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24 HOURS AFTER TICKET PRIORITY PRE-SALE, ANDREW LLOYD WEBBER’S STARLIGHT EXPRESS EXTENDS BOOKING THROUGH TO FEBRUARY 2025

www.starlightexpresslondon.com

Michael Harrison for Lloyd Webber Harrison Musicals is thrilled to announce that due to overwhelming demand, 24-hours after tickets went on priority pre-sale and before the box office opens for general on-sale, Andrew Lloyd Webber’s STARLIGHT EXPRESS has extended bookings through to February 2025.

Michael Harrison says: “Starlight Express is one of the most iconic musicals of the last 40 years, and I am thrilled that our new production has captured imaginations of all ages all over again. From yesterday’s presale alone, we are today immediately extending our booking period through until 16 February 2025. It’s always been the fastest show on earth….now it’s the fastest extension in theatre history!”

Seen by over 20 million people across the world, STARLIGHT EXPRESS will make its triumphant return to London from 8 June 2024 at the specially designed Starlight Auditorium at Troubadour Wembley Park Theatre.

A true theatrical event, STARLIGHT EXPRESS will fully immerse audiences of all ages inside a world of speed, song and storytelling as an incredible cast of 40 whizz around and above, performing some of musical theatre’s most beloved songs, including AC/DC, Make Up My Heart, Light at the End of the Tunnel and the iconic Starlight Express. 

As a child’s train set magically comes to life and the engines race to become the fastest in the world, Rusty the steam train has little hope of winning until he is inspired by the legend of the ‘Starlight Express’.

With music by Andrew Lloyd Webber and lyrics by Richard Stilgoe, the creative team for this new production is helmed by acclaimed director Luke Sheppard, set designer Tim Hatley, video designer Andrzej Goulding, costume designer Gabriella Slade, lighting designer Howard Hudson and sound designer Gareth Owen with new orchestrations and musical supervision by Matthew Brind.

With thrilling new choreography by Ashley Nottingham, STARLIGHT EXPRESS also sees the return of Arlene Phillips as creative dramaturg.

Casting and all further information regarding the production will be announced in due course.

The Starlight Auditorium at Troubadour Wembley Park Theatre is a state-of-the-art cultural destination in Wembley Park, London’s most exciting new neighbourhood, only 12 minutes from central London. The venue is a short 5-minute walk from the tube, moments away from iconic Olympic Way. There are great parking options on site and the theatre is easily accessible via the M25 and M1.

STARLIGHT EXPRESS will be the second show produced by Lloyd Webber Harrison Musicals, the new partnership of Andrew Lloyd Webber, composer of some of the world’s most famous musicals, and Michael Harrison, critically acclaimed, award-winning international producer. The first show by Lloyd Webber Harrison Musicals, Sunset Boulevard is currently playing at the Savoy Theatre in London.

LISTINGS

Performances
Performances from Saturday 8 June 2024
Opening Night: Sunday 30 June at 5:30pm
(Review tickets from Thursday 27 June, under embargo until 11:30pm on Sunday 30 June)

For Information
www.starlightexpresslondon.com

Social Media
Facebook, Instgram and Tik Tok @starlightexpressldn
X – StarlightLondon

ORIGINAL CALENDAR GIRLS ATTEND OPENING NIGHT PERFORMANCE OF MUSICAL REVIVAL

• ORIGINAL CALENDAR GIRLS CHRISTINE CLANCY, TRICIA STEWART, ANGELA KNOWLES AND LYNDA LOGAN ATTEND OPENING NIGHT
• PRODUCTION STARS TANYA FRANKS, MAUREEN NOLAN, LYN PAUL, AMY ROBBINS, PAULA TAPPENDEN, MARTI WEBB AND HONEYSUCKLE WEEKS AS THE GIRLS

The original Calendar Girls, and inspiration for the musical, play and film, joined the star-studded cast and crew on stage after last night’s opening performance at Leeds Grand Theatre.

