an absolute joy bringing the unique sound of The Choir of Man to some of the season’s most beloved songs and working on our second ever original song. After living and breathing this festive record for 10 months, I can’t wait for everybody to hear what we’ve been cooking up.”
Christmas production 2023: 53two and Imaginality Productions present
Bear Left
Manchester-based theatre and arts venue 53two kicks off the festive season with its new Christmas production, Bear Left. Featuring original songs and created by Simon Naylor and Ollie Mills, Bear Left presents an anthology of uplifting human stories that unfold in a motorway service station on Christmas Eve.
The fast-paced festive journey follows a series of weary travellers as they descend on Pinkerford Services in search of coffee, petrol…and answers to their existential crises. The festivities are just around the corner, but not without a few detours first.
Playing from 13 – 23 December, Bear Left features writing from Manchester talent Steph Lacey, Emma Hinds, Hannah Macdonald and Mohammed Barber with brand new music from composer, Ollie Mills.
Hosted in 53two’s iconic 150-year-old arches, the production will feature some famous Manchester faces, with each performance narrated by a surprise guest.
Simon Naylor, artistic director at 53two said: ‘‘We’re incredibly excited to collaborate with the team at Imaginality Productions for the second time to deliver a Christmas show that will set us all up for the festive period.
‘‘From keeping tickets affordable to physical access and British Sign Language interpretation, accessibility is at the heart of everything we do and we’re proud to deliver a show that the whole community can enjoy.’’
Bear Left is proud to have Autotrader as its official Access Sponsor, ensuring the show is open to everyone.
This is also the first major production for 53two where performers, creatives and audience members will have access to the venue’s newly fitted Changing Places toilet. 53two is the first indie arts space in Manchester to install the facility, which will provide increased independence to users.
Advertised as the official Take That musical, it’s far more than that. In fact the story itself surpasses the band and the songs. Well written and based on a journey of five school friends. It tells a story of love, laugh and heartache and what it meant to be a fan of the biggest boy band of the 90s, and more importantly the importance of true friendship.
Act 1 begins with the lead character Rachel (Kym Marsh) carrying out the housework and reminiscing about her younger days, and what could have been. Go back 25 years and we are back with the young Rachel (Emilie Cunliffe) chatting with her school friend Debbie (Mary Moore), who informs her she had entered them in to a competition and they had won tickets to see “the band”. The act then focuses on the school friends and their enduring friendships.
Not wanting to give any spoilers, the second act much like the band, the friends reunite 25 years later and take you back to how their lives panned out and where they are now. With a few twists these characters all have their own personalities that endear you to them, portraying their relatable and flawed personalities in all their glory.
Tim Firth clearly intended to portray the girls in a similar vein to Take That, in the sense they follow the same path as a group of friends/band who had loved, lost, split up, but ultimately reformed and were hopefully back for good.
Most shows depend on intricate sets and clever lighting, but the set of Greatest Days is simple and the story relies on the characters to bring it to life and doesn’t detract from their story. The boys in the musical were fantastic with great voices and also great dancers. They also seamlessly help move the set around for each scene. The cast and the story, however steal the show for me. There were some stand out characters that made it funny and heartwarming and they were Kitty Harris who plays the young Heather, great comedy timing and Alan Stocks (Every Dave) that brought a few laughs from the audience. Although every member contributed to bring a fabulous musical alive.
If you’re a fan of Take That’s music and love a good story and a good cry, then I thoroughly recommend this musical.
A plaque honouring Hester set to be unveiled on 11th December, six months after the show’s West End premiere
“we now know more about a woman who made a remarkable contribution to the war effort… thanks to a smash-hit musical, some fixated fans and a lot of diligent historical research.”
Ben MacIntyre, The Times
“ … she deserves to be remembered by us. Because just as it was important to know that Glyndwr Michael was The Man Who Never Was, justice demands that we find an overlooked Woman Who Always Was: Hester Leggatt.” Greg Callus, The Independent
“It’s testament to what fandoms can achieve, and how in working together and sharing knowledge, combined with an enthusiasm for archival research, they redressed a historical imbalance…Now, Hester has also been restored to the story in which she played such a pivotal role.”
