New production of DEAR EVAN HANSEN to open at Nottingham Playhouse ahead of major UK tour

AMBASSADOR THEATRE GROUP PRODUCTIONS AND NOTTINGHAM PLAYHOUSE
PRESENT


A NEW PRODUCTION OF THE

THE OLIVIER, TONY® & GRAMMY® AWARD-WINNING BEST MUSICAL

DEAR EVAN HANSEN

BOOK BY STEVEN LEVENSON

MUSIC AND LYRICS BY BENJ PASEK AND JUSTIN PAUL

OPENING AT

NOTTINGHAM PLAYHOUSE
ON 9 SEPTEMBER 2024


AHEAD OF A MAJOR UK TOUR

Ambassador Theatre Group Productions and Nottingham Playhouse are delighted to announce a new production of the Olivier, Tony and Grammy award-winning Best Musical DEAR EVAN HANSEN.

Directed by Nottingham Playhouse’s Artistic Director Adam Penford, the show will open at the Nottingham Playhouse on 9 September 2024, ahead of a UK tour. Tour schedule below. Casting to be announced.

Director Adam Penford said, Dear Evan Hansen has thrilled audiences on both sides of the Atlantic since it first premiered in 2015. Evan’s powerful story grips and moves people, told through a captivating script and musical score. This first, major, new and exciting UK production offers the opportunity to reexamine some of its contemporary themes and present this brand-new version to Nottingham and around the UK. I’m excited to begin the search for our Evan very soon.”

Packed with some of the biggest musical theatre songs of the last decade, DEAR EVAN HANSEN has a score by Benj Pasek and Justin Paul (Oscar-winning composers for The Greatest Showman) and a book by Steven Levenson. Its many awards include the Tony® Award for Best Musical, Olivier Award for Best New Musical and the Grammy® Award for Best Musical Theatre Album.

Today is going to be a good day. And here’s why…

Meet Evan: an anxious high school kid who wants nothing more than to fit in. The thing is, on his way to fitting in, he didn’t tell the whole truth. And now must give up on a life he never dreamt he’d have. As events spiral and the truth comes out, Evan faces a reckoning with himself and everyone around him.

DEAR EVAN HANSEN is presented by ATG Productions and Nottingham Playhouse by arrangement with Music Theatre International.

