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Top London shows announced for Official London Theatre’s New Year Sale

Mastercard presale: 10am Thursday 16 November

General sale: 10am Tuesday 21 November

Over 40 of London’s biggest theatre shows are welcoming in 2024 with Official London Theatre’s New Year Sale. Tickets are available at £10, £20, £30, £40 and £50 for performances from 1 January to 29 February 2024, with no booking or postage fees.

Mastercard cardholders can buy tickets through https://www.priceless.com/celebrity/17884/official-london-theatre from 10am on Thursday 16 November, and tickets go on general sale from 10am on Tuesday 21 November, via officiallondontheatre.com/new-year-sale. 

From comedies and musicals to opera, dance and drama, audiences can get into London theatre with New Year Sale tickets for many of the biggest shows in the West End and beyond, as part of one of the theatre industry’s longest-running audience development initiatives.

Theatregoers with access needs can submit ticket requests before general booking. For Mastercard holders, the access form will go live on Friday 10 November at midday and close on Sunday 13 November at 6pm. For general booking, the form with be live from Friday 17 November at midday to 6pm on Sunday 19 November. The theatres will respond to access requests directly on Thursday 16 November and Tuesday 21 November.

Emma De Souza, Director of Audiences and Commercial at Society of London Theatre and UK Theatre, said:

“Getting audiences excited about theatre is at the very heart of what we do, so we’re thrilled to be bringing back the Official London Theatre New Year Sale for another year.

An experience can be the perfect Christmas gift for a loved one, and luckily there are amazing shows across London on offer this year, with tens of thousands of tickets available to snap up ahead of the December rush.”

The list of participating shows is available below and on the Official London Theatre website.

LIST OF PARTICIPATING SHOWS ***

Back To The Future The Musical

The Barber Of Seville

The Boy At The Back Of The Class

Bronco Billy

The Choir Of Man

A Christmas Carol – A Ghost Story

Cinderella

Crazy For You

The Duchess Of Malfi

Edward Scissorhands

Elf

Everybody’s Talking About Jamie

Frozen The Musical

Ghosts

Giselle

The Gruffalo’s Child

Hamnet

The Handmaid’s Tale

Hansel And Gretal

Kim’s Convenience

The King And I

Disney’s The Lion King

The Little Big Things

Mamma Mia!

RSC’s Matilda The Musical

Metamorphosis

Les Misérables

The Mousetrap

Mrs. Doubtfire

Nutcracker

Peter Pan

The Phantom Of The Opera

The Play That Goes Wrong

A Sherlock Carol

Six

Sleeping Beauty Takes A Prick

The Smartest Giant In Town

The Snow Queen

The Time Traveller’s Wife

Tina – The Tina Turner Musical

Unbelievable

The Unfriend

Wicked

Witness For The Prosecution

*** The list of participating shows is correct at the time of going to press

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Norwich Theatre leads the charge for the return of touring opera following Arts Council England’s cuts

• New audience insight research by Norwich Theatre shows sales data and patterns that indicate a strong demand and desire for opera
• The research shows the appeal for the genre has not dropped since the pandemic
• While the focus has been on London-based ENO and where it should go, touring opera has been disproportionately hit – with provision for audiences across the UK in decline

Tuesday 7^th November – New research, Opera Voices, published by Norwich Theatre highlights a strong demand for opera as numerous cuts plague the sector. Norwich Theatre acknowledges Arts Council England’s (ACE) independently conducted analysis, but is calling for a clearer strategy and action plan that represents all voices for the future of opera in the regions, as touring productions have been disproportionally affected by the cuts.

ACE’s cuts to English National Opera (ENO) have dominated the news, but cuts to Welsh National Opera (WNO), and Glyndebourne have seen touring opera decimated. Norwich Theatre was one of the regular venues on Glyndebourne’s touring circuit for more than five decades.

