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CAST ANNOUNCED FOR THE WEST END PRODUCTION OF TONY® AND GRAMMY® AWARD-WINNING, HADESTOWN

LYRIC THEATRE, LONDON FROM 10 FEBRUARY 2024
uk.hadestown.com

London; Thursday 16 November 2023: Casting has been confirmed for the highly anticipated West End premiere of multi award-winning Hadestown which will open at the Lyric Theatre, London with performances from Saturday 10 February 2024.

Winner of 8 Tony® Awards including ‘Best Musical’ and a Grammy® Award for ‘Best Musical Theatre Album’, Hadestown returns to London five years after its sold-out run at the National Theatre in 2018.

Blending modern American folk music with New Orleans-inspired jazz, the Original Broadway Cast Recording of Hadestown is one of the most streamed cast albums of all time with over 340 million streams to date.  It won the Grammy Award® for ‘Best Musical Theatre Album’,topped Billboard’s Broadway Cast Recording chart and debuted at #8 on the Top Album chart.

The West End cast will include Dónal Finn (Orpheus) known for playing Mat Cauthon in Series 2 of Prime’s The Wheel of Time, Grace Hodgett Young (Eurydice) who is currently starring as Betty Schaeferin Sunset Boulevard at the Savoy Theatre, Grammy® Award-winner Zachary James (Hades) who originated the role of Lurch in The Addams Family at the Lunt-Fontanne Theatre on Broadway and the role of Abraham Lincoln in the world premiere of Philip Glass Opera The Perfect American at Teatro Real in Madrid, Musical Theatre actress and singer Melanie La Barrie (Hermes) whose many credits include originating the roles of Mrs. Corry in Mary Poppins at the Prince Edward Theatre and Nurse in & Juliet at the Shaftesbury Theatre, and Gloria Onitiri (Persephone) who originated the role of Fairy Godmother in Andrew Lloyd Webber’s Cinderella at the Gillian Lynne Theatre, Princess Desiree in Upstart Crow at the Apollo Theatre and who previously performed in Hadestown at the National Theatre.

Bella Brown, Madeline Charlemagne, and Allie Daniel will play the Fatesand Lauren Azania, Tiago Dhondt Bamberger, Beth Hinton-Lever, Waylon Jacobs, and Christopher Short will play the Workers, with Lucinda Buckley, Ryesha Higgs, Miriam Nyarko, and Simon Oskarsson as Swings.

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

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

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

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

Lyceum Theatre, Sheffield – until 18th November 2023

Reviewed by Carol Crann

4****

Barnum is the story of “The Greatest Show on Earth” and its founder, the Prince of Humbug, Phineas Taylor Barnum. It is set in the middle of the 19th Century and shows the rise to fame of PT Barnum, impressively played by Mathew Walker and his much suffering but dedicated wife, Charity played by Gina Holmes whose voice is perfectly suited for the some of the well-known numbers in the show. It narrates his rise in fame exhibiting the weird and wonderful in his American Museum, taking on board the management of famous Swedish opera singer, Jenny Lind, played by Joanne Shearsby– whose operatic background is apparent as she belts out some powerful songs. To his near downfall as he reportedly gets into a romantic entanglement with the “Swedish Nightingale”, but then realises he still loves his wife and returns to her and a much more subdued life. This however doesn’t last long as Charity realises that he needs passion and excitement in his life.

Sheffield has long been known for its strong amateur dramatic presence, STOS being only one of the local societies, and this show certainly doesn’t disappoint. The cast not only have to concentrate on their singing and dancing but clearly have spent months learning and working on their circus talents. Everyone on the stage had learnt additional skills – tight rope walking, juggling, unicycle riding, tumbling and even using aerial hoops. The story is held together by the Ringmaster (Steve Mather) whose booming voice is ideal for the part, as are his whiskers.

Mathew Walker, however, deserves a special mention. His performance is brilliant throughout. He has an incredible stage presence, a great singing voice and delivers with boundless energy – he is on stage for virtually the whole show and his comic timing cannot fail to amuse. On top of all this he has learnt to juggle with various items, but even more impressively he demonstrated his ability to walk a tightrope and sing at the same time.

Altogether a most enjoyable show – definitely worth going to see

Festival Theatre, Malvern – until 18th November 2023

Reviewed by Courie Amado Juneau

5*****

Frankenstein: that iconic creation we all know, right? Well, it depends… For many the Karloff Monster (flat head with neck bolts) is the definitive one. Adaptor & Director Séan Aydon’s new version goes back to Mary Shelley’s book and re-imagines the story in a more modern setting (just before WWII), but is probably the most faithful ever regarding the original monster.