Celebrating 25 years since the inception and creation of the original calendar and 20 years since the record-breaking movie’s release, Calendar Girls the Musical returns to The Grand for the third time after it premiered here in 2015, followed by a revival in 2018.

The third iteration has been stripped back to lay somewhere between the original play and the original musical. Tim Firth, co-writer with Gary Barlow, also in attendance said: “Pre-pandemic I had been preparing the musical for a foreign production which was of course then postponed. When the skies cleared and a new production in the UK was proposed I looked back and thought, ‘This is the version we ought to stage’. The story and songs, a little like the real world, had been thrown in the air and come back slightly different… it seemed right for a time when sunlight, optimism and humour seemed more necessary than ever. Like the calendar itself, it seemed that something dark had created something unexpectedly bright.”

Calendar Girls the Musical follows a group of extraordinary women in a small Yorkshire Women’s Institute, prompted to create a nude calendar following the death of a much-loved husband, to raise funds for charity.

This tour is proud to be supporting Blood Cancer UK, the charity dedicated to funding research into all blood cancers including leukemia, lymphoma, and myeloma, as well as offering information and support to blood cancer parents.

Calendar Girls the Musical is at Leeds Grand Theatre from Tue 7 to Sat 11 November 2023. Book tickets online at leedsheritagetheatres.com or call the Box Office on 0113 243 0808

Aylesbury Waterside Theatre – until 11 November 2023

Reviewed by Susan Portman

4****

Previously titled The Band, the show broke box office records and delighted audiences around the United Kingdom when it performed from 2017 – 2019.

Celebrating the 30th Anniversary of Take That’s first ever UK number 1 single Pray and coinciding with the summer 2023 release of the movie of this smash hit musical. Greatest Days is sure to be a night out you will Never Forget.

The story however is not about Take That. This is a tale of tragedy, friendship and of five band obsessed friends, who attended their first concert together at the tender age of sixteen joyous with dreams about their future, only to reunite as adults to see the band for one final time.

I listened to Take That in the 90’s but being in my twenties at the time, I wasn’t really into boy bands. I didn’t really appreciate their music until they reformed, so I really wasn’t sure what to expect with this show.

I went along with my friend Sofia after having a quick bite to eat before curtain up. Unsurprisingly, there were a lot of women in the audience that probably would have
been similar ages portrayed by the girls in the show.

The presentation opened revealing a young teenage girl, Rachel, played by Olivia Hallett, sitting listening to the radio in a kitchen. The Band were on, and she was imagining them right there in her room, before her very eyes. Then the ‘Boy Band’ entered, singing in the kitchen. Because Rachel’s home life was so difficult to say the least, and to drown out the sound of her arguing parents she asked the boys to sing louder, they obliged! We have all been there as teenagers, whether its arguing parents, annoying siblings or some other distraction – all conspiring to prevent you from listening to your favourite tunes.

The set itself was fairly basic, but it was cleverly adapted throughout the show by moving blocks around to take the changing scenes very quickly and efficiently from kitchen to school lockers, from a bus and airport even to high rocks overlooking the town. It was clever, and effective. Well done to the team for this design.

The initial teenage cast were replaced by adults later in the story but I could still see the underlying personalities coming through. It was fabulous how the Take That songs that we know and love so well were weaved into each act. We all have songs that take you back to a defining moment of your life, or remind us of a place or a person.

I must say I wasn’t expecting it to be an emotional journey but it was, straight from the first scenes (there is a twist). I was worried it might be too emotional but actually it was fun, honest and beautifully written.

You could easily relate to one of the five teenage characters – the dreams that we have as teenagers, the family related issues that we had no control over. How everything is so important at the age of sixteen, until a tragedy occurs that throws your world upside down. Of course – music winds itself like ivy around such events.

I loved all of the characters but I can’t say that there was any single stand out part in
the show. The singing voices of all of the ladies were excellent. Bayley Hart, the understudy, who played Debbie has an incredible voice.

The characters were all believable and very funny, and I particularly enjoyed the way that the teenage characters were re-introduced into later scenes alongside their adult characters, with the boy band singing the Take That songs. Great stuff!