The new research surveyed 1,144 audience members who attended any of Norwich Theatre’s programme. It highlights four key trends, they are:

• Audience levels in opera and demand for the genre have not dropped since

• CovidThe perception of opera is the challenge – not the art form itself

• 25% of opera audiences, pre-Covid, were from Arts Council levelling up areas

• The decisions to cut funding have adversely been discriminatory towards those with access needs and disabled audiences

Since the pandemic the research shows that the demand for opera has largely remained the same with only one art form, musicals, performing better by average number of tickets sold. Importantly, despite the major changes to cuts opera has also remained stable against the largest shift in performance numbers. Post-Covid, Norwich Theatre maintained a 64% average capacity despite the selection of opera performances being reduced by 54%.

Another key finding is that the audience perception of opera is potentially more harmful to the art form, and not art itself. 39% of participants felt that it was not for them, referring to price, lack of ability to understand the story line, and feeling out of place at the performances. Much of this perception leads to the idea that opera is generating audiences from affluent areas, with people of high socioeconomic backgrounds. Whereas the study shows a quarter of the audiences of opera goers, came from places deemed priorities for levelling up.

There is a lack of general understanding about the diversity of opera as an art form, with varying languages and lengths, as well as topics and themes explored. Norwich Theatre’s work calls for action to be taken to rebrand the art form as an inclusive space fit-for-purpose for all audiences. In terms of the perceived price barrier, although the average price of opera pre-Covid was £36.64 rising to £41.39 post, musicals have had a larger increase in cost, with pre-Covid tickets averaging £39.26 and post-Covid averaging £43.40 at Norwich Theatre.

As part of their commitment to introducing audiences to opera, Norwich Theatre is collaborating with Buxton International Festival to bring Peter Brook’s La tragédie de Carmen to their audience in Norwich in July next year.

Chief Executive and Creative Director, Stephen Crocker said, “Our research shows that audiences crave opera and that they want to see it nearby. Whilst we welcome the independent analysis being conducted by ACE, it must be swiftly followed with an inclusive action plan that represents touring companies, venues and audiences alike. We are calling on ACE to re-consider and recognise the impact cuts to organisations like Glyndebourne have on access in the regions.”

Norwich Theatre’s Podcast, Norwich Theatre Talks, has recorded a special episode exploring opera available to listen to here. The podcast, hosted by Chief Executive and Creative Director, Stephen Crocker, was recorded live at Norwich Theatre Playhouse, featuring guests including: General Director of English Touring Opera Robin Norton-Hale, and audience member Marion Well.

In the Norwich Theatre Talks podcast, General Director of English Touring Opera Robin Norton-Hale said, ‘‘This perception that opera’s expensive, I think is tied a little bit to the resentment about the amount of the funding pie that opera gets. And I think we possibly need to get better at telling the story about the breadth of the work we do […] If we don’t get funding then and we start charging hundreds of pounds a ticket…because that’s what it costs, then that very much does limit who is able to come to the opera.’’

When discussing the Glyndebourne change to touring, Norwich Theatre audience member, Marion Well said, ‘‘I started to come here 20 years ago and then came to watch Glyndebourne every year. Opera in places like this are very important…it’s an intimate feeling and you get the full impact of the feelings on stage.’’

GRACE MOUAT AND JACOB FOWLER STAR IN

UK STAGE PREMIÈRE OF NEW BRITISH MUSICAL

BEFORE AFTER

The Grey Area today announce casting for the UK stage première of new British musical Before After by Stuart Matthew Price and Timothy Knapman, following a record-breaking live stream from Southwark Playhouse in 2020. Grey Area’s Artistic Director, Georgie Rankcom, will direct Grace Mouat (Six) and Jacob Fowler (Heathers) in this musical love story about a couple given a second shot at happiness.

The production opens at Southwark Playhouse Borough (Little) on 9 February, with previews from 7 February, and runs until 2 March 2024.