Loneliness is one of the key themes – this subliminal effect cleverly set up by the opening scene’s long silence in a log cabin that seems to drag on uncomfortably as a character we learn is called Captain has her solitude finally broken by another lone female visitor…

Having a female Doctor was very interesting, giving a different dynamic to the relationships. Eleanor McLoughlin played Victoria (not Victor) Frankenstein with great emotion, especially in those scenes where there was turmoil over the weighty moral decisions to be made or the consequences of her actions/inactions. I enjoyed her multi-dimensional portrayal much more than many I have seen.

Soon we are taken to the laboratory. An impressive sense of scale is achieved, mostly from the deliciously off kilter window that dominates. The exceptionally informative and attractive programme (undoubtedly the best I’ve seen) explains how the lab was lit in cold colours (blue etc) to highlight the scientific, clinical workspace. A striking contrast to the warm (and softly) lit cabin. The window also allows for the requisite lightning to be seen and heard – the sound effects and music propelling the action along nicely.

The Creature is arguably where any version of Frankenstein will ultimately succeed or fail. For me, this is the best Creature I’ve ever seen. From the agony of his first moments to his later disjointed movements and horrific emergence in rumour and person – everything was perfectly in tune with the original intention of Shelley’s creation. The strongest character, not just in brute strength but in emotional impact – a thunderous performance from Cameron Robertson, giving us a creation to recoil from, pity and empathise with. Missy Brazier’s make up and prosthetics helped enormously in conveying the Creature’s plight and his horrific physical presence.

The rest of the cast were fantastic too with Dale Mathurin playing likable love interest (Henry), Lula Marsh (Elizabeth) providing wonderful sisterly juxtaposition against the work obsessed Victoria and Basienka Blake giving us the aforementioned Captain and gloriously officious Richter. All added much and provided some relief and normality into the proceedings.

The incredible script explored the Creature’s role of victim and outcast being treated poorly, and his feelings toward the woman who made him, asking wider questions about societal neglect and collective responsibility. Francine (as lab assistant) had a wonderful scene in which she interrogates (and berates) the Doctor for her various reactions to her experiment and how to resolve it. A thought provoking discourse, sensitively delivered by the fabulous Annette Hannah, regaling us with one of the plays pivotal moments.

This has been my favourite Frankenstein ever. A superb interpretation – thoroughly modern and with a relevance that does the script much credit. Impressive. You don’t need a torch wielding mob to catch this Frankenstein – just visit the amazing Malvern Theatres box office. Unlike the Doctor, you won’t regret seeing it.

Cambridge Arts Theatre, Cambridge – until Saturday 18th November 2023

Reviewed by Steph Lott

5*****

The stage at Cambridge Arts Theatre came alive with an air of mystery and intrigue as Agatha Christie’s timeless masterpiece, “And Then There Were None,” unfolded under the expert direction of Lucy Bailey. Starring a formidable cast, including Bob Barrett, Andrew Lancel, and David Yelland, the production proved to be a spellbinding journey into the depths of suspense and psychological drama.

Lucy Bailey’s direction was masterful, with a deep understanding of Christie’s intricate narrative. The decision to stay true to the 1930s setting on Soldier Island transported the audience to an era of dread and uncertainty, trapped in chilling claustrophobia on a remote island. Mike Britton’s set design creates a simple setting that oozes foreboding, setting the stage for the unfolding mystery.

The cast delivered stellar performances and I found Sophie Walter’s depiction of Vera Claythorne riveting. In general, the chemistry among the cast was palpable. The nuanced interactions between them, fuelled by suspicion and paranoia, were executed with a finesse that kept the audience on the edge of their seats. The cast’s ability to convey the complex web of emotions, from fear to desperation, added layers of depth to Christie’s already rich narrative.

The pacing of the production was excellent, with Bailey orchestrating a symphony of suspense that hit a crescendo at just the right moments. The gradual unravelling of the plot was handled with a meticulous touch, allowing the tension to build organically. The climactic scenes were executed with a fabulous precision.

The lighting and sound design deserve special mention for their contribution to the overall atmosphere. The play of shadows and haunting echoes heightened the psychological intensity, enveloping the audience in an immersive experience.