When the girls met up again as adults, it was true to life to see how a tragedy in their youth had defined or changed their future but the love and respect they had for each other as teenagers was still there over 20 years later. Let’s be honest, we can all relate to this. There was plenty of humour, especially ‘Dave the Janitor’ played by Alan Stocks, who also played the parts of the bus driver, the airport crew at the gate in UK and Greece and the Greek police officer) and he was adept at effortlessly switching into these roles.

This entire production was first-class, with laughter, tears and plenty of good old fashioned entertainment. The finale was fabulous, the cast encouraged the audience to their feet, and they began dancing and singing as a febrile collective. When the lights came up and I left the theatre, I felt that feel good factor that you would desire from any theatre performance and the Waterside once again delivered in spades. One lady we were chatting to in the lift summed it up quite well when she opined that she arrived at the theatre feeling a tad glum on a dark Tuesday evening in November, but she left feeling like she was already going into the weekend.

This is definitely a show for all those wishing to banish those autumn blues.

Grand Theatre, Leeds – until 11^th November 2023

Reviewed by Katie Brewerton

4****

Calendar Girls comes back to Yorkshire this week at the Grand in Leeds, telling the incredible and inspiring true story of a group of women who’s small WI group in Yorkshire decides to change up their charity calendar. After the death of Annie’s (Tanya Franks) husband John (Colin R Campbell) her best friend Chris (Amy Robbins) comes up with the idea of creating a nude calendar to raise money for Skipton General Hospital to replace their uncomfortable settee, after some persuading the other members of the WI agree and the success of their Calendar is unimaginable. 

With the real Calendar Girls in the audience the cast had added pressure to perform and they did not disappoint. With a star studded cast including Tanya Franks best known as Rainie in Eastenders, Amy Robbins, who has stared in Coronation Street, The Royal and Emmerdale and more and Mauren Nolan, one of the famous Nolan Sisters.  Robbins in particular stood out with a fantastic performance as the funny and charismatic Chris with great vocals and a commanding stage presence. 

Written by Gary Barlow and Tim Firth this is a show with a heartbreaking tragedy leading to great success and an infamous story.

With a total of over £6 Million raised for Blood Cancer UK, a total which is still growing with the charity collecting a royalty from the show this is a must see production. It’s even more special seeing it in West Yorkshire, so close to where the story originated. You’ll be laughing and crying and are bound to be on your feet at the end. 

Hull New Theatre – until 18th November 2023

Reviewed by Dawn Bennett

5*****

Karl Sydow in association with Lionsgate and Magic Hour Productions Present Dirty Dancing – The Classic Story on Stage by Eleanor Bergstein and directed by Federico Bellone.

I’ve never seen the stage production of Dirty Dancing or the film of the same name but judging by the very full auditorium and appreciative audience, I was in the minority last night. The show was spectacular, the singing and acting were brilliant but the dancing, choreographed by Austin Wilks, was sublime.

The story is set in the summer of 1963 at the fictional Kellerman’s resort in America, where the well-to-do families go. Dr Jake Houseman (Jack Loy) and his wife Marjorie (Taryn Sudding) along with their daughters Lisa (Daisy Steere) and Frances “Baby” Houseman (Kira Malou) go to Kellermans after being invited by the owner Max Kellerman (Mark McKerracher). Kellermans employs lots of summer staff, people on their summer break from Harvard, Yale or other prestigious American colleges. They also employ a group of dancers, who the management class as a group of lowlier entertainers, whose main job is to teach the guests to dance. The main dancers are Johnny Castle (Michael O’Reilly) and Penny Johnson (Georgia Aspinall), friends since childhood who job is to entertain the guests as well as teaching dance to the guests. Penny gets pregnant and thestory then enfolds and brings Johhny and “Baby” together.