Before After received a UK workshop in the studio space at The Other Palace (previously known as the St. James Theatre), and has had successful productions in Japan and on tour around the Netherlands. This will be the UK première of the show.

Artistic Director of The Grey Area, Georgie Rankcom, said, “Before After has a strong cult following across the globe – our rehearsed reading streamed during lockdown reached 44 countries, causing #BeforeAfterUK to trend on Twitter, and led to calls for a fully staged version to follow. A long running Japanese translation and a successful tour of the Netherlands have given the writers an opportunity to hone the piece over the last few years. We established The Grey Area to support the growth of new musicals, so I can’t wait to bring this show home to the UK in our new production.”

The Grey Area presents

BEFORE AFTER

Music and Lyrics by Stuart Matthew Price

Book and Additional Lyrics by Timothy Knapman

Cast: Jacob Fowler (He/Him) and Grace Mouat (She/Her)

Directed by Georgie Rankcom (She/They); Musical Director: Ben McQuigg (He/Him); Movement Director: Tinovimbanashe Sibanda (She/Her); Set and Costume Designer: Yimei Zhao (She/Her); Lighting Designer: Alex Musgrave (He/Him) Casting Director: Peter Noden (He/Him), Production Stage Manager: Waverley Moran (She/They), Artwork: Jed Berry (He/Him), Photography: Danny Kaan (He/Him)

7 February – 2 March

Ami meets Ben by a tree on a beautiful hillside. She recognises him instantly: they were once very much in love. But Ben doesn’t remember her at all. What went so terribly wrong in the past, and is there a chance that, in the present, these two lovers might just find their happy ever after, after all?

With sweeping romantic music, Before After takes the audience on a hugely emotional journey in the life of a very unusual couple.

Grace Mouat plays Ami. Her theatre credits includeSIX (Arts Theatre and UK tour), & Juliet (Shaftesbury Theatre), Be More Chill (Shaftesbury Theatre), Legally Blonde (Regent’s Park Open Air Theatre), The Great British Bake Off Musical (Nöel Coward Theatre), and Rodgers and Hammerstein’s Cinderella (Hope Mill Theatre).

Jacob Fowler plays Ben.His theatre credits include Dreamboats & Petticoats (UK tour), Heathers (The Other Palace – Fowler is also the longest running JD on the UK tour of Heathers), Vanara (Hackney Empire) and In Pieces (Turbine Theatre). He supported Little Mix on their 2022 arena tour after winning the BBC One show Little Mix: The Search.

Stuart Matthew Price is a composer, lyricist and performer. His writing credits include Before After, and also with Knapman, Stuart wrote musical Imaginary (The Other Palace) which was commissioned by the National Youth Music Theatre. Other musical theatre writing credits include The Diary of Me, sci-fi musical Earth 3001 – Piper, and an adaptation of Daphne Du Maurier’s Rebecca. Other projects currently in development include an adaptation of the Netflix documentary Man vs. Snake with Daniel Fletcher, and an adaptation of the best-selling novel Extremely Loud and Incredibly Close with collaborator Victoria Gimby. He is developing a two-part album of original work called Melodies & Motion coming next year. Price is also an actor whose credits include Parade (Donmar Warehouse), The Sound Of Music (Regent’s Park Open Air Theatre), Shrek The Musical (Theatre Royal Drury Lane), and The Rocky Horror Show (European tour).

Timothy Knapman is a lyricist, musical theatre book writer and the author of over 50 children’s books. His musical credits with Stuart Matthew Price include Before After and Imaginary (National Youth Music Theatre). With Laurence Mark Wythe, credits include Midnight (Union Theatre), Danny Hero (Perfect Pitch Musicals/Made in Corby) and Growl: The True Story of the Big Bad Wolf (National Youth Music Theatre). Other theatre writing credits include Gilbert and Sullivan: All at Sixes and Sevens (King’s Head Theatre), The Smallest Person (Trestle Theatre), and The Stag King (Edinburgh). Children’s books include Mungo and the Picture Book Pirates, Dinosaurs in the Supermarket, Follow the Track all the Way Back, Captain Sparklebeard, and the Superhero Dad, Mum and Gran books.