In conclusion, “And Then There Were None” at Cambridge Arts Theatre stands as a testament to the enduring power of Agatha Christie’s storytelling, brought to life with fantastic artistry. Lucy Bailey’s direction, coupled with exceptional performances from the cast, breathed new life into a classic, leaving the audience both enthralled and captivated. This production is not just a play; it’s a thrilling journey into the heart of suspense.

Theatre Royal Windsor – until Saturday 18^th November 2023

Reviewed by Ben Jolly

4****

Over at the Theatre Royal Windsor, the holiday season has officially commenced; kicking off is the now-annual outing of Charles Dickens’ classic, A Christmas Carol – On Air. TRW has now largely become associated with the radio play format staging several productions each year. It is both an economical and thoroughly entertaining device used for storytelling – one that I am surprised isn’t used more often across the country. With little rehearsal time and just a week of performances, the theatre is able to secure highly sought after actors to play these formidable roles between other work commitments.  

The set-up is always faithful to previous incarnations, we begin in a period styled BBC Radio sound studio with the cast dressed in 1950s attire (well, for this Christmas production the ’50s-era ensemble have been asked to attend the broadcast in vintage Victorian costume pieces!) The stage, decked with Christmas tree and period streetlamp sets the scene, tantalising the senses, it prompts an audible “ahhhh” from the audience. Entering one by one, the cast prepare themselves for the live broadcast, perpetual anticipation lingers in the air as we begin our journey through the radio waves…  

This piece remains faithful to the original story, but like all adaptions has its own voice. Directed by Roy Marsden, who also takes the role of Scrooge himself, the staging is much more visual than previous On Air productions. There’s even a nod to costume and some minor choreography, just enough to suggest staging without there being too much to distract. Marsden’s Scrooge is subtler than some have chosen to play the miserable miser; glossing over some of the most famous lines of the piece, Marsden commands an audience to lean in and keenly listen to the speech. This isn’t a Scrooge for the masses, it is an intimate, underlying portrayal of a man’s confrontation with his past, present and future.  

Ashley D Gale’s scrumptious character work goes down extremely well, he tackles a multitude of characters from Marley to Fezziwig with charisma and individuality. Playing both the mystical Ghost of Christmas Past and Mrs Cratchit, Jenny Seagrove is back home at TRW showing us you can have a heart of gold and be hard as nails in the same beat!  

With London’s count of various incarnations of this classic Christmas story reaching double figures, it’s a wonder what will draw audiences to one over the other. The truth is that a great story, like a well written song can be told in so many ways, like Shakespeare we can always find more, always find something new to take away. With TRW’s radio play format, this production induces imagination and these legendary characters come back to life again for another year. We end the evening led by the charming Leon Ockenden in a few rousing verses of classic Christmas carols. A Christmas Carol – on Air is the perfect aperitif for the festive season, but if you’re planning on attending, be sure to “Sing out, Louise!” or should that be Marley? 

IAN MCKELLEN IS FALSTAFF IN

ROBERT ICKE’S PRODUCTION OF

PLAYER KINGS

ADAPTED FROM SHAKESPEARE’S HENRY IV, PARTS 1 & 2

Ambassador Theatre Group Productions today announce Player Kings, adapted by Robert Icke from William Shakespeare’s Henry IV, Parts 1 and 2. Icke directs Ian McKellen as John Falstaff, with further casting to be announced.

The production runs at the Noël Coward Theatre, 1 April – 22 June 2024, with previews at New Wimbledon Theatre, 1 March – 9 March 2024, and Manchester Opera House, 14 – 23 March 2024.

Robert Icke said today, “It’s a genuine honour to work with one of our greatest Shakespearean actors, Ian McKellen, especially as he tackles one of the most iconic Shakespearean roles – and one he’s previously never turned his hand to. It’s an exciting challenge to bring together two of Shakespeare’s plays into one production, and I’m so excited to share Player Kings with audiences in the West End and across the country. I’m also thrilled that we’ll have at least 60 dedicated £30 tickets for those under 30 at every performance, including in some prime spots in the auditorium.”

Ian McKellen also commented, “I decided to become a professional actor at Cambridge in 1959, when I was in John Barton’s undergraduate production of Henry IV. Derek Jacobi played Prince Hal and I was the ancient Justice Shallow. Ever since, the plays have been among my favourite Shakespeares, although through the years I’ve resisted offers to play John Falstaff. Robert Icke’s ingenious adaptation was irresistible.”