There are some outstanding performances in this production Michael O’Reilly (Johnny) and Kira Malou (Baby) are fabulously matched and they really made me believe in the characters and the story they told. Colin Charles (Tito Suarez), Danny Colligan (Billy Kostecki) and Lydia Sterling (Elizabeth) are the most brilliant singers, I could have listened to them all night! The musicians in Kellerman’s Band (Gabriel Askew, Morgan Burgess, Richard John, Tom Mussell, Tom Parsons and Tim Wade) were on stage for nearly all the performance and were all amazing played brilliantly and really held the production together. All the ensemble and other cast members gave 100% and make this show into the obvious hit it is.

This is such an amazing production, from the music to the storyline to the fabulous dancing. I would definitely recommend you go and see it…it deserves full houses every night!

THE WEST END’S FIRST CHAT SHOW IS NOW ON SALE  

TICKET LINK – https://www.delfontmackintosh.co.uk/whats-on/a-spotlight-on-live

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

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www.aspotlighton.tv | #ASpotlightOnLive

·       TICKET SELLING FAST FOR THE HOTTEST TICKET IN TOWN!

·       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 are on sale now.

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 Boulevardat 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!

CASTING ANNOUNCED FOR THE

WEST END TRANSFER OF THE

MULTI-AWARD-WINNING

NEW BRITISH MUSICAL

STANDING AT THE SKY’S EDGE

he National Theatre and Various Productions announce today initial casting for the West End transfer of Sheffield Theatres’ smash-hit production, Standing at the Sky’s Edge.  Written as a love letter to Sheffield and the city’s iconic Park Hill Estate, this 2023 Olivier Award-winning ‘Best New Musical’ is directed by Sheffield Theatres’ Artistic Director, Robert Hastie and features songs by the legendary Sheffield singer-songwriter, Richard Hawley. With a hilarious and gut-wrenching book by Chris Bush, Standing at the Sky’s Edge charts the hopes and dreams of three generations over the course of six tumultuous decades, navigating universal themes of love, loss and survival.  It will make its West End premiere at the Gillian Lynne Theatre in London from 8 February 2024.

Joining the cast are, Elizabeth Ayodele (Small Island, National Theatre; Steel Magnolias, Trafalgar Theatre Productions) as Joy, Joel Harper-Jackson (Cock, Elliot & Harper Productions; Kinky Boots, Adam Blanshay Productions) as Harry, Sharlene Hector (A Strange Loop, Trafalgar Theatre Productions/National Theatre; Hairspray, Adam Spiegal Productions/Fiery Angel) as Grace, Mel Lowe (Orlando, The Michael Grandage Company; A Billion Times I Love You, Homotopia/Liverpool Everyman and Playhouse) as Connie, Laura Pitt-Pulford (Seven Brides for Seven Brothers, Regent’s Park Open Air Theatre; Emmerdale, ITV) as Poppy and Lauryn Redding (Bloody Elle, Rebel Productions/Royal Exchange) as Nikki.

Returning to reprise their roles are, Samuel Jordan (Masters of the Air, Apple TV; Sex Education, Netflix) as Jimmy, Baker Mukasa (The Comedy of Errors, Royal Shakespeare Company; Tina: The Tina Turner Musical, Stage Entertainment) as George, Alastair Natkiel (Line of Duty, BBC; Strangers on a Train, Barbara Broccoli) as Marcusand Rachael Wooding (Pretty Woman: The Musical, Ambassador Theatre Group Productions; We Will Rock You, Queen Theatrical Productions/Phil McIntyre/Tribeca Theatrical Productions) as Rose.  Further casting will be announced. 

Standing at the Sky’s Edge is currently nominated for ‘Best Musical’ at the 2023 Evening Standard Theatre Awards. It won ‘Best New Musical’ at the 2023 Olivier Awards earlier in the year with Sheffield singer-songwriter, Richard Hawley and Tom Deering also winning ‘Best Original Score and New Orchestrations’.  Previously it has won the 2020 South Bank Sky Arts Award for Theatre and ‘Best Musical Production’ at the UK Theatre Awards in 2019. 