The Artistic Director of The Grey Area Georgie Rankcom directs. Their credits for The Grey Area include How to Succeed in Business Without Really Trying, Help! We Are Still Alive, Anyone Can Whistle, You Are Here, and Before After. Other directing work includes My Sister Is Missing (King’s Head Theatre/The Other Palace), and as Associate Director on The Sex Party (Menier Chocolate Factory).

BEFORE AFTER

LISTINGS

Southwark Playhouse Borough, Little

77-85 Newington Causeway, London SE1 6BD

7 February – 2 March

Performances at 8pm

Mon-Sat 8pm

Tues/Sat 3:30pm

Tickets

£21/26.50 (£10/16 for Previews)

THE WEST END’S FIRST CHAT SHOW IS COMING TO LONDON THIS DECEMBER

 @aspotlightonline on Tik Tok, Facebook, YouTube, and Instagram

@aspotlighton on Twitter

www.aspotlighton.tv | #ASpotlightOnLive

GUESTS INCLUDE MENTALIST AND ILLUSIONIST DERREN BROWN, WEST END AND BROADWAY STARS RACHEL TUCKER AND ANDY NYMAN

A Spotlight On, is thrilled to announce its guests for the West End’s first chat show coming to London this December.

Premiering at London’s Sondheim Theatre on Sunday 10^th December, A Spotlight On Live will be hosted by Carl Mullaney (recently Albin in La Cage aux Folles, Regent’s Park Open Air Theatre).

Tickets for A Spotlight On Live go on general sale on Wednesday 8^th November at midday.  Priority on sale will be given to DMT+ members at 10am and A Spotlight On Premium members at 11am.

Derren Brown began his UK television career in December 2000 with a series of specials called Mind Control. In the UK his name is now pretty much synonymous with the art of psychological manipulation. 

Recently Derren Brown created, wrote and directed UNBELIEVABLE currently playing at the Criterion Theatre with his long-time collaborators Andy Nyman and Andrew O’Connor.

Recently announced as Horace Vandergelder, in Holly Dolly! at the London Palladium, Andy Nyman’s credits include Ghost Stories, Fiddler on the Roof and Hangman.

Broadway and West End leading lady Rachel Tucker, currently guest stars as Norma Desmond in Sunset Boulevard at Savoy Theatre. Her credits include Come From Away, Wicked, The Last Ship and Songs For A New World. Rachel Tucker has also recently released her new album ‘you’re already home’

A Spotlight On Live is a new engaging event that shines a spotlight on some of the most prominent talents from the world of Theatre and beyond.

This unique experience allows you to get intimately acquainted with these stars, giving you insights into their craft, the dedication required to maintain excellence, and the secrets of their success.

Enhanced by electrifying live performances, A Spotlight On Live offers you an exclusive opportunity to venture through the Stage Door and uncover the captivating world of theatre behind the scenes as you’ve never seen it before!

To mark LoveTheatre Day

LOVEtheatre.com announces first ever LOVEtheatre Week

WITH NO FEES FOR ALL SHOWS

LOVEtheatre.com, one of London’s leading ticket agents, announces the first ever LOVEtheatre Week from 11 – 19 November 2023, with fees waived on all theatre, dance, opera and musical productions across the website, and great discounts available during the week. Centred around this year’s LoveTheatre Day on 15 November,LOVEtheatre.com shares its passion for theatre with theatre lovers by presenting this exclusive offer – no fees, all shows, all week long.

Mark Bower, Head of Agency Sales at LOVEtheatre, said: “We are delighted to launch this new week-long celebration of all things on stage, by giving theatre lovers an opportunity to book for their favourite shows minus our standard booking fees. LOVEtheatre.com is your trusted source for getting West End tickets and other London theatretickets at great prices, and we look forward to welcoming you through theatre and entertainment doors across the capital.”