Across the three venues there will be 8,000 tickets at £30 or under exclusively for under 30s – with at least 60 tickets available for every performance located across all levels of the auditorium. Available to book from general on sale via www.playerkingstheplay.co.uk.

Tickets for New Wimbledon Theatre and Manchester Opera House are available to ATG+ members today, Wednesday 15 November at 12pm; with general booking open from tomorrow, Thursday 16 November at 10am.

Tickets for Noël Coward Theatre will be available to DMT+ Priority on Monday 20 November at 10am, and those signed up for priority booking at 12pm; general booking opens Tuesday 21 November at 10am.

Find out more and sign up for priority booking access at www.playerkingstheplay.co.uk

Ambassador Theatre Group Productions, Gavin Kalin Productions and No Guarantees present

PLAYER KINGS

Based on William Shakespeare’s Henry IV, Parts 1 and 2

Adapted and Directed by Robert Icke

Designer: Hildegard Bechtler; Lighting Designer: Lee Curran; Sound Designer: Gareth Fry;

Casting Director: Julia Horan; Fight Director: Kev McCurdy

Ian McKellen – ‘one of the world’s greatest actors’ (Times) – plays Falstaff in a new version of Shakespeare’s Henry IV, adapted by the award-winning writer and director Robert Icke. 

A divided country, leadership crumbling, corruption in the air. Welcome to England. 

Hal wasn’t born to be king. Only now, it seems, he will be. His father longs for him to leave behind his friends in the taverns of Eastcheap, most notably the infamous John Falstaff. War is on the horizon. But will Hal ever come good?

Bringing together Shakespeare’s two great history plays (Henry IV, parts 1 and 2), Player Kings will reign over London’s West End for twelve weeks only – playing at the Noël Coward Theatre from April 2024.

Ian McKellen plays John Falstaff. He first acted at school and with amateur groups in the north of England, where he was born and brought up. He studied English at Cambridge University and, since 1961, has worked non-stop in the British theatre. He has been leading man and produced plays, modern and classic, for the Royal Shakespeare Company and the National Theatre of Great Britain and in the West End of London.

He was in the first production of Martin Sherman’s sensational Bent and in premières of plays by Arnold Wesker, Peter Shaffer, Michael Frayn, Alan Ayckbourn, Mark Ravenhill and currently Ben Wetherill (Frank and Percy). Of late he has starred in Waiting for Godot and No Man’s Land (with Patrick Stewart) and as Mother Goose in Jonathan Harvey’s pantomime. As Salieri in Amadeus he won every available award on Broadway.

In Shakespeare he has triumphed as Richard II, Macbeth (with Judi Dench), Coriolanus, Iago, Richard III (also on film) and most recently as King Lear (twice) and as an 80 year old Hamlet in Sean Mathias’ upcoming film. For over a decade, he toured his one-man show, Acting Shakespeare, at home and abroad.

McKellen is recognised worldwide as Magneto in the X-Men films and as Gandalf in The Lord of the Rings and The Hobbit trilogies. He received his first Academy Award® nomination, for Best Actor, as the gay film director James Whale, in Bill Condon’s 1998 classic Gods and Monsters. Since he has starred in The Da Vinci Code, Mr Holmes, Beauty and the Beast, All is True, The Good Liar and The Critic.

In 2019 McKellen became the first actor to top The Stage 100 list of most influential people in British theatre, following his triumphant UK Tour and West End run of Ian McKellen on Stage which raised £5 million to support regional theatres.

McKellen’s television work stretches from Rasputin (Golden Globe Award)  to Coronation Street, from Extras with Ricky Gervais to Vicious with Derek Jacobi and The Dresser with Anthony Hopkins. On the first ever Film On Four, he was Stephen Frears’ Walter.

Sir Ian was knighted in 1991. He is a co-founder of Stonewall UK, which lobbies for legal and social equality for gay people. In 2008,  he was appointed Companion of Honour, “for  services to drama and to equality’.

Robert Icke is an award-winning writer and director, working in theatre and on screen.

His recent productions include Judas, Children of Nora, and Oedipus at International Theater Amsterdam, where until 2023 he was Ibsen Artist in Residence. His adaptation of Animal Farm played an extensive national tour in 2022 and is slated for a London transfer. His monologue condensation of Enemy of the People starred Ann Dowd at Park Avenue Armory and was one of the first new pieces of theatre to play in New York post the shutdown.