Director, Robert Hastie said: “I’m thrilled that many of the company who created Standing at the Sky’s Edge in Sheffield and at the National Theatre are continuing to tell this important story in the West End, and equally excited that a brilliant new group of actors are joining the cast to bring new perspectives and fresh takes on Chris’s characters and Richard’s songs.  Getting the casting right is central to any show’s success, but with this show it feels particularly crucial.  The characters in this show might be fictional, but they represent real people’s lives, so the actors who embody these roles need to take pride in telling these beautiful human stories, and I’m confident that this incredible cast will do exactly that.”

Hastie is joined by set and costume designer, Ben Stones; choreographer, Lynne Page; orchestrator and arranger, originating music supervisor, Tom Deering; lighting designer, Mark Henderson; sound designer, Bobby Aitken; wigs, hair and make-up designer, Cynthia De La Rosa and casting director, Stuart Burt CDG.

First commissioned by Sheffield Theatres and Various Productions,Standing at the Sky’s Edge had its world premiere at the Crucible Theatre in 2019. Following a hugely successful, sold-out run, it returned to the Crucible Theatre in December 2022, selling out again, before making its London premiere in the National Theatre’s Olivier theatre in early 2023 where it continued to sell out and receive standing ovations.  

Revealing the history of modern Britain, through the stories of this iconic housing estate, Standing at the Sky’s Edge, is a heartfelt exploration of the power of community and what it is we all call home.

Richard Hawley has recently released Now Then: The Very Best of Richard Hawley, his first ever best of collection.  This 36-track deep dive into his hugely successful career to date includes his original versions of songs from the musical including Open Up Your Door, Tonight the Streets Are Ours, Coles Corner  and the production’s title track, Standing at the Sky’s Edge.  He has also announced a UK and Ireland tour with live performance dates from May 2024.

Standing at the Sky’s Edge, the original live cast recording is available to stream via Spotify and purchase online from major music retailers.

Tickets for the musical are available from £20 at SkysEdgeMusical.com.  Assisted performances are available throughout the run.

First Look production images released for the world premiere of the official Stock Aitken Waterman musical I SHOULD BE SO LUCKY, currently playing at the Manchester Opera House before embarking on a UK tour.

The cast includes Dominic Andersen as Revel Harrington III, Kayla Carter as Bonnie, Jamie Chapman as Spencer, Jemma Churchill as Ivy, Matthew Croke as Nadeem, Jessica Daley as Britney, Gary Davis as Big Mike, Melissa Jacques as Shelley, Scott Paige as Michael, Billy Roberts as Nathan, Giovanni Spanò as Ash, Lucie-Mae Sumner as Ella and Anna Unwin as Olivia. Kylie Minogue will also digitally appear throughout the show as a specially created character unique to the musical.

The company is completed by Tegan Bannister, Ralph Bogard, Elliot Broadfoot, Emma Crossley, Kade Ferraiolo, Sydney Isitt-Ager, Joe Kelly, Aidan Nightingale, James Willoughby Moore, Lauren Woolf and Louie Wood.

The official Stock Aitken Waterman musical featuring the soundtrack of a generation with music from pop royalty including Kylie Minogue (I Should Be So Lucky), Rick Astley (Never Gonna Give You Up), Jason Donovan (Too Many Broken Hearts) and Bananarama (Love In The First Degree). I SHOULD BE SO LUCKY: THE STOCK AITKEN WATERMAN MUSICAL features no less than 10 Number 1 singles and over 25 songs from the Hit Factory whose music defined an era.