DEAR EVAN HANSEN UK TOUR – 2024/2025 TOUR LISTINGS

evanontour.com

MONDAY 9 – SATURDAY 28 SEPTEMBER 2024

Nottingham Playhouse

ON SALE 17 NOVEMBER 2023

TUESDAY 1 – SATURDAY 5 OCTOBER 2024

Leicester Curve

www.curveonline.co.uk

ON SALE 17 NOVEMBER 2023

TUESDAY 15 – SATURDAY 19 OCTOBER 2024

Theatre Royal Brighton

www.atgtickets.com/theatre-royal-brighton

ON SALE 17 NOVEMBER 2023

TUESDAY 22 – SATURDAY 26 OCTOBER 2024

Birmingham Alexandra

www.atgtickets.com/the-alexandra-theatre-birmingham/

ON SALE 17 NOVEMBER 2023

TUESDAY 29 OCTOBER – SATURDAY 2 NOVEMBER 2024

New Victoria Theatre, Woking

www.atgtickets.com/venues/new-victoria-theatre/

ON SALE 17 NOVEMBER 2023

TUESDAY 5 – SATURDAY 9 NOVEMBER 2024

Leeds Grand Theatre

www.leedsheritagetheatres.com

ON SALE SOON

TUESDAY 12 – SATURDAY 16 NOVEMBER 2024

Liverpool Empire

www.atgtickets.com/venues/liverpool-empire/

ON SALE 17 NOVEMBER 2023

TUESDAY 19 – SATURDAY 23 NOVEMBER 2024

Sunderland Empire

www.atgtickets.com/venues/sunderland-empire/

ON SALE 17 NOVEMBER 2023

TUESDAY 26 – SATURDAY 30 NOVEMBER 2024

Oxford New Theatre

www.atgtickets.com/venues/new-theatre-oxford/

ON SALE 17 NOVEMBER 2023

2025

TUESDAY 14 – SATURDAY 18 JANUARY 2025

Northampton Derngate

www.royalandderngate.co.uk

ON SALE SOON

TUESDAY 21 – SATURDAY 25 JANUARY 2025

Mayflower Theatre, Southampton

www.mayflower.org.uk

ON SALE 17 NOVEMBER 2023

TUESDAY 28 JANUARY – SATURDAY 1 FEBRUARY 2025

Milton Keynes Theatre

www.atgtickets.com/venues/milton-keynes-theatre/

ON SALE 17 NOVEMBER 2023

TUESDAY 4 – SATURDAY 8 FEBRUARY 2025

Marlowe Theatre, Canterbury

www.marlowetheatre.com

ON SALE 1 MARCH 2024

TUESDAY 11 – SATURDAY 15 FEBRUARY 2025

Bristol Hippodrome

www.atgtickets.com/venues/bristol-hippodrome/

ON SALE 17 NOVEMBER 2023

TUESDAY 18 – SATURDAY 22 FEBRUARY 2025

Palace Theatre, Manchester

www.atgtickets.com/venues/palace-theatre-manchester/

ON SALE 17 NOVEMBER 2023

TUESDAY 25 FEBRUARY – SATURDAY 1 MARCH 2025

King’s Theatre, Glasgow

www.atgtickets.com/venues/kings-theatre-glasgow/

ON SALE 17 NOVEMBER 2023

TUESDAY 4 – SATURDAY 8 MARCH 2025

His Majesty’s Theatre, Aberdeen

www.aberdeenperformingarts.com/

ON SALE 18 NOVEMBER 2023

TUESDAY 11 – SATURDAY 15 MARCH 2025

Grand Opera House, Belfast

www.goh.co.uk

ON SALE 3 DECEMBER 2023

TUESDAY 18 – SATURDAY 22 MARCH 2025

Storyhouse Theatre, Chester

www.storyhouse.com

ON SALE 17 NOVEMBER 2023

TUESDAY 25 – SATURDAY 29 MARCH 2025

New Wimbledon Theatre

www.atgtickets.com/venues/new-wimbledon-theatre/

ON SALE 17 NOVEMBER 2023

TUESDAY 1 – SATURDAY 5 APRIL 2025

Wolverhampton Grand

www.grandtheatre.co.uk

ON SALE 17 NOVEMBER 2023

TUESDAY 8 – SATURDAY 12 APRIL 2025

Lyceum Theatre, Sheffield

www.sheffieldtheatres.co.uk

ON SALE SOON

TUESDAY 15 – SATURDAY 19 APRIL 2025

Theatre Royal, Plymouth

www.theatreroyal.com

ON SALE 29 NOVEMBER 2023

TUESDAY 22 – SATURDAY 26 APRIL 2025

Hull New Theatre

www.hulltheatres.co.uk/

ON SALE 17 NOVEMBER 2023

TUESDAY 29 APRIL – SATURDAY 3 MAY 2025

Wales Millenium Centre

www.wmc.org.uk

ON SALE 5 DECEMBER 2023

TUESDAY 13 – SATURDAY 17 MAY 2025

Theatre Royal Norwich

www.norwichtheatre.org

ON SALE 24 NOVEMBER 2023

Cast Announced for The Other Palace’s Filthy and Fun Christmas Show!

CAST ANNOUNCED FOR THE OTHER PALACE’S
FILTHY AND FUN CHRISTMAS SHOW!

Brace yourselves for this extraordinary ensemble gracing our stage this Christmas! The cheeky Christmas musical parody, A Very Very Bad Cinderella, is thrilled to unveil its full cast and creative team.

The cast will feature Veronica Green (Seasons 2&3 of RuPaul’s Drag Race UK) as Fanny, Imelda Warren-Green (Kathy and Stella Solve a Murder) as Vajayjay, May Tether (Heathers The Musical) as Cinderella, and Keanna Bloomfield (making her professional debut) as Buttons / Prince Charming.

A Very Very Bad Cinderella is produced by The Other Palace, written by Neil Hurst and Jodie Prenger, and directed by Lizzy Connolly, with set and costume design from Reuben Speed, lighting design by Jack Weir, video design by Sam Diaz, sound design by Rob Atkinson, and musical direction by Lauren Hopkinson.

Tired of the same old Cinderella story? We’ve read the book and endured many a dodgy pantomime version. But who do we really go to see? You know who they are, those ‘Ugly B**ches who have us in stitches’. We love them, we hate them… the filthy tramps. This is the ‘Real’ Cinderella story direct from the mucky mouths of the “ladies” that were there.

So, lock up your Sons, and all of your Misters, Look out London, it’s the UGLY SISTERS.

Loaded with catchy musical theatre tunes and brimming with a dose of festive naughtiness, this saucy and sassy theatrical extravaganza runs from 1 December 2023 to 7 January 2024 at The Other Palace Studio. Beware, for it’s so naughty it might just turn even you into a Bad Cinderella.

LISTINGS

A VERY VERY BAD CINDERELLA

THE OTHER PALACE STUDIO
1 DECEMBER 2023 – 7 JANUARY 2024
Written by Neil Hurst and Jodie Prenger

Directed by Lizzy Connolly

Performances Dates

1 December – 7 January 
Tuesday – Friday8.00pm
SaturdayPlus Friday 22 December, Thursday 28 December, Friday 29 December, Friday 5 January5.00pm & 8.00pm
SundayNo 7.00pm performance on Sunday 24 December4.00pm & 7.00pm
Tuesday 26 December, Wednesday 27 December and Tuesday 2 JanuaryNo Show

Tickets                         £25 Preview Tickets (1 Dec – 5 Dec)

                                    £32 Tickets (6 Dec – 7 Jan)

Age Guidance Suitable for audiences 16+

Address                       The Other Palace, 12 Palace Street, London, SW1E 5JA

Box office                    theotherpalace.co.uk/a-very-very-bad-cinderella 

020 7592 0302

ORANGE TREE THEATRE ANNOUNCES FULL CAST FOR ZOE COOPER’S REIMAGINING OF JANE AUSTEN’S NORTHANGER ABBEY

ORANGE TREE THEATRE ANNOUNCES FULL CAST FOR

ZOE COOPER’S REIMAGINING OF JANE AUSTEN’S NORTHANGER ABBEY

Orange Tree Theatre (OT) with co-producers Octagon Theatre BoltonStephen Joseph Theatre Scarborough and Theatre by the Lake Keswick today announces the full cast for Zoe Cooper’s playful reimagining of Jane Austen’s Northanger AbbeyTessa Walker directs Rebecca Banatvala (Cath), AK Golding (Iz) and Sam Newton (Hen).