Current theatre, musicals and events with LOVEtheatre.com include Cabaret, Moulin Rouge! The Musical and The Phantom of the Opera, together with other West End shows including Frozen, The Mousetrap, The Little Big Things, Cirque du Soleil, Crazy For You, Harry Potter & the Cursed Child, The Play That Goes Wrong, Private Lives, The Time Traveller’s Wife, Back to the Future The Musical, Noises Off, Guys & Dolls and La Clique.

LOVEtheatre.com is an official agent for booking London theatre tickets, featuring exclusive ticket allocations for each major venue and for the most popular London shows, events and attractions. It is owned and operated by The Ticket Machine Group Ltd., a multi award-winning, London-based ticket agency, and has been a member of STAR (The Society of Ticket Agents and Retailers) for over 25 years. The ticket agency provides exclusive deals and offers, with transparent, clear pricing and seat numbers confirmed at the time of reservation.

Launched in 2014, #LoveTheatreDay sees theatrical communities sharing behind the scenes content throughout the day across social media. The online event, which takes place on the middle Wednesday in November, aims to provide insight into the industry and reach new audiences.

Use #LOVEtheatreweek to highlight this exclusive offer – no fees, all shows, all week long.

www.lovetheatre.com

X: @LOVEtheatrecom

Instagram @lovetheatrecom

facebook.com/lovetheatre

YouTube: @lovetheatre

#LOVEtheatreweek

St James’s Church Woodside, Horsforth, Leeds – 2nd November 2023

Reviewed by Sal E Marino

5 *****

Last night I sat in a church that was celebrating it’s one hundred and seventy fifth birthday through various events, and one of those was hosting a gig performed by the fabulous folk band, Granny’s Attic. St James’s Woodside church in Horsforth is simply beautiful in both it’s architecture and, more importantly, it’s very warm and welcoming community. As a newcomer and alone, I had no awkward moments of feeling like Billy-no -mates as various people welcomed me like I was their friend. That’s rare and special now in a world that appears to immerse itself in technology during social events rather than actually ‘talk’ to one another and so I’m glad to say I experienced the opposite of that at the bar before the main event.

Granny’s Attic, where do I start …? This young and vibrant trio were not just outstanding, phenomenal musicians and performers but also, so funny! And I mean funny as in a laugh-out-loud stand-up comedian act. I chuckled at every song introduction at the group’s quick wit and banter with the audience and between themselves. It was like I was having the opportunity of seeing live music and a comedy act in one.

Back to the music, and the voices of the band were so rich and soulful that you were taken to various places across timelines and through a myriad of emotions that ranged from sheer joy to compassion for oneself and others. The instrumentals were exceptional, and it was hard to believe that these three young people could perform easily on a par with folk players I’ve heard before who have had at least sixty years or more of folk gigging experience.

What made it more than just a gig was by the end of the performance, I felt I knew the band (George, Lewis and Cohen) as they made a relationship with us, the audience. We simply bonded which is hard to explain but go to one of their gigs and you will know what I mean. We (the audience) and Granny’s Attic had ‘in-jokes’ by the end of the night and of course we were by far the best audience they’ve ever played to before! Whether you’re a folk fan or not, you will enjoy an evening with Granny’s Attic – the music and the band’s energy uplifts you (I guarantee it) and you’ll laugh lots (you can’t fail to) so it’s a win-win event.

The world is in a state that no one can deny is becoming tragic. We have come to a point in humanity where we are destroying one another: in war, greed and in conflict through various forms and not just in person but attacking one another about various issues online in the narrative of ‘I’m right and you’re wrong’. However, there are times and places and through mediums like music where we can come together in unity and as one, such as what I experienced last night. I feel it’s so important to get out and support local events as the more we do this, the more we raise the vibration of the collective and make a positive frequency change to our home, the Earth. Through the arts we can experience beauty that touches us inside and then comes out into our magnetic fields which connects us to others experiencing the same and so we magnetise, and that’s when we feel and know that we’re all connected and that last thing we want to do in that state is hurt one another, we want to exchange a smile instead.