In six years at the Almeida, five of his productions transferred to the West End, and four to New York. These included his adaptations of The Wild Duck, Mary Stuart (also West End and National tour), Uncle Vanya, Oresteia (also West End; Schauspiel Stuttgart; Park Avenue Armory), and 1984 (co-created with Duncan Macmillan, also Broadway; West End; national and international tours). As a director, his productions included Hamlet (also West End; Park Avenue Armory; and broadcast on BBC2); The Fever and Mr Burns. His final production at the Almeida was The Doctor, which played this summer at Park Avenue Armory, in the West End in 2022, and remains in repertoire at both the Burgtheater in Vienna and Internationaal Theater Amsterdam, as well as in numerous new productions across the globe.

His awards include two Evening Standard ‘Best Director’ Awards; the Critics’ Circle Award, the Kurt Hübner Award (for his debut production in Germany); and the Olivier Award for ‘Best Director’, of which he was the youngest ever winner. He is a Fellow of the Royal Society of Literature.

www.playerkingstheplay.co.uk

Facebook | Instagram | X: @playerkingsplay

LISTINGS

PLAYER KINGS

Box Office: www.playerkingstheplay.co.uk

New Wimbledon Theatre

1 March – 9 March 2024

On sale to ATG+ members today at 12pm; general booking open from Thursday 16 November at 10am.

Manchester Opera House

14 – 23 March 2024

On sale to ATG+ members today at 12pm; general booking open from Thursday 16 November at 10am.

Noël Coward Theatre

1 April – 22 June 2024

On sale to DMT+ Priority on Monday 20 November at 10am, and those signed up for priority booking at 12pm; general booking opens Tuesday 21 November at 10am.

Yvonne Arnaud – until 18th November 2023

Reviewed By Rebecca Salveson

5*****

Everyone, needs to see this play. If it is the only theatre experience you have this year this must be it. Based on the film by Ken Loach of the same name the message that is portrayed is as relevant now as it was in 2016 if not even more so.

Set in the north east of England the story tells the tale of a carpenter, Daniel Blake played by David Nellist who having suffered a heart attack finds himself in the most impossible situation. His Dr deems that he is not fit to work however he doesn’t have the resources to simply ‘take it easy’ so for the first time in his life Daniel turns to the benefit system for support. However, the benefit system is not easily navigated, and he is met by unsympathetic staff and red tape which shows Daniel slowly moving further into poverty.

This story shows how life is when you find yourself at the bottom of the social pile. We see compassion and heroism and is an accurate reflection of how thousand of people living in poverty’s problems are made worse instead of eased by a bureaucratic benefits system.

As we follow Daniels story we are also introduced to Katie played by Bryony Corrigan and her daughter Daisy (Jodie Wild). Katie is a single mum who has been relocated to the area from London. Previous to this ‘managed move’ Katie and Daisy have been living in hostels. As the story unfolds, we learn more about how Katie finds herself in difficult circumstances, reliant on foodbanks and even turning to prostitution to put food on the table. From the moment the pair arrive they are at an immediate disadvantage, Not knowing the area or bus routes they turn up late to the job centre where they are immediately hit with a sanction for being late preventing Kate from accessing any funds for a month! Kate is desperate with only £10 in her purse begs for support but is knocked back. Daniel too has been at the job centre meeting equally frustrating obstacles and the three form an alliance. Bonded by their situations, shared experiences and determination to try and make the best of things the unlikely trio provide each other with care, support and a sense of comradely against a system that seems to want them to fail.

Throughout the play we hear and see statements from leading politicians Each statement is a direct quote and each one clearly states that the welfare state works for people ‘like these’ and that their policies are making a difference. We realise that in fact more people rely on foodbanks than ever before, we have lost trade unions and inequality is worse with thousands living in poverty.

The play engages the audience from the start, although the subject is dark and thought provoking it is relevant and relatable. The relationship between Daniel, Katie and Daisy is authentic and believable. We see their relationship change over time as Daniel is desperate to help and Katie pushes back not wanting to accept charity and having never been able to rely on anyone but herself in the past. The three main characters are supported by a trio of excellent actors who play various other characters throughout the play. Kema Sikazwe (China), Janine Leigh (Sheila) and Nicky Cocharane (Harry Edwards/ floor manager) each one brings authenticity, emotion and depth to what proves to be a superb theatrical experience.

The audience was left with a sense of shock and dismay with the whole audience giving a standing ovation. There was hardly a dry eye in the house!