Zoe Cooper returns to the OT following the hit premières of Jess and Joe Forever and Out of Water with her new play Northanger Abbeyinspired by Jane Austen’s novel. Northanger Abbey opens at the OT on 24 January and runs until 24 February, with previews from 20 January. The production will then tour to Octagon Theatre Bolton from 1 – 23 March, Stephen Joseph Theatre from 27 March – 13 April and Theatre by the Lake from 27 April – 17 May 2024 and will be available on OT On Screen from 21 to 24 May 2024.

Playwright Zoe Cooper said today, “Northanger Abbey is a novel about friendship, love, romance and fantasy and how those things collide. What struck me on my first reading as a queer nineteen-year-old, was that the central romantic relationship, one filled with lust, anger and betrayal, is between the romantic heroine and her best friend, Isabella. It is that version of the book I wanted to explore in this reimagining.” 

Director Tessa Walker added, “I am delighted to be working on Zoe’s vivid, funny, and inventive re-imagining of Austen’s classic with this fantastic cast. It’s a wonderful, playful tale of romance, gothic adventures, growing up, and the importance of stories and who gets to tell them.”

Zoe Cooper’s

NORTHANGER ABBEY

From the novel by Jane Austen

An Orange Tree Theatre co-production with Octagon Theatre Bolton, the Stephen Joseph Theatre and Theatre by the Lake

Cast: Rebecca Banatvala (Cath), AK Golding (Iz), Sam Newton (Hen)

Directed by: Tessa Walker; Designer: Hannah Sibai; Lighting Designer: Matt Haskins; Sound Designer: Holly Khan; Movement Director: Jonnie Riordan, Assistant Director: Namoo Chae Lee

20 January – 24 February

OT On Screen: Tue 21 – Fri 24 May 2024

Friendship is certainly the finest balm for the pangs of any sort of … disappointed love


Catherine Morland knows little of the world, but who needs real-life experience when you have novels to guide you? Catherine seizes her chance to escape her claustrophobic family and join the smart set in Bath. Between balls and parties, she meets worldly, sophisticated Isabella Thorpe – Iz, to her friends – and so Cath’s very own adventure begins.

Zoe Cooper’s latest play The Kiss was performed as part of the OT’s Inside/Outside Series in April 2021. Her previous play Out of Water also played at the OT in 2019. It was produced in association with the RSC. Out of Water was named as a finalist in the 2020 Susan Smith Blackburn Prize, shortlisted for the Charles Wintour Award for Most Promising Playwright at the Evening Standard Awards 2019, and nominated for the Best New Production of a Play Award in the Broadway World UK Awards.

Rebecca Banatvala plays Cath. Her theatre credits include I F*cked You In My Spaceship (VAULT Festival), Sap (Edinburgh Festival Fringe and Soho Theatre / UK Tour), Much Ado About Nothing (RSC), Mrs Puntila and her Man Matti (Royal Lyceum Theatre), Rotterdam (UK Tour), The Three Musketeers (The Dukes), and Trident Moon (Finborough Theatre). Rebecca can be seen in Series 2 of BBC Drama Vigil as guest character, Alia Ghazali. Other television credits include The Syndicate, and Love, Death & Robots;and for film, The Princess Switch 3.

AK Golding plays Iz. AK’s theatre credits include Twelfth Night (Nottingham Playhouse), The Messiah Complex (VAULT Festival), Tapped (UK tour), Hot in Here: An Energy Generating Dance Party (Gate Theatre), Move Fast and Break Things (FRIEGHT THEATRE), Extra Time (Derby Theatre) and Hamlet (National Theatre). For television credits include Urban Myths: Handel and Hendrix;and for film, The Colour Room and Mantis.

Sam Newton plays Hen. His theatre credits include A Woman Walks into a Bank (Theatre503), Good Day (VAULT Festival), Jack and the Beanstalk (Jacksons Lane), Big Big Sky (Hampstead Theatre), Sometimes Thinking (Frantic Assembly), The Curious Incident of the Dog in the Night-Time (Piccadilly Theatre, UK and international tour) and Nigel Slater’s Toast (The Lowry, Edinburgh Festival Fringe). His television credits include The Bastard Son and The Devil Himself and Newark, Newark.