It was a very special evening at St James’s Woodside church in Horsforth and was made so by its very lovely members and vicar Jonanthan Cain – and it was cool! Cool is not a word one usually associates with church, but I do now. Granny’s Attic are very cool and very, very talented and so I hope to see them again soon on their tour next year as I know it will be a great night of music but will also feel like I’m seeing a good and fun friend

Apollo Theatre – until 30 March 2024

Reviewed by Claire Roderick

3***

Audrey Niffenegger’s novel is adapted for the stage by Lauren Gunderson with music and lyrics by Joss Stone and Dave Stewart. The story of Henry (David Hunter), whose rare genetic disorder sends him uncontrollably through time, and Clare (Joanna Woodward) and their extraordinary relationship as Henry travels back and forth along Clare’s timeline was not exactly a triumph on film or TV, and it doesn’t really work on stage either. The impeccable credentials of the creatives involved should add up to one hell of a show, and the visuals are magnificent, but as a whole, the production is pretty forgettable.

Anna Fleischle’s design is lovely, with rotating scenery and Andrzej Goulding’s video and animation creating wonderful effects. Journeyman is the highlight of the show, with Goulding’s work front and centre as Hunter is propelled around the stage by the black clad ensemble, brilliantly showing the chaotic and damaging effects of his time travel. Chris Fisher’s clever illusions maintain the unpredictability of Henry’s vanishing act throughout. Bill Buckhurst’s directs with skill, but the rest of the show follows romantic conventions, apart from chronology: there are the comedy sidekick best friends (Hiba Elchikhe and Tim Mahendran – both fantastic), abusive high school jock, fractured relationships with parents (mentioned fleetingly then resolved) and marital struggles. Admittedly, these marital problems are weirder than most, but the plot mostly has Clare hanging around waiting for Henry and getting angry about a relationship she entered willingly with her eyes wide open. I’m not sure if there was meant to be an exploration of love against all odds, things just seemed to float along nicely between songs, with any tension resolved in the next number. The songs are sweet but generally forgettable, which is a shame as the stellar cast are at the top of their game. Hunter and Woodward play off each other beautifully and emote magnificently, but even they can’t elevate the script.

The Time Traveller’s Wife isn’t a bad show – visually stunning at times, it is a prime example of style over substance – but despite the best efforts of the cast, it’s all just a bit bland. If you’re looking for a pleasant, undemanding diversion (we all need that sometimes!) – this is for you.

The Jack Studio Theatre- until Saturday 4th November 2023

Reviewer Alec Legge

5*****

Off to the Award winning, Best Pub Theatre of the year 2023, the Jack Studio Theatre, in Brockley, SE4. To see this new musical on a dark stormy night, quite a trek from where I was staying in Richmond. Would it be worth it?

On entering the lovely Jack Pub we had drinks and then into the theatre which was small but fully equipped with a stage on which a four man band were ready to play, a performance area in front of the stage and ranks of seats facing the performance area, A nice, intimate small theatre.

The band started the show performing a set of rock and roll numbers bass – Ken Cooke, drums – Kevin Wiremu, keyboard – Dan Patterson and guitar – Rob Hinton. What a talented bunch, the music they made was excellent and they alone were worth listening to. I understand they are also jazz performers separately and together who regularly perform in jazz clubs so jazz fans look out for them.

The storyline of the play was that Danny, Michael Gillett, and his close friend Billy, Niall Hemingway, were on a quest to to find the father Danny had never met after receiving a mysterious invitation to a rock and roll event at a seedy venue. The father apparently was an itinerant rock and roll performer who disappeared after a one night stand with Danny’s mother leaving her with a baby to raise without him.