“The Brits have made the year’s funniest musical…a hit in London’s West End and may head across the Atlantic…rewriting the playbook for originality.…Against the odds, the “Operation Mincemeat” gang has found its way to the big time.”

Peter Marks, The Washington Post

“irrepressible wartime musical is a West End triumph”
Emma John, The Guardian

“Hilarious tale makes Mincemeat out of its rivals…Before curtain I talked to a fan seeing this for the seventh time. I wondered why anyone would see the same show seven times. Now I know”

Neil Armstrong, The Mail On Sunday

“LAUGHING so hard I could barely breathe is not what I expected for a musical about a World War II top-secret plan.…the perfect invasion of the West End. Long may they occupy it.”
Thea Jacobs, The Sun

“the feel-good West End musical of the summer…The reviews for the show have been ecstatic… the overwhelming impression is of hopefulness, expansiveness, possibility and joy.”

Alexis Soloski, The New York Times

65 ★★★★★ reviews and counting

From aspiring West End performers to those who want to gain more confidence in performing, Operation Mincemeat have partnered with ATG’s West End Creative Learning department to offer pre-show workshops to schools and community organisations who are booked to see the West End phenomenon. These workshops will help students unpick the show ahead of their visit whilst putting their performance skills front and centre.

Led by West End practitioners, join those who were Born To Lead in this practical pre-show workshop, where participants will use key moments from the show to unlock students potential in this perfect pre-show workshop.

After a professional warm up, students will work towards honing in their skills, building characters, presence and performance techniques. From slapstick routines to devising techniques, character work to comedy, this workshop is designed to ignite participant’s imaginations using Operation Mincemeat. These workshops are offered to groups before their visit either at the Fortune Theatre where the show currently runs, or as part of a wider engagement programme in partnership with Imperial War Museums where students can explore World War 2 and their upcoming their Spies, Lies and Deception exhibition alongside their workshop.

A range of further Creative Learning opportunities to be announced on Operation Mincemeat’s official channels.

From the writers and composers of Operation Mincemeat, SpitLip: “We are delighted to be able to offer workshops as part of a wider Operation Mincemeat experience. We hope they help educate and inspire students and wider communities to go on to create their own innovative work that may one day become the future hits of our stages”

From ATG Creative Learning Producer, Conor Hunt: “Operation Mincemeat really celebrates the ingenuity and talent that exists with artists developing their own work, and the show’s success is testament to that. Using workshops and the wider creative learning opportunities we hope that we can support the next generation of theatre makers and goers to see themselves on West End stages in the future!”

Presented by Avalon in partnership with ATG Creative Learning and Imperial War Museums.

Mark Goucher, Matthew Gale and Gavin Kalin present

• SHREK THE MUSICAL WILL TRANSFER TO THE ICONIC EVENTIM APOLLO FOR SIX WEEKS ONLY FROM 19 JULY 2024
• THE SHREK-TACULAR EVENT OF THE SUMMER WILL STAR ANTONY LAWRENCE AS SHREK, STRICTLY’S JOANNE CLIFTON AS PRINCESS FIONA, JAMES GILLAN AS LORD FARQUAAD, BRANDON LEE SEARS AS DONKEY, CHERECE RICHARDS AS THE DRAGON AND ALL THE ICONIC FAIRYTALE CHARACTERS
• TICKETS GO ON SALE TO THE PUBLIC AT 10AM TODAY, 14TH NOVEMBER
• THE NATIONAL TOUR CONTINUES TO PLAY TO PACKED HOUSES ACROSS THE COUNTRY UNTIL MAY 2024

The award-winning Broadway and West End hit show Shrek the Musical, currently thrilling audiences on tour, will transfer to the iconic Eventim Apollo in Hammersmith for six weeks only from 19 July 2024. Antony Lawrence (Shrek), Joanne Clifton (Princess Fiona), James Gillan (Lord Farquaad), Brandon Lee Sears (Donkey), and Cherece Richards (Dragon) will continue to play to packed houses across the UK and Ireland until May 2024 before heading to the Eventim Apollo in London from 19 July – 31 August 2024.  

Produced by Mark Goucher, Matthew Gale, and Gavin Kalin, this bright and beautiful fairy-tale world of Shrek has been reimagined by a new creative team and features all the classic characters from the Oscar®-winning DreamWorks animated film, accompanied by the iconic songs and story from David Lindsay-Abaire and Jeanine Tesori’s original musical.