Tessa Walker is a theatre director and dramaturg. Upcoming productions include Biscuits for Breakfast (Hampstead Theatre). She was Associate Director at Hampstead Theatre from 2021 – 2023 where she directed Ravenscourt and Big, Big, Sky. Other recent productions include Run, Rebel (Pilot Theatre, tour), Symphony of Us (Coventry Cathedral, Coventry City of Culture) and The Glad Game (Nottingham Playhouse and tour). As Associate Director at Birmingham Repertory Theatre she directed Bright PlacesJekyll and Hyde, 101 DalmatiansThe Whip HandLooking for JohnFolkThe Quiet HouseThe Lion, the Witch and the Wardrobe, A Christmas CarolThe MotherCirclesBack Down366 Days of Kindness and How to be a Hero. Other directing includes The Snow Queen (The Sherman Theatre, Cardiff), The Gatekeeper (Royal Exchange Theatre), The Glee Club (Hull Truck), The Company Will Overlook a Moment of Madness, (The National Theatre of Scotland), Dream PillDancing Bears (Soho Theatre), The Red Helicopter (Almeida Theatre), She From the Sea (LIFT), Harm’s Way (The Lowry, Manchester), Black Crows (Arcola Theatre), Orange (Script Cymru), Debris (Theatre503, BAC Critics’ Choice Season, Traverse Edinburgh and Staatstheater Biennale, Germany).

ORANGE TREE THEATRE

LISTINGS

1 Clarence Street, Richmond, TW9 2SA

Box Office: 020 8940 3633 (Mon-Sat, 10am-6pm)

orangetreetheatre.co.uk

Ticket prices (NO BOOKING FEES)

In person tickets: from £15, prices increase with demand

Under 30s: £15

OT On Screen: From £15

Access: £15

Recipients of Universal Credit / London Ticket Bank Scheme: limited £1 tickets

SEASON AT A GLANCE

MEETINGS

OT On Screen: Tue 14 – Fri 17 Nov

SHE STOOPS TO CONQUER

18 November 2023 – 13 January 2024

Mon – Sat 7.30pm

Thu & Sat 2.30pm (from Thu 23 Nov)

Captioned Performance: Tue 12 Dec 7.30pm

Audio Described Performance: Mon 11 Dec 7.30pm

OT On Screen: Tue 16 – Fri 19 Jan


SHAKESPEARE UP CLOSE: MACBETH and ROMEO AND JULIET

5 – 10 December 2023

Schools tour: 20 – 30 Nov
Schools performances at the OT: 5 – 8 Dec
Public performances at the OT: 9 – 10 Dec

TINY TIM’S CHRISTMAS CAROL

18 December – 6 January 2024

Mon – Sat 11am

Mon, Wed, Fri 2.30pm (no performances Mon 25 Dec, Mon 1 Jan)

NORTHANGER ABBEY

20 January– 24 February 2024

Mon – Sat 7.30pm

Thu & Sat 2.30pm (from Thu 25 Jan)

Captioned Performance: Wed 14 Feb 7.30pm

Audio Described Performance: Tue 13 Feb 7.30pm

OT On Screen:  Tue 21 – Fri 24 May 2024

Octagon Theatre Bolton

1 – 23 March 2024

Stephen Joseph Theatre

27 March – 13 April 2024

Theatre by the Lake

27 April – 17 May 2024

FLUTE THEATRE: TWELFTH NIGHT

29 January – 20 February 2024

Mon – Sat: 10.30am

Further summer programming includes:

UNCLE VANYA

2 March – 13 April

TESTMATCH

20 April – 18 May 2024

SUITE IN THREE KEYS

24 May – 6 Jul 2024

Primary Shakespeare: HAMLET
3 June – 5 July 2024 (workshops and performances)
Mon, Tue & Fri

RED SPEEDO

13 Jul – 10 Aug 2024

ABOUT THE ORANGE TREE THEATRE 

The Orange Tree (OT) is an award-winning, independent theatre. Recognised as a powerhouse that creates high-quality productions of new and rediscovered plays, it entertains 70,000 people across the UK every year.  

The OT’s home in Richmond, South West London, is an intimate theatre with the audience seated all around the stage: watching a performance here is truly a unique experience. We believe in the power of dramatic stories to entertain, thrill and challenge us; plays that enrich our lives by enhancing our understanding of ourselves and each other. 

As a registered charity (266128) sitting at the heart of its community, we work with 10,000 people in Richmond and beyond through participatory theatre projects for people of all ages and abilities. Our mission is to enable audiences to experience the next generation of theatre talent, experiment with ground-breaking new drama and explore the plays from the past that inspire the theatre-makers of the present. Operating without regular support from Arts Council England, the OT relies on the support of its audiences and funders to raise £500k a year to create this outstanding work on stage and in the community.  

Artistic Director Tom Littler 

Executive Director Hanna Streeter 

Website orangetreetheatre.co.uk | Email [email protected] 

Twitter @OrangeTreeThtr | Facebook/Instagram OrangeTreeTheatre 

ABOUT OCTAGON THEATRE

Octagon Theatre Bolton is a regional producing theatre that makes bold, adventurous and popular theatre of the highest quality that is seen locally and nationally. We believe theatre matters because everyone’s story matters. The Octagon inspires engages and entertains thousands every year through theatre and creative activities, contributing to a healthier and happier community. The Octagon reopened in May 2021, following a major redevelopment funded by Bolton Council and Arts Council England and many others. The Octagon receives public funding through Arts Council England, Bolton Council and Greater Manchester Combined Authority, and Principal Sponsorship from the University of Bolton. The Octagon was shortlisted for Theatre of the Year at the 2023 The Stage Awards.