Natasha Tripney, The Stage
“The incredible work of one musical’s fandom has unearthed one character’s true history… Their results were remarkably successful…This work fleshes out a figure who would otherwise be entirely forgotten by history ”
Alex Wood, WhatsOnStage
The real Hester Leggatt and Jak Malone’s portrayal in Operation Mincemeat: A New Musical. Photos: Wycombe Abbey archive and Matt Crockett.
LONDON, 24th November 2023 – Following dedicated fans of Operation Mincemeat: A New Musical successfully uncovering the missing pieces of MI5 secretary Hester May Murray Leggatt’s life, a plaque in her honour is set to be unveiled at the Fortune Theatre on 11th December, six months after the show’s West End premiere.
The musical, based on the extraordinary true story of Operation Mincemeat during World War II, has garnered widespread acclaim for its portrayal of the elaborate scheme widely attributed to Ewen Montagu and Charles Cholmondeley. However, until recently, little was known about one of the less-regarded protagonists – Hester Leggatt, portrayed on-stage by Jak Malone, Christian Andrews, and Seán Carey.
The quest to unveil the mystery surrounding Leggatt began with fans, often referred to as ‘Mincefluencers’, initiating the #FindingHester project. Delving into research at sources including the National Archives and the Imperial War Museum, their collective efforts uncovered addresses, handwriting samples, work history, photographs, birth certificate, school records, and even piano exam results, providing a comprehensive view of the life of Hester May Murray Leggatt.
On 29th August 2023, over a quarter of the show’s audience was made up of fans dressed as characters from the story, including Saul Montagu, one of Montagu’s grandchildren, who came as Cholmondeley. By good fortune, this event (organised under the hashtag #OperationInterestingMan) coincided with the receipt of a letter by Mincefluencer Erin Edwards from MI5, confirming Hester May Murray Leggatt’s service in the security services during wartime.
SpitLip, the musical’s writers and composers, said: “We were captivated by the mystery of Hester Leggatt from the moment we came across her. Try as we might though, we couldn’t unearth the details of her life. The real identity of Hester Leggatt fell, once again, into the background. That might have been the end of the story, were it not for our show’s community. Where we let the facts fall back into the shadows, they rolled up their sleeves and said “let’s go.” They found her”
“Operation Mincemeat succeeded because they managed to create an entirely fake person who was wholly believable from just a few fragments of pocket litter and documents. We all had great fun doing the exact reverse: finding and fleshing-out a very real woman from just the fragments of documentary evidence that her life had left behind. It was a joy to be a part of such a wonderful group of people, whose shared passion and care and diligence got so much done so quickly.” emphasised barrister Greg Callus, one of the key contributors to the project.
Jak Malone, who plays Leggatt on stage, added: “The commitment, energy and enthusiasm of our fans has left me awed, inspired and immensely proud. Due to their efforts, the real Hester finally has the recognition she so rightly deserves and I’m simply elated. I first built my portrayal of Hester based on scraps of information and thanks to our fans now I’ve been presented with this fully fleshed out person with such a rich, full life and It’s been a blessing.”
Special thanks to the team of researchers who helped uncover Hester Leggatt’s identity:
Annabel Rose, Ben Caligari, Bram de Buyser, Claudia Caplan, Caitlin DeAngelis, Dave Baxter, Elinor Quick, Erin Edwards, Gail Bishop, Greg Callus, Hûw Steer, Jack Lawrence, Jan Schneider, Jenny Murray, Jessie Honnor, Kathy Bolt, Maayan Shir, Misha Anker, Philippa Peall, Rachel Pantrey, Rose Crossgrove, Sarah Haynes, Sharon O’Connor, Silvia Lemos, Sophie Message & Valeria Oliveira.
Oxford New Theatre – 23rd November 2023 and on tour until March 2023
Reviewed by Marcia Spiers
4****
Wow what an experience! To be honest, I was not sure whether I would enjoy this type of show, but I decided to take myself out of my comfort zone and go for it! This show was the last one of 2023 to a packed audience who were extremely supportive and enthusiastic.
You can certainly see why this dance troupe has been so successful. They are amazing dancers and have so much energy it is infectious. What was more intriguing was the creative storyline that sits behind this show focusing on the dreams of a young boy and his struggle to make them a reality. The creative skills of Ashley Banjo are truly inspiring, and the story is one that could resonate with many young people across the UK today.