The creative team includes acclaimed director and choreographer Nick Winston (Bonnie and Clyde, Arts Theatre; Beauty and the Beast, UK tour), co-director Sam Holmes (Club Tropicana the Musical), who returned to the swamp having played Lord Farquaad in the previous UK tour, set and costume designer Philip Witcomb (Bonnie & Clyde, Garrick Theatre; Jack & The Beanstalk, Everyman Theatre Cheltenham). Further creative team includes Ben Cracknel (lighting), Jim Arnold (casting), Ben Harrison (sound) and Nina Dunn (projection design).

Shrek the Musical continues to tour through to May 2024 where it will finish in Canterbury, visiting a total of 31 venues. 

Antony Lawrence plays Shrek. His previous credits include Scar in The Lion King, (International Tour) Mary Poppins (National Tour), Matilda the Musical (Cambridge Theatre/RSC) and We Will Rock You (International Arena Tour).

Joanne Clifton, best known for her time as a professional dancer on the BBC’s Strictly Come Dancing, plays Fiona.  She joined the iconic TV show after winning the World Professional Showdance Champion and the European Professional Ballroom Championship. During her time on the show, she won the Christmas Special with McFly’s Harry Judd and went on to win the glitterball trophy as the 2016 champion with her partner Ore Oduba. On stage Joanne Clifton was most recently seen in Windfall (Southwark Playhouse) and The Addams Family (UK Tour). 

Olivier Award-nominee James Gillan (Lord Farquaad) most recently created the role of Tray in Everybody’s Talking About Jamie (Apollo Theatre, Shaftesbury Avenue) – a role he stayed with through the show’s entire West End run. He has also performed in productions of Wicked, Starlight Express and Taboo!

Brandon Lee Sears (Donkey) most recently played the role of Jimmy Early in Dreamgirls (UK tour).  His previous theatre credits include the original West End productions of Be More Chill (Shaftesbury Theatre), Come From Away (Phoenix theatre); Heathers (Theatre Royal Haymarket); Motown the Musical (Shaftesbury Theatre); and On The Town (Regents Park Open Air Theatre).

The ensemble cast of Shrek the Musical will be announced in due course.  

Next summer you don’t have to go Far Far Away to find an unforgettable experience. Join Shrek and his loveable side-kick Donkey at the iconic Eventim Apollo in Hammersmith as they embark on an action-packed adventure to rescue the beautiful, but cursed, Princess Fiona from a castle protected by a fearsome fire-breathing dragon.

Retaining all the impact of the blockbuster film, this Shrek-tacular stage adaptation is packed full of ogre-sized fun with an exceptionally talented cast, infectious numbers performed by a live band including the anthemic ‘I’m a Believer’. With laugh-out-loud comedy, magnificent sets, vibrant costumes, and a heart-warming message of acceptance and friendship proving that ‘beautiful ain’t always pretty’, this is an unmissable night out for the whole family.

The Oscar®-winning DreamWorks animated film Shrek celebrated its 20th anniversary last year. Shrek the Musical was first performed on Broadway in 2008, receiving 8 Tony nominations, and the award for Best Costume Design. The original West End production was nominated for 4 Olivier awards, including Best New Musical, at the 2012 Olivier awards. Nigel Harman received the award for Best Supporting Actor for his role as Lord Farquaad.

FINAL CASTING ANNOUNCED FOR THE WIZARD OF OZ UK AND IRELAND TOUR

DIRECT FROM A SUMMER SEASON AT THE LONDON PALLADIUM

THE TOUR STARS AT SELECT DATES

ASTON MERRYGOLD as THE TIN MAN (LIVERPOOL ONLY)

CRAIG REVEL HORWOOD and THE VIVIENNE as THE WICKED WITCH OF THE WEST

GARY WILMOT, ALLAN STEWART and ALEX BOURNE as THE WIZARD

with

JASON MANFORD who reprises his London Palladium role as

THE COWARDLY LION for TWO WEEKS only in MANCHESTER

ALONGSIDE

AVIVA TULLEY as DOROTHY

BENJAMIN YATES as THE SCARECROW

NIC GREENSHIELDS as THE COWARDLY LION

EMILY BULL as GLINDA THE GOOD WITCH

With ABIGAIL MATTHEWS as TOTO

WHO ALL PERFORM ACROSS THE TOUR

Michael Harrison and the Really Useful Group are thrilled to announce final casting for the UK and Ireland Tour of The Wizard of Oz which begins rehearsals today. The new musical, based on the iconic story by L. Frank Baum, opens its UK and Ireland tour following a celebrated run at the world-famous London Palladium. The tour begins at the Liverpool Empire where it plays an extended festive season from Wednesday 13^th December – Sunday 7^th January 2024.