Website: https://www.octagon-theatre.co.uk/

ABOUT THE STEPHEN JOSEPH THEATRE

Scarborough’s Stephen Joseph Theatre has provided world-class accessible theatre for audiences on the Yorkshire coast since 1955. It’s produced over 700 plays, many of them new – developing new writers and writing was the primary aim of the company’s founder, Stephen Joseph, and it remains one of our core aims. The SJT was the first professional theatre-in-the round in the UK, and is widely known for presenting the world premieres of most of Alan Ayckbourn’s 89 full-length plays. It also has an extensive community programme.

Websitehttps://sjt.uk.com/

ABOUT THEATRE BY THE LAKE 

Theatre by the Lake, described by the New Statesman as “artistically sharp and stunningly situated”, opened in 1999. Born out of Century Theatre’s travelling Blue Box, it was willed into existence by passionate theatre lovers who wanted a permanent home for theatre in Keswick. Theatre by the Lake is idyllically situated a short stroll from Derwentwater amid the magnificent western fells of the Lake District, a UNESCO World Heritage Site. The theatre has two stages, a 400-seat Main House and 100-seat Studio and presents an annual programme of homemade shows throughout the year, as well as hosting a variety of festivals, visiting companies and community performances, playing to over 120,000 people per year. As Cumbria’s producing theatre, our purpose is to enrich the lives of our local communities. We create and share great theatre, develop and champion talent, and celebrate our place and culture in the work we do across our county and our nation.

Websitehttps://www.theatrebythelake.com/

Panto 2024/25 is…

NEWCASTLE THEATRE ROYAL ANNOUNCE A BRAND-NEW PANTO TITLE FOR 2024/25 – THE LITTLE MERMAID

With excitement building ahead of this year’s pantomime Pinocchio opening its doors, Newcastle Theatre Royal and Crossroads Pantomimes are thrilled to announce that another show is to premiere at the Theatre in 2024/25 for the festive season.

The Little Mermaid (Tue 26 Nov 2024 – Sun 12 Jan 2025) is a brand-new title from Crossroads Pantomimes – the world’s biggest pantomime producer and is set to be a spectacular adventure under the sea for audiences of all ages!

Panto superstars Danny Adams and Clive Webb will return to the iconic Grey Street venue for their 19th season and will once again be sharing the stage with celebrated local singer songwriter Joe McElderry as well as legendary panto dame Chris Hayward.

The Little Mermaid will see Newcastle Theatre Royal pantomime favourite Danny play Danny Crabstix, best friend to Ariel, the bravest mermaid in King Triton’s kingdom, who must fight-off the evil Sea Witch after she steals her voice in return for the ability to live amongst the humans, way above the ocean.

With a brand-new script, sets and costumes, The Little Mermaid will again be a first for Newcastle Theatre Royal with Pinocchio making its pantomime debut at the end of the month. Pinocchio has smashed box office records and is one of the fastest selling pantomimes in the country.

Michael Harrison, Producer and creator of Theatre Royal pantomimes for the past 18 years said: “Here in the rehearsal room at Newcastle Theatre Royal we are incredibly excited to be in the throes of creating our new production of Pinocchio to premiere in the city later this month. This promises to be our most magical show yet!

“Newcastle Theatre Royal is a venue which is incredibly important to me personally, having grown-up watching pantos here as a child. With phenomenal advance sales already secured for Pinocchio, I’m excited that we’re announcing yet another new show for the Theatre in 2024. With Danny, Clive, Chris and Joe already signed-up for next Christmas we know the show will be in very safe hands.”

Chief Executive of Newcastle Theatre Royal, Marianne Locatori added: “It’s a joy for us to welcome back Danny, Clive, Chris and Joe to Newcastle Theatre Royal once again for The Little Mermaid, and we’re delighted to premiere another brand-new pantomime! From the moment the curtain rises until the cast take their final bows at the end of the show, I know audiences will be in for a fun-filled festive treat.

“Rehearsals for this years’ pantomime Pinocchio are now well underway; the cast are all spectacular, the costumes, set, and special effects are dazzling, and we can’t wait to open the doors and share this brand-new show with our audiences. Pantomime really is for everyone, and we’re sure that every year ours just keep getting better!”

The Little Mermaid plays Newcastle Theatre Royal Tue 26 Nov 2024 – Sun 12 Jan 2025. This year’s pantomime – Pinocchio – plays Tue 28 Nov 2023 until Sun 14 Jan 2024.

Tickets for The Little Mermaid are on sale from Wed 15 Nov 2023 to Friends of the Theatre Royal; Advantage Members, Groups and Schools can book from Wed 22 Nov 2023 and public booking opens on Tue 28 Nov 2023. Tickets for both shows can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.

Hope Mill Theatre announce new concert version of Gypsy starring Jodie Prenger as Rose at the Opera House Manchester

HOPE MILL THEATRE ANNOUNCE NEW CONCERT VERSION OF GYPSY STARRING JODIE PRENGER AS ROSE 

CONCERT AT THE OPERA HOUSE, MANCHESTER ON SUNDAY 25TH FEBRUARY 2024 WILL SUPPORT HOPE MILL’S ‘HOPE FOR THE FUTURE’ FUNDRAISING CAMPAIGN 

Hope Mill Theatre has announced a one night concert production of Gypsy, starring Jodie Prenger as Rose, will play the Opera House, Manchester on Sunday 25th February 2024. 