There were very clever usage of props including a speeding car (my favorite), revolving doors, a toy box, and a hospital bed. There were amazing light shows and flashbacks, interesting sound effects and a two-tier stage. The costume changes were well executed and at two points in the performance it was raining heavily on the stage. I did wonder how an earth they all dried off so quickly! My only slight criticism if I had one was that sometimes I could not hear the narration above the music (but that could be my hearing!)
What is significant here is that the range of talent is truly diverse, and I expect that each of those dancers have their own personal story to tell. In addition, the shows are supporting the anti-poverty charity the Trussell Trust, which provides emergency food and support to people locked in poverty and campaigns for change to end the need for food banks in the UK.
The audience could bring along food donations to the shows, where there will be collection points across the venue each night. There were also collection buckets for any cash donations.
This 66 date tour comes to end in March, if you can get to one of the dates in the New Year you will not be disappointed, and it will make you feel like you want to dance!
WICKED, the West End and Broadway musical phenomenon that tells the incredible untold story of the Witches of Oz, will welcome Michael Fenton Stevens (The Wizard), Graham Kent (Doctor Dillamond), and welcome back former cast member Laura Harrison (Standby for Elphaba) to London’s Apollo Victoria Theatre from Tuesday 12 March 2024.
Mark Curry (The Wizard), Steven Pinder (Doctor Dillamond), Amy Webb (Standby for Elphaba), Yuki Abe, Kofi Aidoo-Appiah, Fergus Dale, Nicola Espallardo, Danny Fogarty, Ross Harmon, Harry Mills, Daniel Parrott, Christine Tucker, and Jaydon Vijn will all depart the company on Sunday 10 March 2024.
Alexia Khadime (Elphaba), Lucy St. Louis (Glinda), Ryan Reid (Fiyero), Sophie-Louise Dann (Madame Morrible), Caitlin Anderson (Nessarose), Joe Thompson-Oubari (Boq), Lisa-Anne Wood (Standby for Glinda), Conor Ashman, Jessica Aubrey, Joshua Clemetson, Effie Rae Dyson, Kate Leiper, Jemima Loddy, Joshua Lovell, Rory Maguire, PaddyJoe Martin, Millie Mayhew, Aiesha Naomi Pease, Jeanie Ryan, Natalie Spriggs, James Titchener, Micaela Todd, and Taela Yeomans-Brown all continue.
“One of the most successful musicals of all time” (BBC News) and the winner of more than 100 global awards, Wicked is already the 11th longest-running production in West End history.
From Tuesday 12 March 2024, Wicked will star Alexia Khadime (Elphaba), Lucy St. Louis (Glinda), Ryan Reid (Fiyero), Sophie-Louise Dann (Madame Morrible), Michael Fenton Stevens (The Wizard), Caitlin Anderson (Nessarose), Graham Kent (Doctor Dillamond), Joe Thompson-Oubari (Boq), Laura Harrison (Standby for Elphaba), Lisa-Anne Wood (Standby for Glinda), Conor Ashman, Jessica Aubrey, Jeremy Batt, Felipe Bejarano, Asmara Cammock, Joshua Clemetson, Effie Rae Dyson, Aimee Hodnett, Kate Leiper, Jemima Loddy, Joshua Lovell, Rory Maguire, PaddyJoe Martin, Darnell Mathew-James, Millie Mayhew, Ayden Morgan, Rishard-Kyro Nelson, Aston Neman Hannington, Aiesha Naomi Pease, Jeanie Ryan, Natalie Spriggs, Charlotte Anne Steen, James Titchener, Micaela Todd, Taela Yeomans-Brown, and Jacob Young.