I SHOULD BE SO LUCKY: THE STOCK AITKEN WATERMAN MUSICAL is written and directed by Debbie Isitt (the hit NATIVITY! franchise), choreographed by Jason Gilkison (Creative Director of Strictly Come Dancing and Eurovision 2023), with orchestrations and musical direction by George Dyer, set and costume design by Tom Rogers, lighting design by Howard Hudson, sound design by Ben Harrison, casting by Anne Vosser and production management by Simon Marlow. It is produced by Ambassador Theatre Group Productions and Gavin Kalin Productions.

www.soluckymusical.com

@SoLuckyMusical

Hampstead Theatre, London – until 25th November 2023

Reviewed by Celia Armand Smith

4****

A wave of laughter ripples up through the auditorium as a stairlift comes into view down the stairs at the back of the stage. On it, a greying woman ascends and descends at a snails pace as she’s torn between coughing calls from upstairs and the front door bell. The scene, and the bar for humour have been set for this comical take on geriatric life and families that have grown up, and moved on and out. Richard Bean’s new comedy, To Have and To Hold, is set in the village of Wetwang in Yorkshire, at the house of Jack and Florence Kirk. Jack (Alun Armstrong) and Flo (Marion Bailey) have summoned their adult children, Tina and Rob (Herminone Gulliford and Christopher Fulford), home to face the reality that is living into your 90s in growing isolation.

While nothing really happens in this domestic comedy directed by Richard Wilson and Terry Johnson (there is some mild peril involving a bank account), the heart of the show lies in the main performances by Bailey and Armstrong. The relationship between the two is fiercely funny and very familiar – bickering, deafness, forgetfulness, stories, health woes, technologies beyond their ken, and loads of tea. They have a neighbour called Rhubarb Eddie (Adrian Hood) who comes and helps out, as well as a niece who lives nearby and is very pleased to passive aggressively tell Rob and Tina who have moved away from their hometown that they should be around more.

Jack, who was in the police force, regails everyone with stories, something that his writer and filmmaker son Rob is desperate to record but somehow never gets round to. The importance of holding on to your elders’ memories and making a record of the little things is a recurring them throughout. The classic British home set is perfect, beautifully designed by James Cotterill. From the tape recorder to the phone with the big buttons, to the front door which is constantly being locked and unlocked. At one point stage-hands are dressed as a removals company and skillfully change the scene.

To Have and To Hold is funny, gentle, and moving. It has lots of laughs, big and small, and lots of love at the core, plus a familiarity that those of us with ageing parents will recognise. The technological isolation that comes with age, and the geographical alienation that comes with progress, coupled with the pride of not wanting to appear too old but also knowing that your body is starting to crumble, are all played out with skill and humour. My main takeaway was be there to listen to and cherish the stories we are told, and then record them for those who can’t be, or are yet to come.

Everyman Theatre, Cheltenham – until 11th November 2023

Reviewed by Jacqui Radford

5 *****

As a Bill Kenwright production this performance serves as a perfect tribute to the memory of the producer’s talent and contribution to theatre. At the Everyman theatre, the Chief Executive paid personal tribute to the contribution that Bill Kenwright made to his own introduction to the world of theatre. Written by Reginald Rose, it is a brilliant theatre production of the 1950s film known to many.

Set in a U.S. jury room, the plot winds its way through the deliberations of a jury faced with determining whether a young man should be sentenced to his own death following a murder. The entire performance centres around the obvious differences between twelve men and sub-conscious prejudice towards a young man accused of murder.

In a cast packed with talent and fame, Juror number 8 is played by Patrick Duffy in a considered and gentle performance of a man who is prepared to set himself apart from the crowd and start with a verdict of ‘not guilty’. Faced with eleven fellow jurors who are convinced of the defendant’s guilt and tempted by the prospect of a swift verdict, juror number 8 guides the jury through a near re-run of the courtroom evidence.

In many ways, the audience knows from the outset that changing attitudes will be a key aspect of the plot, but nobody can deny the power of each of the alternative perspectives on the ‘truth’. Piece by piece the evidence is re-framed; doubt is cast on the evidence presented in the courtroom as fact. Subtly, we are challenged to think about our views on stereotype and the value of a young, scarred life compared to that of a grown man and father. Deliberating whether an infirm man can dash to his front door in fifteen seconds becomes crucial to a young man’s future.

The power of this production lies in the simplicity of the jury room setting, attention to detail, thoughtful portrayal of jury service and its impact on justice. The entire cast deserve recognition for the lasting effect they have on their audience.