The concert will raise funds for Hope Mill Theatre’s ‘Hope for the Future’ fundraising campaign and will be directed by Joseph Houston and Choreographed by William Whelton, the co-founders of Hope Mill. 

Full cast and creative team to be announced. 

Gypsy, a musical fable, has a book by Arthur Laurents, music by Jule Styne and lyrics by Stephen Sondheim, and was suggested by the memoirs of Gypsy Rose Lee. 

Get ready for a dazzling journey into the world of Gypsy, where dreams are big, and the spotlight is even brighter! Follow the relentless Rose as she propels her daughters June and Louise through the highs and lows of showbiz in this Broadway classic. With toe-tapping tunes, a remarkable cast, and a tale of ambition that will leave you breathless, Gypsy is a theatrical experience that steals the show. Lights up, curtains rise, and let the magic of Gypsy unfold before your eyes! 

Songs include ‘Everything’s Coming Up Roses’‘Together (Wherever We Go)’‘You Gotta Get a Gimmick’ and ‘Rose’s Turn’

Jodie Prenger said: “I am beyond thrilled to be a part of the upcoming Gypsy concert! It’s a dream role for anyone in the theatre world, and I am honored to have the opportunity to bring this iconic character to life. I can remember to this day playing the overture as teenager. Tears welling in my eyes and goosebumps on my forearms.  

“But what makes this concert even more special is that it is in support of Hope Mill Theatre. This fabulous theatre has been instrumental in nurturing and shaping future generations of theatergoers. They provide a platform for emerging talent and continuously push the boundaries of creativity. I can’t wait to step on that stage and be part of something so truly special.” 

Joseph Houston said: “As part of Hope Mill Theatre’s, Hope For the Future fundraising campaign, we are thrilled to be producing Gypsy in concert, starring Jodie Prenger as Rose. There is no denying that Gypsy is one of the greatest musicals of all time, and who else is more fitted to play Rose, one of the most iconic characters of all time, than musical theatre star Jodie Prenger.  

“Staging a musical concert at the Opera House, Manchester is an exciting opportunity for Hope Mill to bring its work to a larger scale and is a first step in exploring a new model for Hope Mill productions. Manchester audiences can expect a truly wonderful evening, that will continue to support our organisation.” 

GYPSY is presented by arrangement with Concord Theatricals Ltd on behalf of Tams Witmark LLC. ConcordTheatricals.co.uk 

  

GYPSY 

A Musical Fable 

Book by Arthur Laurents 

Music by Jule Styne 

Lyrics by Stephen Sondheim  

Suggested by the memoirs of Gypsy Rose Lee 

  

Original production by David Merrick & Leland Hayward. Entire production originally directed and choreographed by Jerome Robbins. 

LISTING INFO: 

Hope Mill Theatre present Gypsy The Musical in Concert 

Opera House, Manchester 

Sunday 25th February 2024

7.30pm 

Tickets: https://www.atgtickets.com/shows/hope-mill-gala/opera-house-manchester/ 

Hope Mill Theatre will be offering 100 VIP tickets for the evening, which will include a pre show 3 course meal in partnership with Innside Hotel Manchester. VIP tickets will be available http://www.hopemilltheatre.co.uk/event/gypsy-gala

THE WHISPERING JUNGLE REVIEW

THE LOWRY, SALFORD – SUNDAY 12TH NOVEMBER 2023

REVIEWED BY MIA BOWEN AND SAM JONES (12 YEARS OLD)

5*****

I have visited the Lowry multiple times and have enjoyed shows at both the Lyric and Quays theatres. However, today was my first time visiting the Aldridge Studio. It was the perfect venue for an intimate and immersive theatre experience.

Concrete Youth presents their latest theatrical production, “The Whispering Jungle,” a captivating and immersive touring experience designed specifically for young audiences with profound and multiple learning difficulties. This unique show combines ASMR (Autonomous sensory meridian response), live foley and sensory play, to create a multi-sensory experience like no other. These include using puppets and tactile materials, providing pleasant floral aromas and bubbles.

This theatre group stands out for their commitment to creating accessible theatre. While the rest of the theatrical community has mostly been engaged in discussions about accessibility, Concrete Youth has been actively finding ways to make it a reality. This show is the result of several years of their hard work.

In the intimate setting of the stage, a small audience of 15 of us sits in our small family groups. As we await the start of the show, the cast, consisting of Ewan S Pires, Laura Kaye Thomson, and Finn Kebbe, walks around and introduces themselves to each audience member using sign language. The performance begins with the cast singing a lively song while playing instruments, creating a warm and inclusive atmosphere. Their welcoming approach ensures that each young person feels included and welcome.

The story is set in the Rainforest and starts with a soft whispered narration from off stage. Then, one by one, the characters come to life in the form of puppets. First, the Rainbow Bird (Thomson) makes its appearance, inviting the audience to interact with it by feeling and stroking its soft feathers. Next, the Turtle puppet (Pires) comes onstage, its shell serving as a musical instrument that produces delightful sounds when touched. Lastly, the Monkey (Kebbe) joins the scene, and the audience is once again encouraged to stroke the puppet and engage with the performance. The story follows the journey of the bird, the turtle and monkey who face the threat of deforestation and try to protect their home.