At the show Danny firstly mistakenly identifies the wrong singer as his father but with the arrival of his mother, Kathryn Haywood, and his real father John, Tim French also the author, he is persuaded otherwise.

The comedy was uproarious and the songs were all original and blasted out in rock and roll style with a nod to the real Elvis. The finale was really enjoyable rip-roaringly funny and the music and singing stupendous.

A really enjoyable and entertaining musical which is well worth seeing by all but especially for rock and roll fans.

Although this run finishes 4 November please look out for it in the future because I’m sure we will see it playing again.

Southwark Playhouse – until 2 December 2023

Reviewed by Claire Roderick

4****

Hope Mill Theatre’s production of Lizzie arrives in London with a bang – or should that be a whack?

The case of Lizzie Borden – tried and acquitted of the axe murders of her father and stepmother – is immortalised in rhyme in American culture and sung by children. I remember singing along and swinging imaginary axes in the playground in the heady days of pre-National Curriculum education when teachers were free to fill their blood-thirsty little students’ brains with gory stories. So, I jumped at the chance of seeing the Danish version of Lizzie back in 2017 and fell in love with the high-octane score and bonkers performances. Hope Mill’s production is slicker and although still brilliantly anarchic, is a much more polished and coherent show. And no watermelons were harmed in this production – IYKYK!

Lizzie (Lauren Drew) and Emma Borden (Shekinah MacFarlane) live unhappy lives with their father and stepmother in their family home in Fall River Massachusetts. The story is told through the eyes of Lizzie, Emma, Bridget, the Borden’s maid (Mairi Barclay) and neighbour Alice (Maiya Quansah-Breed). Mr and Mrs Borden never appear, and the women’s versions of their behaviour is the only side we see, building a claustrophobic atmosphere of control and abuse that finally tips Lizzie over the edge when she finds out that her father has changed his will in favour of Mrs Borden.

Tim Maner’s book is brisk and efficient, with short scenes linking the killer musical numbers. Most of the exposition comes from Bridget, a gleeful and omnipresent catalyst for mischief resembling Mrs Doyle on speed in Mairi Barclay’s brilliantly cartoonish performance. Steven Cheslik-Demeyer, Alan Stevens Hewitt and Tim Maner’s music is thumping and frenetic, building throughout the first act into near hysteria when Lizzie finally flips – in Why Are All These Heads Off? – Lizzie’s reaction to her father chopping off her beloved pigeons’ heads as a punishment for her liaisons with Alice is a frankly insane piece of music which ramps up the tension before the final bloody number of act 1.

This sees Lizzie take control, her new-found freedom from her father overriding any fear of incarceration. The machinations of the women backing Lizzie’s varying alibi, and covering up of evidence makes for some intense and vitriolic numbers, the standout being Shekinah McFarlane’s What The Fuck, Now, Lizzie? The sisters’ gorgeous duet Watchmen For The Morning is a stunning showcase for Drew and McFarlane. Lauren Drew is a revelation as she sings This Is Not Love while acting out the abuse she suffers at the hands of her father and portrays Lizzie’s emotional journey with haunting physicality. Shekinah McFarlane is a powerhouse as Emma, and Maiya Quansah-Breed is stunning as the lovelorn Alice.

Director and choreographer William Whelton nails the Steampunk gig-musical atmosphere while also allowing tender emotional moments to shine through. Andrew Exeter’s barn door set is a dream, providing the perfect backdrop for Dan Light’s evocative video design – the blood! The four-piece band led by Honor Halford-MacLeod are on fire, and the cast completely understand the assignment – belting the numbers like true rock goddesses with killer vocals and performances in this barnstorming, bold and bloody show.

The production tour continues at New Theatre Peterborough 6 – 16 December

American actress, singer and musical theatre star Shawna Hamic sat down with fairypowered to answer 20 questions. Shawna is about to star as Ursula the Sea Witch in the Fat Rascal Theatre Productions show Unfortunate – A Musical Parody.  At Southwark Theatre from 8 December and then on UK tour  Tickets for the show can be found here

Let’s start with a few favourites

Favourite show (whether you have been in it or not)? 