Michael Fenton Stevens (The Wizard), the famed British actor and comedian, has been a popular and enduring presence on television, radio, and stage since the early 80s. His prolific career has ranged from providing voices for the original Spitting Image series (including voicing the UK Number 1 hit ‘The Chicken Song’) to playing ‘Dr John Radcliffe’ in the RSC production of Helen Edmundson’s Queen Anne in Stratford-upon-Avon and London. His many hundreds of television appearances include ‘Sir Henry’ in Benidorm (ITV); ‘Ronnie Green’ in Hapless (Netflix) with Tim Downie; ‘Mr. Griffith’ in My Family (BBC);‘Home Secretary’ in Ian Hislop and Nick Newman’s My Dad’s The Prime Minister (BBC); ‘Reverend Gordon Fox’ in Julia Davies’ Nighty Night (BBC); ‘Richard Johnson’ in Mike Bassett: Manager (ITV), with Ricky Tomlinson; ‘Hank Millbeck’ in The Legacy of Reginald Perrin (BBC); and the voice of ‘Mr. Beakman’ in Josh Selig’s 3rd & Bird animated series (CBeebies). For radio, Michael starred in the long-running BBC Radio 4 comedy series Radio Active, which was also developed into the popular television series KYTV; played ‘Paul Morgan’ in 60 episodes of The Archers; the title character in Inspector Steine; and appeared inDouglas Adams’ The Hitchhiker’s Guide to the Galaxy and Dirk Gently’s Holistic Detective Agency. His many stage appearances have included: Yes, Prime Minister (in the West End as ‘Simon Chester’, and on tour as ‘Jim Hacker’); and William Congreve’s Love For Love (RSC). Together with Angus Deayton and Philip Pope, he founded the parody pop group The Hee Bee Gee Bees in the early 80s. He currently hosts the popular podcast series, My Time Capsule.
Graham Kent (Doctor Dillamond) was most recently seen in the UK & Ireland Tour of Conor McPherson’s Girl from the North Country and on television as ‘Albert Quirk’ in Julian Fellowes’ Belgravia (ITV). His London stage appearances have included ‘Mr. Price’ in Kinky Boots (and in the live capture by Broadway HD); Herge’s Adventures of Tintin (Barbican), and Miss Saigon (Theatre Royal, Drury Lane).
Laura Harrison (Standby for Elphaba) is currently appearing in Jamie Lloyd’s production of Andrew Lloyd Webber’s Sunset Boulevard. Laura returns to Wicked having previously been part of the 2022/23 ensemble cast, during which time she performed the role of ‘Elphaba’ on many occasions to huge acclaim. Laura trained at the Royal Central School of Speech and Drama.
Performances begin Tuesday – Saturday at 7.30pm, and Wednesday, Saturday, and Sunday at 2.30pm. The performances on Sunday 24 December 2023 and Sunday 31 December 2023 will begin at the earlier time of 1.00pm. The following six added shows are also now on sale: Thursday 28 December 2023, Thursday 15 February, Thursday 4 April,Thursday 1 August, Thursday 15 August and Thursday 31 October2024 all at 2:30pm. Doors open 90 minutes prior to the start of all performances.
Whilst continuing its West End run, Wicked will embark on a third tour of cities in England, Scotland, Wales, and the Republic of Ireland, opening at the Edinburgh Playhouse on 7 December 2023 and continuing to Bristol Hippodrome, Birmingham Hippodrome, Bradford Alhambra Theatre, Southampton Mayflower Theatre, Liverpool Empire, Dublin Bord Gáis Energy Theatre, Sunderland Empire, Cardiff Wales Millennium Centre, and Manchester Palace Theatre.
Stephen Schwartz and Winnie Holzman’s celebrated musical is based on the novel by Gregory Maguire and imagines a beguiling backstory and future possibilities to the lives of L. Frank Baum’s beloved characters from ‘The Wonderful Wizard of Oz’, revealing the decisions and events that shape the destinies of two unlikely university friends on their journey to becoming ‘Glinda The Good’ and the ‘Wicked Witch of the West’.
Wickedhas music and lyrics by multi-Oscar and Grammy Award winner Stephen Schwartz (‘Godspell’, ‘Pippin’, ‘The Prince of Egypt’, Disney’s ‘Pocahontas’, ‘The Hunchback of Notre Dame’and ‘Enchanted’). It is based on the multimillion-copy best-selling novel ‘Wicked: The Life and Times of the Wicked Witch of theWest’ by Gregory Maguire and written by Emmy and Tony Award nominee Winnie Holzman (creator of the landmark American television series ‘My So-Called Life’). Musical staging is by Tony Award-winner Wayne Cilento with direction by two-time Tony Award-winner Joe Mantello.
Wicked is produced by Marc Platt, Universal Stage Productions, The Araca Group, Jon B. Platt, and David Stone. Executive Producer (UK) Michael McCabe.
The Apollo Victoria Theatre, Wilton Road, London, SW1V 1LG