While we were on our way home, my friend Sam mentioned how much he enjoyed the interaction between the actors and the audience. Specifically, he loved it when the actors personally introduced each young person to their puppets. This gesture made Sam feel comfortable and allowed him to know what the puppets looked like and what they were going to do during the performance. Additionally, he thoroughly enjoyed the realistic sound effects produced by the bird when it was flying.

Experiencing the interaction between the actors and the young audience members, along with their families, is truly beautiful. This memorable experience will stay with me for quite some time.

Tiger Review

Omnibus Theatre – until 2 December 2023

Reviewed by Claire Roderick

4****

Joe Eyre’s charming new play about grief is a wonderful mix of surreal comedy and heartfelt tragedy. Staged on a fluffy pink set that emphasises the comforting Alice needs, the show begins with a standup routine that stutters to a halt as Alice (Poppy Allen-Quarmby) breaks down, unable to see or hear her audience. Soothed by a man offstage, Alice calms and begins to sleep calmly again. Alice hasn’t been able to work since her father died a year ago. Boyfriend Oli (Luke Nunn) is a doctor and has been taking care of her, always there when she has nightmares, but now money is tight and Oli must work nights at the hospital, so they consider taking in a lodger. Ever-protective Oli makes sure Alice has a clear routine for getting rid of dodgy applicants, but that is all forgotten when Tiger turns up. Tiger (Meg Lewis) wears a full tiger suit which is never removed. Tiger’s absurd quirks – he never enters a room without a knock-knock joke – disarm Alice and she finds escape and comfort in his company. With a New Jersey accent, a lack of modern pop culture knowledge and full of a seemingly innocent, childlike need to help Alice (or himself?), Tiger confuses Oli. Suspicious, but aware that Tiger is a great comfort to Alice, he begrudgingly accepts the presence of this strange creature.

Joe Eyre never clarifies whether Tiger is real, imaginary or mystical but what is certain is that Tiger helps Alice begin to process her grief. A throwaway line drawing a parallel between Darth Vader’s helmet and Tiger’s head could be a moment of clarity for Alice, or a red herring. The ebb and flow of Alice’s grief and emotions is a rollercoaster for Oli as he is carrying a lot of guilt about her father’s death, and Alice’s anger at her father for leaving her is often channelled at Oli as well. Alice and Oli need to have some difficult conversations to move forward with their lives, but Alice always pulls back and escapes into silliness and fantasy to protect herself. There are no easy answers in Eyre’s script, and none of the characters are sure of their paths – grief is messy.

Director Myles O’Gorman handles the comedy and tragedy with a lightness that adds to the magical atmosphere. Eyre’s writing is wonderfully perceptive building a picture of a believable relationship with silly jokes, cruel barbs and awkward reconciliations, and Allen-Quarmby and Nunn give emotional performances. Allen-Quarmby swerves between manic silliness and numbness masterfully, while Nunn portrays the confusion and helplessness of Oli in a nuanced performance. Meg Lewis is terrific as Tiger – a wonderful physical performance with deft comic timing and an overwhelming sense of vulnerability.

Tiger is a sweet and slightly strange production with a heartwarming message of hope and kindness for the bereaved. Everybody needs a Tiger in their lives at some point.

The Elephant In The Room Review

Theatre at the Tabard – until 2 December 2023

Reviewed by Claire Roderick

3***

After a trip to India, 19-year-old Ashley Davenport is determined to follow the spiritual path to enlightenment, to turn his back on life and embrace death. He renounces his inheritance – psychologically – and, unable to kill himself, decides to retire from life and books into an exclusive retirement home.

The residents are baffled about why he would choose to live amongst them, with repeated cries of “He hasn’t lived” and his arrival has repercussions for the staff as well. What follows is an amusing but muddled play that feels as if it’s trying to do too much. Peter Hamilton’s writing is as smart as ever, but packs in culture clashes between teenagers and the elderly, the entitlement of the rich compared to those struggling to survive in a cruel and unfair world, whimsical riffs on happiness, life and death and surreal mystical moments. It feels like three separate competing plays, but Ken McClymont’s smooth direction helps in embracing the puzzling changes of tone and some tweaking and cutting in the future should create a much clearer piece.

Fraser Anthony is wonderful as Ashley – equal parts charmingly innocent and slappably entitled as he frequently mentions the vast amounts of wealth he has psychologically renounced and the batty traditions his family must maintain – the elephant is literally in the room in his family home. Although performed with a deft wit, the residents are recognisable stereotypes – sweet but tough headmistress Rosemary (Josie Ayers), social worker and wannabe artist Judith (Kristin Milward), suave dodgy dealer Johnny (Craig Crosbie) and dour David (Stephen Omer). Their scenes are the highlights of the play but unfortunately, because these characters are so familiar, even Omer’s delightful comic timing can’t prevent his character’s musings feel like an Alan Bennett tribute. Things get more surreal when Judith is once again rejected from heaven and passes on messages from “them,” but most of their scenes feel like the pilot for a sitcom – think OAP Friends meets Last of the Summer Wine.