I LOVE Sweeney Todd. Mrs Lovett is a dream role.

Favourite book? 

I am a sucker for a romance novel. It is a guilty pleasure. So anything by Nora Roberts

Favourite theatre? 

There are so many beautiful theatres. In the US I’d have to say the Majestic Theatre in San Antonio Texas. It is stunning.

Favourite song? 

Fields of Gold by Sting

Favourite music? 

I have such a varied taste in music. And it is such a part of my life I can’t name one kind of music. Love anything from American Songbook (music of the 30s & 40s) to 80s pop/rock. Currently listening to Jacob Collier.

Favourite food? 

Chocolate chip pancakes

Favourite drink? 

7 up. But the US version. I can’t take artificial sweeteners.

What is your favourite role? 

I will always love having played Mme Thenardier in Les Misérables, on the 25th Anniversary National US Tour for 1,037 performances total. It was a dream.

What was your first role? 

It would have been singing Jesus Loves Me in church where my grandfather was minister when I was 3 years old.

And what role would you really like to play? 

Mrs. Lovett in Sweeney Todd, Ms Hannigan in Annie, Mama Rose in Gypsy, Mrs Morrible in Wicked. I call my dream role list my ‘Mrs, Madames, & Mamas List’

If you weren’t a performer what would you be? 

Probably a director or a photographer. Still something creative. Fun fact- I’ve actually been published as a photographer in Time Magazine, Rolling Stone, & Elle Magazines.

What made you decide to be a performer? 

I’ve always loved singing. When I was a kid I saw a touring production of Les Misérables when it toured through Los Angeles and that was it. I told my mother I would be Mme Thenardier one day. And then many years later I was.

Do you enjoy touring?

 I do. I love meeting people I wouldn’t normally get to meet and seeing cities I might not normally think to visit. It’s the best of all worlds.

What advice would you give 16 year old you? 

I would tell her to keep believing in herself. To try to ignore all the bullies and the naysayers that tell her her dreams of being a performer professionally are ‘stupid’ and ‘just not possible because you look the way you do’. I’d tell her that she finds her way and finds people to believe in those dreams with her. Sometimes she’ll have to convince them and other times just prove the doubters wrong. But just keep going. It isn’t easy and it shouldn’t be, because it wouldn’t mean anything when she achieves those goals and dreams if there hadn’t been a bit to overcome. You are stronger for all you go through and you keep your gentle heart, but you learn boundaries. And boundaries are GOOD! Just keep going.

Do you fancy branching out in Producing or Directing? 

I absolutely do. I really want to be a director and have no doubt that is part of my journey at some point. I have the brain for it and the way I see the world really translates into directing.

What was the last stage show you saw and really enjoyed? 

It wasn’t the last stage show, but one I still can’t stop thinking about is Jefferson Mays’ Christmas Carol. He played over 30 roles and it was one of the most INCREDIBLE performances I have ever seen. And the technical aspects of the show were stunning as well. If it ever plays again I can NOT recommend it enough.

Favourite line from any show? 

While I wasn’t ever cast in the show Shucked (currently on Broadway) I did audition for it and one of the lines makes me laugh to this day. It goes, “I may not be a virgin, but I still have the box it came in.” Just so funny.

If you could be anyone else for the day, who would it be? 

I literally haven’t ever thought of that. I really just love my own life. So I’d rather continue to just be me. It isn’t always easy, but it’s a lovely life.

What are the nicest/weirdest things you have ever received from fans? 

I once received a handmade doll of me as Mme Thenardier. It was so sweet.

Can you tell us what you will be up to next? 

I’m here in the UK for the next 9 months with Unfortunate. I’m truly focused on being here and enjoying my time both with the show and in this country. What’s next will come when it comes.