Joining previously announced JLS star Aston Merrygold as The Tin Man (Liverpool only), Strictly Come Dancing judge Craig Revel Horwood and RuPaul’s Drag Race UK winner and Dancing on Ice finalist, The Vivienne as The Wicked Witch of the West and Gary Wilmot as The Wizard, additional principal casting is confirmed as: Jason Manford who will reprise his role as The Cowardly Lion (Manchester only) with Allan Stewart (Stones in His Pockets, West End, UK Tour, Toronto; STV Hello, Good Evening, Welcome) and Alex Bourne (Annie, West End, UK Tour, Toronto; Hairspray, UK Tour) as The Wizard. All perform at select dates across the tour.

Principal company members appearing at all venues are: Aviva Tulley (Book of Mormon, UK Tour) as Dorothy, Benjamin Yates (ITV’s Emmerdale; Jersey Boys, West End) as The Scarecrow, Nic Greenshields (Love Never Dies West End; Les Misérables West End, International Tour) as The Cowardly Lion, Emily Bull (9 to 5, UK Tour; Matilda UK Tour) as Glinda The Good Witch and Abigail Matthews as Toto (Bleak Expectations, West End; War Horse, West End).

The company is completed by: David Burrows, Adam Craig, Cole Dunn, Tyler Ephraim, Olivia Kate Holding, Thomas Kalek, Sadie Levett, Kelsie-Rae Marshall, Martin McCarthy, Rose Ouellette, Fanja Parent, Alexandra Regan, Nathan Routledge and Sydney Spencer.

To book tickets and for information about specific casting at all UK and Ireland tour venues, go to www.wizardofozmusical.com. Further casting to be announced for all dates.

Craig Revel Horwood will perform as The Wicked Witch of the West at Grand Opera House, Belfast; Bord Gáis Energy Theatre, Dublin; Milton Keynes Theatre;Wales Millenium Centre, Cardiff, where the role of The Wizard will be played by Alex Bourne. Craig is joined by Allan Stewart as The Wizard at the New Victoria Theatre, Woking; Hippodrome Theatre, Birmingham; King’s Theatre, Glasgowand His Majesty’s Theatre, Aberdeen.

The Vivienne will appear at the Liverpool Empire as The Wicked Witch of the West alongside Alex Bourne as The Wizard, then touring to New Theatre, Oxford; Mayflower Theatre, Southampton; New Theatre, Hull; Lyceum Theatre, Sheffield; Theatre Royal, Plymouth; Bristol Hippodrome, Bristol; Theatre Royal, Nottingham; Grand Theatre, Wolverhamptonand the Empire Theatre, Sunderland.

The Vivienne will be joined by Gary Wilmot as The Wizard at the following dates: Marlowe Theatre, Canterbury;

Playhouse Theatre, Edinburgh; Cliffs Pavilion Southend; Theatre Royal, Norwich; Venue Cymru, Llandudno; Wimbledon New Theatre and the Alhambra Theatre, Bradford and by Allan Stewart as The Wizard at the Theatre Royal, Newcastle.

Jason Manford joins The Vivienne (The Wicked Witch of the West) and Allan Stewart (The Wizard) at the Manchester Palace for two-weeks only next spring where he will reprise his celebrated role as The Cowardly Lion. Across the rest of the tour, the role will be played by Nic Greenshields.

Aston Merrygold will perform as The Tin Man in Liverpool only.

Join Dorothy, Toto and friends on an unforgettable adventure down the yellow brick road to the merry old land of Oz.

Featuring the iconic original score from the Oscar-winning MGM film, including Over The Rainbow, Follow The Yellow Brick Road and We’re Off To See the Wizard – with additional songs from Andrew Lloyd Webber and Tim Rice – this spectacular production will be a truly magical experience for all the family.

The Wizard of Oz on tour is presented Michael Harrison, Gavin Kalin Productions, David Mirvish, Crossroads Live, Tulchin Bartner Productions, Nick Thomas, Rupert Gavin and Mallory Factor, Jake Hine and Playing Field, by arrangement with the Really Useful Group Ltd.