While the quartet bicker and reminisce, nurse Mr Krish (Yasser Kayani) has a tragi-comic spiral as his self-described mild alcoholism ramps up following Ashley’s arrival. The young staff in the play have a tougher storyline, undocumented immigrants sharing histories of abuse and captivity from their perilous entry to the UK. Their pasts lead Miguel (Baptiste Semin) into fervent religious faith – administering Holy Communion to the residents in one baffling scene – and Kim-Ly (Cara Lee) into hyper-focussed planning to gain UK citizenship and financial security to ensure she is safe from harm – which eventually draws some pretty hateful language from Ashley.

A wonderful cast make the most of their set-pieces and create some magic moments. Ideas and imagination run wild in this play but need to be tamed to produce a more satisfying beast.

Parler Femme Review

Crucible Playhouse Theatre, Sheffield – Saturday 11th November 2023

Reviewed by Sophie Dodworth

3***

For one night only, on its small Northern tour, Parler Femme (translates as ‘talking women’) made by the well-respected, Bolshoi trained, ballet dancer Tala Lee-Turton.

The three act female led show has three clear and defined sections, which is quite welcomed when a performance is at times left to interpretation. On entering the theatre, you are greeted by the dancers with such energy that they capture you straight away. They are all over the auditorium dancing, climbing all over the seats, making some seriously mind-bending shapes and glares.

The first act is a triple-sectioned cinema style film, exploring the subjects of immigration, racism and difficult relationships. This features the short dance film Chinese Laundry. The second act is a duet between a dancer (Lee-Turton) and musician (Roxanna Albayati), portraying the tale of two estranged sisters, reconnecting after the death of their grandmother. This story here isn’t really that clear when you are in the audience and not read the program, it is totally left to interpretation and some are left wondering what on earth is happening. That being said, Lee-Turton is clearly an exceptional dancer and her skill is undoubtable watching her perform in this act, lots of work en pointe. Impressive. The final act after the interval, is a little lighter than the others, focused on a girl group, delving into the issues of female emotion, competition and femininity. An interesting choice of lyrics in the music for this act really adds to the thought-provoking dance with ‘what are we teaching our girls’.

The dancers in the show really are evidently superb, real charisma and polished skill in each and every single one. The final act has parts in unison which visually works so well and some well-choreographed moving around the stage as a group, which is a skill in itself. Huge nod to Patricia Langa, full of stage presence and almost encourages you to follow her.

Ultramodern, contemporary and packed full of talented dancers.

ESO Echoes Of Oppression Review

Forum Theatre, Malvern – 10th November 2023

Reviewed by Courie Amado Juneau

5*****

The incomparable English Symphony Orchestra presented us with two meditations upon the theme of oppression – one personal and one national.

First was Tchaikovsky’s Violin Concerto in D Major (1878); the only Violin Concerto the composer wrote, it remains one of the best known in the repertoire. Hearing the opening romantic theme was like receiving a hug off a long lost friend. Glorious!

What gorgeous playing from tonight’s soloist, Chloe Hanslip, who threw the kitchen sink at the opening movement’s cadenza in a dazzling display. Her bowmanship was virtuosic, dramatic and emotional, with innate musicality illuminating the farthest reaches of the musical horizon. An entrancing display. The sombre second movement perhaps portrayed best the composer’s inner contemporary turmoil (in the wake of his disastrous, short lived marriage) with a lush orchestral sweep worthy of any Hollywood epic. The third movement introduced exotic Russian folk elements (both works tonight being, of course, Russian). The orchestra positively fizzed with energy and the pizzicato string playing was particularly impressive – giving us staggering speed coupled with forensic precision. The perfect way to open a concert.

The second half began with an introduction to Shostakovich’s Symphony no 5 in D minor (1937). Introductions, putting a work into context, are always a welcome feature and tonight’s was an exceptionally cogent one from Conductor Kenneth Woods, his insights being (sadly) very timely given the continuing horrors in Ukraine and Gaza.

Written in the wake of Stalin’s vindictive crackdown on artists, the 5th appeared to the tone deaf and myopic to be a work which praised the Soviet regime, outwardly embodying the state sanctioned Socialist realism propaganda. In fact it portrayed the polar opposite. To my ears, the overall impression is the aural equivalent of watching a Tim Burton film – familiar yet off kilter, the angles all wrong! A thoroughly modern, rousing, mournful and thought provoking piece that perhaps deserves the subtitle “Fight War Not Wars”. The orchestra was expanded with more of everything – particularly brass, wind, percussion and three harps. The power of the extra forces became immediately apparent in the lower strings’ opening salvo which was awe inspiring. As were the tuttis which hit you like a ton of bricks. But it was the quiet moments that completely blew me away – the leader of the violins solo playing was sublime and when the strings played that quiet section in the 3rd movement Largo with such remarkable passion and control, it was ethereal. The timpanist looked to be having a ball in the rambunctious passages and the flautist and bassoonists were also worthy of special mention. Couple that with a muscular brass section and you have the perfect reading of this mighty work.

The ESO is perhaps the most perfectly balanced orchestra I’ve ever heard; every element being audible, giving the pieces a commendable precision and crisp clarity which allowed one to discover hitherto unheard details.

Impeccable conducting from Mr Woods gave us performances bristling with excitement that the composers would have been proud of. It was visceral! The standing ovation was thoroughly deserved – I’d have thrown flowers had I brought any. Live music making at its very best. Thank you ESO